Hear ye, hear ye! Welcome to Middlelands! 5 Stages, 4 Days of Camping, 3 Days of Music, Fun & Festivities! Located at the historic Texas Renaissance Festival Fair Grounds May 5-7.
Feel free to frolic upon hundreds of acres of tree-lined, medieval-themed Festival Grounds...Truly an Adventure for the Ages!
Tickets & camping passes 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."
DJ/Producer, Aaron Jackson, is a force to be reckoned with. He has developed a unique blend of house, uk garage, and wompy club beats to create a signature sound that is guaranteed to get the floor bumpin’. He is quickly rising to the top of his game and separating himself from the herd. Aaron began his journey in the world of vinyl and soon after started producing his own tracks. The world of house music has received his efforts with open arms and open ears.
Aaron Jackson's music has been signed to record labels such as Party Like Us Records, Hed Kandi Records and Monstercat. He has been nominated by EDM Universal as one of the top 12 rising North American artists.
He also has gained support of his music by producers such as: Hannah Wants, Kastle, Chuckie, AC Slater, Tom Shorterz, Reid Speed, Roska, Kissy Sell Out, Splitbreed.
He has shared the stage with such names as: Borgore, Rusko, Alvin Risk, Kill The Noise, Claude Vonstroke, Terravita, Crizzly, Triad Dragons, Dirty Audio, Henry Fong, Krewella, Ill-Esha, J.Phlip, Sound Remedy, Drivepilot, Anna Lunoe, Seven Lions, Candyland, Dirty Phonics, Dj Craze, and Nerd Rage.
AC Slater has begun a lengthy career for himself by fusing elements of house music with the dirty basslines of UK garage and sprinkles of old-school rave synths and breaks.
AC Slater's career kicked off with a bang in 2008, with his seminal remix of "Turn the Music Up" on Trouble & Bass becoming an instant anthem. Moby listed it as one of the best 10 tracks of the decade, declaring it a "perfect song." AC has collaborated with influential underground artists such as Nina Sky all the way to chart toppers like Far East Movement, and has done official remixes for the likes of Big Sean, Moby, Robin S. and many more. A quick look at Slater's Beatport page reveals well over 100 tracks and remixes over the last five years, including his best-selling Jack Got Jacked EP, a blatant declaration of the invasion of house music by all things bass (and the start of a lengthy friendship with Jack Beats).
Fast forward to the present, AC has toured the globe several times and his tunes have been played at every major festival and club in the world by DJs including Skrillex, Diplo, 12th Planet, Jack Beats, and so many more. Slater's tunes and guest mixes can regularly be heard on major radio stations across the world, including the UK's BBC Radio 1 and Rinse FM and Australia's Triple J. His crew Trouble & Bass and his own record label Party Like Us continue to release some of the most groundbreaking and forward-thinking bass-heavy dance music in the underground.
AKREACHA is a tag team producer group consisting of DJ AK and Phase. Progression and innovation has been nothing short of AKREACHA's motto.
We've had the privilege of sharing the stage as AKREACHA with amazing artists such as: Young Thug, A$AP Ferg, 12th Planet, Valentino Kahn, Tory Lanez, G-Eazy, Borgore, Slim Thug, Chedda Da Connect, Troyboi, Taylor Gang/Wiz Kahlifa, Herobust, Victor Niglio, 3LAU, Crizzly, Styles & Complete, Vegas Banger, Bames, Riot Ten, MSCLS, Josh Rubin, Gamma, Moneta, Kydd Jones, Kenny Gee, Silky Gold, and Teddy Chang. Good music is the name of the game for the tag team group, and fun is the inevitable after party.
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?
With 40+ awards to date, DJ sets that see him play mainstages from EDC to Global Gathering, and a reputation as the go-to remixer for the likes of Major Lazer, Rudimental, London Grammar and beyond, Andy C’s list of achievements grows by the week.
A reputation as one of the most significant British artists in global dance music has been hard earned, but it’s hard to place the tipping points. Was it his performance at Radio 1’s Hackney weekend, where his set was watched online by more people than either Jay Z or Rihanna? When he performed to 85,000 people at Glastonbury in 2013? Or when his remix of Major Lazer charted on iTunes after being added to the Radio 1 Playlist?
Andy’s success and status as a festival main stage headliner and DJ who guarantees sell-out roadblocks are driven by a phenomenal work ethic and the kind of tour schedule that makes rock bands look like part-timers.
Recognised as a cover star by both Mixmag and DJ Mag (he also won the latter’s Best British DJ Award 2013), he recently sold out London’s Electric Brixton in a matter of days. His eagerly awaited Nightlife 6 compilation ran riot across iTunes dance compilation chart and hit No.1 on Beatport. Zane Lowe and Annie Mac gave his equally anticipated new original productions, ‘Haunting’ and ‘Workout’, pride of place on their Radio 1 shows, which in turn followed a special programme on Radio 1 dedicated to Ram Records itself.
Radio 1’s attention is easily justified. As the figurehead for Ram Records Andy’s nurtured and developed huge headline artists such as Chase & Status, Wilkinson and Sub Focus, turning it into one of the world’s most respected independent operations across recordings and now festivals like EDC Las Vegas, where Ram host their own arenas and stages.
Andy’s main signature motif as a DJ is that he’s guaranteed to be packing tracks that no other DJ has. Hunting, digging, searching and signing: he is constantly immersed in new music. Not only does this ensure a wholly unique experience when you see him live, but it also gives Ram Records a front row seat when it comes to spotting new artists... As the likes of Loadstar, Wilkinson, Calyx & TeeBee, Frankee, Delta Heavy, Culture Shock, DC Breaks, Hamilton, Mind Vortex, Chords and many more exciting talents will happily confirm.
With more new acts joining both Ram Records and its burgeoning sister imprint Program on a monthly basis, this synergy between Andy successes as a live performer and label’s creative director continues to develop with matchless merit.
Range, appeal and a massive dose of nasty, gritty bass are the three chief weapons every Dirtybird artist has in his quiver, but Ardalan seems to be the peak culmination of all those assets in one wieldy point. This young archer has had the incomprehensible luck to fall into crew with his idols, be reared by their best and given some of their most guarded musical secrets, then hoisted to a platform to blare his prodigious beats from places where most creators can only dream of being.
Born in Tehran, Iran, Ardalan possesses a peculiar, fresh perspective on music genesis without even trying. His mixes, remixes and dubs are known for their sass, energy and wickedly wry samples that snap like a wet towel to the face, but his original records are where his efforts shine, like those released with Justin Martin —“Mr. Spock,” a 2010 party anthem charted by Diplo and Jesse Rose, “LEZGO,” charted by Dog Blood (Skrillex and Boyz Noise) and “Function”, the 2015 banger that keeps giving — as well as two of his own EP’s that were released on Dirtybird, “The Yeah / No” and “Thunderdad”. It is no wonder he has been given the nod by everyone, from Papa Dirtybird himself (Claude VonStroke) and A-Trak, to those who are charting his remixes, like Maya Jane Coles, Audiojack, and Riva Starr.
The greatest strength in Ardy’s music is his ability to whip out hits that work equally well from the dankest basements to the most opulent dance-floors; sounds that satisfy those with diverse tastes who can unite under his single agenda of having a good time
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.”
Big Gigantic, whose blend of mind-‐bending beats, thunderous bass and frenetic melodies has developed a rabid following since forming in 2008, have quickly become one of the most celebrated acts in live music. The duo’s latest full-length album, 2014’s The Night Is Young—the fifth album by Boulder, CO-based saxophonist/producer Dominic Lalli and drummer Jeremy Salken—saw their sound hit another dimension with its eclectic mix of tracks spanning from electronic and dance to hip-hop and electro soul.
In 2015, Big Gigantic released the singles “Get On Up,” which saw great success having been featured on the hit FOX TV series “So You Think You Can Dance?,” in a national Mountain Dew commercial and in the trailer for the Robert DeNiro/Zac Efron film Dirty Grandpa, and “Good Times Roll (with GRiZ),” which was showcased on ABC TV’s “Dancing With the Stars.” 2016 is off to a big start with the release of their new song, “The Little Things” featuring vocals from UK singer-songwriter Angela McCluskey.
With a provocative sound that's as thoughtful as it is danceable, Big Gigantic weaves whirling melodies into addictive beats and samples that wouldn't sound out of place on a Kanye West or LCD Soundsystem single. No genre is off-‐limits for Big Gigantic, whose breakthrough sound channels everything from funk and dub-‐step to house and hip-‐hop.
After graduating with a master's degree in jazz at the Manhattan School of Music, Lalli relocated to Boulder and began performing with Salken, experimenting with the idea of interpreting traditional DJ-‐based music with live instruments. The duo built up early hype in 2008 with local shows and one-‐offs around the country before releasing their debut album Fire It Up in 2009 and embarking on a full U.S. tour. Their other releases--Wide Awake (2009), A Place Behind The Moon (2010), 2012’s Nocturnal (which has received more than 1 million downloads to date) and The Night Is Young—have since followed. All music is available for free via the band’s website www.biggigantic.net.
Big Gigantic's transcendent live shows are a showcase of brilliant improvisation and a tightly-‐knit bond between Salken and Lalli, who breathlessly alternates between keys, sax and laptop, building a futuristic wall of sound that keeps the crowd on its feet. Their marathon shows feature a variety of songs new, old and unreleased, as well as outside-‐of-‐the-‐box remixes including Wiz Khalifa’s “Black and Yellow,” Aloe Blacc’s “I Need a Dollar” and Notorious B.I.G.’s “Notorious Thugs.”
Since forming, Big Gigantic has toured the country countless times and has become a smash on the festival circuit having performed at all major U.S. festivals including Coachella (where they brought out a local Indio, CA high school marching band during their set), Lollapalooza, Ultra Music Festival, Hangout, Austin City Limits, Governors Ball, Bonnaroo (where they’ve appeared both on their own and as Musical Director of Skrillex’s 2014 Superjam performing alongside Damian “Jr. Gong” Marley, Robby Kriegerfrom The Doors, Lauryn Hill, and Janelle Monae plus more), Electric Forest and Outside Lands among many others. Big Gigantic has also appeared internationally at such festivals as Lollapalooza Argentina, Lollapalooza Brazil, and Mad Decent Block party India. In 2014, the duo made their debut at the famed Madison Square Garden in New York City supporting Bassnectar.
Big Gigantic’s annual Rowdytown festival at Colorado’s Red Rocks Amphitheatre—now entering its fifth year—has sold out every year since its 2012 inception and saw an expansion to two days in 2014. Voted the #1 EDM show by Denver’s Westword in 2012, Rowdytown marked the first time an artist ever used projection mapping visuals on the famous rocks of Red Rocks. The one-of-a-kind experience, which has sold out in advance every year, has featured an exciting list of artists on its lineups including Macklemore & Ryan Lewis, Dillon Francis, GRiZ, Adventure Club, Manic Focus, Snails, RL Grime, Jauz, The Motet and many more.
Look for more new music from Big Gigantic, the act who broke the saxophone into dance music, to come very soon.
Stemming from a relentless desire to create something new, Big Wild’s sound taps into the natural curiosity we all share by exploring beyond conventional boundaries in music. This spark was ignited when he first began creating music under the heavy influence of modern hip hop producers. Since then, he has increasingly drawn inspiration from the limitless potential of electronic music, while at the same time building a style unique to him.
Hailing from Phoenix, Arizona, Bijou has taken his native scene by storm. Spinning hundreds of local shows a year at the most populated venues in the city, it was only a matter of time before Ben Dorman saw the light outside of Arizona...
Playing across the country in cities like Las Vegas, Miami, New York, Seattle, and San Diego, Bijou’s street cred grows even more reputable by the day.
With releases on Night Bass, Fool’s Gold, and Prep School Recordings, as well as support from AC Slater, Destructo, Don Diablo, Drezo, Malaa, Party Favor, and Wax Motif, Bijou has proved his validity and remains eager to continue his evolution.
Infusing elements of hip-hop with those of classic house, Dorman is poised to join the ranks of the G-House supreme. The vibes are sexy, the bass is dark, and the dance floors are primed for the sounds of Bijou.
British producer, DJ and engineer Billy Kenny is widely accustomed to the lower, more aggressive frequencies in the amalgamation between UK Garage, House and Techno. His hit track “Work” has reigned the bass heavy side of festivals ever since it’s release in August 2014 and continues to do so while more recent releases on Dirtybird, Sweat It Out and his co-run imprint “This Ain't Bristol” circulate the globe.
Hailing from Leeds, Billy now resides just across the channel in Germany although his sound still remains more Radio 1 than Berghain. This prolific writer now has to be seen as one of the most influential ambassadors in Germany for the sound he represents, despite the fact that over the last year he's been touring more than ever across four continents.
He and friends hold the reigns to their flourishing label This Ain't Bristol, which has turned more than a few well respected heads since it's launch in late 2014 and continues to pump out high quality releases to their ever-growing audience.
Unlike many producers on the circuit, Billy has perfected his craft behind the decks. His endless edits, live sampling, looping and unexpected choices of weaponry always make his unique set’s one to remember for those listening.
BlackGummy began as the brainchild of Los Angeles-based producer Iman Marouf. Marouf discovered the entity called “BlackGummy” in 2013 during a trip to the Middle East and Asia, and instantly formed a unique and inseparable bond with the alien-like idol. Since their first meeting, the producer and the entity have virtually conjoined into an indivisible whole, never leaving one another’s side.
Trained by Steve Duda, the legendary sound engineer (who counts mau5trap head honcho deadmau5 among his frequent collaborators) and creator of the Serum VST, BlackGummy consistently showcases his unique prowess for employing a wide variety of entirely original sounds in his songs. A graduate of the Icon Collective music production school in Burbank, CA, BlackGummy and Duda met via the school’s mentorship program, where his apprenticeship under the venerable sound engineer helped to hone the young producer’s sound design and engineering skills. That is when BlackGummy started beta testing the Serum VST for Duda (and is accordingly listed in the VST’s credits, along with deadmau5 himself).
BlackGummy has an obsessive fascination for sound design and music production. He views his productions as checkpoints in a tireless quest to improve his mastery of this skill, routinely spending 15 hours a day honing his craft. In 2015, mau5trap discovered BlackGummy, and immediately recognized his unique prowess for production and sound design. Later that year, the label released BlackGummy’s first original — “Lullaby” — on mau5trap’s We Are Friends compilation, which Earmilk called a “can’t miss.” Most recently, in February 2016, mau5trap released BlackGummy’s debut EP titled “Singularity,” inspired by the concept of “technological singularity,” which Dancing Astronaut praised as “an intriguing artistic vision,” which “moves uninhibited from dark industrial to uplifting progressive, challenging the notion that producing one style necessitates ignoring the other.”
Since the implicit convergence of the producer’s and idol’s identities into one amalgamation, BlackGummy spends almost all of his time locked away, with the idol, in his in-home studio, crafting new productions that attempt to lend a voice to the silent idol. He only withdraws from his studio in rare instances: first, to perform alongside the idol in nightclubs and music venues, and second, to search the four-corners of the Earth for more clues as to the idol’s origins. His fascination with the latter arose from a Latin inscription that lay emblazoned beside the idol when he first discovered it.
The quote read, “In perpetuum, salutem in omnibus locis; In omni loco, in omni tempore.”
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.
Simon Green, aka Bonobo returns with his sixth album – the masterful, magisterial “Migration” – is a record which cements his place in the very highest echelons of electronic music and indeed, beyond. By turns lush, manic, beautiful, melancholy, joyful, packed with both emotion and technical skill, this is perhaps his most ambitious attempt yet to capture the very textures of human existence in his work, as Green says of the broad dynamics on the album, “Life has highs, lows, loud and quiet moments, beautiful ones and ugly ones. Music is a reflection of life.”
It is a theme with a personal as well as a sociological aspect to it. Last year, a close family member passed away. “My Family and I are all disbanded and spread to far corners of the earth,” explains Green, “In the end we did the funeral in Brighton. My own personal idea of identity, where I am from, and what home is, has played into this record and its migratory themes. Is home where you are or where you are from, when you move around?”
It’s tempting to relate Green’s emotive aesthetic to his sense of dislocation. He grew up in rural Hampshire with a father heavily involved in the British folk scene. “We would have endless folk jams in the house. There would be random banjo and violin players crashing in the garage for the weekend.” Not that he was necessarily feeling his dad’s taste at the time: “I was a grubby little skater back then, listening to alt-rock, hardcore and hip hop”. But no doubt this phase was an early musical education, indeed Green started learning to play guitar, piano, 4-track tape recorders and effects pedals in this period, building up soundcscapes from an early age. His move to Brighton is also a key influence; his skill at drum programming harks back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts’ Rob Luis and at nights such as Phonic:hoop where he began to regularly play all-night DJ sets.
