Audio On The Bay
Chris Lake taps into a singular spirit evocative of dance music’s golden age by infusing funked-out grooves and natural instrumentation into decidedly modern house. It’s a sonic aesthetic that instantly incites movement and has established him as a trailblazer in the electronic dance music world. That perspective also set the stage for his forthcoming full-length debut available on Ultra Music in 2014.
At 14 years old, the multi-instrumentalist discovered progressive house music, and his life completely changed with the purchase of a synthesizer. His hobby became a profession shortly thereafter. Lake soon went from releasing much talked-about remixes to dropping dancefloor bangers. “Changes” broke the Top 10 on Billboard’s Hot Dance Airplay chart in 2006, while “Carry Me Away” (featuring Emma Hewitt) dominated the same chart a year later. He followed those two early successes with the Top 10 singles “Only One” and “If You Knew,” effectively breaking into the North American market.
Performing for packed audiences across the globe, Lake was signed by Ultra Music in 2012, and he went on to collaborate with the likes of Lazy Rich on “Stand Alone” featuring Jareth and Steve Aoki and Tujamo on the 2013 hit “Boneless.” Meanwhile, “Helium,” another collaboration with Jareth and wife Gita Lake, effortlessly transcended aural boundaries with its ethereal electronic hum, guitar twang, and unshakable refrain. After three years, he perfected the track.
Then, there’s the single “Squeak,” which encapsulates his enigmatic style and embraces that classic spirit tighter. It fuses funk, electro, melodies and breakdowns into a “groovy” hybrid evocative of Lake’s singular sound.
As a result, the best way to meet Lake is to fall into his body of work. Like all timeless music, it’s meant to be an escape, transcending eras, scenes and ages.
Flux Pavilion’s polymath-like ability to involve himself in all aspects of music cannot be understated. Known as Joshua Steele to friends and family, Flux is a singer-songwriter, record producer and label owner who plays the drums, guitar, saxophone and piano. His achievements range from releasing his first vinyl at 19 years old to selling out the legendary Red Rocks Amphitheatre in Colorado twice, notching up a UK top 10 hit with Sway and having Kanye West & Jay Z sample his dance floor anthem ‘I Can’t Stop’ in addition to featuring in DJ Magazine’s Top 100 DJ’s 2015. Not bad for a guy who started out replaying jingles he’d heard on TV on his Casio keyboard.
Influenced by the likes of David Bowie, The Beatles and Frank Zappa in the early years, it was when he heard The Prodigy and The Chemical Brothers that Flux Pavilion knew he had found a musical direction he truly wanted to explore for himself. A deluge of musical projects followed, writing instrumental hip hop and dirty drum & bass, joining local bands and producing for other acts all while studying at university. But the major turning point for this unquestionably talented musician was a visit to London superclub Fabric:
“I never went to clubs because I didn’t feel accepted into that scene; it felt too showy, too well-groomed. Then I saw Rusko play at Fabric and it changed my perception of everything. He was jumping around wearing a big cardboard hat shaped like a bird playing the most outrageous music I had ever heard. I loved it.”
From that day forth Flux Pavilion was destined to rise, first to the top of the dubstep scene, and then to the peak of electronic music the world over. His own label, Circus Records, started alongside childhood friend Doctor P with the backing of D&B pioneer DJ Swan-e and Earl Falconer of UB40, has been responsible for unleashing some of the most successful electronic music that the underground has to offer, launching the careers of scores of new talent in the process.
Meanwhile Flux’s own output has gone from strength to strength, having worked on a diverse selection of original tracks and collaborations with Childish Gambino, Dillon Francis, Steve Aoki and Turin Brakes plus remixing for the likes of Skrillex, Jamiroquai, MIA and DJ Fresh. While most students are thinking about where to go on their gap year, Flux Pavilion was celebrating ‘I Can’t Stop’ being picked as Zane Lowe’s ‘Hottest Record in the World’ when at the time he was still living in student halls. Ever since, Flux’s music can now be found regularly cropping up in the playlists of MistaJam, Fearne Cotton and Eddy Temple Morris as well as drawing attention from Snoop Dogg, Dr Dre, Prodigy, Fat boy Slim and Christina Aguilera to name a few. Reaching new heights, Flux has recently been the first producer ever to be officially asked to remix the Star Wars theme song in what will surely be a highlight of his career to date.
