Kristian Heikkila & CDTRAX Kristian Heikkila and CDTRAX have joined forces for new collaborative EP ‘Between Parallels’, delivering four tracks of hypnotic, groove-driven techno through Konstruktion. The release marks another chapter in the pair's creative partnership, following previous collaborations on SWAY and Counter Pulse. While each track explores a different corner of contemporary techno, the EP is tied together by its emphasis on driving percussion, evolving synth work and carefully constructed tension. Opening track ‘Detox’ immediately establishes the record's energetic identity, pairing rolling percussion with restless low-end movement before introducing atmospheric layers that steadily build throughout the arrangement. ‘Vibe Injector’ follows with a more stripped-back approach, leaning into darker textures and hypnotic repetition while maintaining the EP's relentless forward momentum. The third cut, ‘Toxic’, shifts the focus towards weightier basslines and manipulated vocal elements, creating one of the release's most immersive moments. Closing track ‘Sphere’ rounds off the collection with booming percussion, rapid-fire hi-hats and dramatic vocal flourishes that leave a lasting impression. Swedish producer Kristian Heikkila has become a familiar name within the international techno scene through releases on labels including Second State and Naked Lunch, earning recognition for productions that balance precision with dancefloor impact. Alongside him, UK artist CDTRAX continues to develop his own distinctive sound through respected imprints such as Kneaded Pains, bringing a similarly groove-led approach to the collaboration. Together, the pair deliver an EP that prioritises atmosphere as much as power. Rather than relying on oversized breakdowns or obvious hooks, ‘Between Parallels’ builds its impact through subtle evolution, layered rhythms and hypnotic arrangements designed for extended club sets. Released via Konstruktion, ‘Between Parallels’ reinforces both artists' reputation for producing refined underground techno that remains as functional on the dancefloor as it is rewarding on repeated listens. Kristian Heikkila https://www.instagram.com/realkristianheikkila https://open.spotify.com/artist/2SfoHHbFQfUI4wX6AGZaCQ https://soundcloud.com/kristianheikkila CDTRAX https://www.instagram.com/cdtrax https://open.spotify.com/artist/24M0bse4E0BFeofjsq3G9h https://soundcloud.com/cd7r4x

Boom Merchant Irish producer Boom Merchant has returned with his latest techno release, ‘Vandalist’, delivering a three-track package that pairs his uncompromising original production with a remix from Moog Conspiracy and an exclusive alternate rework. Released via Boom Merchant's own Tribal Pulse imprint, the EP continues the producer's commitment to powerful, no-frills techno designed firmly for peak-time dancefloors. Now based in Mexico, the Irish artist has built a reputation for combining hard-hitting grooves with memorable hooks, earning previous releases on labels including Kuukou and Autektone Dark. The title track sets the tone with relentless percussion, commanding low-end pressure and an abrasive vocal sample that reinforces its confrontational identity. While much of the record thrives on its raw energy, a melodic breakdown introduces atmospheric pads before the drums return with renewed intensity, creating a dynamic contrast within the arrangement. German producer Moog Conspiracy offers a fresh interpretation of the original, shifting the focus towards emotion without losing the hypnotic drive. His remix expands on the melodic elements introduced in the breakdown, weaving rich pads through the groove to create a deeper, more expansive take on the source material. Completing the package is Boom Merchant's own ‘BM's Dark Drums’ version, a stripped-back rework that pushes the percussion further to the forefront. By reducing the melodic elements and increasing the rhythmic intensity, it delivers the most direct and uncompromising cut of the three. Together, the release showcases multiple sides of Boom Merchant's production style while reinforcing Tribal Pulse's growing catalogue of club-focused techno. Whether through the original's raw aggression, Moog Conspiracy's atmospheric reinterpretation or the driving energy of the Dark Drums version, ‘Vandalist’ arrives as another strong addition to the underground techno landscape. Boom Merchant https://www.instagram.com/boom_merchant https://open.spotify.com/artist/6Uily7xJN4PCKj4yuPTnCR https://soundcloud.com/boom-merchant