His first album – 2000’s “Animal Magic” – was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician’s edge to electronica, with all the freedom that skill allowed. His subsequent albums for Ninja, “Dial M for Monkey” and “Days to Come”, developed his sensibility, won him fans across the globe, and saw him evolve his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green’s arsenal that perhaps truly came into its own at the same time as 2010’s “Black Sands”. 2012 saw him take the uptempo, club re-edits of “Black Sands” from a seminal Boiler Room performance in London to dance floors across the world. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and Falty DL.
Later the same year, he finally settled down in his New York studio to write his fifth album. “The North Borders” was another long stride forward – both a natural evolution and a continuation of the electronic palette of “Black Sands”. Thematic, resonant, addictive and perfectly formed, it was a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it’s another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine. Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and “The North Borders” saw him do so once again. The startling vocals of new collaborator Szjerdene were sprinkled across the album, and Green yet again found the perfect voice to express where he was at. He also found time to contribute a volume to the long-running Late Night Tales DJ mix series, as well as delivering an Essential Mix to Radio 1.
“The North Borders” went Top 30 in the UK and was number 1 in the electronic charts in both the US and UK. In support, his 12-piece collective (over an 18 month period) played 175 shows across four continents and 30 countries, wowing a total audience of around 2 million people. In fact, Songkick reckoned him to be the amongst the most travelled artists on the planet that year. The tour included two sell outs at the Sydney Opera House, an all-day festival at the Roundhouse culminating in a sold out show at Alexandra Palace plus a number of high profile festival slots. Over the course of five albums for the legendary label Ninja Tune, a myriad of tours, singles, remixes and production work for other artists, Bonobo has built a large, loyal and engaged global fanbase: over half a million album sales and over one hundred and fifty million streams on Spotify point to the levels of success achieved by this quiet, self-effacing man. Most recently, Bonobo curated an international series of Outlier events including a sold out all day festival at Tobacco Dock in London and further parties in Berlin, Madrid, Paris and New York.
After the epic North Borders tour, Bonobo relocated once again, continuing his gradual move westward by laying down roots in Los Angeles. He had spent almost three years out on the road with no fixed home and on returning to New York, he found it a “noisy, stressful environment” and decided to try the other coast. LA, he discovered, is the ideal juxtaposition to balance out the “hypersocial” world of touring. There is a collaborative and outward-looking attitude in LA he hasn’t felt elsewhere after years of making music on his own.
This process has been aided by the people he has met in his new home, Jon Hopkins moved to LA at the same time as Green, and the duo have become good friends and “studio sparring partners.” Other visitors to his studio include Machinedrum, Leon Vynehall (with whom Bonobo has been doing back-to-back DJ sets with), Lapalux and George Fitzgerald. But there is a respect in LA which allows him to retreat when he wants. As always, his home studio set-up, where he records, mixes and masters, is “100% DIY.” He even recorded the string quartet you can hear on ‘Figures’ in the living room of his house with particularly good acoustics.
The landscape in California and beyond has also fed into the artwork of the record, designed by Neil Krug (best known for his work with Boards of Canada and Lana Del Rey). All the desert locations pictured “are close to where I now live,” Green explains. “Part of the writing process was to drive up to these places and live with the tracks as I was making them. This was a new part of the world to me, where the landscape is quite alien and Martian.”
All this – both the monumental live and DJ tours and his new home in a city full of people from somewhere else – has fed into what makes “Migration” such a special record. Drawing on both a new interest in found-sound and the “euphoric, spiritual moments” he experienced when playing his all-night DJ sets at his Output residency in New York. These residencies can’t be underestimated in importance, it was where Green road-tested ideas for “Migration” and taking that feedback into the studio. Green has placed the unstable, the heartbreaking, the often beautiful migratory life at the core of how he understands humanity, and hence how he understands music. Migration is to him, “the study of people and spaces,” he expands, “It’s interesting how one person will take an influence from one part of the world and move with that influence and effect another part of the world. Over time, the identities of places evolve.” It’s also true that the person will be changed. Green’s newest work is itself a statement of this change and growth.
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.
Contrary to popular belief, dance music isn’t new to America. One would only have to look at the career of Bro Safari to know that the American dance music scene has been thriving for years, making waves from the States to across the globe. Bro Safari’s productions have excited crowds and been critically acclaimed by the best in the business, and there’s nowhere to go but up for this talented producer.
In fact, if 2012 was the year that Bro Safari’s name grew, then 2013 is when the rocket blasted off. After his success releasing singles “Scumbag” and “The Drop,” Bro Safari partnered with his longtime collaborator UFO! for the highly anticipated album Animal; all were free giveaways via his SoundCloud. The Animal project highlights how these two drum & bass producers took a genres-be-damned approach, creating music that they felt. The album is a cohesive masterpiece, received great accolades and pushes from a number of well-respected outlets. In a fitting cycle, they even included some raucous drum & bass tracks on the project, never forgetting where they came from.
No one can predict the future, but with the trajectory that Bro Safari is on right now, he is on track to continue to excite audiences, challenge norms, and represent quality within the dance music scene for years to come.
BUALA is a production duo based out of Dallas, Texas, formed by the label heads of the exciting imprint Audiophile Deep. Friends since childhood and inspired by the undeniable authenticity of the underground dance music scene, Jimmy and Chris have dedicated themselves towards pushing quality sound at a time and place which needs it most. Through promoting talented artists local and abroad, throwing unhinged gatherings throughout the DFW metroplex, opening for industry behemoths such as Shiba San, UMEK, and Justin Martin, and lastly cultivating their own production skill with releases on acclaimed labels such as Desert Hearts, BUALA, named after a small community in the Solomon Islands which literally means “community, village” in the native tongue, seeks to create the perfect storm; bringing people together through music.
Since 1995, Christian Martin has been exploring electronic music from one end of the earth to the other; from full-moon parties in the deserts of California to the thumping, dark corners of the London club scene. Christian followed his love for spleen-rattling bass to San Francisco in 2000, where he met up with the now legendary dirtybird crew. The dirtybird BBQ was the brainchild of the four original members – Christian & his brother Justin Martin, and friends Claude VonStroke and Worthy. They had a personal mission to change the landscape of San Francisco house music by throwing an epic free party in the park, based on their new signature sound.
In 2003, with nothing to lose and everything to gain, Christian bought a massive yet necessary sound system on his credit card. This set the standard for a new era of die-hard dedicated DIY producers, all with productions based on heavy bass-lines, smiling faces and dance floor delights.
In 2006, Christian began releasing a steady stream of tracks, first collaborating with Justin under the “Martin Brothers” alias, as well as Claude VonStroke. The Martin Brothers partnership has produced such hip-hop influenced hits as ‘Duckface’, ‘Stoopit’, & ‘Dum’, as well as remixes for Ed Banger and Fool's Gold. On his own, he's released his own brand of bassy house music on labels such as dirtybird, Trapez, and Anabatic. His low end take on tech house has led to remixes for musical heavyweights such as Chromeo, Underworld, L-Vis 1990, and many more.
Christian's devotion to large scale bass has allowed him to champion the dirtybird sound out of the park and onto giant soundsystems at clubs and festivals worldwide. In 2012 alone, Christian performed at Coachella, Symbiosis, & Identity Fest (US), Bass Coast (Canada), and Subsonic (Australia). In San Francisco, Christian is a resident at dirtybird's raucous quarterly party at Mezzanine. His new musical alias Leroy Peppers has recently roared to life, offering an even heavier take on hip-hop influenced bass music and drum & bass.
Whether it be Leroy or Christian behind the decks, if your hands aren't clapping your ass surely will be.
CLOUDCHORD brings a refreshing vision of live electronica to the dance floor. In the beginning of 2016 he won the of Monsters and Men Remix contest, and rose to #1 on Hype Machine with two consecutive remixes. Needless to say, the trajectory of Cloudchord (aka Derek VanScoten) is something to be witnessed. He’s tirelessly building a fusion of disco, deep house, and downtempo with live guitar. Cloudchord's music was also prominent feature in the Sundance selection “In Football We Trust,” and in a handful of commercials on NBC during the Fall of 2015.
Anytime he hits the stage, Crizzly has no choice but to go hard. Channeling hyperactive energy and uncontainable swagger, the San Antonio DJ and producer ignites crowds with an intoxicating, infectious, and inimitable blend of dubstep and hip-hop, which he affectionately terms, “Crunkstep”. However, there’s a lot more to the 21-year-old artist.
Music became a part of Chris Lee “Crizzly” Marshall’s life at a very young age. As he recalls, he discovered it as a child-insisting on making his kindergarten class listen to the Space Jam soundtrack during naptime-but he didn’t formally embrace it until high school. Picking up a set of turntables, he scored his first gigs at birthday parties. At 19-years-old, production began to inspire him, and he started remixing rap songs from YouTube with a distinctive flare. He released his own takes on Waka Flocka Flame’s “Hard in Da Paint” and “Snap Back Swag” from AJ Hernz, and suddenly he set the blogosphere ablaze. Numerous web sites began reposting these cuts, and Crizzly developed a fervent following.
However, some guerilla tactics helped garner even more high profile attention for the fledgling DJ. After playing 2011′s Electric Daisy Carnival Las Vegas, he took 20 USB drives with his music and distributed them to some of the festivals top names. “I made it a mission to pass them out to my favorite producers,” he remembers with a smile. “I was nervous, but I gave it to Diplo. He listened, and now he plays ‘Hard in Da Paint’ in his set.
Meanwhile, he slipped “Snap Back Swag” into a playlist on Skrillex’s tour bus, catching the megastar’s ear in the process. As a result, Skrillex added the remix into his set as well. Soon after, even more support came in addition to Skrillex and Diplo with Excision, Datsik, and many others introducing his remixes into their shows.
He describes his sound and style best though. “It’s definitely a mixture of two different worlds, dance music and hip-hop,” he goes on. “People can connect because there’s a lot going on, and there’s more than one dimension. The audience responds immediately too. Since there’s a half- time feel, the blend just makes sense. It feels right to me.”
Most importantly, it feels right to audiences. In February 2012, he embarked on a highly successful tour with 12th Planet and Flinch, and he followed that up with shows alongside Zed’s Dead. In the midst, he was featured in the July 2012 issue of Spin. Currently, he’s confirmed on the bill for the 2012 installments of Nocturnal [California and Texas], Electric Daisy Carnival [Las Vegas, New York, Puerto Rico, Orlando, and Colorado], Atlantic Impulse, Electric Forrest, White Wonderland, Escape From Wonderland Lights All Night in Dallas, Global Dance in Kansas City and Denver, and more. Plus, he’ll embark on his first headline tour of college markets in Fall 2012.
In fact the best way to experience Crizzly is to actually be in the audience. “I play a lot of hard stuff,” he concludes. “I expend a ton of energy. I want the fans to get buck wild, crazy, and crunk. I want them to make some bad decisions and have fun.” One thing’s for sure: there ain’t no party like a Crizzly party.
Crywolf, otherwise known as Justin Taylor Phillips, is a producer, vocalist, and multi instrumentalist from Los Angeles, CA. Since Crywolf's conception three years ago, his intimate, melodic, avantgarde releases have garnered their own unique following, with a loyalty rarely seen in the world of electronic music.
His releases are no stranger to commercial success either; met with support from international acts such as Ellie Goulding, Skrillex, Bassnectar and more. His first four EPs all charted in the top 3 on itunes and secured spots on the Billboard charts for over two weeks. His most recent effort, Cataclasm has been hailed as his best work to date, debuting in the top 10 on Billboard electronic, and has been covered by major media outlets such as Billboard, Vice, DJ Magazine, and more.
With over 100 million total plays across online streaming platforms such as Pandora, Soundcloud, Youtube, and Spotify, and a tour for his new LIVE set on the way, 2016 is set to be a huge year for Crywolf.
Akin to the mysterious sea anemone, Daniel Allen's sensibilities extend from deep underground straight up to the glimmering surface. Since his breakthrough in '89, he's had his tentacles in everything -- 80s, drum & bass, house, techno, and all fusions thereof -- giving his DJ sets a riveting, tactile quality. Now the Austin-based Texas native is exploring the worlds of live performance and label management as he continues to churn out original works and juggle residencies.
Allen’s encyclopedic ear first took shape in Houston during the 90s while revelling in the city’s infamous after-hours spots. Consequently, young junglist Dizzy emerged, and the beginnings of a 25-year DJ career began to sprout. After pushing vinyl at Chemistry Records and roughly ten years in the game, Daniel dove into production through Backseat Bingo with Nathan Stewart, and alongside fellow Houston native DJ 0045. Within the last six years, his unwavering meticulousness has garnered the support of Bush Records, Uniform Recordings, Nightshade Music, Harmonious Discord, Capital Techno Recordings, Whiskey Pickle, Headset Recordings, Panhandle Records, NOICE!, and Planet East Records; recent releases include Dig Dug on BluFin (forthcoming 2015) and Land of Misfits on Grin Tech (2014), as well as a collaborative project debuting on Audiophile Deep (2015) with Just Like That. In conjunction with the Audiophile release, Slutty Cousin (Daniel Allen and Chiota) also kicked off their own misfit label - Denied Music. As if swimming deep in the leagues of A&R, event planning, DJing and studio time wasn’t enough, the evolution of Daniel Allen inevitably delved into live performance. Home front Austin sets the stage for his new act, and he joins fellow Texas spontaneous beatmakers Convextion and Pointbender at two of his monthlies in 2015.
These nights, the artist can be found spearheading VAGABOND, a production crew and monthly residency entering its fifth year at renowned venue Plush; playing at his locals-centric monthly ADVANCE at The Badlands; or organizing SENSE, a pop-up dedicated to presenting arsenal-backed, established talent to Austin.
Danny Brown is a true rap original. His songs are as profane as they are profound, mixing heartfelt personal narratives and razor-sharp social commentary with hedonistic party beats and hysterical, pitch-black punchlines. His personal style is as unique as his music, an inspiration to high fashion designers and legions of devoted fans alike. Danny's Fool's Gold debut XXX was a free release that snowballed into the year's most critically-lauded rap album, landing the Detroit hero on the covers of The Fader, XXL and Wax Poetics, and follow-up single "Grown Up" was a viral video smash that brought Danny an mtvU Woodie Award and millions of YouTube views.
Now, after two solid years of universal acclaim and non-stop touring around the globe, Danny jumps from "artist to watch" to undeniable icon with his magnum opus, Old. This emotionally-charged concept album is an intoxicating mix of Danny at his most experimental AND most accessible, balancing hip-hop grit with electronic club sonics and much, much more. Featuring guest appearances from A$AP Rocky, Schoolboy Q, Freddie Gibbs, Purity Ring, Charli XCX, and more over production from the likes of A-Trak and Rustie, Old is a psychedelic portrait of rap's most vital and exciting new star.
Since launching the Datsik brand, Troy Beetles continues to evolve as a solo artist, all the while pushing his beloved bass music world to new lengths, both on a personal artistry level and as a genre as a whole. From video game-loving fanboy—his moniker derives from his old Xbox Live gamertag—to chart-topping producer, internationally touring artist, and owner and founder of the enterprising Firepower Records, Datsik is poised to make bass music the sound of the future with his recent Down 4 My Ninjas EP (Nov. 2014 / Firepower Records) and upcoming release “Smoke Bomb” ft. Snoop Dogg (Nov. 2015 / Ultra Records).
Beetles launched Datsik in 2007, when the burgeoning producer began dabbling with original hip-hop and dubstep productions in his Canadian hometown of Kelowna, British Columbia. In 2008, he met and began to work with Canadian dubstep legend Excision, who later released their collaborations on his Rottun Recordings. In the years to come, the duo—both as a cohesive unit and individual artists—are credited for taking the Canadian bass music scene from its local roots to worldwide acclaim and for pioneering and shaping the bass-heavy North American dubstep sound.
It was in 2009, however, that the Datsik brand took its initial steps into global dominance with his first official release, the Nuke 'Em EP. It set the new precedence of the future of dubstep and bass music. Immediately following that was the Boom EP, featuring Excision and renowned producer Flux Pavilion as collaborators. In that same year, Datsik claimed 10 Beatport #1 releases, an impressive feat for any artist, not to mention one in such an early stage in his career. From that point on, there was no turning back for Beetles. Datsik was now a legitimate entity, a bubbling artist to watch, and a force to be reckoned with. With each original single, bass-intense remix and multiple EPs on various celebrated indies, Datsik shot up to the upper echelons of the growing international bass circles.
