EDM news
Boxing Match Announced Between deadmau5 And James Hype To Settle Feud
This years Ultra Music Festival in Miami gave us a lot of joyful moments, however it wasn’t all smooth sailing as a longstanding feud finally came to a head.
At the end of deadmau5’s set he took a bit of a jab at James Hype saying, “How do I James Hype my way out of this one?” and then randomly scratching the decks followed by him sarcastically saying “real DJing, I’m just saying.” This seemed to be mocking James Hype’s war against pre recorded sets. After that jab James Hype has decided he wants to throw a right hook in return and has challenged deadmau5 to a boxing match.
In an interview after Ultra, Hype said, “I’m going to make sure he lives up to the name of deadmau5 because I’m going to kill him in the ring. Who does this? Only me.” Deadmau5 has accepted the challenge already getting together a team for his training camp so that he can end this feud once and for all. He had his own fighting words saying, “after this fight he’ll just be James because there will be no more hype around him after I knock him out.”
The two legends of DJing haven’t set a date yet, but soon we’ll be seeing them switch from making people sing, to stepping into the ring.
Whethan Returns With WAREHOUSE.WAVS2 On SoundCloud as his viral remix series enters its second installment
Whethan returned with WAREHOUSE.WAVS2, the second installment of his viral remix series, released exclusively on SoundCloud before his EDC Las Vegas set at bassPOD on Sunday, May 17 from 2:30 AM to 3:30 AM. The project pulls from the records currently appearing in his live sets, with edits of A$AP Rocky’s Distorted Records, Breathe Carolina’s Blackout, Kaskade’s Move For Me, Turnstile’s BIRDS, The Pack’s Vans, and several early 2000s and 2010s rap staples. Following his return to bass and dubstep in 2025, WAREHOUSE.WAVS2 brings his current SoundCloud era into focus through live-tested flips, heavier production, internet-era references, and the underground pop-up culture now surrounding his shows.
Whethan Packs WAREHOUSE.WAVS2 With Rap Throwbacks, Dance Classics, And Heavier Edits
WAREHOUSE.WAVS2 brings together records Whethan has been playing in his recent live sets, with the tracklist moving across rap nostalgia, festival-era electronic music, hardcore influence, and heavier bass edits. A$AP Rocky’s Distorted Records, reworked with Dennett, gives the project one of its darker rap entries, while Breathe Carolina’s Blackout brings back a 2011 emo-electronic crossover record from the early EDM boom. Kaskade’s Move For Me adds a progressive house reference point, and Turnstile’s BIRDS pushes the tape toward the heavier crossover between hardcore and bass music. These choices make the project feel close to Whethan’s current live direction, where familiar records are being rebuilt for louder drops, SoundCloud circulation, and late-night sets.
The rap side gives WAREHOUSE.WAVS2 one of its strongest threads, especially through Huey’s Pop, Lock & Drop It, Rich Boy’s Throw Some D’s, Yung Joc’s It’s Goin Down, and Lloyd Banks and Juelz Santana’s Beamer, Benz Or Bentley. These records come from different points in 2000s and early 2010s club and street rap culture, which makes their placement next to Mike WiLL Made-It, Miley Cyrus, and Juicy J’s 23 feel tied to a specific era of party records, mixtape circulation, and internet discovery. The Pack’s Vans adds another blog-era reference, bringing in the late-2000s skate and internet wave that fits the tape’s SoundCloud-first format. Across the full tracklist, Whethan treats these records as source material for the bass and dubstep direction he returned to in 2025, turning recognizable hooks and cultural references into edits made for live sets, online clips, warehouse pop-ups, and his current heavier run.
Whethan’s Bass Return Is Turning Live Edits Into Real Demand
Whethan’s return to bass and dubstep has not stayed limited to SoundCloud clips or one-off set moments. Since moving back into heavier production in 2025, his remix videos and live edits have helped push a visible surge across Instagram, TikTok, and SoundCloud, with nearly 90,000 fans signed up through Laylo for shows, releases, and pop-ups. That kind of response gives WAREHOUSE.WAVS2 more context than a standard remix-series drop, because these tracks are connected to a run that has already moved from online attention into packed rooms, late-night edits, and faster demand around his shows.
That demand has also shown up offline, with sold-out headline dates across Los Angeles, Chicago, New York, and Denver, plus underground warehouse pop-ups around the country reaching capacity within minutes. His current festival run has expanded the same heavier direction onto larger stages, including appearances tied to Coachella’s Do LaB, EDC Las Vegas, Electric Forest, and Lollapalooza. With support from names including Subtronics, John Summit, GriZ, and DJ DIESEL, Whethan’s bass era is now moving across several parts of the scene at once: festival crowds, underground pop-ups, internet remix culture, and the SoundCloud-first audience that made WAREHOUSE.WAVS2 the right format for this chapter.
