EDC Orlando 2016
Get ready, Headliners! EDC Orlando returns to Tinker Field November 4 & 5 for another glorious weekend filled with good vibes, spectacular art, performers/carnival rides & of course, the best beats to make you move your feet! We can’t wait to see you again, East Coast fam!
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."
What do you do after your third studio album hits Number One on the iTunes dance chart in 20 countries? After the accompanying tour sees you become the first British DJs to sell out New York’s Madison Square Garden – in fact, the first DJs from anywhere in the world to sell out both the legendary New York venue and The Forum in Los Angeles?
Where do you go after you sell 12,000 tickets in Sydney in one day, 12,000 tickets in Amsterdam on another day and raise over £200,000 for charity at a sold-out Wembley Arena show? After you’ve headlined stages at festivals everywhere, from Glastonbury to Creamfields, from Electric Daisy Carnival to Pukkelpop to Lollapalooza?
How do you top a global run of shows in 2015 that makes you the second-highest grossing electronic act in the US… but the only act of any nationality, in any genre, that can get Breaking Bad legend Bryan Cranston to join you onstage in Las Vegas and, you know, play along?
If you’re Above & Beyond, after all that, what next? You go acoustic. Specifically, you go Acoustic II and record a follow-up to your 2014 album, Acoustic, which was a stripped back reworking of some of the biggest songs from your catalogue. But because you’re Above & Beyond, a London-based trio for whom progress is everything, you go further, in every sense.
So for this second collection of re-imaginings of your songs, you record strings and brass at Abbey Road, and you present these wholly different productions in iconic global venues befitting Acoustic II’s ambitious, intimate-yet-expansive brilliance: the Royal Albert Hall, the Hollywood Bowl, San Francisco's Greek Theatre, Sydney Opera House, New York's Beacon Theatre and the Waikiki Shell in Honolulu.
And you do that with a travelling party of 17 musicians – or, in the case of the Hollywood Bowl, you do it with the addition of 34 of Los Angeles’ finest classical players.
You are Above & Beyond, the UK’s most adventurous electronic band, and all of this is something only you can – or would – do.
Having spent much of 2015 touring We Are All We Need, Jono Grant, Tony McGuinness and Paavo Siljamäki were keen to maintain the accelerated momentum created by their third album. Yes, they still had their weekly radio show Group Therapy, as well as two record labels (Anjunabeats and Anjunadeep), and their publishing company and management agency, to keep the trio busy. As Grant points out, “running a label and having a radio show naturally keep us in touch with what’s going on musically. If we didn’t have those we’d make music in the studio and that would be great, but we wouldn’t have so much context for it.”
But for a band who pride themselves on the song craft at the heart of their dance floor-friendly anthems, the untapped possibilities inherent in their music was a far bigger buzz – and challenge.
“With the first acoustic album, it was guitars, piano, strings and vocals that were the bare bones of what we were working with,” begins Siljamäki. “This time around we started from thinking: ‘Well, what other kind of things can we do?’ So brass is a really big player on Acoustic II: we added a lot of John Barry-esque brass horns. And we wondered what interesting things we could do with the voices, so there are a lot of choral and bigger vocal arrangements than on the first one. Really, this album is standing on the shoulders of the first one. If we’d have tried this then, it would have been overwhelming and too much for us to do.”
“It’s funny, we originally wanted to do it literally unplugged, and call it that,” continues McGuinness. “But even on the first album there were things that weren’t unplugged, electronic and orchestral things. But we stuck with the ‘acoustic’ label because to us Above & Beyond Acoustic means that band with electric guitars and electric bass and strings and horns and everything else. So it doesn’t really mean acoustic in the old sense, and I sort of think we’ve invented a new genre. I’m really pleased with that.”
In late summer 2015 Above & Beyond asked genius Leeds-based composer/arranger Bob Bradley, who’d worked on Acoustic, to assemble a new selection of songs from their catalogue, with a view to scoring, re-recording and reinventing them. In discussion with the trio, a core of 13 songs were agreed upon.
The Grammy-nominated title track from their last album, a collaboration with singer/songwriter Zoë Johnston, was an obvious choice. The addition of ukulele was less obvious, but the new instruments are an inspired addition to the wee-hours, orchestral-jazz rendering of ‘We Are All We Need’. ‘Sticky Fingers’, an album teaser single from 2013, is another standout, here re-rubbed into a stirring, swelling, 007-worthy love theme.
“The great thing about this version of ‘Sticky Fingers’ is that, before this, the only version we had out there was the dance mix,” says McGuinness. “There was more of the song written that we hadn’t included in that version. So the whole song is in this version of ‘Sticky Fingers’, and it’s the same with ‘Peace Of Mind’ – there are extra verses here.”
But while it’s in with extra verses, it’s out, obviously, with a lot of what made Above & Beyond one of the biggest electronic bands in the world: the beats and the production. And while harp and French horn help offer a whole new take on festival anthems like ‘Blue Sky Action’, what of the sense of momentous occasion brought by the band’s famous “Push The Button” moment in their DJ sets, when they invite a fan onstage to take the party several notches higher?
In Vegas last summer, that honour fell to one of the band’s heroes, Bryan Cranston. Above & Beyond are such huge Breaking Bad fans that they wrote a song called ‘Walter White’. Getting Cranston to join them onstage made their headline appearance at Electric Daisy Carnival even more memorable. “He was totally into it,” smiles Grant, “but he was a bit nervous. He’s done theatre but this was in front of 50,000 people.”
But making Acoustic II, and then touring it, offers no opportunities for button-pushing or banging beats. Was that a concern?
“Absolutely,” admits McGuinness. “We felt like we were kicking one of our legs from underneath us, which was the sound and the power of the dance productions for which we’d become famous. But over the years, the experience we’d have at our gigs is that our other leg – the songs we’ve written – came through. We’d end our sets with beatless versions of some of our songs and people were singing along at the top of their voices. That gave us the courage to do this.”
That sense of enhanced connection with audiences was apparent at 2013’s six shows the band performed in support of Acoustic, at London’s Porchester Hall and LA’s Greek Theatre (the film of one of the London shows has had over ten million YouTube views). Grant echoes that sense of intimacy and potency when he describes performing these acoustic/orchestral versions as “a musical holiday. It makes you realise how important the music is to other people, and gives you a focus.”
Clearly that sense of occasion and importance goes both ways. Most of this spring/summer’s six-week Acoustic II world tour is already sold out, including the Royal Albert Hall and both shows at the Sydney Opera House.
Are Grant, McGuinness and Siljamäki daunted by playing to eagerly expectant, packed houses in such august venues? In only positive ways.
“That is part of the charm of this,” nods McGuinness, “it unlocks the door to these venues that we have absolutely no right to go to. An Above & Beyond electronic show is never going to happen in the Sydney Opera House. And that’s just great fun for us as musicians.”
“That we get to play places like this is proper bucket list stuff,” adds Siljamäki. “This is stuff I didn’t even know I could dream about.”
“And just to make sure it’s not a dream,” concludes Grant with a smile, “we’re going to make a documentary about the tour, and film the Hollywood Bowl show in its entirety – if nothing else, so the three of get to see what Above & Beyond performing with 34 LA classical musicians looks like. That’ll be as much a thrill for us as it will be for the 18,000 people in the audience.”
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?
The global dance icon and five-time Grammy nominated Axwell has had little time to rest upon his laurels over the past decade. In a career that has taken him from the Swedish underground to Madison Square Gardens and the UK charts alike, his Midas like touch has seen Axel Hedfors rise as an idol of modern house music.
His national identity has been a heavy hallmark in terms of his global success. Alongside long serving peers and childhood friends Steve Angello and Sebastian Ingrosso, Swedish House Mafia has stamped out the animosity once associated with popular Dance music, setting a new precedent with such chart-topping endeavors as ‘Save the World’ and ‘Don’t You Worry Child’ and momentous live landmarks at Madison Square Garden, Milton Keynes Bowl and Main stage Ultra, Miami. Their legendary farewell tour ‘One Last Tour’ racked up a landmark run of 53 shows across 36 cities for the enigmatic trio. Ax has had a busy summer touring Europe’s most vibrant festival, Summerburst, Tomorrowlands, and Nova era to name a few. The end of August saw Axwell headlining his biggest ever solo show for Where’s the Party?, a 10,0000 capacity venue in his home town of Stockholm.
Ibiza 2013 saw Axwell move into a new era, bringing a new concept and brand to the white Isle, ‘Departures’. Along with fellow Swede and band member Sebastian Ingrosso, Departures set off a weekly party at the Ushuaia Hotel. Boasting sold out shows and an array of hot line ups it has been the success story of the season. Departures is not just a party, but, to quote “People tied together by love, by freedom, by adventure, by happiness, by the beat of the drum, where the native tongue is the body language of dancing together. ""The future of the brand looks bright; it encompasses not only Axwell’s talent and passion for his music but his beliefs and love for his fans.
With countless IDs dating back to 2007 Axwell has little intention of resting on those iconic laurels just yet. Driven by the belief that every release should matter, his Axtone Records imprint continues to lead with quality and consistency, balancing his own musical tastes alongside some of the freshest talents on offer. Ax already has many landmark hits under his belt, ‘Feel The Vibe, ‘Wonderful World’ and the accidental crossover anthem ‘I Found U’ were all track synonymous of his earlier years. This year has seen a flurry of new music with collaborations with Sick Individuals on ‘I Am’ that is set to be huge, ‘Tokyo By Night’ with Hook N Sling and a remix with NO_ID on Mutiny’s ‘Feel the Pressure’. Now is the time he can once again concentrate on his solo career, for Axwell these songs are all crafted with love from the heart.
Having spun eclectic sets across 67 countries at some 480 shows over the past 5 years, it is fair to say that Ax has a solid vision for the road ahead. As a proud member of the thriving global dance culture and a man who has taken the long way round to fulfil his wildest dreams, the labour of love has seldom sounded as sweet as that of Axwell.
Few have channeled their life struggles into definitive musical landmarks to the extent of Baggi Begovic; a man whose revered melodic wizardry has afforded him an extensive grasp on global club land.
Born in 1979, the story of Ajdin Begovic far exceeds musical manifestation. As a Bosnian native, the Yugoslav Civil War proved an insatiable battleground of social and physical preservation to what should have been his tender teenage years. Through the suffering, imprisonment, loss of loved ones and his eventual release from a detention camp in 1992, his earliest tests and tribulations have served as considerable drivers to the leaps and bounds now associated with his global overhaul. Times have changed. Social landmarks have come and gone. Armed only with the haunting memories of his earlier tribulations, Baggi’s club deviance has been modestly tailored, yet wholeheartedly executed to make relevant marks on the modern market.
As an industrious playground, few could argue the positive legwork made by Baggi upon his relocation to Rotterdam. Away from the constant reminders of political unrest, Baggi would staple himself amid the thriving Netherland’s circuit, immersing himself among such long serving peers as Funkerman, Hardsoul and Rene Amesz – the latter of whom he would top the progressive house charts alongside for “Smells Like Teen Spirit.” With a back catalogue including collaborative duties alongside Erick Morillo, Roger Sanchez and a strong presence on Defected Record’s Ibiza 09 compilation, there is no shortage of indicators of Baggi’s preserved musical aptitude.
Call it house music, EDM, or assorted Begovic charm, but this is one artist whose ever-expansive studio arsenal knows no limitations but upfront quality. A tropical groove-master by inauguration whose stints for Musical Freedom, Defected Records, Toolroom Records and Spinnin Records alike broke incessant momentum across the industry, modern times are yet to hinder his eclectic get-up. More recently, remixes for Rita Ora, Kelly Clarkson and Rod Stewart have underpinned his unwillingness to shy from the ever-expanding boundaries of popular music; yet another asset that has kept him in consistent visibility amid his craft’s undeniable renaissance.
But for the most part, Baggi remains as relevant and club-footed as ever for 2013. Tiësto, a long time provocateur and advocate of Baggi’s pursuit of solo stardom, has played a considerable part in this full-circle of musical liberation. Dropping his debut single for Musical Freedom exactly 21-years after losing his father to the atrocities of war, their new found collaborative partnership – as formally celebrated during Tiësto’s set at UMF, signals a liberating streak for Baggi and his accomplished studio persona.
Trends have taken wind, but the well-travelled artists buoyancy on the global club circuit remains evident in the sheer scope of his global presence. Between landmark stints at Mysteryland, Global Gathering, Creamfields and Space Ibiza, Baggi’s studio output and fluid turntable maneuvers continue to cater for every facet of club land without compromising on the quality that has kept the air miles racking up throughout his whirlwind career.
Baggi’s story has not always been one of plain sailing, but through music, the chimes of liberation have offered considerable redemption. Taking 2013 like a man driven only to excel the ranks of his craft, one thing remains painfully evident where the long serving Bosnian talent is concerned: music is an outright liberator when placed in heartfelt hands.
By combining sound and force with weight, the Bassnectar experience engulfs the senses. The experience of Bassnectar is more visceral than auditory, as the music sets any stage for an adventure without rules or limitations. On Bassnectar's stage, there is no hesitation in fusing the familiar with the strange or the classic with the cutting edge.
Bassnectar is the brainchild of Lorin Ashton, and his open-sourced musical project is as diverse as it is imaginary, as raw as it is meticulous, and as fierce as it is stunning. Spanning the spectrum of sonic style, the music draws inspiration from every genre imaginable and supplies a synthesis of intense, wobbling basslines and hypnotic soundscapes for a devout international audience that desires the beautiful and the bestial in the same breath.
In whatever medium Bassnectar works, music is the lure and social impact is the sincere intention. According to Ashton, “We are so blessed, and so deeply fortunate to be alive and awake right now…it’s a basic truth, but it’s very powerful. I think privilege confers responsibility, and Bassnectar is a reflection of that opportunity to give back; the motion of my cells bouncing back at the world.”
The underdog mentality that has kept a chip on Bixel Boys’ shoulder might soon be a thing of the past. After playing an array of what can be loosely defined as ‘dance’ tunes at mega festivals like Electric Daisy Carnival Las Vegas (Twice), HARD Summer, Something Wicked and IleSoniq as well as headlining some of the worlds best clubs such as Exchange and Sound (LA), The Mid (Chicago), Webster Hall, Verboten, Slake (NYC), and Grand Central (Miami). They have also done featured mixes for Thump’s MIXED BY, Nina Las Vegas’s Triple J mix, Discobelle, Nest HQ and Power 106’s Powertools. When they touched down for an Australian tour as complete celebrities, they knew it was time to shed the underdog mentality and strive for something bigger.