While these numerous releases helped define Datsik’s core, his scope of remix and original production work reaches much farther and much wider. Having released on every other cutting-edge independent electronic music label, including OWSLA and Mad Decent, he’s also landed massive remixes that span various genres and solidify Datsik as a master of his craft, including remix work for dance music icons and rising electronic stars Skrillex, Diplo, Kaskade, Zedd, the Crystal Method, Pretty Lights, and Noisia, as well as two collaborations with the one and only Bassnectar and two more with Diplo on his Express Yourself EP. He has also remixed artists from the mainstream pop world and hip-hop spheres, such as Coldplay, Lil Wayne, MGMT, Linkin Park, Wu-Tang Clan—one of the biggest influences on his sound—and most recently, Lana Del Rey, with his SoundCloud-obliterating “Ultraviolence” remix.
Nonetheless, Vitamin D, his debut artist album released on Dim Mak Records in 2012, remains his gleaming trophy of work. Rightfully so, as Vitamin D was the first project to illustrate the full spectrum of Datsik’s production canon and to give glimpses of the artist’s potential as a producer and songwriter. The bass wobble and grime of “Fully Blown,” featuring rapper Snak the Ripper, nods to Datsik’s deep love of hip-hop. The laser-blasting “Need You” allowed Beetles to conquer the art of vocal sampling, which would later influence his use of original vocalists in the near future. The powerhouse team-up of “Evilution”—a collaboration with psytrance legends Infected Mushroom and KORN frontman Jonathan Davis—showed that the distinct Datsik sound is still able to dominate even when working with such music giants. Vitamin D was the first major milestone of many to come in the Datsik storyline.
The next chapter came in 2013 in the form of a two-part release, the fire-and-ice-themed Cold Blooded EP and the corresponding Let It Burn full-length album, both released on Firepower. While shorter in length, Cold Blooded packs as much a punch as big brother Let It Burn. “Juicebox” mixes sophisticated string samples with warped bass crunch. “Vindicate” with Excision is no-holds-barred aggression. And the party-centric “Too Late to Say No” sees Datsik delivering original raps for the first time in his career. Let It Burn continues the heavy-handed scope with the metal-influenced title track and high-energy fervor of “Buckshot.” Paired with “Hold It Down,” which mixes the alluring vocals of Georgia Murray, Let It Burn is an exemplary step into the progression of Datsik’s songwriting abilities. Hand in hand, Cold Blooded and Let It Burn comprise the knockout one-two punch in Datsik’s artillery.
Datsik stands at a point of transition with his recent EP, Down 4 My Ninjas. It exemplifies a more mature Datsik, both in sound and in vision, as it sees the producer taking vast steps outside of dubstep and deeper into his ever-burning fondness for hip-hop. In essence, it is his love letter to the hip-hop and bass music genres and sees a full circle for Datsik, as it combines the best of both worlds. Featuring collaborations with DJ Paul of renowned Southern rap group Three 6 Mafia and the legendary KRS-One, Down 4 My Ninjas sees Datsik keeping one foot in bass and one foot in hip-hop and, for the first time ever, sees the artist pairing his original productions with bona fide, universally celebrated members of the rap world.
It makes sense, then, that Datsik’s independent label, Firepower, is the home to Down 4 My Ninjas. As much as the new EP is the launching pad for the evolution of Datsik, Firepower is, similarly, headquarters to the future sound of bass music. Launched in 2012, Firepower is both an extension of Datsik’s sum and substance and his contribution to the development of the bass world as a movement. Though tiny in size, Firepower is of the more influential independent imprints in the current-day electronic music market, and has given birth to such blossoming acts as Protohype, MUST DIE!, Terravita, Getter, and Fox Stevenson, just to name a few. The label has accomplished more in two short years than many other imprints achieve in their entire existence. Firepower solidifies Datsik as a tastemaker and trendsetter.
With Down 4 My Ninjas in tow and a hefty supporting tour scheduled for 2015, expectations are higher than they've ever been for Datsik. Beetles welcomes the challenge, though. It’s what’s kept him developing since those bedroom producer days, and it’s what verifies Datsik as one of the leading figures in the bass music scene of today and tomorrow.
Delta Heavy are the most exciting duo to hit dancefloors since Chase & Status and Nero, although if anything, their music is even harder and heavier, darker and more multi-textured. Having conquered the clubs, however, their newer tracks are becoming more song-oriented, pointing toward a debut album that will surely be hailed as one of the year’s best, designed to satisfy bass-heads and traditional music-heads alike.
Simon James and Ben Hall met at Nottingham University in 2003. They zeroed in on the city’s drum & bass scene, spearheaded by nights such as Detonate and clubs such as Stealth.
Si was the musical one with the background playing instruments, while Ben was the one with a penchant for sound engineering and a background as a DJ. It proved the perfect combination. After graduating, they wound their way back to London, where they both acquired computer software. “And,” recalls Si, “because both of us had the same interests in music, we thought we’d align our knowledge.”
After several years of hard graft, their debut release appeared on Viper’s acclaimed Acts of Mad Men compilation in June 2009. They had a cut on the Harry Brown soundtrack, followed by the anthemic “Abort” in June 2010, which received widespread recognition from the underground, as well as support from the mainstream. They signed to drum & bass mogul Andy C’s Ram, label home of Chase & Status and Sub Focus, establishing themselves as credible newcomers with “Space Time”/”Take the Stairs.” The former was nominated as Best Track at the 2010 Drum&BassArena Awards while earning Si and Ben nominations for Best Producer and Best Newcomer DJ.
They remixed Example, Avicii, Chase & Status ft. Tinie Tempah, Rita Ora and Nero, making Delta Heavy ones to seriously watch. Their next release, “Overkill”/”Hold Me,” confirmed their reputation as bass innovators, mixing extreme electronic noise with low-end frequencies, while acknowledging the need for a commercial imperative. The video to “Hold Me” received over a million views in a little over a week and daytime radio plays from Sara Cox, as well as specialist spins from Skream & Benga, Mistajam & Kissy Sell Out.
They spent the rest of 2011 DJing around the world, from Australia to USA and Canada, and releasing a splendid EP’s worth of music in 2012’s Down the Rabbit Hole.
They have released almost two dozen tracks since their inception, but Delta Heavy don’t consider that particularly prolific.
“We’ve gone for quality over quantity,” says Si, citing as an example the year’s gap between the release of their “Empire” single and 2014’s brutally energizing Apollo EP.
Of the many Delta Heavy releases, he nominates “Space Time” as a highlight, as well as “Hold Me,” “Get By” and “Empire.” He also rates highly their remix of Nero’s “Must Be the Feeling,” which has had nearly 7 million views on YouTube, and over 100,000 downloads on SoundCloud. “It was so different to anything we’ve done, and it really struck a chord with people, especially in America,” remarks Si of the Nero refit.
Si reveals how Delta Heavy’s tracks begin as simulations of “grand soundscapes with an epic movie vibe,” their song intros “based on theatrical trailers for films.” The tune to “End of Days,” for example, came from the score to Planet of the Apes. “There’s a visual side to our sounds,” he adds. “We imagine what it would be like to provide music for that kind of context, so that we—and other people—can get it, by visualising it as opposed to it just being for the dancefloor. That gives it an added meaning, an extra something that separates it from the rest.”
He agrees that Delta Heavy are inspired by sci-fi for their song concepts and sonics.
“Our early stuff, like “Abort” and “Space Time,” was very much space-themed, about intergalactic travel and all the different aspects of space in that,” he says. “And then more recently with Apollo, that has continued.”
Delta Heavy’s music lends itself to all manner of intriguing visualizations. “End of Days” has been used on computer game Gran Turismo, and their videos—notably, the stop-motion and cartoon animation ones for “Get By” and “Hold Me”—have helped cement their appeal (the former was even nominated in the Best Budget Dance Video category of the Video Music Awards).
“That video [for “Get By”] seemed to go viral and had a million hits in two days,” marvels Ben. “That seemed to open us up to a wider audience.”
Ben—who has been DJing since he was 14, when he would pore over his decks in his Eton tails—agrees with Si about Delta Heavy’s music being appropriate for high-impact visualization.
“I always describe our stuff as melodramatic,” he says. “People respond to the grand, epic intros, and then when the track drops it has a lot more impact. What effect does it have? The crowd goes wild.”
Delta Heavy—influenced as much by UK drum & bass as the recent explosion of dance music in the US—have truly international appeal. In fact, they recently submitted a track for inclusion on a Rihanna album and have already played to 20,000-capacity crowds in the States. But Si and Ben’s dream is for Delta Heavy to eventually make the transition from purveyors of club bangers to architects of a more song-based sonic assault.
“That’s the dream for everyone, selling out the 02,” decides Ben. “We feel like we’ve taken the dancefloor tracks to the limit. The next step is to craft tunes that are more song-based.
Delta Heavy—their name taken from a 2001 tour by progressive house duo Sasha & Digweed—are taking what Si correctly describes as “forward-thinking, impact-based electronic music with a twist” to the next level.
We’ve definitely been known as one of the heavier hitters of the game,” admits Si. “Now we’re going to expand on what we do. Our debut album will hopefully make that happen.”
Austin, Texas, DJ/Producer Roger Parks aka Deuce Parks blends sinister and brooding colors into his percussive, techno-driven sets. Heavily influenced by the likes of Depeche Mode, John Carpenter and Plastikman, he has been ripping apart dancefloors with his seamless blend of deep, hypnotic four-to-the-floor rhythms.
Deuce's passion for electronic music has been a part of his life for as long he can remember. From a young age he was already developing an ear for synthesizers and drum machines, and by age 16 he had already bought his first pair of decks. He became actively involved in the scene around the age of 21, and has worked hard to solidify his name as one of USA’s finest exports of deep tech and minimal.
Today, Deuce has been meticulously carving out his own niche in the electronic scene in Austin, and has garnered significant success. His track entitled ‘Dream Warriors’ took the world by storm, receiving praise from Richie Hawtin and even making the cut on his BBC1 Essential Mix of 2016.
Deuce Parks is signed to a myriad of quality labels around the world, and is constantly expanding his reach with every release. The imprints currently housing his music include Shinocs Music, Lethal Script, Psicodelica, Progrezo Records, Mandelstam Music, LW Recordings, iTop, Empro Beat, and Audiophile Deep.
Deuce Parks has a weekly radio show on RWD.FM that airs each Saturday 6-8PM on Eastern Standard Time. Tune in to catch a glimpse of what he’s been cooking up in the studio, along with tasty cuts and dubs from other producers around the world.
At a time when headline "DJs" shamelessly play pre-programmed - even pre-recorded - sets and the masses mindlessly embrace the charade, Dieselboy - The Destroyer - stands out as a rare virtuoso of the art and craft of live DJing. His complex, high voltage, take-no-prisoners sets have created legions of loyal die-hard fans around the world. Arguably no other DJ mixes live - on four decks - with more precision, imagination, intensity, energy and finesse.
In the history of electronic dance music, no one comes even close to matching his legacy of epic dramatic mixes, each a timeless star in his signature constellation. Dieselboy - one of the world’s finest technical DJs - has, in fact, elevated the themed DJ mix to the realm of fine art.
For over two decades one of the world’s most influential ambassadors of drum and bass, Dieselboy (Damian Higgins) is America’s most iconic underground bass music curator and pioneer.
Dieselboy is also a passionate connoisseur of books, film and food. He has written about and been interviewed about his obsession with food, and since 2014 his cooking skills have been displayed in professional kitchens around the world including pop-up hamburger events at restaurants in the Netherlands. He has collaborated on an artisan beer and a gourmet hot dog, and has a cocktail published in Robert Simonson’s (New York Times cocktail writer) new book “The Old-Fashioned.”
Dieselboy was the first drum and bass artist to chart a single on Billboard’s dance chart with “Invid” in 2000, and was the first American voted into the UK-based Drum & Bass Arena Top 10 DJs online poll in 2004. He's been featured on magazine covers, interviewed for documentaries, TV and radio, heard on MTV, ESPN and action/adventure video games, and sponsored by DC Shoes and Pioneer Pro DJ.
In 2002 Dieselboy founded Human Imprint, North America’s most prolific, dynamic and innovative drum and bass label, and is co-founder of SubHuman (dubstep, electro, trap), under the umbrella of Planet Human. Planet Human is beloved by its fans for the quality of its next level high energy releases by international vanguard artists including Bare (US), Mark Instinct (Canada), Mayhem (US), Muffler (Finland), Nerd Rage (US), Nightwalker (UK), NumberNin6 (US), Pixel Fist (UK), Subshock (Spain), Zardonic (Venezuela), and Faces of Def (Dieselboy's collaboration with Mark the Beast).
Dieselboy’s legacy is also one of non-stop trailblazing dancefloor destruction on the international club circuit as well as at major global music festivals including Bassrush, Bonnaroo, Coachella, Detroit Electronic Music Festival, Electric Daisy Carnival (Las Vegas, Mexico, New York, Puerto Rico), SXSW, Summerfest, Ultra Music Festival, US Virgin Mobile FreeFest, Weird Bass Music Festival, Motion Notion (Canada), Shambhala (Canada), Borsodi Hegyalja Fesztival (Hungary), World Bass Summit (Japan), Jisan Valley Rock Festival (Korea), PRSPCT XL (Netherlands), Creamfields (Poland), Pirate Station (Russia), Global Gathering (UK), and PHAT 09 (New Zealand). He also toured with Moby’s Area2 and played heavy metal concerts with Orgy and Disturbed.
Dieselboy’s DJ career began in northwest Pennsylvania DJing high school dances. While a student at the University of Pittsburgh he learned to beat-match vinyl live on college radio and played trance, happy hardcore and breaks at house parties. His 1994 mixtape “The Future Sound of Hardcore” led to out of town bookings and his expanding popularity and technical skills led to the honor of being the first American asked by a British drum and bass label to mix a compilation (“Drum & Bass Selection USA,” 1996).
In 1997 Dieselboy moved to Philadelphia to be drum and bass buyer and T-shirt designer for seminal rave culture/record store 611. In 1998 Dieselboy was the first American drum and bass DJ to be nominated for Best Drum & Bass DJ at the Global DJ Mix Awards and tied with LTJ Bukem. From 1998 to 2004 Dieselboy hosted North America’s premier drum and bass weekly “Platinum” at club Fluid.
In 2000, Dieselboy co-founded with fellow Stateside drum and bass warriors AK1200 and DJ Dara the Planet of the Drums super crew (with MC Messinian) - electronic dance music's longest running annual tour, now in its 16th year (2015).
Dieselboy continuously raises the bar for the DJ mix as an art form, and each of his from 1992 to his latest tour de force “Dieselboy - The Destroyer” stands the test of time. State of the art showcases of producers and graphic artists of each respective musical era, Dieselboy’s mixes have been described as “cinematic” and “intoxicating.”
Dieselboy’s goal in creating each mix is “to make the most intricate, layered, nuanced, amazing drum and bass mix ever done. Period.” His sixth sense for sublime exquisite blends - "the sound of heaven crashing into hell," as he once described it - is as transcendent as it is legendary.
In his dramatic intros (a Dieselboy trademark) his narrators [who include movie trailer voice legend Don LaFontaine, Peter Cullen (“The Transformers”' Optimus Prime), Lynanne Zager (“Lost,” “Fantastic Four”), and Corey Burton (Disney)] describe epic - from sci-fi fantasy to soul-crushing post apocalyptic to grindhouse - scenarios. (His intro to "Wake the Dead" is a thinly veiled reference to the death of the art of DJing – a theme that resonates amongst fellow technically skilled DJs, fans and dance music aficionados.)
An inspiration for generations of DJs, Dieselboy’s longevity and relevance in a mercurial industry is a tribute to his relentless drive to create “amazing” experiences for his fans in their iPods and at his infamously explosive live shows.
Dieselboy fans praise his skills as “genius.” Says The Destroyer: “I don’t fuck around.”
Dimond Saints is an Oakland based duo, that has quickly emerged to push the boundaries of electronic music. Their signature sound drips of passion and deeply resonates with mind body and soul. Their live show is both explosive and soulful, creating a place where heavy bass and angelic melodies collide. The Dimond Saints are on the rise, as they continue on their mission of giving love to the world!
