United States

Desna

COYU [Suara] with DESNA / Jay Roman

Analog Brooklyn

 artists to watch in 2019, DESNA has only continued to make an imprint on the world of techno. She first broke onto the scene in 2017 with a massive residency at the former Output club in Brooklyn, NY. Her unique brand of techno brings a fresh perspective to the genre, never becoming repetitive while also maintaining her futuristic industrial style. 



Every year, as the dance music community looks through DJ Mag’s Top 100 list, it’s never a surprise to see David Guetta at the top. Shoutout to his family. The whole industry relishes poking fun at the list, will the full understanding that we should take it with a grain of salt. But are these lists actually necessary to begin with?

Inspired by Twitter user TokenOfTheMonth, who posts pie charts breaking down the diversity (or lack of) of major festival lineups, I took the liberty of tallying up the racial demographics of this year’s list. Excluding the four anonymous artists (those whose identities are withheld from public knowledge), the racial breakdown is the following:

The “alternative” list, DJMag explains, is “a sister poll that uses Top 100 DJs voting data alongside insights from Beatport to recognize the achievements of DJs from genres recently underrepresented in the main poll including house, techno and drum & bass." It was started in 2018 as EDM artists began to dominate the once prestigious list of dance music’s best selectors. Yet after a year of civil unrest due to racial injustice, is this the alternative we really need?

In 2020 the industry promised to do better. Is this the response we need to each year’s practically unchanging white-washed list? Dance music is made up of so many uncharted territories. Full of diverse artists that don't get nearly the recognition they deserve. These lists could be a way to give a elevate musicians from all over the globe who have pioneered different genres as well as continue to innovate, expand, and trailblaze all facets of the scene.

This isn’t to say that those in either list don’t deserve the hype. They get millions of streams for a reason. But if the point of the alternative list is to acknowledge how male and white-dominated the industry is, why not utilize these high-traffic pages as a vehicle to dive deep into what makes dance music unique—jam-packed with heterogeneity and ingenuity—and push the scene forward?

DJ Mag is also one of the most powerful publications in dance music. One can argue that it does give agency to the people through voting. But when these superlative lists are created—with the knowledge that the industry is broken—the initiative should be taken to make a change that’s more inclusive.

Earlier this year, the GRAMMYs announced that it’ll be the first major award show to implement an inclusion rider. Similarly, the Recording Academy determines the nominations through peer-to-peer voting.

We can scream and shout about dance music being a scene created by Black, Latino, and Queer pioneers all we want, but if we don’t see some actual equity initiatives soon, it’ll just be words with no action.





Do We Need An Alternative Top 100 DJs List? 

DESNA is an amalgamation of storied influences. From her breakbeat roots in Tampa, Florida, to the gritty underground house and techno scene of New York. She's found a way to marry her influences cohesively into something that unifies the raw grit of Brooklyn with the precision and 

Berghain

Berghain's story begins long before opening its doors in 2004. Understanding its deep ties with Berlin's unique history is perhaps the key to understanding the reverence that the club itself inspires. 

The fall of the Berlin Wall in 1989 gave birth to a quasi-anarchic society. A product of political disorder and a cherished ideal of freedom, best represented by the vibrant nightlife community that swiftly emerged. 

Techno music was political, disestablishmentarian, and usually illegal, yet universally accessible through abandoned corporate buildings and warehouses. 

This was the tableau in which club promoters Michael Teufele and Norbert Thormann rose to fame. In the late 90s, they ran Snax, an infamous male-only fetish night with the tagline "for pervy men only," operating from various locations around Berlin as was typical of the city's underground nightlife scene. 

In 1998 the duo was offered a permanent location in Friedrichshain, formerly East Berlin. Once a train repair depot, the industrial lot gave way to Ostgut. Though Snax parties continued to run on the side, Ostgut was an inclusive space for men and women of any sexuality. A few years into its career, the club expanded, somewhat embodying the future Berghain blueprint. 

