June may not spell peak season in Ibiza, but you wouldn't know it from the packed dancefloors and early sell-outs. The party calendar is packed with options to enjoy paradise at its fullest. June is shaping up to be one of the best months of the season, and we've got a selection of our favorites for the first week.




Destino Grand Opening Party | Music On | Destino Pacha | Friday, June 2

Pacha’s resort located in Cap Martinet kicks off the party season this Friday with Music On at 5 pm. Marco Carola will be on the forefront before heading to Pacha at midnight, accompanied by Loco Dice and Joey Daniel, to deliver one of the best alfresco events of the summer. This is the first of just 12 parties at Destino Resort during the summer and one of the eight chances to enjoy Music On open-air in Ibiza.




Tickets to Destino Grand Opening this Friday









Follow Music On on Twitter | Instagram | SoundCloud





Black Coffee | Hï Ibiza | Saturday, June 3

The first ever Hï Ibiza resident (from 2017) and Grammy award-winning artist and producer Black Coffee, continues his revolutionary Saturday night residency at the Platja D’en Bossa night club, together with Crosstown Rebels boss Damian Lazarus. Expect Afro, tribal, and evocative house music by many of the scene heavyweights and talented emerging DJs, surrounded by Hï ’s impressive production.

“For me, every Saturday night in the number one club in the world is a moment to reunite with family while working to bring residency to next level, each year is always better than the last!!” says Black Coffee.





Get tickets for Black Coffee this Saturday, June 3 at Hï.








Follow Black Coffee on Twitter | Instagram | SoundCloud






Club Chinois presents Luciano PORTSIDE | Ibiza Port | Sunday, June 4

Island Hospitality (the group behind Club Chinois) has surprised electronic music lovers by announcing a PORTSIDE takeover with resident DJs Luciano, Franky Wah, and Ibiza-born Manu Gonzalez this Sunday from 7 pm. A free one-off event to welcome an exciting start of the summer by Club Chinois, which is celebrating its second year. The after- party continues at Club Chinois from midnight.

Head to this exclusive free open-air at Ibiza port and secure your tickets for the after-party.






Follow Luciano on Twitter | Instagram | SoundCloud






Zero ’23 Opening Party | Underground Ibiza | Tuesday, June 6

The London-based Zero Logistics agency was founded in 2014 and is celebrating its sixth season this summer at Ibiza's coziest nightspot. Zero parties feature new talent with fresh, high-quality underground music, this is why Ibiza Underground, located within Amnesia and Privilege, became Zero’s spiritual home. For the opening party this Tuesday, you can enjoy showcases by long-standing Zero family member from Argentina, Franco Cinelli, avant-garde NYC-based selector O.BEE and local residents A.M. Project.




More info about the event and tickets.









Follow Ibiza Underground Club on Twitter | Instagram | SoundCloud






Mystik by Ida Engberg | Club Chinois | Tuesday, June 6

Swedish DJ and producer Ida Engberg is back at Club Chinois this season with Mystik. Ida’s new party concept takes place at the Marina Botafoch newest club every Tuesday through September and promises to break prejudices, stereotypes, barriers, and myths, inviting international artists of the highest level to join her on this adventure of self-realization. Engberg is the first woman to take the reins of a long-term party residency in Ibiza and her music style is predominantly techno with special touches of house, disco, minimal, acid techno, and pop.




Experience Ida’s brand-new concept at Club Chinois this Tuesday.









Follow Ida Engberg on Twitter | Instagram | SoundCloud




FISHER Opening Party | Hï Ibiza | Wednesday, June 7

The Aussie superstar FISHER headlines Wednesday nights at Hï Ibiza after a pioneering residency that exceeded all expectations last season. Paul Nicholas Fisher has become one of the most prominent figures on the scene thanks to his hilariously upbeat persona and unstoppable energy. With no doubt, he will offer a musical revolution every Wednesday, moving around tech house and big room anthems, accompanied by a great selection of guests and Hï's amazing production. The Club Room will be hosted again by Brazilian DJ and producer Vintage Culture. Fatboy Slim and Little Fritter are invited to the opening party to play the Theatre Room and next door, Joris Voorn, Ashibah b2b Viot will share the Club Room’s booth.




Tickets available for the FISHER Opening Party at Hï Ibiza.







Follow FISHER on Twitter | Instagram | SoundCloud





	

Solid Grooves Opening Party | DC10 | Thursday, June 8

The London label and party brand Solid Grooves led by Michael Bibi, returns to Ibiza’s underground mecca DC10 with “Casino Motel” after a great debut season last year. Expect a curated selection of deep tech, minimal, and techno sounds that will drive you to an authentic clubbing experience. This distinctive Casino Motel will be open every Thursday from June 8-September 28 and some of the most notorious names on the scene are invited. Are you in? 




Purchase your ticket for Solid Grooves opening party at DC10.









Follow Solid Grooves on Twitter | Instagram | SoundCloud




This Week In Ibiza (June 2 - June 8)

Danny Whittle’s phone starts ringing the minute he sits down to speak with Gray Area over video chat. “The life of a promoter,” he laughs before picking up to tell them he’ll call back.




The interruption elicits little reaction from Danny. At various other points throughout his nearly three-decade career, though, he’s received calls that set him on a course through key moments in dance music history.




Ibiza is gearing up for its busy season. Danny knows better than most that the hustle and bustle come with the territory this time of year. Since his first visit to the White Isle in 1996, he’s played key roles in such storied brands as Renaissance, Ministry Of Sound, Home, Pacha, and International Music Summit. Danny has made a career of sizing up dance floors and figuring out how to turn them into profit machines. His judgment is seldom wrong.



Born and raised in Stoke On Trent in the U.K., Danny Whittle had no designs on becoming a nightlife impresario. “I never ever thought I’d have a career in music,” he says, although he “loved music beyond belief.” He initially served in the military, sailing in aircraft carriers in the early ’80s. “My only comfort was reading books and listening to music,” he says.




Danny’s mother raised him on American soul records by the likes of Marvin Gaye, Al Green, Diana Ross, and Stevie Wonder. Everyone else in his mess deck only listened to rock and roll, though.




“I remember one guy coming up to me one time when I was listening to George Benson,” Danny recounts. “He said, ‘There’s another ‘f****t in the next mess.’ You know, it was that typical, macho military bullshit.”




“I went looking for him, because I thought, ‘I need to meet this guy,’” Danny says of the rumored fellow George Benson fan. The two did meet — on an aircraft carrier on Christmas Eve. The man’s name was Paul Whitehouse, and to this day, he and Danny remain best friends. “He’s the godfather of my son, and I’m the godfather of his son,” Danny says.




The two traveled the world on that aircraft carrier. Danny recalls, “While everyone else went off getting drunk and going to rock concerts, we went out and found the local discos.”




On one occasion, Danny and Paul went into a Black club in Jacksonville, Florida, oblivious to the racial divide still lingering in the Southern United States. “We were looking like we were gonna get murdered,” Danny says. “But then we spoke English with an English accent. Suddenly, it was like we were Black. They loved it.”




