Name: BPM Brazil
Start: 2022-02-25T12:00:00.000-08:00
End: 2022-02-28T00:00:00.000-08:00

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



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



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



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



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



1. Todd Terry







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



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



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



2. East End Dubs





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



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



3. SYREETA





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



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



4. Iglesias





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



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



5. Harry Romero





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



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


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



6. ACRAZE





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



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



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



7. Shermanology





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



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



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



8. Tim Green:





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



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



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



9. Kyle Walker





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



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



10. LOVRA





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



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





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

East End Dubs stands out amongst his peers for a variety of reasons, from his successful career running multiple labels (East End Dubs, Eastenderz, and Social) to building the profiles of artists like Priku, Sidney Charles, and Arapu alongside his own legendary project. One of the key elements that makes East End Dubs’ approach unique, however, is his focus on how his own tracks resonate with live audiences.



This dedication to the dancefloor truly sets the Londoner’s sound apart from the rest. Teasing IDs in his live sets, East End Dubs has built a dedicated following to his minimalist, club-ready rhythms—many of which never see an official release. Shaping the style of modern house for the past decade, East End Dubs is known for his irresistible grooves.



When you explore the discography of the producer and DJ, originals and edits alike help tell the sonic story behind the UK tastemaker. East End Dubs has released on some of the most prestigious house music labels such as Hot Creations, Act Natural, and his own imprint Eastenderz. Go behind the tracks to hear how the eclectic UK artist has developed into the auteur he’s known as today.



1. bRave





“bRave” is East End Dubs’ “most-listened track,” recently gaining new fans after its inclusion in Disclosure’s “DJ Kicks” mix in late 2021. The song, released via FUSE London, was one of the producer’s most sought-after IDs thanks to its kicky rhythm and radial synths. “bRave” caught the attention of FUSE London label head Enzo Siragusa, who managed to convince East End Dubs to finally share it. Siragusa’s remix on the EP offers a unique garage take on the tune.



2. Bossy





East Ends Dubs’ Kelis edit ignites dancefloors whenever he drops it. He cites it as one of his most-played tunes on SoundCloud (it’s currently sitting at 420,000 streams).



3. Dis





“Dis,” the opener off the A Bit Dandy EP, is East End Dubs’ first release on Jamie Jones’ Hot Creations record label. The stuttered vocal chops and dancefloor-ready tech house bassline were precursors to set staples “Bossy” and “Goodies,” his edits of the Kelis and Ciara tunes of the same name.



4. Finnsbury





East End Dubs 001 dropped on the producer’s eponymous label in 2012, comprised of tracks “Finnsbury” and “Bird Lime.” The former feels more in line with what East End Dubs’ sound would evolve into over the years, offering an early look at the artist’s developing sonic expression.



5. London Thing





Releasing on his own East End Dubs label, “London Thing” is an ode to the UK house producer’s beloved hometown. Chunky bass and a minimalist synth melody reflect the moody and inviting warehouses and nightclubs of the city, where house music continues to evolve. “London Thing” is yet another step in that evolution; it represents the DJ-focused approach East End Dubs takes with his sound.



6. Stranger





This meditative, pacing track is from the She Loves It EP, released via Huxley’s acclaimed label Act Natural Records. East End Dubs shines for his versatility on the tune, showing a different side of his style.

6 House Tracks that Tell the East End Dubs Story

London-based DJ and producer East End Dubs has an expansive solo catalog, but he’s also delighted the house scene with a range of collaborations and remixes that widen the scope of an already diverse sound. He’s worked extensively with the likes of Rich NxT, who has appeared on East End Dubs’ Eastenderz label, a notion that lends itself to synergy between two familiar artists combining their creative forces.




East End Dubs has also looked north to remix Lauren Lo Sung while jumping across the North Sea to work with Fabe, artistically traveling beyond his London stomping grounds.




While there are plenty of stellar releases to choose from over the last decade, we’ve narrowed down East End Dubs’ top five collaborations and remixes. Prepare for a tight mix of club weapons and otherworldly bliss.




1. Rich NxT, East End Dubs - E3

Released via the essential FUSE London, “E3” is the front half of The Four Slip EP between Rich NxT and East End Dubs. While the subsequent “Bubbles” is a potent cut, “E3” is the undeniable highlight as a stark, minimalist groove gives way to exuberant synth flashes before circling back to a darker aesthetic at the halfway mark. It’s as eclectic as house music comes and marks a key release in East End Dubs’ collection.




2. East End Dubs, Fabe (Ger) - Stargaze

A cross-continental collaboration with German producer Fabe, “Stargaze” lives up to its celestial namesake. Heady, exospheric pads roll across the single with wonderment and take the club off-world. As the first track off the East End Dubs Collaborations EP, it’s also arguably the project’s best.




3. Lauren Lo Sung - Hypnotise (East End Dubs Remix)

From Liverpool to London, East End Dubs takes Lauren Lo Sung’s lush “Hypnotise” and flips it into a sharp, technical slice of his signature house sound. While respecting the original single, he imbues it with unmistakable East End Dubs character and adds to the excitement of a standout release on Lauren Lo Sung’s own LOLiFE UK imprint.




4. Sleek & Cheek - Go Home (East End Dubs Remix)

It requires a deep dive into the back of East End Dubs’ catalog, but it’s worth the digging as his flip of Sleek & Cheek’s “Go Home” is a sludgy highlight. With a weighty, slowed-down groove, the remix feels less like a headline-set stunner and more like an understated staple of an all-night marathon. Sometimes the best music is on the road less traveled.




5. East End Dubs, Cuartero - Static Sea

Bookending this list with the closing track of the East End Dubs Collaborations EP, “Static Sea,” is a glitchy joy of a single that’s downright uncanny in its early stages before evolving into something more familiar (and more catchy). It all makes for a rewarding closing stretch where the oppositional aesthetics fuse into one anthemic outing.



5 East End Dubs Collabs and Remixes You Need to Know 

London-based DJ and producer East End Dubs has been producing electrifying house music for the last decade. Not tethered to one specific sub-genre, he traverses across the stylistic spectrum. Some songs thrive in technical precision, others are more free-flowing and organic, and still, others have a tantalizing twist of acid. It's this versatility that's sustained East End Dubs as an essential name within the underground electronic scene.



While his catalog is vast, with a healthy ten years of creations to choose from, below are five essential cuts that stand above the rest in East End Dubs' expansive arsenal.



1. Bec's Groove

Out in 2020 via Chris Stussy's Up The Stuss label, "Bec's Groove" is an atmospheric house scorcher. With a sub-tickling deep end complemented by crisp percussive claps, it evolves into electronic hypnosis and is an unmistakable highlight from the EP of the same name. Chris Stussy (who has also appeared on East End Dubs' Eastenderz imprint) tops off the project with his deep-tech take on the B-side, "Jazzed In Time."




2. What's Goin On

One of East End Dubs' most acclaimed cuts, "What's Goin On," lives up to the hype as a gritty, acidic synth line steeped in classic house sentiments kicks off the track. With an anticipatory percussive swell, the single drops into dancefloor catharsis meant for the club's collective masses.




3. Swing Riddim

Clocking in at over seven minutes (as any proper house track should), "Swing Riddim" gradually reveals aspects of itself throughout its lengthy runtime. Its opening groove is enough to warrant the journey, but East End Dubs surprises with warped synths slinking into the single alongside a percussive switch-up where the kicks disappear before reigniting the riddim's sweaty grind. "Swing Riddim" also comes paired with "Lexa Groove" on ENDZ012 via Eastenderz.




4. London Thing

The self-released "London Thing" is one of East End Dubs' most nuanced singles as it bops along with a playful bounce before immersing itself in warped vocal samples and chilling synth stabs that make for an intimidating edge. It perpetually surprises, evolving at every turn. It's definitely a London thing.




5. Hip

An additionally self-released cut, "Hip," is structured around a picture-perfect vocal sample of Total Refraction's "We Don't Stop" that declares, "they can't believe a girl as cute as me can sit with the rhyme" before exploding into an irresistible house turn. It's yet another ecstatic club weapon from East End Dubs' expansive catalog and affirms why he's an essential voice in the scene.



East End Dubs 5 Most Tantalizing Cuts

Heading up not one, but three labels, East End Dubs has a sense for the artists shaping house music culture into the future. His Eastenderz label in particular has helped further the careers of established artists like Priku,  Sidney Charles, and Fabe.



The DJ and producer has his eye on a couple of acts he deems promising in the genre he knows best, however. One is an up-and-comer who goes by Rigzz. In Gray Area’s Spotlight interview, East End Dubs said, “We've been recently working with an artist from Argentina called Rigzz, and he seems to be ticking all the boxes right now.”





Ticking all the boxes is right—Rigzz has had a busy 2022, playing across South America and dropping his Eastenderz release, the Fision EP, earlier this year. His brightly melodic sound offsets deeper, darker tones in a unique exploration of the house genre. 



Hailing from Córdoba, Argentina, Rigzz has brought his style to Amnesia Ibiza, Sanity Argentina, PM Open Air, and BNP, where he is a resident DJ. Rigzz is having a moment as he crosses over to become a household name among house heads. 



There’s also another producer whom East End Dubs thinks will be right up there with Rigzz sooner than later.



He mentions “a guy from New York called LaRosa” as an artist he’s backing. LaRosa’s father’s classic rock career inspired him to begin making music, which has garnered attention for the ‘90s-inspired minimal sound that DJs have been rinsing as of late. LaRosa is steadily garnering the attention of other tastemakers, receiving support from DJ Mag Brazil and Trommel, and spinning sets for Ibiza Global Radio and Avant Gardner.





“He’s also released quite a few EPs and is going to release one with us soon,” East End Dubs says. “I think he is definitely an up-and-coming artist.”



With a co-sign from East End Dubs, Rigzz and LaRosa are primed for stardom in the international house circuit thanks to their upcoming releases on the multi-hyphenate's label.

East End Dubs Says to Keep an Eye on These 2 House Artists

London-based East End Dubs is an artist held in high esteem among his peers for his continuous innovation of the house music sound. It might come as a surprise, then, that the DJ, label head, and producer isn’t too keen on drawing attention to his own music.



“I don't specifically enjoy releasing music,” he told Gray Area during our Spotlight interview. “I make lots of music all the time, but I don't like putting it out.” 



The rare tracks that make it out of the vault include classics like “bRave” and his edit of Kelis’ “Bossy,” as well as new cuts like a “Goodies” rework and the funky original “What’s Going On.” All have amassed hundreds of thousands of streams.





Regarding his creative output, it took time and experimentation for East End Dubs to develop his identity. “I had a couple of other projects before, and I’ve done some anonymous stuff,” he says. “I also used to DJ for a couple of major clubs in London here and there. But after all that, it took some time to basically find my identity and decide on the sound that I really enjoy.”



So where does all of this unreleased music end up? The multitalented artist infuses his DJ sets with his original productions, making each of his performances a rarity with many unreleased tracks. He finds that often, these IDs are what resonate the most with audiences, allowing him to see their reaction to his music in real time.



“To be honest, I think the milestone tracks have been the ones that I didn’t release, or only released limited white label copies,” he says. “I basically just try to keep it all for myself, and play it out myself. That's what makes me quite exclusive in a way, because I play my own music most of the time.”

