Eli Brown joins forces with Danny Avila and SACHA to release “Gotta Go,” a high-octane techno single on Brown’s own imprint, Arcane. The track fuses Eli’s dark, driving sound with Danny’s melodic punch and SACHA’s commanding, confident vocals for a high-energy result. Hypnotic grooves, precise rhythms, and explosive breakdowns make “Gotta Go” ideal for clubs, festivals, and streaming playlists alike. Eli Brown shares,
“‘Gotta Go’ is an absolute techno club banger. It hits hard and has been my secret dancefloor weapon all year. I love the track, and it goes off every time!“
Brown has risen from Bristol’s underground to global acclaim, building a career on brooding techno, high-impact sound design, and relentless innovation. Founder of Arcane, he releases forward-thinking music while supporting artists, bridging underground credibility and mainstream appeal. Danny Avila brings festival-ready energy and melodic precision, complementing Eli’s club-focused intensity and taking the collaboration to the next level. Danny adds,
“I’ve always wanted to collab with Eli and I think this song is the perfect mix between us and our styles. SACHA sounds incredible on the song and I can’t wait for this to be out!!”
With “Gotta Go,” a fusion of styles and cultures exemplifies the forward-thinking innovation fans have come to expect from each artist. The addition of SACHA adds further dynamism, elevating the single beyond standard techno offerings and creating a truly forward-thinking collaboration. SACHA comments,
“These lyrics are basically about female empowerment. Gaining control over a situation, and about a girl that knows that her potential lover wants her but is with somebody else who she can just tell doesn’t hold up…. so she is just getting to the point…. She’s Gotta Go. She’s being a fierce, confident, blunt, and commanding woman.“
Equal parts a master producer and veritable phenomenon, Eli Brown is a sonic force in a category of his own. Unimpressed with conformity, Brown’s career reflects his indomitable spirit and relentless drive to carve out his own space. Brown’s boundary-breaking work has cemented him as a top DJ, producer, and one of the most-streamed techno artists worldwide. Whether hitting festival main stages like at EDC or underground clubs, “Gotta Go” is destined to leave an indelible mark on dancefloors around the world. The single is streaming now on all major platforms. Listen today and bring the high-voltage energy straight to your speakers.
Oakland bass disruptor Neumonic teams up with Deadbeats veteran Mary Droppinz for “What?”, released January 21, 2026. Known for Neumonic’s unique style of UK-fused bass and Mary Droppinz’ classic sound, this track is the epitome of two artists colliding. Notably, the single launches Neumonic’s forthcoming Deadbeats EP. Neumonic states,
“‘What?’ is a long overdue collaboration with Mary Droppinz that we’ve had so much fun playing out live. We started this on our last Colorado shows together and has slowly evolved over the months after and slowly added more ridiculous lyrics. It was also the opening track of our first official B2B at Untz Festival 2025.“
Both artists deliver a dark, yet euphoric, journey that pushes the boundaries of experimental dubstep. It pulls you deeper with every switch and sound design. It’s the kind of record that stops you mid-listen and makes you think, “What did I just hear?”—in the best possible way. This duo is entering 2026 strong with real momentum following the breakout year they had in 2025.
With debuts at INFRASOUND and WORMHOLE, Neumonic’s UKF release “Bassline Bizness” has earned early support from tastemakers like Zeds Dead, Skrillex, and Mary Droppinz herself—marking him as one to watch in the bass and UKG space. Meanwhile, Mary Droppinz is fresh off major festival debuts like Lightning in a Bottle and Seven Stars, alongside the release of her latest project, “Sugar.” Both acts are embarking on ambitious tour runs with a clear goal: to raise the bar and keep pushing forward. Listen to “What?” now streaming on all platforms.
John Hayes, a talented producer and live performer from Denver, released his full-length album, Closer, on January 16 through Nettwerk. This album stands out with its distinctive blend of electronic, indie, and dance elements, highlighting Hayes’ unique artistic style and signature flair. Hayes weaves infectious rhythms and captivating melodies to create a sound that is both innovative and deeply engaging.
Closer pulses with an internal restlessness that drives its uplifting tempo, intricate percussion, and exhilarating momentum. The result is an album that feels both deeply personal and euphorically energetic, perfectly balancing introspection with a captivating beat. This album is a thrilling tapestry, weaving together deeply personal reflections with an infectious, uplifting groove. It perfectly harmonizes moments of introspection with dynamic rhythms, crafting an immersive sonic journey. This release signifies a bold leap into a new realm.