Rampant hedonism found a home in the club's dark nooks and crannies. Local talent was platformed, and DJs like Galluzzi and Dettmann began to build their careers. A new, upper section was opened to cater to house music fans, while another space dedicated solely to the sexual activities of gay men opened in the same club. Named Panorama Bar and Lab.oratory, respectively,  these spaces still exist in Berghain.  

Yet, Berghain, as it exists today, was not physically in Ostgut's original location. Forced to give way to government construction projects, Ostgut closed its doors in 2003 with a party that revelers speak of to this day. Teufele and Thormann eventually established new roots in a disused power plant. They named the new club Berghain, a nod to the two districts the club sits between, Kreuzberg and Friedrichshain. 

In 2004, the club opened, commencing with the Panorama Bar and eventually expanding into the space it is known as today. The club's launch came at a crucial time for Berlin's techno scene: the early noughties saw many of Berlin's clubs closing their doors and attendance to the Love Parade, a notorious annual street techno festival, dwindling until it was eventually canceled in 2004 and 2005. Berghain's opening thus reignited the city's excitement for techno, recreating the adventure and anarchy of the 90s. 



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Sven Marquardt is a living, breathing constant throughout the club's history and undoubtedly its future. Becoming entrenched in Berlin's gay punk scene at an early age, the bouncer started working for Teufele and Thormann's Snax nights in the 90s and today mans the doors of Berghain. 

The heavily-tattooed man has become a living legend as a gatekeeper to Berghain. Yet, neither bouncer nor gatekeeper aptly describes his role. He is most accurately a selector and perhaps the most difficult to impress in the world. Countless guides to getting past his scrutiny exist: wear black, come alone, speak German.

Marquardt denies a formulaic approach, instead suggesting that he attempts to create contrasts and excitement within the club's walls through the people he picks. 



Though the club intends to establish a place of expression and freedom for all, the door selection process gets heavily criticized for its unscripted subjectivity that leaves space for discrimination. The club came under public scrutiny in 2015 when Black DJ and producer, Felix Da Housecat, took to Twitter to complain of racism within the door selection process. 

The story is not a one-off and potentially mirrors Berlin's issues with racism and unintegrated migrant communities. Yet, as pressure on the club's policy mounts, so does its cultish aura of protection. One woman of color, who wished to remain anonymous, warns me of those who view Berghain as their "church." 

Photo Credit: Stefan Hoederath/Getty Images



This is not to write the club itself off as a playground for the privileged: the vast majority speak of the institution as a surviving slice of Berlin's early anarchy and a meaningful place of expression. 

Oliver, 49, has been attending the club for 15 years. He tells me he would head to this "most hedonistic spot on earth" as an antidote to spending grueling days working in the world's most conservative societies. He speaks passionately about the club:

"One of the definitions of happiness can be that moment on a Sunday morning, sometime between nine o'clock and midday, when you are standing at the bar with all hell breaking loose and the blinds open and the light shines on the vampire's faces."

A surprising number of Berliners claim to have met their partners amidst the club's dark corners, reinforcing the idea that its hedonism still holds the same depths as its history. 

Post-lockdown, Berghain temporarily became an art exhibition. The club's reopening is almost symbolic of the return to freedom in its most liberated form. When doors finally reopened, hopeful revelers reportedly queued for up to eight hours only to be largely turned away. Berghain will weather many a storm as a powerful legacy of Berlin's nightlife. Let us hope it can continue to live up to its ideals of freedom and diversity as it attracts an ever greater crowd. 

Words by: Kiran Armanasco

Desna at Avant Gardner

Nigerian-born Nicole Moudaber is a household name in dance music and for good reason. The techno tour de force has a storied past, promoting dance parties in Beirut, Lebanon since the ‘90s, at a time when the conservative political landscape in the middle east was terribly unfavorable for her in so many ways.

Moudaber made her way to London, where she solidified her name as a DJ and producer, signing to Carl Cox’s Intec imprint in 2009. Now, she remains one of the most prominent figures in dance music. 