The intervening years have seen Flux notch up three headline US tours, two headline UK tours, DJ sets at every festival worth mentioning – from Glastonbury to Reading, Coachella to EDC Vegas and beyond – plus live performances with Example, Foreign Beggars and Chiddy Bang. In that time Flux has continued to develop his signature sound, retaining the all-important energy that The Prodigy and Rusko inspired him with in the early days and undoubtedly inspiring a generation of electronic music producers of his own in the process.
Flux Pavilion’s debut album, “Tesla” is out now on Circus Records.
Thirty push-ups and a shot of tequila each: that’s all the preparation Julio Mejia and Matt Toth need to transform laid-back, unassuming 24-year-olds into the scene-stealing DJ .and production duo GTA, throwing down killer sets across the globe.
Despite GTA’s wild, unpredictable sets, everything the duo does – both on stage and in the studio – is unified by a simple mission statement: Death To Genres. The duo’s open-minded-ness is closely tied to their Miami roots, as they were exposed to urban, electronic rock and Latin sounds in equal measure. “A lot of people argue about the kind of music they listen to, what’s cool and what’s not,” Mejia explains. “But for us, it’s just about good music.”
GTA finished their first collaboration in a single sitting, and sent it off to a few labels for feedback. Much to their surprise, Toth and Mejia heard directly from Afrojack who wanted to sign the song to his Wall Recordings imprint. “We got the email and we freaked out,” Mejia says. “That’s how GTA got started. And ever since then it’s just been constant.” Constant being an understatement, GTA has toured 5 continents headlining their own tours as well as thrilling crowds at premiere festivals such as; Coachella, Lollapalooza, Ultra Music Festival, EDC and countless more.
Promoting their genre-free ethos, Toth and Mejia have become bona fide tastemakers to fans and fellow artists alike, proving that “dance music” is best defined as whatever makes you move. GTA’s all-inclusive style is best exemplified in their new DTG Vol. 1 EP (out now on Three Six Zero Music/Warner Bros. Records). DTG Vol. 1 is seven tracks of genre-eradicating music that traverses multiple soundscapes, for the first single GTA masterfully craft the mammoth tune “Red Lips” that features the sultry vocals of Sam Bruno artistically juxtaposed with the bombastic horns and bass GTA has long championed. Also featured on the EP are the syrupy Southern vocals of rap legend & the ‘Peoples Champ’ Paul Wall, who weaves an icy flow over GTAs haunting hip-hop production on “Smokers Unite”.
For years GTA have supported numerous acts on the road and in the studio. In order to keep the karmic creativity flowing, GTA have called on talented comrades such as Valentino Khan(OWSLA), Wiwek & the master of bounce TJR. Whether you prefer to say the powerhouse duo is killing genres or creating their own, one thing is clear: GTA is on a bold musical mission, and they’re taking us along for the ride.
As the production wizard from Southern California, No Mana has been practising musical alchemy and sculpting a craft that has never seen the light of day. However, with the work let loose in the recent days, his music has gotten to the best of Eric Prydz, Dillon Francis and many more. In just under a year, he begins to release his material under mau5trap and shows the world what he’s all about – voltaic electro house with influences from various four-to-the-floor genres, and styles from different years and stages of electronic music.
Meet the man who’s single-handedly reinventing disco. It’s not often that you find a 19-year-old producer referencing Earth, Wind and Fire as his favourite act. That’s exactly the case with explosive new talent Throttle, the teenager from Australia who’s racked up an alarming list of achievements over the past three years and who – with the official backing of Earth, Wind and Fire – is set to scale the heights even further with new single “September”.
“Dirty Disco” pioneer Throttle is the only artist ever to have been allowed by the band to use original music from their body of work, a fact that may surprise more mainstream media unfamiliar with his work. Yet in an embarrassingly short space of time and at a ferocious pace, the young Australian is rising to the top armed with advanced studio finesse, his beloved guitar and a clear idea of where dance music needs to go. Throttle is not just the new kid on the block – he is the future of the genre and beyond – way, way beyond.
