We at Gray Area are fans of anyone keen on producing unique original sounds that push dance music forward. So it’s only natural that we’re fans of Disfreq.




The Irish duo, made up of brothers Joe and Cahir Kely found their footing as powerhouse tech producers honing their craft in the wake of the Covid-19 lockdown. They caught the attention of some of dance music’s leading figures, including the one and only, Solomun. The Diynamic Records founder has become a regular supporter of the Moville, Ireland-based group and recently recruited the up-and-comers for a project on his label.




The project is the latest edition of Diynamic’s renowned Picture series, which allows selected artists to share a snapshot of their sonic identity. We caught up with Disfreq for a conversation about their Picture album below.



Picture comes out via Solomun’s Diynamic label. This isn’t your first time working with Diynamic, they released your track “Essa Mina” last spring, and it’s been a go-to fire starter for many DJs since then. So what does it mean to you to be tapped by Solomun once again, this time for a whole project?




It was actually an honor to be asked to do it on his label. We listen to a lot of the stuff on the record label. So whenever we were asked, we were like, “Woah, that a big deal,” and we just got to work right away.





Was this project already in the works before releasing it on Diynamic, or did it form when the label wanted more material?




We had one track that Solomun really liked, which was “Como,” and then he explained the Picture series and asked if we could make six tracks for the series. At that stage, he asked if we could have it done in four weeks. We made another seven in four weeks, and Solomun picked the best six out of the eight.



Diynamic has a pretty clear-cut sound. Do you aim for a certain sound depending on the label?




We don’t aim for a certain sound as such. Solomun was already playing what we were sending him anyway. Like he was already playing “Como.” When we sent it, he liked it, but it wasn’t like we were aiming for Diynamic. The more you box yourself in, the less creative you are. So in this project, we were like, “Right, we’re just going to make good music. Forget about the sound of anything else and be as original as possible and remember, there’s no rules. If it sounds good, it is good.’”







Let’s get into Picture. What sparked the idea for this mini-album? What is Picture to each of you?




Joe: I think it’s a good way for us to show our musical side [and] what we’re capable of. We don’t want to do the same thing every time. We can expand our sound. I suppose it shows we can evolve as a group.




Cahir: We were doing it without any other artist in mind. We were doing whatever we thought sounded good, and we weren’t thinking about what someone else had done or what someone else had done twenty years ago.




Joe: Yeah, we were looking ahead rather than behind. To use the word “picture,” it’s a picture of what Disfreq is at this moment in time. It’s innovative, big-sounding, catchy vocals, and club-ready.





Each track carries a unique personality while still fitting well into the context of the whole project. Which track stands out to each of you and why?




Cahir: For me, it would be “Innovator.” That’s one of my personal favorites. We sampled Daft Punk’s voice which is ironic because they’re always sampling other people’s voices. We thought it sounded good as well. So we gave the voice a chord for a sound instead of a voice normally. It’s both musical and ready for the dance floor as well.



Joe: I think “Flame,” for me. I like the way that track came together. The vocal, when we got started, was just completely different. It was like people chanting all around the fire and flame, and we just changed it up. And whenever the second drop comes on, I feel like there’s nothing like it. It can’t be compared to any other sound anywhere. I’m not saying it’s the best out there. I’m just saying it’s unique.




“Flame” is just a complete journey. It’s three different drops. The first one is just like the entrance to the club. The second one is real peak time. And third, is like the end of the night. Like we drew up arpeggiated melody, Cahir drew it up, and that carries it off and carries you back down again. So you start off easy, then it climaxes, then it drops you back down again.







Was there a particular track that came together with ease? And was there a track that proved especially tricky to finish out?




Cahir: I think “Como” came together quite easily. It was quick. We had something that sounded good, then we added a big sounding kick [and] then big bass, and it came together quite easily enough. We usually make peak-time techno tracks, so it was almost like we could do this with a wee bit less thinking.




Joe: “Flame” was the only one where we went through the file three times. Normally we stay in one file for one track, and that’s it. “Flame” [has] three different drops, three different ideas, [so] you’re probably gonna’ give up on it at some stage. The difference between having an amazing track and not having one could be two minutes. I might go home, and Cahir will stay another five minutes or visa versa, and we’ll have a great track. Success and failure live next door to each other, ya know.







Disfreq is a product of brotherly collaboration. You guys have been creating music together for years. Does it ever present unique challenges working as siblings? How do you think your relationship benefits your music creation?




I don’t think there’s any downsides at all. I think we fought for like 18 years, so it’s fine. To be honest, it’s a bit like having a gym partner. People have gym partners to motivate them to go to the gym. It’s a bit like us in the studio, “Oh c’mon we need go to the studio now. C’mon let’s go, even if its half an hour, then we can go back down stairs.” It’s very beneficial living under the same roof. We’re constantly thinking about it, thinking about different ideas, different vocals, different sounds. Of course you have the odd argument or fight or something, but if you spend that much time with anyone, you’re bound to fight.

Disfreq on Their Mini-album ‘Picture’ for Solomun’s Diynamic Records

The tail end of 2022 in the UK was punctuated by the crowd-jumping, fist-pumping smash hit that was “Moving All Around (Jumpin’)” by British talent, Schack. Clubs everywhere heaved with the high-speed bounce of Schack’s breakout tune, and DJs took notice. The debut single also landed #1 on the SoundCloud Chart, Spotify Viral Top 50, and at the time of writing, has 10M streams, while the official video amassed over 40K views in a few days—talk about batting one thousand.






Fellow Brit, Skream, has already remixed the exuberant tune. The garage leaning rework put a shimmering new coat on the track, but leave it to John Summit to flip it into something steamy, spicy, and ready for the dance floor.


It would be damn near impossible to name an artist taking over as readily as John Summit. Festivals clamor to add him to their lineups, artists lineup for his remixes, and labels drool to release his music. 2022 was another red-hot year for Summit, highlighted by tracks like “La Danza” on D4 D4NCE reaching more than 29M streams and the launch of his label and event brand, Off The Grid.


This “Jumpin’” (more like stompin’) new remix signals the start of Summit’s 2023 releases. He had this to say about this latest release:
“The UK hit by Schak has been stuck in my head for months and when Patrick Topping asked me to remix it I knew I had to give it my own spin.”


Same, John. Same. While the OG “Moving All Around (Jumpin’)” is still very much ringing in our heads (not complaining), it is now accompanied by not one, but two ridiculous reworks that breathe two invigoratingly unique new identities into an already instant classic. Start your weekend off right by grabbing your dancing shoes, securing your spot on the floor, and pressing play on John Summit’s sizzling new flip of Schak’s “Moving All Around (Jumpin’).”

John Summit Flips Schak’s 'Moving All Around (Jumpin’)' Into a Steamy Tech House Sizzler

LP Giobbi, Mary Droppinz, Rinzen, Lubelski, Andreas Henneberg & More Share How The San Diego Crew Has Positively Impacted Their Lives & Boosted Their Careers







Not long after I moved to San Francisco in 2013, a friend played me Mikey Lion’s set from the first Desert Hearts Festival the year prior. I was instantly hooked and listened to the mix and my favorite deep and sultry cut from it, Elektrochemie’s "Pleasure Seeker," countless times. Then and there, I became a fan of deep house, Mikey Lion, and Desert Hearts. Consequently, my dance music journey veered into more underground sounds and scenes. My friend told us tales of the infamously snowy and intimate first festival and took us to the very chilly and fun fall 2014 DH Fest, where I felt at home amongst the friendly weirdos reliably found on the dance floor.

On May 4, Desert Hearts Festival eturns with their 11th(!) edition at their newer home at Lake Perris with a stacked lineup featuring Catz’ N Dogz, Claude VonStroke, DJ Holographic, Derrick Carter B2B Mark Farina, Skream, Atish, DJ Seinfeld, Dusky, Tiga, Lubelksi, Mary Droppinz, Rinzen, and many more. They'll also be bringing their lively parties across the country again, including in New York and Detroit in March. What magical memories await you under the Desert Hearts disco ball?

It’s been amazing to see Desert Hearts continue to grow and expand while still feeling like a big, wacky family. And the growth hasn’t only positively impacted its four pillars (Mikey, Porky, Marbs, and Lee Reynolds), it’s had a profound impact on many of the fellow artists they’ve shared the spotlight with via their label, festival, and global events. Their positive reach has spread beyond the stage to countless fans who’ve had life-changing moments on their dance floors. Inspired by a Facebook comment from piano house queen LP Giobbi about DH’s powerful impact on her DJ career, we reached out to her and other DJs and fans for their stories on how the House Techno Love crew has positively impacted their lives.

LP Giobbi, Mary Droppinz, Rinzen, Lubelski, and Andreas Henneberg shared that working with Desert Hearts has dramatically affected their careers.



For LP, getting asked by Mikey to play a Desert Hearts livestream early in the 2020 lockdown was pivotal in lifting her mood and keeping her in the game. Without any gigs, she considered looking for an alternate career to stay afloat. At the time, she was DJing on her own channel, and her friends and regular collaborators SOFI TUKKER would “raid” their viewers over to her after their daily stream. Later, Insomniac would tap her for regular streams, but before that, when her following was still small, DH noticed her and reached out, and everything changed.

“I had an extremely modest social following at the time and right after the [DH] stream I checked my IG and saw that my count went up a couple hundred, which was insane for me then! And people were tagging me in their stories sending me kind messages. I had no idea just how badly I needed that boost on an emotional level,” LP says.

“One of the greatest gifts anyone can be given is belief in themselves and this community did just that. As a DJ, you get fueled by the energy of a dance floor and I was obviously deeply missing that during the pandemic. I was really surprised to feel a similar sense of belonging and energy and joy through the DH Twitch chat, which is a testament to how positive that community is.”

Partly inspired by Burning Man, Desert Hearts borrows the principles of radical self-expression and radical inclusion as a core part of their community. They champion eclectic sounds and trippy art on the label and at the festival, never limited to one sound or aesthetic. They continue to celebrate artists that join their family for the long haul, but are also seek to celebrate new talent and seasoned champs. And with their ever-growing fanbase, everyone is welcome and encouraged to dress to express, and let their freak flag fly.

Los Angeles-based Mary Droppinz also officially connected with DH as a DJ through livestreams. However, she’d been regularly attending their festival since 2015 and worked on their marketing team before she quit to focus full-time on DJing. Both as a fan, former coworker, and guest DJ, she’s felt supported by DH.

