Photography: Louie Mosscrop
From its early beginnings in Ljubljana to Berlin, Tzena has made a name for himself in the European underground scene. Praised for his genre-transcending sets that take listeners on a journey, his music brings positive vibes with an energetic yet elegant style. Tzena sits with us to open up about his story, music philosophy and dreams in this interview.
The Partae: Thanks for being with us, Tzena. The first question is about your name, where does it come from?
Tzena: It’s an anagram of my name Nace (pronounced Na-tze), a kind of Balkan wordplay that involves replacing syllables. At the time, I thought it might be a clever idea, as I believed that foreigners would find it easier to pronounce than my actual name. As it turns out, it’s quite the opposite so I’ve been considering a name change somewhere in the back of my mind.
The Partae: Tell us about your journey as a DJ. How did it start and how did you develop into what you are today?
Tzena: Well, it might sound a bit cheesy, but my journey into DJing started before I even knew what a DJ was. As soon as I got my first iPod or MP3 player, I just always wanted to plug it into some speakers and play music to friends.
Then, in high school, things took a turn when one of my closest buddies bought a DJ controller, at the time we were into mainstream EDM. I started feeling left behind: “He’s going to be a DJ and not me?”. I vividly remember thinking, “I’ve watched many DJs at parties, and I bet I could do it better. I want to do this!” But making the big move wasn’t easy. It felt like DJs were from another planet, and I had no idea where to start. Until one day, I walked into a store, bought a controller, and just like that, I was a DJ – at least in theory.
We started spinning at birthday bashes and high school parties, you know, the usual stuff. Slowly, I started discovering new music and expanding into different genres like tech house, techno and deep house. After high school, my sound horizons expanded as I started going to raves and parties in Ljubljana, mostly Klub K4. Since then, I began collecting records like a maniac. At that point, I didn’t know yet other DJs playing vinyl in the Ljubljana scene. I relied on this website called Decks to order new records each week – a bit of techno, a sprinkle of Romanian minimal, Kerri Chandler re-presses, whatever I could find.
That’s when I started connecting with the Slovenian scene and I found myself immersed in a more underground rhythm. Francesco Del Garda and Nicolas Lutz were two of the artists that I first heard at K4 and it was a transformative experience, not just for me I think, but for the entire scene.
The Partae: You are now based in Berlin, why did you decide to make the move? Was it primarily for your DJ career, or are there other motivations?
Tzena: Yeah, it’s been on the cards for a while. At first, I was hesitant because I was worried about losing my identity in a big, chaotic city like Berlin, you know? We were really building something solid back in Slovenia with Luckison. But then the pandemic hit, and I also got together with my girlfriend, who was a big part of the decision. Plus, I felt like I was stuck in Slovenia – not making much money, no other career prospects, and lacking inspiration for digging or making music. Berlin offered a fresh start with various opportunities. Living with just my girlfriend also meant fewer distractions and more time to focus on myself and my music. It was definitely the right move for me.
The Partae: It’s interesting how the music scene is becoming more genreless, drawing influences from different styles. Yet it’s somehow important for a DJ to categorize or label their music for the audience. How would you describe your music with three adjectives?
Tzena: Honestly, the tracks that inspire me the most are the ones that defy easy categorization. They blend genres in ways that make you go, “What even is this?”.
Moving beyond genres, some adjectives describe the essence of my music and my approach to making it.
The first would be “smooth”. I don’t even know if this is a real adjective for music, but it is something I like to maintain while playing.
Another one is “positive”. There’s this happy vibe in house music that I try to capture. It’s like the foundation. Overall, I’d say my music has a general aura that leans towards the light rather than the dark.
Oh, and I’ve been hearing people describe my music as “elegant” lately, which I think is pretty cool. So, let’s go with that – elegance.
The Partae: Let’s now talk about your methodology in making music. How do you discover new music? Are you more of a record store person, or do you rely on online platforms?
Tzena: I do a bit of both. Living in Berlin now, I’m lucky to have access to such a variety of record stores and I should definitely go digging more often. Sometimes I’ll have a week where I hit up all the shops, and then I might go a couple of months without buying anything. It varies. But yeah, I try to take advantage of being here.
Of course, I also search for anything online, it’s a mix of different platforms and online stores: Discogs, Beatport, Juno, Decks, Bandcamp – whatever I feel like that day. Lately, I’ve been getting into new releases more. There’s been a surge of quality and originality of production in the last couple of years so I get to play a lot of newer stuff.
The Partae: How about your live performances? Do you have a specific method when you’re prepping for a set or do you prefer keeping it more spontaneous?
Tzena: For me, one of the joys of DJing is figuring things out on the spot. I need the crowd in front of me to see what they react to before starting to put all the pieces together. Of course, I do some prep at home, especially with new records. But mostly, it’s about listening to tracks, understanding their vibe, and knowing how they start, how they end and how they flow. I tend to group tracks into different categories: Beginning of the set, big-time escalation, something in between etc.. That’s it. If I try to prepare too much at home, it just messes with my mood and somehow nothing works! Things come together better in the moment. That’s just how it works for me.
The Partae: You are part of the label Luckison together with other emerging Slovenian artists like Mayell, Mornik and Kosta and Tim Kern. Do you see the label as a platform for international exposure, or is it more of a casual project among friends?
