No Art Open Air will stage its biggest UK edition yet south of Manchester at Bolesworth Castle on Saturday 30th May 2026, launching with an expanded festival format.
The venue introduces a two-stage setup for the first time at a No Art open-air event outside the Netherlands, transforming the edition into a full festival experience on 6,000 acre grounds of the beautiful castle.
Located roughly an hour south of Manchester, Bolesworth Castle provides a spectacular backdrop and stunning open-air setting with expanded space for production, art installations and extended music programming. The rural location also allows for a higher-quality listening experience across the site.
No Art Manchester 2026 Lineup
The main stage will feature a selection of artists closely connected to the No Art sound alongside major international names. Early confirmations include of course event founders ANOTR, alongside Marco Carola, Max Dean and No Art regulars Toman, Benja and Silvie Loto. A second stage will host a programme of house and underground electronic artists including Arapu, Chaos In The CBD, Priku, Us Two, NTS tastemaker Moxie, and more.
Speaking on the announcement, Marketing Director, Oliver Hackett shares:
“Bolesworth Castle is an incredible setting and the scale of the site allows ANOTR and the No Art team to really expand the concept. We’re bringing in a cutting edge sound system to deliver the best listening experience that the music deserves, alongside ambitious production, art installations and a two-stage festival format.”
No Art events have built a reputation for combining forward-thinking house music with immersive art and unconventional locations. Previous editions have taken place in cities including Amsterdam, Barcelona, Miami, Rio de Janeiro and São Paulo. The Greater Manchester edition will be the brand’s largest UK open-air show to date with large-scale installations and production elements unlike anything seen before at Bolesworth Castle.
Bolesworth Castle
To support access to the countryside venue, organizers are coordinating an extensive coach network in partnership with Big Green Coach, offering direct services from Manchester, Stockport, Liverpool, Leeds, Birmingham and additional UK cities. The site will also offer on-site parking and remain accessible by train to nearby stations, followed by a short taxi journey or dedicated shuttle buses.
No Art Manchester tickets are available now including VIP Stage & Backstage options which allow access to a dance platform above the stage, situated behind the DJ booth.
Brunch Electronik Festival announces the addition of a third day to its 2026 edition, expanding the event at Barcelona’s Parc del Fòrum to run from Friday 7 to Sunday 9 August. Alongside the extended programme, the festival also reveals a final wave of artists — including The Blaze (DJ), Mind Against, Parra for Cuva, RY X (DJ) and Marian Ariss — completing the full lineup for this year’s flagship gathering on the city’s Mediterranean seafront.
The newly added Sunday programme broadens the scope of the festival while giving audiences more time to explore the artists and sounds shaping contemporary electronic music. Set against the open-air backdrop of Parc del Fòrum, Brunch Electronik Festival has quickly become one of Barcelona’s defining late-summer events, bringing together global headliners, underground favorites, and emerging voices from across the electronic spectrum.
French duo The Blaze (DJ) – cousins Guillaume and Jonathan Alric – lead the newly announced additions for the festival’s Sunday closing programme, bringing their emotive, melody-driven electronic sound and striking visuals to Parc del Fòrum.
They are joined by Italian brothers Mind Against, whose productions and DJ sets have helped define the contemporary melodic techno landscape; German producer Parra for Cuva, the project of Nicolas Demuth, known for blending electronic music with organic instrumentation and atmospheric textures; and RY X (DJ), distilling his broader musical sensibility into a club-focused setting.
Brunch Electronik Festival 2026 Lineup
The newly confirmed artists join a lineup already packed with internationally renowned names and influential club figures, reflecting the breadth of the festival’s musical identity.
Artists previously announced include Eric Prydz, Paul Kalkbrenner, Jamie Jones, Jen Cardini, Kaytranada, Luciano, Jeff Mills, Floating Points (Live), CamelPhat, Chaos in the CBD, I Hate Models, Deborah de Luca, and Enzo Siragusa, alongside a wide range of rising artists and scene leaders across house, techno, and live electronic music.