Notoriously recognized as "Obama's DJ," DJ Mel is one of Texas' most well-rounded and high profiled DJs. Based in Austin with past performances at Lollapalooza, Austin City Limits Music Festival, 2015-2016 NFL Draft, 57th Presidential Inauguration for Barack Obama, 2012 Democratic National Convention, Election Night 2012 at Obama HQ, The White House Easter Egg Roll 2013-2016, 2016 Iowa Caucus & New Hampshire Primary for Bernie Sanders, 2016 X-Games, 2011 California Democratic State Convention and 2011 Tour de France. He is the official DJ for the University of Texas Football and Men's Basketball Team. Mel regularly tours throughout the US and abroad. In 2014, he was inducted into The Austin Music Hall of Fame.
Ekali is a Canadian instrumentalist and producer from Vancouver, BC. He started making electronic music in 2014, and since has been making big waves in the electronic community; from his visceral, captivating original work and collaborations to his thundering club remixes.
Ekali was accepted as Canada’s sole participant in the Red Bull Music Academy in 2014. Since then, he’s gone on to receive over twenty million streams, toured every corner of the world & received a writing credit on Drake’s “If You’re Reading This It’s Too Late.” His unique sound has earned him a loyal following worldwide, and cemented him as one of electronic music’s most promising artists.
In 2016, Ekali was tapped for an official remix of Flume’s “Smoke & Retribution feat. Vince Staples & Ku?ka,” and his Flux Pavilion “I Can’t Stop” remix was officially signed and released by Big Beat. Ekali was also recently featured as a new & developing artist in HITS magazine.
Over the summer of 2016, Ekali released a much-anticipated official collaborative remix with Gravez of Jack Ü’s “Mind (feat. Kai).” This was quickly followed up by an official remix on Australian label Future Classic for Ta-ku & Wafia’s “Meet In The Middle” single.
Ekali’s debut original singles are slated to be released in fall 2016.
Los Angeles producer/dj FALCONS has arrived at the forefront of a new generation blurring the lines between hip-hop, r&b, and electronic dance music. With his breakout Terra EP on Fool’s Gold Records, the young producer has crafted both radio-ready songs & underground club anthems in one breath. Terra received universal praise from outlets like The Fader, XXL Mag, Mass Appeal, and Complex, while gaining radio play across BBC Radio 1, Beats 1 and Rinse FM. Falcons’ explosive lead single, “Aquafina” featuring GoldLink, quickly amassed over 1 million streams and garnered support from heavyweights like Q-Tip, Virgil Abloh and A-Trak. Falcons has made major impact across the globe, touring his sound across North America, Asia, Europe and Australia with standout performances at Boiler Room and Coachella. 2015 was a massive year for the producer/DJ, but 2016 only has bigger surprises in store.
Fat Tony stands at the forefront of new generation of young rappers who get it themselves—a DIY hustler who’s built his burgeoning career on a foundation equal parts smarts and swagger. The Houston MC owns the mike with a casual confidence, workmanlike in his delivery whether laidback or lyrical, embodying a new brand of enlightened Southern that’s as likely to tip back some lean on your front porch as sit down and school you on Dadaism. Through his simmering solo work and boundary-busting collaborations with Das Racist and A$AP Rocky, among others, Fat Tony has already launched a legacy.
As a first-generation Nigerian-American raised in his city’s historic Third Ward, heritage has always been important to Fat Tony. One of his earliest memories is of a parade of black cowboys riding down the local main street on MLK Day, blaring the good doctor’s speeches over zydeco tracks. His childhood home was filled with records—King Sunny Adé and Jimmy Cliff from his father’s collection, his mother’s jazz and soul, Granny’s gospel. He watched countless hours of music television as a kid, got his first drum kit at 8, and pummeled it to pieces shortly after seeing Nirvana on MTV.
Fat Tony became a key player in the Houston music scene as a young teen. Inspired by the independent spirits he looked up to—from the Ramones and the Germs to UGK and Slum Village—he began throwing shows at local venues and friends’ houses. He booked bands of all types from all over, hand-made flyers and mailed them to addresses nabbed from the student directory. Meanwhile, he toured regionally and earned a rep as a fierce performer, eventually racking up four consecutive annual “Best Underground Hip-Hop” awards from the Houston Press while studying communications at the University of Houston.
A veteran in his 20's, Fat Tony knows the two most important principles of creativity: 1) no matter where his music takes him or what others may say, he alone is responsible for the quality of his work, and 2) in the man’s own words, “It’s good to be good.”
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.
FuntCase aka James Hazell is a producer and DJ from Bournemouth, UK. He is known for his raw and dirty sound, forging the way with his controversial ‘filthy’ style. “FuntCase produces sensory overload bass music that wobbles, womps and machine guns through your body, making you dance whether you want to or not.” www.brightonsource.co.uk
James first expressed his love of music through jamming with his schoolmates, taking his energetic and aggressive drumming style from death metal as well as being heavily influenced by happy hardcore and jungle, growing up to a background of Helter Skelter and Dreamscape mixtapes.
After hearing ‘Bandwagon Blues’ by Twisted Individual, James fell in love with the drum and bass sound and began to focus his talents on producing. Sharing his tracks with D&B radio stations led to the first recognition of his foot-thumping talents, under the alias DJ Dose he released for the first time in 2007.
In 2009 James began to dabble with producing dubstep, giving his tunes a big energy by incorporating the drum and bass layering technique into his dubstep sound. His first track ‘Make Our Day’ was quickly signed to 4:20 Records. And so began the raw sound that is FuntCase.
It wasn't long before FuntCase began trading tracks with Doctor P, and an offer soon followed to bring James into the Circus Records camp with the release of his famed track ‘So Vexed', with ‘Mattress Punch' on the flip, in 2010.
Since then the phenomenon has grown, FuntCase has become a legend of the DJ world. With an incredibly loyal fan base Funty is known world wide for working hard, playing hard, travelling hard - and DJing hard. Claw 4 Life yo.
The lights begin to shimmer at Coachella’s Gobi Tent, as the curious crowd packs the stage to witness a never-before‐seen act, and something unexpected occurs: 10,000 people compelled to sing in unison. It’s the result of a tangible feeling hanging in the air, that this is the birth of a movement; this is the birth of GALANTIS.
At its core, GALANTIS is two friends making music together. The fact that they’re Christian Karlsson, aka Bloodshy, and Linus Eklöw, aka Style of Eye, is what changes the plot. The accomplished duo’s groundbreaking work as GALANTIS destroys current electronic dance music tropes, demonstrating that emotion and musicianship can indeed coexist with what Eklöw calls “a really, really big kind of vibe.”
Earning the rare honor of debuting in a prime-time slot at Coachella, the festival of festivals, GALANTIS quickly became the talk of the town. The packed stage and thrilling live show earned the attention of Dancing Astronaut, who named the set Best Debut of the festival, while an online poll from Billboard magazine found GALANTIS shattering the competition for Best Dance Music Moment at Coachella.
“GALANTIS is about challenging, not following,” says Karlsson.
Karlsson should know about shaking things up. As half of production duo Bloodshy & Avant, he reinvented pop divas like Madonna, Britney Spears and Kylie Minogue in the early 2000s. He cowrote and produced Spears’ stunning, career-changing single “Toxic” to the tune of a 2005 Grammy Award for Best Dance Recording. Since then, he’s been breaking more ground as one-third of mysterious, jackalope‐branded band Miike Snow. The trio’s two albums, 2009’s self-titled debut and 2011’s Happy To You, fuse the warm pulse of dance music with inspired songcraft, spanning rock, indie, pop and soul. And they recreated that special synthesis live, playing over 300 shows, including big stages like Coachella, Lollapalooza and Ultra Music Festival.
As Style of Eye, Eklöw has cut his own path through the wilds of electronic music for the last decade, defying genre and releasing work on a diverse swath of labels including of-the-moment EDM purveyors like Fool’s Gold, OWSLA and Refune; and underground stalwarts like Classic, DIRTYBIRD and Pickadoll. He also co-wrote and -produced a little song you might have heard: Icona Pop’s international No. 1 smash “I Love It.”
After mutually admiring each other from afar, Karlsson and Eklöw kept meeting by chance at Robotberget studio in Stockholm, home to Karlsson’s label of the same name, and soon discovered shared creative values and complementary goals. Karlsson wanted to go deeper into electronic music; Eklöw wanted to apply songwriting to his track-making prowess.
And both wanted to give the finished product, whatever it was, a live life—an audiovisual experience that matched the really, really big vibe of the music.
After several remote track swaps between the usual planes, trains and automobiles yielded nothing worth keeping, the pair decided to try to change their work by changing its setting. So they set up a studio in one of the world’s most stunning natural phenomena, the Stockholm archipelago in the Baltic Sea. This fantastical 37-mile belt has inspired Swedish artists, playwrights and poets throughout time. It’s on one of its over 65,000 individual islands where GALANTIS became real.
“It’s strange making electronic music in a place like this,” says Karlsson. We are on a tiny, isolated island surrounded by water, but it inspired us to go where we wanted to go.”
That sense of simultaneous smallness and grandeur made its way into “Smile,” a soulful song in the cloak of a festival anthem, with dusky keys adding depth to the energetic builds. And it was then that Karlsson and Eklöw knew they had it: the sound of GALANTIS.
Following its release, “Smile” became a dancefloor staple internationally. The track was championed by a wide array of GALANTIS’ peers, including Pete Tong, who made it an Essential New Tune; Diplo, who called it the best house tune of the year; and Laidback Luke, who tweeted, “Galantis is light years ahead of us.”
“You,” their follow-up single, received an ecstatic response, with Kaskade and Steve Angello supporting it in their mainstage sets at the Ultra Music Festival, where it was also one of the 10 most‐Shazamed songs. Legendary DJ Tiësto and his protégés Twoloud were the first to remix the track, while Porter Robinson showed support on social media.
The accompanying video brought the Seafox, the creature that serves as GALANTIS’ logo, to life, spending a night on the town with friends and talking about her search for love to underscore the message that “Love is love, no matter who you are.”
Releasing a song a week in advance of their debut self‐titled EP, it took only days for the tracks to cross 100,000 plays. The EP went on to #4 on the iTunes dance chart upon its release.
GALANTIS spent months creating a live show that matched their music’s innovation and spirit. With infectious energy onstage, the duo had their sights set on taking over Coachella. The festival was followed by a North American tour, including sold-out shows at New York’s Bowery Ballroom and Los Angeles’ El Rey Theatre.
GALANTIS are currently putting the finishing touches on their debut full-length album, coming in 2015.
Gamma began his life as a DJ in April of 2011 in San Marcos, TX. In just a short period of time his personal hobby became a sound that needed to be heard. Starting with small house parties and gatherings, Gamma has since opened for artist's such as Zed's Dead, Zedd, Carnage, RL Grime, Flosstradamus, G-Eazy, Flux Pavilion, Borgore, Lil Uzi Vert, Tyler The Creator, Big Boi, Getter, Bro Safari, Brillz, Allison Wonderland, Crizzly and also played at Insomniacs' Nocturnal Wonderland TX, Lights All Night, UME, Euphoria, Something Wicked & More. Specializing in Dubstep and Trap but not limited to that. Representing Slice Gang & AfterDark TX!
For American electronic music producer Tanner Petulla, more often recognized by his stage name Getter, 2015 was a year of exploration in the art of experimentation and 2016 has been proof he is not going anywhere anytime soon. With the dropping of his second EP signed onto Skrillex’s imprint OWSLA titled Wat The Frick, celebrated by his embarkment of his first headlining North American bus tour a mere week after, appearing on Last Call with Carson Daly as well as constant additions of new merchandise to his Trippy Burger clothing line along side a multitude of music projects – it’s been a busy year. As he grows as an artist – his musical repertoire has evolved from aggressive baselines early in his career, to a blend of beats sailing buoyantly over waves of reverb and bass, to mesmerizing hip hop beats as seen on Pouya’s, Dumfoundead, and $UICIDEBOY$ most recent albums – there’s truly no genre safe to his touch.
The secret is officially out. An electronic duo from the Southern-most tip of Africa have gone from one of Dance Music’s best kept secrets to an act tipped by industry tastemakers as the band to watch this year.
Their genre-defying mix of live instruments, House beats and searing live performances has seen Goldfish go from impromtu jams at a tiny beach club in Cape Town to headlining Amsterdam’s Olympic Stadium, cracking a top 10 on the US iTunes Dance chart, a residency at Pacha Ibiza with David Guetta and DJ’s like Fedde le Grand knocking at their door to do remix their tracks. It’s almost hard to believe that not very long ago they were just Dom and Dave, two music students who lived a relatively chilled life of surfing and playing music in their home town Cape Town.
All that really did change when they decided to record an album. Not having a record deal or much money, they simply locked themselves in a bedroom...with a double bass, a saxophone and a couple of synths, recording their debut Caught In The Loop on their own. A charming dance record that received massive support from the international dance music scene, desperate for something fresh and new. Pete Tong even called it his Ibiza Poolside Album of the Summer.
The two guys quickly found themselves maintaining gruelling international tour schedule that saw them play sold-out shows from Amsterdam to Miami, from the Sydney Opera House to Sao Paulo, in-between still finding time to mix the covermount CD for DJ mag international, garnering a record-breaking 8 SAMA nominations, numerous number ones radio at home, as well as performances at Glastonbury, Sensation White, Ultra Festival Miami, 46664 and Get Loaded in the Park amongst others.
They even got their hands on a residency to die for; Friday night at Ibiza super-club Pacha. Here they developed their sound further and presented it on their second album Perceptions of Pacha. As no other album, Perceptions Of Pacha captures the carefree vibe of the magical island of Ibiza, with their track Fort Knox cracking the Top 10 on the US iTunes Dance Charts. Following that up with the SAMA award-winning album Get Busy Living featuring the smash Youtube hit video We come together that garnered millions of online views for it’s hilarious and ground breaking animation work that has become a Goldfish trademark.
With props coming from everyone from Dr Dre, Sebastian Ingrosso, Pete Tong, Sander Kleinenberg, Fedde Le Grand and Faithless, watch this space. The Re-invention of the DJ has arrived.
Denis Jasarevic, better known for his stage name Gramatik, is an electronic artist from Portorož, Slovenia. His current genre falls under a mixture of hip-hop, glitch, electro, and dubstep.
Today at age 25, GRiZ (or Grant Kwiecinski, to his mom) is already preparing for an active 2016. With his latest releases Say It Loud and Chasing The Golden Hour Pt. 1 (both via his All Good Records imprint), follow-ups to their predecessors, End of The World Party, Rebel Era and Mad Liberation, GRiZ has had a massive year. A sold out spring tour saw the artist headlining some of the nation’s top venues in New York, Chicago, Los Angeles, Philly, Nashville etc., the legendary Red Rocks Amphitheatre and the Detroit Masonic Temple in his beloved hometown. Just this year alone, the sax man released six singles that all claimed the coveted #1 spot on Hype Machine’s most popular charts. Up next, GRiZ is ready to tackle the next chapter as we close out 2015 and head into 2016 – but first … let’s recap.
The year 2015 saw the release of the artist’s critically acclaimed studio album Say It Loud. More than a year-and-a-half of his life went into writing and recording the album + GRiZ began, of course, in Detroit, then moved to a remote cabin upstate with Exmag to escape the trappings of city cacophony and cell-phone service. From there, he landed in Brooklyn at Daptone Records’ studio, collaborating with Antibalas. And he hit Los Angeles just to work with the Children’s Chorus on the album’s opener.
Says GRiZ of the album as a whole, “I want to write better songs. I want to write contemporary funk songs. I want to produce an album that kind of has the new James Brown singing on it. You know what I’m saying? Something that sounds like it was made at Muscle Shoals.” As ambitious as Say It Loud may seem, this is a natural next step for GRiZ, who thrives on bending genres. “I could’ve sampled everything. Most of my music is created for a live experience,” he notes. “But now, I really want a body of work that is 100% my own.”
Critics agreed and caught what GRiZ was throwing their way. With Billboard calling the collection “brilliant” and DJ Mag projecting that with this release, the artist’s career will dominate the world of electronic music and “be much more than all good – it’s going to be great.” The album also landed at the top of the iTunes electronic charts which speaks volumes for Grant’s loyal fanbase considering he released the body of work on BitTorrent for free.
Most recently, GRiZ teamed up with fellow electronic funk icons, Big Gigantic, to put out “Good Times Roll” a feel good track that took the top spot on Spotify’s viral chart and is continuing to dominate the blogosphere. The artist also released part one of a two part mixtape as a thank you to the aforementioned following of loyal fans who have been with him every step of the way. Dubbed Chasing The Golden Hour Pt. 1, the 9-songs were inspired by the golden era of hip-hop: Hi-Tek, J. Dilla etc.
