Jonathan Kaspar—purveyor of patient production, sultan of the sonic journey. His famously extended sets provide room for the imagination to run wild, using strategic layering and sound design to guide listeners through new spaces. Born in Bonn, Germany, birthplace of Beethoven, one might think Jonathan’s path to music would start with formal lessons or frequenting music performances. But it was on the basketball court where Kaspar first found his love of music and music sharing.


“I was playing basketball really heavily in school… and doing it semi-professionally actually after school. The whole team was listening to R&B/hip-hop music so that was the first kind of music I got in touch with. I can remember I collected all kinds of albums back then. Having the albums was the main thing. Nas, Notorious B.I.G, 2pac, all those guys. I can remember we all exchanged albums on the team.”


Kaspar eventually crossed paths with dance music in his later teens when he attended his first electronic music party. He immediately fell in love with the music's hypnotic grooves and cyclical loops. Similar to hip-hop, electronic music was able to convey entire feelings and moods through layering and groove alone.



In 2013, Jonathan returned to the Rhine region of Germany after finishing medical school and realizing music was his true passion. He and his friend began hosting and playing parties at a club in his hometown of Bonn to make ends meet. Unfortunately, the club was later forced to shut down. While this might deter some up-and-coming DJs, Jonathan used this as an opportunity for growth. 


Gewölbe, a renowned club in the European underground scene, is located in Cologne forty-five minutes from Bonn, and had previously captured Kaspar’s interest. He inquired about relocating their previously scheduled shows to the famous location and when they accepted his request, a budding partnership was born.


“Our first night at Gewölbe was in 2014. The party was quite good, so we had the chance to do more, and it came quite naturally… Before it was always a dream to play Gewölbe and be a resident there, and I’m still proud to play there and love to play there… Also, when I finish tracks, I always imagine how it would sound and how it would work in Gewölbe… So, it has been quite helpful to me.”


This fruitful relationship with the prominent establishment gave Jonathan a place to fine-tune his sound until he was ready to make his first official release in 2015 with Upon You Records. After the inaugural release of the Tudeles EP, Jonathan’s constantly evolving sound led him to release music with labels like Pets, Crosstown Rebels, These Eyes, Objektivity, VOD, and now most notably European mainstay, Kompact. 



Trying to give a singular description of Kaspar’s sound would be nearly impossible and an overall disservice to the development of his craft. Tribal themes are found in tracks like “Maarifa” and 2017’s “Khaya” (the latter even becoming one of the most played selections throughout Ibiza). Tracks like “Paradise,” “Apart,” and “Mera,” find themselves sporting a house-driven vein while techno finds its way into recent releases like “Von Draussen” and many of Kaspar’s exceedingly deep sets. 2020’s "CHI" reached #1 in the Beatport Afro-house chart and recently, “Beton” reached #1 on the indie-dance chart. He credits this wide swath of sound to an open-minded approach to inspiration and sound.


“I find [inspiration] everywhere. Before the pandemic, I was finding it in going out and playing music and hearing music and hearing other DJs. Or [for example] I just finished a track that I was listening to, and it was already fine, but I was listening to it at a friend’s place on a high terrace and there were [ravens] flying around and I heard them screaming. I recorded them and put it on the track… and it was even better… now the track is finished with the recording of the ravens… That’s just one example but I find my inspiration everywhere. There’s never a real plan of ‘Today I'm going to do tribal stuff, or some techno stuff,’ it just happens. In the beginning of making music I was really loving percussion and drums, I still do, but [in the last] two or three years I also love to just put as rare elements as possible in the track and keep it really empty… That’s something I had to learn over the years, that when you reduce the tracks to the key elements only the strong stuff survives… the main elements have more air to breathe... Let’s see how it keeps evolving. That’s what I love about techno music—it’s always changing, always evolving.”



This devotion to sound evolution is one of the traits that led to Jonathan’s partnership with the renowned record label, Kompact. After a few years of refining his style, 2016 and 2017 saw Jonathan land two EP’s, Rantou and Supine, on Kompact sub-label, KX. However, the goal always remained to have material on the main label. 


“It took another two years,” Kaspar tells us. “Then my first release was on the yearly various artists, Total 19, and when I got the feedback of the A&R, Michael Mayer, I was jumping around," He laughs. "And that was followed by a solo EP. Track on a various artists is super super nice but having your own solo EP is the main thing.”


The release of that 2021 EP, Muster, required patience but was well worth the work according to Jonathan.


“It was quite some work actually. I sent a lot of tracks, but it took quite some time before Michael replied saying ‘Ok now we have enough material for a whole EP.’ He’s quite selective, that’s also what I love about Kompact, I love that it’s so super broad. They release more pop music, ambient, real techno bangers, house stuff, but through all of it you can somehow feel that it’s Kompact even though it’s totally different music.”



Throughout his steady rise from Kompact record store customer and dance music fan to international touring producer, Jonathan’s heart has always been focused on the music. He knows the intangible power of music to connect people with their emotions and soul. He relishes finding the perfect balance between sharing new sounds and providing an exceptional experience for those attending one of his journey-like sets. 


“In the end, we are there [to make sure] the people are having a good time. That’s what it’s about for me as a DJ,” he shares. 


His love of music has taken him a long way from first exchanging albums with his teammates, and from his very first release to his latest, the overarching feelings of positive regard have never wavered.


“The feeling is exactly the same [from] 2015 to now. Because from my point of view it’s a huge compliment when you send a track to a label that you like or admire and the people are also into it. There are [artists] who send out music to a lot of labels and some labels say yes or no, but I try to be at least very selective. I always think about where [the demo] might fit, I never just send it out because I want to be on that label, if I don’t know if the music at least fits that doesn’t make sense to me. So I really make up my mind and put three or four tracks together and think ok these [fit, and maybe this label] will want to sign and release the music and to me, that is the biggest compliment. The feeling, to be that happy, is the same. And I think it will always be the same. There’s not a lot that is beaten by this.”

Dark analog textures and sub-shifting basslines are the paints that Marie Nyx uses to paint her stark, funky, and grinding beats. The Los Angeles-born and raised artist speaks against a backdrop of hardware synths stacked high. As she carries me through a story that winds from an auspicious trip to Coachella in 2004 to her days as a raver and culminates in her creating a record label with her partner Maude Vos, it becomes clear that the path she’s on chose her as much as she chose it.

She came from a musical family—her grandfather was a pianist—and the family member that’s made the largest impact on her was her sister, who was ten years older than her.

“I had her as a musician to look up to my whole life. And I just remember her always showing me what she was into back in the day. And I think probably my most memorable moment is her taking me to see Radiohead and the Pixies at Coachella 2004.”

Marie’s first festival was a pivotal moment. Coachella in the early 00s was a far different festival. And it served as an entré into a new culture and community.

“I was always kind of influenced by a more electronic sound. I love 80s dark wave like New Order, Soft Cell, and Tears for Fears. And then in middle school, I got really into The Faint and bands like The Knife and La Roux.”

She was balancing on the cusp of dance and rock. What tipped the scale was a combination of living in Orange County, Ca just a stone's throw from the nation's largest parties. And dance music creeping closer to peak EDM.

“I was interested. I just hadn't been fully immersed yet. Until I went to my first massive, which was Nocturnal Wonderland in 2008.”

The deeper she dove, the more she realized that she preferred smaller crowds and cozier music. Her first Lightning In A Bottle rivaled her Coachella experience. It was life-changing.

“Then from LIB, I found Desert Hearts through a mutual friend that I met at Coachella." She explains. "And that was, the beginning days of Desert Hearts before they grew into what they are now. [Being] involved in that community was kind of what sparked my interest in DJing. And becoming an artist myself.”

During the pandemic, her early relationship with the Desert Hearts crew parlayed into some coveted bookings on their legendary Twitch streams.

It was a combination of her innate love for performance, her well-honed musical ear, and a lack of representation that urged her to become a DJ.

“I saw some of the lineups at some of these festivals. And I was like there's not really any women on any of these." She counts Tara Brooks as a major inspiration because, within her community, she was one of the only women pulling the large bookings. "Seeing her as one of the only females on all these lineups inspired me to be like, hey, I can probably do this as well.”

As both a producer and DJ she leaned on her community for support. And because of the organic connections, she made in years prior she has slowly but surely built a career over several years. First as a DJ than as a producer.

One of her fiercest champions and deepest inspirations is her partner and Delusional Records co-owner, Maude Vos.

“Before her and I really connected to the point of where we're at now, she was a musician I looked up to. Her as my partner and my co label owner. It's really incredible.”

They have a shared vision for the Delusional Records imprint. A record label they began together during the pandemic.

“We want push underrepresented artists and push more analog hardware artists. The main goal is to cultivate a community of people that align with our similar values. We want to be a really inclusive label…We also want to bring dance music back to its roots. Dance music is Gay. Dance music came from Black culture. So being two Queer artists that is also one of the goals we have.”

Progressive house is at the center of PROFF’s universe. The Russian DJ and producer, born Vladimir Vladimirovich Ershov, revolves his fresh sound around core dance sensibilities with organic samples balanced masterfully. 

In PROFF’s world, piano melodies patter like raindrops, and synthesized strings turn a breezy atmosphere into a chilling rush. His full-bodied percussion and silky leads can move you towards enlightenment. PROFF’s charm is in how he sustains and extends the range of natural instruments to slowly diffuse their innate emotions and conjure what he calls “magic.” 

PROFF’s latest EP Your Light evokes a familiar feeling in a new environment. His recent works have appeared on Monstercat Silk, Armada Music, and Anjunabeats, with guest mixes on A State of Trance and Group Therapy radio. Although his name is now on the same roster as EDM legends, PROFF cut his teeth over years of transition before and after the popularity of electronic subgenres rose and then plateaued. PROFF’s decades-spanning career lets us plunge into the evolution of the melodic house and trance scenes. He recounts his beginnings in the 2000s Moscow rave scene, which he describes as “raw, revolutionary and truly underground.” 

He focuses on minimalism across the sonic landscapes that he builds. After steadily releasing singles for years, he is conceptualizing a debut album. PROFF also shares greater aspirations such as creating his own soundtrack to a video game. He has dabbled in DnB and techno, but when it comes down to it, PROFF holds a beacon for house music. 

We can take comfort in PROFF’s idyllic sounds as we get over the weirdness of returning to the dancefloor. And as we await the upcoming release of “Whale Song” via Monstercat, take a deep dive with PROFF and Gray Area into the roots of organic house, and bask in what’s on the horizon. 

What do you remember from the Moscow rave scene when you began DJing in the 2000s? 

It was raw, revolutionary, and truly underground. I don't think I will ever be able to open for Above & Beyond in a real bunker somewhere in the Ural mountains. Nowadays, it's absolutely mainstream, trend following, and boring. Of course, there are some nice clubs and parties, but overall, all the main events look like rock concerts.

What are the biggest differences in the club and festival scenes today compared to back then? 

Probably, it is the fact that the revolution has ended. EDM was so fresh and bold back then, [now] is just a part of the music industry like any other genre. Both states have their own pros and cons.

Your tracks are sometimes labeled “organic house” and you seem to enjoy spending a lot of time outdoors. How do you go about including nature into your sound?

Real organic instruments have some special magic in them. All these harmonics can’t be calculated and played by synthesizers. All of the beauty that, for example, the piano does with its pedals, hammers, and strings are like nothing else. For me, “Organic” means having all these tiny details combined into that amazing feeling but keeping the record fresh and musical.

How has your production evolved over the decades? Has your process of selecting samples and creating original sounds changed? 

I'm pretty sure that my music is a projection of my own personality. I'm changing through the years, and it is absolutely fine that my approach to any aspect of production changes with me. The main rule for me has always been “less is more.” 

Your track “Dark Magic” was featured in Rocket League. How have video games influenced you and your music? 

Video games always had a huge impact on me and of course, I always paid attention to the OSTs. So I’m really proud that my music was featured in such a huge project, but my biggest dream is to make some music specifically for a video game, not license the one that was already made.

You are greatly collaborative and have a prolific library of releases across well-respected labels. What are the best pieces of production wisdom you have learned from fellow producers? 