“We were so naïve, we didn’t know that was not a done thing in 1981,” he continues. “But we were on the dance floor with them moving and grooving and having a great time through naïvety — but mostly through the love of music.”




After the military, Danny Whittle joined the fire brigade. Ten years of firefighting later, he developed corneal ulcers in his eyes. He went to the local job center, hoping to find a new career path. Instead, they signed him up for six months of financial assistance.




Six weeks later, Danny received one of his career-defining phone calls. It was Geoff Oaks, the founder and main promoter of the iconic Renaissance event brand. Danny declares Geoff “one of the best promoters of the late ’80s and early ’90s,” noting that Renaissance billed “people like Sasha & Digweed, Dave Seaman. He followed a sound — some incredible music.”




“Geoff said, ‘Why don’t you come work for us? Why don’t you do logistics on our tours, events, festivals, and so forth?’” Danny recalls. “So I said, ‘Okay, I’ll do it.’ What I quickly realized was that I had the ability to get out of bed in the morning and actually make things happen, to apply the professionalism of the military and Stoke Fire Brigade, in a young electronic music world of cowboys.”




“Not in a bad way,” Danny clarifies of the UK dance music landscape in the wake of the acid house explosion. “I mean industry people finding their feet, becoming successful quicker than they thought, and not realizing that when you tell a venue you’re going to be there at 7:00 in the morning to start production you can’t rock up at 10:00 saying, ‘Sorry, I lay in.’”




Danny had visited Ibiza on holiday years before, but working on Renaissance afforded him his entree into White Isle nightlife. The Ibiza incarnation of Manchester-born event brand Manumission drew 10,000 revelers every Monday in its heyday. One such occasion saw them partner with Renaissance and, in turn, Danny.




“I remember we had to hang a load of these fake clouds on from the roof of Ku, and you know how Ku is,” Danny says. “It’s like a football stadium. We had these ladders but nothing to lean them on, so I had four guys at the bottom of the ladder holding it up while I went and hung up these massive clouds. They were aluminum frames of chicken wire covered in this white, fluffy stuff, and then we dropped strobe lights in them. That night we created a thunderstorm in the club.”




“It looked amazing,” Danny grins, “but again, no health and safety. Zero professionalism — outside of getting there on time — but 10,000 people in the club that night having the times of their lives. That was 1996. It was my first introduction to Ibiza, which I absolutely loved. At that point, I knew, ‘I’ve got to live there. That’s my kind of place.’”




Renaissance would send Danny Whittle back to Ibiza for weekly Wednesday events at Pacha the following summer season. “I fell more and more in love with the island, with the whole concept of what Ibiza was,” he recounts. “I got into the history of the island, and I went back again to work. Then, I sort of got poached by Ministry of Sound, running their event at Pacha on Friday night.”




Ministry of Sound was, at the time, booking Chicago house figureheads like Frankie Knuckles and Derrick Carter as well as NYC and UK talent such as David Morales and Jazzy M, respectively. Danny aided in the London superclub-turned worldwide mega brand’s Ibiza operations until he was plucked away by yet another historic clubland player.




“I went back to the UK, and then I got headhunted by a company called Home, who were building a big club in London’s Leicester Square at the time,” Danny says. “They asked me to work on their festivals. I didn’t particularly believe in the club in Leicester Square, but the festivals I loved — and I love Darren Hughs. Darren was the main man for Home, who used to be one of the owners of Cream, and he asked me to work on his outdoor events.”




Danny oversaw Home’s Winchester Bowl, which drew roughly 40,000 attendees, as well as gatherings in Dublin and Edinburgh. To his delight, the brand also sent him back to Ibiza to manage their newly launched event series at White Isle superclub Space.




“At the time, Space on Sunday was legendary. It used to open at 8:00 in the morning and close at 7:00 in the evening — but then everyone would go to Bora Bora or La Escollera,” Danny explains. “I said, ‘I think I can get Space from 7:00 in the evening on Sunday until 6:00 in the morning. Then we can do a 22-hour party all the way through. All we have to do is drop in Paul Oakenfold, Carl Cox, Sasha, Laurent Garnier, some big name, and I thought we could create the first 22-hour Ibiza party to run on a regular basis.”




Danny continues: “By week three, it was a roadblock. Oakenfold was a roadblock. Carl Cox was a roadblock. It just exploded, and anybody who was around at that time will tell you that’s what happened.”




What came next? “Then, Home went bankrupt,” says Danny.




The space occupied by Home was rebranded as We Love. Now a free agent, Danny Whittle celebrated the turn of the millennium helping throw a 20,000-strong party called Mobile Home at Bondi Beach in Sydney. During a layover on the way home, he received a call that marked the biggest turning point in his career.




“It was Ricardo Urgell from Pacha,” Danny says with a smile from ear to ear. “He’d obviously seen what happened at Space, and so he said, ‘Listen, why don’t you come to live in Ibiza and run Pacha.’”




Danny goes on: “It was like all my stars just aligned right there. That moment was everything I dreamed of since 1996. Four years later, one of my heroes, the owner of Pacha, calling me saying, ‘Come and live in Ibiza. Come program Pacha — the whole nightclub. I’ll give you a villa. You can live there. I’ll pay you good money. You can book what you want. You can do what you want. Will you come and do it?”




“I just went, ‘Yes,’” Danny says. “‘I’m going.’”




Danny Whittle argues that he helped Pacha usher in a new era of prosperity. He refined the statement made by Pacha as a brand, which partly meant putting the DJs front and center. “They didn’t understand that content was king,” he points out. “At that point, you could put Carl Cox in a skip down the road and it would be packed. You could put somebody else in the best nightclub on the planet and it would be empty.”




This meant cutting third-party organizers out of the equation. “They had this goose that lays golden eggs, but they didn’t really realize it,” Danny explains. “They were letting too many promoters come in and steal the thunder of their brand and their venue. I cut that out. I changed it to where we booked DJs direct.”




Under Danny Whittle’s leadership, artists like Pete Tong, Erick Morillo, and Luciano held residencies. Ditto for superstars like David Guetta and Swedish House Mafia, whose radio and festival-ready interpretation of dance music would soundtrack the EDM movement of the following decade. Amnesia and Space soon followed suit. They wouldn’t be the last by any means.

“Within three years, they all started to do it. They started to realize that they didn’t need the promoters anymore. The DJs, agents, and managers started to understand that if you’re not paying a middleman promoter, you can pay the DJ more, which means the agent gets paid more, which means the manager gets paid more, and so on. So, DJs and agents and managers quickly swung onto the idea,” Danny says.




The ripples of Danny’s influence reached far beyond the White Isle. “About 2003, 2004, all the guys from Vegas and New York all came over to Pacha — and the whole landscape of Vegas changed,” he argues. “They watched what was going on in Ibiza. Instead of doing big shows with names like Celine Dion, when I went out there a year later, all the bills had Tiësto and Swedish House Mafia.”




Las Vegas made a grand entrance into the conversation on dance music leading up to and during the EDM boom. According to the Bar & Restaurant Expo, in 2014 nine of the highest-grossing nightclubs on earth were based in Sin City. “It wasn’t club brands. It was presenting the artist like the artist mattered to, say, Live Nation,” Danny says.