So what’s next? More great music, a fall headlining tour and another spring/summer return to the festival circuit in 2016. In addition to building his own brand, GRiZ will continue to develop artists as he expands his self-run record label All Good Records. Speaking of growing – if you find yourself in Denver, you might want to check out GRiZ Kush, the artist’s own strain of weed that is sold legally in the mile-high city. That said, bring on the next chapter. GRiZ is ready.
Show Love Spread Love.
Over the past couple of years, NYC-based multi-instrumentalist and producer, Gryffin aka Dan Griffith, has cemented his path to the international spotlight with his melody-rich style of house music that fuses indie with dance in tasteful fashion. Known for some of the biggest remixes from the last year, such as his remix of Tove Lo’s “Talking Body,” Maroon 5’s “Animals,” Years & Years’ “Desire,” and more, this gifted up-and-comer has already seen a significant amount of success, hitting #1 on Hype Machine consistently, on top of racking up 100 million streams online.
Although Gryffin has recently been on the cusp of a major breakthrough, he began his musical journey growing up as a classically trained pianist, before expanding his sonic palette with guitar at an early age. He played in bands to initially hone his instrumental abilities, until he dove head first into the world of music production at the University of Southern California. Throughout college and beyond, Gryffin further refined his skills that have blossomed into his artistic mastery that is appreciated by his counterparts and adoring fans around the world. In his genre, artists typically DJ to showcase their talents, but live performance is where his heart lies in capturing the essence of his work.
With a world-debut at this past SnowGlobe Music Festival, Gryffin unveiled his anticipated live performance to finally connect with those who have been behind his impressive play counts. His passion and love for musicianship, and artistry within music shined through as he performed with live instrumentation (guitar, keyboard, synths, & drum pads) in a continuous dance music format to keep up the energy characteristic of DJ sets. Since this performance was a resounding success, the excitement is brewing for his next two sold-out shows at Los Angeles’ The Roxy, and New York’s Bowery Ballroom to close out his first-ever live tour.
Following the conclusion of the tour, Gryffin made the leap to his first original production, “Heading Home” featuring Josef Salvat, which immediately became #1 on Spotify’s Global Viral 50 chart, US Viral Chart, and accumulated a million plays in one week after being released via Darkroom/Interscope Records. It’s already looking like 2016 is going to be Gryffin’s biggest year yet.
Hayden Kramer, better known as Herobust, is a Bass Music Producer from Atlanta, GA. Most notable releases include “Skurt Reynolds” via Mad Decent, “Sheknowshebad” via SMOG, and “Pump This (with Snails)” via Owsla. It was in Atlanta that Herobust started off making Hip – Hop inspired tunes. After climbing the ranks of the local music scene, Herobust noticed that his music slightly resembled elevator music when placed before an EDM set. As a self – proclaimed rule bender, it was this realization that triggered an overhaul of his creative process focused on integrating the filthiest sound design from Hero to date. “I’m Aloud” is Herobust’s latest EP, released via Mad Decent. “I’m allowed to make whatever I want, so it works in that way,” he says about the album. With the help of this release, Herobust skyrockets as a pivotal face in the bass music movement.
Armed with his arsenal of new sounds, techniques, and confidence, Herobust takes a visit back to his roots. His new releases will be inspired by Hip – Hop, with plans to include some of the hottest names in Rap music. Herobust is touring throughout the US this summer with appearances at EDC NY, Hard Summer Festival, and Imagine Festival to name a few. And recently, Herobust has been commissioned by the likes of Kill The Noise, Barely Alive, and NGHTMRE for official remixes.
Herobust was innovative on his path to get on the radar of these momentous acts. “Even if DJs love your track, they may pass on playing it if it’s difficult to mix” he explains. He started to arrange his tracks in a way that made them convenient to play out. With time, he garnered the support of Diplo, Skrillex, Bassnectar, Flosstradamus, Destructo and others. This success sent Herobust overseas for international touring and on to play showcases for Mad Decent and Buygore during Miami Music Week 2016. Herobust has been featured on BPM Sirius XM, Billboard, Rolling Stone, MTV and many others. “I’m Aloud” debuted at #22 on Billboard Electronic Charts, and Herobust has recently surpassed 100,000 fans on Facebook.
On musical influences, he states – “What you’re hearing come out of me is just really an amalgamation of all the music I’m around, and because I legitimately like it, I’m going to throw it in. I couldn’t even stop it.” Through it all, Herobust cites Outkast, Skrillex, Kill The Noise, and Flosstradamus as key influences to his production.
YourEDM includes Herobust in their “Top 5 Best Trap Artists 2016” and Insomniac credits him as “one of the hottest voices in the trap-dance movement”. With accolades such as this, he vows not to disappoint with his future releases. If this much is clear, 2016 proves to be a definitive year for Herobust.
Hunter Vaughan is a 26 year old music producer hailing from Dallas, Texas.
Hunter is a practitioner of house music that sits right above the underground blending techno, electro, and breaks into one cohesive groove known as Tech-Funk.
Original and remixed music released on Audiophile XXL, U&A Recordings, Death Proof Recordings, and AUX since 2009.
There are melodic bass producers, and then there is Nick Miller. The Denver-based producer known as Illenium has been turning heads in the dance music community over the past year and for good reason. Illenium has distinguished himself from the myriad of others through an unrivaled ability to create an immersive emotional experience of highs and lows that pulls on the heart strings and leaves the listener awestruck, accomplishing in the span of just a few short minutes what takes many a full set. He has displayed an adeptness for creating aural arrangements that vary in style, yet always maintain beauty, complexity and emotional depth. Illenium gave the world a taste of what he has to offer in 2014 with standout originals “Falling In,” “So Wrong,” “Make Me Do;” remixes of Dawn Golden, Odesza, Oh Wonder; and performances at Global Dance Festival, Decadence NYE and other select dates. However, as foreshadowed by his inclusion in UKF’s “Ones to Watch: 15 for 2015,” this is poised to be Illenium’s breakout year.
Jessica Phillippe is diehard, born with true grit and skills to pay the bills. Despite her success with the Dirtybird gang, she's still out there in record stores on the regular... digging, uncovering precious gems and weaving them into her dynamic sets with panache. She's a hard-working, dedicated lady who refuses to compromise and aims to rock the dancefloor without relying on the most obvious tracks.
Production-wise she's just as fearsome, lacing her tracks with a tough yet bouncy flavour. Her prowess in both disciplines combined with her infectious sense of fun and mind-boggling depth of knowledge make her one of the most revered DJs on the global circuit today.
Upon his impending exit from his teenage years, Norway-bred 19-year-old DJ/producer, Jerry Folk, has been organically developing an impressively substantial following through his innate ability to surprise fans each time he releases one of his eclectic productions. Remixing the likes of Baby Bash, Oh Wonder, Chromeo, ZZ Ward and already taking a turn with an original production, the rising talent has accrued millions of plays on his SoundCloud artist page and has already seen support from fellow Norwegian superstars Kygo and Lindstrøm.
Jerry Folk creatively instills his signature blend of indie, disco, funk, R&B, and house in a captivating, yet sophisticated, manner with every release he touches, and demonstrates a trend of versatility across his catalog of musical outputs. While he continues moving forward at the pinnacle of dance newcomers destined for success, Jerry Folk presents an example of a young talent with proven production techniques well beyond his years, and he continues to disregard the barriers of genre labels in an attempt to further develop his indicative style.
In a little over 6 months, Joyryde has risen from complete unknown to one of the most buzzing acts on the planet. With support from the likes of Axwell^Ingrosso, DJ Snake, Skrillex, Major Lazer, Big Gigantic, Yellow Claw, Tchami, Jauz, Knife Party, NGHTMRE, Martin Garrix, Dillon Francis, GRiZ, Don Diablo, Ephwurd, Ghastly, Dyro and more, the highway to success is paved with bass. Joyryde's brand of #SwerveHouse is firmly expressed through his massive singles “FLO” and “SPEED TRAP.” Jauz not only champions his “Stick It In Reverse” mix of last summers hit “Feel The Volume,” he has been opening his sets with it for months.
His most recent hit “HARI KARI” made it all the way to BBC Radio 1 via NGHTMRE’s Diplo & Friends mix and was also heard in Yellow Claw’s heralded mixtape series. With every blog raving about the lad, Dancing Astronaut put it best; “At a time of radio-safe club maneuvers, his is a brand out for blood." He ended 2015 with the launch of his self designed apparel line #RYDRWARE.
He opened 2016 with a Rick Ross feature on the 160 BPM "Windows,” a track who's genre still cannot be identified. With an arsenal of unreleased tracks, all the big names chatting about him, and some lofty touring goals, Joyryde is sure to hit the ground running in 2016 ... and bring all his Rydrz with him.
"International performer Jphelpz delivers an unprecedented style that has been merciless to the bass music scene. This St. Louis producer has made a powerful impact by taking his mechanical dubstep sound to the next level with major label releases on Datsik's own Firepower Records and other powerhouse labels. As Jphelpz perfects his production skills he has gained the continuous support from Zed's Dead, Excision, Datsik, 12th Planet, Funtcase, Modestep, and many other renown artists. The future of bass music falls into the hands of Jphelpz as his robotic bass sound rushes through your entire body as he drops the heaviest & deadliest dubstep known to mankind."
Though there's actually six of them, Jurassic 5 got everything else right on their self-titled debut EP. Part of the new rap underground of the late '90s (along with Company Flow, Mos Def, Dr. Octagon, and Sir Menelik), the sextet -- rappers Marc 7even, Chali 2na, Zaakir, and Akil, plus producers Cut Chemist and DJ Nu-Mark -- came together in 1993 at the Los Angeles café/venue named the Good Life. The six members were part of two different crews, Rebels of Rhythm and Unity Committee; after collaborating on a track, they combined into Jurassic 5 and debuted in 1995 with the "Unified Rebellion" single for TVT Records. At the tail end of 1997, the Jurassic 5 EP appeared and was hailed by critics as one of the freshest debuts of the year (if not the decade). Both Cut Chemist and Chali 2na are also part of the Latin hip-hop collective Ozomatli, while Chemist himself recorded several mixtapes plus the wide-issue album Future Primitive Soundsession (with Shortkut from Invisibl Skratch Piklz). The year 2000 found the group on tour with Fiona Apple and on the Warped Tour, just in time for the release of Quality Control that summer. Live work continued during 2000-2001, and a second record (Power in Numbers) appeared by the end of 2002. Jurassic 5 earned new fans -- many outside of hip-hop -- by playing some unconventional venues, including Lollapalooza, Bonnaroo, and the Warped Tour. By 2006, Cut Chemist had left the group to pursue his production and DJ ambitions; the remaining quintet enlisted producers including Salaam Remi, Scott Storch, and Exile (as well as in-house talent DJ Nu-Mark) to record their third full LP, Feedback, released in July 2006. Less than a year later, however, the group called it quits, citing "musical differences." They reunited in spring 2013, playing Coachella and later announcing a full summer tour.
Most people know of 19 year old Keiondre Boone by his stage name, Kaiydo. A multi-talented individual, Kaiydo is known for his artistry as a rapper, but also as a designer of his own artwork and brand. As evidence of his artistry, he sports millions of plays across his entire discography on Soundcloud, Spotify, and Youtube.
Kaiydo’s debut LP is set to come out in the summer of 2017, which will exemplify his unique rap aesthetic and production taste. In the meantime, stay tuned for his live shows and a new collaborative project expected to include some of the strongest artists in the crossover scene.
Having been through the trenches as an original recording artist, producer and in-demand DJ for more than a decade, American juggernaut Kaskade continues to be at the forefront of the dance music scene. Breaking down barriers and shattering records, he’s created a career of unprecedented milestones for himself and the industry: the first U.S. DJ to secure a Las Vegas residency, the first solo electronic dance artist to sell-out Barclays Center, as well as the first dance artist to sell-out Navy Pier and the Staples Center during his Freaks of Nature Tour, which was deemed “the only successful national stadium tour undertaken by a solo ‘EDM’ artist” by Billboard.
Most recently Kaskade returned to the iconic two-weekend Coachella Valley Music and Arts Festival for the fourth time, where he was the only electronic artist to take the main stage. In a historic achievement, Kaskade drew the two largest crowds the festival had ever seen in its storied sixteen-year existence.
Prior to kicking off Coachella, Kaskade released his much anticipated single, “Never Sleep Alone,” which premiered at #1 on Billboard's Trending 140 chart and is currently on iTunes Top 10 dance chart. Poised to become this year’s summer anthem, it’s rooted in contemporary house music fused with an explosive energy fit for any massive arena or festival.
Crowned by The New York Times as “the new face of electronic dance music,” Kaskade has laid the groundwork for a titanic musical and cultural shift: a post-rock electronic music revolution that has captured the imagination of a new generation of fans across North America. He received his fourth consecutive Grammy nomination for Best Remixed Recording for his edit of Galantis’ “Smile.” Previously, his eighth studio album Atmosphere scored him his second and third Grammy nominations for Best Dance Recording and Best Dance/Electronica album. He received his first nomination for his double-album Fire & Ice, which debuted No. 1 on Billboard’s Dance/Electronic Album chart. With his unique creative prowess, the two-time “America’s Best DJ” title holder has created chart-topping remixes for everyone from Lana Del Rey to Beyoncé.
Along with taking the festival-circuit by storm, Kaskade performs to jam packed crowds all over the world at Wynn Las Vegas daylife and nightlife venues – Encore Beach Cub and XS Nightclub, where he has a multi-year exclusive residency deal. Wynn Las Vegas served as his first exclusive residency in Las Vegas at Encore Beach Club in 2010.
While he cut his teeth in nightclubs, today Kaskade’s live shows are arena-sized; a jaw-dropping spectacle that finds him performing in front of massive LED screens broadcasting evocative images synced with the music in meaning and tone, while strobe lights scan the crowd. “I'm trying to create an environment where you can lose yourself in these really big, grand, euphoric moments and to do that, there has to be a certain intensity. We’re barraged with so much information in modern-day culture, and I want people to forget their worries and cares and be able to come together and celebrate life by hearing these songs that they love, with words that have touched them in a certain way. That’s what I’m trying to do at each and every show.”
The veteran superstar’s fan base speaks for itself with more than 1.5 million fans on Facebook, nearly 820,000 followers on Twitter and more than 26 million views combined on his YouTube channel. Kaskade continues to prove his dedication and loyalty to his fans by catering to them through his infamous Tumblr page, including #Askade, a Q&A that allows Kaskade lovers to ask him anything on a one-on-one level. He made headlines during the premiere of the docu-film “Electric Daisy Carnival Experience” in Los Angeles after tweeting fans to join an intimate block-party festivity. The “Kaskade effect” took thousands by storm; fans ignited the streets filling every inch of Hollywood Blvd in hopes to see and hear the icon perform. Due to the overwhelming turnout, Kaskade urged fans to peacefully clear the streets and they did so almost immediately. It was a true testament to the dance music guru’s far reaching influence.
Always evolving, he’s expanded his resume into the world of health and well-being. In May 2014, he kicked-off a series of fun-runs called The Spark Run, the ultimate high energy, family friendly nighttime 5K run/walk, which celebrates fun, health and originality. At its core, The Spark Run sets out to give back to the community by partnering with local charities and providing a portion of the events proceeds to the individual organizations.
The former skateboarder has been known to show up at gigs in flip-flops, but that no way indicates how seriously he takes his music. “The first thing I think about when I make music is the melody and the lyrics. Production styles come and go, but good songs can stand the test of time.”
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?'
Belgian born and Berlin based producer Seba, better known as Kill Frenzy, has an affinity for crude, lewd, deep and dark vibrations. As a teenager, he acquired a distinct taste for house and techno from the greats: Jeff Mills, Green Velvet, DJ Godfather, David Clarke, DJ Slugo, & DJ Funk. These kingpins would occasionally drop filthy jacking ghetto records into their sets and the young impressionable producer fell in love with this sound. This booty based vibe went on to lay the foundation for Kill Frenzy’s initial releases on Ghetto Test (a subsidiary of the infamous Dust Traxx Records) and Juke Trax (DJ Godfather’s Ghetto Tech label). His rapid-fire juke joints, clocking around 160 BPM, were pure youthful adrenaline.
In 2012, Kill Frenzy signed to Claude VonStroke’s San Francisco based label dirtybird with his most well known release thus far, “Make That Booty Clap.” This massive record infected DJs as diverse as Soul Clap, Jamie Jones and Skrillex— the later of whom helped turn this signature tune into a festival anthem. Kill Frenzy went on to release several more records on dirtybird and became an important element in the very tight knit crew.
