Around The World with WEISS: Los Angeles, Ibiza, and Barbados

After emerging onto the scene in 2013, WEISS has ascended through the dance music ranks at an impressive rate, receiving support from a host of legends ranging from Armand van Helden, Eats Everything and Carl Cox to Elton John along the way. His 2018 hit single ‘Feel My Needs’ took the world by storm, reaching #1 in both the BBC Radio 1 Dance Chart and ARIA Club Chart (also being voted the #1 track for the year), and winning ‘Best Track’ at the DJ Mag ‘Best of British’ awards.

WEISS has circled the globe countless times to complete tours worldwide, in the latter part of 2019 he embarked on his biggest ever tours of North America and Oceania covering 30 dates across 7 weeks. It is this connection that brings WEISS and his experiences to CULTR. We present, WEISS’ Around The World.

Los Angeles

California

The mad thing is I wasn’t originally the biggest fan of LA but I’ve fallen in love with it more and more over the years. The restaurants are incredible and if you’re lucky & get an offer to party at someone’s house in the hills, then take it!! 

Ibiza

Spain

It’s always a No.1 go to place for me to party with my friends during the summer. Not only is the nightlife amazing but Old Town is a real mix of old & new with a chilled atmosphere and beautiful restaurants. 

Barbados

Carribbean

Barbados has a special place in my heart: I went there as a kid and love the beaches & crystal clear water. Waking up in the morning and finding yourself surrounded by red crabs and swiminning with the turtles is a memory I’ll never forget.

Exclusive: OTR Breaks Down Debut Album “Lost At Midnight” Track by Track

OTR has just embarked on his most fulfilling venture in his young career thus far. With the release of his debut album “Lost At Midnight” via Astralwerks, it is exciting to see the artist’s vision finally coming to fruition. Featuring artists like Panama, Shallou, Vancouver Sleep Clinic, Au/Ra, and more, the 12-track LP serves as a digital embodiment of the talent rooted in the 26-year old aerospace engineer-turned-producer.

The captivating project will throw you into a whirlwind of emotions as you are captured by the records alluring atmosphere. Offering enchanting soundscapes, melancholic chord progressions, and catchy toplines along the way, “Lost At Midnight” evidently reaches the peak of electro-pop. Pulling you by the heartstrings, OTR effortlessly transports the listener into a pit of vulnerability which is the very essence as to why the album is incredibly addictive to listen to in the first place. Finally showcasing his genius to the world, we can safely declare that this is OTR’s moment.

“Writing the album over the last two years was an incredible experience. Now that it’s out, I’m happy to see people empathize with the raw emotion I put into each track, signifying different points in my life.” – OTR

With all that being said, what better way to pinpoint the significance of this album than to hear it from the artist himself. Hear the story of how he put this all together in the track-by-track breakdown below.

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Shawn Mendes and Camila Cabello’s “Senorita” Breaks Record On Spotify

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Shawn Mendes and Cuban born Camila Cabello released their joint single, “Señorita,” last week via Island Records. The song achieved instantaneous success worldwide rocketing to #1 on Spotify’s Global chart as the biggest single-day debut of a male/female duet ever. The video garnered 50 million YouTube streams in the first 48 hours of release while trending #1 around the globe. Other notable chart #1s include Spotify US Chart, iTunes, Apple Music Pop and Apple Music’s Top Videos.

GRAMMY nominated Toronto born multi-platinum singer/songwriter Shawn Mendes released his highly anticipated self-titled third album in May 2018. The album debuted at #1 on the Billboard 200 album chart as well as multiple additional worldwide markets, including Australia, Canada, Mexico, Belgium, Holland & more and shot to #1 on iTunes in more than 80 countries immediately upon release. The album became one of the top best-selling album debuts of 2018 and made Shawn the third youngest solo artist to ever have three consecutive #1 albums.

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Multi Grammy nominated Cuban born singer/songwriter Camila Cabello (Epic Records / SYCO) released her debut solo album, CAMILA in January 2018 to rave reviews. It debuted at #1 on the Billboard 200 chart at the same time as her single “Havana” Reached #1 on the Billboard Hot 100 chart, making Camila the first solo artist in nearly 15 years to reach the #1 spot on the Hot 100, Billboard 200 and Artist 100 charts in the same week. The RIAA platinum-certified album, CAMILA, launched its debut at #1 on 110 iTunes charts around the world, breaking the record for most #1 positions for a debut album in iTunes history. Camila also became the #1 artist on global Spotify.

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Ferry Corsten Releases The Latest UNITY Collaboration with BT on ‘1997’

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Ferry Corsten is back with his latest ‘Unity’ collaboration, after releasing the last one with Ilan Bluestone back in December – Ferry has teamed up with BT for a special collaboration in ‘1997‘.