East End Dubs: "I Make Lots of Music, but I Don't Like Putting it Out"

The long-awaited East End Dubs album is coming. The London producer has confirmed that he is working on a studio-length effort, explaining his recent release hiatus.



“I haven't had a proper release for probably two years now,” he told Gray Area during our Spotlight interview. “That's quite a long time for an artist like me who produces a couple of tracks every week, so I've got lots of stuff on the back burner. But I'm getting ready for my album, so that's what I've been working on heavily. I'm really excited for it. It's quite an emotional album, actually, and I can't wait to get it out.”



He’s spent the majority of his time creating tracks in his home studio in the UK, sifting through WIPs to determine what will make the cut for the final tracklist. “I’ve got 23 or 24 tracks now, and I'm gonna have to reduce it to 12 or 13,” he says. “It's going to be a difficult selection.”



A steady string of EPs like East End Dubs Collaborations, A Bit Dandy, bRave, and The Four Slip have propelled East End Dubs as a key figure of the London house sound. On his upcoming album, though, he plans to dive deeper into his sonic identity and deliver his largest body of work yet.



East End Dubs is challenging himself in his latest project by busting out an expanded toolkit of sounds. “I've actually tried to use every single instrument in my studio. It's quite heavy on the synths. I've used quite a lot of analog drums from the modular synths. I’ve also got two samplers that I still need to include, and I'm planning to somehow use them as well."



Rather than stick to a single scene or style, he tells fans to expect a new side to his music. “The stuff that I'm producing right now is quite different from what I actually play, and what I’ve released so far,” he says. “It will be an interesting album.”

East End Dubs is Writing an Album Using All the Gear in His Studio

Spanish producer and DJ Paco Osuna has set the tempo for techno and tech house for over twenty-five years. As the owner and head curator of Mindshake Records, he's guided the prevailing sound of the underground since 2005, releasing his own music and that of industry leaders like Pig&Dan, Cuartero, Eats Everything, Carlo Lio, Daniel Orpi, Blackchild, Jean Pierre, and Ben Sterling.




Around the same time he founded Mindshake, he opened the Club4 techno night alongside Adam Beyer, Marco Carola, and Christian Smith. The quartet eventually parted ways, each marking their own heavy influence on dance music culture. Osuna, too, remained on a path that opened avenues for expressing his deft skills as a curator of memorable nights.




He has also found himself at the inception point of several other ground-shaking cultural institutions. Like many other artist-led brands, Mindshake moved beyond releases and became a platform for creative growth in the club. After leaving Club4, he was one of the first residents of Marco Carola's Music On. Then when Osuna transitioned away from traditional DJing, he became an ambassador for Richie Hawtins PLAYDifferntly brand. And he was notably one of Spanish experiential party purveyors elrow's first resident DJs.




When Gray Area spoke to him at ARC Music Festival after playing on the elrow stage earlier this year, Osuna emphatically explained how deep his reverence runs for dance music's champion of the confetti blast.




"I was with elrow from the very first day in Barcelona. So I am part of how this entire family has grown from the first day," he explains. "For me, it doesn't matter where you have to be with them, Chicago, Russia. It's always a family."




Being a part of such a unique organization's explosive growth has allowed him to express aspects of his creativity that otherwise would have laid dormant. Working alongside famed multimedia artist Okuda San Miguel he helped soundtrack elrow's highly conceptual Kaos Garden theme in 2019. Osuna says that even though it's always a challenge to collaborate with a creative genius, he's always open to finding artistic union.




This summer, Osuna debuted Nowhere, his first Ibiza residency in conjunction with The Martinez Brothers at Hi Ibiza. Over the inaugural season, he invited Ben Sterling, Melanie Ribbie, Anna Tur, Reelow, Latmun, and Nicole Moudaber to join him.




Now that he's started his own event concept, he reflects on how he can continue to exist at the intersection of art, technology, and music. And while he still loves the creative trifecta, he explains that music remains paramount.




"My father always told me to look no farther than the next day. And for me, it would be a dream to spread my brand to Taiwan like elrow does. But it's a different concept. With elrow, the music is important but also the show is important. In my party, it's only [the music that's] important."




When Osuna began his journey in dance music, it didn't matter who was playing, people just came to have a good time. This storied era— before the celebrity DJ and the abhorrent hero worship of the selector— is something that he holds close to his heart. As a curator, he understands that the experience is important, but as a musician, there is nothing more sacred than the dancefloor.




That's not to say that he hasn't envisioned expanding his vision beyond the speakers. In fact, he tells us that's a vital part of his bringing the residency across the pond to Club Space for its first US iteration at Miami's Art Basel in December 2022. He plans on making it a unique experience. And he's excited to partner with one of his favorite clubs in the world for the one-night-only experience.




It's no coincidence that Osuna regularly plays in the world's most esteemed clubs like Space and Hi. His sophisticated yet dancefloor rocking style has been a focal point of his mystique for years. Seeing someone like Paco Osuna perform reminds you that how you play makes all the difference.




Stoic and focused, Paco stands amongst a small array of digital gear when he plays live. And while he still calls himself a DJ, what he's doing is far more complex. So when I ask him why he chose to leave the decks behind for a more elaborate performance setup, it's surprising to hear that the change was out of necessity.




After years of standing hunched over turntables and CDJs, he explains that he developed a debilitating sickness in his neck. His nerves were destroyed, leaving him at critical crossroads. His doctor told him, "you need to stop DJing or find a way to play where your neck has to be as straight as possible."




And while many would have given up, Osuna saw an opportunity in technology. When he decided he was going to use the computer to play, he was met with the usual derision from purists saying that he was taking the easy way out, that he was no longer DJing.




"I always give this example to people [who say] you are not DJing anymore; you're playing for the machines. People are driving here in America for a long time with automatic cars. In Europe, no! Do people in America not drive" he laughs. "For me, the way that I play now is much more creative, giving [me] so many opportunities to go very far with ideas that I have in my mind at the moment.




The creative freedom he has with his innovative setup would be impossible with turntables alone, he explains.




"So for me, it's very important to always evolve with the times. You know, maybe in 20-30 years, there is no computer, there's something else. I remember I had a friend who told me 'in the future, we are not going to hear music. We will hear frequencies and the frequencies will make us dance. So, I don't know. But you can't go against the evolution of the world."





















Paco Osuna: "You Can't Go Against the Evolution of the World"

East End Dubs is a prolific DJ and producer in the London house scene, but he’s also a tastemaker who founded the essential label Eastenderz in 2014. With a slew of acclaimed releases in the past eight years, it’s a key tastemaker and deep tech leader across the UK and Europe. Alongside the label’s work inside the studio, Eastenderz also hits the stage in locales ranging from Manchester to the sacred grounds of Ibiza, bringing its tastemaking ethos in tow wherever it goes.



With self-released work from East End Dubs alongside releases from the likes of Okain and Nami, to name a few, there are almost 50 Eastenderz releases to dig into, but we’re making it easy for you with the top five tracks from East End Dubs and company.



Okain - Flyaa

Paris-via-Berlin producer Okain offers a brilliant, standout highlight from the 6 Years of Eastenderz Pt. 2 compilation. Alongside tracks from names familiar to East End Dubs fans like Chris Stussy, Rossi, and Cuartero, it’s a warm and organic single that makes digital music feel downright human.




Wickham - Mello

Hailing from the first half of the 6 Years of Eastenderz compilation, Wickham provides one of the most intense, utterly energetic entries in the Eastenderz catalog. The track is anything but mellow with a lead propulsive enough to be rocket-powered, sprinkled with further ecstatic flourishes that make “Mello” a can’t-miss cut.




East End Dubs - Nightingale

From the head of Eastenderz himself comes “Nightingale.” Found on the 31st entry in the label’s sprawling catalog, it makes for a mesmerizing journey that rarely strays from its core components and remains grounded in a consistent groove. As a wise man once said, if it isn’t broken, don’t fix it.




Nami - Cosmonaut

Looking back to 2016 for the inaugural ENDZ001, one will find “Cosmonaut,” a fittingly titled single with space-bound aspirations. Nami’s production almost sounds analog as the percussion has ample room to breathe and expand across its runtime, giving electronic music a biotic jolt. It’s perpetually compelling and is a deserving debut for the Eastenderz ENDZ series.




Pascal Benjamin -  Triggered Feet

“Triggered Feet” is from Eastenderz’ most recent ENDZ project, and it’s also some of the label’s finest. Amsterdam-based producer Pascal Benjamin methodically weaves his way through snappy production that mimics the winding path to finding a friend on the dancefloor; adrenaline-pumping, trance-inducing, and ultimately arriving at a rewarding conclusion.

5 Tracks that Define the Sound of Eastenderz

United Kingdom

East End Dubs

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



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



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



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



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



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



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



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



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



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



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



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



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



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



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

The experience of dancing for the last time inside the super clubs of Ibiza is a singular experience. The last week of September and the beginning of October brings the final call for many of the most popular residencies at Ibiza's top venues. And while there are many closing parties to choose from, we're bringing you the ones you can't miss out on.




Sven Väth presents Catharsis | Club Chinois | Tuesday, September 27

The founder of Cocoon, Sven Väth, will take the stage at the brand-new Club Chinois for one exclusive night this Tuesday. The German artist has heavily influenced Ibiza's dance circuit over the years. This season he has brought unique musical experiences through Catharsis (the name of his thirteen-track album) to the most essential venues playing every party as if it were his last. This will be the final chance to connect with the Ibiza legend this season, don't sleep. Buy tickets to enjoy the last Catharsis show by Sven Väth in Ibiza at Club Chinois.




Follow Sven Väth on Twitter | Instagram | Soundcloud







The Martinez Brothers Closing Party | Hï Ibiza | Tuesday, September 27

The superstar brothers from the Bronx, Chris, and Steve Martinez, conclude their first-ever residency in Ibiza this week. The Martinez Brothers have led one of the hottest nights on the island this summer with their trademark sound that expertly blends techno and house with a distinct New York edge. Next door in the Club Room, Paco Osuna has offered exquisite and forceful techno sounds. Paco and the Martinez Brothers were accompanied by a carefully curated selection of talented DJs, making Tuesdays at Hï Ibiza a must-visit for all dance lovers. For Kerri Chandler, Guti, and Renato Ratier, join them for the final outing alongside a special guest to create a memorable grand finale.

Get tickets for The Martinez Brothers' closing party at Hï Ibiza.




Follow The Martinez Brothers on Twitter | Instagram | SoundCloud







FISHER Closing Party | Hï Ibiza | Wednesday, September 28

From the start of the season, it was obvious FISHER's headlining slot at

the #1 club in the world (as voted by DJMag) was going to be one of the greatest debuts in Ibiza this summer. The Aussie DJ and producer knows how to throw a party, and we have all danced to some of his tracks like "Losing it" or his latest "It's A Killa" (with Shermanology). FISHER will play all night long in the Theatre Room at Hï to conclude the season, while Vintage Culture drops an extended set next door in the Club Room.

