Since their inception in 2003, vocalist Rou Reynolds, guitarist Rory Clewlow, bassist Chris Batten and drummer Rob Rolfe have continuously evolved their sound. Enter Shikari is best known for a lively fusion of rock, hardcore punk, and electronic dance music. In the early days, they leant heavily into the hardcore and rave elements, but ‘A Kiss For The Whole World’ saw them embrace a vibrant synth-pop style while still maintaining a strong rock presence. The band has also been lauded as one of the top British live acts of the last 20 years, since their breakthrough as rowdy rave-rockers through to their current era of arena-crushing rock with a heart.

Since announcing their tour dates for the UK, Europe and North America back in January, Shikari returned to radio silence. The group had not released any material since ‘A Kiss For The Whole World’, which was a UK Number One Album in 2023, and its remixed companion piece ‘Dancing On The Frontline’ in 2024. Last night however, their Instagram account was again cleared of content, save for one post revealing the surprise release of ‘Lose Your Self’, which had snuck its way onto the internet at midnight.

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In a newsletter, Reynolds explained the rationale behind its low-key launch: “We’re delighted to present LOSE YOUR SELF, and give people the chance to hear a Shikari record like never before – as a cohesive whole. We want people to go on a proper journey with this album, and see where it takes them. No lead up, no singles, and no explanation. Forcing the listener to actually listen, without being drip-fed ideas out of context, or spoon-fed explanations. We simply present it all, for the listener to immerse themself in. Releasing in this way was also a decision to not be distracted by chart races, or accolades and things. We got the No.1 album on our last record. This is simply about the music being presented in a natural way.”

Enter Shikari have always packed their albums and live shows with messages of hope, critiques of the state of the world and urgent pleas for causes like environmental sustainability and peace. The theme of this one seems to be a stark look at the current affairs around AI, with a heavy emphasis on introspection and a cultural loss of humanity. Reynolds finishes the post with the statement “Despite turning out to be one of our darkest and heaviest albums to date, it also preaches hope and offers answers. Shikari will always offer hope, because without hope there is no action. We’ll just always offer it with a dose of realism.”

The title track ‘Lose Your Self’ is a classic Enter Shikari opener, blasting in with big riffs and an EDM feel reminiscent of the band’s live cover versions of Faithless’s ‘Insomnia’. Later songs like ‘Find Out The Hard Way’ are upbeat anthems, while the darkness and negativity comes through in ‘I can’t keep my hands clean’ and both parts of ‘The Flick Of A Switch’. The peak of the album is its genius three-part closing suite ‘Spaceship Earth’, where the feelings of hope begin to flutter up and the boys really get to show off their composing chops on a progressive-rock movement.

Shikari played their first live show of the year in Manchester this week, making an intimate return to the 400-capacity venue Satan’s Hollow on the 9th of April. Their last show there in 2006 stuck with the members as a significant milestone in their ascent to the big leagues. Last night, they announced an April run of small-venue launch shows, which they promise will “give fans a unique experience to see the band up close and personal, and a chance to see the brand new songs live for the first time.” Then, they’re back on the road for their North American tour through the summer, before finishing in November for their Europe, UK and Ireland headlining dates.

‘Lose Your Self’ is out now on streaming platforms, as well as on physical releases available from their official sellers. Catch Enter Shikari touring the album this year on these dates:

April Release Shows:

• 21 – The Academy, Dublin
• 23 – The Cavern, Liverpool
• 24 – The Fighting Cocks, Kingston
• 25 – Signature Brew, London

November UK Tour With Holding Absence & The Callous Daoboys:

• 13 – Motorpoint Arena, Nottingham
• 14 – Utilita Arena, Cardiff
• 15 – Connexin Live, Hull
• 18 – Hydro, Glasgow
• 19 – Co-op Live, Manchester
• 20 – Alexandra Palace, London
• 21 – Alexandra Palace, London

PinkPantheress, born Victoria Walker makes history as both the first woman and the youngest recipient of the award. She recognised the honour saying  My music production is the thing I’m proudest of, and I’ve worked really hard at it, so I hope this inspires others to pursue their passion.”