Clubland eras are famously ephemeral, and Danny Whittle’s tenure with Pacha came to an end in 2013. For that, he blames “a little argument with my hero, which was the stupidest argument ever.”




The jury isn’t out on whether exorbitant DJ fees have equated to a net positive or negative for club culture. In 2013, Ricardo Urgell, the Pacha founder, decided it was the latter. “At the end of the day, it was just hard for Ricardo — somebody who had run nights since 1964-1966 since the death of [Spanish Dictator Francisco] Franco — to understand why a DJ would get paid €50,000 for two or three hours of work,” Danny says. “It wasn’t hard for me to understand, because the night was making half a million.”




Danny continues: “As much as he liked the bank accounts and all the rest of it, he came into my office one day and went, ‘Right, I need you to halve all the DJs’ salaries for next summer.’”

“I said, ‘Ricardo, I can’t do that. If I do that, they’ll all leave. There are five other nightclubs on Ibiza that will pay them that money. Managers will tell them to leave. Agents will tell them to leave. Please, I cannot do that. We already get a really good deal. They want to play Pacha. We’re an iconic brand, an iconic nightclub. We make a huge amount of money. Don’t ask me to do that,” Danny recounts.




“He said, ‘Well, if you don’t agree, maybe it’s time that you left,’” remembers Danny. “And that’s exactly what happened. I went, ‘Okay, I’ll fucking leave.’”




According to Danny, Ricardo had to pay him a substantial severance, and the club lost money hand over fist. “Remember,” he says, “Luciano left with me, Defected left with me, Pete Tong left with me, Erick Morillo left with me. So, four of the biggest nights all went, and they had to pay more for the ones they kept.”




Danny says that he and Ricardo have since resolved their differences. “Now we see each other, and he hugs me like a long-lost son,” he says. “He knows that it was stupid what we did.”




While still at Pacha, Danny Whittle helped launch an electronic music conference that would go on to serve as an annual mile marker of the industry: the International Music Summit (IMS) in Ibiza.




This time the catalyst was not a phone call, but a “drunken idea,” according to Danny. “Me, Pete Tong, Ben Turner, and Martin Netto were up on the roof of Pacha like we were pretty much every Friday when Pete was DJing. Well, we were up there every night for about 130 nights in a row. But every Friday, the roof of Pacha was like an English pub, basically, and everybody from the industry was up there.”




Danny says that the four of them got to talking about how Winter Music Conference (WMC) had, in their opinion, dropped off as an industry gathering. Miami Music Week, which coincided with WMC, began to draw more spring breakers than industry professionals.




“It was an amazing time, but we saw it was tailing off as a conference. We were like, ‘Oh, let’s do an Ibiza music conference, let’s do an Ibiza music summit. And we were like, ‘Ohh yeah, let’s do it, let’s do it,’ and instantly forgot the idea the next day,” Danny laughs.




They eventually pieced the idea together again and discussed it off and on for a couple of years. Then, in 2007, Danny Whittle, Pete Tong, Ben Turner, Mark Netto, and Simeon Friend each finally put in $30,000 towards the following year’s inaugural event.




For the first IMS, they partnered with Hotel Fenicia in Santa Eulària and held their grand finale at the tennis court of Pikes Ibiza. “The first one lost a fortune. About 90 people showed up,” says Danny. “But there was a really cool vibe about it and everybody was so happy they were at the first one. The finances weren’t ideal, but it just felt really good.”




The sophomore edition marked a turning point. IMS 2009 moved to the Ibiza Gran Hotel, and the town hall allowed Danny and company to hold the finale in Dalt Villa, a 5th-century district built atop fortified walls now protected as a UNESCO World Heritage Site. “Then, everything changed,” he says.




“We’re still the only people allowed to do anything there outside of the medieval fair and a sit-down jazz thing they do. We’re the only ones who can do a rave,” Danny explains. “When you stand up there onstage and you look at 3,000 people raving like that, you think, ‘What were the Romans doing here 2,000 years ago? Or the Phoenicians, or Arabs, or whoever?’”




IMS, which Beatport acquired in 2023, has not only succeeded but continued to expand. The event often sells out all the rooms at participating hotels, but attendance isn’t the only metric that matters to Danny and his partners. He says that IMS hasn’t been connected to “a single arrest” throughout its history so far, “or a medical issue or anything.”




Now, Danny has a new project: Club Chinois. 1930s Shanghai jazz clubs inspired the space’s decadent decor, not the least of which is a disco ball hanging down from a giant, circular chandelier over the dance floor. Delays caused the club to open in July of 2022, forcing them to scramble for bookings. The owners nonetheless managed to lock in a Saturday residency with Luciano, who put them in touch with Danny.




“I got introduced to Sid and Sofijah, who are the owners. Amazing people. There’s a great team, they just opened late,” Danny says. “I spent The first sort of month fire fighting, just trying to fix the problems that they had already because of bad timing … And I think once I got involved they could see me sort of steady the rocking ship, make sure that things got dealt with. A bit at a time, the ship stopped rocking.”




Danny continues: “Once you start finding stability and people start talking about you in the right way — and not the wrong way — then you start to gain momentum. By the time we got to October, the club was just getting busier and busier, and by Halloween, we literally turned 2,000 people away.”




Club Chinois is smaller than the world-famous superclubs on Danny’s extensive résumé, to be sure. “In reality, it’s a 1,300-capacity club,” he points out. “It’s not a huge nightclub, which is partly why I took the job. I didn’t want the job of a 4-5,000 capacity club anymore. It’s just too much pressure.”




That’s fair, considering Danny Whittle’s accomplishments in dance music leave him with nothing left to prove. What adventures may come are bound to find him, though. As the tides of the industry turn, it’s only a matter of time before duty calls, and he finds himself drawn to the next dance floor.



Industry Spotlight: Danny Whittle

In the ever-evolving oasis of dance music, change is the only constant. Dutch duo Jim Taihuttu and Nils Rondhuis, have ventured into intriguing sonic territory, a shift heralded by their alias: €URO TRA$H.



No strangers to risk-taking, the duo's music has always had an element of diversity, a nod to their European roots and the genres they've explored over the years. €URO TRA$H, however, is a step into the realm of house and techno music, two genres that remained a constant in their hearts despite their heavier sound under the Yellow Claw moniker.



Born amidst the global events of 2020 that left many artists reflecting on their craft and exploring new directions, €URO TRA$H sprang to life as an unexpected but exciting venture. With a collection of house tunes that simply demanded to be released, the pair embarked on this new journey, infusing the €URO TRA$H brand with the same energy that has become their trademark.



€URO TRA$H caters to the smaller, more intimate venues, where old-school house music reigns supreme, providing a deeper, groovier alternative for those willing to step into the darker side of the room.



The name €URO TRA$H, a tongue-in-cheek nod to wealthy, carefree Europeans, perfectly encapsulates the project's energy and tone. It's a cheeky wink at their European roots and the flamboyant, sun-soaked, champagne-fueled lifestyles of the "newly rich." It's less about ostentation and more about the liberating act of not taking oneself too seriously, embracing the vibe and spirit of their music.