Ferry Corsten has been busy with solo music in the first half of 2019, releasing ‘Freefall‘ – which feels like a more commercially viable release. He also returned to his Gouryella alias with ‘Surga‘.

Ferry Corsten has brought in another big name into the Unity project, with the legend that is BT. After remixing BT’s track ‘Suddenly’ in 2010, the pair are familiar with each other’s prowess in the studio, and that united vision is showcased in abundance. The team-up sees both artists strengths utilised to their best potential to create a track that is greater than the sum of its parts. As it should, the production leans heavily on the killer uplifting melody – which is a prominent throughout the entire track. The mix of each artist’s styles is present and concludes in an epic collaboration.

Ferry launched the UNITY project in 2018 with his collaboration alongside Paul Oakenfold titled ‘A Slice Of Heaven’, and continued working with artists within the Trance community throughout the year, such as DIM3NSION, Jordan Suckley, Saad Ayub and Ilan Bluestone, and after the success of 2018 has more releases in store after making his first donation to project partner, VH1’s Save The Music Foundation, an organisation launched to reinstate music programs in public schools, which to date has raised over $53 million and helped over 2,100 public schools.

You can learn more about the Unity project with our Ferry Corsten Interview.

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J.T. Hiskey Reflects on a Decade of Growth and Reinvention

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Over the past ten years, J.T. Hiskey’s journey through music has been anything but conventional. From performing in high school assemblies in Salt Lake City to releasing multiple full-length albums in a single year, Hiskey’s career reflects a relentless pursuit of growth, reinvention, and authenticity—qualities that have come to define his presence in today’s independent music landscape.

Hiskey’s story begins in Utah, where he first discovered his passion for performing at just 16 years old. One of his earliest memories still stands out vividly—a moment that, in hindsight, feels like the true beginning of everything.

“I still remember going out on stage wearing that pink shirt, performing at this assembly at my high school,” Hiskey says. “I wrote this rap for this girl whose name was Sierra, because she was running for SBO. Needless to say, she ended up winning afterwards.”

What started as a lighthearted performance quickly evolved into something more serious. Those early experiences planted the seed for a career built on confidence, connection, and the willingness to put himself out there—traits that would later define his artistry.

By 2017, that momentum began to translate into wider recognition. His music videos and early projects helped him expand beyond Utah’s borders, building a growing fanbase online.

A defining moment in his career came in 2018, when his song “Love” received national attention after being featured on The Tonight Show Starring Jimmy Fallon. The exposure marked a turning point—not just professionally, but personally.

“The Jimmy Fallon moment was the first time I really felt like a hometown hero,” Hiskey reflects. “I remember coming back from LA and the atmosphere within the state of Utah felt so surreal.”

That moment didn’t just elevate his profile—it reshaped his perspective. Rather than chase industry expectations, Hiskey leaned further into authenticity, using the spotlight as motivation to evolve in new creative directions.

What followed was a decade defined by transformation. Rather than staying confined to one genre, Hiskey continuously experimented—moving from hip-hop roots into pop-punk, and even exploring country influences. Hiskey reflects on that evolution by saying, “I’ve always loved creating unique music, something that was going to keep the listener wondering what’s next.” This genre-blending approach became one of his trademarks, allowing him to evolve with each release while maintaining a consistent core identity.

“There was never a point where I wanted to stay in one box,” he adds. “Every project felt like a different version of me at that time. I think that’s what made the journey real.”

As Hiskey’s catalog expanded, so did his presence on major stages across the country. Over the years, he has opened for multiple high-profile artists, including performing at Steve Aoki’s Spring Break 2024 event in South Padre, Texas. In September 2024, he opened for Tiffany at the legendary Whisky a Go Go, a venue he has now performed at three separate times. His very first appearance at the Whisky came years earlier, when he opened for Lil Eazy-E, a milestone that still stands out today. For Hiskey, having the chance to connect with the Eazy-E family has been nothing short of an absolute honor—an unexpected but meaningful reminder of how far his journey has taken him.

In 2025, he joined the Mike Sherm Tour, further expanding his reach across new audiences. Looking ahead, Hiskey is set to open for Blueface, along with upcoming performances with both Afroman and Too Short. His connection with Afroman holds special significance; nearly a decade ago, Afroman was one of the first professional artists to ever give Hiskey a chance. That early support later came full circle when the two collaborated on their joint track “Beverly Hillz.” The single was produced by Gregory Goose, Hiskey’s closest and longest-running collaborator. Goose has produced nearly Hiskey’s entire musical catalog, shaping his sonic identity and creative growth from day one.

