One of the key aspects of Record Store Day is the release of exclusive vinyl records, which are often produced in limited quantities. These special releases include rare reissues, live recordings, picture discs, and new music pressed exclusively for the occasion. Many of these records become highly sought after by collectors, making the event an exciting day for music enthusiasts. Some releases are even autographed by artists, adding further value and exclusivity to the event. In 2025, over 300 exclusive releases are expected, featuring artists like The Cure and U2’s side project, Passengers. ​

Beyond the exclusive releases, Record Store Day is also about celebrating the culture of independent music retailers. Many participating stores host live performances, artist signings, and community events, creating a vibrant and festive atmosphere. These stores, which have historically struggled against the rise of streaming services and big-box retailers, benefit greatly from the increased foot traffic and media attention generated by the event. It serves as a reminder of the unique role that local record stores play in fostering music discovery and personal connections.

The event has received strong support from musicians and industry figures who recognize the importance of independent record stores in their careers. Notable artists, including Paul McCartney, Jack White, and Dave Grohl, have served as official ambassadors for Record Store Day, advocating for its significance in preserving the physical music experience. Their endorsements have helped legitimize the event and attract a broader audience, further reinforcing its status as a major day for music lovers worldwide. In 2025, Post Malone and Sam Fender have taken on ambassador roles, representing the US and the UK, respectively.

The resurgence of vinyl as a preferred format for music enthusiasts has been partially fueled by the success of Record Store Day. In an era dominated by digital streaming, vinyl records offer a tangible and immersive listening experience that many fans appreciate. The steady growth in vinyl sales, alongside the sustained popularity of the event, suggests that the culture surrounding physical music is far from obsolete. In 2024, vinyl sales reached US$ 1.4 billion, surpassing CD sales, with 44 million vinyl records sold compared to 33 million CDs. ​

As Record Store Day continues to evolve, it remains a testament to the enduring love for music in its physical form. By supporting independent record stores and fostering a sense of community among music lovers, the event ensures that the tradition of collecting and appreciating vinyl records will persist for generations to come. Whether one is a dedicated collector or a casual listener, this day serves as a reminder of the magic that independent music stores bring to the world of music.

For more info click here.

The post The celebration of Vinyl: Record Store Day appeared first on Electronic Groove.

Photo by Kristina Kast

Now, with MiZi MuZiK, they’re stepping into their next chapter: an independent, female-led label focused on forward-thinking electronic music, creative freedom, and authentic community. With their debut release ‘MiZi TaPeS 001’ featuring an all-female lineup, Mira and Mila Stern are setting the tone for what’s to come — raw, intuitive, and grounded in connection.

We caught up with the duo to talk about their journey, what drives them, and how MiZi MuZiK is carving out its own space in today’s shifting club culture.

EG: Hi Mira and Mila, welcome to EG. How are you both feeling about launching MiZi MuZiK right now?

Mira: Hello, and thank you for having us! We’ve been dreaming about this opportunity for a long time, and we’re thrilled it’s finally come to life! We’ve collaborated closely with Kiosk I.D., Kater’s in-house label, for several years. During the pandemic, we produced a weekly internet radio show and implemented the ’43 Katzen’ compilation on Kiosk. This experience was both challenging and rewarding, and it solidified our working relationship, even under pressure. It was during this time that our idea was born.

Mila Stern: Mira already summed it up — it’s been coming some time, and now it’s finally real. For me, the excitement comes with moments of being overwhelmed or stressed, which is probably inevitable when you start something from scratch. But then Mira reminds me: this is our label, and we get to shape it however we want. No compromises, no trying to squeeze into someone else’s idea of how things should be. That autonomy is rare and really empowering. It reminds me why we’re doing this in the first place.

EG: Could you share the vision behind MiZi MuZiK? What brought you two together to launch a label at this point in your careers?

Mira & Mila Stern: MiZi MuZiK is a platform for electronic music, carefully curated, that is focused on floor-filling music and was born out of a long-standing friendship and shared passion for dance music. The idea for the label came during the pandemic after many years of working together. We realized that we had always been on the same page creatively, and it felt natural to take the next step and start our own label.

EG: You have a longstanding friendship. How did you meet, and how does that history shape the vibe and ethos of MiZi MuZiK?

Mira: It’s a funny story. We’re both from the same town, Halle/Saale, but we never met there. I left long before Mila started playing in Halle; we’re from different generations. I kept hearing about this other DJ who looked like me, or like my little sister. Even my boyfriend at the time said that after he met her, she had the same expressions, moves, and even a similar voice to mine, which was strange! We were finally introduced at Kater to clear up the mystery, and it’s true: we look like sisters from another mister. It was love at first sight, and after running into each other at parties, we started hanging out, exchanging ideas, talking about life and music, and became close friends. Based on that, MiZi is shaped by our common love for music, playing, and having the same ethos in life.

