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




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




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




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



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




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






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




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




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




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






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




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



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




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






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




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




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




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












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




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




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






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




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

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



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




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

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



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




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




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



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




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




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




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



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




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



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

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

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



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



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

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



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



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

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



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



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



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



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



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

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



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

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



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



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

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



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



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





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



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



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



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



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



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

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



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



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



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





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



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



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



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



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



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



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



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



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

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

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






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




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




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






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




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




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




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




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






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




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




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




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






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




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



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




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






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




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




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






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




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




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




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

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



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






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




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


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




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



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



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








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


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




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



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


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




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


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

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



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

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




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




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




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








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




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




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




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









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




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




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




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




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









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




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

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



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


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




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




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




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




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




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




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




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




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




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




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




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




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




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




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




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




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




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




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




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







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




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

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



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





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



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





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



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





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



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





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





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



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



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





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



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







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



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

“Sometimes when I'm when I'm going to sleep, symphonic music starts playing in my mind,” says Jay Lumen.” I get very interesting inspirations almost every night before I sleep.”





That might not be something you would expect to hear from a techno artist. Then again, it could be the very reason the Hungarian DJ and producer’s cinematic style has elevated him to the upper echelon of the genre.



Tracks like “Human” and “Mandela” speak to Jay Lumen’s timeless aesthetic, interweaving the corrosive textures of techno with intricately layered synths in a way that evokes vivid mental imagery. Both tracks arrived by way of his artist label, Footwork, but his discography also includes releases on world-renowned imprints like Drumcode and Octopus Recordings.





Jay wanted to pursue a career in electronic music since he was only eight or nine years old. Even in this nascent phase of his musical exploration, he found inspiration in the music of techno folk heroes such as Jeff Mills, Steve Stoll, and The Advent.



"I really loved the old school dinosaurs of techno and house music..." says Jay. "...It was the beginning for me if we are talking about electronic music, and I was really sure that I had to do something like that. I started to produce my own tracks and releases—only for my friends in the beginning."



One of Jay’s most formative experiences as an artist had nothing to do with electronic music, however. He studied in a music conservatory for the better part of a decade, learning to play the violin and building a strong base of habits.  "I have that kind of music knowledge because I had to learn it for eight years," he says. “That's why I do have really a different point of view from others.”







Jay Lumen’s earliest official releases fell somewhere between progressive house and progressive trance, landing on labels like Pangea Recordings, Global Underground, Baroque Records, and Anjunabeats. Singles like "Inner Tour" and "In Love" emphasized effervescent synth work far removed from the challenging timbres common in his more recent output.



It didn’t take long for him to get restless working in this style, however. “I'm always happy to change and switch up my sound a little bit,” Jay says. “Because if something is not inspiring me anymore, I don't want to keep doing it. So I switched to tech house around, I don't know, 2007 maybe, and I started to make that kind of sound.”



In the years that followed, Jay Lumen delivered tech house numbers like “B-Groove” and “Good Woodoo” that still exhibited some of the infectious melody that defined his earlier work. After a few more years, though, he once again decided that it was time for a change.





“After the point when everybody just started to jump into the scene, maybe around 2011, I said 'I gotta do something different,’” he recalls. “I don't want to be in a scene that’s oversaturated, and getting more commercial because of there being too many acts. I switched my style to techno fully around 2011, and I'm so happy with that choice. I never say never, so maybe I'll get back into house music or tech house music. I always change if I feel some new inspiration from any kind of genre.”



Jay began predominantly producing techno—although tracks like his Green Velvet collaboration, “It’s All About Me,” would temporarily pull him back into the tech house orbit. “Of course, if you get a request from Green Velvet you always say yes,” Jay says. “Especially if the guy is your hero. I was happy to do that, and it was a milestone.”





In the years since then, Jay Lumen has had no trouble releasing music on techno’s most monolithic record labels. Tracks like “You Know” and “Dark Rooms” spoke to his ability to distill his wide-ranging music taste into a style of techno that cuts through the noise.



Perhaps one of Jay's most fruitful relationships is with Adam Beyer's Drumcode, the most commercially successful label in techno. "The first one was in 2011 or '12, when I released the special collaborative EP [Lotus] with Gary Beck on Drumcode," Jay says. "That was my first release ever on the label, and it was very successful. I was very happy to see that the B side of the release was the best seller in the in that five years on the label."



Jay nonetheless launched Footwork as an outlet for “everything that is interesting to me,” giving him creative freedom not afforded by other labels. The majority of releases on the imprint are his own, but it has also given a home to music by the likes of Hito, SAMA, and The Reactivitz. And while Jay insists that he’s “not that business kind of person” and started the brand out of sheer musical curiosity, it nonetheless rose to be one of the top 20 highest-selling labels on Beatport in 2022.





"I created Footwork because I wanted to get a little bit more freedom," Jay says. "If I release on my own label, I don't need to wait for an answer from anybody. If I have an idea, I can put it out as soon as I want, so that was the main goal when I created the label. And also the other thing is I wanted to show people some of my friends whom I find interesting as artists."



Who knows—maybe the success of these endeavors will lead Jay Lumen on his next creative tangent. No matter where his music career takes him, time has told that he’ll embark on that journey with all of his heart.

Imagine having your music described by Diplo as “super dope,” and “like being in a submarine in the deepest water” by Dillon Francis. Well, that’s exactly how Spanish electronic music producer Diego Diaz, better known as Toyzz, has been praised.



Growing up in Alicante, despite music always being top of mind, DJing wasn’t necessarily where he thought he’d end up. When he was just five years old, he attended music school, where he reluctantly learned to read music and play the clarinet.



“Becoming a DJ wasn’t my top goal," he says. "I think it’s a tool for showing music to people.”

When I asked Diego the reasoning behind his playful artist persona Toyzz, he said he chose it “to remind myself who I want to be. And what kind of artist I want to be. I want to be remembered as an artist who enjoys the process of creating music.” For Diego, keeping the spirit of the music and creativity at the core of what he does is essential.



“We are children because we are always creating,” he says about the uniquely youthful mindset of artists. “We all have the spirit of creation inside, but when we get older, we lose that spirit.”



While Toyzz describes his current sound as “dark and elegant, not in an arrogant way,” it was not always like this. In its earliest stages, he favored more of a "crazy dubstep" style. Upon showing his early tracks to his friends, he says, “they were horrified because dubstep has a lot of crazy sounds going on.” The harsh, honest feedback inspired him to switch directions to something that was still an expression of self but had universal appeal.



He’s left behind the throbbing wobble of dubstep, yet he confidently states that Skrillex remains his ultimate inspiration.



“Skrillex has always been my favorite producer," Diego says. "He’s very good at designing crazy sounds and composing. He works with top artists from Latin America like Jhay Cortez and J Balvin. That’s a good reference for me because I want to be involved in that kind of scene. I want to be collaborating with those kinds of bigger Latin artists.”



This dream may not be so far off, as the support from the international artist community has been astounding. After only two days of signing with a new management agency, he released “Work It Back” on Hardwell’s Revealed Recordings.



“I signed recently with Forever Talent Management Agency. I signed the contract and two days later, Luis came with the news that we signed with Hardwell. Just two days and we have this crazy record label contract. It’s so crazy. Ten years ago I was going to school listening to Hardwell's “Spaceman.” That song was so, so epic for me. It’s like a movie. I’m so happy to be there as a part of the Revealed community.”



It’s a welcome addition to a small but mighty catalog that includes releases on Jauz’s Bite This!, tastemaking US label Ghetto Ghetto Records, and Brooklyn Fire Records.



When asked about what he hopes for as a performer, he explains humbly that he needs “to release more music and get more fans. Because without the fans, you are nothing. I’m in that early stage of my career.”



However, given his overwhelming success, he’s not afraid to dream big. And despite being modest about his accolades thus far, he says that “Coachella could be amazing… And maybe also Ultra and Tomorrowland could be top goals. And Burning Man could be super dope.”