Interplanetary Criminal, SPFDJ, Len Faki, Daria Kolosova, Southstar, Ben Techy and more are added to an already stacked line-up for Terminal V Croatia this July.
Scotland’s legendary Terminal V continues to build towards its epic Croatian return with an adventurous Phase Two adding another wave of cutting-edge global talent to an already stacked bill. Taking place from 16th – 20th July 2026 at The Garden Resort in Tisno, the five-day and five-night Adriatic escape now welcomes additional techno pioneers, underground innovators and emerging voices.
These new additions further reinforce Terminal V Croatia‘s reputation for bringing together some of the most essential artists in the scene, with UK garage and rave revivalist Interplanetary Criminal, Berlin favourite SPFDJ and the unmistakable techno authority of Len Faki, alongside the powerful, high-impact sounds of Daria Kolosova and viral electronic hitmaker Southstar.
Ben Techy and Ned Bennett add even more weight to the bill, helping to push Terminal V Croatia‘s 2026 line-up even deeper into the forefront of contemporary electronic music.
Terminal V Croatia 2026 Lineup Phase 2
Following the massive Phase One announcement, the 2026 edition already boasts the likes of 999999999, AZYR, Ben Klock, Ewan McVicar, Restricted, Mall Grab, Hannah Laing, Trym, Yanamaste, Ellen Allien, Héctor Oaks, Patrick Mason, KiNK, Charlie Sparks, Anetha, Effy, Stef Mendesidis (live) and many more. Together the line-up now represents one of the most diverse and forward-thinking bills in the European summer festival calendar.
Set across four open-air stages, Terminal V Croatia blends world-class electronic music with one of Europe’s most breathtaking festival environments. The Garden Resort‘s stunning Adriatic coastline provides the perfect backdrop for beachside dance floors, shaded woodland stages and immersive production across day and night with dancing under the sun and stars.
It all goes down across iconic spaces including Barbarella‘s Discotheque, the legendary open-air club regularly voted among the best in the world by DJ Mag, alongside the atmospheric Olive Grove, the high-energy Main Stage, and the beloved Beach Stage.
An incredible host of partners from around the world will bring their own unique obsession with sound and curated line ups across sunset sessions and boat parties including Berlin’s BCCO, E1 London, Lyon’s hard dance crew 23.59, Madrid’s Black Works club, Basel’s Nord, Shine from Belfast, Slither from Dublin plus Hardbeats, Novel, Velocity, Music Reactions, Dangerous Goods and more.
Beyond the music, Terminal V Croatia offers a full destination experience. Daily boat parties, sunrise afterparties, and a range of daytime adventures from swimming and watersports to exploring local Croatian food and culture make it one of the most unique electronic music getaways in Europe.
With its boundary-pushing line-up, immersive production and unbeatable coastal setting, Terminal V Croatia2026 is an unmissable adventure for techno fans worldwide.
We sat down with Claude VonStroke during a rare moment of calm in what has been a transformative period in his career. After more than two decades shaping the global house music scene and building the iconic Dirtybird into a powerhouse, he’s now stepping into a new chapter—one defined by freedom, experimentation, and a deliberate move away from expectations.
With the release of his new project Wrong Number, VonStroke is dialing into a more personal and introspective sound, trading peak-time energy for depth, tension, and atmosphere. From working with his own family on vocals to choosing intimate club settings over massive festival stages, this new era is all about intention over impact.
In this conversation, he opens up about leaving behind a legacy, embracing creative risk, and why sometimes the “wrong” decisions are the ones that matter most.
Check out the full interview below!
1. Wrong Number feels like a deliberate pivot in your career. After selling Dirtybird and stepping away from that chapter, what pushed you creatively to start dialing a completely new number?
Dirtybird grew into something massive, which was incredible, and I am so grateful for that chapter of my life. We really crushed it with the brand and created something new that you could argue is the backbone of what’s popular right now. That success came with a very specific expectation—how the records should sound, how the shows should feel.
