This isn’t the first time de Witte has handed her music over to the pair. Avalon and GMS previously released a collaborative EP, The Underground, on KNTXT, and their remix of her track ‘A Prayer for the Dancefloor’ landed on the deluxe edition of her debut album. The working relationship goes back far enough that de Witte namechecks them directly in her own statement on the release.

“The boys are back! I’m very honoured to have Avalon & GMS once again on remix duties for one of my tracks, and this time with their brand new project Age of Acid,” de Witte said. “‘How You Move,’ originally released in 2024, gets taken to a whole other level and quite literally reaches new dimensions. It’s just another confirmation of the love between these two genres in the realm of electronic music. And more is coming.“

The original track built its reputation on a hypnotic, acid-laced groove and a fast, clipped rap vocal running through the arrangement. The Age of Acid rework chops that structure into a series of trancey breakdowns and builds, layering in skittery melodic synth lines while the rap vocal gets pulled apart, processed, and pushed to the front of the mix. The fizzing acid lines that defined the original also get their own vocal drop treatment.

“We both loved the original by Charlotte and feel this is one of our favourite remixes we’ve made so far,” Age of Acid said of the release. “Keeping the essence of the original, but also bringing our own sound and stamp on this acidic bomb. Also we are very honored to have it as our debut release for our new Avalon & GMS project together called Age of Acid.“

Who Are Avalon & GMS

Both producers carry serious weight in the psytrance world individually. Avalon, a London-based DJ and producer, has notched more than 30 number ones on Beatport’s psytrance charts along with five top-selling albums, and has played sets at Tomorrowland, Boom, EDC Las Vegas, Glastonbury, Exit, Burning Man, Ultra, A State of Trance and Ministry of Sound.

GMS, short for Growling Mad Scientists, is the alias of Dutch, Ibiza-based producer Riktam. He’s credited with more psytrance record releases than almost anyone in the genre, has sold over 300,000 albums, founded the influential label Spun Records, and has had his music featured in three Tony Scott films.

Charlotte de Witte’s ‘How You Move’ (Age of Acid Remix) is out now on KNTXT’s RPM imprint.

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It opens with a robotic voice over a heavy bassline. The atmosphere feels dark and tense, before gritty synths push the track into harder territory. Those familiar Above & Beyond melodies gradually emerge as the energy builds.

Then comes the payoff. The intensity gives way to a softer, more spacious passage, with the melodies taking centre stage. Rather than keeping the pressure on, the track lets the emotion breathe. It’s a contrast that gives ‘Nights Like This’ its character, balancing a harder edge with the melodic sound that has long defined the trio.

The track has already become a regular in Above & Beyond’s live sets. They first debuted it during their sunrise set at EDC Las Vegas, before bringing it to major shows throughout the year. Those performances included a crowd of 10,000 at Silverworks Island in London and their ABGT700 milestone show at The Gorge Amphitheatre in Washington.

Armin van Buuren has also shown his support, naming ‘Nights Like This’ a Progressive Pick on episode 1298 of A State of Trance.

The release lands as the Anjunabeats Warehouse Tour gets going across the UK. Dates include Glasgow on October 16, Liverpool on October 17, Birmingham on October 24 and Bristol on October 30. You can find full details on the Anjunabeats artist page.

Stream ‘Nights Like This’ here.

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Skyline has built its reputation over the past five years by pairing globally recognized house and techno names with the artists shaping L.A.’s underground scene. The 2026 lineup leaned into that formula hard, bringing in Richie Hawtin, Ben UFO, Avalon Emerson, The Blessed Madonna back-to-back with HAAi, and Marco Carola back-to-back with Chris Stassy, alongside VTSS and KI/KI. The festival’s Arts District stage, meanwhile, stayed true to its community roots with sets from Juliet Mendoza, Victor Rodriguez back-to-back with Perfect Lovers, Mez Monty, CQUESTT, and Mesmé.

Ace*Mission proved to be a solid match for Skyline’s identity last year, and the festival is doubling down on the venue for round two. The industrial property, split between open-air space and warehouse interiors, sits on what used to be the Anderson family’s beverage distribution operations in Boyle Heights before the site was converted into production studios and creative offices.

For 2027, Skyline is expanding its indoor footprint with a second warehouse stage, while also bringing back its vinyl market spotlighting local L.A. record shops. The festival’s four stages — West Side, East Side, Arts District, and Downtown — return for another year, with Resident Advisor once again hosting one of the stages. Organizers say the weekend will run more than twelve hours of music per day across over sixty artists, with official afterparties planned inside the Ace*Mission warehouse. Details on those afterparties, including ticketing, will come closer to the event.

Two-day GA and two-day Stage Access passes go on sale October 16 at 12pm PT. Fans looking to jump the line can sign up for the SMS presale, which opens earlier that morning at 11am PT. Skyline Festival is a 21+ event.

Factory 93’s Warehouse Roots

Skyline falls under Factory 93, Insomniac’s house and techno imprint that traces back to 2016 and the Naud Street warehouse space in downtown L.A. That project helped introduce North American festival crowds to artists like Solomun, Hot Since 82, and Hawtin at a point when house and techno were still finding their footing stateside. The brand expanded in 2018 with its first multi-stage event, Secret Project, and now extends its reach through the neonGARDEN stage at EDC’s international editions, a branded stage at Sonus Festival in Croatia, and Skyline itself.

Insomniac, led by founder and CEO Pasquale Rotella, has spent more than three decades building out its festival portfolio, from Electric Daisy Carnival to Beyond Wonderland and Nocturnal Wonderland, while also pushing into new formats like residencies at the Las Vegas Sphere. Skyline remains one of the company’s more scene-specific projects, aimed squarely at house and techno heads rather than the broader festival crowd Insomniac’s bigger brands tend to pull in.