Following musical trends in dance music has, in recent years, gotten easy. The simple paint-by-numbers approach to production that allows artists to follow the zeitgeist has made the ubiquity of house music sounds a parody of itself. So, when an artist comes along that truly breaks the mold with something that sounds unique, it shakes the ground. Enter South African super producer Kyle Watson.




Over the years, Watson has made a name for himself by producing a singular brand of house music. He's a trendsetter, and you know this because while many have tried to replicate his throbbing, low end basslines and off-kilter, funky vocals, no one does it as he does. He rotates in his own sphere. Although one could categorize his sound as tech house, Watson floats effortlessly between tech house, traditional house, and bass house.




After breaking out in the early 2010s with regular appearances on esteemed labels like Dirtybird, This Ain't Bristol, and Universal Music, Kyle went on to help found the highly influential label Box of Cats with Aussie mainstay Wongo. His 2018 album Into The Morning was a defining moment for his career and catapulted him further into the spotlight. And he's only continued to stamp his footprint on house music with the release of dark and dirty dance floor bombs like "Magic Carpet Ride," "Dominoes" on Gorgon City's REALM Records, and "Let's Go Dancing" with Mindchatter.









Although most of your fans in America probably started learning about you starting in 2016, you've been putting out music since 2007. And you were doing so from your homeland of South Africa. Can you give us some insight into your experience growing up in Johannesburg?




In the early days of my career, we had a pretty healthy music scene in South Africa. The type of music that I and other local SA producers were making and playing got pretty popular, so the gigs were always a good time. The music I was making was still one of the more minor genres in the scene, though. The biggest market was and still is for Afro house, amapiano, and deep house, which is doing incredibly well there right now and blowing up globally.




Do you remember when you first discovered a passion for music?




Music was always in my life. From a young age, I took piano lessons and music as a subject at school. When my father brought home a copy of some very basic music production software, I was hooked.




What kind of electronic scene was in South Africa growing up, and did you discover those sounds locally or simply from listening to all kinds of music?




I listened to a lot of music from the UK and the US, like metal, drum and bass, and electronica. All of those genres, I think, have contributed to my sound in some way.




Do you think the scene has grown there since you started your career?




I think COVID really knocked the SA scene, at least within the genre of music I make and play. Unfortunately, a few of the clubs have closed down, and the market seems to have changed quite a bit. I live in the UK now, but looking from the outside, it seems that amapiano and Afro house are absolutely huge right now.




It's so easy for a fan to look at an artist and assume that once they broke out, their career was made. But often, we overlook the years of work that go into an artist's career before true recognition. It didn't feel like you hit on what we've come to expect from your sound until around 2013. For seven years, you were putting out music very different from your sound today. What was that time like in your career, and who were you listening to for inspiration?




I think from about 2007–2012, I was trying to figure out how to get my ideas down into the music that made sense. There was a lot of hit-and-miss during that period, which happens with all artists, but yes, around 2013 or 2014, something clicked, and I started to understand myself creatively. The music started to connect on a bigger scale. I feel over the last three years, or so, I've been more critical of myself and the direction I want my music to take.




2014 felt like the initial breakout; you made it onto the Seven Days of Dirtybird compilation with your solo single, "The Clock." It is quintessential Dirtybird. Was there any relationship with the Dirtybird team, or were you sending demos blindly and got recognized? Did this feel to you like a breakthrough moment?




During that period, it was a major goal for me to sign a record to Dirtybird, so when it happened in 2014, it was a massive boost to my confidence. There was no previous relationship. I sent them a demo, and thankfully they liked it. It was an important moment in my career because it helped introduce my music to the US market (where I now tour regularly).









Your sound is so unique, full of funky drum patterns and basslines. Are there any pieces of hardware or software plugins you find yourself going to often when producing?




I do have my trusted plugins that I use on almost every track, but I think the most interesting stuff comes from using obscure tools or plugins in different ways—or sampling something unusual and processing it heavily to create something new and fresh. Personally, Omnisphere is one of my favorites because it does an amazing job of blending samples with synths.




As house and tech house has become ever-popular, you've consistently stayed true to yourself and your sound. What do you think about the genre and artists branching out from other genres to try their hands at house music?




I think it's great that house is getting its turn in the spotlight because it introduces people to the genre who eventually filter down and find new subgenres. I do have to laugh when I see massive pop artists jump on the bandwagon, though. Sometimes they get it right, but sometimes it just doesn't work!




It's not often that artists in your sphere put out albums. But your 2018 album Into the Morning felt like such a great expression of your music and was received well. Can you take us into the process of crafting an album? You worked with several vocalists. What is the process of linking up with them? Do you have a favorite song from it?




ITM was such a fun project for me because it was the first time it gave me a platform to showcase different genres without the tracks feeling out of place. I think that's the whole point of all albums, to show what you're capable of and take risks that you may not be comfortable taking with a single. Personally, "Lights On" or "Control Ya" are my favorites off that album because they're different, and both have their own vibe and energy.









We have to ask about Box of Cats. The label was founded in 2016 and has been on a tear since. When did you and the crew decide to start this project, and how did you meet the guys?




The funny thing is we haven't even met in person! It started out as an informal group conversation on Facebook Messenger a few years back when we decided starting a free label would be fun. I think it was 2016 or 2017, but it feels like yesterday. The label has been doing so well. It's grown into a strong brand and is a great platform to push artists who are doing things a little differently but still have the potential to connect with a large audience.




With so many artist-driven labels these days, what does Box of Cats do to stand out and stay fresh?




We have to make sure to try to sign and nurture artists who are in their own lane. There is a lot of generic music out there, so we try to make sure we keep away from that and push artists to do their own thing.




Are there any up-and-coming artists you'd like to shout out?




I've got my eyes on Truth x Lies at the moment. They are putting out some really solid groovers, and I'm looking forward to seeing where their music goes as they grow.

ACRAZE has enjoyed a career trajectory most electronic musicians dream of since the 2021 release of “Do It To It,” his house rework of Cherish’s 2006 song of the same name.



“Where do I begin?” says the DJ and producer, whose real name is Charlie Duncker. “I feel like that song just put me in another stratosphere.”





A little over a year later, he delivered another impactful release in a similar creative vein. For “Believe,” he enlisted British duo Goodboys for a house cover of “I Need a Miracle” by Coco Star, framing their wistful vocals with layers of melancholic synth chords.



"I remember starting in my bedroom years ago and now I'm traveling the world," he says. "It's just so surreal to be able to do what I love, and to be able to do it at this level as well. It's actually really fucking cool."



For the foreseeable future, though, ACRAZE has shifted his focus toward original music. “There's something about sampling that I feel like there's just always going to be inspiration there for me,” he says. “But I definitely want to stay in the original realm.”





This is by no means uncharted territory for the rising talent. Born in Staten Island, he went all in on dance music several years ago—much to the chagrin of his old-fashioned parents.


"No one in my family is musically inclined so I just came out of nowhere and stuck out like a sore thumb because I wanted to do music," he says. "My parents thought I was absolutely nuts. They were like, 'You gotta go to college.' My parents are very old fashioned. They were just looking for security. And that's why they wanted me to go to school, but I hated school. I hated being in a class learning about stuff that I really didn't care about because, at the time, I just wanted to do music. That's all I really wanted to do, so school was not even an option for me."



ACRAZE lived the starving artist lifestyle while learning to produce music. "I was kind of in a bad slump," he says. "I was pretty broke at the time, and just figuring out how I can find money to buy samples or production stuff. It was a pretty tough time, I'm not gonna lie, but I figured out how to make music. I stayed at my friend's house for like, two, three years, and I just figured it out."



2017 marked his debut solo release, a heavy trap single titled “PULL UP” that came out on MACA. From the very beginning, however, ACRAZE couldn’t be confined to a single genre. “How I produce is pretty interesting,” he says. “One way I catch a good creative drift is that if I’m stuck in a certain genre, I'll move to another.”



