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There are artists who make albums, and then there are architects who build worlds. Skrillex has always been the latter. With SOMA, his fifth studio LP, released via OWSLA/Atlantic, he doesn't just drop a project. He opens a portal.

As someone who spends most of my life behind a DAW, the first thing I clock when a new record lands is intention and SOMA is dripping with it from bar one. The album opens with its title track, a collaboration with Nitepunk that pulls you in like a trapdoor opening beneath a ballroom. From a production standpoint, it's masterclass stuff: the tension building is surgical, the drop hits with the kind of low end that you feel in your sternum before you hear it in your headphones. Fans who'd been tracking this primal trap banger since Skrillex opened his 2025 Ultra headline set with it will find it's lost none of its menace in the journey from ID to official release, anthemic in its maximalism, yet nasty in the spaces between the bars.

What strikes me most about SOMA from a craft perspective is how Sonny manages contrast. In "Noche Without You," he reaches back to 1995 and samples Robert Miles' "Children," one of Eurodance's most sacred relics, weaving its melody into a synth soaked stunner featuring Colombian reggaeton star Feid. As a producer, that kind of crate digging audacity is genuinely exciting, it's the move of someone who's deeply fluent in music history but completely unafraid to remix it on his own terms.

The LP's self awareness runs deep. "Scut 2" revisits a demo he sent to fans by email in early 2025 and mutates the arrangement into a breakbeat beast with bass that convulses and clatters like a shopping cart down a flight of stairs. I have genuine admiration for that. Revisiting your own sketches and making them better, not just louder, is harder than it looks.

The collaboration roster is stacked: Chris Lake, Feid, ISOxo, Naisha, Beam, Randomer, Blawan, MC Dricka, and Nitepunk all appear across the 13 track runtime. Crucially, none of these feel like features for their own sake. Every collaborator is placed with care, the Latin flavor of Feid against the rave architecture; the industrial grit of Randomer and Blawan sitting perfectly against Skrillex's breakbeat instincts. That's the sign of a producer who curates, not just collects.

"La Noche 2" revisits the Chris Lake house hit and takes it somewhere new, a bold creative gamble that pays off entirely. You don't need courage to make a sequel when you actually know what you're doing.

Is SOMA perfect? Not quite. The album's middle section occasionally rushes through ideas that deserve more room to breathe. A few transitions feel more assembled than sculpted. But these are small grievances against a record that is, on balance, one of the most interesting bodies of work in electronic music this year.

Skrillex is proudly weird and utterly indifferent to the mainstream's approval on SOMA, a kaleidoscopic funhouse mirror reflecting his unpredictable brilliance. From behind the boards, that kind of fearlessness is the most inspiring thing an artist can put out.

SOMA is out now. Play it loud. Play it front to back.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

1f:T2442,

Υπάρχουν καλλιτέχνες που δημιουργούν άλμπουμ και υπάρχουν και αρχιτέκτονες που χτίζουν ολόκληρους κόσμους. Ο Skrillex ανήκε πάντα στη δεύτερη κατηγορία. Με το SOMA, το πέμπτο του στούντιο άλμπουμ που κυκλοφόρησε από τις OWSLA/Atlantic, δεν παρουσιάζει απλώς ένα νέο project. Ανοίγει μια πύλη.

Ως άνθρωπος που περνά το μεγαλύτερο μέρος της ζωής του πίσω από ένα DAW, το πρώτο πράγμα που παρατηρώ όταν κυκλοφορεί ένας νέος δίσκος είναι η πρόθεση. Και το SOMA ξεχειλίζει από αυτήν ήδη από το πρώτο μέτρο. Το άλμπουμ ανοίγει με το ομώνυμο κομμάτι, μια συνεργασία με τον Nitepunk που σε ρουφά μέσα του σαν να ανοίγει μια καταπακτή κάτω από μια αίθουσα χορού. Από πλευράς παραγωγής, πρόκειται για πραγματικό masterclass. Η κλιμάκωση της έντασης είναι χειρουργικά ακριβής, ενώ το drop χτυπά με ένα τόσο βαθύ χαμηλό φάσμα που το νιώθεις πρώτα στο στέρνο σου και μετά στα ακουστικά σου. Οι fans που παρακολουθούσαν αυτό το πρωτόγονο trap banger από τότε που ο Skrillex άνοιξε με αυτό το headline set του στο Ultra του 2025 θα διαπιστώσουν ότι δεν έχει χάσει τίποτα από την απειλητική του ενέργεια στη μετάβαση από ID σε επίσημη κυκλοφορία. Είναι ύμνος μέσα από τον μαξιμαλισμό του, αλλά ταυτόχρονα σκοτεινό και επιθετικό στα κενά ανάμεσα στα μέτρα.