Enjoy FISHER's last show at Hï this season




Follow FISHER on Twitter | Instagram | SoundCloud







Afterlife Day & Night | Hï & Ushuaïa Ibiza | Thursday, September 29

Italian music duo Tale Of Us present a final glorious show across Ushuaïa and Hï Ibiza this Thursday, kicking things off in the open-air at Ushuaïa at 5 pm. The melodic techno pair play two headline sets in both venues (offering a b2b with Maceo Plex outdoors before midnight) and will be joined by Stephan Bodzin (live), Dixon, Mind Against, Sven Väth, Ben Klock B2B Marcel Dettmann, and many more. Purchase combined or separate tickets for Afterlife Grand Finale.




Follow Afterlife on Twitter | Instagram | SoundCloud







Solid Grooves Closing Party | DC10 | Thursday, September 29

Solid Grooves, the much-loved party and label with a distinctive deep tech soundtrack wraps up its first DC10 season this Thursday. Founder Michael Bibi joins label mates Dennis Cruz, PAWSA, Ben Sterling, and ANOTR and secret guests. The iconic underground venue DC10 has proven to be the perfect match for the groovers crew, so head over to the Salinas club and enjoy the last Solid Grooves of the year! Purchase your ticket for Solid Grooves Motel Closing party




Follow Solid Grooves on Twitter | Instagram | SoundCloud







Defected Closing Party | Eden | Friday, September 30

House music giant Defected is ready to close a fantastic season at San Antonio hotspot Eden. Defected has been at the forefront of the clubbing scene for more than 20 years and culminates its longest-ever season on the last day of September with Simon Dunmore, Mambo Brothers, Low Steppa, and many more. Head over to Defected closing party if you are looking for classic house music and uplifting vibes before the party season finally ends! Purchase your ticket for the Defected closing party at Eden.




Follow Defected on Twitter | Instagram | SoundCloud




elrow Closing Party | Amnesia | Saturday, October 1

elrow presents a new theme to close the busiest night at Amnesia properly. For the first time, elrow will present its most artistic and avant-garde theme: DELUSIONVILLE, a concept curated by the American contemporary artist Ron English. Metamorphic landscapes and anthropoid animals come to life exclusively at elrow's closing party. Amnesia and elrow have chosen one of the greatest representatives of clubbing culture to headline the show on the terrace, Fatboy Slim, alongside Eats Everything and elrow resident DJs Bastian Bux and Tini Glesser. The Main Room, renamed elrow City, will be occupied exclusively by Kölsch all night long. Dare to join the last elrow event of the summer in Ibiza and discover their new world! Buy your tickets for the elrow closing party and discover its newest theme.




Follow elrow on Twitter | Instagram | SoundCloud




Storytellers Pangea Closing Party | Cova Santa | Sunday, October 2

A day trip by Storytellers (the team behind WooMooN) finalizes the season with Pangea. The closing is the last opportunity to take an active role in the fairytale world they've created while dancing to an extended set by Red Axes and Audiofly b2b Deer Jade. The event begins outdoors at 6 pm at Cova Santa and follows indoors from midnight till sunrise. Get tickets to enjoy Pangea by Storytellers at Cova Santa.




Follow Storytellers on Instagram | SoundCloud















Ibiza Selects (September 26 – October 2)

While the adage, “it’s a man’s world,” is entirely tiresome, it still begrudgingly has a hint of truth to it. While women and non-binary artists are gaining more recognition, it’s still difficult to avoid prejudgments based on gender, especially in the music industry.




Today we’re here to celebrate some of the industrious women of the genre. Some women on this list have performed under male-skewing monikers to avoid criticism and fight against harsh stereotypes. These women are an inspiration, not just for female producers but for all artists in the modern techno scene.







Stella Bossi



Stella Bossi is impenetrably cool. This German DJ is part social media star, part hard techno producer, and–most recently–part record label owner. With dark sunglasses permanently fixed to her modelesque face, she deadpans her way through joyous rave-kid activities on Instagram. Hot boxing inflatable bubbles, leading unicorns into the club, and napping in supermarket freezers are just a few of her specialties. Internet humor aside, her new label, The Beat Must Fuck has a truly innovative approach. She taps her virtual community to vote on which tracks will get a deal. All her releases, including her 2021 hit “Molly for Breakfast,” were released there.









Amelie Lens

Amelie Lens is a Belgian techno DJ, record producer, and owner of the imprint Lenske. She’s always had a broad taste in music but cites a 2006 festival as the start of her obsession with techno. She started immersing herself in the history of electronic music, clubbing regularly, and teaching herself how to mix. In 2014, she left her career in fashion to pursue music full-time. In 2016, she debuted with her Exhale EP on Italy’s Lyase Recordings. As a resident at Labyrinth Club in Hasselt, she began to curate her own club nights, also under the name Exhale. She’s since taken Exhale experiences to festivals around the world and recorded a mix for fabric London in 2019.







Lilly Palmer

Lilly believes that music is freedom. Well-known for the intriguing energy of her live sets, Lilly Palmer wants, first and foremost, to create a bond with her audience. She became enchanted with the hypnotic rhythms of techno when she was a teenager and said the more she immersed herself in the scene, the more she became addicted. Though this German DJ and techno producer only started releasing original music in 2017, she’s in hot demand these days. After a breakthrough performance at a boutique Netherlands festival called Hrfst introduced her to a slew of new fans, Lilly felt her career began to surge forward. Now based in Amsterdam, she’s touring around Europe, sharing the music that set her soul on fire.




Deborah de Luca

As one of the most impressive talents to emerge from the international techno scene over the past decade, Deborah de Luca is unrivaled in her determination and passion. Raised in one of Naples’ toughest districts, this young Italian came from humble beginnings. She talks earnestly of her early days as a nightclub dancer, telling young artists that nobody should tell them what they can and can’t become. In 2013, the industrious artist launched Sola_mente Records and began releasing music rapidly. In 2018, she celebrated a decade in the business with her first full-length album, Ten. Now regularly referred to as ‘The Techno Queen of Naples,’ Deborah de Luca has left an undeniable mark on the music industry.







Monika Kruse

The musical career of Monica Kruse spans more than 30 years. In the early 90s, she played a massively influential role in the early Munich rave scene, and she was among the first wave of German techno artists to begin touring internationally. While her earliest sets slanted towards hip hop and funk, she listened closely to the budding techno and house music from the midwestern United States. At the turn of the century, she moved to Berlin and started her label, Terminal M. In the quarter of a century that the label has been active, she’s helped to cultivate some of the genre’s strongest modern talents. These days, Monika is seen as techno royalty and is held in the highest regard by her peers.







Charlotte de Witte

Charlotte is a pioneer, not just for female DJs and producers but for all artists in the modern techno scene. Born in Belgium, she started spinning in 2010. A year later, she won a DJ contest held by a local radio station, giving her a performance slot at the massive Tomorrowland festival. At the time, she was performing under the alias Raving George, attempting to avoid negative presumptions against female DJs. Though she continued regularly releasing music, she didn't use her real name for another five years. Her hits “Doppler,” “Sgadi Li Mi,” and “The Age of Love”–written with her now husband Enrico Sangiuliano–solidified her spot as a trailblazer in the acid techno movement.







Marika Rossa

Marika Rossa is not afraid to experiment, even if it risks causing a bit of backlash. She comes from the harsh underground of the Ukrainian techno scene, but she’s not held down by any mold. Her daring self-expression shines in her music and style, and it seems to be working. This bold producer, DJ, designer, and businesswoman has already garnered an army of loyal fans worldwide. In 2010 she joined the label Italo Business with the track “Loppestein,” produced together with Dandi & Ugo. Recently, she started her label Fresh Cut. In true “coming out swinging” fashion, Fresh Cut’s first release charted on the Beatport Hard Techno top 100 in less than a week.







ANNA

DJ Mag once said about ANNA, “DJing feels not so much like something ANNA does, but something she is.” If said about anyone else, it might feel a bit cliché. But for ANNA, it feels fitting. Born in Brazil, she grew up in her father’s popular local nightclub. From a young age, she developed an irrevocable connection to music and permeated herself into the clubbing atmosphere. On the production front, she’s dropped critically acclaimed music on nearly every significant label in techno. In 2019, a richly deserved slot on BBC’s Essential Mix distilled her 20 years of experience into one remarkable masterclass in great techno.







Nicole Moudaber

Nicole Moudaber is more than a DJ. She’s also a record label founder, event promoter, radio personality, philanthropist, and advocate for the electronic music community. She began her career as a party promoter in Lebanon before she moved to London to establish herself as a DJ. In 2009, she caught the attention of legendary techno producer Carl Cox, who signed her to his label that year. She’s since started her label, MOOD Records, in addition to her award-winning radio show In The MOOD. With nearly 500 episodes, In The MOOD is broadcast weekly in over 50 countries to over 20 million listeners.



9 Women in Hard Techno You Should Know

Last month French producer and DJ Sirus Hood delivered a summery mix for Gray Area’s OCHO that brought us to the sunny shores of Ibiza. Recorded during an epic sunset at White Isle institution Bora Bora Beachclub, he blazed through a set that fluidly drifts through classic Chicago, funky tribal, warped tech house, and disco.





Putting his deep knowledge of house music on display has been a hallmark of his style since he burst onto the scene with releases on CUFF and Dirtybird in 2014 and 2016 respectively. At that point he’d been a student of dance music from the age of 10, when he started listening to mixtapes passed down to him from older friends.





Over the years he’s flexed his skills as a producer on many lauded labels including Hot Creations, Cajual, and Sola. However, his more recent project with Manda Moor is where his focus lies these days.



We caught up with Sirus to chat about Mood Child Records, the challenges of producing vinyl, and what’s to come for the Ibiza regular.









You have a new label with Manda Moor. What brought the two of you together for this project and what's different about this project?



That’s right. Actually, this is the first time that I’m talking about our label. The name of the label is Mood Child. After releasing a series of successful edits with Manda Moor, it seemed natural to evolve to original music from us, from the artists that we love, and to start our party [brand]. The whole concept of Mood Child is to have multiple colors, multiple moods, and multiple cultures. We believe in diversity, and this is what we want to share.





Vinyl has consistently been on the uptick for the last several years. What's the thought process behind putting out a limited vinyl release?



During the pandemic, we created a community on Bandcamp of music lovers who supported our limited stuff. We believe in the scarcity, and we are huge vinyl lovers. By definition vinyl is limited so, we decided to launch our best edits on wax for all the DJs who want to play rare edits on 12”.





Where there any challenges you had to overcome when planning on releasing vinyl?



Producing vinyl is very challenging. The vinyl pressing plants are facing material shortages and a higher demand which increases the costs and delays. Some plants are facing a one-year delay. So, the first challenge was to find a plant who offer a shorter delay and the best pressing quality. Then we had— in a very short time— to remaster the 12 tracks for vinyl because mastering for digital releases and vinyl doesn't have the same requirements.



We called Most Wanted Audio who do analog mastering. It’s very challenging because any change means starting from scratch and re-recording second by second. The final result is amazing.



Then we had challenges of the artwork and label stickers with very specific formats. But our friend Sami Galetto created for us a crazy piece of art. Now we are waiting to see the babies (the vinyl copies).