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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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Released October 2 via Musical Freedom / Atlantic Records, the new single pushes into a much faster lane at 143 BPM, blending euphoric trance melodies with the harder edge of today’s European club scene.

Tiësto Goes Full Speed

‘Hard To Be Around’ draws from the vocal trance and Eurotrance sounds that defined parts of the ’90s and 2000s, while giving them a modern, high-energy treatment.

Fast kick drums and driving basslines keep the track moving, while bright synths bring the euphoric side of trance to the forefront. At 143 BPM, there is very little downtime.

However, the track isn’t all about intensity.

Its vocals add a more emotional layer, touching on self-doubt and the complicated feeling behind being “hard to be around.” That contrast gives the production a darker edge beneath its high-speed energy.

A New Generation Meets a Trance Icon

The collaboration also brings together two different sides of the current dance scene.

Tiësto’s history with trance runs deep, while CLEOPARD2000 and CH4YN represent a newer generation of artists coming out of Berlin’s rapidly evolving club culture.

Together, they tap into the current appetite for faster tempos and harder trance without losing the emotional melodies that made the genre so powerful in the first place.

‘Hard To Be Around’ also fits into Tiësto’s broader Prismatic era, where the Dutch icon has been exploring different sides of his sound and connecting his classic dance influences with newer movements across electronic music.

For fans of fast trance, ‘Hard To Be Around’ delivers a meeting point between nostalgia and the modern rave floor and at 143 BPM, it wastes no time getting there.

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The original ‘Wide Open’ is well known to anyone versed in techno history — Hyperactive has been a fixture of the Chicago underground since the early ’90s, counted among Daft Punk’s so-called “Teachers,” with more than 100 releases and three decades of sets at venues like Berghain, Tresor and Movement Detroit to his name. Justus keeps the stripped-back, hypnotic character of that original intact, but builds it out with added weight and a fuller low end suited to current-day main rooms.

“I’ve always loved the original ‘Wide Open’ and the other versions that has been made,” Justus said. “It’s one of those records that has such a simple but timeless energy to it, and I’d had the idea of doing something with it for a while as I wanted to make a version that I could play in my sets. So I started playing around with it and ended up taking it into a more techno house direction that fits great with what I’m playing in my sets right now.”

“I wanted to keep the character and rawness of the original while giving it my own take,” he continued. “I’ve been playing it out for a while now and the reactions have been great, so I’m really excited that it’s now coming out on MADMINDS as my first release with the label.”

The track has already picked up a fairly heavyweight list of co-signs before its official release. Adam Beyer has been dropping it in his sets, including a recent clip posted to Instagram, while label boss Layton Giordani, Nicole Moudaber, Agents of Time, Bart Skills, Armin van Buuren and Miss Monique have also been playing it out. Bart Skills’ play can be heard below.

Justus, born in Amsterdam, has spent the last several years working across both house and techno, with collaborations alongside Kaskade and Armin van Buuren, an official remix for David Guetta and Sia, and a reworking of Benny Benassi’s ‘Satisfaction’ on his resume. He’s picked up support from Diplo, Gordo, Calvin Harris, MK and Swedish House Mafia along the way, and runs his own imprint, Just Records, on the side.

‘Open Wide’ marks his first outing on MADMINDS, the label Layton Giordani has built into one of techno’s more consistent peak-time outlets in recent years.

‘Open Wide’ is out now on MADMINDS.

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The Bose Noise Cancelling Wired Earbuds combine active noise cancellation with a USB-C connection and a $99 price tag. Preorders are now available in the US, with shipping expected to begin around October 13.

A Wired Comeback for Electronic Music Fans

The return of wired headphones comes at an interesting time. Wireless earbuds have become the standard for everyday listening, but wired audio still has some advantages for music lovers.

Bose’s new earbuds connect directly through USB-C, allowing for lossless audio with minimal latency. That could make them particularly appealing for anyone who cares about hearing electronic music with as much detail as possible.

Bose brings wired earbuds back with its new Noise Cancelling Wired Earbuds.

For EDM fans, that means cleaner bass, sharper synths and more detail in dense productions without relying on a Bluetooth connection.

The 4.2-foot cable also keeps the earbuds connected to the device, while an inline remote handles volume, playback and noise-control settings.

ANC Meets Old-School Design

Despite the retro-inspired wired setup, Bose has packed the earbuds with modern features.

Active noise cancellation lets listeners cut down on surrounding noise, while Aware Mode brings outside sounds back into the mix. ANC can also be switched off completely.

The inline remote includes an additional microphone as well, which Bose says can help capture clearer voice audio during phone calls.

The earbuds also carry an IPX4 water-resistance rating. A carrying case, three sizes of silicone eartips and two sizes of stability wings are included.

They come in Black, White Smoke and a limited-edition Dewdrop Mint finish.

Could Wired Audio Be Cool Again?

The comeback of wired headphones is part of a larger nostalgia cycle happening across consumer technology. CDs, point-and-shoot cameras and retro gaming hardware have all found new audiences.

Now, wired earbuds are getting another shot.

For electronic music listeners, though, the appeal may be less about nostalgia and more about sound. USB-C connectivity, low latency and noise cancellation make Bose’s latest release feel more like a modern take on wired listening than a simple trip back to the past.

At $99, the Bose Noise Cancelling Wired Earbuds could be worth watching for anyone who wants a straightforward way to plug in and get lost in the music.

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