This led him to produce house music on more than one occasion, and it proved a more worthwhile pursuit than a simple workaround to eliminate writer’s block. His 2018 single “Marco Polo” landed on Confession, the label of French artist Tchami that straddles the line separating house from EDM.





“I don't really play many of my older records,” says ACRAZE. “But that's one that I definitely play a lot. I don't know why but every time I play, it always goes off.”



During the COVID crisis, ACRAZE doubled down on house more than ever before. He recounts, "I remember during the pandemic, my managers and I were always going back and forth, saying, 'We need to work hard now when nothing's happening,' because there was no momentum for anyone."



"So I was just sitting there working 15 hours a day," he continues. "I would wake up at 8:00 in the morning and work all the way until maybe midnight, just do the same thing over and over. I wouldn't even leave my room to eat; sometimes I would bring the food into the fucking room. Yeah, I was grinding. And I always knew if I worked hard when no one was moving, I would come out with this momentum—and it worked."



By the time lockdowns began to lift he had made a lasting impression with singles like “Funky Town,” which arrived by way of Black Jack Records in early 2021. He delivered “Do It To It” later in the year, and his story since then has played out against the backdrop of stages around the world.



From Tomorrowland in Belgium to Sensation in Amsterdam and three separate iterations of Ultra in different countries, ACRAZE has emerged as a staple of the festival circuit. Has the novelty worn off? Not even close. Gatherings at this scale offer a perfect testbed for his latest music.





“Playing new music is like a different type of feeling—I'm always amped up to play and see the reaction,” he says. “You work so, so long on a song and that's one thing that you always think, but if it goes off, it pays off right there.”



As more and more of these crowd-pleasing cuts trickle out from the dancefloor into the house music ecosystem, it remains to be seen what direction ACRAZE will steer his discography. For the time being, at least, it’s hard to imagine him going anywhere but up.

“I just feel like I'm so scatterbrained all the time,” Los Angeles artist Kyle Walker says of his creative direction in the studio.



“For ‘All You Need,’ for example, I was listening to Jaden Thompson and the UK sound, and getting inspired through that,” he explains. “And then for ‘Strut’ I was super into the Solid Grooves style right then, so I decided to like try and work on something like that.”





Kyle’s distinctive sound signature still manages to shine through in both of these singles. His percussion is methodical. His arrangements are inventive. It is this tightrope walk between paying homage and reinventing the wheel that has landed him on key tech house labels like Toolroom and Glasgow Underground.



Once upon a time, though, house music fell far outside Kyle Walker’s creative musings. He first started dabbling in music production at age 13, eventually learning his way around FL Studio (which remains his DAW of choice to this day).



Skrillex was one of the first artists who inspired him to pursue electronic music; some of Kyle’s earliest productions remain uploaded to SoundCloud under a dubstep moniker he refuses to disclose. Then, he heard Disclosure’s Settle. Still his favorite house album to this day, the 2013 effort rerouted his creative course and destined him for a career in the time-tested genre.



Three years later, Kyle Walker’s tech house single “Claude VonDeeper”—a reference to Dirtybird boss Claude VonStroke—was selected as one of one of the winners of Insomniac’s 2016 Discovery Project. This landed him on stages at some of the West Coast promotional juggernaut’s landmark events, where he honed his craft as a DJ.





Another significant step up came with his first release on Jauz’s Bite This! label: a collaboration with LondonBridge titled “Infection.” "I forget where I first met Sam, but I just started emailing him music," Kyle says. "I emailed a lot of people, actually; I think I emailed damn near 50 to 100 people my music that was coming out. Sam was generous and nice enough to actually check it out. He had an ear for it, I guess, and really liked it. He helped put me onto one of my first festival plays and was always really awesome with feedback. Then, he was starting his Bite This! label, and he wanted me to be one of the first dudes on it—which I was happy to do."



He followed it up with “Panic” via Insomniac’s In / Rotation imprint. “That helped put me on the lineup of events like Nocturnal Wonderland,” he says, “which got me in front of a lot of people.”



The COVID pandemic could have derailed Kyle’s momentum—it signaled an abrupt halt for nightlife at large, after all. It was during this time off that he instead doubled down on music production. In the end, he came out better for it.



“I was working at the time in the pharmacy at CVS and at Starbucks as well as doing Postmates,” he says. “Then I'd come home and work on music all night, and then I’d go back and repeat the cycle.”



Kyle describes this as a time in which he was able to “reset my production brain” and deliver music that wasn’t totally dancefloor centric. "I sat down to write songs that weren't totally club driven, because clubs weren't around," he says. "So I worked on the melodic side of production and really figured out how to write a song as a whole—not just a club track or a DJ tool—like, actual songs."

In August 2021, shortly after nightlife resumed, he released the three-track EP Zilla on Lee Foss’ Repopulate Mars record label. This cosign put him on the radar of underground house music tastemakers.





Kyle Walker’s early releases on Bite This! and Dim Mak Records don’t appear to have pigeonholed him as an EDM artist in the eyes of labels like Toolroom and Glasgow Underground. “I feel like there should have been [a stigma], but there never was, I don't know why,” he says. I don't know what I did to pivot around the EDM label—which there's nothing wrong with; there's a bunch of great EDM—but for some reason, I never was. I was always kind of like, underground.”



"It's definitely something I didn't see ever happening," he says. It's so weird that I started way, way back making dubstep and then switching then to bass house and now I'm into the more techy style of house. Even when I was working on music like that, I always saw these labels releasing such cool like house music, but I never really thought getting on these labels would ever be something that I would do. But now here we are. So I guess if you just keep working at it, it’s eventually gonna happen."


As far as house music itself is concerned, Kyle suspects that the genre is “definitely headed to the top 40 charts.” If he’s right, it’s as good a time as any for a producer such as himself to emerge as a fixture of the worldwide house community.

At age 17, Deeper Purpose had resigned himself to a lifetime of working on a farm with his grandfather. That all changed after his first visit to Croydon, South London nightclub Tiger Tiger, near where he grew up.



“I was underage, and I borrowed one of my friends’ IDs to go to the club,” he says. “I spent the whole night standing next to the DJ booth just watching the DJ. We became friends and I went down every single week after that. He taught me how to DJ, and then farming sort of went out the window. I was like, ‘Sorry granddad, not gonna work on the farm anymore.’”





On the other end of the roller coaster ride that often accompanies such career decisions, Deeper Purpose (real name Stephen Galloway) is enjoying a surge of international popularity. After making a name for himself while holding long residencies at well-known British clubs like Egg London and XOYO, he’s become a familiar face at US festivals like CRSSD and EDC Las Vegas.





“I sort of knew I had a following in the States but I didn't realize to what extent people were going to like receive me as a UK artist,” he says. “I've just been blown away.”



Stephen suspects it was his introduction to DJing at Tiger Tiger, where he landed his first residency, that set him up for success down the road. “That was playing open format stuff,” he recalls, “so it was across the board from R&B, hip-hop, garage, dubstep, and drum and bass. That's where I learned how to play in the clubs, basically, every week.”



While he was holding down this residency, a misadventure curiously led him to his next big opportunity. One night after his set, he accompanied some friends to Egg London. He handed a bag of disposable earplugs to a friend—and the next thing he knew, he was being escorted off the dancefloor.



“I got grabbed by members security, and taken upstairs into the office and searched because they thought I had narcotics on me,” he says. “They searched me and found nothing. The manager said, ‘I’m so sorry I’ve ruined your night, how can I repay you?’ I was like, ‘Well, you can give me a set.’”





That one-off gig dovetailed into Deeper Purpose regularly hosting a room at the club, and eventually into playing direct support for touring DJs. "He gave me a set in one of the rooms upstairs, an unpaid gig in the third room," he says. He gave me a good set time to be fair; it was 2:00am to 4:00am. Right when I got on, there was like no one in the room. By the end of my set, the room was packed."



"Afterward, he said, 'You’ve done really well tonight; let's speak about doing some future stuff.' From there I started hosting the room, so I would get to program the room the whole night, pick my own DJs, and sell tickets. I sold tickets for two years, building my way up through the club. I ended up getting to host room two, the bigger room of like 500-600 people, and then from then on, I got asked to then be the main support act for a lot of the big nights there."