Tzena: It was always more of an experiment than a serious project. The first couple of releases were just our own productions with no names. Whenever we felt like something was ready, we put it out but we didn’t really put much info out there, just a stamp on the record to see what happens. International exposure or not, the attitude was always meant to be casual.
The Partae: So, do you see the LuckIsOn leaning more towards releases or gigs?
Tzena: Definitely more towards gigs, and parties. The label is more like a safe space where to put music out there. We released other artists too. We had a release with some talented mates from London called Felon5 and we’ll have more with other artists in the future. We have to come across something truly interesting and unique – something fresh that hasn’t been heard before – that’s when we’re interested. Otherwise, we’re not actively hunting for music to release. If something falls into our lap and it feels genuinely cool and fresh, then we go for it. But we’re not in a rush to put out records just to keep things active. If we have something, great. If not, that’s fine too.
The Partae: And for you personally, do you prefer the production side or playing gigs?
Tzena: Personally, I’m still more of a DJ than a music maker. Playing music is what I enjoy most. But I do love being in the studio too. Both take a lot of time and dedication, especially if you’re juggling it with a day job. I enjoy both, and I started producing more so I could make tracks to play live. That’s how it all started to get more serious. So yeah, I’m more of a DJ than a producer, but they go hand in hand for me.
The Partae: Where do you see yourself playing in Berlin or Europe in the future? Any dream venues or festivals?
Tzena: I had a bucket list moment last year at Closer in Kyiv, Ukraine. Played there in February 2023: Incredible club, with amazing people. They’re struggling now due to the war, but they’re still doing cool daytime parties. Also, Robert Johnson in Offenbach (DE) has always been a dream spot. In Berlin I feel really comfortable at Hoppetosse and Club der Visionaere. Sometimes I forget how much of a dream come true it is to play there. There are plenty of clubs or festivals that I could name, but there are so many cool spots all over the world that it’s hard to single out any particular one. If I can just manage to play out regularly that’s a dream come true on it’s own!
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A mesmorising soundscape, Rain is the latest creation from the illustrious collective Queens Of Club
A captivating metaphor & double entendre. On one hand, it represents the cleansing downpour of emotions that washes away the residue of a night’s revelry. Yet, it also symbolises the unstoppable nature of Queens Of Club’s musical prowess. A force as steady and inevitable as a heavy rainfall. Featuring guest vocals from Evangeline, Rain transports listeners through a whirlwind of sensations.
Sultry beats and hypnotic pop melodies intertwine, mirroring the longing for intimacy after a night of boundless energy. But beneath this shimmering surface lies a darker complexity, a current that pulls the listener deeper. It’s here that the Queens Of Club’s true essence unfolds – moonlit, ethereal, and enigmatic. Let Rain wash over you, immersing you in its spellbinding allure. Surrender to the rhythm, and allow it to guide you through the emotional landscape it creates. Rain is more than just a song; it’s an experience. Out Now on all Platforms.
https://open.spotify.com/
What inspired the creation of Tracks To The Max and its focus on authentic promotion for Spotify?
Our current focus is on developing the artists of tomorrow, providing them with the tools and platform they need to succeed. With our extensive experience and passion for music, we are well equipped to guide emerging talents towards achieving their dreams. We specialize in driving organic growth and engagement on popular streaming platforms.
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Spotify promotion is crucial for artists looking to establish themselves, expand their fan base, and succeed in today’s highly competitive music industry landscape. However, it’s important to note that while Spotify promotion is powerful, it should ideally be part of a broader, multi-platform promotional strategy to maximize reach and impact. Most importantly, the Spotify promotion must be completely real and organic; otherwise, you’re just wasting your time and money. Tracks To The Max promises real Spotify promotion, not like many others online.
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Could you discuss some key features of Tracks To The Max’s promotion services and how they ensure authenticity?
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Our bot-free promotion, results-oriented approach, 10 years of experience, and 100% refund guarantee make us stand out from others.
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How it works:
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Select a campaign size that fits your budget and requirements, then place your order.
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We pitch your track to our curator network within 1-2 days. They’ll review your song within 1-7 days to consider it for sharing.
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Your song has been placed on a playlist(s), and it will stay there until you reach your campaign goal. You’ll also gain access to our customer dashboard.
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Our support team is always available on Working hours: Monday-Friday, 9am-6pm (CEST). Our pricing is transparent and tailored to accommodate artists of all budgets.
How does Tracks To The Max cater to artists of different budgets and levels of experience? Our pricing is transparent and tailored to accommodate artists of all budgets. From starter packages for newcomers to premium options for established acts, we offer a range of solutions to suit your promotional needs.
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We’ve worked with big names like Mason, Carl Cox, Paul Oakenfold, and Shermanology, as well as Universal USA, DGTL, Labelworx. Plus, we’ve helped lots of independent artists and labels too.
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In addition to Spotify, we also offers promotion services for and catering to SoundCloud YouTube, artists across different platforms. Whether you’re an aspiring rapper or an established indie band, our comprehensive solutions are designed to meet your specific needs.
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Our current goal is developing the independent artists of tomorrow, providing them with the tools and platform they need to succeed. With our extensive experience and passion for music, we are well-equipped to guide emerging talents towards achieving their dreams. We want to help as many artist as possible to navigate to the complexities of digital marketing so they can focus on what you do best—creating unforgettable music.
