Joining forces with an elite cast of collaborators, the EP bridges contemporary tech house grooves, indie dance aesthetics, and melodic mainstage energy.

Vocal Precision Meets Dynamic Production

Spanning two high-octane tracks, the package highlights Linska’s dark, energetic production style alongside a star-studded list of features:

• ‘Move’ (feat. Benni Ola): Created alongside techno force Chris Avantgarde and multi-disciplinary artist DEPARTAMENTO, the lead single pairs driving rhythm sections with command-taking vocals from Benni Ola. Built for warehouse floors and festival systems, the track balances raw percussion with deep atmospheric tension.
• ‘Double Time’ (feat. Franksy): Partnering again with DEPARTAMENTO, Linska delivers a punchy, fast-paced club tool anchored by vocal contributions from Franksy.

Having already earned early support across peak-time sets this season, the release marks another major milestone for Linska as she builds on recent successes on labels like REALM, Insomniac, and Arcane Music.

Movement EP by Linska is out now on Diynamic across all digital streaming platforms.

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Before Dom took the stage, the supporting lineup delivered from start to finish. Not Without Friends set the tone early, while Basement Jaxx brought decades of experience and undeniable energy. Peggy Gou then stepped in and completely owned the moment, keeping the crowd locked in as daylight disappeared and anticipation for Dom continued to build.

Dom Dolla Takes Over Flushing Meadows

When Dom Dolla finally took the stage, the energy around Flushing Meadows jumped immediately. He opened with ‘DANGER DANGER,’ his new collaboration with Solomun and Skepta, which had only been released the day before. It was a strong way to start a set that never really let up across the next two hours.

One of my favorite moments came early when he dropped his unreleased ‘What’s Up New York’ edit. I’ve heard clips of it online before, but hearing it while actually standing in New York hit differently. The crowd knew exactly what was coming and erupted the second the vocal came in. Another standout was ‘Heaven,’ which Dom had only played during his 60,000-person Marvel Stadium show in Melbourne a few weeks earlier. As someone who follows his sets closely, it was unreal getting to hear it in person.

The production was massive. Flames shot into the air throughout the night and the pyro somehow kept getting bigger as the set went on. One of the coolest moments was watching 35,000 people take part in Dom’s now-famous sit-down before exploding back to their feet together. Standing in the middle of it with thousands of other fans was something else entirely.

Dom never let the set settle into a predictable rhythm. One minute he was dropping crowd favorites like ‘Miracle Maker’ and ‘Moving Blind,’ and the next he was testing unreleased tracks. It had everyone around me asking the same question: what was that? As much as I loved hearing the records I already knew, it was the IDs that lingered long after the show ended. ‘Heaven’ was a clear standout, and left me hoping it wouldn’t be long before we hear those tracks again.

Walking out of Flushing Meadows, I had the same feeling I get after the amazing shows: I wanted to do it all over again. Dom delivered every big moment we could have hoped for. From massive pyro and crowd-favorite singalongs to the now-famous sit-down that 35,000 of us move in perfect sync. But the moments that will stay with me most are the ones that felt unique to that night and that city. For my first visit to Flushing Meadows, I honestly couldn’t have asked for a better experience.

If you’ve never seen Dom Dolla live, change that. Few artists in dance music are putting together shows on this level right now. View all of his upcoming tour dates on Dom’s official website.

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Apple Music is serving as the festival’s official livestream partner, meaning fans who can’t make the trip to the Coachella Valley will still get a front-row view of the lineup across both days. The bill is stacked: Calvin Harris, Skrillex, Swedish House Mafia, FISHER b2b Chris Lake under the Under Construction banner, Peggy Gou b2b Four Tet, Dom Dolla b2b Kettama, and more are all on the schedule.

Head Trip itself has been one of the more talked-about additions to the fall festival calendar, billed as a one-time experience rather than a recurring event, which has added to the buzz around who’s playing and what sets might go down.

How to Tune In

Fans can stream Head Trip for free on Apple Music (no subscription required) and Apple TV, or catch it on Apple Music’s TikTok account, Twitch, and YouTube. For those who’d rather just listen, an audio-only simulcast will run on Apple Music 1 and Apple Music Club, plus TuneIn and SiriusXM.

Each night’s video broadcast gets a replay at 2:00 AM PT across Apple Music, Apple TV, and TikTok, with the audio version also repeating on Apple Music Radio and TuneIn for anyone who misses the live window or wants a second listen.