Previous winners include Calvin Harris, A.G Cook and Fred Again. Similarly to PinkPantheress’ early win, Mark Ronson and Noel Gallagher have also been honoured for Outstanding Contribution To Music and Songwriter Of The Year respectively.

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After beginning her career through Soundcloud, PinkPantheress found notoriety through TikTok in 2020. In April 2021, she was signed to Parlophone and by October the same year, she had released her debut mixtape ‘To Hell With It’. Singles like ‘Pain’ and ‘Break it Off’ catapulted PinkPantheress into stardom. PinkPantheress has also toured supporting Halsey and Olivia Rodrigo and headlined three tours of her own.

PinkPantheress has previously been awarded for her music production skills receiving Producer of The Year at Billboard’s Women in Music in 2024. After winning Producer of the Year, PinkPantheress is also up for two other awards come February 28th; Dance Act and Artist of the Year.

Her debut album, ‘Heaven Knows’ was released in November 2023, which saw her capture mainstream attention resulting in 3 Brit nominations including Song of the Year and Best New Artist. Its primary single ‘Boy’s A Liar Pt 2. reached number three on the Billboard Hot 100. Her second project ‘Fancy That’ garnered two Grammy nominations, MOBO and Mercury Prize nominations and reached number three on the UK Albums chart.

Following the release of this project, PinkPantheress released an extended mixtape named ‘Fancy Some More’ which featured artists like Seventeen, Kylie Minogue, Ravyn Lenae and most significantly Zara Larsson. ’Stateside’ by PinkPantheress featuring Zara Larsson peaked in the top 20 of the Billboard Global 200 and its video has garnered over 20 million views.

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The Brit awards this year also sees Olivia Dean and Lola Young be nominated five times each, both artists being rewarded earlier this year at the Grammy’s for Best New Artist and Best Pop Solo Performance respectively.

PinkPantheress has referenced Kate Nash, Imogen Heap and Lily Allen as her biggest influences. Lily Allen has also been nominated at this year’s awards with four nominations; including competing against PinkPantheress for Artist of the Year.

Catch the Brits, this Saturday February 28th.

This year marks the 70th annual Eurovision Song Contest (ESC), held in Austria following singer JJ’s victory with song ‘Wasted Love’ in 2025. As a member of the “Big Four” of Eurovision, the UK’s entry receives an instant bye to the grand final. Last year’s British entrants Remember Monday were fairly well received by the internal Eurovision jury, circumventing our national tradition by receiving points and finishing 19th out of 26.

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The ESC is organised by a cohort of broadcasting companies around Europe, known as the European Broadcasting Union (EBU), and with the BBC as our primary public broadcaster it has always been a key part of the EBU. In the past, they ran live televised auditions and a public vote to choose our candidate for the song contest, but between 2011 and 2015, and currently since 2019 they instead elect them via an internal jury of music industry professionals.

This afternoon the BBC revealed their choice – Sam Battle, who goes under the alias Look Mum No Computer. He is as they describe him in the article “an inventor of unique musical machines”, an innovator who engineers novel instruments and synthesisers from retro toys and tech as a pastime. Among his many contraptions, highlights include a church organ made from Furbies, a bizarre children’s toy from the turn of the millennium, and the Sega MegaDrive synthesiser, created using a Sega MegaDrive games console. He owns a museum in Ramsdale in Kent called “This Museum Is (Not) Obsolete”, which houses and displays his many curios.

Formerly the frontman of an indie rock band called Zibra, performing a BBC Introducing set at Glastonbury Festival in 2015 with them, Battle opened his Youtube channel in 2013 to promote the group. After the band dissolved he then used it to post videos documenting his inventions before uploading his debut solo effort ‘Groundhog Day’ in 2019. Between all of his projects combined, he’s amassed 1.4 million followers on his online platforms, with his Youtube account alone having over 704,000 followers and nearly 85 million views.