Photo Credit: John Hayes
The inspiration for Closer came during a transformative period when Hayes faced the daunting challenge of recovery from a serious ski injury that left him unable to walk for months. Cut off from the thrill of live performances, he poured his longing for movement and liberation into his music. Each track unfolds with care and intention, inviting listeners to interpret the deeper emotions while keeping the energy alive.
The album is now streaming on all major platforms! Don’t miss out on following John Hayes and joining him on this exhilarating musical adventure through the links below.
If you’ve been keeping up with Of The Trees, then you know something big is coming. After wiping his socials and linking a new website across his profiles and stories, he returns with his first solo single in almost two years. “Dolori” is his first look into his highly anticipated forthcoming album, Moonglade Park. Fans have been waiting for this track for a couple of years now, since it was most notably played during Of The Trees’ debut Electric Forest set and during his closing performance at his own multi-day event, Camp Alderwild. Check out the track below to step into the newest place to chill, Moonglade Park.
“Dolori” sets an emotional tone for Moonglade Park, transcending listeners through a spiritual and sonic journey. Goosebumps are an inevitable byproduct of this track, as the deep yet soft percussive bass layers with hypnotic vocals, ambient textures, and introspective sound design. Each bassline sends waves of emotion as Of The Trees consistently excels at landing at the intersection of nature, sound, and story.
Set across a series of diverse natural environments, his music video reflects the landscapes that inspired the forthcoming album and underscores the organic relationship between the music and the world that shaped it. The visuals move back and forth between a dancer immersed in a lush forest surrounded by colorful flowers, atmospheric scenes in the desert, rain-soaked moments in the forest, and firelit scenes where she dances outside beside a hauntingly beautiful flame.
Rather than following a linear path, the video flows intuitively between these settings, mirroring the track itself. Throughout, the dancer reaches what can only be described as a flow state, staying deeply in tune with the bass and the natural world surrounding her. Of The Trees directed fans to “Visit moongladepark.com,” offering an invitation into the world of Moonglade Park.
This release of “Dolori” is our first dip into the waters of Moonglade Park, Of The Trees’ long-awaited full-length album, filled with genre-defying tracks that blend downtempo electronica, cinematic ambient, and experimental hip-hop. Drawing inspiration from iconic albums such as Pink Floyd’s Dark Side of the Moon and Led Zeppelin’s Houses of the Holy, this LP is meant to be experienced in full, with the intention to slow down, reflect, and reconnect, especially in times of great uncertainty when hope is most needed. Check back for full coverage of the album as it drops, and don’t forget to keep up with all things Of The Trees at the links below.
Everyone loves a Super Future and Wreckno collaboration, and this time, it’s not just a single or SoundCloud mix. Today, we’ve been blessed with a full EP! With six highly anticipated tracks, including “BABY,” “YES,” and “LUNCH,” this new EP, ASS THROWERS ANONYMOUS, solidifies their collaboration as more than a side project; instead, it’s a true creative partnership!
“Now that the EP is coming around, it’s crazy to think that we’ve been writing and re-writing these tracks between our solo endeavors,” said Super Future. “Some of these tracks are very fresh new ideas, but a couple have been reformatted a bit like since 2022-ish, actually. By this point though, we feel like we’ve solidified our solo careers enough to get back to the fun vibes with no boundaries or real rules and do THIS.”
“This honestly just represents the fun that we wanna have outside our own projects and I think that honest creativity is felt in these tracks. We pretty much always take it back to “does this fit the vibe of that first iconic mix we did?” Even as times and tastes change in the scene, pure fun trap/twerk/bass/house/whatever still feels undeniably fun anywhere you are.”
As always, Super Future and Wreckno continue to keep things fresh by bringing a strong sense of variety to their releases. The ASS THROWERS ANONYMOUS EP perfectly encapsulates their ability to transcend genres, blending house-infused beats with bass-forward production, layered with Wreckno’s unmistakable vocal presence and unapologetic attitude. It unfolds as a showcase of Super Future and Wreckno’s range, with three tracks already familiar to fans.
