Leaving your hometown and starting a new chapter in life can be daunting, but the rewards can be worth it. It can open new opportunities, expand cultural competency, and encourage personal growth. You’ll need courage and determination to succeed, but the benefits can be life-changing. UK-born Jenn Getz and Alfie’s adaptability and flexibility, coupled with their hard work and purpose, helped them to make a significant impact since 2020. Building a reputation quickly is an impressive achievement in a male-dominated emirate like Dubai, especially since they are the only female DJ duo to do so.





Dance played a significant role in their separate upbringings. The ability to use their bodies as instruments to express the rhythms and beats of music has formed that innate connection and tool for creativity. Moreover, spending hours practicing how to move to sound develops a deeper appreciation of various styles and genres of music. Enhancing the music with their movement required a strong sense of timing and a depth of knowledge, both critical skills for DJs to read a crowd. Their formative years, disposition towards seeking self-improvement, and circumstances are similar, but their reasons for moving to Dubai were not.






“I lived in Bali since I was 19, and learned how to DJ there in 2014, and six years ago I moved to Dubai for a change of scenery and a different opportunity,” Jenn tells us.






“I started DJing six years ago in the UK - initially training to be a dancer - but I chose to DJ - and I got offered a DJing residency in Dubai three years ago, so I packed up and left,” Alfie adds. Although they were strangers before the move, their friendship arose from a fortuitous coincidence - where fate brought them together. 



Jenn and Alfie say the underground music scene in Dubai has grown significantly in recent years, influencing the formation of their partnership as a female DJ duo and leading to an influx of other artists vying to play there. Dubai is renowned for its luxury lifestyle, iconic architecture, and world-class shopping and dining. They’re also known for paying DJs top dollar to spin at their opulent venues.



“When I moved here three years ago, everything was based on glam - now people are there to listen to good music and there’s movement,” Alfie explains.




“From an artist’s point of view, DJs didn’t care about where they played, they knew they were getting paid to be there. Now, they want to be in Dubai because the scene is getting bigger,” Jenn adds.





As exciting as it is to hear the dance music culture expanding in parts of the Middle East, traditional cultural attitudes and societal expectations are magnified when working in a male-dominated field like the music industry. Men have more access to resources, networks, and opportunities than women. However, it’s worth noting that this is changing as more women break through these barriers and make their presence known in the Emirate music industry—Jenn and Alfie being prime examples.




They explain that since the duo shares similar physical and ethnic qualities, promoters pitted them against one another.




“The event company wanted a [in air quotes] ‘female DJ,’ they didn’t care about anything else - and we thought ‘why are we competing when we can be strong together,’ “Jenn says about a time when they were in line for the same gig.



“It was hard for people to take us seriously as a female duo, and it is still a challenge we face now,” Alfie adds. “There are still some people here who will tell girls what to wear and what to play. We’re artists. It was hard to stick to our guns and not take that, “Jenn tells Gray Area.




Jenn & Alfie simply wanted to do their job: create a lively atmosphere and give their audience an authentic and memorable experience. So, they chose a lionhearted approach in a society that had never witnessed anything like it before.







Challenging the status quo and breaking down barriers requires the responsibility to work hard to prove oneself constantly. Their funky tech house sound and relentless efforts have landed them record signings on prominent house music like Sonny Fodera and Mark Knight. Furthermore, earning a residency at Dubai’s #1 nightlife destination, Soho Garden DXB, and a weekly show on the notorious Ibiza Global Radio UAE was also a milestone for the pair. 




Seeing that they are not held back by uncertainty to pursue their aspirations, Jenn and Alfie’s main priority now is to move forward and headline an event. Organically branching out and continuing to evolve as artists under unique circumstances makes the dynamic duo fearless and resilient.



Jenn Getz & Alfie

We often find ourselves trapped in our daily routines and familiar environments, leading to a sense of stagnation and dissatisfaction. Changing our surroundings can catalyze personal growth and push us out of our comfort zones. This concept can also apply to our approach toward music and the styles we choose to create and share. YokoO, a record label chief, producer, DJ, world traveler, and professional yogi, embodies this approach as he continually challenges himself to embrace new opportunities for building his brand, wellness, and record label, SATYA.



Born in France, by age 20, YokoO moved to Australia. The venturous artist needed a change of pace far away from his stomping grounds. It was time to manifest a new path. YokoO brought only a bag of records he had accumulated since he was 15. His objective was to attend a university to master the English language, study international business, and acquire a visa. To earn extra income, he started accepting DJing jobs on the side.


“At the end of my international business degree, I realized not only that I didn’t want to go back to a corporate environment, but also that I could generate a decent income just through playing music. I decided to pursue a career and teach myself how to write music,” YokoO tells us.



Whether it’s creating or listening, music serves as an escape. Its beauty is its ability to evoke powerful emotions, nourish a sense of connection, reflect feelings and experiences, and provide an understanding or distraction. As an artist, YokoO personifies the role of a creator and consumer, having grown up resonating with wistful music and honing his skills as a guide toward unique soundscapes. He further sharpened his mastery in engaging a crowd when he developed a fixation for deep house in 2008 and had the chance to play marathon sets at a residency.




“I always love to explore given that I am provided with a platform to express myself,” he explains. “I try and make the experience harmonic and flawless so that even though people never know where it’s going, it flows.”



With set times typically limited between 90 minutes and three hours, it’s become challenging for artists to dig deeper and showcase a broader range of their music. “It usually takes me an hour to find my groove and capture the audience into my bubble, then you can take them anywhere, and you become the puppeteer.”






His approach to playing live is similar to his attitude towards traveling without a set itinerary: unpredictable and exciting. He finds that playing on more than two decks is a thrilling way to layer sounds and improvise new songs on the spot. It reflects his perspective on life, where embracing the unknown and not imposing restrictions leads to unexpected and memorable experiences.







Speaking of avoiding constriction, YokoO talks about the essence of his imprint SATYA. It’s his vision to provide an outlet for himself and emerging artists to trumpet their proficiency in diverse sounds and reach new audiences.




“I feel that a lot of artists are trying to fit in or follow trends when they have a lot more to express,” YokoO says. “With SATYA I am trying to push a circle of artists to tap into their truth and let that be expressed freely,” he adds.





The remarkable thing about YokoO is that he utilizes his affinity with different styles of music and rhythmic sensibility to branch outside of the sound he was known for before launching SATYA. His visionary ear for groove and melody allows him to evolve and expand his audience’s horizons, exposing them to other facets of his identity. Before establishing his platform, he was notorious for his magnetic melodies released on All Day I Dream, which he explains was only one of the versions of his creative output.




“A lot of my followers appreciate my versatility and change of sound, but some still associate me solely with my achievements on All Day I Dream,” YokoO explains. “They may be expecting me to follow that style - but I’m not, I have been communicating that this is not me, it’s only a part of me,” he adds.





YokoO’s leap of faith and commitment to establishing something that genuinely represents him is a testament to the power of authenticity. It’s a shining example to other artists of embracing change and confidently presenting their musical expressions. On SATYA, listeners will find his taste in rich harmonies, pulsating beats, flawless chords layered with fluent vocals, and basslines that vibrate with a deep house groove. Upcoming releases from Retza, Francesco Mami, Haider Uppal, Hermanez, Cristina Lazic, and many more will fuel the energy for SATYA.



When YokoO isn’t working on expanding his label or touring, he is recalibrating and focusing on the things that bring him happiness: wellness, exercise, practicing yoga, reading about philosophy & spirituality, and forming genuine connections with loved ones. All of which makes us humans more in touch with ourselves and the present.












YokoO

Ask Franky Rizardo what flow means to him, and he’ll likely point you toward the sanctity of the dance floor and the community that’s formed upon it.




From the moment the Dutch-born DJ, producer, and label boss latched onto electronic music in his adolescence, that very concept has defined his life and career – seamlessly transitioning from song to song, venue to venue, venture to venture – steadily flowing into the international spotlight.






Today, Rizardo has cemented himself as one of The Netherlands’ best-known house and techno exports. He’s graced festival stages of Mysteryland (Amsterdam), Music On, and elrow. He is a regular at global nightlife institutions, including fabric (London), Amnesia (Ibiza), and Sound (Los Angeles). And with his label LTF (Listen to Flow) Records, Rizardo strives not only to design dynamic, genre-bending dance music but also an immersive and copacetic state of mind among his audiences.




But before navigating the responsibilities of a full-time artist and label head, Rizardo was simply navigating life as a Dutch teenager, delving into the zeitgeist of electronic music in Europe at the time.




“I remember the moment very vividly. I was visiting a friend’s house. They had a music software program on the computer. I remember opening that up, and we were putting audio into the program. I was just completely blow away how that was possible. That was my first hint of, ‘Wow, this is so amazing. This is what I enjoy.’”






Quickly thereafter, Rizardo enrolled in a DJ course and started taking up gigs locally. Trance piqued his interest first, and he credits mavericks like Tiësto and Armin van Buuren for igniting his passion for the genre. But Rizardo’s sonic horizons soon expanded alongside his burgeoning community. His friends and classmates would share music amongst their group. Before long, house music entered his repertoire.




“I’m still a huge fan of trance,” says Rizardo. “But I like to say, the BPM slowed down as I got older. I remember downloading a set from DJ Roog at Mysteryland in the Netherlands. I was so blown away. Every track hit me on such a different level. At the moment, I knew straight away this is the music I want to make.”







Notably, Rizardo’s defined his career with the ability to push himself into new levels of sonic experimentation. He credits artists like Daft Punk for inspiring his eclectic music taste, reflected in the breadth of releases in his catalog across the spectrum of house and techno on labels like Defected, Milk & Sugar, SPINNIN’ DEEP, 8Bit, Ultra Moda — the list goes on.




That sonic diversity continues to present itself across Rizardo’s performances and productions. Originals like “Diamond” featuring Ukrainian artist KIRIK deliver an eight-minute deep house journey filled with fluttering piano melodies and vocals. Other tracks like “Ain’t Nobody” (a 129 BPM house remake of the Chaka Khan classic) light up the main stage, regardless of where Rizardo is.






“My sound is definitely house music in the broadest sense. That goes for both my music production and my DJ sets. I like to keep things interesting. Maybe we go a little bit deeper. Then we go back to grooving. Then take it a little bit stronger. I think that’s the most fun way to experience a night... Diversity keeps it interesting for me and for the people coming to the show.”




Nowadays, many of those shows include Rizardo’s self-curated parties. He founded his brand FLOW in 2015 with friend and collaborator Jasper Poole. Built on the same principles that laid the foundation for Rizardo’s career: Bringing people into the flow state of mind, architecting vibrant gatherings, and establishing meaningful connections while creating unique moments, ultimately resulting in total immersion on the dance floor.




Rizardo started FLOW after getting a request from a Dutch radio station, SLAM!, for a weekly show (which continues to this day, approaching its 500th installment). This quickly blossomed into producing live events. Currently, Rizardo and his team produce nearly 25 shows annually, including stage takeovers at festivals like Tomorrowland, Mysteryland, and Extrema Outdoor.




FLOW seamlessly led into creating Rizardo’s imprint, LTF Records, in 2020. Today, one of the most exciting aspects of the job for Rizardo is the interplay between studio and stage. He loves discovering a unique sample or melody, molding it into a record through collaboration, then playing it to eager partygoers and awaiting the reception.









“Seeing a track grow in popularity is really fun,” says Rizardo. “It’s so much fun to get amazing demos by amazing producers. For example, an artist, Macro Tropeano from Italy, sent me a track called ‘No Me Importa.’ The first time I played that, the response was so huge. Then, I was able to sign that record and bring it back to the public to get more people to listen. I remixed it myself as well. It’s such a fun project to be so closely connected with the music.”




