A New Chapter begins, as we set sail upon The Endless Sea! #BeyondSoCal returns to the NOS Center for a transformative underwater adventure - Friday, March 24 & Saturday, March 25!
Tickets on sale now!
12th Planet is the electronic music pioneer whose off-axis beats and subsonic frequencies orbit on the forefront of global bass culture. Recently named “Los Angeles dubstep god” by Rolling Stone, 12th Planet AKA John Dadzie and his influential label SMOG Records are widely credited for bringing the British movement stateside, and continue to be a crucial force in the evolution of electronic music. 12th Planet's DJ sets now include a myriad of styles that reflect the current, diverse landscape of EDM music and continue to display his role as an essential tastemaker in the dance music world.
12th Planet burst onto the scene in 2006, releasing tracks that helped ignite the North American EDM explosion and collaborating with the likes of Skrillex, Kill The Noise, Datsik and Plastician. In 2012, 12th Planet’s seminal track “Reasons” (Doctor P Remix) was named by SPIN Magazine as one of the ‘30 Greatest Dubstep Songs of All Time’ -- after all, “nothing set the tone for domestic bass culture quite like this Planet's orbit,” said SPIN. 12th Planet has gone on to be recognized as “King of Dubstep” by SPIN and “US dubstep godfather” by UK’s dance music bible Mixmag after headlining tours across the globe and performing at major festivals including Coachella, Electric Daisy Carnival, Ultra Music Festival and more.
Since 2006, 12th Planet has also led what’s become one of the most thriving underground movements in electronic music, with MTV calling the crew a “pioneering incubator of bass music in America." The SMOG crew, with 12th Planet at the helm, continues to produce top quality events in Los Angeles and beyond, always pushing forward as an internationally recognized leader in U.S. bass music. However, John Dadzie's role has extended beyond just bass music to encompass the whole of EDM, including what he recently described to OC Weekly as "transition music," -- a sound that incorporates diverse styles and BPMs. His DJ set is no longer classifiable by genre but best dubbed "a trip to the 12th Planet and back."
Born and raised in Paris, Aazar holds a major part in Point Point’s team. Since his first track “Shake” (in collaboration with UZ), he keeps confirming all expectations put on him. This first success was followed by a collaboration with DJ Snake for a remix of Skrillex’s “Dirty Vibe”, an official remix of “Get Low” and some tracks out on the Mad Decent Label. Supported by some of today’s biggest acts, Aazar won’t stop to impress.
AC Slater has begun a lengthy career for himself by fusing elements of house music with the dirty basslines of UK garage and sprinkles of old-school rave synths and breaks.
AC Slater's career kicked off with a bang in 2008, with his seminal remix of "Turn the Music Up" on Trouble & Bass becoming an instant anthem. Moby listed it as one of the best 10 tracks of the decade, declaring it a "perfect song." AC has collaborated with influential underground artists such as Nina Sky all the way to chart toppers like Far East Movement, and has done official remixes for the likes of Big Sean, Moby, Robin S. and many more. A quick look at Slater's Beatport page reveals well over 100 tracks and remixes over the last five years, including his best-selling Jack Got Jacked EP, a blatant declaration of the invasion of house music by all things bass (and the start of a lengthy friendship with Jack Beats).
Fast forward to the present, AC has toured the globe several times and his tunes have been played at every major festival and club in the world by DJs including Skrillex, Diplo, 12th Planet, Jack Beats, and so many more. Slater's tunes and guest mixes can regularly be heard on major radio stations across the world, including the UK's BBC Radio 1 and Rinse FM and Australia's Triple J. His crew Trouble & Bass and his own record label Party Like Us continue to release some of the most groundbreaking and forward-thinking bass-heavy dance music in the underground.
2015 saw her US live show debut at Coachella, her debut album Run, debuting at #1 on the US Electronic Billboard charts, a US tour taking in stops in NYC, Miami and Chicago with EDC Las Vegas, Lollapalooza, European tour and a HUGE sold out Australian Warehouse tour, 2016 is looking very bright for Alison Wonderland.
The way you hear her tell it, Alison Wonderland has wanted to name her first album Run since before she knew how to play an instrument. It’s something that she’s carried with her over a diverse career spanning multiple projects, all of which have crystallised in a record that’s a twisted looking glass into the soul of one of Australia’s most promising musician/producers.
Welcome to the contradictory world of Alison Wonderland; an Australian artist who has written an album during her time in Los Angeles, a public personality who privately obsesses over her music with near-?maniacal intensity; an electronic producer who is equally proud of her pop songs and her festival bangers.
She’s a chemical performer who has played cello in orchestras, rocked the bass in indie bands and graced turntables in front of thousands. From Stereosonic to Splendour and Coachella, not to mention a killer ‘Diplo and Friends’ BBC radio mix and a national run of secret warehouse shows that sold out in hours, Alison Wonderland has probably racked up more air miles in the last 18 months than hours of sleep.
Thanks to the non-?stop rotation of her breakout hit ‘I Want U’, which topped Hypemachine and its EP Calm Down, which garnered millions of plays on Soundcloud, Wonderland has become known not only as a crowd-?pleaser, but also for her ability to craft great songs. ‘The way to be a good producer is about using your ears,’ says Wonderland. ‘If you just did what textbooks said, nothing new would ever happen.’
To help her develop this vision on her first feature-?length, Wonderland worked with some great songwriters from both sides of the equator; Djemba Djemba, known for his work with Diplo’s MAD DECENT label and the cutting edge up and coming producers from around the world AWE, Lido, Ganz and Alexander Burnett.
Run is a record that feels like the ones Wonderland bought growing up. As a DJ, if you don’t have a direction to take an audience in, what’s the point of playing a set? I feel the same about an album, she says. With its definitive opener and closer, Run is defined by its shapeliness. “Order is so important”, says Wonderand. “Even live, it’s not always about being ‘bang bang bang’; you have to have lulls, you have to bring people up again, you have to take them to another place and do it tastefully.”
Running the gamut from electronica, future beats, trap, and dancehall to classical and pop music, Run, is a dance album with personality. Wonderland sings on almost every track, a decision she made while in Los Angeles, and also took lyrical control. “My lyrics and melodies come faster the more music I’ve written, and it’s easier to delve into my mind,” she says. “Especially these days, music that’s made from your soul is better than music that’s made from your brain.”
The record boasts a robust rolodex of guest collaborators, all of whom Wonderland describes as close family. “I’ve never dialled in someone. I only wanted to make this album with people I fucking love,” she said of Run, which features Norwegian wunderkind Lido, New York rapper Johnny Nelson, SAFIA’s Ben Woolner-?KIrkham and even Flaming Lips impresario, Wayne Coyne. Wonderland’s approach to writing with others, like most of her life, is refreshingly unorthodox. “The first thing I say [when someone I’ve never met gets to the studio] is ‘Tell me what’s going on with your life. I want to hear the last thing that made you cry.’ And we sit for hours and talk to each other and then we get down to the music.”
Run is about striving for greatness, and never feeling like you’re quite there, which is sort of what Wonderland means she says it’s an album about her time in Los Angeles, and observations of people, love, anxiety and the industry. It’s the infectious groove of first single ‘U Don’t Know’, the crushing beats of ‘Ignore’ and the near-?ecstatic release ‘Carry On’, the sound of the DJ who won’t leave the stage until the makeup is running down her face and she’s drenched in sweat. It’s the anthems-?in-?waiting, ‘Run’, ‘I Want U’ and ‘Games’, a pop number sneaking out of left field.
But what Run is really all about, what you can hear and feel when you play it, is Wonderland’s very real inability to sit still. ‘I always feel like I’m never satisfied,’ she says. ‘When I get to a certain place, I’m still not content. It’s really about pushing yourself.’
Alison Wonderland dives down all manner of audio rabbit holes with Run and emerges with something unique and personal. She drives everyone around her crazy. She drives herself crazy…But her debut album is out, she’s played Coachella had two ARIA nominations and here she is, still running.
The question is, can you keep up?
As hot as the Sahara and standing every bit as tall as pyramids, they’re the single most successful group to have emerged from the spiritual lands of Egypt. From the Med to the Red and from up high in Cairo, to down deep in the Sinai, they’ve built an immense, ultra-loyal in-country following, From that foothold turntable Shamans, Aly Amr Fathalah and Fadi Wassef Naguib went global. With their career-launching Egyptrance releases (inc. ‘Eye of Horus’ and ‘Spirit of Ka’) through to latter-day master-blasters like ‘We Control The Sunlight’, their production credentials are only now matched by their spinning ones. Ranked as one of the 20 biggest DJ acts in EDM (source: DJ Magazine Top 100 DJs 2013), they delight crowds now numbered annually in the millions, bringing their inimitable sound to the world’s most prestigious clubs and festivals. No mirage, no illusion - this is Aly & Fila.
For close to a decade their spirited take on the trance sound has captured the hearts, minds and imaginations of planet trance. With their whip-smart productions and sandstorm sonics, their performances have raised the bar at some of the world’s most recognized clubs. Comparably they’ve also ruled at EDM’s biggest festivals – EDC - Las Vegas, Tomorrowland, Global Gathering, Dance Valley, Stereosonic, WMC and Full On Ferry to name just a few. Continuing in a long tradition of playing the world’s most established and respected stages, in Spring 2014 they will rock ASOT 650. Marking the 8th successive year they’d done so, the Egyptian duo are the only spinners aside from Armin Van Buuren and Markus Schulz to have played such a run. This combined force of production and turntable feats has resulted in string of high charting positions in several of EDMs’ key polls. Included amongst them are seven consecutive years in DJ Mag’s annual countdown (reaching #20 in 2013) and a #2 notch on Trance Podiums Top 50 DJs in the same year.
Spreading the A&F message around the globe is their Future Sound of Egypt radio show. Beaming to countless thousands of desktops every week, August 2013 saw its 300th episode hit airwaves. This was marked by the FSOE 350 Woldwide Tour over 5 Cities, which drew fans from all four corners to these events. 2014 sees Aly & Fila reach 350 Episodes of the Radio show and will once again mark this celebration by hosting a worldwide FSOE 350 Tour with so far Sharm El Sheikh, New York City, El Salvador, Medellin and Lubiaz in Poland announced with more to be announced.
The Future Sound of Egypt marque is further amplified by Aly & Fila’s widely respected imprint of the same name. A label sub-division of the industry leading Armada Music empire, through it they have rained continuous floor-fire, with one A-list championed release following another. With ‘We Control the Sunlight’, the pair scored the biggest trance track of the year when the listeners of Armin Van Buuren's A State of Trance radio show voted it Tune of 2011. Throughout 2012 they continued to bring some of the year’s best music to club & festival sound-systems. Among them were collaborations with Roger Shah (on ‘Perfect Love’) and Solarstone with ‘Fireisland’. It also saw them re-team with ‘We Control’ singer Jawden on ‘Coming Home’, for a track that DJ Mag cited as “making hairs stand up, goosebumps pop, hands shoot up and jaws meet floors!” They also reworked Gareth Emery’s ‘Concrete Angel’ (which subsequently became the best-selling trance track of 2012), as well as other smash tracks from Andy Moor and Alex M.O.R.P.H.
2013 saw the duo release the follow up to their Rising Sun Album by releasing their second artist album ‘ Quiet Storm’ with monster hits including ‘Mysteries Unfold’ and ‘Running Out of Time’ .
2014 promises to see another waves of music from Aly & Fila. Already announced for this summer will be the release of their Third Artist Album titled ‘ The Other Shore’ with several singles scheduled for release from the album. Also released in April 2014 is the Remix Album of their artist album Quiet Storm. This Year also sees Aly & Fila Mixing the legendary Trance Nation Compilation released by Ministry of Sound.
The tail end of 2015 finds ANGELZ on an exciting tip: tearing up his blueprint and digging into his experimental core. Known for pushing boom bap edits onto discerning dance floors and up the charts, the G-House pioneer is irrepressibly drawn to this creative axis as a prodigy and as a rebel.
ANGELZ synthesized his experience as a producer and his passion as a music lover. “I’ve always liked the rawness of hip-hop mixed with the repetition of house beats. In my live sets, I’ll take some obscure techno tracks and make edits, maybe add acappellas over it, and make them into new tracks. It helps people digest complex genres when you have something familiar.”The former Def Jam signee, who ghost-produced chart topping beats between homework assignments as a 15-year-old, says “Everyone, the labels, were coming at me, asking me to replicate a track I’d made for someone else. So I started sending them random stuff. I had started listening to Detroit techno and Chicago house, and they were like ‘No one can rap on these beats!’ So they stopped calling.” The demand for conformity reminded him of the time his piano teacher chided him for deviating from the assignment and creating a song instead of studying one.
Testing limits comes easy to ANGELZ, who as a teen was addicted to P2P networks like The Neptunes IRC, “It was super illegal, I didn’t know that Diplo was also on that channel and so was Tyler the Creator. I became a huge hip-hop head in love with Timbaland and the Neptunes. I learned how to sample by listening to Alchemist. I was the biggest pirate,” says the man who adopted the DJ alias Smasha at age 8 to label the Big beat-laden mix tapes he had started making.
Reinvigorated by a reclusive 2011 in Australia with a “crummy laptop”, ANGELZ prepared for his turn in the spotlight as Skrillex was blowing up. “I was really into Justice, Boys Noize, Crookers, Para One,” he says. “I realized then that there’s a market to be your own man.” It was a game changer for ANGELZ, who at 20 already had 8 years of producing rap to his credit but no idea how to DJ or do the “house thing”.
Embracing house wholeheartedly, ANGELZ has gone back to one of his enduring strengths: sampling. The proof is undeniable on his new single “Hey Girl”. To be released by French house-master Tchami, its slow, B-boy hard house groove captures ANGELZ’s new sound. “It’s 100% about the vibe.”
However divergent ANGELZ’s direction may seem, his sonic compass is clearly on point. Though still in his early 20s, ANGELZ’s baroque beats fuse hip-hop’s raw energy and house’s hypnotic rhythms with a psychic’s ear and a veteran’s finesse. Beats that once left executives scratching their heads soon had fans moving their bodies and superstar peers praising him in their sets. The world may not think it’s ready for ANGELZ; fortunately ANGELZ knows better.
Astrix has been one of the leading trance producers and DJs in the world for more than a decade, carrying his musical message of psychedelic emotional uplifting trance to every corner of the world, to the biggest urban clubs and far away beaches, huge festivals and underground events. Devoted to his art and a true perfectionist, Astrix is known for his massive hypnotic explosive sets on the dancefloor and for his precise detailed production in the studio. Both always laced with tons of feel and musicality. His music has been topping the charts and his albums are considered milestones. Astrix fourth studio album, “He.art” will be released early in 2016.
In the middle of a global explosion of Electronic Dance Music, a genre that thrives in the most exclusive nightclubs of the world’s cosmopolitan cities, a prodigious producer has emerged from the unlikeliest of places. The small seaport town of Mystic, Connecticut, has been the home of Audien (AKA Nate Rathbun) for his entire life, and it’s in a small apartment in Mystic where Audien began creating music in 2008. Using a very basic set up, and a secret cocktail of plug-ins, Audien worked diligently to hone his craft. By age 17, while his friends were either preparing college applications or teeing up jobs, Audien began to test the waters by sending his unsolicited music out to producers, labels & bloggers. Though confident in his sound, Audien carefully managed his expectations, suspecting it was unlikely that he’d hear back from a random demo submission. An enthusiastic response came, however, from Flashover Recordings, the trance label owned by beloved Dutch Producer/DJ Ferry Corsten. Audien’s single “Rise & Shine” was released, and soon thereafter he was off to the races.
Over the next two years a slew of renowned labels came calling, gravitating to Audien’s stunning melodies & innovative sonic landscapes. Audien worked meticulously, but prolifically, churning out anthems & remixes for labels including Armada, Spinnin, and Anjunabeats, with tracks routinely charting on Beatport. Audien’s tracks also began to appear on compilations assembled by some of the genre’s giants, including Tiesto’s Club Life, Above & Beyond’s Trance Around The World, and Armin Van Buuren’s A State of Trance. A particularly exciting opportunity presented itself in May of 2011, when Audien had the opportunity to open for Van Buuren at New York’s Roseland. In just 3 years, Audien had gone from idolizing Van Buuren to sharing a stage with him.
As Audien has continued to release tracks into 2012, his music has evolved to include elements of Progressive House. The monster 2012 release These Are The Days was lauded by influential blog Dancing Astronaut as a “catchy summer anthem,” while The Top Sound noted “the combination of flawless evolution, beautiful piano chords, & trance-y plucks makes this an absolutely brilliant track.” Never straying far from his roots, Audien released his highly acclaimed song Eventide on Anjunabeats in August of 2012. Audien’s relationship with Above & Beyond continued to blossom through the fall; in November, A&B premiered Audien’s track Wayfarer as the first ever song played on their new radio show, Above & Beyond Group Therapy.