Mila Stern: It is a weird story. It’s rare to feel so familiar with someone so fast, but that connection has always been the foundation of how we work together. MiZi MuZiK isn’t just about shared taste — it’s about shared instincts. We don’t always need long discussions to make decisions. There’s a natural rhythm between us, and I think you can feel that in the label’s tone: warm, intuitive, a little offbeat, and rooted in trust.

EG: MiZi TaPeS 001 features an all-female roster of collaborators. Why was it important for you to highlight female producers on this release, and what do you hope it contributes to the scene?

Mira: We are a female-run label with a female graphic and web designer, which was important to us. We wanted to make a statement with our first VA release, as females are still underrepresented in the scene, especially producers. All the collaborations on this EP are new and unexpected. It was fun to explore this cross-collaboration, and I personally enjoyed exchanging ideas with my dearest friends for this EP.

Mila Stern: Representation matters — not as a slogan, but as something that needs to be actively upheld. For me, 17 years as a female DJ and 6 years as a producer have left their marks: imposter syndrome, getting talked over, sexual harassment — the list goes on, and I’m very vocal about this. There’s no FLINTA* DJ or producer I know who hasn’t dealt with some version of that. Visibility doesn’t just happen. Support isn’t just a word. Opening the label with an all-female release wasn’t a concept — it was a reflection of our reality, of the people around us whose music deserves to be front and center. For me, the collaborations were the first I ever worked on. Creating them with artists I admire and trust was challenging in the best way. It felt like a fitting way to begin: learning from each other, shaping something together, and making it count.

“We wanted to make a statement with our first VA release, as females are still underrepresented in the scene, especially producers” – Mira

EG: When signing tracks, do you look for sounds that match your established styles, or do you intentionally seek music that challenges your comfort zones? Any recent surprises?

Mira: I am always happy to find good tracks fitting to the style I play, which is tough sometimes. Of course, you evolve as an artist over the years, and with that, you always look for a fresh, new sound. I need music that challenges me and pushes me out of my comfort zone. As someone with years of experience on many dancefloors, I don’t want to hear what I already know; I want to be surprised by music. That’s exactly what I look for when signing tracks on our label. I’ve been DJing for almost 3 decades. It’s hard to impress or surprise me. While many tracks are repetitive, I’m currently enjoying the way that 90s elements are being reflected in new sounds, breaks, and bass music.

Mila Stern: We don’t sit down with a checklist of what “fits.” Some tracks land because they lock into something I already know. Others work precisely because they don’t — they interrupt the flow in a good way, create friction, or stretch things just enough to make space for a shift. That’s the sweet spot. If a demo makes me want to immediately rearrange my next set, that’s usually a good sign.

EG: Berlin’s club culture is always evolving. Which current aspects still excite you both, and how do you envision MiZi MuZiK influencing that progression?

Mira: Berlin’s club culture still has a unique vibe, but it has changed. People go out for the music, and the no-phones policy creates a present, real experience. The DIY culture is also special and rare. Additionally, most places have good sound and respectful crowds due to the door policy.
However, most places are struggling, and festivals and clubs are dying. Berlin’s expensive living and housing shortage has made it less attractive, and there are fewer tourists. The story has been told so often that it has lost its magic. There’s a general crisis in the club scene, moving towards either corporate events or back to the underground (which is a good thing in the long run I hope).

Mila Stern: I still love the sense of possibility in this scene — even if it’s more fragmented than ever. That fragmentation isn’t necessarily bad. It leaves more space for small crews, independent ideas, niche sounds, and scenes that don’t care about mass appeal. What excites me most right now are the people holding things together with stubborn DIY energy.

EG: What personal rituals or habits keep each of you motivated and inspired, especially during busy periods?

Mira: I find a lot of inspiration in travel, but I have fewer routines when I’m away. In terms of rituals, I aim for screen-free time, Pilates 2-3 times each week, and time outdoors riding my bike.

Mila Stern: I need a lot of alone time. Wandering through the city or escaping into nature with no plan and no headphones helps me stay grounded. I also love going to the cinema, concerts, and exhibitions. Travel is a big source of inspiration — even though it’s been a while since I went somewhere for more than 24 hours. And every once in a while, I need a proper rave. Not behind the decks, but dancing, being in the crowd, spending time with people. The music, of course — but also the silly moments, the unexpected conversations, the soft chaos that only happens at parties that last longer than a day. That mix of connection and disconnection is something I always come back to.

Mira: Yeah indeed that’s something I love too and what is very inspiring for me. I always use the festival season to find new music, exciting up and coming artists for my big birthday event at the end of the year. I love to get lost while strolling over there, dancing , and running into friends. We call it crew love 🙂 It happens not everywhere but at the usual suspects.

