Dutch-Carribean brother-sister duo Shermanology, continue to impress house heads with a sound that beautifully marries stylish soul, low-end forward beats, and just a touch of that garage groove. Dorothy and Andy Sherman, whose individual musical backgrounds run the breadth of modern music, have found a sonic sweet spot that's let them drift in their own lane. And while this isn't their first foray into dance music, it is their most authentic.



Ahead of their New York show at Superior Ingredients, we chatted with Andy about career milestones, setting trends, and how their lifelong family connection to music continues to this day.

What ignited your love for dance music, and who were the early artists or influences that captivated you?


I think our earliest memories that we had was like Soul II Soul. That was one of the groups when we were kids. When those guys came out it was still electronic, but soulful and that was a sound that just stuck with us.





Can you recall a transformative experience or milestone in your life or career that profoundly influenced your musical style and direction?


Something that really changed everything for me, Andy, as a producer, was when I moved to the UK and I saw this UK garage feel where they still used full vocal tracks, but still had a lot of energy in the baselines, in the drums.



There were some guys like Todd Edwards, Karl "Tuff Enuff" Brown, Artful Dodger. I really like that sound, and I think a lot of things, and that we do right now with Shermanology is based on the same concept of a full vocal, but still solid sound-wise in the clubs.



Describe your creative approach when crafting a new track, and how do you maintain a constant source of inspiration?


We never have a similar approach with any track that we do. Sometimes we start from a vocal that Dorothy has in her phone. Sometimes it's from a beat that I create and Dorothy writes on top. Sometimes I hear a sample or Dorothy hears a sample somewhere and she's like, okay, we should try something like this.



Every track we make is different. Even when I start a production, I don't have a template that I open. I never use the same kick, the same clap. I always start from scratch. And I think that's what keeps it fresh for us. You know, I never like repeating so people tell me like, yeah, why don't you do a follow up for, for example, "Boyz N Da Club" And I'm like, no, I never do follow ups. We just do whatever the heart feels. And that's the source that we dig in every time.





What obstacles have you encountered within the music industry, and what strategies have you employed to forge a thriving career?


A lot of people are for hypes and every time a hype comes around, you see DJs jumping on a hype. Early in my career I used to do that, like see what everybody's doing and then create something in that sound. But for us, when everything started moving for us was when we let that go and the moment that we just did whatever felt right, the rest just fell in place.

And I think that's the strategy that kept us in the game for quite a long time. I mean, we had a period of five years before everything that's happening now where we had a really long dip where we didn't know what to do and where we wanted to go. But we just said, you know what? Let's just follow our heart. And from that point, everything started moving again.



Can you recount a significant collaboration or project that expanded your artistic horizons and left an enduring impression on your work?



A significant collaboration or project that expanded our horizon was the track "Bon Bini" that we made for Jamie Jones and Hot Creations. We always had this vision where we wanted to use vocals that people would normally not use in an electronic track. And Dorothy found this track, the acapella, from a Bulgarian choir and we were like, "you know what? Let's remake that choir and do that in house music." 

When we started with the track, we didn't know what direction we were going with the production. So, when that one landed, we were like, "you know what? Challenge accepted." Every track that we do let's just see how crazy we can go with, with the vocals, how unexpected. And I think that was a track that really showed myself as a producer that you can create electronic music or house music with any type of vocal.






Do you engage in any rituals or pre-show routines to mentally and emotionally prepare for performances?


Yes, we do have a ritual pre-show. We always like to just take a step back and go into a quiet zone. It's sort of a meditation just to, you know, go into yourself.



Just get the feeling of gratefulness that every step that we are making has a deeper meaning than just doing a show. It's something where me and Dorothy come together. We just chill for the bigger shows. You know, a lot of times there's praying involved too.



So we do have a ritual where Dorothy and I just take a step back from all the madness. And just stand still with the blessings and everything that's happening.



What guidance would you offer to emerging dance music artists seeking to establish themselves in the industry?


Don't look around too much at what everybody else is doing, because everything that you're seeing is already there. Dig deep into yourself and really understand what you stand for. I think that, is the winner, you know? And maybe it will take a lot of time before you find the formula that works for you, but once you have it, no one can take it away. Nobody can copy it because it comes from a deeper place within yourself. 





How do you foresee the evolution of dance music, and what emerging trends do you believe will define the genre in the near future?


You have a lot of sub genres getting the chance to shine again. I can see the UK garage, I can see the drum and bass, I can see the more soulful side. I think that's really healthy, for the scene to give the people the chance to do whatever they do, whatever they feel. And it was a couple of years that disappeared. You know, you have less boxes, you can get a techno guy in the lineup with a soulful guy and also with an afro act. So I just really like how everything is blending.





Describe one of the most unforgettable gigs of your career and what made it so memorable.


We had a booking in Curaçao, on our island where we were from, and our whole family was backstage and standing with us on stage. And we have a big family! So we had, I think 30 or 40 aunts and cousins and everyone on stage. And then my dad just grabbed the mic and started singing. And that was the first time that we heard our dad sing on house. To share that moment with him on stage, I think that was one of the most memorable things for us personally. You know, we have like other big gigs that were good for the vision of where we wanted to go, but I think this was the most memorable one.



Which three cities top your list for exceptional restaurants and culinary experiences?


There is one in Rotterdam, that's called La Bandera. It's a Dominican kitchen, and it's just amazing. In Curaçao, you have the Fish's Corner. That's where they just get the fish straight out of the sea. You sit next to the beach and you just eat the fish just right there. I think that one is a really, really good one too. In Suriname you have a place called Roopram Roti, and you get Roti. It's a dish where you have a big pancake and you have all your meat, vegetables, potatoes in there. 



If you were to play a professional sport, which would you choose and why?


I would be an MMA fighter for sure. When I was a kid, I was really good at martial arts and at the age of 12 I was the Dutch champion. So it was a really good passion of mine and I need it, you know, I have a lot of energy, and sometimes I have mood swings. So this was the perfect way for me to just have an outlet to let it all out. I still do my kickboxing once or twice a week just for the exercise. 





If you had the opportunity to join the cast of any existing movie, which film would you select and why?



Coming to America, every time I watched that movie, I just thought Eddie Murphy and the whole cast was so good. And it just hits home, you know? When you move to a different country, we've moved around a lot in our lives. We went to Holland, we went to Curaçao, Dorothy moved to Greece. I moved to the UK. We moved back to Holland. So we can really relate.




What type of cuisine resonates most with your palate?


We have a lot of different kinds of food that we really like. I mean, we love sushi, we love Japanese, but we also love our Thai food. Caribbean cuisine is something that, everywhere we go around the world, especially in South America, we just go around just eating the whole day, just trying stuff. So it's a combination of different cuisines.





When it comes to performing, do you prefer indoor venues or open-air settings? Why?



When it comes to performing we both like both, because with the indoor places there a lot of times where you feel the energy. I like the underground dark kind of clubs where you don't have a lot of lighting and it becomes more of a vibe kind of thing. But then again when you're at an open-air festival, where the energy is so high that you can still feel people screaming and jumping, they both have their own charms. So I cannot say which one I prefer, but yeah both are good.




How do you balance the demands of touring with your personal life, and what strategies do you use to stay grounded?


We've had years that we were touring and everything was just about chasing gigs. At a certain point we got to a place where it became work. And this time around we just said, no, we want to tour, but we're not gonna kill ourselves doing 20 bookings a month. At the moment we balance it out where we do a couple of gigs, we fly back home, we spend time with our people, we spend time with each other. We try to get as much exercise as possible on the road. We don't go to the junk food places like we used to. We just take more time and eat healthy.



So I think with that balance, it's possible to tour and still have a good time because, we've seen a lot of people around us chasing money and in the end they were left with nothing because their health was so bad you know? And it's all about feeling good mentally because if you are on stage and you're not at a good place, you cannot give 100% and the crowd will also feel you're not in a good place. It all ties in together so if the balance is right, life is good.