Witnessed through their diverse releases on labels like Sweat It Out!, Armada, Dim Mak, Main Course, and Nervous, Bixel Boys have dabbled in everything from experimental bass music to bouncy house jams, along with 70’s rock, 90’s hip hop and Berlin techno. With support from A-Trak, Fedde Le Grand, RL Grime, TJR, MakJ, Treasure Fingers, The Crystal Method, What So Not, as well as an iconoclastic mantra, #FREELIFE, as the backbone of their movement, Bixel Boys are not only a force behind the decks and in the studio, but also in the community.
Their #FREELIFE Jersey has been seen on Lil Jon, Skrillex, Martin Garrix, Dillon Francis, TJR, Cashmere Cat, Mat Zo, What So Not, Anna Lunoe, Ookay, Adventure Club, Baauer, MakJ and countless others. #FREELIFE, in essence, is the driving force behind the age-old belief of self expression—living free. Since the official release of the jersey early October 2014, the response has been extraordinary. The high demand for a publicly purchasable version led the Boys to offer it up for sale, where 100% of the proceeds will be donated to Camp Kesem, a charity that throws week long camp sessions for kids whose parents are losing their battle with cancer. Over 1,000 orders were received on the first day.
Whether it is through their tunes, tees or big hearts, you will undoubtedly come across the budding superstars, fashion impresarios, and philanthropists, LA’s Bixel Boys this year.
BONNIE X CLYDE, the DJ/Producer/Vocalist duo, debuted “The Ride” in July 2015, their first track in a series of hits that exposed the world to their unique style coined “Vocal Bass”. BONNIE X CLYDE followed up with their viral hit "Rise Above" which grossed over 700k plays on Soundcloud, 600K plays on Spotify, 900k hits on TrapNation's YouTube, and landed them a licensing deal with Insomniac Records. The duo later released "Why Do I," "Where It Hurts," "Worth It," and “Closer,” bringing their total play count well over 6 Million.
Fresh off of a direct support set for Skrillex, BXC made their festival debut at Life in Color Miami, and then immediately embarked on their 10 stop headlining "Gunshine State Tour". In Fall/Winter 2016, BXC hit the road again to continue their domination of the club and festival circuit nationwide. The duo performed at various festivals such as: Nocturnal Wonderland, Life Is Beautiful, EDC Orlando, LIC Fresno, and hit multiple club markets coast to coast. BXC finished off the year with a performance at Insomniac’s highly-anticipated NYE Festival, Countdown, on December 31st. Continuing their momentum in 2017, BXC will be performing at Life In Color Festival, CRUSH, and Middlelands, in addition to their streak of club performances across the country.
Their recent signing with Circle Talent Agency combined with the release of their debut EP in early 2017 via Interscope and Insomniac Records proves that BONNIE X CLYDE have undoubtedly positioned themselves for success for many years to come. Get ready to join the ride.
Residing in Los Angeles, Mexico-born artists Americo Garcia and Jorge Medina have built a name for themselves as a “must watch”, highly talented, up-and-coming duo. Having an incredibly diverse musical background, Boombox Cartel combines their love and knowledge of music with an innovative and unique sound.
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.
With releases on staple electronic labels including OWSLA, MAD DECENT and SLOW ROAST RECORDS, as well as two, Top 10 albums on the iTunes dance charts, all within the span of a year; BRILLZ should be called the rookie MVP of the Bass Music game.
Turning heads with his trapped-out blend of hip-hop and EDM, Brillz's interest in music stems from his history in the dance music scene. Introduced through the dance itself, Brillz was a founding member of a dance crew called Liquid Pop Collective before producing and DJing. The group would hold events on the East Coast, merging the dance styles of funk and hip-hop with the rave culture dance “Liquid”. As he progressed into production, these themes would carry through as a foundation of Brillz's aesthetic.
After releasing a handful of tracks, it was a KILL THE NOISE's “Roots” remix on SLOW ROAST RECORDS that really established him in the producer world. From there things took off. His next release was a two- track collaboration with DIPLO on MAD DECENT RECORDS. The EP featured the track “Swoop,” which was supported by a number of impactful DJs including SKRILLEX, KTN, 12th PLANET, A-TRAK, ZEDS DEAD, BASSNECTAR, FLOSSTRADAMUS, DILLON FRANCIS and many more.
A remix of ZEDD’s “Clarity” was his next hit. The track premiered with BBC RADIO 1XTRA – one of the UK’s most popular and cutting edge stations. Following the release, requests started piling up.
Soon after, BRILLZ made a bold move within the DJ scene – he released a full-length album. “I wanted to do a full-length,” explains BRILLZ. “I think like a painter or a fashion designer – I wanted to created a body of work and I wanted to make an impact.” The album was titled TWONK. What is TWONK? As BRILLZ so simply puts, “Twonk is a human weirdo, and twonk team is the movement of the weirdos. Twonk is about creativity, it’s about individuality, it’s about being weird... it’s about self expression.” The album broke into the Top 10 Dance chart on iTunes. The Twonk remix album, Re-Twonked, was released in December and landed in the Top 5 on the iTunes Dance Chart. The album featured remixes from BRO SAFARI & UFO, JACK BEATS, LOUDPVCK and more.
BRILLZ has also released a handful of remixes recently, including a remix of JAY-Z’s “Dirt Off Your Shoulders,” which was featured on JAY-Z’s blog Life and Times; a remix of JACK BEATS’ “About To Get Fresh,” which was released on OWSLA; and a remix of KILL THE NOIZE’s “Talk To Me.” While constantly working on new material, BRILLZ is on the road with dates all across Europe, confirmations at Ultra Music Festival, Sunset Festival and a bunch of US dates. 2014 will also see the launch of the TWONK clothing line.
A DJ of almost 15 years’ experience. A dedicated and driven individual with a relentless passion for all things energetic. A talented technician who has continued to climb through the ranks of global dance music to truly establish himself amongst the DJing elite.
Over the years, Bryan has honed his DJing skills by taking his experiences from the dancefloor into the DJ box. His current demand is at an all-time high; this is evident from the diversity in location of his appearances. He has performed at massive events such as Electronic Daisy Carnival, Electric Zoo, Tomorrowland, Stereosonic, Cream Ibiza and many more. He has toured extensively all over the globe in countries such as the US, Australia, Argentina, Mexico, Egypt, India, all over Europe and beyond.
He is also a highly regarded producer and owner of one of the most respected labels in dance music, Kearnage Recordings. His diversity as a producer has seen him release tracks on labels such as Spinnin’, Armada, Garuda, Subculture, FSOE and Vandit, as well as remixing for artists such as Armin van Buuren, Aly & Fila, John O’Callaghan, Gareth Emery and many more.
An artist with an ever-increasing global fanbase with a career that continues to thrive on a daily basis and powered by a desire to do it all in the right way.
Ladies and gentlemen, this is Bryan Kearney.
Camels are highly social and roll deep in crews of 30 or more. They are peaceful creatures and only exhibit aggression when competing for female attention. They can run up to 40mph, they can swim, they can completely close their nostrils, they never forget where they came from...
We don’t know where CamelPhat hail from. We don’t know the first records they bought. We don’t know what they had for breakfast. We don’t know their names, their ages, their favourite colour or their shoe size. We don’t know if they can completely close their nostrils.
These are the facts we do know: They are a duo. They earned their stripes and studied dance music dynamics as resident DJs long before they produced. They rarely give interviews. They don’t leave the house without their trademark masks. They make authentic, timeless house music. They have enjoyed DJ support from their very first release in 2010 which has grown with every release. Adam Beyer, Adana Twins, Annie Mac, Carl Cox, Danny Howard, Eric Prydz, Erick Morrillo, Gorgon City, Groove Armada, Huxley, Mark Knight, MK, Pete Tong, Riva Starr, Sasha and Tiga are just some of the premiership tastemakers who have galvanised their sets with CamelPhat’s emotion-rich, sub-soaked, silky-synth sounds.
These sounds have been shipped across the board, from the most high profile electronic labels to the most respected underground imprints in operation, CamelPhat’s versatility and ageless sense of spacious house sonics sing to DJs across the great international house/tech landscape, causing the hype pot to bubble from day one.
Things got serious in 2014 when their tracks ‘The Act’ and ‘Paradigm’ both scorched number one in the Buzz Chart. In 2015 ‘Constellations’ hit the same spot. A track that went on to become a verified Ibiza anthem, ‘Constellations’ soundtracked every corner of the Isle from Salinas to Sankeys by way of the iconic Café Mambo. 2015 was also the year they made their international and festivals debuts and Pete Tong signed their year out declaring them as his breakthrough act of the year. Rolling into 2016 and Danny Howard declared ‘Trip’ as his ‘go-to record for this year’s summer festivals’ while Annie Mac premiered it as a special delivery, describing it as ‘huge’.
Backing up these premiership forecasts with everything they’ve done so far - and everything they’re about to do - CamelPhat have remixed the likes of MK, Foxes, Billon, Robosonic, Seinabo Sey, 4Tunne500, Illyus & Barrientos and many more. They’ve worked on labels such as Toolroom, Suara, Glasgow Underground, Great Stuff, Nervous and Jeudi and have some special surprise collaborations in store for 2016.
In 2015 CamelPhat performed across the UK, Europe, America and beyond while 2016 has already seen CamelPhat booked for Fabric, Ministry, Rainbow and Stealth for UK club shows while UK festival bookings include We Are FSTVL, Creamfields, SW4 and Groove. This summer CamelPhat play Amnesia and Pacha Ibiza and three North American tours are booked throughout the year, kicking off at the Miami Music Conference.
Proof that the music alone can still do the talking when it’s strong and striking enough and produced with the right amount of soul: These are the facts, the rest remains a mystery...
Hailing from South America, Orlando based Carlos Mendoza has brought his pulse-pounding beats to dance floors everywhere since the early 90's. He has graced the stages of the famed Ultra Music Festival four years in a row and dominated nights at the internationally known Firestone Nightclub. His attentive ear for what pumps a crowd coupled with his ability to keep floors moving has landed him alongside some of the most world renowned names in electronic dance music today. Stay tuned for more as Mr. Mendoza continues to bring the heat.
Wise beyond their years and aggressively handsome, these two overachievers are focused on success… Never before has the world seen two furry browed individuals such as these two (seriously they have really bushy eye brows)… As you might have imagined Alex and Drew did not meet on the set of their Vogue Cover shoot while surrounded by super models, but rather somewhere else. Apart from Social Darwinism, the thing that separates these two men from the rest is their unsettling and uncanny ability to discover and create trends. They find the parts of things that people actually give a shit about, whatever they may be, and focus on creating and improving those parts. With live sets and productions that their own mothers describe as, “sounds nice, but a little loud,” these two always put on a show that was not ever described as sexy and life-changing, but should be. Apart from their unique personalities and boyish good looks, they have many similarities. They each graduated from prestigious North-Eastern Universities, they like hot chicks in yoga pants, enjoy a good burger, and have been rejected from many of the venues they now play at.
The Chainsmokers have become the hottest young American EDM DJ duo. Their live shows are becoming the most sought after in EDM. Their wild antics, hilarious personalities, and addicting productions have fans interacting with them non stop and running to see them live every chance they get. Their signature sound has its foundations in Indie, Progressive and Pop Music. On the production front, their original tracks have all reached the Beatport top charts and their remixes always hit #1 on the HypeM charts. They've gotten immense support by friends such as Nicky Romero, Steve Aoki, Pete Tong, Afrojack, Tiesto, W&W, and more. Their first major release, #SELFIE, and it's official music video swept the world so look out for much more to come!
In the world of house music the tastemakers and all round disco-shakers are nothing short of influential, bringing addictive beats with soul. Chocolate Puma have hollered at the charts from day one breaking records from Miami to Montreal, known by fellow dance music innovator Laidback Luke as the Godfather’s of Dutch house music. 24 years in the studio and 14 years behind the decks, the duo of René and Gaston are distinguished creators and innovators of house music.
Breathing heart and soul, the Chocolate Puma project has always delivered countless funk in the music from early house, techno and underground gay disco to early hip-hop beats flourishing in this generation, catching the attention of fans globally. Influenced by the sounds of fresh artists surrounding their studio, the Chocolate Puma beast excites in a futuristic way leaving nothing but heads bopping.
The break in dance music has evolved these innovators, releasing on their labels Fresh Fruit Records and Pssst Music and delivering a disciplined spark on labels like Spinnin, Dim Mak, Defected, Size and MixMash Records, there is no doubt the house music legends rise above the sound brackets and generation gaps. Trailblazers to the end, the pair have dominated on Beatport with #1 pole with Firebeatz ‘I Cant Understand’, ‘Tonco Tone’, ‘Disco Electrique’ and ‘Touch Me’ with Bingo Players too all made it to #1 in the main chart. Collaborating with Tommie Sunshine and Junior Sanchez too, the fire is alive putting out the call for remix runs for the honourable Nile Rogers, David Guetta, NERVO, Janelle Monae and stage possessors Major Lazer.
The tour road keeps the tinge of driving bass lines and Africanism of the true Chocolate Puma sound alive, keeping the shows a mile away from the mediocre. Alongside Laidback Luke, Tchami and young-gun Oliver Heldens, the soul from the console blazes with the old school meeting the new school. Telling the house music story at EDC Las Vegas, Pacha globally, Ushuaia Ibiza, The Netherlands’ Solar Festival, Super You & Me NYC and countless more, the seamless playlists and dance-floor pounding vibes are a Chocolate Puma patent.
House music in the beginning. House music to the end.
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.
Undoubtedly, Chus and Ceballos are the most solid, professional duo from Spain. Hailed worldwide for their excellent production works, including official remixes for world-renowned artists like Madonna or Shakira, they display a remarkable versatility enabling them to play in small clubs to life-size festivals. Their marathon DJ sets capture their genuine Iberican character, while their blend of styles between House and Techno lie in perfect harmony, accentuating the unmistakable beat of the percussions.
Throughout the past decade, Chus & Ceballos have been the pioneers and creators of the underground movement known as ‘Iberican Sound’. This resulted in the prologue to an important saga for artists and producers, who have chosen Tribal as their way of life. Their evolution throughout the past years has led them to the pinnacle of the global music scene.
All these years of hard work, absolute dedication, undisputed professionalism and a constant evolution in sounds have led this infallible duo to the summit of success, bringing them to securing residencies at the best clubs around the globe; Pacha and Cielo in New York, Space Miami, Stereo Montreal, Sound Los Angeles, Ageha Tokyo, and many others. Chus & Ceballos represent an invaluable legacy of sound, where their blend of styles is their dogma and the quality their message.
GRAMMY Award winning CID (“Best Remixed Recording”) has garnered attention from industry veterans like Kaskade and Tiesto, with booked gigs spanning the globe – from Las Vegas to Barcelona. The Queens (New York) based DJ/producer is ready to stake his claim on the world of dance music.
As a young Carlos Cid his passion for music was evident early on at age 11, venturing on a city bus to traverse the boroughs of New York, just to spend his days scouring through new music at his favorite record shop. It wasn’t long before some of New York’s finest DJs became increasingly curious about this enthusiastic young kid, who was seamlessly browsing the same records that they’d been spinning at clubs the night before.