EG: If you had to describe the vibe you aim to create when you perform in just one word, what would it be?

Mira: Storytelling

Mila Stern: Interlock

“Find people you trust, hold onto them, and build something together. It makes the hard parts more manageable, and the good parts even better” – Mila Stern

EG: Looking back, what’s one piece of advice you’d give your younger selves about navigating the music business?

Mira: Keep it real, trust your gut feeling and do what you love.

Mila Stern: You don’t have to do everything on your own. That whole “lone genius” thing is a trap — collaboration, support, and asking for help aren’t signs of weakness, they’re how you stay sane. Find people you trust, hold onto them, and build something together. It makes the hard parts more manageable, and the good parts even better. I’m still learning this.

EG: Beyond the booth, do you share any passions or interests outside music? How do these pursuits inform your creativity?

Mira: We both love cooking, good food, and we LOVE oysters! We also love Mexico and are always up for a good dance. In our free time, you can find us at special festivals, enjoying urban arts, street photography, and architecture. We also love long walks through big cities with or without conversation.

Mila Stern: I also really love the one or two rare occasions each year where we actually get to rave together — like at your birthday party. You’re a genuinely great rave partner. But beyond that, Mira is one of the friends I truly share my life with. We talk almost every day — even when it’s not about MiZi MuZiK. When I’m struggling with motivation, dealing with setbacks or just feeling stuck, she’s one of the first people I talk to. That kind of steady connection doesn’t just support creativity — it shapes how I move through all of this.

EG: Finally, where do you see MiZi MuZiK heading in the next few years? Any dream collaborations or special projects on the horizon?

Mira: Constantly evolving, searching for fresh and new sounds, releasing unexpected collaborations, pressing vinyl records, and hosting our own events during special occasions (e.g.ADE, Off Sonar) or doing stage takeovers at festivals.

Mila Stern: We’re not in a rush to become a big machine — we want MiZi to grow organically, and stay flexible enough to follow curiosity over strategy. A vinyl release is definitely on the wishlist. And curating nights or takeovers that feel like their own little ecosystems — not just another lineup. We’ve got ideas, and we’re not short on inspiration. Let’s see where it goes.

EG: Thank you both for your time, and all the best with MiZi MuZiK!

Mira and Mila Stern: Thank you guys!

MiZi TaPeS 001 will be available April 11th. Pre-order your copy here. 

The post Label Insight: MiZi MuZiK appeared first on Electronic Groove.

TUE, 25th

WED, 26th

THU, 27th

FRI, 28th

SAT, 29th

SUN, 30th

The post MMW GUIDE 2025 appeared first on Electronic Groove.

Photo Credit: Chris Dewhurst / FKP Scorpio

 When Faithless released ‘Insomnia’ in 1995, the track did not simply enter the electronic music lexicon; it infiltrated it. It was more than a club anthem; it became a cultural marker, a track that transcended dance music circles and lodged itself into the collective consciousness. From underground raves to festival main stages, from film soundtracks to TV commercials, ‘Insomnia’ evolved into one of the most recognizable pieces of electronic music ever created. Its enthralling build-up, Sister Bliss’ sharp synth lines, and Maxi Jazz’s unmistakable spoken-word delivery ensured that the song would not just be heard but remembered. To this day, the moment the arpeggiated riff kicks in, the reaction is Pavlovian. Yet, its journey from studio experiment to global phenomenon was far from instantaneous.

Faithless was never a conventional dance act. Formed by producer Rollo Armstrong, multi-instrumentalist Sister Bliss, and lyricist-vocalist Maxi Jazz, the trio set out to craft music that was expansive and emotive, electronic in structure but deeply human in feel. A reflection of rebellion. Their debut album, ‘Reverence’, released in 1996, echoed this ethos, weaving together house, trip-hop, and progressive textures with a distinctly introspective touch. ‘Insomnia’, the album’s second single, emerged as an anomaly even within this diverse collection of tracks. Darker and more patient than typical club hits of the era, it unfolded like a story rather than a formulaic dance track. It refused immediate gratification, delaying its euphoric payoff in a way that defied radio standard conventions but made it an underground sensation.

Maxi Jazz’s lyrics played a crucial role in the track’s distinctiveness. Unlike the euphoric refrains that characterized much of mid-’90s electronic music, ‘Insomnia’ was laced with tension and the existential frustration of a generation. Jazz, known for his calm and almost meditative delivery, narrated the struggles of sleeplessness with a detached coolness that was somehow both poetic and relatable. The now-iconic phrase, “I can’t get no sleep,” uttered in his measured, almost resigned tone, captured the restless energy of late-night cityscapes, the anxiety of overactive minds, and the dissonance between exhaustion and an inability to shut down. It was a lyrical motif that resonated far beyond the dancefloor.