With over 10,000 happy customers on board, it’s time to join the success train and give your music the recognition it deserves. For more info on prices and options, check out our website.
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Your latest album, Evensong, seems to be a departure from your previous work, incorporating vocal music and drawing inspiration from Early Christian concepts. What led you to explore this new direction?
“Evensong” came to me in a vision. One day in October 2021, I was suddenly struck with the idea of incorporating songs by Hildegard of Bingen into a tapestry of string, piano, and synthesizers. All at once, the title and concept of the album were clear to me, and from that day forward, I was laser-focused on realizing this vision. I can’t really say where this album came from. Perhaps it was divine intervention, as the album felt like it landed in my lap, fully formed.
Could you share some insights into your creative process when incorporating the plainchant melodies of Hildegard of Bingen into your compositions for Evensong?
Although the theme and concept of “Evensong” was always clear to me, this ended up being the most challenging album I’ve ever made. My creative process was very slow, taking me a full year of experimenting with different sonic combinations and sounds before arriving at the one that felt right. Once I had just the right approach, the album came together fairly quickly. While composing the music, I was using existing recordings of the different chants and placing them into my demo tracks. Once everything was flowing, I then had to transcribe the vocal parts into traditional sheet music so that we could record the vocals in the studio.
The concept of Evensong takes listeners on a journey through various stages of life, from conception to beyond death. How did you approach translating these themes musically?
Very slowly and carefully! Once I decided to use the Church modes as my guide, things became a lot easier. It was a happy coincidence that the first Hildegard chant I adapted was “Favus distillans”, which talks about the virgin Ursula waiting to embrace God. I took this as a metaphor for conception, and the image of an ovum floating in the Fallopian tubes waiting to be fertilized. This image led to the sounds you hear on “Evensong 1”. The album then proceeded from there, moving through the different stages of life, using an ascending pattern through the Church modes as the guide.
You’ve been composing music for nearly three decades now. How has your approach to music evolved over the years, and how does Evensong reflect this evolution?
Well actually, I’ve been composing for over 40 years, and recording albums for 30 years. My approach to music has always come from a place of improvisation and experimentation, while exploring the mysteries of life and death. Each album has explored a different theme or idea: memory, death, mysticism, grief, loss. While the sounds and instruments differ from one album to the next, there is always a common thread that weaves through the entire catalog.
Can you elaborate on the significance of the church modes and their influence on the different tracks in Evensong? How did you use these modes to convey the emotions and narratives of each stage of life?
The Church modes were the key to how this story unfolds. Since I had chosen “Favus distillans” as the opening chant, and this chant is written in Phrygian mode, the subsequent chapters of the story were influenced by the modes that follow Phrygian. So, “Evensong 2” has a very mystical and magical feel to it because it’s in Lydian mode, while “Evensong 3” is more uplifting and childlike because it’s in Mixolydian. Those two tracks are about early childhood, and the sense of play and wonder that we all have at that age. Those two modes really helped express those emotions. And this was also the case with Aeolian (Evensong 4), Ionian (Evensong 6), and Dorian mode (Evensong 7). I decided to end the album with the same mode that I began with (Phrygian), since it felt right to close the circle and take the listener back to the beginning of the journey.
The combination of classical textures and modern timbres in Evensong creates a unique sonic landscape. How did you strike a balance between tradition and innovation in your production process?
This has always been a big mystery to me! When I’m working, I find myself in “the zone” and I don’t really remember how the music is made. I am always searching for new sounds and textures, and in this case, I combined those new sounds with the traditional sounds of voices and strings. Much of it was created intuitively, and I was often very surprised by the outcome. “Evensong 3”, in particular, was a huge surprise to me, because the Hildegard song that I used (“Columba aspexit”) ended up fitting perfectly into that percolating synthesizer music. It was an experiment that simply worked.
The album’s fifth track, “Evensong 5,” is described as the most intense. What inspired the intensity of this particular piece, and how does it contribute to the overall narrative arc of the album?
“Evensong 5” deals with the conflict and struggles of adulthood, as well as the uncertainty we all face. It was a challenging piece to compose. It is expressing that crisis point in our lives between childhood and old age. It’s the turning point of the album, just as it is the turning point in our life’s journey.
What role do the four female voices play in Evensong, and how did you approach integrating them into the compositions?
The voices are the main characters in the story. They are like the narrators, guiding you through the journey. As such, it was more about integrating the music into the vocals, rather than the other way around. The voices and the text were the focal points around which the music grew and developed.
Your music has often been described as deeply contemplative. How do you cultivate this sense of contemplation in your compositions, particularly in Evensong?
I think that it grows out of my own contemplations. I put myself completely into my work, and my music is a direct reflection of what’s going on for me as I compose it. It’s a very personal creative process. Since I am a fairly solitary person who spends a lot of time outdoors contemplating life’s mysteries, this comes through naturally in the music that I create.
Can you tell us more about the plainchant melody you wrote in homage to Hildegard’s style for the album’s finale?
For “Evensong 8”, I found an Anglican prayer for the end of the day, and this became the text. I composed an original plainchant in Phrygian mode to express the words and the images in the text. That melody came to me intuitively. It wasn’t something that I spent a great deal of time on. Much like the rest of the album, “Evensong 8” felt like it arrived in my studio fully formed
As a composer based in New York, how does the city’s vibrant music scene influence your work and artistic vision?