Sometimes, as producers, we are all drowning in the beauty of tiny details, forgetting to find that one big idea. That main idea is something that will be memorable. Also, people may be having different tastes, but they always know if a musician is not sincere. Do what you really love yourself and people will feel it.

You have projected a debut album with many different moods and electronic flavors, what else can you tell us about upcoming releases? 

If we are talking about Your Light EP out on Anjunabeats, I wouldn't call it an album. It is definitely more than a regular single, but the album I want to produce will be a real journey through my vision of beauty, emotions, and different kinds of energy. Now, when I move to London, I’ll start working on it, but knowing myself, that will probably take more than a year. I’m really looking forward to “Whale Song,” my next single on Monstercat Silk, and I’ve got some nice music scheduled as well, so stay tuned!

What do you see for the future of progressive house? Where are you hoping to take audiences?

The reason I love progressive house is that it can be literally anything! melodic techno, organic house (mostly), these are all kinds of fake genres like dream house or vocal trance back in the day. It is all - progressive house and as long as it stays full of melodies, beauty, and emotions, I don't care what will be the next big thing.

Mikey Lion is a conduit of bright white light, a vibe conductor of the highest order, and a champion of positive energy and dusty funky beats. Positioned at the center of the West Coast house movement, he’s one of the founding members of the Desert Hearts crew. Alongside his brother Porkchop, childhood friend Marbs, Lee Reynolds, and Kristoff McKay, he’s created a loving community of wide-eyed dancers that believe house, techno, and love can change the world.

He embarked on his sonic journey at the age of 13. Young Mikey was a massive hip-hop head. When his parents offered to buy him any musical instrument, the DJ culture-obsessed teenager chose Technic 1200s. Undeterred by the fact that his parents didn’t think turntables were an instrument, he bought his own six months later. Mikey immersed himself in the world of turntablism and eventually proved to his parents that his decks were just as impactful and beautiful as any woodwind, piano, or stringed instrument.

“They saw how much I was obsessed with it and they saw how it could be a musical instrument. They ended up paying me back and just been my number one supporters ever since. My dad drove up to San Louis Obispo where I was going to college and surprised me for my first official gig at a bar. They were there the first time that I played Lightning In A Bottle. Now my mom does our accounting for Desert Hearts.”

When he was 17, he went to his first Coachella. His first festival was a life-changing day not just for him but for dance music culture. Coachella 2006 was a flashpoint. 

“I didn't have any idea what I was getting into," he remembers. "And the very first time that I took my very first ecstasy, which also happened to be the very first time I ever heard dance music at the debut of the Daft Punk pyramid.”

The steadfast hip-hop head was converted. “In that moment,” he explains “I'm just like, ‘Fuck hip hop this is what I want to do with my life from now on.’”

When he co-founded the Desert Hearts crew in 2012 he was several years into his journey in dance music. Attending Lightning In A Bottle and Burning Man inspired him and his crew to create something that could bring people together for the love of house and techno. The first renegade in the Mojave Desert was a near disaster. 200 attendees huddled around a campfire on the dancefloor with no sound until 6 am Saturday. And from then on things locked in. Desert Hearts has now grown to encompass a record label and a global community of thousands.

“It came from this really pure hearted place of just wanting to make the world a better place, wanting to build community wanting to show people, how they can be a part of community, how they can go back and create their own parties, their own communities themselves. And really, I think that that's, that's the stronghold foundation of our of our entire brand.”

Mikey has countless stories of Desert Hearts fam sharing how Desert Hearts has changed lives. “One of my favorite stories is this woman came up to me and Lee at Lightning In A Bottle a couple of years ago, pregnant woman, and she just grabs our hands and puts our hands on her belly. And she goes ‘this baby was conceived at Desert Hearts festival.’ I've heard about Desert Hearts changing lives countless times. But never heard of Desert Hearts, creating life.”

During the pandemic, Desert Hearts strengthened their community in an entirely unexpected way. The crew hopped on the streaming game early, and the nightly Desert Hearts streams welcomed tens of thousands of people. 

“I think the coolest thing about Twitch for us was just how amazing it was that we are able to provide this home for so many people online … It was such an unexplainable way of DJing. There's is a real deep connection that was made when I was playing music every Wednesday, It really was like, [we were] together alone. It was incredible.”

Mikey’s personal journey during the pandemic led him to reconfirm why he does what he does. After having a difficult time coping, he realigned his purpose and his place in the universe.

“I've noticed over the years that when I stray from the more spiritual path, which is trying to help people, trying to show people love, trying to just make the world a better place. When my purpose is misaligned, I think that things don't go nearly as well as they're supposed to. And so when I put out my album … I really wanted to make sure that I was completely realigning myself.”

His 2021 album For the Love is more than just a collection of psychedelic beats and basslines. It’s a declaration of love for the scene and his well-being. 

He recently released, “This Is The Beat,” a continuation of the inner work that he established with his album. Given his newfound focus and intention, writing music has become a more organic process. The song was written on a surfing trip in El Salvador. 

“The hotel that I was staying at had this million dollar studio…I ended up making that track, and basis for another track…It wasn't forced at all. I was going on vacation. And I had access to the studio, so I had some downtime in between the surf being blown out. I couldn't think of a better thing.”

Mikey’s newly aligned direction has been a source of clarity. He feels like he’s in the most comfortable space in his career. 

“I know that when I play music, I have a very positive impact on people. And I've learned how to harness my own energy to push this healing energy out. When I was first figuring this out, it was something that I was always thinking like, ‘Whoa, don't let your ego get too big there, dude.’ But then it was like, oh wait, no this is a real thing that is tangible. And I can see the effect that it's having on people. So, if you just lean into it and harness it, it's working. And oddly enough, once I've started moving myself in that newly aligned space, gigs have been better, parties been better. Everything's just been better. So that's my goal now.”

Niteplan emerged in recent years with a string of diverse releases ranging in sound from deep tech to jungle-inspired melodic breaks. The British producer quickly turned the heads of industry luminaries like Jamie Jones, Detlef, A-Trak, The Martinez Brothers, Waff, and Anja Schneider. It’s quite unheard of for someone to receive such widespread support so early on in a career. However, with releases on Solardo’s Sola imprint and a personal nod from industry icon Skream after releasing “Waiting For You” on Of Unsound Mind, it’s evident that Niteplan isn’t your average artist.

Raised in London, his parents imbued him with a wide range of music to draw inspiration from. This may offer some insight into why his output is so varied.

“You know, my mum was mainly sort of like hip hop and R&B. Quite a lot of Brown Sugar, Missy Elliott. And my dad was a lot of classical. So, doesn't really match up. But there's a mixture of influences in there for sure.”

He says, “A lot of my music is focused around taking samples from sort of certain popular genres currently in mainstream music and then I started pressing it into my own sort of vibe.”

He didn’t come from a family that pushed him to learn an instrument, but he tried his hand at drums, guitar, and piano in his youth. He drifted from hard rock to hip hop, finally landing on dance and electronic at university.

“I used to listen to Rage Against The Machine when I was younger. And then it sort of turned into more drum and bass and then grime and sort of entered into house when I was early university.”

And while he can trace his journey through styles, it’s harder to pinpoint when he truly decided he wanted to pursue music as a career.

“I've been thinking back, and I think it was always there. But I just didn't really realize how to approach it. Because even when I was sort of like 17, 18 I used to listen to grime. And I'd be searching for YouTube and taking instrumentals and taking samples and finding little audio clips of lyrics, and then just save them and putting them together in GarageBand at the time. Not really thinking anything of it. And then later down the line, I still had all these files saved, and I was like, ah, these could be these perfect for what I want to do now.”

He’s been a passionate fan and producer for years, but it wasn’t until 2020 that he found the time to give it is his all.

“I think my problem used to be just having enough time to do it. And I feel like the whole thing has happened in the last year of you know, lockdowns, and not being able to go out… Although it was terrible, it's quite positive situation where I was given all this time. In that space of a year, I've just managed to sort of hone my craft and I'm in a position that I wanted to be in. It was just a matter of having the amount of time to do it. So, I've just I feel like I've just shot myself a couple of years, because I've been able to focus on it a lot more.”

One of his biggest wins was getting signed by Skream. If anyone could inspire to Nite Plan it would be Skream. They are both artists who reject strict genre classifications and instead simply create what makes them happy.

“Waiting For You” and “Hold On” are deep ravey breaks at their melodic peak. Crispy drums, lilting pads, and a mild trace of that 90s jungle sound. He couldn’t imagine a better place to sign such unique records.

“It's quite difficult where I'd say I want to get a release that would do [them] justice. And Of Unsound Mind was a target I wanted to hit with that. So, I sent some music through to him. And in the same day, he said he wanted to sign it.”

The same diversity of sound that has put him on the mark with so many big artists, can sometimes be a double-edged sword. But Niteplan feels at home in his style.

“Sometimes if people are going through my catalog, they might not be sure what they're gonna’ get, or what sort of vibe I'm gonna’ put up…So, I've got to take a step back when I actually go into the studio. Think, right? Don't get too wild. But I've got my sound. Now, my main sound is like the deepest sort of stripped-back tech house. But I always want to have that ability to sort of go a bit wider if I want, because as an artist, I'm producing stuff I like. And if people receive it, well, then you know, so it goes, but I don't want to be sort of pigeonholed into just doing one thing.”

Before 2011, you could find Squire—aka Jaime Alguersuari—speeding around the track behind the wheel of a Formula One car. And while he achieved great success there, when he left the sport he did so to pursue the thing that he’d been passionate about his whole life. Dance music has been omnipresent in the Spanish artist’s life for as long as he can remember. And as the allure of the beat became too strong to deny, he embarked on a journey to map his musical DNA.

“My parents started to go to Ibiza in 1975,” he says. “And I used to go there when I was very, very young. My musical background started there. My parents used to go to the opera … but as a child, I grew up between radio stations in Ibiza.”

DJ culture and club culture are synonymous with the island. But, as a teenager he was too young to go to the clubs, so he would take over basements with his friends to play music. “it all started as, as a game of friends in a basement. We used to buy all these records and show each record to each other to see which one had the best record or the coolest record. “

He wrapped himself in the hunt for the most exclusive cuts. Even in the early 00s before online download stores dominated the scene, you had to travel to get the rare gems. Every city had its sonic imprint, and to keep winning the game, you had to travel to find those rare gems.

Having friends that were a bit older than him proved an advantage. They’d sneak him in the back door of clubs, and when he was 16, got him his first gig. It was at a gay bar called Lola’s, a hidden gem and one of the first clubs to open in Ibiza Town over 40 years ago.

“I was 16. And I played my first record there. I felt like this amazing energy between the crowd and the booth. I think I got captured by the moment and fell so much in love with how much of an influence you can make by playing this tune or that other tune.”

As he traveled a path deeper into the dance music rabbit hole, he realized that the best way to always have the most exclusive music was to make it yourself. Because no matter how exclusive you think your promos are, at some point everyone is going to play the same tunes.

“That was the main reason for me to start making music … I thought, why don't I start making my own music. So, whenever I have a show, and I play music, I can play my own tracks.” He didn’t begin with the intention of publishing his tunes, it was all for the love of the chase. However, his obsession grew into a career. And when he decided to leave racing, it was because the music was the only thing he could see himself focusing on.

He does however see some interesting parallels between music and racing. He says that every time he put his helmet on, he knew he was going to work. The discipline, routine, and psychological fortitude it took to remain focused on the track are no different from how he works in the studio.

“Going into the studio every day, I have to follow a certain routine. And it starts very early in the morning, I take things seriously. If I want to evolve and develop my career in the music industry. I need to have a disciplined life or let's say, a routine that that puts the benchmark every day a bit higher.”

When he was younger, his competitive spirit drove him on the race track and behind the DJ booth. Now, he’s only competing with himself to push for even better music with each release. His steadfast dedication to his craft has led to releases on iconic labels like Crosstown Rebels, Do Not Sit on the Furniture, Get Physical sub-label Kindisch, and his album Stop on the innovative German label Mobilee.

When he began to discuss the project with label head Ralf Kollmann he was told to go in whatever direction he wanted to take. And as the world shut down during the COVID pandemic, he found the time to seek inspiration from within.