“Being a Desert Hearts DJ is honestly my greatest achievement. I personally had that as my goal when I started following this dream; to play DH was my first DJ dream. I didn’t even plan that an opportunity would present itself for me to work with them and build a relationship with them like it did. I noticed a growth and depth in my community 100 percent since going to DH Festivals since 2015 and then DJing for them [in 2020],” Droppinz tells us.



“They were always so supportive of me as an artist, keeping up-to-date on my latest and encouraging me… [When] the pandemic hit, Mikey, Tim, Phil, and I started collaborating on the Twitch livestreams I’d host on DHTV. It was honestly so dope to go through it together like that and see how massive the whole scene got on Twitch. I feel we all went through some crazy dimensional time warp and we just kept the vibes and beats strong over the interwebs. We will never let anything stop us from spreading the love through music! It really is awesome to see how much the streams impacted people.”

LA’s cinematic techno technician Rinzen joined the crew in 2019 to help Marbs, and Evan Casey launch the Desert Hearts Black sublabel, a home for darker sounds echoing the mood of late nights and early mornings, with their collaborative Torus EP. He made his debut at the fest that year with a sunrise set, and has remained a core part of DH Black.




“I’ve always thought that Desert Hearts attracts one of the most loving, fun, and music-savvy crowds in the US (if not the world), and it’s been a huge privilege to both perform and release music for this community. As my own career evolves, Desert Hearts have continued to give me some very incredible opportunities. As a producer, I’ve released seven tracks with them now (with more on the way). As a DJ, they’ve consistently put me on the road for their Desert Hearts Black showcases,” Rinzen explains. “Beyond that, I’ve grown especially close to Marbs and am proud to call him a good friend. I would describe the impact they’ve had on my career as a fortuitous blessing (is that redundant?) and something I’m continually grateful for. The biggest thing I’ve learned from Desert Hearts (and specifically Marbs) is actually a DJ perspective: it’s the power and importance of keeping a steady, relentless groove in a set. To choose my breakdown moments wisely, and to otherwise keep things moving along.”

For LA tech house champ and Percomaniacs head Lubelski, DH played a significant role in supporting his rise and inspiring him to really “go there” with his sound.

“It’s obviously had a big impact on my early growth under my Lubelski moniker. With DH Records, Mikey gave me a platform to thrust my weird house tunes into the world. And with the festivals and parties, the DH crew let me show how deep my crates could go. It all set the tone for how much I could push the envelope with my sets and releases,” Lubelski writes.

“Getting to know Mikey, Porky, Lee, and Marbs, as well as all the other wonderful weirdos by proxy has been an absolute pleasure. Going to my first DH Festival really opened my mind to the possibilities of expression in music and life in this sort of uncompromising, unadulterated fashion. Having their trust to push my vision of music on their label and parties fills me with gratitude. Obviously, meeting the attendees and making new fans at the shows has been amazing. The dance floor at Desert Hearts Festival is one of my favorite places on earth.”

And for their overseas brethren, Berlin rave mainstay Andreas Henneberg, DH’s continued support helped him finally break into the US market. (If you want to catch him in SoCal, he’ll bring his Cascandy alias to the festival again this year.)

“The Desert Hearts family had and still has a massive impact on my US career. Before I became a part of the crew in 2015/2016, I just had a few US bookings every now and then, mostly East Coast, NY, and Miami. The market is huge and completely different from the European scene. It’s difficult to get a foothold without any connections. My releases on the Desert Hearts label, the festivals, and the countless City Hearts raves had a huge impact.



The Desert Hearts fans, or as they say, their family, also feels very special. They welcomed me with open arms right from the beginning and showered me with love. Rather than being DJs and fans, it is kind of a big group of friends that get together, and you make great connections every time,” Henneberg reflects.

“I think one of the big differences to the rest of the world is that Americans tell you when they really like something. Positive feedback can be pretty rare nowadays. The kindness and positive vibes everybody contributes blew my mind right from the first time I went to the festival site. That’s not to be taken for granted.

Also, the friendships we developed over the years mean a lot to me. There is a lot of hugging going on every time we see each other. I sit here in Berlin, watching the whole thing grow. It’s fascinating how a little party in the dirt, some impartial dreams, and a lil’ bit of love can explode to what it is now.”


The messages from fans who reached out to us echoed the powerful connection on the DH dance floor and within their community.

Naomi from Washington DC discovered DH almost accidentally but instantly knew she was at home, amongst the colorful revelers in the often-dark-color-donning town. “The first time I walked into a Desert Hearts party was 2016 at Flash in DC Everyone was dressed in beautiful bright colors and the vibe was incredibly friendly, I knew I was at home. I had never heard of the label or party but after that night I was hooked. I’ve been to so many DH parties since then, [had] chats with Mikey, and felt the best feeling ever when you get gifted a DH necklace. I’ve never felt out of place.”

For Phoenix DJ Kody Black, DH has continued to inspire him and his sound. “I have been DJing for around eight years and I have been a fan of Desert Hearts since I first heard a mix from their label on SoundCloud back in 2016. My fandom really kicked in when I first saw them at Gem & Jam Festival in 2017. I’ll never forget walking into the late-night stage and Lee Reynolds was playing an insane house remix of ‘Low Rider.’ The energy all four of them had, and the vibe of all the fans in the audience was palpable. Over the years, they have become the biggest influence in my sound. Meeting them at their events and seeing how down-to-earth they are confirmed what I’ve felt in their music the whole time.”







For @charnizard from Denver, Desert Hearts is the best birthday party she could ask for. “Desert Hearts Festival is on my birthday every year and I’ve met some of my favorite people in the world there. Kevin Knapp and I had met in Berlin and reunited our friendship at the festival. I also brought an incredible girl named Lucy who was able to capture the sheer love and vibrancy of the festival as an incredible videographer.”

Hailing from San Diego, DH’s home, Zaquari’s birthday also falls during the festival. DH was his introduction to house, and he’s been hooked ever since. “DH has had a monumental impact on my life not only as an artist but in a spiritually healing way as well. My first house music event ever was my first DH event… [And] my first DH festival in 2017 was a pivotal shift in my life’s journey. Being submerged for three straight days in that lovingly chaotic and unique festival experience was truly soul-fulfilling. DH has created a safe, loving, and supportive community, where individuals can feel free and comfortable to express themselves fully.

As a dance music lover, you dream of being a part of something so special… The work those boys have put in have inspired so many new DJs and collectives/festivals to adopt that same ethos of House, Techno, and Love!”

If you’re ready to get a healthy helping of house techno love, snag your Desert Hearts Festival 2023 tickets, which go on sale this Friday, February 3, at 10 a.m. PST. 

Artists & Fans Share the Positive Impact of Desert Hearts 

Groove Cruise's crew of organizers and captains now enter its 20th year of sailing and is proving that its community is more culturally and commercially successful than ever before. After announcing a sellout of Groove Cruise Miami and launching sales for a 2024 cruise aboard the Norwegian Princess — one of the world's largest and most opulent cruise ships — it's hard to imagine how things could get any better for the Groove Cruise family.




CLASS CLOWNS

"Groove Cruise is outrageous!" Groove Cruise founder Jason Beukema blurts with nostalgic excitement. "I remember the very first Groove Cruise ever in 2004. Someone said to me, 'How did you get the class clown from every single school on one cruise ship?' [laughs] That's been the vibe. It's just hilarious. So funny."















Minutes later, tears of sorrow follow when Beukema speaks about the tragic situation surrounding Groove Cruise Miami.




"We lost [Groove Cruise Lead Production Manager] Nate Shaw to suicide in May," Beukema recounts, his voice low and quivering, belying a deep and raw emotional pain. "I took it upon myself to use the platform we have up here [at Groove Cruise] to speak about mental health and suicide prevention."




It's not irrational, emotional whiplash for Beukema to feel such a broad range of emotions so quickly or often. As a place of celebration, the Groove Cruise family certainly parties together. But as a family, they also grieve together. That may be the essential aspect of Groove Cruise Miami for organizers and attendees this time.




"It's a little deeper than just partying," Beukema contemplates, a melancholy sigh punctuating his thoughts. "We're doing this for him."












Just before Autograf performs as the first musical act of the festival, intercoms shipwide spark to life with Beukema's voice. This time, he's in a jovial mood.




"See you at the pool deck!" his voice crackles across hundreds of tiny speakers.




Louis Kha of Autograf stands near the railing on the upper pool deck, watching the Carribean waves pass by. "We're on the edge of this boat, almost in the ocean. Our lives are dangling on a thread," says Kha. "The mere reminder of how insignificant yet precious our lives are at the same time — that constant reminder makes me enjoy the moment much more so. It's beautiful."




Beukema also notes the healing power of the ocean in cultures around the world, "the idea that you come from the ocean and you go back to the ocean." This year, that search for deeper meaning is a clear focus of the festival.




After Autograf's performance, Beukema is standing on a balcony overlooking the main pool deck stage as Claptone plays BLOND:ISH's, HUGEL, and Nfasis's blockbuster track "Tra Tra." Considering it all, how does Beukema view his ongoing relationship with Groove Cruise?




"Groove Cruise is my baby," Beukuma says with goofily sincere, heartfelt confidence.










BLACK WATER

Playing in the main pool stage booth, Hellbent Records boss Cloonee drops a riveting bootleg of Octave One and Ann Saunderson's quintessential house track "Black Water."




Intentionally or not, Cloonee's choice to play that bootleg immediately links Groove Cruise Miami to historic house music traditions, all while forging a compelling path forward. Life and music are cyclical. We reinterpret the past to determine the future and move on from the present together.




"Hanging out with other artists has probably been the best thing about Groove Cruise," Cloonee tells Gray Area after diligently pausing for a moment to consider his thoughts. "Just meeting artists you wouldn't usually get to spend time with and actually being together and drinking and shit."












"There is a super eclectic mix of artists on this boat," he furthers. "I'll be wandering around, not really knowing where I am cause this boat is fucking massive, and then you'll hear drum and bass on one stage. You go this way, there's house. There's dubstep. It's pretty good. Really good mix."




Electronic music giant EDX shares Cloonee's perspective. "It doesn't matter how trendy or cool you are. People come here to enjoy and celebrate DJing and electronic music culture. It's fulfilling for everyone. It's not just about music, it's about getting together and spending time together as DJs and friends."




At Groove Cruise, "luckily you're all on the same boat. You end up meeting and talking to a lot of people who are celebrating your music," says EDX. "It's good to hear firsthand about your journey, your music. It's very interesting and really means a lot to everyone who works in music that struggles sometimes with what's next, or with what I should do."