Hiskey’s connections extend beyond collaborative work as well. Throughout his career, numerous established and well-known figures have endorsed or supported him. One notable early moment came in December 2016, when he first met international pop star Zara Larsson. Sharing several mutual friends, the two connected long before Hiskey’s national recognition, giving him early exposure to a broader creative network and global creative influences.

Hiskey’s artistic evolution is perhaps best captured in his long-form projects and era-defining releases. Over time, his music began reflecting deeper themes—self-discovery, resilience, and the realities of chasing something bigger than himself.

“Looking back, I didn’t have it all figured out—and I still don’t,” Hiskey admits. “But I’ve always trusted that if I kept creating, everything else would fall into place.”

That mindset came into full focus in recent years. In 2025, Hiskey released an ambitious run of four full-length albums in a single year—a bold move that underscored his independence and creative fearlessness. Rather than wait for traditional industry timelines, he embraced full control, releasing music the moment it felt authentic.

“I wasn’t going to let anyone stop me from doing what I want to do,” he says. “I just wanted to keep creating and being myself at the same time. Way too many over the past decade have tried to knock me down, but failed.”

Beyond the music, Hiskey’s journey has also been deeply personal. At one point balancing touring with nursing school, he made the difficult decision to step back from performing to focus on education—an experience that reflects his discipline, growth, and long-term vision.

“There were moments where I had to step away and really figure out who I was outside of the music,” he says. “But in a weird way, that made the music stronger when I came back to it.”

Looking back on the last decade, Hiskey’s path is a testament to perseverance and belief in one’s own journey. From local beginnings to national stages, from connecting with legendary families to collaborating with icons, he has built a career rooted in authenticity, resilience, and constant evolution.

“Ten years went by fast,” he says. “But when I really think about it, every step—good or bad—had a purpose. I wouldn’t change any of it.”

Now, a decade in, J.T. Hiskey stands as a self-made artist who never waited for permission—only progress. His career reflects not just the evolution of a musician, but the mindset of someone committed to creating without limits.

And if the past ten years have proven anything, it’s that J.T. Hiskey isn’t defined by a single era—he’s constantly building the next one.

Steve Angello Releases High Energy Remix Of Basement Jaxx Classic ‘Where’s Your Head At’

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After becoming a standout weapon in his 2026 festival sets, Steve Angello has officially delivered his remix of the Basement Jaxx classic, ‘Where’s Your Head At’.

The remix, which officially landed today via XL Recordings, modernizes the 2001 anthem with a heavy-hitting, industrial-edged production that has been rattling mainstages since the start of the year. While Angello is known for his melodic progressive anthems, this rework leans into a raw, tech-driven energy that fits perfectly within his current sonic direction.

The track’s momentum peaked during the Swedish House Mafia takeover at Ultra Music Festival 2026. What began as a back-to-back set between Steve Angello and Sebastian Ingrosso evolved into a full SHM reunion with Axwell, even featuring a rare appearance by Eric Prydz.

Amidst a setlist packed with nostalgia and new edits, Angello’s take on ‘Where’s Your Head At’ served as a relentless bridge between the group’s classic big-room sound and the darker, underground influence he has been championing lately.

By keeping the iconic vocal hook front and centre while stripping back the original’s chaotic breakbeat for a more driving 4/4 rhythm, Angello has ensured the track remains a staple for the 2026 season. It arrives just as Basement Jaxx begins to resurface for their own highly anticipated live run, marking a perfect full-circle moment for the legendary record.

Coachella Festival Reveal 2026 Set Times

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The desert is calling once again. With the set times for Coachella 2026 now officially live, it is time to map out your weekends at the Empire Polo Club. This year marks a significant milestone for the festival, and the schedule reflects a massive blend of pop dominance, legacy rock, and some history-making debuts.

Sabrina Carpenter takes the Friday slot on the Coachella Stage following a massive year with ‘Short n’ Sweet’ and her latest project ‘Man’s Best Friend’. Her set is expected to be a high-production pop spectacle to kick off the weekend before Anyma closes out the main stage with a midnight performance of his new ‘Æden’ show. Friday also features a heavy electronic presence with Disclosure on the Outdoor Theatre and a late-night set from Sexyy Red in the Sahara. On Saturday, Justin Bieber makes a major return, marking his first US concert in nearly four years with an 11:25 pm headline slot. Earlier that evening, The Strokes take the stage at 9:00 pm, while David Byrne holds down the Outdoor Theatre. Closing out the festival on Sunday is Karol G, who makes history as the first Latina artist to headline Coachella at 9:55 pm, following a performance by Young Thug.