In a rapid yet organic trajectory, it was Throttle’s 2013 Launchpad “Inspire” video that caught the attention of global music media; the ensuing viral tsunami – almost 5 million views to date – rocketing him onto the radar. It wasn’t long before Avicii took notice, enlisting Throttle to remix his hit single “You Make Me”. Soon after, the remix was released as an official re-do, premiering through Rolling Stone and receiving huge tastemaker acclaim. Throttle swiftly took the #1 spot on the Hype Machine, peaking at #12 on the Beatport Charts.
His second Hype Machine #1 came in the shape of British crooner Sam Smith’s “Stay With Me”, securing over 2 million SoundCloud plays and expanding his legion of international fans. Production success quickly translated to the live stage, with two years of main stage duties at Australia’s Future Music Festival and support duties for Avicii under his belt, fitted in around his high school studies. July 2015 saw him release original single “Together” featuring David Spekter on vocals through Ash Pournouri’s PRMD imprint. Clocking up almost 2.5million plays on Spotify and over half a million views on YouTube in little over a month. Add to that his remix of Conrad Sewell’s “Hold Me Up” being used on primetime ABC drama series “Nashville” and the scale of Throttle’s early impact and reach beyond the confines of dance music becomes ever clearer.
With Throttle vs. Earth, Wind and Fire “September” set for release on Ultra Music November 13th worldwide, these final months of 2015 will propel Throttle into his next chapter and in doing so, give the world a new era of music that brings the soul, the funk and the musicality back to the dance floor, the radio, the factory floor, the kitchen, the car, the festival, the schoolyard and more.
At 23 years young, Will Sparks has cemented his position at the forefront of the globally loved Melbourne sound. Countless original productions have spent weeks inside the Beatport top 10 in addition to signature remixes of global hits such as Major Lazer’s ‘Be Together’, Robin Thicke’s ‘Blurred Lines’ and The Chainsmokers’ ‘Selfie’.
In his home country he was voted ‘Breakthrough Artist Of The Year’ only to be named the #1 DJ in Australia just 12 months later – fast forward a few years and Will has been listed as #78 in the DJ MAG ‘Global Top 100 DJs’. Now expanding his horizons, Will Sparks is spreading like wildfire with recent festival appearances on some of the biggest stages in the world including Tomorrowland, Stereosonic, TomorrowWorld and EDC as well as touring from continent to continent, 11 months of the year and hitting the 650k Facebook fans milestone.
Since his genre-defining track, ‘Ah Yeah!’ hit #3 on the Beatport overall charts at the tail end of 2012, Will Sparks has become unstoppable, hit after hit. Producing original tracks like ‘Catch’, ‘When The Lights Go Out’ and ‘This Is What The Bounce Is’ he garnered the attention of global heavyweight dance label Ultra Records. In the past 3 years alone, he has seen more achievements than most artists see in an entire lifetime.
Will Sparks has been named one of Billboard Magazine’s most exciting young talents as well as landing himself a residency at XS Las Vegas, a gig at Jay-Z’s ‘Made In America’ festival, a headlining spot at Paradise Ibiza as well as a set at the world’s biggest Electronic Dance Music festival, Tomorrowland.
His SoundCloud page is testament to his phenomenal influence as a producer, racking up millions of plays on a single release alone. With a debut album under his belt including collaborations with some of the biggest names in dance music, Will Sparks is one superstar who is showing no signs of slowing down any time soon.
Bleep Bloop’s musical world is one of stripped back, bass-heavy beats paired with stark, surreal soundscapes. Aggressive and off the wall sounds weave in and out of heavy drums as he blends genres into a low frequency style that works as well at a festival as it does in your headphones.
Bleep Bloop has earned the support of distinguished artists such as DJ Shadow, 12th Planet, DJ Craze, ƱZ, Kode9, Boyz Noize, Minnesota, Herobust, and G Jones, to name just a few. He has performed at sold out shows in flagship venues across the country alongside DJ Shadow, Cashmere Cat as well as Low End Theory (LA). His music has been broadcast on BBC Radio1, Diplo and Friends, Rinse FM, and on every continent except for Antarctica (maybe).