How do artists' sonic palettes develop over time? How do artists come together to influence one another's sound? And how are new genres and subgenres conceived, incubated, and birthed into being?




Maybe the cross-pollination between artists at Groove Cruise Miami that Cloonee and EDX describe is a small part of the answers to these questions — undefinable answers which may reveal the very nature of artistic inspiration itself.










A VERY AMERICAN EXPERIENCE

"My sound is an underground sound," notes modern Chicago house music pillar Gene Farris. "Groove Cruise is driven by underground music. So we go hand-in-hand — like a hand in a baseball glove."




Farris is an artist Groove Cruise relies upon year after year to set the tone for the party. He's located on a branch immediately adjacent to the trunk of the Groove Cruise family tree.




Later, he'll funkily twirl in the sweet spot of the ship's top deck dancefloor alongside fellow Chicago-based producer Anthony Atalla as the sun rises and the ship pulls into the tropical island paradise of Labadee. For now, he relaxes on a purple velvet couch in one of the ship's air-conditioned nightclubs.




"I'm happy these guys have me every year. Happy to be part of the family and community," Farris says. "It's awesome."















On the other hand, it's been five years since Scottish producer and Anjunabeats label artist GRUM last played Groove Cruise.




Returning half a decade later, "it's the same vibe," he says. "The atmosphere is all very friendly and fun."




"[Groove Cruise] feels very American," he laughs. "It's a very American experience. Non-stop party — it's loud, it's in your face," he says. "But I manage. I muddle by."




Grum advises Gray Area on what genres and sounds he sees coming into focus in global dance music.




"Hopefully we're going to move away from everything being split up by genres and back to more about interesting artists," he says. "Some people have been enjoying Bicep, Loan. Daniel Avery has done some good stuff. I think there's room again for that kind of creativity. That's what inspires me."




Farris, the vaunted label head of Farris Wheel Recordings, also seeks to be inspired by compelling sounds from unique artists. But Farris is focused on scouring for artists who may not be as well-established as GRUM-preferred Irish heavyweights Bicep.




"I try to look for the younger talent in today's era," says Farris. "Up-and-coming producers — they're the most hungry. People who are current. People who just know what's going on [in the underground] right now — that's what we're looking for."







THE GIANT GRID OF NEO-AMERICAN TECHNO

One artist with such current knowledge is Declan James, the Dallas-based neo-American techno producer and founder of the label and party series Voidware.




Richie Hawtin, the patriarch of North American techno, recently enlisted James for the upcoming From Our Minds tour with the stated "mission to develop and increase awareness of the younger generation." Press releases also note that Hawtin booked James and others to "showcase a diverse group of North American underground artists moving the ideals of '90s techno forward in their own unique ways."









On Groove Cruise, James imposes his brand of neo-American techno on the dancefloor, although he began his career as a trance producer on Above & Beyond's label. Now, his sounds are eviscerating yet groovy. He plays industrially alien soundscapes at high speed, replete with a slew of bizarre, sometimes Lovecraftian textures.




"I've come to find that people in the United States are responding really well to weird stuff, really experimental crazy stuff," James says. He also emphasizes that American audiences delight in the higher tempos he typically plays.




"It's very clear to me that there's a new sound developing," says James.




He's markedly excited as he tells Gray Area about the sounds of neo-American techno, which he's bringing into sharper cultural focus alongside a growing group of close-knit North American artists.




"The key figures are the Genova Group — me, Jay York, Decoder, Freeman 713, and Barbosa. Then there's Lindsey Herbert, Henry Brooks, Selective Response. I would characterize the new wave of techno in the United States as those artists right now," he explains. "It's just this giant grid thing happening."




Like pioneering foley artists figuring out which materials to manipulate to accompany the shattering of a bone breaking onscreen, James is among the vanguard of neo-American techno producers experimenting with new sounds to best convey their personal perspectives as artists in the nascent neo-American techno movement.




Later in the festival, James plays a b2b with Detroit-born Toronto resident Alley Kay on the ship's open-air top deck. They drop a wild techno bootleg of Daft Punk's "Rollin' and Scratchin'."




James, Kay, and this next generation of underground electronic communities continue to coalesce today. On a boat. In the middle of the Caribbean Ocean. The giant grid of neo-American techno grows.







JUST KEEP BOUNCING

Groove Cruise aerialist Ashley Neptune strides down the long narrow, red-carpeted stateroom hallway, exhausted and fully covered in sweat. Clad in a nude-colored bra and thong, silver chain link top, and black Puma sneakers, she insists that she would have a complete outfit — but she'd just broken her matching silver chain bottoms.




"I just visited the shuffle workshop!" says Neptune, her tank completely empty. “[The instructors] fucking crushed it. I learned so much. I sweated my ass off. I got my workout, and I learned something new today — so double-double check!"




The main technical lesson that Neptune learned about shuffling?




"Just keep bouncing, no matter what. Just keep bouncing. Even if you're fucking it up, no one will really know," she explains with a laugh.




As Neptune opens the door to her stateroom for some well-deserved rest, her roommate and Groove Cruise stage dancer, Lela Bea, gracefully slinks across the open doorframe. Bea's tall, svelte figure cuts in a white velour shower gown. She's about to put the final touches on her makeup before donning yet another gorgeous, otherworldly outfit for the evening as Neptune returns from her first-ever shuffle class.















On-the-clock, both Neptune and Bea's effervescent talent and beauty are wholly inescapable. Behind the scenes, they now have an additional air of eminent contentment.




On Groove Cruise, muses of all sorts abound. There are muses for the muses. Inspiration is everywhere, all the time, all at once.







WHAT FUELS THE FUTURE

A protégé of deadmau5's label mau5trap, Speaker Honey is currently on an interstellar trajectory as an electronic music artist. "I'm really working towards identifying techno, trance, electro, and bringing the fusion together [between] those three," she tells Gray Area.




Tonight, under the dark Caribbean sky, she's in a reflective mood as she credits Casmalia with linking her up with Groove Cruise.




"I'm very appreciative," she says. "I feel like the Groove Cruise fam really honors my presence here."












A common theme amongst artists and attendees alike is that the deliberate, judgment-free attitude which permeates Groove Cruise provides artistic cover for everyone to explore without fear. Speaker Honey agrees.




"I love Groove Cruise because it gives me the opportunity to express myself musically and sonically without the expectation of specific sound. In this space, I can actually be free to play whatever the fuck I want."




Regarding her experience on Groove Cruise Miami, Speaker Honey says, "I've only experienced positive omens. Everything's been a positive affirmation to remember the serendipity in the universe, to remember the good things that happened to you."







Why is Speaker Honey so honed in on how Groove Cruise constantly reminds her of the good things in life?




"Because that's what fuels the future."







OFF THE DEEP END

Jauz — alongside Zeds Dead, Excision, and a handful of other North American artists — is a keystone producer in the first wave of North American bass music artists that arose from the wake of Skrillex's arrival on the scene and the subsequent explosion of American brostep in the early-to-mid tens.




Nowadays, Jauz is still a very busy man. But not necessarily from working on music. Recently, he became a new father.




However, neither his lack of sleep as a new parent nor his place in the pantheon of American bass music have caused him to forget his fundamental connection to house music.




Speaking to Gray Area backstage moments after concluding his Groove Cruise headlining performance, Jauz explains that "this set was [my] new Off the Deep End project. I've always played house music, but this is my outlet to strictly play house music — the records I've been making, but also records that I really love. [Records] that I couldn't play in my normal Jauz set just from the way my sound has evolved over the years."




In a moment of true candor, Jauz concedes that the novelty of his Off the Deep End project makes performing that music decidedly more exciting to him as an artist than playing his world-renown version of American bass music.




"I still love playing real Jauz sets. But I've done it for almost ten years now," he says after careful consideration. "So it's cool to do something different, something fresh. My music normally is so all over the place, and this is so down a specific lane, that it's totally different than anything I do. So it's a lot more exciting for me."







INTO THE SUNRISE

After his set, Jauz makes his way to the top deck as Groove Cruise Miami completes the last leg of its journey. He joins Habstrakt, Bijou, Matroda, Cloonee, and Dillon Nathaniel as the group plays b2b2b2b2b2b well into the AM hours. Gene Farris and Anthony Attala are thrown into the mix at some point, too.




In such moments, the bubbling percolation of inspiration and influence between international electronic music artists on Groove Cruise is never more apparent.




As the morning sun slowly rises over downtown Miami's gleamingly white skyscrapers, nearly 2,600 sunkissed Groove Cruisers say farewells.




They disembark from the ship, a healthy glow emanating all around.




Thus goes Groove Cruise Miami, straight into the sunrise.






























Groove Cruise Miami: The 35th Sailing of an American Dance Music Institution

From true pioneers to early adopters, amapiano has produced a myriad of highly talented and inventive stars. Since its nationwide acceptance in South Africa around 2018, the producers have spawned multitudes of hits, eventually bringing international attention to the sound. The genre has leaped from local clubs and pubs to global stages and festivals, bringing along with its dances, lingo, fashion, and lifestyle.




A decade into its existence, Amapiano has become a bona fide juggernaut and phenom. We look back at the 15 songs that have defined, shaped, and elevated the genre in the past few years.







1. Kabza De Small (feat. Leehleza) - Umshove 

Amapiano began as a purely instrumental sound, “Umshove” was one of the first few tracks in the genre to have vocals. As a township-bred style, it reflects its surroundings; there was a time when amapiano was enamored with sexual innuendos via its lyrics and chants before it got refined to its current soundscape. Many South Africans discovered the genre and Kabza De Small via this track.




2. De Mthuda x Njelic - Shesha

In 2019, this track was inescapable. On “Shesha,” Njelic gently pleads with his lover to hurry and shower quickly so that they can go party! A relatable and true crossover hit, this song was popular spanning age groups and demographics. Producer and pioneer De Mthuda and Njelic have gone on to churn out multiple hits, individually and together.




3. Kwiish SA - Iskhathi (Gong Gong)

There was a point when amapiano was referred to as “Gong Gong,” a way to refer to its customary log drum. The name is inarguably linked to the prominence and impact of this song. What started out as a tribute to DJ Clock by co-producers BRG and C’buda M became an anthem. Kwiish SA even put out a vocal mix of the banging instrumental track for more mainstream appeal.




4. Samthing Soweto (feat. Sha Sha, DJ Maphorisa & Kabza De Small) - Akulaleki 

Acclaimed musician Samthing Soweto, through his works in 2019, fathered a singing style that inspired a slew of Amapiano vocalists who followed after his initial run. “Akulaleki” became an instant hit with fans, and topped the streaming charts. “It’s a love song that connects love and partying, and the country loves that,” the musician told Apple Music.