Taylr Swft, Kill Frenzy’s debut album is due out on dirtybird this coming November. Label boss, VonStroke says:
"I'm almost sad to start sharing the new Kill Frenzy album with everyone else because it has been my secret weapon all summer. At one point I was playing seven tracks from the album in the same set - it was almost embarrassing. I'm very fickle about choosing what I play and this album is amazing.”
Kill Frenzy’s inaugural album will include a collective plethora of sounds for an assorted audience with singles like “No Panties” for the ecstatic festival and club- goers and “All Night” for the Funktion- One hungry super fans. Séba’s diverse love for bizarre yet melodic, catchy underground house & techno is what has lured DJs and dancers worldwide, making him a force to be reckoned with.
Renowned locally and internationally in the fields of Music and Performance, Kristian Nairn is a prolific homegrown talent. As a musician, Nairn has tread the boards with such acts as Scissor Sisters, Mylo, Calvin Harris and Alphabeat; as well as being part of bands such as AJ Suzuki and Dublin’s very own Daddy’s Little Princess. As a DJ and electronic music producer, he held down a residency for eleven years in Kremlin, one of Ireland’s most popular and enduring venues. His remixes have been played in sets by some of house music’s true legends, including the Freemasons and Grant Nelson. As a performance artist, Nairn uses his musicality to fuse together immense performances, often mixing and even playing the music himself.
Transitioning from the stage to the screen, Nairn was voted one of the most memorable guests of Channel 4‘s The Salon and was consequently used in promoting the show’s following season. Nairn’s most notable role to date, however, takes the role of the fan favourite character Hodor in HBO’s series Game of Thrones based off of George R.R. Martin’s New York Times best selling novels.
During his free time, Nairn remains a loyal sci-fi and fantasy fan dabbling in not only his on-screen role of Hodor, but also finding himself on the [small] small screen via Blizzard’s award winning game, World of Warcraft. Look for him online, behind his DJ booth or on set shooting Game of Thrones.
Chris Lund aka Left/Right has spent over 15 years working from Dallas as a dj, producer, promoter, and professor. His music has garnered support from Rolling Stone, DJ Mag, Mixmag, The Crystal Method, Massive Attack, and RinseFM. L/R works as an artist and A&R for Stanton Warrior's label PUNKS as well his own imprint/brand, BRØKEN.
With degrees in both music composition and audio engineering, Chris is a production machine. His tunes and dj mixes feature a signature broken beat, future garage, and unique bass sound and drive his energetic performances. L/R is regularly booked coast to coast and internationally to move dancefloors- including sets at Fabric (London), Burning Man, SXSW, WMC, LightsAllNight, Euphoria festivals, and his resident BRØKEN events.
Three years ago, the name ‘Lido’ was something of a mystery. People were left guessing where these hyperactive, neon-coloured productions they kept hearing were coming from, that blended bouncy hip-hop with earworm hooks. The man behind the music has since surfaced: 23-year-old Norwegian Peder Losnegård, a producer with an insatiable appetite for beat-making and a unique take on the interplay between genres.
In the last year and a half, Lido has embarked on a sold-out US tour, produced for Chance the Rapper and A$AP Mob, while also executive producing Halsey’s ‘Badlands’. More recently, Kanye’s ‘The Life of Pablo’ inspired him to chuck the album into a blender for an eight-minute reimagining; the ‘Life of Peder’, hitting 1 million streams in less than 24 hours.
Now on the brink of dropping debut album ‘Everything’, the recording process was born from a difficult period in Peder’s life. “It’s an unconventional breakup album,” he explains. “It’s not an album about a girl, it’s an album because of a girl — my healing process after losing somebody that meant a lot to me. It’s called ‘Everything’ because it’s the story of when you let somebody be everything to you, you risk losing that everything and being left with just yourself.”
Lead single ‘Crazy’ melts Daft Punk heat into Zapp & Roger talkbox magic, with Peder blasting his signature rising, HudMo-style chords. But ‘Everything’ doesn’t just explore the uplifting side of emotion. “I wanted to explore the nuances of feelings — there’s so much energy in sadness, anger in sadness, there’s frustration in sadness,” he explains. “I wanted to explore how I can make emotional music that’s more complicated than what people usually do when they try to tell a story.”
Each track makes up an intricate chapter of his story, which he’s keen for fans to unpack themselves, and as a result it was “such a scary album for me,” he says. “It’s so emotional, and so honest.”
Lido isn’t one of the crop of EDM producers who just press play on stage. “I’m more confident and more in my element when I’m on a stage rather than anywhere else,” he says. Performing live, Lido flits from drums to keys, sometimes even backed by an orchestra and compelling visual arrangements.
This is an individual who doesn’t do anything by halves — and for that reason it’s clear that 2016 is going to be the most exciting yet in the life of Peder.
In times where it becomes easiest to feel anything but, Louis the Child is here to make you happy. Over 50 million Spotify streams later, the two Chicago-bred wunderkinds have done just that, spreading glitzy, electronic bliss through stadium-ready anthems like "It's Strange," Icona Pop collaboration "Weekend," and "Fire." But their versatility and emotional range shines through brightest on most recent release, "Love Is Alive" (ft. Elohim), showcasing an understated tenderness, which Billboard praised as "soft and soothing."
Citing influences ranging from James Blake to Robert Glasper, duo Robby Hauldren and Freddy Kennett blend musical complexity and sonic experimentation in an individual strand of future bass that defies pop formulas, while catching the ear of outlets such as Pitchfork, BBC, Pigeons and Planes, and Taylor Swift's Instagram. Since supporting the likes of Madeon, Porter Robinson, The Chainsmokers, and Big Gigantic. Mixmag's #1 artist taking American dance music to the next level has quickly risen to headliner status. Currently in the midst of an extensive spring tour, Louis the Child is fully prepared to bring smiles to the crowds of Bonnaroo, Hangout, Middlelands, and more major festivals across the globe this summer.
The year is 2069. After years of travel across the galaxy Major Lazer has returned to Earth from his triumphant interstellar campaign against his mentor-turned-arch-nemesis General Rubbish. The victory rings hollow, though–there is something he left out among the stars that he can never replace.
The world he’s come back to is missing something too: unity. In his absence Earth has been transformed into a worldwide maelstrom of conflicting armies, gangs, cults, and crews. The Fearless Hyenas, the Deathless Lovers, the Pitch Black Knights of the Inner Wild–a multitude of factions, each of them sworn enemies of every other.
Having proven himself adept at the art of war, Major Lazer has dedicated himself now to becoming a champion of peace. With help from a squad of anarcho-pacifist hackers, he’s taken control of a top secret network of military satellites and repurposed it into a global sound system to broadcast a righteous dub designed to unite the tribes of Earth and overthrow those who have thrown them into disarray for their own personal gain. Peace is the mission, and the fate of the world depends on its success.
The two time Grammy award winning DJ and producer Diplo (aka Wesley Pentz) has had an unprecedented career that’s taken him from the outer fringes of club culture to the top of pop’s A-list. He first drew the attention of forward-looking listeners in the mid-aughts through zeitgeist-smashing DJ sets that defied the borders of geography and genre, as well as the Piracy Funds Terrorism Vol. 1 mixtape he created with M.I.A. His commercial breakthrough came with her 2007 hit “Paper Planes,” which reached number 4 on the Billboard Hot 100 and was nominated for a Grammy for Record of the Year. Since then he’s split his time between working with pop stars (Beyonce, Usher, Snoop Dogg, No Doubt, Lil Wayne, Justin Bieber, Iggy Azalea, Britney Spears, Chris Brown, and Madonna among them) and carving out a niche as one of the leading figures inEDM culture, in the process racking up over 13 million track sales (and 12 million Spotify streams a month) as both a producer and an artist. One of the world’s most sought-after DJs, he’s also a world-class tastemaker who’s appeared on the covers of Fast Company and Billboard and lent his creative talents to brands like Alexander Wang and Blackberry. His label Mad Decent has spawned a roster of cutting-edge dance music acts, as well as a 22-city annual touring festival, its own themed cruise, & new to 2017; a beach party that will be held over 4 days in Mexico.
Currently made up of Diplo and fellow DJ/producers Jillionaire and Walshy Fire, Major Lazer’s latest album, Peace is the Mission, was released in June 2015 to widespread critical acclaim. Lead single “Lean On,” featuring DJ Snake and Mø, took the world by storm, becoming the most successful independently released song of all time after peaking at #1 on the Top 40 chart, becoming the most streamed song on Spotify of all time with more than 673 million streams to date, is currently the #1 most played track on Soundcloud, and became one of only a handful of videos to reach 1 billion views on YouTube. “Lean On” is certified ten times platinum in the Netherlads, eight times Platinum in Sweden, five times Platinum in Norway, four times Platinum in Australia and New Zealand, three times Platinum in Italy and Spain, two times Platinum in the U.S., Switzerland & U.K., Belgium, Finland, and Brazil, and Platinum in Germany. Major Lazer was the most-Shazamed artist of 2015 and is the third most-streamed artist on Soundcloud of all time. Peace is the Mission debuted at #1 on he Billboard Dance/Electronic albums chart and has spawned further hits including “Light It Up” featuring Nyla and Fuse ODG and “Powerful” with Ellie Goulding and Tarrus Reilly.
Launched in 2008 alongside his fellow “Paper Planes” producer Switch, Major Lazer is Diplo’s outlet for his lifelong love of Jamaican dancehall music. Their wildly popular 2009 single “Pon de Floor” is an EDM touchstone that singlehandedly reshaped the sound of contemporary dance music, and provided the foundation for Beyonce’s chart-topping single “Run the World.” Over the course of two albums and three EPs they’ve not only collaborated with the likes of Bruno Mars, Pharrell Williams, and Ezra Koenig of Vampire Weekend, but have earned the respect of venerated Jamaican dancehall artists like Busy Signal, Vybz Kartel, and Elephant Man, all of whom have graced their tracks. They’ve also become fixtures on the festival circuit, headlining Coachella, Glastonbury, Ultra Music Festival, Bonnaroo, Lollapalooza, and the Reading and Leeds Festivals. The group’s cartoon series based on the character Major Lazer debuted last year on Fox and Diplo’s BBC Radio show “Diplo and Friends” continues to enjoy success.
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.
Known for impressing crowds across the world with his peaktime dancefloor tunes, metrik has captured the imagination of many fans and will undoubtedly continue to do so in the coming years.
With diverse tastes ranging from Eric Prydz to Björk, Depeche Mode to The Prodigy, Metrik’s love of music doesn’t stop there. An avid fan of synthwave, film and dance music across the board, his influences culminate in a vidid world of cinematic themes, emotive melodies and atmosphere combined with modern, high-energy production values.
Metrik’s first big break came in 2008, when he debuted “Your World” which became an overnight liquid drum & bass anthem. He was further catapulted into the spotlight when his track “Technicolour” was used as the sound bed for Barack Obama’s victory speech on BBC Radio 1. Following this came a slew of singles and EPs with notable releases including the sci-fi inspired “Between Worlds EP” and the smash hit “Freefall”. He signed exclusively to Hospital Records in Autumn 2012.
2013 was a non-stop year for Metrik with worldwide tours and the release of his self-titled debut EP. This went on to be heavily supported by key players of the scene including Sub Focus, Mistajam and High Contrast. This success led to being invited to do the prestigious BBC Radio 1 Essential Mix and taking on a residency at BBC Radio 1Xtra.
In 2014 Metrik hit us with acclaimed drum & bass anthem, “Want My Love” perfectly combining Elisabeth Troy’s vocals with razor sharp production. Later in the year he released his debut album “Universal Language” culminating in performances at key events across the globe including Glastonbury, Global Gathering and Hospitality Brixton Academy. Garnering the support of many A-list and radio DJ's aswell as entering the UK album and singles charts, the LP solidified Metrik as one of the top-tier artists in drum & bass.
The following year got off to an explosive start headlining a Hospitality tour of USA & Canada and flying the flag for drum & bass at some of the largest festivals in the world including EDC, Pukkelpop and Let It Roll. It is this hard-working ethic that has established him as one of the most in-demand DJ’s in the scene.
Metrik has forged a reputation as a prolific remixer having been called upon by Eric Prydz, DJ Fresh, Ellie Goulding, Gorgon City, Sub Focus, Swedish House Mafia and Enter Shikari to give his midas touch to some of their biggest tracks.
And there’s no stopping him, Metrik rang in 2016 with a fire-breathing addition and stand-out track of the “Hospitality 2016” compilation, “Terminus”. With his sophomore album well on it's way, it’s shaping up to be another exciting chapter for the London-based producer.
Born and raised in Boston, Michael Christmas began his career as a rapper in his early teens and went on to release his debut mixtape, Is This Art?, at age 19 in February 2014. Christmas spent the remainder of 2014 making waves locally and throughout the northeast, eventually leading to a supporting slot on Logic’s 40-date ‘The Under Pressure Tour’ in early 2015. Having temporarily relocated to Los Angeles just prior to the tour, Christmas continued his music-making process on the West Coast and has since been preparing for the upcoming release of his sophomore project, What A Weird Day, due out October 23.
MK is responsible for creating some of the defining sounds and biggest tracks of early house. He has worked with the biggest international artists from Snoop Dogg and Jay-Z to Rihanna and Beyonce, but has also retained near unprecedented levels of credibility within the underground dance music scene, with records such as ‘Burning’, ‘4 You’ or ‘Push The Feeling On’ remaining staples in the wallets and boxes of house DJs the world over. Through his timeless productions, MK has influenced a new generation of producer, with the result that his sound is more relevant today than it ever has been.
Revered producer, remixer and DJ, MK’s storied background is one of long-term creative development. His roots are pure Detroit, but his early cues come from electronic leaning UK bands like Depeche Mode, New Order and The Cure. If you dig a little deeper, you will find that MK’s own musical path is a series seamless transitions from house to techno and hip-hop to R&B, with a complete turnaround back to house in the last six years. Currently, MK is finalizing his long awaited artist album. The project includes collaborations with vocalists Becky Hill, Milly Pye, Anabel Englund, and a host of other friends and collaborators yet to be revealed.
With his sights set on the imminent album release, MK recently re-launched his iconic label and event brand Area10. He is currently on tour this summer with his Area10 Warm Up Sessions, including live stages at Creamfields, We Are FSTVL, dates at Together at Amnesia, V Festivals, Parklife as well as an Area10 takeover at Pacha Ibiza this summer.
Sometimes house party hangs can be a perfect meet-up point for creative minds to click; and even though Samir and Diego, a duo behind Moksi, is a perfect example of it, the success didn't come until they actually focused on working as a team numerous years later. Moksi's music is a kaleidoscope of screaming leads and bass face perfect-subwoofer loving drops. Even though lately they've been musically inspired by 00's Fidget sound, for those guys influence starts with the 90's UK garage classics, dubstep and all that goes with it.
Moksi's first mutual work, a 45 second snippet Getting Higher, later on elaborated into track, was noticed by Yellow Claw. Soon after that Moksi were making a debut EP Brace Yourself on Barong Family, where they were provided with absolute creative freedom. The two guys gathered in the studio to experiment a few melodies with no high expectations and have a little fun. Seems like je ne sais quoi attitude turned into something huge. Not only Brace Yourself EP lit social media platforms, was teased on YC's MIX 8, but got massive live show exposure from high rollers in the game. Moksi are also those lucky ones or maybe even the only ones who can say that their first DJ gig was at Tomorrowland. Guided by the Barong Family professionals, Moksi went back to the studio to branch out and embrace their creativity, which after only a month resulted into a sophomore EP "The Power of Moksi", which is a 4 track set infused with incredibly hard hitting drops, has already gained a lot of support by the heavyweights of the scene. Followed up to both of the EPs and the third one on the way this spring, their remix history includes YC's Till It Hurts, No Class, OWSLA's biggest dance record of 2015 Deep Down Low, DJ Snake's Propaganda, a track of Blood For Mercy album, and counting.
What does 2016 have in store for Moksi? Lots of touring and exposure. With a pocket filled with new tracks, the duo has already jumped into touring mode around the globe, as well as occasionally supporting Yellow Claw on their BFM tour. They will also be playing 3 shows during Miami Music Week, including the very first Barong Family label night in the U.S.
Morpei started his music career as the lead singer and composer from the successful Bolivian band Day XXI. In 2011 the band separated and Morpei started listening to underground electronic music. In the short time of two years he started producing his own music and by the age of 16 Morpei had around 8 signed songs in medium size labels going by the name of “Agustin Morpei”. By the age of 17 he opened the first Bolivian electronic music label called Wireless Music Records, selling music through online stores such as iTunes, Beatport, Juno Downloads and many more.