CID's love for DJing became the catalyst for his natural progression into the world of music production. It soon became evident that CID was not only a talented DJ, but also an in-demand engineer & producer. His striking and infectious productions continue to capture the gaze of many of the industry’s top personnel including Kaskade, Tiesto, Galantis, A-Trak, Don Diablo, Spinnin Records, Protocol Recordings, Size X Records, and many more. It is an exciting stage in the career of CID, with an arsenal of explosive new material on the horizon set for release on Big Beat Records, CID is set to take his burning ambition to the next level!
Where they're from or how they grew up is entirely irrelevant. When they started off and what their influences were are inconsequential. Listing the popular venues they've played or name dropping artist that support them would be disingenuous. This is because a short anecdotal paragraph loaded with DJ/producer cliches wouldn't do their style, or their sound, any justice. The Cocodrills (Christian "Pridef" Diaz, Adam Cruz) pride themselves on creating a unique musical experience, which can only be just that; experienced. But make sure to leave your pretense at the door 'cause you won't find any bullshit at one of their parties; only funky grooves, positive vibes and rampant debauchery. And while they don't claim to have reinvented the wheel, they do like to take that wheel down the road of sound for a ride so wild it wakes up the next morning with no tread smelling of burnt rubber and a wondrous sense of "let's do that again!". Act accordingly.
First they woke your mind… now START TO FEEL! From Cosmic Gate’s very first drumbeat through to ‘Start to Feel’ – their new convention-challenging long-player – they’ve proved to be the perfect alliance of musical minds. A by-chance meeting in a Cologne recording studio in the late-nineties set Nic Chagall and Bossi on the course to becoming Germany’s most successful and enduring electronic music duo. Their original productions have thrust them to the highest reaches of download charts & streaming lists, whilst their remixography has included everyone from scene legends like Armin van Buuren to revered Hollywood composers like James ‘Avatar’ Horner.
Nic & Bossi’s behind-decks-brotherhood has now created floor-frission at an uncountable number of countries. They’ve sold out arenas, conquered electronic music capitals, spun at a litany of major festivals and 10 years into their career became the highest climbers on DJ Mag’s Top 100 chart. Driven by their critically applauded albums, club-busting singles (incl. ‘Not Enough Time’, ‘Body of Conflict’, The Theme, So Get Up and ‘Falling Back’) and scene-defining classics ‘Be Your Sound’, ‘Fire Wire’ and ‘Exploration of Space’, their place in electronic music’s hall of fame has long since been locked.
As DJs, feeding off each other’s turntable creativity, Cosmic Gate continues to push floors to supernova around the globe. In North America they’ve smashed the EDC, Electric Zoo and Nocturnal festivals and road-blocked clubs and events including Bal En Blanc & Guvernment (Canada), ASOT650 at Ultra, Pacha & Governors Island, NYC and their Marquee, Las Vegas residency. Similarly floors have been shaken in other hotspots worldwide, Tomorrowland, Belgium, ASOTs worldwide, Zouk, Singapore, Global Gathering, UK and Future Music Festival, Australia being but a handful). They sold out a 2000 capacity solo gig on Hawaii, as well as the Cosmic Gate Wake Your Mind In Concert events at the LA’s Palladium and Melbourne’s Festival Hall venues, each one hosting close to 4000 fans.
The summer of 2014 sees them approach one of their busiest festival seasons to date, as they play shows including Tomorrowland, Ultra Europe, Electronic Family, Global Gathering, SW4, and Creamfields. It will also see Cosmic Gate further expand their Ibiza appeal, branching out to play Space and returning to spin at the A State Of Trance nights at Ushuaïa.
C.G. Productions: In their homeland, Cosmic Gate has retained a consistently level of chart success, charting no fewer than 7 top 40 singles, and further afield scoring a UK Top 10 smash with ‘Fire Wire’. Most recently the pair completed their sixth artist album ‘Start To Feel’. The spiritual successor to ‘Wake You Mind’ (see below), through it Cosmic Gate inspired fans to experience electronic music in a deeper, wider, more complete way. It’s first single – the Eric Lumiere-vocalled ‘Falling Back’ – was described as “an-anthem-in-a-can” by the UK’s DJ Mag, who scored the track 9.5/10. ‘Start To Feel’ itself was hailed by UK electronic music publication MIXMAG as “audio chemistry and production physics in their most quantum forms”. Giving it their Album of the Month award, they went on to say “When they invent the amplifier that goes up to 11, you can score ‘Start To Feel’ 11. Until then it still has to be ‘just’ 10!”
Cosmic Gate’s earlier album years were marked out by ‘Rythm & Drums’ (in 2001), with ‘No More Sleep’ following in 2002 and subsequently ‘Earth Mover’ in ‘06. The latter, an artistic tipping point, edged the pair towards a more open-plan electronic music style and was the platform for the club hits ‘Analog Feel’, ‘Should Have Known’ and the IDMA-nominated ‘I Feel Wonderful’. ‘Sign of the Times’ landed 3 years later, bringing the vocal anthem ‘Body of Conflict’, a further IDMA-nod for ‘Not Enough Time’ and a then near unprecedented 43-place jump up DJ Mag’s Top 100 chart.
Wake Your Mind: In 2011 the duo released ‘Wake Your Mind’. It produced ‘Be Your Sound’ – a release which MIXMAG said: “finally unseats ‘Fire Wire’ as Cosmic Gate’s best-known-for track”. The track scored an IDMA nomination in 2012, with the JES-sung ‘Flying Blind’ following suit at the awards a year later.
Through ‘Wake Your Mind’s title, Nic & Bossi had communicated a belief in border-free electronic music to fans. Its message was embraced by untold thousands of clubbers and music lovers around the world, subsequently turning into a groundswell movement. The #WYM tag was widely adopted as the abbreviation-of-choice for those wishing to display a more flexible/less tribal outlook to electronic music.
Throughout late 2013 and early 2014, Cosmic Gate added other significant dimensions to Wake Your Mind, further spurring the #WYM effect. Following rave receptions to a string of sold out Wake Your Mind In Concert gigs they launched WYM Records. Attached to the Armada Label group, it was conceived as a home for freethinking, no-borders music, which was immediately underlined this by its first release. Winning widespread praise from the press, ‘So Get Up’ was seen by both fans and the media alike as an (aptly) bold ‘new-avenues’ musical exploration by Cosmic Gate.
Most recently #WYM has further come to encompass the Wake Your Mind Radio show. Across 60 minutes, the fully formatted broadcast features Nic & Bossi discussing and airing the tracks that have been setting their floors on fire. It’ll also encompass first-listen music premieres and tracks from the deeper side of the WYM psyche. The show, which is broadcast on Sirius XM, DI.FM and many other stations, also features comprehensive info on up-and-coming gigs, Nic & Bossi’s Big Bang track of the week and a host of other features including the Throw Back weekly classic and their Private Playlist tune.
Remixes: Over their production lifetime, Cosmic Gate’s remixes have become almost as illustrious as their productions. In essence a blow-by-blow of A-list artists, Nic & Bossi have lent their studio know-how to productions by Armin van Buuren, Tiësto, Paul van Dyk, Above & Beyond’s OceanLab project, Markus Schulz, Deadmau5 and Ferry Corsten. They rewired John O’Callaghan’s mega-seller ‘Find Yourself’ to breathtaking effect and produced remixes of veteran trance producer Vincent De Moor’s ‘Fly Away’ and ‘Carte Blanche’ (Veracocha). In early 2010 Atlantic Records US approached them to remix James Horner’s ‘I See You’ – the main theme from the film Avatar. This run culminated in Nic & Bossi being nominated for Best Remixer at the 2010 IDMAs. Most recently they put remix hands on Armin van Buuren’s ‘Pulsar’ release and Kaskade’s Late Night Alumni side project, reworking ‘Sapphire’ for Ultra Records USA.
The breakthrough for Dash Berlin came in early 2007 with 'Till the Sky Falls Down'. The track shot to the top of the Trance charts worldwide, due in part to Armin van Buuren including it in the third chapter of his acclaimed “Universal Religion” mix album. Van Buuren subsequently signed Dash Berlin to the Armada Music label.
Dash Berlin won the IDMA award for the track 'Waiting' in the category ‘Best High Energy Track’ and was nominated three times at the International Dance Music Awards, during the WMC in Miami in 2009. His tracks “Waiting” featuring Australian singer Emma Hewitt and 'Man On The Run' (a collaboration with fellow Armada artists Cerf, Mitiska & Jaren) were both nominated that year in the category ‘Best Trance Track’. In Armin van Buuren’s popular radio show ‘A State of Trance’, the 'Waiting' single was elected by the audience to the second best Trance track of the year in 2009. The music video was shot in Rotterdam and gained over twenty million views on YouTube.
In 2010, Dash was nominated for the ‘Best European DJ’ at the IDMA’s and entered the DJ Mag Top 100 poll at number 15. He won the DJ Mag Top 100 Award for ‘Highest New Entry’, during the Magazine’s ceremony at the Ministry Of Sound in London, hosted by Boy George. Dash beat other famous Dutch DJ’s such as Armin van Buuren, Tiësto, and Ferry Corsten as the highest Dutch entry till date.
On October 20th, 2011, DJ Mag announced the results of their annual Top 100 DJ Poll for the very first time in Amsterdam, with Dash Berlin placed at #8 in the world.
In 2012, Dash received a nomination for ‘Best Trance Track’ at the IDMA’s for his track with Jonathan Mendelsohn entitled 'Better Half Of Me'. October 2012: In Mexico Dash Berlin was nominated for a prestigious ‘Lunas Award’ in the category Electronic Music among other artists such as Armin van Buuren, Paul van Dyk, David Guetta, Sasha, and others. Later that month, Dash reached number 7 in the DJ Mag Top 100 poll, making him the second most popular Trance DJ in the world, right after his mentor Armin van Buuren. In December 2012, Dash Berlin was nominated for a ‘Tunisia Music Award’, Africa’s biggest award show till date.
In 2013, Dash Berlin remixes 'Find You' for Zedd and 'Apollo' for Hardwell. February 2013: Dash Berlin headlined the Ultra Music Festival in Chile and the Ultra Music Festival in Buenos Aires together with Avicii, Carl Cox, and Armin van Buuren. The 2013 EDC Week was officially opened by Dash and closed with a legendary sunrise set at EDC Las Vegas. In 2013, Dash Berlin received a nomination for the ‘Best Trance Track’ at the IDMA awards for his single ‘When You Were Around’ featuring British singer Kate Walsh. Late 2013 also saw Dash Berlin release the fourth installment of ‘United Destinations’, a series that showcases the best tunes in the world of D.B. April 2013: Dash Berlin wins two EMPO awards in the categories 'Best Trance DJ' and 'Best Album'. Later that year, Dash received a nomination for 'Best Trance DJ' and 'Best Trance Track’ at the IDMA’s for his track with Alexander Popov & Jonathan Mendelsohn entitled 'Steal You Away'. Dash Berlin was the first DJ to be announced for Armin van Buuren's 'A State Of Trance 600' event in 2013. Dash played at ASOT Den Bosch, ASOT Mexico City, ASOT Minsk, ASOT Sofia, ASOT Beirut, and ASOT Guatemala.
As a true icon of the electronic world, Dash Berlin is no stranger to the DJ Mag Top 100 poll. Having comfortably secured a place in the treasured Top 10 for the past three years, there is no doubt that Dash is at the very top of his game.
In 2014, the 2014 EDC Week was officially closed again by Dash with another legendary sunrise set at EDC Las Vegas. Dash Berlin announced his highly anticipated album 'We Are' which is now available for pre-order on iTunes. June 2014: Dash was the first DJ to play at the legendary Boulevard Pool at The Cosmopolitan of Las Vegas. In August 2014 Dash Berlin headlines the east stage on the Sunday of the massive Electric Zoo festival in New York together with Skrillex and Diplo. Dash Berlin is nominated for a 2014 Ibiza DJ Award.
In 2015, Dash Berlin secures for the sixth year in a row a top 15 spot in the DJ Mag Top 100 poll.
Dutch DJ / producer Don Diablo was born and raised in Holland and is currently working on rapidly expanding his discography in between his global touring schedule. After scoring multiple number one hits on Beatport he became the #3 selling artist of the year in 2015 and also managed to rack up over a hundred million views on Youtube in the same year. In the meanwhile the Dutchman also became an in demand remixer, adding names like Madonna, Ed Sheeran, Rudimental, Birdy and many others to his portfolio.
In his Amsterdam based studio he has collaborated and produced with artists like Kelis, Alex Clare, Example, Diplo and Tiësto to name a few. In 2015 he also launched his "HEXAGON" record label, the first release held the no. 1 position on Beatport for almost two weeks and the label was awarded "best new label of the year". An obvious dream start for a label with a great future ahead. Warner Brothers also asked Don to create the worldwide theme song for the highly anticipated “Batman Arkham Origins” game. The track and the accompanying video became an instant viral hit racking up millions of Youtube plays and global hype.
Don's firm radio support in tastemaker countries like the U.K. and the U.S.A. introduced the Dutchman to a wider audience this year. His own HEXAGON radio show is currently aired in over 35 countries and holds a solid top 10 position in the iTunes podcast section every week, thus reaching millions of people across the planet.
In October 2015, during the annual DJMag Top100 awards, Don was awarded with the "highest climber of the year" prize, moving 52 places up the list from 82 to 30.His packed travel schedule headlining nearly every major club and festival around the world are also evident proof of his ever growing worldwide fan base. Don's many other passion projects like directing music videos, working on movie soundtracks and setting up his own fashion brand make it even more clear that it is safe to assume you can expect to hear a lot more from the ambitious Dutchman in the years to come.
Edgar V has been quietly earning his repertoire in and around the dance music world. Synonymous to his personality, it may be difficult to tell during and after one of his signature prolific Progressive house sets. They are filled with a masterful blend of orchestral strings, ethereal vocals, uplifting synth patterns with a spunk of tribal bass filled house. Owning residencies in Miami's most infamous dance clubs Edgar V has been on the forefront of Miami's dance music.
Edgar began spinning at clubs in the then infant South Beach club movement with a start at Les Baines a heavily popular club in early 90’s. As the scene grew “bigger” and “better” Edgar lead the way holding residencies at influential clubs such as KGB, Liquid, Shadow Lounge, and was the first Club Space resident. Soon Edgar became a staple and unsung hero behind all the clubs he played at. Creating energy filled memorable nights transcending a buzz around him after each night. His current residency is at Gryphon Nightclub in the all new Seminole Hard Rock Hotel and Casino.