This chapter in their musical journey is not without its challenges, but it also carries its share of rewarding moments. It's about proving themselves anew, not just as musicians, but as tastemakers. It's about revisiting the past while crafting the future. It's about shattering genre barriers and championing the fluidity of dance music.



Whether it's through their unique version of a "trashy" mix made for HÖR BERLIN, collaborations with artists like Bonnie Strange and Psycho Boys Club, or their pioneering album ¥€$, €URO TRA$H is unapologetically bringing all the heat and grooves.







As artists who have been successful in one genre, what made you decide to take the risk of venturing into new territory with €URO TRA$H?

I didn’t feel like that at all. All our albums have always contained at least one decent house music song. Check out a song like “Run Away” we did almost ten years ago. They just never ended up in our DJ sets because we like to go hard with the Yellow Claw sets.

But in essence, all our stuff has big European ‘90s house music roots, because we are both ‘80s kids that grew up in Holland in the ‘90s when there was so much happening music-wise. At a certain point somewhere in 2020 without playing any shows, we suddenly found ourselves with four to five house tunes that we just really wanted to drop. So we did it. 

But it wasn’t until we made “1F2F” that we made a connection on a specific sound connecting to the €URO TRA$H brand and energy. And from that one, we made a whole bunch more and just put it on an album exploring that specific sound.



€URO TRA$H was named after a slang term for wealthy Europeans. How has this applied to your new alias, and what led you to choose this name with this meaning for your project?

The Urban Dictionary says this: "A person, male or female, from Continental Europe who spends most of the time partying and jet-setting around the globe in the most conspicuous (sometimes rude) manner to seek fun and sunshine. Often seen sporting fashion from designer hoses like Versace and Dolce & Gabanna with bold colors and animal prints. Too tanned and always adorned with excessive 18K gold jewelry and sunglasses. Far from subtle and often newly rich. Eats caviar and drinks champagne like water just because they’re expensive while having no idea or appreciation whatsoever." I mean, who has been spying on us? That’s like our Twitter bio right there.



What are some specific elements from your previous music experiences that you've brought into the €URO TRA$H project?

Just growing up in Holland in the ‘90s and going to those early raves as teenagers. Just really seeing that whole thing grow into what it is right now.



How would you describe the transition from your signature sound to house and techno? What challenges did you face during this process? What were the best moments?

I think the biggest challenge was not relying on a certain slot time at a festival or big groups of fans that are coming to hear some of the more known Yellow Claw songs. I think going back to square one and trying to prove yourself as a DJ and tastemaker behind the decks. Even convincing that one guy in the back of the club decided that he was a techno connoisseur eight months ago after deleting his @dubstepwarriorbro1 Instagram account. 

Nah just kidding, but people tend to be so serious about these genres and imaginary genre rules. Dance music has already proven itself to move in circles, all feeding off the same sounds and loops. They are just presented differently. I remember seeing a great set by Amelie Lens a few years ago and just thinking, ‘Wow, this whole set, the sound of it is so close to what an early rave gabber DJ would have played in Rotterdam back in the day.’ That whole idea of that circle is such a beautiful thing.



How has the public perceived this transition? If there were any mixed reactions, how did you address them?

There is no transition we still drop new hard-knocking Yellow Claw rave music every month and play the biggest festivals in the world with that name. We do, however, have another one in which we play small intimate afterparty rooms with trashy and sexy old-school house music. If you are into that, I would advise you to come check it out, if that’s not your thing and you are not open to new musical experiences with us, I would advise you to not come. It’s that easy. And, if you don’t like it, that is perfectly fine too. No biggie. But genre thinking has been dead for a while and will never come back from that. Look at which people are working together now, and what crazy lineups festivals and clubs dropping.



In terms of music and aesthetics, were there any other artists you drew inspiration from for this project?

Not that much in aesthetics, the whole idea of the €URO TRA$H aesthetic is that it’s not about overthinking. That is why there is a non-visual show, no effects, no co2, and no smooth artwork. It is just about the music and feeling the vibe in the club. It is not an EDM spectacle. It’s just going back to the roots. And yes, some super inspiring artists are balancing vintage with those new sounds. People like Sosa, Westend, Clonee, Wax Motif, and so on.



What has been the most “wow this worked" moment or turning point in the development of €URO TRA$H so far? How have those differed from your Yellow Claw performances?

I think when we first made "1F2F" and played it that same night in the Bootshaus club, that was the ‘yeah this connects, this is what it should sound like when it all comes together.’ Another moment was when we played a surprise set at House of Wax at the Palladium in Los Angeles last year, that’s a big venue with a lot of history, and it was filled up with house music fans of Wax [Motif]. That is when we got them not relying on the Yellow Claw brand. We felt like this could become a thing, not knowing that soon after we would be playing shows in New York, Tokyo, and Bangkok. Now sometimes we have a show request for YC and ET on the same day in different parts of the world, and hard decisions must be made.



Were there any moments you were hesitant about launching this project? If so, why, or why not?

No, we just wanted to do it right, because we initially made the songs to DJ them, and we know it’s a tough transition in a DJ set going from 160 bpm hard techno or trap, and then suddenly going back to this super groovy and vibey 126 bpm song. We didn’t want it that way and just really were excited about playing these long sets where you play all the drops of a song, not just the first.



In 2020, you released a video on YouTube named “Yellow Claw presents €URO TRA$H: The Art of €URO TRA$H.” Where did the inspiration for dressing like the '1700s come from?

Ahh, that was merely a joke, I kept seeing this meme on all these techno accounts of these three guys from this vampire movie looking down on the people from this balcony. We recreated that meme and did a DJ set like, just to f*ck with the people and their perceptions. I’m surprised you don’t know the meme hahaha. No judgment though.



How did working with Bonnie Strange and Psycho Boys Club contribute to the first LEGIT TECHNO BANGER, “Trust You”? Can you share any interesting stories from the making of the track and its music video?

All of us were hanging out in Bali for a while, and we wanted to create this Berlin-style techno banger with Bonnie. The video is in the same aesthetic too, and was just super fun to do. Looking back at it now, I feel the song was still too hard and loud for what €URO TRA$H would later become. It is way closer to a Yellow Claw thing. Maybe we should remix it ourselves.

What was the motive and interest behind the ¥€$ album, and how did you manage to maintain a consistent theme centered around wealth, partying, and ego throughout the entire record?

Well that wasn’t easy, but we kept on repeating the same mantra in our minds. All this music is made for the first Miami strip club that only plays real house music. That was the holy grail. House music for strippers.









On the Record: Unraveling the €URO TRA$H Phenomenon

When dance music aficionados think of Germany, the mind drifts to techno. Scenes of dark, sprawling clubs filled with the bonging bass and metallic high-hat ticks of peak-time warehouse music go hand in hand with the German dance music landscape, but that landscape is experiencing change. In fact, it has been changing for some time; as music streaming and sharing blurs the geographic and thematic elements of genre, a new generation of German artists is blazing new trails and modern sounds. One such artist is Cologne-based beatsmith Kolter.