Αυτό που μου κάνει τη μεγαλύτερη εντύπωση στο SOMA, από την οπτική της δημιουργίας, είναι ο τρόπος με τον οποίο ο Sonny διαχειρίζεται τις αντιθέσεις. Στο "Noche Without You", επιστρέφει στο 1995 και δανείζεται στοιχεία από το "Children" του Robert Miles, ένα από τα πιο ιερά κειμήλια της eurodance, υφαίνοντας τη μελωδία του μέσα σε ένα εντυπωσιακό κομμάτι με τη συμμετοχή του Κολομβιανού αστέρα της reggaeton, Feid. Ως παραγωγός, αυτού του είδους η τολμηρή αναζήτηση μουσικών θησαυρών είναι πραγματικά συναρπαστική. Είναι η κίνηση κάποιου που γνωρίζει σε βάθος την ιστορία της μουσικής, αλλά δεν φοβάται καθόλου να την επαναπροσδιορίσει με τους δικούς του όρους.

Η αυτογνωσία του δίσκου είναι εμφανής σε όλη τη διάρκειά του. Το "Scut 2" επισκέπτεται ξανά ένα demo που είχε στείλει ο Skrillex στους fans του μέσω email στις αρχές του 2025 και μεταμορφώνει τη σύνθεσή του σε ένα breakbeat θηρίο, με μπάσο που συστρέφεται και κοπανιέται σαν καρότσι σούπερ μάρκετ που κατεβαίνει μια σκάλα. Έχω πραγματικό θαυμασμό γι' αυτό. Το να επιστρέφεις στα δικά σου προσχέδια και να τα κάνεις καλύτερα, όχι απλώς πιο δυνατά, είναι πολύ πιο δύσκολο απ' όσο φαίνεται.

Η λίστα των συνεργατών είναι εντυπωσιακή. Οι Chris Lake, Feid, ISOxo, Naisha, Beam, Randomer, Blawan, MC Dricka και Nitepunk εμφανίζονται στα 13 κομμάτια του άλμπουμ. Το σημαντικό είναι ότι καμία από αυτές τις συνεργασίες δεν μοιάζει να υπάρχει απλώς για λόγους εντυπωσιασμού. Κάθε συνεργάτης έχει τοποθετηθεί με προσοχή. Η λατινική αισθητική του Feid έρχεται σε αντίθεση με τη rave αρχιτεκτονική του δίσκου, ενώ η βιομηχανική τραχύτητα των Randomer και Blawan ταιριάζει απόλυτα με τα breakbeat ένστικτα του Skrillex. Αυτό είναι το σημάδι ενός παραγωγού που επιμελείται, δεν συλλέγει απλώς ονόματα.

Το "La Noche 2" επιστρέφει στο house hit του Chris Lake και το οδηγεί σε νέα μονοπάτια, ένα τολμηρό δημιουργικό ρίσκο που αποδίδει απόλυτα. Δεν χρειάζεσαι θάρρος για να φτιάξεις μια συνέχεια όταν πραγματικά ξέρεις τι κάνεις.