Deeper Purpose began learning to produce music, and by 2017 he was releasing tracks. By the time he released “Safari” the following year, he had dialed in his creative process. Then, he met Lee Foss when the Chicago DJ and producer performed at Egg, which would end up signaling a turning point.





The first tracks Stephen sent weren’t an ideal fit for Lee’s Repopulate Mars imprint. “But he was like, ‘Keep sending me stuff,’” says Stephen. He wrote “Underground” and “Manipulation” over the next couple of days, and Lee asked him to let him test them out at gigs over the weekend before making his decision. By Saturday he had already confirmed it: Deeper Purpose had landed his debut on Repopulate Mars.





As he spreads his wings as an artist, Deeper Purpose is more interested in applying his natural aptitude for songwriting to his upcoming music. “I’m trying to move towards the middle ground between what could work in the club, and what you can listen to it at home, or in your car,” he says. “I've always I've loved songs. I love music that tells a story.”



"I feel there's a lot of tracks out there that are very good but get forgotten about. They've got a two-week lifespan after their release," he says. "I've tried to think about how to create music that's got longevity. I want you to discover a track of mine in four years, and it still works. It stands the test of time and has a longer lifespan than the two weeks that I pushed it on Beatport or Spotify. I just try to base my stuff around ideas that aren't gonna be forgotten about."





This change of scenery is a far cry from his humble beginnings as an open-format DJ in Croydon. With that being said, it is by no means the end. Deeper Purpose is only starting to make his mark on house music, and a long path forward lies ahead.

Between performing globally, releasing on labels like Paco Osuna’s Mindshake Records, and running Woodlands Studio back home, UK talent Iglesias has built quite a brand for himself. All the while, he’s remained dedicated to artistic integrity and put the music above all else.





In case titles like “Rudiment” and “Dance To My Drums” don’t make it obvious enough, percussion lies the core of Iglesias’ creative philosophy. Samples of live drums often form the foundation of his tracks, invigorating them with an organic warmth that resonates subliminally on the dance floor.



"For me, it's all about the groove. It just has to have that," Iglesias says. "A lot stems from what the percussion does. It doesn't have to be over-the-top crazy, it just has to have really cool calls and responses happening throughout for a nice progression. You don't ever listen to a band with just a bass guitarist and a lead singer. You have to have some drums in there to hold it all together.





Iglesias arrived at these conclusions largely on his own. “Most [dance music artists] have a cool story about how their dad’s got a really crazy disco record collection and they got introduced that way,” he says. “I wasn't really into it when I was a kid.”



Iglesias was born to a Spanish father and an English mother. His earliest musical influences came from outside his family, however. “from the beginning, it's always been punk,” he says. “It's always been rock. The rock side of it influenced the way my music is today.”



He first took up DJing and organizing events. "I used to run some parties in the south, and it got to a point when I was booking a lot of artists—wAFF, Steve Lawler, people I looked up to," Iglesias recalls. "I thought, "Why am I paying these people so much money? How are they different from me? We both DJ, what's what's the difference here?' And the key difference was they made great music, and I didn't make anything at all. So that's what led me into making music."







After learning to produce music later in his career, Iglesias found himself completely infatuated with the process. “I became completely obsessed with it; I would have rather made music on the weekend than DJ in the club,” he says. “For most people, it's the other way around.”



After a couple of years of releasing music, Iglesias struck a chord with his 2018 remix of “Real Thing” by Cloonee. Up to that point, he had hesitated to play any of his music in his sets. “Then I started seeing videos of Marco Carola playing it,” he says. “I thought, ‘Oh, I should probably play this song as well.’ I'd never even played it before. So that was like a pinnacle moment in that I started believing in my own music. If you're making music, play it as well. Don't be embarrassed to play it.”



Another release that marked a turning point and gave him confidence in his style was 2019’s “Subdue.” Before that release, he recalls sending demos to Manchester duo SOLARDO for months and never hearing anything back. “I went up to James and said, ‘Dude, just listen to this song, I know you're gonna like it,’” he says. “And he got on his laptop and signed it on the spot. That was another moment that made me keep pushing. It doesn't matter what people say, if people think your music shit or whatever. Just keep pushing, and someone's going to open up the door for you.”



Since 2018, Iglesias has also run Woodlands Studio, a venture in which he offers mixing, mastering, and production classes. 



"It actually started when I was living at home with my parents," he says. I was working in my studio, as in my bedroom, and it was pissing them off a lot. They offered to do something together, so we both went halves on a studio. We took the roof of their separate garage and went halves on it, so now when I go to the studio, I'm actually commuting back to my childhood home from where I now live 15 minutes away."



This extra dimension of his career equipped him to weather the rough waters of the COVID crisis as restrictions prevented performers around the world from gigging. Artists like Latmun and wAFF have given masterclasses on the platform, which offers discounts to students in developing countries.







2021 saw Woodlands Studio expand to include a record label called Woodlands Records. Rather than run a straightforward artist imprint and only sign music that closely aligns with his own sound signature, Iglesias gives a platform to tracks from across the electronic music spectrum. One of Woodlands’ first releases was Nicolò Bonelli’s Pure, Clean & Vegetarian EP, whose two tracks fell somewhere on the spectrum between breakbeat and minimal house.



Iglesias channels the inspiring, confidence-boosting moments of his career by empowering the artists with whom he now works. "I tell them, 'Just go with what you're doing," he says. "People are trying to copy other people. That's not going to get you anywhere. I always try to ask, 'Who are you influenced by? What type of music are you influenced by?' And it doesn't necessarily have to be house or electronic—like how I am with Good Charlotte, for instance. I like the drummer. I like the snares from there. So put that in your own song—that's what I've tried to teach people. I obviously give them techniques, but I remind them not to give a shit what everyone else is doing. Because if someone is already doing it, it's already been done."



With a busier tour schedule than ever before, Iglesias is now capable of showcasing his authentic brand of electronic music on stages across the globe. Not only that, but the brand he’s built for himself will allow him to bring his friends and collaborators along with him.

UK-born producer, DJ, and radio presenter Melle Brown’s music is as soulful as her lively personality. Brilliant and brimming with positivity, she’s a singular artist and a lanternlight for young women and Black creators. Thanks to her genre-melding style that fuses the influence of her veteran raver parents with a love for neo-soul and jazz, she is swimming in industry accolades from the likes of Diplo, Pete Tong, Gorgon City, and Danny Howard. And beyond her music, she’s opened doors for other young creators with Reprezent Radio and Mellody Agency.


Since Melle was a child, music has constantly surrounded her. Her grandfather had an extensive vinyl collection full of groundbreaking artists within various genres. Her fondest memory of his music collection was listening to the astounding selection of iconic Black artists who shaped music history. Her parents were early 2000s London ravers who would play CDs given out at those fabled late-night soirées whenever they took her out on road trips. She was initiated into the scene long before she stepped foot into her first rave in her early 20s.


“My family was always playing music in the background no matter where we were or what we were doing. They played so many different genres. Everything from neo-soul to house to jazz and more,” she remembers. “There was no escape from it. It was loud, and it was there, and it just became a part of me.”


Growing up, she considered herself shy despite her innate, driving desire to perform and express herself through art. Melle was involved in everything from theatre to singing lessons to dance classes. However, she always found herself gravitating toward music-driven courses. Was this her initial sign?




“I’ve always loved performing and sharing art with people, but it comes with a lot of vulnerability and emotion and there’s something really beautiful in being able to let go in that moment and share that art with the world. Making something and getting to share it with the world is what makes this all so special.”




She realized that music was her calling, and she’s worked on both the creative and business sides of the industry. She’s done everything in her power to turn her aspirations into reality. Aside from working at a record label, she worked and volunteered at events across London as well as curating events to support women in music. This was her way in.