“Many of us, we don't have the time to be in the studio, and like, jam around and feel the synergy. Sometimes you are thinking too much and pushing too much. And that's why the album is called Stop, because everything came to a stop,” He explains.

"It gave me the possibility to be relaxed, in my zone, in a studio. Just thinking about making music that I love. I don't know if it's going to work if it's not going to work, but at least I know I'm connected with this music I'm producing. And that's why I felt like making more personal music … something unexpected.”

With the constant barrage of releases, the lifecycle of a song has become woefully short. He remembers when he could drop a song that was a decade old in a set and it would still hit. He’s seeking to reconnect with that time, and ultimately create music that takes people places.

“I always say music has to have a story, even if it's a one minute song.” And the message that he wants to communicate is a simple lesson he learned during the pandemic.

“With the digital era, there's an excess of information. And there's so much happening, that it looks like we live in a crazy world…it looks like we're always unhappy, because we want things faster and quicker ... I think we do have to stop and ask ourselves, who we are, what do we think what do we want to do?”

Italian-born Ben Kim’s sound certainly evokes the underground, but don’t be too quick to put him in a box. While his music is steeped in distinct tech house flavor, each track is varied and infused with its own recognizable individuality. Kim’s ability to skirt strict labels has led to recognition from the likes of Jamie Jones, Dennis Cruz, LEON, and more. Earlier this year, he earned his first Beatport #1 with his remix of Jefferson Airplane’s classic “Somebody to Love,” released on Gorgon City’s REALM Records. 




When did you first feel yourself being drawn to create music? How long have you been making music? How did you start and how has your work evolved since the beginning?

I started making music in 2014. I downloaded Ableton on my first Mac and started having a go at remixing famous tracks just for fun, which slowly started to introduce me into the world of production. Through the years I started to devote myself more and more to making tracks and as my results improved, it gave me the motivation to stick with it.

How did would you describe your sound for someone who has never heard your music? What types of music and artists do you pull inspiration from? 

If I had to describe my music with a single word, I would describe it as confusing, because I never make a track that is the same as another. I do what my mind tells me, whether it's minimal, tech house, or house. I have also made techno music in the past but never sent it to anyone. Over the years, I have been inspired by many famous artists as well as emerging producers and various genres. I have been greatly influenced by American old-school hip hop and rap.

What led you to tech-house as opposed to another genre of dance music? What to you is special about the sounds of the underground?

Honestly, the thing that attracts me to tech house music the most is the bass. For me the bass in a track is fundamental. I really like minimal rhythm. There are also dance records that I like. I listen to them, but I don't like playing them.

Tell me about the first time you experienced dance music/raving. What was that experience like for you?

It was a very gradual thing. I used to just go out and see friends, but then it struck me that in some clubs people were just dancing and facing the DJ. I was hooked, too.

Your remake of Jefferson Airplane’s classic “Somebody to Love” recently became a Beatport #1. What was that success like for you? What made you want to take on this classic track?

It was a great satisfaction. To tell the truth, the grit of the original track inspired me a lot, and the guitar drove me crazy. I never expected the track to do what it has done, so every day is a bonus and I am so grateful. 

Can you tell me about the dance music culture in your native Italy? What is the scene like and what elements do you draw inspiration from?

In Italy, there are many important clubs which play an important role: Tenax, Guendalina, Spazio900, Goa, Amnesia Milano, etc., but the club that has inspired me the most in my life was the Cocorico. The vibe in the pyramid is so special and I don’t think there is anywhere else in the world that can replicate it.

If you could headline any festival or venue, which would it be and why? What would the production look like and how do you envision the show?

Speaking of clubs, I would love to play at DC10 & Amnesia in Ibiza or in the pyramid at Cocorico. I would also love to play at Kappa Futur festival or Sunwaves. I could only imagine it would be insane.

What’s next for you in terms of new music? Do you plan to tour anytime soon?

We are working on many dates around the world and I hope to go to work in the states soon. I have had several requests there, stay tuned.

Making his mark with a slew of stand-out tracks including "I Need" "Communicate," and "Ocean Eyes" on Kitsune, New York-based producer and DJ Sasha Rome has found his sonic footing after his rebrand last year. First getting attention with the creative identity of Mir, Rome’s redirection found him in more experimental territories combining his vast and versatile experience in the industry with tinges of his Russian heritage for a uniquely upbeat indie-house style that can belong to no one else but him. 

With his debut album on the horizon, the multi-faceted artist delves into his creative process, which began as introspective, emotional songwriting amid the lockdown. The project has evolved to include different artists, ideas, and themes. Most notably, the album which accompanied Sasha Rome throughout the pandemic has seen its sonics grow into something hopeful and optimistic, symbolizing the reopening of the world. From an exploration of how he felt during the pandemic to the celebration of being able to see loved ones, the album is “a celebration of being able to live life again.”

Other than tracing his path through the past year, the project also marks the solidification of Rome’s sound in his current musical identity as he offers up a combination of his influences and a penchant for experimentation. It's an authentic sound with a lot of room for change.

Keeping this need for constant change in mind, Rome already knows what he wants to include in his music in the future, saying, “I've been taking vocal lessons for about a year and a half now. So I’d like to use more of my own vocals in the future.” In terms of trying new genres, he adds that producing full indie tracks, as well as hip-hop and working with rappers, is something he’s always wanted to dive into.

Rome reflects on how his Russian heritage and upbringing influenced his music: “Growing up my dad listened to a lot of classic rock and he also listened to Russian music since he was from Russia. So, I think all of that kind of in the back of my mind, I always hear it at the house, and I think it has some influence on me. I also have been influenced by European music as well. And then my brother was a really big influence on me sound wise because he's eight years older than me and he listened to a lot of indie rock and metal - when I was young, I would always get CDs from him.”

With the strong influences of his childhood,  indie and rock became pillars of Rome’s music. He picked up a guitar at age 15 and started a band with a friend of his. By college, this had once again evolved to bring hip-hop, funk, and dance music into its folds.

Regardless of where his artistry is now and where it's headed in the future, what remains consistent about Sasha Rome’s music is the purpose with which it graces the ears of listeners. With a passion to make people dance, this is music that is designed to be an escape from the difficulties of life. He explains, “I take inspiration from psychedelic rock, like Tame Impala which is my favorite band. And the thing that I really like about that genre is how mesmerizing it is and how you can get really lost in the music. So, I try to bring that in to my music as well.”

He might be new to the indie house scene, but framed by his raw talent, years of experience, and fierce love for the New York music community, which gave him the space to grow as an artist, Sasha Rome’s successful year has been a road to his debut album, due for release early next year.

“I was always really influenced by soul and funk. My father played a lot of older music like Stevie Wonder, Jackson 5, Earth Wind and Fire. That's where a lot of my early inspirations came from. I think this had a big impact on my sound. When I want to make house music I always try to take something organic from the past to keep the harmonies going and create songs rather than just creating club tracks.”

It's an accurate self assesment. The Defected Records mainstay is known for upbeat, soul and funk-driven house music. David Penn keeps the vibes happy and uplifting at all times, spreading his unique brand of house music globally.

A true veteran of the scene, David began his career in Spain, in the early 90s. From 1992-1999 he produced music under a different moniker. Although he loved electronic music he was not a DJ. 

“Once I started to DJ I had a better understanding of what I wanted to make. I wanted to take my own path. It’s amazing it’s been so many years, especially when the EDM boom happened. I was surprised we came out of that. I’m happy that people know me from 20 years ago and are still discovering me.” 

Growing up in Spain, David Penn struggled initially to discover his musical identity. There were not many DJs and producers making the kind of music that he felt an affinity for. Although Ibiza was always a great place for him, mainland Spain did not provide the same type of inspiration. As he got more into DJing and producing, he found himself thinking about the rest of Europe and influences from other places. 

“During the two years of lockdown, it’s more apparent than ever that it’s a different era. My style is more European than Spanish in particular. I have some Latin influences and Soul influences. There are more new DJs now in Spain but there’s not a huge bank making house. People here usually make techno or tech house. I sometimes felt like someone in the wrong country. My style is much more international. Some of my best sets have happened in Miami and South America.”

David has long been aware of the sense that his music is not necessarily the most popular in his home country. At the start of his career, he experienced difficulty getting his music out to his international fan base. Although we are now able to access any song at any time, it’s easy to forget that only a few years ago, finding music was a true endeavor. David founded his record label, Urbana Records in 2003 to keep up with demand. When he released music in the US, his European fans couldn't find it and vice versa. He determined that creating a label would give him an outlet to both release music whenever he wanted, and to make it simple for anyone, anywhere to hear his records.

“I don’t really use it like a business, the label is for me to put music on that I think is interesting. My records usually chart so having them out on my label, it’s nice to see.”

Although Urbana Records has had tremendous success, David Penn cannot simply be contained to one label. His immense output, and tremendous charting success led to a long held relationship with the iconic Defected Records.

“I’ve been releasing music with them for a long time. When the EDM boom happened music just changed a lot… I didn’t like the music I was listening to and everyone was remembering my old tracks but I wanted to create some new identity for myself... My music is normally energetic and happy so I tried to follow my instinct and luckily Defected called me to have me back over and over.”

Although he first released with Defected many years ago, their continued belief in David has given him a second wind. He readily admits that he is feeling more comfortable now than he ever has with his music. Decades of success have left him feeling that he can truly express himself and trust his instincts musically. Having the power to decide what to do and what not to do based on inspiration rather than financial need, has been a blessing for David. As he continues to create new fans, David has taken plenty of time to reflect on how much his career has been able to grow in recent years.

“Many of us early on were doing well but no one was famous or anything like that. People knew the music and booked us but there was no celebrity to it. Now with how easy it is to access music, the reach of your career is just so much higher. I feel like in the last few years, people come to my shows more and more to see me rather than just going to a club to go. In the start of the pandemic I was happy to spend more time at home and in the studio but now I’ve been so eager to play live shows and I feel amazing getting back out there.”

The king of Sloth Acid, Sacha Robotti, has made a name for himself over the last decade as a champion of all things weird and funky. A mainstay in the American house and techno scene, Sacha established a reputation for genre-bending sets and a tasteful ear for talent through his label Sloth Acid. His career began long before he became a staple of the US scene. And many of his influences and inspirations stem from a childhood spent in European clubs.

Sacha was somewhat of a musical prodigy as a child. “My sister was a pianist. She’s a professor now in Southern Germany. Growing up around her I always wanted to play an instrument. I wanted to play double bass but I was too small so I played the cello. I was really good at it without studying too much, it just came easy to me. I thought about following it professionally, I played in an orchestra. My mother died when I was 15 and it killed my motivation to play the cello. I just thought about her when I played.”

After the tragic passing of his mother, Sacha discovered electronic music and the subsequent community that surrounds it. His rave friends became his family, he started regularly attending shows and began DJing. 

“We had a little room in a church that we would throw parties at and do graffiti in. Eventually the church threw us out but it was a great introduction… Brussel [Belgium], where I spent many years of my youth has amazing clubs. Fuse Club is one of the best in the world. Seeing legends like Jeff Mills, Dave Clark, and Green Velvet there really inspired me to take up DJing. When my sister was studying piano in Berlin, I visited and ended up staying for a few years.”

The allure of Berlin kept Sacha long enough to establish himself as a touring DJ. He founded the Robosonic with his friend Cord Henning Labuhn. The duo created music and toured during the late 2000s before Sacha moved to America to begin a solo career. 

He arrived in the US with a suitcase, computer, and one show booked. After seeing the scene in LA, he quickly realized it did not resonate with the things he loved about music. Sacha felt the need to create a space that strayed away from the typical bottle service clubs and 60 minute set times. He quickly began to throw events, aptly titled Comfort Zone.

“I always liked sloths… I felt like the sloth face would be a cool logo to match the brand name. My friend in Portland designed the logo and we just put it everywhere. I kind of look like a sloth so it was great. I tried to do it less in a cute way. Sloths are kind of weird and creepy so I wanted to play on the fact that they are slow and endangered but also weird and operate at their own pace.” 