5. Sha Sha (feat. DJ Maphorisa & Kabza De Small) - Tender Love 

Due to her sultry vocals, velvety melodies, and proximity to Kabza, Sha Sha was once hailed as the Queen of Amapiano. After serving as a guest feature on plenty of genre-elevating hits, she came to the fore as a lead artist on “Tender Love.” The song was the first single off her debut EP Blossom, which earned her a BET award for Viewers’ Choice: Best New International Act in 2020.




6. Kabza De Small x DJ Maphorisa (feat. Samthing Soweto & MFR Souls) - Amantombazane 

The partnering up of Kabza De Small and DJ Maphorisa has countlessly proven to be extraordinarily fruitful, not only for themselves but for amapiano as a whole. The duo, who dubbed themselves the Scorpion Kings, first linked in 2019 after Maphorisa booked Kabza for a few shows he was hosting in Soweto. The Samthing Soweto-assisted and MFR Souls co-produced “Amantombazane” was one of the first major hits that came out of their creative union.






7. MFR Souls (feat. Sha Sha, DJ Maphorisa & Kabza De Small) - Love You Tonight 

Take the inventive prowess of MFR Souls and pair it with the tried-and-tested trio of vocalist Sha Sha, DJ Maphorisa & Kabza De Small, and you get the certified thumper that’s “Love You Tonight.” The sensual and romantic song perfectly blends Maphorisa and Sha Sha’s velvety vocals with the soulful production of MFR Souls and Kabza De Small. “Love You Tonight” was released as a single, taken off the duo’s major record label debut, The Beginning.



8. Semi Tee (feat. Miano and Kammu Dee) - Labantwana Ama Uber 

Before TikTok dance challenges became trendy within amapiano, there was “Labantwana Ama Uber” with its accompanying dance routine. The cryptic song spread like wildfire and was a topic of discussion for months. The reincarnation of kwaito-rooted lyrics within amapiano was made popular by this track.




9. ​​Kabza De Small & DJ Maphorisa (feat. Aymos, Samthing Soweto, Myztro & Mas Musiq) - Emcimbini 

It almost feels unfair to have so many Scorpion Kings songs on this list, but the truth is, they rightfully deserve to be included more than once because of the work they’ve put in. “Emcibini” was released in early 2020, just before the pandemic impacted the world. This song is often a reminder of the time, as many people feel that it could’ve become even bigger if it wasn’t for the lockdowns and travel restrictions.




10. Focalistic (feat. Vigro Deep)- Ke Star 

During the peak of the lockdown in 2020, rapper Focalistic and producer Vigro Deep linked up to work on some music. From that studio session, two bangers rose, “Ke Star” and “Blue Monday.” The former shook the game and became a Southern African hit before spreading to many corners of the continent. A remix with Davido would give the song new life and take it globetrotting.




11. Busta 929 x Mpura (feat. Mr JazziQ, Zuma, Lady Du & Reece Madlisa) - Umsebenzi Wethu 

2020 was a remarkable year for the Mr JazziQ-helmed independent label Black is Brown Entertainment. A host of singles and projects came out then, “Umsebenzi Wethu” epitomized the energy and vibe of that period within the stable and ‘piano as a whole. On the hard-hitting track backdropped by a Busta 929 production, Mpura, Lady Du, Reece Madlisa, and Zuma trade vocals as they detail how their work will speak for itself.




12. Felo Le Tee & Myztro - 66

Brittle whistles and thumping percussion are the order of the day on this one! Add a simple dance sequence, and you have a cross-continental hit. The song helped launch Felo Le Tee into the wider mainstream and cement him as an esteemed and sought-after producer within the dynamic scene. Since then, he has been behind countless other chart-topping songs.




13. Young Stunna (feat. Kabza De Small & DJ Maphorisa) - Adiwele 

Young Stunna is emblematic of the new generation and hitmaking amapiano vocalists. Switching from hip-hop to amapiano, like many others, through a series of outstanding features, Stunna etched his name with “Adiwele.” The manifestation-fuelled track even brought attention to charismatic DJ, Uncle Waffles, who first gained popularity after a clip of her set dancing to the song went viral.




14. Ch’cco x Mellow & Sleazy - Nkao Tempela

The statement “every day a star is born” summarizes and contextualizes the rate at which new artists emerge within amapiano. “Nkao Tempela” established Ch’cco as the genre’s next star. While it initially got mixed reviews, “Nkao Tempela” would go on to platinum status and was one of the first songs that brought Mellow & Sleazy’s Bacardi house-influenced style into the spotlight.




5. Mas Musiq (feat. Aymos & Young Stunna) - Sengizwile 

The producer-vocalist combo that is Mas Musiq and Aymos has shown beyond doubt to be formidable. Since they started working together in 2019, they’ve gone on to contribute immensely to each other’s solo work. “Sengizwile” is a faultless exhibit of their complimentary artist expression. They invited Young Stunna, who delivered a show-stealing verse on the sing-along number. It’s a slow burner that’s a testament to amapiano’s timelessness.






Dive Into Amapiano With These 15 Essential Tracks

At Gray Area, we pride ourselves on being your home for everything house and techno. Dance music has a rich history of pioneering sounds, techniques, and technologies inspiring generations of countless producers. Before Wax Motif was headlining DJ and critically acclaimed multi-genre producer, he was Danny Chien, a house and hip-hop head. Drawn to the rich diversity of sample usage, Chien found himself enthralled by the sounds of French house and more. Wax shared some of his favorite classic house cuts with us, and now we’d like to share them with you.





1. Alan Braxe & Fred Falke - Intro

Alan Braxe and Fred Falke were two pioneers spearheading the emerging French Touch sound of the 90s and early 2000s. The two artists collaborated on a series of 12-inches on the Vulture Music and Kitsuné labels. One of those records, Running, featured this Wax Motif favorite. “Intro” incorporates elements from “Crush On You” by The Jets.





2. Cleptomaniacs - All I Do

Wax once described house music to us as “sexy.” After hearing this track, we couldn’t agree more. The trio of John “Julius” Knight, Marc Pomeroy, and Pomeroy’s partner, Brian Tappert, formed the Cleptomaniacs. They teamed with vocalist Bryan Chambers on this dance-focused remake of a Tammi Terrell Motown classic. “All I Do” has been a heavily covered classic, most notably by Stevie Wonder, but this movin’ and groovin’ rendition is certainly our favorite.



3. Together (DJ Falcon & Thomas Bangalter) - So Much Love to Give

Few songs are as uplifting as “So Much Love To Give.” French producers DJ Falcon and Thomas Bangalter (one-half of Daft Punk) joined forces on only two tracks. This particular 12-inch collaboration was released in 2002 with no B-side and contained a sample of “Love’s Such a Wonderful Thing” by The Real Thing. This is 10 minutes of pure electro house joy.



4. The Bucketheads - The Bomb

“The Bomb” is one of the world’s most recognizable dance tracks. This 1995 hit was the first tune Wax Motif had on repeat when he started exploring dance music. Produced by Masters at Work member Kenny “Dope” Gonzalez, the track samples Chicago’s “Street Player” from their 1979 album Chicago 13. While Rolling Stone ranked it number 77 in their “200 Greatest Dance Songs of All Time,” we’d be comfortable putting it in our top five.



5. Every Daft Punk Record Ever

The title says it all. The Daft Punk duo have become legends of dance music for a reason: their profound impact on the genre’s scope and sound. Every album brings new cards to the table, including their pioneering effort of producing the entire soundtrack for the 2010 movie, Tron: Legacy. We’d like to take this opportunity to recognize what might arguably be their greatest album, Discovery. Daft Punk member, Thomas Bangalter, described Discovery as an exploration of song structures, musical forms, and childhood nostalgia. The project leaned into a house style more heavily inspired by disco, post-disco, garage house, and R&B. It gave us a slew of legendary singles, including “One More Time,” “Aerodynamic,” “Harder, Better, Faster, Stronger,” and “Something About Us.”

Wax Motif’s Favorite Classic House Tracks

Few in house music remain as cryptic as Treasure Series. Their social media and streaming pages all merely declare, “I’m an adventurer looking for treasure.” While we don’t know much, we do know that they release some of the most coveted minimal tech house, including our Track of the Week, “THIRTY THOUSAND.”





This kinetic roller is the latest of more than a dozen deep flips of some of music’s most incomparable classics. While the identity of Treasure Series remains unconfirmed, UK producer PAWSA always seems to be the only one playing out their tracks ahead of release. Each track is limited to 250 vinyl pressings with no digital downloads available. Talk about scarcity. If it weren’t for streaming platforms, we might not even know these cuts exist—so underground.



If you’re just now hearing about the Treasure Series releases, let us provide a little context on the demand for these LPs. “THIRTY THOUSAND” sold out in less than twenty-four hours. Regardless of who’s behind this puzzling project, we’re glad there’s an artist delivering bangers with an added bit of cheek.




The past two decades have seen dance music slowly permeate many corners of the world’s greater musical landscape. Genre lines grow increasingly blurry as music, production styles, and analytics are more accessible than ever before. It’s not uncommon to see artists pull inspiration from outside their typical genre to appeal to a larger audience and branch out into new sonic planes.



Dance music’s increasing popularity has led to greater potential financial rewards for its contributors, but escalating commercial potential can easily lead to a dilution of purity. A genre and community that once operated heavily on anonymity and scarcity now commonly focuses on scalability and brand awareness. While we at Gray Area love to see the genre we know and love getting the recognition it deserves, we also appreciate its underground roots. And so does PAWSA ... I mean Treasure Series.





Treasure Series Drops Another of Their Coveted IDs 'THIRTY THOUSAND'

The mixtape is as synonymous with dance music as the kick drum. Through every era of dance music, DJ mixes have acted as a form of cultural capital and communication, a vessel of artistic expression, and a map that led listeners toward unique sonic sojourns. And while the medium has morphed from physical tapes to CDs to no physical form at all, the mixtape still reigns supreme as one of the DJ's most potent storytelling devices.




In 2021 Spotify ushered the mighty mixtape into the streaming era by introducing DJ Mixes to the platform. They said it was, "a way for artists to connect with fans and further expand their global audiences." But every dance music fan who fondly remembers the joy of exploring the twists and turns of their first mixtape (mine was a Christopher Lawrence mix from 1999) knows that it's so much more than that.