In 2013, she launched her own record label, MOOD Records. She’s been seen on major festival stages like Coachella, EDC, Tomorrowland, Glastonbury, and Movement. And she currently hosts a fan-favorite mix series, “In The MOOD,” that pairs with her event series of the same name.

On December 10, Nicole Moudaber released a two-track EP, What Was / What Is. Listen to the new tunes as you learn more about her collaborators, philanthropies, and love of New York City.

I read that you actually discovered house and techno on a trip to New York in the early ‘90s. How does it feel to be able to bring your vision back here, especially after everything that’s happened in the last—extremely difficult—two years?

It feels like a full circle. New York is where I fell in love with house music, where I discovered the artist in me on the dance floor. I remember following the iconic drag queens Guerlina and Kevin Aviance to name a few, to every single club and after hours, the vibe was high, people danced and felt the music, they LIVED it. 

Photo Credit: Off Brand Project for Avant Gardner NYC



InTheMood New York was created with this in my mind, bringing back the feeling I had on the dance floor, after all I was a professional clubber! I had voguers on the night, they really lifted the MOOD. The visual concept is all about the matriarchy which got wiped out 6000 years ago, it’s time to claim it back. I will elaborate more on the theme on future shows, we have plans to tour the show in 2022, watch this space.







What can people who’ve never been to one expect from the In The Mood series ?

This is not your typical club show! I’m bringing a whole new experience that is going to blow your mind. I’m portraying the female ancient goddess warrior meets sci-fi – visually and musically. 

For that show, you collaborated with some incredible people and companies like fashion designer Gia of Gelareh Designs and Volvox Labs NYC. As a pioneer in curating events, what makes you decide to want to partner with someone to help bring your vision to life?

I work with people who make me feel something. I adore Gia, her designs are off the charts! They are empowering, seductive, feminine and make you feel fierce. As for Volvox Labs, they are a leader in what they do and they have helped to bring my visions to life, it’s like they’re inside my head.

Photo Credit: Off Brand Project for Avant Gardner NYC



You were one of the first people to throw techno parties in Beirut. In your interview with Beatport, you said because of political reasons, you almost got thrown in jail for it. Do you find any differences when it comes to barriers to entries in dance music in various parts of the world?

Well, I did get thrown in jail for seven hours. I was lucky to have my sister on board, she’s a lawyer and she managed to get me out later on that day. The only difference in barriers worldwide is a creative one, whereas being in the middle east throwing parties where dance culture was non-existent is a whole different kettle of fish. Your life depends on the choices you make and being a woman in the clubbing scene back then was unheard of. 



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In this world, it’s so important to be unique. I would say take that leap, be brave, be yourself! Authenticity is key and people know when it comes from the heart and when you’re just following everyone else. Don’t be afraid to stand out. 

Photo Credit: Off Brand Project for Avant Gardner NYC



We also really appreciate the charitable work that you do outside of dance music. Like creating the ELEVEN campaign and your advocacy work with the Lower Eastside Girls Club. Is there anything else you’re working on that we should know about?

I’m actively involved with the Lower East Girls Club, in fact we just added more gear in the music school from Native Instruments.

Is there anything else you’d like to talk about that I haven’t asked about?

I have a new EP out on my label MOOD called What Was / What Is. This one is guaranteed to smash all the moments whether you’re transitioning into techno or during a peak set, it’s been creating a lot of noise lately, make sure to check it out. 




Nicole Moudaber Gets In The Mood and Talks Techno, New Music, and Love for NYC

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Hispanic artists have played a prominent role in dance music since its inception. Their contributions to the culture can’t be understated. Dance music history is synonymous with the rise of Latinx producers in mainstream music. And as music has evolved, those artists have continued to be the backbone of the culture growing into global superstars.

 Hispanic DJs played a vital role in developing dance, hip hop, and pop acts. People like DJ Charlie Chase paved the way for the DJs of today. He was a member of the Bronx hip hop crew The Furious Five. Led by legendary DJ Grandmaster Flash, they were architects of the hip hop movement in the late 70s and early 80s.