After finding success with events, Sacha built up his solo career. He quickly got tracks signed to Dirtybird and released "The Major," which was pulled down due to copyright infringement. After some Dirtybird compilation inclusion, Sacha connected with Kill Frenzy and the two put out the Go to the Mo EP. 

“We just hit it off and made some music together. I felt like Dirtybird was really putting out their best music in the first five years. Times change and the label grew bigger.”

Sacha continued to pull the thread of his early branding and founded the Sloth Acid record label. He's also become an internationally renown DJ. As he has solidified his place in the scene, he felt the freedom in recent years to experiment with his DJ sets and music, working hard to never put out repetitive sounds and stay ahead of the curve creatively.

“I get really bored super quick when I hear a DJ play an hour of the same genre. For me, I want to play everything. People like Tiga or Eats Everything do such a great job of playing all kinds of genres… Production is the same thing, I just make whatever I like to do at that moment."

His new single "Fuck The Pain Away" is out now and represents the very best in Sacha’s production ability. He is on tour now, hitting cities across America.

The art of turntablism is often forgotten in dance music. Maybe because there are so few that straddle the line between the two worlds effectively. A-Trak, Jack Beats, and DJ Craze immediately come to mind. But Indianapolis-born, New York-based Matsu is entering the conversation to stand among them. 

By the time he was 24 He’d conquered the world of turntablist competitions. He was hand-selected by A-trak to compete in the Fool's Gold Goldie Awards and came in second in the Redbull 3Style USA Finals. However, his long love for dance music has taken control. In addition to helping DJ Craze run his legendary Slow Roast Records imprint, he just released his first original EP R U With Me. The three-tracker is the culmination of years of cultivating his musical DNA, dissecting the elements of music, and crafting mind-bending DJ sets. 

Matsu’s earliest musical memory is being dragged to piano lessons at the Russian Sunday School in Indianapolis by his mom. “It was in one of the ballet studios of the JCC (Jewish Community Center). And it was this really scary, mean old lady who taught piano to everybody… Definitely a little bit of the immigrant pressure involved there.”

His mom insisted he learn an instrument (of his choice), and while he recognizes the value of that now, he was never really into it. “When I look back at it, I'm very thankful for the fact that she pushed me into doing those things. Because here I am today, right?”

By the time he was 13, he was starting to understand his musical taste. A child of the internet age, he was deep into Pirate Bay, downloading Jay Z discographies and Kanye albums. He was also starting to have a deep appreciation for DJ culture. Turntablism was fascinating to him, and Technic 1200s would quickly become his instrument of choice.

And while most DJs envision themselves on stage rocking a party, Matsu wanted to prove that he had the juice.

“I'm competitive. It's just a part of my personality,” he admits. “That's what always intrigued me about hip hop battling. It doesn't matter where you're from, it doesn't matter your race, your gender, anything. If you go up there, and you do the dopest shit, you win.”

The hard work and determination that his mother instilled in him were invaluable when he prepared for competitions. “I got so much better in the three months that I spent preparing for 3Style Finals than I did [in] two years before that," he explains. "Same thing with the Goldie's. I was a senior in college when I got into the Goldie's, and I went to my professors, and I was like, ‘I'm not coming to class for the next two months. I'll do some of the homework. You pass me or you'll see me next semester. I don't care. This is my priority.’”

And while hip hop loomed large in his life. He says he always had large respect for dance music DJs as well. “When I discovered hip hop, I discovered happy hardcore and hardstyle at the same time. Ravine and Cotts, they used to play back to back sets. I was like, ‘This is hip hop style of DJing. There’s an emcee at these raves. They're playing on records. They're scratching, but they're doing it at 170 BPM,’ and I thought that was badass.”

As trap started to cross over into dance music, he began to shift his focus. But going to Miami in 2017 was the turning point. It was a late night, and the libations were flowing. And as he watched Amine Edge and Dance drop a late-night set, he realized the power of house music. It was the beautiful moment when the kick drum drops and the whole room waits in anticipation for the snare and hi-hat to come back in that struck a chord with him. 

“And ever since then, I've like really put a lot of time and energy into understanding the genre. Even more than just as a fan but as somebody who wants to contribute and be a part of it.”

When he graduated from Indianapolis University, he moved to New York to take a job at Paradigm Talent Agency. It was the first time he lived in the same city as one of his idols turned friends, DJ Craze. The two met when Matsu opened for him years before, and they continued to bump into each other over the years.

“The agency thing was just not my vibe. So, I called him the day before I was going to quit. And he was like, ‘Do you want to come work on Slow Roast with me?' And I was like, ‘I will literally go and quit tomorrow.’”

Matsu has never been risk-averse. It takes a certain amount of courage to jump into the deep end as many times as he has been it quitting a stable job to work for an independent record label or telling your professor that homework is no longer a priority because DJing. He says he owes that courage to his parents.

“I'm the first generation American and both of [my parents] took massive risks to leave their countries. My mom is from Russia, my dad is from Japan. So that immigrant mentality of leaving somewhere and taking the risk and believing in yourself and also this ideal whether that's the American dream or your own career, whatever it is, is kind of like ingrained in you from day one. I hear it every family gathering. There's always the retelling of when we left Russia. I think it's just a part of who I am. And a part of my upbringing is to have that faith and just kind of say fuck it and go for it. If it works out, it works out. If it doesn't I'll figure it out. Everything will be fine anyways, right?”

Dj Rae’s silky voice adds a scintillating layer of soul to every track she touches. One of the few multi-hyphenate women in dance music, the British singer, songwriter, producer, and DJ has worked closely with industry legends like Todd Terry, Kenny Dope, Roger Sanchez, Kevin Saunderson, and MK. Her smoky alto is a unique force in dance music. She effortlessly takes command of any genre, and her lyrics have heightened the emotional impact of releases on lauded labels like Toolroom, Defected, Knee Deep In Sound, and Farris Wheel.

She discovered her superpower early in life. She doesn't come from a particularly musical family, but they did have good taste in music. The music she heard in the home had a powerful impact on her.

She recalls one of the most joyous memories of her childhood, sifting through Motown records her parents had. “They kept [them] in a little red leather box which felt quite special…The Supremes album stuck out to me, it's got lips on the cover. I took it and played it relentlessly and did the whole hairbrush thing in the bedroom.”


She absorbed every sound in her orbit. And when she began to hear the pulse of the kick drum thumping through the walls, she was captivated.


“I used to hear these beats coming from his bedroom and I was just enthralled,” she recalls. “So obviously when he went out, I would go and try and find where that music came from. I just kind of latched on to it. I was probably quite annoying to him at the time. And so, I had to do everything on the DL.”


She was good at swiping his CDs and tapes, and by the time she was old enough to go out, house music had brought her and her brother together in a special way.


“House music did [that] for so many different kind of relationships. It just kind of it just allowed bridges to happen.”


Being in the building when a DJ performed was a transcendent experience for Rae. She was on the dancefloor when she realized her life purpose.


“I'd just be kind of standing the club like looking, thinking ‘That's where I need to be.’ It was just this yearning. I really want to be playing the music to people like me.”


So, when her brother got turntables, she saw her window of opportunity open.


“The timing of it was just so beautiful. It was as if the tapestry of my life just kind of played out so well.” She already had a collection of vinyl but had no way to weave it all together.  


“I didn't know really what I was doing, I was just stumbling around, finding my way, and doing what felt natural to me.”


Rae continued to do what felt right, and manifest opportunities for herself. Her ability to magnetize is a talent that almost rivals her innate musical abilities. She never misses an opportunity. When she was leaving Ibiza and heard Sandy Rivera was going to play at Bora Bora, she grabbed her records and asked the owner if she could step in and DJ when he was late. It put her right behind the decks with him and sparked a working relationship and friendship that would last for years. The pair have collaborated on a number of hits including their rework of Kosheen’s “Hide U.”





There’s a sense of nostalgia that overcomes her when she sings dance classics like that. And she gets to do it often with Hacienda Classical, an ensemble that performs classical renditions of dance music’s most iconic songs. It sparks visceral memories of singing to her brother’s CDs and tapes in her room as a kid.


“I remember being in my old bedroom singing to Inner City and quite a few of the songs that we do in the Hacienda Classical. And to do it with live orchestra with thousands of people in front of you, it's just the most beautiful way of delivering such timeless songs. Honestly, I have goosebumps so often throughout the show.”


When COVID obliterated her gig schedule, she hit the studio hard. She also found out she was pregnant, so the break from late nights and early flights was perfect timing.


“I made loads of music. I was able to sit here in my studio, and produce, write, and sing and do all the things that I love,” She explains. One of the projects that came out of that time was her collaboration with David Morales, “Something I’m Going Through,” a poignant, soulful, and personal number.


“Sometimes it feels like there's that cloud over you and I don't like that feeling. I need an outlet for it just get the weight off my shoulders. That process for me, making a song like that, it really does just lift your spirits. It’s so strange, because you sometimes write and [are] almost in tears doing it, but then it's just cathartic to get it out there. It's like writing pages in your diary. Once it's done, now [you] can breathe.”


Now that her beautiful baby girl is in the world, she’s shifting her focus. “So, this time I have to be a devoted mother. There's still so much happening as the overspill of all that work that I plowed into when I had the time. I know that I will find the time again, as well. As a parent, any parent knows there's windows, and it never feels like a chore. If I really want to make a certain thing happen, I'll make it happen and I won't compromise her. I won't compromise the music, it will just happen naturally.”


She wants her baby to grow up in a world where vocalists get the same kind of recognition as producers and DJs. They make invaluable contributions to dance music, yet often go completely unrecognized.  


“I've always also wanted to try to champion that. Because so many people will be like, ‘Oh yeah, I know that song, but I didn't know that was you, or I didn't know that was her or him.’ You would not know so many of the greatest voices of house music if they literally walked past you right now. And I really want a chance to kind of change that in my career. And I hope that it is changing now. So, the voices have a face, have a name, have a profile that people know, and I will keep trying to champion that for as long as I'm doing this.”

Los Angeles-based DJ, producer, audio engineer, and visual artist HELLBOUND!—aka Vince Tascione—is leading the charge in North America to revive the early rave sounds of acid and hard techno. A genre dominated by European names, he’s continuing the work started by that late i_o through a string of hard thumping releases and the curation of a recent hard techno compilation for Space Yacht Records.

The veteran producer had already achieved a solid level of success as a touring bass music act. And his command of crystal clear sonics and intelligent sound design is well-honed. He says, “The only genre that's truly exciting me is techno and hard techno. It’s all I listen to, because that's what's really inspiring me.” As one of hard techno’s fiercest stateside champions, he’s on the precipice of dominating the genre.

His musical pedigree is impressive, to say he comes from a musical family would be understating the obvious. 

Tascione learned piano from his grandmother at a young age. His great grandfather played the flute with Tony Bennet, Frank Sinatra, and in pit orchestras for early television broadcasts in the 40s and 50s. He also tells me he has an uncle by marriage who he calls, “one of the most talented musicians I’ve ever met.” He’s played with Eric Clapton, Van Morison, and Tina Turner.

Growing up with such a creative backdrop meant his parents were comfortable with their son pursuing a career in the arts. He chose film, but by the time college was over, he was over it.

“I wasn't feeling very inspired by film anymore. And I wasn't hitting that creative quota that I needed. It just felt very rigid.”


So he joined his friends and started to learn to produce. He found parallels between editing for film and using music software, “I just sort of bridge the two worlds together and I picked it up really fast and I loved [that] I could do it on my own.”

He insists that he would do anything to keep being an artist. As he honed his craft, he picked up a job at a mortgage company during the day. 



“I will take a bullshit nine to five corporate job and play the game. I'm not too good for that. I'll put a suit and tie on, I'll show up but at the end of the day, it's only so I can do art.”


He spent lunch breaks in his car with an aux cord plugged into his laptop making music. He knew this wasn’t the end game for him. And eventually, he got recruited to do sound design for Cymatics, a dance music-focused audio resources company. He wasn’t yet touring, so he had no problem working 50 hours a week if it meant he was getting his foot in the door in the industry.

Through a series of opportune moments and hard work, he found himself touring as a trap artist. But he grew tired of bass music.