Elsewhere in November 2012, Audien released the incendiary progressive house track SUP, via Trice Recordings. SUP was featured by Dutch icon Hardwell on episode 87 of Hardwell On Air. Commenting on the track, Elektro magazine declared, “… this production takes its listeners on a roller coaster ride of uplifting synth progressions, chaotic builds, and hard, bouncing drops that holds the ability to move crowds wherever this banger is played.” Shortly after the track’s release, Audien joined Hardwell on tour for dates in New York & Boston.
With his ability to create fresh tracks in auto-pilot, Audien has turned his attention to performing live, a craft he takes just as seriously as his production. Audien recently performed at some of the hottest clubs in the US including L.A.’s Exchange & Lure, San Francisco’s Ruby Skye & Harlot, New York’s Pacha, XS in Las Vegas, and Miami’s LIV. With more big shows forthcoming, Audien is ready to continue his rapid rise out of Mystic, and around the world.
Born in Las Vegas and currently residing in Southern California, Aweminus (pronounced ominous) has manifested into one of bass music’s most promising emerging artists. Since late 2012, his unique take on dubstep and drum and bass has garnered the support of artists like Excision, 12th Planet, Funtcase, Getter, Trollphace, jPhelpz, Bukez Finezt, Protohype and more.
Aweminus first became known within the dubstep community after promotional clips of songs like “Viper” and “The Beast” began circulating on Youtube in early 2012. As a 16 year old, he was named a winner of Getter’s Fallout Remix Competition and went on to win a spot on the Remix EP which was released on Firepower Records. Aweminus went on to release three EP’s before the end of 2014; the “Shift” EP with Subject 31 through Prime Audio, the “Hard Ticket” EP on Abducted Records, and “Chuckie” on Bass Face Audio.
2014 brought about the release of his hit “GBUS” EP on The Dub Rebellion’s label Octane Audio. Excision’s Shambhala 2014 Mix Compilation (Rottun) was released on the very same day and featured the VIP of Aweminus’s classic “IJDGAF”, which Excision had been rinsing throughout his tour and festival sets. Aweminus had two tracks “Syrup” and his remix of “Nah Nah” by Bommer and Crowell featured in Duploc’s compilation “Recommend Volume #4” that was released on Bassclash Records in December 2014. 2014 also saw the release of Bommer and Aweminus’s collaboration “Squirm” through Prime Audio on Bommer’s “Curses” EP.
2015 has been a very solid year so far for Aweminus. Within the first three weeks of January, two new collaborations and a remix had been released on beatport; “Cold Blooded” with Definitive (Prime Audio), “Four Horsemen” with Phiso, Acting Damage, and Ripple (Firepower Records), and Aweminus’s remix of “Wolf Dance” by Acting Damage (Prime Audio). In the Spring, Aweminus was named an official member of the Savage Society Records crew and a resident DJ at Escence Audio. Aweminus will be performing in Paris in April as support for Excision’s France Tour and has his sights set on a tour later this year.
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.
For the last two years, BORGEOUS has had an astronomical rise to fame. The LA-based Platinum recording artist and DJ/producer is quickly making waves in the scene and has already accomplished three Billboard Dance Radio Top 10’s, three Beatport #1’s and a #1 on the iTunes Dancechart in 15 different countries. His keen ear and innate talent to produce a provocative, textured sound have made people take notice.
His biggest hit to-date “Tsunami” is exactly as its title suggests as the hit single wrecked bars, clubs, festival stages and radio stations around the world, gaining BORGEOUS international acclaim. It reached #1 on iTunes in 15 different countries, #1 on Beatport, received an EMPO Award for ‘Track of the Year’ and was nominated for the Juno Award ‘Best Dance Recording of the Year’. In 2014, he reached the top 10 on Billboard’s Dance Radio chart not just once, but twice with “Invincible” and “Wildfire”. “Invincible” also became the #2 Song of 2014 on SiriusXM’s BPM Radio and Wildfire was #14. BORGEOUS' remix work is no less impressive. He was recruited to remake Afrojack's lead single featuring Wrabel, "Ten Feet Tall" for Universal Music as well as Ariana Grande's "One Last Time". It was in this year that SiriusXM gave him a residency and picked up his extremely successful weekly podcast “House of Borgeous”. He was also ranked in DJ Mag’s Top 100 DJs at #87. His production prowess combined with a wicked DJ aptitude makes for an unparalleled performance.
BORGEOUS has already exceeded expectations for 2015 with the release of: “This Could be Love”, “They Don’t Know Us”, “Big Bang” The Life in Color’s 2015 Anthem, his ever-so-beautiful original “Zero Gravity” featuring electro pop sensation LIGHTS that went #5 on iTunes Dance Charts in Canada, his collab with Wiz Khalifa, Waka Flocka & DJ Whoo Kid "Toast" and many more. In the midst of a jam-packed release schedule, he is also touring the globe with shows all over the world. Be sure to catch him on the road.
Bot is of the future. Half man, half-machine; fully Italian. Exiled in West London, locked in the studio since departing legendary duo Crookers, Bot (his creators named him Andrea Fratangelo) has disassembled any expectations and rebuilt his sound for 2018.
Since forging his new solo path, Bot has prepared half a dozen releases to deliver throughout 2013. The first, "Vamos / Go Down" EP was hastily snatched by Steve Aoki's Dim Mak label and released in March. His 2nd release, 'Indastria 2028' followed in May on his own label Main Course (with partners Astronomar & Neoteric). Next up are 2 smashers for Blood Music (Trails/One Hour) which will see the light in July and have since debuted in Fake Blood's Fabric Live 69 compilation. To round out the year, Bot joins the crew at Southern Fried once again, to drop the "Friday Pulse" EP and remixes, featuring the legendary Robert Owens. On top of that, more music from Bot and friends is being prepared for Main Course, and he's stayed busy remixing the likes of Diplo & Wiley. One thing is for certain; there are no plans to slow down!
Futuristic techno and unorthodox club rhythms are welded with hip hop influences, and a nod to the sounds and sprit of classic house. What we have here folks, is the new tomorrow.
Contrary to popular belief, dance music isn’t new to America. One would only have to look at the career of Bro Safari to know that the American dance music scene has been thriving for years, making waves from the States to across the globe. Bro Safari’s productions have excited crowds and been critically acclaimed by the best in the business, and there’s nowhere to go but up for this talented producer.
In fact, if 2012 was the year that Bro Safari’s name grew, then 2013 is when the rocket blasted off. After his success releasing singles “Scumbag” and “The Drop,” Bro Safari partnered with his longtime collaborator UFO! for the highly anticipated album Animal; all were free giveaways via his SoundCloud. The Animal project highlights how these two drum & bass producers took a genres-be-damned approach, creating music that they felt. The album is a cohesive masterpiece, received great accolades and pushes from a number of well-respected outlets. In a fitting cycle, they even included some raucous drum & bass tracks on the project, never forgetting where they came from.
No one can predict the future, but with the trajectory that Bro Safari is on right now, he is on track to continue to excite audiences, challenge norms, and represent quality within the dance music scene for years to come.
WHAT IS IT about your favourite records that makes you love them?
WHY DO certain combinations of sounds surcharge your soul with emotion?
HOW CAN a chord progression invoke an elevation to an untouchable location?
The answers to these questions are the Holy Grail for all musicians. Understanding and unravelling the complex and subjective human relationship with tones, textures and triads is a constant quest for musical clarity. For the most passionate artists, this quest will take a lifetime…
Passionate artists like Camo (Reini) and Krooked (Markus): Two young Austrians who met on the skateboard but made a lifelong pact in the studio almost 10 years ago. Quickly identifying a shared vision and thirst for sonic communication, the pair have been asking themselves the questions above (and many more) since their earliest releases in the late 2000s.
At first they found answers within the high energy, chaotic parameters of drum & bass. But, as they’ve persisted on their quest, found more answers and asked more questions, they’re now exploring a much wider world of musical possibilities.
For artists so young, they’ve already achieved a huge deal: Few electronic acts are staring down the barrel of their fourth album at this stage of their career. Even fewer artists have created a made-to-measure live experience with as much attention to detail as their Zeitgeist show.
But everything you know about Camo & Krooked so far barely scratches the surface compared to their next ambitious project. Here’s what they’re up to… And how they got there.
“It’s about exceeding what you’ve done before. The next step has to be better. If we made the same thing over and over it would be painful. It’s not creative. We love the idea of not knowing what may happen. Fuck the safe path – we want to explore new paths. Some people might not like it. But that’s the risk we enjoy taking… And we’re not going to know if it has paid off until people receive it.” – Reini
These paths have been teased throughout their career – particularly with the brushed metal electro sheen of 2011’s ‘Make The Call’ and 2010’s paranoid minimal tech alias Chrome – but were properly swathed down in September 2013 with the release of their third album ‘Zeitgeist’.
After two successful thoroughbred drum & bass albums – ‘Above & Beyond’ (Mainframe, 2010) and ‘Cross The Line’ (Hospital, 2011) – ‘Zeitgeist’ was a game-changing document that showed Reini and Markus’s true passions, musical scope and future vision.
Embracing drum & bass’s famously high production standards while breaking down its infamously conservative formulas and tempo restrictions, ‘Zeitgeist’ compounded a stronger signature than they’d displayed previously…
Disco, techno, soul and funk were brazenly smelted down as the young duo carved delicate synthetic textures with soft plucks, spacious minimalist design and detailed arrangements. Abandoning scene expectation and fears of technical limitation, ‘Zeitgeist’ was a calling card for a genre-free future where artists transcend boundaries created by the fans, the labels and, ultimately, themselves.
“We want to create a sound that no one else has done before. Not just technically, but in terms of arrangement. The goal? For people know the Camo & Krooked sound at any tempo. There’s a safe way to play it when you’re establishing yourself and that’s how we did it on the first two albums… To a certain degree. But with ‘Zeitgeist’ we just did our own thing. Since then that way of thinking has grown so much it’s an intrinsic part of our musical journey.” – Markus
Joining them on this journey is essential. Many producers already have; the electric emotion and cosmic textures of ‘Zeitgeist’ are already being referenced, deftly nodded to and blatantly copied across drum & bass.
The referees have become the reference: Now, in the true spirit of exceeding past accomplishments, they’re about to take this sound, spirit and creative ideology to a new level.
JOURNEY THROUGH SOUND
In the aftermath of ‘Zeitgeist’ and its ambitious bespoke hi-tech live show, Markus and Reini have continued to study and analyse musical dynamics; how sounds ignite emotions and feelings from deep within, how space and silence are just as important as the musical elements. Above all: how music tells its own unique story.
“We listen to everything we love and constantly dissect the chord progressions and arrangements. That’s how we’ve learnt. We’ve made the connections between D&B and soul and funk. A lot of our development comes from listening and understanding.” – Reini
Studying the new masters from Jon Hopkins to Tame Impala to David August, Markus and Reini have toiled hard to understand their shared vision of their musicality and, most importantly, how they want to translate it to us.
Rather than use the same old in-the-box language, they’ve amassed a collection of analogue hardware to help them chisel and hone these messages furthermore: A Moog Sub37, Prophet8, Roland Chorus Echo, JoMoX MBaseII, Studer 961 mixing desk, mics to record their own percussion and drum libraries… The list is building, slowly but surely. Each machine helping them articulate their unique sound and define their own creative boundaries.
“Limiting your sound and understanding your machines and their capabilities is essential. Having that abundance of creative opportunities is dangerous; endlessly flicking through folders and VSTs means you never actually make anything .You never find your own sound. So we’ve thought about everything that pleases us and intrigues us so we can establish and really define our own sound. Besides…
Hardware just sounds better!” – Markus
The first taste of these analogue experiments since ‘Zeitgeist’ emerged in June 2015 with ‘Gravitas’. A dreamy, arpeggiated composition, it was the bespoke result of a creative partnership with Red Bull’s skydiving team, created to soundtrack one of the most beautiful aerial stunts the team have ever displayed. Sitting at a pensive 115BPM, ‘Gravitas’ instantly smacked of Camo & Krooked’s sound while rolling at a tempo they’d never explored before. Another example of Markus and Reini’s musicianship, it acts as the quintessential tease for their highly anticipated fourth album.
BACK TO THE FUTURE
Camo & Krooked’s new album is their most ambitious project to date. Joining Markus, Reini and their stash of outboard kit are a score of local upcoming vocalists (because they love working with new artist and supporting Austrian talent), wild-skill session musicians (because they know their own technical limitations and when to call in a pro to replicate their own strums and sketches) and industry professionals such as award-winning pop architect Simon Britton whose discography is peppered with legends from Kool & The Gang to Eminem, Usher to Jimmy Cliff.
Even by the duo’s widescreen standards, it’s a brave new musical world. Building new sonic skylines on the impressive structures of their past, tracks such as the sun-freckled reflectivity of ‘Like I Do’, the delicate keys of ‘Black & White’, the slo-mo techno drones and dark bass tones of ‘If Else’ galvanise Markus and Reini’s capabilities well into the future in a way that’s not been done by their peers before. Many hugely respected artists who first came to fame in drum & bass have gone on to succeed on bigger stages… But not in the way Camo & Krooked intend to do it.
“We put so much effort and blood, sweat and tears into writing something that’s unique and fresh and not already done,” states Markus. “We don’t want to be the next big radio act”
“I wonder how long it will take till the bubble bursts? When radio moves on, everyone moves on… We want to make a deeper connection. We want people who stay with us and join the journey and not people who just respond to the hype and move-on as quickly after. But we can only do this if we are true to ourselves.”
With honesty and clarity as strong as their sonic signatures and musical passions, this is the sound of two men on a lifelong quest to understand and unravel the complex and subjective human relationship with music.
This is the sound of two men at a newfound creative peak.
This is next level Camo & Krooked.
Do you have any questions?
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.
Still at the young age of 24 years old Argentinian Chris Schweizer has the world at his feet with his trademark big bassline sound fusing the boundaries between the big room sounds and trance. Signed to the mighty Armada Music label in Holland his releases are getting support from the biggest headliners across the globe including Armin Van Buuren, Paul Van Dyk, Ferry Corsten & Gareth Emery.
His latest productions have been getting regular airplays on the worlds biggest trance radio show ‘A State Of Trance’ as well as entering the beatport trance top 5 chart!
With many more slamming productions forthcoming this year as well as major worldwide tours planned 2016 is going to be the year of Chris Schweizer!
With limitless energy, his trademark mane of long hair, and a passion for all things underground, Craig Williams has quickly built himself reputation as a musical tour de force both behind the decks and in the studio.
Hailing originally from Australia, Craig grew up playing bass and began DJing and producing 11 years ago. Taking a wild detour from music, Craig spent several years working as a Black Hawk helicopter crewman in the Australian Army, which saw him deployed to Pakistan and East Timor. After his Army tenure came to a close, Craig held a residency at the popular Full Moon events in Queensland. With the desire to continue honing his music craft strong, he moved to Los Angeles, where he enrolled in the SAE Institute and earned a degree in audio engineering.
In recent years Craig has continued to shift the gaze of the industry in his direction. His deft ability to produce both gritty banging electro and underground techno has opened many doors for him, with releases and remixes for notable labels such as Dim Mak, Motorik, Relief, Perfect Driver, and many more. 2013 saw Craig release an EP with Bromance starlet Louisahhh!!!, as well as "Paradise," a Beatport-charting collaboration with Chicago luminary Green Velvet which appeared on the legend's recent full length album Unshakeable. Craig has also made an immediate impact with his skilled DJ sets, delivering memorable performances at Chicago’s legendary Lollapalooza, EDC in Las Vegas, and main stage slots at renowned club nights such Control Fridays at Avalon in Hollywood and Porn & Chicken at Evil Olive in Chicago. With forthcoming releases lined up on Sweat It Out and Discobelle, as well as collaborations in the pipeline with Gunrose, Sharooz, and Jencen Interceptor, 2016 is quickly shaping up to be a breakout year for Craig Williams.
Hometown: Melbourne/Sydney, Australia
Currently living: Los Angeles, CA
Origin of name:
It’s my real name.
Weapon of choice:
Outboard synths and drums machines.
Source of power:
The people I surround myself with.
What advice would you offer someone thinking about entering the Discovery Project competition?
Just throw your hat into the ring; you never know what could happen.
Do you have any memorable moments from past EDCs or any other Insomniac party?
At EDC [Las Vegas] 2013, I ran into Green Velvet after he played, and I asked him how I could release some material on Relief Records. We exchanged details, and two months later he called me at 6am, asking to do a collaboration for his LP. You never know what could happen and who you can run into at the festival.
Are you impulsive with your work (in the studio and/or DJing), or do you have a sketch in mind before you start?