As FLOW continues to expand, Rizardo has his sights on new territories like Asia, Australia, and the U.S., with plans to build on his FLOW Freedom Festival internationally. The most exciting thing, he says, is witnessing the respect and acclaim for house music to thrive.




“The house music movement is growing. I think once people experience house music on a good club night, it’s there to stay.”




Franky Rizardo

Anyone who's done research into the history of techno knows the genre was born in Detroit, and anyone who knows techno was born in Detroit knows it wouldn't exist without DJ Minx.




DJ Minx, the DJ, producer, and label head, who was born Jennifer Witcher. Commonly known as "The First Lady of Wax," Witcher was hitting now-mythical nightclubs like Detroit's Music Institute as far back as the 80s, just as the burgeoning genre was making its first impact on the gritty industrial landscape of Motor City.




Witcher still calls legends she met when they were still locals like Carl Craig, Kevin Saunderson, and Moodymann friends. The latter being the person who encouraged her to start Women on Wax, the groundbreaking label she continues to run to this day.






Three decades into her dance music journey, the most important thing about the scene for her remains unchanged.




"30 years into me doing this music thing, the one thing that still brings a glow to my eyes is the fact that people love the hell out of this music," Witcher says to Gray Area over Zoom, golden Detroit logo earrings dangling from her ears. "And I think about myself when I first started listening to it and how I felt when I went to the club and I looked at the DJ. Now I'm in the position of people looking at me coming to listen to me and to feel what I put out there."




In recent years as house and techno music have emerged as the top genres in dance music, Witcher has confidently ridden the wave. And in 2022, for the first time, she hosted her own stage at Movement Music Festival, Detroit's preeminent dance music festival.




As a stalwart of Detroit techno, Witcher has played Movement every year since its inception in 2000. And even on its massive stage, she feels connected to the audience like she's playing in the darkest, most intimate club.






"Everyone is here at the home of techno where it all originated," Witcher says of Movement. "And with me having the stage it was very personal. People would come and talk to me and tell me 'I'm going to be at your stage on Monday. I'm going to be at your set on Monday.'"




Months later, people still extoll Witcher for her set and curation on that fateful Memorial Day afternoon. And while she certainly appreciates the praise, what she finds even more heartening, is that people are clearly doing their research and understanding Detroit's role in the history of techno.




From her perspective, Detroit hasn't yet received its due respect for creating the genre, but she does see progress happening in that regard.




"There's a large amount of respect, and with that comes knowledge," Witcher says. "It's making a world of difference with the artists that are out here right now."






One vital piece of knowledge connected to the history of techno in Detroit is Witcher's 2002 track, "A Walk In The Park." Released initially on Women on Wax, it was a sought-after hit that every Detroit DJ wanted in their set.






One of these many DJs who wanted to play "A Walk In The Park" was Ricardo Villalobos. Now, remember, at that time, 20 years ago, there was no Spotify. There weren't even MP3s. So like most tracks in those days, it only came out on physical media, and like most independent releases, international distribution was minimal.




Villalobos managed to get his hands on a copy and played it at a European festival. When the record played, Detroit legend Richie Hawtin was in the booth with Villalobos.




"I almost broke my neck, trying to get to see what it was," Minx remembers Hawtin saying to her about the track, but once he did, he went to a record store, bought all the copies, and decided he wanted to sign 'A Walk In The Park,' to his record label, Minus, which he did for a 2004 release.






The track was such a hit that Witcher watched Hawtin play it for 12 minutes straight at a club in Windsor, Canada, and the crowd lost it with every new drop. It was so everpresent that a man rudely accosted on the street her about it, telling her he hated the track because it was on the radio so much.




"Well that's good for me, not for you," Witcher says with a laugh.




For all its popularity, what's most remarkable about "A Walk In The Park" is that Witcher produced it in roughly 45 minutes. That's how the track got its name. It was so simple for her to make that it felt like a walk in the park.




And yet 20 years later, it still resonates with the dance music community. So much so that Insomniac-owned Factory 93 Records rereleased it with a new remix package including a fresh edit from Witcher, remixes from fellow Detroit natives Seth Troxler and Carl Craig, and additional remixes from younger artists like the Dirtybird resident, Ardalan, which she finds especially rewarding.






"The music is timeless. You know it's old because of its date, but like me and my edit, you add different elements to it. It just feels good to hear what someone else's interpretation of this track could be," Witcher says. "I like Ardalan's productions. What he did absolutely sounds wonderful having that knowledge of the music."




If you show you know the music, Witcher is down with you. Whether it be dance music veterans or giant pop stars like Beyoncé, who recently staked her claim in the world of dance music with her 2022 album RENAISSANCE.




There was some criticism of Beyoncé following her GRAMMY nominations in the dance music categories, but what Witcher respects about her and her efforts is she tapped the originators of the sound as collaborators on the album.






"[Beyoncé] used Big Freedia. She used Honey Dijon, Luke Solomon, Terry Hunter. Someone on her team did some research to actually pull these people," Witcher says. "These are people that are putting this music out today which is going to amp them and when it amps them and puts them in the spotlight, that's gonna shed more light on us as well."




One thing Witcher has always been about since her early days is shedding light on deserving young artists. For many years she served as a mentor to female artists in dance music, working with now-famed talents like the Berlin-based artist Magda, and starting in 2023, she is going to get back into it.




For anyone interested in working with Witcher, she encourages you to send her an email at queenbeats@gmail.com. This is a chance to work with someone vital to the history of techno and become a part of that history yourself.











DJ Minx

There's never anything overnight about success. The paths we follow to our most treasured goals are often long, winding, and include switchbacks and detours. Peruvian tech-house DJ, Bastidas (né Jose Guerrero Bastidas) has been obsessively consuming everything about music and production for over 20 years. After years of hard work, he's not only writing infectiously lucious Latin-tinged records, he’s uplifting and supporting the South American music community in an effort to pay back the immense support his community has given him.




Bastidas grew up in Lima, Peru with an insatiable appetite for music. His parent’s weren’t musicians, but he cites his uncles’ massive music collection as an early inspiration.









“I was into every type of music, I loved to collect music,” Bastidas said when I spoke to him over Zoom. “I remember having a little notebook, and when I was looking at music videos that was my addiction, just writing the names of the songs and musicians.” It wasn’t long before Bastidas—affectionately nicknamed Basti—discovered electronic music.




After moving to Miami with his family at age 11, Bastidas began an obsession with dance music, much ado to his influential older brother. He bought his first bit of DJ gear when he was 12, and a fire ignited. It was the early 2000s, and the Miami club scene was just about the explode.




But before he could headline the Miami clubs, young, ambitious Bastidas had to hone his craft. He played house parties and high school events before he was old enough to go clubbing. Even from these tender early years, Bastidas was a hustler. “I remember when I was 15, I used to play everything. Sometimes I used to play in restaurants too. Anything, you know, because it was like a hustle.”






He could've waited until he was old enough, but the pull was too great. So, as soon as found a good enough fake ID, he started exploring the local club scene.




Bastidas regularly visited Club Space in Miami, a mecca for dance music lovers craving marathon raves in the Sunshine State. The reggaeton and Latino influence on Miami’s dance music was palpable, especially during one of Erick Morillo’s sets. Morillo wore his Columbian heritage on his sleeve during his sold-out sets at Club Space, and young Bastidas was intrigued. He saw this merger of house music and Latino culture as vitally influential and widely underrated. Those Morillo sets at Space helped shape Bastidas’ trajectory for the next decade.




By 2010, Bastidas was orchestrating his own showcases at Club Space with big-name South American artists and producers (Jean Pierre, and Patrick M, for example). These early iterations of his label and project From the South already had a fully formed ethos: to celebrate and uplift Latino music and producers.




“When I created [From the South] I was like, let's see if I can push more artists from over there that really they keep working hard and producing 24/7,” he said. “Obviously, they sometimes cannot fly because (getting a) visa is difficult for them. But they're such talented people all around.”




The label’s premiere single “Vinotinto” features Bastidas and two other grade-A Latino producers, Luciano and Carloh. Five days after its release, “Vinotinto” was cruising steadily in the #1 spot on the Beatport charts.




Though a debut single reaching #1 is impressive, the pièce de résistance of Bastidas’ career thus far is undoubtably his pop-up shows in Comuna 13 in Medellin, Columbia. Most famously known as Pablo Escobar’s old neighborhood–that was once rampant with drugs, poverty, and violence–Comuna 13 is now a slowly blossoming community. One day, Basti and British producer wAFF, decided to throw a block party in Comuna 13.




“We planned out everything in one day,” he said. “When we started playing, we didn't know what was going to happen and we didn't know if the cops were going to come shut us down. So it was crazy.”




The cops didn't shut them down. Instead, they created a moment of pure communal support and joy. With rented decks on a small rooftop, Bastidas and wAFF converted Comuna 13 into a happy house playground. Children ran playfully through the dancefloor, and local mothers opened their homes (and restrooms) to the guests.


“Everyone was so happy,” Bastidas recalled. They made you know so much money for their families and the community. It was a mix of everything, so it was beautiful.” After a successful rerun of the block party in 2022, Bastidas now hopes to turn the event into a festival.




With such an impressive work ethic, it’s no surprise that Bastidas is keeping one foot in the future. With a successful new record, a blossoming record label, and a passionate purpose driving it all, Bastidas only has one question for himself. “Nobody expect this, you know. When ‘Vinotinto’ was released, we saw the love from the people. It was so organic. Now we're just preparing for the future. ‘So what's next?’”




Bastidas

Kirsty Parker—aka Speaker Honey—doesn't conform to sonic boundaries. Her futuristic beats overflow with experimental soundscapes and hypnotic elements. With her infectious blend of techno and electro house, she is both a breath of fresh air and a gentle nod to the nostalgia of the hedonism of the pre-EDM era. Her forward-thinking mindset and fearless attitude have solidified her as a feminine force to be reckoned with in house music.






In a few short years, she's dropped music on some of dance music's most sought-after labels and become a resident of the venerated mau5trap family. So, it's hard to believe Speaker Honey has only been DJing for about five years. Music, however, has always been omnipresent in her life. Before stepping up to the decks, she played in various bands and she's spent a lifetime attempting to master a cornucopia of instruments, making her a versatile musician.




"I was in a pop punk band. I was in a punk rock band. I was in a prog rock band…basically all the drama of the bands led me when I was 16, to taking my microKORG, getting Logic, and starting to produce music on my own in my bedroom. So for 10 years, I was producing solely on my own. I never watched YouTube tutorials. I didn't know about VSTS. I was never integrated in any type of electronic dance community at all besides me going to the clubs. Then when I was graduating from college in Hawaii, I realized I wanted to do this full time."




After realizing her musical path was diverging, she moved back to Vegas and found an extended chosen family amongst a group of techno DJs.




"The first music I ever started to DJ was techno and it just stole my soul. And it not only stole my heart, but it also showed me what I wanted to do with my productions, it was like the missing link."




"That's where Speaker Honey was born," she explains. The name for the project was the result of living amongst that collective of DJs. "We were at this house where eight other students lived…One of the roommates comes up with a huge jar of honey, a massive jar with honeycombs in it, and I started eating the honey…This is some of the best honey I've ever tasted. And he's like, 'We had to evacuate a beehive on campus that was inside a speaker cabinet.' So I was like, 'oh my god, it's a vibration. It's a frequency. It's Speaker Honey!'"






After establishing her stage name and diligently crafting her sound, Speaker Honey made her official debut on deadmau5's renowned imprint, mau5trap. Her relationship with mau5trap began in 2017 when she met the label manager, Mario, at the mau5trap party during Miami Music Week. However, she waited almost three years before sending a demo.




"I wanted to be calculated," she remembers. "I wanted to know that when I'm finally sending my music, it's the right sound."