The full performance schedule, all times Pacific and subject to change, breaks down as follows:

Saturday, October 10
4:30 PM: Seth Troxler b2b Ben Sterling
7:20 PM: Peggy Gou b2b Four Tet
9:10 PM: Under Construction: FISHER b2b Chris Lake
11:00 PM: Calvin Harris

Sunday, October 11
3:30 PM: DJ Harvey
5:00 PM: The Blessed Madonna
6:50 PM: Dom Dolla b2b Kettama
8:40 PM: Skrillex
10:30 PM: Swedish House Mafia

The partnership marks Apple Music’s first festival deal at this scale, a sign the streaming platform is leaning further into dance and electronic coverage. It follows on from the platform’s DJ Mix program and Apple Music Club Radio efforts, both of which have been built around getting festival and club sets in front of listeners who aren’t necessarily on-site.

Back-to-back sets have become something of a calling card for lineups like this one, and the pairings here are notable on paper alone. Peggy Gou and Four Tet occupy pretty different corners of dance music, while Dom Dolla and Kettama lean harder into the bass-driven, festival-ready side of house. FISHER and Chris Lake, performing under the Under Construction name, have already built a reputation for unpredictable collaborative sets elsewhere this year.

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For de Vries, Obsidian is his first Drumcode release since ‘Mind Control’, his 2022 collaboration with Chris Avantgarde that became one of that year’s bigger underground moments. The Dutch producer has spent recent years building out a catalog that moves between peak-time techno and more melodic, textured territory, and this new pairing with Elvadin leans into the latter.

The two artists go back further than the release date suggests. Their relationship started in 2019, during de Vries’ first tour of Argentina, when Elvadin was tapped to open for him across the run of shows. The tour wrapped with the two playing a back-to-back set together, and the connection stuck. Since then, they’ve kept in touch and apparently kept trading ideas, which eventually led to this release.

‘Obsidian’ and ‘Feel Me’ Showcase Two Sides of the Duo’s Sound

According to Elvadin, the title track started as an idea he sent over to de Vries, who then helped shape it into its final form. ‘Obsidian’ plays out as a slow-building, atmospheric cut built for the later hours of a set — the kind of track meant for a 4am moment rather than a peak-time drop. It’s already made its way into some notable sets, including Beyer’s own at Drumcode’s 30th anniversary event in Mallorca back in May, along with a Drumcode night at Crobar.

The second track, ‘Feel Me’, takes a punchier approach. It’s got a squelchy, rolling bassline with a slightly psychedelic edge, giving the EP some range without straying from the duo’s shared sound.

The release continues a strong run for Drumcode, which has used 2026 to spotlight both veteran names and newer regional talent. For Elvadin, landing an EP on the label represents a significant marker in his career trajectory, and a reflection of how far South America’s techno scene has pushed into the genre’s upper tiers over the past few years.

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The track marks the first collaboration between the two artists, pairing an instantly recognizable vocal hook with the kind of raw, acid-driven energy 999999999 has built their reputation on. The record thrives in big festival moments. The drop hits with force, but the hook is what stays with you long after.

999999999 road-tested ‘Trip on Acid’ in their sets for months before its official release, and audiences reacted consistently wherever they played it. Crowds picked up on the vocal hook almost immediately, and the same question kept surfacing afterward: what is this track?

“Trip on Acid started when we connected with LYNSY around the idea of doing a track together,” 999999999 said. “From the first times we played it, the combination of the vocal hook and the acid energy immediately connected with the crowd. We’ve been testing it for months at major festivals around the world, and seeing people recognize it and ask for the track before it was even released made us realize there was something special about it. We’re really happy that it found its home at Tomorrowland Music and that people can finally hear the full version.”

999999999 have carved out a following built on hardware-driven live shows rooted in improvisation, leaning heavily on acid lines generated in real time rather than pre-programmed sets. That approach has carried them through sets at Tomorrowland, Ultra Music Festival, EDC, Awakenings, and Time Warp, and it’s part of why their live shows have developed a cult following among techno fans who value spontaneity over polish.

LYNSY, based in Breda, brings a different background to the pairing. Her sound draws from her years in the hard dance scene, filtered into a bouncier, high-energy strain of techno. Her catalog has already crossed 4.2 million streams, with past support from acts including 999999999 themselves before this collaboration ever came together.

‘Trip on Acid’ is out now on all platforms via Tomorrowland Music, the label arm of the Belgium-based festival brand that has increasingly positioned itself as a home for techno and tech-house talent alongside its mainstage-oriented roster.

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Noetic has functioned largely as a vehicle for Castellani’s own productions and selective remix work from names like Redshape, Matrixxman, Voiski, Etapp Kyle and Truncate. That footprint expanded earlier this year with Castellani’s collaborative EP alongside Japanese techno figure Ken Ishii, and SKIN continues that shift toward a broader collective identity for the imprint.