Most of the time, I’ll have a rough idea and elements in my head for the style of track I want to make. Apart from that, I’ll just go in on a track and jam away. I work mostly with hardware, so I just look at the drum machine and synths as different colors of sound that I’m trying to paint a picture with.
How important is it for you to experiment and take on the risk of failure?
Very. If you sit in your comfort zone your whole life, you aren’t going to grow as a person. Later on, you will find that you’re full of regret for not trying something new.
What’s the most important piece of gear in your studio?
I think this changes on the regular. My go-to synth would be my Arp2600 clone, and my go-to drum machine would be the Elektron Machine Drum. One weapon I would love to add is a pair of Audeze headphones. After having used these in the past, I can’t speak more highly of a piece of studio equipment.
What should everyone just shut the fuck up about?
The hate. People going out of their way to hate on other people just blows my mind. There is nothing wrong with having opinions and staying true to who you are, but going out of your way to hate on others that have no effect on your life is just a waste of time and energy that you could invest into yourself and the people around you.
What gets you excited when you think about the future of electronic music and club culture?
I love seeing how dance music is growing, especially here in America. When I moved to America five years ago, dance music was still very underground to the mainstream media. Now, for better or worse, it’s everywhere. I like to think that people that get into dance music because they heard David Guetta or Calvin Harris on the radio will end up digging a little deeper and finding the wealth and depth that the dance music world has to offer.
Is success physical or internal? What does it mean to you?
I believe that success, at the end of the day, has to be a measured internally. No matter what you do, if you try and measure what you are doing by the amount of money that you are earning or the fans you have or the recognition that you receive, you will ultimately be unhappy.
Do you have a secret passion?
I definitely have a passion for fitness. In past year, this extended to distance running. My running partner for some time was Louisahhh!!! We even competed in an ultra-marathon together. Whether it’s running or some other exercise that you do for one–two hours with no phone or outside distraction, it can be phenomenal help when it’s time to work. It’s almost like meditation.
Zero f*cks given – some would argue that’s the mantra when it comes to the Cut Snake way of life. “It’s about enjoying the moment and having a great time,” Paul “Fish” Fisher explains of his group with Leigh “Sedz” Sedley. However, it’s worth noting that there are, in fact, a few fucks the guys do give when it comes to their music. Which they have no problem showing.In the studio, Sedz and Fish channel their unabashed, fuck-all attitudes into tracks like their sultry debut single “Face Down”, and the lush vocal cut “Echo”. The guys coin an atmospheric and deep-leaning sound that’s suited to no one particular environment. As Fish tells it, “you should be able to enjoy it everywhere.” Mates since childhood, Cut Snake grew up on the Gold Coast of Australia; surfing professionally and competing against each other from the time they were 12. In this time, they developed the hilarious banter and incredible dynamic that is still prevalent in interviews and on stage. The guys got into dance music while they were touring the world for surf contests and quickly grew passionate about the underground scenes from each country they visited. With plenty of time waiting for waves, they fine-tuned their production skills from beachfront bungalows, giving their music a fresh feel and their live show a vibe like no other. Outside of their wildly successful surf careers, Sedz channeled his passion and focus for the sport into his music production, and for that he’s known as the “mad scientist” of the duo. Fish is known for his web series, Followthefish.tv. His wild personality and contagious laugh have made him one of the biggest personalities in the surfing industry to date. Now that Cut Snake has relocated stateside and inked a deal with Three Six Zero / Warner Bros. Records, the guys flout the seriousness of the scene in every way possible. Their crazy video antics have amassed a cult following in their home country of Australia and given the guys an edge on US turf. The edge, of course, is in teaching their American audience how to take a break from their day jobs and have a fucking beer...or seven.
From the humble surroundings of the north east of England, near Newcastle, Darren Porter began his musical journey experimenting with keyboards and pianos and without the ability to read music and not one music lesson he was able to learn what made music work, from this he began to write small film scores for independent short films, but his real passion lay with electronic music.
Whilst not ready to let the world hear his music Darren held back until he was happy with what he could hear, he then entered the “Dave Pearce bedroom producer” competition which he won after Dave heard his track “termination” only hours before the show went live, “Termination” was subsequently signed to Oceanstate Recordings.
Over the last few years Darren has built a steady reputation for driving and hard euphoric uplifting remixes known to deliver huge energy, all his remixes have been supported by some of the biggest DJ’s on the planet. 2011 was a monumental year for Darren Porter – winning the title “Tough as Titanium track of the Week” for his monster chart topping release “Daytona” – Signing his collaboration track “Springs Scent” to Sean Tyas’ label Titanium Recordings which was tracklisted at ASOT500. 2012 saw Darren explode with a flurry of remixes and originals and caught the attention of big game players even earning himself a worldwide twitter trend for his track “Foundry” while been played and supported by Armin Van Buuren. Darren remixed one the biggest vocal tracks of the summer of 2012 “Sean Tyas feat. Lo-fi Sugar – The World” which caught great reviews and was played through the world during the summer festivals.
Since Darren has released top original tracks such as “Terraforming”, “Spellbound” and The “Oracle” as well as collaborations with Ferry Tayle on “Neptunes Legacy” and ReOrder on “The Void” which was released on Armada’s Who’s Afraid of 138 Label.
Darren’s dance floor destroying productions gave him the platform to perform across the globe at world renown events such as Transmission and Trancefusion in Czech Republic, Grotesque, Luminosity and Quest4Trance in The Netherlands, Digital Society and Goodgreef in UK, Techno Club and Legendary Festival in Germany and Next Universe in Switzerland.
Since emerging onto Alter Ego Records and Enhanced Recordings with his debut EP’s and single releases back in 2014-15, San Jose, California-based Daun Giventi continues to make non-stop impressions in trance & progressive music. Along with his recent and formidable remix on the highly exclusive Anjunabeats label, Daun is no stranger to breaking into the scene at full force and becoming a familiar name on the Beatport Top charts.
With every release in the Trance Top 100 so far, his latest and personal ‘Perpetual Motion/Sutra EP’ reached #2 in the Beatport Top 10 Trance Releases chart and was featured on Above & Beyond’s Group Therapy for four weeks in a row. Along with the seemingly continuous support from Above & Beyond, his ear for crafting uniquely powerful tracks has also gained the attention, and often frequent radio support, from international legends Armin van Buuren, Tritonal, Myon & Shane 54, Jason Ross, Cosmic Gate and many more.
With so many plans and big releases on the horizon, Daun Giventi shows absolutely no plans of slowing down. Staying in line with his mission to bring uplifting, atmospheric, and emotion-evoking energy to dance floors around the world.
Home Town: San Jose, CA
Currently Living: Mountain View, CA
Origin Of Name: I wish that I could say that there is a super cool meaning behind my name. I think it started back in middle school with the clothing company “Matix.” The word just really stuck with me for some reason. Eventually in like 7th grade I went by “DJ Matix.” After I started producing, I didn’t really want to call myself a DJ anymore. So I threw “Pro” in front of “Matix” to stand for pro-ducer and to head in a more pro-fessional direction. Then I just took out the “I” in “Matix” just for some extra flavor and for the sake of being nifty.
Weapon of Choice: Ableton 9
Source of Power: Beat Service, Shogun, Ronski Speed, Rafael Frost, Armin Van Buuren, Audien, deadmau5 and Above & Beyond.
What’s the biggest misconception about being a DJ?
That it’s not a competition of who can play the most/best bangers. It’s supposed to be creatively telling a story with your selection of music and setting the mood. If I wanted to hear the Beatport Top 10 I would rather just tune in to a radio show.
What is your ultimate career dream?
Before I die, it would probably be to play alongside the trance artists who have changed my life and have grown up listening to.
How, if at all, does listening to music figure into your creative process?
This is actually a huge part of my creative process. My mind always just creates harmonizing melodies when I listen to other tracks. Whenever I’m listening to a mix or something I usually get inspired by a melody or a bassline in a certain track that just makes me think, “This is fucking beautiful, this is definitely my style.” Then when I get back home, I would download the song, play it on repeat, and just write out the parts that I come up with naturally. I have to say, the last track I heard that made me stop everything that I was doing and run straight to my computer was “Zodiac” by Arston.
How important is it for you to experiment and take on the risk of failure?
It’s pretty damn important. I’m scared to do it sometimes, but it’s one of those things you just have to get over and just dive in. It’s the only way to be an influence and stay relevant in a music scene of trendy music. If it’s good, people will love and respect you for your style. They’ll be able to identify you by your sound and that’s what we should all strive for. You don’t want to be remembered as that one guy who sounds like “insert generic artist here.”
What should everyone just shut the fuck up about?
Everyone should really just shut the fuck up about Molly…and finding her. You don’t look cool and nobody cares.
What gets you excited when you think about the future of electronic music and club culture?
Hearing all the new styles and subgenres that are being made. 2012-2013 has been great so far in electronic music development. People are getting more creative and thinking outside the box to revolutionize sounds.
When you look at electronic music and the surrounding culture, what worries you about the future?
Unfortunately there is a lot that worries me about the future of electronic dance music culture. I’m really worried about the shift of focus away from the music and its message to the spotlight being put on drugs. It doesn’t really sound like a big deal. But I mean c’mon you see it all the time. People reppin’ their “hey-look-at-me-I-want-attention-and-I’m-rolling t-shirts” and their “Have You Seen Molly” bro-tanks all over the place. It’s really disappointing. I can’t ever go to an electronic event or even a club these days without being pestered for pills. I’m there for the music, not to just get fucked up. It kind of breaks my heart. The focus should be on the music and its euphoric power. To tell stories, to bring usall together—regardless of background, race, nationality, or sexual orientation. It’s the universal language that we can all understand without even needing a single word in the track. It’s about acceptance, good people, good vibes and good music. And in my opinion, if you have to do a significant amount of substances to get lost in the music experience, then maybe you should try something other than attending EDM events. I know some kids who will easily spend $500+ on tickets and end up not even remembering the whole festival. Like honestly, what is the point of that? You could have done that same thing at home with your friends for like $20. It just ruins the experience for a lot of the true fans.
Is success physical or internal?
Success is definitely internal. It’s a constant battle between doubt and determination. You have to keep telling yourself that you can make it even when you or everyone around you is maybe saying otherwise. You have to want it. Success is when you can make a living off of doing what you love.
Tell me about your most memorable night out.
I will never forget the day I met one of my trance producing idols Ronski Speed at a house party in Redwood City, CA. We just sat and talked about trance and music for hours and I got to show him some of my tracks and he actually liked them. A really life changing moment for me. That was all the approval and motivation I needed to keep working hard and never to give up. Literally one of the nicest and coolest guys I’ve ever met in the music industry. We’re still pretty good friends.
What advice would you offer someone thinking about entering the Discovery Project competition?
The best advice I could give is don’t be afraid to make music that stands out. Try not to get too caught up in the popular trendy EDM sounds and styles that are going around. Be yourself and work hard. Your passion will shine through your music and it’s quality if you take the time to perfect it. Lastly, and most importantly, don’t doubt yourself and think that your submission won’t be good enough. Just take a deep breath and send it in. You never know what could happen until you try.
Links to track and Discovery Project mix:
Drum & Bass duo DC Breaks have made their way onto the widest range of playlists. Their hardcore club cuts have been rewound by the likes of DJ Friction and Andy C. On the other hand, the songwriting ability displayed on the single ‘Faithless’, featuring Bianca, has plastered them all over the radio. That’s just the tip of a very large iceberg. DC Breaks have earned their stripes in the underground but, with an album due in the Autumn and a packed festival season ahead, they’re about to explode onto the international stage in a spectacular fashion.
Since signing to Andy C’s Ram Records they’ve carved a reputation for delivering world class remixes for some of the biggest names in pop. Their work on singles by Paloma Faith, Lady Gaga, Lana del Rey, Tinie Tempah and others, and production for Example (a cut on the ‘Playing in the Shadows’ album) woke the pair up to the possibilities offered by vocalists. It was the start of the journey that led to the forthcoming album, packed with crossover cuts such as the piano-led ‘Breathe’ featuring Dave Gibson, with its contagious, urgent chorus. Or the soulful explosion of ‘No One Like You’ sung with passion by Niara Scarlett. Or the epic blast of ‘Salvation’ wherein DC Breaks take heavy duty bass sounds and tie them to uplifting, irresistible vocal hooks.
Once they graduated to Ram itself, with monster cuts such as ‘Shaman’ and last year’s battering ‘Lock-In’, they hit the drum & bass A-league. Before long it wasn’t just the drum & bass scene paying attention. DC Breaks tunes made it onto BBC Radio via Zane Lowe, Mistajam and Annie Mac.
“Chase and Status opened the door to drum & bass being accepted in the mainstream,” says Dan, “and through that door went DJ Fresh, Wilkinson, and now us.”
It certainly looks that way with appearances at multiple 2015 festivals, including UKF, NASS, SW4 and Glastonbury.
“I love the wildness of festivals,” says Dan, “Like we played on Arcadia’s outdoor stage last New Year’s Eve, in this big tower with fire blasting out of it. I was literally three or four feet directly underneath the flame-thrower in a really small box. If something goes wrong we were literally toast!”
If DC Breaks can avoid being fried by flame-throwers, the summer will be theirs. By the end of 2015, with their debut album blowing up everywhere, the year might well be too.
Rising through the ranks of the Socal Bass music scene, one duo has stood out as a force to be reckoned with. Definitive, comprised of Alfonso Lopez & Billy Marples have established their brand of bass music mayhem in 2013 and have not looked back since-Quickly gaining notoriety for releases on respected labels such as Savage Society, Prime Audio and Chronos Records. As a collective they represent a diverse range of genres including dubstep and dancefloor Drum and Bass. Proving themselves on the decks and in the studio, with the support of key players in the bass music scene such as 12th Planet, FuntCase and Cookie Monsta, Definitive continues to be an act to watch.
Des McMahon signed his first record deal at the young age of 18. Now, almost seven years later, the Philadelphia-born producer has become a staple in Washington D.C.’s swelling electronic music scene. Whether composing mind-bending drum and bass, or pushing sound systems to their limit in his DJ sets, McMahon’s unique sound encapsulates both limitless range and time-tested drive.
Despite the sonic confidence throughout his music, Des is humbled to have shared the stage with fellow artists Skrillex, Nero, Spor, and Noisia in front of sold-out crowds. The backing his music has received from world renowned artists such as Diplo, Evol Intent, and Dieselboy only validates the many sleepless nights and thousands of hours that Des has committed to his vision.
In a field with little certainty, there is no doubt that Des McMahon is poised to shake-up the status quo with his unbridled experimentation and relentless pursuit of sounds to grip the soul.
At a time when headline "DJs" shamelessly play pre-programmed - even pre-recorded - sets and the masses mindlessly embrace the charade, Dieselboy - The Destroyer - stands out as a rare virtuoso of the art and craft of live DJing. His complex, high voltage, take-no-prisoners sets have created legions of loyal die-hard fans around the world. Arguably no other DJ mixes live - on four decks - with more precision, imagination, intensity, energy and finesse.
In the history of electronic dance music, no one comes even close to matching his legacy of epic dramatic mixes, each a timeless star in his signature constellation. Dieselboy - one of the world’s finest technical DJs - has, in fact, elevated the themed DJ mix to the realm of fine art.
For over two decades one of the world’s most influential ambassadors of drum and bass, Dieselboy (Damian Higgins) is America’s most iconic underground bass music curator and pioneer.
Dieselboy is also a passionate connoisseur of books, film and food. He has written about and been interviewed about his obsession with food, and since 2014 his cooking skills have been displayed in professional kitchens around the world including pop-up hamburger events at restaurants in the Netherlands. He has collaborated on an artisan beer and a gourmet hot dog, and has a cocktail published in Robert Simonson’s (New York Times cocktail writer) new book “The Old-Fashioned.”
Dieselboy was the first drum and bass artist to chart a single on Billboard’s dance chart with “Invid” in 2000, and was the first American voted into the UK-based Drum & Bass Arena Top 10 DJs online poll in 2004. He's been featured on magazine covers, interviewed for documentaries, TV and radio, heard on MTV, ESPN and action/adventure video games, and sponsored by DC Shoes and Pioneer Pro DJ.
In 2002 Dieselboy founded Human Imprint, North America’s most prolific, dynamic and innovative drum and bass label, and is co-founder of SubHuman (dubstep, electro, trap), under the umbrella of Planet Human. Planet Human is beloved by its fans for the quality of its next level high energy releases by international vanguard artists including Bare (US), Mark Instinct (Canada), Mayhem (US), Muffler (Finland), Nerd Rage (US), Nightwalker (UK), NumberNin6 (US), Pixel Fist (UK), Subshock (Spain), Zardonic (Venezuela), and Faces of Def (Dieselboy's collaboration with Mark the Beast).