Previously released cuts like “LUNCH”, “BABY!” and “YES!” each highlight a different side of their chemistry, moving from playful swagger to bold, high-energy moments and cheeky, dancefloor-ready confidence. The remaining tracks push things further, with “WEEKENDS” channeling Wreckno’s signature attitude over Super Future’s funky bass. “BANG!” leans more into a trap-inspired sound packed with bass-face-worthy sound design, and “SIGNAL VIP” delivers heavy bass. While all of their releases have been hits, this project stands as a true testament to the growth both artists have made in their careers, setting the tone for future collaborations.
“I think the beautiful thing about ATA is that it’s a passion project between two friends who just love each other and have the ability to tap back into it whenever we decide to,” said Wreckno. “We came, we popped off in 2019, then we focused on our solo careers! I’m so grateful we came back together in big ole 2026 to release our second collaborative body of work. I still love the first EP, but listening to the second EP, I can hear the years of growth on both ends. Nick’s production has leveled up even more, which is crazy because it’s always been great. My writing and vocal abilities have also gotten a lot better. It just feels like a fully realized version of what we were aiming for in 2019. Feels very special!”
Beyond the music, Super Future and Wreckno have gone above and beyond in executing their shared mission of creating safe and inclusive spaces that promote individuality and community. Wreckno stands as one of electronic music’s most visible queer voices, while Super Future continues pushing the boundaries of modern bass, culminating in a project that reflects the trajectory of a more open, collaborative genre rooted in self-expression.
This new EP kicks off an exciting year for both Super Future and Wreckno as they prepare for major performances, including their Mission Ballroom debut on Valentine’s Day. Both artists will play individual sets, followed by a B2B ASS THROWERS ANONYMOUS joint performance. Check out their socials below to make sure you don’t miss a chance to catch them live!
As the year is coming to an end, we had the chance to go Beyond The Booth with Atura! Atura is a rising American electronic music artist and DJ carving out his own distinct lane in today’s club landscape.
What inspired you to become a DJ, and how did you come up with your stage name, Atura?
Atura: Back in 2005, my cousins Ryan and Danny showed me a bunch of cool music by an artist called Basshunter, who was SUPER influential on what I listened to in the years to come. At that time, I was already listening to artists like Daft Punk, Fatboy Slim, and Paul Oakenfold, but Basshunter really struck a deep chord with me. That all eventually led me to start making music a few years later with one of my best friends, Teiji, and my artist name actually comes from his last name’s letters, all jumbled. We were trying to come up with new aliases together, and I was stuck. He came up with Atura and didn’t really like it, but I thought it sounded cool, so I took it, and he ended up naming himself Duumu. Shoutout Teiji one time for the name, love that guy.
For someone just discovering you, how would you describe the sound of your music to them?
A: Honestly, it’s a bit of a mix of all of my influences, but the short answer is I like to take the looping, euphoric feel of French House/Touch (Daft Punk, DJ Falcon, etc.) and mash it with the modern takes on Hardgroove (Club Angel, Kettama, etc.). Basically fast and euphoric with emphasis on the soulful feeling of those ’90s classics.
What ongoing influences or experiences continue to shape your sound as you grow within the music industry?
A: I’m seeing a lot of people go back to the older, dirtier sound that I’ve always loved, so that’s gotten me VERY inspired as of late. I adore hearing very dusty-sounding drums over some warm chords, and everything put together, honestly, very messily. It’s such an innocent sound that makes me so excited to dig and find more.
For someone trying to make it in the music industry, what advice would you give them?
A: Remember, you’re doing this for the kid version of you. Hold that close to you, because the grind is not easy and can be for a very long time. I started making music when I was 13, and the journey has been long and beautiful. Just enjoy the ride and remember that this is not just for you, but the younger version of yourself. Imagine how proud they will be when you get there!!
Photo Credit: @aturamusic
It can be from any genre, but who would you love to collab with and why?
A: I have 3 artists of very different styles that I’d love to work with. First off, Salute would be such a fun producer to work with; their sound has inspired so much of what I’ve done over the last few years, so working with them would be super sick. I’d also be curious to hear what I’d make with artists like Lido or Anatole Muster; both are artists I listen to a lot and take a lot of inspiration from.
What is your process when collaborating with different artists, and how do you approach blending your style with theirs?
