Last month French producer and DJ Sirus Hood delivered a summery mix for Gray Area’s OCHO that brought us to the sunny shores of Ibiza. Recorded during an epic sunset at White Isle institution Bora Bora Beachclub, he blazed through a set that fluidly drifts through classic Chicago, funky tribal, warped tech house, and disco.





Putting his deep knowledge of house music on display has been a hallmark of his style since he burst onto the scene with releases on CUFF and Dirtybird in 2014 and 2016 respectively. At that point he’d been a student of dance music from the age of 10, when he started listening to mixtapes passed down to him from older friends.





Over the years he’s flexed his skills as a producer on many lauded labels including Hot Creations, Cajual, and Sola. However, his more recent project with Manda Moor is where his focus lies these days.



We caught up with Sirus to chat about Moon Child Records, the challenges of producing vinyl, and what’s to come for the Ibiza regular.









You have a new label with Manda Moor. What brought the two of you together for this project and what's different about this project?



That’s right. Actually, this is the first time that I’m talking about our label. The name of the label is Mood Child. After releasing a series of successful edits with Manda Moor, it seemed natural to evolve to original music from us, from the artists that we love, and to start our party [brand]. The whole concept of Mood Child is to have multiple colors, multiple moods, and multiple cultures. We believe in diversity, and this is what we want to share.





Vinyl has consistently been on the uptick for the last several years. What's the thought process behind putting out a limited vinyl release?



During the pandemic, we created a community on Bandcamp of music lovers who supported our limited stuff. We believe in the scarcity, and we are huge vinyl lovers. By definition vinyl is limited so, we decided to launch our best edits on wax for all the DJs who want to play rare edits on 12”.





Where there any challenges you had to overcome when planning on releasing vinyl?



Producing vinyl is very challenging. The vinyl pressing plants are facing material shortages and a higher demand which increases the costs and delays. Some plants are facing a one-year delay. So, the first challenge was to find a plant who offer a shorter delay and the best pressing quality. Then we had— in a very short time— to remaster the 12 tracks for vinyl because mastering for digital releases and vinyl doesn't have the same requirements.



We called Most Wanted Audio who do analog mastering. It’s very challenging because any change means starting from scratch and re-recording second by second. The final result is amazing.



Then we had challenges of the artwork and label stickers with very specific formats. But our friend Sami Galetto created for us a crazy piece of art. Now we are waiting to see the babies (the vinyl copies).





You have a project with DJ Pierre as well, can you tell us about that?



The legendary DJ Pierre (Phuture) who created the acid sound (acid House, acid Techno) in Chicago in 1985 [asked] me to remix the first acid track ever called “Acid Tracks.” It’s a huge honor for me. It’s gonna be released on a very limited vinyl that is available on pre-order on Diggers Factory.







What's it like being asked to remix such a historical piece of dance music culture?



I’m so proud to retouch such a classic piece that served as a foundation of the music that we make and play today. I had the chance to get an original Roland TB-303 to recreate the acid bass parts as the original track, then I added my groove on it. I love how it came out, a very groovy acid techno version. I can’t wait to have the vinyl in hands.





What's coming up for you this summer?



Mainly Ibiza. Manda and I did our first Mood Child party at Hï in the Wild Corner in June and it was one of the few super magic nights that we had in our lives. The feedback was incredible. Fun fact: The same night, Hï Ibiza was announced to be number one club in the world. After this first success, I’m happy to announce the next Mood Child party at Hï on August 23rd.





I’ll also play Paradise Amnesia on August 10th, The Martinez Brothers event on August 30th at Hï, and very nice gigs and festivals in some of my fav countries like Brazil, Italy and France.







Can you talk about your OCHO mix? What's special about the tracklist?



This OCHO is very special because I recorded it during a sunset at Bora Bora Ibiza for their opening party a couple of weeks ago. You can hear in the background the crowd vibing. The track selection is mainly 90s Ibiza magic vibe. I won’t say more ;)





Sirus Hood Talks Remixing Dj Pierre and His New Label with Manda Moor

Paradise Opening Party

Spain

Amnesia

If you’re looking for the best underground house and techno sounds, this party is the one for you. Jamie Jones and crew never fail to disappoint and have been smashing it out of the water ever since the creation of Paradise in 2012.



Paradise was born as a spin-off party by Welsh DJ and producer Jamie Jones after his longstanding Circoloco residency.After eight years at DC-10, it’s now time for Jamie Jones and the rest of the Paradise crew to take over the most famous terrace in Ibiza. Amnesia will host Paradise for 16 Wednesdays throughout the summer of 2022, with the first being on June 22nd.



This year the theme is “The Age of Love” a celebration of 10 years of Jamie Jones’ label Hot Creations. It’s a well-known fact that this summer's Paradise residency is teeing up to be the best yet and they’re leaving no detail unnoticed. The Paradise team are fully in control of the artistic direction and have re-imagined the main room as The Music Box and added a chill-out area called Pharaoh’s Garden.



The opening party lineup for Paradise is second to none. Headed up by Jamie Jones and joined by house and techno favorites Joseph Capriati, Hot Since 82, Richy Ahmed, Yulia Niko, Alan Fitzpatrick, Archie Hamilton, East End Dubs, Oden & Fatzo (live), and Manda Moor.



The Terrace:



Hot Creations label boss, DJ, and producer Jamie Jones will be headlining the terrace for the opening party. His distinct sound has propelled him to fame and popularity and you can be assured that the terrace will be a roadblock on the 22nd.