Helping his clubs not only become local favorites some of the most heavily talked about and known clubs on planet earth and making them an absolute stop of every major touring DJ. In early 2000 in collaboration with Club Space Miami Edgar’s debut mixed compilation Trancemission became a favorite among Trance fans worldwide. Playing along the world’s elite list of DJ’s such as Paul Oakenfold, Paul Van Dyk, Tiesto, George Acosta, Judge Jules, and Carl Cox, Edgar V has earned their respect being “handpicked” by Oakenfold to Open for at infamous sets such as Spacefest ’01 and invited by Van Dyk to play along with him at his party in Berlin Vandit and Cream Ibiza at Amnesia in 2007. Being mentioned in publications as Mixer Magazine, BPM, D’Vox and credited in albums by Deep Dish and Oakenfold the buzz around Edgar V cannot go unnoticed. Already making his mark globally Edgar V has played, Ibiza, Berlin, Mexico, Peru, Tokyo, Canada, Panama, Colombia and major clubs in the United States along with headlining some of the world’s biggest festivals and showcases. Gaining more residencies along the way and praise from the industries most talented and successful dance music leaders Edgar V is not looking back.
Hailing from Rotterdam, the Netherlands, Ferry Corsten’s lustrous career is exemplified by a passion for music that began as a hobby and spiralled into a full-blown profession. Today, as it was in the beginning, Corsten’s skills lie in his ability to coax the maximum emotional impact from electronic dance music of all genres, not just trance, but also progressive-house and electro. He remains and has always been ahead-of-his time, making music that becomes a template for others to follow.
From the outset, Corsten has been a prolific music-maker. With seven full-length studio albums under his belt and multiple Gold records to his name with songs that include ‘Punk,’ ‘Out Of The Blue,’ ‘Rock Your Body Rock,’ and other world-class hits like ‘Made Of Love’ featuring Betsie Larkin, ‘Hyper Love’ Feat. Nat Dunn and ‘Radio Crash’, Ferry’s output has always been plentiful and diverse. None more so is this true then with collaboration and remix work that has seen Ferry line-up alongside star names from the world of pop, rock, electronic and hip hop in Justin Bieber, U2, Moby, Faithless, The Killers, William Orbit, Duran Duran and Public Enemy.
From his New World Punx project with fellow trance pioneer Markus Schulz to his FULL ON live show concept, whereby he melds different styles of dance music by playing back-to-back sets with his cherry-picked roster of DJ/producer friends and a state-of-the-art stage setup, through to his hotly anticipated new live show and tour concept ‘Ferry Corsten presents Gouryella’. Ferry has continued to push and excite the world with his live and DJ show experiences. A statement that has been felt everywhere from festivals in Tomorrowland, Creamfields, Dance Valley, EDC Las Vegas, clubs such as Amnesia, Space, Ministry of Sound, Avalon, and iconic arenas like Amsterdam’s Heineken Music Hall, Allphones Arena in Sydney and New York City’s Madison Square Garden.
Striving always for excellence, this is an artist who is never satisfied with all that he’s accomplished, instead always pushing for the next exciting idea. For Ferry Corsten, the possibilities are limitless.
Brighton raised, multi award winning Friction is one of the most revered and recognised names in bass music today. Having risen steadily through the ranks since the early 00's as arguably the most adept and most ferocious DJ/producer in the scene, Friction now holds court in the D&B Hall Of Fame thanks to his inauguration at the 2011 Drum & Bass Arena Awards.
Friction has a vast catalogue behind him and has worked with most of the major labels in D&B including Hospital and Metalheadz. However it was in 2004 when he founded the now infamous record label Shogun Audio that really pushed the Friction name further into the musical limelight.
Whilst DJ'ing across the world every weekend and heading up the juggernaut record label Shogun Audio, Friction has achieved much commercial success but always keeps his feet firmly on the ground, he was announced at the start of 2012 as the new face of Radio 1's flagship Drum & Bass show he is set for even more accolades in 2013 and beyond.
Friction's last single release, 'Led Astray' got massive radio support from Zane Lowe, Annie Mac, Mistajam, Fearne Cotton, and the whole of club land spending 6 weeks on the Radio 1 playlist at the start of 2012. His recent remix credits include Wretch 32 'Traktor', Example's 'Change The Way You Kissed Me', Maverick Sabre's 'These Days', 'YSK' by Jack Beats and 'Love Is All I Got' by Feed Me. All eyes are now firmly focused on Friction's debut album currently in the making.
Described by Pete Tong as 'one of the big dogs' Friction looks set to hit dizzying new heights in his career this year as he continues to trail blaze his way through the ever-evolving musical landscape.
So whether you're catching his radio show or a DJ set anywhere from Glastonbury, EDC in LA, to Sydney or Toyko you'll be sure Friction never disappoints.
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.
Just 9 years ago, a DJ/Producer duo named Heatbeat was born out of the ranks of Argentina. But, within such a short time of coming together, the world wouldn’t be ready for the shockwaves created by the pair’s cutting-edge productions and fresh, live DJ performances. Their versatility spans to include both their newest tracks as well as mash-ups and bootlegs of current hits, which they concoct in their studio during extensive, pre-set preparation.
Backed by long-standing experience with traditional instruments like the piano, guitar and drums, today, their resume of international acclaim and support is longer than most would care to read. One would only need to look in the proverbial record bins of the world’s top DJs to find their ‘big-room’ tracks waiting for the next packed venue, like the hunter waiting to spring on his prey. DJs like Paul van Dyk, Armin van Buuren, Tiesto, Markus Schulz, and Ferry Corsten, among many others, are no strangers to playing Heatbeat’s tunes day in and day out. Now, these young-bloods from Buenos Aires, Agustin Servente being only 21, and Matias Faint, 23, have set their fervent sights to only one aim: Greatness.
Most recently, they held the #1 Trance download spot at Beatport.com for the 2 weeks following Miami’s 2008 Winter Music Conference, with their filthy tech-trance track, ‘Push Over,’ under Armada’s Soundpiercing sub-label. Their tracks and remixes are all over the radio waves on the world’s largest electronic music broadcasts, like Judge Jules and Eddie Halliwell on BBC’s Radio 1, Ernesto vs. Bastian’s The Next Level, Kiss FM, Juice FM, Slam FM, DI.FM, Fritz Radio, and the list goes on. As one popular station in Europe said of their style as shown by their January 2008 release, Sxing, released on Marco V’s In Charge label, ‘[They] bring together influences from various genres in the form of a very explosive cocktail mix.’
With their records receiving tremendous support from the largest names and labels in electronic music, and a world-wide, debut tour on the brink, these young guys are on track to being the next big thing out of the southern hemisphere. So, if staying ahead of the curve is part of your game, keep a steady eye on Heatbeat.
Widely regarded as the leader of the new sound of house, Jamie Jones is renowned for his pioneering music; his cross-genre band, Hot Natured; his groundbreaking label, Hot Creations; and his world-renowned event series, Paradise. In less than a decade, he has catapulted himself to stardom by shattering genres and breaking out of the confines of minimal techno.
Jamie’s revolutionary sound is an instrumental part of his success, being both artistically innovative and yet easily accessible. He and his label, Hot Creations, have been credited with creating an iconic sound that has paved the way for a warmer, more melodic, deeper side of techno to emerge. 2011 was the year that Jamie and Hot Creations took over. Continuing to power out hits, they released Hot Natured’s “Forward Motion,” featuring vocalist Ali Love. But it was Jamie’s remix of Azari & III’s “Hungry for the Power” that was the quintessential song of the year, heard everywhere in Ibiza and beyond.
In 2012, Jamie and Lee Foss evolved their project Hot Natured into a full band, adding Ali Love and Luca C as members. Taking elements of the grooves Jamie has long championed and forging them with song-based vocals and smooth synth melodies into a live act, Jamie looked to challenge conventions with this new direction. The first Hot Natured single, “Benediction,” reached the top 40 in the UK in 2013, and the debut album, Different Sides of the Sun, continues to sell strongly six months after its release. In 2014, Hot Natured is viewed as one of the most in-demand electronic live acts globally.
Jamie’s constant touring schedule takes in every major city and festival around the world, including such spectacles as Glastonbury, Timewarp and Burning Man, as well as highly esteemed clubs like Warung, Fabric and Womb. His weekly Ibiza party, Paradise, has completed two huge seasons at DC-10 and goes into its third year as the fastest-growing night on the island. This success has meant that Paradise has been offered stages at some of the world’s biggest electronic music festivals, such as Tomorrowland, Global Gathering, Kazantip and BPM, and the brand will continue to grow worldwide through 2014.
In early 2012, Jamie was voted the number-one DJ in the world by Resident Advisor. He continues to be seen as a leader in his field and an innovator who will dictate the direction of a booming industry.
Genre blending has always been a core tenant of Jauz – the project of 21 year old LA-based and Icon Collective graduate, Sam Vogel. Over the course of the past few months we have seen the young star rise, turning in some of the biggest tracks of the year, from taking on the likes of Ed Sheeran, Asap Mob, Childish Gambino, and more. Jauz has released addictive mid-tempo originals like “Feel the Volume” and remixes like “Hella Hoes” that have left both the festivals and clubs wanting more and garnered him support from industry heavyweights like Zedd, Skrillex, Diplo, Borgore, Destructo, Arty and others. His euphoric originals and viral remixes seamlessly weave in and out of several musical categories, staying true to his creed: “music has no boundaries.”
From his early humble beginnings Jose Estrada was always on strive for greatness. He began his career as a Disk-jockey playing for all age’s events in Miami at the age of 15. At the age of 17, he received his first shot at playing for an older crowd at Nocturnal Miami. From playing at some of the legendary clubs such as Nocturnal and Karu & y, Jose Estrada has stamped his name into the Miami nightlife at a very young age. Carrying into his 20s Jose Estrada has played almost every single venue in Miami and even holding down a residency at some of the biggest nightclubs in South Florida such at Club Space, Passion Nightclub Set, Mansion and etc.
Today, Jose Estrada holds a residency at Passions Nightclub, Club Space, Mansion Nightclub. Being only 23 years old, Jose Estrada is making waves at a very young age and with no end in sight, he is sure to make it to the top in no time.
Julia Govor was born to move people.
She made her debut performing in a small military town in Abkhazia, Russia, which led to her becoming the cassette-DJ at the town’s nightclub. Every Saturday, the ever-diligent Julia was on stage performing new songs by Russian singers or songs written by her oldest sister, Galina.
Soon thereafter, she became the lead singer in the locally-famous military band called Moryachka. Still sharpening her mixing skills, she began using Paul White’s elegant silver Tascam to play pop songs by Sandra, Mr. President, 20 Fingers and other 90’s pop divas.
The big payback: In 2000 she moved to Temruk in South Russia where she became a bona fide DJ, playing CDs and mixing on a Vestax PMC01A.
Then the big city came calling. In 2004, she eventually moved to Moscow to study film and TV Production. This is when her vocational arc as an all-round entertainment maven began to fully take flight. She became an on-air personality for Miller TV and MTV and went on to interview some of the industry’s most prolific players such as Ricardo Villalobos, Richie Hawtin, David Guetta and even Iggy Pop.
In 2010, the petite and vivacious Russian lady with knack for telling hypnotic stories got back to what she does best: DJing. She lent her talents to the legendary Moscow underground club Arma17 for several years. During this period Julia could also be found making impactive appearances at Movement in Detroit, Kazantip in Ukraine, WMC in Miami, ADE in Amsterdam and Sonar Off in Barcelona.
Having been deeply inspired by the Techo artists she played alongside over that period, Julia began to produce her own tracks.
In 2012 she signed to both Visionquest and Get Physical. Julia’s distinctly resonant frequencies and uncommon melodies have also caught the attention of labels such as Superfreq records. Her most recent release on Highway records was reviewed by noted outlets including Thump and VICE. Her solo record Litmus (Fall 2014) on Hypertone records received a glowing review in Mixmag.
In 2013 Julia relocated to New York. The following year opened a whole new door for her. After her time-stopping performance with Jeff Mills, Julia became the artist who those in the know are hailing as the new and rightful heir of futuristic techno.
Julia recently DJ’d at Space Ibiza NY for Victor Calderone’s Matter_music parties. With the support of iconic DJs Carl Cox and Pete Tong, Julia is the host and creative producer of Burn Residency News – the accomplished series about global DJ contests.
At the core of her DJ sets is the ever-present element of emotional truth and a quest to redefine her audience’s relationship with beat. Simply put, she firmly believes in churning out sexy techno grooves with dramatic expressions and select layers of sound. Not to forget the boundless charm and ambrosial melodies.
That is Julia Govor in a nutshell.
Since his first forays into drum & bass in the late 1990s as a burgeoning young DJ, there’s no doubt that Kasra has now made an indelible mark on the scene, a mark that continues to grow ever stronger as his Critical Music empire prospers.
As Critical’s figurehead, the demand for Kasra’s DJing skills has escalated to the point of a schedule that sees him playing regularly every weekend throughout the UK and the rest of the world. Vienna, Budapest, Shanghai, Beijing, Miami, Berlin and, of course, his beloved Lodon are just a few of the places that have beared witness to the Critical sound, and the list just keeps getting longer. Quite a feat these days for someone who’s not yet really gone deep into the production process.
This is all changing, though, as Kasra’s been busying himself back in the studio, readying his own takes on the Critical sound. 2011 saw a collaboration with S.P.Y and also Jubei on the heavily rotated Sequence One EP. With many more collars to come and some solo cuts, expect to see many more Kasra productions gradually working their way into the sets of the great and the good of the D&B community.
Not content with a release schedule bursting with future classics and his own rigorous DJing schedule continually on the up, the label now boasts its own residency at one of the world’s most iconic electronic music venues, Fabric London, where it can regularly be seen smashing up the place with an always-superstar cast of DJing elite from D&B and beyond. The first quarter of 2012 saw Kasra achieve what only a select few people around the world have managed in their careers; being asked to mix the new Fabric Live album was a huge honour and resulted in FabricLive 62 being one of the most successful drum & bass mix albums of the day.
“The rave George Cross, one of dance music’s highest honours.” —DJ Mag
So now as heads turns to 2014, it seems this is the tipping point for Kasra both as a DJ and a label head of one of the most inspiring imprints in dance music today. The Critical age is only just beginning.
Hayden Capuozzo was born in Houston Texas, but called many cities his home. At the age of 24, Kayzo had his start in 2012 in a pretty unreal way. He was selected as the winner of Insomniac’s ‘Discovery Project’ Challenge with a mix that was absolute insanity in the best form. Winning this gave him a chance to play ‘Escape from Wonderland’ that year and making his performance one not to forget, that also happened to be his first gig ever.
Since his debut, Kayzo hasn't let up experimenting with creating music in genres like happy hardcore, hardstyle, electro, dubstep and even a bit of psytrance. He has recently created milestone collaborations on remixes with happy hardcore rising star Gammer on their Propaganda remix by DJ Snake and Carnage with their “Never Forget You” remix.