What role does technology play in your music production process, and how do you think advancements will impact the dance music scene?


Not really. We're still in a place where we come together and we write the song just with a keyboard or a guitar, or sometimes it's instrumental that inspires us from someone else online, and then we flip it. When I see what's happening with the AI and all the people using it to create chords and to create beats, it's an evolution that we can't ignore, you know? Everybody has to do what feels good but I just like the song to get there organically. Yeah that's the part that you hear back in our music. And who knows what the future holds? I will never say that I won't do it because if something inspires you, you should use it. I'm not a keyboard player, I’m not a guitar player so, maybe AI can help me to get some chord progressions that I wouldn’t think of.



Can you share an experience where fan interaction or feedback profoundly affected your perspective as an artist?



An experience that changed a lot for us was we had a tour in Asia, and this girl, she was sick and she was telling us, "yo, I want to come to your concert next time. This time I can't make it." And at the start, we were really in touch with her for a couple of weeks, you know, talking to her and suddenly it went silent. And we never knew what happened with this girl. And that really had a big impact for us. 

As an artist sometimes you don't understand how big the impact of your music can be on someone, and how it can help them through difficult times. I mean we really try to reply to everyone who speaks to us on social media because we really know that without the fans we wouldn't even be playing you know? Sometimes it's hard to keep track to talk to everyone but I think the fans are really important with every step that we take along the way.




How do you approach the process of remixing a track, and what elements do you consider when reinterpreting another artist's work?



Yeah, I mean we don't remix a lot but I just recently did two remixes, one for Fat Boy Slim, and one for Todd Edwards. When we remix a track, I just pick out my favorite elements, for example, the elements with Fat Boy Slim Remix. I just took the vocal and in the Todd Edwards track, he had chopped up vocals with chords and some tracks. With the Fat Boy Slim remix, I had a lot of inspiration to change the whole instrumental underneath and I just didn't want to touch some elements because the production was so perfect that I just took his parts and changed up the drums. I added a spoken word to it, so I made a whole new interpretation but still based it upon his work. So with every remix, I approach it differently.




What message or emotion do you aim to convey through your music, and how does it evolve as your career progresses?


Lately I was producing quite, the club bangers, you know, peak moments in the set. And the last few months we felt like, okay, we have the peak moments. Now, I still miss a couple of moments in my set. I miss the musical part where we really go soulful. A part that I really missed was my Latin drums and my more soulful kind of vibe, like the Kenny Dope and the Masters At Work kind of feel. So I've been doing that the last couple of months. 

Our set consists of almost all original music. We don't play a lot of other people's stuff, and that's not because we don't like their stuff, but we just like to keep the energy as close as to ourselves. Our set has to be a representation of who we are. So that's how it evolves through our career. You know, I just fill in the gaps where I feel like, okay, we need a deeper moment in the set than I go in and create something that suits my sound or the set. And that's how me and Dorothy go back and forth the whole time trying to create a whole journey in the set. So we can go from funky to deep to Latin, to banging. 



How do you stay connected to your fan base, and what methods do you use to engage and communicate with them?



Yeah, we really like to stay as connected as possible with the fans. Like we reply to every DM, we reply to almost everything that they send on Facebook or whatever platform. I think it's really important to just communicate with them because it's important to know what they think, and the more they understand us, the more they understand the steps that we're taking along the way. So yeah,I see it as if someone talks to me like in real-life and I don't reply, it's rude. And the same method I use on social media. If someone asks me something, I always try to give a meaningful answer for them to get a reply like it's a normal conversation.





Unlocking the Beat: Shermanology's Passion, Evolution, and the Future of Dance Music

The Atari Lullaby 

Growing up with a musical family, Andy and Dorothy Sherman were exposed to a constant stream of music. Their father worked on songs day and night, and the siblings even recall the metronome from the Atari being their lullaby. This early immersion in music helped shape their passion and love for the art form, which would later define their career as the duo Shermanology.

Dorothy's First Gig

At just 13 years old, Dorothy was offered her first professional opportunity by her father. He placed a stack of money on the table and told her it was hers if she provided backing vocals for one of his songs. Dorothy accepted the challenge, and this experience ignited her passion for singing, eventually leading her to form Shermanology with her brother Andy.

Andy's Artful Dodger Adventure

Before forming Shermanology, Andy had an opportunity to replace Craig David as the front man for the iconic UK garage outfit Artful Dodger. As he traveled the world performing, Dorothy discovered her love for dance music. When Andy returned to Holland, he invited Dorothy to join him on stage, which ultimately led to the creation of their duo.

Pivoting from EDM

Shermanology started their journey in house music before shifting to the EDM scene. Although they experienced success there, they realized that their true passion lay elsewhere. So they decided to take a risk and pivot their sound, focusing on a unique blend of tech house and their Dutch-Caribbean roots. This decision ultimately led to a more authentic and fulfilling musical journey for the siblings.

Bon Bini's Emotional Tribute

When creating their EP "Bon Bini" with Hot Creations, Andy and Dorothy faced a challenge when the rights holder for a sample they used wouldn't clear it. They decided to rewrite the lyrics in their native language, Papiamentu, as a tribute to a friend who had recently passed away. This emotional and personal touch transformed the track into a poignant representation of Shermanology's authentic sound and musical style.

From Atari Lullabies to Soulful Grooves: 5 Unforgettable Stories Behind Shermanology's Rise to Stardom

Shermanology's family connections run deep. The brother-sister house music duo have a natural balance to their partnership, allowing Dorothy's soulful, soaring vocals to shine equally with Andy's ability to construct ear-worm riffs, funky basslines, and shimmying drums. Their immense talent is just as much a product of decades of hard work as it is a part of their DNA. In fact, they learned a lot from their father, Tony Sherman, an accomplished singer of the R&B group, The Sherman Brothers. The family recently joined forces on the funk-laced UK garage track, "Can't Let It Go."









The track takes on the stylistic vibe of Godfather of Soul, James Brown, but for the club. The elder Sherman's powerful vocals punctuate pointed broken beats while a slippery bassline runs beneath. "Can't Let It Go" isn't just a poignant collaboration, it's also the inaugural track on their new label, D'EAUPE DEMAND, which they say will focus on "joining heads and doing things that feel good."







Andy and Dorothy say that working with their father is a dream come true. "This feeling is just so good. Our dad is our biggest influence. He sings and produces. The foundation he showed us is something we use every day. And to have him on this track feels full circle," they told Gray Area.




Their father was the one who gave them some of their first professional opportunities. Dorothy sang backup for the elder Sherman, and while Andy wasn't as quick to join the family band, his musical ability was evident. His pitch was so sound that even as an observer, he was often the first to notice when someone was a bit off-key during practice.




Shermanology is the continuation of a legacy, and "Can't Let It Go" pays homage to the duo's roots. And for as much as they learned from their father's example, they feel that they have the opportunity now to reciprocate.




"It's a funny feeling to be playing a track in the club and you can feel that your dad is with you every single time," they say wistfully. "And it's something we wanna keep on doing. For our feeling, Dad never got the time to shine like he deserves and one of our goals is to show the world how crazy our dad is as a singer & performer."

















Shermanology Put the Family Band Back Together with "Can't Let It Go"

While house and hip hop were born from similar threads and hold their roots in Black culture, how they were historically expressed couldn't be more different. House music became a refuge for the Black and brown LGBTQ community and created a safe space where sexual freedom, hedonism, and radical inclusion were the norm. Conversely, hip-hop's hyper-masculine blustering made it a strong outlet for understanding the struggles of the inner city and  a powerful socio-political statement. At times this seems to put them at odds creating an invisible chasm between the two divergent genres.




