Paul and Zach of Gettoblaster came up in the late 90s/early 2000s rave scene as a DJ and promoter respectively. “We stayed in touch and one weekend we were in Miami together… I got booked for a party eleven eleven with 12th Planet and I ahd agreed to play a trap set. When I arrived I knew it wasn’t for me. I said watch me fuck these people up. I played ‘The Percolator’ and looked at Zach and said this is what we have to do together. We started Gettoblaster from there.” 

Given their lengthy history in the scene, Paul and Zach have a unique perspective of the modern house and techno scene. Coming off of a massive performance at The Brooklyn Mirage supporting Chris Lake, Gettoblaster reflected extensively on the things they love about the scene now, and how the scene has grown and changed in the last 20+ years.

“It’s all about the vibe. At Mirage it was amazing in the rain, everyone was just getting down.... Nowadays we notice that the crowd has to be vibing and you have to work harder to keep them engaged. In the 90s it was America’s first chance at hearing dance music, people were really listening. But at the best parties now, it’s incredible. Every movement we did at the mirage opening for Chris Lake, the crowd reacted.” 

While Gettoblaster are now used to play massive venues week in and week out with incredible production and stage design, they sowed their roots in a much different way. Coming up in the warehouse rave scene meant they started their careers working underground parties. While they reflect positively on those days, there is a sentiment that the way we party now is safer and more responsible.

“You wouldn’t know where the party was. You would have to drive around and just listen for the music… We’d be in the warehouse with 7000 people and there’d be one disco ball. People would have a heart attack in the 90s if they saw the kind of production we have now… Venues back then would shut the water off in the bathrooms so that people would have to buy water instead of refilling. I’d been at parties where I’m DJing and the sound goes out and then all of a sudden there’s guns in your face cause the Feds are there… It’s definitely different now.”

After that fateful weekend in Miami where Gettoblaster was conceived, Paul and Zach began to crank out tracks in the studio together. When they started, Zach was living in Michigan and Paul was in Colorado. They would send tracks back and forth over the internet, visiting one another every now and then just to get some facetime in. As they’ve progressed over time, they have found inspiration from other artists comes constantly. “There’s so many amazing artists now. Back in the record store day there were 10 new artists every week… Now, the level of talent coming up is amazing.”

Paul and Zach put a tremendous amount of music in the first few years of their project together. While they achieved commercial success, their first true break out came in 2018 with the release of ‘Future Funk.’ Although it is now their most known track and a secret weapon for DJs across the world, it took a long time for it to gain any traction. “DJ Pierre helped us release it. We got a huge banner on Beatport but it did nothing. It would crush in our sets but it just didn’t sell at all. A year and a half later I get a message on our fan page from someone in Tel Aviv with a video of a massive crowd losing their shit to this track being played out by Solomun… It went to top 10 on Beatport immediately and had 30,000 Shazam's overnight.”

The success story of ‘Future Funk’ is somewhat indicative of the response that Gettoblaster finds to a lot of their music. Over the years they have noticed a tangible difference in how their tracks are received in Europe versus the states. “We get reactions in Europe first… out of the ten that get reactions, the biggest one will play here. This is why we interject actual lyrics into our tracks. The Europeans hate it when we add lyrics. We always get an email from the Euro DJs asking for a version with no words. It works better here with lyrics because of hip-hop and pop culture. We give out instrumentals for our European friends.”

Paul and Zach made the most of their time in lockdown, creating over 100 tracks and releasing 20+ this year alone. Despite their massive output, the guys are looking to have a more direct creative strategy around their releases going forward. “We’re slowing down our releases a bit and putting more emphasis on the tracks with vocals. We’re focused on creating music videos, finding sync licensing opportunities… and playing as many shows as we can to test out every new record.” They just dropped an EP with DJ Deeon and are playing shows all over the country.

There are few in dance music who combine their musical past and present as effectively as LP Giobbi. The classically trained jazz pianist injects her multi-platform DJ sets with syncopated notes hinting at the roots of house music every time she lays a rhythmic keyboard improv over a looped 4/4 beat. She’s exuberant and charismatic as she twists and glides from piano to CDJs and back, never for a moment allowing the music to stop flowing through every inch of her body. She's harnessed an authentic activist mindset that reminds us of the mere act of getting out there on the dance floor, listening to a diva sing over a 4/4 beat with an acid-squelching baseline, that's fucking activism, man.

“The only time I feel completely present as a human—and that sounds so cheesy, but it's true—is when I'm on stage playing music. “ She explains this as she tries to rationalize the constant struggle of the modern musician. Doing hundreds of things that aren't making music and still finding time for music.

“I'm not thinking about what I have to do on my to-do list. I'm just thinking about getting to connect with the people that I can see in the audience and see their joy. This is where I'm actually living my life.”

Giobbi was always indelibly connected to the stage. Her first big break as a performer came when Peter Franco, Daft Punk's studio engineer, discovered her playing jazz in San Francisco. To have those moments ripped away was devastating. On the eve of joining her best friends Sofi Tukker on their European tour in March of 2020, her manager told her that the next 52 weeks of shows are canceled and it was time to start streaming. She reluctantly took the show to Twitch.

“I remember thinking standing on the other side of this tiny web camera is going to be pretty soul sucking, but I don't know what else to do.”

She realigned with the joy of performance as the community affectionately referred to as the Freak Fam coalesced around her and Sofi Tukker, who spent nearly every day of the pandemic on Twitch. She soon realized how liberating it was to be free of one-hour set times.

“It also allowed me to get a little bit weirder, like sort of see myself more as like a one-person jam band.” It's an important point to note for a woman raised by two Dead Heads. 

The world of dance music united across borders as fans from around the world hopped from stream to stream on Twitch. Giobbi was a huge part of that. “I've never felt more connected in a year where I thought I was not going to be connected at all.” 

With the increased visibility, Giobbi uncovered a larger platform for her 501(c)(3) Femme House, an artist collective and educational platform that is giving more visibility to women in music. She launched She Is The Producer in partnership with Alicia Keys’ She Is the Music, and GRAMMY-winning studio engineer Emily Lazar’s We Are Moving the Needle. With the support of music software giant Ableton, Giobbi’s organization gave 3,000 women around the world access to music production software and classes to get started.

It was an emotional moment to scroll through the massive Zoom chat for the first class and see greetings from Mexico, Canada, Australia, and Brazil. It’s remarkable to think how many lives were changed she says. 

“I oftentimes think, ‘Okay, having more female producers. Is that going to change the world?’ And maybe that in of itself isn't, but what it does is it makes you see yourself in a role you didn't think you could be in before. It changes your general concept of yourself.”

With a year of reconning with the social failings of our system, I ask Giobbi if the needle is moving in the right direction. She feels headway is being made, but when she is still the only female DJ across two days of DJing major music festivals, there’s still much improvement to make.

“I understand that as a promoter, you need to book acts that will sell tickets. This is your livelihood, I totally respect that and get that. That being said, only the headliners are actually selling the tickets. That means that there's usually an entire lineup of you know, 40 other acts, below the headliners that people are excited to see but maybe they're not gonna' actually sell the ticket. So, just be aware and make sure that that area is diverse… the bookers and the agents just need to be finally more conscious on how diverse that bottom half looks.”

She does her part by sending notes to promoters on who they should book when she signs a contract to play. She makes sure that talent buyers have contact info for diverse talent in each area.

“Whenever I get booked, we send out a spreadsheet. I'm gonna make your job as easy as possible. Here's a list of artists. Here's their contacts. Here's their social numbers. Here's their Spotify numbers. Here's all the information that you would need to know before you book them, here it is, please reach out if you can.”

Shortly before our call, she's told that she hit the career milestone of having 1 million monthly listeners on Spotify. Just a year ago she hovered around 10,000, so she's understandably elated at the news. She has more festival bookings than she can shake a fist at, including what she reveals is a special set at Bonnaroo. However, her selfless spirit shows when she discusses how her success relates to her ultimate goal.

She explains how she plans to demand more inclusion and equity in music. “The reason that I keep grinding in the studio and trying to build this platform is not for money. It is because I'm hoping that the more power and leverage that my team and I build, that I can then do that. I'm not there yet. But I do think that, you know, as this builds, that's what I'm going to use my power for 1,000%.”

Swedish artist Jeremy Olander had an auspicious introduction to the international dance music scene. His 2014 release “The Jackie EP” was the first release on Pryda Recordings not produced by Eric Prydz. His ability to translate the nostalgic energy of the late 90’s progressive house into a modern-day context was refreshing. He stood out amongst Swedish producers who pushed progressive towards the big room. Olander is inspired by what made him fall in love with dance music. He forged his path with dreamy and emotive melodies that still groove.


His first official Soundcloud release in 2010 is ripe with the influence of authentic progressive. His moving melodics illustrates a Swedish longing for summer through long winters. And also have inspiration in his early affection for love songs.



“When I started finding my own music I remember buying this collection CD with like the hits from the 50s and 60s, you know, all these love songs. Very happy, upbeat, that kind of stuff really spoke to me. I guess I was like a little bit of a hopeless romantic when I was younger, always falling in love, never getting never getting it reciprocated.”

His childhood was a jumble of musical influences Nina Simone, The Doors, and popular Indian music from his mother. He got heavy into East Coast hip hop in high school. Yet with all that diversity, he didn't immediately latch on to dance music. 

“I just didn't get it at all,” he explains. “I think next for me was when I woke up, and I heard it in a club setting. I think that's when you can really give dance music justice... I haven't looked back since.”

He was a regular at Grodan Cocktails Club in Stockholm an intimate club with a capacity of around 150. In that small space, he felt that he was getting a personal education from some of the world’s greatest purveyors of dance.

“They had like, Richie Hawtin, Felix Da House Cat, Swedish House Mafia playing there before they were big. I couldn't have asked for a better place to get to understand the music. I'm having all these really talented people show me what it's about."

His early love for emotional music and his foundational experiences with legends of the scene coalesced as he started to produce. And by the time he released “Stage Two” on Soundcloud in 2014 his sound had evolved into a gorgeous amalgamation of soaring synths, chugging basslines, and crispy clean drums. His authenticity and dedication have been unwavering for over a decade, even when progressive morphed into big room EDM. Olander has been among the few that have pushed the kind of progressive that defined its very nature over two decades ago.

“I don't really get super inspired by new stuff. When I look for inspiration, I look at stuff that I listened to when I first got into dance music.”

He tells Gray Area that staying unattached to trends has been advantageous, especially now that progressive has returned to form.

“It's been fun to see that, you know, it's gone like full circle. The whole progressive genre went through the Swedish House Mafia, Avicii stuff. And that was kind of annoying in a way, because to me, that wasn't progressive at all. That was more, I don't want to say EDM, but it was big room. And now progressive is finally progressive again.”

Eric Prydz's early support was monumental for Olander. Jeremy can now pay that feeling forward. His label Vivarant - A name inspired by Q-Tips hip hop classic “Vivrant Thing” and a nod to his musical past - has quickly become a hub for young progressive artists. Yet he doesn't always recognize how powerful his seal of approval is.

“It's weird, I can't really put myself in that position to feel like I'm doing what [Prydz] did for me. My manager kind of has to remind me that. But it feels great. And especially like trying to bring out people from from the Swedish scene. It's great to that they also look at me in that way, it's very humbling." 

He wants to create a sense of community amongst his artists. The label’s recently held writer's camp, Vivrant Winter Camp was a sojourn into the Swedish wilderness for a small group of Olander’s favorite artists. The community-building project for the label also revealed the power of collaboration to Olander.

“I was a little bit insecure about how it is to work with other people. I'm very used to just working on my own. So, just learning to be comfortable with other people in the studio sitting next to you while you're working. Yeah, just that was enough for me, too, for all to be worth it. I didn't realize how much fun and fulfilling it is to to work with other people." 