We understand that every mixtape holds deep meaning to a true fan. And the promise of discovery, surprise, and joy. With that in mind, Gray Area joined Spotify in welcoming some of our favorite artists to curate mixes that capture the spirit of being handed a cassette tape at a dusty warehouse. And over the coming months, we'll reveal a series of ten mixes from some of our favorite artists. And we couldn't imagine anyone better to head up the effort than DJ, producer, and Farris Wheel Recordings founder Gene Farris.


Gene has been a part of the dance music community almost since its inception. A bonafide legend of the storied Chicago scene, he's gone from rocking the decks at warehouse parties in the early 90s to becoming a staple of the global club and festival circuit with appearances everywhere from Ibiza and Amsterdam to Miami and Sydney.




He started his label, Farris Wheel Recodings, in 1996 as a platform to release his own music and since has expanded it to be one of the preeminent tastemakers in house music featuring a wide range of artists from Mark Farina, Paul Johnson, and Sonny Fodera to John Summit, J. Worra, and Eskuche.




His mix—made entirely of Farris Wheel tracks—features a who's who of tech house, including MISS DRE, Baby Weight, Max Low, Sacha Robotti, Casmalia, and a pre-techno Will Clarke.




We chatted with Gene to find out what his first mixtape was, how he put the mix together, and what this new iteration of the mixtape means for the future of dance music.







You've seen every iteration of the mixtape as a DJ. So what's impactful about being able to do one on a platform that has the potential to reach so many people?




All I've ever wanted was the opportunity to touch everyone, and this gives me that opportunity, and that's really cool!




Do you think having mixes on streaming platforms has the potential to create new dance music fans?




Absolutely! You're tapping into people who probably wouldn't normally go to the club randomly and find this DJ. With this platform, we come to you!




Your label has releases from a broad range of established artists and up-and-comers. How did you choose who you featured?




It's really just a matter of quality control, to be honest. Whoever has the hottest track gets featured at that moment in time.




What about putting this mix together was different from other mixes you've done in the past?




All the tracks are released on my label Farris Wheel Recordings. I picked my favorite tracks, and there are loads of new music from the label. I love the whole mix.




Do you remember the first mixtape someone gave you?




Yes. It was Frankie Knuckles Live at the Warehouse.




What's your favorite old-school mixtape? Why?




Ron Hardy Live at the Music Box is my favorite because Ron was the GOAT! I've studied his mixes quite a lot, and he was one of the most innovative house music DJs of our lifetime.




How does your mix capture the spirit of old-school mixtapes?




I'm not sure that it does, to be honest. I can only aspire to be that cool.

Gray Area and Spotify Launch New Series of Dj Mixes

Paris’ ‘king of blends’ Teki Latex took Londoners on a wild ride from acid techno to accelerated pop classics and beyond in his recent set for Mixmag’s The Lab LDN. The retired rapper’s hilarious personality and infectious charisma got people dancing from the onset.




Once a hip-hop aficionado, Julien Pradeyrol – aka Teki Latex – now puts his efforts into up-tempo sonics. The retired rapper got his start as a founding member of Parisian hip-hop MC group TTC, and has become one of France’s most beloved DJs in the years following, specializing in bass-heavy beats from grime to UK garage, club bangers to jungle belters.


Pradeyrol is the head honcho at the cult label Sound Pellegrino, which he founded alongside DJ Orgasmic, and previously Institubes, a long-running French indie-electro imprint. He was recently appointed as a curator for Boiler Room France and is a pivotal radio personality on Rinse France.




The French DJ’s talents extend to vocal collaborations with iconic musicians, including Modeselektor, L-Vis 1990, Para One, and many more. His voice was also sampled on the chorus for the ASAP Rocky and Skrillex smash hit “Wild For The Night.”




His mixtapes, such as the King of Blends trilogy, the Italo disco special “Marina Baie Des Anges,” the deeper “The Tardigrade’s Lament,” and the genre-inaugurating “Bérite Club Music,” have earned several mix-of-the-year and monthly/weekly mentions in Resident Advisor, Pitchfork, Fact Magazine, Complex, Noisey, and GQ.




Pradeyrol’s touring schedule stays stacked. He’s previously had slots at Rex Club, La Station, Social Club, Nuits Fauves, and La Gaité Lyrique in Paris, fabric in London, Output in New York, Rhonda in LA, Smart Bar in Chicago, Unsound in Krakow, and Cakeshop in Seoul.




Teki Latex is showing no signs of slowing down this year. He’s starting the year with performances at Kauz in Zurich, I-Boat in Bordeaux, and Shapes Festival Leysin 2023.

Teki Latex Brings an Addictive and Playful Set to The Lab LDN

Throughout recent history, South Africa has birthed multiple iterations of dance music. The country has continuously spawned genres and subgenres such as kwaito, Afro house, and gqom—which have all immeasurably impacted international dance floors and touched far-reaching audiences.




The nation at the bottom tip of the African continent has produced yet another global phenomenon that’s been steadily brewing over the past few years. Ever-creative and authentic with the naming of its unique takes: Amapiano is South Africa’s latest contribution to the global dance music scene.




The History of Amapiano




The story of Amapiano begins in the townships. The disfranchised neighborhoods, where Black people were displaced during apartheid, further away from the city centers and urban, suburban areas. The ghetto, or as many South Africans fondly refer to them, ekasi (the township).




During the early 2010s, innovative kasi producers started slowing down the tempo of Afro house tracks like Mobi Dixon’s 2014 “City Rains” from 125 BPM to around 115. From this trend grew the urge for some to produce their own slow-burning compositions. Taking sonic cues from the likes of DJ Clock, Bekzin Tetris, Da Capo, Chymamusique, Brazo Wa Afrika, SculpturedMusic, and Nastee Nev, amongst other deep/Afro house producers, early creators and adopters of amapiano fused their inventive style with elements of jazz and kwaito to create a melange of sounds.




This hybrid style of house has murky origins. Or, at the very least, disputed. Some imply that it was pioneered by Katlehong’s Maero and Force Reloaded before they joined forces to become MFR Souls. Their mixes, dubbed Musical Experiences, became particularly popular within townships in the East Rand, Alexandra, Soweto, and Tembisa. But, apart from the Johannesburg hoods, the sound also caught fire in Mamelodi, Atteridgeville, Hammanskraal, and Soshanguve——townships in Pretoria, which others argue are the birthplace of amapiano.









“Amapiano is not even a name which came about [from] us, as producers. It came about people calling it like that,” expressed protagonist Gaba Cannal on the MTV Base-aired docuseries, Liyadlal’iPiano. It was people who first embraced the sound and frequented party spots like Corner Junction in Dube, Soweto, and Club Africa, where spearheaders such as MFR Souls, Kabza De Small (check out his Avenue Sounds mix series to hear his earlier stuff), DJ Stokie, DJ Stoks, Bantu Elements, JazziDisciples (now separated duo made up of Mr. JazziQ and Josiah De Disciple) and others would be playing. While some admired it in its formative years, amapiano equally had detractors, who criticized the sound for its alleged “bastardization of deep house,” syncopated beats, and heavy use of the piano and organ—which its name is also said to come from.









“A lot of people didn’t pay attention to it at first. It was just one of those sounds, loud squeaky piano solos, off-key tunes, and whatever,” shared Maero of MFR Souls on the critically acclaimed amapiano documentary Shaya! (one of the first to be made on the subject). In its purest and most authentic form, amapiano is a by-product of cracked FL Studio software, plugins, and beat packs shared amongst bedroom producers working from backrooms and cottages. And like any burgeoning scene or musical form, amapiano was looked down upon by the mainstream entertainment industry. This was partly due to South Africa’s dynamic and highly-competitive dance music scene, which, at the time of amapiano’s initial ascendance, was dominated by a prevailing sound that was (arguably) more compelling and profitable, especially to urban, “high-class” crowds and to establishments and organizations outside the Gauteng province.









Popular and national radio and television stations wouldn’t give the genre a chance. Traditional media ignored and sidelined the movement as inferior, which in hindsight, resulted in the lack of sufficient documentation of the sound’s origins and infancy. Presenter and media personality Da Kruk is often credited as the first commercial radio jock to spin amapiano tunes on his radio show, which aired on the regional youth station, YFM, circa 2016. He had a segment called Amapiano Hour, solely dedicated to showcasing sound, mostly through mixes submitted by DJs/producers.









Labels like the now defunct House Afrika Records and Born in Soweto (the former being co-owned by South African dance music legends Tim White, Vinny Da Vinci, and Dj Strat3gy) were one of the first labels to support and attempt to commercialize the movement through the release of the Amapiano Is A Lifestyle and Amapiano compilation series between 2016 and 2020. This independent ethos would spill over when most of the leading luminaries started their own labels, signed distribution deals, or got into joint ventures with major record labels like Sony and Universal.




The Current State of Amapiano




The tides began to turn in the genre’s favor in 2019 when purveyor Kabza De Small teamed up with esteemed producer DJ Maphorisa to put out their eponymous and seminal EP, Scorpion Kings. The genre-elevating project boasted the hit tracks “Amantombazane,” “Koko,” and “Vula Vala.” Other like-minded producers featured on the album, including MFR Souls and Vigro Deep, alongside already-established artists like Samthing Soweto, Nokwazi, and Moonchild Sanelly. Vocalist Sha Sha, sometimes touted as the Queen of Amapiano, was first introduced to the world via the EP. The following year she walked away with a BET Award for Viewers Choice: Best New International Act.









In the past few years, other international award ceremonies have recognized the genre and its artists, particularly in Europe—where the genre has the largest stronghold outside of the African continent. Kabza De Small, often regarded as the king of amapiano, was nominated for an MTV Europe Music Award for Best African Act in 2020, making way for Focalistic and Musa Keys to get the same nod in 2021 and 2022, respectively.




Communities, events, festivals, and touring franchises in the UK (mostly) have also emerged. For instance, Amafest (debuted in the UK and Ghana in 2021) and Piano People (famously had a stage at this year’s Afrochella in Portugal), amongst many others.









At this point, it is inarguable that amapiano has reached territories far beyond the borders of its origin. Front-running artists are getting booked and playing shows outside their home turf. In fact, one of the genre’s most significant hurdles right now is artists getting traveling documents on time—a testament to the genre’s outstanding growth. While securing a US visa can be complex, a few acts like Focalistic, DJ Maphorisa, and Uncle Waffles (slated to play at Coachella in 2023) have managed to get them and have played multiple shows in North America. Major League Djz, who happen to have been born in the US, have been regulars in The States, helping to spread the culture of ‘piano. Along with playing on the world’s biggest and most respected stages. The duo linked up with Major Lazer on the cross-continental ‘piano track “Koo Koo Fun,” with Nigerian pop star Tiwa Savage and DJ Maphorisa.