The production itself was equally unconventional. While the track opens sparsely, with airy pads and a skittering beat that teases rather than announces its presence, its true power lies in its slow, deliberate build. The tension mounts steadily until the unmistakable synth riff arrives, a twisting, urgent motif that feels like an insomniac’s thoughts looping endlessly in the dark. The choice of instrumentation was crucial in shaping the track’s atmosphere. The pulsing bassline, crafted using a Roland Juno-106, combined with layers of delay and reverb, created a depth that felt cinematic. The rhythm section, borrowing elements from house and breakbeat, ensured the track remained dynamic despite its patience. Unlike the predictable drops that would later dominate festival anthems, ‘Insomnia’ delivered its release unpredictably, making the catharsis of its climax even more potent.

Despite its now-legendary status, ‘Insomnia’ was not an instant success. Initially, its reception was lukewarm, failing to make an immediate impact on mainstream charts. Its ascent was slow, driven first by club culture and DJ support rather than commercial radio. In the UK, it took multiple re-releases before it finally broke into the top three in 1996. By the time mainstream audiences caught on, it had already become a staple in underground electronic circles. What set ‘Insomnia’ apart from many of its contemporaries was its longevity. While countless dance tracks from the era faded into nostalgia, ‘Insomnia’ remained ever-present, continuously resurfacing through remixes, reworks, and live performances.

Its cultural impact is undeniable. It became synonymous with the late-’90s explosion of electronic music, a time when dance culture was breaking free from its underground origins and cementing itself as a global force. The track found its way into film soundtracks, television commercials, and even sporting events, each time reaffirming its status as a generational anthem. Unlike many electronic tracks that remain confined to the era they were born in, ‘Insomnia’ refuses to age. It continues to ignite festival crowds, its drop still as electrifying in the hands of contemporary DJs as it was when it first emerged from Faithless’ studio.

Now, almost 30 years after its release, ‘Insomnia’ remains a reference point in electronic music history. It is a testament to the idea that dance music, often dismissed as ephemeral, can possess depth and permanence. It is a reminder that a track does not need to rely on obvious formulas to achieve mass appeal. It is proof that electronic music, when crafted with intention, can be as evocative and enduring as any genre. In an industry where trends shift rapidly and hits are designed for fleeting relevance, ‘Insomnia’ endures, its restless energy still pulsing through clubs and speakers, ensuring that for those who hear it, sleep remains secondary to sound.

The post ‘Insomnia’: 30 Years Of A Sleepless Generation appeared first on Electronic Groove.

Photo by  Sandeep Swarnkar  on Unsplash

Her findings paint a picture of a platform that doesn’t just curate playlists but actively commissions music under murky circumstances—hiring anonymous producers to create tracks that are then uploaded under pseudonymous artist names. The goal? To fill popular playlists with inexpensive, royalty-free content, often bypassing traditional artist compensation structures. The report is a wake-up call, forcing us to reckon with the economic and ethical implications of this practice for the music industry at large.

Spotify’s playlists, especially marquee names like ‘Peaceful Piano’ and ‘Deep Focus’, have become cultural touchstones, shaping listening habits for millions. These playlists are integral to the platform’s power, drawing in subscribers and generating billions of streams. What Pelly’s report reveals, however, is that some of the tracks featured prominently in these playlists are not the organic works of emerging or established artists but are instead commissioned from anonymous producers—“ghost producers”—for a flat fee. Once purchased, these tracks are attributed to fabricated artist profiles, enabling Spotify to sidestep paying royalties for repeated streams.

At the heart of this strategy lies Spotify’s complex royalty structure. Normally, artists earn a small fraction of a cent per stream, with payments divided among rights holders, including labels and publishers. By commissioning music outright and uploading it under pseudonymous profiles, essentially eliminates the need to pay ongoing royalties. This practice not only saves the company millions but also underscores its evolution from a neutral platform into something resembling a record label—one that wields immense power over both the production and distribution of music.

For Spotify, the financial incentives are clear. Playlists like ‘Ambient Chill’ or ‘Lo-Fi Beats’ are designed for passive listening—background music for studying, working, or relaxing. Listeners engage with these playlists not out of loyalty to specific artists but for the mood they create. In such cases, the identity of the artist becomes secondary, if not entirely irrelevant. This allows the platform to populate these playlists with tracks it owns outright, reducing its operating costs while retaining full control over one of its most lucrative assets: playlist real estate.

While Spotify’s business model may be innovative, its reliance on ghost producers raises significant ethical questions. Chief among them is the issue of transparency. Should listeners be made aware that the “artists” they’re streaming are, in many cases, fictitious entities? Moreover, what does this mean for the broader ecosystem of independent musicians, who rely on streaming revenue to sustain their careers?