I find myself being more influenced by the art and architecture of New York City. I regularly visit the Metropolitan Museum of Art, and other art museums and galleries around the City, and this inspires me a great deal. I don’t attend that many music events, surprisingly. I sort of live in my own little bubble!
Looking ahead, what do you hope listeners will take away from Evensong, and what can they expect from your future projects?
I hope that people are inspired by “Evensong”, and that the music accompanies them on their own life’s journey. The same goes for my future albums. I never know where the journey will take me next.
Photo by: Tom Southey
Sydney artist Lorenzo Guevarra has just released his debut single, a stunning indie folk track titled ‘As Well As I Do’. A bewitching song built up of warm acoustic strings, twinkling chimes, as well as Lorenzo’s gentle and velvety vocals, this debut release marks Lorenzo as a true indie folk treasure in the making.
Inspired by the likes of Passenger and Damien Rice, Lorenzo leaned into the styles of many of his musical influences while working on ‘As Well As I Do’, looking to the former particularly in the writing of the track, and to the latter in its production:
“The song was written on acoustic guitar and has seen little change over the years. At the time of writing, I was obsessed with Passenger and loved his way of fingerpicking the melodic lines of his songs before the words came in… At the time of recording I was listening heavily to Damien Rice’s ‘My Favourite Faded Fantasy’ record and drew some inspiration from its production, particularly the orchestral arrangement of the tracks. The string section ideas came organically as we kept replaying what we had. The song’s melody left much space to experiment so we didn’t have to force anything.” LORENZO GUEVARRA
Written by Lorenzo back in 2017, shortly after he graduated from university, ‘As Well As I Do’
was “inspired by two of [his] friends who started a relationship when [they] were in school. It was a largely turbulent one, constantly reshaping itself over the course of [their] education. The heart of the song was sparked by how they handled the “final” breakup. There was a mutual understanding that it was for the better and lacked the violence, drama & ugliness that usually accompanied the enterprise.” Lorenzo remarks that they “were about 20-21 which [he] thought was impressively mature.”
Coming back to this song at a later point, with different experiences and perspectives, Lorenzo shaped the track into what it is today. In the midst, then, of “processing a recent breakup of [his] own, the memory of this song helped [Guevarra to] maintain a state of grace throughout the ordeal” in a “roundabout way.”
Remoulding and readjusting the tune into its final, glittering form, Lorenzo’s years-long project makes for a deeply impressive debut single, demonstrating the passion, patience and care which inevitably went into the end product.
‘As Well As I Do’ is out everywhere
‘As Well As I Do’ is out now
Lorenzo Guevarra: triple j Unearthed | Instagram | YouTube
Bringing the track to Melbourne’s streets, Jack Daniel’s is offering fans complimentary rides between some of the city’s most popular venues in a pair of racing inspired supercars
In celebration of its partnership with the McLaren Formula 1 Racing Team, Jack Daniel’s Tennessee Whiskey is bringing the exhilaration of the racing circuit to Melbourne’s streets by offering fans the exclusive opportunity to take a complimentary adrenaline-fuelled drive in a pair of luxury supercars via some of Jack’s favourite venues.
From Friday 22 to Sunday 24 March, ‘Jack’s Rides’ will transport locals and visitors alike from the city to South Melbourne and back, whether they were lucky enough to snag a ticket and are getting amongst the action at Albert Park, or just want to soak up the heart-pumping energy of the circuit off-track.
Those looking to roll up on race day in style will be able to book a ride from 12:00pm each day, with the supercars picking up fans in pairs from the Next Hotel on Little Collins Street in the heart of the city and dropping them off at South Melbourne icon, the Golden Gate Hotel – just a short stroll from the Albert Park entrance.
Then, for fans keen to rev their engines into the night, until 10:00pm each night, there will be an option to add an electrifying evening ride from the Golden Gate Hotel to popular drinks den, George on Collins or the city’s largest rooftop bar, Good Heavens.
To book a ride, fans can register their name with the Jack’s Host at the entrance of each of the designated venues. Each ride will also have a complimentary Jack Daniel’s cocktail waiting at the finish line.
As an added bonus, each pair of passengers will also have the opportunity to communicate with each other through on-board headsets just as a driver would in a real racing car.
Excited to bring a taste of the race track to the Melbourne masses, Tom Rogers, Senior Brand Manager at Jack Daniel’s Australia, commented:
“Our partnership with the McLaren Formula 1 Racing Team is all about giving fans unique opportunities to celebrate the best in team sport. Through offering rides in some of the most exclusive
supercars in Australia, we’re so excited to be giving fans the chance to not only see, but feel first-hand the thrill of being part of the pinnacle of racing.”
Beyond the Jack’s Rides: Luxury Supercars Experience, Jack Daniel’s will also be delighting fans with a series of venue takeovers at some of Melbourne’s most popular venues over the race weekend including the Next Hotel, George on Collins, Good Heavens and Golden Gate Hotel.
Tracks To The Max
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Can you tell us about the inspiration behind your new single, “Miss Miserable,” and what message you hope to convey through it?
I was inspired during a low time in my life. There were lots of thoughts in my head and I realized in that moment that ‘this would sound good as lyrics.’ There’s no outright message, it’s more of an expression of my feelings and for those who can relate to how I felt and what I went through, to ensure they don’t feel alone in their own feelings.