“Angular, brutal and barbed with a bass tongue that tickles with both a west coast and UK twang, it’s the sound Bleep Bloop has been cooking since he was first baptized by bass” -Dave Jenkins, UKF
Bass dipped in liquid question marks and rolled in lazers.
Since 2009 Tony Fresch has made a name for himself as one of the most distinguished up and coming DJs and producers in the LA edm scene. He has played at some of the most well known clubs in California including The Avalon, Club Nokia, The Key Club and Dim Mak Studios. He has opened for the likes of Steve Aoki, Diplo, Rusko, and Dillon Francis, among others. In 2011 his remix of Chromeo's "Hot Mess" under the alias Rolex was chosen as a winner in Turbo Recordings' official remix contest and was released on Turbo Recordings' Hot Mess Remix EP. In 2011 and 2012 Tony won the title of "Best College DJ in LA" in a live contest vote. Tony has recently developed the deeper alias "Dr. Fresch" and has released two acclaimed remixes for indie rock bands Y LUV and Kiven. The debut Dr. Fresch EP, "Fantasy / Ecstasy," was released on Prep School Recordings in June.
Music has been my biggest passion and served as my primary extracurricular since I was seven. Music has also always been an outlet for me to express myself when I couldn't verbally. I have created this outlet both in the studio and on stage. The primary reason I have pursued music so greatly has been for personal happiness, but I also strive to make others happy through my music. From playing Debussy and George Gershwin pieces at classic piano recitals to DJing Nocturnal, my end goal is to make others as happy as I am when I'm writing music.
Home Town: Tiburon, CA
Currently Living: Los Angeles, CA
Origin Of Name: My last name is Fresch, and I felt that I had to use that in my artist name. I chose to go by “Dr. Fresch” instead of Tony Fresch because I felt that it better represented the deep and groovy style of music that I make.
Weapon of Choice: For DJing: I will go through different phases where I have a specific “weapon on choice” track for the dancefloor. Right now that track is “Wonderland” by Denis Naidanow featuring Tyree Cooper. In the studio: My favorite virtual synthesizer right now is Togu Audio Line’s “U-NO-LX” plugin. It’s an emulation of Roland’s classic Juno synthesizer.
Source of Power: My friends, family and every music teacher I’ve ever had. I also look up to a lot of producers and DJs—right now MK (Mark Kinchen) especially. I love how he has produced both pop and underground music and has maintained a position as one of the leading forces in house music for the last 20 years.
Was there one particular moment in the recording or mixing process for your Discovery Project entry that made you feel like you were creating something pretty damn special?
When I finished recording my mix for the Discovery Project I realized that this collection of work was completely my own, and was entirely a representation of my personality and artist brand. Being able to look at the way I combined all of my original productions into one cohesive mix made me to realize that I had successfully created an artist brand.
Are there any dots to connect with where/how you grew up to your musical output?
My mom forced me to take classical piano lessons starting at age seven. I hated it at first, but as I grew older I realized that this knowledge would allow me to explore other genres. I joined a rock band in middle school, joined the jazz band in high school, and starting DJing at producing electronic music when I was 17, in 2008. Having an education and practice in several musical genres has given me the platform necessary to make the music I produce unique.
What do your parents think of what you are doing?
My mom is incredibly supportive of my career. I chose to pursue music full time after graduating college in May 2013, and she hasn’t questioned my decision once. She is excited by the strides I’m making as an artist and is willing to support me in all of my musical endeavors. There is no greater validation for my lifestyle choice than knowing that your family is 100% behind you.
What’s the strangest part of your job?
Being able to control and change people’s emotions with the music you release and the music you play live. It’s amazing to think that you are creating a different experience for people every time you play.
What’s the biggest misconception about being a DJ?
No one “blows up” overnight. Every artist and performer in the EDM community, and in the music industry at large, has put an enormous amount of effort into their career to get where they are now. It took me four years of producing electronic music to feel confident in my productions and share them with the public, and I recognize that I still have a long way to go. But, if it wasn’t this hard to establish yourself as an artist/DJ then it wouldn’t be nearly as fun or rewarding.
How does what you do for a living affect you on a day-to-day basis?