David Morales, the DJ turned super-producer, helped change the face of remix culture with his multiple credits for Mariah Carrey. His work on "Fantasy" earned him a GRAMMY. He was one of the first producers to work in parallel with an artist on a remix, completely reworking their music. Before Morales, it was unheard of to have the remixer in the studio with the original artist.

In celebration of Hispanic Heritage Month, we'd like to shine a light on the icons who continue to influence house and techno.

 

Louie Vega 

Bronx-born Luis Ferdinand Vega Jr. was born into a musical family. His dad was a jazz saxophonist, and his uncle was a singer in a salsa band. “Little” Louie started DJing at 13, and over three decades changed the face of dance music countless times. He held residencies at New York institutions like the Sound Factory and Studio 54. Vega was also one-half of three-time Grammy-award-winning duo Masters At Work with Kenny Dope. They became sought-after remixers when dance music was still in its infancy and worked with Michael Jackson, Donna Summer, Earth Wind & Fire, and Madonna. He continues to etch his mark on global dance music culture today. His 2020 release, “Let It Go,” is the perfect example of the Nuyorican Soul sound he established with Kenny Dope in the mid-90s. A masterful blend of classic soul, Latin sensibilities, and house music.

 

 

Oscar G 

Award-winning DJ and producer Oscar G’s sonic footprint has endured for over three decades. The Cuban-American artist kicked off his career as one-half of the group Liberty City. Tracks like "Some Lovin,'" and Interceptor's, "Together," on their label Murk quickly found their way into the sets of Danny Tenaglia and Junior Vasquez. The four-time ASCAP songwriting award winner has officially remixed pop icons like Madonna and Jennifer Lopez. He continues to educate dance floors on the intersection of Latin American music and dance with residencies at Space Miami and Pacha, where he regularly transports dancers on 12-hour marathon journeys. 

 

Rebolledo 

Mexican-born, multimedium artist Rebolledo is noted as a forward-thinking artist and self-described Experience Creator. His creativity expands beyond his bass-forward psychedelic beats. As one of the creative minds behind the Burning Man art car, the Mayan Warrior, he exhibits how music, visual art, and cross-continental collaboration coalesces in one epic ode to movement and sound. He also brings a unique slant on music as part of Pachanga Boys with German producer Superpitcher. Their lilting tribal beats are the perfect engine for sunrises over the Playa. In 2014, FORBES Magazine named him one of 50 Mexican creatives with the most worldwide influence.   

 The Martinez Brothers 

The Martinez Brothers were born for a life of performance. Their father instilled a love for a diverse set of influences early on. He put Steven and Chris in church bands and encouraged them to collaborate with older musicians. Growing up inspired by house, disco, salsa, and soul, their musical selection is always ahead of the curve and versatile. They were noticed early on by New York legend Dennis Ferrer, who became a mentor and signed them to his label Objektivity. In 2011 they began their decade-long residency at DC-10 in Ibiza. They have become fashion icons, producing music for Givenchy and starting their own line with Seth Troxler, Tuskegee. In 2014 they did percussion for the Nile Rodgers album, It’s About Time. They were the only artists not associated with Rodgers band Chic invited to contribute.

 

Luciano

Luciano was born in Switzerland but moved to Chile when his parents divorced at age 11. He carved the path for dance music to flourish in Chile. When Luciano began DJing in the late 90s at 16 years old, rock music was the sound of the clubs. He worked tirelessly to legitimatize techno in Santiago. In 1999 he moved to Europe, just after he DJed for Chile’s installment of Love Parade, proving his years of hard work paid off. His work is heavily influenced by his Hispanic heritage. He incorporates the rhythmic sensibilities of traditional Chilean music into his music, be it minimal techno or tech house. 