Kolter is no rookie. He’s been releasing music since 2014. However, his output since 2020’s Covid-19 shutdown has reached a new level with a staggering twenty-nine releases in 2022 alone. Kolter is on pace for another massive year with eighteen releases so far in 2023, and today we highlight a stand-out track, “Bust A Beat.”

You best watch out because there’s no stopping the thumping groove of this roller. This ain’t your daddy’s techno, and it ain’t your mama’s house. Leave your genres at home and bust out those dancing shoes as thumping kicks get you stepping left, right, forward, and back. Tac on the offbeat cymbal punch, a furious, attitude-filled bass line, and some sassy lil’ synth licks, and you got yourself an absolute fire starter. While Kolter wields those foundational elements handily enough to get the dance floor bouncing, he doesn’t stop there. The HOOVE label head keeps our focus and keeps it fresh with a piano-laden bridge that takes this beat to the heavens.


"Bust A Beat" and the rest of the Bust A Dream EP mark the debut of his new label, Koltrax. The new imprint will focus on releasing his most in-demand unreleased tracks. We’d say he’s starting on the right foot.

'Bust A Beat' With Kolter’s Funky New Roller

We welcome the last week of May in Ibiza with a variety of old and new club nights. There are many opportunities to hit the dancefloor, whether you like to do it under the sun, by the beach, poolside, or beneath the LED lights at one of the island’s super clubs. Read below for a selection of happenings you shouldn’t miss this week.





Calvin Harris Opening Party | Ushuaïa | Friday, May 26

Scottish DJ, producer, and songwriter Calvin Harris reclaims Fridays at the impressive outdoor venue in Platja D’en Bossa, Ushuaïa. New weekly resident Tyson O’Brien joins him every Friday afternoon on warm-up duties, followed by house music legend MK and other big names as special guests. For his first party of the season, Calvin Harris invites the Patrick Topping protege and "Tell Me Something Good" producer, Ewan McVicar.




Grab your tickets for Calvin Harris at Ushuaïa









Follow Calvin Harris on Twitter | Instagram | SoundCloud





Cova Santa Opening Party | Cova Santa | Friday, May 26

Located on the top of an ancient cave in the San Jose area, Cova Santa is the open-air hilltop club and high-end restaurant that fuses dancing, theatrical performances, gastronomy, and mixology. For the opening of the season this Friday, Amnesia’s sister venue brings performances by French multi-disciplinary artist and DJ Agoria, Tel Aviv-based producers and DJs Red Axes, Ibiza regular Alex Kennon, Spanish duo Los Suruba, and Cova Santa resident DJ John Woods. Night Evolution, the team behind Amnesia, Cova Santa, and Pyramid, is known for throwing incredible parties and creating unforgettable atmospheres in beautiful locations. Don’t miss out on this daytime opening!




Buy tickets and check all events at Cova Santa this season







Follow Cova Santa on Twitter | Instagram | Facebook	



Children of the 80’s | Hard Rock Hotel Ibiza | Friday, May 26

One of the most popular retro events by Hard Rock Hotel starts its season on Friday, May 26, from 7 pm-midnight. Children of the 80s features the best pop and rock tunes from the 80s and 90s. Get ready to enjoy uplifting live acts with breakdancers, bands of the time (think Vengaboys, Sabrina, and Seguridad Social), and live performances by Ibiza-based singers Rebeka Brown and Mimi Barber. Early in the evening, enjoy resident DJs Dream3Team Reload and Petit and Vazquez, better known as La Movida Ibiza.






Get tickets to Children of the 80s opening party at Hard Rock Hotel Ibiza








Follow Children of the 80’s on Instagram | Facebook 





Pablo Fierro presents We’re Here Opening Party | Club Chinois | Friday, May 26

After an incredible 2022 debut, Pablo Fierro's We're Here returns to Club Chinois every Friday from May 26-September 29. Fierro has been a longtime champion of Afro house. His residency allows him to take his worldly sound to even more people showcasing his incredible mix of Arabic, European, Latin American, Caribbean, and African influences. The Spanish artist (born in the Canary Islands) is more than just a DJ. He also owns Vida Records and is a composer, musician, vocalist, multi-instrumentalist, and songwriter, giving the We're Here parties a fresh and unique perspective.




Join Fierro and guests to celebrate We’re Here this Friday









Follow Pablo Fierro on Twitter | Instagram | SoundCloud





elrow Opening Party | Amnesia | Saturday, May 27

elrow features colorful themes, street theatre, wild costumes, lots of confetti, and a team of resident DJs who have been part of the family for years. The weekly circus begins this Saturday for 19 dates at Amnesia. The Nowmads New World theme kicks things off to immerse you in an interstellar world where diverse cultures and tribes come together, blurring time and space. Spanish DJ Wade will kick off the season alongside Shermanology, Tini Gessler, George Privatti, and Chelina Manuhutu.

Buy tickets for elrow at Amnesia









Follow elrow on Twitter | Instagram | SoundCloud






Solomun + 1 Opening Party | Pacha | Sunday, May 28

After seven seasons of success, two heavyweights on the scene join forces every Sunday on the White Island. Solomun is an inseparable part of Pacha and vice versa. He will again dominate the red cherries dancefloor for more than 20 Sundays this season under his Solomun +1 concept. The kick-off features Polish duo Catz N’ Dogz starting at midnight, then Solomun will take control of the booth, and they’ll close the night out with a massive back-three-back session. Expect melodic grooves and the magic of the Polish duo, who usually move towards disco, soul, and deep house. Get ready to dance non-stop!




Purchase your entrance for Solomun + 1 opening party with Catz N’ Dogz









Follow Solomun on Twitter | Instagram | SoundCloud






WooMoon Opening Party | Cova Santa | Sunday, May 28

Combining music, art, and gastronomy for the whole family is something that WooMoon knows how to do. The Ibiza-born concept from LunArts, celebrates the beginning of the summer season, coinciding with the new moon. From this Sunday, May 28, Cova Santa hosts a weekly surreal mix of theatrical performances, circus, live art, interactive experiences, and body painting, all topped with nomadic and mystical sounds. The event kicks off at 6 pm outdoors and moves inside after midnight.




Get tickets in advance to enjoy WooMoon opening party at Cova Santa








Follow WooMooN on Instagram | SoundCloud





Sven Väth Catharsis | Las Dalias | Thursday, June 1

Last season the Catharsis party series (taking its name from Sven Väth's last solo album) at Las Dalias and Akasha were amongst the most beloved of the summer. Once again, Papa Sven gets up close and personal with the crowd for more than 10 hours, beginning outdoors in Las Dalia's garden at 7 pm and moving inside Akasha at midnight.



Join the Catharsis opening party by Sven Väth at Las Dalias










Follow Sven Väth on Twitter | Instagram | Soundcloud




This Week In Ibiza  (May 26 - June 1)

To all the destination ravers out there, time to add one more country to your list: Israel. For decades, a thrumming dance music scene in Israel has churned out some vital offerings to global dance music culture.




Venues like Haoman 17 in Tel Aviv regularly host European favorites like Adriatique and Henrik Schwartz, while larger festivals and outdoor events also have a strong presence. Damian Lazarus hosted his famed Day Zero party in Masada back in 2019. The Netherlands staple festival, DGTL, has also produced an iteration in Israel as far back as 2017, bringing artists like KiNK and Jayda G.