Kayzo released his EP “Welcome To The Doghouse” in Spring '16 through his own label ‘Doghouse Recordings’. The EP was comprised of an eclectic couple of songs to sink you teeth into. KAYZO most recently released his newest collobroaration with Barong Family artist, Cesqeaux, titled “Home.”
There is surely no slowing the Doghouse and Hayden.
Well my relationship with music started at an early age, just like every other producer in the game. I played hockey at a really high level up until the age of 19. I lived in all areas of the States, as well as Canada. Music was my outlet when bad games happened, and also my drive when working for what at that time was my goal, to be a professional hockey player. Electronic music was always in my ears. From the locker room, plane rides, bus rides, you name it. I always had headphones on. Now being a creator of what was once my biggest outlet. It's sort of like, "Okay it's my time to tell stories, and create that energy that once fuelled me as an athlete." I hope there are some hockey players blasting my music in their headphones pre game right now. That would be pretty cool. Honestly man, what else is there to say about music? It literally is my life. I wake up, get on my computer, check music blogs. I get on Twitter, and check what's going on in my favorite artists' life. I get in my car, and yea music is on. So besides the obvious of me sitting down in the studio behind my DAW making it, music is one of the biggest constants in my life, and that's pretty rad.
Home Town: Houston, TX
Currently Living: Los Angeles, CA
Origin Of Name: To be honest nothing to crazy, decided to take letters from my first and last name and scramble them together, minus the “K” of course.
Weapon of Choice: Production wise, definitely would have to be Massive, it’s my go to synth for all the weird stuff you hear in my music. Other than that my keen eye for a good animal photo to post on my Instagram.
Source of Power: My influences definitely come from different areas of my life. My family though has been the greatest influence when it boils down to having the drive to work for what you want. They have taught me that if you want something, you go and get it, you don’t wait for things to come to you.
Was there one particular moment in the recording or mixing process for your Discovery Project entry that made you feel like you were creating something pretty damn special?
To be honest, my entry was not intended for the Discovery Project. I was just trying to make something fun and different. I had never worked in a BPM lower than 128 at that point in time, so I thought “okay lets try 100 BPM, because that’s really slow and slow is cool.”
Are there any dots to connect with where/how you grew up to your musical output?
I don’t have the musical backing most artists’ posses. I didn’t grow up playing any instruments, besides playing the trumpet in the middle school band (oh yeah I did that). I would say one of the biggest factors to my musical “upbringing” if you will was attending a school for music production called Icon Collective less than a year and a half ago. Yea, honestly not sure I have enough time to go on about Icon, and how it has shaped my life as an artist and more importantly a person. But for anyone trying to find a group of passionate like-minded individuals, Icon is the spot man. I owe almost everything I have at this point to that place.
What do your parents think of what you are doing?
Well at first I think they were a little skeptical with my decision to drop out of college and attend production school, what parent wouldn’t be? They have always supported my dreams 100%, though, and they know when I’m committed to something, I devote every waking minute to it. I think over time as they heard more and more music coming from me they began to open up to the idea of it more and more.
What’s the strangest part of your job?
I tend to wonder how I can wake up every morning and make music, and then go play it for a large group of crazy people who love it just as much as I do. I then go to bed, wake up and do it all over again. Not many people can say that.
What’s the biggest misconception about being a DJ?
I’ll just jump on the bandwagon with this one. Most people nowadays think all DJs hit play. Man it couldn’t be further from the truth. I’ve been out to plenty of shows, and have seen enough sets to know that most of the game today is DJing live. I don’t care how it’s done, USB controller, whatever. If you’re up there giving people a “live” show, I respect it. I think most people would be surprised with the amount of preparation that goes into a live set.
Tell me about your most memorable night out.
As an artist, it’s a toss up between playing Escape From Wonderland, and playing Control Friday’s at Avalon in Hollywood. Playing a festival like Insomniac’s is a type of experience that really can’t be put into words. It’s every artist’s dream to step on a stage of that magnitude. As for Avalon, anyone that knows the scene in LA/Hollywood knows that Avalon is infamous for having some of the biggest and best talent in the game come showcase there skills on Friday, so being on a poster with names like Cazzette, Project 46, and James Egbert was pretty incredible to say the least.
Do you have any memorable moments from past EDC's or any other Insomniac party?
EDC 2013 in Vegas! Yes, it was my very first EDC experience, and it was honestly one the best times of my life. I have never felt so close and connected to the scene than being there. Everyone was there having the time of their life. I met some pretty awesome people there, who were all just in the same place for the love of music, and that to me is a pretty good reason to continue to make music.
How does what you do for a living affect you on a day-to-day basis?
I’ve learned to live on a lot less, to say the least. I think I’m going through that starving artist phase right now, but I wouldn’t have it any other way. I have learned so much about myself since starting this journey. My family and friends has also been nothing but supportive of my career path. Having them in my corner makes things a lot better.
What is your ultimate career dream?
Owning a house full of cats and sloths and having a lifetime supply of Papa Johns pizza. No seriously that would be dope. But yeah, besides that, just to be happy every day making the music I love. I don’t measure my happiness by the amount of money I make or stages I play.
Are you impulsive with your work or do you have a sketch in mind before you start?
I’m definitely more on the impulsive side. Or maybe a better word would be go with the flow. When I’m in the studio I’ll basically have an idea of temp and “genre” if you will. Other than that it’s like throwing a dart blindfolded. I have no idea where the song will go. 99% percent of the time it ends up changing genre and tempo. I usually end up fusing genres together and making some really weird sounds that somehow work.
How, if at all, does listening to music figure into your creative process?
100% factors in to my creativity. I try to find new music every day. I am always looking to see where artist are heading stylistically. I love to see artists I look up to pushing the envelope. Ever since hearing the Dog Blood remix of “Wild For The Night,” I have been dying to make weird 808 acid like synths.
What’s the most important piece of gear in your studio and why?
My MacBook! Everything I make is “inside the box.” Without my MacBook there would be no Kayzo.
How important is it for you to experiment and take on the risk of failure?
With the industry being more saturated than ever, I would say if you aren’t experimental, you probably will not last too long. There are solid new producers popping up everyday, so staying ahead of the curve is key in my opinion.
Do you have a list of people you’d like to collaborate with in the future?
My god yes. I won’t go on too long of a rant, but I’ll give you my top three. Tyler the Creator, Gesaffelstein and Skrillex. Tyler is about the craziest artist I have ever listened to lyrically, so having that level of weird on a track would be amazing. Gesaffelstein is like the king of dark techno in my opinion, and I have been really inspired by that style lately. Skrillex is Skrillex, I don’ think I need to make a case for him!
If we pressed Shuffle on your iPod while you went to the bathroom, what would you be embarrassed to come back to us listening to?
Jesus, I have taken stuff off of it since middle school, so you would probably find some really awesome 50 Cent or T-Pain hits accompanied by some really great boy band rock.
What sound or noise do you love?
I love the sound of coffee being made.
What should everyone just shut the fuck up about?
Big room house. Dude, it’s fun to listen to and fun to make sometimes. I’m tired of people complaining about making it. If you could do it the way some guys do it, you would in a heartbeat. Quit complaining, it’s all music, and all fun.
What gets you excited when you think about the future of electronic music and club culture?
How free and open it is. There really is no stopping it in my opinion. With the growth of technology, it is only making music and production more accessible to anyone. I’m pretty stoked to see where the next generation takes music, and definitely the art of live performance.
When you look at electronic music and the surrounding culture, what worries you about the future?
I know I just ranted and defended big room house and how everyone is making it, but at the same time, I think artists are becoming too complacent in the studio. Make big room, make a lot of big room but take some risks with it man. The problem is not the style, it’s the fact that everyone wants to sound like the last guy who made the hit.
What are your weaknesses?
I need to relax more. I’m a workaholic with production. I need to just get out more and enjoy life.
Do you have a secret passion?
Well I played hockey for like sixteen years, so I would say it still holds a place in my heart.
How would you describe your sound to a deaf person?
I would take them to a Papa Johns, and let them order what ever they want. It’s that good.
Is success physical or internal?
Success to me is internal. Success is being happy. If I can wake up everyday and love what I do then, yeah, I’m pretty successful.
What do you remember about your first DJ gig?
Okay, so Escape From Wonderland was my first gig ever, and yeah I experienced one of my worst nightmares. The guy before me was just wrapping up his set, so I decided to start setting up, and was trying to find a power strip to plug in my controller. The power strip was in a cabinet right under the decks, so I had to maneuver below the guy to plug in my stuff. Right as I was going to plug in to the outlet my hand hit the on/off switch to the power strip, which apparently powered the whole entire stage. So yea, I basically ended the guys set ten minutes early. Watch out guys, if I’m playing after you, your last ten minutes of music is never safe. Big fail, but a lot of fun to say the least.
What’s the hardest professional lesson you’ve learned thus far?
This industry takes time. Nothing happens over night. At first you are going to suck, and going to suck a lot. The hardest part if battling through making bad music. I remember when I first started producing there were times when I was like “what are you doing here?” If you can get through the learning phase, and really do love making music then accepting that you will suck at the beginning isn’t really that bad.
Do you have a favorite all-time mixed CD or series?
I really enjoy any type of mix Zeds Dead puts out. Always so different and full of amazing tunes.
What advice would you offer someone thinking about entering the Discovery Project competition?
Do it. Honestly, my girlfriend had told me about the Discovery Project before I even found out about it. I think it was a day or two before the due date for Escape From Wonderland, and I had just finished up “Precession” (the song I entered), when she was like “dude you need to enter ‘Precession,’ it would be perfect for what they want.” I had no idea about the contest until that and thought, what the hell, I’ll give it a shot. I look back on that being one of the most important turning points in my musical career. It was the start of a real career in this industry in my opinion.
Favorite pizza is all types of pizza. And can we all just stop “turning up?”
While it may look that way on stage, nothing is ever simple with Keys N Krates. Not when everyone has an equally valid opinion, along with the willingness (no, the all-consuming need) to sit and scrutinize a hearty 808 hit or laser like synth line for hours on end.
It's been this way since the very beginning, when Keys N Krates went from being a live hip-hop band reliant on rough acapellas and memory-jogging remixes to something much more complex - a tight-knit trio of producers/performers - Turntablist Jr Flo, Keyboard player David Matisse, drummer Adam Tune - who take rocking a party as seriously as a week spent in the studio. "We always trade roles from song to song," explains Jr. Flo. "It's not uncommon for Matisse to flip a sample, or for me to write a melody, or for Tune to chime in on the mixing of a track. It's not the fastest way of working, but everyone has a say in everything."
Which explains why their breakthrough singles (the elastic loops and diamond-edged drums of "Dum Dee Dum," the head rush hooks of "Treat Me Right," a frantic, D'n'B-flavored "Are We Faded") are able to pull the strings of packed festival crowds without resorting to tired EDM tropes. Hip-hop, house and UK bass music all play a role in a Keys N Krates record, but so do the dark-tinged dynamics and widescreen ways of indie acts like Caribou and M83. "Seeing M83 live at the Osheaga festival changed our whole perception of how their music translates live," says Jr. Flo. "The chord progressions are beautiful and catchy but never corny. It's pop music at its best."
That was essentially the goal with the Toronto group's new Midnite Mass EP: cuts that are calibrated for clubs but that can translate beyond. Punchy and powerful. Emotional and epic. That goes for everything from its title track (an intro that sounds like a suspenseful thesis) to a Katy B collab ("Save Me") that'll beam old-school ravers straight back to the '90s. And then there's something as deceivingly simple as "Love Again," a soulful rap beat created from scratch and such artful details as the orchestral flourishes of Ouici and the gospel vocals of a friend named JP. Let's just say it's no coincidence that the song sounds like it sampled a dust-caked '70s record from a long-buried discount bin; That Just Blaze or Kanye might find and flip, Keys N Krates want to leave you wondering just how they do it.
“We wanted people to wonder where we got a lot of the sounds for this EP, the same way we have when listening to producers like Just Blaze and Timbaland. Those guys have always used source samples or sounds that leave you scratching your head. We love that simplicity; it's like true Italian cooking, a few ingredients to make something so impactful…. beats that leave you wondering 'where the fuck did he get that sound from?'
DJ, producer, label owner and businessman: Mark Knight has proven a rare and wonderful breed of musical heavyweight. The second highest-selling Beatport artist of all time (with no less than eight No.1’s) his career has spanned more than a decade, with releases on a diverse range of labels such as Suara, 1605, Stereo and of course his own Toolroom. Despite his success, the Grammy-nominated artist has never rested on the laurels of being one of the industry’s most respected and accomplished international players, and continues to push boundaries and set new standards with each year that passes.
Armed with a musical library that knows no boundaries, a consistent run of hits and chart-topping ventures alike, the success of Knight’s recording career is matched only by the credibility and integrity maintained throughout his discography to date. Heard through a spread of anthems (‘Man With The Red Face,’ ‘Alright’, ‘Downpipe’) along with producing bands such as Faithless and Underworld has sealed a diverse musical heritage for the accomplished producer. It’s music for passion, not numbers, and it’s what Mark Knight does best.
2015 was a landmark year for Mark Knight. His track ‘Second Story’ on Suara was crowned an Essential New Tune by Radio 1’s Pete Tong, and went on to be one of the biggest records of the summer: another welcome accolade from the national broadcaster following Mark’s induction into Radio 1’s Hall of Fame earlier in the year.
Last year also saw the release of ‘A Year In The Life’: a collection of highlights from Mark’s illustrious career. All proceeds were donated to the children’s charity War Child, while alongside the album, a feature-length fly-on-the-wall documentary - filmed over the space of an entire year – was released in January 2016.
2016 has already marked some of Mark Knight’s strongest work to date. The key mantra has been about Mark stripping back his music and going back to his roots, creating more underground, club ready tracks. Mark has certainly achieved this through his sound and the labels in which he will be releasing on over the year, taking a step back from Toolroom from an artists perspective for the first time in over a decade.
Founded in 2004 and responsible for championing a wealth of talent from across the industry spectrum, the award-winning Toolroom Records will of course remain a key component in the life and times of Mark Knight. Having spearheaded the label’s new direction over the past few years as part of their pivotal #RESET campaign, Knight continues to have a leading role within one of the UK’s biggest independent record labels.
Notable in 2016 is the label’s shift to focus less on singles and more on developing artists and releasing albums: one of Mark’s major priorities for the year. Toolroom has dominated the Beatport charts for over a decade with its forward-thinking house and techno releases, but with album projects coming up from Adrian Hour and Weiss now looks set to embark on a new chapter in its continuing evolution.