He's learned a lot because of the pandemic. Olander’s family grew one more in December 2020. It’s been a blessing to take a break from constant touring and spend more quality time with his girlfriend and their two children. Their relationship has been strengthened. And he doesn’t want to miss out on anything going forward.

“I learned that I'm probably going to try and be more selective with, with shows that I do. I definitely want to spend more time with my family.”

To understand what inspires New Mexico-born artist SWAYLÓ’s emotional, funky, and rhythmically dense house beats, look no further than his rich cultural background and the land he grew up in. His Swiss father and South African mother settled in Zuni, New Mexico. An area of New Mexico steeped in the history of the Zuni People, a Native American tribe that has lived there for over 7000 years. SWAYLÓ's music is layered with these divergent influences.

“My family was very global and kind of culturally diverse in a lot of ways. I'm a byproduct of kind of a few different cultures and races,“ he explains.

Growing up surrounded by Zuni culture also affected him. He tells Gray Area, “It was very inspiring hearing the tribal drumming of Zuni. And the drum beats and rattling. And those are absolutely fundamentally inspiring to me.”

His first introduction to writing music was through hip hop and trap beats. He progressed nicely but grew frustrated without the community he needed to pair his beats with rappers.

He moved to Austin to work as a talent buyer for C3 Presents, the event promotion company that produces Lollapalooza. As he dove deeper into the business side of the industry, his goals as a musician faltered.

After a difficult breakup, he went home to New Mexico and took part in a ceremony that involved (ahem) plant medicine. He had a vision that a Jaguar-like creature descended from the cosmos and told him to return to the thing that made him happy, music. The idea of SWAYLÓ was born from that experience.

He says that he tries to keep himself and his music connected to the idea of ritual. “I think everything I do, I try to hold some element of ritual.”

It’s his way of staying present even through the most mundane of tasks. It’s helped him open new pathways to connect to music. “I'd say that on a broad picture. music is fundamentally connected to this invisible world or spirited world. And I find so much connection in a heartbeat. Like, that's the root of music for me. It’s like this lifeline.”

Music is a spiritual practice for SWAYLÓ. It comes out in the vibrant sonic textures he paints with his music. His recent release “By My Side” swells with a bed of celestial synths into a tantalizing drop accented by tribal drums and a thick chunky bassline.

His songs are multi-dimensional and moody, he plays with light and dark and moves fluidly between connecting motifs. He sees music as a powerful transfer of energy. And the way he chooses to express that is intentional. “I think that music is the fastest way to drop into a spirited world or to connect back to source,”  he explains.

It’s not just the cultural influences that have seeped their way into his music. There are more tangible snippets of his background you can hear. 
Several years ago, he traveled to South Africa to visit family. He also made his way north to Malawi to study music with the locals for a year.

He was blown away by the similarities between the drumming there and the music he grew up with from the Zuni People. “It was like, so mind blowing to see that symmetry or that parallel between those two worlds.”

He also made friends with a local man who took him in and taught him about native cooking, art, and carving. He made several drums by hand that he played in his first releases as SWAYLÓ.

The practice of coming together dance is something humans have done for tens of thousands of years. It’s a ritual baked into the fiber of our being and why clubs and raves produce such visceral feelings of joy. SWAYLÓ hopes that his music can open up pathways for people to connect with those feelings.

He wants people to, “Enjoy the dance floor,” he says. “The dance floor [is] this super powerful sacred container of diversity. Humans in a safe space. Humans coming together and blending together, merging, sweating. We're like, uniting in such an intimate and powerful way.”

He speaks with such a deep reverence for the power of music. So, I’m not surprised by his answer to the question, “What excites you about the future of dance music?”

He says, “I'm very excited by the power that music has to bring us together. And I think it's more powerful than ever.”

Toronto-born techno artist Shelley Johannson's musical DNA was constructed by her two raver brothers. Her earliest musical memories are of swiping house and trance CDs from them and stealing moments to hop in their car because they had the best driving music. 

Her obsession with dance music fandom bubbles up in her dynamic DJ sets and brilliant production work. The hypnotic thump of a kick drum is part of who she is. Her roots are planted in a storied time in the rave movement with a network of branches reaching skyward toward the future.

“Even before I knew who the artists were, I knew that I loved that sound,” she says. “As far back as I can remember I’ve always listened to dance music. I've always been inspired by it.”

She remembers moments in her life that are attached to music with brilliant clarity. The moment she first realized she wanted to be a DJ happened on a dancefloor. She was dancing at the Toronto venue The Warehouse when her brother turned to her and told her that she should be the one DJing.

“He really planted the seed in my head and then it just felt like I should, it just felt like the right thing to do. And at that point, I was burning CDs for my friends."

She was already a collector and curator, she just needed the gear to get her going.

"I had a 98 Honda Civic hatchback. And I had this subwoofer, it took up the whole trunk, it took up the whole hatch back part of it. And people would come, like my friends, and sit in my car just to like, listen to music. And I would always have these really obscure tracks that weren't typical radio songs.” She ended selling that car to get her first set of CDJs.

Looking back is important to Johannson. Her Instagram feed is full of throwback trance and house records. And stories of visceral musical memories. Her musical history is part of the reason she created her mix series One-Eighty. The podcast is approaching 100 episodes and is a chance to showcase forward-thinking and innovative techno without forgetting where she came from.

“Every once in a while, I like to turn back 180 degrees and kind of see what my musical upbringing was and how it influenced me today. It's almost like paying respect to it. And you know, I draw lots of inspiration when I'm making music or any sort of art, from the music I used to listen to.”

She spent her childhood preparing for life as a DJ. And she doesn’t go a day without touching the decks, even if for only 10 minutes. 

“I would still DJ every night if I never played in front of a crowd ever again.”

As a producer, she’s aligned with some of the best in the game. Johannson has released on labels that would have been a dream to her as a young raver. She’s found a home in John Digweed’s Bedrock and Adam Beyer’s Drumcode. But her story of hooking up with the seminal techno label Octopus Recordings is one that every young producer should hear.

“I think it's very important to align yourself with labels that you agree with their marketing, that you play their music, and that you can also see yourself releasing on that label,” she explains.

With that in mind, she showed up at a Toronto Octopus Records showcase with an EP tailor-made for the label ready to hand over to label head, Sian. She handed it to him directly. He didn’t end up releasing that EP, but she’d made an important first step in joining the label.

“The important part was that, I had taken an initiative to show that I was interested in the music. I went to the party, I stayed at the party all night, And I actually had the opportunity to be able to introduce myself, which is always going to help a lot more than just sending a demo and having this faceless email. Sian turned turned on my first EP down. But you know, I was like, Okay, well, that's good, because every no is closer to a yes.”

She’s found another way to turn the no into a yes through her label Turn Recordings. Another nod to the 180 approach, Turn lets Johannson play by her own rules.

The debut release, "Eternity" is a diverse three-track EP that traverses her diversity as an artist. The title track is a blistering run through high-intensity techno. "Say Again" takes the producer back to her roots with a peak time melodic breakdown. And "Do You Believe" finds the perfect balance between house sensibilities and funky techno.

Johannson is a self-professed, “creature of absolute routine.” So, her process of making records hasn't changed. However, her sound has come full circle.

“I find that the past year I was making some tougher sounds. I don't think it was particularly because of the pandemic or being in lockdown or anything like that. Maybe it was a bit of a reflection of how I was feeling and it just ended up being a little bit tougher, a little bit darker, a bit faster.”

When she mentions that she’s begun to push the tempo a bit faster, she brings the conversation around to reflecting on the music that made her fall in love with dance music.

“So it's kind of funny, because I am pushing it a little bit faster. But I feel like I'm going back to my roots playing that fast. Because that's what I initially got. How I was introduced to it. That's just what the BPM was at the time.”

As much as Johannson likes to reflect on the past, the future of dance music is just as compelling. Dance music is released at a lightning-fast rate. And as more new artists enter the arena, Johansson is excited at how technology has made discovery and connection more fluid than ever.

“That's the thing about dance music, it is changing. It's always evolving. There's always something that's new about it.” She explains. “There's new technology, there's new ways that we're making music. We're more interactive with each other now than ever. And yeah, that's really exciting to me.”

French producer and DJ, Dombresky, AKA Quentin Dombres, began his career as a hip-hop DJ navigating the scene in France. Although we know him now as an icon in the world of uplifting and joyous house music, his journey to this point was a lengthy one.



“Before the Dombresky project, I was a hip-hop DJ in France. I played in some clubs but I was a ‘mainstream’ artist. In 2015 I felt like I didn’t enjoy what I did anymore. I could not see the finality in what I was doing... I still love hip-hop but I grew up around dance music and I was always interested in it… One day I was like, fuck it, let’s start from scratch.”

It took Dombresky over a year to make the transition. He had no experience producing music and had only ever DJed hip-hop. He was lucky enough to be surrounded by talented friends who were willing to lend a helping hand and give him advice at the start of his career. 

“Point Point, Mercer, Snake, all helped me to learn to produce. My first goal was to sign with Fool’s Gold Records… Fixing your goals works well for me. Everytime I fix goals, I focus on it and achieve it. I knew the French market but I wanted to see something else. I decided at the time with my manager to move to America. I had $700 in my bank account. When you think about it, it was totally insane to do that but if you don’t take risks, nothing will happen. My first EP was called ‘Reaching Perfection’ and the second one was called ‘Trust the Process.’ It’s all about the journey and I care about that. I never wanted to become famous super fast, I love the journey and the process.” 

Upon arriving in the states, Dombresky quickly secured a booking agent based on the success of his first single with Fool’s Gold and a subsequent remix on Tchami’s Confession label. Although relatively unknown at the time, he was able to attach his name to rising labels and brands, creating a small but devoted fan base. Although his rise through the ranks of house DJs is ongoing, Dombresky can point to a moment early in his career when he felt his talent and ability to perform gave him a breakthrough moment.

“[Nocturnal Wonderland 2017] was my first big festival. A lot of people came who had never seen me play. I remember it exactly like it was yesterday. Magic happens. It’s hard to get it. Not every set has magic. There are a few sets that feel magical. When everyone is in the same vibe, same direction, same mentality. Everyone was together. It was amazing, one of the best sets I’ve ever played.”

The set at Nocturnal Wonderland came alongside some high-level releases from Dombresky. The iconic red gloves, the French energy, and the release of one of his biggest tracks to date, "Utopia" made 2017 a big year for the new DJ. Although his musical style would soon shift, Dombresky was quickly becoming a household name. 

“You never know if a song is going to blow up or not… Having the chance to try the track live and seeing the reaction of the people helps a lot. Sometimes I know when it’s going to be a big song. Sometimes I know when it’s not going to be big but I still love it. The thing I’ve learned over time is that you don’t need to release a hit or big song all the time. Some people like a sexy song, some people like a chill song. I used to only release bangers. ‘Housology’ I loved, I knew it wasn’t a crazy one but yet people loved it. You cannot control the reaction of the people, but you can have an idea on if it’s a club banger or more of a listening track. Now I’m more focused on just making the music I like.”

“For me it was a big goal. Now I’m asking when’s the next one! When I first saw it in Ibiza, I knew I had to play it. The team was so nice, I felt at home. I still have some stars in my head. When I play, I try to express joy and smiles and happiness to the people. It matched so well with Elrow.”


Although Dombresky now feels like he has the freedom to take his career in any direction he likes, the last year and a half proved challenging. While some artists used the pandemic break as an opportunity to hole up in the studio or work on a new version of a live show, Dombresky reflected internally. 

“It changed my mind a lot… I didn’t produce anything… I’m a sensitive person, it fucked me up. Seeing people dying and sick around the world. It was not possible for me to be creative. I was able to work on mixing and mastering but my music is too happy for me to feel like I could make music during this time… These questions like am I good enough? Now it’s just like, fuck it. I just want to share my energy and share my music.”