You have a project with DJ Pierre as well, can you tell us about that?



The legendary DJ Pierre (Phuture) who created the acid sound (acid House, acid Techno) in Chicago in 1985 [asked] me to remix the first acid track ever called “Acid Tracks.” It’s a huge honor for me. It’s gonna be released on a very limited vinyl that is available on pre-order on Diggers Factory.







What's it like being asked to remix such a historical piece of dance music culture?



I’m so proud to retouch such a classic piece that served as a foundation of the music that we make and play today. I had the chance to get an original Roland TB-303 to recreate the acid bass parts as the original track, then I added my groove on it. I love how it came out, a very groovy acid techno version. I can’t wait to have the vinyl in hands.





What's coming up for you this summer?



Mainly Ibiza. Manda and I did our first Mood Child party at Hï in the Wild Corner in June and it was one of the few super magic nights that we had in our lives. The feedback was incredible. Fun fact: The same night, Hï Ibiza was announced to be number one club in the world. After this first success, I’m happy to announce the next Mood Child party at Hï on August 23rd.





I’ll also play Paradise Amnesia on August 10th, The Martinez Brothers event on August 30th at Hï, and very nice gigs and festivals in some of my fav countries like Brazil, Italy and France.







Can you talk about your OCHO mix? What's special about the tracklist?



This OCHO is very special because I recorded it during a sunset at Bora Bora Ibiza for their opening party a couple of weeks ago. You can hear in the background the crowd vibing. The track selection is mainly 90s Ibiza magic vibe. I won’t say more ;)





Sirus Hood Talks Remixing Dj Pierre and His New Label with Manda Moor

Oh, genre labels. Love them or hate them, some heads live and die by discerning the subtle differences assigned to descriptors. Whether it be to break it down on Beatport charts, cultivate a Spotify playlist, decipher which festival stages have certain vibes, or even to be the ultimate electronic music nerd to win friends and influence people. It can be entertaining to dig a bit deeper. And when we say “deeper,” we’re not just talking about a blanket term referring to non-commercial EDM, but the nuances of more cerebral sounds. That being said, let’s talk about deep tech.




Is it techno? Is it deep house? Tech house? Deep techno? A combo abbreviation of deep-and-tech house? Underground, “urban,” or “shuffle house?” An amalgamation of all those sounds—or its own thing entirely? Though the name “deep tech” is obnoxiously vague, for this article, we’re referring to the house music offshoot that sprung up in the late 2000s, i.e., deep tech (house).




Where Chicago, IL is the undisputed birthplace of house music, the subgenre of deep tech is decidedly UK in its roots. Rising to prominence around the same time the younger audiences reimagined the Running Man and shape-cutting as shuffling, the underground nature of deep tech’s emergence mirrors the path of its more mature sonic sibling. Like house music before its roots were white-washed, deep tech was also birthed on club nights attended by predominately Black audiences. Stemming partly from the UK funky scene, deep tech provides a more warm-and-fuzzy feeling compared to another UK staple in the form of grime tunes.




However, the vagueness of the moniker expectedly leads to debates amongst fans and DJs alike. Some prefer to stick to calling the subtle offshoots “house.” At the same time, heads often dissect the subtle nuances of BPMs, incorporating melodic elements and even the feel of the bass when hugging the subwoofers. With a low-end that permeates one’s soul, deep tech provides those darker—but still danceable—beats. Whereas those with a discerning ear often thrive on delicate differences between the vast expanse of possible descriptors for the multitude of music that falls under the electronic umbrella, most electronic dance music fans can still enjoy deep tech as it avoids being too heady.




For those in search of the details of deep tech, one is immersed in four-on-the-floor basslines with a melodic groove that regularly samples classic R&B vocals. Weighing in at 120 to 124 BPM, deep tech is in that sweet spot to get people swaying even if they have two left feet. Deep tech carries on the UK rave roots of incorporating soaring diva songstresses, hip-hop rhymes, ragga, jungle, and garage with a decidedly sexier edge that sonically delights the physical aspects of attendees as well.




Who are the standouts in the subgenre? Much like when attempting to describe deep tech, pigeonholing an artist as solely deep tech doesn’t do the music justice. Even when perusing Beatport for deep tech tracks, the music retailer lumps “Minimal/Deep Tech” together as a category, likely much to the dismay of DJs and producers.


To begin your deep tech journey, check out record labels such as Cuttin’ Headz, Eastenderz, Locus, and PIV. As far as deep tech DJs and producers, one of the scene staples we dig includes Satoshi Tomiie. The Japanese legend embraced house music early, ultimately adding deep tech to his repertoire. With a background in classical and jazz piano studies, his career launched in 1989 with a collaboration alongside Frankie Knuckles, aka the “Godfather of House.” The pioneering Tomiee is still a force in the studio and regularly releases deep tech tracks to this day.




Much like Chicago house has its originators, for deep tech the expanding popularity can partially be traced back to Mark Radford and his Rinse FM Saturday night show. Raving since the late 1980s, he first absorbed the UK’s jungle, acid house, garage, and drum-and-bass sounds. Christening his Audio Rehab record label in 2012, Radford fostered many new deep tech talents and has even produced a few tracks of his own.




Speaking of deep tech denizens, veteran producer Steve Bug channels earlier progressive house, deep house, and tech house effortlessly. His Poker Flat Recordings celebrated 20 years in 2019. He has also amassed numerous successful releases on labels, including Bedrock, Cocoon, Defected, Knee Deep in Sound, and Minus.




Discerning tastes will appreciate the 2021 Traxsource Deep Tech Artist of the Year, Sidney Charles. With releases on the aforementioned deep tech labels (plus his own Heavy House Society imprint), Charles hails from Germany and has over a decade of chart-topping tunes, including “Cabo” on PIV, “There is No Time” via Locus, and “Grindin’” on Eastenderz.




Another fan favorite in the realm of deep tech is the mononymous Toman. The Dutch DJ/producer brings his drummer roots to his electronic beats that pay homage to UK tech house. Earning accolades as one of the highest-selling minimal/deep tech artists on Beatport, Toman is an artist to keep an eye—and ear—on when seeking fresh deep tech tracks.




As deep tech has carved out a dedicated legion of fans, remember that thinking about too many details of a subgenre can distract from the dancefloor. And at the end of the night, as a party turns into day, as long as it makes people move, isn’t that what house music is about?



Let's Talk About Deep Tech

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



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



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



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

1. Save Money



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



2. Drink Specials



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



3. On The Runway With Rowgelia



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



4. Sunset to Sunrise



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







5. Special Sundown Sets



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





6. Animators, confetti, inflatables? Oh my!



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



7. Come Hungry, Leave Happy.



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





8. The Great Hall of Chill



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





9. B2Bs on B2Bs on B2Bs



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







10. When I Roll Into The Wild Wild West…



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



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

Paradise Opening Party

Spain

Amnesia

If you’re looking for the best underground house and techno sounds, this party is the one for you. Jamie Jones and crew never fail to disappoint and have been smashing it out of the water ever since the creation of Paradise in 2012.



Paradise was born as a spin-off party by Welsh DJ and producer Jamie Jones after his longstanding Circoloco residency.After eight years at DC-10, it’s now time for Jamie Jones and the rest of the Paradise crew to take over the most famous terrace in Ibiza. Amnesia will host Paradise for 16 Wednesdays throughout the summer of 2022, with the first being on June 22nd.



This year the theme is “The Age of Love” a celebration of 10 years of Jamie Jones’ label Hot Creations. It’s a well-known fact that this summer's Paradise residency is teeing up to be the best yet and they’re leaving no detail unnoticed. The Paradise team are fully in control of the artistic direction and have re-imagined the main room as The Music Box and added a chill-out area called Pharaoh’s Garden.



The opening party lineup for Paradise is second to none. Headed up by Jamie Jones and joined by house and techno favorites Joseph Capriati, Hot Since 82, Richy Ahmed, Yulia Niko, Alan Fitzpatrick, Archie Hamilton, East End Dubs, Oden & Fatzo (live), and Manda Moor.



The Terrace:



Hot Creations label boss, DJ, and producer Jamie Jones will be headlining the terrace for the opening party. His distinct sound has propelled him to fame and popularity and you can be assured that the terrace will be a roadblock on the 22nd.







Italian DJ and producer Joseph Capriati started behind the decks at just 11 years old, and quickly became popular in his hometown, playing his first proper gig in 2007. He is a techno master and a staple on the global festival and club scene.







Daley Paadley, aka Hot Since 82, is a DJ and producer from the UK, who has been on the electronic music scene since 2012. A DJ Awards winner as well as Electronic Music Awards nominee, Hot Since 82 shows no sign of slowing down.







Richy Ahmed has musical influences from disco, funk, techno, and hip hop and has inspired a new wave of British DJs and producers over the past 15 years of his career. An original resident of Paradise at DC10, Richy Ahmed will be bringing his unique sound to the new era of Paradise in 2022.







Born and raised in the south of Russia, but now living in Berlin, Yulia Niko is a top techno selector, swaying towards more minimal sounds heavily influenced by Detroit and Chicago house.







The Music Box:



British-born Alan Fitzpatrick has been at the forefront of the underground scene since his breakthrough in the early 2000’s, releasing music that keeps dance floors packed across the world. 







Producer, DJ, and label owner Archie Hamilton has spent over 10 years rising through the ranks of the underground house and techno scene. No stranger to the White Isle, Hamilton has played iconic parties such as Circoloco and Music On, as well as Amnesia’s opening party this year.







Not only a master producer and DJ, East End Dubs runs his own label as well as engineers for plenty of other artists and record labels. The London producer has made a name for himself with deep and dark house sounds, inspired by London’s underground scene.







Oden & Fatzo are a French electronic music trio who always perform their disco-laden sets live, building tracks element by element.







Danish-Filipino DJ and producer Manda Moor swings perfectly between house and techno and has had releases on globally known labels such as Hot Creations, Tamango, and Afro Acid.







Paco Osuna charged up Music On Festival 2022 with a set that had crowds swelling around the decks within minutes. Starting off brooding and serious, the set evolves to become playful and funky, with a Black Eyed Peas and Groove Armada edit thrown in for good measure.




Music On is a house and techno festival that takes place in Amsterdam. After canceling its 2020 and 2021 editions, it returned with a bang in 2022. Run by Marco Corolla, it is globally recognized for hosting a broad spectrum of upcoming and established talent. The festival returns in 2023. Pre-registration for tickets is open now.









For over two decades, Osuna has been known well beyond the borders of his native Spain for his characteristically deep, refined, and imaginative tech house and techno. In 2006, he launched Mindshake, a platform dedicated to creating and distributing electronic music.



Mindshake has become one of the most important techno labels in the US and Europe, featuring material from the likes of Cuartero, Carlo Lio, Fer BR, Nick Curly, and Paul Ritch. Mindshake events have also developed a committed fanbase: the next installment comes this June at GO Beach Club in Barcelona.




This summer, Osuna is set to play elrow Festival in New York, Space in Miami, Secret Project Festival in Portugal, and beyond.