Alongside his bountiful studio output, Knight has continued to grow his much loved radio presence, with Toolroom Radio now reaching over 13.5 million people in 60 countries across the world, all tuning in each week to hear Mark’s records of choice, while on iTunes Toolroom Radio was recently named in the top 20 most influential podcast by Digital Music News based on number of subscribers. Knight also remains a firm fixture on the worldwide touring circuit with a number of key residencies around the world under the Toolroom Live banner and performances at dance music bastions Space Ibiza and Amnesia as well as a host of landmark festivals. With all this in mind, it’s no wonder the Toolroom man has deservedly maintained his status as an indispensable asset to modern dance music.
Forged in the fires of Arizona’s seminal 90s rave scene, Schulz first went state, then with equal speed national and international. From the building blocks of progressive, trance & house, he crafted early anthems like ‘The New World’ and latter-day ones like ‘Destiny’. Caught between have been a half-dozen revered albums (most recently ‘Watch The World’), a convoy of club hits and thousands of transfixing performances, played out before untold millions. He’s helmed the scene-essential Coldharbour label for 11 years, chaired the Global DJ Broadcast radio show for 15 and remixed everyone from Moroder to Madonna.
His floor-bound adventures have met with equal acclaim. Through his effortless audience affinity, flawless mixing, instinctive tune selection and now famous, stylistically vast open-till-close sets, he has wowed crowds in every major city on Earth. Markus has scaled the upper reaches of the world’s DJ rankings and charts; is a two-time winner of DJ Times’ America’s Best DJ crown and has drawn acclaim from every electronic music portal & press outlet on the planet. A regular fixture at the world’s biggest & most famous clubs, arenas and festival stages, weekly, he lays down his inimitable musical vision. In Europe, he’s floored audiences at events like Transmission, Electronic Family, Nature One and Dance Valley. He’s creamed Creamfields; gridlocked Global Gatherings and hosted his own stage at Tomorrowland. Stateside, EDC, Ultra, Nocturnal and numerous others have similarly all felt Schulz pressure. His legendary open-till-close sets, at spots like Space, Miami, LA’s Avalon, Stereo, Montreal, Amnesia, Ibiza and his International Residency at Ministry Of Sound have become rites of passage for music lovers around the world.
His most recent album ‘Watch The World’ (his sixth) included the Beatport #1 hit ‘Destiny’ and ‘Facedown’, his boundary-breaking team-up with Romanian quartet Soundland. Both stylistically and artistically, the album was a significant departure for Schulz. With more of a radio edge, it saw Markus take a lead role in its song writing process for the first time. A commercial and critical hit, ‘WTW’ reached the #1 position on iTunes’ international dance chart. The UK’s DJ Mag described it as “ambitious”, “expeditionary”, and “content-wise, for someone from his ‘bloc’, without precedent”. Giving it their Album of the Month accolade, MIXMAG called it “a work of art”. Dancing Astronaut saluted ‘Watch The World’s “meaningful lyrics played out with live instruments”, “that captured his (Markus’) authenticity as an artist”. Hailing its “impressive vocalists”, YourEDM.com summed it up simply as “a monumental release”.
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.
Hailing from a hotbed of talent, Austrian powerhouse Mefjus now boasts a worldwide reputation for a furiously tech trademark style that continues to breathe fire into the drum & bass genre.
With his place once firmly cemented as the “one to watch” within diasporas of the drum & bass community, Mefjus came out swinging in 2012 with “Far Too Close / Distantia” on Phace and Misanthrop’s Neodigital imprint. His rise to notoriety with a surgically precise yet skull-shattering brand of neurofunk, à la 2013’s dance destroyer “Mythos” with collaborator InsideInfo, has kept fans in a suspended state of frenzy ever since.
Signing to Critical Music in 2013, the futuristic super-producer continues to set the standard with a repertoire of turbulent soundscapes, flawless mixdowns and heart-stopping DJ sets that secure Mefjus as one of the finest within the collective imagination of the drum & bass world.
With his debut album Emulation slated for release in November 2014 on Critical Music, the future’s looking good for this extraordinary young producer.
The Florida based bass music producer Midnight Tyrannosaurus has been making quite a quake in the underground dubstep community. Quickly gaining recognition and DJ support from big names like Excision, Figure, and Cookie Monsta. With multiple top charting Beatport releases on Chronos Records, I. Am. Audio, Prime Audio, and Anemnesis; Midnight Tyrannosaurus is well on his way to making his own unique staple in the industry. Raw literal dinosaur sounding synths, and heart thumping sub bass make a Setasaurus one you'll never truly forget!
Versatility remains the key to longevity. Any artist must be able to deliver regardless of the setting, whether it's in the studio or on stage. For Morgan Page, it doesn't matter where he is. His number one concern is sharing quality music. As an artist, DJ, songwriter, and even radio show presenter, he continually offers a unique and undeniable perspective, evolving with the times. No matter what he's working on, he delivers for the audience.
Page has become a seismic presence at festivals such as Coachella, Electric Daisy Carnival, Big Day Out, and many more worldwide events. In 2012, he was nominated by the IDMA's in the "Best American DJ" category alongside Skrillex, Kaskade, and Deadmau5. Two Grammy Award nominations are credited to his name, and his 2011 full-length album, In The Air, debuted at #1 on Beatport's "Top 100 Albums" Chart and #6 on Billboard's Heatseeker's Chart, while the single reached #1 on the Billboard Hot Dance Airplay Chart and resided in the Top 10 for a staggering 25 weeks. With all this along with sales figures that put him over 600,000 digital track sales and YouTube views that surpass 19 million, it's no wonder the Wynn Las Vegas tapped him for a prestigious residency in 2012 and Sirius XM gave him his very own radio show—aptly titled "In The Air" (on its 162nd episode and counting.) Even with all of this, he shows absolutely no signs of stopping. As a veritable tastemaker, this trailblazer is now taking EDM to new places altogether.
Welcome to the age of Morgan Page…
Instead of covering the same ground, Morgan has decided to chart a new course altogether in 2013. With new singles and an exhaustive Fall tour complete with companion compilation on deck, there is no question Page is ushering in this period on his terms.
When speaking of his new music, Page declares, "We're releasing music in a different way from now on. There will be multiple singles before the full album drops." He goes on to say, "It's inspiring to play something new in front of a big crowd and see the reaction. The crowd is very much part of the creative process. I pick the best songs and let the audience live with them. With the new material, I'm trying to make music that is familiar, but still has its own edge and identity."
For his first post "In the Air" release, Morgan took the eighties staple "Your Love" from The Outfield and infused it with kinetic 21st century energy, reinterpreting it for a new generation. "I wanted to give it a modern twist to this classic. It's just a great universal pop song." When Page reached out for their permission, the band upped the ante and responded with re-recorded vocals. "Once I worked [the vocals] in with my production, it kicked the song into 2013."
"Your Love" will also be on the companion compilation that will accompany the Morgan Page Presents Tour. In Page's words, the Presents theme is, "a way to curate and showcase things that deserve to be in the spotlight - whether it be artists, new technology, or other passions - as long as the quality is there and it speaks to me."
Over the course of the Morgan Page Presents Tour, Page will be joined by six hand-picked artists from around the world, and together they will make the rounds across 55+ cities in N. America. Those guests include Beltek [Slovenia], Maor Levi [Israel], Walden [Australia], Audien [United States], Project 46 [Canada], and Topher Jones [United States]. "Everybody has a role in the night," he enthuses. "They all build interest for the show as a whole. As far as I'm concerned, we're all headliners. I think each of these artists is doing something fresh and exciting and making timeless music." The same can be said for the compilation. Touting original and exclusive music, including tracks from each of the support acts, the compilation will be a mixed collection of pulse-pounding and powerful tracks that reflects the undulating energy captured in Page's sets. For those used to the temperament of his artist albums, strap in and get ready for a ride.
Outside of music, Morgan continues to use his platform to promote healthy and alternative living as well. He has written guest blogs for the Huffington Post about "Being Green & A DJ". He also utilizes solar panels to power both his home studio and car.
He says, "There's a cool synergy there. I want to continue aligning myself with companies and causes that are much bigger than music. It's important for me to spread a positive message in addition to making the best songs that I possibly can."
Spreading that message also includes Morgan's very first book. His "MP Quick Tips" Twitter has become a favorite among fans. Daily, the artist shares a tip that can encompass everything from production to quelling writer's block. Now, there's a book and app on the horizon, featuring that very same wisdom.
"It's a way to stay inspired and keep music fun," he smiles. Still, there's nothing quite like seeing Morgan perform on stage. Whether, he's spraying fans with bottles of champagne or manning the decks in front of massive LED screens projecting his songs' lyrics, the experience proves unforgettable.
"With my shows, there always has to be a sense of escapism for listeners," concludes Morgan. "I want them to leave their normal life behind and enter somewhere else for a couple hours. If they can listen to something I write for the rest of their lives and add different levels of meaning, that's crucial. "I want to create an event nobody ever forgets. The way to do that is deliver big songs that stay in your heart and never leave your mind"
“Love will always still exist,” insists NERO front-woman Alana Watson. “Far into the future, when all that remains is rubble and destruction, there’ll be that shaft of light coming up through the ruins.”
Grammy Award-winning, Ivor Novello-nominated trio NERO return this year with an album that celebrates that sense of love among the ruins, and cements their reputation as one of Britain’s most exciting bands. It both complements 2012’s Number One album ‘Welcome Reality’ (and attendant hits ‘Me & You’, ‘Guilt’ and the chart-topping smash ‘Promises’) and pushes the band’s apocalyptic and frequently romantic electronic sound further than ever before. As ‘Into The Past’, their 2013 contribution to Baz Luhrmann’s Great Gatsby soundtrack hinted, and their 2015 Coachella headline slot proved, the now fully formed three-piece are more finely tuned now than ever before.
Completed in London during the spring of 2015, ‘Between II Worlds’ began life three years ago in LA, in the Hollywood Hills house where Orson Welles wrote Citizen Kane. Magnificent set up single ‘The Thrill’ was the first song the band wrote during those sessions. “We must have rewritten it 100 times after that,” smiles Dan Stephens who, alongside Joe Ray, founded NERO in 2004. “And inevitably we ended up going straight back to the first version.” Adds Joe: “If you’ve been working on a track for that long and it still flicks your switches, you know where must be something about it.”
‘The Thrill’ is a striking example of how far the band’s songwriting has progressed but the super-stylised, bass-heavy sound is unmistakably NERO, even if the styles and influences that pepper the band’s back catalogue - from classical, to rave, to drum ’n’ bass, dubstep and pop - mean the Nero sound often defies categorisation. “We’ve always liked pop craft in terms of song structure,” Dan says, “but it’s a constant battle to make that work with electronic and dance elements.”
It’s a battle that’s paid off - and as the title ‘Between II Worlds’ suggests, that’s not the only conflict at the heart of NERO’S new music. Alana’s often fragile vocals provide a brilliantly hypnotic foil to Dan and Joe’s uncompromising, hard-edged production, while that production is informed by an enigmatic retro-futuristic ideology, with its nods to Ridley Scott’s vision of a decrepit future in Blade Runner, that runs through the band’s entire identity. And then, of course, there’s that love in the ruins: the glimmer of hope in the most brutal setting.
The release of ‘Between II Worlds’ marks NERO stepping slightly out of the shadows, with Alana front and centre like never before. In fact ‘Welcome Reality’ took shape Alana was working as a midwife — a position she still held when ‘Promises’ hit Number One. “I had that 40+-hour-a-week job and all my days off were spent recording and gigging,” she recalls. Dan feels the shift in focus is a significant step. “Not many electronic acts have just one singer, but we always wanted to go out like a band,” he says, adding with a laugh: “It’s especially nice as Joe and I can just blend into the background.”
This progression might have seemed unimaginable to the two chaps who’d each experimented with electronic music on their own, and first met through mutual friends in north London fifteen years ago. Before long they’d become regulars at nights like Fabric’s Friday night True Playaz parties, and soon the music they made together became part of those sets. In, 2010 they signed to Chase & Status’ MTA label. After that things started happening quickly, though not without the occasional hitch — their first radio play came when Zane Lowe played a 45rpm dubplate at the wrong speed. “He played it at the right speed the next night,” Joe laughs, “then announced that he preferred it at 33, so played it at the wrong speed again.”
NERO originally materialised at a strange time — when all the producers around them were embracing new technology so wholeheartedly that their old equipment ended its days on eBay. “Dance music went digital and so did the equipment,” Joe remembers. “The thing is, you might have all the newest technology, but you want the old sounds as well.” Flash-forward a decade and that belief remains at the heart of Nero’s setup: ‘Between II Worlds’ was recorded using state-of-the-art software but also gorgeous, clapped-out synth relics — Roland Jupiter 8s, Yamaha CS-80 — that malfunction if the air conditioning packs in. “The synths are like a classic car - they go wrong quite a lot,” Dan smiles. “But that’s what can be missing from electronic music: a feeling of being organic, that some things are variable, and that sometimes things goes a bit wrong.”
That sense of the imperfect human influence, and an imperfect future built by human hands, is integral to NERO’S vision. As Dan notes: “We love that Blade Runner view of a future that’s bleak, and it’s raining and there’s smoke, and where even modern technology seems quite retro.” It was actually fans, rather than the band, who first decided that NERO’S debut album was set in a desolate future world. But it’s a theme the band subsequently threw themselves into and ‘Between II Worlds’ continues a motif established all the way back in the band’s ‘Innocence’ video, which was inspired by the Manga film Cyber City Oedo 808. The film was set in the year 2808 — that year was then referenced in ‘Doomsday’, and it’s also there in the ‘Me & You’ video. In 2011 the band’s groundbreaking collaboration with the BBC Philharmonic Orchestra was dubbed the 2808 Symphony, and when Nero first teased fans with news of ‘Between II Worlds’, they did so on SoundCloud with an uploaded piece of music whose length was 28:08. Single Satisfy quickly followed said piece of music, swiftly being added to the Radio 1 A List. The concept continues now with the release date of ‘Between II Worlds’ on 28/08. (“It doesn’t work so well in America,” Alana accepts.)
The strikingly visual element to Nero’s music has led to numerous soundtrack requests of the last few years — Joe is only half joking when he says they’re holding out for Blade Runner 2, but they did make time for Baz Luhrmann’s production of The Great Gatsby. Luhrmann had originally used Nero’s old song ‘Departure’ on the film, but that song now appears in its third (and the band promise final) iteration on ‘Between II Worlds’.
Elsewhere on the album ‘Two Minds’ is a thunderous belter half a decade in the making (Alana wrote her part five years ago, but it wasn’t until recently that Dan and Joe came up with music that matched the song), while ‘It Comes And Goes’ is a song Joe wrote inspired by the likes of The Streets and Burial. “It’s about that feeling at the end of the night when you’re leaving a rave,” Joe says. “With lines like ‘the night time’s the hardest time and it knows all my lies’ we wanted to push the limits of how poetic you could get on a dance track.”