Realizing she wanted to pursue music production and DJing long-term was a gradual process, but there was one defining moment that convinced her to follow her dream wholeheartedly.




At university, she had to create a self-produced EP for her dissertation. On top of the sound design and production aspect of curating the EP titled Blossom, she collaborated with other artists, designed the artwork, created a release plan, and pitched it to labels. Despite her initial lack of experience, the process left her buzzing. And that’s how she knew this was her calling.




“I was young and hungry at this point, and it’s an element of myself that I really admire. This point in time is something that I try to hold on to. The music industry is not the easiest place to be a part of, but it’s beautiful when you have the right people surrounding you and supporting you and when you’re in it for the right reasons.”









Her love for neo-soul and jazz music continued, leading her to embrace house music’s deeper, soulful side. She became enamored with those hypnotic rhythms and stirring chords that truly make you feel something deep within. Eventually, she gravitated to UK garage, jungle, and dub soundscapes. Then one day, she realized, “why not intertwine all of these and turn them into something that’s my own?”




After gaining the tremendously sincere support her debut EP release on SoundCloud earned her, she recognized the scene’s strong sense of community is what truly kept her going. This is where the concept of Reprezent Radio emerged.




She created Reprezent to open connections with other brilliant, like-minded people in the industry and showcase the beauty of deep and soulful house music on a biweekly basis. Thanks to Reprezent, she landed her first gig in Hackney and invited the renowned Elkka from Femme Culture as a guest on the show.




Elkka took the lead and curated an all-female lineup of powerful and talented women. Her vision of supporting these fabulous, up-and-coming artists inspired Melle so much that she decided to open the Mellody Agency, a platform supporting flourishing artists through radio plugging. Through these two forward-looking platforms, she aspires to revolutionize how fresh artists are introduced to the dance music community.









Melle Brown's rise in the UK music scene has catapulted her sound into the hearts of thousands of house music lovers across the globe, including some certified legends. In August 2022, she released a remix of Diplo and WhoMadeWho’s “Make you Happy.” Higher Ground reached out to her after becoming enamored with “Feel About You,” and asked if she’d be up to do a remix for one of Diplo’s tracks on the label. Realizing that she was about to take on this remix project alongside artists to whom she looked up—like HoneyLuv and Purple Disco Machine—felt surreal.




Melle Brown has evolved both artistically and personally throughout her music career. Her uncanny creativity consists of many distinct layers. She impeccably merges music production’s vulnerable, emotional elements with the fun, playful elements of dance music. As a result, her music is both eclectic and universal.




“I love the fact that you can start off a music project with a blank screen and there’s nothing there, and then over time, your emotions and how you’re feeling at the time kind of seep into the musicality of the piece," she says. "Then, all of a sudden, after an hour or two you’ve got a sick track with lively notes. Music is such an expressive tool and that’s why it’s stuck with me. It’s my way of expressing myself to the rest of the world and I wouldn’t have it any other way. I’m really excited to continue to blend genres and not be afraid to showcase the real me to the world.”

Talk to anyone in the San Francisco house music scene and they’re bound to know the name Miss Dre. In recent years her sphere of influence has grown much bigger than the Bay Area, however.



Her steady climb has landed songs of hers like “Give It To Ya” and “Something Special” on key house labels such as Psycho Disco and Farris Wheel, respectively. A prolific vocalist, she also sings on dance tracks—perhaps most notably Niles Shepard’s Beatport #1 “Follow Me” via Slothacid. Her tour schedule as a DJ has grown in step with her recordings, taking her to cities across the US. Miss Dre is a house music triple threat, and she’s just getting started.

Singing was her first musical pursuit, one she started exploring all the way back in elementary school. Miss Dre, whose real name is Drea Kaplan, picked up guitar soon after and dabbled in everything from R&B to punk rock.



By the time she was a teenager, bass music found its way into her musical awareness. Then, in 2014, she attended her first music festival: Northern Nights. It was there that she witnessed a DJ set by Dirtybird sweetheart Justin Martin, who was still soaring off the success of his debut artist album, Ghettos & Gardens. Experiencing his eclectic sound signature in a live setting opened her mind to the possibilities of house.



“His house music was still kind of bassy, you know?” she says. “Since sonically it was bassy, it was easy for me to get into.”



Buzzing with inspiration, Miss Dre took it upon herself to learn how to produce music. She didn’t perfect her creative process overnight, though. “When I turned 20, I got my first DAW, Logic,” she says. “I messed with that for two years—it was honestly not very logical to me. I then moved to Ableton, and it was way easier.”

After two more years of honing her craft, Miss Dre produced a track she deemed worthy of calling her debut release. “Down Like Me” came out in 2018, and while she recalls feeling “a lot of frustration” while working on the track, it gave her the jumping off point she needed.



“That was the first track I ever released, after I’d made, like, 100 tracks,” she says. “It was probably just daunting for me releasing my first track, like it was a big deal because I wanted people to perceive me as a good producer. You look back in retrospect, and you just need to get your first track out. It’s going to set you off, and you’re going to make 1,000 tracks after that one.”



Miss Dre did indeed write many more tracks after that first release. Slowly but surely, she climbed the label ladder. "Sometimes you have big intentions, and then some record labels are like 'No, it's not for us,' and you get 20 more nos and wonder, 'Oh, dang, is this track gonna get picked up?'" she says. "And then finally, it gets picked up by one that's way bigger who you didn't expect to pick it up, and you're just like, 'Oh my God!'"



On the other side of that long journey, Miss Dre has grown much more confident in her path. She says that tracks like “Technocality,” her second single chosen by house tastemaker Gene Farris for release on his Farris Wheel imprint, practically write themselves. Sometimes, she says she’ll even hear a project’s tones play back on her speakers and intuitively know which label will pick it up.





This uncanny sort of kismet has become a common theme of Miss Dre’s rise. Justin Martin, who first whetted her appetite for house music eight years ago, now frequently supports her music and requests that venues book her to open for him. As if things couldn’t come any more full circle, he even enlisted her to reimagine “Lezgo” for a Ghettos & Gardens 10-year anniversary remix pack.





"Synchronicity and magic have played a big role in how I got integrated in this industry," Miss Dre says. "I met [Justin's] girlfriend, like, three years ago, and I didn't even know it was his girlfriend. We just met at housie and clicked, and then she started supporting me. We became good friends, and then he came to a show of mine—and he's just so incredible. He's so nice, so humble, and just a sweetheart. He supports a lot of younger," green artists.



There’s no denying that Miss Dre is making a long-lasting mark on house music. She’s not done, either—not by a long shot. Stay on the lookout for more from this emerging DJ-producer-singer-songwriter.

No matter the pursuit, one big break can change your life. One book published, one catch made, or one job acquired, and your life can change in a second.


“I’ve been doing music for so long, and I always had this feeling that I needed to somehow turn the universe and get it on my side. I always knew I’m working hard, I have musical talent, at least that’s what I like to believe,” Maurits Westveen laughs.


“This is my passion, and it just always felt like it wasn’t really organic yet," he continues. "I really had to struggle to get the right numbers and hit the right spots. Before it was like I was in a dark room going around with a small flashlight, and now it’s like I turned all the lights on in the place.”





For Maurits, that light switch, that life-changing moment, came when he officially released his debut single as Mau P, “Drugs From Amsterdam.” Within one month of official release, the ground-shaking tech house tune racked up tens of millions of streams, elevating the name Mau P from hungry newcomer to in-demand breakout artist.


One might wonder, can someone who’s only released a single track have that much time and effort invested in their craft? Of course, the answer could be a resounding “yes” for anyone with a single release, but Mau P is not some random garage band producer who got lucky or paid for big branding. On the contrary, he had been a force in dance music for the better part of a decade under the alias Maurice West.


As Maurice West, Westveen explored every corner of his first love in dance music: big room house. This love started in his formative years in his hometown of Amsterdam.


“When I was fourteen dance music was so big, [it was] the biggest genre in the world,” Maurits recalls.