Follow Paco Osuna on Twitter | Instagram | Soundcloud























































Watch Paco Osuna's Intoxicating Music On Festival Performance

In 2000, Detroit's Hart Plaza vibrated with the sound of techno, house, and hip-hop for the first time during the inaugural Detroit Electronic Music Festival (DEMF). This was revolutionary, because at the time dance music was still very underground in the U.S. and there were few festivals centered on it. Ultra Music Festival, launched in 1999 and Cyberfest (a now-defunct San Francisco-based festival) were among the only other festivals catering to dance music fans.




DEMF morphed through various iterations under different organizers and names, eventually evolving into the Movement Music Festival we know and love today. When long-time local rave producer Paxahau took the reins in 2006. Ahead of Movement returning this weekend for the 21st edition of techno in the city that birthed techno, we chatted with techno pioneer and DEMF co-founder Carl Craig and Paxahau's founder Jason Huvaere about its storied and legendary history, and deep impact on the scene.



Craig, along with local event organizer Carol Marvin, moved mountains to successfully throw the inaugural DEMF, and the second one in 2001, both of which were free to attend. The first event almost didn't happen due to the city's delay on approving permits, but Craig's brother-in-law, who worked in the mayor's office for Detroit city cabinet member Lisa Webb Sharpe at the time, saved the day by getting him a meeting with her.




"I went in with my dad and convinced her what electronic music was because a lot of people that were older than me didn't understand it. Later on, she said to me, 'This festival has been really great because I have never seen soccer moms drive down and drop their kids in Downtown Detroit," he explains with a laugh.




It did all come together, and Craig convinced a stellar group of artists, many of them his friends and collaborators from the local scene to play the event. It brought the underground above ground, showing the city that their scene mattered, and also created connections within the wider Detroit community.




"It was something that was really exciting for me. When we announced that Slum Village and The Roots were playing, the hip-hop community got excited about this techno festival. That was amazing to see happen," Craig shares enthusiastically. "The majority of them that were approaching me about it were African American kids, that made it even more exciting because it was like I was touching the people that grew up like me and went to public school in Detroit. They probably had had similar experiences, good and bad. I felt that what was happening was that I was touching people with the music in a similar way that the Electrifying Mojo was on the radio in the '70s, '80s and '90s."




He explains that everyone in the scene at the time wanted a techno festival to happen in Hart Plaza because that's where Detroit's cultural events were held. Those events, which included things like the Greek-American festival and African world festival, "were always a big deal" to Craig when he was growing up. The free annual Detroit Jazz Festival launched in the plaza in 1980, which he calls "groundbreaking" for taking place there, and further inspired him and his fellow techno forefathers to bring their scene and sound to the outdoor city square. They were also inspired by the electronic festivals they'd been playing in Europe and Japan. "We thought, 'What about Detroit? What about the U.S.?' Being the D.I.Y. city that is Detroit, we're like 'We can do it!'"




The innovative Sonár festival in Barcelona especially served as creative inspiration for the Planet E founder. (Sonár began in 1994 and Craig had already played it a few times prior to 2000).




"Sonár was doing stuff that was different. It wasn't like they were trying to put on a concert. A lot of how we see the impact of videos with music, they were already pushing the boundaries with that in the '90s," he explains. "That had a big influence on me; [it was important to me]that my lineups and the festival itself is seen as being a high quality, sophisticated event, not just sticking some people together and saying 'Here's a festival.'"




In addition to placing his emerging underground scene in the sunlight and connecting it with the hip-hop community, he had his eye on artists who were doing things differently, not unlike himself. He explains he tried to do things people weren't doing that were really interesting. He booked a DJ that added power tools to electronic music (19 years before Flume!), someone that he saw as "taking music and the idea of what can be done with it another way."



It can't be underestimated how different things really were for dance music back then. Even now, deciding to throw a free three-day family friendly rave would be difficult, even with so many more DJs and ravers out in the world. The first DEMF was a turning point for dance music. "Doing a [dance music] fest in 2000 was like bringing the rave from illegal to legal," Craig muses.




"Electronic music wasn't really popular yet, it was in the shadow of the music business and still regularly referred to as underground music. So, having an event that would draw thousands of people during the day and then spread those people out across venues at night was pretty incredible. It was a justification to the electronic music community that we're being seen, we're going to be okay, we're evolving, and that felt great," Huvaere reflects.




"Now, things have changed a lot, where most touring electronic musicians are playing clubs, and most clubs now are owned by a corporation. We were still kind of rebellious [back then]; the nights would go really late and things were kind of early before a blueprint was made, and now it's definitely a different era for electronic popularity."




And the blueprint for throwing a stellar large-scale electronic music event was crafted by Craig with that groundbreaking first festival.




"[The first DEMF] set the mood for every techno event that's happened there 'til now. I was like the opening DJ setting the tone," Carl adds. And it was a success. "The main stage was what we wanted to see full, and it was every night. The first night The Roots, then Mos Def and DJ Gary Chandler, then Derrick [May] and Richie Hawtin closed out the stage. Kenny [Larkin], me and Stacey Pullen were crying and hugging each other."




That inaugural house and techno fest in Hart Plaza deeply impacted everyone involved, the city of Detroit, and the wider dance music scene. The blueprint helped put dance music on the map for a wider audience, and continues to be used to this day to honor and uphold its Black and underground roots. It is important and deeply impressive that Movement has stayed independent over the decades, as the rave industrial complex continues to morph the scene, pinching pennies from ravers as they white-wash the genres origins. It is a place for the next generation of ravers to learn about and experience the history of the music that moves them, a platform for artists, by artists, and a flame that keeps the rebellious energy of underground house and techno alive and well. Movement doesn't need to update its original blueprint much because it was revolutionary then, remains essential now, and the music and artists keep things fresh.




While it was still underground, the wider North American rave scene around the turn of the century, was definitely happening, as Craig explains. Dancers were reveling in Detroit, Chicago, New York, Miami, Los Angeles, New York, at gay clubs in Atlanta, and even in Milwaukee, Minneapolis and in literal cornfields. He notes that a lot of raves were happening in the Midwest, with Richie Hawtin responsible for many of them (before he got in trouble at the border), including a massive one in a cornfield outside of Windsor, Canada.




When asked what the state of dance music was like in North America around 2000, the Paxahau creator notes the direct impact the festival had on the scene from the start, and how amazing it was to see such a great turnout for an underground event. It was like a wider cast was finally coming to the house and techno party, literally and metaphorically.




"It was noticeable seeing the audience size and the budgets getting bigger, meaning a nicer venue, a nicer sound system. But myself, my co-workers and my friends, we'd loved this music for so long, we already knew it was amazing. So it was just more and more people catching it, in the right space at the right time. And the Detroit event has musically stayed pretty on course ever since then… [At Paxahau] we were always and still are focused on Detroit artists," Huvaere says.




At the 2005 event, then called Fuse-In and helmed by another Detroit techno forefather, Kevin Saunderson, Paxahau hosted the Underground stage. This was the first year tickets were sold—three-days for $25, $10 for single days—but the event saw a financial loss. Saunderson stepped down the following year, so Paxahau took over, changed the name to Movement and has run things ever since. Craig, Saunderson, and many of the fellow Detroit OGs, along with the Motor City next gen as they join the scene, continued to pop-up, have continued to play the fest and serve an important role in keeping things authentic to its roots.




"What was interesting about watching those documentaries about Fyre Festival is people don't realize how close every year is with doing a festival, that it could be your last or it could not even start. It's really touch and go unless you have a lot of financial backing. So with Paxahau, I think they've been a lot more aggressive with being able to get outside money in sponsorship and selling stages and that kind of stuff, which has helped them to flourish for long and better than any of the other behind the scenes of the [previous] festivals," Craig notes.




Movement continues to have a positive impact on Detroit and the artists proud to call it home, and both the festival and the creatives that keep the Detroit electronic scene alive and thriving play a key role in attracting visitors and positive attention to the city.




"Movement is a beacon of light [for Detroit]. It's a very inspirational place for established artists as well as artists that are aspiring to grow. It's a great homecoming for everybody that lives here as well," Huvaere says. "It's been huge for this town. We've been fortunate enough to see Detroit grow a lot over the last 20 years and being a part of that growth and being no small contributor to the vibrancy of the city makes us feel good at work."




He continues that one of his favorite parts of the fest has been seeing producers meet at the festival and then later collaborate together. He also notes that music technology people will use Movement like an IRL focus group, chatting with 50-plus artists a day about a new mixer their company is working on to take notes back to the team.




"I think Movement has helped the city of Detroit far more than it's given credit," Craig adds. "I think people in Detroit didn't expect [the initial impact] and it resonated far and wide."




Detroit remains a unique creative ecosystem for a multitude of reasons, including that its more affordable than other major U.S. cities like wallet-busters New York, San Francisco, and Los Angeles. But the intention that artists bring to their work, community, and collaborations also play a big role—on all accounts, it’s a very supportive scene where mentorship is abundant. Detroit has always had a resilient spirit, a citizenry that when left behind by the American automotive industry, found ways to support themselves and utilize abandoned spaces for art, community gardens and more.




"We have a really big artist community here, and so much talent here. It's been in Detroit this whole time. Most of our shows are for a local audience," Jason shares. "We're still an independent company. There's pressure to continue to uphold the legacy and bring in new artists, to uphold our values without corporations, to rep the roots of techno."




The afterparties and festivities surrounding the main event have always been an important part of Movement, and remain so to this day, bringing revenue and good vibes to venues and other businesses around the city. Paxahau has always produced Movement afterparties, and a variety of independent labels, party crews, and DJs have hosted legendary fetes over the years, like Craig's Detroit Love event, Saunderson's KMS Records showcases and Seth Troxler's Monday morning day raves at The Old Miami. Some are in clubs and others are in mixed-use spaces, highlighting that D.I.Y. ethos of the innovative, creative city that constantly evolves itself.




Just as the festival and city have changed since 2000, the clubs have as well. According to Craig, the club scene was previously much stronger. Back in the day, some of the popular rave spots were Motor, The Shelter at Saint Andrew's Hall (now owned by Live Nation), 1315 Broadway, Cheeks, UBQs, and the Music Institute.




"The most important club was the Music Institute. It was very short lived, I think it was only around for about three years or something. That one had the impact that was needed in Detroit," Carl reflects. "Some of the most beautiful moments I experienced were there."




One of the most heart-warming things about Movement is how family friendly and inclusive the event feels. This stood out to me when I attended in 2019. I saw a young kid break dancing to techno while his parents and others circled around him cheered him on. Techno Grandma, who rolls around in an electric wheelchair with a big smile is a staple of the event. I wondered if maybe this was Midwestern hospitality and/or the fact that people were really there for the music that fostered such a friendly, respectful crowd. Craig asserts that it is specifically "the vibe and legacy of Hart Plaza," where many family friendly community events are held, that keeps things so wholesome.





Thankfully, Paxahau made it through pandemic thanks to their Twitch partnership and the work of their legal team. "18 months without live events was decimating," Huvaere reflects. As dance music continues to become increasingly corporate in this country, independent rave organizers and dance fests feel extra essential to keep the spirit of its rebellious, inclusive roots alive. And since they've been able to return to programming events in Detroit, they will keep doing so as long as it feels right. Both he and Craig see Movement continuing into the future, God willing.