Being an artist/DJ is a completely unstable career path, but the rewards are much more satisfying. I am constantly sacrificing spending time with family and friends to work on music, but all of my family and friends recognize that I have to pursue this lifestyle in order to succeed as an artist.
What is your ultimate career dream?
It’s cliché, but: to inspire young producers to follow their dreams. I work hard to support myself, however it’s far more rewarding to know that your music has inspired people to do what they love for a living.
Are you impulsive with your work or do you have a sketch in mind before you start?
For every song that I’ve written, I’ve come up with a basic concept before I sat down in the studio. I usually get a kick of inspiration, sit down to develop an idea and spend the rest of the day in the studio.
How, if at all, does listening to music figure into your creative process?
I take inspiration from listening to new music every single day. This not only goes for music similar to my brand, but for all genres. I could be just as inspired by a vocal hook from a 90’s pop song as I could by a bassline from a contemporary garage tune. The last song I heard that made me get to the studio right away to produce was probably something by Hot Since 82.
What’s the most important piece of gear in your studio?
I don’t use too much analog gear, but I love my Korg Triton LE workstation for how juicy the pads are. I love Rob Papen’s Subboom Bass VST for creating pretty much any bass sound under the sun.
How important is it for you to experiment and take on the risk of failure?
Essential. There is a clear niche in EDM for deep, tech, and nu-disco, but I make a deliberate effort to create music different than the norm in an effort to brand myself as something new. I am always willing to risk my artist career by stepping out of the box.
If we pressed Shuffle on your iPod while you went to the bathroom, what would you be embarrassed to come back to us listening to?
Britney Spears “Lucky.”
What sound or noise do you love?
An 808 cowbell with a ton of reverb.
What should everyone just shut the fuck up about?
Sub-genre classification in “EDM.” I understand that it’s important to be able to classify music under genres on platforms like Beatport, but I absolutely hate putting a label on my music.
What gets you excited when you think about the future of electronic music and club culture?
That dance music has reached a level of global popularity that has allowed more niche styles of music to become relevant.
What are your weaknesses?
I like too many different styles of dance music. This has made it hard for me to hone in on a specific sound.
Tell me about your most memorable night out.
As a fan, I went out in Berlin a few months back on a Wednesday from dusk past dawn. My best friends and I started at an A$AP Rocky show and ended up at Watergate club watching Italo Johnson spin an all vinyl set until mid morning. It was amazing to be able to see so many different styles of music performed in their purest forms. As a DJ, playing Nocturnal was amazing. Winning best college DJ in LA in 2011 opening for Steve Aoki, and winning best college DJ in LA in 2012 opening up for Rusko was amazing as well.
Do you have any memorable moments from past EDC's or any other Insomniac party?
EDC 2010, 2011, 2012 and 2013 were amazing. EDC 2011 was especially memorable because my long time friend and colleague Clinton VanSciver and I decided that we wanted to start a record label together, Prep School Recordings.
Do you have a favorite all-time mixed CD or series?
Jamie Jones Fabric 59 Mix. It’s an amazing mix of styles and artists. I bought the CD at Amoeba and have been listening to it in my car for the last two years. Fabric London’s mix series is amazing in its entirety as well. Fabric London is one of my favorite nightclubs in the world because they maintain such diversity in their bookings; this is evident in their mix series.
What advice would you offer someone thinking about entering the Discovery Project competition?
Focus on showcasing your original productions. My Discovery Project mix included five original productions and one of my remixes. Convey that you not only write and produce good music, but that you also have an artist brand and a clear vision for your artist career.
Excision. The name itself presents a terrifying image- a mangled, forced extraction, quite literally “removal by cutting”. It should come as no surprise that the sounds behind this name are just as filthy, brutal, and unforgiving as the namesake suggests.
Excision shows are like no other- a virtual apocalypse of twisting and morphing sounds turn massive crowds into a frenzy, as virtual walls of bass are relentlessly impaled time and time again upon their fragile bodies and ears. Your ears will ring and your eyes will roll into the back of your head as you are suspended in what can only be called a true sensory overload. Bass will rain down from above for hours as Excision’s skills as a DJ and producer shine like an unholy light from the underworld.