Είναι το SOMA τέλειο; Όχι ακριβώς. Το μεσαίο τμήμα του άλμπουμ περνά κάποιες ιδέες λίγο πιο βιαστικά απ' όσο τους αξίζει. Ορισμένες μεταβάσεις μοιάζουν περισσότερο συναρμολογημένες παρά προσεκτικά σμιλεμένες. Ωστόσο, πρόκειται για μικρές ενστάσεις απέναντι σε έναν δίσκο που, συνολικά, αποτελεί ένα από τα πιο ενδιαφέροντα έργα της ηλεκτρονικής μουσικής φέτος.

Στο SOMA, ο Skrillex είναι περήφανα παράξενος και πλήρως αδιάφορος για την έγκριση του mainstream. Το άλμπουμ λειτουργεί σαν ένας καλειδοσκοπικός παραμορφωτικός καθρέφτης που αντανακλά την απρόβλεπτη ιδιοφυΐα του. Από τη θέση πίσω από την κονσόλα, αυτού του είδους η αφοβία είναι ίσως το πιο εμπνευσμένο πράγμα που μπορεί να προσφέρει ένας καλλιτέχνης.

Το SOMA κυκλοφορεί τώρα. Ακούστε το δυνατά και δώστε του τον χρόνο που του αξίζει, από την αρχή μέχρι το τέλος.

Μείνετε συνδεδεμένοι με το dancetoday - ακολουθήστε μας στα social media για ενημερώσεις, ιστορίες και θέματα που διαμορφώνουν τον κόσμο της ηλεκτρονικής μουσικής.

20:T102a,

When three names like DubVision, Matisse & Sadko and Third Party decide to join forces, it is hard not to expect something huge. All three artists have built their own history in progressive and festival sound, and now, through HALŌ, they are bringing a different side of their music together.

The first official result of this collaboration is 'Live Again', released on September 18th through Armada Music. From the very first seconds, you can understand that a new progressive anthem will unfold. Driven by big festival Melodies & high energetic vocals with strong feelings, elements which showcase why progressive is one of the best genres in the scene.

Speaking about the release and the journey behind HALŌ, the group says:

“It's been almost a year since we first came together and started HALŌ, so it feels incredibly special to finally be releasing the music we've been creating since that very first day. We know people have been waiting to hear what we've been working on, but the best things take time, and we never wanted HALŌ to feel like a gimmick or something we rushed into. This is a new journey for all five of us, and from the beginning we've wanted to put our hearts and souls into every release, every show and every piece of art we create together.

'Live Again' feels like the perfect place to begin. It's a true representation of why we all do this, and the way the five of us came together and connected through this track captures what HALŌ is really about. Hopefully, when people hear it, they'll feel some of that connection too.

At its heart, 'Live Again' is about rebuilding when times are tough, finding strength when you need it most, and having the courage to move forward. Sometimes life knocks you down, and you have to find a way to pick yourself back up. Sometimes you have to find the courage to live again.”

And perhaps that is what makes 'Live Again' stand out. It does not try to hide the influences of the three artists. Instead, it takes the elements we have come to love in their productions, big melodies, emotional breakdowns and powerful drops and brings them together under one new identity.

HALŌ, of course, had already started taking shape before the release. The three artists had performed together at major events as B2B/B3B, while in 2026 the project stepped onto a bigger stage. The debut as HALŌ took place at Don't Let Daddy Know Amsterdam on March 2026 and later the same year HALŌ played at biggest festivals like Ultra Music Festival Miami, Ultra Europe and Tomorrowland Belgium.

'Live Again' arrives at the right moment and it is more than HALŌ’s first official release: it is the first real statement from a project built by three acts whose names have become deeply connected with modern progressive house.

In that sense, DubVision, Matisse & Sadko and Third Party feel almost like the Three Musketeers of progressive house, three different identities joining forces around the same musical language.

And maybe 'Live Again' carries an unintended second message too. Progressive house never really disappeared. It evolved, moved through different eras and waited for the right moment to remind us why we loved it in the first place.

Progressive never left. Now, with HALŌ, progressive is live again.

And if this is only the first step, it will certainly be interesting to see where HALŌ goes next.

Stay connected with dancetoday - follow us on social media for the latest stories, insights, and news shaping the electronic dance music world.