"We're not Vegas or Miami or L.A., we're different and that’s okay. As long as we stay relevant and people keep coming, we'll keep doing Movement," Huvaere concludes. "As long as they keep rolling like this, I don't see why Movement wouldn’t happen. But you never know…" Craig says.




Carl Craig and the History of Movement 

Desert festivals might be some of the hardest to come by, and not just because those barren spaces are few and far between. Raving in 100-degree weather is just something that most people wouldn’t dream of, and it might seem even more improbable in such a remote location. So, why do ravers take to these arid sandscapes to dwell in the desert for days on end?

Despite the unforgiving environment, desert landscapes make for some of the best festivals in the world. Often without any towns or cities within earshot for miles, the lack of noise licenses allows for larger than average sound systems with no time constraints. Deserts also provide a completely blank slate meaning they can play host to any kind of creativity or blueprint, whether stages, art installations, or campsites. After dark, once the heat settles over the planes or dunes, it’s high time to let loose, and party as the dry daytime air subsides, creating the perfect starlit setting for any eager raver.

So, with that, let’s dig into some of the best desert festivals across the globe - and no, it’s not just Burning Man!




Monegros Desert Festival, Spain



We’re kicking off this list in Europe - an unusual spot considering the continent’s vast greenery. In the dusty region of Aragon, Northern Spain, a growing community sets up shop in the Monegros Desert, where the eponymous festival takes place. By day, festival-goers take shade under enormous fairytale-esque mushrooms, later lit up by trance-inducing lights transforming the space into a psychedelic oasis. Monegros Desert Festival is known for its prodigious lineup too. Promising one of the most exciting performances of the year as Wu-Tang Clan take to the stage in July 2022, accompanied by a slew of DJs including Adam Beyer, Charlotte De Witte, Seth Troxler, Maceo Plex, and more. This year’s event falls on July 30 for a full-frontal 24 hours.

Website | Instagram | Tickets







Transahara, Morocco



Over in the Sahara Desert, early summertime event Transahara kicks off this year on May 13th-17th deep in the barren zone amongst the “mythical dunes of Merzouga.” With a traditionally psytrance lineup, this South Moroccan festival is a great escape for fans of higher-tempo tunes. Yet, previous lineups have included house and techno artists whose soundscapes fit for the mystical desert environment like John Aquaviva, Nitin, Matt Caines, and D-Nox. Due to the fragility of the ecosystem surrounding the venue, the festival is capped at 1500 and accommodations in one of five hotels and camps nearby. Accommodations are quite reasonable ranging from $30-80 a night. Transahara beautifully fuses art, music, and culture for a grand celebration under the starlit sky every spring. 

Website | Instagram | Tickets




Burning Man, Nevada

Photo Credit: Michael Holden



Of course, this list wouldn’t be complete without Burning Man. It might be the first one that comes to mind when you think of desert-based festivals, but many don’t know the full ins and outs of this unusual event. As thousands of people - 80,000 to be exact - make the pilgrimage each year to Nevada’s Black Rock Desert, festivalgoers land in the barren metropolis of Black Rock City surrounded by art installations, burning structures, adventurous outfits, and a heck of a lot of bicycles. Black Rock City doesn't have traditional stages, the music is instead hosted by sound camps that each add their own artistic aesthetic to the dusty environment. Soundcamps like the fire-laden Opulent Temple, Debouchaerous day party Distrikt, and Carl Cox led Playground have hosted some of the biggest names in house and techno, including Carl Cox, The Martinez Brothers, and Joseph Capriati.

Website | Instagram | Tickets




Ragasthan, India

Previously dubbed ‘India’s craziest music festival’, Ragasthan has a lot to live up to - and it does. The three-day camping event takes place in the medieval trading town-turned-desert of Jaisalmer, Rajasthan, just off the border of Pakistan. Boasting a lineup of both electronic and indie music, India’s top-tier festival also includes cinema screenings and fly-by art on top of late-night DJ sets from the likes of Christ Burstein, Bemet, and more amongst the mystical landscape. Ragasthan takes place each year in February to ease away those winter blues.

Website | Instagram | Tickets




AfrikaBurn, South Africa



Burning Man's sibling festivals are called regional burns. Founded on the same 10 Principles of Burning Man (Radical Inclusion, Gifting, Decommodification, Radical Self-reliance, Radical Self-expression, Communal Effort, Civic Responsibility, Leaving No Trace, Participation, and Immediacy) they give the worldwide community a chance to relish in its spirit closer to home.

Afrikaburn is the second largest regional event after its sibling festival Midburn in Israel. And it's a worthy contender. Originally taking place on Stonehenge farm, AfrikaBurn later moved to South Africa’s Quaggafontein, where it sets up a similar event with the same ethos as Burning Man. The experiencial festival is said to be a ‘playground without politic’ bringing together the South African Burner community. This year’s event kicks off in the Western Cape province on April 25th until May 1st.

Website | Instagram | Tickets




Desert Daze, California



California’s Desert Daze Festival has consistently had one of the better lineups over the past few years in the arid, mountainous destination of Lake Perris. Though more a beach than a desert festival, this dry setting has previously hosted the likes of Floating Points, Boards of Canada, Flying Lotus, plus a few pop, rap, and rock numbers. Desert Daze takes place annually toward the end of the year to avoid peak summertime heat, but with a lake just metres away, there’s always room for a quick dip. Expect some more magic in the desert this year from September 30th until October 2nd.


Website | Instagram | Tickets




Sandbox, Egypt



Sandbox is a once-in-a-lifetime event taking place mid-summer. As the sun hangs low over the Gouna Red Sea next to Egypt’s El Gouna desert, almighty lineups including Folamour, Palms Trax, Mella Dee, Sweely, and more play to intimate crowds. The desert plane hosting Sandbox sits next to the turquoise waters of the red sea, making it the perfect respite for anyone seeking some time away from the unforgiving heat. This year’s dates are currently unconfirmed, although you can bank on a glorious weekend somewhere in mid June.

Website | Instagram

Day Zero, Israel



Finishing off our selection is Israel's Day Zero festival hosted in the UNESCO World Heritage Site of Masada, not to be confused with the festival’s second event held in the jungle of Tulum. As termed by the festival itself, Day Zero is ‘a convergence of mysticism, music, natural wonder and apocalyptic sentiment’, set amongst the scenic desert space in the heart of Israel. Here, you can find a bill of impressive house and techno artists from all over the globe with previous residents including DJ Tennis, Black Coffee, Four Tet, and Dennis Cruz amongst others. Day Zero celebrates 10 years this year kicking off on September 23rd, 2022.

Website | Instagram | Tickets



Desert Festivals to Visit Around The World

Denmark

Manda Moor

Manda Moor's infectious determination seeps into her bouncy yet sophisticated tracks. European audiences will most likely be familiar with the Paris-based artist, making it hard to believe she only played her first major gigs in 2019. 

Her relentless drive has since landed her international gigs in some of the most acclaimed house and techno spaces, particularly in Ibiza and the UK. Her tracks have been released on acclaimed labels like Tamango Records. Her debut EP What U Want on Kaluki Musik hit number one on Beatport’s minimal tech chart.

While detailing her career, the artist repeatedly emphasizes her gratitude and wonder. Yet, despite her sincere humility, it's evident success was no accident. 

A self-proclaimed party girl, Moor's love for dance music began amidst the crowds and culminated when she became a protegée of sorts of one house music's founding fathers, the late Paul Johnson. 

Crossing the decks wasn't a smooth transition. I cannot help but feel sympathy as the artist reveals her struggles with anxiety. Nonetheless, her smiles while performing exude a confidence mirrored by her simultaneously warm and serious house and techno. Perhaps this melange is a reflection of her Danish-Filipino heritage. Her theory is that warmer countries inspire bouncy rhythms while colder countries inspire technicity. These coexist hypnotically in "Catfish," from Kaluki Musik's 16th Birthday EP. However, she explains, her musical influences derive mostly from her Filipino mother's side.

"I definitely got the music bug from my mother. She was a singer. Singing and music in general is a huge part of Filipino culture. She would play music whatever she was doing. There was always music in the house. Filipinos are kind of like the latinos of Asia, because the Philippines were colonised by the Spanish, then they were colonised by the Americans: that's what also brought disco and the love of singing."

Moor details the strong tribal and percussive roots of Filipino music sounds that she naturally feels drawn to in her own production.

In terms of conscious influences, Manda Moor's career constantly nods to the early Chicago house legends.



Manda Moor w/ Paul Johnson



"2019 was also the year when I started to really get into producing. That was the year I went to Chicago and met with the Chicago house legends, like Paul Johnson - rest in peace - , Dj Deeon, Dj Sneak, K'Alexi, Dj Pierre… I'm so blessed to have them in my life, and to know them personally. I consider them as family, they really, really inspire me to this day. They inspired the whole music industry! They are the founding fathers, the pillars of house music today. So, yeah when I went to Chicago it lit a fire in me to produce. That's how I started, basically. Obviously today if you want to be a successful dj and artist in the electronic world, you need to make your own music."



Become a Gray Area member for access to exclusive perks!



We touch briefly on the tragic death of Paul Johnson, and it's clear the artist has been deeply affected by the loss. Yet, his legacy lives on through Moor's career, particularly through her long-term residency on France's first national electronic music radio station, FG.

"I was speaking with FG about how I met the Chicago house legends. That kind of revived within them the need to reconnect with the origins. So, they really encouraged me to play more of that type of music even though it's not real mainstream for a big radio station. It's just all about the reconnection with the origins which was the initial foundation of FG." 

The pandemic brought about more opportunities to reconnect with origins. Together with fellow France-based artist Sirus Hood, Moor founded Mood Edits. The concept was a limited series of edits, released only on Bandcamp. Every month a new volume of three or four edits was released, and the previous volume deleted.

"The idea was to give value back to music, whilst reminiscing the good times with tracks that we remixed. It was disco, hip hop, R&B tracks. We really felt that there was an oversaturation of music, partly due to streaming."

The edits received widespread support from acclaimed electronic artists like Pete Tong who played “Slow Touch” and introduced the series on BBC Radio 1. 

Moor joyfully recounts the gratitude she felt when major artists, like The Martinez Brothers, played Mood Edits at events in the summer of 2020. 

She attributes a major growth point in her career to videos of these edits circulating social media. Yet, after 12 volumes, the duo halted Mood Edits in fear of being subcategorized as purely "edit DJs" - though Moor passionately explains that that house music itself commenced with edits of disco tracks. 

Just as one door closes for the driven artist, another opens. In 2022, the artist hopes to announce her very own label. The label will similarly focus on giving value back to music but aims to differentiate itself by implementing blockchain technology. 

Moor's closing statement regarding 2022 aptly embodies her humbling attitude.

"Very excited for this year. Hopefully it's going to be so much better than the past two. In any case, I'm super grateful whatever happens."



Nigerian-born Nicole Moudaber is a household name in dance music and for good reason. The techno tour de force has a storied past, promoting dance parties in Beirut, Lebanon since the ‘90s, at a time when the conservative political landscape in the middle east was terribly unfavorable for her in so many ways.