Going forward, it’s all about staying true to himself and going with the flow. He tries to avoid rigid scheduling. It gives him space to feel creative and produce new music whenever he wants. He has some special back-to-back shows coming up with Noizu. And he hopes to release a ton of music in the coming months. For now, we just hope to see him playing all over the world as soon as possible and to continue making people dance and putting smiles on people’s faces.

Australia-native Juliet Fox has never played by the rules. Breaking into the boys club of dance music, the world-renowned producer and DJ took the techno scene by storm over 12 years ago. Claiming both Berlin and Ibiza as home base, you can hear the imprint from both cities in her sound. From dark and moody atmospheres to more upbeat and tantalizing tunes, Fox’s versatility and hard work are what sets her apart. It also makes her exactly the right person to head a label, as seen with the recent launch of her techno imprint TREGAMBE.

While based in Germany and Spain, the US has had an equal influeence on Fox’s music. She said, “The first track I ever made was like a techno track, but then I started to go more into house music. My influences were equally Chicago house [and] Detroit techno.” 

However, Berlin had such a lasting impression on her that she now calls it home. Fueled by her love of performing, the city’s musical taste resonated with her. 


She gave some insight into how she ended up there, saying, “I was finding that I couldn't really truly play what I wanted to in the clubs in Australia.I spent my first summer in Ibiza 11 years ago, actually. Then I was living in London, and I still wasn't really quite able to play the techno that I wanted to. And then, I did the trip over to Berlin and ended up staying for the last five years or so.”

Berlin is known for techno. And while it may seem saturated, Juliet loves its versatility. 

“It's amazing, actually. There are producers and artists that I've never even heard of and their production styles are completely different. A lot more raw… This kind of very warehouse-style approach. And it was great for me. I just kind of went to every single club that I could.”

As she absorbed Berlin's unique culture, she learned that her most potent tool is authenticity. She explains how her experience can be a model for new artists. 

“The best thing you could do is just to stay true to yourself and not try to fit in [or] try to be like somebody else. I think that worked more in my favor because you build up more of your reputation that way.”


Berlin also ended up being the perfect city to develop her sound because so many clubs frown upon cell phone use in the club. It's become ingrained in the culture there. Fox felt free of judgment. With no focus on blinding flashes or cameras in her face, she was also able to better understand herself and the direction she wanted to go in. She also liked being able to see a crowd actually dance instead of taking photos and videos. “It’s nice… You can just literally be yourself, sweating, and whatever. Basically free.”

The rest of the world isn’t Berlin, and social media is especially important in the dance music industry. Although Fox does like the no-camera culture, she chooses to see the bright side of social media and how she connects with her audience. 

She says, “Going back to the beginning of this year, I realized that this actually is really important so I can't be one of those people who's like, ‘I don't want to be on social media. I don't want to do this.’ You have to, unfortunately. And people do want to see what you're doing. If you make it more fun and creative and make sure that you're presenting yourself as truly yourself, then it's fine. And it can work then in your favor.”

So then, who is Juliet Fox truly? 

Juliet Fox is someone who loves sports, fitness, and painting. And her new label lets her share one of those talents with her musical audience. She uses her pieces as cover art for TREGAMBE’s label releases.

But her paintings aren't the only type of art she melds into her music. Fox also uses her own vocals. She credited her previous work co-hosting a radio station as a stepping stone, where she learned how to think fast and speak clearly.

She laughs, “When I started making music, I actually didn't like all these sample vocals that I was always getting. And I'm like, ‘maybe I'm going to try it myself’.”

Fox explains how Green Velvet helped push her in that direction.

“One time, we were at an after party and [Green Velvet] was just like ‘record something like this loop into my phone.’ And he actually ended up using it for a track. Pretty incredible story, but that really encouraged me to keep on going with it.”

Painting, producing, vocal work, DJing—it’s clear Juliet’s heart and soul are being poured into her art. How she keeps up her creative energy is simple: travel. But with the year we’ve all had, that wasn’t exactly a possibility. 

“I was starting to really lose my creative vibe in the studio over the last few months. I'm always a bit distracted or need to travel. I think [travel] really helps [rather] than just being in the same space for such a long time.”

Ask and you shall receive. Juliet Fox is in the middle of moving to London and is excited to be in an English-speaking country again. As she packs her bags, she leaves us with one last sentiment about the future of the dance music scene.

“Looking back on what has happened over the last year, I would like to see people really appreciating the events a lot more, making them a bit more special and intimate, and helping the environment a bit more. Seeing people come out of this in a positive light with more positive music as well.”

“The first time I DJed was at a desert festival called Good Vibe Tribe Gathering, way out in the Mojave desert, 3-4 hours from the city... I brought my own controller because I didn’t know how to use CDJs yet. My laptop actually got wet cause I forgot to bring it in from inside. It wouldn’t turn on, I was drying it out in the sun the morning of… The guy who played before was this older guy who’s been doing it for a while. He asked me why I wasn't using the CDJs… when I said I had a flash drive he offered to teach me on the spot while I played my set.” 

For Sly Turner, it is moments like these that help push him to keep going and keep creating. While many veteran DJs would not have cared to assist an up and comer in learning crucial skills, the experience Sly had at his first gig was heart-warming. As a rising DJ in an ever competitive scene, any help is welcomed. 

Sly first started to fall in love with house music when he returned to San Diego at age 19. 

“That’s when I started diving into it a bit deeper, immersing myself into it. Going to local parties at Spin, Bang Bang… I really started focusing on production, before it was a hobby but moving back to San Diego inspired me to take it more seriously.” Immersing himself in music was made easy after the transition to San Diego. Given how prolific the electronic scene is on the west coast and California specifically, San Diego seems to fly under the map. Perhaps it’s because it has escaped the overlord grasp of Insomniac, or simply because it’s not Los Angeles. Regardless, a true underground scene has developed in the city over the last few years. Between the iconic CRSSD Festival, and countless new clubs, DJs like Sly Turner have a city in which they can consistently book gigs in, and have high level peers to bounce ideas off of.

While Sly is still on the come up, he’s spent years behind the scenes honing his production skills. The results have led to releases with Box of Cats, Desert Hearts, and a recent collaboration with Wyatt Marshall. “I would spend hours watching youtube videos about everything… sound design, compression, mastering etc… When I look back on my early releases they were probably pretty trash. If I had to redo it, I might have waited longer to put out my first tracks so that they would’ve been higher quality but when you’re getting into it for the first time, you think it’s great.”

As Sly has grown and progressed, his sound has transitioned away from the glitchy funky vibes we associate with Box of Cats, and he has moved towards a more minimal, tech house sound. “I’ve moved away from their [Box of Cats] sound but I love those guys and they gave me one of my first opportunities.” 

Releasing music and finding common ground with the Desert Hearts crew was always a goal for Sly, and upon moving to San Diego, it became a necessity. “They’re locally based so I would always go to their shows and listen to all the releases. Being from San Diego, it was very important to me to be on the label. I would see all the guys around town and just developed friendships with them.”

Going forward, Sly will continue to pump out high quality minimal tech house tracks. As he works on his craft, we can expect to see him finding awesome label homes, and hopefully booking gigs across the country.

How would you describe the type of music you create and how would you describe your sound to someone who has never heard dance music before?

I would define my music as one with very strong kick drums and heavy bass with broken texture, a warm and live sound in general looking for that analog touch, also dirty but technically polished, with aggressive and modern touches that can never be missing.
In short, it’s like a rhythm that flows, catches you and flashes of frantic sounds that appear and talk to each other.


Can you point to a moment or memory when you fell in love with dance music and/or realized you wanted to pursue music?

Since I was 15 years old, when I started my interest in how music was made, I didn’t stop investigating and dedicating my time to this. I tried out all kinds of genres but without having anything clear, even without having training beyond magazines and some tutorials in English. I had different pseudonyms for several years while trying to improve my sound or so I thought (hahaha).
It was in 2017, after a health problem, when I had to decide if it was time to commit to this and of course it was. I used to work in a high decoration company and my problem put me in a position to decide what I want for my life since I couldn't work permanently in that job. Then I thought; - huh! All is not lost, I also know how to make music, if I can sound professional, the music will save me.
The summer of that year I went to Tarifa a lot and I saw how there sounded a type of music that I already knew but had not paid attention to. It was Tech House music. At that time I was making other types of music but that sound along with everything The aforementioned made it clear to me, after that summer I was creating Tech House rhythms and I began to train professionally.


What do you remember about your first gig?

It was amazing to see how people dance to the music that takes you so long to make, that's the feedback from an artist, which drives him to create better music. It was sick!


How do you try to stand out within the house music scene?

Well, for now I can only talk about the production field, the ROXE project is relatively new and I haven't had any performances yet. I rely on the sound of artists that I like within this genre but mostly American or UK sound and I try to stand out by adding new approaches and unexpected twists. Basically it’s all about creativity and technique.


What festival or venue do you dream of playing? 

I really want to play in front of many people, it is something that I have not felt yet. There are a lot of big festivals at this moment and many others on the way that I would like to perform around the world, no matter which country it is.
To name a few, Elrow, Coachella and Tomorrowland are my gold list for me!


What excites you about the future of house music?

I’m moved by “changes”, many people are reluctant to do this, but it’s inevitable in everything and, of course, in music. I want to see where the Tech House genre is going to mutate over the years and how we will be able to adapt, what types of collaborations we will do, what trends will be dominating and above all, how to continue to stand out. It's quite a challenge and that's great.


What pushed you towards making tech house, and what is it about the sounds of tech house that you love? 

The rhythm was what caught me, I came from making broken rhythms and those marked 4x4 rhythms combined with the arrangement of the percussive elements in such an organic and natural way was great, I felt the feeling. The open rises giving way to a dry fall, the ways of structuring the songs. That drove me crazy back then.


We've seen the growth of so many branded events whether it's Elrow, Paradise (Jamie Jones), Circoloco etc... are there any of these event brands that you'd like to play for or hope to be a part of one day? 

Of course, above all that you mentioned before, I would love to be in one of the Black Book events, Chris Lake is one of my main references and everything he does involves the type of sound and artists that I like, Noizu, Martin Ikin, Biscits, Cloonee etc...
Also, I want to be part of my friend and partner Wade's Criterio, that would be awesome since we also fit in very well when it comes to sound.


A lot of your music has fun and snappy vocal samples, can you tell us about the process of finding these or creating them, and how much of your music is based around a vocal, versus fitting a vocal into a track that exists already? 

Sometimes I find something that works very fast and other times I have to spend days searching. Keep in mind that looking for winning items and thinking about how to use them is part of our job and that takes time. Years ago, I just sat down to create, now everything is more controlled, I know what I'm looking for and where I want to go in each project I start.
About the process with the voices, I usually start with a vocal that I like from the beginning and I try to develop the idea on it. I'm not in favor of changing or adding it when I have the idea created.
With a vocalist, things would change and the process would be different.


Recently you've received some great support from artists like Martin Ikin, and Sonny Fodera with your Solotoko releases. What does it mean as a new artist to have such established figures recognize your music and give you that sign of approval? 

Well, the truth is that it’s very amazing, I’m very grateful and excited for everything. This gives me extra motivation. I started my adventure as ROXE just in January of last year and the COVID-19 situation has not stopped good things happening to me. We are doing things very well thanks to the work of the guys from my agency and my total commitment. I think that to achieve great things you have to start from a good foundation and for now I think we have it.


What is next for ROXE? How much music do you plan on putting out in 2021? Any plans for touring? 