The true champion of bass music, Excision hails from Kelowna, British Columbia. The founder of the Rottun label, a bass music conglomerate that has shaped the sound of modern Bass music, Excision has created a vast roster of allies that has only bolstered his spot as a warrior of bass music. Armed with a library of destruction and filth, Excision has time and time again tested the limits of electronic music with vastly different sets that encompass a full range of genres. The things you see and hear during the precious time you are engaged by Excision’s sounds will eclipse your mind for a lifetime, as you are constantly enlightened by the true fervor and energy that only an Excision set can provide.
Growing up on a goat farm in the desert of Arizona might not be considered the typical American upbringing for the next big DJ and producer, but then again, Ghastly isn’t your typical American artist. Many have described the genre-bending musician as a partially insane young man with a dark sense of humor. Politely abominable and casually destructive, he wields the catch phrase “born to die” as a mantra to his chaotic lifestyle. His sets have been heralded as “energetic and eclectic live performances which are sometimes followed by odd speeches about the abnormalities of life, regretful sexual encounters, and well cooked food.” With such a diverse personality and rapport for his fans, it’s clear that Ghastly has one thing on his mind, and that’s to change the world.
After entering the music scene and practicing his talents with touring metal bands such as the Irish Front, David Lee Crow finally found his calling with dance music, and it inspired him to pack up and head to Venice Beach, California, to live out of his van and pursue a new career in bass-heavy music. It didn’t take long for him to find his place in the scene, as Ghastly quickly claimed himself a position as Bassrush Resident DJ at Exchange LA, and has also secured a number of releases on chart-topping labels such as OWSLA, Buygore, and Dim Mak, to name a few.
Ghastly’s approachable yet hard-hitting style ushers a forward-thinking dynamic that is not often seen in today’s saturated scene, and his solo productions and collaborations present an unequivocal level of determination and finesse that fuses multiple styles together. Uniquely creating hybrid blends of house, trap and dubstep into a potpourri of bass, the young producer definitively pushes the boundaries of the entire EDM scene today, and a handful of the industry’s finest have recognized his potential, including Skrillex, Diplo, Dillon Francis, Tchami, DJ Snake, Datsik, Borgore, Zomboy, and Zeds Dead. With a slew of mentally stimulating originals and physically altering collaborations under his belt—such as his original “Miami Connection” with Jauz and single “Crank It” with Mija & Lil Jon—it’s safe to say that Ghastly is on a mission to redefine dance music for all.
While it may look that way on stage, nothing is ever simple with Keys N Krates. Not when everyone has an equally valid opinion, along with the willingness (no, the all-consuming need) to sit and scrutinize a hearty 808 hit or laser like synth line for hours on end.
It's been this way since the very beginning, when Keys N Krates went from being a live hip-hop band reliant on rough acapellas and memory-jogging remixes to something much more complex - a tight-knit trio of producers/performers - Turntablist Jr Flo, Keyboard player David Matisse, drummer Adam Tune - who take rocking a party as seriously as a week spent in the studio. "We always trade roles from song to song," explains Jr. Flo. "It's not uncommon for Matisse to flip a sample, or for me to write a melody, or for Tune to chime in on the mixing of a track. It's not the fastest way of working, but everyone has a say in everything."
Which explains why their breakthrough singles (the elastic loops and diamond-edged drums of "Dum Dee Dum," the head rush hooks of "Treat Me Right," a frantic, D'n'B-flavored "Are We Faded") are able to pull the strings of packed festival crowds without resorting to tired EDM tropes. Hip-hop, house and UK bass music all play a role in a Keys N Krates record, but so do the dark-tinged dynamics and widescreen ways of indie acts like Caribou and M83. "Seeing M83 live at the Osheaga festival changed our whole perception of how their music translates live," says Jr. Flo. "The chord progressions are beautiful and catchy but never corny. It's pop music at its best."
That was essentially the goal with the Toronto group's new Midnite Mass EP: cuts that are calibrated for clubs but that can translate beyond. Punchy and powerful. Emotional and epic. That goes for everything from its title track (an intro that sounds like a suspenseful thesis) to a Katy B collab ("Save Me") that'll beam old-school ravers straight back to the '90s. And then there's something as deceivingly simple as "Love Again," a soulful rap beat created from scratch and such artful details as the orchestral flourishes of Ouici and the gospel vocals of a friend named JP. Let's just say it's no coincidence that the song sounds like it sampled a dust-caked '70s record from a long-buried discount bin; That Just Blaze or Kanye might find and flip, Keys N Krates want to leave you wondering just how they do it.