“I think I got into dance music when the Tomorrowland and Ultra after movies were the thing. You were cool if you knew about the after-movies. During high school, we were watching the after movies like, ‘Oh yeah we should go one day when we turn 18.’”



But then he stops and fondly remembers, “No, I think I even got into dance music before that when Swedish House Mafia used to do the compilation albums. They still made stuff that sounded like early progressive house like ‘Leave The World Behind,’ and those kinds of tracks. That was one of the first songs that really gave me that feeling like, ‘What is this euphoria that comes from this three-minute song?’ I feel like ‘Leave The World Behind’ was still simple, it has the vocal, the piano, the big drop, but it sounded to me like if I spent some time, I could make something similar. Of course, I was wrong. Making music is so hard with mixing and everything.”


That motivation proved unwavering. At fourteen, Maurits spent a year learning the ins and outs of the sounds that inspired him. Fueled by a fascination with boundary-breaking sounds and pipedreams of dance music’s biggest stages, Maurits poured himself into producing.


“It took me a year to make a song that I thought of myself. It was just like how do I make this sound like Wolfgang Gartner has? I was a big Wolfgang Gartner, Madeon, Porter Robinson fan.”


Mauritz diligently worked, and his unrelenting pursuit began to bear fruit in time. Collaborations and sign-offs from industry leaders like Hardwell, W&W, and KSHMR affirmed that the young up-and-comer was indeed on the right track. He even found himself making those festival pipe dreams a reality while playing the main stages of Tomorrowland and Ultra. 

He thinks back the sounds that brought him there, saying, “I was always making big room because that was the music I really love to produce. For me it always had this rave feel to it, or I always tried to incorporate like '90s kind of stuff or acid kind of stuff.”



But as Maurits matured through his teens to his 20s, his taste in music began to evolve.


“At the end of high school, I was into techno as well. That was just the cool thing to do in Holland,” he shares. “That’s the first kind of festival I went to when I was 17 or 18 in Holland, like Awakenings. It was more techno, and then after it was more housey. So that’s what all of my friends like, and what everyone in Holland liked.”


As the big room sounds of Maurice West continued to grow publicly, Maurits grew his library privately. Finally, when COVID halted live shows, the opportunity to further explore these developing tastes presented itself.


“When it was allowed again, there were all these house parties, there weren’t really organized club or festival parties yet. It was me and my friends playing house music, and it was actually people that I taught how to DJ,” Westveen reveals.


“Over the years they became better than me because they play all these clubs in Amsterdam where they just have to entertain the people that go to the club and make them stay the longest and buy drinks. And I’m just put in front of a crowd [at festivals], you play one hour, play all your Maurice West tracks, then you’re done… The student became the teacher,” he laughs.



“Now I’ve learned a lot from them and I found a new love for DJing because it’s a different approach.”


Armed with a new outlook on music, Mauritz took this new approach and new energy into the studio.


“I love the big room sound, but at one point I just didn’t feel like I could contribute anything new to the sound in some way,” he admits.


“I used to always be able to figure out the puzzle and be like hey this is new, this is fresh, this is something new for the whole genre, at least there’s one thing in this song that’s going to be pushing boundaries and pushing the culture forward in some way. So then I started producing deeper stuff.”


Maurits was following his heart, following the sounds that spoke to him and captured his interest. But as COVID restrictions were lifted and live shows returned, a chasm began to form.


“I was doing shows as Maurice West but had found a new love for playing house and techno. So people were booking me still for Maurice West, and when I’d show up I was just playing really underground stuff,” he chuckles.


“People were feeling the vibe, but it was difficult for promoters to pinpoint, ‘Hey we’re booking this, but this is what we’re getting.’”


Mauritz needed to make a decision for the sake of his career. Would he continue with Maurice West and struggle through rebranding his first love, the product of years of hard-fought trial and error? Or would he start anew and launch a new chapter in his up-and-coming story? After careful consideration, Mau P was born.



Since then, Maurits hasn’t looked back. His first release under the new alias was an undeniable home run that instantly put him on the radar of every major house and techno artist in the game. But he remains grateful for the breadth of experience that led him to this new chapter, for he might not be here without it.


“A lot of the way I used to do things, I had to rewire it," he says. "But also there’s this power that I have, this way of doing it in my brain that’s different from the way everyone else is doing it. I’ve spent years writing songs, coming up with hooks, I’ve tried pop music, and before that EDM, and it’s all of that together that makes “Drugs Of Amsterdam” work the way it does. Now I feel like the stuff I used to do in big room is also incorporated in the house stuff that I do.”


It takes guts to pursue a music career. It takes even more to risk an established music career to launch a new one under a new project. But as the son of a jazz saxophonist, arranger father, and a jazz singer mother, Maurits always knew his path would lead back to music.


“The house that I grew up in is actually the house that I’m in now, and the whole ground floor is a recording studio," he says. "So from the time I was able to walk I was able to go downstairs and play on the drums, piano, whatever I wanted.” A music lover’s dream.


“It was always in the back of my mind that if I don’t know what I want to be later on in life, I’ll fall back on music," he says. "I’ve never felt like I needed a backup out of music. Music is a risk because there’s no college for it that guarantees you a job. But I feel like if you learn this skill set of producing and you have your all-around tools of trade or skills, you can sell anything. You can produce, you can make music for commercials, you can even do music scores. If you know how to make sounds or arrange them, or if you know how to make a song, you could go on for years.”


Hearing this, it becomes clear we are not just talking to a dance music producer. Maurits Westveen is a purveyor of sound, demonstrating that the only limits that exist within sonic stimulation are the ones we place upon ourselves.

We do not often describe someone as a true savant and master of their craft. Henrik Schwarz, however, deserves these titles. For two decades, Schwarz’s dedication to only performing live has made him a member of a small set of dance music producers who prefer dancefloor experiences that mirror the energy of creating in the studio.




The internationally renowned producer and composer has a truly eclectic style with songs that range from melodic house, Afro house, and deep house to classical, all tinged with jazz samples to create a soothing and uplifting musical journey.




You perform live and have spoken before about the process that led to this. For those with less knowledge of music production and performance, can you give us some insight into how Ableton Live changed the game?




Yes, Ableton changed everything, I think, for three reasons. First, it didn’t crash. Second, and maybe most important, Ableton introduced “warped” audio. That means you could adjust the speed, rhythm, or pitch of an audio file or sample separately in real time! Wow! That wasn’t possible before, and that changed everything because now you were able to blend all kinds of music very easily. Very interesting and new from an artistic and creative perspective.




Third, they changed the production perspective from horizontal and arrangement based to vertical and based on overlapping loops. Very different than before. Over the years, they added MIDI and Max, a programming language, and they added many new ideas, but the groundbreaking three elements are still most important to me.









Over the last 20 years, your sound has developed and matured. That said, one could easily hear what influenced you at any point in your discography. For example, some of your early EPs, like Welcome to Sunday Music and Chicago, have clear jazz sounds. Can you tell us about that time in your career and what you remember from producing music back then?




Everything was new back then. And I found it super exciting. I followed the idea of combining all kinds of “traditional” music, like jazz, soul, and especially African music, with computers and digital elements. I found the combination of artificial elements and human elements would enhance both sides and make them stronger. “Digital” was breaking into our human world, revolutionizing all aspects. Music was and is a good language to discuss all that without words.




How different was the process of music production in 2003?




Not so different from my perspective. I was literally one of the early bedroom producers in 2003. My studio has grown, but still, the process is similar. What has changed is the level of innovation in music technology. From 2003-2013 you would get a radically new software synth or new music software once a month. So it was easy to get inspired by trying out new things. That has changed. In the past few years, there have not been very many new ideas in this field from my perspective. Many music software companies are copying the same old gear, and hardware companies are also copying the same old gear. Only a few of them reach the level of greatness and magic of the originals. I think that is a problem. We need some fresh ideas on the technology side, but there is hope with new AI-based concepts. A lot is not really cool and doesn’t sound good, but some of what I have seen and tested might become a future revolution in music again. I am looking forward to that.