But in Israel, like with any scene around the world, the lifeblood is the artists, and along with the impressive events, Israeli artists have been championing unique dance music sounds for years. Check out five Israeli artists who are making waves in house and techno.


1. Red Axes

Dori Sadovnik and Niv Arzi of Red Axes are internationally known for their fluid approach to dance music. On tracks like “The Phone Call,” they flex the sample chops of the most revered hip-hop producers, but their knack for different grooves, as heard on their albums like 2020’s self-titled effort, makes them a shoo-in for headlining slots at any type of party. Whether DJing or manning the hardware for one of their epic live sets, they demonstrate the kind of widespread musical influence enmeshed into Israel’s scene.


2. Guy Mantzur

The landscape of Israel is generally one of desert. Within the long stretches of sand lie scattered oases wherein this dance music culture lies, but due to the sweeping nature of the country, many artists, like Guy Mantzur, hone to a cinematic, mysterious sound.



Actively releasing music since the mid-’00s, Mantzur has shared the sonics of his home country in all the notable dance music hotspots from London to Chicago to Ibiza and even to new sprouting markets like India. Put on tracks like “Tremolo Man” and let the wispy synths and tight-groove basslines soundtrack an imaginary journey across an Israeli Desert.


3. Sahar Z

Sahar Z is a resident of the aforementioned Tel Aviv nightlife establishment, Haoman 17, so he’s one of the artists playing a deciding role in the sounds of the country. But at the same time, he only decides his own sounds in the moment.




Having won DJ of the year three times in a row (decided by Israel’s most popular music magazine), his talent for curating bespoke musical journeys is widely celebrated, and his own tracks represent this versatility as well. One of his most celebrated, “Zikaron,” channels the mystical energy that punctuates the traditional dance music of Israel, but a keen ear will also hear an interpolation of the oft-sampled Incredible Bongo Band track “Apache.”











4. Jenia Tarsol

Jenia Tarsol is a relative newcomer, but major players in the scene are already paying attention to him for a reason. The most prominent example is undoubtedly Tale of Us, who signed two of his tracks, “Panic Attack” and “Do You See It Yet?” to their momentous record label, Afterlife, back in 2021.




What’s intriguing about Tarsol’s career is that he has developed a couple of consistent production partners. The Afterlife cuts were made in concert with the Greek rising star Echonomist, and Tarsol also frequently works with another Israeli-born artist named Chaim, as he did on their joint single, “Lazy Evil.” It seems as fast as he’s rising, Jenia Tarsol is committed to bringing his friends up with him.


5. Lonya

If there is still any doubt about the vitality of the Israeli dance music community, consider the veteran artist, Lonya, who has over 400 production credits to his name. No one could achieve that kind of statistic without an unshakable work ethic, and with that kind of statistic, there is no chance his catalog is anything less than eclectic.




Frequently working with Israeli-born record labels like Asymmetric Recordings and labels helmed by Israeli artists like Guy Mantzur’s Plattenback, this consistent stream of music touches on organic house, melodic techno, deep house, and everything in between.



5 House and Techno Artists Making Waves in Israel

Releasing what we once were is the key to unlocking our full potential. Letting go of the past, shedding the limitations of what we once knew, and embracing growth with open arms is a transformative act of liberation, especially as an artist. Circus Recordings founder, Yousef, has never been afraid to explore beyond his comfort zone, in fact, he’s made a career out of it. It’s one of the reasons he is consistently in DJ Mag's Top 100 DJs. Unafraid to do what must be done to bring justice to his audible artwork, Yousef recently took a knife to his 2022 single, “Learn To Fly,” and emerged with a new remix bright with kinetic, glitched-out energy.

Free from the weight of orchestrated synths, this latest flip instead charges ahead on the back of thunderous percussion. While largely unchanged, Afronaut Zu’s vocals reach new heights as its layered support assumes new chordal responsibilities. The one piece keeping this track from total USDA all-organic certification is the digitized glints breaking the chains of preconceived boundaries and limitations. Classic Yousef—imbuing the sounds of the future with human connection while injecting progress into the sonics of humanity.

As a DJ, producer, label owner, and events organizer, the Liverpool native stays busy. Summer is right around the corner, and you know that means a world-renowned curator like Yousef will be making the rounds in Ibiza and the global festival circuit. While many artists slow their release schedule in these times, he and Circus Records continued to roll out new material last summer despite a hectic season. This comes as no surprise considering many of the world’s top DJs count on the latest material from Yousef and Circus to keep their sets on the cutting edge. Will we see another fruitful summer of releases from the camp? Time will tell, but be sure to check back here for news on that front.

Yousef Harnesses a Liberated Power on New 'Learn To Fly' Flip

The opening parties continue this week, alongside exclusive events, gathering people from the worlds of culture, art, and fashion all over the island. No matter what you are looking for, there is sure to be an option for you! 





It’s All About the Music Opening Party | Amnesia | Friday, May 19

After a one-off event last summer, Ibiza-born radio show and party brand It’s All About The Music returns to Amnesia, launching four exclusive parties through May and June under the concept "Electric Garden." Celebrating ten years, It’s All About The Music has hosted parties beyond the Pityusic Islands in London, Holland, Italy, and The States featuring up-and-coming DJs and producers alongside well-established names from the tech house and deep tech scenes such as Audiofly, Proudly People, Richy Ahmed, Nic Fanciulli, Marco Faraone, and Yousef.

The men behind the concept are Italian entrepreneurs and promoters Ernesto Senatore and Roberto Postiglione, formerly of Music On. They are inviting a wonderful blend of emerging and well-known Ibiza artists to the opening party, including, Latmun, De La Swing b2b Caal, Anna Tur, Proudly People, and support from Ukranian-born Ibiza-based Alev Tav. Let the music do the talking!




Buy tickets to It’s All about The Music at Amnesia this Friday.







Follow It's All About The Music on Facebook | Instagram | Soundcloud





III Ibiza Inclusion Fashion Day | Hï Ibiza | Friday, May 19

Fashion and music are universal languages that celebrate and promote freedom and diversity. The third edition of Ibiza Inclusion Fashion Day tales over Hï Ibiza with its groundbreaking 100% inclusive catwalk. Fashion Day showcases the creations of talented designers from the island and beyond, including Oscuro Ibiza, Jose Perea, Delfina Bianco, Trinidades Ibiza, Origens Pomar, Alfonso Sanchez, Etikology, Lina Rojas, and the Escuela de Arte de Ibiza y Formentera. Also scheduled to attend are influential leaders from the world of fashion, music, culture, and media, such as the plus-size modeling ambassador Raquel Villadiego, international model Krys Pasiecznik, journalist, author, and para-olympian Irene Villa, and international singer Rebeka Brown.



Entrance donation is 20€, and tickets are limited based on capacity. All proceeds will be donated to ADDIF Adapted Sports Association of Ibiza and Formentera.