Moudaber made her way to London, where she solidified her name as a DJ and producer, signing to Carl Cox’s Intec imprint in 2009. Now, she remains one of the most prominent figures in dance music. 

In 2013, she launched her own record label, MOOD Records. She’s been seen on major festival stages like Coachella, EDC, Tomorrowland, Glastonbury, and Movement. And she currently hosts a fan-favorite mix series, “In The MOOD,” that pairs with her event series of the same name.

On December 10, Nicole Moudaber released a two-track EP, What Was / What Is. Listen to the new tunes as you learn more about her collaborators, philanthropies, and love of New York City.

I read that you actually discovered house and techno on a trip to New York in the early ‘90s. How does it feel to be able to bring your vision back here, especially after everything that’s happened in the last—extremely difficult—two years?

It feels like a full circle. New York is where I fell in love with house music, where I discovered the artist in me on the dance floor. I remember following the iconic drag queens Guerlina and Kevin Aviance to name a few, to every single club and after hours, the vibe was high, people danced and felt the music, they LIVED it. 

Photo Credit: Off Brand Project for Avant Gardner NYC



InTheMood New York was created with this in my mind, bringing back the feeling I had on the dance floor, after all I was a professional clubber! I had voguers on the night, they really lifted the MOOD. The visual concept is all about the matriarchy which got wiped out 6000 years ago, it’s time to claim it back. I will elaborate more on the theme on future shows, we have plans to tour the show in 2022, watch this space.







What can people who’ve never been to one expect from the In The Mood series ?

This is not your typical club show! I’m bringing a whole new experience that is going to blow your mind. I’m portraying the female ancient goddess warrior meets sci-fi – visually and musically. 

For that show, you collaborated with some incredible people and companies like fashion designer Gia of Gelareh Designs and Volvox Labs NYC. As a pioneer in curating events, what makes you decide to want to partner with someone to help bring your vision to life?

I work with people who make me feel something. I adore Gia, her designs are off the charts! They are empowering, seductive, feminine and make you feel fierce. As for Volvox Labs, they are a leader in what they do and they have helped to bring my visions to life, it’s like they’re inside my head.

Photo Credit: Off Brand Project for Avant Gardner NYC



You were one of the first people to throw techno parties in Beirut. In your interview with Beatport, you said because of political reasons, you almost got thrown in jail for it. Do you find any differences when it comes to barriers to entries in dance music in various parts of the world?

Well, I did get thrown in jail for seven hours. I was lucky to have my sister on board, she’s a lawyer and she managed to get me out later on that day. The only difference in barriers worldwide is a creative one, whereas being in the middle east throwing parties where dance culture was non-existent is a whole different kettle of fish. Your life depends on the choices you make and being a woman in the clubbing scene back then was unheard of. 



Become a Gray Area member for access to exclusive perks!



In this world, it’s so important to be unique. I would say take that leap, be brave, be yourself! Authenticity is key and people know when it comes from the heart and when you’re just following everyone else. Don’t be afraid to stand out. 

Photo Credit: Off Brand Project for Avant Gardner NYC



We also really appreciate the charitable work that you do outside of dance music. Like creating the ELEVEN campaign and your advocacy work with the Lower Eastside Girls Club. Is there anything else you’re working on that we should know about?

I’m actively involved with the Lower East Girls Club, in fact we just added more gear in the music school from Native Instruments.

Is there anything else you’d like to talk about that I haven’t asked about?

I have a new EP out on my label MOOD called What Was / What Is. This one is guaranteed to smash all the moments whether you’re transitioning into techno or during a peak set, it’s been creating a lot of noise lately, make sure to check it out. 




Nicole Moudaber Gets In The Mood and Talks Techno, New Music, and Love for NYC

Ultra’s return to historic Bayfront Park in Miami gets a touch sweeter today with the announcement of the Resistance lineup. The underground house and techno off-shoot of Ultra has a well-documented reputation for curating forward-thinking lineups. And next March 25-27 they’ve upped the ante with an impressive array of world-class talent that spans the expansive diversity of the underground community.


The Resistance lineup gives some context to some of the incredible artists already announced on the Phase 1 lineup.  Melodic techno duo and Afterlife Records head honchos Tale Of Us join progressive titans CamelPhat, veteran and legend Dubfire, and Resistance champion Carl Cox who debuts his all-new three hours hybrid performance exclusively for Ultra Miami 2022.

What’s truly striking is the diversity in the rest of the lineup. The representation of fantastic women in house and techno can’t be undersold. And this year’s lineup includes venerated acts alongside exciting rising stars. Amelie Lens, ANNA, Anfisa Letyago, Nina Kraviz, Sama’ Abdulhadi, Ann Clue, Georgia Anjuli, and Nala will all take the stage.



The lineup is also diverse in sound with a broad sonic footprint, from the grooving bassline of Dom Dolla and John Summit to the sweeping melodics of Hannes Beiger’s live performance. The pounding beats of Adam Beyer to the sun-soaked Beatport topping tech house of Solardo and the legendary progressive sonics of Sasha | John Digweed. The Resistance lineup overflows with talent. There’s so much there that you’ll never have to leave the revamped Resistance area of Ultra Miami.



Become a Gray Area member for access to exclusive perks!



Resistance will take residence in a new section of Ultra’s fabled home on the park's northern perimeter. The new location allows house and techno fans to spread amongst multiple areas, including the Carl Cox megastructure and an all-new concept called The Cove. Beneath the palm trees overlooking Biscane Bay, Resistance fans will feel a hint of nostalgia for 2019’s Resistance Island.

Tickets on sale now at https://ultramusicfestival.com/tickets/miami/

Ultra Miami Unveils the Resistance Lineup for 2022

In October, Gray Area launched OCHO, an eight-hour journey through the global sounds of modern house and techno. In partnership with Diplo's Revolution and Sirius XM, listeners expanded their sonic palates with a day of diverse music and fresh beats. On December 11, 2021, OCHO returns to the airwaves with a new lineup featuring Dennis Ferrer, Yulia Niko, Gioliì & Assia, Dennis Cruz, John Summit, Dombresky, Archie Hamilton, and Arielle Free.

The lineup of innovative and forward-thinking artists is another shining example of Gray Area's mission to unite the international house music community and draw lines between its rich sub-cultures and sub-genres.

Dennis Ferrer

New York-born house music legend Dennis Ferrer heads the lineup. Ferrer established his footprint in the 90s as part of the early New York techno and gospel house scene. The genre-defining producer has throughout the years continued to push the envelope with a wide-spanning output that includes hits like "Hey Hey," "Sinfonia Della Notte," and "Whisper" with Disciples and James Yuill.

Follow Dennis Ferrer on Instagram | Facebook | Twitter | Soundcloud

Yulia Niko

Yulia Niko's worldly sound is likely a result of her travels. The Russian-born artist discovered dance music in Sochi, wrote her breakthrough music in Greece and New York, and finally settled in Berlin, where she became a resident of the iconic Watergate nightclub. Her Detroit-inspired deep minimal tech has received acclaim from Jamie Jones and Lee Foss and earned her releases on Get Physical, Crosstown Rebels, and Objektivity.

Follow Yulia Niko on Instagram | Facebook | Twitter | Soundcloud



Tune in to Gray Area OCHO on December 11, 2021



Giolí & Assia

Multi-hyphenate's Gioli & Assia combine their deep-seated background in live instrumentation and traditional music for a lush, passionate melodic experience like no other. What started as a manager/ client relationship has grown into a creative partnership that has developed beyond their imagination. Assia's lilting vocals float over the top of scintillating sonics that exemplify the lengths to which techno can be pushed.

Follow Giolì & Assia on Instagram | Facebook | Twitter | Soundcloud

Dennis Cruz

Dennis Cruz is a singular force in house and techno. By the time the Spanish DJ and producer was 17, he'd already been in the studio with hip hop artists and rock bands crafting hits. However, he found a home in dance music weaving together thumping basslines, Latin-tinged beats, and a wide array of musical influences. Named the Beatport Most Charted Artist of 2016, his music draws support from icons like Jamie Jones, Joseph Capriati, Roger Sanchez, and Marco Carola.

Follow Dennis Cruz on Instagram | Facebook | Twitter | Soundcloud



Become a Gray Area member for access to exclusive perks!



John Summit

John Summit has been on a two-year tear, dropping hit record after record and dominating the festival circuit. Incredibly, the Chicago-based DJ broke through amid the pandemic with "Deep End" on Defected—the longest-running Beatport #1 of 2020. He has since collaborated with everyone from Gorgon City to Sofi Tukker and has seen releases on the industry's most lauded labels.

Follow John Summit on Instagram | Facebook | Twitter | Soundcloud

Dombresky

Dombresky has established himself as a dynamic purveyor of classy, uplifting, vocal-driven house music. The French-born, LA-based artist has dominated the Spotify playlists and festival stages in 2020 with landmark performances at Lollapalooza and EDC Vegas. And future classic releases on Insomniac, Armada, and Toolroom.

Follow Dombresky on Instagram | Facebook | Twitter | Soundcloud







Archie Hamilton

In 2019 Archie Hamilton released his debut album Archive Fiction, a milestone and breakthrough moment for the producer who'd already spent years grinding and building his two record labels, Moscow Records and Moss Co., from the ground up. His rough and tumble basslines and floating synth work were the first signal that a new brand of European house music maestro was taking over the game.

Follow Archie Hamilton on Instagram | Facebook | Twitter | Soundcloud

Arielle Free

BBC Radio 1 presenter, producer, and DJ Arielle Free has risen to be an influential tastemaker in dance music. Often referred to as Scotland's answer to Annie Mac, she's diligently spent years creating her own space in dance music. Aside from being the daytime ambassador for Radio 1's iconic dance programming, her career as a DJ exploded in 2020 with performances at Printworks, Parklife, Glastonbury, and Creamfields.

Follow Arielle Free on Instagram | Facebook | Twitter | Soundcloud



Tune in to Gray Area Presents OCHO on December 11 from 12 PM to 8 PM ET.







Gray Area OCHO Returns to Diplo's Revolution in December

A new artistic venue and musical space opens in Brazil next month. Surreal is a super music complex in an unprecedented 92,000 square meter event space located in the beautiful beach city of Camboriú.  

The promo videos of this space are breathtaking. The grounds feature multiple stages, bars, and food locations. It’s like a year-round festival in the making.   

"Very soon, everyone will be able to experience the surreal sensations that the new complex will offer." says founder Renato Ratier.   

Surreal was founded by the builders of D-Edge clubs in Rio de Janeiro and managed by Ratier, who has immense experience leading legendary clubs. 

He shared about the space, "I spent ten years working hard and intensely, contributing to Warung's Beach Club growth to deliver the best possible experience. I now believe that my mission, along with the entire team was fulfilled. But music has been running through my veins since I was a child, so I am committed to continuing to grow electronic music in Brazil."



Surreal's three-day opening party is slated to begin on the 26th of December this year with over 30 heaters on the bill, featuring the likes of Agents of Time, HOSH, Wehbba, and Yaya. A further 33 events for 2022 are scheduled. Shortly after they will host the new installment of BPM Brazil.   

The website for Surreal with promo videos of the space can be viewed here. You can purchase tickets for all the events scheduled at Surreal here.