Despite their differences, mutual respect has long existed between them. Both skillfully exploited sampling technology to borrow from the past and make groundbreaking music. They exist as a means to express inner struggle, the need for freedom, and form a foundation for community and counter culture. And so it should be no surprise that hip-hop and house have a long history of crossing over.




We pulled together a short list of our favorite hip-hop and house crossovers.




1. Jungle Brothers - I'll House You




The Jungle Brothers were part of Native Tongues, a New York collective of conscious MCs that included De La Soul, A Tribe Called Quest, and Queen Latifah. They were well known for jazz-sampling boom-bap offerings, so the 4/4 thump of "I'll House You" appearing on a vinyl reissue of their 1988 album Straight Out The Jungle may have seemed a bit leftfield.




The Todd Terry produced record came about when the Brothers were in the studio with Idlers record label owner Tony D who suggested they make a house record to capitalize on New York's then-growing fascination with the Chicago sound.




Todd Terry's "Can You Party" provided the perfect backing track, and within a few takes, the song was born. Others at the label laughed it off and, instead of a legit release, only offered it on vinyl. Nevertheless, it became a hit in the clubs, and later that year, Warlock Records re-released the album with "I'll House You" included. Over 30 years later, it remains one of their most popular songs.




2. Kid Cudi - Day N Nite (Crookers Remix)

The Crookers remix of Kid Cudi's "Day N Nite" is one of those tunes whose popularity almost eclipses that of the original. Its ubiquity in 2008 was unprecedented. The Italian duo made up of Andrea "Bot" Fratangelo and Francesco "Phra" Barbaglia was asked to remix the song by A-Trak for his then-fledgling record label, Fool's Gold. Initially released as a free download, it made the rounds on blogs before getting signed to Ministry of Sound, where it caught fire and peaked at number two in the UK Singles chart, tailing Lady Gaga's "Just Dance."




Despite its upbeat tones, “Day N Nite” was originally born from a dark period in Cudi’s life. And the Crookers dingy club vibes elevated the juxtaposition between tragedy and triumph.




In 2021 Bot recounted that when they first played it in Italy, it seemed like a dancefloor flop, and they vowed never to play it again. Yet, somehow they had caught the beginning of a movement. Its grungy wobbling bassline defined the early sounds of the blog house era, helping pave the way for the dance music explosion of the following decade.








3. Wax Motif & Diddy - Divided Souls

"I hate when a motherfucker play a four-minute version. You can't even get into your thing. You know? You can't even get into your thing on a four-minute version. You know what I'm sayin'?"




Diddy's passionate profanity-laced plea for DJs to take a chance on the extended mix punctuates a dark, bouncing beat courtesy of Aussie-born G house stalwart Wax Motif. The 2019 release marked the start of his Divided Souls label, which pulls its name from Diddy's speech. For Wax, who masterfully blends the swagger of hip-hop with the shuffling groove of house, it was a fitting proclamation.




This Diddy speech has been making the rounds in dance music for years. A shortened version originally appeared in a collaboration Felix Da Housecat did with Diddy in 2005 called "Jack U." And much to Felix's ire, DJ Hell used the acapella for "The DJ" in 2009.




Wax told Billboard in 2019 that he'd had the acapella sitting on his computer for years. After creating a loop for it, he sent it to Diddy via a mutual friend, and Diddy loved it. Diddy's plea for DJs to play a 20-minute version for "the two motherfuckers that understand it" went ignored for nearly two decades until Wax caved and released an ultra-extended version of "Divided Souls." It stretches just long enough for the DJ to put it on, use the bathroom, have a smoke outside, and still have time to spare to watch the dancefloor lose it before mixing in the next tune.









4. LION BABE - Harder (Shermanology Remix)

LION BABE's 2021 collab with Busta Rhyme's starts with a sneaky vocal interpolation of his 1998 track "Gimme Some More" over a sultry deep house beat before ripping into a duet that features the quickfire MC dropping a hot 16m that's punchy yet more romantic than for what most know him.




Brother/sister duo, Shermanology's penchant for lacing up tech house beats with soulful swagger made them the perfect choice to flip "Harder" for the peak hour dancefloor. They masterfully retain that Chicago-infused deep house aesthetic, building it into a dark, warbling bassline-fueled club monster that pulses beneath Busta's flow. It's a blissful modern clash of genres.










Four Times When Hip Hop and House Collided

Whether you love or hate to see it, there’s no denying that 2022 marked a period of significant commercial interest in house music.



The genre has had its fair share of moments in the mainstream spotlight since it coalesced in the gay, Black, and Latino nightlife communities of Chicago in the ‘80s, to be sure. Crystal Waters’ 1994 classic “100% Pure Love” hit #11 on the “Billboard Hot 100,” and #1 on the publication's “Dance Club Songs” chart. More recently, FISHER’s 2018 tech house track “Losing It” topped the latter.



2022 saw notable pop superstars join the party. Within weeks of one another, Drake and Beyoncé each dropped albums that included numerous house-inspired songs. The former artist tapped producers like Black Coffee, &ME, and Klahr for his effort. The latter enlisted dance music acts like Honey Dijon and Nile Rodgers for hers.



Some argue that these influences will only dilute house, which has already arguably suffered from recurring identity crises as each new generation of talent offers its own interpretation of the genre. Others are more optimistic, projecting that the increased attention will trickle down into opportunities for artists at every level.



We here at Gray Area decided to gather the opinions of house artists themselves. Some are elder statesmen who helped guide the course of the style early on. Others are up-and-coming acts who represent the future of the genre. Read on what they have to say about the matter and arrive at your own conclusions.



1. Todd Terry







Todd Terry’s career extends back to house music’s genesis in the 1980s. He’s in favor of mainstream house music hits as long as artists bring original ideas to the table.



“We need a Robin S. We need a Crystal Waters. We need a Snap! - ‘I Got The Power,'” he told Gray Area during our Spotlight interview. “We need something that helps us a little bit here, makes us come to the dance floor. We need to get something out there to mix it up a little bit.”



"Break some new records,” he went on. “Stop catering to the same piano sound all the time. We got enough piano records. Okay, you guys found the piano in the last three years. Good job. There's other shit.”



2. East End Dubs





East End Dubs is a name that has grown more and more ubiquitous among London house fans over the past decade. In his Gray Area Spotlight interview, the “bRave” producer expressed optimism that house-inspired tracks in the mainstream could offer new fans a point of entry leading to the underground.



“Recently, people have said, ‘Oh, this is going to bring uneducated people into the scene.’ For me, I think people can start with Beyoncé or Drake and then fall in love with house music,” speculates East End Dubs, who also praised the tracks by the aforementioned artists. “It's a beautiful thing. Why not? House is something that we share together, so I don't mind people getting to know our music that way and then going a little more underground to discover us.”



3. SYREETA





SYREETA stands out as a more recent house music artist who still represents the queer, Black, underground roots of the genre well. She nonetheless believes that her world can coexist with the mainstream.



“There's no judgment on this,” she said during Gray Area’s Spotlight interview. “House music started underground, and it will always be to me. It hits everybody’s souls differently and is inspired in different ways, so each artist will have their own stamp on what they have taken away from it, whether it be more on the commercial side or more underground. Not everybody has to like it. People will move with what they prefer.”



4. Iglesias





Fast-rising UK house DJ and producer Iglesias also posits that commercial interest in house has little bearing on what he does. In his Gray Area Spotlight interview, he pointed out that most consumers of those releases likely don’t even associate it with house music.



“I don't really care, to be fair," he said. "What they're doing is not what we're doing, let's put it that way. They're making commercial stuff. Who they're appealing to, I don't even think that person would even know that that's a house beat or whatever. They would just be like, 'Oh, it's another Drake track.' Do you see what I mean? So it never really fascinates me that much because I don't feel like they're stepping on our toes. What we're doing is way cooler than what they're doing."