Follow Ibiza Inclusion on Facebook | Instagram |






Ants Day & Night Edition Part 3 | Ushuaïa & Hï Ibiza | Saturday, May 20

The final part of ANTS Day & Night edition takes place this Saturday, kicking things off open-air at Ushuaïa then moving across the street to Hï at midnight. On its 10th anniversary, the Ants colony welcomes Adam Beyer, Chelina Manuhutu, East End Dubs, and more to play daytime. Get a double dose of Davide Squillace, Francisco Allendes, and Andrea Oliva playing both day and night, alongside German rising star Melanie Ribbe, all playing the Theatre room. Completing the lineup, the Club Room will feature wAFF, Archie Hamilton, and Mahony B2B Wheats.

Do not miss the last chance to dANTS to 12 hours of the best underground house and techno sounds!




Tickets available to enjoy Ants day & night experience part 3









Follow ANTS on Twitter | Instagram | SoundCloud





Matinée Gold | Amnesia | Saturday, May 20

Matinée Group was born in Barcelona in 1999 and quickly captured the heart of Ibiza nightlife with its provocative shows. Expect joyful house music, the best tech house tunes(the Matinée Gold Music playlist is the perfect primer), and Matinée Gold Classics. The Matinée All Star DJs are leading the dancefloor for this edition. Enjoy the sounds of Juanjo Martin, Taito Tikaro, and a live performance by Rebeka Brown. Although it was born as a party made for the LGBTQIA crowd, it soon became a welcoming event that transcended cultural and sexual boundaries. This Saturday, May 20, Matinée returns to Amnesia, its new permanent home in San Rafael (after a few glorious years leading Space Ibiza mornings), to recapture ‘the gold old’ years with a special one-off event. 

Get tickets to enjoy Matinée Gold at Amensia this Saturday









Follow Matinée Group on Facebook| Instagram | SoundCloud





Flower Power Opening Party | Pacha | Monday, May 22

Pacha’s flagship throwback party (and the longest running on the island) is back this Monday, celebrating over ten years of parties. Flower Power is synonymous with Ibiza celebrating its unique spirit of peace, love, and freedom with anthems from the 60s, 70s, and 80s. Pacha is celebrating its iconic 50th anniversary this season, so the opening party promises to be unique, featuring interactive performances and many surprises. Pacha resident DJs Victor Nebot and Sergio Vicedo will make you feel the real essence of Ibiza!




Celebrate freedom, peace, and love at the Flower Power Opening Party








Follow Flower Power on Instagram | Facebook





Camelphat Opening Party | Pacha | Tuesday, May 23

After successful seasons at Hï and Ushuaïa Ibiza, Liverpool duo Camelphat now takes on hosting Tuesday nights at the legendary Pacha. Mike Di Scala and Dave Whelan became Camelphat in 2010, and have remained Ibiza regulars since. This season, the British duo moves to Pacha on its fiftieth year, delivering a great mix of house and melodic techno, accompanied by an incredible weekly line-up of international guest DJs and live acts. For the opening party, they bring Agents Of Time and Massano.




Get tickets for the Camelphat Opening Party at Pacha






Follow Camelphat on Twitter | Instagram | SoundCloud





Bedouin presents SAGA Opening Party | Pacha | Wednesday, May 24

After a great debut last summer under The Cherries' roof the mesmerizing melodies of Bedouin return to Pacha with SAGA. Tamer Malki and Rami Abousabe, better known as Bedouin, are two Brooklyn-based, Middle Eastern-rooted artists who have traveled the world with their unique musical vision, fusing their Eastern influences with melodic, shamanic, deep house and the most sophisticated techno sounds. A new chapter begins this Wednesday night at Pacha.





Purchase your ticket for SAGA by Bedouin.








Follow Bedouin on Twitter | Instagram | SoundCloud




This Week in Ibiza  (May 19- May 25)

From his early years immersed in piano studies, to his evolution into a multi-instrumentalist and innovative live electronic performer, Eelke Kleijn has continually exhibited a profound love for music. His journey, distinguished by his gratitude for traditional musicality and his perpetual pursuit of new sounds, has led to a distinctive style that is rich in harmonic complexities and melodic nuances. Eelke's unconventional practices, such as performing barefoot to feel the music's vibrations, and his successful ventures into Hollywood film scoring, all play a role in his innate persona in the music world. This portrait of an artist going beyond the bounds of his craft sets the stage for a deep dive into the life and work of Eelke Kleijn.



The Early Years of Eelke Kleijn

As a child, Eelke Kleijn exhibited a deep passion for music. At the tender age of 12, he began learning the piano. This foundation in traditional musicality would later prove invaluable, forming the bedrock of his distinctive style as an electronic music producer. Instead of solely relying on synthetic sounds, Eelke's tracks are often richly layered with the melodic nuances and harmonic complexities that his early piano training afforded him.



The Multi-Instrumentalist Journey

Eelke’s thirst for music mastery didn't stop with the piano. As his career progressed, he found himself wanting to incorporate more natural instruments into his work. To achieve this, he decided to learn guitar. Picking up a new instrument at an older age was challenging, but Eelke’s dedication to his craft saw him through. Today, the subtle strums and distinctive timbre of the guitar often find their way into his productions, adding an extra layer of depth and originality.



From Piano Prodigy to Pioneer: Unraveling the Unconventional Journey of Eelke Kleijn

In recent years topics surrounding mental health have received increased attention in dance music. However, it's still something that's largely kept in the dark. More often than not, the flashing lights, endless bottles of 1942, and cryo-blast accented drops get the most attention, while the aftermath of bender culture is woefully ignored. Dillon Nathaniel and Sacha Robotti are flipping the script with their 23-stop See The Light tour.




Taking its name from their recent collab released on Solotoko, the tour promises incredible music and an uplifting message for their fans. In an Instagram post, Nathaniel said, "We want to spread our love for house and techno music and celebrate life with every single one of you." He added that they would donate a share of every ticket sold to MusicCares, the charitable arm of the Grammy's that provides a health and welfare safety net for musicians.

Nathaniel said they partnered with MusicCares because they "help artists make the right choices for themselves." What often doesn't get talked about is that while DJing can be glamorous, it comes with actual financial and mental costs. There's no union or healthcare plan for DJs, and returns diminish after paying your team and expenses. Despite the constant push to stay relevant in an increasingly competitive field, he says, your health should always be paramount.




"Even if you have a management team and agency, and you're successful in your career, and they're pushing you to keep going, you have to take a step back and realize when it is time to take a break—time to stop listening to everybody else and listen to yourself."




Robotti and Nathaniel's in-studio chemistry was evident when they started working together. They both carry a sound that bridges the chasm between straight-up tech house and warehouse-driving techno. They've quickly found common ground with a darker, sexier sound leading to a stack of unreleased tracks and hopefully more to write on tour. They've also found mutuality in their mental health journeys.




During the COVID lockdown, Robotti says he was living with another DJ, and after years of riding nightlife to the rails, he'd developed some unhealthy habits. The initial lockdown period only saw those habits magnified.




"After six weeks of lockdown, I was just like, 'Okay, if I continue doing this, I'm not gonna survive." So he used the time in isolation to stop using drugs and drinking for six months. A regular regimen of exercise, sleep, and sunlight was the reset he needed.