Dieselboy’s legacy is also one of non-stop trailblazing dancefloor destruction on the international club circuit as well as at major global music festivals including Bassrush, Bonnaroo, Coachella, Detroit Electronic Music Festival, Electric Daisy Carnival (Las Vegas, Mexico, New York, Puerto Rico), SXSW, Summerfest, Ultra Music Festival, US Virgin Mobile FreeFest, Weird Bass Music Festival, Motion Notion (Canada), Shambhala (Canada), Borsodi Hegyalja Fesztival (Hungary), World Bass Summit (Japan), Jisan Valley Rock Festival (Korea), PRSPCT XL (Netherlands), Creamfields (Poland), Pirate Station (Russia), Global Gathering (UK), and PHAT 09 (New Zealand). He also toured with Moby’s Area2 and played heavy metal concerts with Orgy and Disturbed.
Dieselboy’s DJ career began in northwest Pennsylvania DJing high school dances. While a student at the University of Pittsburgh he learned to beat-match vinyl live on college radio and played trance, happy hardcore and breaks at house parties. His 1994 mixtape “The Future Sound of Hardcore” led to out of town bookings and his expanding popularity and technical skills led to the honor of being the first American asked by a British drum and bass label to mix a compilation (“Drum & Bass Selection USA,” 1996).
In 1997 Dieselboy moved to Philadelphia to be drum and bass buyer and T-shirt designer for seminal rave culture/record store 611. In 1998 Dieselboy was the first American drum and bass DJ to be nominated for Best Drum & Bass DJ at the Global DJ Mix Awards and tied with LTJ Bukem. From 1998 to 2004 Dieselboy hosted North America’s premier drum and bass weekly “Platinum” at club Fluid.
In 2000, Dieselboy co-founded with fellow Stateside drum and bass warriors AK1200 and DJ Dara the Planet of the Drums super crew (with MC Messinian) - electronic dance music's longest running annual tour, now in its 16th year (2015).
Dieselboy continuously raises the bar for the DJ mix as an art form, and each of his from 1992 to his latest tour de force “Dieselboy - The Destroyer” stands the test of time. State of the art showcases of producers and graphic artists of each respective musical era, Dieselboy’s mixes have been described as “cinematic” and “intoxicating.”
Dieselboy’s goal in creating each mix is “to make the most intricate, layered, nuanced, amazing drum and bass mix ever done. Period.” His sixth sense for sublime exquisite blends - "the sound of heaven crashing into hell," as he once described it - is as transcendent as it is legendary.
In his dramatic intros (a Dieselboy trademark) his narrators [who include movie trailer voice legend Don LaFontaine, Peter Cullen (“The Transformers”' Optimus Prime), Lynanne Zager (“Lost,” “Fantastic Four”), and Corey Burton (Disney)] describe epic - from sci-fi fantasy to soul-crushing post apocalyptic to grindhouse - scenarios. (His intro to "Wake the Dead" is a thinly veiled reference to the death of the art of DJing – a theme that resonates amongst fellow technically skilled DJs, fans and dance music aficionados.)
An inspiration for generations of DJs, Dieselboy’s longevity and relevance in a mercurial industry is a tribute to his relentless drive to create “amazing” experiences for his fans in their iPods and at his infamously explosive live shows.
Dieselboy fans praise his skills as “genius.” Says The Destroyer: “I don’t fuck around.”
Thomas Wesley Pentz, better known as Diplo, is one of the most dynamic forces in music today. He is as much an international brand as he is a musician/DJ/producer. He’s proven himself to be a ubiquitous cultural figure, consistently bridging high and low, mainstream and underground, with remarkable tact and reverence.
In 2004, after throwing influential parties in South Philadelphia, Pentz cemented himself as a full fledged artist through his debut album, “Florida” which received praise within the underground community. Diplo worked with M.I.A. on her mixtape, first and second albums, eventually creating the Grammy nominated track “Paper Planes” in 2007, which hit No. 4 on the U.S. Hot 100 Chart and has sold more than 3 million copies.
In 2005, Diplo founded label/culture lab Mad Decent to serve as a platform for showcasing the myriad of fascinating sounds Pentz encounters while touring the world. Notable artists include: Dillon Francis, DJ Snake, Baauer, and Riff Raff. Coming full circle from his days of Hollertronix, Diplo has utilized the label to produce the annual and infamous Mad Decent Block Parties – a series of outdoor dance parties/concerts that now span 19 cities across North America.
After multiple Grammy nominations, including Producer of the Year, and being crowned the #1 most streamed artist on Soundcloud for 2013, Beyoncé’s “Run the World” sampled Major Lazer’s “Pon De Floor” and sold over a million copies, cementing Diplo’s place in the pop world.
Fast forward to present day, Pentz has 235+ show dates under his belt in 2015 alone, and three 2016 Grammy Nominations including Producer of the Year, Best Dance Recording, and Best Dance/Electronic Album. Diplo remains the go-to producer for the who’s who of the pop music landscape.
“Lean On” the global smash hit from Major Lazer’s June 2015 release Peace Is the Mission has garnered a host of accolades including reaching #1 at Top 40 Radio, a first for any independent label, being named Spotify’s Global Song of the Summer as well as earning the crown title of most streamed track of all time, currently with 573 million plays, making it the most successful independent song of all time.
Dombresky, producer from Paris, made his name with his unique style and his finesse, which allowed him to make an official remix for A-Trak’s “We All Fall Down” and a collaboration with Tchami on the track « Freakin » released on his EP.
Dombresky keeps impressing the house scene with his track « Hardcore » fresh off his Ep « Reaching Perfection » released on the prestigious « Fool’s Gold » label in which he’s delivering us elaborated tracks and a very aesthetic music.
With his brand new single « Wait » Dombresky made the pressure rise once again and provides us a track of a cheerful melody, signed on Tchami’s label “Confession”.
Supported by artists like Diplo, DJ Snake, Anna Lunoe & many others, he highlighted a house way old school and stands out as one of the new faces of the French Electro scene.
Drum & Bass would not be the same without Drumsound & Bassline Smith (aka Andy Wright, Benjamin Wiggett and Simon Bassline Smith). Together the trio have body-slammed dancefloors from Derby to Durban and established themselves as three of the finest Drum & Bass tastemakers on the planet, courtesy of the blue chip label Technique Recordings – an imprint that celebrated 10 years of killer dancefloor joints in 2009.
The magic has been bubbling ever since Wright and Wiggett met Bassline Smith at one of Derby’s mentalist Technique club nights in the summer of 1998. The Drumsound pair had been crafting beats for a year, having originally started as a crew of six artists, while Bassline Smith had carved out a reputation as one of D&B’s most influential players, with a career stretching back to the early ‘80s.
Together, they enjoy an impressively diverse arsenal of music that’s ensured their place atop the D&B scene for over a decade. A peep through Wright’s background and you’ll find he’s a classically trained musician with a strong background in indie rock – an ideal platform for harnessing the energetic groove that makes Drumsound & Smith’s productions slide over the dancefloor. His Drumsound compadre Wigget has been a diehard D&B head since the womb, while also tipping his hat to his Jamaican roots. Veteran Bassline Smith has been a funk and soul connoisseur for over 25 years and knows his way around a dancefloor blindfolded.
Drumsound & Bassline Smith are also in hot demand from the most respected heads at Radio One and 1Xtra and enjoy regular flogging on the airwaves from the likes of Zane Lowe, MistaJam, Annie Nightingale and Annie Mac to name a few. Something which has led to the trio being playlisted across both BBC Radio 1 and 1xtra. The group are also one of the few artists to complete multiple mixes for the famed Radio 1, with a whisper of a request to complete a coveted Essential Mix in 2010. “We love them and have been supporting them since day one,” Mac tells.
As their popularity begins to steamroll, so do the requests and as such Drumsound & Smith have issued re-rubs of songs including VV Brown’s ‘Leave’ at the request of Warner/Universal and Fugative - Supafly for Ministry of Sound. Radio 1’s Annie Mac also personally requested the crew complete a remix of Chipmunk’s no.1 anthem ‘Oopsy Daisy’ for her Mash Hitz segment. They also achieved an unlikely feat when they made the Eastenders theme dope, completing a re-rub for the E20 Music Competition set up by the BBC. Recent notable remixes include DJ Fresh’s #1 single “Louder”, Afrojack’s “Take Over Control” and even remixes for Daft Punk and Moby.
No surprise that demand has seen the guys independently tour all corners of the globe setting the standard across America, Canada, Australia, France, Italy, Germany, Russia, Iceland, Spain, Holland, Sweden, Ireland, Czech Republic, Brazil, Poland, Switzerland, Uruguay, Norway and Italy.
2011 saw two of their own singles, Freak & Close both get Radio 1 playlisted & Record Of The Week for Mistajam & Zane Lowe. In the first few months of 2012, the group entered the UK charts with Ministry Of Sound released single “What Can You Do For Me”, alongside Utah Saints.
Ekali is a Canadian instrumentalist and producer from Vancouver, BC. He started making electronic music in 2014, and since has been making big waves in the electronic community; from his visceral, captivating original work and collaborations to his thundering club remixes.
Ekali was accepted as Canada’s sole participant in the Red Bull Music Academy in 2014. Since then, he’s gone on to receive over twenty million streams, toured every corner of the world & received a writing credit on Drake’s “If You’re Reading This It’s Too Late.” His unique sound has earned him a loyal following worldwide, and cemented him as one of electronic music’s most promising artists.
In 2016, Ekali was tapped for an official remix of Flume’s “Smoke & Retribution feat. Vince Staples & Ku?ka,” and his Flux Pavilion “I Can’t Stop” remix was officially signed and released by Big Beat. Ekali was also recently featured as a new & developing artist in HITS magazine.
Over the summer of 2016, Ekali released a much-anticipated official collaborative remix with Gravez of Jack Ü’s “Mind (feat. Kai).” This was quickly followed up by an official remix on Australian label Future Classic for Ta-ku & Wafia’s “Meet In The Middle” single.
Ekali’s debut original singles are slated to be released in fall 2016.
Having established himself in the bass scene in 2012 with 2 blistering EP’s ‘Like A Boss’ and ‘Slime City’ which caused serious damage in the Beatport Dubstep charts, reaching number 1 in the releases, Eptic burst into 2013 with the promise of further world domination. Now aged 20 and signed to Never Say Die Records, the Belgian wonder kid unleashed his first EP of the year ‘Mastermind’ in May – gaining widespread critical acclaim across the board, leading to his debut 3 week tour of the US.
He found time to remix American heavyweight Datsik on ‘8 Bit Superhero’ and clock over 5 million YouTube views. Eptic’s other passion and natural flair for illustration has seen him create all EP artwork, including his forthcoming ‘Doom’ EP. This collection is a dark exploration of Eptic’s ever-developing ideas, featuring a collaboration with label mate Must Die! and a vibey house VIP from Habstrakt. He continues to storm through 2014, gathering DJ support and increasing his global fan base – a multi-faceted artist with no signs of slowing down.
Ever since the Gentlemen’s Club formed in 2013, the UK-based trio have proved unstoppable, breathing new life into the global dubstep and bass scene with edgy hip-hop and grime influenced bangers.
Respectively Coffi (Lewis Pittham), Soloman (Saul Mountford) & 50 Carrot (Amani Haskins) developed their own unique low-end heavy styles, now fused together under the household name–Gentlemen’s Club. Their influence spans several successful years of international tours, viral VIP’s and massive remixes. Building on the collective’s widespread appeal, they've steadily built their empire in the form of a GC imprint and sought after apparel line.
Poised to take over the world, you won’t find another more dedicated bass squad with their unforgettably swagged out live sets and heavyweight barrier breaking beats. Get a dose of pure class and make sure to catch them at an event near you.
Born out of a passion for DJing, Gladiator was conceived in 2010 by Los Angeles natives Daniel Goodman and Ian Johnson. The duo is known for bringing an irresistible sense of fun and passion to every show with their unique genre-bending sets. After debuting with a series of self-released internet uploads and bootleg remixes, Gladiator joined the A-Trak led label Fool’s Gold and released their first official EP Assembly Line in 2014. Following this release they found the opportunity to make official remixes for the likes of Low Pros & Juvenile’s “Muscle,” Skrillex’s “Dirty Vibe” and Melanie Martinez’s “Soap,” as well as singles such as “Cruise Control” and “Cute” with fellow Fool’s Gold artists Sleepy Tom and Kittens. In 2016, the duo released their second EP Transit on Fool's Gold.
Home Town: Los Angeles, CA
Currently Living: Los Angeles, CA
Origin Of Name: We were watching the movie Gladiator with our friend David and he suggested we become a trio of DJs each taking names and personalities from the movie.
Weapon of Choice: Personality
Source of Power: Mila Kunis, Kobe Bryant, Goku
What do your parents think of what you are doing?
It took a minute for them to get on board. Being a professional electronic music DJ is a relatively new, unfamiliar profession. Once they saw us at Club Nokia for the first time opening for Rusko, however, their eyes were opened and now they're more supportive than ever.
What’s the strangest part of your job?
The fact that people we've never met, seen, or spoken to actually come out to see us play and enjoy our music. That still boggles our mind to this day.
What’s the biggest misconception about being a DJ?
That we get to decide where to play; we want to play in every city our fans ask us to, but it's really not up to us. Talk to your local promoter, family! Get your favorite acts by talking to the people that book them.
Tell me about your most memorable night out.
Over Ultra weekend in Miami we got back stage passes to a HARD event downtown. We were led upstairs to an “artist bar” where we were surrounded by more DJs and personal heroes than we had ever seen. We spent the rest of the night up there getting to know these guys and schmoozing very hard. Every twenty minutes we'd give each other that “is this real?” glance and continue trying to keep it together.
How does what you do for a living affect you on a day-to-day basis?
This job has given us a new perspective on our day to day. Waking up and going to “work” is going into the studio and making as much music as possible. We aim to work every day we're not playing a show and it has helped our productivity immensely.
What is your ultimate career dream?
Ian: Make a beat for Kelly Rowland and play the main stage at EDC.
Dan: Have my beard be number 1 on the sports center top 10. However that would be possible.
How important is it for you to experiment and take on the risk of failure?
I think this question is especially important for producers making the kinds of music that have been springing up/exploding quickly. We have come up and gained notoriety because of the trap game. We feel the need and responsibility to explore the entire landscape of music. We don't want to get satisfied with sounds or ideas so people don't think the genre is stagnating. Experimenting is how music moves forward, occasionally that may end in a failure but that's still progress.
What should everyone just shut the fuck up about?
Music. Everyone, and I mean everyone, is super caught up in “knowing” everything they can about music that they forget to listen to it and let it affect them. It's unimportant what kind of music something is as long as it's good and you like it. That's all it's supposed to do, make you feel good.
When you look at electronic music and the surrounding culture, what worries you about the future?
How “very cool” it's becoming. Even if the ideas of “PLUR” have been diluted by the widening interest of electronic music, it's easy to forget that we're all bound by our enjoyment of dancing and listening to music together, as a huge family. Every genre is trying so hard to split off from the umbrella of “EDM” that dubstep fans and trance fans are at arms over music that has the same BPM.
What advice would you offer someone thinking about entering the Discovery Project competition?
Do something different. Think about what makes you really want to perform, what makes your performance different from everyone else’s. How are you going to stick out amongst the throngs of people mixing the same ten songs over and over? How is your music expanding the horizons of the genre you fell in love with? Aspire to be outside the world you are familiar with and you will succeed.
In their short yet illustrious career, Go Freek have already cemented their place in the global dance industry.
Signing early to electronic label and global tastemaker in dance music Sweat It Out, it didn’t take long before some of the world’s biggest artists took note as Go Freek shot from label youngbloods to Sweat It Out main men.
With multiple ARIA Club Chart top 10 entries under their belts, as well as a #1 on their most recent single, “Define,” and #3 on their single “We Can Ride,” the boys have shared similar success on digital music platforms such as Beatport and Trackitdown, with a slew of releases cracking the charts on both platforms.
With all of this success, it wasn’t long before some of the world’s highest-profile artists and labels came knocking for the gutter tech touch—with the boys being handpicked to work with icons like Crookers, Steve Aoki, Astronomar, and Bart B More, and remixes on industry juggernauts like Mad Decent, Dim Mak, and Ministry of Sound.
Having received consistent support from the likes of Christian Martin, Porter Robinson, Diplo, Claude VonStroke, and Yolanda Be Cool, to name a few, Go Freek have readily filled a gap in modern dance music with their own unique sound and an unforgettable live presence, helping the guys build their platform to transition from residency killers to a full-scale national touring act. With a new EP and a national Australian tour pending, the future looks bright for Go Freek.
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.