The dance music programming for 2026 is particularly deep, spanning everything from mainstream house to underground techno. On Friday, the Sahara stage hosts the high-energy debut of KATSEYE and a late-night appearance by Marlon Hoffstadt, while the Yuma tent features a closing set from Kettama. Saturday is a massive day for electronic fans, highlighted by the debut of Nine Inch Noize (a collaboration between Nine Inch Nails and Boys Noize) at 8:00 pm in the Sahara. Over in the Yuma, Armin van Buuren and Adam Beyer team up for a rare back-to-back set from 9:00 pm to 11:00 pm, followed immediately by Boys Noize. Sunday keeps the momentum going with a sunset performance by Major Lazer on the main stage and Kaskade taking over the Sahara at 10:45 pm. Other notable dance acts include Fatboy Slim closing the Quasar stage on Sunday and a special appearance by the drum and bass supergroup Worship.

As you start circling names on your set times, keep the logistics of Indio in mind. Desert days in April often soar past 38°C (100°F), but the temperature drops rapidly once the sun goes down. It is vital to pack layers and a bandana to protect against the evening dust. Since mobile service is notoriously spotty with over 100,000 people on-site, you should pick a specific landmark and a re-group time with your crew before you even enter the grounds. Hydration stations are free and scattered throughout the venue, so bringing a reusable bottle is the best way to avoid expensive plastic options. If you find yourself facing a difficult set time clash, keep an eye on the Localchella schedule, as many artists will play sideshows in Pomona or Los Angeles between the two weekends.

Review: RAYE Eradicates Second Album Syndrome With ‘This Music May Contain Hope’

Few transformations within the music industry have been quite as arduous as that of RAYE, the British singer-songwriter who has been a mainstay with fans of dance music for over a decade now. Having featured on Jax Jones’ club smash ‘You Don’t Know Me’ in 2016, the Tooting-born songstress has climbed the ladder to stardom the hard way, with features across David Guetta & MORTEN‘s Future Rave sound, via ‘Make It To Heaven, and her 2021 collab ‘Bed‘ with Joel Corry & that man Guetta again, which RAYE herself labelled “really very boring” in an interview with Louis Theroux, adding “It’s not my favourite song but my bank account loved it.”

Fast forward to 2026, and in a week where Ye launched his own album of the year contender, it is RAYE who has struck gold in the official album charts, with her second studio album (‘This Music May Contain Hope‘) taking the number #1 spot. Ironically, after her debut album, 2023’s ‘My 21st Century Blues‘, could only peak as high as number #2. In the resulting gap prior to this sophomore release, RAYE has skyrocketed, exponentially. Sweeping up at the BRIT Awards with a whopping 7 gongs, the Londoner is now a firmly bona-fide member of the A-List, with ‘This Music May Contain Hope’ proving that artists of this calibre are seemingly immune to the ‘second album syndrome’. What follows, is a show-stopping and extravagantly grand statement, from an artist determined to step outside ‘the box’ at every given opportunity.

Set to orchestral strings, RAYE begins her assault through musical maximalism with album opener ‘Girl Under The Grey Cloud’ where her spoken word sets the scene – as it does, so often throughout the album – for this 17-track and 73-minute concept album which swings wildly between RAYE‘s penchant for those woozy soul-induced Paloma Faith-style numbers, (and obvious Winehouse comparisons), to the smartly lyrical observations on modern life, much closer to the Lily Allen mould. An ode to romantic woe in the face of ‘seven negronis’, the latter is – perhaps – This Music May Contain Hope‘s most glaring flaw.

Having broken free of the ‘making music for the All Bar One & Love Island girlies’ narrative with her early mainstream pop-bangers, RAYE‘s maturity into the role of jazz-heartthrob is so much more refined than the often constant ‘I met a d*ckhead boy’ narrative, which she displays on tracks like ‘The Whatsapp Shakespeare‘, and ‘Beware… South London Lover Boy‘, burping out dialogue on the irresistible scumbag who will ‘Lime bike to your doorstep, spliff hanging from his lips’. At the ripe age of 28, RAYE‘s own judgement on romantic suitors should’ve gained so much more wisdom than that possessed by the target demographic she’s so desperately trying to please (ironically, All Bar One and Love Island girlies).

And yet, for every flicker of immaturity, there’s the unexpected leap to dramatic West-End style productions reminiscent of Hollywood’s golden era, smatterings of fourth-wall breaking lyrics (“I told you this was a sad song, I did try to warn you!”), and heartfelt personal dialogue between the singer and her Grandfather through ‘Fields‘. On ‘Life-Boat’, an array of voices repeat the mantra “I’m not giving up yet” above an emotive, goosebump-inducing ‘Fred Again..’ style dance-beat, whilst ‘Where The Hell Is My Husband’ (though now competing with Pharrell‘s ‘Happy’ for the title of ‘most overplayed track of all time’) is a brutal reminder of RAYE in peak flow.