After a while the fans wanted it to keep going up and I wanted it to go back to the underground — and I wasn’t able to turn the ship. So we sold it and it was a great decision because we had been literally killing ourselves for more than 20 years. And then all the sudden there was this quiet moment where I could actually ask myself what I wanted to hear again without worrying about money or any of the noise.
Wrong Number is even more personal than Dirtybird. Less predictable, less commercial, and making all the wrong decisions for the right reasons.
2. The first single, “Static In The Deep End,” leans into a more minimal, late-night energy compared to the peak-time tech house sound you helped popularize. What inspired that shift in direction?
A lot of what’s happening right now is very loud, very fast, very “look at me.” I wanted to make something that a commercial DJ would never make, where the room is locked in and you don’t need a big obvious moment. “Static In The Deep End” is more about tension and atmosphere than payoff. It’s not trying to grab you immediately—it kind of pulls you underwater slowly with tension and depth.
3. One of the most unique aspects of the album is that nearly all of the vocals come from inside your own family, especially your son Jasper. How did that idea come about, and how did it influence the character of the record?
My kids (Jasper and Ella) are both very musical. Ella is an incredible songwriter and Jasper is in the extremely competitive pop music program at USC for singing. I played the records for both of them and just asked them to add whatever they were feeling. Ella and I even made an entire choral section together on the intro of “only Call the Landline.”
Everyone is always after me to do collabs for more views. But I’m kind of a hermit type producer. Sometimes collabs come together and I do them but it’s not my natural way of being. Jasper and Ella both did a great job and I’m very excited that they are on the record.
4. Your upcoming tour focuses on small, intimate club spaces rather than large festival stages. Why was it important for you to bring this new music to those kinds of environments?
Because that’s where this music actually works. Big stages kind of demand big moments, and this record isn’t about that. It’s about detail, patience, subtle shifts. In a smaller room, people are listening differently—you can take risks, you can let things breathe.
I wanted to put this music in the right spots. I’m also working on some free daytime events which has always been a dream of mine. I’m very inspired by the rapper LaRussel from the Bay Area. Everything he is doing right now is like the 3.0 version of what I’m trying to do in my career and he is really doing something special.
5. You’ve spent more than two decades shaping dance music as both an artist and a label founder. Now that you’re entering this new chapter, how has your perspective on creativity and the industry changed?
I don’t feel the need to be everywhere anymore and I dont feel the need to be like anybody else either so a lot of the pressure is off. I would so much rather make quality music and quality content than post every day and feed crap to the beast.
Everything I’m doing right now is 100% the wrong path for a new upcoming producer who needs to be everywhere in everyone’s face. This is another reason it’s called Wrong Number. I do not make myself available to play a million shows anymore. Honestly, I think you would be lucky to book me at this point, which is terrible advice for someone else in the music industry.
6. The Wrong Number concept seems to celebrate taking the “wrong” path creatively instead of following trends. Do you think electronic music needs more artists willing to take those kinds of risks right now?
Yeah, but I also get why people don’t. There’s a lot of pressure to stay relevant, and the safest way to do that is to do whatever’s working, to ride trends and stay on top of pop culture. But that’s also how everything starts to sound the same.
The “wrong” decision is the one that doesn’t have an obvious payoff. It’s hard to stand up in front of 3000 people and play your shit even if you know they want to only hear commercial house. But thats where I’m at now.
7. Looking ahead, what do you hope listeners and club audiences feel when they step into this new era of Claude VonStroke?
I want it to feel a little unexpected. Like you walked into something that’s familiar, but slightly off. Less pressure, less big-room energy, more curiosity. If people leave feeling like they heard something they weren’t quite expecting—but it stuck with them—that’s cool to me.
Claude VonStroke – Static In The Deep End / Wrong Number
As Claude VonStroke steps into the Wrong Number era, it’s clear this isn’t just a sonic shift—it’s a mindset. Stripping away expectations and embracing unpredictability, he’s choosing a path that prioritizes authenticity over algorithm, and curiosity over convention.
In a landscape often driven by trends and instant gratification, this new chapter feels refreshingly intentional. Whether it’s in the subtle tension of his productions or the intimacy of the spaces he now prefers to play, VonStroke is redefining what success looks like on his own terms.