How does “Miss Miserable” fit into the larger narrative of your music journey and the evolution of your sound?
Miss Miserable is the last song I’ll be releasing before my upcoming EP which is a completely different sound to my early works and Miss Miserable. You could say it’s the closing chapter of that era. I want to make bolder creative choices in my future work, incorporating genres that wouldn’t appear in Miss Miserable and other works prior to that.
What were some of the challenges you faced while creating “Miss Miserable,” and how did you overcome them?
For Miss Miserable, it was more of a method of expression, an outlet for all my emotions so I felt like its production wa more therapeutic than challenging.
Could you elaborate on how your influences, such as BABYMETAL, Poppy, and Bring Me The Horizon, have shaped your approach to music, particularly in this latest release?
For me, the topics these artists sing about are my main takeaways from their creations. They sing about heavy topics and are very emotion-driven. For Miss Miserable in particular, I wouldn’t say they were my main influences but it’d be my guitarist since he was the one who wrote out the riffs and such, I wrote its lyrics and melodies.
You’ve described “Miss Miserable” as an ode to your younger self. How did you navigate the process of channeling personal experiences into your songwriting?
One of the things that helped me get into the mindset was reading the diaries of a younger me. It was like I was a penpal from the future, conversing with her as I wrote.
“Miss Miserable” marks the beginning of a new era for you. Can you share any insights into what listeners can expect from your upcoming music releases?
Expect the unhinged. I was more timid at the start, but now I’m holding back way less when it comes to my ideas and experimenting.
How do you balance the infectious energy and raw emotion present in “Miss Miserable” with your intricate guitar work and songwriting prowess?
I think teamwork made both aspects balanced. While my guitarist worked on the production of the instruments, I worked on the melodies and lyrics and the overall of its production to give the song its ‘RinRin’ vibe.
“Guns and Grenades” received critical acclaim and won several awards. How does the success of that single influence your approach to releasing new music, especially “Miss Miserable”?
For me, it made me want to change up what I make. I don’t want to always do the same thing. I love experimenting and exploring so whenever something’s successful, I try going a different direction.
Your music has garnered significant attention on streaming platforms and radio stations. How do you leverage these platforms to connect with your audience and promote your music effectively?
By getting assistance from our publicists and releasing songs as frequently as possible, creating more social media content as much as I can, taking advantage of the free marketing platforms available.
As you continue to tour and perform live, how do you adapt your music to engage different audiences, especially considering your diverse influences and sound?
Based on my experiences so far, I can see that my audience enjoys what I’m doing. If anything, the positive reception encouraged me to be unafraid to express myself through my music.
Can you share any memorable experiences or highlights from your recent Australian tour and performances with renowned rock and metal bands?
The highlight of my experience was hanging out with like-minded individuals. The bands I played with, Live Like Animals and Inferiority Complex, and I were a little awkward at first but we got along so well and even had a killer game of mini golf. It’s always great to make connections with people with the same passions I do because we go from strangers to good friends at the end of it all.
With representation in multiple regions, including Australia, New Zealand, China, and Japan, how do you navigate the challenges and opportunities of reaching audiences across different cultural landscapes?
Music is a universal language that can transcend a lot of things and reach people no matter where they are. There will always be fans of metal and rock around the world and I want to connect with them through my music despite the different cultural landscapes while respecting that culture’s customs.
ARC Music Festival Announces Lineup for 2024 Edition
Returning to Chicago’s Union Park This Labor Day Weekend
August 30 – September 1
Featuring Armand van Helden, Carl Cox B2B Green Velvet, Charlotte de Witte, Derrick Carter B2B Mark Farina, Detroit Love (Carl Craig B2B Moodymann), Disclosure, Dom Dolla, Gorgon City, Hiroko Yamamura B2B DJ Hyperactive, Honey Dijon, Idris Elba, Jayda G, Kaskade Redux, LP Giobbi, Purple Disco Machine, Reinier Zonnneveld Live, Sara Landry, Skepta, Sven Väth + More
Spanish Party Outfit Elrow Returns as Stage Host
Passes On
https://arcmusicfestival.com/
ARC Music Festival, Chicago’s flagship house and techno festival, has revealed the lineup for its 2024 edition taking place from August 30th to September 1st. Returning to the heart of the city at Union Park this Labor Day Weekend, ARC’s fourth iteration will be soundtracked by the world’s leading house and techno selectors in the historic birthplace of house music.
Since its inception, ARC has bridged a diverse range of global and local musical influences and audiences, entrenching itself as a cornerstone in the global festival circuit while shining a spotlight on the rich cultural heritage of Chicago. ARC’s fusion of cutting edge production, progressive lineup curation, and emphasis on educating the next generation of electronic music listeners on its origins has elevated its impact and appeal to an international scale.
Led by Auris Presents, Chicago’s premier producer of experiential festivals and events, ARC fans will also be treated to an expansive slate of intimate ARC After Dark afterparties late into the morning hours. After Dark programming will run five days from Thursday to Monday, showcasing a variety of uniquely curated parties featuring artist aliases, special b2bs, label takeovers, plus select acts outside of the festival lineup. The after party series spans over 13 venues, 30 parties, and 80 artists, and is exclusively available only to ARC festival pass holders.