In September 2019, she sent in a stack of demos and ended up signing "Shoyu" to the label's highly-anticipated compilation series, We Are Friends, Vol. 9. She's since dropped four EPs and had the opportunity to remix "FALL" by deadmau5.


Speaker Honey found her true calling and forever home on mau5trap. They have served as an outlet to share her music with the world and ushered in an era of personal and professional growth.






"What I really love about mau5trap is that they're very supportive of each individual artist's identity. Authenticity is the most potent source in the universe. And what I love is that they were never trying to confine us to a specific sound. They're really trying to cultivate authentic characters. So I feel like a video game character. I've always lived my life that way. To find a label that supports my character and is like 'you be you' that's what I love."




Any career path in the music industry comes with challenges, which are compounded as a woman in a male-dominated industry. Yet, Speaker Honey reveals how these challenges can provide the greatest rewards.






"To be a lighthouse and a beacon for goodness, for the positive growth for women, and the ability to make actual change through creative processes," she says, is one of the greatest gifts and an immense source of healing power. "Because I think that creativity is a deep healing source. It doesn't mean you have to bring it anywhere. It doesn't mean you have to become famous. Just doing a creative process is a healing act. And by me doing my art and being creative and being pushed into the spotlight, I'm helping other women see something within themselves. No one has to tell you that this is good, it's an internal reflection."









As she reflects on the winding path that led her to perform at Green Velvet's La La Land and CRSSD, she tells Gray Area what she'd say to a younger Speaker Honey with the perspective she has now.



"Don't get too caught up in the end goals. Take everything step by step. And feel it out one by one. When you start to look at the future and where you're trying to be, and where you are, it seems like an insurmountable mountain. Meditate on what you want, but focus on the steps at hand."




Looking forward, she says that her relationship with mau5trap is only growing stronger. "I do have a low-key high-key track coming out on We Are Friends, Vol. 11. It's called 'Soul,' it's a really special song for me. And then 2023 my main goal is working on my album. I have about 10 songs written so far."




As for the distant future, she says, "My long-term goal is to be able to have my music reach out to people that may have no meaning or may be lacking that sense of meaning. Because everyone has meaning, everyone has something inside of them that keeps them alive and keeps them going. But through my art the biggest thing that I want is to be able to create a space for somebody to have an internal awakening that is meaningful and special."













Speaker Honey

The Piratebay, the world's most resilient torrent site, is actually a real place.




Ardalan's been there.




Many years ago, somewhere in Tehran, Iran, there was a mall. In this mall, there was a room. In this room, there was a man with a computer filled with compilations of music, and for a nominal fee, he would burn that music onto a disc for you.




It's where Ardalan Noghre-Kar, a premier house and techno artist, would buy music growing up. Covert missions to buy music engrained the gritty, clandestine, and illicit nature of the underground into his musical DNA. He continues to honor that upbringing with his eclectic DJ sets and productions today.




"It's all about that raw feeling you get the first time you make music or you look for music. I've never wanted to forget that feeling,'" Noghre-Kar says from a studio in a barn somewhere in Los Angeles. "For me, it's always that feeling. It's always going to go back to that feeling. It's that excitement that keeps me wanting to do what I'm doing."




The real-life Piratebay wasn't Noghre-Kar's only source of music in his early days. In Iran, where Western music was banned and there were no legitimate record stores, he had to rely on two primary sources.




The first was his family. His father was an avid saxophonist. And his brother sparked his interest in house music when he gifted Ardy a cassette tape that featured Daft Punk's "Around The World" on one side and Tupac on the, which explains the significant hip-hop influence in Ardalan's music.






The second was new technology. As an architect, his father was one of the first people in Iran to work with CAD programming giving Noghre-Kar early access to computers and the internet. Ardalan's interest in technology drove his interest in music.




"I was really into computers since I was 6-7; downloading games and music. It was a really interesting time because I grew up on the internet. I would find so much music [by] downloading illegally because you didn't have anything else in Iran," says Noghre-Kar.




He perused now-ancient platforms like Winamp, which included a section called SHOUTcast with different web-streaming radio stations playing genres like drum & bass, house, and techno.




Noghre-Kar also spent a great deal of his younger years in the Bay Area (which he would eventually call home as an adult), and through those travels, his love of music and technology evolved.






The Bay Area was always an affluent hub for tech. And when he first arrived, he fit right into that culture. He attended De Anza College (the same school Steve Jobs attended with Apple co-founder Steve Wozniak) and took an intro electronic music course.




"They taught some really cool tricks with programs that I use like Reason and Ableton," he remembers. "That class made such a profound effect on the rest of my life."






As he was engaging with music production from a more academic perspective, he also attended notable electronic music parties in the area. He attended Sunset parties thrown by the mythic Wicked crew. He went to Drum & Bass shows thrown by Haight-Ashbury outfit Compound Records. But most influential on his life trajectory was the regular Dirtybird BBQ in Golden Gate Park. These parties birthed the globalized record label, clothing line, and event brand that Dirtybird is today.






Noghre-Kar attended his first BBQ when he was 17. It was also his first real music event in the US. Founding members Claude VonStroke, Justin Martin, and Christian Martin were all there playing great music as the late Grillson served up great food.




"Doesn't get any better than this. This is the direction I want to go," Noghre-Kar says of the first BBQ. "They all took me in and got me really excited to make music."






He skipped his shift at Cold Stone Creamery to go, got fired the next day, and the following year he debuted the unmistakable "Mr. Spock" on Dirtybird with Justin Martin,






"It was a really interesting and fun way for the universe to tell me you're doing what you're doing. You're doing something for yourself," Noghre-Kar says.




That track would launch a close relationship with Dirtybird that persists. He's had numerous releases and compilation offerings on the label, including his debut album Mr. Good. Ardalan (or Tiesto of Modesto as Dirtybird's most passionate members lovingly call him) is still an expected and very welcome name on the lineup for the summer-camp-themed festival, Dirtybird Campout.






"It's always fun. It feels like you're back in high school in some ways when you go. All your friends are there and you can interact with the fans. Very homie vibes," Noghre-Kar says.




That sense of fun and community is something Noghre-Kar carries into numerous activities, including his nascent party brand, Ardy Pardy. In a relatively short life span, Ardy Pardy has expanded all over the US, popping up in San Francisco, Chicago, and Art Basel in Miami.




"I just always wanted to throw a party. Curate the sound and have that simple element of wanting to throw a fun party where I can have a good time and not necessarily DJ the whole time. Have my friends who I really love play my parties and be able to enjoy it with other people," Noghre-Kar says. "It's a very fun experiment where I can be creative visually or I can make the party super fun in a simple way. Being silly but also having really good music. Now it's become something where I need to take it to the next level."


Ardy Pardy isn't his first mission in community building. With the help of other friends and musicians with Dirtybird associations like Walker & Royce, Justin Martin, and VNSSA, Noghre-Kar helped to start a Twitch channel over the pandemic called GoodTV.




The pandemic was jarring for Noghre-Kar, but it also afforded him the opportunity to revisit his love of tech by learning all about streaming.




"I went back to feeling like I was 10 years old learning something," Noghre-Kar says.






Like taking that electronic music course in community college, learning streaming presented new opportunities for him to express his creativity and connect with his roots. The first stream he did was with Deep House Tehran, a collective of artists living in Iran.




"There were all these Iranian fans and that was the most beautiful thing ever because I hadn't played for people from Iran ever," Noghre-Kar says. "I started curating nights where I would showcase artists specifically from Iran and it was really amazing to be able to open that door for people around the world—creating new fan bases for them because there are so many talented artists in Iran. For me, it was an experience of learning about people from my homeland and seeing their art and having a platform for them."






Noghre-Kar is determined to continue supporting artists from Iran either through more streams in the future or a record label he intends to start.




He acknowledges that he is blessed to be in a position where he can travel the world playing music or shack up in a barn making a new album like he was doing just before the interview (expect Tarzalan sometime in 2023).




But he knows now more than ever there are so many artists in Iran who have the potential to do the same, and many of them are probably still hitting The Piratebay to get their new music the same way he did.


















Ardalan

If you asked Nakadia to describe herself in one word, she would instead offer two: “Positive energy.” The Thailand-born, Berlin-based DJ and producer has a vibrant, bubbly personality that lights up a room. When she’s behind the decks, she dances without abandon. But the root of her positive energy runs much deeper than what others simply see or hear. Having overcome numerous obstacles in her life, Nakadia learned early on the importance of never giving up, hard work, and always finding the silver lining.






These character traits have served her well, especially in her career. For nearly two decades, Nakadia has risen through electronic music’s ranks with her bold techno sound and unrelenting work ethic. Along the way, she helped elevate Thailand’s underground music scene while playing international gigs nearly every weekend. In addition to releasing music on labels such as Intec, Set About, and Filth On Acid, she has performed at ADE, Tomorrowland, and Loveparade, where she played to over a million spectators.




Any of these events could place as an artist’s greatest achievement, but Nakadia’s answer surveys the bigger picture. “I did my career by myself,” she says. “Even 20 years now in the business, [I’m] always growing. I’m walking on the stairs step by step… I don’t take a lift.”




Independence has been a mainstay in Nakadia’s life since childhood. The daughter of farmers, she grew up in a small village in Thailand’s Isan region with no running water or electricity. “We were poor,” she recalls, “but I am happy because we did not miss anything.” One of her daily chores was fetching large buckets of water from a nearby lake for home use. Rather than pay attention in school, she dreamed of traveling and owning a business.






When Nakadia was 15, she embarked on that dream, leaving home to work in factories—but seeing the same people every day eventually wore on her.




“I love to always change something, look for something new,” she says. First, she found a job at a mall in a sticker shop, then at an Internet café. In the café, Nakadia began learning English by using chat rooms to connect with people from around the world. Soon after, she made a friend (and eventual manager), Sebastian, who invited her to visit him in Germany.




Nakadia had, in some ways, practiced DJing before she knew what a DJ was. Back in the village, she blasted cassette tapes from her brother’s boombox, occasionally taking requests from the neighbors. Later, when she shared an apartment with six other girls in the city, she soundtracked their private rooftop parties with pop music and samba. And at the Internet café, she handpicked and played new music for the patrons.









During her first trip to Germany in 2002, Nakadia visited a nightclub headlined by Marusha. She instantly noticed how the people faced and revered the DJ on stage, and the rush the pounding techno gave her. “My hair stood up like, wow,” she remembers, “and I wanted to be a DJ in that moment. I love to party anyway, so why not make this a job then?”






She returned to Thailand with two records but nothing on which to play them, so she practiced beat-matching and mixing on a local club’s turntables during the day. The following year, Nakadia returned to Germany and spent three months improving her vinyl skills by day and observing DJs by night. By the end of her stint, she’d successfully played at a club in Hanover.




While her reception in Germany was enthusiastic, Thailand’s electronic scene—then dominated by men and commercial music—was less open. Nakadia recalls multiple club owners saying she’d need to change her sound to get booked. Even after moving to the nearby island of Koh Samui, a destination spot for European tourists, she endured multiple rejections in an attempt to DJ on her terms. Finally, someone bit—but with a caveat. “The place was really small, like it can fit 150 people,” she remembered. “But I was so happy that he said yes… He let me play kind of early when the staff get ready to drink, and there was nobody on the dancefloor yet. Then the managers like, ‘Wow, your music’s really nice. You can come back next time to play for the people.’” When she did, promoters from South Korea noticed her and promptly booked her.









From there, Nakadia’s international bookings steadily increased, with each new city and country an opportunity to learn about the world, music, and the art of DJing. Eventually, in 2010, she relocated to Berlin due to its more central location. In the years that followed, she landed high-profile gigs, including at Sankeys and Ushuaïa in Ibiza—while regularly traveling back to Thailand to host her Nakadia Welcomes parties that feature high-profile friends like Sven Vath and Loco Dice.