Italian DJ and producer Joseph Capriati started behind the decks at just 11 years old, and quickly became popular in his hometown, playing his first proper gig in 2007. He is a techno master and a staple on the global festival and club scene.







Daley Paadley, aka Hot Since 82, is a DJ and producer from the UK, who has been on the electronic music scene since 2012. A DJ Awards winner as well as Electronic Music Awards nominee, Hot Since 82 shows no sign of slowing down.







Richy Ahmed has musical influences from disco, funk, techno, and hip hop and has inspired a new wave of British DJs and producers over the past 15 years of his career. An original resident of Paradise at DC10, Richy Ahmed will be bringing his unique sound to the new era of Paradise in 2022.







Born and raised in the south of Russia, but now living in Berlin, Yulia Niko is a top techno selector, swaying towards more minimal sounds heavily influenced by Detroit and Chicago house.







The Music Box:



British-born Alan Fitzpatrick has been at the forefront of the underground scene since his breakthrough in the early 2000’s, releasing music that keeps dance floors packed across the world. 







Producer, DJ, and label owner Archie Hamilton has spent over 10 years rising through the ranks of the underground house and techno scene. No stranger to the White Isle, Hamilton has played iconic parties such as Circoloco and Music On, as well as Amnesia’s opening party this year.







Not only a master producer and DJ, East End Dubs runs his own label as well as engineers for plenty of other artists and record labels. The London producer has made a name for himself with deep and dark house sounds, inspired by London’s underground scene.







Oden & Fatzo are a French electronic music trio who always perform their disco-laden sets live, building tracks element by element.







Danish-Filipino DJ and producer Manda Moor swings perfectly between house and techno and has had releases on globally known labels such as Hot Creations, Tamango, and Afro Acid.







Denmark

Manda Moor

OCHO 5

BPM Brazil

Brazil

Surreal Park

Manda Moor's infectious determination seeps into her bouncy yet sophisticated tracks. 

 audiences will most likely be familiar with the 

 artist, making it hard to believe she only played her first major gigs in 2019. 

There’s no shortage of exciting destination festivals for house heads and techno tourists. And nothing beats the experience of exploring a new city as you take in the sensory bliss of a far-flung festival. From established powerhouses like Awakenings and Creamfields, to underrated gems like Street Parade, let us be your guide as we tour some of Europe's remarkable rave experiences.

Creamfields | Daresbury, United Kingdom | Aug 26-29, 2021

Creamfields is notorious for being the UK’s biggest music festival of the year. Located in the beautiful countryside in Daresbury, England, the four-day campout is a marathon. For those who prefer a race two-day tickets are available. Creamfields features sets from hundreds of world-renowned DJs and incredible live acts. The lineup for this year's sold-out event is absolutely stacked this year, with over 300 performances set to take place.



DGTL Barcelona | Barcelona, Spain | September 3-4, 2021 

DGTL: four letters associated with unmistakable prestige. The DGTL Music Festival is global, with editions in Tel Aviv, Santiago, São Paulo, Bengaluru and Madrid. This sustainable house and techno festival is known for its impressive, raw industrial stages, mesmerizing light effects and visual treats. DGTL Barcelona will take place the first week of September this year at the Parc del Fòrum. A park with a fabulous coastal view and close proximity to divine local eateries and delightful attractions. 

Ticket preregistration is now open.



Lobster Fest | North London, United Kingdom | Saturday, September 4, 2021

London-based label, Lobster Theremin, home of DJ Kush Boogie, Route 8, DJ Seinfeld, Hidden Spheres, and SONIKKU, will make their festival debut with a 50 artist lineup at The Cause in London this September. Lobster Fest is five years in the making, so the house and techno label is pulling out all the stops. The organizers vocalized their commitment to diversity and revealed that the artist lineup will consist of roughly 50% women and non-binary artists and 50% POC & Black artists. Though not released yet, the headliners will span five stages of live music all day from noon to 10 pm. 

Tickets are on sale now

Caprices Festival | Crans-Montana, Switzerland | September 17-19, 2021 & September 24-26, 2021

Outdoor adventurers, rejoice! This Swiss festival takes place in one of the best ski resorts  in the Swiss Alps, Crans-Montana. Not only are the snowy mountain top views incredible, so is the production, line up, and gorgeous glass tents. Don’t think twice about it, come make mountain memories at this stunning party above the clouds! 

Tickets are available now.

Elrow Town Amsterdam | Westpoortweg, Amsterdam | September 25, 2021

Elrow Town is a quirky, colorful whirlwind of a dance party that takes place during the best time of the year to visit Amsterdam. Expect to see plenty of glitter, inflatables, and whimsical characters as you make your way around the various stages in the venue. You’ll leave with confetti in your hair, a smile on your face, and a fortified love for tech house in your heart.

 Tickets are available now.

AVA Festival | Boucher Roads Fields, Belfast, Northern Ireland | September 24-25, 2021 

Hailed as “one of Europe’s smartest young festivals,” by Resident Advisor, AVA is Ireland’s most innovative and inspiring festival yet. The outdoor multi-stage event  pushes boundaries with prodigious music productions and remarkable art exhibitions and installations. Dance under oscillating lights and reverberating beats at this unforgettable avant-garde showcase of music and art in Belfast. 

Buy tickets now


Time Warp | Maimarkt, Mannheim, Germany | April 2, 2022

Boasting six floors of techno and house, Time Warp is on every techno lover’s bucket list. Since 2000, there have been 53 editions, its played host to more than 300 artists, and made over 600,000 dancers sweat it out. It continues to stand out globally due to it’s phenomenal production and incredible headliners. Expect an immersive visual and sound experience from this 19 hour, techno fan-favorite festival.