A host of headlining acts lead ARC’s festival lineup including GRAMMY-nominated brotherly production duo Disclosure, dance music stalwarts Carl Cox B2B Green Velvet, a special house set from legendary grime pioneer Skepta, and Chicago-born globally renowned visionary Honey Dijon. Top tier acts continue to line the bill with Belgian techno powerhouse and KNTXT label head Charlotte de Witte, GRAMMY-nominee and in-demand hitmaker Dom Dolla, and German techno veteran Sven Väth.
In line with ARC’s forward-thinking approach to sonic curation, unique back to back sets and special collaborations elevate its lineup to new heights. This includes a back and forth of in-demand house acts Hot Since 82 B2B Chris Stussy and Sonny Fodera B2B Eats Everything, the high BPM sonics of DJ Heartstring B2B Partiboi69, and the collaborative GOLFOS project of Pawsa and Dennis Cruz. Additional highlights include UK powerhouse duo Ben Sterling B2B ROSSI., clubland favorites DJ Boring B2B Young Marco, and a meeting of new and old school with Dennis Ferrer B2B HoneyLuv.
Other back to back spectacles on the ARC lineup feature Detroit meets Chicago sets from the pioneering Detroit Love (Carl Craig B2B Moodymann) plus seasoned selectors DJ Holographic B2B Shaun J Wright, along with dual Chicago back to backs from house architects Derrick Carter B2B Mark Farina, Hiroko Yamamura B2B DJ Hyperactive, and Marshall Jefferson B2B Gene Farris.
ARC will showcase modern house luminaries including disco funk master Purple Disco Machine, chart-topping production duo Gorgon City, the melodically-tinged Kaskade Redux set, Bronx-born duo The Martinez Brothers, inimitable disco queen Jayda G, and piano-house icon LP Giobbi. The lineup will also feature Dutch duo ANOTR, innovative GRAMMY-winning artist Cassian, breakout star Mau P, Dirty Disco party head AZZECCA, and fan-favorite actor and selector Idris Elba.
ARC will continue to lean into its heavier techno curation led by the early 2000s influenced productions of German DJ Klangkuenstler, Filth On Acid heavy hitter Reinier Zonneveld Live, the high priestess of hard techno Sara Landry, German electronic duo FJAAK, French DJ and producer Nico Moreno, and versatile Ukrainian act Daria Kolosova. For more eclectic sonics, fans can look forward to Jazz-inspired Scottish musician Barry Can’t Swim, lo-fi house selector DJ Seinfeld, cross-genre producer Logic1000, fast rising UK bass and garage phenom Sammy Virji, and the melodic high bpm stylings of KETTAMA, X CLUB., and salute.
Global house and techno fans will be treated to an immersive journey at ARC, with curated production elements and art to guide them between each of its four distinct stage environments. ARC will return all four of its stages from 2023 including the industrial Grid stage, the interactive and psychedelic production of Spain’s celebrated elrow alongside its renowned performers, the deeper sonics of the Expansions stage, and the newest fan-favorite, Area 909 – an homage to house and techno’s foundation in a raw and energetic setting.
Passes go on sale at arcmusicfestival.com
ARC Music Festival 2024 Lineup
ANOTR
Armand van Helden
Avalon Emerson
AZZECCA
Barry Can’t Swim
Bastian Bux
Beltran B2B ChaseWest
Ben Sterling B2B ROSSI.
DJ Boring B2B Young Marco
Carl Cox B2B Green Velvet
Cassian
Charlotte de Witte
Daria Kolosova
Dennis Ferrer B2B HoneyLuv
Derrick Carter B2B Mark Farina
Detroit Love (Carl Craig B2B Moodymann)
Disclosure
Dom Dolla
Dunes Of Dawn
ELKKA
FJAAK
GOLFOS (Dennis Cruz B2B Pawsa)
Good Girls (DJ Lady D B2B Lori Branch B2B VITIGRRL)
Gorgon City
DJ Heartstring B2B Partiboi69
DJ Heather
Hiroko Yamamura B2B DJ Hyperactive
DJ Holographic B2B Shaun J. Wright
Honey Dijon
Hotpretty
Hot Since 82 B2B Chris Stussy
House In HD (Terry Hunter B2B Mike Dunn)
Idris Elba
Jayda G
J.Worra
K’Alexi
Kaskade Redux
KETTAMA
Klangkuenstler
Logic1000
LP Giobbi
Marshall Jefferson B2B Gene Farris
Mau P
Meduza
Monty Kiddo
Nico Moreno
Oppidan
Purple Disco Machine
Reinier Zonnneveld Live
Riordan
salute
Sammy Virji
Sara Landry
DJ Seinfeld
Skepta
Sonny Fodera B2B Eats Everything
Sven Väth
SYREETA
The Martinez Brothers
Tini Gessler
Très Mortimer
X CLUB.
Date: 17th August
Location: Beckenham Place Park, London
Tickets: www.
This summer, globally renowned drum & bass celebration Hospitality In The Woods returns to the beautiful Beckenham Place Park in London for another unmissable day of raving in the midsummer sunshine, following a spectacular sold out edition in 2023. This unique one-day celebration takes place on Saturday 17th August 2024 and explores the whole spectrum of drum & bass, thanks to incredible artists such as Pendulum (DJ Set), LTJ Bukem, Spectrasoul, Kings Of The Rollers, Flava D, High Contrast, Break and many more. It truly is the biggest, broadest and best UK drum and bass festival, so get your tickets now at www.hospitalityinthewoods.