While her DJ profile was still in its nascent stages, Nakadia taught herself to produce using Ableton. “As a DJ now, you [also] need to produce,” she says simply. Her tracks span the techno spectrum, from the melodic drama of “Tale of Khonburi” to the high-speed “The Red Queen” to the fuzzed-out psychedelia of “Acid Storm.” Staying in one place when the pandemic hit allowed her to build a collection of modular gear, on which she continues to refine and practice her skills when she’s not touring. “I want to learn more,” she says. “Lucky that today you can learn a lot on YouTube.”




Since the world has reopened, Nakadia has been able to do what she loves. “I enjoy giving the people the music that comes from my heart,” she says with a smile. “I bring [it] from my arm to the mixer… out of the speaker to the people. Yeah, that’s the best part.”



















Nakadia

Alain Quême, better known as Braxe, has teamed up with DJ Falcon for one of the most innovative acts in a brand new wave of French house, as Braxe + Falcon. Braxe, famously known for international phenomenon Stardust and their infamous 1998 house cut, “Music Sounds Better With You,” ultimately founded the blueprint for French house in the late 90s. Now, as Braxe and Falcon, the duo (coincidentally also cousins) are setting out to revive the classic, inimitable French disco sound for a new generation of ravers.




The artists recently dug into their back catalog, unearthed rare gems, and debuted new ones on their exclusive US tour in the fall of 2022. Those lucky enough to catch one of four exclusive sets heard a unique tapestry of rave nostalgia filled with the hypnotic elements of samplers, stellar vocal drones, and stunning synthesizers.






Braxe and DJ Falcon recall memories from the era they first experienced electronic dance music and how American house music helped form a foundation for their sound.




“House music is really a key element,” shares Braxe. “For me, it started probably in the early 90s, buying 12-inch imports coming from America. So, it’s really a key factor.”




“Especially the Chicago scene—guys like Paul Johnson, [DJ] Sneak, Todd Terry, all those guys, and labels like Dancemania… They were a huge influence,” adds Falcon. “I discovered it while going to rave parties in the early 90s. Back then, raves were only beginning to spring up in Paris.




“I was just following all my friends and that’s how I got into it. Plus, I was really close with Pedro from Ed Banger. So we kind of discovered it at the same time all together.”





Many of the most historically significant French names in electronic music hail from the era, like Daft Punk, Busy P, Cassius, and Étienne de Crécy. To onlookers, it was a close-knit scene. But for those on the inside, the growing french disco sound was something more. It catapulted many of those involved to unprecedented popularity internationally. As a result, many of the establishing French acts became household names, simultaneously becoming synonymous with coining the Parisian French house sound.






“It’s because the scene at the beginning was very small,” says Braxe. “In fact, it was in Paris, and in other cities in France, but mainly in Paris. It was just a few hundred people really interested in this musical movement in the beginning.”




“There was a party called ‘Respect,’ and this is where we all connected,” says DJ Falcon. “It was on every Wednesday, and we all got to know each other through those parties.”






Originally having stemmed from a mere handful of artists and their fans enamored with the new sounds, it is not lost upon Braxe and DJ Falcon how France became the epicenter for French disco house. Now, in the present age, the pair is reinventing the genre for a new generation of ravers.




“Disco music was really strong in France during the 70s and the 80s,” recalls Braxe. “So there is a big background with dance music in France. But globally? If we want to make it simple, let’s say that when Daft Punk released Homework, they pushed a new version of disco one step further. Daft Punk is a key factor as well in this story.”






Both Braxe and DJ Falcon worked with Daft Punk. Braxe, previously half of the duo Stardust, produced arguably one of the biggest dance music songs of all time with Thomas Bangalter and vocalist Benjamin Diamond, creating a pivotal composition in the history of electronic dance music.






“Retrospectively, it’s quite interesting the way it was produced because it was mainly hardware equipment,” he shares when asked about “Music Sounds Better With You.” “The computer was not a key element in the process. So it’s based on some quite old techniques.”




According to Braxe, writing and producing the tune only took one week.




“Benjamin Diamond, the singer, was also of course involved in the process... It’s a song which is based on a sample [of Chaka Khan’s “Fate”] so I was mainly using the sample and upgrading it with louder drums and a newer production. It was quite a natural process. At one point we were a bit lost in the song because there were much more lyrics, but we couldn’t find the right arrangement. Once we decided to get rid of some of the lyrics, everything was okay suddenly. So that’s it. It was a Sunday, we pressed ‘record’ and that was it.”




This original version of “Music Sounds Better With You,” with the entirety of the song’s original lyrics, was thrown out, says Braxe.




“I witnessed when they played this for the first time,” says DJ Falcon. “I was doing a live show at the Rex club in Paris… They played it for the first time at the Rex, you know? I remember helping Thomas carry a huge AV synth to play the chords. It was special, hearing them play it for the first time at the Rex... Everybody knew something was going on at that moment, it was a very cool vibe in the club.”






DJ Falcon also collaborated with Thomas Bangalter (and Justice) in the early heyday of the French disco sound. Then, he moved on to produce original works, eventually stepping away from music production for years.




“For me, it kind of came as an accident,” said the DJ. “I like to see myself as a tourist.”




After releasing Hello, My name is DJ Falcon on Roule, the DJ collaborated with Bangalter, producing a handful of critically-acclaimed dance cuts. “And then I did a couple of remixes for Phoenix, Justice, Cassius, but I was more into the DJ side.”




The French house producer shared he felt very fortunate to travel the world with various talented peers in the genre, getting an opportunity to dip into his other passion, photography.






Coincidentally, the joint act are cousins. But, say they initially had no clue that either one was working on music within the same space until after they’d already started releasing music.




It was French disco peer Bangalter who clued the cousins in, says Braxe. Braxe released his first record on Roule, and Bangalter, noting Falcon also released music on the label, put them in touch.




“It took us quite some time to decide to make music together. We started in 2014. We spent a few months in the studio working on demos, stopped, and then we reopened the demos like two years ago. Then, we decided, okay, now let’s try to finish this.”






The two cousins met up and pitched a demo to Domino Records label head Peter Berard. “And he said, ‘Okay, you guys should finish this,’ and he made it an EP. He gave us motivation to finish it.”




The Step By Step EP is wide-ranging, pulling soundscapes and elements from both artists’ production styles, moving effortlessly from down to uptempo. Their live performances—with only four stops scheduled in the US—include their latest originals and fan favorites from their individual discographies, performed as a unique B2B DJ duo.




Braxe + Falcon arrives at an opportune moment in dance music that sees a diverse and willing audience of listeners rediscovering the sounds of a genre they contributed in shaping.

Braxe + Falcon

It can take years for an artist to find their groove, make an impact, or simply get their name noticed. French DJ and producer, Matt Sassari's journey to notoriety has spanned a decade, over 100 releases, and even more gigs worldwide. His trademark sound blurs the lines between house and techno earning support from industry tastemakers and fans alike. After years of consistency, Sassari has become one of the most respected and sought-after names to emerge from the storied French dance music scene.




After beginning his journey as a producer in 2008, it was at least four years before he felt comfortable officially releasing music under his name. He debuted in 2012 with "Wondernuts," and maintained an ambitious string of releases that, even early on, were distinctive, funky, and brimming with low-end flavor. He eventually landed on labels like Defected, Glasgow Underground, Cr2, and Octopus Recordings cementing his place in the upper echelons of underground dance.




While his hometown Marseille isn't the most recognizable of dance music hotspots, it provided a fertile breeding ground for the young artist. He embarked on a parallel journey as a DJ, and on the strength of his boundary-pushing records ended up with a breakthrough performance at Amsterdam Dance Event in 2014. As he slowly ascended the European circuit, his music received consistent support from the likes of Carl Cox and Joseph Capriati.




Everything changed for Matt in 2019 when he scored a massive Beatport #1 hit, "Put A Record On," a thumping interpolation of Madonna's "Music." Since then, he's topped the charts numerous times. In 2022 he launched his label SASS with a monumental debut collaboration with Green Velvet, "Dance or Die."









Growing up in Marseille, it seems like you had the opportunity to discover electronic music at a young age. Can you tell us about your first experiences with dance music and what made you fall in love with it?







The first time I went to a club was the night of my 14th birthday at Spartacus near my hometown. It was like a dream for me! Pier Bucci was playing live that night. It was an amazing experience, and started my love with electronic music.










Despite an immense amount of musical talent coming out of France over the years, like Tchami, DJ Snake, Guetta, and Polo & Pan, to name a few, it still seems to be a country that dance music fans don't think of first when they think of hot spots for dance music. How do you feel the dance music scene in France has grown over the years, and where do you see your place in it?







Dance music is growing very well in France and becoming more accessible than before. And it will become bigger and bigger, I'm sure. In France, they see me like a foreigner [laughs]. One day they will respect me like all the DJs you mentioned... Or not (laughs). They will wake up when it will be too late.







What is your favorite club in Marseille?




Cabaret Aleatoire, where I'm doing my event called SASS.



You started putting music out in an official capacity around 2012. What were those first years like as you discovered your sound and style?




I've been making music since 2008, but it was really amateur. Once I found my sound in January 2012 with my first release called "Wonder Nuts" under Matt Sassari, I was sure about my style—something dark and groovy. Less than two years later, I got my first international gig at ADE with Deeperfect, and it was unreal for me. After that, I knew which direction I would take for my career.






In 2015 you dropped an incredibly deep and techy three-track EP on Dubfire's Sci+Tec label. It was probably one of the larger and more known labels you had released on at that point. And, of course, a sign-off from an incredibly influential figure in our scene. How did you feel when you got the response back from Dubfire saying he wanted to sign the track?




Yeah, it was the best. I think because it was my favorite label and my goal to be on board. I remember speaking with Ali on Skype [and] he told me, "yeah, let's sign it!" After that, there was no response for a month, and I was like, "noooo, he doesn't want them anymore!" But finally, I got the release out, and it was one of the best accomplishments in my career. I miss this era when the techno was funky!






Do you find that the studio is a happy place for you? Is there something cathartic about creating music that you love?




Yeah, it is a happy place when you find the right groove. Otherwise, it's a stressy place [laughs] when I create a song I love, it is one of the best feelings, really!




In 2022 you released a sample pack for Beatport. Although this might not seem like a big deal to outsiders, it is a mark of respect for many in the industry. A sign that your sound is one that people want to replicate. Take us through this process and what it meant to you to undertake this project.




I got a lot of messages about how I make my sound, so a sample pack is the best way to give them some of my stuff, but not too much [laughs].






In 2019, you released "Put a Record On." A smashing Beatport #1 and a top 20 song of the year. How did your career change after that?




Yeah, this one was an unexpected number one. When I did it, I didn't think it would be crazy because it was a cover tune. More commercial, you know? After all, the tune is getting bigger and bigger, even now! This track [impacted] my career in a good way, but didn't change, just the confirmation that "I'm here."




You followed up with "Give it to Me," a remake of the classic Timbaland song. Many of your bigger tracks benefit from clever vocal samples. Why do you feel these samples are so effective and what's the process for you to pick the right one?




I had to choose between going more techno, like everyone else, or making my own groove with cover vocals that nobody had taken already. So, I preferred this way, and I love it. Since I released "Put A Record on," it was the start of the RNB/tech house crossovers. "Give It To Me" is really special. The groove is unique. That's why it works. I don't think it works the same now when you mix a super hit with a classic tech house groove.










Tell us about the label, Sass. Why did you want to start one?




I had one called Panterre Musique before, but I had only self-released on it. I wanted to start something totally new and more for my underground stuff. The first release with Green Velvet is just another huge achievement. I have to thank him a lot for accepting it!