DSPs and social media have also played a significant role in the spreading and showcasing of amapiano and its broader culture and lifestyle to wider markets. Streaming giant Spotify released data showing that there has been huge growth in the streaming numbers of the genre outside of South Africa, with the UK, U.S., Canada, the Netherlands, and France being amongst the biggest territories.









Besides the actual music, the release and work rate of amapiano artists is perhaps what sets them apart. Since its inception, collaboration and community among artists and producers have been hallmarks of the genre. Within the community lies a subtle, competitive spirit and an eagerness to expand the sound. It drives producers and artists to be ever-evolving, experimental, and constantly searching for new vibes and elements to incorporate.




Today, the highly malleable amapiano has its own offshoots. The thundering Sgija, soulful Private School’ Piano, syncopated Mozambique, France, glimmering Piano Tech, Electro-house-inspired, and Bacardi house-indented iterations as heralded by the likes of Mdu a.k.a TRP, Jaivane, Kelvin Momo, ZanTen, TNK MusiQ, Vigro Deep and Mellow & Sleazy, are a few that come to mind.




As has been proven, time will reveal what comes next for the genre, but “Amapiano to the world” is in full motion. And if the past few years are anything to go by, there is still so much in store.



The Then and Now of Amapiano: South Africa’s Latest Pulsating Dance Music Genre

Holt Harmon and J. Parker Cohen are getting on a plane to Los Angeles tomorrow. Thankfully, it’s an easy flight from Phoenix, Arizona, and it’s one of their last flights of the year. As the owners and lead managers of Metatone Management, these guys have done a lot of flying in 2022. A lot. Over the past 12 months, they’ve hit the road almost weekly to far-flung global destinations like Manchester, Ibiza, Miami, and Hawaii, supporting their clients John Summit, Ranger Trucco, Kyle Walker, and Deeper Purpose, among others.



Now they’re getting on the plane to Los Angeles to support Summit as he plays at the Los Angeles Memorial Coliseum, opening for Kaskade and deadmau5’s first headlining show as their new collaborative project Kx5, and that is just one of many monumental moments for the Metatone roster in 2022.



With their work ethic, industry know-how, and passion for the music and the artists they work with, Harmon and Cohen have found the secret sauce as managers to guide their clients to their dreams, and that begins with an understanding that they are not the artists.



“[As a manager] your job is not to be the artist or decide things for the artist. Your biggest job as a manager ultimately is to be a catalyst for what the artist wants to achieve,” says Harmon to Gray Area over Zoom. “You should have the connections, you should have the resources and if you don’t, you should go out of your way to build those things so they can get to the place of it being all about the music.”



“If you can view an artist as a business, if the artist is the CEO, the manager is the COO because we’re helping set up all the operations,” Cohen adds. “We’re here to make sure that all of our artists’ careers are running as smoothly and efficiently as possible, and that sometimes means wearing multiple hats.”



Becoming a quasi-expert in several music industry sectors, including event production, A&R, marketing, and talent buying, is pivotal to their role because artists do so much more than write and play music. Harmon and Cohen became familiar with a universal approach to the music industry in their early professional years. Cohen worked for an event company in Scottsdale, Arizona, called Steve LeVine Entertainment which boasted clients like the Pheonix Suns and Hakkasan Nightclub. Harmon worked for a record label called Audiophile Music Group out of Dallas, Texas, which released early music from Franky Wah, Westend, Black V Neck, and John Summit. What neither of their roles allowed them to do in that early phase, though, was engage in their true calling: working directly with artists.



“We both saw the idea of growing talent as where our passion lies. Working with talented people and helping them see their dreams,” Harmon says. “We love working with people who have huge goals and maybe don’t have it all figured out, but have all the pieces.”



Many of Harmon and Cohen’s clients have worked with them since their careers began. Metatone Management became a business in March of 2018, and both Kyle Walker and John Summit have been with them since late 2018. Freak On has been with them since the beginning of 2020. All remained clients through the pandemic.



And as these artists’ careers grow, Harmon and Cohen are always learning more about how they can catalyze those pieces coming together.



First and foremost is communication. As their clients move between all the operations of the industry, Harmon and Cohen maintain a logistical framework that ensures all the pieces come together seamlessly while representing their client’s interests respectfully and professionally.



“Whenever strangers ask me what I do for a living, I basically just boil it down and say ‘Essentially I just talk all day long.’ I talk to people 24/7. Whether it’s our artists, or Holt, or our agents, or promoters, I’m just talking constantly,” Cohen says.



“Honestly, the best artist managers, they’re always available,” says Harmon. “That’s really what it is at the end of the day, you’re the ultimate middle man. You are where people come to look for answers on the artist side.”



As with any professional role, two of the most common answers they give are “yes” and “no.” The latter is a particularly powerful part of the vocabulary they use with their artists. At this advanced stage in their careers as artist managers, Harmon and Cohen are well-versed in the industry. As such, in working with artists who may not have it all figured out just yet, they have knowledge their artists may not. It’s their job to express their disagreement when appropriate.



“You’re a catalyst, but you’re not a yes man,” Harmon says.



“You have to have that trust between each other, and we’d like to think that all of our artists trust us enough to ask for our opinion,” says Cohen. “If it’s something that an artist feels very strongly about and we disagree then we have to figure out a way to communicate that effectively. It’s really about being able to share that vision and be on the same page and be able to communicate to get to the end result.”



This idea goes back to how they’ve curated their roster. Harmon and Cohen are fans of every artist they manage and want them to reach and exceed their goals. When working with a new artist, they often start the conversation at that end result and work backward.



“One of the ways that we like to communicate with each of our artists, and we honestly have done this since day one, is by reverse engineering,” Cohen says. “What I mean by that is you figure out where it is that you want to go, and then you work your way backward and reverse engineer what needs to be done to get to that point.”



This is a method Harmon and Cohen apply across their entire roster regardless of where an artist is in their individual journey.



It doesn’t matter that John Summit is at the point where he can play any festival in the world while other artists like Kyle Walker and Ranger Trucco are still working to that point. Harmon and Cohen know where these artists want to end up, and they throw their total effort into catalyzing the right opportunities.



“Ultimately your approach does not change,” Harmon says. “The mentality you’re coming at it with may change based on your level of experience, but everybody that you’re working with would hope that you’re constantly growing and becoming more experienced by the day.”



“It’s enjoyable to take a project from nothing to something and then from something to ‘Holy shit look how many tickets we just sold.’ There’s levels to this and the whole journey of it has been very enjoyable and equally challenging,” Cohen says.



In serving as managers to some of the fastest-growing artists in this newfound explosion of house music, Harmon and Cohen have gained immense, direct, professional experience on this journey.



They remark that the agents and record labels executives they work with have said they’ve handled as much in 18 months following the pandemic as many managers do in ten years. And watching their artist play the Los Angeles Memorial Coliseum is another golden goal moment for their team.



According to Pollstar, the Kx5 show at the Coliseum was the largest single-day concert headlined by an electronic artist ever in North America. John Summit was on that bill, and that was an opportunity Harmon and Cohen catalyzed for him.



Now that he’s had a taste, in 2023, Summit may add headlining the Coliseum to his list of goals. If that is the case, the world will know because the world will see it happen with the help of his team at Metatone Management.


Industry Spotlight: Metatone Management

While much of the world recently celebrated another holiday season, the dance music community mourned. December 23, 2022, was marked by the devastating news of Faithless co-founder Maxi Jazz’s peaceful passing at age 65.



The British singer, DJ, multi-instrumentalist, and songwriter first made himself known in the 80s club scene, DJing on pirate radio. His first group, Maxi Jazz and the Soul Food Café System, blended hip-hop with funk. He took that sound further when he formed Faithless with keyboardist Sister Bliss, singer Jamie Catto, and producer Rollo in 1995. Their hypnotic rhythms and his unmistakable vocal grew to levels of international acclaim as tracks like “God Is A DJ” became worldwide hits and pioneered dance group sounds.







The generational talent of Maxi Jazz and Faithless left waves of impact still felt by artists today. Today, we reflect on that impact by sharing Maceo Plex’s contemporary reimagining of Faithless’ globally recognized tune, “Insomnia.”



“Insomnia 2021” rewrites an anthem with a truly raucous twist. Maxi’s original vocals still command the will of the listener, only now warped with an ominous energy courtesy of Maceo Plex’s techno-tilted proclivities. Pounding percussion trades hits with jagged synths turning this tune into a spine-tingling carnal cut that will send even the most timid of dancers into a tizzy.



The passing of Maxi Jazz spurred a deluge of commemoration by artists and fans, including Armin van Buuren, Pete Tong, Boy George, and countless others. Jazz’s musical output and appetite spanned an impressive spectrum that only contributed to the scope of his reach in music. Hip-hop, however, was his first real muse.



In a 2017 interview, Maxi recalled, “When I discovered hip-hop, particularly Straight Out The Jungle by The Jungle Brothers, I realized I could make hip-hop, too, and write lyrics. Mike D and Afrika Bambaataa… their lyrics are playful, funny, intelligent and wise, and all that stuff I realized I could do. I realized there was a niche I could at the very least pop my toe into.”



Maxi Jazz is no longer with us, but his influence on music as we know it will not soon be forgotten.

Maceo Plex Reignites Faithless’ Global Hit with 'Insomnia 2021'

Deft DJ, producer, and tastemaker Mall Grab brought a dizzyingly explosive set to Boiler Room: Melbourne. Following on from the successful release of his debut album What I Breathe last year, an endlessly stacked schedule of bookings, and the continuing expansion of his Steel City Dance Discs label, it’s no surprise that the club was packed to the rafters for the Australian’s return to his home turf.



Jordan Alexander – aka Mall Grab – grew up 90 minutes north of Sydney in Newcastle, an industrial harbor which is the biggest exporter of coal in the world and was once just as important for the steel industry.







He first started DJing as a 12-year-old on rudimentary setups in local bookstores. It was the fizzing electro and blog house of labels like Ed Banger in 2007 and 2008, as well as the radio stations on Grand Theft Auto: San Andreas, that later turned him onto modern dance music.



In 2017, Alexander quickly ascended into the realm of top-tier house stars. He first made a name for himself as a pivotal ‘lo-fi house’ producer when the subgenre was at its peak in popularity, but his initially dusty and DIY sound was actually the result of the basic software he used to make his music.