21:T729,DubVision is a powerhouse Dutch electronic music production and DJ duo consisting of brothers Victor and Stephan Leicher. Formed in 2005, they are globally recognized for shaping the modern sound of melodic and progressive house music. The brothers grew up across different countries and were classically trained in piano from a young age at their parents' insistence. Victor later began experimenting with electronic production, which caught the interest of his older brother, Stephan. They officially joined forces and broke into the mainstream scene with hits like "All By Myself" and their 2012 collaboration "You & I" with Project 46. Over the years, DubVision became core fixtures on major labels like STMPD RCRDS and Armada Music, frequently collaborating with industry icons like Martin Garrix (on festival anthems like "Starlight (Keep Me Afloat)" and "Wherever You Are"). They released their highly anticipated debut studio album, Another World, in July 2024. HALŌ Membership In late 2025, DubVision expanded their musical footprint by forming the progressive house supergroup HALŌ alongside fellow heavyweight duos Matisse & Sadko and Third Party. The Vision: Billed as a collective to revive and champion the "renaissance of progressive house," HALŌ acts as a creative vehicle for the six producers to release emotive, festival-ready tracks and push the genre forward without boundaries. Live Shows & Music: HALŌ made their live debut at the Amsterdam Dance Event (ADE). They followed up with massive scale stadium and festival appearances across 2026, including a landmark live production at Amsterdam's Ziggo Dome, the Tomorrowland Mainstage, and Creamfields. Releases: The supergroup officially signed with Armada Music, releasing their long-teased debut collaborative single, "Live Again," in September 2026.22:T6ad,Matisse & Sadko is a highly acclaimed Russian electronic music DJ and production duo consisting of brothers Aleksandr and Yury Parkhomenko. Hailing from Sosnovy Bor near Saint Petersburg, the duo officially formed in 2010 after both members initially started out as solo artists.They are widely regarded as global frontrunners of modern progressive house, known for crafting anthemic, deeply emotional mainstage melodies. Over the years, they have built a massive international presence through frequent releases on premier dance labels like STMPD RCRDS, Spinnin' Records, and Size Records. Signature Collaborations: They are best known for their extensive collaborative work with Martin Garrix, co-producing era-defining progressive house anthems such as "Dragon," "Break Through the Silence," "Forever," "Together," and "High On Life". They also famously collaborated with Steve Angello on "SLVR" and Tiësto on "Dawnbreaker". HALŌ Membership In late 2025, Matisse & Sadko took a monumental step in their career by co-founding HALŌ, an electronic music supergroup. The Collective: The group is a collaborative powerhouse consisting of three of the most prominent acts in the progressive house genre: Matisse & Sadko, DubVision, and Third Party. Launch & Shows: Following a surprise pop-up preview at Amsterdam Dance Event (ADE) in October 2025, HALŌ made its official, massive live festival debut on March 7, 2026, at the Ziggo Dome in Amsterdam for Don't Let Daddy Know (DLDK). Music: Operating as a unified front to usher in a renaissance for mainstage progressive house, the supergroup signed with Armada Music and released their highly anticipated debut single, "Live Again," in September 2026. 23:T604,Third Party is a premier British progressive house DJ and production duo consisting of childhood friends Jonnie Macaire and Harry Bass. Emerging from Essex, London in 2010, the duo quickly commanded international attention when their breakout track "Release" caught the ear of Swedish House Mafia's Steve Angello, who signed them to Size Records. Renowned for their emotionally charged melodies and high-energy mainstage anthems, Third Party has released two widely acclaimed studio albums, Hope (2017) and Together (2019). They are best known for timeless progressive house classics, including "Everyday Of My Life", "Lions in the Wild" (their massive collaboration with Martin Garrix), and the hit "Carry You". HALŌ Supergroup Membership Further elevating their status in the electronic music community, Third Party joined forces with fellow progressive house heavyweights DubVision and Matisse & Sadko to form the electronic supergroup HALŌ. The Vision: Billed as a unified creative alliance rather than a simple side project, HALŌ blends Third Party's signature melodic energy with DubVision's emotional power and Matisse & Sadko's sonic elegance to drive the progressive house genre forward. Live & Music: Operating under the label Armada Music, the collective made their grand live debut at the Amsterdam Dance Event and launched their debut single, "Live Again". They continue to perform exclusive, high-production live showcases at major global arenas and festivals, including the Ziggo Dome in Amsterdam and NEON Halloween.24:T255b,