Tickets will go on sale in late 2021



Awakenings | Spaarnwoude, Netherlands | June 2022 

This European festival is on its 25th anniversary year, and for good reason — Awakenings is the largest outdoor techno festival in the world. Boasting 80,000 visitors in a single weekend, it is undoubtedly the best of all techno gatherings. The festival delivers the ultimate techno experience, with a series of non-stop parties and the best headliners in techno music today. 



Street Parade | Lake Zurich, Switzerland | August 13, 2022

If you love the energy of block parties and the spontaneity of bar crawls, you need to experience Street Parade in Switzerland. Since 1992, this it continues to generate enthusiasm and excitement for techno and house music. Taking place around the culturally rich Lake Zurich, brightly decorated trucks packed with booming sound systems and DJs drive slowly through and around the Lake. In addition, nine stages are planted along the route, headlined by top DJs and other live acts. Watch the city of Zurich come alive, and vibrate to the sounds of house and techno on the lakefront.

Sonus Festival | Zrce Beach, Novalja, Croatia | August 21-25, 2022

From the legendary creators behind Time Warp comes Sonus Festival—a 5-day techno beach party at Zrce Beach in Croatia. The festival is spread out over Zrce’s three world-renowned open-air clubs: Aquarius, Kalypso and Papaya. Experience booming techno sets day and night while taking in the views of the sparkling Adriatic Sea. Have yourself a perfect rave vacation in Croatia next September.

Tickets are on sale now.





10 European Destination Festivals to Add to Your Dance Music Bucket List

The Picard Brothers are a Parisian duo that initially got their start in the music industry composing beats for French rappers. Their command of hip-hop artistry eventually led to a debut on the Pelican Fly record label in 2014. The pair went on to produce and write songs for artists like Beyonce, Kehlani, and recently, for rising star Yebba on her album Dawn, produced in collaboration with Mark Ronson.

They won a GRAMMY in 2019 for their contributions to “Electricity” by Dua Lipa and Silk City. These days, their production is a complete modern-day revival of classic French dance music. Their unique contemporary French house production style can be heard on energetic remixes of songs by Disclosure, Flume, and fellow French artist, Myd. 

The purveyors of this modern French house resurgence are aiming to repopularize the subgenre this year. In the 1990s, house music and European disco-inspired the short-lived but heavily-adored subgenre of electronic dance music called French house. The subgenre is characterized by disco, funk, and house music elements like funky basslines, filtered and phased effects on vocals, and songs often feature samples of disco hits from the 70s and 80s.

The French house sound dominated the UK electronic music scene in the late 1990s and then, as the subgenre emerged at raves and clubs, it peaked on global dance music charts. Though French house’s popularity tapered off in the early 2000s, Italian and French DJs remain loyal to the iconic subgenre.

The Picard Brothers made a playlist of their top 9 favorite French house tunes of all time to share with you. In it, you’ll find classic cuts from the 90s and early 2000s, by iconic artists like Daft Punk and Cassius—these French house tracks will have you getting up, getting down, and vibing out! Listen to the Spotify playlist here, and check out their cheeky video for their latest modern French house single Best Of Me, directed by Jay Christiansen.





Demon - You Are My High

This hit song by Demon was released in 1999 and has seen a resurgence among younger audiences lately, thanks to the song’s burgeoning popularity on the TikTok app. The tune is timeless and an earworm—you’ll be singing the bridge long after the song is over. 




The Paradise - In Love with You

Produced by Alan Braxe and Romauld and released on the Vulture label in 2003, this gorgeous track features an ethereal soundscape and beautiful resounding vocals by Romauld. This French house song is essential listening.




Daft Punk - Face to Face

This tune was co-produced by American house producer Todd Edwards and is one of Daft Punk’s most memorable cuts off the electronic duo’s 2001 Discovery album. The song is a moody tale that touches upon themes of miscommunication, love, and connection. Face to Face features a plucky chopped riff, a driving bassline, and undeniably Daft Punkesque vocoded lyrics.








Bob Sinclair - Gym Tonic

This simplistic disco-heavy gym jam was produced by French DJ Christophe Le Friant, who built his career under the name Bob Sinclair. It’s groovy, delightful, sexy, and fun—two, three, four, five, six, seven, eight, and Back! Back! Back!




Cassius - 1999

Cassius 1999 is the title track off of the ‘1999’ album released the same year, by venerated French electronic producers, Phillipe Zdar and Hubert Blanc-Francart (aka Boombass. Upon its release in the 90s, the song became an instant hit in the UK. The song is an amalgamation of jazzy-hip hop sounds blended with filtered-down disco house. 




Stardust - Music Sounds Better With You

Stardust—the trio composed of Alan Braxe, Daft Punk’s Thomas Bangalter, and vocalist Benjamin Cohen—released this irresistible dance single in 1998 and immediately disbanded after the single was met with wide acclaim, so the single could retain its magic and mysteriousness, reportedly. After almost two decades, the song still feels as nostalgic and magical as ever.




Cheek - Venus (Sunshine People)[DJ Gregory Remix]

This danceable French deep-house tune is, at 126 bpm, a happy little track that features intensely energetic kicks and distorted synth riffs. "Venus" starts hot, but descends into a slow burner of a house cut, with a quick tempo and fetching percs.