Music maturity came swiftly for the now seasoned-veteran Robbert van de Corput, better known as Hardwell. At the age of 25, the young Dutch titan capped off a 10 year journey when he was crowned World’s #1 DJ in the 2013 DJ Mag Top 100 DJs Poll cementing his position as the electronic scenes newest superstar DJ and becoming the youngest ever winner of the coveted Top 100 DJs award. In 2014 the Dutch megastar did it again - being crowned World’s #1 DJ in the 2014 edition of DJ Mag’s Top 100 DJs Poll for a second consecutive year. Despite relinquishing his crown in 2015, though still taking the highly respectable second-place spot, it’s clear that Hardwell has already created a legacy that would put most of his counterparts to shame. This award-winning DJ, producer, musician, label owner and lover of all things music has not only helped shape the current state of EDM, but has left an everlasting imprint on it.
Hayden Kramer, better known as Herobust, is a Bass Music Producer from Atlanta, GA. Most notable releases include “Skurt Reynolds” via Mad Decent, “Sheknowshebad” via SMOG, and “Pump This (with Snails)” via Owsla. It was in Atlanta that Herobust started off making Hip – Hop inspired tunes. After climbing the ranks of the local music scene, Herobust noticed that his music slightly resembled elevator music when placed before an EDM set. As a self – proclaimed rule bender, it was this realization that triggered an overhaul of his creative process focused on integrating the filthiest sound design from Hero to date. “I’m Aloud” is Herobust’s latest EP, released via Mad Decent. “I’m allowed to make whatever I want, so it works in that way,” he says about the album. With the help of this release, Herobust skyrockets as a pivotal face in the bass music movement.
Armed with his arsenal of new sounds, techniques, and confidence, Herobust takes a visit back to his roots. His new releases will be inspired by Hip – Hop, with plans to include some of the hottest names in Rap music. Herobust is touring throughout the US this summer with appearances at EDC NY, Hard Summer Festival, and Imagine Festival to name a few. And recently, Herobust has been commissioned by the likes of Kill The Noise, Barely Alive, and NGHTMRE for official remixes.
Herobust was innovative on his path to get on the radar of these momentous acts. “Even if DJs love your track, they may pass on playing it if it’s difficult to mix” he explains. He started to arrange his tracks in a way that made them convenient to play out. With time, he garnered the support of Diplo, Skrillex, Bassnectar, Flosstradamus, Destructo and others. This success sent Herobust overseas for international touring and on to play showcases for Mad Decent and Buygore during Miami Music Week 2016. Herobust has been featured on BPM Sirius XM, Billboard, Rolling Stone, MTV and many others. “I’m Aloud” debuted at #22 on Billboard Electronic Charts, and Herobust has recently surpassed 100,000 fans on Facebook.
On musical influences, he states – “What you’re hearing come out of me is just really an amalgamation of all the music I’m around, and because I legitimately like it, I’m going to throw it in. I couldn’t even stop it.” Through it all, Herobust cites Outkast, Skrillex, Kill The Noise, and Flosstradamus as key influences to his production.
YourEDM includes Herobust in their “Top 5 Best Trap Artists 2016” and Insomniac credits him as “one of the hottest voices in the trap-dance movement”. With accolades such as this, he vows not to disappoint with his future releases. If this much is clear, 2016 proves to be a definitive year for Herobust.
There are melodic bass producers, and then there is Nick Miller. The Denver-based producer known as Illenium has been turning heads in the dance music community over the past year and for good reason. Illenium has distinguished himself from the myriad of others through an unrivaled ability to create an immersive emotional experience of highs and lows that pulls on the heart strings and leaves the listener awestruck, accomplishing in the span of just a few short minutes what takes many a full set. He has displayed an adeptness for creating aural arrangements that vary in style, yet always maintain beauty, complexity and emotional depth. Illenium gave the world a taste of what he has to offer in 2014 with standout originals “Falling In,” “So Wrong,” “Make Me Do;” remixes of Dawn Golden, Odesza, Oh Wonder; and performances at Global Dance Festival, Decadence NYE and other select dates. However, as foreshadowed by his inclusion in UKF’s “Ones to Watch: 15 for 2015,” this is poised to be Illenium’s breakout year.
JSTJR's music is best represented by imagery and emotion rather than derivative subgenres and labels. Walk into the most thumping nightclubs and sweaty, wall-shaking basements from Lisbon to Los Angeles to Lima and you'll understand the 24-year-old producer's global sound that has earned him official releases on dance music's top labels including Mad Decent, Fool's Gold, and SMOG.
Hailed as the US ambassador of Buraka Som Sistema's zouk bass movement in America, the New England native has forged a love for regional sounds from around the world with his inherent tendencies for hip hop and experimental electronic production. This unique, hybrid and inclusive approach to dance music in a growingly homogenous market has earned him nods from an elite group of producers including Skrillex, A-Trak, and Diplo - the last of whom JSTJR worked with directly as a credited artist on Major Lazer's Peace Is The Mission in 2015.
Growing up in the storied streets of Israel, Leiel Hazut was sonically cultured directly at the source of the psychedelic trance circuit. It’s almost as if the music chose him first. Reared by a mother who is a dance music enthusiast herself, Leiel was exposed to the then burgeoning genre during his formative years. At the ripe age of eight, he was already attending some of the most prominent festivals in his native land. It was there he was able to tap into the insane amounts of talent by which he was surrounded —drawing influence from pioneers by the likes of Astrix, Yahel, Astral Projection and Psysex.
Currently based out of Los Angeles, the steadfast selector has never been one to shy away from his roots, which to this day continues to shape his ever-evolving sound. Heady and propulsive, Leiel’s sets are as equally unparalleled as they are transcendental. Aural stimulation is what to expect whenever he takes his reins behind the decks, and quality tunes are always in surplus. Having mesmerized heads at EDC Las Vegas, Nocturnal Wonderland, Beyond Wonderland, and Escape: All Hallows' Eve as one half of Sweet & Low, Leiel is now bringing forth a potent mélange of old-school full-on and modern-day progressive psytrance.
Nicola Capobianco, based in switzerland, started at early age getting addicted to the magic of electronic music. He began playing progressive trance from the end of 1993. In 2001, after many years as DJ and producing in the studio, where he has played and performed at big raves and festivals, next to people like Tiesto and Armin van Buuren, he decided to start a new project and Liquid Soul was born.
In 2006 he founded his own label Mikrokosmos records. Besides solo project Sleek, he also partners Martin Knecht in the deadly duo “Earsugar”.
Being behind the best selling albums on Iboga Records as Liquid Soul, „synthetic vibes“, „love in stereo“, „cocktails“ and "Revolution", countless hypnotic releases on top labels and playing worldwide over a decade, he finally won the Beatport award for the best psytrance track in 2009.
In 2010 he achieved his biggest success by winning the price of the best Beatport artist, best Beatport track and the Dj Awards in Ibiza in psy trance categories.
Most of you will have heard the ancient Greek phrase “The whole is more than the sum of its parts,” a sentence which has infiltrated modern literature and speech as much as anything William Shakespeare ever sprinkled into one of his plays. Loadstar is a perfect modern example of that wisdom.
Made up of Gavin Harris and Nick Hill, formerly and respectively known to the world of drum & bass as Xample and Lomax, this duo has surpassed the highest expectations in recent years by fusing their individual styles and creating a pioneering sound that imbues club dance floors, iPods and huge festival arenas with incredible energy and impeccable musical precision.
Loadstar’s individual parts met while Bristol-born Gavin was studying sociology at Liverpool University and self-admittedly spending more time concentrating on writing and promoting music than attending lectures and writing essays. It was while promoting a local D&B night with a friend that Gavin booked Holdtight, a production outfit that Nick was one-third of at the time. Not long after that initial meeting, Gavin returned home to Bristol from University and bumped into Nick, who had also just moved to town. The rest, as they say, was history.
Or, to be more precise, it was the fusing of two histories. Nick’s involvement in Holdtight was already overshadowed by his consistently brilliant solo releases under his Lomax name. With a propensity for musical and melodic drum & bass, Lomax’s productions graced many of the scene’s most respected labels, but it was his Ram Records debut ‘Artisan VIP,’ single-handedly turned into an anthem by Andy C, which really pushed him to the next level.
Xample’s solo works were also noticed by Andy C and Scott Bourne, owners of Ram Records when he sent them a few demos over instant messenger. Within 10 minutes they got back to Gavin and eventually he signed as an exclusive artist to the label, releasing a string of heavy dance floor killers.
By 2009 Xample & Lomax were sharing studio space and starting to release more and more material together. Combining Nick’s traditional training, courtesy of Goldsmiths University, London, and Gavin’s self-taught production genius, it was clear they had something special to offer the world of dance music. Tracks like 2006’s ‘The Latter’ and 2009’s ‘Contra’ were sowing the seeds of a brand new project.
Every new project needs a new name, and Xample & Lomax made the brave decision to jump headfirst into their new venture with a completely fresh face. Whilst searching for ideas to fuel their imagination and tie in their new name with their upcoming Ram release ‘Link 2 The Past’, the boys sifted through old rave tape packs and computer game cassettes. Then they came across their old Emu sampler, a relatively antiquated piece of machinery that took ages to load each sample. While loading them, the sampler displayed a spinning star, and it’s this which became the inspiration for Loadstar’s moniker.
An instant success, the duo’s incredible new musical direction coupled with the backing of Ram Records ensured that Loadstar’s path to the highest echelons of the scene was assured. And while both Gavin and Nick agree that for the moment they’re rooted in credible, underground D&B, they’re the first to admit that they’re excited about the current state of bass music and its propensity to absorb new genres, styles and tempos at a moment’s notice.
Fans of drum & bass and even bass music in general can be assured that Loadstar have everything it takes to be one of the most exciting acts in dance music today. Years of experience in crafting the highest quality music that’s as happy on your home stereo as it is in huge arenas, a worryingly busy DJ diary that sees them touring the globe with fellow Bristolian MC Texas and support from admiring nightclub-goers, club DJs and the media alike means that Loadstar are undoubtedly spearheading the bass music revolution.
It was an incredible 2014 for Markus Schulz who once again proved that he’s one of the most versatile and busiest artists in dance music today. From the release of his acclaimed Scream 2 album and subsequent bus tour, mainstage festival performances around the world (he had his own stage at Tomorrowland), residency at Amnesia Ibiza, his acclaimed Global DJ Broadcast Radio Show, marathon open to close DJ sets and countless releases under his various aliases this two‐time America’s Best DJ winner does not rest. Oh, and he’s one half of the acclaimed duo New World Punx (with Ferry Corsten) who were just announced as performers at Coachella 2015.
As we step into 2015 Markus Schulz is up for yet another challenge. For the past eight years Markus has created a mix compilation and dedicated it to a city that inspired him that year. The last one he released was Buenos Aires 13. Rather than do another compilation based on one city, in 2015, Markus is introducing his “City Series.” Each month he’ll release a track and dedicate it to a city that he’ll be playing at that month. He will record elements of the live show and utilize sounds of the venue to complete the compilation titled Markus Schulz‐ World Tour 2015.
The first release in the “City Series” is entitled “Bayfront (Miami).” Home of the legendary Club Space, the epic Ultra Music Festival and the ever‐moving Groove Cruise, Markus' contributions to all three institutions is vast. “Bayfront (Miami)” drives in the monster truck lane of trance; focused on the tougher side of the genre. it’s easy to see this one going off right before Markus takes you down the rabbit hole during one of his extended sets. That’s Markus’ Miami.
“When examining the cities which have impacted my body of work throughout the years, you have to consider your day‐to‐day surroundings and the reason why you call a particular place home. Had it not been for my days as a weekly resident at Club Space, I would never have had the privilege of displaying my talents on an international basis. When I learned that I would be welcoming 2015 at Space with a signature open to close solo set, it was only appropriate to commence this project by paying tribute to my home turf. Bayfront is not just a track dedicated to the club, but will play a pivotal role in my appearances at the Groove Cruise in January, and the Ultra Music Festival in March. Unifying these elements is something I hope the Miami natives will enjoy,” Schulz says.
Be on the look out for more “City Series” release announcements and information on Markus’ upcoming tour dates, both solo and as New World Punx (w/ Ferry Corsten).
Martin Solveig continues to reinvent himself. Be it through his new music, on point fashion and inventive styling he creates for himself, the world of Solveig is an ever-changing environment that is instilled with fun and vitality.
Always ahead of the curve he is currently steering a new wave of mainstream electronic music – namely the future house sound and his latest endeavour - a product of a decades long career for the producer, DJ, filmmaker and creative Frenchman, which has spanned over four studio albums.
The latter; Smash was released in 2011 and launched the Parisian into superstardom. With lead single Hello, featuring Dragonette selling over 5 million copies, the Queen of Pop herself - Madonna, asked Martin to co-produce six tracks for her album MDNA and accompany her on a blockbusting worldwide tour in 2012.
While releasing summer anthems Hey Now with the Cataracs and Blow with Laidback Luke in 2013, the Frenchman also maintained a residency at the legendary Pacha in Ibiza, whilst touring the world’s grandest festivals.
January 2015 saw the next step in the French maestro’s trailblazing career – showcasing his pioneering future house sound with Intoxicated, a collaboration with Miami duo GTA. The foot stomping anthem hit both the Hype Machine and Beatport #1 within days of release and went on to be one of the most talked about tracks of the summer as it took position on BBC Radio 1’s A-List Playlist in August.
Solveig then proved his ever-infallible ability to remain perfectly in tune with public demand, releasing +1 in June, a funked up future house classic with vocals from Sam White. With the latter already gaining incredible global support and an exclusive 19-date residency at Pacha underway with his new project ‘My House,’ Martin continues to build on his already stellar reputation as a truly multi-faceted artist.
Colorado junglists know him as MC Dino, the infamous 8-year resident of Breakdown Thursdays at the Snake Pit, the nation's #1 Drum and Bass club night. The rock star emcee most notorious for his poetic genius with a microphone has commanded crowds at such well known and respected events as Cyberfest, Bassrush, Electric Daisy Carnival and countless other raves and festivals across the United States. Recognized for his high-energy lyrical prowess on the microphone, MC Dino is a crowd favorite on the mic and is an asset to any DJ he rhymes alongside.
Although Dino is not his given name, it is his preference and insists that the other is irrelevant. Though born in a small farming community in Northern Colorado, Dino spent time growing up in Mexico and various parts of California before returning to Colorado well over a decade ago. In high school he spent more time writing lyrics, songs, and practicing with bands in backyards than on his schoolwork. He began going to raves when he was 14, a time when raves were new and entirely underground. This exposure had great influence on him; electronic music provided a new medium and mode of tampering with instrumental sound. In this scene he also discovered jungle music and emceeing. Besides the obvious electronic movement that so dramatically shaped his personal musical efforts, Dino's other prominent influences include Prince, Roni Size and Santana. Exposure to these along with an upbringing encouraging all music is especially evident in his individual work, emceeing, and collaborations with Urban Aboriginee.
In 1997 he set out as an emcee and, inspired by the aggressive new sound jungle provided, used it as an outlet for the poetry streaming through his head. By this time he had already taught himself to dj and moved between rhyming and spinning, while continuing to write his own music. 1998 proved a year of reckoning and direction. He started performing regularly at the Snake Pit on a night then called Plastic Thursdays that offered techno one half of the night and jungle the other. During this period Dino gathered his musically-inclined cohorts and formed a solid group called Urban Aboriginee. The idea behind Urban Aboriginee was to promote the various but sometimes neglected talents (emceeing, DJing, producing, etc) of his intimate circle. The name alludes to modern day tribesmen surviving the streets of a concrete jungle (the city). Urban Aboriginee was recognized throughout Denver for its dedication to Jungle music. For five years, UA sponsored Kombat Battle, a party that allows young deejays and MC's to showcase their talent and provided an opportunity for up-and-comers to perform live in an actual party atmosphere.
In 2004 Dino was introduced to Divine Elements through the drum n bass scene when he moved to Los Angeles. Fast forward 6 years of non stop MCing for some of the biggest names in the business and the biggest festivals and night clubs across the United States and we find Dino falling into the front man position with D.E. He ended up filling the void Divine Elements had long been waiting to fulfill with a front man MC. Dino was a fluid fit in the dynamic super group. He now is a consistent, positive force in an already solid musical group, touring and writing music with them all the time .
During the for mentioned 6 year fast forward between 2004 and 2010, MC Dino has emceed for the greatest names in Drum and Bass, and Dubstep including Andy C, Shimon, Pendulum, Nero, Skrillex, Diesel Boy, AK1200, Dara, Bad Company, Mampi Swift, Teach Itch, and Craze, to name a few. Of course, he performs weekly and nationally as well as being featured on tracks produced by the likes of DJ Icee, Gridlok, Breakdown, Reidspeed, Divine Elements, and DJ Swamp. Other such accomplishments include co-creating Urban Aboriginee Records with his Partner Casey Bonse. Current works include on going production and live performance with Divine Elements, solo projects and audio engineering for various artists in the music community.