WAREHOUSE.WAVS2 Keeps Whethan’s Remix Series Close To The Fans
WAREHOUSE.WAVS2 keeps the remix series connected to the audience already following Whethan’s edits online and hearing them at shows. The project stays close to the way this run has been moving in real time, with flips appearing in sets, clips spreading online, and listeners going to SoundCloud to find the versions they have been hearing in those moments. That format fits the second installment because it keeps the series direct, fast, and connected to the culture around his heavier production.
For Whethan, the release also shows how his current bass and dubstep direction is being carried by more than official singles alone. WAREHOUSE.WAVS2 gives fans access to the edits that have been part of this recent run, while keeping the rawer remix format intact. It is a SoundCloud-first project built around immediacy, crowd response, and the kind of live-tested records that have become central to his return to heavier music. WAREHOUSE.WAVS2 is available now exclusively on SoundCloud.
Syncia & CASH ONLY Return With Eljé On Something Something as their Garage-inspired House project continues
Love & Other welcomes Syncia and CASH ONLY with a brand new collaboration, joining forces with rising vocal talent Eljé on their latest single Something Something. The release marks the third outing from the duo’s evolving bass and Garage-inspired House project and continues to build momentum around their distinct, club-focused sound. Out on Love & Other from May 15, 2026, Something Something brings classic UK Garage swing into a House-driven record, with shuffling drums, a rolling low end, and Eljé’s vocal giving the track its main point of connection. The single also continues a busy run for all three artists, following Syncia’s Beatport chart success across respected House labels, CASH ONLY’s ongoing The Chronicles tour, and Eljé’s recent collaborations with names including Riva Star, Deetron, Notion, and Jack Marlow.
View this post on Instagram
The UK Garage Swing And House Drums Behind Something Something
On Something Something, Syncia and CASH ONLY bring their bass and Garage-inspired House project into sharper focus through shuffling drums, a rolling low end, and a rhythm that nods directly to classic UK Garage. The record still keeps a modern House structure, but the Garage influence is not treated like a small percussion detail. It gives the track its bounce, keeps the low end active, and makes this third release feel more specific to the duo’s current project. Eljé’s vocal adds a calmer contrast over that rhythm, giving the single a more melodic point of connection without pulling it away from the dancefloor.
That final balance also matters because CASH ONLY explains that the track changed musically from its earliest writing stage after he and Syncia launched the project this year. In his own words, the single reflects what they are about musically right now: a House record shaped by Garage-inspired drums and basslines, with Eljé’s relaxed but emotive vocal giving it a hook that listeners can connect with while still being able to dance to. That makes the collaboration feel more complete than a track focused only on drums, bass, or vocal presence alone. For a release on Love & Other, Something Something keeps its UK underground reference clear while giving the single enough vocal identity to carry beyond the production.
Eljé’s Vocal Gives The Collaboration Its Main Hook
Syncia brought Eljé into Something Something after following her earlier collaborations with Riva Star, Deetron, Notion, and Jack Marlow, which gives her role a real connection to the track from the writing stage. His comment about inviting her to a writing camp makes the collaboration feel more intentional than a standard guest vocal, because the single came from a session where her voice was part of the creative process. On the finished record, her relaxed delivery gives the track a calmer vocal line against the UK Garage swing, shuffling drums, and rolling low end. That contrast helps the single stay danceable while still giving listeners a vocal phrase and tone to follow across the record.
Eljé also brings a credible run of her own into the release, with more than 15 million streams to date and Track of the Week support across BBC Radio 1 and 1Xtra. Those details matter because Something Something is not only about Syncia and CASH ONLY’s House project, but also about a vocalist who already has recognition across electronic collaborations. CASH ONLY describes her vocal as relaxed but emotive, which fits the way it works in the track: it softens the record without weakening the Garage-inspired drums and bassline. For a Love & Other release made to connect on the dancefloor and beyond, Eljé gives Something Something the vocal identity needed to sit beside its club-focused production.
Something Something Marks The Next Step For Syncia & CASH ONLY’s House Project
Something Something also places Syncia and CASH ONLY in a stronger position as a pair, especially with this being the third release from their bass and Garage-inspired House project. Syncia already comes into the collaboration with Beatport chart-topping success on Dense & Pika’s Kneaded Pains and Alan Fitzpatrick’s We Are The Brave, while CASH ONLY is currently taking his own sound across dates through the CASH ONLY The Chronicles tour. Those details give the release more context because the project is not being introduced from scratch. It is coming from two artists with separate momentum, now using this collaboration to show where their shared House sound is heading.
That is also why Love & Other feels like a fitting home for the single. Something Something brings together contemporary House production, UK underground references, and a vocal from Eljé that gives the track a stronger song identity without pulling it away from club use. The release does not need to force one artist into the front of the record, because each role is easy to hear: Syncia and CASH ONLY provide the House and Garage framework, while Eljé gives the collaboration its vocal lift. With Something Something, the trio deliver a record that connects their individual runs into one focused release, out now via Love & Other.