5. Harry Romero





During his Gray Area Spotlight interview, longtime NYC DJ and producer Harry Romero expressed optimism about house music’s popularity in the past few years. He did, however, have choice words about how the EDM movement impacted the culture over a decade ago.



“I hate to say it, but that EDM thing really threw us all through a curveball. We were like, ‘What the hell is this?’ he said. “The mechanisms changed. The way of doing business changed. The EDM thing really commercialized the industry, and for them to claim that they were house music was just strange."


"The reality is that it became a business," Harry went on. "It was pop music all of a sudden. A lot of people steered away from what they loved, which was the roots of house music. I understand evolution. I’m not mad at technology or the times. What I at least try to do is scratch my head and figure out how to put my own twist on it.”



6. ACRAZE





ACRAZE is enjoying an enviable breakthrough as an artist thanks to recent covers like “Do It To It” and “Believe.” With his recent good fortune, it perhaps comes as little surprise that he sees the genre’s recent popularity as a good thing.



“I think it's cool, man. I think seeing new faces in the industry is just special,” he said during Gray Area’s Spotlight interview. “Massive artists like Beyoncé and Drake getting into house music only helps the genre explode even more. I guess it becomes more commercialized, but now there’s also a bigger goal for artists. Drake’s in house music—it's my dream to even collab with him. Now I know, there's a chance. I didn't even know he was into that shit. Beyoncé too, like, that's so sick.”



“Some people will think differently and say, ‘They don't know anything about the music, the culture,’ he went on. “I think people read way too deeply into those kinds of things. If people are putting out good music and pushing the genre, I think that's what matters, you know?”



7. Shermanology





Dutch-Caribbean outfit Shermanology are also enticed by the prospect of working with more commercially successful acts. In their Gray Area Spotlight interview, the brother-sister duo named one hip-hop artist in particular.



“What we wanna do in the near future is collaborate with artists you wouldn’t expect us to collaborate with,” said Dorothy. “For example, if I could dream big I’d say Anderson .Paak. That would be someone who would excite me.”



Andy added, “I wanna work with people who may have said, ‘I will never do a house record,’ and get them to do a house record. Just mix and blend different genres.”



8. Tim Green:





Count longtime DJ and producer Tim Green among the artists who feel Beyoncé and Drake’s interest in house music has no bearing on the underground. Why? Because he doesn’t consider it house.



“I literally couldn't care,” he said in his Gray Area Spotlight interview. “You can call a car a tree if you want, and that's your prerogative, but each to their own opinion. When you start to get down to the finer details of what something is, who knows—and really, who cares? It doesn't matter.”



“I understand, of course, the negative connotations that it kind of has, and it's not right,” Tim continued. "But for the people that know the kind of music that they're into and want to listen to, I think that's enough.”



9. Kyle Walker





Breakthrough tech house artist Kyle Walker, on the other hand, does think mainstream artists dabbling in house will affect the underground—but in a good way.



“[House music is] definitely headed to the top 40 chart, I would say, like Billboard and such,” he said during Gray Area’s Spotlight interview. “I could see more dance records being in the top 10, even. It's definitely a good thing for everyone—even the underground. It's a good thing that more ears and eyes are gonna be on the scene. I just think everyone's gonna start with this wave of just having house music producers come onto their albums, which in turn is just going to create more house music fans.”



10. LOVRA





Rounding out this list is the perspective of LOVRA. The German DJ and producer agrees that the increase in attention to house music has created new opportunities for artists.



“It's super interesting, but it also shows that the people understand this music right now,” she said during Gray Area’s Spotlight interview. “They're more open to it. Back in the day, sometimes you couldn’t play in a club because it was too commercial or you were too underground. But now, I feel like the people and the club promoters are way more open to trying it out a little bit more, and this is a good thing.”





10 House Artists Weigh in on the Genre's Recent Mainstream Popularity

FISHER, Shermanology - It’s A Killa

The highly-anticipated collaboration between FISHER and Shermanology cements their places as purveyors of the modern house revivalism surrounding dance music. Zaps of synths and energetic scatting vocals light up a sultry sound from the sibling duo with the hip-shaking rhythms of Aussie DJ and producer FISHER’s signature beats. “Its A Killa” dropped earlier in 2022 on FISHER’s label, Catch and Release.



Shermanology - Boyz In Da Club

Released via their D’EAUPE label, “Boyz In Da Club” is a playful cut from Shermanology. The jackin’ house track channels the classic Chicago sound, arguably the beating heart of house music, while adding a dark techno undertone. The groove on “Boyz In Da Club” is irresistible, layered with samples and twisty synths that make Dorothy’s chorus stand out.



Shermanology - Bon Bini

After grabbing the attention of Hot Creations founder Jamie Jones, Shermanology released their Bon Bini EP with the label in 2021. The track honors their Dutch-Caribbean roots as Dorothy sings in the native language of Papiamentu. “Bon Bini” means “Welcome,” and represents what Shermanology stands for as artists. No influence is off the table—from gospel to soul and house, the sibling group finds joy in what makes them and their fans move to the music. Their debut on Hot Creations received support and acclaim from MK and The Martinez Brothers.



Shermanology - Get Loose

“Get Loose” comes from Shermanology’s debut of their modern tech-house sound in their solo EP Champion Sound on Rawthentic. The explosion of a thumping bassline from Andy Sherman adds electricity to the minimalist verses from vocalist Dorothy, making it a mainstay in the duo’s setlist.



Denis Quin, Shermanology - Move Out Of My Way

A commanding vocal performance from Dorothy Sherman makes this 2018 track a classic in the siblings’ discography. Sherman’s refrain of “you can’t stop this train” is metaphorical to the energetic launch of the Shermanology project, which shows no signs of slowing down.



5 Shermanology Tracks You Should Know 


Often, the most inspiring moments for artists come from a personal place. The journey behind the creation of Shermanology's “Bon Bini” is no different, as it represents an important story in the lives of Andy and Dorothy Sherman. The song came about unexpectedly, and it all started with a hidden gem of a rap track.


Seeking to find more ways to fuse funk with hip hop and house, Dorothy Sherman found herself immediately entranced by the hauntingly beautiful vocal sample in D Smoke and Snoop Dogg’s “Gaspar Yanga” and was immediately entranced by the hauntingly beautiful vocal sample. She found the acapella of the original song "Bre, Petrunko" by the Koutev Bulgarian National Ensemble and shared it with Andy, who suggested they build a song of their own from the track.



The duo signed “Bon Bini” to Jamie Jones’ Hot Creations label with the Bulgarian hook. Unfortunately, the original rights holder was unwilling to clear the sample. So, Shermanology dove deeper into the idea of making the song something of their own. Dorothy rigorously studied the original song to imitate its unique beauty and complex rhythm.



As the song continued to come together, an unexpected loss struck, Dorothy and Andy Sherman suddenly lost a close friend. To honor their friend’s memory, Shermanology translated the song into their native language of Papiamentu. They wrote lyrics in their friend’s memory and felt that “Bon Bini” (meaning “Welcome”) was representative of their loved one’s spirit. Touched by the heartfelt tribute, Shermanology received the blessing to rework the sample from the original songwriter.





“Bon Bini” is now one of Shermanology’s most-beloved singles in their discography. It showcases their Dutch-Caribbean roots with its fearless mesh of genres, combining Latin vocal chops, housey 4-4 beats, and soulful gospel-tinged melodies for a sound uniquely their own. The track starts the party in their trademark live sets and serves as a loving reminder of the friend Shermanology lost as their memory lives on through the music.



How an Obscure Bulgarian Sample on a Snoop Dogg Song Inspired Shermanology's 'Bon Bini'

Shermanology got their start collaborating with legendary EDM acts, creating hits like “Can’t Stop Me” with Afrojack and “Blessed” with the late producer Avicii. But, while they loved the energy of the crowds, Andy and Dorothy Sherman found themselves hungry for a deeper, more authentic sound all their own.