“It just felt like I was one of like, 500 people in America doing it and I [thought] ‘Does it really matter if either of us were here or not? Would the scene suffer if I was gone?’ “


He goes on to explain, “I just got so burnt out on bass music it just it felt very empty. I didn't feel anything when I made it. I didn't feel anything when I listened to it. [It] wasn't making me happy anymore...I straight up almost quit making music. And then I met I met Revel who's one of my best friends.”



He was enthralled by Revel’s blend of early rave and thumping techno. Revel exposed Tascione to the history of rave music and taught him how to harness the power of acid house and make it bang for the modern dancefloor.


Revel went on to help Tascione co-found  Nullsect, "a hub of creatives united through the net, pushing future driven counter-culture." The record label and artist collective are an extension of their collective vision to change the world through music.

He tells me he feels like his early releases as HELLBOUND! weren’t exactly what he envisioned, “I started making what I considered like rave music, but it was really just kind of like ravy like bass house.” And over the last two years, that sound has evolved. 



"Fortunately, a lot of the music that I've been writing over the past two years is about to come out, which is really nice, because that's the most current version of me.”

That sound is a full realization of the rave-inspired hard techno that is just starting to peek into the American dance floor but has dominated Europe and South America for years. Artists like Anna, Charlotte DeWitte, and Deborah DeLuca have taken warehouse techno back to the rave. HELLBOUND! and the Nullsect crew hope to do the same for the US.


Tascione’s journey has been one of constant evolution and focus. And in true artist fashion, he wouldn’t have it any other way. His journey has always been a pursuit of self-discovery, his fans just happen to be along for the ride.

“Some artists can stay in the same pocket for years. And I think sometimes that ultimately the most successful artists can do that. That takes a lot of discipline and commitment. And it's not that I'm not disciplined or committed, but I just love to grow and discover. At the end of the day, if nobody listened to my music, I wouldn't change a single thing I was doing in my life. It doesn't matter because I'm making it for me to enjoy.”

“I actually gravitated away from music,I wanted to do something different from what my dad was into... I skated and surfed and got into punk rock which introduced me to some 4x4 sounds. I went to a rave in San Bernardino when I was 18... It turned out to be some super candy flipped out rave. The sound system was incredible, I’d never even heard high quality sound like that. I started asking around and people said it was house music so that’s what I got into. I started producing it. I showed people and they said I was making techno.”

For Skyler of SHADED, a late introduction to house and techno has not stopped him from having a prolific career that has already seen multiple chapters. Fans of SHADED know him for his unique blend of techno and west coast hip hop. And also for a live performance that sees him performing and remixing his tracks live on the fly. 

SHADED appears seamless and well-executed and finely tuned. And that's because Skyler got into the game long before the inaugural SHADED release. His first productions were under SHDWPLAY, a former project he had with a partner.

“I had a project called SHDWPLAY prior to Shaded. I sent a track to my partner that I thought would be good on Dubfire’s label. She somehow knew him and was able to send him the track. We sent him tracks for about eight to nine months until he finally responded saying he had been playing them out live and that he wanted to sign some EPs from us. Ever since then we’ve been really close.”

SHDWPLAY went on to release numerous EPs with Dubfire’s label until eventually deciding to call the project quits. Skyler was by no means done pursuing his career. With a vision of what his solo sound would be, and the support of Dubfire, one of the industry’s largest figures, Skyler created SHADED. Dubfire asked Skyler to be the opening act on his upcoming tour and the rest was history. 

Not only was the tour an amazing opportunity for Skyler to properly begin his rebrand it also marked the conception of his live performance. 

“I was talking to Ali (Dubfire), he told me I’d have an hour for the most part on the tour. He thought it would be more compelling if I played live… DJing doesn't excite me too much. I came from a band/production background so the idea of performing my music just feels better to me. The positives are that it’s a unique show… It allows me to play stuff at specific parties that I can get away with. At Paradise NYC I was able to play a little more techno than other artists because it is live and fans understand that. The cons are that 2 hours is a pretty hard limit. I would never want to see a band for longer than that. I treat it that way, my sound identity would wear on you after that long.”

Live performances in electronic music have long been seen as a niche concept. In recent years, however, more artists are adding live elements to their shows. It adds value for the fans and allows the artist to creatively up the ante while presenting their own music. Although Skyler already has a complex live setup, utilizing multiple pieces of hardware, he hopes to continue to take it to the next level. He is working with a visual artist to create a visual presentation that will sync with Ableton. Down the line, he wants to add keys and more drum pads, and ideally get to a place in which he can add additional performers on stage with him. 

After touring with Dubfire, Skyler scored a defining release on Jamie Jones' Hot Creations inprint. He had been a fan and friend of the label for a long time, patiently biding his time for the right track to come up. 

“I was in Ibiza a few years ago at a Paradise party, the sounds were very techno so I felt like there was a place for me. I eventually made ‘Mad Stacks’ and sent it over… i actually wrote it in a kind of janky studio set up I had back in the day in my dad’s garage. I knew I needed a vocal and was just driving around listening to rap trying to find vocals that inspired me. I went into the studio and recorded my own voice and layered it over itself a bunch of times.”

For Skyler going forward, there is no limit to his potential. He just released a new single with Desert Hearts called ‘Layback Maybach.’ His unique style is seeing him find new fans every day. He will be touring soon and likely coming to a city near you.

ALX—aka Alex Sanchez—had the benefit of growing up surrounded by DJ culture. The veteran Miami DJ and producer was raised in a city steeped in dance music. His high-octane techno sets are laced with the memories and experience of an established maestro on the decks, Sanchez doesn’t just understand how the dancefloor moves he plays the tunes that urge the club to move in his direction.


Born and raised in South Florida, he grew listening to Spanish music at home with his parents. And while you can still hear notes of his Cuban heritage in the way he plays with rhythms, his brother had the biggest influence on his musical DNA.  


“My brother was four years older. He’s the one that got me into electronic music. He was part of that 90s rave scene,” Sanchez remembers. “I was hearing electronic music at a young age.”

Like most people who are first exposed to dance music, its hypnotic and repetitive nature was initially confusing but grew more compelling with time.


“At first, I was like, what is this? Why am I hearing the same song? And then little by little I started getting into it. I started enjoying it. I started catching myself going to all ages parties bouncing around clubs with electronic music and listening.”


He wasn’t completely sold on it yet though. Rock and hip hop still played heavily for him. Then when some friends left a CDJ setup at his house after his brother’s birthday party, he decided to try his hand at DJing.


“[My friends] left the DJ system for like a week with electronic records and stuff. I just started messing around for fun. And then I just kept going with it. Now here we are.”


After they picked the CDJs up, he got equipment of his own, and he was off. He soon found himself at his first gig playing dance music with a friend at a Halloween house party.


“We didn't know each other at the time. This girl just booked both of us. And we both liked electronic music. Half the party want to electronic the other half wanted different music and we just kept looking at each other. Like I'm not playing that. So, we just kept playing electronic music.”



He established his sonic footprint at smaller clubs like Treehouse and Electric Pickle. His skills as a mood shaper and talented selector made him a sought-after DJ in the highly competitive South Florida scene. And while he says his family connections to the Miami dance music scene played an important part in securing some key opportunities for him, they only got him so far.


“I was fortunate enough that my cousin was part of this industry for a long time. He was close friends of Victor Calderon and did work with Victor for a bit. I was working with the people who ran Space [and] Nikki Beach.”


However, Sanchez explains that because he was friends with these people, the pressure to perform was even more intense.  “A lot of people say I was just given it. I [had] to grind.” Because getting the opportunity to play once is one thing. Being asked to be a resident at lauded institutions like Mansion, Nikki Beach, and Space proved his skills were undeniable.


“They definitely didn't short out on the putting pressure on me. They took me to play Electric Festival in Aruba. I had just started to play Space not too long before. They threw me on stage, [with] like four or five thousand people in front of me.”


It wouldn’t be the last time he had the opportunity to travel to spread his infectious beats. While he’s traveled to Amsterdam, Colombia, Germany, and more to play, his most impactful DJing experience was in Cuba.


When he went there to play, he was the first person in his family to step foot on the island in almost 40 years.


He says his parents arrived in Florida in the early 80s. And when he got the opportunity to DJ there, it was the fulfillment of a lifelong dream, “I was desperate to go to Cuba,” he explains.

“It was surreal experience on multiple levels. After the gig, I was very emotional. Knowing that's where my family's from. Those are my roots. I got to also explore the island see where my parents grew up. And I got home and I told mom and dad thank you.”


The trip highlighted the gravity of the sacrifices immigrants make when they come to the US


“I think we sometimes take [things] for granted in this country. We don't realize that 90 miles away from where I'm at right now there's people that have no food or water, have no rights. I appreciate it my parents taking the risks coming to a place [where they] knew nobody, had nobody and started from scratch. And give me the opportunity to do everything that I want to do with my life.”


And this sense of gratitude is a quality that Sanchez carries with him constantly. After over a year without dancefloors, Sanchez recognizes that fans are showing more appreciation for the music, and each other. And he is in an attitude of gratitude. He tells me that regardless of the size of the room, or the number of people in it, he’s blessed to have the opportunity to play the music he loves for people who love to hear it.

Dance music thrives in Naples, Italy. Alaia & Galo have emerged from the bustling scene with an upbeat, funk-driven brand of tech house that has established them as local powerhouses. They've also found international acclaim. Their recent release "Who Is He?" on Defected sub-label Soul Heaven Records got the remix treatment from the enigmatic Claptone. It's just another in a string of heavily played releases that have put them on the road to the main stage.

How would you describe the type of music you create?

Someone, once, told us that we are the perfect junction among house and tech house, blending effortlessly elements from both genres. We love this definition, and we think it’s true!

What artists or genres do you listen to regularly when not listening to dance music?

We love to listen to a wide variety of genres, but almost all from the past, especially from the 70s and the 80s. From the 70s we love the funky and disco vibes of artists like Hamilton Bohannon, Curtis Mayfield,  Roy Ayers, etc. but the list could be endless. From the 80s we love the electronic blend of bands like Depeche Mode, New Order, Kraftwerk, etc. Both the decades have been great for the music.

What do you remember about your first gig together?

Our first gig together was in our city, Napoli. Fortunately, we have always had lots of promoter friends who supported us, so we got a chance to play together even though our discography was nothing special. We were excited and the party was really cool… It marked a new beginning for our careers.

Choose one — festival, intimate or big venue?

Festivals! We love the happiness of the big crowd and the chance to share these moments with other artists. The backstage is fun too, nearly as much as the gig!

How did the two of you first meet and what prompted you to decide to create a partnership? 

The first time we met, we both worked in a small radio in Napoli. Each one loved the other’s selections and so we became friends. After one year our paths diverged as one moved into big radio, and the other started DJing in the clubs of the city. We met again after some years and while we were talking about music (as always) we decided to join forces and begin our adventure as producers.

Italy seems to often fly under the radar as a country with a robust electronic music scene. Can you tell us about the scene locally for you where you live, as well as how you think the country approaches electronic music? 

We live in Napoli, a city full of musical talent in each genre (Marco Carola, Joseph Capriati, Riva Starr, just to name a few). Since the 90s our city has seen great parties and promoters from house music to techno. In the last few years, the house scene went a little bit down, while the electronic and techno scenes grew a lot. Promoters Like International Talent, OrBeat, Woo!, etc, did amazing work bringing great names toNapoli and the people's reactions have always been enthusiastic.

Do you feel that the Italian scene has grown in the last decade? 

Honestly, we don’t think so. In this moment, the greatest part of the clubs in Italy are really commercial, reversing the trend of the late 90s and first decade of the century when the global scene was pretty “underground”. But, maybe, this happened because music has changed a lot in the last 10 years.

You dropped "Beat of the Drum" in 2013 and it immediately put you guys on the map. What did it feel like to have that kind of breakthrough track and do you remember the process of creating it?

This track was created in just two days and it was really funny. We decided to do something special for the main break, sampling lots of phrases used in late 80s house tracks such as “Pump Up The Volume”, “Bomb The Bass”, “Doctorin’ The House”, etc, and the result was crazy. People loved the hook of the song, but literally went nuts in the breakdown!

Do you have any favorite pieces of hardware for production or any plugins that you find yourself using often? 