Her pièce de résistance, outside of the buttery smooth ‘Goodbye Summer’ featuring Al Green, arrives in the shape of another all-star collaboration, as Oscar-winning composer Hans Zimmer is remarkably recruited (a literal snapshot of RAYE‘s current status) on the percussive ‘Click Clack Symphony’, a percussive production taking its name from the power behind the sound of high heels. “It’s about those times in our life when you need your best friends or your siblings to drag you out of the house and say ‘I know you’re not in the best place right now but we need to get outside,’” RAYE explained. In this case, Zimmer’s iconic swelling orchestration provides the perfect backdrop, ahead of album closer ‘Fin’, which lasts six minutes… Four of which consist of RAYE reading out the production credits.

Whilst busy, and often suffocated in mounds of arranged instrumentation, exposition and narrating, ‘This Music May Contain Hope’ battles through smothered areas to allow enough breath for the vast majority of tracks to soar. Loud and overbearing? Perhaps. But authentic, and unique? Most certainly. Though her innovation and unapologetic style, RAYE seperates herself from an otherwise dreary landscape of artists within the industry right now to stand elevated at the summit with yet another ‘Album of the Year’ contender.

Top 10: Haribo Products [RANKED]

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Kids and grown-ups love them so, but in the happy world of Haribo, WHICH products actually slap like peak Will Smith on Chris Rock, and which are a waste of your hard-earned pocket-money/wages/life savings?

Let’s kick off the Top 10 countdown with…

10. GIANT STRAWBS

An under-rated member of the Haribo family, the straws are a strict no-go when it comes to cups of pix & mix, on account of their rigid, and somewhat bloated size. But when it comes to a bag of cheeky Hazzas, their waxy texture and fruity juice burst cement a spot as a valued tenant of the community.

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9. TWIN SNAKES

Similar to their rivals over at the Natural Confectionary Company, Haribo come out swinging with their snakes, but on this occasion, mix things up by adding a ‘1 side sweet, 1 side sour’ plot-twist to proceedings. A true Sixth-Sense style slice of madness, but we’re here for it.

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8. HAPPY COLA

Sometimes, the classics are the best. A coffee in the morning(s), a cup of Horlicks in the evening(s), and a delicious milky English breakfast tea (just about any time of the day). But when it comes to sweets, there’s only one drink we’re interested in, and that’s the familiar taste of cola flavouring wrapped inside a vortex of gelatine.

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7. TUTTI FRUTTI

Unpopular opinion of the day… These little fellas are absolutely elite, even if their texture isn’t always friendly for those on the more neuro-spicy end of the spectrum (believe me, I know). If you can get over their odd coating, you’ll find a squirt of tropical heaven bursting all over your tongue (ooh er!), teaching the valuable life lesson that there’s something good in all of us.

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6. SODA TWIST ZING

Okay, it might be time to delete the sentence at number 8 where ‘cola’ was the only beverage we want in our Haribo, because in at number 6, is the crazy amalgamation of a fizzy sour bottle-shape, packed with cherryade, lemonade, and other-ade flavours. It’s a mad scientist’s taste sensation.

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5. JELLY BABIES

When it comes to Hazzas, what is the part we always look forward to most? The babies! (Alright, Epstein…) And here, Haribo give the fans what they want by plucking these delicious little freaks out of their ‘Super Mix‘ home and plonking them in together in a confectionary embodiment of ‘squatter’s rights’.

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4. GOLD BEARS

Weirdly refreshing, mind-numbingly sweet, and dangerously capable of becoming a choking hazard if particularly starving when consuming, The Gold Bears are the O.Gs. They’ve been there, done it, and got the acclaim to show for it, since 1922. Technically, Adolf might have even munched on these in his bunker. It’s a possibility.

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3. SUPER MIX

It’s giving… Milk bottles. It’s giving…. Anti-Hyrox friendly, on account of how addictive and insanely more-ish these little gems are. They’re now even available in a ‘Share’ size bag. But to be honest, there’s more chance of hungry snackers wanting to share a blood transfusion before sharing any of these.

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2. STARMIX

When you hear the word ‘Haribo‘, there’s a very strong chance this is the packet you imagine in your mind’s eye, and for good reason. Packed with all the ‘best bits’ from the brand, including the foam ‘fried eggs’, and those weird dummy/ring things, you can never go wrong with a bag of Starmix.