DJ Mehdi - Signatune (Thomas Bangalter Edit)

This track was produced by fellow French remixer and hip hop producer, DJ Mehdi. Inspired by legendary hip hop group Public Enemy, DJ Mehdi’s production style on the original "Signatune" track featured resounding kicks, scratching, and reverberating bass patterns often heard in both electronic music and hip hop. This edit by half of the Daft Punk duo, Thomas Bangalter, is an elevated, pumped-up take on the original yet still stays true to Mehdi’s unique melding of the two genres.




Alan Braxe, Fred Falke - Chrystal City 

Another French house staple by Alan Braxe with co-production efforts by Fred Falke, this funky tune features heavy synth and electronic sounds, paired with samples of the city. The sirens, wind sounds, and answering machine vocals paired with the groovy bass and synth, will make you feel nostalgic.




This Picard Brothers Playlist is a Masterclass on French House

Her relentless drive has since landed her international gigs in some of the most acclaimed house and techno spaces, particularly in Ibiza and the UK. Her tracks have been released on acclaimed labels like Tamango Records. Her debut EP 

hit number one on Beatport’s minimal tech chart.

While detailing her career, the artist repeatedly emphasizes her gratitude and wonder. Yet, despite her sincere humility, it's evident success was no accident. 

A self-proclaimed party girl, Moor's love for dance music began amidst the crowds and culminated when she became a protegée of sorts of one house music's founding fathers, the late 

Hailed as one of the most iconic house artists of all time, Paul Johnson died on August 4th in his hometown Chicago, Illinois. The self-taught producer has ignited dancefloors globally since the late 80s with house hits such as “Get Get Down,” “Let Me See You Butterfly,” and “Follow This Beat.” Johnson’s music has a sincere and addictive quality—filled with soulful sounds and irresistible basslines. We sifted through the Chicago legend’s expansive discography and put together a list of the essentials for your enjoyment. You can stream the playlist on Spotify below.

1. Get Get Down

As infectious as it is iconic, “Get Get Down” is easily Johnson’s most famous track. Released in 1999 and still sampled and played by many DJs today, this track is one that will stay in your mind long after the music stops. The iconic shuffled and chopped sample of Hamilton Bohannon’s 1978 disco tune, “Me And The Gang” is the centerpiece of the iconic dance floor rocker. 

2. The Groove 

The chopped and pitched vocals combined with its groovy bassline demonstrate Johnson’s aptitude for borrowing elements from vintage disco cuts and transforming them into inimitable, gorgeous house bangers. Paul knew exactly what he was doing when he produced this entrancing track. 

3. Hear the Music

One can’t help but also feel the music when they hear this disco-house tune. This sped-up, squeaky-soul track is the title track off of Paul Johnson’s second LP, Hear the Music, released in 1996. The soulful vocals are sampled from the disco-era classic, “Hear Music in the Streets,” by  Unlimited Touch.


4. Music’s In Me (Original Mix) 

The piano riff takes center stage in this swirling spacious disco-house track produced and mixed by Johnson. The sexy bassline and lyrics evoke a euphoric feeling. This sophisticated masterpiece is as delightful as it is enthralling. Keep this feel-good cut on hand for a lively Sunday brunch. 

5. Everybody Have a Good Time

The message from Johnson is loud and clear, get loud (now, this is mandatory), be inclusive, and most importantly, have a damned good time! This track is off of the Various Artists 01 EP released only a few years ago on Black Jack Records, with fellow house collaborators Superfunk, EEEdiot, and Vantage. Put this on and have a good ass time!

6. You Make Me Say Do Be Do

With full-toned drums and subtle bells heard juxtaposing charming Do Be Do’s, it's clear that no one can produce house cuts of this caliber better than Chicago’s own Paul Johnson. ‘You Make Me Say’ is inviting, dynamic and illustrates Paul’s adeptness at combining contrasting song elements, which reveal a tireless house track that just won’t quit.





7. If You Ever Call Me

The looping, hypnotic vocals in this sexy house track are simply iconic. The track features tight mixing by Paul, and the beats are light and fun. This is one to have on your day party playlist.




8. Honest (with Innocent Soul) [Original Mix]

There is no question about it, the loudness wars are real. Allow Innocent Soul & Johnson to show you how it’s done with “Honest.” This track is the one to play at around 2 am, when it’s time for a reinvigorating second wind to bring the party back up to speed. Believe me, you’ll want to turn this one all the way up. 




9. He Loves Me 2 (Paul Johnson Vocal Dub) - Cece Peniston, Paul Johnson, Steve Hurley 

This particular vocal dub is a special one. Paul Johnson's Dancefloor Dub remix of CeCe’s single actually entered the Billboard Hot Dance Music/ Club Play chart in 1999 and peaked at number 24. The vocal dub is a more subtle melodic take on the dancefloor remix, yet just as danceable. 




10. Housebreak Hotel

“Housebreak Hotel” is a continuous, euphoric symphony of strings, cowbell, and a killer bassline. At 128 BPM, this blazing beat is one that will get you up and moving. Paul released this track on the newly established Italian label Discodelic on July 14th of this year as a part of his I Can Make You a Big Freak EP. 





The Essential Paul Johnson Playlist

Crossing the decks wasn't a smooth transition. I cannot help but feel sympathy as the artist reveals her struggles with anxiety. Nonetheless, her smiles while performing exude a confidence mirrored by her simultaneously warm and serious house and techno. Perhaps this melange is a reflection of her Danish-Filipino heritage. Her theory is that warmer countries inspire bouncy rhythms while colder countries inspire technicity. These coexist hypnotically in "

," from Kaluki Musik's 16th Birthday EP. However, she explains, her musical influences derive mostly from her Filipino mother's side.