Actually, ‘Between II Worlds’ as a whole is a uniquely persuasive example of how totally boundless dance music can and always should be. “Musically we’ve always been into the idea of a journey, whether it’s through an album or a DJ set,” Dan explains. “On the album, ’Into The Night’ and ‘What Does Love Mean’ are both about an escape: you don’t know what they’re escaping, but they’re both about taking a journey. There are hints at a story with no beginning or end: just snapshots.”
NERO may be enigmatic, but the snapshots scattered throughout ‘Between II Worlds’ build a picture of a band entering an exciting new phase. And it’s a phase that celebrates intense but accessible songwriting alongside the myriad musical styles that continue to inform the NERO sound.
“People talk about genres a lot,” Dan explains. “But for NERO it’s never been about any genres. It’s about electronic music, and it’s about us.”
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.
Nicole Moudaber is an event promoter, record label founder, radio host, and one of the most passionately followed DJ/producers in the world. The one-woman army is marching her muscular take on techno all over the globe, winning fans not only with her music, but her way of being, that’s at once uncensored, inclusive, and fierce.
With her trademark shock of untamed dark hair, the Nigeria-born artist can be spotted in a DJ booth by profile alone, rocking crowds before she even drops a record. In-demand all over the world, Moudaber has played everything from intimate after-hours clubs; to revered nightclub institutions like Space, DC10, Output and Stereo; to massive festival stages, including Glastonbury, Electric Daisy Carnival, and two appearances at Coachella. She’s been featured by the New York Times and CNN, named “one to watch” by Billboard and Paper magazine, and has graced the cover of electronic music magazines in several countries. Her weekly radio show InTheMOOD - which Moudaber hosts with her unmistakable husk-and-honey voice - is syndicated on 66 FM stations in 45 countries, commanding over 15 million listeners worldwide. She has over half a million social followers who she dialogues with daily, sharing candid thoughts on music, work, and life.
Mood Records, the imprint she founded in 2013, is a vessel for her own music, and that of other artists who complement her style - which is percussive, deep, and dynamic. She linked up with Skunk Anansie frontwoman Skin for the “Breed” EP (2015), and a set of high-fashion, black-and-white music videos. She’s also logged releases with mentor Carl Cox’s Intec, Adam Beyer’s Drumcode (including full album “Believe” in 2013), and Jamie Jones’s Hot Creations. Her hit remix of Alcatraz house classic “Give Me Luv” (on Deep Dish’s Yoshitoshi) used bass, drums and silence to make a moment so big, it was used by DJs of all stripes. The track was the No. 1 techno track of 2015 on online retailer Beatport, and one of the year’s Top 20 tracks overall.
Moudaber often brings different elements of her style and taste to life under the MOOD banner, showing her roots as a party promoter, and a New York City clubber during the golden age of the resident DJ. In 2014, she headlined the sold-out MoodRAW tour, set in in off-the-grid warehouse venues from Los Angeles to London. During Miami Music Week, the annual industry confab in South Beach, she hosts MoodDAY and MoodNIGHT showcases, capturing both the pool and after-hours party vibes with packed lineups of superstar friends (like Carl Cox and Danny Tenaglia). She curated a Mood stage at the 2015 Electric Daisy Carnival in Las Vegas; and is a fixture of the annual BPM Festival in Playa del Carmen, Mexico, and played the 10-day event’s official closing party in 2016.
A true global citizen, Moudaber resides in London and Ibiza, with frequent stopovers in New York and Los Angeles. She supports NYC’s Lower Eastside Girls Club, which helps disadvantaged young women access the tools they need to pursue their passion for music.
“In a way, for people to fully understand my music, they need to know the narrative of the last six years of my life,” says Porter Robinson, of the leap he’s made from electro-house producer to genre-busting musician.
That music can be heard on his first studio album, Worlds (Astralwerks/Virgin EMI), a journey through textural synth-pop. It has, at turns, been called “gorgeous” (New York Times), “delightful” (Rolling Stone), and “imaginative” (NPR). And with more than 185 million album streams under his belt, 100,000+ in ticket sales for his 2014 Worlds Live tour, plus triumphant headline appearances across the global festival circuit with his groundbreaking live show; Porter’s fans have stood by him in kind. Some, admittedly, more emphatically than others.
“I see people getting tattoos of my logo, my lyrics, my signature now!” Porter marvels. “It’s very high praise, for sure. It’s not something that you can prepare yourself for.” Although Porter dropped Worlds as a confident artistic statement, he honestly wasn’t sure if even his most devoted supporters would see his vision. “The praise has been vindicating,” he says, relieved. “I expected more resistance from my fans in terms of keeping a certain sound. But they fully embraced this.”
What’s now come full circle began a few years back, when Porter turned down countless DJ offers to devote himself to introspection and reinvention. “I figured that one way to develop a unique identity as an artist would be to combine all my favorite things in music — it would result in a collective expression of my taste and experience. Something nobody else has.”
And thus begat Worlds, a cinematic excursion that commingles Porter’s technological prowess with his love of evocative melody. It finds an unlikely common ground for Porter’s diverse inspirations: Kanye West’s Graduation, Daft Punk’s Discovery, The Postal Service, and an array of orchestral movie scores.
“Sea of Voices,” for instance, is just that: gauzy, feather-light vocals that float above an ethereal-shoegaze soundscape. That track trickles into the “Years of War,” which transfers those levitating vocals onto radiant synth pop propelled by a fuzzy beat. He prolongs that pop euphoria with the anthemic “Lionhearted,” which pushes-and-pulls between ambient sighs and power chords, further rewarding the listener with the glitched-out “Fellow Feeling,” an avant centerpiece that swells from violin-driven sentiment to industrial static, before settling into palpitating chords.
The collective effect feels almost weightless. However, notes Porter, “making music is so hard for me, because I like subverting the status quo. I get bored easily — I like new ideas.” And, as he would soon learn, laying down those tracks was merely the first phase of his renewed artistry. “The music was meant to be evocative of imagery. The whole theme of the album was this sense of escapism, an homage to imagination.” So that’s how he’s presented it live.
To craft wholly unique stage visuals, Porter started with mood boards and drafted a style bible. “They were videogame and anime-inspired visuals,” he says. “Dream-like. I didn’t want anything trippy or psychedelic.” He recruited ILN (Invisible Light Network) to bring his animated concepts — much of them hand-drawn — to life.
The animation process took place over five straight days at Porter’s house. (Porter’s 12-year-old brother also chipped in a bit, creating three visual looks for the show.) Once animation completed, Porter reached out to friend and video-artist Ghostdad to edited and cut the visuals together in a way that would flow with the live show.
The final piece of the puzzle involved integrating the visual and sonic elements so that Porter could manipulate all the components on stage together in real time. To do this Porter worked with audio specialist Laura Escudé (a.k.a. Alluxe) — who’s worked with Kanye West, Jay-Z, and Drake — to help him adapt Worlds to the stage. It was an exhausting, whirlwind experience.
“If I had to do it again, I would’ve felt a lot more overwhelmed by the live show,” he says, laughing. “It was partially because of my naiveté that I was able to undertake something so large.” He barely remembers the first show performing Worlds live in Vancouver. “The feeling was, ‘Oh my god, I just gotta get through this.’” But by the time he played his worldwide Twitter-trending set at Coachella seven months later, he knew he’d found his footing. “It was a magical moment. It was live-streamed, and everyone on the Internet was watching,” he says. “It just felt like a victory lap for the tour and the album.”
There’s never been anything conventional about Porter’s approach to music. The artist’s first foray into electronic music came through the arcade-stomping game Dance Dance Revolution. (These days, he’s graduated to StepMania, which, yes, he totally dominates.) “Something about the tempo was super-interesting to me.”
By age 12, the autodidact started futzing around with beats on his mom’s computer. He came into his own in 2010, when he scored a No.1 Beatport hit with his crunchy, twitchy single “Say My Name,” which lead to his first gig at a tiny club in Santa Cruz, California. “It was very much baptism by fire because I had never seen a DJ,” Porter says of the lack of any discernible scene in Chapel Hill. “I had to more or less do it based on what I had learned on the Internet.”
Porter’s grassroots following exploded during the release of a successful EP and series of high-profile DJ gigs. Then, in 2012, he scored an iTunes No.1 with the shimmering “Language.” Porter found himself touring five days a week, staying at his parents’ house when he was in town. “It took me to a place where I wasn’t writing music. And I was DJing a lot of other people’s music,” he says. “I think that helped speed up how sick I got of dance music and all of its tropes.”
Making Worlds was an intriguing challenge for him. “A huge part of my work has always been this effortful, expedited self-discovery,” Porter says. The first track he recorded for Worlds, the voluminous, ethereal “Divinity Made,” was born of his seemingly impossible self-challenge to write a song that was beautiful, loud, yet vintage-sounding. That, in turn, calibrated the overall aesthetic for Worlds, for which he also recruited several relatively unknown vocalists.
He’s taken a similar approach for his next release, a track-by-track album of remixes entitled Worlds Retold: It doubles as a platform to show off the skills of his favorite new talent, such as Odesza, Galimatias and Deon Custom.
He’s happy to bask in this World for a bit, while he plots a much-intimidating sophomore album. “I feel like I was drunk on inspiration. And I’m really struggling to commit to a new sound or concept,” he says, kidding. “The next thing that I do will be in the wheelhouse of Worlds. I have been moving towards something that is fully sincere and authentic and 100 percent me. And I’m always getting closer.”
R.I.T.M. is an intense electronic act that combines dance, techno & progressive house with an unforgettable live stage performance. Decade is their new combo CD/DVD featuring previously unreleased, re-mastered songs and music videos. Each song is an expression of visual music performed like an electronic circus with abstract narratives and dynamic presentation. Ritm creates these live submersive environments by designing all encompassing experiences for their fans.
Star Shine is one new song featuring the worlds first full body video suit. It was constructed using over 1500 full color spectrum LED lights that display video. LED lights also have a bright deep saturated quality that has to be seen live to truly be experienced. Ritm has taken this cutting edge technology and created a break through in visual music performance. Bunny has designed an incredible custom leather suit to house the LED lights and painstakingly constructed this piece of wearable art. VJ Tek plays custom video content that is mapped to Bunnies suit while he performs against a video backdrop. In essence, this is an audio visualization of the music composed by David Christophere and Bunny that plays in real time. “These shows are live sonic research that we have been doing for 10 years”, stresses VJ Tek. The video suite started as a brainstorm and was conceptualized over a five year period.
Being an independently produced band supported by the love of their fans, they have made a conscious decision to put on a show that really performs music through unique costuming and dance. They have fought to have their music presented in this way and it has earned them a great deal of respect. Rabbit in the Moon has been called "The Grateful Dead" or "Pink Floyd" of electronic music, while their fans are referred to as "rabbitheads". People have been so inspired that they have even gotten tattoos of the bands logo!
“We have been honored to play in such locations as a rain forest in New Zealand, a 10th Century castle in Spain, and at Ricon beach in Puerto Rico” says VJ Tek in his studio who also refers to the performance as “visual poetry”.
All of this experience and dedication to create has made Ritm pioneers. Most people's first exposure to rabbit was to their song called out-of- body experience “O.B.E.”. O.B.E. was released in 93, and to this day, is still played in clubs around the world. In 2003, Muzik magazine listed O.B.E. as the number one most sought after record in the last decade. After the release of "phases of an out of body experience" (the remixes of O.B.E.), on Hardkiss Recordings in '94, the demand for Ritm became enormous. They began collaborating and doing remix work for everyone including: Goldie, Sarah McLachlan, Garbage, Smashing Pumpkins, Sven Vath, Stone Roses, and Eric Clapton, Tori Amos. Their style of electronic music is favored by so many for being timeless. All of these things spawn from a band that has not graced the screens of music television. Alternately, Ritm has been on a grass roots journey, making believers out of crowds, one show at a time. David Christophere and Bunny have been collectively writing new music and continue to develop their vision. VJ Tek has been pushing this process and arming Bunny with amazing visuals from his collective posse of visual artists and friends. Ten years ago, David had an awakening one night at an underground party in Orlando. He saw an opportunity to fuse a new spiritual vibe into the music. So he began working on a sound that would change their musical destiny and influence the next generation of dance music forever.
Jila, their newest addition is a performance fire dancer. Her mystical Shiva performances have helped capture David's vision of spirituality. Her popularity in the show has grown and has been sited by fans as “hypnotic” on numerous web blogs.
Rabbit in the Moon's live shows have exploded into full-blown productions. Including the use of live instruments by David Christophere and guest artists, vocals and costume performances by Bunny, interactive video by VJ TEK, fire performance by Jila, and custom pyrotechnics. The new CD/DVD release “Decade” will also air in full high definition on HD network but, to truly understand you must experience it for yourself!
Seemingly out of nowhere, 22-year-old Henry Steinway aka RL Grime has risen the ranks to the forefront of what is a new generation genre-fusing artists, setting eyes on exploring the uncharted and reshaping modern music with every new track he makes. Releasing his debut EP Grapes in April of 2012 on LA’s WEDIDIT imprint, RL took little time in making a name for himself, garnering early support from some of the biggest DJ’s in the world, including Diplo, A-Trak, Skrillex, and Just Blaze. In 2013 he released his sophomore EP High Beams on Fools Gold Records, debuting at number 8 on Billboard’s electronic charts. RL Grime’s work as a remixer has also been met with great acclaim, clocking in official remixes for Benny Benassi, Chief Keef, Jamie Lidell, and Shlohmo – as well as a bootleg of “Mercy” by Kanye West, which has since received over 3 million plays on SoundCloud. With two EP’s and a world tour under his belt, 2014 looks to be RL Grime’s brightest year to date, continuing to refine his sound and further pushing the boundaries of what it means to be a producer in the 21st century.
Starting at a very young age of 13 messing with a tape recorder edits of hip hop and electro and going to the skating rink, Sean knew he wanted to learn how to mix the music he was listening too, but on turntables.
Attending the historic club in Orlando called Aahz while listening to Kimball Collins & Dave Cannalte further cemented his love for the story telling characteristics of mixing electronic dance music.
He was exposed to some great music in the late 80's - early 90's Orlando scene from the likes of Sasha & John Digweed, Chemical Brothers (back then Dust Brothers, Dave Seaman, Dub Tribe, Young American Primitive. The list goes on.
In 96' moved back to his birth town of Miami and started a residency at the NFA (No Fucking Around) parties in South Beach. Playing all sorts of sounds but mostly electro breaks, trip hop.
Soon after was recruited by Steve Lau of Kinetic records to work with the label. Was instrumental in helping develop a music scene at Dade Sokoloff's Shadow Lounge by introducing Dave Ralph from UK and Paul Oakenfold and the kinetic lineup.
Sean played opening dj spots on his Transport 1 Tour throughout NYC. In 1997 Sean transported to the UK to stay for a month and work on tracks with Dave Ralph.