His studio releases are a lively mix of electro-pop played on a full arsenal of analogue synthesisers, with his indie-style vocals laid over it. In recent years the UK Eurovision selections have made a reputation for playing it safe, opting for more generic pop with limited success other than Sam Ryder’s second place finish in 2022, but Look Mum No Computer seems to be a turning point to something more radical. After having heard the 2026 entry single, BBC Radio 2 DJ and Eurovision enthusiast Scott Mills said “The UK often gets criticised at Eurovision, or it has in some years. ‘We’re always really safe, we always keep it really middle of the road.’ So we are going to try something different this year. Why not? Let’s try something different, and it is different.” The BBC also quoted other opinions, including Oscar-nominated composer Daniel Pemberton, who said on social media site X he was “very excited we are going to have a truly unique eccentric oddball repping the UK (meant in the best way possible) at Eurovision”.

The grand final of this year’s Eurovision Song Contest will be held at the Wiener Stadthalle in Vienna on the 16th of May. Look Mum No Computer’s entry is due to be make its debut to the public on Scott Mills’ Radio 2 breakfast show at some point in the next few weeks. You can follow Sam’s journey on the BBC and on his Youtube channel, or find his music on streaming platforms.

The legendary British electronic act will launch their arena tour in April 2026, with performances scheduled across the UK and Ireland, joined by special guest DJ and producer Carl Cox. The announcement arrives shortly before their headline appearance at Glastonbury on Sunday, 29 June, their first return to the festival since the passing of frontman Keith Flint in 2019.

A press release reads: “The World Heavyweight Champions Re-unite for a tour of straight up ruckus that sees The Prodigy blast through their headline set, performing tracks from across their seven UK number one albums, along with Carl Cox returning to his genre breaking three deck vinyl setup for a two-hour set from doors each night.”

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After a three-year hiatus following Flint’s death, The Prodigy returned to the stage in 2022. In a 2024 interview with NME, the band’s co-founder Liam Howlett reflected on how Flint’s passing affected the rest of the group. He said: “After losing Keith we couldn’t even think or talk about the band. I think it was two years after his death that me and Maxim started bringing it up. ‘Could we play live again? Did we even want to? Why? How?’”

He continues: “We realised the only possible real way to know how we would feel was to do it: get back on stage and do a bunch of gigs. It was so hard to walk onto that stage without our brother, but we really felt the crowd with us. Those gigs were highly emotionally-charged but we came out the other end with our answer.”

The Prodigy’s 2026 arena tour kicks off in Glasgow’s OVO Hydro, and wraps up at the 3Arena in Dublin, Ireland. Howlett tells fans to “expect full attack mode” in a statement reading: “We’re bringin back that full experience of non-stop noise and beats from doors to getting chucked out. It will be that full Prodigy experience as it was then and how it continues to be now… and droppin’ new tunes for the people… We’ve got our old friend Carl joining us so expect full attack mode, factor nine… Let’s go!”

Carl Cox added: “I love working with these guys and it’s such a long time since I have. They knew me that last time I was out playing three turntables, and the type of music I was playing was hardcore rave music, so that’s what I’m going to be doing, playing that sort of sound and into the new skool, I’m really looking forward to it, so here we are Carl Cox and The Prodigy back again to rip up the dance floors.”

The tour dates go as follows:

THE PRODIGY 2026 UK AND IRELAND TOUR

APRIL

15th – Glasgow OVO Hydro
16th – Manchester Co-op Live
18th – Birmingham Utilita Arena
19th – Cardiff Utilita Arena
21st – Bournemouth BIC
22nd – Leeds First Direct Arena
24th – London Wembley OVO Arena
25th – London Wembley OVO Arena
27th – Belfast The SSE Arena
28th – Dublin 3Arena

You can get your tickets here from this Friday, 27 June.