Our goal now is to release only my tracks in collaboration with other artists I love, like Will Clarke, Dense & Pika, and more. Soon we'll have SASS showcases all over the world that include the artists supporting the project.









Matt Sassari

From writing poetry in her German mother tongue at the tender age of five to being taken under Damian Lazarus’ wing, it’s been quite the journey for singer, songwriter, and producer JOPLYN. She grins warmly from her home in Berlin, which she says always looks like day one of a move. A hectic year of touring is to blame for the lack of time spent in her abode and home studio.




Music has always run through JOPLYN’s veins. By the time she was age eight, she was playing the piano and combining her poems with her self-composed melodies. She soon progressed into learning song structure, initially writing “very pop influenced…real piano ballads.”




She says that in those early stages, Lady Gaga and Lorde inspired her heavily, becoming a "turning page" for her as her interest in school dwindled and her passion for music ignited further.




Now, she explains that places spark her creativity. Convenient considering a large portion of the job is traveling. In early 2022 she released her second album Sant Jordi 02, which was born from an extended stay in Ibiza. 



Life on the road can be time-consuming, and with so little alone time, JOPLYN has realized that no place is a bad place to write a song. Even mid-set.




“[It’s] such a special headspace to be in, such a special place, seeing people in front of you and hearing your music on loudspeaker.”






JOPLYN explains her dreams have also provided a nuanced window into her subconscious and a source for her introspective melodic music.




“I dream so visually that most of my songs are me describing my dreams.” She explains how one of the songs from her album was the result of a particularly thoughtful journey she had in her vivid dream state. “I was in my apartment in my dream and saw a little door. I went through it, and it was a door to my subconscious. Walking around it, looking around it, like I was in an exhibition.”




It almost goes without saying that growing up in Berlin was responsible for her lust for music production, edging her down the electronic route. There was, of course, “A lot of partying growing up in Berlin. Going to clubs at a pretty young age." Despite their inherent chaos, JOPLYN believes that "Techno clubs are one of the calmest environments in the world. Filled with love… so much appreciation of being in this moment together and dancing together.”




JOPLYN’s inspirations were always a wide-ranging melange that crossed genre lines. Like Caribou’s “indietronica house and neo-psychedlia dream pop." And Germany's Oliver Huntemann and Booka Shade, who approached her for a collab and eventually became mentors, guiding her along the way in her musical journey. A far removal from her early days of listening to Lady Gaga.






In April 2022, she made her debut on Damian Lazarus’ Crosstown Rebels with “We Will Forgive Ourselves.” When reading its lyrics, it’s clear that a hidden message lay laced within.




“It’s my way of dealing with this hedonistic, excessive side of this culture, this genre that I’m in, within techno, within house. There is this dark side that no one talks about. It can be a very toxic place too, within all its beauty. That was my way of, in my mind, marrying the two ideas that it can be toxic and that it can be this dark place, but at the end of the day, it is uniting. It has this ‘we’re all in this together feeling.’ That at the end of the day we will forgive ourselves for all of the parties, all the things that we did.”



This kind of introspection and careful thought seems rare in a culture so focussed on living in the moment. And maybe, it’s why JOPLYN has stood out to so many.




“You can of course take this whole idea and project it on a wider scope, we will forgive ourselves in general in this world for all the things going on,” she continues. “It is a very melancholic song but I did want it to have a hopeful message at the end, and I did want it to be positive and uplifting. And because it is very choral, it feels almost like we’re in a church when I play it. It’s those moments on the dancefloor that I live for. I had the melody before I had the lyrics, so I was trying to write lyrics that captured this feeling that this melody had evoked in me.”






Well, now we know what song to turn to when we want to repent our sins on Sundays from our weekend antics.




The release marked a massive benchmark in her career and added another dance music icon to her growing list of heavy-hitting mentors.




I asked JOPLYN what goes through her mind when creating her music, as it’s easy to feel transported and lost within her tracks. I was curious if she had the listener at the forefront when in the studio or if she just let her magic flow.




“There’s a line to walk between art and functionality. Because you need both, especially when making pop music because people want to dance and lose themselves to it. In the initial spark moment, all of that isn’t on my mind at all. All I’m doing in that moment is letting out my ideas, recording them somewhere, and putting it all down. But that moment lasts about five minutes, and then the building blocks of the song are there. Then it’s about being very diligent and working on every single building block. So when I’m in that mode, I’m obviously thinking, ‘ok, if I make this break too long, people are going to leave the dancefloor.’ But I think it’s important at the beginning to free yourself from these preconceptions of how music is supposed to be or follow a formula or think about it too mathematically.”












Her musical journey has not only included her own progression but spearheading other women’s progression. JOPLYN is passionate about bringing more females into the world of music production. When I asked her why she thinks there is a gender imbalance, she remarked, “It’s such a technical job, and technical jobs in general get attributed a lot to men, which makes it intimidating for women to download Ableton or pick up a controller…We lack representation. If you look at the lineups, at the producers, at all the rosters, it’s all men. I see it everytime I play a gig, I’m always the only girl at the artist dinner. As a woman you tend to get belittled a lot. You get sexualised a lot. You aren’t taken seriously.”




I followed this up with how she saw best to encourage more women in the industry.




“Representation is important. Safe spaces are very important. Uplifting each other. Empowering each other.”






Probing that she’s a woman of action, JOPLYN has been working with Ableton and Spotify to give production workshops to make things a little more accessible and less intimidating. “The creative process is such a mysterious thing, kept behind closed doors. You’re presented with this perfect piece of music on this gold platter... So democratizing that whole process and concept is very dear to my heart.”




2022 was a massive year for JOPLYN and is still only the start for this super-talented young artist. In 2023 a new album is on the way. She says she’ll be locked away in an LA studio for two months working on it. She’s also teased a “couple of cool collabs coming,” including one with her mentors, Booka Shade. She also reveals that she’s “working on things with Damian “(Lazarus). So keep your ears and eyes peeled for what could be an explosive year for JOPLYN.





















Joplyn

Burgeoning artist Simone Liberali is making moves within the dance music space as he is known for creating captivating, dynamic, and progressive music.



After an early introduction to dance music via tracks by Daft Punk and Bob Sinclar, his journey really kicked off with clubbing and attending shows every weekend.




“Before becoming a DJ and producer I was a clubber—every weekend with my friends we went to the clubs,” he says. “We stayed in Milan or we also liked traveling by train, bus, or car to other places in Italy that offered electronic music, such as the Cocoricó in Riccione or the Tenax in Florence. I’ve also participated as a client in various festivals and clubs around the world such as Time Warp and Love Family Park many times. I’ve always been fascinated by electronic music and the DJ. I always thought that one day I wanted to be in that position, playing my music and proposing my sound.”

He purchased his first turntables at 16 and began practicing in his bedroom. His friends asked him to play at their small events, and people enjoyed his music. This led him to seriously consider becoming a professional DJ.



Inspired by the positive feedback to his DJing, Liberali started his music career right away while attending college. While his first releases garnered positive feedback, he began receiving legitimate booking requests immediately, including a tour in South America.




He signed with Cumac Bookings, which is still his current agency, and dropped out of college to pursue music full time. Surprisingly, during his first year as a producer, his track “Can’t You See” blew up on the charts and was the most-played song during the 2017 BPM Festival.




“It was a great satisfaction and a great joy,” he says. “It was the first year that I was making music and this success has helped me and opened several doors.”



“Consistancy, determination, sacrifices, passion, and always trying to improve yourself are the keys to growth,” Liberali adds. “I always have my mind focused on my goals and what can lead me to improve. I started to work on more music and my tracks were played by all the most important DJs in the world, and this allowed my name to spread more and more.”




Known for infusing Latin music into his style, Liberali explains, “[My music] refers to traditional Latin music because of the percussive instruments and the rhythmics. I am a fan of the percussive groove both in DJ sets and in my productions, and I often use traditional Latin music in the studio to get some inspiration.”




After years of producing music in his tiny basement studio, Liberali moved into a more proper studio space. One of the first songs he produced was “Landslide,” a personal favorite.




“It has something special,” Liberali says. “In the studio, I started a jam as always, playing and recording different sounds, and the instrumental idea came out in one day. Later, I thought the track needed an exclusive vocal line, so I contacted Jinadu and sent him the demo. He liked it a lot and within a few days, he had already sent me the stems of his voice. I made some adjustments to the arrangement, and I sent it to my friend Nic Fanciulli for his Saved Records. He loved it and released it.”



Despite his success, he says that with his current perspective, he’d give his younger self a bit of advice.




“Experience, perseverance, and having studied a lot over the years have brought me to various notions that would have been very useful also in the past,” he says. In addition, he notes that he could have enrolled in a music conservatory instead of studying economics in college.



In the future, Simone Liberali plans to open a record label that showcases his unique music tastes. He plans on “inaugurating it with an album of mine and also discovering other talents to bring into the project, taking this brand around the world.”

Simone Liberali

Promising artist Paskman is quickly becoming recognized for his ability to fuse the traditional sounds of Latinx culture with grinding tech house. He’s racked up millions of streams and almost as many dance music industry supporters. His cheeky flip of Raffa Villalba’s “Chiquetere” was the sound of the summer in 2022, gaining support from Wax Motif, Hugel, Bingo Players, Sonny Fodera, and Solardo.

With the explosion of Latin house in recent years, Paskman’s sound is perfectly in step with the zeitgeist. But he’s not interested in following a trend. Instead, he's developing his scintillating sound organically, a sound he effortlessly defines as intense, energetic, and exotic.



“In all my songs, I try to put a little bit of those three words, in one way or another,” he says. “Maybe in one song, it’s the vocal that’s exotic, but maybe in another song, it’s the bass. The same with energy and intensity. Be that as it may, the fact that all of them are a mixture of those three concepts is the key.”



The producer’s brand was born in the summer of 2018, but his career has grown more professionally since 2021. “Little by little, you achieve great things—it’s clear to me,” he says.

That incremental growth has been in the works for over a decade. Taken by the explosion of EDM—his first introduction was Tiësto’s “Adagio for Strings”—he was inspired to jump into producing. He then started experimenting with different sounds before zeroing in on tech house.



Paskman is deft at mixing great classics from countless genres within his music. It gives everything a subtle sense of nostalgia, with a sharp twist towards the dancefloor.



To choose a vocal, he says the music must catch his attention from the first moment he hears it. “One day, I realized that people needed vocals at parties and that’s when I decided to mix the vocal of a very famous song like ‘Smoking I Wait’ with my style.”

Paskman’s 2019 remix of “Smoking I Wait” was his first track to hit one million streams. It beautifully samples Spanish singer-actress Sara Montiel’s “Fumando Espero” from the 1957 film “El Último Cuplé.” Its minimal thump is only made more authentic with the wonderfully dusty quality of the original recording.



He adds, “To my surprise, people liked it a lot and I wanted to keep trying more vocals. Without realizing it, I was creating my own style, which has given me a lot of joy.”



Paskman understands that he hit studio gold with “Smoking I Wait” but explains that he has a soft spot for all the music he writes.



“It seems that they are all my daughters,” he says tenderly about his relationship with his tracks. “And I am affectionate to all of them. On the other hand, I’m very demanding with myself, and I rarely like the results of my songs—it’s very contradictory.”



If forced to choose a favorite, “Sexy Groove” would be his pick as he likes “both the vocal and the elements that make it up" and enjoys playing it.



Looking back to the start of his career, if he could give himself one piece of advice, Paskman says he would say to keep doing things the way he's been doing them.

“If it hadn’t been for my perseverance in production, in deciding from the first moment what my path was and what I didn’t want to do, I wouldn’t have achieved anything,” he says. While other DJs may have followed trends that didn’t reflect their tastes, Paskman explains, “I spent time producing what I liked. So, my advice would be to do what you like, even if nobody knows what you’re doing.”