 

 

Brazilian Superclub Surreal Slated to Open in December

After the postponement of the 2021 edition, The BPM Festival: Costa Rica is back for 2022 with a vengeance. The 15th-anniversary is set to take place over seven days on January 12-18 in Tamarindo, Costa Rica, will be an epic showcase of some of the hottest names in house and techno with the backdrop of tropical paradise. 

The BPM Festival unveiled phase 2 today, unleashing more heat with the addition of even more lauded artists gracing the bill. Audiofly, Diplo, DJ Minx, DJ Tennis, and Stefano Norferini are all set to perform. They’ve also announced a performance by WhoMadeWho with a unique live set and a special reunion set by Art Department.  

The first drop of the lineup included a stacked lineup of legendary names such as Carl Craig, Dubfire, Hernan Cattaneo, Jamie Jones, Loco Dice, Luciano, Matthias Tanzmann, Michael Bibi, Nicole Moudaber, Paco Osuna, and a BPM debut from Ricardo Villalobos. But they clearly had more in store for attendees of this legendary festival.   

The festival consists of curated showcases packed with unique lineups that attendees will not want to miss. These powerhouse parties are hosted by Detroit Love, Luciano & Friends, Martinez Brothers led label Cutting Headz, Jamie Jones Epic Paradise party plus many more. The event will take place day and night giving festival participants to catch various epic lineups in close proximity.   

Two-day passes for The BPM Festival Costa Rica are on sale now and moving fast with Tier Two 3 day, and 7 day passes available with lodging packages available. Head over to their website for more details and grab your passes and to the BPM Tulu website for lodging.  




BPM Festival Costa Rica Unveils an Electrifying  Phase 2 Lineup 

United States

Carl Craig

Dennis Cruz

Iran

Dubfire

Romania

Mahony

Nigeria

Nicole Moudaber

Paco Osuna

wAFF

teleports its signature swagger to Camboriú, Brazil, for the inaugural three-day celebration beautifully coinciding with the cultural holiday of Carnival. From February 25-27, 2022, the coastal getaway of Balneário Camboriú in the state of Santa Catarina will overflow with global house and techno phenoms in the newly unveiled superclub named 

Derived from the same brain trust as the 

, Surreal is an immersive entertainment park pushing the boundaries of reality and imagination. 

Escape the Northern Hemisphere's winter chill for some southern summer fun and sun at
BPM Brazil.

Founded in 2008 in the tropical Caribbean paradise of Playa Del Carmen, The BPM Festival has been a retreat for music lovers. Their goal is to captivate the casual listener and the industry insider. The name 

BPM stands for Bartenders, Promoters, and Musicians

. The festival emerged as a post-New Year gathering for industry professionals, a refuge from the hustle and bustle of tour life. 

From the white sand and turquoise shores of the Yucatán Peninsula, The BPM Festival emitted sonic energy internationally to places such as Bali, Barcelona, Beirut, Costa Rica, Dubai, Ibiza, Mykonos, New York City, Tel Aviv, Toronto, Zurich, and Portimão. 

BPM was created by four Toronto promoters (Craig Pettigrew, Philip Pulitano, Ralph Madi, and Vito Tomasicchio) who wanted to entwine music and dance in an exotic experience. By building its reputation in the festival community over the years, The BPM Festival has attracted thousands of fans worldwide. 

Victor Calderone @ The BPM Festival Portugal 2018 (BE-AT.TV)

Live coverage of the This Is The End showcase at The BPM Portugal 2018.

- -

Subscribe to our channel ⇢ http://bit.ly/BE-AT-YouTube
Latest News ⇢ http://bit.ly/BEATTV-Subscribe
Facebook ⇢ http://bit.ly/BE-AT-Facebook
Twitter ⇢ http://bit.ly/BE-AT-Twitter
Instagram ⇢ http://bit.ly/BE-AT-Instagram

Quality underground electronic music has been a key pillar in the vision of The BPM Festival. With potent lineups featuring some of the best DJs in the world. BPM's lineups span a plethora of colorful genres and subgenres. Wold-class DJs such as Jamie Jones, Skream, Kate Simko, Seth Troxler, Tokimonsta, Loco Dice, Pleasurekraft, Danny Tenaglia, and DJ Tennis conjured harmonic vibes to festival-goers over the years. And showcases from 

, Circoloco cater to a worldly audience. 

elrow NYC: RowsAttacks

Avant Gardner

Mikey Lion

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.”

The BPM Festival Brazil 2022 will host international DJs such as 

r, Dubfire, Jooris Voorn, Paco Osuna, and a live set by Henrik Schwarz. With a variety of talent and sounds, the next phase of the lineup will go even deeper into the sonic sphere.

Desbrave o Surreal Park

Conheça aqui a apresentação 3D do novo parque de eventos de Santa Catarina, com foco na música contemporânea e as mais diversas expressões artísticas.

Stage design is another crucial factor for The BPM festival's success. Previous stages drew influence from the natural surroundings of the regions hosting The BPM Festival. By meshing together the historic style and technologically advanced production, the stages run in symphony with the bouncy sounds of the underground. 

Become a Gray Area member for access to exclusive perks!

Over the years, The BPM Festival has spread its wings across some intriguing places, drawing influences from ancient and cultural customs. This edition of The BPM Festival will host the Nomad Stage, Bells Stage, Raw Room Stage, and the electrifying D-Edge Stage. 

Warm waters and good music serve as complementary treats to an exotic outing. Nestled on the city's outskirts, Surreal Park is an astonishing 92,000 square meter indoor and outdoor complex. 

Renato Ratier of D-Edge takes each factor of the experience into account by being meticulous on every facet of the organization. As a result, surreal Park attracts and immerses a crowd into synesthesia encompassed in a sophisticated space. 

The festival grounds offer ample car parking for those wishing to drive, multiple stages to explore, colorful places to snap a few pics for the gram, a circus-themed food court, and chill-out spaces in the Surreal Village to rest those dancing feet. 


The return of destination festivals will stimulate the Brazilian local and regional economy, which was decimated due to the pandemic. Balneário Camboriú's hotels, restaurants, shops, and bars will be packed with the diverse international music community. 

The BPM Festival's recent residency in Portugal opened the door for a new market with a rich language and culture. Crossing the Atlantic, the customs and holidays of the old world have combined with the new. This BPM will be a music festival within a cultural festival. When music and art combine in a harmonic setting, a plethora of ideas come to fruition. This overlap of sights, sounds, and emotions will influence future generations of enthusiasts. 

BPM Brazil

The award-winning BPM Festival teleports its signature swagger to Camboriú, Brazil, for the inaugural three-day celebration beautifully coinciding with the cultural holiday of Carnival. From February 25-27, 2022, the coastal getaway of Balneário Camboriú in the state of Santa Catarina will overflow with global house and techno phenoms in the newly unveiled superclub named Surreal. 

Derived from the same brain trust as the D-EDGE clubs in São Paulo, Surreal is an immersive entertainment park pushing the boundaries of reality and imagination. 

Escape the Northern Hemisphere's winter chill for some southern summer fun and sun at
BPM Brazil.

Photo Credit: Khris Cowley for Here & Now



Founded in 2008 in the tropical Caribbean paradise of Playa Del Carmen, The BPM Festival has been a retreat for music lovers. Their goal is to captivate the casual listener and the industry insider. The name BPM stands for Bartenders, Promoters, and Musicians. The festival emerged as a post-New Year gathering for industry professionals, a refuge from the hustle and bustle of tour life. 



READ THIS NEXT: Brazilian Superclub Surreal Slated to Open in December



From the white sand and turquoise shores of the Yucatán Peninsula, The BPM Festival emitted sonic energy internationally to places such as Bali, Barcelona, Beirut, Costa Rica, Dubai, Ibiza, Mykonos, New York City, Tel Aviv, Toronto, Zurich, and Portimão. 

BPM was created by four Toronto promoters (Craig Pettigrew, Philip Pulitano, Ralph Madi, and Vito Tomasicchio) who wanted to entwine music and dance in an exotic experience. By building its reputation in the festival community over the years, The BPM Festival has attracted thousands of fans worldwide. 

Quality underground electronic music has been a key pillar in the vision of The BPM Festival. With potent lineups featuring some of the best DJs in the world. BPM's lineups span a plethora of colorful genres and subgenres. Wold-class DJs such as Jamie Jones, Skream, Kate Simko, Seth Troxler, Tokimonsta, Loco Dice, Pleasurekraft, Danny Tenaglia, and DJ Tennis conjured harmonic vibes to festival-goers over the years. And showcases from elrow, Knee Deep in Sound, Desert Hearts, Circoloco cater to a worldly audience. 

The BPM Festival Brazil 2022 will host international DJs such as Nicole Moudaber, Dubfire, Jooris Voorn, Paco Osuna, and a live set by Henrik Schwarz. With a variety of talent and sounds, the next phase of the lineup will go even deeper into the sonic sphere.

Stage design is another crucial factor for The BPM festival's success. Previous stages drew influence from the natural surroundings of the regions hosting The BPM Festival. By meshing together the historic style and technologically advanced production, the stages run in symphony with the bouncy sounds of the underground. 



Become a Gray Area member for access to exclusive perks!



Over the years, The BPM Festival has spread its wings across some intriguing places, drawing influences from ancient and cultural customs. This edition of The BPM Festival will host the Nomad Stage, Bells Stage, Raw Room Stage, and the electrifying D-Edge Stage. 

Pictured: Surreal Park



Warm waters and good music serve as complementary treats to an exotic outing. Nestled on the city's outskirts, Surreal Park is an astonishing 92,000 square meter indoor and outdoor complex. 

Renato Ratier of D-Edge takes each factor of the experience into account by being meticulous on every facet of the organization. As a result, surreal Park attracts and immerses a crowd into synesthesia encompassed in a sophisticated space. 

The festival grounds offer ample car parking for those wishing to drive, multiple stages to explore, colorful places to snap a few pics for the gram, a circus-themed food court, and chill-out spaces in the Surreal Village to rest those dancing feet. 


Pictured: Balneário Camboriú



The return of destination festivals will stimulate the Brazilian local and regional economy, which was decimated due to the pandemic. Balneário Camboriú's hotels, restaurants, shops, and bars will be packed with the diverse international music community. 

The BPM Festival's recent residency in Portugal opened the door for a new market with a rich language and culture. Crossing the Atlantic, the customs and holidays of the old world have combined with the new. This BPM will be a music festival within a cultural festival. When music and art combine in a harmonic setting, a plethora of ideas come to fruition. This overlap of sights, sounds, and emotions will influence future generations of enthusiasts. 









BPM Brazil

Articles

John Cameron

Staley Sharples

Mike Giegerich

Mike Giegerich

Staley Sharples

Staley Sharples

Staley Sharples

Alexander Dias

Mike Giegerich

John Cameron

Pilar Lopez

Sierra Vandervort

Alexander Dias

Deanna Riling

Harry Levin

Tiffany Bennett

Luca Rizzello

Ana Monroy Yglesias

Sam Morges

Kiran Armanasco

Arielle LeJarde

Alexander Dias

Alexander Dias

Alicia Baron

Alicia Baron