Andy Sherman speaks of this dichotomy, explaining, “the EDM period really gave us the chance to know what we stand for. The music we made at that time, we wouldn’t play it ourselves. We learned so much and we had so much fun, but we never felt it was ours. We always felt we had somebody else’s shoes on.”



Searching for a truer form of self-expression, Andy and Dorothy Sherman made the collective decision to go back to the drawing board and start over sonically. Andy focused his time on his production skills, teaching himself how to mix and master his songs in order to retain complete creative control over the music.




Dorothy felt the call to her father Tony Sherman’s origins, packing in influences from Motown, R&B, and soul while infusing this sound with the music of the Caribbean-Dutch heritage of their home Curacao.



Though it started as an uphill climb to re-shape the Shermanology project, the duo’s trajectory shifted when they caught the attention of prominent house producer and Hot Creations label head Jamie Jones.


After snapping a picture with Jones years prior at a festival in Holland, Andy Sherman reached out to him via email with the photo and a few of their newest demos.






Jones wrote back, enthusiastically wanting to sign all of the songs Andy shared. However, Andy had already signed the tracks to Rawthentic, but Jones supported the releases to show his interest in the fast-rising duo’s new sonic approach. Shermanology would later release their EP Bon Bini with Jones’ label in 2020, paving the way for their infectious brand of house music to take off into the inimitable act it is today.



How Jamie Jones Guided a New Direction for Shermanology

Dorothy Sherman started singing as a backup vocalist for her father and uncles, crooning with Tony Sherman and The Sherman Brothers at 13. Andy, her brother, took a little more convincing to start his musical career. After an unfulfilling stint at Pizza Hut, Dorothy talked her brother into working on his singing, acting as a coach, while Andy painstakingly practiced the Toni Braxton classic “Unbreak My Heart” until it reached perfection.



Once Andy discovered his love of music, Dorothy roped him into overcoming his stage fright. The siblings went on to perform at a singing competition, belting “Endless Love” together. Following this, Dorothy and Andy started an R&B duo and began singing in clubs.

Andy Sherman on lead vocals with Artful Dodger



Andy found his voice as the lead singer of UK garage group Artful Dodger, which introduced Dorothy to house and garage music for the first time. Diving headfirst into the exciting world of international dance music, the siblings found themselves MCing European house parties, lending their distinct voices to the mic in their signature high-energy fashion. However, Dorothy felt limited by this role and sought to express her creativity with her own project.





She convinced Andy to start their band once more, as he knew how to DJ, and she had an extensive background as a vocalist. Shermanology transformed into its first iteration—an EDM project that brought them into studios with Afrojack and Avicii. Although they found success in the late aughts with a more commercialized style, Shermanology was not yet sure what the future held.





Still looking for their sound, Andy and Dorothy decided to reinvent themselves, developing the fiery tech house-meets-soul sound that defines them today. Their Rawthentic debut “Hot” received support from legendary house artists MK and The Martinez Brothers and held a three-week run atop the Beatport tech house charts.



After catching the attention of Hot Creations label head Jamie Jones, the duo was off to the races, releasing on Hot Creations and playing shows around the globe. Now, there’s no stopping Shermanology as they embrace all their influences, from their musical childhood to their influential sound today.


The Musical Evolution of Shermanology

In the 1970s, Tony Sherman and the Sherman Brothers broke out into the mainstream with their Motown-inspired hits like “I’m Stoned In Love With You” and “Smile Baby Smile Part 1”. Little did their lead singer, Tony Sherman, know the music legacy he was creating.




The Sherman Brothers band steadily gained popularity into the 1980s, with Tony leading the way for his family’s continued success in the music industry. His son, Andy, and daughter Dorothy would study their father and uncles as they wrote and rehearsed their songs and made their stage costumes, sparking a love of music that fuels the family to this day.




“Our lullaby was the metronome from the Atari,” Andy Sherman reflects. “My dad was making music while we were trying to sleep. All day, every day, there was just music.”







Inspired by the world of music around her, Dorothy Sherman knew from childhood that she wanted to be a singer, just like her dad. She first got her big break singing as a backup vocalist for her father at 13.




“[He] put a pile of money on the table and told me that if I did the backing vocals, I can earn this.” Dorothy obliged and never looked back. Her soulful voice has transformed Shermanology, the dance music duo she created with her brother Andy. Paying homage to their roots, the siblings still collaborate frequently with their father, Tony, recently featuring him as a vocalist on their 2021 song “Let’s Talk About,” from their 2031 EP.




They also created music for Tony Sherman’s project, which is still active today. The Shermans can be seen in the making-of video for “Amor Special,” Tony’s release from 2013. Together, the Sherman family’s impact on music continues to stand the test of time, passing down the love from generation to generation with the powerful sound of Motown-infused soul and strong familial bonds.



It's All In The Family: Shermanology's Musical Upbringing

The world's brightest, most absurd, and colorful party returns to Brooklyn. That's right, another edition of elrow is just around the corner and is on track to be the biggest and the best to hit New York yet.



On Saturday, July 23, The Brooklyn Mirage and the King's Hall in the famed Avant Gardner complex will welcome over 15 top-tier DJs for elrow Summer Festival: Far Rowest. And as the two stages of pure debauchery plunge into kaleidoscopic chaos, guests can immerse themselves in a host of brand-new amenities.



But to access all the whimsical and wonderful experiences offered at Far Rowest, you'll need to show up early and purchase a Full Experience Pass. And let's be honest here. Why anyone would want to miss even one second of the action at an elrow event is a mystery. So grab the ticket, take the ride, and get a little weird.



Here are ten reasons to grab a Full Experience Pass before they're gone.

1. Save Money



Spoiler alert: the Full Experience Pass is the cheapest ticket for the elrow Festival. You're literally paying less money to have more fun. Has there ever been a more exciting trade-off in the history of live music?



2. Drink Specials



People show up late to an event because they want to save money on the pregame. Now elrow is taking care of that for you. Everyone who arrives early will get a special drink deal—buy one, get one half off. The bars will also serve a specialty-themed cocktail until 8 PM. You'll have to get your Full Experience Pass to find out just how special it is.



3. On The Runway With Rowgelia



We all love Rowgelia. The beloved chicken has been with the elrow family for years, keeping the energy up until the sunrise set is blaring through the morning. Now, for the first time, Rowgelia is doing a photo shoot with all our favorite fans. Get your Full Experience Pass and enter by 6:30 to get a picture with the hardest partying chicken in the world.



4. Sunset to Sunrise



For the first time in the USA, elrow will run from dusk till dawn. Watch the sunset over the dead sexy New York skyline from the highest walls of the Brooklyn Mirage. Then after doing some of the wildest dancing of your life, do the same thing with the sunrise. The master himself, Paco Osuna, is dropping a sunrise set until ... Well, we don't know when he will stop. Maybe you'll even get to see the next sunset?







5. Special Sundown Sets



We've specially curated both stages to provide the ultimate kickoff to this epic day-and-night of house and techno. In the Mirage (which just underwent some swanky new production upgrades), none other than Shermanology will be guiding the event into darkness with their endlessly funky combination of house music and soulful live vocals. Francis Mercier will be on the decks in the King's Hall, dealing out the smoothest and silkiest afro house in the game. Plus, with the recently installed glass paneling, the coruscating colors from the sunset will still wash over the crowd like a warm waterfall.





6. Animators, confetti, inflatables? Oh my!



elrow is about so much more than the music. This party is a 360-degree, audiovisual experience. One minute you're dancing your heart out. The next, you're sitting in an inflatable pirate ship navigating the crowd like Captain Hook. A blast of confetti shoots off next to you like cannon fire from a rival ship, but instead of avoiding it, you let the color papers engulf the bow. Suddenly your sinking back down to the floor, but all you can do is smile as someone else commandeers the boat and goes on their own voyage. Did you get chills reading that? Well, the earlier you get to elrow, the more likely you'll find yourself in that exact situation.