A: When a collab starts for me, it usually comes from me and the other artist hanging in a studio in person or just on a call on Discord, I have a lot of fun just being present together and just bouncing ideas off each other and getting super excited together and having those “BROOOO NO WAY” moments in the studio, I truly believe it comes off in the song and it’s a really special feeling when it happens.
Photo Credit: @aturamusic
How does your third EP, ‘Rebirth,’ compare to the other music that you have released?
A: Making this new EP, I had the plan of putting my most exciting and club-ready tunes forward, so immediately after I finished Bloomheart, work went right underway for Rebirth. This EP really feels like a love letter to the dance floor and about that amazing feeling of being out there more than anything I’ve ever made before. Overall, it just feels way more intense and high-energy.
How was it opening for Porter Robinson after the party for EDC Orlando? When you found this out, what was going through your mind?
A: The day that I found out I got the gig, I was in Denver hanging with my friends after my show with Demotapes. I got a call from my manager and had to casually go back into conversation immediately after, which felt insane to me. I was super gassed about it obviously, and we all went out to celebrate after and had a fantastic night. When it came time to play the show, the place was pretty packed, and I was ridiculously nervous. Still, I entered a flow state right when I got on stage and was super happy with how it turned out. Meeting him was super dope, too. It was just a super chill, quick convo after my set, and then I went to wind down and watch the show. Super sick night and sick show.
What was it like performing at Nocturnal Wonderland as your first festival, and how did that experience influence your growth as an artist?
A: Nocturnal was such an amazing experience that taught me a LOT. Getting that first bit of festival experience at such a reputable event was honestly such a blessing. Getting to hear the stuff I had been making over gigantic speakers helped shape the EP a ton; it was basically the biggest car test ever.
Photo Credit: @aturamusic
Before performing, what are some pre-show rituals you do to get in the right mindset for each performance?
A: I’m a man of superstition because of my hockey background, so I do the same thing every show, just like I did before games, which is just pace back and forth four times each way, taking deep breaths, giving myself a speech that amps me up, and then jumping and shaking out the nerves.
How do you switch up your sets to keep them fresh for different crowds?
A: I actually don’t plan my sets out at all, besides like the first two songs. I love reading the energy in the room and just going off of that. I spend most of my show day prep just finding new things on SoundCloud or cooking up quick ideas to play out the same night. It’s a very fun practice, and I really love going about it that way.
What is your dream venue/ festival that you would love to perform at?
A: Oh man, Portola, Tomorrowland, and EDC Las Vegas for festivals, and Red Rocks, The Gorge, and TD Garden for venues. TD Garden, just because I grew up going to Bruins games all the time there, and I would love to have that place all to myself for one night and throw a ridiculous party.
If you had an unlimited budget, what effects (visuals, lasers, pyro, etc.) would you want for your performance?
A: Barely any. Give me lights directly above the crowd, facing down, an old school low-quality 90’s jumbotron screen, and a small set of lasers that go directly above the crowd’s heads. Put me in the middle of the room, and let’s have an absolute evening just listening to music. I’m not curating a spectacle, I want to curate an energy.
Think big picture now: if you get a documentary made about you/your music career, what are some key things that should be included & why?
A: Easily include the absolutely ridiculous times my friends and I had experimenting with music back at my friend Patrick’s house in middle/high school; those days were super formative and where I learned so much about myself as an artist. I owe so much to those guys.
Photo Credit: @aturamusic
What has been the most memorable thing you have experienced since you have been in the music industry?
A: That’s gotta be playing my first show in my home city of Boston in 2019, alongside Underscores, Peter Kuli, and Chuck Sutton. Genuinely an insane lineup if you put it together today, wouldn’t really work, but such a nuts thing to see where we all are now.
How will you know that you have “made it in the music industry”?
A: On an emotional level, making it in this industry is all about if your music has impacted even one person. To get DMs about how a song got someone through a tough time is genuinely the best feeling in the world, and simultaneously getting to meet so many great people and do so many cool things that I’m grateful for, that’s why I feel as if I’ve made it to some degree.
How do you stay authentic to yourself while being in the music industry?
A: Just by remembering that this is all just music and we are all just people who love this stuff. I am just a fan too, so are all of my favorite artists, and the same for you and anyone reading this. It’s all a big pool of nerds who love this stuff.