Jen Cardini Electronic music pioneer Jen Cardini has unveiled ‘Tokyo Waves’, a new summer music programme taking over Paris' Palais de Tokyo with five afternoons of DJ sets and live performances running alongside the venue's ‘Normes Corps’ exhibition season. Designed to connect contemporary electronic music with visual art, the series transforms the museum into a meeting point for club culture, experimentation and community. Every ticket also includes access to the exhibitions, encouraging visitors to experience both the performances and the wider artistic programme in a single visit. Cardini, one of the most respected figures in European electronic music, has curated a lineup that reflects the breadth of today's underground scene, combining established names with emerging artists spanning techno, bass, experimental club music and global electronic sounds. The programme opens on 12th July with performances from Ehua and Flore alongside DJ sets from GLITTER55, ZAATAR and sensit1ve. On 18th July, Cardini joins Munich-born selector BASHKKA for a special double bill, before TTristana headlines the following week with additional guests still to be announced. The series resumes in August with Erna and VANILLE appearing back-to-back on 22nd August before concluding on 29th August with Beatrice M, Amsterdam experimental artist Upsammy and New York electronic music icon Kim Ann Foxman. For more than three decades, Cardini has remained one of electronic music's defining curatorial voices, performing at venues including Berghain, Bassiani and Basement while also bringing club culture into institutions such as MoMA PS1, Centre Pompidou and Guggenheim Bilbao. Through projects including Correspondant and Nightclubbing, they have consistently championed emerging artists and queer voices within electronic music. ‘Tokyo Waves’ continues that vision, positioning Palais de Tokyo as a space where contemporary art and underground electronic music meet through carefully curated programming that celebrates diversity, experimentation and creative exchange throughout the summer. OPENING HOURS Palais de Tokyo is open every day, except on Tuesdays From 12pm noon to 10pm Late opening on Thursdays until midnight DIRECTIONS Metro : Line 9, Iéna and Alma Marceau stations Bus : Lines 32, 42, 63, 72, 80, 82, 92 RER : Line C, Pont de l’Alma station Vélib’ Vélib’ stations near Palais de Tokyo: n° 16007: 4, rue de Longchamp n° 8046: 2, rue Marceau n° 7023: Quai Branly

ODF Few young producers are navigating UK club music quite as fluidly as ODF. Sitting somewhere between house, UK garage, bass music and jungle influences, the London-based artist has steadily built a catalogue that reflects the dancefloors he's immersed himself in rather than any single scene. His debut EP on Enzo Siragusa's LOCUS, Hear Dis, feels like the clearest expression of that approach so far. Following releases on Time Is Now, Hardline Sounds and Method 808, plus collaborations alongside Tim Reaper and Special Request, the four-track project finds ODF bringing together the different strands that have shaped his sound over recent years. For him, joining LOCUS felt like a natural next step. "I've looked up to Enzo as an inspiration for where I want to be in the future," he says. "I'd been sending him music for a long time, so when he came back and asked me to release on the label, I couldn't say no." Beyond the opportunity itself, the label's musical identity also aligned with his own evolving direction. "The sound they've curated is very reminiscent of where I'm getting to and where I want to be." That evolution has been deliberate. While earlier productions leaned more heavily into one corner of club music, ODF consciously decided to widen his palette around 18 months ago. "I found myself being pigeonholed into one very niche genre," he explains. "As my tastes changed through university and different club cultures around the country, I realised there was so much more I wanted to explore." Those experiences now sit at the heart of his productions, allowing house, garage, bass and jungle influences to exist comfortably within the same body of work. Interestingly, the EP's title track almost never existed. 'Hear Dis' was actually the final piece completed after the rest of the record was already finished. "We all felt the EP needed one final heavy-hitting, peak-time track," he says. "A lot of the inspiration came from productions Enzo had already been supporting, particularly my jungle-influenced edits." That connection to jungle reflects ODF's own beginnings behind the decks. "I originally started DJing jungle," he says. "I wanted to represent the kind of music that originally started the conversation with LOCUS." Elsewhere on the EP, 'To The UK' feels like a love letter to British club culture, although its inspiration came less from individual records than from shared experiences. He points to nights at Wire in Leeds, Fabric in London and Manchester's Warehouse Project as defining moments. "It wasn't anything specific that I heard," he says. "It was about encapsulating that euphoric feeling of going clubbing with all your mates." Those experiences also reinforced how important atmosphere and flow have become to his own productions. Reflecting on collaborations with artists including Tim Reaper and Special Request, ODF says the biggest lesson wasn't technical at all. "Complex isn't always the way to go," he explains. "Keeping things simple and having strong foundations is the most important thing." That philosophy extends beyond production into his wider career. Last year saw the launch of his own imprint, On Da Floor, giving him complete creative control while offering a platform to build a stronger community around his music. "I wanted to have somewhere that felt more personal," he says. "The freedom you get from having complete creative control is second to none." Running a label has also brought valuable perspective. "It really put into perspective how difficult it is. Patience is a huge game changer. If you spend too much time thinking about things that should have already happened, you stop putting energy into making them happen." When it comes to writing club music, however, his process remains refreshingly straightforward. "If I'm not dancing around my bedroom while making it, then it's not ready," he laughs. "If I can't enjoy it on my own, why would it work on a dancefloor?" That instinct has been sharpened through years spent not only DJing but simply standing in front of sound systems around the UK. "When I'm on the dancefloor, I'm constantly picking up on things that work and translating them into my own productions," he says. "Whether it's little percussion details or knowing exactly when to break things down and bring them back." Looking ahead, ODF believes UK club music is entering one of its healthiest periods in years. The continued crossover between garage, bass, breaks and house is opening new opportunities for both artists and audiences alike. "It feels like the light at the end of the tunnel," he says. "The further these sounds continue to fuse together, the more opportunities there are for everyone to showcase their own unique sound." With Hear Dis, ODF delivers exactly that, an EP shaped not by genre boundaries, but by years of dancefloor experiences, musical curiosity and an artist increasingly comfortable following his own instincts. ODF Instagram / Soundcloud / Spotify LOCUS Instagram / Soundcloud / Facebook