The performances have not yet emerged for me, as I say, Roxe is a new project and in my country, the theme of events and festivals returning is going slower than a water dropper hahaha, but you are going to get fed up with releases. I have signed music, a lot of unreleased songs that we are moving right to now, and very powerful collaborations are coming on the way.


Are there are any songs right now that you're particularly excited to play out to a crowd? 

I haven't played any of them yet so I'm dying to play them all, something that I really love is seeing how people react and so far I've only seen it in videos. If I have to say a song I would say ‘Break It', this song for me is one of the best I did.

When Todd Terry speaks, his words carry the weight of over three decades of dance music history. The Brooklyn-born artist stepped into house music in 1988 with “Party People.” His chopped and screwed version of Marshall Jefferson’s eponymous 1986 “Move Your Body” married Chicago house and hip-hop. It didn’t initially go down well with the Chicago heads he inadvertently sampled. But it established Terry as an innovative force in dance music. And it was an early example of Terry’s innate understanding of what moves a dance floor.

Terry was already an experienced producer. He was heavy into hip-hop and had already piqued the interest of Profile Records, the early home of Run-D.M.C. Unable to raise funds for studio time, he let things fizzle. His feet stayed planted in broken beats as he switched focus to the work of breakbeat innovators John Robbie and Arthur Baker.

That is, until one day when a friend showed up at his house with a tape of Chicago house beats from Marshall Jefferson, Kevin Saunderson, and Juan Atkins. Terry admits that he thought it sounded repetitive. But after watching his friend jump around the living room with excitement insisting that Todd make some house music, he decided to give it a go.

“I didn't know what I was doing. I did it as a joke," Terry says as he recalls his entry into dance music. "You know, it worked.”

His background in broken beats and hip-hop helped him break the cycle of repetition. His records moved through motifs, popping and stuttering with the energy of a dance battle. “Party People” and “Can You Party” were quickly picked up and rose to the top 100 dance charts in the UK.

It’s not hard to measure the impact Todd Terry had on the history of house music. He is to New York what the Belleville Three are to Detroit. He’s one of the architects of New York house music. He influenced so many of the pivotal artists at the time, including Kenny Dope and Louie Vega, whose Masters At Work name first belonged to Terry. 

In 1988 house music was in its infancy. By the end of the year, Terry gave the genre one of its first commercial success stories. He produced "I'll House You" for The Jungle Brothers. The single shot up to number 16 in Billboard's "Hot Rap Singles" chart and 28 in its "Hot Dance Music" chart. It was the first time a non-Chicago house record had broken through the mainstream.  

There’s a raw and unfiltered element to Terry’s work from that era. It’s something about which he remains intentional. While many producers insist that every element must be perfect, Terry feels that overproducing a record removes its soul.

“I leave the mistakes. Yeah, leave the noise. Leave the drum roll fucked up,” he explains. He likes to keep things simple, it's the most effective way to get the dance floor jackin'. 

And he tries to make other producers understand how keeping it a little bit dirty makes a more compelling record. 

“I'm like, yo, what are you doing? The shit is done. Why are you adding 17 synthesizers on so you can't get the snare drums to sound a certain way? Now this shit sounds like nothing. No attitude."

Terry has contributed to every era of dance music’s evolution. He's been one of its most vocal champions and helped give it a voice in the mainstream. So, I assume that he'd be overjoyed to witness house music's growing popularity in the US in a post-EDM world. And while he's grateful for the journey he states simply, "It's good. Not there yet.”

He insists that dance music needs true commercial hits that expose the wide expanse of sounds that exist. “We need a Robin S. We need a Crystal Waters. We need a Snap! - ‘The Power.' We need something that helps us a little bit here, makes us come to the dance floor. We need to get something out there to mix it up a little bit.”

He references these artists not to look back, but to explain the magnitude of those records as game-changers. Terry believes that commercial radio needs to pay respect to dance music properly. 

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

His advice is as much a call to action to A&R as it is to producers who insist on following trends. His honesty only further confirms how much he cares.

But then again, he posits, “Maybe it's not supposed to be on the radio like that.”

When he first entered dance music in the '80s, he realized it had the power to make an impact. He watched as dancefloors all over the world erupted in joy when he played certain records. It’s a feeling with which we’re all familiar. Yet, for some reason, the true sound is surprisingly absent from commercial radio. 

Terry made it possible for mainstream audiences to understand the true power of dance music. He made house records accessible to everyone and stayed true to the underground.

He’s a champion of the culture through and through. And as our conversation draws to a close he tells me, “I'm still here. I just fight every day, trying to prove my point that dance records are just as powerful as a hip-hop record.”

“We never felt the struggle to connect in the studio. If there is a struggle, it can be good because it pushes you to get to the next point in creation. But we never really had that in terms of creativity matching or writing new material. In the studio, we have so many nice moments. We try to have fun in the studio and ignore the outside world. Sometimes we take a bit of acid and just have fun listening to what we are doing and testing things out.... Sandrino had a clear vision about sound design. For Frankey it was more of an exploration which is a reason as to why it was never forced between us. Early on our music was a little more ‘hitty’ whereas these days we go deeper and more organic.”

Frankey and Sandrino put out their first track together in 2012, aptly titled, ‘Comeback.’ Since then the duo have released a prolific slate of music, with hits on iconic labels such as Innervisions and Dynamic, as well as founding their own label, Sum Over Histories.

The two first met after both playing regularly at a club called Butan in Germany. By the time they connected, they each had established solid backgrounds in dance music. However, both Frankey and Sandrino had unique introductions to the world of house and techno.

For Sandrino, he was attending raves since the early 90s, immediately struck by the atmosphere and scene. “I started going out in 1993 and collected rave posters. I went to Mysteryland 1994… The first time I fell in love with nightlife and DJing as an artform came in June of 1993. I went to my first rave, Cosmic Baby and Steve Mason played. I was only 13 years old and I had a lot of luck getting into the club. Half the night I was dancing, the other half of the night I was watching the DJ and seeing what he was doing, how he had the control of the full floor.”

For Frankey, his discovery was a longer process. Growing up, he played multiple instruments and earned his stripes playing with jazz bands in his childhood. “I have a totally different background but the moment of watching the DJ work was key for me. Even before I understood the music, I had a background of playing in jazz bands. When I went to my first techno party, it was the most pure and real and intense way of celebrating music. It was not how I was used to with everyone staring at the stage.”

Once Frankey and Sandrino discovered the world of house music, they never looked back. After years of playing with jazz bands, and scoring random DJ gigs in Romania, the two found themselves playing in the same place, Butan Club. “Frankey was a regular DJ there and Sandrino was a resident. We started to become friends and didn’t even think about working together for a while. We just tried out getting into the studio together to see the outcome and almost immediately we could tell that the chemistry was right”

Almost immediately after connecting, the two began to receive critical acclaim for their productions. Two years into the project, they released their biggest song yet, ‘Acamar’ on Dixon and Ame’s Innervisions label. The track brought Frankey & Sandrino into the spotlight, and raised the ceiling for Innervisions as a label.

Soon after, the duo decided to launch their own label, Sum Over Histories. “Music needs to be touching. While Frankey looks more at the technical details of a track, I [Sandrino] am focused on the vibe of a song. When we select music we don’t have any sound in mind. Whatever comes to the table that we both like, this is what we are going to release. It’s just important that we both like it and that it sounds timeless. Sandrino will pick songs that standout, and then Frankey will review on a deeper, technical level.” 

As Frankey and Sandrino have worked over time to build out their label, they’ve found themselves becoming more prudent with the decision to send music elsewhere. “We just try and do music in the studio and then afterwards we speak and think about where to take it. Although we love plenty of other labels, sometimes the sound and taste goes in a different direction than what we feel connected to. This is part of why we started our own label so we would always have a direct link to our vision of what electronic music should be.”

This came to fruition on their recent EP, ‘&Hope.’ The standout EP was a long time coming and cemented an incredible start to 2021 for both Frankey and Sandrino, and their label. The headline track, ‘TGA’ features a rare vocalist appearance. “We had the lyrics in place then thought of how to build the track around those… We took acid in the studio, Frankey took the bass guitar and started to experiment with it. Frankey has all of these instrumental skills but we’d never used them. On acid, bass guitar, ‘Hope’ was born quickly. It was very natural creating the EP. We don’t want to repeat ourselves ever. Even though the music is in the same genre, we always try and evolve and keep the process going.”

“My dad had a big influence in shaping what some of my tastes would become. He was into a lot of R&B and soul, but also American rock. There would be some random Korean radio stations on and so I was listening to a lot of early 90’s and late 80’s Kpop. It was influenced by European dance music and pop at the time. He also loved Elton John and I think that was a reason for my early love and appreciation of melody."





When listening to the music of SOHMI, only one thing is clear. The rising Korean American producer does not conform to any one genre. Her compositions are unique without being too leftfield, melodic while remaining club-ready, and she consistently is pushing boundaries. A plethora of influences and skills allows SOHMI to straddle these gray areas and has pushed her into the spotlight only two years since her first release. 

“The idea of music as a place to escape started pretty young. I studied classical piano my whole life growing up. I didn’t love it until I was actually really good at it. That helped me find an escape. I would just be overwhelmed by school, life, parents, I would get upset and sit down at the piano and just play melancholy music and bathe in the emotion of it all. It wasn’t until getting into dance music and production that I felt like I could express myself. Being able to tell my personal story through music production was what helped me most.”

SOHMI has spoken often about her own mental health, and how music was and is a way to express herself and to release emotions when there are no other outlets. Despite music playing a big role in her life, her introduction to modern house and techno, the music that inspires her now, did not happen until quite recently. She first underground sounds five years ago when she attended her first-ever festival, the legendary Coachella. Seeing a combination of underground artists like Mano Le Tough, and more mainstream melodic like Rufus Du Sol helped SOHMI decide to turn her musical talents into a pursuit of electronic music.

Her first release came in the form of a remix, and she quickly followed with ‘Somebody Like You’ and a breakout EP titled, ‘Again.’ “Pop and R&B were some of my early and major influences. As well as classical piano. Very different ends of the spectrum but each had a big impact on me. A track like ‘Runaway’ was the very first production I ever did. I really didn’t use a ton of the production stems that I was given. I was feeling ambitious since it was my first track. I mostly programmed it from scratch. The ‘Again EP’ was very influenced by R&B. I had ‘Me and You’ by Cassie in my mind when I made it.”

As if a wide range of musical influences, and having classical training in piano wasn’t enough SOHMI is also a talented vocalist. Her parents told her she was singing as early as one year old. “There was something in me that was inclined to express myself vocally. I always loved singing, it came even before I played piano. I grew up in musical theater and singing choir. It feels like a natural way for me to tell a story. I try to bring some of my experience from acting/being in musicals into my vocal performances. I try to create a character who’s singing a story for the song.”

These abilities have led SOHMI to approach music production from a different angle than most electronic music producers would. She starts a track as a vocal concept in her head and then builds the melodies around that. Whether it’s a more club-ready four on the floor track, or a melodic vocal-heavy track, her own ability to sing gives her a unique approach to creation.  

After putting out the ‘Again EP,’ SOHMI began receiving high-level recognition. Her next releases came on iconic labels such as Astralwerks, Nothing Else Matters (Danny Howard's label), Odd One Out by Yotto, and most recently, a single with Booka Shade. For SOHMI this recognition was surreal. “I hope that feeling never goes away. I want to stay on my toes and stay appreciative of everything that’s happening for me. There are not too many people like me, Korean women, in this space. You can practically list them off on one hand so for me to be able to join the path of those that have done it and have the opportunity to make the music I make is amazing. I operate within the framework of familiar dance music but I’m trying to put my own stamp on it, vocally driven with R&B and Kpop influences.”