Conceptually, SKIN is built around the body. Each of its five original tracks takes its name from a body part — ‘Tongues’, ‘Oblique’, ‘Torso’, ‘Mouth’ and ‘Spleen’. Rojas is using anatomy as both a structural device and a way to work through personal material. The idea wasn’t planned out in advance. Starting the project in the summer of 2025, Rojas would pick a body part before each studio session and let that title shape whatever came out of it. More than a dozen sketches eventually narrowed down to the five originals, swinging between four-to-the-floor rhythms and more fractured, broken-beat structures, with mistakes and spontaneity left intact rather than polished out.

“Each song in SKIN is not only a reflection of my anxieties, apprehensions and discomforts, but a demonstration of personal connection, enjoyment and growth,” Rojas said. “This body of work allowed me to have a staring contest with my personal and social insecurities — choosing to look for myself within the electronics instead of seeking validation.”

Rojas isn’t a newcomer to music, even if this is his first proper solo electronic release. He’s spent two decades working as a producer, engineer and multi-instrumentalist, coming up through punk and hardcore bands before founding industrial punk project MACHINEKIT and running Orange County studio Machinehouse Audio. That background shows up across the record — ‘Tongues’ moves between restraint and force, ‘Oblique’ twists broken beats around a sense of physical motion, and ‘Torso’ leans into tribal rhythm work that feels more ritualistic than club-ready. ‘Mouth’ plays like two competing vocal lines talking over each other, while ‘Spleen’ closes out the originals in more hypnotic techno territory.

The three remixes round out what Noetic is calling the SKIN universe. MAEDON, a frequent collaborator with the label, delivers a twisted take on ‘Spleen’. Trovarsi teams up with Castellani himself to push ‘Torso’ into heavier territory, and Unfuckable adds a vocal hook to ‘Mouth’ that shifts the track into different territory entirely.

The album also doubles as a marker of Rojas and Castellani’s friendship, which started through their partners back in 2023 before turning into a working relationship built around shared taste in music and gear. That connection made Rojas the first outside artist to deliver a full original body of work for Noetic.

“I’m incredibly excited to welcome John Rojas to Noetic as the first artist beyond myself to release an original body of work on the label,” Castellani said. “John is not only a close friend, but an exceptional musician, and this eight-track release feels like the perfect introduction to his work on the label. With three outstanding remixes from MAEDON, Unfuckable, Trovarsi, and myself, I couldn’t be happier with how the project came together. It feels like the start of something much bigger, with a lot more still to come.”

For Rojas, the solo format itself was part of the challenge. “I’m a band guy. I have only ever known how to play and tour with a group of people, so this was the first time I had to think solely for myself,” he said. “Much like limbs, I felt disjointed, pulled in different directions. These jarring feelings left me feeling naked and vulnerable. And weirdly enough, that’s what SKIN is about — a sonic collection of raw emotions.”

Tracklist and Live Dates

SKIN is out now on Noetic Music across vinyl, digital and streaming platforms. The full tracklist runs:

1. ‘Tongues’
2. ‘Oblique’
3. ‘Torso’
4. ‘Mouth’
5. ‘Spleen’
6. ‘Torso’ (Trovarsi & David Castellani Remix)
7. ‘Spleen’ (MAEDON Remix)
8. ‘Mouth’ (Unfuckable Remix)

Rojas played a b2b2b set with Castellani and Chris Liebing at the Noetic x KEYI event during ADE week, held Friday, October 23 at What is Happening Here Gallery.

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‘Hunting You Down’ builds around a steady sense of movement rather than an obvious payoff. Instead of front-loading the track with its best ideas, the production holds back, layering atmosphere and rhythm in a way that keeps pulling the listener further in rather than showing its hand early.

There’s a seductive edge running through the record, with Knauss leaning on groove and texture to build something that feels mysterious but still immediately playable on a system. It’s the kind of club cut that doesn’t need a peak-time slot to land, it works just as well in a late-night set, a sunrise session, or on headphones away from the club altogether.

The track fits into a broader pattern in Knauss’s output, favoring restraint and repetition over blunt drops. It’s a style that rewards patience, letting a groove do the work rather than relying on obvious tricks to hold attention.

‘Hunting You’ arrives via HABITAT, the label known for curating tracks that sit comfortably in the more textured, groove-driven end of house and techno. The compilation drops October 8, 2026.

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The hard techno DJ and producer’s company, Landry IP LLC, filed a trademark infringement lawsuit on October 6 in Manhattan federal court, alleging that her former management continued using her name and Hekate Records branding without authorization after their professional relationship ended.