The British musician will perform the entire ‘Telekon’ album alongside a selection of hits and rare tracks during his UK tour this November. These shows will follow closely after Numan’s U.S. tour in September and October, where he’ll be both headlining and supporting The Psychedelic Furs.

With his distinctive sound characterised by powerful synthesisers, guitar effects pedals and sci-fi influences, Gary Numan is regarded as a pioneer of electronic music, best known for the hit singles ‘Are ‘Friends’ Electric?’ and ‘Cars’. Released in 1980, ‘Telekon’ was Numan’s second solo album after his departure from new wave band Tubeway Army, and went straight to number 1 on the UK albums chart.

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Despite releasing 22 studio albums and 29 live albums over his decades-long career, ‘Telekon’ explores Numan’s desire to retire from touring and his withdrawal from the industry. In a 2015 interview with Record Collector, Numan discussed his mindset at the time, and the meaning behind some of the tracks on the record, saying: “When it came to the singles from ‘Telekon’, the first one was ‘We Are Glass’, which is about how fragile the whole fame thing is, how easily it can be destroyed, shattered and taken away from you. You’re easily broken and all that shit. The second single was ‘I Die: You Die’, which was my reaction to the press, which may have seemed childish, but that’s what I felt. Then the one after that was ‘This Wreckage’, which says it all really. So with ‘Telekon’, in my own way I was saying very loudly that this is not what I expected and I don’t like it. I’m off! There’s a song on there called ‘Please Push No More’. I wrote that knowing that I was going to pack it in.”

He adds: “A few years later, I’d become hugely famous and I just wanted to go back to writing songs and being a musician, not a famous person. So that was the reason for getting out of it, or so I thought, with the Wembley shows and the whole thing about retiring.”

The news of Gary Numan’s tour quickly followed an announcement about his new live album, ‘A Perfect Circle (Live at OVO Arena Wembley)’ which will be released on 25 July.

In the lead-up to the tour, Gary Numan will perform two intimate shows in Brighton on 24 and 25 June, followed by his debut appearance at Glastonbury on 28 June.

The dates for the November tour are as follows:

‘TELEKON’ 45th ANNIVERSARY UK TOUR:

11th – Glasgow, O2 Academy 
12th – Newcastle, O2 City Hall 
14th – Leeds, O2 Academy 
15th – Birmingham, O2 Academy 
16th – Bristol, Beacon 
18th – Cardiff, University Great Hall 
19th – Bournemouth, O2 Academy 
21st – London, Eventim Apollo 
22nd – Brighton, Brighton Centre 
23rd – Southend, Cliffs Pavilion 
25th – Nottingham, Rock City 
26th – Cambridge, Corn Exchange 
27th – Norwich, UEA 
29th – Manchester, O2 Apollo 
30th – Liverpool, O2 Academy 

Tickets go on sale on 20 June. You can access pre-sale tickets from 18 June here.

The piece, commissioned by Oxford Contemporary Music and supported by the UK Centre for Ecology and Hydrology, seeks to highlight declining biodiversity in the UK. Based on moth activity data gathered largely at Natural England’s Parsonage Down National Nature Reserve near Salisbury, Wilson’s composition will turn data into music, tracking moth behaviour through the night. Wilson says the idea came to her over breakfast one morning. 

A summary of the project from her website reads: “‘Moth X Human’ is a sonic journey into the world as it comes alive after dark. Moth data collected by scientists at UKCEH has been sonified into immersive soundscapes, with each moth assigned a different sound. The ebb and flow of different species activity throughout the night is ‘performed’ alongside acoustic instruments, field recordings, electronics, and visuals, creating a unique interspecies experience.” 

Stuart Hales, Natural England’s Senior Reserve Manager for National Nature Reserves in Wiltshire, chimed in on the importance of the project: “National Nature Reserves are our most important places for nature, so it’s exciting to see Parsonage Down providing inspiration for the arts, in addition to being crucial for conservation. 