And if this journey proves anything, it’s that sometimes the most meaningful direction forward starts by dialing the wrong number.
Listen and purchase the first single of his forthcoming album, Wrong Number below!
JOHANNSON is back on Groove Society Records with ‘Waenda,’ a vibrant addition to his expanding catalogue. A track that builds on his February release, ‘De Mi Corazon,’ this latest single sustains the fresh, vibrant sound that defines JOHANNSON’s style, delivering a bright and grooving production that balances emotional pull with dancefloor functionality.
For JOHANNSON, exploration, authenticity and creative execution have remained a focus throughout his journey within Electronic Music. Standing with over 25 years of experience behind him, he approaches his work with clarity and understanding, acknowledging his experiences to date whilst pushing for evolution, whether through the sonic character of his music, his production approach, or in his live DJing efforts.
Having performed across Europe, the Swiss Producer and DJ looks to broaden his reach further: consolidating his creative vision through his latest project, JOHANNSON, he seeks to build on his momentum. Now, with the arrival of ‘Waenda’, he places his sonic identity firmly in focus, highlighting his signature sound and evolving style once again.
JOHANSSON – Waenda
Opening with expressive vocals, pulsating synth work, elevating risers, and a steady beat, ‘Waenda’ crafts an uplifting soundscape from the outset. As a driving beat supports melodic vocal phrases, the track evolves with fluidity: building with the listener in mind, it crafts a journey where moments of atmospheric introspection meet vibrant, rich textures.
A meeting point for cultural depth, JOHANNSON leans on his inspirations from Afro and Latin House, integrating percussive-led details, warm, soulful leads, rolling arpeggiators, and atmospheric chordal patterns. A track that aligns well with JOHANNSON’s current creative trajectory, ‘Waenda’ sees the Producer and DJ sharpen his signature style, offering a track that feels both distinct and intentional.
Grounded in a disciplined work ethic and an evolving outlook, JOHANNSON works to establish himself within the Electronic Music landscape, seeking to progress his vision while broadening both his reach and creative scope.
So, with ‘Waenda’ out now via Groove Society Records, dive into JOHANNSON’s latest single and explore the creative world he continues to shape – and be sure to follow him on social media to stay updated on forthcoming releases and projects.
Ursul Records returns with its second various artists compilation, ‘The Circus In Town Vol. 2.’ A showcase of the label’s heavier, club-oriented direction, the album is rooted in the uplifting, rhythmically charged energy that Ursul Records continues to promote, giving way to a myriad of unique sounds and texturally rich productions.
A label founded by Omer Keinan and T-Puse, Ursul Records is emerging as a hub for artists looking to push boundaries. With a focus on music built for the dancefloor yet layered with cultural undertones, the label’s growing roster signals a clear direction and a strong sense of identity within the Electronic Music space.
Whether providing a platform for the founders themselves or delivering the work of other emerging names on the scene, Ursul Records’ release catalogue is an evolving showcase of fresh ideas and sonic personality.
Bringing together a carefully curated selection of standout producers, the compilation highlights the depth and diversity within House music, with each artist contributing their own distinct artistic flavor. From deeper, groove-led cuts to vibrant, high-energy House productions, every track adds a new dimension to what the label calls its ‘second Ursul circus.’
Ursul Records ‘The Circus In Town Vol. 2.’
Including the original, ‘Massive Husk,’ from the label’s very own, Omer Keinan, and T-Puse’s production ‘Under Cover Gypsy,’ the pair have taken the opportunity to highlight their own individual production strengths, crafting soundscapes where psychedelic vibes meet with grooving beats.
With a tapestry of material from other Producers within the genre, such as Yannick Mueller and Oi, ‘The Circus In Town Vol. 2’ delivers a journey that feels both cohesive yet diverse in overall experience, navigating through catchy productions detailed with bouncy basslines, Jazz-inflected melodies, seductive vocal hooks, and intricately layered percussion.