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1. TANGFASTICS

As Britney Spears once said… Give me, give me more, give me more, give me give me more. From the moment you savagely rip a corner of this packet off on account of never quite being able to undo them ‘properly’ like a bag of crisps, the euphoria hits your soul like peak-Jon Hamm. The undisputed Kings of the Haribo world, and if you don’t agree, we’re gonna check your hard drive.

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Which bag is your favourite Haribo? Hit us up, and start the debate!

Review: Ye’s ‘Bully’ Is The Best Kanye Album In 16 Years

It’s hard to be Ye.

When Kanye‘s popping out seminal albums like 2010’s ‘My Beautiful Dark Twisted Fantasy’ (arguably the greatest masterpiece of not just his own career, but the modern hip-hop generation), he’s labelled a narcissistic ego-maniac. When he’s airing his more vulnerable side in 2018’s vastly under-rated ‘Ye’ (featuring the iconic ‘I hate being bi-polar, it’s awesome’ artwork), his critics clamour for a return to his radio-friendly sound, questioning the lack of commercial melodies and Chris Martin collaborations. Fast forward to 2026, and in the form of ‘Bully’, the internet is suffering from an extreme inability to separate the man (and his various controversies in recent years), from the music. The latter, is the strongest Ye showing since Kanye‘s sparkling pièce de résistance, 16 years ago.

Gone are the half-baked ideas from 2021/22’s self-pitying ‘DONDA‘ & ‘DONDA 2’, and the messy unfiltered grunge from Ye‘s collaborative projects with Kid Cudi (‘Kids See Ghosts‘) and the gothic vulgarity of ‘Vultures‘ alongside Ty Dolla Sign. What remains, feels like the rebirth of Yeezy. West treats listeners to a whistle-stop tour of his ‘best bits’, combining his classic soul samples, with the big rasping beats and brash electric guitars of 2013’s ‘Yeezus‘. The release of ‘Bully‘ not only marks West‘s first solo album in more than four years, but also comes via a brand-new label partnership with Gamma, where Ye reunited with an old friend in Larry Jackson, who worked as an executive at Apple Music in the mid-2010s. The result of this reunion casts Kanye back into his ‘MBDTF’ era, amid a return to live shows with his SoFi Stadium performance on 1st April serving as West’s first U.S. stadium shows in nearly five years.

Packing a punch from the off, Ye‘s 12th studio album ignites with the aptly-titled opener, ‘King‘, bringing that ‘Black Skinhead‘ vibe, thanks to a fuzzy bass-line, wubbing with intent and throbbing effortlessly into Bully‘s sophomore production ‘This Is a Must’, which features playful lyrical pop culture reference, ranging from Donald Trump to Amy Winehouse. At just 1:26 in length, the track is an embodiment of a uniquely feeling ‘slim’ play-length of 42:35 across the whole album, despite a somewhat-bloated trackless of 18 potential singles. By the time ‘Bully‘ reaches the tail-end of its first act, Ye has truly hit peak flow-state, reeling off a consecutive trio of ‘Punch Drunk(a playful number hit with chops of children’s chorus which wouldn’t sound out of place on ‘Graduation‘), ‘All The Love (feat. Andre Troutman)(a superbly slick talk-box led production soaked in gorgeous retro synths from the ‘808s & Heartbreak‘ chapter), and the irrepressible ‘Father‘ alongside Travis Scott.

The video alone for this stellar piece of artistic storytelling has already surged to 10m+ YouTube views within a few days of release, cementing a spot as one of the most unique visuals in modern music. Aliens, conspiracies, and Michael Jackson-impersonators aside, the audio matches – and even threatens to overshadow – the visual art, such is the production prowess of Ye as he pairs gospel tones with a thudding beat which drops in with both purpose and menacing intent. ‘Bully‘ isn’t flawless, though, and for every ‘Father‘, there’s still the inconsistency of a track like slick R&B ballad ‘Whatever Works‘ which ironically, doesn’t quite work in this order of tracks, providing the slow and woozy sorbet of a ‘Slow Jamz‘ feel, after the chaos of the afforementioned trio.

Bursting into the second half of ‘Bully‘, West peels back his ‘Ye‘ mask to show a snippet of the vulnerable Kanye with a beautiful tribute to his mother on ‘Mama’s Favourite‘, snipping affirmations from her voice, taken from 2022 documentary ‘jeen-yuhs‘, before launching into the surprising sample of ‘You Can’t Hurry Love‘ by The Supremes. Focusing on themes of personal growth, the track – produced by Ye and 1SRAEL, includes a second verse created with an AI deepfake filter of West‘s own voice, showing his innovative streak certainly hasn’t dwindled in the face of public opinion of his persona. It is, in fact, tough to recall a Kanye album quite so heavy on the sampling side, with ‘Sisters and Brothers’ again remarkably maximising a classic (this time, Jonah Thompson‘s ‘Get Involved‘), and ‘White Lines‘, which prominently uses a live talkbox medley of Stevie Wonder‘s 1972 cover of The Carpenters’ hit ‘Close To You‘.