Looking forward, Paskman is both honest and humble about his direction. “I am an introverted person; in spite of dedicating myself to a world in which shame should not exist, in my case, it does,” he says. “On the other hand, I think I still have a long way to go in production—I feel I still have a lot to learn."

Paskman

In the midst of a chat, German electronic duo Tube & Berger are quick to mention the artistic “flow state” present throughout their musical process. With over two decades of consistently charting new ground in tech house, it’s no surprise they can access an intuitive level of creative consciousness. This state of being has sustained their core sound and allowed them to continue their sonic evolution into a third decade of possibilities.



After meeting on a school bus and bonding over a shared love of punk music, Arndt Rörig and Marko Vidovic dove into the genre together before beginning to integrate electronic instruments into their work. They recall that “at some point we got totally lost in electronic music” once those new elements began to take shape. Thus, the now-recognizable iteration of Tube & Berger was born.



Germany was an electronic hotspot at the time, fostering many creative acts in addition to Tube & Berger. The duo were less focused on participating in the zeitgeist than challenging themselves, however.

They explain, “Musically, we’ve always been open to new things, always interested in what’s waiting outside and going new ways. “



That notion rings especially true of their breakout 2004 single “Straight Ahead,” an international smash that was unmistakably electronic yet subtly nodded to their rock roots. Organic percussion and a feature from legendary Pretenders vocalist Chrissie Hynde created a bridge between the sounds that all started on a school bus while hinting toward a vision for the future of house music.



Looking back on the success of “Straight Ahead,” the duo reflect, “We never expected to have such an impact in electronic music. I mean, the deep [and] tech house was formed in that time, so now looking back, we are happy to be part of the shaping of those music genres and also glad it worked out so well. So to all the youngsters, don’t be afraid to dive into something new. There is always someone who did it first and you just have to put your own unique style and note to it.”





Around the release of their seminal single, Tube & Berger also founded Kittball Records, a label that started as a “just-for-fun” endeavor before eventually snowballing into a respected curator of house music. Self-releasing music while curating releases from other artists like Sascha Braemer, Oliver Schories, and Moonwalk is another extension of the passion for electronic music that’s carried Tube & Berger well into the ’20s. They express gratitude for how Kittball has grown, remarking, “It evolved so quickly—we are so happy to have amazing artist releases on our label since then.”



Over the years, Tube & Berger have maintained a consistent stream of successful tunes, one being the 2013 outing “Impression of Pleasure.” It’s a deep, hypnotic exploration of house’s edges with psychedelic instrumentation and vocal samples laced through propulsive, percussive bliss.



Looking back at this key entry in their catalog, they explain that it “can be a way of life that you keep in mind. You can focus on the positive or the negative. It’s entirely up to you. Yin and yang. The song contains a lightness that we try to live, even if it is always difficult due to the current situation or made difficult.” This level of sharp insight behind their work is part of what’s sustained Tube & Berger’s success within the electronic scene as their work goes far beyond the DAW.



In 2022, Tube & Berger have continued to challenge themselves creatively with singles like “Alive,” an electronic tour-de-force alongside fellow producer Frank Klassen. Peeling back the curtain on how this collaboration came to be, they explain, “we met Frank during COVID when all the clubs were closed. We had such a nice vibe together in the studio. Frank is also a great producer, classic musically trained, and a brilliant cellist … We’re already working on our next collab, so keep an eye out for it.”



Other tracks like “Daily Twist” and “Future” are equally killer, beckoning the question of what keeps Tube & Berger motivated so far along in their career. The duo straightforwardly explain, “As an artist you are always learning and trying out new things. The same counts for collaborations. You try out as much as possible and stick to what works.”



As for what the future holds, expect more collaborations with the likes of Frank Sonic (who they describe as “a modular synth master”) and Goatchy (who they call “a great singer-songwriter who is working a lot with us on productions”) alongside festival dates and plenty of time back home dedicated to being dads. Always optimistic, they leave the conversation with a message of togetherness to take to heart: “Be kind to each other without any reason and let’s go bananas on the dancefloor!!!”



Tube & Berger

Ben Dorman, best known behind the decks as BIJOU, is renowned for dark, driving, and ominous records. His latest release, “Gang Gang,” out via AC Slater’s esteemed label, Night Bass, proves to be an excellent example of his distinct sound.



“I wanted to create something that was for the people who have followed me from the beginning,” he says. “‘Gang Gang’ is [for] everyone who's supported me, everyone who comes to the shows, everyone who’s listening to my music. I wanted to create something that kept my West Coast-influenced sound but was also driving forward and a little bit housier in regards to the direction that I’m going now with my music.”



Dorman adds that the vocal sample, pulled from LA rapper Baby Keem’s “Gang Activities,” is a big aspect of the song. He wanted something simple and groovy to complement the heavy drop.



This isn’t Dorman’s first release on Night Bass. His relationship with the imprint and its founder AC Slater goes back to 2016 with “We Don’t Dance,” which skyrocketed him to fame.





“AC Slater is one of my really good friends,” Dorman explains as he remembers how he first signed to the tastemaking label. “I actually had flown into [Los Angeles] for one of the Night Bass parties on Thursdays that they do at Sound. I landed at the airport and we were texting,” he notes, adding that he sent AC Slater a song that the label boss liked. “It’s nice to have that relationship with [AC Slater] because it’s more than just music. There’s an actual friendship with him, [and] he’s done a great job with the label as well.”



Dorman grew up in a musical household. His father was a manager for local bands in Phoenix, Arizona—where Dorman grew up. The producer was “always around bands,” and his father played guitar, bass, and drums, in addition to singing at home.



“I grew up listening to reggae,” Dorman says. “My dad was playing reggae and rock and roll all the time, so that has been a huge inspiration and I hadn’t even heard it in my music. One of his best friends came to one of the shows and goes, ‘Did you realize that the drums [you use] in [your] set are very influenced by that sound?’ I never noticed it until he pointed that out.”



Dorman fell in love with dance music after hearing Tiësto’s “Adagio For Strings” in 2009. At the time, he was playing for the West Coast baseball league in Washington. He went out one night with his teammates to a club, and the next day he asked his coach if he could attend a deadmau5 show on the beach. Though his coach said no because they had to practice, Dorman says the team could hear the set during as they did.



While attending Northwestern Oklahoma State in 2010, his teammate suggested they attend Insomniac’s Nocturnal Festival in Texas. He saw Avicii, Armin van Buuren, Porter Robinson, and Green Velvet perform, solidifying his love for the genre. The next day, he downloaded a copy of Virtual DJ. “I was hooked,” he says.



BIJOU cut his teeth in Arizona clubs. His time as a local DJ was invaluable to his skills as a selector, but he tells Gray Area that, given the opportunity, he would give his younger self a bit of guidance.



“I would say to focus even more on production and perfecting my sound and craft,” he says. “I think early on, as a local DJ, I was so focused on DJing. I didn’t understand how important it was to produce and really have my own music. I think that would be the biggest thing that I would actually focus more on and tell my younger self.”



Dorman continues to evolve and transform and says his current music excites him the most. Like many experienced producers, he makes additional income by passing his imitable production skills on to younger artists. And his favorite song to date was produced with one of his students.



“He sent me this record, and I was like, ‘Yo, this is incredible. If you want to work on this together, I’m all for it.’ He’s an incredible producer as well. [He] goes by the name of Zaerd, and the song’s called ‘St. Tropez.’ I can’t stop listening to it, honestly.”

While some artists believe it is necessary to know music theory, Dorman has a different take. “I think it depends on what you’re making. For the type of music that I make, I don’t think so. It can definitely help. I have no knowledge of music theory. I’m totally transparent and I’ve done everything my entire career by sound or by ear and just being like, ‘Okay, is this in key? Is it not in key? Does it sound good?’ Because in the end if you think about it, if it sounds good, that’s all that really matters.”



Bijou

UK-born-and-bred house music veteran Low Steppa, née Will Bailey, has a career peppered with aliases, accolades, and career highs that include being at the axis of tectonic shifts in dance music several times over. He’s one of the select few to hold the title of Defected Records resident. And his label, Simma Black, has established itself as a tastemaker, releasing records that hold steadfast to his ethos that “music’s got to have a groove. It’s got to have a bit of soul.” His solo releases follow suit, walking the line between blissfully dusty classics and pristinely executed modern groovers. In a scene obsessed with trends, Low Steppa remains fascinated with what forms the backbone of dance music.






“I think when you’re younger, you’re more prone to gravitate towards fads that aren’t your thing,” he explains about the decade preceding his 2013 debut of the Low Steppa alias. Bailey spent his early career shifting through various sounds that helped pave the way for dance music’s inevitable explosion in the mid-aughts. Among them were his genre-bending work as part of fidget house outlet Twoker (with Alex Calver aka Skapes) and eponymous, genre-spanning work that saw him collaborate with a range of artists from Chris Lorenzo and Gettoblaster’s Paul Anthony to Valentino Khan.




For an artist whose entrée into dance music was on the soulful house tip, it became increasingly clear that the further he drifted from his roots, the less authentic his music felt.




A sense of nostalgia is inherent in even the most current sounds of “classic” house music. Those that have found inspiration in the creators of the culture, like Masters At Work, Todd Terry, and Frankie Knuckles, are recontextualizing a timeless aesthetic that has continued to persist on the dancefloor for nearly 40 years.






“That’s the beautiful thing about real house music,” he explains wistfully. “You’ve got all the things that are going on right now, you know, your tech house, all this, but it all sort of comes and goes away. Whereas your classic, sort of Defected vibe, I believe it’s always gonna be there. It’s like the backbone to a lot of things. So, I feel like I’ve drifted around along on back to what I wanted to do when I first started DJing and buying vinyl.”




He explains that, unlike other artists who were brought up on a diet of soul and disco, the Bailey household was one rife with rock and pop music. His dad, Richard Bailey, spent a spell as the keyboardist for '80s metal band Whitesnake. And he remembers growing up around studios in Birmingham, England.




“But I kind of made my own way through his record collection. I was obsessed with ‘Thriller’ when I was a kid. And so I think that got me on my way.”




In the ’80s and ’90s, he grew up parallel to the storied UK rave scene. And in Birmingham, a city associated with the tougher side of dance music (and the home of bassline house), he first discovered D&B. By the time he was getting into club life, he found the soulful side of house via BBC Radio 1 DJ Danny Rampling’s Love Groove Dance Party show.




He’d happened upon a sound that often appeals to a more seasoned dance music aficionado. As the years drifted on and he wound his way through a vast sonic soundscape, the distinct syncopated drums of the Birmingham Sound and timeless vibe of soulful house never left him. So when he released his garage-inspired rework of Route 94 and Jess Glynne’s “My Love” as a free download in 2013, he’d finally returned to the sound that made him fall in love with house music.






“I’ve always loved those skippy beats,” he explains about the bootleg that eventually made its way into Route 94’s DJ sets. “And it’s just fun when you’re making beats [thinking] ‘just where can I put these snares?’ And ‘what groove am I gonna get an average swing or quantized one off my beats?’”




As he gives a window into the process behind creating one of his impossibly danceable grooves, he recalls the wise words of Grant Nelson, also known as Wishdokta, Bump & Flex, and N’n’G, who is heralded as the “godfather of UK garage.”




“I think it was Grant Nelson that said to me once, ‘you know you’ve got to be grooving off just your drums.’ And that’s the approach I always have. I mean look at the drum beats that bookend Kenny Dope - 'The Bomb,' stuff like that. You don’t really get so much anymore where a record has an amazing drum beat.”




While modern production techniques have allowed for music to be far cheaper and easier to produce, the reliance on machines and sample packs has created a space where the humanity of music has been somewhat lost. Low Steppa has spent his career trying to reclaim it. And when he hooked up with Defected, he found a group of like-minded folks seeking to do the same.