Designed and built with dancefloors in mind, ‘The Circus In Town Vol. 2’ captures the bold, playful spirit of Ursul Records while leaning into a more powerful and refined club direction. Showcasing both variety and balance, the compilation feels crafted for selectors who value personality, movement, and impact, reinforcing the label’s distinct vision while delivering a refreshing energy for listeners to explore.
Be sure to keep up with the label via social media for news on upcoming Ursul Records releases and listen to its latest album, ‘The Circus In Town Vol. 2,’ today – available to stream and download across platforms now.
Listen to ‘The Circus In Town Vol. 2,’ album below.
Electronic music visionary REZZ unleashes her newest single ‘SICK FUCK’ out now via HypnoVizion.
After premiering the track last month during her latest PORTAL stop at The Armory, ‘SICK FUCK‘ has quickly emerged as a fan favorite while signaling REZZ‘s next sonic era. The single locks into a dark, mechanical pulse driven by crushing low-end and jagged industrial textures, with a biting vocal refrain that cuts through the track’s relentless momentum.
Built with the kind of tension and release that has become a defining element of REZZ‘s catalog, the record lands as a bold, unapologetic addition to her evolving sound.
REZZ – SICK FUCK
2026 is already shaping up as a landmark year for REZZ. Kicking things into high gear with her first single of the year ‘Circuit‘ and limited run As The Pendulum Swings Tour, REZZ continues to build on an impressive streak with her upcoming eighth annual REZZ ROCKS, expanded PORTAL audio-visual experience, and her highly anticipated return to Coachella next month.
“Rajada” represents a meeting of two powerful creative worlds: Agents Of Time’s immersive melodic techno storytelling and Miss Monique’s uplifting progressive drive. The result is a track rich in tension, atmosphere and soaring synth work, reflecting the artists’ shared passion for emotionally charged electronic music.
Already championed in their DJ sets, the release arrives during an intense touring period for both artists. Agents Of Time will perform at Time Warp in Mannheim on March 21st, followed by Tomorrowland Winter, before heading to further shows across Asia, London and Canada. Miss Monique also has major upcoming appearances at Tomorrowland Winter and an extensive US tour scheduled in the coming months.
Agents Of Time — the project of Andrea Di Ceglie and Luigi Tutolo — have established themselves as one of the most distinctive names in melodic techno, known for their cinematic synth work, hypnotic grooves and emotionally charged productions.
They have become a regular presence across a mixture of today’s biggest dance festivals and global club stages, while continuing to shape the melodic techno landscape through high-profile releases like “SexyBack,” “Baby” and “Stay With Me,” as well as collaborations with Alok.
The past year has seen Agents Of Time release official remixes for major artists including Swedish House Mafia, James Hype, Sonny Fodera & Clemtine Douglas and Zerb, further expanding their reach across the global electronic music scene.
Agents Of Time Miss Monique – Rajada
The duo also maintain a particularly strong connection with Brazil. On January 30 they played a sold-out Time Machine show at ARCA Event Space in São Paulo, highlighting the deep bond they have built with the country’s passionate electronic music audience. That connection is also reflected in “Rajada,” which features a Brazilian vocal, adding another cultural layer to the track’s powerful melodic energy.
Miss Monique, meanwhile, has become one of the most influential names in modern progressive and melodic electronic music. With millions of followers across streaming platforms and viral livestreams that captured global attention, the Ukrainian artist and Siona Records founder has rapidly grown into a major international touring force, performing everywhere from Coachella, EDC Las Vegas and Ultra Miami to Amsterdam Dance Event and Tomorrowland.
Agents of Time & Miss Monique
The Ukrainian progressive house sensation has been on an unstoppable rise through the electronic music scene in recent years, building a momentum that can’t be ignored. Alongside releases such as “Nomacita,” “Concorde” and “Rollin‘,” she has expanded the reach of Siona Records while sharing stages around the world with leading artists including David Guetta and Solomun.
Her Club Room takeovers at Hï Ibizain 2025 cemented her place among the venue’s heavyweight residents. Bathed in her signature green aesthetic, Miss Monique shaped the residency with a powerful blend of progressive house, melodic techno and deep, club-ready rhythms.