Andre Troutman deserves immense praise for the refreshment his inclusion on ‘Bully’ delivers, and likewise, the addition of CeeLo Green is a masterstroke from Ye, a full 16 years after the pair were competing in Billboard charts for a number #1 position shared by Ye‘s ‘Power‘ and CeeLo‘s ‘Forget You‘ in Autumn 2010. Bringing a real Western feel to the album lead track ‘Bully‘, Green‘s domineering vocal is underpinned by the haunting sounds of saloon doors swinging open in a score which would feel right at home in Ryan Coogler‘s ‘Sinners‘ and is inter-pierced by a cruel laugh which sounds akin to the classic catchphrase of Nelson Muntz in The Simpsons.

Dig to the core of ‘Bully‘ and opinion will be, rightly, split. In one camp, the scathing reviews of certain critics, who condemn Ye‘s “Cheap hit of retro-Kanye, custom-designed to please the diehards exhausted by his noxious antics” in reviews which spend 90% of paragraph space referring to West the person (Nazi references included), whilst the internet (and social media in general) is unanimous in the opinion that this ‘cheap hit’ is a welcome return to form for a rejuvenated being who is now finally finding his own soul once again following the devastation of his divorce (‘Damn‘ feels like an ode to Kim as he ushers the line, “Baby did you laugh today? I gave it all I had… At least I gave you that”). Make no mistake about it, ‘Bully‘ doesn’t quite possess the same gloss or raw authenticity as ‘The College Dropout’ and ‘Late Registration’, nor is it a 100% hit rate like the phenomenal freak of ‘MBDTF’ where literally every production on the track-list was as near to perfection as modern hip-hop fans are ever likely to encounter.

‘Bully’ has weak moments; The soothing lullaby of ‘Highs & Lows’, or the reflective nature of ‘Beauty & The Beast’ feel diluted, but for every wistful melody on ‘Bully‘, there’s also the experimental Latin-dance approach of Hispanic number ‘The Last Breath‘ with Peso Plum, the sharp-lyricism of ‘Preacher Man‘ (“The only G.O.A.T, the genius one!“) and the emotive feel of album outro ‘This One Here‘. Ye, the man, will continue to antagonise based on the history of his own remarks (his 2025 post on X: ‘My d**k too long for trans p***y’ has resulted in a blue backlash), but Ye the musician has not only just dropped his finest work since ‘My Beautiful Dark Twisted Fantasy‘… But potentially, as he also did in 2010…

The Album of the Year.

‘Bully’ is out now, on all streaming platforms.

Electronic Meets Classical as Symphony of Unity Releases ‘Orchestral Selection I’

The Symphony of Unity has officially released its new album, ‘Orchestral Selection I’, bringing a unique blend of classical and electronic music to listeners worldwide. This debut recording serves as a significant milestone for the project, featuring a curated list of symphonic reinterpretations of iconic dance anthems. The tracklist includes orchestral takes on legendary hits such as ‘Insomnia’ by Faithless, ‘Reload’ by Sebastian Ingrosso and Tommy Trash, ‘Universal Nation’ by Push, and ‘Mammoth’ by Dimitri Vegas & Like Mike.

The album also provides fresh perspectives on melodic masterpieces like ‘All That Matters’ by Kölsch and ‘In My Mind’ by Axwell, Feenixpawl and Ivan Gough. By moving these tracks from the festival mainstage to a symphonic setting, the release allows fans to experience the energy of electronic music through a different lens.

The ensemble behind the music consists of approximately 50 musicians led by conductor and composer Kevin Houben. Their work focuses on bridging the gap between traditional orchestral arrangements and electronic sounds, aiming to create an immersive experience that promotes values of diversity and collective empowerment.

The profile of the Symphony of Unity has grown rapidly following several high-profile appearances at Tomorrowland’s Freedom Stage. Their 2024 performance drew a record-breaking crowd for that specific stage, with similarly high attendance figures recorded throughout 2025. These milestones have helped the project expand its reach into regions including Belgium, Amsterdam, Dubai, Las Vegas, and Brazil. As the group prepares for upcoming world tours, the release of ‘Orchestral Selection I’ reinforces their mission of proving that music can transcend genre boundaries.