“We wanted people to wonder where we got a lot of the sounds for this EP, the same way we have when listening to producers like Just Blaze and Timbaland. Those guys have always used source samples or sounds that leave you scratching your head. We love that simplicity; it's like true Italian cooking, a few ingredients to make something so impactful…. beats that leave you wondering 'where the fuck did he get that sound from?'
Though Derek and Scott have been perfecting their craft since 2010, Slander has entered the dance music scene with the feel of an overnight success story. Veteran DJs and skilled producers, Slander has crafted their own genre dubbed "Heaven Trap" with a devout following.
Despite their rapid rise, they are no stranger to the industry's top producers, including Skrillex, DJ Snake, Flosstradamus, Diplo, Bassnectar, Porter Robinson, RL Grime, Yellow Claw, Bro Safari, Snails, and Carnage. Their Nuclear Bonds EP was a stand-out release from Dance Music's top underground label, Mad Decent. After dozens of remixes, their first big vocal hit, a Heaven Trap original entitled "Love Again" featuring vocalist WAVZ, garnered over one million listens on Soundcloud.
With past performances at EDC Las Vegas, Nocturnal Wonderland, TomorrowWorld, Electric Zoo, EDC Orlando, EDC Mexico, Something Wicked, Sun City Music Festival, Contact Music Festival, Sunset Music Festival, Il Soniq, Moonrise, LifeInColor, and Global Dance at the historic Red Rocks Amphitheater primarily on the main stage, Slander has had the opportunity to show that their tracks are festival worthy. They've headlined every AAA venue in North America including LIV, Pacha, Create, The Mid, The Hoxton, Ruby Skye, Foundation, Elektricity and Beta. They did this all while holding down a monthly residency at the #1 nightclub in the United States, XS, whose other DJs include Megaclub juggernauts such as Avicii, Deadmau5, David Guetta, and Zedd. Besides the top clubs and festivals in the U.S. scene, they've headlined in Paris, Geneva, Milan, Athens, and other European cities, then hopped over the Pacific to hit up legendary Australian clubs such as Pacha, Oh Hello, and HQ. Undeniably the fastest growing act in dance music, they've lived up to all the early hype and then some. After spending 2015 playing almost exclusively on main stages at every festival in North America, don't expect to see them anywhere else for the rest of their career.
Hailing from Canada, 20-year-old Robert Hughes aka Vincent is one of the strongest forces in the world of genre-defiant, boundary-pushing electronic artists. Fusing the hottest sounds across trap music, future bass and unique styles in between, Vincent is perpetually setting the trends in his space. The producer, DJ and tastemaker broke onto the scene in early 2014 and hasn’t looked back. Vincent has recently stepped from behind his mysterious XVII moniker to reveal his true name to match the authenticity of his signature style.
Self-releasing several original and remixes with individual play counts in the millions, Vincent’s early work alone has accumulated over 7 million listens on SoundCloud. His official remix of Alison Wonderland’s “U Don’t Know” was met with critical acclaim and community support, instantly making its way into live sets from RL Grime, Flosstradamus, TWRK, Alison Wonderland herself and many more. Continuing to exceed expectations on the remix front, Vincent followed with versions of Flume’s “Some Minds,” Meek Mill & Drake’s “R.I.C.O.,” and Alessia Cara’s “Here,” a fan favorite which peaked at #1 on Hype Machine’s main chart.
Vincent’s original work continues to distinguish the producer’s appeal -- burgeoning from the day one trap fans all the way up to new listeners. “Anax” became a summer anthem when dropped in May of 2015 and a follow-up was hotly anticipated. After 4 months, Vincent finally released “Only,” another anthemic trap effort that proved worth the wait -- and suddenly, original material from Vincent is among the most in-demand music across dance.
Primed to take the future by storm, armed with the talent and avant-garde approach to music that fans of today and tomorrow yearn for, Vincent is reinventing the electronic artist.