7. Come Hungry, Leave Happy.



On top of the many upgrades to production, the Mirage has a brand new food menu. So get there early and fuel up proper so you can dance into the night. Then when it comes time to dance into the morning, come back and fuel up again.





8. The Great Hall of Chill



When you need a place to sit and eat, come to the Great Hall, the newly established house of chill in the Avant Gardner. The massive room will be converted into a luxury air-conditioned lounge where you can relax, hydrate (because we care about your health), grab a bite, look at your awesome pics with Rowgelia, meet your fellow attendees and collect yourself before another extended dance session.





9. B2Bs on B2Bs on B2Bs



Far Rowest is all about double the fun. Double the stages. Double the confetti. Double the artists, and for some sets, it's double the DJs. We have curated two unique, rare back-to-back sets. Tech house icon Martin Ikin B2B "My Humps" producer Joshwa. And New York's Jean Pierre B2B elrow resident Toni Varga. These are all elrow veterans and veteran DJs in their own right. When they come together at peak time in the wild west, trying to put it into words would be futile. Just be there.







10. When I Roll Into The Wild Wild West…



This is the first time elrow is making the journey to the untamed frontier of the wild west, with the key word there being "wild." Are you ready to get wild? Cause we are. With epic production upgrades, an extra stage, and even more hours of partying (with the Full Experience Pass), this will be our biggest and wildest party yet. You don't want to miss a second of it.



A Full Experience Pass is Your Ticket to an Elevated elrow NYC

It's about time again for our monthly takeover of Diplo's Revolution. Yes, that's right, OCHO 3 is coming on January 22, 2022, to Sirius XM. We're serving up eight hours of non-stop exclusive sets by eight extraordinary artists from across the globe.

This month's diverse lineup features eight artists from across the spectrum of house sub-genres. Andrea Oliva, Cloonee, J. Worra, Layla Benitez, Meduza, Paco Osuna, Shermanology, and Wax Motif all come from different corners of the worldwide house music community. And while their sounds may vary, each one encompasses the words of Chuck Roberts from the 1988 anthem "Can You Feel It" by Fingers Inc., "house music is a universal language."



Tune in to Gray Area OCHO on January 22, 2022









Andrea Oliva

Born in Switzerland, Oliva taught himself to DJ at the tender age of 13. The young DJ found a job in a record shop and quickly established himself as a skilled selector, building a carefully curated library of promos and white labels. It wasn't long before he was booked in Switzerland's best clubs and throwing his legendary sold-out Banditz parties. He's since become a staple of the Ibiza scene cemented by residencies with elrow at Amnesia, Music On at Amnesia, and ANTS at Ushuaïa. His lauded production skills have seen him on remix duties like Luciano and releasing club weapons on Defected, Moon Harbour, Relief, Hot Creations, and 7Wallace.







Cloonee

One of the tech-house scene's most potent stars, Cloonee, has seen an unprecedented rise since the release of his 2017 Estes EP on Elrow. What's followed in an unstoppable tear of genre-defining releases on labels like Sonny Fodera's Solotoko, Desert Hearts, Big Beat, Michael Bibi's Solid Grooves, Mark Knight's Toolroom, and Chris Lake's Black Book Records. With an unsurpassed sense of rhythm and soul-shattering basslines, his releases regularly break the Beatport charts making him one of the site's top-selling tech-house artists of 2021. His back-to-back set with Andrea Oliva at elrow Rowsattacks! in December blew us away; we can't wait to see what tricks he has in his bag for OCHO.







J. Worra

Even before being named the 2019 Breakthrough Music Producer of the Year by DJ Mag, J. Worra's technical abilities, trademark swag, and imitable ability to create body grinding beats were well known. Her performance in December at Rowsattacks! in New York was a showstopping moment, proving once again why she's rocked major festivals like EDC and Coachella as well as every major club in the US. She discovered house music in Chicago and, while she may LA-based, brings a hint of that classic vibe to everything she does. Her dynamic catalog includes releases on labels like Higher Ground, Realm, Sweat It Out, and Sink or Swim. And her remixes for GRiZ, Gorgon City, and deadmau5 have elevated their work to new heights.



Tune in to Gray Area OCHO on January 22, 2022









Layla Benitez

It's clear from watching her perform that Layla Benitez has a potent understanding of how music moves people. Her visceral connection to dance music extends beyond the dance floor. It's in her soul. Her father, Jellybean Benitez, is an acclaimed DJ and culture-defining producer who was a pillar of New York's nightlife community throughout the 80s and 90s. Yet Layla's abilities are more than a legacy. Her distinctive blend of afro house, deep house, and world beats create peak dance floor moments for fans from Ibiza to Miami, New York to London, and Mykonos to Los Angeles.










Meduza

House music's recent domination of commercial radio is bookmarked by young producers who understand what underground dance music fans have known for decades. That house music is a feeling. Leading the charge is GRAMMY-nominated Italian trio, Meduza. Their debut single "Piece of Your Heart," with Goodboys, was a worldwide phenomenon topping charts throughout Europe, US, and Asia. The boys have gone on to dominate the charts with radio-friendly beats that have touched millions, streamed in the billions, yet pay homage to house music's underground roots. They masterfully walk the tightrope between the often protective, tight-knit house music community and the mainstream with grace and style, effortlessly bouncing from remixing for the likes of Ed Sheeran to releasing on legendary imprints like Defected.










Paco Osuna

For over two decades, Paco Osuna has steadily built a reputation as one of dance music's most respected and revered selectors and producers. The Mindshake Records founder has been a fixture of the Ibiza scene since the late 90s and held down residencies Richie Hawtins ENTER, Sven Vath's Cocoon series at Amnesia, as well as an endless array of prestigious events all over the world from Electric Zoo to Space Miami, Time Warp to EDC, and Watergate Berlin to WOMB Tokyo. In the studio, his imitable rhythmic timing, sophisticated sound palate, and imaginative spirit have made him a sought-after award-winning producer with releases on Mood, Plus8, Minus, Defected, Moon Harbour, and Get Physical.










Shermanology

Brother sister duo Andy and Dorothy Sherman's ability to inject tech-house with the soul and spirit of their Caribbean heritage has made them a uniquely genre-defying pair. Dorothy's distinct and stirring vocals transport the dance floor to the days of diva house. And Andy's production and DJ experience have traversed genre barriers from UK garage to bass house. Together their sound is boundless, impressing the underground and the mainstream alike. Their 2020 release "Boyz N Da Club" was an unstoppable club slumper. Yet they continue to prove their diversity working with artists like Will Clarke on the emotive "Searching" and scoring over a million plays on "Bon Bini," performed entirely in Papiamentu, their native language. 













Wax Motif

Known as a leader in G house and UK Bass, Wax Motif has more recently established a wider range of sounds. His recent release "Koalack" on his Divided Souls imprint shows a softer, more reflective side. And while Waxy continues to move dance floors with his trademark dirt nasty bass house, his emerging diversity proves his talents in the studio. He's also recently stepped out as a leader in blockchain and community building as one of the first dance music artists to create his cryptocurrency, $WAXM. The industry-leading move gave fans access to exclusive music, one-on-one Zoom sessions, and even the chance to collaborate with the producer who has released on labels like Confession, Night Bass, and Musical Freedom.



Tune in to Gray Area OCHO on January 22, 2022



Get Ready for Another Bumping OCHO on Diplo's Revolution

Shermanology, composed of the talented brother-sister duo Andy and Dorothy Sherman, has evolved throughout their musical career, exploring genres such as R&B, Motown, garage, and EDM. Their unique sound has been shaped by their rich Dutch-Caribbean heritage and a lifetime of musical immersion, thanks to their father and uncle's involvement in the 70s R&B group, the Sherman Brothers.