The future is bright for SOHMI. She has a clear vision of a beautiful live performance once it makes sense for her career-wise. She has plenty of music coming out this year and will be playing all over the country for a wide range of audiences. “As someone who appreciates that minimal sound in dance music, I’ve always wanted something stagewise that reflects that as well. Dreamy, inviting, inclusive. Lights that play against space and shadow and create a three-dimensional effect. I still feel like I need to master the decks but I definitely have interest in crafting a version of a live performance at some point.”

Wade’s remarkable rise to the top of the tech-house game over a few years has been marked by a string of thumping releases on highly respected labels. His slinky beats are informed by a hip-hop sensibility and anchored by wavy basslines. He’s become a sought-after producer. And with collaborations on the books with coveted artists like Solardo, Cloonee, and Jay Lumen he’s undoubtedly captured a sound that pulsates with a unique spirit.

He grew up listening to flamenco music, a traditional southern Spanish musical style. He still finds inspiration in Spanish music and grasps at any opportunity to use traditional instruments in his music. You can hear it in the slinky Spanish horn sample in “Mi Amor” his recent collaboration with UK tech-house heavyweight.

His background in music goes back to his school days. He says he studied music but, “I never focused on music outside of classes.” 

It wasn’t until he attended his first dance music event that he fell in love with house and began to soak up everything that the culture could offer him. “I remember the first time I went to an electronic music party, I totally fell in love with that music. I realized it was the music that I liked the most, the one that I most identified with.”

He picked up Djing soon after but wasn’t truly devoted to any one musical style. He drifted between pop, electro, and Latin house. He didn’t dedicate focus to one musical style until he began producing tech-house in 2011.

His trajectory follows the old adage “overnight success takes about ten years.” In the last five, he’s racked up an impressive resume of accolades. He’s released music with revered labels like Relief, Sola, Armada Subjekt, Snatch!, and Black Book. He’s held down remix duties for fellow Spanish artist David Guetta and had the kings of UK progressive Camelphat remix him.

“When great artists of the electronic scene started playing my music,” he says of the support he’s received from the likes of Richie Hawtin, Marco Corolla, Chris Lake, and Paco Osuna, “I realized that I could really take advantage of my talent and make a career in the music industry.” 

He’s since logged an impressive amount of frequent flyer miles playing in clubs from Australia to Argentina. But his favorite shows are with his beloved hot hometown brand, elrow. He’s most at home on the elrow stage among the pageantry and non-stop barrage of colorful performers. He says, “I like what elrow parties transmit. I always enjoy them because the theme is super fun.”

As the gigs begin to flood back in, Wade will continue to see the fruits of his labor flourish. He’s stayed busy throughout quarantine. He’s released music at an impressive clip. And as we begin to return to normal, Wade’s name will undoubtedly stay on the lips of the industry.

It's not enough to call LA-based musician Nala, aka Stefania Aronin, a producer or DJ. She radiates artistry in everything she does. Informed by a slant towards the experimental, her off-kilter psychedelic house is a refreshing disruptor for a scene she says, “got wedged into this idea of what dance music was.” She shatters the formulaic chad-house aesthetic with her strikingly authentic lyrics. It’s proof that house music can slap the subs and captivate the mind. 

In 2020 she signed a management deal with purveyors of west coast weird, Dirtybird, a perfect match for someone who created her own lane so early in her career. COO Aundy Crenshaw and Claude Von Stroke encouraged her to embrace her unique style.

They were both excited that she brought a sound that broke from traditional tech-house. Her open format DJ sets and indie inspired beats are a vessel to help push the label forward. She says during one of their first conversations, Von Stroke expressed how tired he was of paint-by-numbers tech house.

Writing that way is simply at odds with who she is. “I just can't talk about things that are superficial. It's just not part of my character. It feels wrong. It feels like nails on a chalkboard internally.”

As she recites the words for “Sun Is Hot,” the second track from her Dirtybird debut EP Psychic Attack, she explains how she disguised a meditation on the health of Mother Earth beneath what sounds like something steamy and sultry.

“That’s a song is about global warming, first and foremost,” she says. “But then its open for interpretation. It could also be about sex. It's funny 'cause NPR was like, 'Oh, this is a dirty song.' And I was like, 'It's about global warming.” She tells the story with a perfect deadpan.

“I don’t know how to be a closed book,” she admits. “Most of my writing is confessional. I think a lot of what art is supposed to be on a philosophical level is something that people relate to. It's part of the human experience. And that's why we are obsessed with art to begin with. Because it makes us feel something. It makes us feel less alone. And I just love making people feel less alone.”

In college, Aronin switched from a psychology major to advertising because psychology got too dark. Yet she continues to find ways to dissect human existence. Nala's confessional lyrics seek to connect.

“I wrote Psychic Attack, because I was really overwhelmed with the news last year," she explains about the title song on her Dirtybird debut. "I wrote that song out of a space of anxiety. But I think a lot of people could relate to that, because it was so chaotic. It was psychological warfare.”

She spends several minutes reciting lyrics to new songs during our call. And with each turn of phrase, it’s clear how adept she is with her words. She’s also so clearly excited about every aspect of her work. She radiates positivity and bravery. 

Being bold is natural she says. “I don't have even like an ounce of doubt that it won't work,” she says about her fuck it Im'a go for it attitude. Her mental framework is devoid of the self-doubt that stops most people from trying. “I just don't have that kind of dialogue in my head for whatever reason. I push it out, probably as a self-protective measure.” 

Or maybe it’s a touch of confidence mixed with a dash of creative magnetism. She’s consistently able to draw exactly what she wants directly into her orbit.

Three months before she signed with Dirtybird she decided to break from her indie background and go full-on into dance music. She was already well known on the Dj circuit in Miami and LA. Her music was getting played in H&M stores across the country. But she felt she needed a label ecosystem to pull her off the plateau.

She set her intention and told herself, “I need to shift focus. What is going to be best for me? I need to find a label that I can work with. And out from the sky came Dirtybird!”

The family atmosphere that seeps through all that Dirtybird does was the perfect match for Aronin. "I got really lucky that I managed to find a community of people. Because even the other artists on the label VNSSA, Walker & Royce, Ardalan we're all family now. And it's so nice to be around people that are so positive and supportive, have a good message and [are] inclusive and happy."

She now sits in the perfect position to carry her message to a wider audience. “I want everyone to feel. I want people to relate. I want them to know that their experience is not isolated. And that to me is the most fulfilling. The best I can do is create music with a message that resonates with people.”

I can tell how good the weather is in Ibiza as I speak to Chelina Manuhutu. It’s bright and two gorgeous leafy ferns behind her almost make me feel like I'm there. The weather in Ibiza is a distillation of her sunny optimism. The Dutch artist’s chunky tech-house seems to be inspired by the White Isle as well. Full of stuttering percussion, brilliantly funky basslines, and the bubbling effervescence of a summer-time pool party.



Born in the Netherlands, music was ubiquitous from the start. Her father, Johnny Manuhutu, was part of the Latin funk band Massada. Her mother was a professional dancer. And both of her older brothers were musicians. Chelina's family encouraged each other's artistic endeavors.

Her parents motivated her to go after what she wanted, be it modeling, dancing hip hop, or being in an all-girl band as a teenager. “My parents were always super proud,” she says. 

Her parents loved to see her express herself. “Because in their eyes, they are also artists, and they loved it. I think it really helps to explore who you are, what you want to do. Not being caged anywhere.”

Growing up in Holland meant she always had access to the best music in the world. Her parents took her to see old school acts like The Pointer Sisters. “It’s normal,” she explains, “you go to festivals at a young age, right. And you have so many choices.”

She started to hit dance music festivals on her own as a teenager. And while she did look up to her brother who was a DJ. It was an encounter with Carl Cox at Dance Valley that flipped the script for her.

“I was like, wow, what is this? I still get goosebumps, [Carl] was playing the mainstage. And I was saying, you know, I feel so free also because I was really young and I was allowed to go out, without my bigger brothers taking care of me. Watching, babysitting me, actually. So, I was like, ‘wow, this is this is amazing.’ The music and the vibe and the energy. I wanted to feel that forever.”

Even then her parents were in full support of her going out as much as she wanted. She wasn’t technically allowed to go to clubs because she was too young, but that didn’t stop her from joining her older brother at his gigs. “we wake up at seven in the morning, and we go to after party, and he's playing, you know, and I'm like, looking at Wow, this is surreal. And my dad thought it was fine. Because I'm with my big brother.”

By 2010 she followed in her brother's footsteps and was DJing. Modeling was still her main focus. Until a tragic accident at Christmas. She was sent to the hospital with burns on much of her back, arms, and legs. She took it in the best way possible.

She figured, “Now I have time for my music. You know, it wasn't like I was super depressive [sic]. I was actually fine with it, because I did such a career modeling. And maybe I was ready also for something new, you know, and the music was waiting for me.”

Chelina’s thought process is yet another example of her resilience and ability to find the silver lining in everything.

As the summer season began in Ibiza in 2011, she took a characteristic leap of faith. While on holiday, she approached the owner of Blue Marlin Beach Club with a demo CD and her phone number. She was only in town for a week, but she wanted to play there. Two days later, she booked her first Ibiza club gig.

She hadn’t fully recovered from her accident but she seized the opportunity to jump-start her new career. The courage to make a power move like that is how she was raised.

“I have nothing to lose. My parents always tell me you can get a no, but you can get a yes. So, you should just go out there. Why not try?”

She always put her trust in the process. In the idea that everything always works out. It’s one of the most important lessons she’s learned from her parents. “We were always really relaxed, go with the flow, see what happens."

Her philosophy on manifestation is simple and effective. It’s resulted in residencies at Pacha and Blue Marlin and festival bookings for Elrow and Ultra.

“I want that, I want that on this day.” She explains about her ability to manifest. “See what happens, enjoy. And if it will come it will come. Of course, you have to work hard for it. And that's what I also did. And if you really go for something, I think good things will happen.”

Brazilian-born, Berlin-based techno titan Victor Ruiz's first memories are connected to music. The Beatles, The Beegees, Eric Clapton, Phil Collins, and ABBA soundtracked his family meals. And he shared a room with his older brother, who ensured he was lulled to sleep by the sweet sounds of Metallica, Iron Maiden, Led Zepplin, and AC/DC.

He charted a route that began when he got an electric bass at eight years old. He traveled the well-trodden routes of a rock and roller. He was in bands through high school and thought he was destined to be a rock star. However, he changed course when he discovered psytrance late in high school.

“It was somewhat similar to heavy metal,” he says about the moment he discovered his newfound obsession. “And to classical music as well. Because there were so many layers, so many sonic textures, and rhythms and dynamics.” He was fascinated by how something so repetitive and uncomplicated, could be so compelling.

Ruiz was introduced to techno at university in a similar way. And he began to complete yet another musical transformation in his life as he started his degree in electronic music production. He was drawn to techno because he could achieve peak emotional impact by using far fewer elements.

These seismic shifts in his career always occur with great introspection and thought from Ruiz. And during the pandemic, he went through a different kind of transference.

“I think the mental health part of this journey is quite important.” He explains. “I even had a big crisis. The beginning of this year, I thought I was going to quit."

He explained to me that he began to see holes in the fabric of the dance music scene. And a steady progression away from the founding tenants of Peace Love Unity and Respect. 

"There's so much weird shit and wrong stuff in the scene that I don't agree [sic]. I don't think it's healthy long term. I hope everybody's noticing that.”

Ruiz needed to realign himself and ponder why he was a musician in the first place. 

”Is it for as an egotistic thing? Do I want just applause? Do I want to be regarded? Or I just want to share happiness with people? Or [do] I just want to have a good time? Or am I running away from something? Or maybe it's everything together.”

His moment of introspection led to an important life lesson. He needed to take better care of himself and create a more healthy routine. It also led to a super-secret project that he says will help make the dance music scene healthier.