“We hope that this fabulous project helps connect people with nature through the power of music to bring it to a whole new audience.” 

The data was recorded last summer, and the final composition was based on two data sets from two different environments. One set from Parsonage Down recorded 80 different moth species across a 4-hour window. Another set, from monoculture farmland, which uses pesticides, recorded just 19 different species.  

Wilson says: “At some points the moths create short melodic fragments and these can be heard later in the piece as repeating motifs in the cello and piano. 

“By contrast, the end of the piece uses data from a poor habitat, audibly demonstrating declining biodiversity due to human interference.” 

Using UKCEH’s AMI system, a relatively new automated system used to monitor insects, Wilson converted this data into MIDI, a digital language used to store musical information. Using MIDI, she assigned different notes to each moth species, resulting in a 12-minute long composition. The accompanying visuals were created by students at the Northern School of Art.

‘Moth X Human’ will feature as part of Bradford’s 2025 UK City of Culture celebrations, and as part of this year’s New Music Biennial, a three-day festival showcasing new music from the country’s most exciting composers. 

The piece will be performed by a live band, written for “2 violins, cello, tenor trombone, piano, synths, electronics … and moths.” 

‘Moth X Human’ will run in Bradford from 6 June to Sunday 8 June, and London from 4 July to 6 July. The tickets are free. While all London shows have sold out, tickets for the Bradford venue are available here.  

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Celebrating Marr, as well as local record stores, a plaque for the 61-year old has been unveiled at one of the musician’s regular haunts. Located in Manchester’s Northern Quarter, and just a short walk from Afflecks Palace, Piccadilly Records became one of the most important record stores in the country in the post-punk boom that came out of the North West, and has been Marr’s record store of choice for almost 50 years.  

The former Smiths guitarist used the opportunity to highlight just how important independent record shops are, saying, “Going out to a record store, it’s a nice pastime. It’s a part of the culture; if they were to completely disappear, the high street or the city centre would be a much worse off place. There’s something about the presence of a record store. It’s a magical thing. I’ve known the staff in Piccadilly Records for 20 years…this plaque is a very nice thing to be associated with.”

@recordstoreday Announcing @Johnny Marr Official as the official Record Store Legend 2025 This award was presented to Johnny Marr at his favourite indie record shop #PiccadillyRecords by @Record Store Day US and Record Store Day UK for both his influence on music and his unwavering support of indie record shops worldwide. “There’s something about the presence of a record store. It’s a magical thing. I’ve known the staff in Picadilly Records for 20 years…this plaque is a very nice thing to be associated with.’’ – Johnny Marr Marr has consistently championed record stores worldwide across multiple album campaigns and will be celebrating #RecordStoreDay ♬ original sound – Record Store Day UK

Andy McQueen, who has worked at Piccadilly Records for over 30 years, said, “Johnny Marr is our favourite living artist, and his music has soundtracked our lives for over forty years. To be associated with him in this beautiful way; well, the pleasure, the privilege is ours.” Speaking to Mancunian Matters in 2015, McQueen described Record Store Day as “brilliant, saying “It brings in a whole new load of customers. I love the spirit of the day.”

Marr will be one of over 400 artists to be participating in this year’s Record Store Day offerings, releasing an exclusive orange double LP called ‘Look Out Live!’. The album will be a live record, recorded at his Hammersmith Apollo show in 2024, and will be released alongside the countless other records on 12 April. According to the Record Store Day website, the album “encapsulates the magic of the culmination of his 2024 Spirit Power tour”, and features tracks from across his impressive 40 year career. Those include ‘This Charming Man’, ‘Getting Away With It’, and ‘Armatopia’. The full track listing can be found here.

2025 won’t be Marr’s first collaboration with the celebratory event, having previously participated in 2015 with his single, ‘I Feel You’, in 2022 with Vince Clarke’s remix of Marr’s ‘Spirit Power and Soul’, as well as various releases from The Smiths and Electronic.