Over time, the siblings have honed their craft, eventually finding their true calling in tech house music. Their journey has seen them work with renowned labels such as Defected, Spinnin, Armada, Dirtybird, and Cuttin Headz, as well as Afrojack's Wall Recordings. Although they found success in the EDM scene, they realized that their passion lay elsewhere and decided to pivot, taking a risk that has paid off immensely.

Shermanology's music is now defined by authenticity, cultural fusion, and personal connections. Their EP with Hot Creations, "Bon Bini," is a testament to this, featuring songs written in their native language, Papiamentu. Their dedication to originality and self-expression has allowed them to create a distinct sound that stands out in today's dance music landscape.

By staying true to their roots and embracing their cultural background, Shermanology has carved a unique niche for themselves within the industry. Their insistence on authenticity, combined with their diverse influences and skillful blend of musical styles, ensures that their impact on dance music will continue to be felt for years to come.

Curaçao

Shermanology

Elrow Opening Party at Amnesia

Spain

Amnesia

Shermanology with Dalton Taylor & James Juke

United States

The Room at Superior Ingredients

Shermanology New York Headline Debut

The Roof at Superior Ingredients 

elrow Bowsque Encantado

Elrow NYC: Summer Festival 2022 Far Rowest 

The Brooklyn Mirage

Shermanology (Extended Set)

ATV Records

OCHO Episode 3

Brother sister duo Shermanology, neé Andy and Dorothy Sherman, have a sound defined by a rich musical and cultural background woven into every note of their soulful grooves. Over their decade-spanning career, they’ve released on some of dance music’s most lauded imprints, from Defected to Spinnin, Armada, Dirtybird, and Cuttin Headz to Afrojack’s Wall Recordings. They’ve seen many iterations bouncing from R&B to Motown to garage to EDM. However, over the last half-decade, they have redefined themselves, infusing a uniquely crafted brand of tech house with their Dutch-Caribbean roots for a sound that is the sum of a lifetime of passion for musical expression.



Their father and uncle were part of the 70’s R&B group the Sherman Brothers, and they grew up amid a hum of activity, creative work, and DIY ingenuity. While they watched their family perform, craft outfits, and write music, Dorothy always knew that she would eventually follow the same path.



“Our lullaby was the metronome from the Atari,” Andy laughs. “My dad was making music while we were in the room trying to sleep. It was all day, every day, just music.”

Dorothy was the first to enter the professional world as a singer saying that when she was 13, her father laid a stack of money on the table and told her, “if you do the backing vocals, this is all yours.”

While Dorothy had a natural inclination toward song, Andy jokingly says he still needed to learn how to sing before he could join the family band. Still, Dorothy adds, his musical ability was innate. His pitch was so sound that even as an observer, he was often the first to notice when someone was a bit off-key during practice.

By the time the siblings were well into their teens, they were on their way to their first collaboration.

Andy explains that when Dorothy was invited to a singing competition for the Dutch islands of Curacao, Aruba, and Bonaire, “She said, No, I’m only doing it if she can do a duet with Andy. We did ‘Endless Love.’” Three months later, they started their first R&B group.

Dorothy was Andy’s entré to performing. And as the two progressed, he opened a gateway to dance music. In 2002 Andy replaced Craig David as the front man for iconic UK garage outfit Artful Dodger. While he traveled the world playing at festivals and clubs, Dorothy fell in love with dance music. And when he returned to Holland, he brought her on stage to sing with him while MCed at events.

“Before I knew it, I became an MC,” Dorothy recalls. “But I didn’t like that because you can only sing the songs they allow you to sing to.” Six months later, fed up with a lack of creative capital, they decided they could make music independently.

At the time, EDM was striking big, and the Dutch scene was producing landmark talents like Avicii, Fedde le Grand, Laidback Luke, Don Diablo, and Sidney Samson, all of whom were collaborators. And while it became a lucrative period, they felt they had strayed from the soul and depth that had inspired their musical path.

“The EDM period for us, gave us the chance to know what we stand for. And the music that we made at that time, we wouldn’t play it ourselves. We never played it at our parties or in the car. So, we did it as a job,” Andy tells us. “With all the respect for everything that happened in those years with us— because we learned so much and we have so much fun— we never felt it was ours. We always felt like we had somebody else’s shoes on.”

So, they stepped back from promising careers at the top of the game to reassess and recalibrate. And while they were both undeterred by the risks of a pivot, they admit that it was one of their most difficult periods.
“At some points, we were like, how long is it going to take? Because I’m starting to lose inspiration,” Dorothy says.
“And funds,” Andy adds.

Feeling professionally and creatively fulfilled was difficult, and so was shaking the EDM image. It was challenging to earn the respect of the often insular underground house music community.

“It all changed when I saw Jamie Jones at a festival in Holland. That was way before we started the Shermanology thing,” Andy recalls. “And then I got his email from someone, and I sent him a picture and said, ‘I met you a couple of years ago at Extrema, I’ve got a few tracks for you. Let me know.’ And he replied, ‘I want all three of them.’ And when that happened, that’s when we knew the sound that we are making is working for the scene.”

“Get Loose” and “Champion Sound” were two of those songs, and while they ultimately ended up on Rawthentic, Jamie became one of their fiercest supporters. Choosing to keep those records for Rawthentic and wait for the right time for a Hot Creations release proved a smart decision. Not only did they earn the respect of two landmark labels, but when the chance to do an EP with Hot Creations came around, it ended up being one of their most poignant musical stories.

Shermanology - Bon Bini

II OUT NOW II

Buy/Stream: http://lnk.to/HOTC158

Dutch-Caribbean stars Shermanology debut on Hot Creations with the tremendous three-track Bon Bini EP. The release continues an outstanding 2020 for the brother-sister pairing, which has seen them collaborate with The Martinez Brothers already this year.

The title track, Bon Bini, kicks off proceedings in a no-nonsense fashion, as a pumping lead kick merges with latin-inspired vocal cuts. The lengthy breakdown builds a party atmosphere, as rustling hats provide an up-tempo feel. OK - Cool - Aight feat. ConQuer Jones comes next, with its uplifting piano rolls and wonderful vocal solo courtesy of the lead vocalist who tells us to “make the best of what life has to offer.” Breathe feat. Agent Sasco rounds off the EP. A straight-up club cut, the kick-hat blend is irresistibly danceable, building on an underlying bassline that features Agent Sasco’s whispering lyrics underneath.

Hailing from the beautiful Dutch-Carribean island of Curacao, brother-and-sister duo Shermanology have become one of electronic music’s most well-loved and well-known pairings releasing on the likes of Defected and Dirtybird. This year marked a pivotal milestone in their career as they collaborated with The Martinez Brothers on the incredible Bam Bam. Add to this their soon-to-be-released debut on Hot Creations and it is safe to say Shermanology will be making heads turn, and feet move, for years to come.

TRACK LISTING
A1. Bon Bini
B1. OK - Cool - Aight feat. ConQuer Jones
B2. Breathe feat. Agent Sasco

“Bon Bini,” written entirely in their native language, Papiamentu, translates to welcome. And they’ve said that it represents everything they stand for. The shimmying rhythmic precision and chant-like vocals are indicative of their culture-fusing style.

Shermanology explains how they took inspiration from Snoop Dogg and D Smoke’s “Gasper Younger.” The song samples “Bre, Petrunko,” by the Koutev Bulgarian National Ensemble. The haunting vocal sung in a traditional Baltic style became a lightweight obsession for Dorothy. When she found the acapella and sent it to Andy, he suggested they make it their own.