These achievements led Morpei to a very rapid growth within the Bolivian electronic music scene. By the age of 18 he had already toured around the country opening for huge acts like Steve Aoki, David Guetta, Bob Sincalir, Ibiza Open, Crossfest and many more.
After conquering the Bolivian music scene Morpei moved to The United States to peruse a bigger dream and properly study the art of music production. By 2015 the name Agustin Morpei was changed to Morpei only. He signed 6 EP’s with major European and South American labels, such as Simma Black, Lapsus Music, Audio Rehab, Sleazy G and many more.
Within the term of one year, this success led Morpei to perform in major venues and festivals in the United States such as BackWoods and Mystik Sanctuary and his story continues…
MSCLS is the creation of Austin, Texas native Josh Vela and has become his most coveted musical project to date. While presenting his talents via house and techno undertones, MSCLS background in low-end bass theory is sublimely utilized throughout his productions with traces of hard electro as well.
“House music is at the forefront of my musical tastes; it’s the reason I got into electronic music in the first place so it feels natural to pursue what inspired me?”
MSCLS eclectic collection of originals and remixes has received support and set list features from the likes of Diplo, AC Slater, Treasure Fingers, Neotric, JAUZ, JackLNDN, Go Freek, Vanilla Ace, 12th Planet, Astronomar, Wuki, CRNKN, and Zeds Dead, and will continue to expand as new music is released.
Audiences have taken notice to MSCLS bringing originality to every live performance with bookings at 2015 official SXSW Showcases (including the Beatport event), EDC Las Vegas, Lights All Night, Euphoria Music Festival along with shows across the west coast as far as Hawaii. MSCLS even has a weekly residency in his hometown with crunkstep originator Crizzly. Balancing show opportunities and an aggressive release schedule is only enhancing MSCLS future development as his talents grow throughout 2015.
With three releases already under their belts for Black Butter and MTA Records, Tommy and Jammo have built on their tastemaker status to produce remixes for the likes of UK No.1 “La La La” by Naughty Boy, “Right Here” by Rudimental, and “Mozart’s House” by Clean Bandit.
With Jammo originally hailing from High Wycombe and Tommy from Kent, the duo combined to form My Nu Leng when they moved to Bristol, taking influences from the spectrum of underground UK sounds with them – Drum and bass, Dubstep, UK garage and Grime all find outlets in their music. My Nu Leng are similarly known for their blistering sets and dark, smouldering vibe, heavy on the mood but always compulsively danceable.
From their adopted home of Bristol – where early Reggae, Drum and Bass and Dubstep pioneers all the way to Massive Attack and Portishead informed their cultural history, both understood the heritage and importance of bass music in the city. Since then My Nu Leng have toured pretty much all over the world: the United States, Australia, New Zealand and Asia, all showing love and emphasising the realisation of how far they’ve come from their first singles to their most recent EP ‘Horizons’ getting heavy radio support on BBC 1Xtra and BBC Radio 1.
With new music on the way and a packed diary of live tour dates, these are exciting times for My Nu Leng, proving they’re equally at home on underground tracks and Official Number One records. A tricky ask, Tommy and Jammo – just like their meteoric career so far – have made it look easy.
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.
Paper Diamond is a one of a kind artist who brings his own unique music to the table, a sound unparalleled to anything else around today. The Paper Diamond sound has raw energy and the kind of dramatic anticipation only a seasoned producer can incite. His signature style combines memorable melodies, space-age synthesizers, catchy vocals, chops, glitches, and serious experimentation to create a rich listening experience. His music can’t really be categorized or labeled -- he produces high-energy electronic music that sticks to no genre and strives to broaden the listener’s musical spectrum. As The Huffington Post says “Paper Diamond's sound has the capacity to make a packed dancefloor vibe as one."
When his debut mix for BBC Radio 1's Diplo and Friends aired, Diplo mentioned that "every festival in the world is not complete without booking Paper Diamond." Paper Diamond latest singles and original productions include “Black Rose” and “WYLIN” which received 250,000 plays within one week and was trending as the number one track nationwide on Soundcloud.
Paperwater is the byproduct of two talented aspiring artists with a shared passion. Comprised of longtime friends and fellow producers Eddy Samy and Daygee Kwia, the outfit has a history steeped in music.
The son of a known painter, Eddy was exposed to the creative process at a young age and would often play music while his mother painted. His passion for music evolved into a passion for DJing in high school, where he met Daygee. A master at reading crowds and building memorable sets, Eddy has toured internationally.
Daygee’s youth followed a similar path, with emphasis on the production side. A classically trained pianist, he spent several years as a member of Afterthesmoke during which he honed his production skill set. He has received recognition from Vice Magazine, Warner Bros. and Forbes Magazine for his work.
Together, their combined skills of production and performance have made the duo a force to be reckoned with in the musical community. They’ve released work through Dim Mak and Warner Bros. Records. But the journey doesn’t end there – Paperwater aspires to leave its mark on the world through what they consider to be their primary motivation and responsibility to others: creating and sharing music that pushes the envelope and challenges people’s notions of how certain genres should or shouldn’t sound.
To Eddy and Daygee, music does not belong in a box, neatly labeled and filed away under the appropriate Beatport genre tab. To Paperwater, music is universal and constantly evolving. Like them, it should be allowed to test limits and change perspectives.
Throughout life’s journey we often encounter feelings, emotions, or circumstances that cannot be described in words. This is the goal that Pham, born Dawid Phan Ngoc, is looking to achieve when creating music.
Born and raised in Nysa, Poland, Pham began experimenting with music production at the age of 16, watching Youtube tutorials and countless hours of trial and error on FL Studio. Despite no formal music training, Pham’s love of the arts can be traced back to his interests in drawing and dancing, which have helped craft his vibe and sound today. With influences ranging from J Dilla, Flume, Flying Lotus, and DeadMau5, Pham began producing songs with strong melodic harmonies and compositions, hoping to create a supernatural experience through his music.
Not to be boxed in to any genre, Pham’s musical style is meant to be a fusion of various elements, combining electronic, hip-hop, down-tempo, and future bass into the beautiful meld featured on the MOVEMENTS EP. The lead single “Movements”, has already amassed over 13 Million streams on Spotify and over 18 Million streams on Soundcloud. The MOVEMENTS EP features collaborations with various rappers and singers, and climbed to #6 on the Electronic Charts (iTunes).
PHANTOGRAM is the duo comprised of Josh Carter and Sarah Barthel of Saratoga Springs, NY. Their music is a mix of hazy dream pop, dark atmospheres, and head-knocking rhythms melded into a compelling, original sound.
Born and bred in Miami, Florida, Kevin Pouya certainly does not look the part of your everyday rapper; but little be known, is he not just some wannabe who spends his time passing out his totally lit, extremely fire mix tape outside of McDonalds. Since discovering his artistic capabilities at the adolescent age of 17, Pouya has divulged four mix tapes as well as his debut full-length album Underground Underdog, which was released late April 2016 and reached #2 on the iTunes Top Hip Hop Albums chart sitting right behind Drake. Pouya's UU brings forth an intricately crafted, malleable voice that will span multiple musical territories over the years to come. Following an immensely successful spring tour, Pouya was accompanied alongside $Uicideboy$, not to mention he dropped a new EP for free download entitled South Side Suicide.
Over the course of this past year, Pouya has been hard at work bangin' out fresh beats and collaborating with artists like Getter, Fat Nick, Ying Yang Twins, and many more. His age may appear deceiving, but this kid spits straight 90s hip-hop and Memphis fire, ruling the reigning mayhem that Pouya is just getting started. Amidst Pouya's multi-faceted rap skills, he is one of those artists who completely let's his personality shine through, solidifying any Pouya show as a divergence from an atypical hip-hop/rap show. From here on now out, get ready to hear a lot more of brand new Pouya as the Miami-native preps to take the country by storm. Pouya is destined to be a defining catalyst in engineering a concrete path where hip-hop, rap, and electronic music can sustain their newfound ability to coexist in the world of ultramodern music - no matter which multifarious genre you come from.
Prismo aka Zach Burgett is a producer, DJ, singer, and songwriter from Houston, TX. Prismo started playing various instruments at a young age including the drums, bass, and guitar. He listened to and was influenced by a variety of bands like Primus, Radiohead, and Billy Talent. He was unsuccessful in his efforts to form a band of his own, so he learned to record and produce his own songs. Once he discovered electronic music acts such as Skrillex and Knife Party, he found his true passion. He began using his acquired production skills to produce electronic music, and hasn't looked back. Prismo has released music on stellar independent dance music labels such as Dim Mak, Firepower, Monstercat, Buygore and more. He’s made a name for himself as a very versatile artist with releases ranging from heavy bass music to softer, more melodic productions featuring his own original vocals. With the success of hit tracks such as “Senses”, “Escape”, & “TRVP HVNDS”, this 19 year old artist is making some serious waves.
QUIX hailing all the way from New Zealand, has been tearing up the minimal trap space for a while now, shaking new ground with his signature wonky sound design.
Coming off of a massive 40-date North American Spring 2017 tour, QUIX has released his debut EP, Heaps Cool on Dim Mak. The six records push the boundaries of pop and trap showing QUIX's diverse range of skills and talent. “Four Letter Lie” and “Riot Call" show his ability to merge and manipulate genres while staying true to all things QUIX.
He has quickly gained the support from top tier DJs including Skrillex, RL Grime, Major Lazer, and What So Not and has released on labels including as Dim Mak, Mad Decent, Fool’s Gold, and Nest.
With a whole stack of original and up and coming collaborations with Gucci Mane, Baauer, and Alison Wonderland, definitely keep an eye out for this kiwi producer as he continues to wreak havoc on the trap scene.
Tupelo, Mississippi. It’s the home of Elvis Presley, but even for those clued in on that fun fact, it’s safe to say that few, if any, know much more about the city. Nestled in the northeast corner of the Magnolia State, and with a population of just over 35,000, indeed, Tupelo, like most small metropolises, is easy to overlook. Rae Sremmurd - pronounced "Ray-Shrim-er," consisting of real life brothers Slim Jxmmi and Swae Lee, the first act signed to multi-platinum producer Mike WiLL Made-It’s Ear Drummer Records - is out to change that.
Slim Jxmmi and Swae Lee were born in California, but moved to Tupelo at an early age, where they were raised in the notorious Ida Street housing projects, some of the worst, most crime-ridden in the state. Making matters worse, Sremmurd’s parents split while the brothers were still young, a devastating turn of events that found the brothers, over multiple stretches, seeking shelter in abandoned homes scattered throughout the area. For a city with little history outside of its musical heritage, and in a state where two young kids short on role models could look up to the growing star power of in-state hero David Banner, music, from a young age, became a way for Jxmmi and Lee to escape the desperation of their surroundings. “When we were growing up, it was just about perseverance,” says Slim Jxmmi, before flipping a quote made famous by Stark Trek character Richard Wakinyan. “Regardless of the situation, we couldn’t let the haters win.”
The movement started locally, with the brothers throwing parties and shows around town, often in the same abandoned buildings where they once stayed. The pair always had larger ambitions, though, and so the brothers, natural performers since elementary school, taught themselves how to record, make beats, and DJ, building enough buzz to earn an appearance on the popular “Wild Out Wednesdays” segment during BET’s music video countdown show, 106th & Park. Back home, Lee and Jxmmi earned the attention of fellow Tupelo native P-Nazty, who also happens to be a producer signed to super producer Mike WiLL Made-It’s Eardrummers Entertainment production team. P-Nazty introduced Rae Sremmurd to Mike WiLL, and the multi-platinum producer (Rihanna, Jay Z, Kanye West, 2 Chainz, Future, Juicy J) was instantly impressed by the brothers’ energy and the quality of their music, signing the duo to his label, Ear Drummer Records. “When I met them,” recalls WiLL, “they just had a real young dope energy about them. So me and the Ear Drummer team locked in the studio like we normally do, had a lot of fun, and cooked up some amazing music. This is just the beginning of our working relationship, and they’ve got a bright future. I believe in them."
Rae Sremmurd’s first single under the Ear Drummer Records, “No Flex Zone,” was a breakout for the duo, becoming a cultural touchstone throughout 2014 and entering Billboard’s Hot 100 and Top 40, peaking at number 36, while earning the brothers a performance on the 2014 BET Hip-Hop Awards, along with a remix from Nicki Minaj and Pusha T, and co-signs from the likes of Kim Kardashian, Justin Timberlake, Juicy J, and plenty more. The follow-up, “No Type,” has proved even bigger, peaking at number 16 on Billboard’s Top 40 charts and earning the duo their first late night appearance, with a performance (a medley of “No Flex Zone” and “No Type”) on The Tonight Show. To start 2015, Rae Sremmurd released their highly anticipated first album, SremmLife, with a top 5 debut on the Billboard Top 200 and a number 1 debut on Billboard Hip-Hop, and have since had "Throw Sum Mo," featuring Nicki Minaj & Young Thug, emerge as their third consecutive single to break into the top 10 at urban radio and second consecutive single, following “No Type,” to peak at #1. With each new success, Swae Lee and Slim Jxmmi have managed to keep a level head, focused simply on showing the world what two young brothers from Tupelo can achieve. “It’s the energy, that’s what #SremmLife is all about” says Swae Lee. “We bringing the fun back to music!”
Redlight is a British DJ and Dance Music Producer brought up around 90’s warehouse rave culture in Bristol. His music has spanned over a decade, having spent 12 years grafting on the underground, popping up for air in 2012 with a couple of Top 10 UK hits in the national charts. He’s since then released his debut solo album entitled 'X Colour' and mixtape 'Templates Volume 1' Summer 2016, which is the first in a series of mixtape's that is all about club music. He has collaborated with artists such as Mobb Deep, Raekwon (Wu-Tang Clan), remixed acts including Mary J Blige and Tink, defining genres, remaining one of the UK’s most consistent and exciting producers of recent years. “I’ve just aimed to be true to myself and make the most if it. Creating music, art and friendships has been central to everything – for me it’s always been about street culture, independence and productivity.” His label ‘Lobster Boy’ embraces a love for House, Techno, Hip Hop and vocal-lead dance music, whilst channelling the knowledge and inspiration from Jungle, DnB and bass music. It is a whole new genre-free ‘cross-cultured dance music’ label.
Sage Armstrong began making waves in the house music scene with his debut Dirtybird release, ‘What’s Yo Tempetcha?’. Grown in the south, he has been influenced by a multitude of different genres that continue to inspire his creative flow in the studio and on stage. He has created his own style by adding unique elements that give off a vibe of bouncy underground beats with original vocals. Sage continues making music with no creative boundaries after receiving support from some of his favorite Dirtybird artists like Justin Martin and the boss man himself, Claude VonStroke. With an exciting release schedule and show dates piling up, the future is looking bright for this rising star.
Producer Seven Lions has never had a problem breaking rules and transcending musical boundaries to satisfy his creative vision. Catching his break after winning a Beatport remix contest in 2012 with his dubstep focused version ofAbove & Beyond's 'You Got to Go', Seven Lions, born Jeff Montalvo, garnered early support from the likes of Skrillex and his OWSLA label. 2013 tour dates with Porter Robinson and Krewella pushed Montalvo and his genre-bending production style to the forefront of the modern electronic music scene.
Putting sheer technical production prowess to work in soulful, deep, hybridized creations all distinctly his own, the multi-talented musician is single-handedly changing the sonic landscape for future generations to come by bridging the gap between the soaring, ethereal vibe of trance and intensely adrenalizing bass music. His productions have seen stages at world-renowned festivals such as Ultra Music Festival, Electric Daisy Carnival (New York and Las Vegas), Electric Forest, Electric Zoo, South by Southwest, and HARD.
After several successful releases under the OWSLA label (his debut EP, 'Days to Come', reached #2 on the iTunes Dance charts), Montalvo released his highly anticipated 2014 follow-up EP, 'Worlds Apart', on Republic Records' dance imprintCasablanca. Containing several notable features which include Ellie Goulding and Tove Lo, Worlds Apart debuted at #1 on the iTunes Dance Charts, and the title track was also featured in Billboard's 'Top 10 Electronic / Dance Songs of 2014' list. Even with the release of his fan-controversial single, 'Lucy', Seven Lions continues to receive high praise from notable EDM publications glorifying his itch to avoid creative stagnation. According to Billboard, Montalvo"continues to champion [dubstep's] melodic potential" andDancing Astronaut, while acknowledging that 'Lucy' was a significant departure from his previous sound, praised the track as "a potent crossover track that is destined to go over well in trance and big room sets alike".