MK is responsible for creating some of the defining sounds and biggest tracks of early house. He has worked with the biggest international artists from Snoop Dogg and Jay-Z to Rihanna and Beyonce, but has also retained near unprecedented levels of credibility within the underground dance music scene, with records such as ‘Burning’, ‘4 You’ or ‘Push The Feeling On’ remaining staples in the wallets and boxes of house DJs the world over. Through his timeless productions, MK has influenced a new generation of producer, with the result that his sound is more relevant today than it ever has been.
Revered producer, remixer and DJ, MK’s storied background is one of long-term creative development. His roots are pure Detroit, but his early cues come from electronic leaning UK bands like Depeche Mode, New Order and The Cure. If you dig a little deeper, you will find that MK’s own musical path is a series seamless transitions from house to techno and hip-hop to R&B, with a complete turnaround back to house in the last six years. Currently, MK is finalizing his long awaited artist album. The project includes collaborations with vocalists Becky Hill, Milly Pye, Anabel Englund, and a host of other friends and collaborators yet to be revealed.
With his sights set on the imminent album release, MK recently re-launched his iconic label and event brand Area10. He is currently on tour this summer with his Area10 Warm Up Sessions, including live stages at Creamfields, We Are FSTVL, dates at Together at Amnesia, V Festivals, Parklife as well as an Area10 takeover at Pacha Ibiza this summer.
Pushing boundaries since 2011, the astounding versatility and unique production style of MUST DIE!, (otherwise known as Lee Bates), has gained him global popularity. Widely viewed as an artist playing an undeniable part in the future of electronic music, the US producer and DJ has released vast amounts of reputable material spanning several labels such as Ultra, Dim Mak, Play Me, Mad Decent and Atlantic Records, but truly found his stride when signing to the UK-based powerhouse Never Say Die.
With 2014 seeing the release of his hotly anticipated ‘Death & Magic’ LP on Skrillex’s OWSLA Records, Beatport chart domination instantly followed, with ‘Gem Shards’ holding the top spot for four weeks.
Having already racked up shows at EDC Orlando, Wobbleland and TomorrowWorld with Australian and European tours lined up for spring 2015, this year is undoubtedly going to be massive for MUST DIE!
NETSKY’s rise up the ranks has been a sight to behold. He first made his name with Hospital Records in 2009 with a series of blistering releases including single ‘Memory Lane’ and his infamous self-titled debut album ‘Netsky’ propelling the talented young producer from Antwerp into the premiere league. Starting out with an underground drum ‘n’ bass label like Chase & Status did before him, Hospital Records ended up being the perfect springboard for Boris Daenen to get to where he is today.
Hailing from Antwerp Belgium, in a few short years, Netsky has built a reputation for consistently delivering hard-hitting drum & bass anthems. As comfortable onstage at festivals and club shows as he is behind the studio mixing desk, (Netsky’s live show, unveiled in 2012 at London’s Brixton Academy, was also something of a game-changer), he effortlessly blurs the lines between artist and superstar DJ/producer, with a slew of A-list artist remixes under his belt, including Swedish House Mafia ‘One’, Rusko’s ‘Everyday’, and more recently he lent his magical touch to remixes for Madeon, Ed Sheeran and Jack U. Fans, of course, have heard these tracks at some of the world’s biggest festivals: from Ultra Music Festival in Miami and Coachella to Future Music Festival in Australia and Wireless in London, not to mention more rock-focused festivals like Reading & Leeds and Pukkelpop. And at every show, the reaction is the same: complete carnage. Netksy is a bona fide superstar and the reaction to his shows has been akin to legendary rock concerts of days gone by. So far, so good.
Having signed to Epic Records for his first major release, ‘Rio’ is the first taste of the forthcoming new album from Netsky in 2015. We assume you’ve been to Rio at some point? ““I went to Sao Paolo a couple of months ago but I’ve never visited actually!” he laughs. “What happened was I was working with Digital Farm Animals and the whole track had a sunny samba vibe and the vocals were about having relationships but not settling. Not thinking about tomorrow, thinking about today. It’s about traveling and having fun and staying young.”
Of course, Netsky himself is doing a lot of these things already. In person, he is super-chilled, calm and collected, with his forthcoming and third artist album now in the finishing touches stage. So is the rest of the album like ‘Rio’ in spirit? “Production-wise, it’s much more about songs and much less about production - every song regardless of whether it was a ‘pop’ song or drum ‘n’ bass, we would write on piano. ‘Thunder’ is a track with Emili Sandé which we just performed at Wireless together - she wrote the song and I produced it but it was quite organic in the end as we wrote the verses in the studio together.” Sandé is a big deal in the Netsky household, “For me, it’s a big deal,” he nods. “Emeli is the first big UK singer that I’ve worked with and she just happens to be my number 1 new singer of the past 5 years! I introduced her to the band and she was amazing.”
As well as Beth Ditto and Emeli, the album also features one track called ‘TNT’ (“it’s called ‘TNT’ because it’s a very explosive funk pop song!”) with US funk-soul brothers Chromeo which has an 80s Prince vibe and sees Netsky “going back to my roots before I knew electronic music.” He reckons the album will ultimately be ten songs and also “…quite diverse. It’s a much more live sounding album. There are lots of strings and live guitars and it’s an organic album, not one made with 10 producers and engineers. A lot of it is just me in my studio at home.” With additional strings by the Brussells Philharmonic, for the record.
He’s especially aware that some artist albums are weighed down with too many guest collaborations. “I didn’t want to go that way at all but I enjoyed working with Digital Farm Animals and we wrote a lot from scratch. There will be a few songs on the album together. It felt alright doing it that way rather than getting massive vocalists at the start. I would love to sing myself but I cant sing and that’s not what people want to hear!”
The final piece of the puzzle is performing the new music live. “Saturday at Wireless was fantastic. We’ve already been touring for two-and-a-half years. We just did a 40 date tour in the US which was incredible and now is the beginning of Version 2.0. I’m thinking of having cartoon imagery onstage - the ‘Rio’ video is made up of some very cool animation so I’m trying to incorporate more visuals as well as more instruments onstage! ‘Rio’ is starting to do well in America so I may get a second base in LA soon. America has been inspirational, one of the best tours I’ve done in my life. “And finally, are there any other surprises you can tell us about? “I want to focus on all the different cities in Europe as well as the UK and Belgium. We’re thinking about doing a show for each city in Europe. With the new single ‘Rio’ showing a more unusual side to Netsky’s musical palette, it’s clear that he’s only just getting started. For the record, the name Netsky is based on a particularly icky computer virus: clearly, resistance to this Belgian superstar DJ/producer is futile.
NGHTMRE’s (aka Tyler Marenyi) rise to the top has been a dream to say the least. Some would say he arrived the day Skrillex made his ID the only unknown record in his 2015 Ultra set, a record that would go on to be arguably the biggest Trap song that summer. After playing his first headline gigs the week after, Tyler went on to hit almost every major festival in North America, including Lollapalooza, EDC Las Vegas, TomorrowWorld, Snow Globe, Freak Night, OMFG NYE, Moonrise, Contact Music Festival, and LifeInColor Festival. Only three months in as a touring DJ, he headlined six cities throughout Australia at legendary clubs such as Chinese Laundry and Ambar. After Australia, he went on to headline almost every major market in North America, hitting marquee venues such as Webster Hall, Avalon, The Mid, Beta, and Elektricity. He's known for his various Mad Decent smashes, including the trap song of the summer “Street” and his collaboration with Flosstradamus entitled “Lighters Up.” His Nuclear Bonds EP with long time friends, Slander, was one of the premiere EP releases from Diplo’s imprint.
From the writers online to the industry's top producers, it's ubiquitous: NGHTMRE is dance music’s next multi-genre prodigy. His tracks have charted #1 on Hype Machine multiple times and he was dubbed “Skrillex 2.0” by EarMilk.com. At the same time, he's gained support from the top dogs such as Skrillex, Diplo, Bassnectar, Flux Pavilion, Porter Robinson, RL Grime, Yellow Claw, Bro Safari, and Snails. In fact, the list of people he has been tapped to do official remixes for reads like a massive hipster festival: The Prodigy, Theophilus London, Keys N Krates, Flux Pavilion, The Griswalds, and Elliphant. If you want to hear something you’ve never heard before, make sure you always listen to Tyler’s most recent track, whatever it may be.
From humble beginnings, San Diego based producer, Ookay (pronounced “Okay”) exploded onto the electronic dance music scene and left a permanent mark resembling his now iconic bandana. With a rapidly growing fan base, due in part to his hilarious Twitter persona, Ookay has proven that age isn’t a factor and has quickly become one of the young leaders in the league of superstar Trap producers.
With tracks like Congrorock’s “Bless Di Nation Ft. Sean Paul” (Ookay remix), Steve Aoki, Chris Lake & Tujamo’s “Boneless” (Ookay remix), and breaking down the boundaries between Hip Hop and EDM while also achieving mainstream success with Freshman and Sophomore releases on Ultra Records charting in the Beatport Top 10. More recently, Ookay teamed up with electronic music superstar Diplo to release their take on Avicii’s “You Make Me” (Ookay & Diplo remix). With these successes as well as support from main stage giants like Tiesto, Steve Aoki, Diplo, Major Lazer, Borgore, Showtek, Nervo, David Guetta, Chuckie, Kife Party, Dirtyphonics, Krewella, Adventure Club, and many more, Ookay has quickly become a household name in the dance music scene.
Not satisfied with his already stunning discography, Ookay teamed up with Dutch superstars Showtek to create ‘Bouncer’, one of the most highly anticipated singles that is sure to get everyone ready for festival season. Be sure to grab ‘Bouncer’ on March 24th from Skink Records, and watch the preview here (http://bit.ly/1gxJNc6)
Out of a desire to branch out and express himself in a completely different genre, Ookay began a side project named “Coaster” that encompasses the young producer’s love for Tech and Deep House. By itself the music produced under the Coaster persona is impressive enough, but when compared to Ookay’s more well known Trap catalogue, you can really begin to appreciate just how talented and diverse this young producer really is.
With 6 years of DJ experience under his belt, Ookay has gained a reputation for putting on an unbeatable live performance that features flawless transitions, supreme song selection, and even some comedic MC’ing from the man himself. Shaking festival grounds, bringing clubs to their feet, and rocking concert halls, Ookay has impressed and moved thousands of fans with what he manages to do behind the decks. Ookay’s grand impression on the world will continue to stay strong and grow in the many, many years to come from this young producer/DJ.
P0gman is a Dubstep/Bass producer hailing from Wolverhampton UK. He has set himself strongly into the scene with his unique heavy yet wobbly style. Owner of IAMAudio he also pushes and supports music he enjoys himself from other artists by releasing it. Constantly on tour he is always set to impress with his energy and pure passion for his performances.
Few acts have the innovative character and diverse repertoire of Los Angeles’ fastest rising name, Party Favor. Dylan Ragland took the name Party Favor to show how diverse and unexpected his influence on electronic music can be. The result: an effort that helped pioneer the festival trap genre, turning heads across the globe. Party Favor is currently jumping between groundbreaking remixes for Dillon Francis, Diplo, Major Lazer, and Flosstradamus while creating chart topping original records such as “Bap U” (Mad Decent) and “Booty Loose”(Mad Decent).
Party Favor’s “Bap U” has racked up almost 4 million plays on Soundcloud and has made its way into the top 50 iTunes dance charts. It's success led to the making of a music video featuring cameos by Diplo, ETC! ETC!, Ookay, TJR, Brillz, and Seth Green. Following the successful launch of the video, “BAP U” saw national spotlight when featured in a T-MOBILE commercial as well as Warner Brothers recent movie trailer for ‘Vacation’ (2015). “BAP U” was not the first televised music placement for Party Favor. His remix of Bro Safari and UFO’s “Drama” was used for ESPN’s 2014 NBA Draft commercial.
Party Favor has also been featured on radio station’s like Kiss FM, Power 106 and BBC Radio One, just to name a few. He has performed on some of the biggest stages in North American festivals such as EDC, Ultra, and Tomorroworld! Now, with official work on Spinnin Records, Ultra Records, OWSLA and Mad Decent; Party Favor paves his way into 2015 with booty filled music and everything in between. With international tours through Australia, Brazil, and Japan it is no surprise why Party Favors fan base stretches the world round. Starting in the Fall of 2015 Party Favor will join Cash Cash and Tritonal on an North American tour.
Party Favor’s success abroad and at home is no doubt due to the love and support that his music receives. Superstar talent like Skrillex, Diplo, Borgore, DJ Carnage, GTA, Dillon Francis, RL Grime, Bro Safari, DJ Snake, and Flosstradamus consistently drop Party Favor’s music because of the great production and amazing energy they bring to every crowd!
Over the last 20 years, the term ‘electronic dance music’ and the name ‘Paul van Dyk’ have become all but synonymous. In that time the Berliner has pioneered sub-genres and through his kinetic on-stage performances, entertained untold millions. He’s written & produced certifiable genre anthems, smash albums and helmed one its most iconic labels. Selling out shows in every dance music-centric city on the planet, it’s seen him break more than his share of world records, earn himself legions of fans and win numerous accolades in the process.
Paul is famous for circling the globe 16 times every year and entertaining in excess of 3 million music lovers as he goes. Playing upwards of 150 shows annually, he spends a full 2 months of every 12 in the air travelling to and from events. Among those have been his Barra Beach, Rio show, where on New Year’s Eve 2008 he spun to an unprecedented, then record-setting 1.5 million-strong audience. He has twice been voted the world’s No.1 DJ - a feat achieved to-date by just three other spinners. In 2014, he was aggregated as the #1 DJ Mag DJ of all time. As a producer PvD (as he’s known to fans) has achieved similar success. In 1994 he released ‘For An Angel’, a track that 20 years after it was recorded was hailed as the 8th greatest dance track of all time by Mixmag. Van Dyk has, and continues to be a regular film & game score contributor, which has resulted in numerous notable OST credits. They have included his rework of Hollywood composer Hans Zimmer’s ‘A Poor Choice of Words’ for The Dark Knight soundtrack and ‘Still Alive’ for EA’s groundbreaking Mirror’s Edge game. He’s also owner of one electronic music’s most outstanding remixographies, with his hallmark remix sound being applied to acts like U2, Depeche Mode & New Order, as well as acts as diverse as Madonna and industrial metal rockers Rammstein. His most recent album (Paul’s 7th) ‘The Politics Of Dancing 3’ met with major press acclaim in 2015, spawning a run of Beatport #1 singles.
Throughout his career PvD’s picked up many coveted nominations and awards. Among those are the illustrious Landesverdienstorden (Berlin’s Medal of Honour, given in recognition of his work combatting social injustice), a string of IDMAs, an MTV’s Chiuku (agent of change) award and Mixmag’s Man of the Year accolade.
Redlight is a British DJ and Dance Music Producer brought up around 90’s warehouse rave culture in Bristol. His music has spanned over a decade, having spent 12 years grafting on the underground, popping up for air in 2012 with a couple of Top 10 UK hits in the national charts. He’s since then released his debut solo album entitled 'X Colour' and mixtape 'Templates Volume 1' Summer 2016, which is the first in a series of mixtape's that is all about club music. He has collaborated with artists such as Mobb Deep, Raekwon (Wu-Tang Clan), remixed acts including Mary J Blige and Tink, defining genres, remaining one of the UK’s most consistent and exciting producers of recent years. “I’ve just aimed to be true to myself and make the most if it. Creating music, art and friendships has been central to everything – for me it’s always been about street culture, independence and productivity.” His label ‘Lobster Boy’ embraces a love for House, Techno, Hip Hop and vocal-lead dance music, whilst channelling the knowledge and inspiration from Jungle, DnB and bass music. It is a whole new genre-free ‘cross-cultured dance music’ label.
Rell The Soundbender has a passion for infusing different sounds into his music. The producer started his career securing placements for notable Hip-Hop talent including Lloyd Banks, Jim Jones, and Flo-Rida. With a passion for blending the unexpected, Rell’s radical production process soon led him to aligning genres that typically remain separate. His Panamanian background led him to embrace Moombahton, which resulted in his track with David Heartbreak “Killa” being placed on the Moombahton Forever compilation on T&A Records. This compilation featured work from Munchi, GTA, Dillon Francis, Craze, Nick Thayer and more.
He has also produced bonafide Trap hits in “Grimey Thirsty” & "Angels X Demons" which have made many appearances on Diplo's BBC Radio 1Xtra mixes. His official remixes, meanwhile, have included Bro Safari’s “Scumbag” and Snoop Lion’s “Lighters Up.” The latter was the official remix of the first single from the musical icon’s Reincarnated album. Rell also released his first EP “Gambozoo” on Skrillex’s imprint NEST in 2014.