Spotify has long positioned itself as a “champion of artists”, offering tools and analytics to help them succeed in the streaming age. Yet, the ghost producer model undermines this narrative, creating an uneven playing field where independent musicians must compete not only with each other but also with its in-house creations—tracks that are engineered to perform well on the platform’s algorithmically curated playlists.

There’s also the matter of fair compensation for the ghost producers themselves. While these individuals are paid upfront for their work, they forfeit any claim to future royalties or recognition. In an industry where recurring revenue from royalties can be a lifeline, this arrangement further entrenches the exploitation of creative labor.

It is worth mentioning that Spotify is not the first entity to engage in such practices. The use of ghost producers has long been an open secret in electronic music, where prominent DJs often outsource track production while taking full credit. What makes its approach particularly concerning is its scale and systemic nature. As the world’s largest streaming platform, Spotify wields unparalleled influence over how music is consumed and monetized. By normalizing the use of ghost-produced content, it risks setting a precedent that could have far-reaching consequences for the music industry.

The ripple effects are already apparent. As other streaming platforms and tech companies scramble to emulate Spotify’s success, they may adopt similar strategies, further eroding the financial stability of independent artists. In a worst-case scenario, we could see a future where a significant portion of streaming catalogues is dominated by content that is effectively “owned” by the platforms themselves, leaving little room for authentic artistic expression.

Pelly’s report has sparked a crucial conversation about the role of streaming platforms in shaping the music industry’s future. For Spotify, the backlash presents an opportunity to reconsider its approach and reaffirm its commitment to artists. This could involve greater transparency around the use of pseudonymous content, as well as fairer compensation models for the producers involved.

For listeners, the report is a reminder to engage critically with the platforms we use and the music we consume. In an era where algorithms dictate so much of our cultural diet, it’s worth questioning who benefits from the choices we make—and who might be left behind.

As Spotify gears up for its next phase of growth, it faces a pivotal choice: double down on cost-cutting measures that prioritize profit over people or take meaningful steps to support the artists and producers who form the backbone of its success. The future of music—and the livelihoods of countless creators—may depend on which path it chooses.

The post Spotify’s Ghost in the Machine: The ethics of streaming’s invisible workforce appeared first on Electronic Groove.

Sasha
“I’ve always gravitated towards the same kind of sounds—melodies, kind of ethereal, sometimes melancholic. I’m always drawn to those sounds, and I try to inject as much as I can into my DJ set without it turning into a shoegaze thing.”

WhoMadeWho
“Go on. Never stop dreaming big.”

The Blessed Madonna
“The second you start thinking about money when you’re making music, God leaves the room.”

Eli & Fur
“Missing someone is not always negative. Having someone to miss, or missing great memories is so positive.”

Stefano Noferini
“Music is art, and while AI can assist, it cannot replace the human soul and talent. I sincerely hope that it will never happen.”

ANNA
“What has encouraged me is the love I have for what I do. I never pursued this for any reason other than love. For many years, most of my career actually, I played for little money at small parties, but I was having the time of my life. So, my advice is to always do what you truly LOVE. Passion is the key to enduring and thriving in the long run.”

Sydney Blu
“I want to get as many women and gender non-conforming producers making music and signed to labels as possible through my ‘Change the Beat’ organization. This is how I give back to help equalize the industry.”

Niki Sadeki
“As a female artist in this space, I’ve faced moments where I felt like I wasn’t being seen or heard in the way I deserved. There’s this balancing act of being authentic on social platforms, yet feeling like my message doesn’t always resonate as I intend it to. This EP was a way for me to channel these experiences, to transform the frustration, the misunderstandings, and the need for authenticity into something tangible and musical.”

GIGEE
“Be unapologetically yourself. You deserve to be where you are, and you always need to be your own number one fan, cheering yourself on.”

Seth Schwarz
“My take is this: we have to focus on our core communities, making them healthy and finding our own place and nourishing the ecosystems connected to our musical tribes. At WeR1, we value the creative genius that has been given to humans, and we are building a music streaming platform that rewards all layers of creativity—transparently and directly. We hope this will secure a role and life for human music producers in the automated times that seem to be rising exponentially.”

Nastia
“We believe that artists who make music should be able to live off their work.”

Ruben Karapetyan
“No matter how much better AI can do in terms of production compared to me, I don’t think a machine can make and express all the emotions that we express through production.”

OXIA
“I think that creativity must continue to come from the heart. AI does not have a heart.”

David Morales
“Don’t force yourself to make music. It’s not a job; it’s an adventure.”

Wally Lopez
“Enjoy making music, enjoy the process of releasing it, and never take ‘no’ for an answer.”