Amsterdam Dance Event has unveiled the first artist announcement for its landmark 30th anniversary edition, confirming more than 250 acts for this year's festival and conference, which returns to the Dutch capital from 21st to 25th October. Get your tickets here. The initial lineup reflects the breadth of today's electronic music landscape, spanning house, techno, drum & bass, UK garage, hard dance and live electronic performance. Among the first wave of artists are Amelie Lens, Skepta, Prospa, Sammy Virji, DJ Nobu, Avalon Emerson, Folamour, Josh Baker, KI/KI, Skin On Skin, Scooter, Mochakk, Eris Drew, Octo Octa, Benwal, Pegassi, Paige Tomlinson and The Martinez Brothers. This year's edition also marks a significant milestone for ADE itself. Celebrating three decades since its launch in 1996, the festival will once again transform Amsterdam into the global meeting point for electronic music, with organisers expecting more than 3,000 artists to perform across 200 venues throughout the city. Several major venue programmes have already been confirmed. Warehouse Elementenstraat will host Skepta's expanded Más Tiempo showcase, while David Guetta brings his Monolith production to AMF. Gashouder also returns to the ADE programme ahead of its official reopening, hosting events from artists including Armin van Buuren, Benwal, I Hate Models, Nico Moreno, Job Jobse, Mochakk, Franky Rizardo, Sammy Virji and Josh Baker. Elsewhere, promoters have begun unveiling their own ADE schedules. DGTL, Intercell and Into the Woods have each announced extensive programmes featuring dozens of artists across multiple events, while venues including Melkweg, Paradiso, Ziggo Dome and AFAS Live will once again host some of the week's biggest showcases. The lineup announcement follows the recent expansion of ADE Pro, which has already confirmed Jean-Michel Jarre as this year's Guest of Honour alongside an extensive programme exploring artist independence, technology and the future of electronic music. With only the first wave of artists now revealed, organisers have confirmed that hundreds more names will be announced in the coming months as Amsterdam prepares to celebrate the biggest edition of ADE since the festival began 30 years ago.