 

DJ Sneak

Dj Sneak may be a polarizing figure in house music, but the Puerto Rican artists’ contributions to the culture are clear. Sneak was one of the many Chicago legends who worked the counter at Gramophone Records. He met Cajmere—aka Green Velvet— while working there. He helped launch his career as part of the second wave of house music makers in the Windy City. Sneak has released over 10 albums since 1996. He was name-checked on Daft Punk’s 1997 record, “Teachers.” And went on to write the lyrics for their 1997 release, “Digital Love.” His rapid-fire mixing skills continue to make him a crowd favorite around the world. His infamous I’m A House Gangster brand is all about bringing house music back to its roots and drawing the focus away from the sounds of commercial dance music.

 Ricardo Villalobos

Ricardo Villalobos is a Chilean-born DJ and producer who came up in the early 90s in Germany. While he never envisioned himself as a musician, he eventually forged a path that saw him travel the world studying percussion, a skill he applied to his expansive music. Known for his winding compositions, his gorgeously minimal tracks stretch and swell, incorporating influences of his home country and organic worldly soundscapes. His 2006 single “Fizheuer Zieheuer,” is a 37-minute long epic based on a horn sample from a Roma folk song “Pobjednički Čoček" by Serbian group Blehorkestar Bakija Bakić. It’s evidence that Villalobos is one of the few in dance music to push the envelope. Renowned for melting the dancefloor into a mass of liquid minimal bliss, he was selected as Resident Advisor’s top DJ of the year in both 2008 and 2010.

 

 Hernan Cayetano 

The Colombian-born DJ founded BAUM nightclub in Bogota. Before it closed its doors in 2020, it was Bogota's premiere spot for house and techno. Built in an old home that sat abandoned at the center of the capital city, Cayetano envisioned a nightclub and community building project. The tree growing through the middle of the house became the central focus of the DJ booth. And the community that coalesced around the club was truly unique. Despite the club's closure due to increasing residential complaints, Cayetano continues to produce BAUM Festival, which returns to Bogota on May 21, 2022. As a musician, he blurs the lines between house and techno. He can be found on the exclusive circuit of global festivals captivating dancers with his compelling sound.  

Kenny Dope 

Kenny Dope came up in the 80s DJing for block parties in Brooklyn under the name Masters At Work. He famously let Todd Terry borrow the name to record two releases. Todd returned the favor by letting Kenny borrow a drum machine and introducing him to “Little” Louie Vega. It sparked his career as a producer. His 1994 release under the moniker the Bucketheads, “The Bomb! (These Sounds Fall into My Mind),” is an iconic piece of house music. But his career stretches beyond one hit. He was among the first dance music DJs to be commissioned for remix projects from the major labels and helped pave the way for the remix culture that persists today. His expansive catalog includes remixes for Luther Vandross, Daft Punk, Geroge Benson, and Tito Puente.

Nicola Cruz

Ecuadorian artist was born in France and spent his first three years there until he moved home to Quito. His parents encouraged his musical leanings and gave him a drum kit when he was 12. At 25, he collaborated and toured the US with the iconic Nicolas Jaar. His interest in the oral traditions of his ancestors and the rituals of native South Americans inform his explorative music. Highly organic, intensely creative, and strikingly beautiful, Cruz melds the worlds of the traditional with modern sound design masterfully. His blinding creative output saw him release five albums in the last five years while touring regularly. At only 33 years old, Cruz has a lot of musical experimenting ahead of him. 

10 Influential Hispanic House and Techno Artists

Named one of DJ Mag's artists to watch in 2019, DESNA has only continued to make an imprint on the world of techno. She first broke onto the scene in 2017 with a massive residency at the former Output club in Brooklyn, NY. Her unique brand of techno brings a fresh perspective to the genre, never becoming repetitive while also maintaining her futuristic industrial style. 

DESNA is an amalgamation of storied influences. From her breakbeat roots in Tampa, Florida, to the gritty underground house and techno scene of New York. She's found a way to marry her influences cohesively into something that unifies the raw grit of Brooklyn with the precision and power of Berlin. 



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