In our creative process, we couldn’t do without our Moog Sub37 and Roland TR-909. Our favorite plug-ins are Soundtoys, FabFilter, and Brainworx (even though the whole Plugin Alliance suite is amazing).

Now that touring and shows have resumed, have you felt like crowds have a higher energy? 

Definitely! In some countries, we had the luck to play in the first party without restrictions from Covid. People were crazy and screamed and danced all the time. And it’s been amazing for us, too!

Are there any songs you’ve been getting great reactions to recently (playing out live)? 

Ben Kim’s track “Somebody To Love” has got great reactions everywhere, in each kind of venue. We think that people, after more than a year spent in their houses, want to get positive vibes from music and a track like this is perfect: cool drums with a sample that everyone knows. People want to party!

What excites you about the future of house music?

We’re really excited about a change of direction in the actual productions. In this moment house music seems going back to its roots focusing a lot on the sounds of the “golden-era” days. We’re talking about Roland drums, M1 organ, Moog basslines, etc.

We’ve seen a rise in the last few years of artist-driven or branded events. Paradise, Elrow, Circoloco to name a few. Why do you think these types of events have grown so much and are there any you’d love to play?

We think that all these branded events are like a “box”. You open the “box” and you find a product, so the brand comes first of a DJ name. People who attend these parties know that they will find high-quality music, mood, scenographies, no matter who will be the headliner of the day. We’d love definitely to play at elrow!

Although I asked earlier for you to describe the type of music you make, it seems undeniable that your style is very uplifting and happy. There are so many different types and styles of electronic music. What is it about this positive uplifting type of house that draws you guys? 

We have always thought that before being producers we are DJs, so all our productions are thought for the dance floor. And, honestly, we love to see smiling faces at our sets. That’s why we always try to spread positive vibes with our music. Sometimes we do this, sometimes not…

Can you tell us what you have in store for the rest of the year? Any new music coming out soon? Touring plans? 

With ADE party and gigs all over Europe, as well as releases and remixes on Roger Sanchez’ Stealth Records, Milk & Sugar Recordings, Mother Recordings, and lots more, next months will be really busy!

London-based CASSIMM has been tearing up dancefloors with his signature tech house sound since 2012. His first-ever release "Silent To Me'" blew up charts and he has managed to keep the momentum going since then. His party-ready, radio-friendly style of production has seen him release on Snatch! Records, DFTD, Glasgow Underground, and many others.

How would you describe the type of music you create?

Haven't got a word to describe it honestly, I just create music I like, music I’d like to play.


What do you remember about your first gig?

My hands shaking for sure. I was excited bus also scared at the same time. I don't remember much about it, we are talking about almost 20 years ago now, I remember all my friends there though.

If you had to choose one — festival, intimate, or big venue?

Big venue 100%. I want proper lights when I play, something you can’t get in a festival especially if you're playing daytime.

I’ve spoken to plenty of guys from the UK over the last few months but oddly enough, almost no one lives in London. What’s the scene like there and how would you say it differentiates itself from other major UK cities? 

Well, I’ve played up and down the UK, but it's not easy to compare a city where you’re staying for less than 24 hours (sometimes even just the time to play and that's it) with the city you live in every day. The UK got a really good clubbing scene, people know how to party here, but London is a special place for me.

You first put out music around 2014. It’s easy to look at that as the beginning of your career but we of course know that so much work goes into even realizing one track. Can you tell us about the years before 2014 and what that grind was like learning music production and being a local DJ?

Not everyone knew that I was already making music before 2014, under my real name. I was released on labels such as Stereo Production and Stereo Seven Plus. "Sweet" was one of my biggest records, it reached the Beatport top ten with the support of DJs like Hardwell before he went into EDM and stuff. I've actually learned how to produce in 2007, I’ve studied as a sound engineer that year but music has always been in my life. Before that, I was a bassist player in a band.

It seems like a lot of your earlier music had a bit of a deeper sound to it. Whether it was "Rock Da House," "Fat Beat," or "Acid." What inspired your early sound?

London. I moved here after almost a year of the first CASSIMM release which was nu-disco at the time. Then I came here and everything changed.

In 2016 you put out "Everything" and "That Chord" which signaled a bit of experimentation. Then in 2017, you get this massive remix with Sam Divine. How did that come about and did you feel like this was the start of a new direction for you?  

Working with Sam on that remix (and other projects) taught me a lot. I think I’ve realized that I have never been much of a fan of underground music, and I’m keeping that path. I like to make music that gets played on the radio.

Do you have any favorite plug-ins or pieces of hardware that you find yourself going to regularly when you’re in the studio? 

Not really, I’m constantly looking for new plug-ins or VSTs. Serum, Sylenth, and Massive they have been good friends for a while now. 

Your output is immense, do you find yourself in the studio often and how many tracks would you say you produce that never see the light of day?

Every day. Making music is my daytime job. 90% of what I do in the studio sees the light of day sooner or later. If something I’ve done doesn't work I just get back on it and make it work.

What’s next for you release-wise and touring? 

I’ve got quite a few releases coming up, some of them made during lockdown. I will release soon on Enormous Tunes, There Was Jack, Soulfuric, and Nothing Else Matters. Touring hasn't been resumed yet, all these restrictions are making it a bit hard to get gigs abroad like before the pandemic. I’m playing here in UK though, next stop will be Ministry of Sound.

Ian and Julian of Black V Neck are working hard to represent the best of Miami. The duo met in college, both played French Horn in the marching band. After discussing music and discovering that they each liked to produce, a friendship was born and the rest was history. Growing up in a house mecca like Miami, it would be easy for anyone to fall in love with the culture. When your family is involved with the scene, it makes it even easier.

“We were both born and raised in Miami," Julian says. "My father was a DJ and he came from France to Miami to open up a night club in 1990. That’s when nightlife here was really kicking off. It slowly became the mecca of house music for America. America’s Ibiza. You got the beach during the day, then you can go to the club until 10am the next day. You grow up around the culture of house music and it feels normal and it feels like a way of life. It’s such a hub for South Americans and Europeans here. We’re both half Cuban and the Latin culture here loves to party. You work hard during the day and you party hard at night… On top of that, the gay scene in Miami Beach is influential. The gay scene has always been into the coolest music and the newest clubs. Always at the forefront.” 

After falling in love with electronic music, Ian and Julian gave their best efforts to get any possible opportunity to play. For Ian, his first time performing was at a frat party. He set up his Traktor and speakers and played for six hours straight. For Julian, he was able to score a residency as a local club. He burned CDs to play on CDJ1000s and honed his skills every night.

Breaking through as up-and-coming DJs is always a challenge. For Ian and Julian, they had the good fortune of meeting Shiba San right after he moved to Miami. 

“We asked him to invite us to the studio so we could watch how he operated. He eventually signed one of our first records which helped us get out there. We sent so many tracks out over the years to labels without hearing anything back. You just have to know that it takes time and it’s a process.” 

Despite getting the record signed, there was still a tremendous amount of work to be done. They kept pushing and were eventually able to score their first gig, booked by their now frequent collaborator, ERNESTO. 

“ERNESTO hosted a party every week at Coyu Taco in Miami. We met him at one of those parties and he eventually booked us, he was the first one to book us to play anything anywhere. There were probably 15 people in the total but the next time the room was full so he really helped break down the door for us.” 

Ian and Julian kept pushing until 2019 when a true breakthrough occurred. Their EP titled, "Mouth Music" was accepted to the iconic Dirtybird records. It was emblematic of the strange world of electronic music and the struggle of artists trying to be heard.

“I actually hated the record when we finished it," says Ian. "It was at the bottom of our promo. We found the vocals on Splice, there were so many variations." 

"I just had a concept about layering these vocals that were similar but slightly unique," Julian adds. "Ian came in and reworked the bassline. We made it and thought, what do we do with this? Julian put it in a batch of records we sent to Dirtybird. It was the 5th out of 5 we sent, and that’s the one they took. They asked for a B-side and same thing, they picked the last one. It’s always the ones you least expect that VonStroke is gonna take.” 

Since that track, Black V Neck has blown up. A regular act on festival lineups across America, they are honing their style and finding their groove. They just released a track with Afrojack, and are getting massive support from DJ Snake and Malaa on their new single, "Si Tu Sabe."

“We aren’t going to be limited by one kind of sound. We will make club bangers, but we want to be diverse and eclectic while fitting into our brand. You can expect more music from us that’s different, but we still will keep making club hits, we love that too.... We make house music. If you think it’s underground, it’s underground. Whatever you want to think, we make house music, We don’t do techno, we don’t do dubstep. At the end of the day we do house music.”

Serge Devant moved to NYC in the early 90s and immediately fell in love with the incredible local scene. Frequenting venues such as Sound Factory and Tunnel, Serge went down the rabbit hole of record collecting which eventually led to an introduction to DJing. He began his production career in the world of trance and then big room electronic, before falling out of love with the genres. He re-discovered underground sounds in 2011 at Burning Man and knew he had to rejoin the scene. Now a regular on Crosstown Rebels, Serge has played stages all over the world. 

You moved to NYC in the mid-90s, why did you come here and can you tell us about the scene you experienced when you first arrived?

After the Soviet Union fell apart, my family had a chance to move to NYC, which I’m glad they took. Mid 90s New York was a mecca of massive mega nightclubs, and I found myself instantly inside Twilo, Sound Factory, Tunnel, Limelight, Roxy, and other clubs. It was something I had never experienced before, so I was very intrigued and inspired. This led to me look for all the amazing records I heard on the dance floor across these clubs. I started collecting vinyl and eventually bought turntables and the whole rig. 

What do you remember about your first gig?

I was still in high school and had just bought all the equipment less than a year before the gig. It was at this bar in Brooklyn called Blue Zoo — I'd say it was around 96. I had made a tape and went around the neighborhood giving it to the bars and small clubs. The owner of the bar whose nickname was ‘Patty boy’ thought my tape was great and invited me to play there on Thursdays. I definitely didn't expect that to happen so fast. That lasted for a few months until I met some promoters and started playing the side room at the club Tunnel. Inspired by the parties at the Tunnel, I was bringing dark clubby vibes into Brooklyn bars, which obviously didn’t work in that space and didn't sit well with “patty boy “. But Blue Zoo was the start to it: first paying gig and first crowd.

A couple of years after arriving in NYC you secured a residency as Crobar. Do you have any memories from those years and how they shaped where you are now with your career? 

Well, to be precise, I started my residency at Crobar about 10 years after I arrived in NYC. Before that was a long string of NYC clubs and smaller venues in New York. 
Crobar definitely got me more noticed in NYC. That was the year I first signed with AM Only agency and got my first record deal. 


From the start of when you began releasing music, around 2004, to about 2015, you primarily released trance and more big room tracks. Obviously, anyone who knows you now would never associate you with those sounds. Can you tell us about that period of your career and what you think about that music now? What prompted the transition in sound? 

Yes, I did start with New York house and trance in the late ’90s and early 2000s and then shifted to progressive a few years later, after signing a two album deal with Ultra Records in 2006. While working through the album deal, one of the house tracks crossed over, and even though it opened many markets around the world for me, I found myself slowly becoming a slave to that record. People only cared about listening to that record when they came to the club and didn't care if I evolved and played something that wasn't in line with that style.
It was fun touring for couple of years and filling up clubs to the brim but later I found myself uninspired [with] where I was going musically and where I was being pushed since the record crossed over a bit into the mainstream. EDM was starting to get big with the arrival of acts like Swedish House Mafia and so on, and I didn’t like that direction or wanted to have any part in that.
Going to Burning Man in 2011 and hearing fresh sounds of underground music that were coming out from Crosstown, with sounds like Maceo Plex, Jamie Jones, Damian Lazarus, Art Department, and others, I was inspired and from there I knew that was something I wanted to be a part of. After taking a few years off, I finally finished some music around 2014, which saw the light of day in 2015 on Jamie Jones’ label and later on Crosstown with Damian Lazarus, where I still release my music. 

You recently played the Cityfox closing season party. It’s amazing to see these huge productions return to NYC after the shutdown. These kinds of events have always existed in the city but it feels like the last few years they’ve really gone to the next level. What changes in the underground culture have you noticed after multiple decades in NYC?