The lawsuit names Night Night Ltd, which operates as The Night Department, and affiliated company Prepare to Flash as defendants.

According to the federal case listing, the case was filed in the U.S. District Court for the Southern District of New York under case number 1:26-cv-08813.

A Dispute Over Ownership and Control

The new lawsuit follows an earlier legal battle between Landry and her former managers, Matthew Verovkins and Harry Glaisher.

Landry alleges that the management company attempted to obtain 50% ownership of her music and 50% of Hekate Records without appropriate compensation, despite her desire to retain control over both.

She further alleges that the company continued using her trademarks after their relationship ended, creating the impression that it still had authorization to represent her and her label. The complaint also claims that when her representatives sought control of Hekate Records’ account with music distributor Believe, Prepare to Flash refused to authorize the transfer.

The Night Department disputes Landry’s account of their separation.

In a separate lawsuit filed in the United Kingdom in July, the management firm accused Landry of breaching their contract by terminating the relationship in August 2025. The company maintains that the contractual ownership terms were transparent and that it had done nothing to justify its dismissal.

Landry has filed counterclaims in that dispute, which remains unresolved.

Landry Speaks Out About Artists’ Rights

Speaking to Billboard, Landry emphasized the importance of protecting creative ownership:

“Ownership and artists’ rights are deeply important to me, and I look forward to continuing to advocate for artists to have control over their work and their careers.”

Through the new U.S. lawsuit, Landry IP LLC is seeking damages and profits allegedly connected to the unauthorized use of its trademarks. No specific monetary amount has been disclosed.

The legal dispute comes ahead of Landry’s upcoming sophomore album, Divine Intervention, scheduled for release on October 16.

For now, both the U.S. trademark case and the separate U.K. contract dispute remain pending.

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Finally Breaking Out of the Vegas Loop

For years, catching Calvin live in the States felt like a broken record. Unless you caught him closing out a mega-festival like Coachella, your only real option was booking a flight to Vegas, dealing with crowded casino lobbies, and paying eye-watering table minimums at LIV or Omnia.

Those desert club residencies certainly pay him well, but they leave everyday fans across the rest of the country completely starved for a regular tour date. A coordinated, coast-to-coast guerrilla campaign like this does not happen for a simple club renewal or a couple of festival slots. Everything points to a full-blown North American arena run, marking his first dedicated coast-to-coast tour in what feels like an eternity.

Catalog Built for Massive Crowds

Very few producers in dance music history have a hit arsenal that can match Calvin’s run. Even at Ultra 2024, some fans criticized his set for being too mainstream, prompting a response from Harris himself.

Between golden-era festival weapons like ‘Summer’ and ‘Under Control,’ the sun-drenched groove of his Funk Wav Bounces project, and his recent 90s Eurodance heaters like ‘Miracle,’ his catalog touches every corner of the scene. Hearing those records belted out by thousands of people under arena rafters is a completely different experience from catching an hour-long VIP club set in the desert.

With cities from coast-to-coast already receiving personal shoutouts, a full schedule of dates and venues could drop at any moment. Keep your notifications on and your wallet ready, because whenever those tour dates finally arrive, those tickets are going to disappear fast.

The post Calvin Harris Teases North American Comeback With Billboards Across the US appeared first on EDMTunes.

Announced on October 5, the collaboration marks a new chapter for G-STAR’s women’s collection, combining the brand’s industrial-inspired designs with de Witte’s signature style and independent spirit.

From Techno to Fashion

The partnership launches with Own the Arc, a global campaign centered around G-STAR‘s iconic Arc jeans.

Shot in Paris, the campaign features de Witte at the Arc de Triomphe, using her climb to the top of the historic monument as a visual representation of her career. The concept draws parallels between her rise through the electronic music industry and G-STAR’s unconventional approach to denim design.

Speaking about the partnership in G-STAR’s official announcement, de Witte said:

“I’ve always lived in denim. It’s functional, effortless and has attitude, which feels very natural to me. G-STAR has that same independent spirit and a strong point of view.”

The collaboration also coincides with the relaunch of G-STAR’s women’s collection, featuring updated silhouettes, tailored utility pieces, and a more refined approach to the brand’s recognizable industrial aesthetic.

Fashion and advertising publication Adformatie reports that creative agency Longstoryshort developed the campaign, while Marie Wynants handled the photography.

For de Witte, whose uncompromising approach to techno has helped establish her international reputation, the partnership feels like a natural extension of her identity.

And for G-STAR, bringing one of techno’s most recognizable artists into its global campaign highlights the growing connection between electronic music, fashion, and culture.

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