At Moon Lvnding, we show gratitude every day. How do you show gratitude in your daily life?
A: Every single day, I am so grateful for the people around me, whether it’s the people I work with, my friends, or my mom. I make sure it’s known how much they mean to me and how much they impact my life.
Where can fans discover your music?
A: You can check my stuff out on any streaming platform, including and especially Soundcloud! The same goes for social media, where you’ll get to hear sneak peeks of what’s coming up next.
Is there anything else that you would like to share?
A: Next year is going to be a super sick year, got a few really cool collabs with some incredible artists and some people I look up to, and a bunch of shows, headline, support, festivals, you name it. Not gonna say too much yet, but it’s gonna be a really fun year! 🙂
Keep up with all things Atura with the links below.
Dance music’s villain conductor, Nikita, The Wicked, just released his most anticipated project yet on Helix Records: the six-track EP titled BLINDED BY VANITY. With this release, Nikita is redefining electronic music with cinematic and emotional tracks that invite listeners into a powerful, immersive experience. He aims to create honest, forward-thinking music by “finding the beauty in the imperfect, the elegance in the twisted, and the grace within the chaos.” This EP marks a bold new evolution for Nikita, showcasing his villainous creativity and sharpened artistic vision.
“BLINDED BY VANITY is my second concept project. I like to do these EPs as different characters. Each project is basically an evolution of the ‘villain’ character. The conductor persona spawns from the heavy use of orchestral sampling. BBV is my reflection of the past year. With a massive year of growth, my perception of myself altered. This project is a painted world, beyond the shadows lies a new wicked tale.” – NIKITA, THE WICKED
The EP presents a cinematic, villainous journey, starting with the film-score-inspired “DOOM,” which sets the tone for Nikita’s rebellious energy. “LOUDER” offers a nostalgic vibe before diving into darker bass textures. The highlight, “CONTROL,” features Elohim and blends warm saxophone with invigorating bass stabs and cute vocals, creating an emotional contrast. “SUCKERS” introduces grunge influences, merging orchestral drama with wooden percussion and primal basslines. The first single, “LOOK” featuring Emi Grace, showcases Nikita’s orchestral chaos, turning classical arrangements into a bass-driven anthem. The closing track, “SHAKE,” delivers a dramatic soliloquy with trap-inspired rhythms and commanding bass pulses.
His ability to craft immersive sonic worlds has earned him a reputation for concept-driven projects that go beyond standard club and festival bangers. Nikita, the Wicked, isn’t just making bass music. He’s crafting an experience and telling a story as The Villain of Dance Music. Don’t miss his full scope of villainous artistry on the upcoming nationwide Blinded By Vanity Tour!
Welcome to the Dog House! It’s time to unleash yourself as hard dance disruptor Kayzo releases his latest track, “The Moment,” on his own label, Welcome Records. Kayzo continues to be a driving force in the music scene by showcasing his unrestrained power. It can be felt whether he’s headlining a festival or performing during his 360 Cage Warehouse Tour.
With “The Moment,” he brings forth a fresh sound that blurs the lines between heavy music and dance culture. Since his emergence, Kayzo has carved out a distinct identity as one of electronic music’s most unpredictable and boundary-pushing creators. He seamlessly merges the intensity of rock and metal with the pulse of heavy dance music. This evolution invites fans to feel connected to his innovative journey.
“The Moment” is a fun, high-energy anthem that highlights Kayzo’s signature hard dance style. It is reminiscent of the explosive spirit of his fan-favorite track “Welcome to the Doghouse.” Driven by pounding kicks and bright melodic surges, along with his unmistakable vocal chains.
“The Moment” encapsulates the electrifying energy that has been the hallmark of Kayzo’s remarkable music journey. This single is a thrilling embodiment of the exhilarating new chapter in his sound. With a bold shift toward a fully hard dance-driven set, Kayzo makes an unmistakable declaration about the trajectory of his music, igniting passionate discussions throughout the community. The raw intensity and pulsating rhythms resonate deeply, inviting listeners to experience the vibrant evolution of his artistry.
Unleash yourself within the Dog House Fam using the links below!
Electronic boundary-breakers G Jones and Eprom return with Disk Utility, a sharp and tightly engineered four-track EP built for maximum impact. The project follows the success of their lead single, “Slamming Keys,” which signaled a sharper and more aggressive direction. Every track hits with precision, blending breakbeat, glitch, halftime, and futuristic bass into a streamlined, high-voltage package.