Charlotte de Witte Charlotte de Witte is set to present the most ambitious edition of her new audiovisual show, ‘The Resistance’, when it arrives at Belgium's Rock Werchter festival on 3rd July. Taking over the festival's 20,000-capacity Barn stage, the performance will feature an expanded version of the production that has accompanied de Witte's latest world tour, marking the largest presentation of the concept to date and a special homecoming performance for the Belgian techno star. ‘The Resistance’ has quickly become one of the defining live electronic productions of 2026, combining de Witte's uncompromising techno with an immersive visual experience created alongside digital artist and creative technologist Johanna Jaskowska. Known for exploring the intersection of artificial intelligence, CGI and digital identity, Jaskowska's work adds a cinematic dimension to the performance, transforming the show into a fully synchronised audiovisual experience. Following its debut at [UNVRS] Ibiza, the production has already appeared at We Love Green in Paris and Sónar Festival, with the Rock Werchter performance representing its biggest iteration so far before continuing to festivals including Les Ardentes, Bilbao BBK Live, V and B Festival and Pagaille Festival. The show arrives during another standout year for de Witte. Alongside the launch of ‘The Resistance’, the Belgian producer has continued an extensive international touring schedule, released new music including her ‘Amor’ EP and deluxe album edition, and made headlines with her widely attended street party in Genoa. Widely regarded as one of techno's most influential contemporary artists, de Witte has consistently pushed the boundaries of large-scale electronic music performances, combining meticulous production with increasingly ambitious visual concepts. For fans attending Rock Werchter, the XXL edition of ‘The Resistance’ promises to be one of the festival's defining moments, showcasing Charlotte de Witte's vision on its biggest stage yet.

STO (FR) STO's monthly release project shows no signs of slowing down as the producer returns with ‘Vibin' In July’, the latest instalment in his run of free club-ready releases. Premiering exclusively on Undrtone ahead of its release, the track shifts the series into tougher territory, replacing last month's disco-leaning warmth with a grittier analogue sound built around rolling house grooves and a constantly evolving acid bassline. Download it for free here: https://hypeddit.com/sto-fr/vibin-in-july. From the outset, ‘Vibin' In July’ locks into an irresistible groove. Punchy drums, swinging percussion and warm analogue textures provide the foundation before a modulating acid line gradually takes control, weaving in and out of the arrangement without ever overwhelming the rhythm beneath it. Rather than chasing big breakdowns or obvious peak-time moments, STO allows the groove to remain the focus. Every new element feels carefully introduced, keeping the energy moving while giving DJs plenty of space to work the record into longer blends and extended club sets. Where previous entries in the series explored French touch and disco influences, ‘Vibin' In July’ leans further towards raw underground house music. The analogue character gives the production an organic feel, while subtle modulation and evolving synth movement ensure the track never settles into repetition. That balance between restraint and progression has become one of the defining strengths of STO's monthly project. Each release explores a different corner of house music while maintaining the groove-first philosophy that ties the series together. ‘Vibin' In July’ continues that evolution with confidence. Tougher, darker and more club-focused than its predecessor, it demonstrates STO's ability to refresh his sound without losing the identity that has made the series so consistently enjoyable. If the monthly project continues at this level, STO is quietly building one of the year's most rewarding underground house catalogues, one groove at a time. STO https://www.facebook.com/STO.dj https://www.instagram.com/sto_dj https://open.spotify.com/artist/4BIwrHBpAWdIjPXLK1M7gq https://soundcloud.com/stodj https://stodjmusic.bandcamp.com

Love to be... Festival, Harrogate Iconic house music brand, Love to be… returns with its flagship festival at The Stray in Harrogate on Saturday 5th September with a newly reworked site designed to elevate the experience for its 6,000-strong crowd. Following last year’s sold-out success, the 2026 edition – which over three stages welcomes Claptone, Sam Divine, Paul Woolford, Todd Terry, Gok Wan and many more - introduces an expanded main stage, new chillout zone, upgraded VIP offering and a host of fresh additions, all aimed at delivering the most enjoyable Love to be… yet. A standout new feature for 2026 is the Glam Van from local business, The Hair & Makeup Project. Inside a luxury mobile beauty space, punters can get camera-ready glam with a range of treatments, including festival braids, biodegradable glitter, soft and full glam makeup, hair styling and face painting. Fully equipped with professional styling stations and statement lighting, plus a 360° video booth along with party props to capture the moment forever, the Glam Van is where getting ready becomes part of the event itself. VIP ticket holders will now benefit from a fully redesigned area, set in a prime new location. Guests can expect a new VIP garden with interactive games, an upgraded stage hosted by funkylove with exclusive DJ sets and live performances, expanded seating and table areas, a free pamper room stocked with glitter and beauty products, a premium bar, and they’ll even be a magician entertaining guests throughout the day! The festival’s main stage has been rebuilt with a larger structure and increased 3,000-capacity, paired with upgraded sound and production for a fuller, more powerful experience. The festival’s overall footprint has also been completely reworked to improve flow, with more space between stages and clearer routes across the site. While dancing to the best in house music is the dish of the day, Love to be has introduced a brand-new chillout area for 2026, offering a retreat from the dancefloor complete with bean bags, soft lighting and a covered area for rest and recuperation. This year also sees the festival move to a traditional bar system, replacing the previous wristband top-up approach. With contactless and card payments throughout, service will be faster and queuing times shorter to keep the drinks flowing. Further additions across the site include an expanded food village with more choice than before, a permanent jewellery stall, festival clothing traders, coffee van, and the popular Love to be… merch stand. These upgrades arrive alongside a heavyweight 2026 lineup. Spanning house music legends with contemporary hit makers, Love to be has pulled out all the stops for 2026, featuring Claptone, Paul Woolford, Sam Divine, Julie McKnight (Live), David Penn, Mousse T, Trimtone, DJ Cash Only, Janika Tenn, Todd Terry, Gok Wan, K-Klass (Live), Grant Nelson, Paul Taylor, Tom Wainwright and loads more. Love to be… has been a defining force in UK house culture since 1994, evolving from its Sheffield roots into a global event brand, a record label and a syndicated radio show. Its Harrogate festival has quickly become one of the North’s essential annual celebrations of house music, uniting generations of fans in one of North Yorkshire’s most iconic green spaces. Tickets for Love to be… Festival 2026 cost from £51.50 plus booking fee. Limited allocations are available from Skiddle. Love to be… Web – Instagram – TikTok – Facebook