Seemingly not content to simply alter the soundscapes that people will associate with EDM, Seven Lions has also begun to rearrange the way tracks are released and grouped, forgoing the typical "track by track" scheme for a more thematic EP format. 2015's 'The Throes of Winter' hints at a larger seasonal theme, to be continued through to his future releases. When asked about the spark for this vision, he explains, "Since artists aren't releasing proper albums anymore, it makes sense to create something that's digitally artistic with real cohesion as opposed to tossing out singles and just haphazardly seeing what sticks... I wanted to start making the music more thematic, interesting, and part of something larger."
When he’s not controlling crowds in some of the biggest clubs across the globe, Sikdope spends his days in the studio coming up with new ways to revolutionize the scene. This Polish producer started at a young age. Attending one of the top music schools in Poland for more than 9 years has allowed Sikdope to become one of the most versatile producers in the game. From Bass, House to Trap, this DJ/Producer has helped pioneer the sound of electronic dance music today. Sikdope has gained support and recognition from the biggest names in the Industry: Afrojack, Blasterjaxx, Borgore, Carnage, Calvin Harris, Chainsmokers, David Guetta, Dillon Francis, DVBBS, Dimitri Vegas and Like Mike, DJ Snake, Laidback Luke, Nervo, Nicky Romero, R3HAB, Skrillex, Steve Aoki, Tiesto to name a few. Sikdope will be coming to a town near you!
DJ, Producer, Remixer, label boss... For a decade now Graeme ‘Sinden’ has stealthily established himself as one of the leaders of dance music as we know it. Well documented and support collaborations with an array of scene leaders demonstrate the level at which he operates at.
The past few years have seen a busy release schedule for Sinden, collaborative EPs & remixes with AC Slater on his Night Bass label, a 2 track EP with LO’99 for Tchami’s Confessions imprint alongside an album for leading Japanese house label Sushi Records are just a few of many highlights.
On the remix front his production touches are in high demand – his recent reworks for Cause & Affect, David Zowie, Bobby Brackins, Paces and Alison Wonderland to name a few are all still firmly on the USBs of the main DJ players.
Sinden has also partnered with some great brands in the last 12 months further showcasing those production tricks and DJ skills,topping a very busy year off by delivering a performance video for Serato which cemented his status as one of the Electronic Music scenes leading Serato artists.
A full Summer of Touring kicks off in May taking in all the Key US cities with highlights being – Middlelands, Electric Forest & EDC.
Sinden is also helming an exciting new project with Insomniac Records entitled 'House Line' which he has carefully curated and visualized. Taking inspiration from the spirit of no ego ‘music focused’ raves and the enterprising bass bent House and Garage music he pioneered, this compilation kickstarts a new and exciting chapter in an already colorful music career.
To the point now Sirus Hood is a French artist who grew up in Paris. From the age of 10 years old when older friends would pass him mixtapes recorded in underground clubs of the time, he imagined an amazing world, dark but with flashing colours. “In my head it was like a Disneyland I’d never been to but I wanted to get there.” He managed to start playing gigs in the Parisian warehouse scene making his own mixtapes. It was a childhood dream that has become a reality for him. “I was finding the Disneyland but the music was better!” He laughs! His music is influenced widely from classic New York House to the 80s’ Chicago Hip House movement from warehouse / loft parties to the whole Balearic sounds of Ibiza.
His biggest tracks on the likes of Dirtybird and CUFF are great examples of what he is about. House music through and through Sirus Hood emits an infectious energy of enjoyment on the dance floor. Never one to shy away from a show to a knowing crowd, his work ethic is second to none. DJ residencies in Sankeys Ibiza with CUFF for the seasons 2014 and 2015, various venues in London and Showcase in Paris gave him a platform and opened doors to wider audiences all around the globe. From Europe to Brazil, from Australia to South Africa, Russia to North America, passing by the middle east, his travel patterns underline his ability to work with different crowds and cultures while illustrating his cosmopolitan, universal side. To him - music is one language and unit.
When Sirus Hood isn’t on the road, he spends most of his time in his ‘laboratory’ like a scientist to his music! He satiates his hunger of knowledge through research of new sounds. He challenges himself on every new track with different recipes. In the end, his goal is to produce tracks that sound different from each other. After refusing to do social media when the project started, he insisted on building his audience purely through the music and word of mouth first. Once these foundations were built he opened his socials with an instantly huge response from the public. A testament to his following.
His work is regularly supported by big names in house music like Amine Edge & DANCE (CUFF), Claude VonStroke and Justin Martin (Dirtybird) who affiliated him to their respective labels. He frequently appears in the Beatport charts.
Though Derek and Scott have been perfecting their craft since 2010, Slander has entered the dance music scene with the feel of an overnight success story. Veteran DJs and skilled producers, Slander has crafted their own genre dubbed "Heaven Trap" with a devout following.
Despite their rapid rise, they are no stranger to the industry's top producers, including Skrillex, DJ Snake, Flosstradamus, Diplo, Bassnectar, Porter Robinson, RL Grime, Yellow Claw, Bro Safari, Snails, and Carnage. Their Nuclear Bonds EP was a stand-out release from Dance Music's top underground label, Mad Decent. After dozens of remixes, their first big vocal hit, a Heaven Trap original entitled "Love Again" featuring vocalist WAVZ, garnered over one million listens on Soundcloud.
With past performances at EDC Las Vegas, Nocturnal Wonderland, TomorrowWorld, Electric Zoo, EDC Orlando, EDC Mexico, Something Wicked, Sun City Music Festival, Contact Music Festival, Sunset Music Festival, Il Soniq, Moonrise, LifeInColor, and Global Dance at the historic Red Rocks Amphitheater primarily on the main stage, Slander has had the opportunity to show that their tracks are festival worthy. They've headlined every AAA venue in North America including LIV, Pacha, Create, The Mid, The Hoxton, Ruby Skye, Foundation, Elektricity and Beta. They did this all while holding down a monthly residency at the #1 nightclub in the United States, XS, whose other DJs include Megaclub juggernauts such as Avicii, Deadmau5, David Guetta, and Zedd. Besides the top clubs and festivals in the U.S. scene, they've headlined in Paris, Geneva, Milan, Athens, and other European cities, then hopped over the Pacific to hit up legendary Australian clubs such as Pacha, Oh Hello, and HQ. Undeniably the fastest growing act in dance music, they've lived up to all the early hype and then some. After spending 2015 playing almost exclusively on main stages at every festival in North America, don't expect to see them anywhere else for the rest of their career.
Snails is a Montreal-based producer and DJ who pushes a forward-thinking brand of dance music combining trap rhythms, dirty bass lines and off-kilter sound design. His first tracks appeared online in 2012 on Kannibalen Records. Since then he has amassed a burgeoning fanbase of snail-heads and bass- lovers. Recent releases like “Dirty Raxxx”, “RBBR” and “SLUGZ” blend hypnotic melodies, huge drops and mind-bending sample manipulation into a tight, dance- floor friendly package. Snails’ latest track “Wild”, co-produced with Antiserum and released on Skrillex’s Owsla Records, was one of the standout tracks at the 2014 edition of Ultra Music Festival. Having recently signed with Circle Talent, Snails looks primed to bring his unique take on dance music to the mainstream.
Space Jesus is the feeling you get when you travel through a wormhole in a fresh pair of Jordans. Currently residing in Boulder, CO, Jasha Tull was born in New Jersey and raised on hip hop. With his alarm set to NYC’s Hot 97 throughout elementary school, Jasha started making beats at a young age, and created Space Jesus as a vessel to express his personal experiences through music. With a focus on alien basslines, gangster beats, and future feels, the Spaceman imprints his signature sound onto each genre he graces. After building a reputation for his dynamic live performances, and with appearances at Tomorrowworld, Shambhala, Mysteryland, and beyond under his belt, Space Jesus continues to explore the auditory universe in search of lower frequencies.
Taiki Nulight, or Erka Chinbayer to his friends, has been DJing and Producing for many years in very different circles. Being influenced by UK Garage, House and Electronic Dance Music, he has created a trademark sound which is truly his own.
With love across the board from key radio tastemakers, such as Pete Tong, Annie Mac and Mistajam at BBC Radio 1, Taiki Nulight is renowned for his unique melting pot of UK dancefloor influences; circling around Bass, Garage and House, but stamped with a sound that is instantly recognisable as his own.
The past 24 months have seen Taiki collaborate with scene heavy weights such as My Nu Leng, AC Slater, Chris Lorenzo, Cause & Affect and Low Steppa to devastating effect. As one of the most in demand remixers in his scene from both major labels and indie’s alike, Taiki has remixed the likes of Netsky, Zeds Dead, Destructo, Shift K3Y and Keys N Krates but to name a few.
As one who is always on the road, Taiki has taken his trademark sound far and wide, having played across the globe. Just a handle full of highlights have been performances at BoomTown (UK), Electric Forrest (USA), Forbidden Wonderland (USA), Pacha (Ibiza) as well as tours in Australia, Japan and a continually busy diary across Europe playing at iconic clubs such as Fabric and Ministry of Sound.
Taiki Nulight is one man on a mission to push his hybrid U bass sound to a global audience. If you don’t know, get to know!
Picking up instruments at an early age, Tim Gunter always had an ear for music. Learning to play the piano by ear, and getting his first drum set when he was just 10 years old, he began writing and recording music by age 12. An early knack for beats got him interested in music production, and by his senior year in high school he began making beats from home. After a successful few years producing music in the duo Eddy B & Tim Gunter, he has branched out into a solo career that already has an impressive start. Entering the world of DJing he won Red Bull's Thre3style U competition in January 2013 leading him to DJ in clubs and venues all over the country. In August 2013 he was ranked #6 on Billboard's Next Big Sound chart, which statistically predicts future success based on social music buzz. At just 23 years old, he has already become a prominent producer in both the hip-hop and EDM realms.
He has performed with the likes of A-Trak, The Knocks, Bingo Players, Three Six Mafia, KDrew, Girl Talk, MAKJ, Eva Shaw, Bassjackers, Crizzly, gLAdiator, Ookay, Riff Raff, Cash Cash, TJ Mizell, The White Panda and many 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.
One of South East London’s most closely guarded secrets has recently emerged from the shadows and is set to take the music industry by storm. Known only as TroyBoi, this multitalented musician recently signed to Timbaland’s right-hand man and US super producer, Jim Beanz, things are heating up faster than ever! Producing a wide variety of genres but specializing in extraordinarily unique, versatile, and highly musical trap beats, TroyBoi is without a doubt one of the top up-and-coming producers in the game right now, and it’s quite clear from his composition that his influences are vast indeed. He is also one half of the producer/DJ duo SoundSnobz with one of his best friends, icekream, and together they craft the most creative and daring audio paintings you’ll ever listen to. Buckle up and get ready to be taken into the world of TroyBoi, because once you are in, you will never want to get out.
Well known as one of Texas & Las Vegas's female leading DJs. As a Moombahton Dancehall artist, ViciouzViv has stood out primarily because of her distinct mid tempo sound & has done official mixes for Mad Decent, Generation Bass & Moomba+ Radio. She has been featured on many blogs as one of the most promising female artists in the EDM scene. Playing virtually everything from Moombahton, Dance Hall, Hip Hop, Trap, & Electro House in her dynamic sets, Viciouz Viv has gained a significant following & is now available for bookings.
WAVEDASH is three kids from Austin, TX who are making heavy bass music at the caliber of artists twice their age. The group is made up of members Gavin Bendt (17), Luke Shippey (18), and Michael Stone (18). With multiple premieres on Nest HQ, and a release on OWSLA’s 2016 Winter Compilation, this group of young teens have a bright future ahead of them. Taking influence from artists such as Skrillex, Zomboy, and Porter Robinson, WAVEDASH has only begun to make their mark on the music industry.
What So Not has been spearheading Australia’s latest electronica revival with boundary-pushing bass since 2011. Hailing from Sydney, What So Not dominated the city’s club circuit with his dancefloor-ready heaters, including a window-shattering remix of Major Lazer’s ‘Get Free’, which became omnipresent at festivals around the world, since then, What So Not been streamed 100’s of millions of times, releasing records through Sweat It Out and Skrillex’s OWSLA.
The Australian-gone-global star has now appeared on the world’s grandest stages & was given a hero’s welcome when he returned Down Under with A-Trak for his biggest headline shows to date and for a legendary performance at Splendour In The Grass. He then stormed the stage at Splendour In The Grass, with his set featuring surprise appearances from George Maple and Tkay Maidza. All three parties also collaborated alongside Baauer on the gritty banger ‘Ghost’.
Recently, What So Not also remixed fellow Australian breakthrough stars RÜFÜS on ‘Innerbloom’, resulting in a tastefully heavy reinterpretation of the nonchalant house track that has been described as “a masterpiece of a masterpiece”. His latest original single ‘Buried’ displays similar maturity and sonic restraint, again featuring George Maple as well as Atlanta rapper Rome Fortune. Arriving with a cinematic video premiered by international tastemakers Pitchfork, the ambitious track is indicative of the great strides that What So Not has taken in his young career.
‘Buried’ is just a taste of his upcoming Divide & Conquer EP, a culmination of knowledge and collection of sounds gained throughout his travels. The release sees What So Not further discarding genres while employing a consistent narrative, resulting in his most thematic work to date. Divide & Conquer will be displayed with full force in the live arena, with What So Not touring the project throughout the United States on a colossal tour across September and October. He will then travel to Australia and welcome in the new year.
Similar to many artists Will Clarke’s sonic palette comes his experiences and influences from home and afar. The roots of his sound stem from both his home town of Bristol, and his seasonal home in Ibiza, which have forged Will’s style; a style that fuses the best of Bristol’s bass elements with the upfront house music sensibilities of the white isle.
Having started on his path of 4/4 discovery at a young age Will’s early career defining moment was gaining a residency at Kanya in Ibiza, where he was able to hone his skills day and night in front of the Ibiza crowd, and his DJ peers, gaining fanbase and respect along the way. Will explains “Playing in Ibiza felt natural straight away. I get on and work well there, it fits, it’s my second home.”
Cutting into the DJ circuit is no mean feat, but the cream rises to the top, so whilst Will is busy DJing at an ever growing list of clubs he’s also getting prestigious gigs at clubs like Space and MOS. Along side these gigs Will has also be building his own club brand Cut a Rug. Holding regular parties at Motion in Bristol Cut A Rug have hosted the likes of Visionquest, Carl Cox, Boys Noize, Zombie Disco Squad and Hauswerks, with whom Will has been able to support on the decks, a job which is natural to him. Outside of the UK Will has been booked for his debut Australian tour towards the end of the summer. Along with trips back and fourth to NYC and not forgetting Ibiza during this summer.
Yet whilst DJing and promotion have been building well for Will, his real strengths lie in the studio. Having been committed to his studio for many years he also undertook a music production course that have seen him made rapid progress in a short time with releases on labels such as Anabatic, Exploited, Southern Fried, No Brainer along with the launch of his new label Cut A Rug. Some of Will’s recent releases has had support from the likes of Jamie Jones, Mista Jam, Hannah Wants with plays on Radio 1 and Radio 1 Xtra.
Talking of his approach to productions Will says “I make music for clobbers, not DJs. I sample a lot of old school rave tracks from the 90s, with 21st Century production techniques.” Then add those little influences from Bristol and Ibiza and you will understand why Will’s music holds such a broad appeal and is often supported by fellow DJ’s such as Justin Martin, Seth Troxler, Ardlander, J.Philip, Worthy, T.Williams, Waifs & Strays, Pezzner and Miguel Migs.
Will Clarke is a talented, skilled, young producer who is making strides in the dance music business with his own sound and now his own label / events. He has an impressive list of quality productions and remixes that is growing month by month and a great track record at his residencies and guest gigs. You know you can trust him to come up with the goods.
Wingtip is the moniker of rising Brooklyn (via San Francisco) producer Nick Perloff-Giles. Perloff-Giles introduced the new disco project in 2015 with early fan favorites including "Wonder" and "Keep You Warm." Following a steady stream of releases throughout 2016, he released his most critically acclaimed track to date "Rewind" via Billboard while amassing over seven million streams on the song over its first two months. With strong releases and a growing tour schedule, Wingtip has quickly become an artist to watch in 2017, with Neon Gold crowning Wingtip as "the logical heir apparent to The Knocks' New York disco throne."
Zander took the world by storm when he moved to Venice Beach to unleash his music to the masses. This Santa Barbara native can now be found rinsing out bangers at Burning Man or walking his French Bulldog, Benny Waffles, on Abbot Kinney. A legend in the making, Zander has been extensively touring the world as 'Traveler' and promoting his blend of Psychedelic Vapor Wave ™.
Music is Faceless.
Let my music tell my story.