Each tune has evolved through heavy road-testing, earning its place as a set staple long before release day. The duo refined every detail to ensure the EP hits just as hard on massive systems as it does through headphones. Eprom says,
“These four tunes have been doing damage in our DJ sets for a while. We toughened them up and went in on the details for this release with the goal of writing a compact and effective package of tunes that hit hard in the club but still work in headphones and show a range of influences.“
Disk Utility moves with relentless momentum. “Slamming Keys” twists through sharp rhythmic bends, while “By Your Side” brings uplifting, club-driven energy. “Noontime Acid” erupts in frenetic, acid-laced chaos, and “1000 Cuts” slices through glitch-heavy bass with surgical control. Together, the tracks reaffirm the duo’s reputation as innovators who consistently push the electronic underground forward.
DISK UTILITY EP – TRACKLIST
Slamming Keys
Noontime Acid
1000 Cuts
By Your Side
The EP builds on their celebrated B2B at OSLO earlier this year, where much of the material made its first appearance. Disk Utility also marks their first collaborative release since the influential Acid Disk era, which helped define a new wave of experimental bass. Fans can still experience these tracks live throughout upcoming shows, where every set brings the EP’s precision and energy to the dancefloor.
HypnoVizion mesmerizes listeners once again with its first-ever label compilation release, Auditory Illusion Vol. 1.
Curated by Rezz, the founder of HypnoVizion, Auditory Illusion Vol. 1 perfectly encapsulates the label’s sound. Mesmerizing and brooding, this compilation is bound to draw in new listeners and please long-time fans.
Overall, the 11-track release features classic midtempo bass soundscapes meshed with industrial and experimental elements, created by talented DJs. Organized to perfection, Auditory Illusion Vol. 1 provides listeners with an immersive experience of HypnoVizion’s signature sound.
Firstly, the compilation kicks off with Rezz’s revamp of a 2016 crowd favorite, “Selector.” Crisp and grimy as ever, the reworked track is an immediate hook for old and new fans alike, and a perfect opener.
Above all, the first two tracks are the epitome of Hypnovizion’s notorious sound. “Selector” and CABLE‘s “Midnight Animal” effectively stir familiar excitement in listeners and prepare them for what’s coming.
Auditory Illusion Vol. 1 dives into the abyss with dark, experimental tracks from VNN, DJ duo Blood Vision, and Bardea. “To Bleed Without Color” and “Arachnophobia” rattle off rolling basslines, creating eerie and cinematic vibes. Meanwhile, “METALHEAD,” infuses experimental sound with industrial, warehouse-esque flair.
HypnoVizion proudly presents our first label compilation, Auditory Illusion Vol.1. Featuring 11 tracks handpicked from electronic producers across the world, as well as a highly requested remake from REZZ.
SHSTR’s “Floating Sky” is a perfect intermission with bright melodies that contrast the previous tracks nicely. Then, the final drop return creates a perfect segue for the closing chapter of Auditory Illusion Vol. 1.
Voidnet and Rubi reinvigorate listeners with “No Lights Ahead” and “No Exit.” Rubi excels at combining traditional instrumentals with innovative EDM production techniques, making for the most unique listen on the compilation.
The final three tracks effectively tie the compilation together, emphasizing HypnoVizion’s classic sound, which is now packed with even more punch.
VAKRM, MLOTIK, and Voliik introduce new layers of intensity to the compilation, bound to bring out bass face. Heavier and grittier than the rest, the closing tracks are sure to leave fans eager for the next release.
Auditory Illusion Vol. 1 and the reworked release of “Selector” add to the long list of Rezz’s milestones this year. Most recently, she played her seventh annual REZZ ROCKS, following the release of her fifth album, As The Pendulum Swings.
All in all, Rezz is a dominating female force in the current EDM scene. Her success in popularizing midtempo bass and hypnotic styles is evident in the crowds she draws at major festivals like Coachella and Lollapalooza.
Auditory Illusion Vol. 1 is all the things HypnoVizion is known for. It’s magnetic, it’s hypnotic, and it offers a little bit of something for everyone. It’s familiar and lovable, but innovative and new at the same time.