@elrow x Desperados Rave To Save: MANDA MOOR and VIVIANA CASANOVA | @Beatport Live

Download the App & Rave to Save   
Turn your dance moves into donations! With every 1000 steps Desperados will donate €1 to Tree-Nation -- https://tree-nation.com/profile/elrow

Let’s RAVE for a good cause!

Line up:
Manda Moor 
Vivian Casanova

Download the app, you dance with it, and Desperados will donate 1€ for each 1000 steps that you do. How cool is that?

You can already download it here:
App IOS: http://bit.ly/YT-RTS
App Android: http://bit.ly/YT-RTS

@elrow  x Desperados Rave To Save: MANDA MOOR and VIVIANA CASANOVA  | @Beatport  Live

"I definitely got the music bug from my mother. She was a singer. Singing and music in general is a huge part of Filipino culture. She would play music whatever she was doing. There was always music in the house. Filipinos are kind of like the latinos of Asia, because the Philippines were colonised by the Spanish, then they were colonised by the Americans: that's what also brought disco and the love of singing."

Moor details the strong tribal and percussive roots of Filipino music sounds that she naturally feels drawn to in her own production.

In terms of conscious influences, Manda Moor's career constantly nods to the early 

Chicago House is one of dance music’s most prominent subgenres. The unforgettable spawn of disco, it boasts stylistic origins from electro, Italo disco, and hip hop. Its high-energy sound is anchored by drum machines such as the Roland 808 and 909. And its heavy use of samplers and synths illustrate the innovation that occurs when technology and art intersect with no regard to the constraints of popular culture.

Chicago House was a direct response to the decline in mainstream popularity of disco. It’s not a coincidence that the birthplace of house music was also the site of one of the most memorable and extreme anti-disco rallies. On July 12, 1979, at Comiskey Park people were invited to burn their disco records on the field. Disco Demolition Night turned into a riot. A substantial decline in radio airplay soon followed as it seemed a nail was put in the coffin for the genre. It can be considered a major trigger of a nationwide sentiment against disco. It forced artists to explore new approaches to create dance music.   

Advancements in music tech helped fuel the rapid evolution of Chicago house.  The Roland 808 and 909 were considered to be commercial failures for the Japanese music instrument manufacturer. Yet in the hands of young hip hop and electronic music producers these discarded artifacts were repurposed and pushed to unheard of limits.

It wasn’t just the music. A cultural movement quickly coalesced in Chicago around the burgeoning genre. People flocked to The Warehouse (or the “House”) the venue considered to be the birthplace of house music. Located at 206 South Jefferson Street in Chicago, The Warehouse was a members-only club patronized by a gay Black and Latino crowd who came to dance to the music played by resident DJ—and "Godfather of House Music"—Frankie Knuckles. He grew up in the Bronx during the early days of disco. His signature sound layered disco or pop vocals, catchy electronic samples with pulsating beats. It became the hallmark of early house, a sound many Chicago producers were beginning to adopt. During his tenure in Chicago, he recorded some of the most influential tracks known to house music. “The Whistle Song,”  ‘‘Your Love,” and “Baby Wants to Ride”  featuring Jamie Principle, still stand strong today as shining examples of the genre. 



Equally important to the birth of the genre is Jesse Saunders who produced one of Chicago house’s first documented singles, “On and On” in 1984. Saunders innovated the sound and advanced the culture. He was a founder of The Chosen Few DJs, a DJ collective that alongside other architects of house music helped spread the sound of Chicago to the world.

Chicago commercial radio’s role in exposing early house records to the community can’t be understated. WBMX featured a stable of leading DJs of the era who were referred to as the Hot Mix 5. Farley “Jackmaster” Funk, Mickey “Mixin” Oliver, Ralph Rosario, Scott “Smokin” Silz, and Kenny “Jammin” Jason.  The Hot Mix 5 was the first house music show featured on mainstream radio starting in 1981. These amazing DJS were remixing songs on the fly, live in the club with reel-reel tapes, cassettes, Casio keyboards, drum machines, and playing the freshest music right off acetates and test pressings. They were widely listened to by DJs and dance music fans in Chicago as well as visiting DJs and producers from Detroit.    

An uptick in the growth in popularity of the genre came with the founding of house-specific labels like Trax Records. When Trax released Marshall Jefferson’s iconic track, "Move your Body,’ Chicago house was catapulted to international attention. 

Other records that followed like “Jack Your Body,” by Steve “Silk” Hurley and “Love Can’t Turn Around” by Farley “Jackmaster” Funk climbed the dance charts in the US, but reached an unprecedented level of success in the UK. Subsequently, house scenes began to appear in New York and London.

By 1988 Chicago house began to decline in popularity in its birth city. Production never stopped though, because the sound was already global. The London club scene hit its peak in 1988, termed the Summer of Love. The emerging rave culture fueled by the introduction of ecstasy can be considered Chicago house’s highest point. Tracks were produced at a rapid rate. And for the first time, Chicago house DJs were invited overseas to showcase their work at massive raves throughout the UK. 

During this time there was a notable shift from traditional Chicago house to acid house, which exploited the squelching power of the Roland TB-303 bass machine. When rave culture migrated to the United States in the 1990s, Chicago House found its revival. Ravers in the '90s looked back to the roots of the music they partied to and realized the importance of Chicago in the zeitgeist. DJs dug deep into the origins and threw classic Chicago house tracks into their mixes. Remix culture began to emerge as producers reimagined iconic tracks. And the sound of Chicago found new homes in San Francisco and Los Angeles.