Soon after in late 1999 Sean ended up moving to London for a year to live with Rui Da Silva and work with Home Nightclub in 2000-01. In that the time he was exposed to even a more defined sound via Dave Beer's Back to Basics in Leeds, to the End in London, Fabric. While in the UK he managed to travel to Ibiza, Ireland, Portugal, Amsterdam while being a sponge to such great culture inside and out of dance clubs.
Since then his resume has expanded. He has played multiple opening sets for John Digweed during WMC. He has collaborated with The New World Symphony's Pulse Event which bridges the gap between electronic music and a live orchestra to compose anethereal experience.
In 2013 he also played an opening set on main stage at EDC Festival in Orlando for John Digweed.
Currently Sean continues to grace the room of local Miami hot spots like Bardot, Electric Pickle, and Treehouse along with other one offs, along with fast growing iii points music festival in Wynwood.
2015 he was the only opening DJ on the Bedrock Record Label event during WMC at Treehouse in Miami Beach.
Orlando's only Moombahton, Kuduro, Booty Bass & Trapalicious night with resident DJ's Big Makk, Dr. Khan, K1K0 & Ma-Less.
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.
Having come up through the ranks at a startling rate, Australian Sonny Fodera is now leading from the front. Over the last couple of years, the man originally turned on to the dance by Derrick Carter has fomented his own groove-driven brand of house that now resonates around the world. His most complete artistic statement to date came in the form of his excellent debut full-length, Moving Forward, in 2014. Featuring a heavyweight selection of collaborators and coming on Green Velvet/Cajmere’s tastemaking Chicago label Cajual Records, it paired plenty of bouncy bass with lush synths, fresh vocals and feelgood melodies that veered from the dancefloor to the beach and back again.
Keeping up the pressure in 2014, that LP was followed up with compilations on Deep Down and Defected that found Sonny adding his remix flair to a bunch of classics, and after that came sophomore effort After Parties & Aeroplanes. Again a collaborative affair featuring the likes of Doorly, Gene Farris and Cajmere, it was a more jacking, sharp-edged treat designed for maximum dancefloor impact, but was also stuffed with unforgettable vocals that again saw Sonny stepping up his game.
As well as these high-impact works, Sonny has also turned out a consistently excellent string of EPs on labels like Suara, Defected and Farris Wheel Recordings, as well as his own Beatdown, that continue to win him ever more fans around the globe. Never was this more true than with “Let Go,” a collaboration with Cervendos that sat pretty in the Beatport Deep House Top 10 for no less than 12 weeks in 2014. Though inspired by peers such as Dusky and Claude VonStroke, Sonny has his very own modern house sound that is refreshingly out on its own and puts to good use the music technology and electronic production courses he took at the University of Adelaide as a youth.
As a result, of course, Sonny is a hugely in-demand DJ. It was his smooth technical skills in the booth that first won him the affections of Green Velvet, and nowadays he weaves his tight, seductive sets featuring all colours of the house spectrum everywhere from Footwork Toronto to Warung in Brazil, Cielo in New York City to Pacha, Sankeys, DC10 and Ushuaia Tower in Ibiza, as well as We Are FSTVL and many others. The future is just as bright as the past for Sonny, who was born in Adelaide, Australia, and has lived between there, Ibiza, the USA and the UK since, though he is currently settled in London. It means he is fully focussed on the next chapter, which already promises to be a thrilling one for his fans, with a new album due on Cajual, as well as more EPs on influential labels Visionquest and DIRTYBIRD.
Straight from the kitchens of Pastanistan, SPAG HEDDY delivers your daily need for filthy, wonky and juicy tomato bass. Since 2011, Mischa Reining (NL) has been well known for his constant flow of both heavy and melodic tunes in the dubstep and drumstep genres.
Major players like Skrillex, Datsik, Excision, Skism, Must Die!, Cookie Monsta and Seven Lions have touched his noodly appendage, while official releases and remixes on Firepower, NSD Black Label, Rottun, Play Me, Monstercat and Disciple, have made him a producer you won't soon forget.
SPAG has a large dedicated fanbase, full support from Mega promotion channels like EDM.com, DropTheBassline and DubstepGutter, and has his own official sample pack released through Prime Loops.
Now, after multiple top charting Beatport hits, tens of millions of online plays, numerous shows in nearly all continents, including his own tour in Australia, he's aiming for the biggest and best; expect tons of new ferocious, melodic and neck breaking anthems to come.
The last 24 months have seen a meteoric rise for the enigmatic Trance producer and DJ from the United Kingdom not just on the tour circuit with regular club shows and festival appearances across the world as he becomes an ever more in demand name, but also from a music production point of view. In just over 2 years Standerwick has claimed 18 Top Ten Tracks in the Beatport Trance Chart which includes 4 x No.1’s, 3 x No.2’s and 3 x No.3's.
In the most recent Beatstats publication which charts the top selling Trance artists on Beatport, Standerwick has attained the title as being the No.1 selling Trance producer in the world right now on Beatport, even outselling the likes of Armin van Buuren and Aly and Fila.
Born in Bristol England, Standerwick’s early career as a Songwriter/Producer saw him signed to one of the most successful music publishing companies in the world, the famous Zomba Music Publishing Group.
A recent DJ Mag feature labeled Standerwick as part of the ‘New Wave Of Trance’ (September 2014) and credited him as being ‘a defining talent for roaring trance pitched at the distinctive pace of 138 BPM’
In the last 2 years Standerwick has had tracks released on Armada, Future Sounds of Egypt, Blackhole, Subculture and numerous others including 2 remixes for Armin van Buuren.
DJ’ing started again for Standerwick in early 2014, and saw him headlining events such as A State of Trance 650 on Armin van Buurens world tour in Holland, Aly & Filas Future Sound Of Egypt 350 & 400 world tours in Argentina, Australia, Poland and Ministry Of Sound in London and Appearances on the Subculture world tour in Argentina and New York. His tour schedule has been relentless appearing extensively throughout the world with shows all over the USA, Canada, Asia, South America, Australia and throughout Europe and the UK.
As his fan base continues to expand with his passion for Trance spilling onto the dance floors across the world, the next few years are set to see Standerwick continue to rise up through the global DJ rankings as he cements himself well inside the scene.
Meet the man who’s single-handedly reinventing disco. It’s not often that you find a 19-year-old producer referencing Earth, Wind and Fire as his favourite act. That’s exactly the case with explosive new talent Throttle, the teenager from Australia who’s racked up an alarming list of achievements over the past three years and who – with the official backing of Earth, Wind and Fire – is set to scale the heights even further with new single “September”.
“Dirty Disco” pioneer Throttle is the only artist ever to have been allowed by the band to use original music from their body of work, a fact that may surprise more mainstream media unfamiliar with his work. Yet in an embarrassingly short space of time and at a ferocious pace, the young Australian is rising to the top armed with advanced studio finesse, his beloved guitar and a clear idea of where dance music needs to go. Throttle is not just the new kid on the block – he is the future of the genre and beyond – way, way beyond.
In a rapid yet organic trajectory, it was Throttle’s 2013 Launchpad “Inspire” video that caught the attention of global music media; the ensuing viral tsunami – almost 5 million views to date – rocketing him onto the radar. It wasn’t long before Avicii took notice, enlisting Throttle to remix his hit single “You Make Me”. Soon after, the remix was released as an official re-do, premiering through Rolling Stone and receiving huge tastemaker acclaim. Throttle swiftly took the #1 spot on the Hype Machine, peaking at #12 on the Beatport Charts.
His second Hype Machine #1 came in the shape of British crooner Sam Smith’s “Stay With Me”, securing over 2 million SoundCloud plays and expanding his legion of international fans. Production success quickly translated to the live stage, with two years of main stage duties at Australia’s Future Music Festival and support duties for Avicii under his belt, fitted in around his high school studies. July 2015 saw him release original single “Together” featuring David Spekter on vocals through Ash Pournouri’s PRMD imprint. Clocking up almost 2.5million plays on Spotify and over half a million views on YouTube in little over a month. Add to that his remix of Conrad Sewell’s “Hold Me Up” being used on primetime ABC drama series “Nashville” and the scale of Throttle’s early impact and reach beyond the confines of dance music becomes ever clearer.
With Throttle vs. Earth, Wind and Fire “September” set for release on Ultra Music November 13th worldwide, these final months of 2015 will propel Throttle into his next chapter and in doing so, give the world a new era of music that brings the soul, the funk and the musicality back to the dance floor, the radio, the factory floor, the kitchen, the car, the festival, the schoolyard and more.
Los Angeles native, TOKiMONSTA (Jennifer Lee) is known for her unique take on indie electronic/r&b/dance music. Her classical upbringing and eclectic music taste has allows her to create vast textural soundscapes a reverberation that fuses vintage sensibilities with progressive inclinations.
Her music has been recognized and praised by the very best in tastemaker and mainstream media. TOKiMONSTA has been featured on various large-scale radio programs such as: BBC Radio1 (UK), NPR (USA), BBC World Service (UK), J Wave (JP), Studio Brussels (BE), Radio Nova (FR), KCRW (LA) to name a few. Subsequently, DJ Mag, Pitchfork, The Guardian, XLR8R, Paper, LA Times, Dazed and Confused, SPIN, Wax Poetics, MTV, VIBE, Billboard, Rolling Stone, Sound and Recording and more have covered her. LA Weekly ranked her as 2010's #1 female DJ in Los Angeles. Additionally, Resident Adviser did a full feature on her for their Breaking Through, an RA series, which focuses on the next big artist.
Not only has she caught ears of many as a different dimension of Los Angeles-based music, TOKiMONSTA is notably the first female to join Flying Lotus's crew/label BRAINFEEDER, which is on the forefront of LA music scene.
TOKiMONSTA tours the world regularly as a live performer. Her performance is engaging as well as intricateusing new technology with pieces of musical and multimedia gear. She participated in the prestigious Red Bull Music Academy in London in 2010. In the summer of 2012, she was apart of the Full Flex Express tour, the first electronic music themed train tour that traveled across Canada with Skrillex, Diplo, Pretty Lights, and Grimes. She performed on the very first SS Coachella, which is Golden Voices' first ocean cruise festival. Some notable past performances were at Coachella, Sonar Barcelona, DEMF, WMC, Electric Zoo, SxSW, Camp Bisco, Decibel Festival, with more scheduled in the future.
Valentino Khan makes everything. From hip hop club anthems to dance music hits, Valentino’s production knows no bounds. He has produced hip hop for multi-platinum and Grammy award-winning artists and continues to create his own sound in the electronic music world as an artist.
Valentino Khan has gained the support of artists like Diplo, Skrillex, Steve Aoki, Dillon Francis, and many more noteworthy musicians. In 2015, he produced his original song “Deep Down Low” which recently was named as “Most played track by DJ’s in 2015” by 1001 Tracklists and Sirius XM Radio’s Number 1 Song of 2015 on Atomic Area. Khan’s 2015 was a big year, performing at Ultra Music Festival, Hard Summer & Hard Day of the Dead and releasing collaborations with Flosstradamus, GTA, remixes for Dillon Francis, Axwell & Ingrosso and Zeds Dead.
He currently has a great deal of new singles lined up for release on OWSLA. So far in 2016 you can find him on tour direct supporting Carnage and Jauz with several big festival announcements coming soon! This year brings about a slew of new shows, music, and collaborations that make 2016 Valentino’s biggest year yet.
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.
After meeting up back in 2007 Willem van Hanegem & Ward van der Harst came together to form W&W and they haven’t looked back since. The past years this Dutch production and DJ duo have transcend the boundaries of genre and traverse the globe with their music and performances.
Fusing styles and mixing influences, W&W combine the uplifting and melodic elements of trance with the raw intensity of electro and progressiveness of house to create a sound that is uniquely their own. Infectious, rebellious and highly energetic, their list of productions is championed by the likes of Hardwell, Armin van Buuren, Tiësto, Dimitri Vegas & Like Mike, David Guetta and more for its breadth, diversity and massive appeal to multiple audiences.
From their earlier works like the synth-driven ‘Moscow’ and floor pounding ‘Shotgun’, to later projects like ‘Invasion’, ‘Lift Off’, the embodiment of their multidimensional sound, ‘D# Fat’ with Armin van Buuren, the massive ‘Jumper’ with Hardwell, Beatport #1 smash ‘The Code’ with Ummet Ozcan (which became the most played track of Miami Music Week 2013), their chart topping remix of Armin van Buuren’s ‘This Is What It Feels Like’ and the official Amsterdam Music Festival anthem ‘Thunder’, these tracks have more than 10 million plays on Spotify; it’s clear each of the tunes leaving the W&W studio is a sure-shot of dance floor thrill.
But the biggest track of W&W so far was yet to come. The massive hit ‘Bigfoot’ came out in February 2014, became #1 at Beatport, generated many plays at international radio stations and festivals all over the world. And that was only the start of 2014; after ‘Bigfoot’ W&W continued to release hit after hit after hit. In 2015 they continued their success by releasing major tracks like ‘Rave After Rave’ and ‘The One’, a tribute to Whitney Houston, which uses the vocal samples from Whitney’s major hit ‘How Will I Know’.
As DJs, currently #14 in the DJ Mag Top 100, they are also dominating dance floors and festivals around the world. 2015 featured a hugely successful Miami Music Week/Winter Music Conference/Ultra weekend with the performance at the main stage at Ultra Miami as a highlight, Ultra worldwide, Tomorrowland, EDC and their ‘Rave After Rave’ summer tour. Their headlining status at the world’s most leading festival and clubs is about to get even bigger.
W&W were the first ever dance music act to perform at a Major League Baseball stadium when they took over Philadelphia Phillies Citizen’s Bank Ball Park for a two-hour set. If that wasn’t enough, W&W continues to prove their status as innovators and tastemakers in the scene by also curating music for their Mainstage Music label, which released tracks from Armin van Buuren, Headhunterz, Dash Berlin, 3LAU, Andrew Rayel, Tritonal, Sick Individuals and many more!
Since October 2014, W&W have their own radio show on SLAM!. Every Friday night, from 23:00 until 00:00, Willem and Ward will rock Dutch airwaves with their show ‘Mainstage’. In this program, the two demonstrate their versatility and play only the best new music. The show has more than 300.000 listeners per week and gets uploaded to Soundcloud plus is available as a Podcast. North American fans can enjoy the show at the biggest radio station in the USA: SiriusXM.
They started 2016 with ‘Arcade’ a new collaboration with Dimitri Vegas & Like Mike, and a vocal solo single ‘How Many’. Next to those their special ‘Festival Mixes’ of Justin Bieber’s Sorry and Adele’s ‘Hello’ have also been doing major damage recently, with the former proving one of the highlights of their killer Ultra Music Festival set in Miami. With over 2.000.000 plays on YouTube, their set has become one of the Top 5 most watched of the entire event.
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.