There is a specific kind of pressure that comes with a debut album when you have spent a decade building your name without one. Every release, every DJ set, every headline slot at Fabric or Awakenings has quietly made the case for who you are, and now, with a single body of work, all of that context either crystallises or complicates. For Amelie Lens, whose music tends to land with more emotional insistence than the genre's more austere corners usually allow, the announcement of AURA feels less like a surprise and more like an inevitability. The Belgian producer's first full length record drops September 4, 2026 via her own EXHALE imprint, and the day after, she plays what may be the most significant show of her career: an open air performance in the grounds of Antwerp's Royal Museum of Fine Arts, the KMSKA. The timing is deliberate. The statement is clear.

AURA is eleven tracks long and built, from what we know so far, around the tension between momentum and interiority that has defined Lens at her best. The driving, kinetic techno that made her sets essential listening at festivals and warehouse events across Europe is still very much present but the record reaches inward in ways that her releases to date have rarely allowed. A debut album is by nature a different document than a string of singles or EPs. It asks for commitment, from both the artist and the listener.

The lead single, "our frequency", has been out long enough to give a reasonable sense of where the record is headed. There is a particular quality to it that suggests Lens is operating with more room than a club focused format typically permits. It is not a departure from her aesthetic so much as a deepening of it.

Releasing through EXHALE, the label she founded and has used to develop her own artistic ecosystem, matters here. Working outside the pressure of a major dance imprint gives AURA a specific kind of autonomy. The decisions, sonic, visual, contextual are hers. That independence is legible in the way the project has been framed: not as a commercial pivot or a bid for crossover appeal, but as a document of where she actually is, right now, as an artist. The album, in her own framing, reflects the distance she has covered from early nights in underground Antwerp clubs to the kind of global touring schedule that most producers in this space would take a decade longer to build.

AURA is not simply a record. It is also, in Lens' thinking, a live concept, a framework for how the music is meant to be experienced in a shared physical space. This is not a new instinct for her. She has long been attentive to the energetic relationship between herself and a crowd, and her sets carry that awareness. But the AURA live concept represents a more considered attempt to articulate and design around that exchange.

The idea, as it has been described, centres on what passes between an artist and an audience when both are fully present, the kind of feedback loop that good techno, at its best, can generate in a large room or a field. It is less about spectacle for its own sake and more about using scale, sound design, and environment to intensify something that already exists when the music is working. This is an important distinction in a moment when the festival industry's appetite for production value can sometimes overwhelm the music it is supposed to serve.

Whether the live AURA concept fully realises this ambition will depend, to a significant degree, on what happens in Antwerp in September.

The Ambersa show at the KMSKA is, by any reasonable measure, a serious undertaking. The museum, one of Belgium's most significant cultural institutions, a building with weight and history, provides the backdrop for what is being staged as a large scale outdoor event, with a capacity in the region of 14,000. The venue's transformation into a functioning dancefloor for a single night places the event at a precise intersection: fine art architecture, contemporary electronic music, and the particular civic energy that Antwerp has been generating around its cultural programming for some years now.

The scheduling is pointed. The album lands on September 4. The show follows the next evening. It is the kind of sequencing that ensures the live performance becomes both a launch and an interpretation, an opportunity for the music, just one day old in the public's hands, to be heard in a context that the artist has specifically designed. The crowd arriving at the KMSKA on September 5 will, if everything works as intended, come with the record already in their ears and leave with it physically in their bodies.