I mean, it just became a lot bigger and more sophisticated. Technological progress played a big part in better sound/production, but now everyone is on their phones on the dance floor, rather than living in the moment. Also, table culture arrived some years ago, and it totally changed the dynamic on the dance floor as well as with the phones.
The DJs moved out from the dark corners, where they were completely invisible to the front stage, and into the limelight in front of their fans. There are a lot of changes—some bad—but there are lots of good ones. Everything evolves, and there’s no time to nag on how it used to be. It’s better to embrace what we have and try to make it better by curating events that are based more on comfortable partying rather than squeezing everything out of a clubber without providing the comfort or quality of events. 


Crosstown Rebels has been somewhat of a home for you over the years, they hosted one of your first tracks with your current sound as well. Can you speak on that relationship? 

It has been a great home for me, and the crew is like a family. I look forward to each time we all get together for events, such as Day Zero and Get Lost. Crosstown is a great label and a platform that respects you as an artist and your vision. I met Damian back in 2015 — a mutual friend heard some of the music I was working on at the time and suggested I pass it to Damian. And of course, I was happy to share it with him. By the next day, we were talking on Skype and discussing the release of some of those records. The rest is history. It's been a great home to my music for the past six years. 

Whether it’s Day Zero, Paradise, Circoloco, etc, how have you observed artist-driven events grow and evolve over the years?

I mean, it's just getting bigger and better. But, I wouldn’t actually say it's so many artist-driven events. For example, Day Zero sells out in one day without a lineup announced — people know that the experience they will take away from this event will be worth buying a ticket for and they trust the organizers with the line-up and curation. They have a reputation for being nothing but quality events. It's all about consistency with quality events across the globe with these brands, and they are doing a great job at providing that. 

Do you have any favorite pieces of production hardware or software plugins that you like to go to regularly? 

The Roland family is something I would go to every day. You can hear the 303 or SH-101 in every record of mine. Recently I bought the Oberheim Matrix 1000 and the Digitakt, both of which have been a lot of fun to have in the studio. It’s been a busy year so I haven't spent much time in the studio but I’m getting back to it in the next couple of months. 

Your career has been lengthy and prolific. It feels like there isn’t a stage or party that you haven’t had the chance to play at. What’s next for you? Is there anything new you hope to accomplish or challenges you seek to approach? Will we see an album anytime soon?

I guess the next step for me will be curating my own event by putting together all the experiences I’ve had playing and partying around the globe, as well as all the inspiration I’ve had over the years to make it something of my own. I'm looking forward to it — it has definitely been on my mind and I think it's time for it to come to life.  As far as music, I don't think an album is in the works, but you will be seeing a string of EPs and singles coming in 2022. I have been sitting on some music that was made during quarantine. I have been testing it for some time, but it's time for it to be released.

“Being a bass player and growing up around disco and house music made me very inclined to focus my music on bass-lines. I’ve always been drawn to the 4x4 beat. I was also listening to a lot of D&B music which is known for crazy bass lines and modulation. I wanted to put those two styles together. Back then it wasn’t bass house. It was more of a UK bass sound.”

Although he is known now for his bass house sound, Brazilian-born Rrotik had a unique introduction and upbringing. Growing up in Brazil, he was exposed to electronic music but in a different fashion than artists who grow up elsewhere. When he first stumbled upon the scene in 2007, the most popular sound locally was psy-trance.

“I wanted to become a local psytrance DJ. I didn’t have the connection to get good tracks though. There was no Beatport or anything. You had to buy albums or know someone who would send you music… I used to play in different bands which helped me learn music composition.” 

Soon after discovering the music, a friend introduced Rrotik to production software. He started producing music, and one year later, he was introduced to electro house. It changed how Rrotik viewed music and forever altered the path of his career. He started a project with a friend called Dirtyloud which is how he first broke into the scene. They got a gig at the Shrine in Los Angeles and ended up touring the US for two years. After experiencing some burnout from touring, he decided to go solo and start the Rrotik project. 

He first released music under the name in 2015, but really began to break out in 2019 with the track, "Ride or Cry" produced alongside J. Worra and Dances with White Girls. The track dropped on Mau5trap, and Rrotik was able to follow up the success with releases on Box of Cats, Spinnin’, and Night Bass. Despite the increased success, Rrotik found himself receding in the last year, struggling with depression during the Covid Pandemic. 

“Last year during peak Covid times I had a really rough time. I know I’m not alone in that feeling. I was never happy with the music I was making. I didn’t quite feel like it was worth putting out. I’ve struggled with my mental health for quite a while, so it’s been another challenge that I just work on every day… I’ve been saving up and building up a body of work so I can put out music on a more regular basis and have more strategy.”

Despite the struggles, Rrotik feels invigorated by how the scene in Brazil, and locally for him now in Atlanta has grown. After the EDM boom, electronic music became very popular in Brazil. Artists like Vintage Culture and Alok have helped to inspire a generation of young producers to follow their dreams. In Atlanta, Rrotik has noticed that local promoters have found a way to create strong brand identities, drawing people to their parties without having to spend top dollar for marquee talent. Moving to Atlanta from Brazil was a challenge, but one well worth it.

“I had family in Boston so I was familiar with being here. As an artist it’s always a goal to move to the US. I moved two years ago to be with my now wife who I met on Holy Ship.” After moving, Rrotik felt a new sense of inspiration in the studio.

“When I sit here in the studio, my creative process has always been to focus on the new. I’ve really tried to create new sounds and challenge myself. I started to listen to a lot of other artists and try to incorporate that into my music. Learning more about hardware and synthesis helps this as well. Having more hardware has changed how I make music.” embed

As Alan Nieves speaks to me from his New York studio, he presents a poster from the closing days of legendary New York club Output. “It's just a piece of New York nightlife lore,” he explains. “[At] the time of course I knew it would be special, but now after however many years with it being gone it just feels just a little more special.” And so our conversation goes a deep dive into the moments that formed the New York artist's musical DNA. A career steeped in a collective history lived between New Orleans, Chicago, and finally New York. All cities with deep musical histories of their own, that continue to inspire him to this day.



Nieves grew up with the sounds of Celia Cruz and the Beegees wafting from his mother’s stereo. And he tells me those sounds have informed his work. “You can hear it in my music. I just released a track on Circus Recordings which is Yousef’s label called "Bailar Prohibido" which I did a little bit of the vocal for. I found some other conga riffs that I put into the track. So that's a heavy influence on some of my stuff.”


And as much as Latin music makes its way into his music now, when he was growing up in Baton Rouge, Louisiana he was heavy into southern hip hop. Lil Wayne and Master P are still two of his favorite artists.


In 2001 his brother handed him a CD with a mix of classic 90s and early 00s dance tracks. The shelf life of music was longer then, and even though both “Better Off Alone” by Alice DJ and “Freestyler” by Bomfunk MC were two years old at that point, they still sounded fresh.


“I listened to that on repeat, and I never heard music like that.” It was such an inspiration that he downloaded his first DAW shortly after.

He wasn’t completely sold on dance music as his focus at the time. He was still heavy into hip hop and was also listening to a lot of reggaeton. Jumping from genre to genre is a constant in his life. “That kind of informed my musical taste. It kind of was just a hodgepodge. I would love to be like, ‘Oh, I grew up listening to Richie Hawtin.’ But I found my way through like all kinds of other different styles of music, and here I am now.”


His rich tapestry of musical influences goes deeper than the music he consumed. He comes from a musical family. His grandfather was a saxophonist and his mom was a singer. He knew he had musical leanings, but instruments never stuck. It until he downloaded his first bit of music software that he ever considered being a musician. His need to understand how music worked, combined with the era of the producer flipped the switch.


“When I was in college is when it shifted in hip hop. You had Scott Storch and you had Timberland, and it was The Neptunes. It the first time that producers were stars in and of themselves. So for me when Scott Storch became a personality in his own way. Or DJ Khaled, I wanted to be more like them. I wanted to be the producer making all the beats.”


And had it not been for a sliver of opportunity when he was living in Chicago, he might have never realized that a music career was even remotely possible. He sold his first beat to a local rapper for $200 when he was 20. 

“It was a start that kind of got me hooked. And then from there, I just kind of kept playing with it and found my way.”


As he started to make more dance music, he realized it made sense to pick up DJing. And in a competitive city like New York, getting ahead wasn’t always easy. But he made some legendary friends that gave him valuable insight into the inner workings of dance music.


Harry Romero and Joeski are both good friends of Nieves. He’s thrown parties with them and even helped Joeski run his label Maya Recordings. 


“They've they've given me invaluable insight into how they produce,” Nieves says. “And they are just great people and great individuals. And I think their music speaks for itself over the years. They've managed to just stay at the forefront by always dropping great releases.”

In recent years Alan Nieves has come into his own as a producer. He boasts releases labels like Circus, Sola, and Rawthentic. He’s charted in the Beatport and Tracksource top 100 no less than 26 times. He’s also hit the top 10 overall charts on Beatport on more than one occasion. And while it’s important to revel in the successes of the past, Nieves is far more interested in what the future holds for dance music.


“There’s never been more people paying attention to dance music. The places that you're hearing people play are crazier. There’s people doing house music parties in Jacksonville, Florida, they're in Des Moines, Iowa. There used to be like seven cities as recently as 10 years ago where you could have a good underground party. Now it's just blossoming and once that younger crowd in America catches on, then it's going to keep blowing up.”

Rafa Barrios has one word to describe his musical style, "Fiesta." The self-described studio addict, touring DJ, and label manager is not one to sit on his laurels. Growing up in Southern Spain, Barrios discovered house music in his teenage years. He immediately dove headfirst into the world of electronic, learning how to DJ and produce at a young age. He has released on some of the best labels in the scene and continues to grow his brand and sound. Rafa just wrapped up a tour in the US and is excited to come back as soon as he can.


How would you describe the type of music you create?

Hello familia! I would describe it as FIESTA. Something that describes me is the groove and the bass that make the dance floor pump. I want people to not stop dancing. Pure FIESTA!

What do you remember about your first gig? 

I remember that my family and closest friends went to my first gig to support me. There were like 40 people at the club. I opened the night and nor even the whole staff was there already.

What excites you about the future of house music?

It’s hard to predict a future, it’s changing constantly, but for example I can tell you that house music in Spain is not evolving because of the pandemic. The good thing though is that a lot of good producers are coming out as now everyone has more time to produce music, so I can see strong and talented producers hitting the market in the next few years and I love that.

You started DJing at the age of 14 I believe. Such a young start and yet not all that uncommon in this world. What pushed you at such a young age to seek out DJing and how did you discover house music so young?

An uncle of mine was always listening to electronic music when I was young. He used to listen to techno and breakbeat, which was pretty strong in southern Spain at the time. He used to drive me in his car when I was 12 or 13 years old and that is how I started to be familiar with electronic music. So at the age of 14, I asked my parents to buy me my first vinyls. Breakbeat of course. And soon I started playing at friends’ houses etc. I loved those years!

Growing up in Sevilla, what was the house / techno scene like there and how have you felt its changed over the years? 

I’m not in Sevilla much these days. I only come to visit my family every couple of months. I have been touring in America almost all year. It used to be all about breaks, and then it evolved a little to techno and tech house, but in general, the scene in Sevilla is not very strong. It’s a very classic and traditional place in Spain. I hope that step by step we can make Sevilla grow culture wise.

Do you think there are any sounds or styles that are unique to Sevilla, and to Spain as a whole? 

Yes of course. That would be flamenco. Flamenco comes from southern Spain and Sevilla is a pioneer in flamenco. There’s some techno and tech house but it’s still a minority.

How do you think Spanish cities differentiate their house music scenes from the Ibiza?

Ibiza is completely different music wise than the rest of Spain. It's like another country. It’s like Berlin and the rest of Germany if you will. If anything, maybe Barcelona could be the closest thing to ibiza in the mainland. For many years many international DJs would play only in Ibiza and not the rest of Spain, so you would have to go to Ibiza to see any of these artists.