Green Velvet, aka Cajmere, is one of the most significant contributors to the 90s revival of Chicago house. He left graduate school to pursue his passions of DJing and production. His mission was to throw himself into the energy and lifestyle of house music. Specifically shining a spotlight on Chicago house with his 1994 release on his Cajual Records imprint, “The New Chicago House Sound.”  This again propelled the sound abroad and increased its domestic footprint through the early 2000s. However, the increasing commercialization of dance music coupled with the explosion of other genres of electronic music took the forefront of the dance music scene.   

In recent years with the rise in DJs and music festivals, Chicago house music classics continue to be re-released, remixed, and played in sets with ever-growing traction. The genre that was born over 30 years ago continues to bring people together from all identities. Chicago has ushered in a new wave of artists and DJs that honor its legacy. Artists such as Kayne West, The Blessed Madonna, Mark Farina, and Honey Dijon may not live in Chicago anymore but their craft still pays homage to the genre. Even the iconic Daft Punk has paid respect to Chicago by name-checking the late trailblazing producer and DJ Paul Johnson at the top of their 1997 song “Teachers.”

Needless to say, the momentous genre of Chicago House isn’t going anywhere. Artists will always find a way to revive and recreate classic beats to pay homage to the forefathers of house.  






How Chicago House Arose From the Ashes of Disco

"2019 was also the year when I started to really get into producing. That was the year I went to Chicago and met with the Chicago house legends, like Paul Johnson - rest in peace - , Dj Deeon, Dj Sneak, K'Alexi, 

… I'm so blessed to have them in my life, and to know them personally. I consider them as family, they really, really inspire me to this day. They inspired the whole music industry! They are the founding fathers, the pillars of house music today. So, yeah when I went to Chicago it lit a fire in me to produce. That's how I started, basically. Obviously today if you want to be a successful dj and artist in the electronic world, you need to make your own music."

From thick sub-bass to cortex-tickling supersaws to metallic growls and every texture in between, dance music has birthed no shortage of novel sounds. Almost 40 years ago, though, the most alien timbre any producer could imagine came from an unexpected culprit: the Roland TB-303 Bass Line. At that, it was discovered by accident.

The device is responsible for the instantly recognizable squelch sound associated with acid house. What unfolded in the genre’s wake carried implications reaching far beyond worldwide music, let alone its creators’ local community. It converged with other factors to bring forth a full-fledged youth culture movement that influenced politics, commerce, technology, and the arts. Perhaps most importantly, it opened a generation’s minds to less conventional forms of music.

The manufacturers of the 303 most certainly didn’t expect it to have such an impact. In fact, they intended it to serve an entirely different purpose.

Roland Corporation engineer Tadao Kikumoto designed the transistorized bass synth (where the “TB” in TB-303 comes from). It was meant to emulate the sound of an electric bass guitar and be taken on tour by solo artists in lieu of a live human bassist. Roland released it alongside their TR-606 drum machine as a package deal in 1981 - less than a decade after Ikutaro Kakehashi founded the Japanese company, and when it was arguably still finding its identity. 

The 303 proved decidedly unfit for the task at hand. Its unassuming hum and elastic resonance hardly resembled any sound conceivably produced by a bass guitar, leaving much to be desired by musicians accustomed to the organic warmth of live instrumentation. The learning curve necessary to program a sequence that could accompany the rest of a band didn’t win it any points for convenience, either.

Roland permanently discontinued the TB-303 Bass Line in 1984. Forbes reports that only 10,000 units were ever made, most of which were relegated to bargain bins in electronics stores. It was there that the commercially unsuccessful synthesizer would find new life, though.

In the mid-‘80s, U.S. dance floor culture still suffered from stigmas lingering from Disco Demolition Night. After the 1979 promotion-turned-riot at Comiskey Park in Chicago, major labels wanted nothing to do with the genre - which had initially gained popularity in Black, Latino and queer nightclubs. Without advances to cover the costs of singers, session musicians, studio engineers or any other ingredient of disco’s oft orchestral style, recording artists began to seek out more cost-effective alternatives.

In Chicago, young, Black musicians like Vince Lawrence, Jesse Saunders, Adonis, and Frankie Knuckles began to reimagine disco as house music - so named for the Warehouse, where Knuckles was the resident disc jockey. House tracks - not songs at first, but tracks - originally served to repurpose the classics for DJ sets. They consisted of samples from electronic, soul, funk, and disco records paired with drum machines and synthesizers. 

Speaking with Beatportal, Saunders said that “On And On,” his 1984 collaboration with Lawrence that’s often cited as the first recorded house track, was produced with the Roland TR-808 drum machine, the Korg Poly-61 synthesizer, and as luck would have it, the 303. The device also featured in Italo disco like Alexander Robotnick’s 1983 international hit “Problèmes D'Amour,” and Adonis’ 1986 dance floor favorite “No Way Back.”

Enter Nathaniel Pierre Jones, known professionally as DJ Pierre. While working to develop a unique signature style of house music alongside collaborators Herbert J and the late Earl Smith Jr. aka DJ Spank-Spank, he learned about the 303 from a friend named Jasper J. 

According to Jones, Smith found one at a secondhand shop for around $40. What happened when they brought the unassuming Roland TB-303 Bass Line home changed the course of history.

Lining the top of the 303 are knobs that manipulate the timbre of a note played by adjusting tuning, resonance, accent, envelope modulation, and other parameters. The right combination of qualities, with a knob or two turned farther than they’re meant to be turned, yields an otherworldly squelch that immediately captivated Jones and his colleagues.