“I'm stronger than ever. And I'm very excited. I'm very excited to do things differently.” He begins. “I just want to make our scene a little bit healthier. So we can change a little bit of the consciousness and the awareness. So we stop being so egoistic so selfish. And be a bit more altruist a bit more selfless, a bit more willing to help the other.”

He also spent time with his partner and fellow techno DJ and producer Tao Andra. A year ago, they created a podcast that documents their journey through quarantine. At times it feels like you are listening in on an intimate conversation as they cover everything from their childhood memories to how they stay healthy. 

Ruiz adores Andra he says, “she's an amazing speaker, you know, and so eloquent.” 

Andra created the podcast to encourage long conversations. Ruiz says it has made him a better communicator.

“I learned to listen more actively. I always had issues expressing myself in past relationships. I learned how to have a safe place to talk. And that's the most important thing now when you're talking with someone that's giving you a space to be yourself, to be who you are and also to feel safe, not feel judged or criticized. And that's key.”

Learning to be vulnerable has been difficult for him. However, it's been a window into what he says is a dangerous and toxic culture of silence among men.

“It's harmful. We're very, we're very sensitive people as well. think if we were more connected with our feminine side, you have more balance, you're gonna have a much more actually relaxed life.”

As the conversation draws to a close, I feel inspired by this winding conversation that has allowed me to begin to understand who Victor Ruiz is beyond his career as a DJ. 

He says music is what opens the door for these kinds of conversations. “Music is my tool to get to you. And then I send you my message. You know, I think that's the important thing. Music is beautiful, music is often how I feel, and how I perceive the world. And how I actually connect to people. And once you have the connection, then you can talk freely, and are open actually to listen.”

QRTR, aka Meagan Rodriguez, has a sound that is drenched in emotion, layered with wavering synths that drip with sultry sophistication. Intentionally heartfelt yet innately dancefloor focused. 



She has managed to stand out with a unique take on house music. And in a genre that often relies on recycled tropes, she bravely injects her music with a meditative sensuality that refreshes mind, body, and soul

Her debut album Drenched dropped just as the pandemic had eviscerated all hope for an immediate sense of normalcy. It was composed during a dark period in her life. She intended to open a window to her emotions and ended up holding a mirror for the state of the world.

Her music reflected her life at the time. Her job in film was grueling. She spent over 10 hours a day in an office with no windows. Exhausted and confused, she intentionally isolated herself.

Things felt dark. And she said, “I [was] creating this whole world in my head about how things are so dystopian right now.”

She engaged in a strange dance with herself. The album was another source of stress, but she insists, “It was also a release and a creative outlet. So, it's just this weird kind of Tango [I was] doing.”

She never pondered her mental health. It was the first time she recognized her depression and anxiety. "And I let that come out in the album. And I wanted to live in it a little bit because I felt like I needed to just for my own sort of evolution.”

Her goal was to express how difficult it was to be human and how existence can be painful. She never expected her emotions to reflect what was happening on a global scale. She says, “It was just a really fucked up. coincidence.”

It takes courage to lay your emotions bare the way that Drenched did. Her strength and resolve are qualities she is admittedly modest about.

“I feel like I have these moments where I suddenly have intense courage and bravery. And those moments are usually pivotal for me [in] gearing me into a new direction or a new chapter.”

Her affection for melody has always been with her. She fondly recalls her dad blasting freestyle in the car when he picked her up for the weekend. It didn’t embarrass her, she just bopped along. Somehow those broken beats have now snaked their way into her music. 

Rodriguez grew up tri-lingual and mixed race. Her young mind often comingled English, Spanish, and Portuguese. One thing she was never confused about was her love for singing. Her parents always supported her passion for the arts and bought her instruments for birthdays holidays. 

They never stopped encouraging her. She was always inside as a child, creating songs and videos. In middle school, she started to play with production software when her dad bought her a computer.

“I had a PSU USB microphone. I'd plug it into my computer and sample knocking on my desk and shit. And I would make music in middle school and bring CDs and give it to friends.”

It’s hard for her to imagine her success without her parent's involvement. “I feel like, my mom was super encouraging. She was like, ‘You're an artist, you need to be an artist one day. You're a creative person.’ And always was telling me to embrace that. And then my dad gave me the tools to be able to embrace it. He got me my first computer. He was the one who pushed me to go to NYU and move to New York.“

Moving to New York was a catalyst for her artistic growth. She ended up there for film. And even though she carried a lifelong passion for music she insists, “I never thought to pursue that further than just enjoying it.” 

She didn’t become a New Yorker until she graduated. That’s when she started to explore nightlife for the first time. The seed was planted when she went to an open-air in Portugal at 16. And when Spotify notified her that Chrome Sparks was in her hood she went and the seed began to grow.

That summer she went to her first festival, Bonnaroo 2014. And as a spontaneous (now legendary) late-night art car set from Mija and Skrillex blurred into the sunrise, she had a full-on rave revelation. This was what she’d been missing from her life. 

“Sunrise is about to happen. And we're all partying still. And this is everything I didn't know I needed and now I'm hooked. And then immediately I came back from Bonnaroo and I was going to as many raves and club nights as I could.”

A friend she’d met at a work function joined her on the quest for the perfect night out. Jenny had also been there for the transcendent experience at Bonaroo. After several months they agreed it was difficult to find their people. So, they decided to create the perfect party themselves.

Wavcave was their creation. A party in what was ordinarily a punk rock venue, with no expectations or boundaries. Rodriguez and friends provided the sonics. Jenny was the badass promoter. “Our whole mission was to let people get weird. We want people smiling on the dance floor. We want people to be goofy and enjoy themselves.”

The brand organically transformed from a monthly event to a shared studio space to full-on artist collective and record label. All of which are rooted in creating the inclusive and tolerant space they desired. 

As the world begins to awaken, she’s excited to see more of that. “I'm seeing parties that [are] not a bunch of white guys. And it's amazing. It's queer people, black people, brown people. It's people that are fucking talented and weren't getting shine that absolutely deserved to be getting shine.”

It excites her that more people will experience the creativity, love, and inclusivity that she shares in everything that she touches.  

“I don't think I've ever seen such diverse and enthusiastic crowds,” she says with a touch of sincere sentiment in her voice. “It is so exciting what's happening right now. And I don't know that it would be like this if it weren't for everything that happened in 2020. I think in a weird way that was one of the only positives. That maybe we're inching toward something that makes more sense and is more equitable.”

Eelke Kleijn’s multi-decade long journey from novice trance producer to one of the most respected names in electronic music has been far from a straight line. Despite a high level of success early in his career, Eelke Kleijn struggled over the years trying to find his true sonic identity. After taking a year off in 2016, he announced his own label in 2017, with the first release aptly named "Home.”

Eelke Kleijn first began to discover electronic music at the age of 7. He would use his double cassette deck to record songs directly off the radio. Eelke would record anything he heard that had a dance sound to it and try to change the order around or experiment when possible. Over the years he began to dive deeper into the world of electronic music and started to release music at the age of 18.

“Back then trance was the biggest sound. I was definitely inspired by that. I got into touch with another guy [who I started to produce with]... As someone who had never released a record, we started making music and it took off pretty quickly. It got into Armin and Tiesto’s playlists quickly. From being a duo who had never released, we went to putting out 10-12 records a year. It worked for me for 1-2 years but it quickly got still… I didn’t feel like I was doing the music I loved. I was more into lower tempos and progressive house. After 3 – 4 years I put an end to the project and went out on my own.” 

After getting his start in the world of trance under the monikers M.I.D.O.R and Six4Eight, Eelke Kleijn began releasing under his name in the early 2000s. From about 2003 – 2009 his sound and production were well received and remained experimental. While Eelke worked to define himself and find label partners, he produced a wide variety of electronic music. Reflecting back on the period brings up mixed emotions. “When I look back, I see myself as someone who was still learning how to find my preference. I was getting all these different influences, and I was pretty much releasing everything I made. When I look back critically, there are some records that stood the test of time but there are also some that are dated and I might not even remember the name. ‘Luigi’s Magic Mushroom’ is still a favorite of mine and I work it into sets every now and then.”

As he started to find more success and recognition, Eelke began to work on another aspect of his career that ultimately came around earlier than he had anticipated. Around 2010, he scored his first movie trailer and quickly realized that it was a passion. “I got to try some pitches for tracks in film. Around 2010 – 2011 the first one landed. I spent a lot of time writing records for TV after that. A lot have landed in trailers. It’s something I love to do… It’s quite different than the music I write for myself. You have unlimited possibility on a track for the music side, on a movie pitch you’re trying to fit into a box.” 

During this time period, Eelke’s star was quickly rising. He was releasing a wide variety of music to critical acclaim and was seeing many of his songs chart outside of dance music. Although from the outside looking in, it seemed as if he was hitting his stride, the reality was far from this. “I was still trying to find what sound I really wanted to give to people… Some of them [my records] had trance roots, some of them were inspired by Cocoon and Sven Vath… From the outside, it might have looked like a solid plan, but I was really still trying to discover myself… I felt like I could never bundle my sounds into one label.”

In 2014 it seemed as if Eelke Kleijn’s mainstream popularity was at its apex. For the self-proclaimed underground artist, this caused a bit of an identity crisis. After a string of successful releases with Spinnin’ Records, and a massive remix for John Legend, Eelke felt that he needed to take time off in order to reset and focus on the founding of his label. “The records were so successful that it became a slippery slope. I considered myself an underground artist, but then you do one track that’s a crossover and each one just begets the next. By the time you’ve made 4 records you don’t even recognize your own sound… It caused me a lot of stress and was a main reason as to why I took a year off from releasing music in 2016. I had to do a lot of self-reflection.”

Since his return, Eelke Kleijn has been on an absolute tear. After founding his label, DAYS Like NIGHTS, in 2017, Eelke has released two full albums as well as countless singles. He recently premiered a brand new live performance for the iconic, Cercle, and put out a stunning track to go along with the livestream. Although he was very proud of his performance and the ability to perform live again, Eelke recalls the experience as being a relatively intense one. “We talked to them for almost 2 years in advance… It had been 1.5 years since I’d played a live show anywhere. It was quite a challenge. I spent 4 weeks leading up to the show just playing the show at home and rehearsing, at least 3 times a day… Cercle is truly live so any mistakes will be in there forever… I had not seen a crowd in front of me for so long and then all of a sudden you’re in France with a huge team working on the show. It was overwhelming. To be really honest I don’t think I enjoyed the moment… When it was done, it was satisfying.”

For Eelke going forward, the world is his oyster. His major goals are to produce his fifth studio album. “I want to play more guitar on that. I only started playing guitar 3 years ago, I’m not comfortable on stage with it yet but I’m okay in the studio. I’ve taken an interest recently in the indie dance and indie rock scene. My next album will probably have a bit more crossover to that sound.” Furthermore, Eelke would like to build out his live show more and bring it to more places around the world. He hopes that his next album will facilitate further opportunities in the world of film and TV as well.

The fall of the Berlin Wall in 1989 was more than a political flashpoint. The reunification of Germany sparked a cultural movement that transformed the country into one of dance music's iconic scenes. Sven Tasnadi’s groove is indelibly rooted in the classic sound of house music. And perhaps it’s because he came of age in this storied era when Germany became one scene united under house and techno

He says that what first drew him to house and techno was the spirit of the culture. “The first club nights I went to the people was very tolerant, and there was no stress inside or around,” he explains. People at the regular clubs were there for the look and he says, “The feeling inside a techno club or house club was completely different. And that was something that was very important for me at that time back in middle of the 90s.”

While he danced to acid and Chicago house records that formed his musical DNA, he began to wonder how it all worked. He wanted to understand how the mixer blended two records so perfectly together. And how a DJ could program a journey with only a crate a vinyl and two turntables.