Jackmaster
“It was about feeling hyped and inspired in the club. Sadly, those moments are rare now. Blame the phones and people who don’t dance, I think. I am so grateful for my fans, but I got into music because I love dancing. It’s a lost art form at the moment, I think.”

James Harcourt
“The number one key to resonating with peers and crowds alike is making music that only aims to please yourself, not someone else.”

Ninshū
“The present is a miracle and that’s where true life pleasure and common sense can be found.”

Justin Jay
“Learning and developing are integral to the creative process, and it’s easy to neglect putting in that time.”

Ten Walls
“If you listen to electronic music, especially anything from the underground scene, and you are already supporting LGBTQ+ art, keep doing that. And never let politics into the music scene. Peace, Unity, Love, and Respect are what our dancefloors are built on.”

Brian Cid
“The purpose of my music is always to empower people with uplifting energy and a deep accompanying story.”

Rafael Cerato
“I mean, the music needs to stay the center point of the experience, and visuals add something on top and not the opposite.”

Stavroz
“The visuals should support the performance and the band, not vice versa.”

SAAND
“I wanted to give people the opportunity to listen to electronic music to calm themselves down rather than hype them up and hopefully, that is exactly what it will do.”

Dave Clarke
“From my generational and musical purist perspective, cultural colonialism is creating a boring, depth-free monoculture. We must prioritize authenticity and rebellion over empty spectacle.”

DJ Hell
“The great power of electronic dance music is still sending out messages without any words.”

Fejká
“The dynamic of rising and falling within the scene is becoming more intense.”

The post Most Notable Quotes of 2024 appeared first on Electronic Groove.

EG.992 Danny Howells

EG.991 Dubfire

EG.973 EINMUSIK

EG.999 Hernan Cattaneo

EG.981 Lola Palmer

EG.982 Magda

EG.990 Michael Mayer

EG.998 Nick Warren

EG.1000 Sasha

EG.977 Solee

EG.970 Angelos

The post Most Notable Mixes of 2024 appeared first on Electronic Groove.

1. Alfonso Ares – Gazoury Cosmos – Do Not Sit on the Furniture

2. Anahit Vardanyan – Avyun – Elektrons

3. Avraan – Ilsa’s Illusion (Radio Edit) – AXIOM

4. Baime – Faster (Eze Ramirez Remix) – Moodyverse

5. Bastian Bux, Discip – No Bigger – Desolat

6. BOHO, BadWolf, Valmaiin – FUEGOOO – Jannowitz Records

7. D-Formation, Nihil Young – Existential Rhythm (Extended Mix) – Beatfreak Recordings

8. Djakar, Tadej Jaki – Rotation (Djakar Main Mix) – Solarsystem Records

9. Eternal Self x Wema Sumari – Summertime

10. Genish, Shiran – Galbi – Ya Hala Ya Hala Records

11. Golden Hour, Abuk – Let Me Preach – Renaissance

12. Greyhawk – Roar (Extended Mix) – Beep

13. Hools – Lightseeker – 23.59

14. Jan René Lai – Cracked – Stil vor Talent

15. LORRAINNE, Jobbo – Reset – Blaufield Music

16. Marvio, Hylia – Weapons Concealed (Weapons Destroyed Acid Pauli RMX) – Kiosk I.D

17. Oliver Koletzki – Bells of Kakariko – A Tribe Called Kotori

18. Sarkis Mikael – Stay Feat. St. Terrible & Wend (Extended Mix) – Dreaming Awake

19. Sepp – Sometimes – Handpicked

20. Tigerblind – Wildstyle – MAHOOL

The post Most Notable Premieres of 2024 appeared first on Electronic Groove.

Here we selected 10 of the most unique studio tips from 2024 (in alphabetical order) that will take your game to the next level.

ASHRR

• Embrace mistakes

In the modern world of computer recording, most systems are set up with a perfectionist mindset, often producing exactly what you intend. The more you play organic instruments, avoid quantizing everything, and manipulate audio instead of relying solely on MIDI or virtual instruments, the more unique and memorable your music will be. Accidents are also valuable. Don’t worry too much about slightly out-of-tune or rhythmically imperfect parts, or chords that don’t follow traditional music theory. Focus on the bigger picture of the piece. Commit to your sounds—don’t just rely on plugins. Be brave, embrace imperfection, and step outside the box when you can.

BK

• Separating creative and technical jobs

By doing this, your workflow will improve dramatically. It will also prevent you from looping around your track over and over until the point you get bored with it.

When you start writing, just write. Don’t stop to mix as you write. If your sound choice is correct, your track will sound good enough to write with. The problem with stopping every few minutes to EQ, adding compression, etc. is that you totally lose the vibe of what you are writing. At this stage, stay in creative mode. Writing a great hook or killer bass line is much more important than sorting the EQ of your hi-hat; this can easily be done later.