For Belgian electronic music specifically, there is something worth noting here. The country has long had a credible claim to being central to techno's development and ongoing vitality, from the old Fuse club nights in Brussels to the current ecosystem that sustains artists like Len Faki's peers and a younger generation of producers. Lens is from Antwerp, and staging this event at home, at this scale, at a nationally significant cultural site, is a choice that carries meaning beyond personal preference. It is a claim, modestly made, that this music belongs in these spaces.

There is a version of the story of Amelie Lens that is simply a career trajectory, clubs, then festivals, then bigger festivals, now an album. But that framing undersells what AURA and the Antwerp show together suggest, which is a deliberate act of definition. Not reinvention but a decision to put it in a form that lasts longer than a set list.

Techno, as a form, has always been ambivalent about the album format. The music was built for clubs, for continuous mixing, for experience rather than object. That ambivalence has softened in recent years as the genre has expanded and its artists have found broader audiences with different listening habits. Lens' decision to make AURA is, in part, a response to that expanded context. It is also something more personal: a record that accounts for where she has been and what making this music has meant.

September will tell us whether the execution matches the intention. But the intention, at least, is substantial.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

25:T493,Amelie Lens has taken the techno scene to another level, with her unrelenting passion for the genre, with a strong message that she always was, and always will be a raver at heart. Amelie‘s debut release in 2016 marked the beginning of her distinguished career. Since then, she has released music on many of the industry‘s leading labels and contributed to the prestigious Global Underground City mix series. Amelie is a regular headliner at major festivals such as Awakenings, Sonar, Timewarp, and Tomorrowland’s mainstage. Additionally, she performs at renowned club venues across the globe. Fast forward to 2024 and Amelie is heading her labels Lenske and EXHALE Records, running her party series EXHALE, holds down an extensive touring schedule and hosts her own radio show ‘Amelie Lens presents EXHALE’. The show now streams online and broadcasts on 34 radio stations across the globe, reaching nearly 5 million listeners with every episode. Amelie has been focused on her signature sound, emphasised by the use of her own vocals. She wants to capture audiences that may not always be there for techno but feel connected after discovering something new.26:T1065,

Diplo joins forces with Local Singles and the unmistakable voice of Jem Cooke for their latest release, ‘Lift Me Up’. A track that effortlessly blends deep house warmth with a festival-ready groove.

The collaboration first caught attention when Diplo played it during his summer tour, instantly becoming one of the standout IDs in his sets. Now officially released, ‘Lift Me Up’ arrives as a perfect balance between underground energy and radio appeal. A signature move for Diplo, who continues to navigate between club culture and global crossover sounds.

Driven by a rolling bassline, uplifting chords, and Jem Cooke’s soulful, ethereal vocals, the track builds into an emotional yet infectious drop that captures the feeling of unity on the dancefloor. It’s a sound that recalls the golden moments of melodic house, while still carrying the crisp, modern production touch that defines today’s scene.

For Local Singles, the track marks another milestone in his steady rise, bringing his distinctive, groove-centered sound to a wider international audience. For Jem Cooke, known for her collaborations with CamelPhat and ARTBAT, ‘Lift Me Up’ further cements her position as one of electronic music’s most powerful vocalists, delivering another performance that feels both intimate and anthemic.

With ‘Lift Me Up’, Diplo continues to showcase his versatility and connection to the pulse of modern dance music. Expect this one to be a mainstay in both club sets and summer playlists worldwide.

Listen now to ‘Lift Me Up’, from Higher Ground, below.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

27:Tf0e,

Swedish House Mafia Drop Four Explosive New Edits Ahead of Spotify Mix 3.0

Fresh off announcing their biggest show to date a sold out night at Gothenburg’s Ullevi Stadium (75,000+ capacity) that sold out in minutes and forced a second date Swedish House Mafia have delivered yet another gift to their fans: four long awaited edits, now officially released across streaming platforms as part of their new Spotify Mix 3.0.