In 2016 he released Low Steppa’s Disco Party, a 66-minute throwback to the music that arguably made house possible. Defected founder Simon Dunmore recognized Bailey’s inherent need to understand the roots of the music he loved in his track selection. Dunmore hit Low Steppa up to say he’d spent all weekend listening to the mix.




“I think he sort of realized that I knew my music and I think that was one of the key things. I think Simon [has] got a lot of respect for people who know their music or the background of it.”



Bailey has long been a veracious sample hound and music historian. “And that I mean, that’s very important to him, I think. Because obviously, there’s not really people that know much more about it than him.”




After a few opening slots in the UK, Bailey was brought into the Defected fold. He’s released several dozen records there, including a throbbing, organ-laden remix of Hardrive’s “Deep Inside,” an impossibly funky rework of “Freedom” by CeCe Rogers and Jack Back aka David Guetta, and 2019’s disco-tinged “You’re My Life” that masterfully samples Jackie Moore’s 1979 “This Time Baby.”






And while he was already a well-established touring DJ, Defected also allowed him to spread the gospel of house music even further by being a staple on their global club and festival lineups.




“I think Defected did really help me get into the space I wanted to be in because it allowed me to go back to my roots and do what I really wanted to do,” Bailey says.




While he’s in the most creatively fulfilling space of his life, there are times when he feels he could take it even further. “I still can’t always play what I really want to. Sometimes I’d love to play a more soulful set, but when you’re in a festival or busy club [and] it’s hyping, you just know what you got to do. I do miss playing in a bar where people are just chilling, and you’re just playing some light, soulfuric vibes.”






The pandemic allowed him to connect even more with his roots by doing just that. He quickly became a staple of the streams and dug in the crates for long-lost house music gems. It’s likely what led to his monthly Defected Broadcasting House Show.




“I think that’s what was great about it for me. I went and found all these records I used to play. And I was just playing a lot of this old stuff and I loved it. Everyone was just at home and [the] dance floor was equal. Just play whatever you wanted, that was one of the beautiful views of it all for me during those times, as weird as it was.”




Low Steppa has had the good fortune of an extended and fruitful career in dance music. He’s remained a relevant and culturally significant voice for the duration. He explains that he’s done so by staying in his own lane.




“That’s exactly the phrase, stay in your own lane, and just be happy with what you’re doing," he says. "I’ve got my followers, and it’s important to just keep them happy, and not get to get caught up in the trends. I don’t really want to want to follow the trends. I mean, it’s great to hear stuff that’s new, and you’re like, 'oh, wicked,' and they get a vibe off that. But I do want to stick to what I’m doing.”



Low Steppa

“I wake up everyday, do a meditation, take a cold shower, have a coffee, and play piano for 30 minutes. I do this literally every day, seven days a week (yes, that’s hard on the hungover days), and it has been paying off since I've never had any lack of energy or ideas for my music.”



For anyone familiar with the music of Rose Ringed, it is easy to understand how his morning routine has helped push his music into the hands of some of the most notable tastemakers in the dance world. The Dutch producer utilizes analog and digital sounds, calling upon his extensive collection of synths to create a diverse range of music, including melodic techno, house, and synthpop.






“I gravitate between an external perspective of concepts that fascinate me, and an internal perspective mostly about deep inner emotions.”




The Amsterdam native has gained notoriety since his debut release in 2018 was featured by Kölsch during his BBC Radio 1 Residency. The unique blend of upbeat, dance-heavy tracks that also manage to incorporate complex melodic elements makes the music of Rose Ringed truly unique. Artists like Solomon, Blond:ish, and Joris Voorn are just a few of his supporters.


With a background in live instruments, producing synth-heavy, melody-influenced dance music is a natural fit for the uber-talented artist. An ex-jazz pianist, Rose was born to a music-loving father and a jazz ballerina mother during the early trance rave era of the '90s. Rose’s mother raised him on a steady diet of jazz music. At the same time, his father regularly played early dance music and rock, giving him a CD of Queen’s greatest hits, which heavily influenced his musical proclivities.




“That song [‘Bohemian Rhapsody’] used to be such a big influence when I was really young," he says. "So much happens in that track, I can just hear it all in my head.”



Growing up on deeply complex music, such as Queen’s discography, explains why Rose Ringed produces the way he does. Although dance music’s simplicity and repetition can often feel “safe,” Rose Ringed’s productions are immensely layered and emotional. The more he listened to “Bohemian Rhapsody,” the more he realized how much was going on in the track. Internalizing this, Rose has often found the need to take a step back when producing to ask himself if he’s doing too much or not doing enough.



“I always start from harmonies and melodies. That’s my core, for every song," he says. "Chord progression as well. From that, I just write down ideas. Sometimes for me as an artist, the biggest thing that I’ve learned and still have a hard time doing is killing your darlings. To a lot of artists, it’s the biggest thing you have to learn how to do. You have to know which elements are most important and make the track around that and not put every idea into one track. At the same time, I like to break the rules. So as long as you feel the track [emotionally] and it has a message in there, it’s okay… I never tried to rationalize making something complex or difficult, it’s just what happens sometimes.”








For Rose Ringed, producing music is a genuine journey. A producer so focused on layers, analog sounds, and creating live with synths, he often finds himself falling in love with each aspect of his tracks as they are born from his fingertips. Becoming a master producer means understanding that not everything you love makes sense on the same project. Putting hours into each element does not mean they are all useful—a lesson Rose is learning over time.


As with many DJs, his proper introduction to house music came after nights out at the clubs as a teenager. “When I started university, I went to my first festival. That’s when I encountered dance music," he says. "Around age 20 I went on a ski trip with some friends and one guy brought a DJ setup. I found it pretty easy to learn and he told me that because I played the drums I would probably have an easy time with it. That gave me a little bit of confidence and I quickly bought a DJ set, then a vinyl player to mix vinyl. I slowly shifted to producing music and just completely fell in love with it.”




Although Rose Ringed received support from Kölsch on his debut release in 2018, he was humble and smart enough to know that this did not mean he had made it. Although it would be easy to view this as a massive career milestone, the reality is that support from a prominent artist on one track can only last so long. That being said, the moment motivated Rose to continue striving towards making music a full-time career.



“If I’m right now able to make something that [Kölsch] thinks is good enough to play, then I am onto something," he says. "You have to get a little bit nudged into your confidence.”


Despite early success and momentum, like artists worldwide, Rose’s reluctantly put the performance side of his career on hold during the pandemic. He used this time to bunker down in the studio and ask important questions about what kind of artist he wanted to become. Given the type of music he creates, it only makes sense that a crucial element of creation for Rose is the concept of storytelling. While this can feel like a generic sentiment, each song produced by Rose truly has a narrative, often bred at the very outset of its production. When starting a project, Rose has to save the file on his computer. To save a file, you need a name. If the track is meant to be, the name will come easily. Often, Rose cannot conceptualize a name and therefore understand where the project will go and what story it will tell. In these cases, it is time to start over.




“I start by taking my MIDI controllers and making live arrangements. By arranging live you get the most natural way of telling a story, instead of clicking your arrangement you find a natural flow by launching elements and tweaking filters. With tracks like this, there’s a story behind it and I become increasingly inspired throughout the process… when there is no story behind it, it’s just a chill beat and I can’t finish it.”


To have such a complex creative process ultimately means that completing a track can be a lengthy ordeal. But just finishing the production side does not mean the life of the track is over. The next step is, of course, releasing it. The process of finding a label can be brutal, even for established artists. Sending out demos and being rejected, even if the music is great, is disheartening. Additionally, it can often feel like the artist forces themself into fitting the box of a specific label’s sound.

Rose has decided to release all of his music independently. It’s risky but has ultimately paid off for the young artist. He has maintained creative integrity and releases whenever and however frequently he wants. Now that he has established himself, he is beginning to send music to labels, but it has taken him years to get to a place where he finally feels comfortable doing so.



His most recent EP, For Us, is an incredible three-track journey that showcases the high energy, complex music Rose Ringed is producing. His next EP will be released soon with a massive label (we can’t say yet!). It’s safe to say that Rose Ringed is one to watch.





Rose Ringed

Croatian DJ and producer San Pacho is of no mystery to house music aficionados worldwide. His exemplary sound has resonated with a vast audience from every speck of the globe, and he’s become a prominent part of the ongoing tech house and Latin house revolution with his exotic and culturally-inspired soundscapes.




Growing up in Croatia, his life shaped his musical taste and style of artistic expression. Croatia’s breathtaking natural landscapes and refreshing Mediterranean Sea views always instilled inspiration in him no matter what he aspired to achieve at any point in time. Once his love for house music emerged, it was back-to-back summer beach parties on the water that influenced his desire to explore the electronic dance music scene even further.




His ongoing fascination with house music led him to pursue the monumental adventure of one day becoming an internationally recognized producer. Still, he didn’t really dive deep into the scene until 2014, when future house and bass house were exponentially on the rise. One of his early idols was future house pioneer Tchami, who ended up playing a tremendous role in shaping his career.




Before unveiling the San Pacho project to the world, he released music under his Pascal alias. Tchami supported one of those tracks during one of his older EDC sets, so San Pacho immediately reached out to thank him. After a few back-and-forth conversations, Tchami officially recruited him to be part of his renowned CONFESSION label roster. This was when the rebrand to the San Pacho name came to light.








“It’s really great seeing the idols that I listened to and looked up to when I was younger play my music now. Tchami is one idol that always pops up at the top of my head. When he released his Promises EP back in 2014, I was obsessed with his unique sound. I saw that he played my track with Malaa at a nightclub show recently, and I was in shock that someone I’ve always looked up to so much continues to play my tracks. It’s so humbling to witness.”




Deciding to drop everything, including his enrollment at university, was the best decision the self-taught musician could’ve made for himself. After spending numerous hours in the studio mastering the art of production and DJing, he was able to curate a standout artistic persona and sound to match his authentic self.




The San Pacho sound has proven to be one of a kind. He utilizes every whiff of inspiration to create, and he’s flawlessly transitioned his sound to reflect his artistic vision at any given point in time without fear of judgment or industry portrayal. As cliché as it sounds,​​ his principal motto is to always stay true to oneself. By sticking to this mindset, he’s managed to stand out in a sea of like-minded producers by doing things his own way and on his own terms. For him, that’s the key to success. ​​




“I noticed there were a lot of great house sounds out there but I wanted to implement my own take on the genre. I wanted to take inspiration from everyday soundscapes and sounds from all over the world including real instruments and real percussions and merge them into house music. This concept wasn’t as pro​​minent when I first started this journey. This is actually how my idea for ‘La Pasion’ with Matroda came to be. Now I’m known for creating house tracks with Latin melodies, which wasn’t my original purpose but it sort of just happened, and I’m so glad it did.”









“La Pasion” still sits on the top charts a year following its release. This striking Latin house heater skyrocketed San Pacho’s career and tight-knit relationship with fellow Croatian producers. He and Matroda share a similar vision when it comes to dominating the scene, making it impossible for them to not cross paths and coexist in such a niche house music space.




“In 2019, Matroda and I made ‘The One’ but later realized we wanted to make a more tech house influenced song since we both left the bass house genre behind around the same time. After I produced my part, I sent him the demo and he did his thing and premiered it. The initial reactions were insane so we decided to officially release it on his Terminal Underground label and its still one of my top three tracks to this day. Tracks usually age after a while so its crazy that its still on the top charts. It’s a track that anyone in the world can dance to and I think that’s why its been such a popular hit.”




Following a successful summer touring season in 2022, taking him across Europe, the Croatian sensation is ready to embark on his first-ever journey across the Atlantic to perform in North America.