I will usually write the main drop of my track at this stage, as often everything else is a derivative of that. When that’s done, you can enter technical mode a little. Get a rough gain stage and tidy up little bits, but don’t spend long on this. It’s just a little tidy up. The reason is you need to get back into creative mode ASAP and get your arrangement done. The quicker you can get your arrangement done, the better. This will stop you from getting stuck in an 8-bar loop. Just sketch out your arrangement; don’t even worry about adding drum fills or automation at this stage. Imagine you’re an artist and this is your rough pencil sketch. You can go back after and color it all in.

When this is done, you can then start looking at the technical side of the track. Set your gain staging and do the majority of your mixdown. I usually do this before I do a lot of my automation. If you do your automation before this, you have no real end start points. For example, how can you do a volume change if you don’t know what the volume of that instrument should be?

Cristina Lazic

• Locators

I guess this is kind of basic, but I am a big fan of having a clear structure and being precise, and in this respect, using locators can help. I normally place a locator at the beginning and at the end of the track and then try to define a structure that can make sense for what I am trying to achieve. In my genre (minimal deep tech), you normally have a short and then a longer break, so I assign locators for when the breaks start and when they end at the drop. I also assign locators when unexpected or key new elements come in. Having locators helps me speed up the arrangement phase of production massively, and that’s why it’s a valuable insight to give to other producers, especially if they are at the beginning of their production journeys.

Gaudi

• Listen, don’t look

A simple tip I feel happy to share with y’all is to turn the computer monitor off when testing an arrangement or a mix. I do it all the time as it takes me away from the ever-present visualization of sound back to just using our ears as we all did before studio monitor screens became a reality. I’m so used to it now that I always switch it off, even when I listen to demos or audio files, because from just looking at a waveform I approximately know how a song is structured, when the middle-eight arrives, how long the intro is, etc., and I really don’t like to ruin surprises or create expectations. This is another technique I’m probably carrying on from my early studio days, as at that time the only visual reference we had while listening to a mix was the mixing console and the pair of Yamaha NS10 speakers, no waveforms, and no computer screen.

Helang

• Don’t be afraid to use samples

Don’t get into your head about needing to create everything from absolute scratch. For creativity purposes, I also love to use samples from (for example, Splice) a genre that is different from what I am producing at that moment. For instance, I will find an Afro-house groove for a techno track and blend them in well to give it some flavor. Sometimes it may not work, so use your ears and trust your gut. This all takes trial and error.

Made By Pete

• Reference arrangements

When we talk about referencing, we usually focus on sound design and mixing but for me, the arrangement is such a key factor in a great record. It tells the story and that is so important. I’ve messed up many great ideas with the wrong arrangement! Study the arrangements of your favorite tracks and try to understand what makes them great. Your track could have a completely different vibe sonically but you can still take away ideas of how to lay it out and tell your own story.

Sahar

• Make a mess, tidy up later

In your DAW, I mean… You only need a few bars recorded of the “perfect loop” that you can reuse and recall in your track. Once you have that, I find it’s best to do long audio recordings where you take many divergences and go crazy with your equipment (the improved workflow of having the functions of each instrument accessible by dedicated knobs and sliders is the only reason I use hardware). I will usually go for 10-15 minutes. All that audio will come in really useful in the later stages of creating the track; you can get creative with your resampling and also layer the more musical sections with your perfectly designed loop to give your track that feeling of progression.

Sebastian Mullaert

• Creativity is not innovation!

Creativity has nothing to do with innovation but innovation has everything to do with creativity. Innovation is amazing and in many perspectives it’s something that our human brain and our societies are looking for, probably to be able to evolve and solve problems we encounter. Regardless of how beautiful and important innovation is, we should not limit our creative expression to the seeking of innovation. Seeking innovation is often the least fruitful way to innovate. The real gateway to innovation (if that’s something you are looking for) is creativity. Explore your creativity, allow your creativity, let your creativity manifest …. Sometimes that leads to innovation, but it ALWAYS leads to creativity.

Smalltown DJs

• Focus on your weaknesses

It’s natural to gravitate towards our strengths, we’ve certainly fallen into that trap ourselves. Whether it’s sound design, mixing, or composition, it’s easy to stick to what you know best. However, relying solely on our strengths led us to being comfortable with where our music at.

In 2020 we identified some of our weaknesses as producers and then set out to learn more in those areas. For us, these areas included mixing, sound design, builds & breakdowns. We found specific tutorials online and focused on refining our skills in these areas. We still have a lot to learn but by being proactive and studying our weaknesses our songs started to round out and become stronger in those areas.