In February, MXDWN UK previewed Record Store Day 2025, highlighting the most sought after records of this year’s edition. Among them are Taylor Swift’s ‘Fortnight’, an Oasis greatest hits compilation titled ‘Times Flies’, two Charlie xcx records, including her collaboration with Billie Eilish, ‘Guess’, and Sam Fender’s EP, ‘Me and the Dog’.

The Oasis Time Flies Record Store Day UK reissue has landed! We even opened one up to show it off a bit. Available in store from 8am Saturday 12th April, first come, first served!@recordstoredayuk.bsky.social

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— Bear Tree Records (@beartreerecords.bsky.social) 2 April 2025 at 20:05

 For Marr, this isn’t just another trophy in a cabinet full of awards, it is recognition for being part of a wave that has seen the record store revived. In 2024, vinyl sales accounted for £196 million of physical sales, compared to £126 million in CD sales. Considering Marr’s place in post-punk history, Piccadilly Records is a fitting home for his plaque.

Twigs, the English artist formally known as Tahliah Debrett Barnett, has not released anything since her 2022 mixtape, CAPRISONGS, which marked a departure from her previous, more introspective and experimental works like Magdalene (2019) and LP1 (2014). CAPRISONGS is characterised by its eclectic blend of genres, including pop, R&B, and electronic music, showcasing a lighter, more playful side of the artist.

The 2022 mixtape was deeply personal yet accessible, with themes centered around resilience, healing, and self-discovery. It featured collaborations with artists like The Weeknd, Shygirl, and Rema, adding to its diverse soundscape.

In a four-star review of the album, NME said: “After pouring her darkest moments into Magdalene, this varied and playful mixtape represents a moment of release, though it remains to be seen whether Barnett will head further into this direction, or enter a new album era recharged. You suspect, knowing twigs and her crew of chameleon-like collaborators, that she’ll probably continue to do both at once.”

Her last full album, Magdalene, was released in 2019 and was as emotionally charged as it was tender. It was written during a challenging period in twigs’ life, following a public breakup and recovery from fibroid surgery, which heavily influenced the album’s introspective and vulnerable tone.

The album’s title is in reference to Mary Magdalene, a biblical figure who has often been misunderstood and misrepresented throughout history. Twigs uses this figure as a symbol of feminine strength and resilience, reflecting the album’s themes of reclaiming identity and power.

Her newest album, EUSEXUA, comes as the long-awaited follow up to Magdalene. The album was teased to fans on the 16th of January 2024 when twigs released a photo on Discord of her in the music studio alongside electronic musician and past collaborator Koreless. She clarified for fans the relevance of techno for the upcoming album, stating:

I moved to Prague a couple summers ago, fell in love with techno. The album isn’t techno but the spirit is there for real.

As stated by the Rolling Stones, on the 20th of August, FKA twigs reportedly played the new album from start to finish at an intimate listening party on the Lower East Side in New York. New York writer and artist Linux was also in attendance, and shared a post on X, stating that it was “one of the most fab experiences of my life.”

Sitting in a foggy LES basement last night on a full moon chainsmoking cigarettes with FKA Twigs as she played me and Julia Fox her new album from start to finish was one of the most fab experiences I’ve had in my life….this new album is so fucking good you guys are not ready

— Linux (@Linuxlicious) August 20, 2024

Kele Okereke, also known simply as Kele, has carved out a notable career marked by both his success with Bloc Party and his more adventurous solo endeavours. Rising to prominence in the mid-2000s with Bloc Party, his fluttering voice and incisive lyrics rocketed the band to early success. Their debut album Silent Alarm was voted Album of the Year for 2005 by NME, and reached number 3 on the UK Albums Chart, before being certified platinum.