San Pacho is ecstatic to finally get the opportunity to showcase his mixing abilities at some of the nation’s most pristine live music venues, including Exchange in Los Angeles, Marquee in Las Vegas, The Roof at Superior Ingredients in Brooklyn, and more. He’s eager to finally conquer the USA in full force and witness what the crowd culture is all about on this side of the globe.




To tease his upcoming and highly-anticipated North American tour, he recently just unveiled the second edition of his booming The Vault mix series. The 31-minute mix is an enthralling blend of unreleased San Pacho tunes intertwined with some older tracks to get a feel of his listeners’ reactions before officially revealing any new releases. It’s a brilliant marketing tactic. With more new music on the horizon, this mix has gotten fans pumped for what’s to come from the flourishing producer.









In revamping his sound, San Pacho’s fundamental goal was to bring diverse cultures together at clubs and festivals around the world with his outlandish house escapades. And after only being in the scene for a few years, he rests comfortably on the top of the Beatport house charts alongside industry legends like FISHER, Chris Lake, Gorgon City, and more, which is still a surreal concept to him. He describes his sound as refreshing. His hypnotic beats are truly a breath of fresh air in a continuously evolving industry.




“I never had any idea or expectation that I would be standing side by side with artists like Chris Lake on the top Beatport charts. That’s just insane to me, even to this day. I can’t even comprehend that and put words together for how I feel about this. It’s crazy. I’m so thankful for this journey and I wouldn’t change it for the world.”

































San Pacho

Founded in 2002, Watergate has firmly established itself as one of the world's greatest clubs and a truly iconic venue in Berlin. Known for hosting a consistent slate of high-level talent, the club follows Berlin traditions of being open all hours of the weekend. Overlooking the Spree river, the club has two floors: the upper floor, which many will recognize from videos due to its iconic LED emblazoned ceiling, and intimate dancefloor.



The Water Floor is equally legendary as its massive windows give the room a true night into day feel, with the sun soaking the room as the morning arrives. Twenty years of operation for any venue is awe-inspiring, and for a club in Berlin with Watergate's impressive programming and tight door policy, the club's accomplishments cannot be overlooked.


In addition to the venue's nightlife pedigree, the team behind the club also runs a label, Watergate Records. Watergate Records was founded in 2008 and has since become widely respected for releasing lauded EPs and its famous Watergate Mix series. For the most recent addition of the mix, the 28th of its kind, Watergate Records turned to Biesmans, a legend of the club who worked his way up from being the venue's sound engineer to headliner and resident. Biesman crafted the mix and collaborated and produced every single track on the album.




"I just started to create and followed my instincts. I started the project with two weeks of sketching, making roughly two tracks per day focusing on quantity, not quality. After that I had so much raw material, which made it very easy to search for collabs," he explains about the process of creating the mix.




"I would usually send out three sketches so the collaborating artist could pick their favorite to work on. This approach made my time management super efficient because while I was working on my own favorites, I had other people working on stuff I got stuck on. Within 10 weeks the whole project was finished and I even had a few left overs that I didn't include in the mix!"




Biesmans made a name for himself as a local DJ in Belgium before moving to Berlin and realizing how stiff the competition was. The only way he could even approach having a career as a DJ was by taking a step back. He took a job as a sound engineer for Watergate and kept his head down, learning the club's ways until he finally had the chance to play. He made sure his debut set was perfect and has never looked back.




He has gained international acclaim as a master producer, and in Berlin, he is a local icon known best for his strong melodic sets.




The DNA of clubs has clearly run in your blood for a long time. As a teenager, you built a club in the backyard and had friends over to dance. How did you discover electronic music, and do you have any stories from these teen years you can share with us?




I think the virus hit around '96 when my mother got a radio with CD player and a CD to try out. I remember it was some sort of Eurodance compilation with some hyper-commercial stuff like Scooter and DJ Bobo. But there were also a few cool tracks on it, like "House of House," amongst others.




Before this CD, I was mainly into all sorts of rock. You can see this CD as some sort of a key to electronic dance music. After that moment, I started to open up to house and techno, and when we opened our little club house in the backyard. I took charge of the music and focused mainly on the electronic stuff. It's still unclear why the neighbors didn't complain more because we would throw weekly parties with at least 20-30 (loud) teens!




Fast forward a few years, and you were DJing regularly before moving to Berlin. Upon arriving, it sounds like you began to understand how crowded the scene was and took a job at Watergate while you worked on getting gigs. What were those years like before you got the chance to spin at the venue?




I have to admit that it wasn't always easy! Don't get me wrong, I always loved to work at Watergate, but my main goal was the music. I was in this famous club and couldn't touch the controls! Like sending a kid into a toy store, they aren't allowed to touch a single thing. That said, these years were also essential to me because I could learn so much from both sides. Looking back on that time, I'd like to see them as my master's degree!




Were there any legendary nights that stick out in your mind?




You always have the most amazing nights with Papa Sven (Väth) or Ricardo (Villalobos), but if you asked me for one night, in particular, it would be last August with Laurent Garnier! I had the chance to open for him, and what he showed us after that was simply unparalleled! The musical journey, the crowd, the vibe. The stars aligned on August 5, 2022!




What do you remember about the first night you got to play at the club?




Oh, that was a good one! Nothing but good memories about that night! I invited so many friends. I even had my Belgian crew over. And when the doors opened, the club filled up in no time! It might have been a bit selfish, but I went for a peak-time warm-up. I was hardly playing at that time, so all the energy got unleashed in those three hours!




Now that you've established yourself as an artist, your sets have become the stuff of legend. As someone who performs both DJ and live sets, do you have a preference? What are the pros and cons of each?




In an ideal world, I do one DJ set and one live set per weekend. It's hard to pick a favorite because they're both so different, yet the purpose is the same.




The thing I love about DJing is that it keeps me alert and focused on other people's music. It pushes me to search for music and inspires me when I produce. On top of that, it's also very easy in terms of technical setup, so you don't need to do sound checks or travel with gear.




I love playing live because it's much more challenging, and it's cool to only play your own music. There is much more space for mistakes and errors, but that also makes it very rewarding when everything works fine.




You are somewhat of a gearhead, with a plethora of synths and keyboards in your studio. If you could only keep one piece of hardware for music production, what would it be and why?




Ouch! That's mean! If you'd make me choose, I think I'd go for my Moog Grandmother. For many years, the Korg MS-20 was my favorite, but when I got the Grandmother, it became clear it is sort of a modern-day classic. They're quite similar because they're both analog, semi-modular monophonic synths, but the Moog is just unbeatable in terms of flexibility!







As someone with such a strong association with Watergate, this album surely put you in a more broad spotlight. What do you hope to accomplish going forward with your music and career? Do you see yourself always being involved with Watergate in some capacity?




I don't see myself working back behind the scenes in Watergate or any other place. I have that part of my career behind me, and all I want to do right now is focus 100% on my music. I still have so much to learn and so much to discover! I hope to push my live act to another level, and I would love to break into different territories with my productions. Scoring a movie is a dream of mine, but I feel I'm not there yet. Everything in its time!




Biesmans

A young Tim Green first fell in love with electronic music as it promised exciting possibilities previously out of his reach as a musician. Ironically enough, it is his very background as an instrumentalist that now differentiates his rich and emotive style of house.



It wasn’t always so. The more brutalist sonics of early Tim Green tracks like “Little Flies” and “Rhythm Acupuncture” embraced the synthetic nature of their components. By comparison, his more recent singles like “Moss” and “Sequoia” exhibit a more traditional musicality. Warm instrumentals and piquant vocals blend seamlessly into what abstract futurism remains, resulting in soundscapes that feel familiar yet subtly alien.





Tim speculates that he “didn’t have any choice but to do music” on account of his home environment. “My dad was a keyboard player and had a huge music collection, also a huge studio, with a collection of synths, tape machines, mixers, great HiFi systems, and a Hammond organ as well,” he says. “So I was just surrounded by all of it, basically. I was just quite in touch with it, literally.”



After briefly learning how to play the piano, Tim’s first love in music came when he picked up the guitar. He took lessons on the instrument from age 8-16 and played in a number of local bands. 





“In the beginning, it was probably more Van Halen ‘80s hair stadium rock stuff, which is ridiculous considering I was like 10 or 12 and living in the South of England which had zero connection to stadium rock music—but that's just what I grew up loving,” he says. “When it progressed on it was the heavier but more modern stuff, everything from Nirvana and Rage Against the Machine to Deftones.”



When Tim Green went to university to study music, he was shown Daft Punk’s 2001 sophomore album Discovery. It changed his entire outlook. “They were sampling records that I knew, so I was hearing this music that I grew up with in a new light,” he says. “I was thinking, ‘How do you even do this? Why would you even do this?’”





Curiosity led him to try his hand at music production, initially diving headfirst into sterile sonics to deliver his debut 2006 EP via Four:Twenty Recordings, Little Flies / Rhythm Acupuncture. “I really fell in love with a lot of early minimal sounds that were coming out of Germany at the time, so I was quite influenced by that,” Tim recalls. “I guess also thinking back to it now, I also wanted to be quite distant from live music. I probably wasn't wanting to fuse it into dance music at the time.”



The years that followed saw Tim Green refine his creative process to the point that his music landed on labels like Phobic Records, Dirtybird, Nervous Records, Circus Recordings, Get Physical Music, and Cocoon Recordings. 12 years after his inaugural release, the latter label tapped him to write his first studio-length album.





Her Future Ghost arrived by way of Cocoon in 2018, and it was evident that Tim had put tremendous thought into the task at hand. The album was meant to score a film that didn’t exist and lived only in his mind. Each track conveyed a deliberate theme in the plotline of a cohesive story.





“I just didn't have what I felt like was a strong enough idea up until that point to make what I feel an artist album should be,” Tim says. “I think I came up with the idea around it, I don't know, a week before Cocoon coincidentally asked if I wanted to do an album for them.”



And what was the story? “That's something for me,” he says firmly. “I've never told anyone.”



Around the same time he released Her Future Ghost, Tim also wrote music that was then performed by a band under the moniker Invisible Minds. From time to time, he also produces one of the tougher sort of tracks that defined his early discography. His APIR side project allows him to release more techno-inspired cuts without betraying the expectations of his continuously growing fanbase.





Not only do Tim Green’s childhood experiences as an instrumentalist color his recent output—his records also prominently feature many of the analog synthesizers that belonged to his father. While he splits his workflow fairly evenly between in-the-box and out-of-the-box methods, devices like his father’s Minimoog have given some of his music a classic touch.



“I mean, initially, it was borrowing,” Tim laughs. “And then my dad was nice enough to either give it to me or sell it to me at a very, very nice rate. It's great for him because he knows that it's going to someone who's who uses it, and it’s kept in the family as well.”







At the same time, Tim’s openness to new ideas is what keeps him interested while writing music. “I try to veer towards the stuff that isn't so obvious, like I got a plugin recently called Spire—I don't know if it's a new plugin or not, but it's new to me,” he says. “I think it's definitely developed more towards trance and EDM, but I absolutely love it. It's fun trying to use very different types of sounds and fusing them into the kind of music that I do, because otherwise you just end up sounding like everyone else.”



At first glance, it might appear as though Tim Green has arrived at his destination in dance music—a full-circle point that connects the wide range of influences from throughout his career. Just as when he dove headfirst into this world, however, he finds the future to be the most exciting prospect of all.



Artist Spotlights

Michela Iosipov

Michela Iosipov

Rob Engle

Harry Levin

Sierra Vandervort

Kennedy Cymerman

Harry Levin

Krystal Rodriguez

Melisa Yuriar

Jonah Flint

Alex Gray

Lisa Kocay

Lisa Kocay

Mike Giegerich

Lisa Kocay

Alexander Dias

Jonah Flint

Maria Marcano

Jonah Flint

John Cameron