“The reason it sounded like that was because I was just not as good a producer as I am today,” he adds in an interview with DJ Mag. A year later, he shifted to a palette of newer, harder textures on his How The Dogs Chill, Vol.1 EP.





Now evolved to material that spans garage, breaks, house, jungle, and rave, the unchanging aspect of Alexander’s music is his commitment to high-energy rhythms. “I would always rather listen to a good banger than some beautiful electronic piece,” he says. “That’s just the way my brain works.”



Mall Grab is set to take the helm at a deluge of clubs and festivals worldwide, including Unit in Tokyo, Circus in Osaka, Mint Warehouse in Leeds, and more.













https://www.instagram.com/youngmallgrab/

https://soundcloud.com/mallgrab

https://shop.mallgrab.world







Mall Grab | Boiler Room: Melbourne: https://www.youtube.com/watch?v=ddeAyYF_uwg




























































































Mall Grab Returns Home with a High-Energy Set for Boiler Room Melbourne

The holiday season is officially in full swing. At a time when people the world over are gathering with friends and family sharing gifts and good times, we at Gray Area know that one of the best gifts any music lover can receive is a great song recommendation. They say the greatest joy comes from giving, and we wholeheartedly agree as we happily share another stellar Track of the Week. This week, our gift to you comes in the form of a crunchy new SOSA remix.





This new flip sees the UK young gun take aim at Cobrah and Chris Lorenzo’s carnal tech house cut, “MAMI.” The original was a fan favorite on the summer circuit with its deceivingly deep bass undulating under a cheeky vocal hook and a featherlight steel drum. This fall and winter have seen SOSA’s remix take center stage with plays from Chris Lake, Michael Bibi, and Cloonee. A major facelift for the drum kit gives this tune an injection of danceable energy from beat one. Change out the steel drum for a swath of gritty synths, and this track becomes one attitude-filled fire starter. Push play and try not to strut your stuff. We dare you.



We love seeing an artist flex their range. While this unstoppable rework is brimming with dynamic components, SOSA has often been a champion for the minimal techno sound. In 2020, the Liverpool native launched his record label, COCO, providing a launch pad for up-and-comers worldwide. He has since topped charts and gained recognition with releases on Catch and Release, Repopulate Mars, and Ministry of Sound. Chris Lake recently recruited the COCO label head for a remix of his 2022 smash hit, “A Drug From God.”



 We were lucky enough to snag SOSA for a mix on our monthly Sirius radio show, OCHO recently. Press play and get a taste of his sound below.





SOSA Gives Chris Lorenzo’s “MAMI” a Second Wind

Paskman took Criterio Sevilla 2022 by storm with a set that merged slick tech house and vibrant Latin sounds. The DJ and producer has carved out a name for himself through mixing classic tunes with tech house rhythms, earning him over 20 million streams on Spotify to date. Today, his tracks are frequently spun by world-class artists like Wade, The Martinez Brothers, Michael Bibi, and Cloonee.






Born in 1995, Paskman first gravitated towards dance music after hearing Tiësto’s “Adagio for Strings.” He soon shifted his gaze towards tech house and launched his Paskman alias in the summer of 2018.



Paskman first made a splash with his 2019 remix of “Smoking I Wait,” which has since racked up over seven million streams. It beautifully samples Spanish singer-actress Sara Montiel’s “Fumando Espero” from the 1957 film “El Último Cuplé.”



“To my surprise, people liked it a lot and I wanted to keep trying more vocals. Without realizing it, I was creating my own style, which has given me a lot of joy,” he explained in an interview with Gray Area.



When producing, Paskman latches onto the vocal samples that grab his attention the quickest. “One day, I realized that people needed vocals at parties and that’s when I decided to mix the vocal of a very famous song like ‘Smoking I Wait’ with my style.”







Since 2021, his career has grown exponentially. His cheeky flip of Raffa Villalba’s “Chiquetere” was the sound of the summer in 2022, gaining support from Wax Motif, Hugel, Bingo Players, Sonny Fodera, and Solardo.



“If it hadn’t been for my perseverance in production, in deciding from the first moment what my path was and what I didn’t want to do, I wouldn’t have achieved anything,” he says.



Despite the rising popularity of Latin house in recent years, Paskman is uninterested in following trends. His commitment to creating music authentically has allowed him to craft a sound that he defines as intense, energetic, and exotic.



“I spent time producing what I liked. So, my advice would be to do what you like, even if nobody knows what you’re doing.”











Paskman @ CRITERIO SEVILLA 2022:















































































Paskman Turns Up the Heat at Criterio Sevilla 2022

2022 has been an incredible year for music. The full-force return of concerts and festivals has been marked by some extraordinary tracks. One of techno’s most universally acclaimed IDs this year was “Dance With Me” by Kevin de Vries.





The spring first saw the mysterious single catch the ear of crowds throughout Europe as artists like Solomun, Tale of Us, and Adam Beyer began injecting its spiraling hypnosis into every set. Spring turned to summer, and techno stages at every festival seemed to have a countdown clock to when we’d inevitably hear the unmistakable vocal sample once more. In September, fans everywhere rejoiced as the prolific tune and partnering remix dropped on Afterlife Records. Every great track needs an even better remix to keep sets fresh, and for “Dance With Me,” that remix came from Dutch tech titan Kölsch.


This track is dripping in mystique, with each piece of orchestration pulling listeners deeper into the pulsing abyss. Undulating synths provide both foundational strength and enchanting melodies. When the dynamic beats are in full effect, the compelling urge to move takes hold. By the time the telltale vocal calls, “Dance with me,” we’re more than happy to fully oblige. This rave-ready remix boosts the production, making it a melodic peak time roller ready to energize the masses.


Emotion-driven production has always been a calling card of Kölsch. This particular single, however, dives deeper into the more sensory aspects of techno and its culture. The ability to fully relinquish oneself to the kick of a drum, the swell of the synths, and the call to dance can sometimes prove evasive. But that release gets a little easier when you have a captain like Kölsch at the helm.

Kölsch Boosts Kevin de Vries’ 'Dance With Me'

On Friday, December 9, 2022, Perry Farrell—Jane's Addiction frontman and Lollapalooza founder—debuted his new underground party series, Heaven After Dark, with Maceo Plex headlining. Heaven was brought down to the historic Los Angeles club Catch One, its four programmed rooms filled with house and techno. A troupe of lively dancers decked in creative, DIY looks, including cloud bras, neon rainbows, wings, and laser-lined gloves, pranced around the club, adding a fun dose of '90s rave energy to a black-clad mostly male, mostly not dancing crowd. Ahead of the event, Farrell chatted with the dancers and other organizers about what heaven means to them and encouraged them to take on characters, bringing the energy of live theater to the club.



Surprises included a cotton candy machine tucked downstairs to offer guests a sugar rush with a heavenly texture and, most importantly, Farrell singing and riffing along to Maceo's set.



While the underground surely showed up for Maceo, there were also a lot of people there for Farrell. "It's Perry fucking Farrell, you guys!" a girl exclaimed during the set, turning to her friends with a wide grin.



Before the event, we caught up with the rock legend to learn more about Heaven After Dark. He offered poetic musings on house music, house parties, money, heaven, and the divine.



"I love the affects and results of a great house party—I'm thinking late '80s, early '90s house parties. They were also very freeing, happy occasions, a chance for people to get together and sing and dance," Farrell said when asked about the inspiration for the new event series.



"As things develop in life and people see there's money involved in it, the character of the occasion starts getting off of its original intention. I mean, everything is always transcending—that's a good word to use for [Heaven After Dark]—music is transcendental, and some of the best transcendental music comes from house music. I see house music as a place to go to get away from the material world, it can be that."

He goes on to share that he used to play records in his backyard for friends in elementary school to cheer himself up and gather friends with dance and good music. To him, this is the essence of house music.

"I've seen a lot of money go into [house music]—I'm thinking about the agencies that represent the DJs. I've seen the DJ go from making $500 to $1000 to $100,000 and sometimes even more than that. There's nothing wrong with that. I think it's amazing that we honor these digital producers.

But like most things, when money gets in the way, you loose the spiritual elements of it. So with Heaven After Dark, I'm shooting for heaven. I want to have [on] earth a place where God exists amongst us. I'm trying to draw heaven down to earth with a house party."

Fittingly, the venue was Jewel Thais-Williams' house, (for years, she lived directly above the club in what is now its green room) Catch One. From 1973 to 2015, the club was Jewel's Catch One, named after its groundbreaking Black lesbian owner who served decades of local queer and POC communities. In 2015, she sold it to Los Globos owner Mitch Edelson, who kept much of the original club's signage and spirit, and it remains an independent venue to this day.

It's important to Farrell to support and work with independent venues, organizers, and promoters, as well as underground talent. And with Heaven After Dark, he has a vision to support underground dance culture in a vehicle inspired by house music's early days.

Before we moved on to the second question, the "Jane Says" singer asked to talk a bit more about money.

"We're all going to have to start looking at life sublimely. We're about to enter the era of sublimation and redemption. Even things we thought were evil, like money. If you really look at money sublimely, it could actually save the world," he muses. "We can do some really hateful things [with it], or we can take that money and help out the poor, the sick, the needy, which would make the world amazing.

In order to do this [event], I had to start from the purest place. It's not about money. It's about kindness, about heaven. So I'm starting the whole process with the underground dance culture, because there's not a lot of money there, but there sure is a load of inspiration and love and community. It's a perfect place to begin this fantastic journey."



Speaking of money, the ticket price for the event was notably reasonable, especially for one headlined by Maceo. The early bird tickets were $25, and a week before the event, the second release tier was still available, at $36, with the last tier topping out at $50.

One of the event's partners is an LA event brand inspired by Berlin afterhours, NXT Entertainment. It was founded in 2018 by local techno DJ MANTi, who was throwing down in the main room when we arrived. He passed the decks over to KCRW dance music champion and host of the beloved independent station's longtime Saturday night show, Jason Bentley.

Maceo came on a little behind schedule, around 1:30. The crowd packed in as Bentley kept the energy high with his stellar selections until he passed the torch. The Heaven After Dark dancers made their way through the crowd to the stage, dancing with the most enthusiastic of the revelers. A few tracks in, the "Solitary Daze" producer dropped his euphoric remix of the Chromatics' "Shadow," and soon after, Farrell made his way on stage to sing to the lovely Groove Armada remix of his track "Shekina," as the dancers shot their lasers from their silver gloves into the crowd. Perry continued to sing over Maceo's banging selects, including Maceo's official 2020 remix of Farrell's "Let's Pray For This World."