Against All Ødds Returns To ZeroThree With Echo Silence as his fourth release on the label brings an original vocal into focus
Against All Ødds returns to ZeroThree with Echo Silence, an emotional melodic record blending progressive house, melodic techno, and trance. The single also marks his fourth release on the imprint. Centered around an original vocal, Echo Silence follows his previous ZeroThree releases Agartha and Faded while placing his melodic direction in a more intimate setting. The release also arrives as ZeroThree prepares a stronger 2026 run for Against All Ødds, with several singles and collaborations already lined up after past support from Korolova, Miss Monique, Henri Bergmann, Magit Cocoon, Above & Beyond, and Armin van Buuren.
View this post on Instagram
The Original Vocal Gives Echo Silence Its Main Emotional Thread
Echo Silence works around an original vocal, giving Against All Ødds a more song-focused release within his melodic and progressive sound. The writing points straight into the mood of the record, with lines like “midnight falling, lights are calling” setting up the late-night feeling before “we are burning, we are turning, into nothing, into everything” brings in a stronger sense of tension and release. The vocal does not feel separate from the production, which matters for a track moving between progressive house, melodic techno, and trance. It gives the record a human focus while the production keeps the track moving with enough space for the vocal to stay present.
That also connects with how Against All Ødds described the idea behind Echo Silence. He said he had wanted for a long time to make “a low-tempo track with an emotional vocal,” something he could keep replaying on long drives while still making it radio-friendly and open across genres. That detail gives the single a more specific frame because it shows the track was not only written for club use. The layered build still gives Echo Silence its melodic record structure, but the vocal remains the part that carries the listener through the track. For Against All Ødds, it adds another side to his ZeroThree catalogue without moving away from the progressive and melodic lane that the label has supported across his recent releases.
Against All Ødds’ ZeroThree Run Continues Beyond Agartha And Faded
Echo Silence continues Against All Ødds’ relationship with ZeroThree after earlier releases including Agartha and Faded, but the release does more than add another title to his label catalogue. With several singles and collaborations already planned for 2026, ZeroThree appears to be positioning him for a longer run instead of treating this as a one-off return. That gives Echo Silence a specific place in the artist’s current phase, where his melodic and progressive direction is being developed through repeated releases on the same imprint. The single also gives that rollout a more vocal-focused entry, which separates it from being discussed only through label history or genre placement.
The outside support around Against All Ødds also adds weight to the wider picture without turning the section into a name list. His previous releases have already reached artists across connected melodic, progressive, and trance circles, including Korolova, Miss Monique, Henri Bergmann, Magit Cocoon, Above & Beyond, and Armin van Buuren. That support matters because it shows his music has already travelled through the same circuit where ZeroThree has built much of its identity. With Echo Silence, the label connection now feels less like a basic release credit and more like part of a longer artist development push heading into 2026.
Echo Silence Marks The Next Step In Against All Ødds’ ZeroThree Chapter
With Echo Silence, Against All Ødds gives the release enough detail to work beyond a simple melodic record. The track has a slower pace, a vocal that stays easy to follow, and a layered production style that keeps the emotion of the single connected to its club structure. That balance is important because the record is not relying on one element alone. The vocal gives it its most direct point of connection, while the production keeps the track aligned with the melodic and progressive sound that has made his ZeroThree releases part of his current direction.
The single also gives Against All Ødds a strong point to move from as ZeroThree prepares more music around him across 2026. Instead of closing this chapter with only one release, Echo Silence points toward a longer run of singles and collaborations already planned between the artist and the label. For listeners following his recent catalogue, it adds another side to his sound without stepping away from the emotional and melodic lane he has been developing. Stream Echo Silence now.
-
Electric Daisy Carnival EDC News2 weeks agoEDC Las Vegas 2026 Set Times Are Officially Out!
-
EDM Festival News1 week agoMusic On Festival 2026 Cancelled Just Hours Before Opening
-
Editorial3 weeks agoEDM Festivals May 2026: Festivals We Can’t Miss Worldwide
-
EDM news7 days agoREZZ Cancels 2026 Shows And Takes Touring Hiatus
-
EDM Artist News3 weeks agoZedd In The Park 2026 NYC Lineup Announced
-
EDM news2 weeks agoEric Prydz and Boris Brejcha Join Forces For World Premiere B2B Set
-
Editorial1 week agoEDC Las Vegas 2026: Must-See Acts at Every Stage
-
EDM Festival News3 weeks agoInsomniac to Debut Inaugural World Party Parade on Las Vegas Strip
Adrian
April 3, 2025 at 3:54 pm
No dj sets should be recorded or pre programed in a computer djing on .digital decks is allready easy enough.
If i owned a club, all djs id hire would have to able to mix on vinyl too.