Calcou Calcou continue to refine their blend of indie dance and electronica on ‘High’, a warm, uplifting release that balances melodic songwriting with an infectious club-ready groove. The Berlin duo have built a sound centred on atmosphere as much as rhythm, and that balance is evident throughout a track that feels equally at home on festival stages, open-air dancefloors and late-night playlists. Built around a steady 126 BPM pulse, ‘High’ wastes little time establishing its feel-good character. Rolling percussion and a rounded bassline provide a solid rhythmic foundation, while bright synth textures and shimmering chords gradually expand the arrangement. Rather than relying on dramatic peaks, the track develops organically, allowing its groove to remain the driving force from beginning to end. The delicate vocal adds another layer of warmth without overpowering the production. Sitting naturally alongside the instrumentation, it enhances the record's uplifting atmosphere while preserving the spacious quality of the mix. The result is a production that feels polished and immersive, reflecting the duo's ability to combine emotional songwriting with dancefloor functionality. One of Calcou's defining qualities is their ability to create music that feels both approachable and sophisticated. Drawing on rich electronic production and an instinct for atmosphere, ‘High’ captures that balance through carefully layered arrangements and subtle dynamic shifts. You can also hear the influence of the duo's live performances, where analogue synthesis and live vocals shape their identity, giving the production an organic energy that separates it from more conventional electronic releases. While the track remains firmly within contemporary indie dance territory, its confident songwriting and refined production prevent it from feeling formulaic. ‘High’ succeeds through mood, melody and groove, offering an uplifting electronic record that never sacrifices substance for immediacy. Calcou https://www.instagram.com/calcou.music https://open.spotify.com/artist/7ddylNYaeb9AurS9NqllUc

Fhiga Fhiga takes a groove-first approach on ‘Valley’, delivering a hardgroove record built around rolling percussion, hypnotic repetition and relentless forward momentum. Rather than chasing oversized drops or aggressive sound design, the track keeps its focus on rhythm, allowing carefully layered drums and understated vocal textures to do the heavy lifting. From the opening bars, the percussion establishes the track's identity. Interlocking drum patterns, crisp hats and syncopated grooves create a constant sense of movement, while a weighty kick and driving bassline provide a solid foundation beneath the intricate rhythmic work. The production feels clean and purposeful, with each element occupying its own space without overcrowding the mix. Vocal snippets are used sparingly throughout, functioning more as rhythmic textures than lyrical hooks. Their restrained placement complements the groove rather than interrupting it, adding character while preserving the hypnotic flow. This balance allows the percussion to remain the clear focal point, reinforcing the track's club-first mentality. The arrangement evolves through subtle changes in energy rather than dramatic structural shifts. Additional percussion, filtered elements and small variations in the groove steadily build intensity, making the record well suited to longer DJ blends and sustained dancefloor momentum. It is a confident approach that rewards movement over spectacle. While the track sits comfortably within today's hardgroove resurgence, it avoids feeling derivative through its polished production and disciplined arrangement. There is enough personality in the rhythmic programming to give the record its own identity without straying from the genre's core appeal. 'Valley' is an effective hardgroove release that understands exactly what makes the style work. By placing rhythm at the centre of the production and resisting unnecessary embellishment, Fhiga delivers a focused, high-energy club tool that should translate particularly well in peak-time underground sets. Fhiga https://open.spotify.com/artist/5aiEQhwdOzpoqT5H6wTQ5N