The first two tracks are already familiar to the global dance community. Their intro edit of “Antidote”, which debuted at Tomorrowland 2023, brings the explosive energy reminiscent of SHM’s pre hiatus era massive drops, razor-sharp synths, and pure festival chaos. Alongside it is a reimagined version of “Miami 2 Ibiza”, a Paradise Again tour staple that fans have been chasing for more than three years. Hearing the “Antidote” edit live this summer was a reminder of the Mafia’s signature sound: big, bold, and uncompromising, echoing the intensity of Salvatore Ganacci’s unreleased remix that became a cult favorite on the circuit.

Out of nowhere, the trio then unveiled two more long-anticipated weapons: a euphoric rework of “Heaven Takes You Home” and their gritty Brooklyn edit of “Can U Feel It.” Both tracks originated from their Paradise Again album but have since evolved into peak-set moments during their recent shows.

The new version of “Heaven Takes You Home” has quickly become a showstopper, often closing their sets with soaring melodies and emotional resonance. Progressive in spirit, it’s a reminder that even as SHM experiment with new sonic directions, they can still deliver the kind of high-octane, melodic anthems that defined their legacy. Fans who speculated for months about its identity now finally have their answer and the studio quality release doesn’t disappoint, carrying the same cathartic power as when it echoes across a festival mainstage.

With these four edits now available worldwide, Swedish House Mafia continue to cement their reputation as both pioneers and provocateurs of the electronic music scene. Their ability to balance nostalgia with forward-thinking production proves why, more than a decade after first conquering the global stage, they remain one of dance music’s most influential forces. Have a listen to these 4 brand new edits below! Make sure to follow us on our social for more music!

28:T569,

Fred again.. Teases 'USB002': “10 Weeks, 10 Songs, 10 Cities”

“This is us for the next 77 days,” writes Fred again.., as he officially teases his next ambitious project, USB002. The concept: ten shows, in ten different cities, paired with ten brand-new tracks each revealed in real time as the journey unfolds.

Venues will remain a mystery until just days before each performance, adding to the raw, spontaneous energy Fred has become known for. The first stop has now been confirmed: Glasgow, Scotland the only UK date on the entire run.

Alongside the tour, Fred will also be rolling out new music. The first single, “you’re a star” featuring Amyl & The Sniffers, is set to kick things off. True to Fred’s style, tickets for each show are expected to drop only hours before doors open, ensuring an exclusive, almost guerrilla like experience for fans.

With 'USB002', Fred again.. is once more rewriting the rules of how electronic music is released, performed, and experienced blurring the line between studio creation and live connection. You can have a look below from his recent green room set in Rome which he played a lot of his unreleased material that would probably be on the album. Make sure to follow us on our social for more music!

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Teases 'USB002': \n“10 Weeks, 10 Songs, 10 Cities”","type":"text"}]},{"type":"paragraph","children":[{"text":"","type":"text"}]},{"type":"paragraph","children":[{"text":"“This is us for the next 77 days,” writes Fred again.., as he officially teases his next ambitious project, USB002. The concept: ten shows, in ten different cities, paired with ten brand-new tracks each revealed in real time as the journey unfolds.","type":"text"}]},{"type":"paragraph","children":[{"text":"","type":"text"}]},{"type":"paragraph","children":[{"text":"Venues will remain a mystery until just days before each performance, adding to the raw, spontaneous energy Fred has become known for. The first stop has now been confirmed: Glasgow, Scotland the only UK date on the entire run.","type":"text"}]},{"type":"paragraph","children":[{"text":"","type":"text"}]},{"type":"paragraph","children":[{"text":"Alongside the tour, Fred will also be rolling out new music. The first single, “you’re a star” featuring Amyl & The Sniffers, is set to kick things off. True to Fred’s style, tickets for each show are expected to drop only hours before doors open, ensuring an exclusive, almost guerrilla like experience for fans.","type":"text"}]},{"type":"paragraph","children":[{"text":"","type":"text"}]},{"type":"paragraph","children":[{"text":"With 'USB002', Fred again.. is once more rewriting the rules of how electronic music is released, performed, and experienced blurring the line between studio creation and live connection.\n\nYou can have a look below from his recent green room set in Rome which he played a lot of his unreleased material that would probably be on the album. Make sure to follow us on our social for more music! 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