You have often spoken about the influence African house music has had on your career. African sounds get less credit than deserved for their outsized influence on electronic music. What has your personal experience been with these genres?




That, sadly, has been very true for many years. There's not enough credit for African artists. I have always felt a very strong connection and respect. I don’t know where it comes from, but I believe we are all connected. African music has always touched me most at the inner core of who and what I am. I am very happy to see the rise of African artists all over the place now, finally, and I think this is only the beginning.







2006 you dropped “Where We At” with Dixon, Âme, and Derrick Carter. How did you all connect, and do you still have a relationship with those guys?




Oh yes, that was fun! I met Dixon in London on a bus to the airport back home to Berlin. We started talking and decided to meet in the studio during the next couple of days to try a few things out. Things developed pretty easily as we found we had a great common ground. Steffen had just founded Innervisions, and at some point, he suggested I should also meet the two guys from Karlsruhe who ran the label with him. That was Frank and Kristian from Âme. So shortly after, we became a production team for “Where We At.” We loved the same music, food, and shoes. Steffen has an incredible antenna for what works and what can be left out. Frank is a fantastic musician, and I don’t need many words to describe this. Kristian has incredible music knowledge and ideas from outside the music world. We started traveling, playing, and releasing music together and still have a strong connection. They are the ones I still trust to test new ideas.









You have spoken about your desire to move away from the computer and about MIDI controllers not being built to your needs. You’ve also expressed the desire to create your own controllers. What are you doing to accomplish this?




For a long time, the medium (the computer) had a too strong impact on the message (the music). Also, the interface (mouse) is not musical. My quest has always been to turn the computer into an instrument. And that means it would react very fast and intuitive, and playful. So I don’t want to turn away from the computer. I want it to disappear in the process, just like a piano or a guitar does. Around 2017, I had the feeling computers became fast enough to handle everything in real-time and not slow down the process of performing. There are many MIDI Controllers out there, but not many of them do exactly what I want. I don’t want to be the slave of the machine, and I want to play my way, so I decided to build my own controllers.




Does creating a custom piece dramatically alter how you play, or simply make the performance more cohesive?




Absolutely yes. A few years ago, I built my own drum machine out of a Native Instruments Traktor Kontrol F1 MIDI controller. This has changed my performance and the way I play drastically. I still add new features all the time. During the last two years, I have developed custom touchscreen MIDI controllers to remote control Ableton. I've used them in my shows for a few months now and it is great. Sometimes my computer goes into screen saver mode now during the show, as I don’t touch it anymore. This is a dream come true, and it is only the beginning. With Arduino as a cheap development platform, anyone can do this now.




If you could only keep one synth or piece of equipment from your studio, what would it be?




It would be my piano, for sure. I can’t play well, but this is still the most beautiful instrument for me. If you are asking for a synth, I maybe would keep my OP-1.







You played for Cercle in 2019, performing a live set at the Cathédrale de Chartres in France. The brand is truly legendary, and your set was nothing short of spectacular. How different is your preparation for that kind of event versus a regular show? What was your reaction when they approached you to do it? How far out is the event planned?




What they do and how they do it is impressing me. It is a whole new perspective on our music, a whole new context. I know they prepare a lot to make those shows possible, and it gets crazier every time. For me, our electronic music set is a global perspective. It connects people all over the planet. Different languages and cultures connect and exchange. I find that very important for our future as human beings. We have to connect to solve problems. What electronic music does on an acoustic level, Cercle does on a visual level. They show us all those incredibly beautiful places all around the world. The music is the vehicle. From my perspective as a performer, I didn’t prepare very differently than normal. The music is ready to be played, and I react to my audience and the situation. I try to feel the vibe, send a spark, and hopefully get a storm back.






You recently played for Cityfox’s closing party at the Brooklyn Mirage. It’s a truly special event and brand that has made a home for itself in NYC. What do you think of the brand and what has your experience been playing their events over the years?




Some places just do more than others. On my first visit years ago, I remember I couldn’t believe what they had set up there. It is sensational and one of the most impressive venues I have seen. They put so much focus on all kinds of details, and I know how much work this is. So I deeply respect everyone who is part of this production. The infrastructure is just one half of the whole thing. The second half is the people who run it and fill that space with a positive vibe. Everybody I met there is so lovely and professional at the same time. You don’t find that on that level all the time.




What is next for you after so much accomplishment? Further development in the live show? An album?




There is always a little bit too much going on. I am happy about that. I am releasing a new album with Bugge Wesseltoft. During the two years at home, I have written a lot of new music that needs to be finished. After nearly two years of not traveling and playing, I felt very confused and wasn’t able to finish much new material. The summer has been good, so I am full of energy again to work on things. An album is in the works. With a great team, I have developed a hardware unit for musicians that will come out in 2023. And, of course, some new singles will come out as well.

Nearly a decade into a music career that has taken her to stages across the globe, LOVRA has decided it’s time for a change in direction.



Born outside Frankfurt and based in Berlin, the DJ and producer is perhaps best known for radio-friendly, ‘80s and ‘90s-inspired house tracks like “My Beat” and “Spinnin'” featuring Justin Jesso. Recently, though, she’s started leaning into a grittier style of tech house. If you ask her, it better reflects where she’s from and where she’s going.





“I play shows here in Berlin,” LOVRA says. “Berlin is a big techno city, as you know, so I play techno here. I really feel a connection to the higher BPMs but I also love my vocals, and that’s why for me, It comes straight from my heart to connect the two with tech house.”





This isn’t the most unexpected development in her career by a long shot. LOVRA, whose real name is Laura Lungen, has been curating music since childhood, when she recorded mixes on cassette tapes—and later, CDs—for her friends. These evolved into weekly playlists that she published on YouTube. 



Before long, the audience grew much bigger than her friend group. Her channel quickly and organically amassed a staggering 2.5 million followers.



“I woke up one day and realized there were no girls on my channel,” she recalls. “Literally no girls, just guys. I decided I wanted to learn how to produce and DJ. This is how I started my project, LOVRA!”



To her point, when she first started uploading her own music under the moniker, most fans assumed she was a male. Her first endeavor was a bootleg remix of “Let’s Get It On” by Marvin Gaye. She uploaded it to SoundCloud and it went viral, racking up 2 million plays in a matter of weeks.





Universal Music Group, which holds the rights to the original, stepped in and had it removed from the streaming service. They nonetheless recognized the value of LOVRA’s rendition, so they made her a deal. The remix would not only mark her debut release, but also her first on a major label. The catch? She was not entitled to any of the earnings it generated.



2014 saw LOVRA deliver “Love Sensation,” her debut solo single, on the now-defunct German record label Emma. “It’s still one of my strongest tracks,” she says. “This year when I was in Ibiza, I was eating ice cream at an ice cream shop in the city and they were still listening to it in there!”





Shortly after the release, Ministry of Sound approached her on SoundCloud. She became a resident DJ for the iconic London club-turned-dance music mega-brand and toured across the globe to perform at their events.



During a visit to Ibiza in 2017, she met French superstar DJ David Guetta at Pacha. The two were fast friends; he enlisted her to open for him regularly at Ushuaïa from 2018-2019 as well as at some of his shows around the world. 



"Of course, then, everybody was interested in LOVRA," she recalls. “'Who’s that German girl who was opening for David Guetta and is going with him on his world Tour?' Of course, it was a big thing that opened lots of doors for shows around the world. I'm so grateful—it was really the time of my life to play in Ibiza for him, and for the world tour."





This career whirlwind ultimately led LOVRA to sign exclusively with Sony Music Germany and perform at festivals as big as Tomorrowland in Belgium and Parookaville in Germany.


"When you're on these kinds of stages, it feels like you're just there for a minute and then the hour is over. You're like, 'What?'" she says. "The energy and the connection with the people is indescribable. For example, at Tomorrowland people come from all over the world and wave different flags, and they're coming just to see you onstage. There are also a lot of people coming to the stage who have no clue about you. They discover your music, and then you get messages like, 'Oh, that was fantastic, and now I'm really happy that I found your music.' This is something that makes me super happy."