DUARTT ‘A.C.I.D.’ finds DUARTT operating at the intersection of Psytrance and Hard Techno, delivering a relentless club record that prioritises energy, momentum and hypnotic groove. Rather than treating the two genres as separate identities, the production merges their defining characteristics into a cohesive peak-time workout designed for larger sound systems. The track wastes little time establishing its intent. A driving kick drum and rolling bassline provide an uncompromising foundation, while tightly programmed percussion maintains constant forward motion. The groove remains locked throughout, creating the kind of hypnotic energy that encourages long, uninterrupted stretches on the dancefloor. Every rhythmic element feels purposeful, contributing to the record's relentless pace without becoming overcrowded. Acid-inspired synth work provides the track's defining character. TB-303-style sequences twist and evolve across the arrangement, introducing tension through subtle modulation rather than excessive layering. These lines sit comfortably above the powerful low end, adding movement and personality while reinforcing the psychedelic atmosphere that underpins the production. Structurally, ‘A.C.I.D.’ is built with DJs in mind. The arrangement develops through gradual additions and carefully timed transitions, allowing the intensity to build naturally before locking back into its driving groove. While the production remains firmly rooted in familiar Psytrance and Hard Techno conventions, it demonstrates a confident understanding of how to maintain energy without sacrificing clarity or control. Listeners searching for melodic variation may find the track's focus on rhythm and repetition intentionally uncompromising, but that commitment is also what gives it its impact. DUARTT stays true to the record's purpose, delivering a production that feels consistent from beginning to end and avoids unnecessary distractions. ‘A.C.I.D.’ is a powerful fusion of Psytrance and Hard Techno that showcases DUARTT's ability to balance aggression with groove. It is a focused, high-impact release that should appeal to DJs and listeners looking for uncompromising underground club energy. DUARTT https://open.spotify.com/artist/7dmeKOogzRCcTKqUmMkFo3

Stoto Stoto makes a strong first impression on selected. with ‘Stay Until the Morning’, a house release that leans into warmth, melody and understated groove rather than chasing peak-time intensity. The track captures the easy-going energy that has become synonymous with the producer's sound, delivering a polished record that feels equally suited to sunset playlists, open-air sets and relaxed late-night listening. From the outset, the production establishes a smooth rhythmic foundation built around crisp percussion, a rolling bassline and clean, uncluttered drum programming. The groove remains consistent throughout, creating a natural sense of movement without becoming overly busy. Every element is given space to breathe, allowing the arrangement to unfold with a confidence that never feels rushed. Melody plays an equally important role. Soft synth textures and uplifting chord progressions bring warmth to the production, creating an inviting atmosphere that complements the track's relaxed pacing. Rather than relying on dramatic breakdowns or oversized drops, the arrangement develops through subtle layering and small shifts in energy, maintaining interest while preserving its laid-back character. The vocal sits comfortably within the mix, acting as another melodic element rather than dominating the production. Its restrained use reinforces the track's easy-going mood, helping create a cohesive listening experience that remains engaging from beginning to end. This careful balance between vocal, melody and groove is one of the release's greatest strengths. While ‘Stay Until the Morning’ doesn't attempt to reinvent contemporary house music, it succeeds through refined songwriting and polished production. The familiar structure is elevated by thoughtful sound design and a strong understanding of pacing, resulting in a record that feels timeless rather than trend-driven. Stoto delivers exactly what the title suggests: a warm, inviting house track that prioritises atmosphere as much as dancefloor appeal. As a debut on selected., ‘Stay Until the Morning’ is a confident and well-crafted release that should resonate with fans of melodic, feel-good electronic music. Stoto https://instagram.com/stotomusic https://open.spotify.com/artist/41kcR4JVrpn1xifg8lM2Fu