Rell has taken to describing his sound as a battle “where lasers and drums fight to the death,” and has also become notorious to trap aficionados through live appearances at events such as Miami’s Winter Music Conference; and for sharing stages with the likes of DJ Craze, DJ Sliink, gLAdiator and more. With his profile rapidly rising, Rell will continue to push sonic boundaries by “Soundbending” Hip-Hop, Trap, Moombahton, House and wherever else the music takes him.
Tibor Tomecko, aka ReOrder, is undoubtedly one of the most promising trance producers in our scene today. He regularly performs alongside the world’s DJ elite, his productions are widely supported and he is no stranger to fans of ASOT: “I’m sorry for singing on air, but this track has been stuck in my head for so long” commented Armin Van Buuren while playing ‘Folding The Universe’ on A State Of Trance. It was no surprise that this track later hit the number 1 spot on Beatport and was tipped for ‘Tune of the Year’ by Armin himself.
ReOrder smashed all expectations at ASOT 650 in Utrecht, delivering tune after tune to a packed out arena. No wonder, then, that he brought some "Disorder" to the major festivals throughout 2014 like Luminosity, FSOE350 or legendary Ibiza. His latest works were picked for the 2014 compilations like 'Trance Nation (Ministry Of Sound)', 'In Trance We Trust' or "In Search Of Sunrise'. With his newest remixes for Andy Moor's "Fade To Light' or Max Graham's "Lekker" and releases on Armin's Who's Afraid Of 138 label, ReOrder is unstoppable.
Hailing from Martin, Slovakia, Tibor has been crafting his sound since the age of 14. By 2006, he found his sound in trance and released his first single on Bonzai Music. His uplifting and progressive style later landed him on the number 1 spot on Czech Dance Radio with the release of ‘White Sands of Ibiza’, which remained in the top 10 for over 13 weeks.
REZZ is a DJ/Producer based out of Niagara Falls, Canada. At only 20 years old, her unique spin on underground Techno has caught the ears of Deadmau5 & Skrillex, and made her a hot topic on music blogs & publications around the world often hailing her as “Girlsaffelstein”. Having built a following through a series of free releases on SoundCloud, REZZ’s debut label release ’Serenity’ came out June 2015 by request of Mau5trap records boss Deadmau5. Her penchant for dark, eerie atmospheric tracks that exhibit maturity far beyond her young age is what caught the ear of Skrillex and led to her follow up 3 track ‘Insurrection EP’ on his NEST imprint. REZZ’s ever-evolving and idiosyncratic electro sound is only getting bigger as proven with her most recent EP release on Mau5trap “The Silence is Deafening”.
After joining the roster at AM Only, REZZ has secured herself a spot on major festivals including Tomorrowland, HARD Day of the Dead, Something Wicked, Sunset Music Festival, Ever After, Mysteryland, and HolyShip! among others. Her sound is as unique as her live show experience, where she is gaining a cult like following with every passing show. Having already garnered so much attention so quickly, the stage is set for REZZ to explode around the world.
Synthesizing the landscape surrounding him, Statement! Music!’s Ruben De Ronde keeps his progressive, trance and chilled out mind set in overdrive- striking a signature musical balance. Owning a tune in all he surpasses, the celebrated Dutchman takes his studio to the crowds from his Armada residency to festivals, and A State Of Trance tours with Armin Van Buuren around the globe. DJ, producer and label owner, Ruben has all bases covered, taking his genre spectrum to the next level- always.
In the studio, he is no victim to the genre black hole, breaking the mold across the prolific trance and progressive domes while taking the chilled out tips for a ride. His global recognition has tainted dance floors of the ASOT world that he embarks on with solo efforts, while collaborating with acclaimed artists like Tenishia and singers like Shannon Hurley, Nanje Nowack, Victoria Ray and Aelyn. Following with remixes for Aly & Fila, Cosmic Gate and Above & Beyond, his studio barely rests. A milestone in itself, the soundscape album ‘From Sao Paulo To Sofia’ has gone from the ASOT600/650/700/750 tour to the hands of Hardwell where it’s been featured in the I Am Hardwell AND United We Are World tours while shining in the fellow Dutchman’s documentary also. In tune, Ruben’s track ‘Stoer’ walked into the hands of Joris Voorn’s Rejected Records where it saw the tech driven artist embrace its entrance. The highlight of 2015 was, without a doubt, creating the official anthem song for the world largest outdoor trance festival, Amsterdam’s ‘Electronic Family Festival’.
Stepping outside the studio and Ruben De Ronde unleashes in the clubs and upon the stage, dominating bill spots across Ultra Music Festival (Miami), Dance valley, Nature One’s main stage, Kazantip, A State of Trance live events and gracing half a million people welcoming in Hanoi’s new year. As DJ Mag’s trance reviewer in Holland and crowned boss of ‘Sound of Holland’ weekly radio sessions on Afterhours FM and Sirius XM, Ruben hits a nerve within the electronic music industry, also taking a firm stand as host on ‘Tomorrowland Radio’ and ‘Armada Night Radio’.
A new album is coming in the beginning of 2016, so keep your eyes and ears out for that one!
Sage Armstrong began making waves in the house music scene with his debut Dirtybird release, ‘What’s Yo Tempetcha?’. Grown in the south, he has been influenced by a multitude of different genres that continue to inspire his creative flow in the studio and on stage. He has created his own style by adding unique elements that give off a vibe of bouncy underground beats with original vocals. Sage continues making music with no creative boundaries after receiving support from some of his favorite Dirtybird artists like Justin Martin and the boss man himself, Claude VonStroke. With an exciting release schedule and show dates piling up, the future is looking bright for this rising star.
Some people call Sander a technical & musical genius. And who can deny it? He has cranked out more dance floor destroyers, sold-out gigs, number one records, and awards than most artists do in a lifetime.
With the help of classics like Grasshopper, Punk’d and Riff, recent hits like Love is Darkness and ofcourse massive collabs and remixes of The Killers (Spaceman), Sia (The Girl You Lost To Cocaine), Robbie Williams (Close My Eyes) and Depeche Mode (Peace) Sander shrugged off the confines of genre typecasting long ago and created something he preferres to call 'SvD-style'.
Besides his busy production schedule, Sander has worked tirelessly to bring his radioshow 'Identity' and his clubbing concept, Dusk till Doorn to fruition. And if this mountain of accomplishments were not enough, he somehow makes time to produce his quarterly ‘how-to’ show called ‘Studio Sessions’ on his YouTube channel (SanderVanDoornTV).
With a tour diary that sees the superstar play to more than a million fans each year, there’s no doubt that Sander van Doorn is one of dance music’s favorite sons. Within just a few years, Sander has blasted his way to the top. And this is only the beginning.
New York’s Sean Tyas burst onto the scene in 2006 after releasing his debut single “Lift” on Discover Records, which immediately hit #1 on Beatport—a great start and a sign of things to come shortly after Sander van Doorn selected him as the winner of the “Punk’d” remix contest. Around the same time, Mixmag & Beatport named Sean “Best New DJ” and “One to Watch,” marking the beginning of a rapid rise to fame within the cooler ranks of the trance fraternity.
What followed was a consistent flow of #1 hit records (including his unforgettable remix of Dash Berlin and Emma Hewitt’s “Waiting,” and his groundbreaking single “Seven Weeks,” which spent an astounding 12 weeks at #1 on Beatport), an Essential Mix on the legendary BBC Radio 1, multiple compilations and a diary racked with sell-out shows around the world.
Having remixed for the likes of Tiësto, Above & Beyond, Dash Berlin and Gareth Emery—as well as co-produced with Armin van Buuren, Simon Patterson and many more of the scene’s elite—Sean’s discography is a testament to his abilities in the studio, where he is renowned for turning great tracks into monster hits.
Several recent high rankings within the highly coveted DJ Mag Top 100 poll also give an indication of his reach and respect on the DJ circuit, where his energetic and dynamic sets have seen him play the majority of the world’s best clubs and festivals, including Tomorrowland, A State of Trance, Ultra Music Festival, Electric Daisy Carnival, Electric Zoo, Godskitchen, Gatecrasher, Ministry of Sound, Zouk Singapore, Beyond Wonderland, Pacha NYC, Avalon Hollywood, Exchange LA, Privilege Ibiza, and many more.
Google Sean Tyas, and you will see an ejaculation of recent high-profile press coverage from Mixmag, VIBE, EARMILK, LessThan3, and the IDMA-nominated Elektro Magazine, to name but a few.
Mysterious French DJ and producer Shiba San’s deep connection with music, specifically hip hop, is well known. It forms his infectious, ghetto leaning deep house for labels like the influential San Fran label Dirtybird and Amine Edge & DANCE’s hotter than hot House outlet Cuff. Fusing classic analogue sounds with current technology, his rock-solid productions make for a truly personal sound. As a DJ, too, he brings supreme dexterity and a deep selection of sounds from every inch of the spectrum.
Both Shiba San’s ‘Me & My Doggs’ EP on Sleazy G, and his remix of ‘Bad Boy’, hit the Top 10 on Beatport soon after release. The follow-up single ‘Okay’ on Claude von Stroke’s Dirtybird caused havoc on the dancefloors even before it was officially released, it went to #1 on Beatport and sent his bookings through the roof. As this stellar DJ’s bombastic beats, charismatic sounds and grooves continue to come in full flow, Shiba San’s rise throughout 2014 is set to continue at pace.
When he’s not controlling crowds in some of the biggest clubs across the globe, Sikdope spends his days in the studio coming up with new ways to revolutionize the scene. This Polish producer started at a young age. Attending one of the top music schools in Poland for more than 9 years has allowed Sikdope to become one of the most versatile producers in the game. From Bass, House to Trap, this DJ/Producer has helped pioneer the sound of electronic dance music today. Sikdope has gained support and recognition from the biggest names in the Industry: Afrojack, Blasterjaxx, Borgore, Carnage, Calvin Harris, Chainsmokers, David Guetta, Dillon Francis, DVBBS, Dimitri Vegas and Like Mike, DJ Snake, Laidback Luke, Nervo, Nicky Romero, R3HAB, Skrillex, Steve Aoki, Tiesto to name a few. Sikdope will be coming to a town near you!
Master craftsman of melancholic melody and the purveyor of razor sharp edges – he is Simon Patterson.
Famed for 15 consecutive #1’s on Beatport (including 4 in 2013 and 1 already this year) as well as all other reputable stores with tracks like‘The One’, ‘Shadows’ (with Astrix), ‘Brush Strokes’, ‘Northern Lights’, ‘Here and Now’, ‘Latika’, ‘Thump’, ‘Smack’, ‘F-16’, ‘Bulldozer’ and ‘Mood Swing’, Simon Patterson’s production back catalogue is an astonishing list of hit after hit record.
Hit records, from an illustrious decade long career, that retain absolute credibility in both the underground as well as the overground.
After scores of international live shows and over 50 weekly radio broadcasts Simon’s Open Up brand was firmly established in 2013 as the main destination for quality underground trance and techno.
With his own Residency show on BBC Radio 1 about to begin – which is a continuation from his series of In New DJs we Trust broadcasts in 2013 - Simon’s current popularity and position in the UK market is as important and relevant as it is worldwide.
Headlining festivals and clubs all over the world as well as guest appearances at ASOT (400, 450, 600, 650), Creamfields, Tomorrowland, Electric Daisy Carnival, Mayday, Beyond Wonderland, Global Gathering etc Simon Patterson is pioneering a new sound and new clubbing experience that incorporates a fusion of cutting edge audio and visual experience.
Touring extensively in the US every month as well as holding residencies in Los Angeles (Avalon) and New York (Esscala) Simon’s sound is deeply rooted in the US – attracting the masses of kids who now appear to be growing out of the EDM monotony and instead craving something with more depth and soul.
Ladies & gentlemen - each new dawn brings new sounds and new vision…
Psymon says - Open Up – it wants to meet you.
DJ, producer, remixer, label boss... for a decade now Graeme Sinden has stealthily been establishing himself as one of the leaders of dance music as we know it. Collaborations with scene leaders such as Shadow Child, SBTRKT and AC Slater demonstrate the level at which he operates at.
2016 has seen Sinden consolidate on last years success that saw him release 2 Eps for Australian taste maker label Sweat It Out, his album on Sushi Records, which coincided with a Japanese tour in the fall & his collab EP with AC Slater for Night Bass.
This year Sinden dropped his solo 4 track EP, The Crystal Maze, on AC Slater’s newly established Night Bass label. This will soon be followed up by a joint EP with Petey Clicks and a remix from AC Slater himself later this year. This follows up his other releases on Night Bass; his collaborative EP with AC Slater, appearances on This Is Night Bass Vol2, a remix for Riddim Commission and a feature on Petey Clicks’s My House EP. His large volume of work for the label, features on the Night Bass Mixmag Lab takeover & Sinden’s appearance at the Night Bass club night in Los Angeles in February 2016 have firmly cemented him as permanent fixture in the burgeoning Night Bass camp.
On the remix front he has also been busy reworking the likes of David Zowie, Bobby Brackins, Alison Wonderland and Dirtybird’s Cause & Affect. Last year Sinden delivered a performance video for Serato which confirmed Sinden's status as a Serato artist.
Sinden appeared at EDC Las Vegas last Summer on the Night Bass stage. He has also recently been appointed US A&R Manager for Australian label Sweat It Out & hosts their weekly radio show syndicating across the following networks; Raw FM (Australia), Kiss FM (Australia), George FM (New Zealand), BIG FM (Germany), Block FM (Japan) and online station Dash Radio. A compilation entitled Sinden Presents Sweat It Out USA is due out this Spring and highlights his good ear and knack for A&R. Curated and hand picked by Sinden, its a an exciting snapshot of both established & up and coming artists in the House Music world.
Sinden’s music has worldwide support from DJ’s such as Shiftk3y, AC Slater, Tommy Trash, Oliver Heldens, A-Trak, Destructo, Anna Lunoe, Shadow Child, Boys Noize, Tchami, Motez and more.
Growing up in Hockley, rural Essex, the first music that really struck a chord with a teenaged Sinden was rap music, “a potent controversial force, more rebellious than political than anything around at the time,” with Beastie Boys, NWA, 2 Live Crew, and Dr Dre proving to be the soundtrack of his formative years. Trips to record shops in nearby Southend soon fostered an interest in Jungle, which by his own admission took over his life; a huge influence owing to its intrinsic Britishness, attitude and time stretched beats.
He quickly amassed a vast record collection which was showcased at university parties, playing an eclectic mix of old funk and disco 45's, Latin and Afrobeat, rap, jungle, dancehall, 2step garage, house and techno. “I was inspired by Gilles Peterson's 'joining the dots' attitude to DJing,” he remembers, “where you could move a dancefloor on your own terms, entertain and educate.”
Trips to London soon followed, where, hungry for more, Sinden headed straight for Bar Rhumba’s That’s How It Is night and Metalheadz at the Blue Note and later, East London’s seminal basement club Plastic People. These nights would prove to have a lasting effect on the young DJ, opening his already eclectic tastes up to an exhilarating world of new music.
Making the move to the capital when he was 21, a chance meeting with Dave Taylor – recording as Solid Groove at the time before he took on his better-known Switch sobriquet – would prove more than fruitful. The pair met through Made To Play boss Jesse Rose during a late night flyering session outside Rhumba and hit it off immediately. A collaboration was soon in the works, despite Sinden decidedly lacking in studio time compared to the more experienced Taylor. It was a risk that would soon pay off, however, with the young upstart’s extensive vinyl collection coming in very handy indeed, delivering a wealth of samples and loops they’d soon incorporate into choice cuts like ‘Overbooked’ and ‘Red Hot’.
It was also around this time that Sinden would meet another soon-to-be long term collaborator, Joshua Harvey aka Herve. The pair would go on to release their debut album as The Count and Sinden on Domino Records, featuring a wealth of special guests including the Mystery Jets and a young Katy B. “There was a big collaborative ethos within the group – Jesse Rose, Switch, Herve, Trevor Loveys and myself would frequently as a unit all make music with each other,” Sinden recalls. “That’s when we started that whole wave of new house music with basslines, inspired by the jacking house of Chicago and NY but mixed up with a UK sensibility – basslines from jungle and odd leftfield approaches. It was reactionary to all the really boring house that was around.” They coined the term Fidget for this style of house music & its influence is still very prominent in the house bass music that is gaining increasing momentum in 2015.
A weekly Kiss FM radio show was soon in the works, providing a platform for the fresh, innovative tunes that Sinden relishes discovering. And then in 2010 he took the leap that many producers hope to do and founded his own label, Grizzly. He said at the time, “I want Grizzly to reflect my style of club music which is all-embracing, fun, disparate and twisted up... ‘grey area’ sounds, music you can’t quite put your finger on, stuff that sits between genres and puzzles you at the same time. Grizzly will bring this sense of unexpectedness, flitting between styles – it’s serious music without taking itself too seriously.”