As was the case with many artists, the COVID pandemic gave LOVRA a chance to think critically about her career direction—and she chose to hit the reset button.



Sprinkled in alongside her usual, feelgood fare at an increasing frequency are tougher tracks like “Squid Game” and “Let’s Freak.” She’s also toying around with an even more experimental fusion. LOVRA is pairing these tech house rhythms with elements of old techno and trance hits like “Sonic Empire” by Members of Mayday and “The House Of House” by Cherry Moon Trax. The result is an entirely fresh, new sound signature.







LOVRA has parted ways with Sony, and now labels like Toolroom and Glasgow Underground have given a home to her recent tracks. It’s a brave step forward, albeit one that will enable her to engage her every whim. LOVRA’s time in the music business has taught her that you can’t trade anything for creative freedom. At this point in her journey, she has no other option but to follow her heart.



Where will that burning passion lead LOVRA in the years to come? Only time will tell. If the past is any indication, though, it looks to be a wild ride.

The word “authentic” comes up often in a conversation about music with SYREETA. It is by being her most expressive and uninhibited self that so many doors have begun to open for her, after all. Far be it from her to abandon an approach that’s clearly working.



“It really has treated me well,” SYREETA says of the time since lockdowns lifted and nightlife resumed across the globe. “I've mainly been playing in Ibiza, Italy, and Croatia, but I've literally been back and forth every other week.” She’s become a familiar face at event brands like Pyramid, Paradise, elrow, and Circoloco. It’s a far cry from where she stood only a few short years ago.





“Music has always been a huge part of my life,” she says of her upbringing. “I've always associated it with fun times.” She and her mother used to dance around the house on the weekends while doing chores. Her father used to run blues dances in Birmingham that weren’t all that different from underground raves.



SYREETA initially dreamed of becoming an athlete, running the 400-meter race for England. That all changed when she was sidelined by injuries. She underwent three operations on her knees and then suffered an Achilles tendon injury on top of that.



“I realized it was not going to go down well unless I quit while I was ahead. It was devastating because that was all I wanted to do,” she says. “So the fact that I found my career in music—because that's where I went to for my happy times, to feel better—I feel like it was just meant to be.”





She first learned to play records at a house party and soon afterward bought DJ gear so she could practice on her own time. A month later, she was invited to open the room at the grand opening of 512 London in the Dalston area of the city. More and more gigs would follow as time went by.



A major turning point came when SYREETA met BBC Radio 1 presenter Jaguar after they were both tapped to perform for Mixmag and Smirnoff’s Equalising Music initiative. "Jaguar is an absolute babe," SYREETA says. "I love her to bits."



At the time, Jaguar was hosting a show on Reprezent Radio and brought SYREETA on to deliver a guest mix. "After she invited me onto her Reprezent show, I invited her to play at a party that I was putting on, and our relationship just blossomed," SYREETA says. "We've just become closer and closer—I think I can say we are really good friends."



Two years later, Jaguar invited her to International Music Summit in Ibiza, where she attended a panel by Steven Braines and Sophia Kearney of the queer party event brand, record label, and fashion label HE.SHE.THEY. SYREETA spoke to Steven and Sophia after the talk and they hit it off immediately. 





“We were chatting for about 45 minutes and Braines invited me to HE.SHE.THEY’s party that same weekend, their first birthday at fabric,” she says. “And yeah, I got the memo and I came all HE.SHE.THEYed out—I came in chaps—and I think that that was the start of a blossoming relationship!”



HE.SHE.THEY actively champion artists from marginalized communities, taking great pride in creating safe spaces for clubbers from all walks of life. As a queer, female musician of color, this struck a deep chord with SYREETA. Before long she became a resident of the collective, performing at HE.SHE.THEY events at superclubs like Watergate in Berlin and fabric in London.





"These are clubs where I wouldn't have played at that stage in my career," SYREETA says. "So I am truly grateful to have had the opportunity."



Truly, though, SYREETA’s skills as a selector speak for themselves. She digs deep to only play records with which she connects strongly, carving out a niche defined by high-energy cuts packed to the brim with danceable grooves. As house music sees a period of renewed mainstream interest, it is this authentic and decidedly underground attitude that makes her stand out among the rest of the DJs.

UK artist East End Dubs considers himself a DJ first, and a producer second. You wouldn't guess as much if you took a look inside impressive his home studio in London, however.



On one wall are longtime staples of the East End Dubs sound like the Roland JP-8000, Roland D-10, and Korg R3. Opposite those is a Eurorack modular synthesizer console whose arc towers over everything else in the room like a tidal wave.



"I’ve caught, as I call it, the Euro bug, and I’ve just been collecting things," says East End Dubs. "I can’t stop at the moment — I love it. I love the unique sounds you can come up with, the tone and quality."



These recent additions show that East End Dubs still actively seeks out things to get excited about as an artist. Perhaps more importantly, they stand testament that he's brave enough to expand on his sound signature after more than two decades in electronic music.



East End Dubs first started DJing at school dances at only 15 or 16. He further refined his skills by playing parties while attending Richmond University. After graduating, though, a career in the IT industry occupied his focus—but that all changed when his company went under.



"When I graduated, I start working as an IT manager for a big company," East End Dubs says. "Then the company went bust and I said, ‘Okay, I'm gonna take some time out and fully focus on music.’ This has been my journey for the past 12 years, literally nonstop gigging. But, you know, I've been doing music for over 20 years now."



He didn't always play and release music as East End Dubs. "I had a couple of other projects before, and I’ve done some anonymous stuff," he explains. "I also used to DJ for a couple of major clubs in London here and there. But after all that, it took some time to basically find my identity and decide on the sound that I really enjoy."



2012 marked the launch of the East End Dubs project, and it's been a whirlwind of clubland magic ever since. In 2014, he founded a record label called Eastenderz which now counts well-known artists like Priku, Arapu, and Sidney Charles among its signees. 



Eastenderz also gives a home to music by promising up-and-comers. "We've been recently working with an artist from Argentina called Rigzz, and he seems to be ticking all the boxes right now," says East End Dubs. "He has already released two EPs on his own terms, and we're working on the third one. Rigzz is definitely up there, and I can also name another guy from New York called LaRosa. He’s also released quite a few EPs and is going to release one with us soon."



East End Dubs released the most commercially successful track of his career in 2019. Appearing on an EP of its namesake that came out on FUSE London, "bRave" has amassed more than 1.5 million streams on Spotify alone.



For the most part, though, East End Dubs produces music to play exclusively in his own DJ sets. "To be honest, I think the milestone tracks have been the ones that I didn’t release, or only released limited white label copies," he says. "I don't specifically enjoy releasing music. I make lots of music all the time, but I don't like putting it out. I basically just try to keep it all for myself, and play it out myself. That's what makes my sets quite exclusive in a way, because I play my own music most of the time."



When you consider this approach, it makes perfect sense that East End Dubs would still identify as a DJ first in spite of his obvious skills as a producer. There is nonetheless good reason for house music fans to anticipate his upcoming recorded music releases.



"The stuff that I'm producing right now is quite different from what I actually play, and what I’ve released so far," he proclaims. He says his latest music is "quite emotional" and "heavy on the synths"—undoubtedly a result of his more recent foray into the world of modular synthesis.



As far as house music as a whole is concerned, East End Dubs is optimistic that recent commercial interest in the genre could lead new fans to the underground. "I don't mind it," he says. "I read a couple of articles about that, and recently, people have said, ‘Oh, this is going to bring uneducated people into the scene.’ For me, I think people can start with Beyoncé or Drake and then fall in love with house music. It's a beautiful thing. Why not? You know, it's something that we share together. So I don't mind people getting to know our music that way and then going a little more underground to discover us."



What's to say that several more years into his career, East End Dubs won't embark on an entirely new creative direction? Only time will tell how his sound signature evolves. The world of house music will simply have to wait and see.

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