In 2026 she returns to light up the Hï Ibiza Club Room every Thursday from 4 June to 24 September, once again guiding audiences into her world with a carefully curated lineup of artists from the Siona roster and beyond.
Chris Avantgarde continues to build on his upcoming debut album Hyperreal with a new single ‘Obsessed’ out now via his newly launched Hyperreal label. The single follows earlier releases ‘The Other Side,’ ‘Down For The Night,’ ‘Dale,’ and ‘Energy,’ further expanding the album’s emotional and sonic scope.
On ‘Obsessed‘, Chris leans into a relentless house pulse, anchoring the track in tightly wound percussion and a rolling low-end that feels engineered for late-night floors. The arrangement unfolds with precision, layering hypnotic rhythm beneath a sleek melodic topline that adds lift without softening its bite.
The lyrical hook captures a spiraling fixation at the heart of the track, teetering between desire and compulsion. With its driving rhythm and melodic edge, it stands out as a bold, club-ready moment within the broader Hyperreal journey.
Chris Avantgarde – Obsessed
German-born and London-based, Chris Avantgarde, born Christian Vornweg, continues to shape a distinct creative identity that merges classical composition with contemporary electronic production. A classically and jazz-trained multi-instrumentalist, he brings structural discipline and emotional depth into club-focused contexts.
His work extends well beyond the dancefloor, with placements across film, television, fashion, and gaming, earning him an ASCAP “Synch of the Year” Award and solidifying his position as one of electronic music’s most multifaceted creators.
Following a standout 2025 that included acclaimed sets at Ultra, EDC, and Tomorrowland, and back-to-back performances with Adam Beyer, Enrico Sangiuliano, Kevin de Vries, and Massano, Chris Avantgarde will return to the U.S. with a slate of headline shows. In addition to an appearance at Miami Music Week, he will make stops in Los Angeles, San Francisco, Denver, Seattle, Austin, and Toronto, with more to be announced.
Before it even has an official release date, ‘Shinjuku’ has already made its mark. Franky Rizardo’s latest single has racked up 12.1 million TikTok views on the strength of its dancefloor impact alone, a testament to a record that needs no introduction once the needle drops. Out now via his own LTF Records imprint, ‘Shinjuku’ is primed to be a defining song of the summer.
The track finds Franky flexing his taste for unexpected sonic combinations, a restless creative instinct that has kept his sound fresh across more than a decade at the top of the international circuit. ‘Shinjuku‘ is altogether propulsive: urgent, hypnotic and built with the open air in mind.
Here’s what Franky Rizardo had to say:
“I’m always having fun playing with interesting combinations of sound, and this one clicked immediately in my sets. Been having a lot of fun playing it out, now it’s yours!”
Franky Rizardo – Shinjuku
That instinct road-tested in the booth before anything reaches a release schedule has long been central to how Franky works. As the most internationally booked Dutch DJ heading into 2026, his sets span some of the world’s most demanding rooms: Space in Miami, Reframe in Los Angeles, and a residency circuit in Ibiza that has seen him become a fixture across Music On, a Pacha residency as well as selling out the 15,000 cap Ziggo Dome with his new solo concept More To Life. ‘Shinjuku‘ has already been a staple in these sets, and its online momentum suggests the wider world is ready for it.
With multiple tracks surpassing one million streams and a growing catalog of global releases, Franky’s productions continue to resonate with a loyal international fanbase. Alongside this success, his own label LTF Records has grown into one of Beatport’s top 10 best-selling house labels of 2025, primarily focused on championing the next generation of talent while showcasing Franky’s distinctive sound. ‘Shinjuku‘ arrives as the next entry: direct, confident and uncompromising.
With festival season on the horizon and his global FLOW events brand expanding rapidly across Europe and the Americas, with recurring shows in New York, Miami, Chicago, Peru, Medellín and Cali, the timing couldn’t be sharper. ‘Shinjuku‘ is Franky Rizardo in full command of his craft, and the dancefloor is already answering.
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