While this undoubtedly still rings true, two years later a full-to-bursting release schedule, a recent European tour and the same uncompromising attitude have seen the label evolve into a veritable hotbed of new talent, launching the likes of Melé, Brenmar and Matrixxman and seeing early releases from XL’s masked man SBTRKT and an incognito Felix Buxton of Basement Jaxx as disco lothario Jon Giovanni.
Sinden himself has helmed four releases on Grizzly – two collaborations with SBTRKT in ‘Midnight Marauder’ and ‘Seekwal’, ‘Pull Up Wheel Up’ and ‘Keep It 1000’. This is a label boss who likes to get involved. The year 2011 saw him chosen as the official producer of the second Gucci Mane mixtape, ‘Free Gucci 2’, featuring a who’s who of British producers including Hudson Mohawke, Toddla T, Duke Dumont, Mosca and Rustie each offering their own unique take on the biggest Gucci jams.
Always keen to set new challenges for himself, itchy feet and the need for a change of scene prompted a move to Los Angeles 4 years ago, which was and continues to be a hugely positive experience for Sinden. “The music scene in LA is at a really interesting crossing point, there are some great parties and some really open minded folk. Dance music is exciting here, plus there is loads of scope for working with new rappers and singers.”
Other accomplishments have seen Sinden drafted in to executive produce rapper Mykki Blanco’s Betty Rubble EP, release EP’s on A-Trak’s Fools Gold label, Mad Decent, Red Bull, Sweat It Out, Night Bass & Boys Noize Records with 2 contributions to their annual Miami Noize Compilation, as well as collaborative releases with Shadow Child, Salva, Astronomar, Brenmar & Azari & III Vocalists SYF and Fritz Helder, Nadastrom & Salva (who he shared the bill with on their month long tour).
Snails is a Montreal-based producer and DJ who pushes a forward-thinking brand of dance music combining trap rhythms, dirty bass lines and off-kilter sound design. His first tracks appeared online in 2012 on Kannibalen Records. Since then he has amassed a burgeoning fanbase of snail-heads and bass- lovers. Recent releases like “Dirty Raxxx”, “RBBR” and “SLUGZ” blend hypnotic melodies, huge drops and mind-bending sample manipulation into a tight, dance- floor friendly package. Snails’ latest track “Wild”, co-produced with Antiserum and released on Skrillex’s Owsla Records, was one of the standout tracks at the 2014 edition of Ultra Music Festival. Having recently signed with Circle Talent, Snails looks primed to bring his unique take on dance music to the mainstream.
Having spent the better part of the past decade chasing basslines in dank clubs and warehouses all across the United States, the Southern-bred drum & bass artist known as Soothslayer has finally come into her own with her own addictive take on the genre. Known to her friends as Caroline Miller, this die hard junglista originally found her way to the 174 bpm mark via downtempo and trip hop, with well received compositions and productions that fuelled a love for epic atmospheres and wall-trembling basslines.
Having relocated in 2008 from North Carolina to Los Angeles, Soothslayer quickly became a name to be reckoned with as the West Coast scene welcomed her with open arms and she fell in with a like-minded crew of bass lovers. Having represented for some of SoCal's finest, Soothslayer has flexed her skills on the decks for Timeless Drum and Bass, Splat Media's Big Booty Bass, Camp Trip, Outerbass, and Insomniac's own Bassrush crew. Dropping jaws and working the crowd into a frenzy at her first festival debut in 2016 at Nocturnal Wonderland, there's no doubting that Soothslayer has found her calling and is here to slay!
Jay Faleye otherwise known as Tantrum Desire, is an electronic producer/DJ from London, UK. His love and passion for Drum & Bass music escalated since the early 2000s and has remained strong ever since.
In late 2006, Tantrum Desire released tracks such as “Dreamscape” on Heavyweight Records. His music attracted many peers which followed onto DJ’ing at residential clubs in London, also receiving air time support from BBC Radio 1 & 1xtra. By late 2007, he was then picked up by Drumsound & Basslinesmith and signed to their very own Technique Recordings.
Since then, the Londoner has had many releases leading up to his successful worldwide anthem "Reach" in 2011. An explosive single hitting over a million views on YouTube, holding the Number #1 spot on Beatport for over a month and being one of the most rotated singles in the Drum & Bass scene. This received great support from Radio presenters and DJs such as Zane Lowe, Fearne Cotton, Fabio & Grooverider, Annie Mac, Pendulum, Andy C, Benga & Skream, Sub Focus plus more.
Dividing his studio time, Tantrum Desire has been busy with his live shows throughout the years, touring in many cities across the UK, Europe, USA and Australia. In addition to this he has affiliated with labels such as Universal Island Records, Ministry of Sound, 3beat, with also building a history in high demand remixes for likes of The Wanted, Laidback Luke, Rusko, Matrix & Futurebound, Wideboys, Utah Saints, the list goes on.
In early 2015, Tantrum Desire released his single "Oblivion" featuring vocals from Solah, selected as one of UKF’s Top tracks of the year, taken from his debut album “Diversified” which was then released in the summer on 2015. The LP went in the Top 10 release charts on Beatport and was nominated Best Album at the Bass Music Awards sponsored by Sony. He supported the album with international tours, performing at clubs and festivals such as Ministry Of Sound, Avalon in Hollywood and Shambhala Festival in Canada.
The future is bright for the fact that Tantrum Desire has become one of the most exciting production outfits to date, with the fire to innovate and take things to the next level.
Head banging, unmistakable locks at large and fist in the air, Tommy Trash is not your stereotypical dance music icon. Armed with an arsenal of his own carefully created anthems, he has rejected the clean-shaven no-nonsense image of many a peer. Tommy’s work hard play hard antics have carved him a unique position in a scene in desperate need of rebels. Outside his party-hard stage presence, the Grammy and VMA nominated producer’s approach to mind-blowing music remains as heartfelt as they come. With Platinum records around the world, singles on labels ranging from Axtone to Fool’s Gold, from Refune to Mau5trap, and from Spinnin’ to Owsla and Boys Noize, every new installment of his diverse, floor-filling productions lay testament to the pride the Aussie takes in his blazing, musical legacy. It’s no wonder that the likes of Rolling Stone and MTV have marked him out as ‘One To Watch’.
From the most prestigious nightspots around the globe and the ever-expanding global festivals that he so seamlessly conquers to the grimiest warehouse parties, there’s no stage too grand or miniscule for him to tailor his adrenaline-fueled sets to. In line with his successive industry triumphs, the road ahead looks set to comfortably accommodate the rare energy and characteristics that Tommy continues to bring to dance music.
Twin brothers and production duo from Nashville, TN, Two Fresh, announce their new Torch EP set to drop October 27 via Mad Decent. The project features explosive collaborations with Vic Mensa, Joey Purp, Curtis Williams and Jace of Atlanta’s Two-9, Mac Miller’s signee, singer Njomza and more. Their most accessible work to date, the EP showcases their undeniable ability to blend dance music and rap effortlessly.
After relocating to Los Angeles, Two Fresh now represents one of LA’s creative beat collectives, Team Supreme. Alongside the Team Supreme imprint, Two Fresh actively showcases their ability to produce dance music, hip hop, as well as experimental music. They have already produced for Mac Miller, Vic Mensa, Towkio, Joey Purp, Cherub, The Underachievers and many more.
Vini Vici is the brand new project of Aviram Saharai & Matan Kadosh, both well known & experienced electronic music producers for over a decade. The concept of 'Vini Vici' was formed as an attempt by the boys to express their love for the old school sound paired with their progressive ideas.
'Iboga Records' and 'FM Bookings’, widely considered to be the biggest psy trance label and booking agency, was the first to see the potential of the project and invite them to be part of their well respected family alongside such names as: Ace Ventura, Liquid Soul, Ticon, Captain Hook, Atmos, and the like.
After the huge success of their premier EP 'Divine Mode' and their followup ‘Back Underground’, ‘Expender’, ‘Anything & Everything’, and ‘Veni Vidi Vici’ tracks (All top sellers on ‘Beatport’ and ‘Iboga Records’ charts), produced while massively touring the world non stop - Brazil, Mexico, South Africa, Switzerland, Finland, France, India, Denmark, Germany, Unites State, Italy, Portugal, Austria, Australia, Israel… - it's no surprise ‘Beatport’ places them as the #3 Top Artist of 2014 while legendary ‘Infected Mushroom’ named them as one of the best psy trance upcoming artists at the moment, joining the huge wave of supporting dj’s worldwide.
Wondering what is the buzz all about? It’s time to tune in and find out.
With the an artistic drive to create music encoded into his DNA, the half Brazilian, half Portuguese Fernando Seca has become a revolutionary electronic musician. After learning to play the violin at the age of six, he hungered for something more; and at the age of thirteen he discovered electronic music.
At seventeen years of age, he decided his sound was ready for the global scene. From this point forward he has been performing at the best parties and music festivals all around the world, along side the most respected pioneers of the psychedelic music scene.
His mature style, and "outside of the box" approach to psychedelic trance music production has gathered him a great deal of praise in the scene; being recognized as a prodigy of electronic music by many artists and labels alike. 'Waio' has become synonymous with high quality, professional studio standard, music production; and has collaborated with many of today's leading psychedelic musicians.
Many of his latest releases including his EP 'Symbolika,' and his single 'How To Psytrance' have reached the top of Beatport music sales charts, and continue to do so today with every new release.
Each live set is created using his own unique software called 'WAIO CONTROL,' based on the Reaktor platform, and made exclusively to enhance his live performances; allowing him to craft each show into a unique, intelligent, psychedelic experience!
Similar to many artists Will Clarke’s sonic palette comes his experiences and influences from home and afar. The roots of his sound stem from both his home town of Bristol, and his seasonal home in Ibiza, which have forged Will’s style; a style that fuses the best of Bristol’s bass elements with the upfront house music sensibilities of the white isle.
Having started on his path of 4/4 discovery at a young age Will’s early career defining moment was gaining a residency at Kanya in Ibiza, where he was able to hone his skills day and night in front of the Ibiza crowd, and his DJ peers, gaining fanbase and respect along the way. Will explains “Playing in Ibiza felt natural straight away. I get on and work well there, it fits, it’s my second home.”
Cutting into the DJ circuit is no mean feat, but the cream rises to the top, so whilst Will is busy DJing at an ever growing list of clubs he’s also getting prestigious gigs at clubs like Space and MOS. Along side these gigs Will has also be building his own club brand Cut a Rug. Holding regular parties at Motion in Bristol Cut A Rug have hosted the likes of Visionquest, Carl Cox, Boys Noize, Zombie Disco Squad and Hauswerks, with whom Will has been able to support on the decks, a job which is natural to him. Outside of the UK Will has been booked for his debut Australian tour towards the end of the summer. Along with trips back and fourth to NYC and not forgetting Ibiza during this summer.
Yet whilst DJing and promotion have been building well for Will, his real strengths lie in the studio. Having been committed to his studio for many years he also undertook a music production course that have seen him made rapid progress in a short time with releases on labels such as Anabatic, Exploited, Southern Fried, No Brainer along with the launch of his new label Cut A Rug. Some of Will’s recent releases has had support from the likes of Jamie Jones, Mista Jam, Hannah Wants with plays on Radio 1 and Radio 1 Xtra.
Talking of his approach to productions Will says “I make music for clobbers, not DJs. I sample a lot of old school rave tracks from the 90s, with 21st Century production techniques.” Then add those little influences from Bristol and Ibiza and you will understand why Will’s music holds such a broad appeal and is often supported by fellow DJ’s such as Justin Martin, Seth Troxler, Ardlander, J.Philip, Worthy, T.Williams, Waifs & Strays, Pezzner and Miguel Migs.
Will Clarke is a talented, skilled, young producer who is making strides in the dance music business with his own sound and now his own label / events. He has an impressive list of quality productions and remixes that is growing month by month and a great track record at his residencies and guest gigs. You know you can trust him to come up with the goods.
Wiwek is known for fusing electronic elements with tropical rhythms to create a distinctive and refreshing sound. His tracks are being weaved into sets from heavy hitters like Tiësto, Laidback Luke, Major Lazer, Chuckie and Afrojack to name a few.
In April 2012 he released his EP “Totem” on Mad Decent, a wild mix of hard-hitting drums and suspenseful builds that instantly sends the dance floor into a frenzy – and the pace hasn’t slowed down since. He has also had great success with “Intimi” & “Ritual” released on Mixmash and “Angrybirdz” on Rimbu, the label he co-owns with Gregor Salto, as well as “Terminator” (with Moska) on Mad Decent in 2013.
2014 started with a smash for Wiwek, dropping his tune ‘ Salute’ on Tiesto’s label Musical Freedom & ‘G.M.A.F.B.’on Dimitri Vegas & Like Mike’s Smash the House. One of his latest tunes ‘ On your Mark’ with Gregor Salto was one the most played tunes at Ultra 2014 and in total 8 different Wiwek tunes were played at Ultra 2014. This created a huge buzz and resulted in being the support act for Diplo, David Guetta and Snake at XS Las Vegas.
Wiwek is releasing on labels from heavy hitters like Tiësto, Diplo, Chris Lake & Dimitri Vegas & Like Mike to name a few and is not planning to slow down. His latest remix job is a collaboration with ‘Major Lazer’ for Davido (Nominated as Africa artist of the year by MTV). The remix received 500.000 plays on soundcloud before it was even released. Furthermore, his 4 track solo EP is going to be released in the fall of 2014 and he’s got collaborations coming up with Chris Lake, Yellow Claw, GTA and Alvaro.
Paid by Beyonce… & Azealia Banks. Not a bad couple names to have on your official remix wrap sheet.
Wongo is the sort of cat that makes certified house records, club jams, party starters, panty droppers, wig out weapons… you know the sort of stuff that gets the d-floor sweating, shaking, hands up – heads down vibes.
Where do you go to find such records? Main Course, Sweat It Out, Dim Mak, Etcetc would be a good place to start. Along with remixing 2 of Hip Hops leading ladies, Wongo has also turned out his jacked up interpretations for Spank Rock, Herve, What So Not, & Yolanda Be Cool.
Support, slaps on backs, big ups and general high-fiving consistently comes his way from peers, including the likes of Claude VonStroke, Switch, Craze, Sinden, Chris Lake, Round Table Knights, Tommy Trash, Astronomar, Bot, Anna Lunoe, Worthy, Motez, CRNKN, Sam Devine, His Majesty Andre, Tough Love, Treasure Fingers, Nick Catchdubs, Frany Rizardo, Sirus Hood, Christian Martin.
At first it was two DJs having more fun playing shows together rather than separately. That turned into an Amsterdam club night, after which Yellow Claw took their show on the road—in the Netherlands and across the world. Their first songs came out in 2012, Blood For Mercy became a mantra and Barong Family was established as a record label. With a huge, loyal fanbase crowding their gigs from Las Vegas to Seoul and everywhere in between, Yellow motherfucking Claw’s is one of the most electrifying shows you’ll come across.
As much as their music is about energy release by any means necessary, Yellow Claw’s whole approach is highly conceptual and deliberate: from the numbered mixtapes to the branded merchandise (from parkas to bathing suits), the slick (music) videos and collaborations with artists as diverse as Diplo and Ty Dolla $ign, Tiësto and Pusha T. Launched in 2014, Barong Family has become a home to upcoming, likeminded artists like Cesqeaux, LNY TNZ, Moksi, Mightyfools, Mike Cervello and more.
Over the years, Yellow Claw has performed at the main stages of EDC Las Vegas, Ultra Music Festival, Jack Ü’s New Year’s Eve party, Spring Awakening and Coachella in the United States, Tomorrowland in Belgium, Mysteryland, Kingsday Festival, The Flying Dutch and Sensation in the Netherlands and Future Music Festival in Australia, has held a residency at the Wynn Las Vegas and played numerous headline shows in North and South America, Eastern and Western Europe and all along East Asia.
In November of 2015 Yellow Claw finally delivered its full-length debut album Blood For Mercy on Mad Decent, followed by a massive US tour. Featuring many big name features, it went straight to #1 on Billboard’s Heatseeker Albums as well as Top Dance/Electronic Albums charts and also reached #1 on Beatport.
In 2016, Blood For Mercy won the Edison award (Dutch equivalent of the Grammys) for dance music in the Netherlands. The single “In My Room”, made in partnership with DJ Mustard and featuring Ty Dolla $ign and Tyga has so far clocked almost 7 million views on YouTube and over 72 million streams on Spotify (not counting remixes).
Currently working on their second album, Yellow Claw is continually keeping the pressure on with their record label Barong Family, with releases scheduled from new as well as more established family members.