The pair clearly was excited to collab together live on stage. Farrell told us, "I hold Maceo Plex in high regard…his vibe is transcendental, positive, artistic, and there's a little room for me to get on there and throw some evocation out to the audience… I'm going to let my heart sing." And that he did. Maceo made a charming Instagram post with photos of each of them in the '90s and a caption reading, "Somehow this nerd crossed paths with rock royalty & legend @perryfarrellofficial."




At one point, Farrell echoed "May may Maceooo" into the mic while smoking. Legendary. During Maceo's 2020 track "Nu World," he sang, "It's going offff!" Facts. When I left a little after 3, with just enough energy to carefully stomp by disco platforms down the stairs and drive myself home, Perry was still going!




It's incredible to see a massively successful artist and event producer like Farrell share his resources and platform with champions of the local underground house and techno scene, along with an American king of the underground, Maceo. The event has a ton of potential, and Farrell hopes to collaborate with more talent and producers in other cities around the globe next year and throw more events in LA.




Catch One is a large space to fill. It would've been cool to see some fun art and decorations transporting the space to the heavens. Farrell says he's planning on working with local fine artists for Heaven After Dark, which will be fantastic to see.




Heaven After Dark was initially supposed to happen in 2020, so the first "beta" version ended up taking place in March 2022 at Los Angeles' Belasco Theater, a live music rendition with Farrell and his wife Etty Lau Farrell's Kind Heaven Orchestra performing. They loved connecting through music and performance with a much more intimate crowd, but Farrell explained it was too expensive to tour with the orchestra, so the underground rave version came to life. He posits that "The orchestra can change shapes, its transcendental," and he's thinking about working with local musicians as they take it around the world. He's also keen to bring conversation, important current events, and philanthropy into the events in a way that keeps things fun and mindful.




Heaven is the limit!

Perry Farrell on His Underground Rave-inspired Event 'Heaven After Dark' 

As a core member of Dirtybird Records and a leading example of the power of personal transformation in global dance music, Mz Worthy (government name: Kristy Worthy) blazes her own path.





Kristy Worthy was part of Dirtybird Record’s first wave of founding artists — along with Barclay Crenshaw, Justin and Christian Martin, and Jessica Phillipe. Today, she remains one of the central artists relied upon by Dirtybird Records label manager Deron Delgado and Crenshaw to set the scene at Dirtybird’s signature live events.




Just two years after coming out as trans and beginning a very public personal transformation while adding the title of “Mz” to her artist name, she seems more sure of herself than ever. Adding to a hefty résumé of releases — including joints on Sweat It Out, he.she.they, Dirtybird, and Defected, Mz Worthy’s newest single, “All the Music,” is out now on Zeds Dead’s label Altered States.






“I thought [Altered States] is an interesting place to put some music out — this connection to the bass music and EDM world coming into the house music world,” says Mz Worthy. “I liked the idea of working with them and getting connected to a bit of a different audience.” It’s a fitting next step for an artist with a fundamental respect and wide purview of global house music who’s simultaneously focused on pursuing darker, more off-kilter sounds from a wide swath of bass music oeuvres.




Gray Area connected with Mz Worthy at Dirtybird Campout and again in December to learn more about where she finds herself in the current dance music scene.







Let’s start with your first experiences with electronic music.


In the late 90s, when I lived in NYC, is when I first discovered electronic music. The first party I ever went to in NYC was at a club called Carbon, and it was for a party called Funky Town. I believe it was Joeski and Onionz playing that night, along with Stretch Armstrong and probably Dieselboy or Dara in the drum and bass room. That night it was like I finally found my home!




The most memorable club from that time for me was Twilo which had the first Funktion One sound system in North America. Sasha and Digweed had a monthly residency there, and if I had the money, I would try and catch them. That club just had some amazing shows — I got to see Roni Size, LTJ Bukem, Deep Dish, Cassius, and Sven Vath. To this day, I wish I had gotten to play there!




It’s hard to remember all of the spots I went to back then. There were a lot of massive raves I attended as well as small parties at bars. I do remember going to an illegal rave under the George Washington bridge that was crazy too.










Can you talk about where you find yourself right now in global house music and your relationship with Dirtybird?


It’s crazy. I’m having this renaissance personally because I’ve been coming out and discovering who I am. I feel like I have this new freedom. This new expression of myself when I’m playing music — especially when I’m DJing. But on the opposite side, being in the studio is a lot tougher for some reason because I’m overthinking everything in some way. So it’s been really fun playing for everybody. I feel a better connection to my audience, which is super cool — especially with the Dirtybird audience. I feel this new connection and vibe I feel with everybody. It’s really fun.










How about your personal journey? What was it like being back at Dirtybird Campout?



Coming here the last two years when we started up Campout again after COVID, it’s been a place that’s so welcoming to me, especially last year when I came out, and I was newly out and everything. It was one of my first big festivals. Gosh, just riding my bike around, and people being like, “Hey, Kristy!” And I’m just like, ‘oh my gosh, someone’s calling me my name!’ [laughs]. It felt so, so good to feel [welcomed by] this family that I’ve had for so long.









What was it like coming out as an established DJ, producer, and artist?


Oh my god — thinking about coming out was so scary. What are people going to think? Are they still going to love me? Are they going to like me as a DJ? Is this the end of my career? Coming out here and being with the Dirtybird family with all these fans who are just so much fun and so accepting — and seeing how much more LGBTQ people there are here — we had the Queer Prom today. Trying to make these LGBTQ experiences available here is really awesome. There’s a bigger queer audience. I don’t know if it was always here or that the creation of these little things are bringing more of the queer community.






I felt like once I started figuring it out, I didn’t want anyone else to have to wait as long as I had to [come out]. I want to be visible, out there [for] people to see, and maybe I can give somebody else the courage to find themselves and come out. And I have. People have told me. I had a queer girl come to me and say, “Seeing you come out made me be able to come out to my parents.” And I was just like, wow, that’s amazing! I was not expecting to have that impact on people. That almost made me cry—so amazing. I’ve definitely had a lot of trans people who are in the closet come up to me and say, “I’m trans, but I’m not ready to come out.” And I’m like, “I totally understand.”










What comes to mind when you’re mentoring other queer folks and talking about what was important with your own experience coming out?


Just being visible — I wish I could’ve figured this out a long time ago! Life would’ve been really good. I feel like I missed out on part of my life, you know? Going to music and dance music [spaces], which are accepting spaces — I never felt comfortable with mainstream people or mainstream music. I was always on the outside musically — it was always just in me. [Now] I always like being visible and telling my story.









Mz Worthy on Being Visible

Berlin DJ, producer, and label owner Boys Noize transformed Parisian ravers into an unruly and unstoppable force at Peacock Festival. His high-octane techno set intensified as day turned to night at the festival's Park stage.









Created in 2013 during the French electronic scene's revival, The Peacock Society has rapidly grown to become one of France's most important electronic music festivals, attracting over 25,000 ravers to each edition.







Alex Ridha, aka Boys Noize, made his DJ debut at 15. He's since taken his passion for house and techno across the globe, with major shows at Coachella, Lollapalooza, and headline slots at Berghain, Fuji Rock in Japan, and Justin Vernon's Eaux Claires Festival in the woods of Wisconsin.




Rolling Stone named Ridha as one of "The 25 DJs That Rule the Earth" in 2012, while Beatport crowned him "Best Electronic Act" three years in a row.









Ridha has created an uncompromising and enduring sound and vision as an artist and producer. Respected in the scene, banging from underground to mainstream, he's made a habit of breaking convention and surprising his listeners. He's remixed a vast array of artists like Depeche Mode, Daft Punk, David Lynch, Feist, and Nine Inch Nails. He's also collaborated with Snoop Dogg, Erol Alkan, and Jarvis Cocker. Ridha also worked on Mark Ronson's "Uptown Special," and the soundtrack for Oliver Stone's "Snowden," as well as group projects with piano extraordinaire Chilly Gonzales (Octave Minds), Skrillex (Dog Blood), and Mr. Oizo (Handbrakes).




In 2005, Ridha launched Boysnoize Records. Founded as a self-release platform that retains complete artistic freedom, the Berlin-based anarchist collective —and its sub-label, BNR Trax— became a home for multidirectional electronic music. The label is now responsible for more than 150 releases, including his albums Strictly Raw (2015), Out Of The Black (2012), Power (2009), Oi Oi Oi (2007), and Octave Minds (2014).




Experience one of Ridha's incredible sets in person at his future shows: FESTIVAL LE BON AIR 2023 in Marseille, MELT 2023 at Ferropolis, Defected Croatia in Tisno, and many more clubs and festivals worldwide.




































































































Techno Punk Boys Noize Unleashes a Hammering Set at Peacock Festival

Jamie xx has become a mythical figure in the wide world of music. He first made his impact known in the late 2000s with his Mercury Music Prize-winning band, The xx. With The xx, Jamie wove a technicolor tapestry of R&B, indie, and dance which soon caught the attention of industry heavy hitters like Adele, Florence+The Machine, and Gil Scott-Heron. In 2011, the Putney, UK native released his debut solo single, “Far Nearer/Beat For,” to high praise while notching production credits on Drake’s Take Care.





Eleven years later, Jamie xx is just as busy as ever working with artists ranging from Fred Again.. and Four Tet to Young Thug and The Avalanches. The only downside of Jamie’s in-demand production prowess is the scarcity of original releases. His solo library embodies the saying “Quality over quantity.” While his releases are few and far between, every time he drops, we listen. This week’s track of the week features the Grammy-nominated producer’s latest single, “KILL DEM.”



As one of Jamie xx’s most coveted IDs of late, anyone lucky enough to catch his set in 2022 may recognize this dancehall firestarter. Head-spinning vocal chops furiously sputter over pattering drum loops and powerful piano chords. Jamie’s experiences attending London's Notting Hill Carnival as a teenager inspired him to write the song. And this past summer, that experience came full circle as festival goers saw Jamie xx make his Notting Hill Carnival artist debut as a guest of drum n bass talent, Shy FX.







“KILL DEM” premiered on BBC Radio 1 and is Jamie xx’s second solo release of 2022. The first, “LET’S DO IT AGAIN,” was another club-ready hit coursing with soulful house euphoria and marked Jamie’s first solo release in two years. In an interview following the BBC Radio 1 premiere, the famously diverse artist mentioned that he likes to stay busy, working on multiple projects at a time, including his next album. His previous album, In Colour, was released in 2015 and received a Grammy nomination for Best Dance/Electronic Album.

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