He quickly moved from dancer to DJ. And while there were DJs like Sven Väth that he looked up to, he says he wasn't "inspired" by anyone to DJ. He did it because he was overcome with curiosity. And he wanted to understand how to create the sonic footprint of the club.

That sense of curiosity eventually led him to be a shapeshifter in the studio. Tasnadi effortlessly slides between chunky tech-house, heartfelt and soulful deep house, and ethereal trip-hop and ambient. He says, “God, give me the talent to be versatile. So why shouldn't I use this talent?” Not that he’s a big believer in any religious ideology.

His parents may have also guided him towards his eclectic taste he says. The music he heard while growing up ranged from Elvis to local German musicians. His parent's wide-spanning tastes informed his music that shifts and melds with his moods.

There is a clear sonic pathway that runs throughout his music. Yet he says, “I think it's part of my own style that I have no style.”

Tasnadi has long been a fixture of the Leipzig dance scene. And Moon Harbour Recordings, also based in his hometown, has become his imprint of choice since he first released on its sublabel Cargo Edition in 2007.

He met Moon Harbour's label owner Matthias Tanzmann in 2005, and they quickly bonded. Tanzmann has always supported Tasnadi’s eclectic spirit. The label has grown from a purely deep house imprint to encompass many of the nascent sounds of classic dance music. And Tasnadi has grown alongside it.

The greatest example of this can be found in his 2018 album Bridges. The album was largely collaborative and saw Tasnadi working with artists like Huxley, Supernova, and Moses Medhi. He wrote it as the conversation around immigration reached a fever pitch in Germany. The spirit of tolerance that defined early rave culture has never left him. And he knows the best way to build community is through understanding.

“For me, it was always important to build bridges, instead of building walls. And try to talk with each other, try to understand each other. And that's what I tried to show with this album, because I work with a lot of people from different countries. We are all loving the same things. We love our children, we love music, we love to be together. And there are more things that bring us together than divides us. No matter where you're from.”

As Spanish DJ/producer Bastian Bux sits in his studio, he recalls the day he fell in love with dance music. He walked into his older sister's room awestruck by the techno banging from her speakers. He told her that the music sounded like it came from outer space. Bastian admits he was never interested in a proper job. A fitting description from a kid who imagined he’d be an astronaut. Who now spoke to me from the helm of his spaceship.

He fell in love with dance music because of his desire to dissect it. It was just like the machines he took apart at home: mysterious, electronic, and full of moving parts. He needed to understand how each circuit sparked joy on the dancefloor.

Bastian explains how that experience awakened something in him at eight years old.

“This is not something that is coming from a proper band. I cannot guess which instrument is this [sic]. I need to know. I need to discover how this [has] been done. And this was my very beginning. This was the main reason why I started my passion about dance music because I wanted to discover how it was done.” 

Bastian was a bit of a troublemaker in primary school. He spent a lot of time in detention in a room stacked high with books, magazines, and random CDs. 

One day he discovered a PlayStation game called Music 2000. He rushed to a friend’s house to play. He says, “I will always remember what I felt when I played this game for the very first time. My life changed and that was the moment where I knew 100% that I wanted to do this the rest of my life.” 

He found work at a local radio station. In between coffee runs and photocopies he begged to be in the DJ booth. It was his first contact with proper DJ equipment and production software.

A friend at school who was a hip-hop dance teacher heard he worked at a radio station. And assuming he was a proper DJ asked Bastian if he would put together a quick mix together for a dance competition. With his budding skills, he created his first mixtape and got his first paying gig as a musician. He quickly became sought after for his skills.

By the time he was in his early 20’s his production game was strong. Enough that he earned a mainstream radio hit. The code he sought to crack when he first heard the thump of techno from his sister’s stereo was cracked. 

“It was not my intention to make a mainstream dance song. But it came into the radio without me knowing what would happen. It was amazing. I was able to help my family go out from all their problems finally. It changed my life. But after two years, I started to feel not really happy about it.” 

Bastian says the expectation to be a hit machine led to depression and self-doubt. “I was trying to catch the formula of success all the time. And I was not happy. It was not fulfilling me.”

He thought he had everything he dreamed of since the third grade, but he knew it wasn’t right. So, he quit. He took his savings and plunged it into learning a new craft. He picked up graphic design and coding. He thought he was out for good. Until his friend and Suara imprint owner, Coyu hit him up a year later to check in. Bastian had never stopped making music, and it was time to re-emerge.  

Bastian says quitting was one of the most important events of his life. “To have the opportunity to realize how important it is to enjoy what you are doing. You can be really successful. You can make interesting money. You can travel. You can be famous. And you can be absolutely unhappy. And when you are somehow listening to yourself and trying to find what fulfills you, it works.” 

His rebrand has allowed him to be more authentic as he truly realizes his boyhood dreams. He's released music on John Digweed's Bedrock, Nicole Moudaber's Mood, and Sven Vâth's Cocoon. He's become a resident of the lauded Elrow parties across the planet. He's dropped his sexy and eclectic brand of house and techno in forty countries. He's even opened for the legendary Jean-Michelle Jarr, someone who he grew up listening to.  

And while he’s been open and honest with me about his previous career and how he struggled to break free. He wants to leave that in the past. It’s why for the first two years of the Bastian Bux project, he chose to obscure his face. His tagline explains, “Reducing everything surrounding a DJ and producer to its essential element.” A statement written by a friend encapsulates all that Bastian Bux believes.

He’s been given the gift of perspective he says, “You need perspective to properly learn things and to give them value that they deserve.”

He explains that after the most difficult period of his life, he found the will to make decisions that make him happy. And when you consider how many artists have not made it to the other side, it’s important to acknowledge how grateful one can be for that perspective. 

“I felt so unhappy, so sad. It was probably the worst moment of my life. And can you imagine? I was this kid, having no money, dreaming about being booked to play around. And after two, three years of success, I was not happy. You know, it was so hard for me psychologically. I had to speak with a lot of people to not fall deep in a shit hole. I learned how important it is to be able to see with different eyes from different angles.”

What genre would you describe your music as?

Retro Futuristic Martian Groove

Where are you from?

Chile

What age did you start DJing?

21

If you weren't a DJ, what would you be doing for your career?

Astronomer

What's your favorite artist/style of music outside of dance music?

Frank Zappa

Francisco Allendes describes his music as retro-futuristic Martian groove.  
A definition without constraint. Because he says, "Anything can be done in the Martian way." It's a way for the Chilean artist to compress a library of influences into a unified sound. 

He discovered his passion for gorgeous soundscapes at eight-year-old. A neighbor who was obsessed with classical music shared tapes of Mozart and Vivaldi with him. Enamored with their complexity and beauty, he set his heart on learning the violin. 

Unsure of his dedication, his father said no. However, his mother tried to get him lessons in secret. The secret only lasted a day, he says, because they did a terrible job of hiding the violin.

His parents became his most ardent supporters. His mom would drive him all over Chile to perform with youth orchestras. He is incredibly grateful for their support.

“I started taking classes and right away they both were very enthusiastic for me," He explains. "Of course to have this support from the family is a lot because I know many people that don't have the support from their family. And this already cuts your legs if you don't have love and support from your [family] to do what you want.”

The neighbor who first unveiled his passion for music wasn't the last of his friends to guide his musical journey. His eldest brother introduced him to rock music and took him to his first concert, legendary guitar virtuoso Steve Vai.

But it was a friend who gave him two of his greatest musical gifts. Francisco joyfully remembers his friend Camila a flutist in his youth orchestra. She introduced him to Bjork and gifted him his first guestlist experience.

Camila was so obsessed with Bjork that she learned Icelandic. When Bjork came to town, Camila and Francisco snuck into her hotel. They managed to speak to a violin player in her orchestra who was so impressed by the young Chilean girl's Icelandic he invited them to the concert as his guests. The first time Allendes heard Bjork, he was only two meters from her.

With such a patchwork of influences, Allendes continued to learn instruments and explore. He bought a guitar and a keyboard. And as high schoolers do, he joined a band. But he was struck by how different he was from his bandmates.

“Every band that I was part of I was the more committed.” He said. “I need to find a way to do my music on my own. I don't want to be dependent on a drummer that likes to go party on Friday night and doesn’t come to rehearsals. Real rock and rollers, they come even if they didn't sleep.”

So he started to make weird noises on his computer. He figured that so many of his idols found pathways to sound through synthesizers, so why not him? 

A couple of years later, he ran into Camila again on a bus coming home from school. After catching up, she said four words that would change his life, “Do you know techno?”

Allendes was already DJing. Well, kind of. He was a selector. He couldn't mix records yet. So the idea that anyone could play music on three turntables was mind-bending. 

Camila’s boyfriend was a DJ, and she brought him to his first event. When he heard dance music for the first time, he realized the weird beats he made weren’t too far off. So, he decided to focus on recreating the sound of the dance floor.

Allendes was dedicated to his craft from the gate. Even at eight years old he was determined to make his passion a profession. However, he always retained a sense of realism. He made a deal with himself that if by 30 he wasn’t successful, he’d quit. He was only a few months shy of losing the deal. 

He already had an attempt to live in Spain under his belt by the time he released the Llovizna EP on Luciano’s Cadenza imprint. It was huge to be validated by such a luminary in Chile’s house music scene. The songs were hits, but he still had trouble getting the proper visa to live and work in Spain. 

Six months from his 30th birthday, he got a random Facebook message from a girl who worked in Ibiza. She wanted to help, but the claim seemed too good to be true. He was used to getting messages from producers looking to collab. It turned out that she was a talent buyer for legendary Ibizan USHUAÏA, and she wanted Francisco to be a resident.

“My first summer in Ibiza was very painful,” He says. Because he worked at one of the clubs, he was able to go everywhere. And he took full advantage. But he quickly realized that he couldn’t party like a tourist for the rest of his life. 

He limits how much he goes out. He exercises five times a week. And his kids help keep him balanced because no matter how late he’s out, he gets up at 7 am to get them to school.

Throughout his career, he depended on the help of others at every step. It’s been his community that has had the most impact. And if it’s taught him anything he says, it’s that you must be humble. 

“So many people want to come in the scene that has a vision of something that is not real. And this can really can make your head go cuckoo. So, it's very important to be humble. I want to do this until I die. I mean, maybe sixty, seventy years. So, I have to be healthy. I have to be focused. I have to be humble. I have to be thankful.”

What genre would you describe your music as?

Melodic house and techno

Where are you from?

Yorkshire, UK

What age did you start DJing?

23

If you weren't a DJ, what would you be doing for your career?

I would have followed in my dad's footsteps and become a farmer.

What's your favorite artist/style of music outside of dance music?

Alicia Keys without a doubt.



“I was 11 years old listening to this trance classic, counting bars, listening differently. I remember thinking, is this how 11-year-olds listen to music or is it how producers in the making hear music.” Luke Storrs, AKA Franky Wah, has many musical moments from his past for which the memories are so vivid, he can recount who he was with, what he was wearing, and where he was. Despite seeming to have a brain built for music, Luke tried out many other things in life before determining that success in music gave him the greatest feeling over any other type of success. 

“I’ve gone in and out of all sorts of stuff in my life. I did football, bodybuilding… I came in seventh in mister universe. I competed on world stages at bodybuilding, I played against Manchester United in football in a stadium at age 16... none of it filled the purpose I was seeking in music. You strive towards these goals… but compared to playing the main stage of Creamfields, it just didn’t feel the same.” 

Luke’s first release came in 2017, a proper tech house EP heater called ‘House Party.’ Although the track was received well and has high-quality production, Luke’s sound has changed tremendously over the years. As he has matured, the music he listens to has changed and he has fought to define his own identity. “I think age had a lot to do with it. When you’re younger your musical palette is less influenced and you’re playing/making more what you hear outside. As I grew, tech-house didn’t stimulate me enough in the studio… I took piano lessons for three years and wanted to put it in my music. I couldn’t do that with tech-house.”