TDJ

• Export tracks as audio imprints

One of the most important things when it comes to producing and writing a track is to know when to stop adding new sounds. At some point, it’s important to commit to certain elements. What helps me to do so is to export tracks as audio files within the project. I use Logic and it’s called bouncing regions in place. Sometimes I also export stems and start over on a new project. It helps me to feel inspired again when I feel stuck in a certain structure or visually bored of seeing the same project grid.

The post Most Notable Studio Tips of 2024 appeared first on Electronic Groove.

Photo credit: Junior Jack – Facebook

Now, as the label approaches its fifth anniversary, it stands as a testament to the power of prioritizing artistic integrity over commercial pressures—a philosophy that has attracted top-tier talent and earned industry-wide respect.

The label’s trajectory continues upward with the anticipated release of their ‘Session 03’ VA compilation, showcasing their curated selection of breakthrough artists and tracks. Beyond music releases, Adesso Music has evolved to encompass a publishing division and has ambitious plans for 2025, including expansion into live events and artist management.

With a release schedule extending into March 2025, the label demonstrates its commitment to long-term growth while maintaining its foundational principle: nurturing authentic artistic expression.

In this exclusive interview, we sit down with Junior Jack, whose “don’t follow trends, become the trend” mentality has shaped Adesso Music into more than just a record label—it’s become a movement. He shares candid insights about the label’s evolution, future aspirations, and the delicate balance between artistic vision and industry demands.

EG: Hi, Junior Jack! It’s an absolute pleasure to have you here with us. How have you been? What have you been up to?

Adesso Music: Thanks for the invite. Mainly working in the studio on both, my soon-to-be-launched plug-in, and A&R for the Adesso Music label.

EG: First of all, congratulations on the incoming drop of your ‘Session 03’ VA compilation! You guys must be very excited to have this one out. What has the initial reception been like so far?

Adesso Music: It’s always flattering when other artists, labels, managers, and others speak highly of our releases. It validates what we do and keeps us focused to keep doing more of the same, but better.

EG: So, what can fans of the series come to find this time around?

Adesso Music: The compilations are really just a timely reminder of the fruits of our work over the previous few months. Putting them all together makes it an easy one-bite experience. With so many releases everywhere, sometimes good records can still get lost. Combining them together on one compilation is a good way to hopefully reintroduce if a track was missed first time around.

EG: Just how much work goes into putting something like ‘Session 03’? The tracklist looks massive.

Adesso Music: The label guys do all the work.

 “‘The compilations are really just a timely reminder of the fruits of our work over the previous few months”

EG: Now, let’s rewind back to 2019 for a second…How did Adesso Music come to be? What was the motivation driving this venture?

Adesso Music:  I was making music with my partner Pat BDS. We wanted to find labels to release our music but Geoff suggested we start our own label instead. We originally only released our own records but as time went on this changed. At some point, we woke up and we were a fully functioning record label…

EG: Where is Adesso Music at right now? How has it evolved over this past 5 years?

Adesso Music: We added a publishing division to the company last year and 2025 will see us venture into live events and artist management. As long as great music is being produced then we’ll still be around.

EG: Where do you guys see Adesso Music in 5 or 10 years? What would be your “dream” achievement with Adesso?

Adesso Music: Our only mission is to be associated and working with great artists, producers, and music and hopefully be able to help them positively along the way.

EG: As an independent record label, how do you navigate the challenges of balancing artistic vision and commercial success? What are some of the strategies you employ to achieve both?

Adesso Music: It’s difficult but we focus on the art first and foremost.

 “‘At some point, we woke up and we were a fully functioning record label…”

EG: In your opinion, what does the future look like for labels in the next few years? Will music still be the main commodity?

Adesso Music: Music soundtracks our lives. It will always be around us thankfully.

EG: What would be the best bit of advice you’d give to someone looking to start their own label nowadays? What are some of the “obstacles” or difficulties you found along the way and how did you overcome them?

Adesso Music: Well it isn’t easy but have a dream and a vision and stay true to your beliefs. Don’t follow trends. Become the trend.

EG: Looking ahead, what can we expect from Adesso Music in the coming year? Any upcoming releases or projects you’d like to share with your fans?

Adesso Music: We have a release schedule for March 2025 already. Hopefully, we’ll have our first live event and be blessed with being able to listen to great music each and every day.

EG: Thank you so much for your time! We wish you and Adesso Music all the best for the future!

Adesso Music: Thank you. A Merry Christmas and a Happy New Year to you all.

Hever Jara’s ‘Bali’ is now available on Adesso Music. Stream and download here.

Follow Adesso Music: Bandcamp | Soundcloud | Instagram | Facebook 

The post Label Insight: Adesso Music appeared first on Electronic Groove.