New Dance Sounds: Hardwell, Eli Brown & Pan-Pot + More

Dive in below to engross yourself in fresh new music that has been released today, you might even find your newest favourite!


Hardwell & braev – Believe [Revealed]

Premiered by Hardwell at Ultra last weekend, his collaboration with braev has officially arrived. The atmospheric anthem dives into a hard-hitting main room drop that feels a bit more refreshing than other recent Hardwell drops.


Eli Brown & Pan-Pot – Coming In Heavy [Arcane]

Eli Brown celebrates 100 releases on his Arcane label with Pan-Pot collaboration ‘Coming In Heavy’. The techno anthem has both angelic vocal sounds through the drops and a gritty vocal through the breaks. It’s a sick way to mark the occasion.


Jason Ross & TW3LVE – Let Go [Lost In Dreams]

Jason Ross is back with TW3LVE for ‘Let Go’. The melodic record is another terrific offering from Ross, who can do no wrong. The track feels like a great radio record that still feels perfect for fans.


KRITIKAL – Muevete [CruCast]

KRITIKAL lands on CruCast for the first time for ‘Muevete’, a high-impact single merging rolling Drum & Bass foundations with Latin rhythmic energy to create an epic result. Following a play from Andy C at Ultra, this will be a big one.


Julian Gray & Colleen D’agostino – HIGHER PLACE

Julian Gray unites with Colleen D’agostino for the brilliant ‘HIGHER GROUND’. The progressive, melodic anthem is terrific. Anything Colleen touches turns to gold, it helps when that gold is an already great instrumental.


Remix Of The Week: TOMORA – SOMEWHERE ELSE (salute Remix) [Universal]

TOMORA, the new duo comprising of Tom Rowlands of The Chemical Brothers and Norwegian singer-songwriter AURORA tap the talented salute to remix ‘SOMEWHERE ELSE’. They bring a super fun vibe to the track and highlights the catchy vocal from the original.

Anyma Kicks off ÆDEN Era With Joji Collab ‘Beautiful’

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Anyma has officially entered a bold new chapter. The multidisciplinary visionary has teamed up with Joji for a massive collaboration, ‘Beautiful’, marking the dawn of the ÆDEN era.

Driven by pulsing melodic rhythms and cinematic atmospheres, the record reveals itself as both a club-ready anthem and a cathartic listening experience. Co-produced by Dimitri Vangelis and Wyman, you can hear their melody talents shine through. Production credits also include BloodPop and Klahr.

On the new song, Anyma explained on Instagram: “I know it’s been a quiet period for me. Over the last 6 months I’ve been taking everything in, processing, and building something entirely new. After 20 years of nonstop touring, I felt the need to step back and focus on the art. Sometimes you have to reset to evolve. This record is the result of that process, and I truly feel it’s some of my best work yet.”

The world will get its first live look at this new era when Anyma headlines Coachella. His set is one of the most anticipated of the festival, promising a fully immersive audiovisual experience that will set the stage for his global takeover.

Immediately following the desert debut, the ÆDEN World Tour will travel to 12 countries. The run of dates will bring his all-new live show to Asia, the Middle East, Australia, and Europe.

Anyma is also returning to the White Isle for a massive summer residency. He will take over [UNVRS], the world’s first hyperclub, for a full summer residency on Tuesdays.

Eric Prydz Teases Further Swedish House Mafia Collaborations and New Label

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On the 27th episode of his recently relaunched EPIC Radio, Eric Prydz gave a recap of his Miami Music Week and shared a few more teases about what is next.

Prydz delivered an incredible set at the Resistance Megastructure at Ultra on the Friday, which he followed with a monumental moment joining Swedish House Mafia on the mainstage. As Prydz was actually a member of the group during its inception some twenty years ago, seeing them back together was a massive full-circle moment. Thanking the fans for their support, he simply stated that “the only thing I have to say is… to be continued“.

While it certainly felt like this might be a one-off performance, this latest tease suggests there is something more to come from the Swedes. Seeing them reunited in Miami was special, but even a small future project or another guest appearance would be something truly unique for the scene.

He also announced that he will be starting a new label called ‘Lycka Recordings’ (which means happiness in Swedish). The focus will be on the new tracks Prydz has been road-testing recently. Since EPIC Radio has returned, he has been open about the amount of music he is ready to release, and with a fresh label now in place, hopefully the wait is almost over.

At the tail end of the show, he played a special ID with Steve Angello called ‘Bedtime Stories’. This particular record was made by them around 2005 and never saw the light of day until he played it on this show in 2012. Prydz continued the teasing, mentioning he should talk with Angello to get this out. Fans can only hope, as it’s certainly a fan favourite.