As someone who started their career at an early point in their life, can you tell us about the years before you began to be recognized and booked on bigger stages? It often seems like a DJ just puts out one big track and then has a career, but of course it takes years of dedication and behind-the-scenes work before people start seeing the results. What were those years like working from the ground up and where do you hope to take your career in the next couple years?

As I mentioned before, from the age of 14 to the age of 25 I mainly played as a hobby, I didn't really think anything of it. I used to work at the family business as a blacksmith. Then I started to go to ibiza, and I used to go to Space and tell my friends that one day I would play there. My friends used to laugh at me and say, “What did you smoke man?” haha
One day I started producing records one after another, I would work at my father’s from 8am-8pm and then get in the studio until late in the morning. Then I would have 10 tracks ready and would go to festivals and throw the usb to the DJ from the dance floor, as I couldn't get in the booth. I have gone through a lot of sacrifice to get to where I am. I still have to pinch myself every morning to believe. I'm truly living what I always dreamt of.


Tell us about the decision to start your own label, Bandidos. What went into that and how do you focus on building that while also getting your own music out to other labels?

A friend and I always had in mind that if I ever opened a label it would be called Bandidos. We used to call each other like that. Now we are going very strong with the label and we even have a clothing line. I also like to release in other labels and there are some cool things coming out this year in labels that I love.

Can you tell me about your method in the studio? You have such a distinct sound and have gotten support from a lot of big-name artists. Do you have any plug-ins, synths, hardware that you love to use? Is the studio a daily activity or do you need to find inspiration to go and create? 

I work at the studio every day. I always try to have a sound between techno and tech house, something with an energetic groove and something that you can play in every set. I use a lot of stuff in the studio, like loops (like everyone else). I will tell you one tip: the bass, I do it with the sub37 from Moog. 

It does feel like you have an incredibly high level of output, is the studio just a second home for you? 

I have spent so many hours in the studio that I even developed hearing issues, and problems with my wife and my family because of the amount of hours I'm in the studio, so you can only imagine.

Toolroom has been a long-time supporter of your music. When did you first connect with those guys and what does it mean to have the sign-off from an iconic label? 

Mark always supported me and played my tracks, and we played a couple of times together in the US, and that’s how our relationship developed. Great guy!

Starting in 2018 it felt like you began to break through onto some bigger labels. You released with Sola, Repopulate Mars, Moon Harbor, Saved Records, and the unreleased track coming on Nervous Records. Did 2018 feel like a breakout year for you or was a lot of this stuff in the works for a while (understanding that some of these releases were this year).

Yes, that is right. In 2018 I stepped up professionally and got management and booking agencies and I also slowed down in the studio a little so I could tour more intensively. I think that was the key.
The Nervous Records EP is something totally different to what I have done before. During the lockdown, i did breaks, house, techno, afro, deep…I did pretty much a little bit of everything. I showed Mike from Nervous the "Housick" track and he was like, “We gotta get this track out.” And before I realized it was top 5 on the Jackin' House Beatport chart. Not bad for my first track of this style!

You’ve been playing some shows in the US recently, how is the scene different here versus Europe and do you find the crowds have different energy?

There’s energy everywhere. I love playing in the US, it’s one of my favorite countries for sure. Currently, the US is not that different from Europe, to be honest. It has grown very fast music-wise and they have so much music culture now.

Sun-soaked rhythms, a slick command of warm slippery basslines, and interlocking grooves that bounce and softly tickle that spot in your heart that makes you want to move. Dillon Nathaniel has exhibited all of these throughout his career. He’s your favorite producer’s favorite producer. His repeat releases on venerated labels like Repopulate Mars, Glasgow Underground, Sola, Big Beat, and Insomniac have made him a sought-after sonic technician. Yet, more so, he's a passionate champion of dance music culture. Probably because his roots run so much deeper than his contemporaries, he started training for a career in dance music before he could even walk.



Not too many kids in the 90s grew up with Carl Cox mixes blasting from the speakers of the family car. And when your earliest musical memory is of listening to the Mortal Kombat theme song on repeat, it’s clear dance music is in your blood. However, Nathaniel says his older brother had a greater impact on his listening habits and development as a musician in his youth.

“My brother was the first person that really introduced me and music because he was so big into playing the guitar. He taught me how to play the guitar when I was eight and I was really into like classic rock for a long time. So, I used to think the stuff my dad listened to [was] lame.”

Nathaniel drifted through the popular music of the early ’00s moving from rock to West Coast hip hop, a natural fit for the LA-born artist. He didn’t even have a passing interest in dance music or DJing until at 16 he came across a DJ controller his dad bought but never used.



“It was just laying around and I was always interested in trying to learn every instrument that I can so I like picked it up one day.”

It was the first time he was interested in the music his dad was into. And as he learned this new instrument, a growing appreciation for dance music formed.


Mashing up his dad’s old school house and trance tracks with pop and hip hop, he started to understand the fundamentals of dance music. He had no idea what his dad's unlabeled relics of dance music history were, but his love for dance music was confirmed.

As he tinkered with the controller and a demo copy of Fruity Loops (yes the program before it FL) he found himself in a world of happy accidents and discovery. “Just pure joy of making weird sounds and throwing them together even though they don't make any sense," he explains.

At the time Nathaniel lived in Texas with his mother. He was defiant and unruly. After being kicked out of school, she was at her wit's end and sent him to live in LA with his dad.



The move ended up being a boon for the sixteen-year-old. And he got two life-altering gifts that year. A full copy of FL, and he went to his first rave.

“I was starting to get more into house music with all the DJing and producing stuff. And he was like, ‘you know, you're 16 this year, you're finally able to go to a rave.’ “ So, his dad brought him to EDC in 2010.

“It was like you're legitimately walking into a carnival. But with the nicest people ever, and the coolest music ever. I was like, there's no way this is real, it felt like a dream. Just to be there with my dad, but not only my dad, but my aunt, my uncle were there and like all of their friends. People that I've known my whole life. I felt safe.”

He was in the perfect environment to become a rave lifer. A new world of sound opened up to him. And as Deadmau5 performed Ghosts N Stuff he turned to his dad and said, “This is what I want to do dad. I want to be that person on the stage.“



“I just had this epiphany," he says about the transformational moment. "This is calling to me. I really feel like these are my people.”

After high school, he made the practical decision to enroll in a sound engineering program and got an internship at Atlantic Records. Five months into his internship, he was no closer to working in a studio, but he was an expert at taking people's coffee orders.


“That was the first sign that I realized the kind of work that I was getting into was still that nine to five. It was suppressing the artist that I actually am. It was all of this work but for other people's music.”


The second sign was getting the okay from his grandmother who he was always close to.


"She always wanted me to get a degree and go to college. Right before my grandma passed away I was just saying [that] I don't know if I'm going to be happy doing this. And she kind of gave me the thumbs up." She told him, "Whatever it is that you want. Go do what you want to do.”


On the advice of a fellow DJ at an Orange County nightclub, he enrolled at Icon Collective, LA's premier electronic music school. And he began to form many of the relationships that would bring him full circle.

In 2019, a wind storm in Las Vegas shut down many of the larger stages at EDC Vegas on Saturday night. StereoBLOOM, the Insomniac Records stronghold, stayed rocking all night. Dillon prayed that the wind wouldn't dash his chance to close out the festival. And around 5 am he DJed at the event that started it all for him. As the darkness faded and the sun peaked over the horizon, he shared an emotional moment with his dad, who was on stage with him.


“Since day one. I was like, 'I'm going to play at EDC' and I wrote it on my mirror when I was 16,” he explains joyfully. “Working my way up to that and doing EDC 2019 was probably the most rewarding part of my entire career.”

Music, as an art form is beautiful and fascinating in its own right. Yet, what elevates music into a deified force with the power to change the world are the bonds it creates between human beings; the communities of people that come together because of it. 

Community is the reason LA-based producer, composer, DJ, and co-founder of Delusional Records, Maude Vôs fell in love with music. Every new idea she manifests in her vast array of synthesizers (which she equates with aquatic plants and animals) is in service to a larger community.

“Music to me is community,” says Vôs, “Whether it be sharing my own work, feeling that the artist is trying to tell a story or take you on a journey when I’m listening, or collaborating with vocalists or friends, that’s really for me what it’s about.”

This idea of community emanates from Vôs’s singular relationship with music. For her, music creates a space, a realm free of judgment, welcoming to all. It is within this space that communities can form.

“Music is my sacred space. The space I go for expression. The space I go for release. The space I got to feel whole,” say Vôs.

Throughout her life, Vôs has learned a lot about herself within this space, becoming a part of many communities herself and even creating her own. 



One of Vôs’s earliest memories of music was listening to oldies with her father in his classic car as they drove down by the beach in LA. As enjoyable as it was to share that with her father, though, she recognized that oldies were not her style of music. Rather, it was not the kind of music that created a space for her.

Vôs first found herself in that space when she was gifted a CD from the English electronica duo, Orbital. Within that space, a newfound curiosity was catalyzed.

“That cracked open a whole new realm for me. I was like ‘What is this sound?’ And then I found The Prodigy, and then I found Crystal Method,” says Vôs. “I was on Napster downloading all the things, and that’s when I started wondering how this music was made.”

As her connection to electronic music continued to flourish, Vôs frequently traveled between Los Angeles, Utah, and Germany, where her father’s family originated. She started making friends from all over the world, joining communities of like-minded individuals, and becoming exposed to a wide variety of genres.

“Utah at that time was heavily drum and bass. I found a lot of friends in that community and we were doing a lot of really cool events on the salt flats. I found a harder, darker, industrial when I was in Germany because that was more prevalent. Then in LA, there were some DNB and jungle heads in that community as well. There was also more underground dance music at that time. So I really was being influenced in so many ways. I was all in with electronica,” Vôs says.

Vôs’s affinity for electronica carried her to the career she has now which touches on all aspects of production. She’s released original music on impressive labels—for example, her latest track, “Opulence” came out on the new Desert Hearts Black compilation, Gateways Vol. II—but she works in various other fields as well. 

She’s produced for vocalists, film shorts, art galleries, fashion shows. She’s even curated her contracts for getting sync placements for her music.

“It’s really just realizing that you can’t always pigeon hole yourself in dance music,” says Vôs. “We can all make art all day, but we have to feed ourselves and put a roof over our heads and buy more synthesizers.”

The foundation of Vôs’s work in production is her arsenal of synthesizers. She pretty much always uses hardware regardless of the project, including in many of her live performances.

“When I get obsessed with something I get really obsessed and I need to know everything,” Vôs says. “It became semi-modular. Then came the effects. I wanted all the effects and started learning about all the reverbs and different types of delays. Then I got into modular with my eurorack and my arp. Having something tangible is so lovely and special to me.”

Over time, her interest in synths grew along with her studio, and Vôs found another community of people who shared that interest via SoCal Synth Society. 

Started by fellow LA-based synth artists Trovarsi and Space Racer, Socal Synth Society helps educate artists about synthesizers and analog production. All skill levels from complete beginners to seasoned veterans are welcome. Throughout the pandemic, they held various virtual events including panels and performances, both of which have included Maude Vôs.

“It’s really just a super inclusive space for underrepresented people in the industry who are into hardware,” says Vôs.

Vôs felt a deep connection to that intention not just because of the hardware aspect, but because she is underrepresented as a queer artist. Back when she was a teenager, the electronic music community was where she first felt at home, where she first felt accepted in her queerness. 

“Let’s be real. House and techno is Black and gay. It’s crazy where it’s gone, but its roots are Black and gay, and so feeling like finally I found a place that I feel aligned with, and I can be me, and that I’m home is so lovely,” says Vôs.

Vôs found that home within the house and techno community and is adamant about creating a space for others to find the same via her new record label Delusional Records, which she started with her partner and fellow LA-based queer artist, Marie Nyx.

One of their main values is creating a catalog with a 60/40 ratio of female and non-binary artists to male artists, and having music itself be equally diverse.

“We are trying to really break the industry that is 90 percent or more white male, and trying to share a lot of different music from different parts of the world and the country in a super inclusive, meaningful way,” says Vôs.

Music can connect people from all over the world, regardless of race, religion, gender identity, or sexual orientation, and bring them into one community. Maude Vôs feels at home in that space, and she invites any and all to join her.

Artist Spotlights