“The acid squiggle was there to start with,” Jones is quoted as saying In Simon Reynolds’ 1998 book on rave history, Energy Flash. “The machine already had that crazy acid sound in it that you were supposed to erase and put your own in, because it was just some MIDI gerbil. But we liked it.”

“We had it synched up, and it was playing some stuff, and I started just tweaking knobs and turning stuff, and Spanky was like, ‘Whoa whoa whoa. Keep doing that, keep doing that,” Jones told Red Bull Music Academy in 2012. “So, I kept twisting knobs, and the next thing you know, we were there for like an hour or two, just twisting knobs and programming things.”

Jones and company - under the moniker Phuture - laid down the bulk of “Acid Tracks” that very day in 1985. The early demo became a staple in DJ sets by the late Ron Hardy, its sonorous lead causing those dancing at Chicago club Muzic Box to dissociate. Two years later, the song appeared on an EP of its namesake released on seminal house label Trax Records.

In England, the chief importer of Chicago house during the ‘80s, the acid sound provided a key component of something much bigger. Disenfranchised by the effects of policies implemented by then Prime Minister Margaret Thatcher, impoverished youths found an outlet in illegal warehouse raves and free parties. Intensified by ecstasy, the physical experience of acid house when played on powerful sound systems whipped revelers into a frenzy that triggered a consciousness shift felt throughout the nation.

Britain’s “second summer of love” from 1988-89 drew the ire of lawmakers who perceived it as a threat to the moral fiber of society. One of the other notable effects of ecstasy was an acute sense of togetherness and unity, however - one strong enough to inspire ravers to band together against the powers that be.

In the early years promoters pooled resources and devised tactics to elude the authorities, leading attendees to raves with systems of map points and planning backup locations in the event of a bust. In time, though, they grew active in policy itself. After the Criminal Justice and Public Order Act passed 1994, ravers organized demonstrations - some ranging from 20,000-50,000 participants - to protest the rights they lost on account of the legislation. 

Dance music producers in the United Kingdom returned the favor by innovating further. The British at first emulated Phuture’s style of acid house with tracks like “Humanoid” by Stakker and A Guy Called Gerald’s “Voodoo Ray,” but they went on to tease out countless permutations of the same sonic philosophy. 

In their 1999 book Dance Music, Culture and the Politics of Sound, Jeremy Gilbert and Ewan Pearson argue that acid house inspired an “exploration of texture” that superseded western music’s emphasis on melody. Extensions of this aesthetic influenced techno, which laid the groundwork for hardcore, which birthed jungle, which begat drum and bass - ad infinitum and often to the confusion of more passive music fans.

To this day, though, the acid squelch of the Roland TB-303 Bass Line remains a fetishized sound in electronic music. Richie Hawtin recently dusted off his own 303 to deliver a gritty, fast-paced techno track titled “Acid King.”  Hawtin, who made a name for himself in the early ‘90s with an acid-infused take on Detroit techno, said that the single resulted from a search for “the soft, warm distortions that were inherent” in the music he put out back then. 

The most compelling aspect of acid house’s legacy may well be how it reminds creatives of all disciplines to embrace happy accidents. DJ Pierre himself often eschews credit for discovering and implementing the sound, calling it a “gift from god” he was fortunate enough to receive. Not only that, but the vessel in which it arrived was a product pulled after only three years on the market.

If any singular message is encoded into the mind-bending frequencies of acid house, perhaps it is that one should open their eyes, ears, heart, and mind to possibilities. For all anyone knows, it could mean the start of a revolution.



Acid House: The Errant Knob Twist that Started a Culture Revolution

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We touch briefly on the tragic death of Paul Johnson, and it's clear the artist has been deeply affected by the loss. Yet, his legacy lives on through Moor's career, particularly through her long-term residency on France's first national electronic music radio station, FG.

"I was speaking with FG about how I met the Chicago house legends. That kind of revived within them the need to reconnect with the origins. So, they really encouraged me to play more of that type of music even though it's not real mainstream for a big radio station. It's just all about the reconnection with the origins which was the initial foundation of FG." 

The pandemic brought about more opportunities to reconnect with origins. Together with fellow France-based artist Sirus Hood, Moor founded 

. The concept was a limited series of edits, released only on Bandcamp. Every month a new volume of three or four edits was released, and the previous volume deleted.

"The idea was to give value back to music, whilst reminiscing the good times with tracks that we remixed. It was disco, hip hop, R&B tracks. We really felt that there was an oversaturation of music, partly due to streaming."

The edits received widespread support from acclaimed electronic artists like Pete Tong who played “Slow Touch” and introduced the series on BBC Radio 1. 

Slow Touch (Manda Moor Edit)

Mood Edits VOL1 - Limited Release
https://moodedits.bandcamp.com

https://soundcloud.com/mandamoormusic
https://instagram.com/manda.moor
https://facebook.com/mandamoormusic

Moor joyfully recounts the gratitude she felt when major artists, like The Martinez Brothers, played Mood Edits at events in the summer of 2020. 

She attributes a major growth point in her career to videos of these edits circulating social media. Yet, after 12 volumes, the duo halted Mood Edits in fear of being subcategorized as purely "edit DJs" - though Moor passionately explains that that house music itself commenced with edits of disco tracks. 

Just as one door closes for the driven artist, another opens. In 2022, the artist hopes to announce her very own label. The label will similarly focus on giving value back to music but aims to differentiate itself by implementing blockchain technology. 

Moor's closing statement regarding 2022 aptly embodies her humbling attitude.

"Very excited for this year. Hopefully it's going to be so much better than the past two. In any case, I'm super grateful whatever happens."