It took Luke time to fully realize where he wanted to take his sound. There were many moments over the years that helped push him across the line. He described attending Sonus Festival in Barcelona as a pivotal moment for his sonic transformation. “I had one of those moments to a record by Bicep (‘Opal - Four Tet Remix). I remember coming back after thinking I needed to play and make music like that. It was a sign from the universe. The feeling I had on the dancefloor, I had to replicate that in my sound.”

Luke’s sound began to transform in 2018. Although he was not producing the type of melodic house that he is now, the seeds of growth began to show. His ‘Motives EP’ was highly experimental and felt melodic for something in the world of tech-house. He followed this with the track ‘What Have You Done’ and ‘Disco Inferno,’ all of which strayed from his earlier sound and incorporated melodies and deeper bass sounds. 

For Luke, it was about slowly breaking the mold. “Tech house can be formulaic. I was trying to stay in the boundaries of the genre while also pushing and staying fresh. One of the EPs was with Steve Lawler and it helped open doors for me. The work rate was so high, in 2018 I put out 48 records. I wanted people to see my stuff. Eventually after ‘Get Me High’ (January 2019) I wanted a fresh start where we worked to be more strategic about rolling out music.”

‘Get Me High’ turned out to be the pivotal track of Luke’s career. It launched him into different conversations and allowed him to start 2019 with a fresh perspective. “So many different people were able to play it. Tale Of Us and Solomon were hammering it, but so was Tiesto and Nervo… Annie Mac supported it and premiered it first.” The support felt universal and led to a collaboration that to this day, still blows Luke’s mind.

Legendary DJ Sasha told Luke that the track was a staple in his set, and when he was building his entire sets around when he would play it out. Eventually, the two linked up in the studio to produce the incredible ‘Haunted EP.’ “For anyone aspiring to climb that ladder… I’m from a village with 800 people. There’s no scene… Anything is possible. [Sasha] is an icon. To work with him, it was so career and life-affirming for me. Am I really at this level where I’m worthy of working with this kind of artist?”

The inspiring moments kept coming for Luke. In 2019, he was booked to play the main stage of Creamfields. He describes the experience as one of the first moments where he truly felt like his career was on the right path. “I always joke that the stage is pretty much the same size as the village that I come from. We live for those moments as artists. I had flown in from Ibiza playing at Hi. It was the first real feeling of wow this is going somewhere… It keeps me going, looking forward to these moments.”

Since conquering the main stage of Creamfields and releasing music with Sasha, Luke has been on an absolute tear. He has since released music with Anjunadeep, collaborated with Lee Foss, and taken the Beatport #1 throne with his biggest song yet, ‘The World You See.’ The Cristoph collaboration released on Pryda was just another moment of recognition for Luke. “We’re great friends now. We’re planning a tour together with you guys over the pond. WE’ve got more music coming. Some are more universal sounding, but mate we’ve got some absolutely disgustingly dirty warehouse records coming too.”

For Luke going forward, it’s all about continuing his climb up the ladder while remaining humble and self-critical. He is working on a visual component to match his plans of a live performance, and will be launching his own label soon full of “big dark dirty warehouse music.” 2021 is looking to be another landmark year for this rising star, and per Luke’s instructions, we best keep our ears to the ground for his coming releases. “Believe me when I say, you are not ready for the next collab with Cristoph. Just remember this conversation”

What genre would you describe your music as?

Melodic, acid house

Where are you from?

Liverpool, UK

What age did you start DJing?

15

If you weren't a DJ, what would you be doing for your career?

I’d have probably pursued acting.

What's your favorite artist/style of music outside of dance music?

Hip-hop

When DJs are starting their careers, the balance between scoring gigs and making a living can be a tough line to walk. In the early stages of a career, it is difficult to earn enough on weekend gigs to support oneself. For Andy of Bontan, doing anything besides DJing was never a consideration.

“I was DJing five times a week in my local town just so I had enough money to not have to have a daytime job. I would play all night, wake up at 1 PM, make music all day, go back to DJing at night. I would play anywhere for anything just because I knew it’s what I wanted to do. I bit the bullet and was playing these crap gigs to just save money and not have to hold a full-time job.” 

Andy’s parents got him his first decks when he was 14. At age 16 Andy started to fall more and more down the rabbit hole of house music, hearing it when he went out and with his friends. His first gig came one year later when he entered a local DJ competition with a friend. “We were 17 at the club. We lied about your age in order to get in and ended up smashing it. I remember being so nervous and there were probably 7 people there.” 

The true breakthrough for Andy came when he was 18 and finally had the opportunity to see high-level professionals but on a show. Andy had never been to a proper concert before and his very first experience was one he would never forget. “There’s a big house festival that happens every year there [Southport]... I went when I was 18, and it was a life-changing experience. The first guys I saw were Dennis Ferrer, Masters at Work, and Kerri Chandler. They were the first DJs I’d ever seen in my life and it just grabbed me.”

As Andy began to focus more on getting his career off the ground, the first natural step was to release music. Unlike many who take years to get their tracks heard, Andy struck gold early on with a massive remix that is still played on dancefloors today. One of Andy’s best friends happens to be a fellow tastemaker, Josh Butler. Josh sent Andy his track ‘Got A Feeling’ to remix and for Andy, the remix was automatic. 

“This one in particular felt a bit different. It took four hours. It’s taken me months before to do records but there was something about this. It was so simple and good. Kaveh [Pleasurekraft] helped me tweak it a bit but it was just easy and we knew it was too good not to release… It did feel slightly different. ‘Call You Back’ with Josh as well was one of those. I had a vocal for a while and it took me six months working on it until Josh stepped in and helped me push it through. We did that in a day as well.” 

The connection between Andy and Josh runs deep even to this day. The two have played back to back countless times, even going on a special tour together in which they played extended (6+ hours) sets together. They have released many tracks together as well, most recently ‘Set Your Soul on Fire.’

Speaking on their relationship, Andy talks about how seamless it is for them to play together. “Our sounds are different but when we come together to play it just works… We don’t share what we’re gonna play. If we prepared it wouldn’t be authentic… It’s exciting when you see DJs play BTB and it’s a journey. We don’t force moments, we like to go in blind and just see where it goes. Deciding the first track is always funny, we get on the decks and whoever finds the track they want to play fastest gets to go first… We did rock paper scissors one time to decide the billing on our BTB Be True Tour… Josh won that one and it’s stayed that way ever since.”

Similar to his early success on the ‘Got A Feeling’ remix, Andy had a lucky turn of events that pushed him into a primetime festival slot early in his career, assisting in the speed with which people discovered him. After touring for only about a year, he got booked to play the iconic Creamfields festival. “I was booked to open the stage (Pete Tong Stage). We got a call right before saying they had to move my set time from 3 PM to 10 PM. I’d only ever played to 250 people… I had to switch up my whole set and it was hands down the most scared I’ve ever been before a gig. I also got the streamed live, my Facebook blew up and it just changed my career.”

Despite early success, it was important for Andy to stay fresh and maintain an output of music that was not too repetitive. Around 2015, Andy’s early sound became an incredibly common one. More and more artists started to dip into his brand of deep house and he felt it was the right time to make a change. “I had the EP with Hot Creations and I wanted to actively go in a different direction. I wanted to create melodic house but with a club-ready feel… it felt like those earlier records could’ve been made by anyone.”

Andy continues to tweak and develop his sound, with his recent output showing an incredibly diverse range of productions. “I started listening to old acid house and getting more history about older music in order to try and influence my sound in a positive way and keep it authentic.” Bringing freshness to his releases is key for himself, his fans, and his live performance. Andy likes to be able to play a variety of styles live, by switching up his sound recently he has opened the door to this. 

“It was getting to a point where I was getting bored making the same sounds for every track. I don’t want fans to get bored either. Sometimes I dip into the Latin tribal feel. I just go in there and make something based on what I’ve been listening to and playing out recently. It can’t be the same every time. I like to keep it fun and exciting when I perform and the studio piece has to be the same.” Andy’s next track is a collaboration with Mele and will be out in mid-July around the same time as his BTB performance with Josh Butler at Elrow NYC on July 24th.

Hungarian DJ and producer Reelow, aka Renato Károlyi, was expected to be a musician. His mother was a singer, his father played the guitar, and his grandfather was one of the most important music curators in Hungary. With a background so weighted in classical, his slippery tech-house style doesn’t exactly fit into the family business. 

He lived under immense pressure to succeed in music. And he has. He’s flexed the speakers at world-renown clubs like Fabric, Privilege, and Sankeys. His inspired and infectious beats are supported by respected artists like Marco Carola, DJ Sneak, Adam Beyer, Monika Kruse, and Joseph Capriati.

As a kid, it seemed his path was obvious. He went to the best music school in Hungary. He was hyperactive though. So despite his love for music, he struggled to focus. When he picked up the trumpet, he started to feel a sense of purpose. And he really began to appreciate the beauty of music when he joined a symphonic band.

All went according to plan until he went to his first rave. “I went to my first rave when I was really young,” he says. He was fourteen. “Then I had my first cigarette. And I had [my] first everything I wasn't supposed to do. I started everything super early.”

He found his people, and he found his music. He also found himself at his first crossroads. Brasswind instruments aren’t simpatico with smoker's lungs. And his teacher forced a decision, trumpet or DJing. Reelow says it was an easy choice, “I said, well it was nice to learn from you but, I'm off. I'm out. So, I bought my first decks. I bought my first speakers and a mixer.”

His parents, like most parents, didn’t understand his new community. They also wondered why all of his money was spent on records, CDs, and event tickets. He was happy to go without lunch if it meant he could spend that money digging for the freshest beats. Reelow wanted to help them understand. “They didn't really see the art. So, I had to prove them wrong." 

It wasn’t just the community and the music. He fell in love with the adventure of crate digging. The thrill of tracking down one of only five copies of a record in all of Hungary. The disappointment when you buy it and the record has a scratch. “It was the whole package.” He explains, “Everything was a journey.”

When he got his first big gig in Budapest he invited his parents and it clicked for them. They were happy he was happy and successful. They experienced the beauty of a breathing dance floor. They also let him know that it was the last time they’d go to the club because it’s just not for everyone.

The financial crisis in 2007 had a devastating effect on Hungary’s clubs. And the years that followed only got worse Reelow tells me. “Step by step the clubs were closing down. There were more problems with the police and drugs. Everything was just so messy.”

He also recognized that he needed more room to grow as an artist. So he moved to London. And he experienced an unexpected level of support and love. It quickly became one of his favorite cities.

He may have soaked up the UK club culture a bit too much.  A few weeks of non-stop raving drained his bank account. He worked for six months at a high-end hotel to recover. He spent his nights illuminated by the glow of his computer crafting crispy cool basslines.

He loves London. But it’s a machine that will quickly eat you up without the proper support system. He decided to get enough money to move to Ibiza, and that’s when his career blossomed again. He began to sign records to labels like Rawthentic, Elrow, and Solid Grooves. And he began to soak up the life of excess, but he had already learned an important lesson about balance. 

“I planned this career for the long ride. Nobody said you will be able to do afterparties for the rest of your life, it isn't gonna work.” Reelow reads, practices yoga, and meditates daily. It’s the best way for him to prepare himself for those days when he goes straight to the club from the studio.

Throughout his journey, Reelow said that house music has been the one constant. He imagines because house music has been constant for over three decades. The sound has gotten warmer and more powerful. But its vibe is still identical to the early days of rave.

“House music has been always here, and it's always gonna be here.” He goes on to explain that there is no wrong place for house music, “In a club or at the beach. In an afterparty or when you're cooking it's the ultimate connection for me in the electronic music.”

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