Hospitality is a widely recognised and influential brand celebrated for its musical innovation and its reputation as a friendly, diverse and inclusive community. This is showcased at Hospitality In The Woods where the entire D&B family is reunited to create non-stop, sun-kissed musical memories. Not only does Hospitality bring together like-minded ravers, but also serves as a connecting hub for some of the biggest brands and labels within the scene. This year, Beckenham Place Park will once again be transformed into drum & bass paradise, with five bespoke stages hosted by Hospitality, Hospitality Friends & Family, Rampage, an insane link up by two of Bristol’s finest, RUN & Rumble In The Jungle, and a very special 20 Years of Shogun Audio celebration. You will be sure to hear everything from liquid to neurofunk, old school classics to new school flavours and everything in between.
The latest wave of names include Pendulum, High Contrast, Flava D b2b Lens + P. Money, Kings of The Rollers, LTJ Bukem, Flux Pavilion, Nu:Tone, Break, Skeptical, Dillinja b2b Randall, Mandidextrous, Fox Stevenson, Pola & Bryson and tens more across the five stages with special guests such as Mungo’s Hi Fi, Spectrasoul, Sasasas vs Basslayerz, Ed Rush & Optical and many more to come.
The venue offers a fantastic escape with its picturesque green landscapes, a serene lake, a grand mansion, and ancient woodlands— easily accessible in London with various transportation options nearby. Not only is the venue incredible but the production across the site is second to none with each stage offering a unique immersive experience with world-class sound systems and show-stopping stage decor. Super tasty street food stalls will also be on site to fuel your raving, The Hospital Shop will be set up for you to purchase your finest raving garms, plus there will be chill-out areas available in case you need to catch your breath.
“We can’t wait to reunite with the entire drum & bass family, connecting brands and fans to celebrate the music we all love” says the team.
Be sure to join the Hospitality family this August down at the Woods for an incredible day of raving in the midsummer sunshine. This is not to be missed, secure your tickets at www.hospitalityinthewoods.
Title: The Future Is Now + The Truth
Label: Spinnin’ Records/Future Rave
David Guetta and MORTEN are back and stronger than ever with two blazing hot new records together – “The Future Is Now” and “The Truth,” which serve as stunning examples of their “Future Rave” sound movement. Coined for their fresh combination of high-energy and underground sounds, Guetta and MORTEN‘s “Future Rave” explorations have experienced an impressive output of festival hits that resonate with both veteran and new ravers alike. The duo dives into the melodic side of the genre with “The Future Is Now,” which fuses punchy chords with arpeggiated drops and a driving techno beat with ominous spoken-word vocals that lend the track its basement-club appeal. The second track “The Truth” clearly defines the guys’ mission to mesmerize today’s dance crowds, blending sturdy bass chords with heavy techno beats, spacious sound effects and a hypnotizing, vocally driven breakdown. Guetta and MORTEN are more than ready to hit the ground running in 2024 with their already signature sound, as they have also just announced their epic “Future Rave” residency at the world’s iconic Hï Ibiza super-nightclub, where they’ll be taking fans down the rabbit hole all season long. Keep an eye out for official residency dates, guest artists, and more new music coming from the “Future Rave” founders very soon.
David Guetta
DJ. Producer. Artist. David Guetta is a musical trailblazer and an international icon. With 2 x Grammy awards, 11 x Grammy nominations, 7 x UK number 1 singles, over 40 billion global streams, and 50 million records sold worldwide, and is currently the 4th most streamed artist on Spotify with over 75 million monthly global followers. Guetta has most recently achieved the “Producer of the Year” award by the BRITs in recognition of his production successes. The French producer mastermind has collaborated with some of the world’s biggest stars, including SIA, Nicki Minaj, Rihanna, Justin Bieber, Black Eyed Peas, Shakira, Ariana Grande, Kid Cudi, J Balvin, Becky Hill, Raye. Such work has resulted in numerous hit singles, such as “When Love Takes Over,” “Sexy Bitch,” “Memories,” “Where Them Girls At,” “Without You,” “I Gotta Feeling,” and “Titanium” which has over 1 billion streams. Guetta has stormed into 2023 with his new dance smash – “Baby Don’t Hurt Me,” with the two pop megastars Anne-Marie and Coi Leray. It arrived as the highly anticipated follow-up to Spotify‘s global #1 and streaming monster – “I’m Good (Blue)” with Bebe Rexha. The track earned Guetta his eleventh Grammy nomination, receiving a nod for “Best Dance/Electronic Recording,” has garnered 1,8 billion global streams and simultaneously hit #1 at the US Top 40 & US Dance Radio charts. David Guetta demonstrates time and time again why he is the most cherished electronic artist of our generation.