While Bloc Party continued to release several more albums, Kele launched a solo career, which saw him begin to branch out into new landscapes. In 2010, he released his debut solo album, “The Boxer,” showcasing a shift from rock to electronic dance music. Tracks like “Tenderoni” demonstrated his versatility and willingness to experimentation with synth pop. His second solo effort, 2014’s Trick, delved deeper into electronic and R&B influences.

In addition to his Bloc Party and solo work, Kele has also written music  for theatre, composing the soundtrack for Leave to Remain, a musical about immigration and relationships. His solo work continued to expand with albums like Fatherland (2017), where he embraced a more acoustic, introspective style.

The electro-inspired track features Kele’s delicate vocals over a  shimmering rhythmic theme of echoey guitar. The lyrics narrate a chaotic late night journey from Bethnal Green to London’s West End, with the singer declaring his love for his home city. The opening verse paints a childhood scene in East London, while the accompanying music video illustrates these themes in in a nostalgic picture-book style.

“My story starts in Bethanl Green / I steal a cigarette from the homeless man / Like the City boys in Liverpool Street / With my 1990s energy,” the opening lines run. But while Kele said he wanted the song to be a “love letter” to London, “Hometown Edge” also acknowledges issues of race that Kele faced growing up, and the complex fabric of emotions this throws up about a city otherwise loved.

“The taxi driver has a bad case of the ‘can’t takes’ / To hold his tongue / Cause I’m young, black, and I’m handsome,” Kele sings.

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And taking to his Instagram account, the singer took the opportunity to connect his messaging to the wave of far-right rioting seen in the UK in the days leading up to the release.

“I wanted hometown edge to be a love letter to my home, London. it feels prescient releasing it today, the morning after my country has shown overwhelmingly that hate has no place on our streets. Seeing what has been happening up and down Britain these last seven days has been hard. it has shaken my core and at times made me question what my place is in this country, but the response from ordinary people up and down the country last night has reminded me how great my country can be when it is united not divided,” Kele wrote.

“With a heavy heart we need to inform you that yesterday, the 15.07.2024, our beloved father and husband has passed away.

We will forever carry you in our hearts and love you until we’re reunited again. Sincerely, your family.” The cause of his death has not been given.

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The Munich-born DJ and Producer posted on his Instagram just 3 days ago recapping the set he played at Steinbruch Open Air festival. Many of Bruckner’s friends and fellow DJs have paid tribute to the German including DJ Sash who said “I just can not believe it. He seemed to be so healthy. We shared so many stages together the last couple of months. RIP Thoma s Tomcraft.”

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Tomcraft, who’s real name was Thomas Bruckner, was a German DJ and Producer from Munich who specialised in progressive house and progressive trance music. He began working as a DJ in Munich in 1994 at the age of 19, playing techno and progressive trance music. He played his first major gigs at the technoparade, Union Move, in Munich in 1995. Later that year he released his first track, ‘This Is No House’.

In 1996 he met German producer Eniac who would go on to be his long-time collaborator. The two started making music together straight away, co-producing ‘Viva’, the first of many track the pair would produce together. That same year the two came out with the track ‘Prosac’ which would go on to be a hit when it was re-released in 2001. The two worked together as a studio team for the next decade, releasing many tracks on Kosmo Records among others.

In 2002, Tomcraft released the hit ‘Loneliness’, which was co-produced by Eniac, and ‘Loneliness’ reached number 1 on the UK Singles Chart. The success of this track massively boosted Tomcraft’s career. He then went on to release four albums across the next four years as well as regularly releasing singles including ‘Prozac’ and ‘Overdose’, which became big club tracks.

In 2005 Bruckner launched Craft music, a new outlet for all of his productions. All the other releases on the label were given a remix by Tomcraft himself. The label underwent a massive relaunch in 2010 to bring it back to the forefront of house and techno music. The label released music from artists which included Spektre and Jimmy Pop.

Over the years Tomcraft had many musical highlights when it came to playing live including playing to 1.3 million people at Berlin’s Love Parade in 2003 as well as playing at Japan’s Fuji Rock festival and festivals in Brazil.