Gray Area Spotlight: Manda Moor

Manda Moor's infectious determination seeps into her bouncy yet sophisticated tracks. European audiences will most likely be familiar with the Paris-based artist, making it hard to believe she only played her first major gigs in 2019. 

Her relentless drive has since landed her international gigs in some of the most acclaimed house and techno spaces, particularly in Ibiza and the UK. Her tracks have been released on acclaimed labels like Tamango Records. Her debut EP What U Want on Kaluki Musik hit number one on Beatport’s minimal tech chart.

Read the full Spotlight: https://grayarea.co/artists/manda-moor

▪️Follow Manda Moor▪️
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Soundcloud - https://soundcloud.com/mandamoor
Beatport - https://www.beatport.com/artist/manda-moor/864684

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Gray Area's mission is to build a bigger house music community in North America by helping fans discover exciting house music artists, event brands and festivals that are new to them. 

Timestamps:
00:00 - Intro
00:43 - Her heritage
02:37 - Growing up with music
03:44 - Early influences
05:36 - Key career moments
13:05 - Paul Johnson
13:37 - Influential track
14:15 - UK dance music scene
18:00 - Ibiza scene
21:05 - France
23:40 - Latest release "Catfish"
25:25 - Career ambitions
28:47 - Speed round

#grayarea #mandamoor #housemusic

Gray Area Interview: Manda Moor

Manda Moor's infectious determination seeps into her bouncy yet sophisticated tracks. European audiences will most likely be familiar with the Paris-based artist, making it hard to believe she only played her first major gigs in 2019. 

Her relentless drive has since landed her international gigs in some of the most acclaimed house and techno spaces, particularly in Ibiza and the UK. Her tracks have been released on acclaimed labels like Tamango Records. Her debut EP What U Want on Kaluki Musik hit number one on Beatport’s minimal tech chart.

While detailing her career, the artist repeatedly emphasizes her gratitude and wonder. Yet, despite her sincere humility, it's evident success was no accident. 

A self-proclaimed party girl, Moor's love for dance music began amidst the crowds and culminated when she became a protegée of sorts of one house music's founding fathers, the late Paul Johnson. 

Crossing the decks wasn't a smooth transition. I cannot help but feel sympathy as the artist reveals her struggles with anxiety. Nonetheless, her smiles while performing exude a confidence mirrored by her simultaneously warm and serious house and techno. Perhaps this melange is a reflection of her Danish-Filipino heritage. Her theory is that warmer countries inspire bouncy rhythms while colder countries inspire technicity. These coexist hypnotically in "Catfish," from Kaluki Musik's 16th Birthday EP. However, she explains, her musical influences derive mostly from her Filipino mother's side.

"I definitely got the music bug from my mother. She was a singer. Singing and music in general is a huge part of Filipino culture. She would play music whatever she was doing. There was always music in the house. Filipinos are kind of like the latinos of Asia, because the Philippines were colonised by the Spanish, then they were colonised by the Americans: that's what also brought disco and the love of singing."

Moor details the strong tribal and percussive roots of Filipino music sounds that she naturally feels drawn to in her own production.

In terms of conscious influences, Manda Moor's career constantly nods to the early Chicago house legends.



Manda Moor w/ Paul Johnson



"2019 was also the year when I started to really get into producing. That was the year I went to Chicago and met with the Chicago house legends, like Paul Johnson - rest in peace - , Dj Deeon, Dj Sneak, K'Alexi, Dj Pierre… I'm so blessed to have them in my life, and to know them personally. I consider them as family, they really, really inspire me to this day. They inspired the whole music industry! They are the founding fathers, the pillars of house music today. So, yeah when I went to Chicago it lit a fire in me to produce. That's how I started, basically. Obviously today if you want to be a successful dj and artist in the electronic world, you need to make your own music."



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We touch briefly on the tragic death of Paul Johnson, and it's clear the artist has been deeply affected by the loss. Yet, his legacy lives on through Moor's career, particularly through her long-term residency on France's first national electronic music radio station, FG.

"I was speaking with FG about how I met the Chicago house legends. That kind of revived within them the need to reconnect with the origins. So, they really encouraged me to play more of that type of music even though it's not real mainstream for a big radio station. It's just all about the reconnection with the origins which was the initial foundation of FG." 

The pandemic brought about more opportunities to reconnect with origins. Together with fellow France-based artist Sirus Hood, Moor founded Mood Edits. The concept was a limited series of edits, released only on Bandcamp. Every month a new volume of three or four edits was released, and the previous volume deleted.

"The idea was to give value back to music, whilst reminiscing the good times with tracks that we remixed. It was disco, hip hop, R&B tracks. We really felt that there was an oversaturation of music, partly due to streaming."

The edits received widespread support from acclaimed electronic artists like Pete Tong who played “Slow Touch” and introduced the series on BBC Radio 1. 

Moor joyfully recounts the gratitude she felt when major artists, like The Martinez Brothers, played Mood Edits at events in the summer of 2020. 

She attributes a major growth point in her career to videos of these edits circulating social media. Yet, after 12 volumes, the duo halted Mood Edits in fear of being subcategorized as purely "edit DJs" - though Moor passionately explains that that house music itself commenced with edits of disco tracks. 

Just as one door closes for the driven artist, another opens. In 2022, the artist hopes to announce her very own label. The label will similarly focus on giving value back to music but aims to differentiate itself by implementing blockchain technology. 

Moor's closing statement regarding 2022 aptly embodies her humbling attitude.

"Very excited for this year. Hopefully it's going to be so much better than the past two. In any case, I'm super grateful whatever happens."



Manda Moor

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