They signed the record to Hot Creations with the sample intact; however, the original rights holder wouldn’t clear it. “So we redid the whole vocal in that week,” Andy explains. “A friend of ours passed away. And we said, let’s write this lyric for our friend who passed away. And we redid the whole track in our own language.”

The result was far more indicative of their unique musical style than it would have been with a sample. The tight harmonies, complex rhythm, and uniquely touching beauty intertwine with Shermanology’s penchant for playfully syncopated percussion.

Dorothy’s ability to mimic the song’s vocally demanding stylistic elements while still infusing it with her sense of soulful sophistication makes it one of the more compelling tech house offerings in recent memory.

The ingenuity and self-awareness it took to write something so passionate and personal speaks to the nature of their music and why Shermanogy’s moment will continue to last. The fusion of so many musical traditions is exactly what dance music needs, especially when so much music remains a paint-by-numbers affair. Shermanology stands out because they insist on authenticity.


Gray Area Interview: Shermanology

Brother sister duo Shermanology, neé Andy and Dorothy Sherman, have a sound defined by a rich musical and cultural background woven into every note of their soulful grooves. Over the last half-decade, they have redefined themselves, infusing a uniquely crafted brand of tech house with their Dutch-Caribbean roots for a sound that is the sum of a lifetime of passion for musical expression.

Read the full Spotlight: https://grayarea.co/artists/shermanology/spotlight

▪️Follow Shermanology▪️
Instagram - https://www.instagram.com/shermanology/
Twitter - https://twitter.com/shermanology
Facebook - https://www.facebook.com/shermanologyofficial
Spotify - https://open.spotify.com/artist/4Siyzg8kWayQfPQsPSl6JI?si=ag9nMT7mQ0OMfmNhNNGMoA
Soundcloud - https://soundcloud.com/shermanology
Beatport - https://www.beatport.com/artist/shermanology/120666

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Website - https://grayarea.co

Timestamps:
00:00 - Intro
01:15 - Early childhood music
05:02 - Discovering dance music
08:38 - Changing their sound
12:35 - Cultural elements in their sound
18:30 - What excites them about the future of dance music

#grayarea #shermanology #housemusic

Brother sister duo Shermanology, neé Andy and Dorothy Sherman, have a sound defined by a rich musical and cultural background woven into every note of their soulful grooves. Over their decade-spanning career, they’ve released on some of dance music’s most lauded imprints, from Defected to Spinnin, Armada, Dirtybird, and Cuttin Headz to Afrojack’s Wall Recordings. They’ve seen many iterations bouncing from R&B to Motown to garage to EDM. However, over the last half-decade, they have redefined themselves, infusing a uniquely crafted brand of tech house with their Dutch-Caribbean roots for a sound that is the sum of a lifetime of passion for musical expression.



Their father and uncle were part of the 70’s R&B group the Sherman Brothers, and they grew up amid a hum of activity, creative work, and DIY ingenuity. While they watched their family perform, craft outfits, and write music, Dorothy always knew that she would eventually follow the same path.



“Our lullaby was the metronome from the Atari,” Andy laughs. “My dad was making music while we were in the room trying to sleep. It was all day, every day, just music.”






Dorothy was the first to enter the professional world as a singer saying that when she was 13, her father laid a stack of money on the table and told her, “if you do the backing vocals, this is all yours.”



While Dorothy had a natural inclination toward song, Andy jokingly says he still needed to learn how to sing before he could join the family band. Still, Dorothy adds, his musical ability was innate. His pitch was so sound that even as an observer, he was often the first to notice when someone was a bit off-key during practice.



By the time the siblings were well into their teens, they were on their way to their first collaboration.



Andy explains that when Dorothy was invited to a singing competition for the Dutch islands of Curacao, Aruba, and Bonaire, “She said, No, I’m only doing it if she can do a duet with Andy. We did ‘Endless Love.’” Three months later, they started their first R&B group.



Dorothy was Andy’s entré to performing. And as the two progressed, he opened a gateway to dance music. In 2002 Andy replaced Craig David as the front man for iconic UK garage outfit Artful Dodger. While he traveled the world playing at festivals and clubs, Dorothy fell in love with dance music. And when he returned to Holland, he brought her on stage to sing with him while MCed at events.



“Before I knew it, I became an MC,” Dorothy recalls. “But I didn’t like that because you can only sing the songs they allow you to sing to.” Six months later, fed up with a lack of creative capital, they decided they could make music independently.



At the time, EDM was striking big, and the Dutch scene was producing landmark talents like Avicii, Fedde le Grand, Laidback Luke, Don Diablo, and Sidney Samson, all of whom were collaborators. And while it became a lucrative period, they felt they had strayed from the soul and depth that had inspired their musical path.



“The EDM period for us, gave us the chance to know what we stand for. And the music that we made at that time, we wouldn’t play it ourselves. We never played it at our parties or in the car. So, we did it as a job,” Andy tells us. “With all the respect for everything that happened in those years with us— because we learned so much and we have so much fun— we never felt it was ours. We always felt like we had somebody else’s shoes on.”



So, they stepped back from promising careers at the top of the game to reassess and recalibrate. And while they were both undeterred by the risks of a pivot, they admit that it was one of their most difficult periods.
“At some points, we were like, how long is it going to take? Because I’m starting to lose inspiration,” Dorothy says.
“And funds,” Andy adds.



Feeling professionally and creatively fulfilled was difficult, and so was shaking the EDM image. It was challenging to earn the respect of the often insular underground house music community.



“It all changed when I saw Jamie Jones at a festival in Holland. That was way before we started the Shermanology thing,” Andy recalls. “And then I got his email from someone, and I sent him a picture and said, ‘I met you a couple of years ago at Extrema, I’ve got a few tracks for you. Let me know.’ And he replied, ‘I want all three of them.’ And when that happened, that’s when we knew the sound that we are making is working for the scene.”



“Get Loose” and “Champion Sound” were two of those songs, and while they ultimately ended up on Rawthentic, Jamie became one of their fiercest supporters. Choosing to keep those records for Rawthentic and wait for the right time for a Hot Creations release proved a smart decision. Not only did they earn the respect of two landmark labels, but when the chance to do an EP with Hot Creations came around, it ended up being one of their most poignant musical stories.







“Bon Bini,” written entirely in their native language, Papiamentu, translates to welcome. And they’ve said that it represents everything they stand for. The shimmying rhythmic precision and chant-like vocals are indicative of their culture-fusing style.



Shermanology explains how they took inspiration from Snoop Dogg and D Smoke’s “Gasper Younger.” The song samples “Bre, Petrunko,” by the Koutev Bulgarian National Ensemble. The haunting vocal sung in a traditional Baltic style became a lightweight obsession for Dorothy. When she found the acapella and sent it to Andy, he suggested they make it their own.



They signed the record to Hot Creations with the sample intact; however, the original rights holder wouldn’t clear it. “So we redid the whole vocal in that week,” Andy explains. “A friend of ours passed away. And we said, let’s write this lyric for our friend who passed away. And we redid the whole track in our own language.”







The result was far more indicative of their unique musical style than it would have been with a sample. The tight harmonies, complex rhythm, and uniquely touching beauty intertwine with Shermanology’s penchant for playfully syncopated percussion.



Dorothy’s ability to mimic the song’s vocally demanding stylistic elements while still infusing it with her sense of soulful sophistication makes it one of the more compelling tech house offerings in recent memory.



The ingenuity and self-awareness it took to write something so passionate and personal speaks to the nature of their music and why Shermanogy’s moment will continue to last. The fusion of so many musical traditions is exactly what dance music needs, especially when so much music remains a paint-by-numbers affair. Shermanology stands out because they insist on authenticity.


Green Velvet b2b Lee Foss b2b Shermanology at The Concourse Project | Full Set (La La Land)

Green Velvet b2b Lee Foss b2b Shermanology recorded on January 14, 2023 at The Concourse Project in Austin, Texas.

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