MORTEN
MORTEN has kept his incredibly innovative and trademarked sound ringing through platforms across the globe. As the co-founder of “Future Rave” and following his immense hits over the last few years, MORTEN has created magical tracks in collaboration with David Guetta. The two close friends coined the “Future Rave” genre, releasing a 4-track collaborative EP, “New Rave,” and collaborations with Lanie Gardner, RAYE, and John Martin, to name a few. Their “Future Rave” sound has garnered more than 1B streams on all platforms. He has gathered an audience of over 3M monthly listeners on Spotify alone, releasing hit after hit, with the Guetta collab being in the top 5 of the most played records in the world by DJs for 7 weeks. With a fully packed tour that regularly sees him perform on the mainstages of EDC Las Vegas, UNTOLD, and Tomorrowland, MORTEN is the most touring artist of 2023, with over 200 shows across the world. His ability to transform his music between melodic, captivating vocals and his well-known, well-recognized snare and bass-heavy drops sets him apart from most artists. After influencing the entire industry with their sound, a hugely successful debut US tour selling out Exchange LA, Brooklyn Mirage, to name only a few venues, and a performance in front of thousands on EDC Las Vegas‘ mainstage, David Guetta and MORTEN brought “Future Rave” to Hï Ibiza every Friday for a groundbreaking 18-week residency for two consecutive summers. Creating an entirely new culture with this sound, residencies on the legendary island of Ibiza are the testimony of the change David Guetta and MORTEN have been bringing to the scene. MORTEN has also had fantastic success with his merchandise collection “BBA“, the most successful merchandise line in Denmark, which has sold out within hours after each collection has dropped. Not only did he release his long-awaited solo tracks “No Good,” “The Drill,” “Unforgettable,” and “Good God,” MORTEN continues to prove his artistry spans even further by having his own resident radio show “Future Friday” with Tomorrowland‘s One World Radio. The Danish artist has graced the stages of some of the most prolific festivals in the US, including performances at Ultra Music Festival, Sunset Music Festival, Something Wicked, and Life in Color Miami, to name a few. He continues to dominate the international music scene, performing at stables such as XS and Encore Beach Club in Las Vegas and playing mainstage at Ultra in Miami and Tomorrowland. Also, on stage, MORTEN teams up with David Guetta at shows such as Creamfields and on Guetta‘s European arena tour, performing in front of 20000 ecstatic fans each night.
Title: Different Worlds
Label: Ultra Records/Sony Music
Multi-platinum Aussie producer Hayden James and California-based artist Anabel Englund join forces for their new record “Different Worlds,” a dynamic house gem that combines James‘s signature dance-pop style with Englund‘s smoldering vocals. Featuring undulating organic basslines with breezy melodies that build into a series of euphonious drops, the track also packs an emotive punch with its ‘who am I without you?‘ riff. Hayden and Anabel are both gearing up for a massive 2024, with both set to release more music very soon and her gearing up for her new interesting projects, so “Different Worlds” serves as a perfect prologue to what’s coming. With festival season almost upon us and some epic performances scheduled for both of these talented artists, Hayden James and Anabel Englund‘s hot new track will be coming to a dance floor near you and radio airwaves soon!
“My latest track, ‘Different Worlds‘ with Anabel Englund, feels like ‘Foolproof‘ and ‘We Could Be Love‘ had a baby. We wrote it last year and had no real plan to release it. I ended up playing it on NYE at a festival, and it kinda went nuts. I sent the crowd’s reaction to Anabel, and here we are.” – Hayden James
“‘Different Worlds‘ is about a change of heart towards the future you thought was always certain. It’s a gentle way of moving forward and acknowledging differences.” – Anabel Englund
Hayden James
Award-winning music producer Hayden James emerged as a quintessential sound of the summer with the release of “Something About You” in December 2014, igniting the dance music scene and earning Gold Certification in his homeland of Australia. Since then, his electronic-pop creations have captivated a global audience, amassing over half a billion streams. October 2017 saw the platinum success of “Numb,” featuring GRAACE, while 2018 solidified his breakout status with hits like “Better Together” with Running Touch and “Just Friends” with Boy Matthews, paving the way for his eagerly anticipated debut album “Between Us” in June 2019. This debut showcased a blend of vibrant dance floor anthems and introspective melodies, featuring collaborations with artists like NAATIONS and Panama. Simultaneously, Hayden unveiled a dynamic new live show at Splendour in the Grass, sparking a world tour and earning him an ARIA Nomination for Best Male Artist. Amidst a flurry of releases in 2021, including the infectious “Foolproof” with Gorgon City and Nat Dun, Hayden James dropped his sophomore album “Lifted” in April 2022. This opus boasted an array of collaborations with talents such as SIDEPIECE, Jem Cooke, Cassian, and Elderbrook, coinciding with his electrifying debut performance at Coachella Music Festival. Embarking on his most extensive North American and Australian tour to date, Hayden James continues to elevate his status as a visionary in the realm of electronic music.
Anabel Englund
Electric songstress Anabel Englund is stepping out on a wave all of her own. Forever bolstered by the infectious Hot Natured tune- “Reverse Skydiving,” and her many collaborations with the likes of Benny Benassi, Marc Kinchen, and Oliver Heldens. Englund‘s sultry voice has been heard from her hometown in Southern California to shores around the world. It has been a record-breaking past two years for Anabel Englund as she became the first female to have 10 x #1s on US Dance Radio Charts in a three-year span. She’s also the first female to have won iHeartRadio‘s Dance Artist of the Year in 2023 and nominated once more in 2024. Staying true to the same energy that galvanized audiences while performing with Hot Natured, Anabel seeks to share her personal connection with music, creative writing, and people much more prominently in her solo works. When speaking about her hopes for her performances, Englund says, “I love being able to channel into an entity that doesn’t really exist when I’m off stage. Something takes over me, moves, and sings through me. It’s an incredible experience.” Anabel is working on her next EP project that is due to release in 2024.