"Honestly, every DJ kind of had an epiphany," he continues. "You're constantly on the move. It's hard to take that time to self-reflect and realize that your life choices are affecting the way that you think. On a daily basis, we're always plugged into this matrix of social media gratification ... it's hard to take that time to sit back and actually reflect on the things that we need to do as human beings and not just as artists."




Nathaniel says that COVID was also a significant reset for him. But his biggest gains have been through therapy. He's a big-time champion of the mental healthcare app BetterHelp which makes sticking with a mental healthcare regimen much more effortless.




"I was raised in a family where nobody talked about anything. No one talks about their emotions, nobody. It was very taboo to be like, 'Hey, I'm feeling this way.' Or 'you made me feel this way.' Because it was always shut down," he explains, adding that his journey through therapy has taught him to be more open, honest, and present with himself and his family.




Cleanses and psychology are obviously great ways to clean out the cobwebs. But you can't ignore a resource many in the scene can access quickly. The use of drugs therapeutically has been proven to be incredibly effective. Putting the inherent risks of recreational use aside, psychoactives like MDMA, psilocybin, and ayahuasca can be used in clinical and spiritual settings to help defeat years of trauma.




Sacha tells Dillon and I that two clinical experiences with ayahuasca relieved years of unresolved trauma left over from the death of his mother when he was 15. In 2019 after holding his aunt's hand as she passed and the suicide attempt of a close friend, he decided to find a way to clear the emotional blockage.




"I went to space. I felt like my mom and my aunt who had both never met each other were sitting there at a table drinking coffee, and laughing," he remembers about his journey. "They saw me come in and they were like, 'don't be sad, you know, we're always with you. Look over your shoulder.' And then I looked over my shoulder. And there were all my ancestors, like millions of ancestors, standing there... And then I woke up the next morning, and I found peace."




These powerful experiences have contributed to a rich understanding of how they carry on and forward with a renewed sense of self. Robotti and Nathaniel also say that taking control over how they party has been instrumental in their journey. After thousands of nights out, they both recognize that sometimes it's necessary to understand that the party doesn't need to last until after sunrise.




"When I was younger, I used to let my friends and my peers influence how long I stayed [at] a party. When you're younger, you're easily persuaded to do these things," Dillon explains. "Then, as an adult, you realize you don't owe anyone anything. You don't need to do anything that you don't want to do. Just learning how to say no is huge."




That's not to say that the excess of the scene is all bad. On the contrary, their life-long commitment to the dance music community and the many beautiful and eye-opening experiences it's given them were life-changing. In many ways, they say, dance music has gifted them a brilliant mental health revalation. It saved their lives.




"Growing up as a young kid, I was abused heavily by my mother, to the point where it just got dark. I was pretty much a very damaged kid, on the wrong path, heading towards suicide, heading towards jail, heading towards just all the wrong decisions," he begins. "When I ended up moving back to California with my dad to get away from my mom, my dad took me to EDC when I was 16. And it changed my whole perspective of what I wanted to do. So dance music saved my life in that aspect. It means so much more to me than just a place to go party. This is my entire world. This is what I eat, sleep, and breathe. This is everything to me. And I know, with the power of electronic music, I can help change other people's lives too."




Sacha discovered dance music at a similarly pivotal time. When he lost his mother at 15, it was after a five-year battle with lung cancer. He was living in Belgium, and his dad was working in Switzerland, and coping with the void left while grieving was only compounded by feeling completely alone. His dad asked him to move to Switzerland, but the rebellious teen refused and started living independently. And then he discovered house music and techno.




"It was just like a family. My family was these people and the music. I saw Jeff Mills and Green Velvet and all these amazing guys from Detroit and Chicago in Belgium. We had a club where I always went, regardless if it's me and my friends or just myself, I would just go...I was just like, 'Oh my God, I want to do this so bad.' And then I started buying records. We didn't have a lot of money, so we shared decks. We had this room in the back of a church where we could listen to records and smoke weed. It's funny, because I'm still doing that now but now I'm the guy at the decks, and that's just like, a beautiful full circle."




The mission of the See The Light tour is to add some much-needed focus to all the alternative ways we choose to take care of ourselves both on the dancefloor and off. And while these can sometimes delve into heavy territory, Nathaniel says they'd still like to do so without taking themselves too seriously.




Certain sectors of rave-ready social media have recently turned to glorify bender culture in a way that, while entertaining, isn't necessarily healthy.




"We want to give a good idea of what it looks like to be healthy on tour," Nathaniel laughs, while Sacha adds, "We're going to try!"




"All the other people are raging showing videos of them pounding bottles, like running around doing the craziest shit ever," Nathaniel continues. "Sacha and I are like, Let's go like get a smoothie. So we can kind of change the narrative a little bit about what it means to be cool on tour but also be healthy."




"I'm 43 now," Sacha explains, not looking a day over 32. "I want to do at least 10 years, you know... 20 years, 30 I don't know. I want to be able to still do that and be healthy, and fit, and in shape."




The See The Light Tour runs May 19-July 29. Tickets are on sale now.




Dillon Nathaniel and Sacha Robotti's See The Light Tour Puts the Focus on Mental Health

When Tom Howie and Jimmy Vallance met in high school, no one could have guessed the musical journey that was to come. Fast forward eleven years and the Canadian duo, known to millions of listeners as Bob Moses, has become one of the most universally acclaimed acts in electronic music even picking up a Grammy Award for the smash hit, “Tearing Me Up.”

Last year, Howie and Vallance dropped their third studio album, The Silence In Between, to critical praise. The project explored the deeper points of the duo’s music tastes while making space to honor the sounds that catapulted their careers to the top. One year later, and The Silence In Between (Remixed) arrives to deliver a fresh look at some of the project’s peak tracks, including the positively rave-ready stand out, “Hanging On.”

The tune’s assigned remixers are German electro-house duo, Digitalism. An accomplished pair in their own right, Digitalism has even remixed for the likes of Tiga, The White Stripes, and The Presets. This latest flip finds the duo injecting space into the immersive orchestration of the original, instead favoring a collection of kinetic drum machines and fluid synths to cast rejuvenating waves of euphoria over listeners near and far.

This remix joins seven other new takes from The Silence In Between. “Remixes are always a fun part of the process,” Bob Moses share. “It’s exciting to hear how some of our favorite producers reimagine our music, and we’re always stoked to have fresh versions for our club sets. This EP is a collection of all of the remixes created during our The Silence in Between period, and it’s chock full o’ bangers. A big thank-you to all the talented people who spent the time making these beauties.”



With artists like Vintage Culture, Amtrac, and Kasablanca also contributing, this remix EP will surely be doing the original project justice.

Digitalism Gives Bob Moses’ 'Hanging On' a Gorgeously Glitchy Makeover

The island is buzzing with tourists from all over the world, kicking off the season early this year! If you’re heading this way, check out our suggestions below for an experience that will last a lifetime, beginning on Friday May 12.




Music On Opening Party | Pacha | Friday, May 12

For more than a decade, Music On has been a leading techno party on the island. Created by Italian DJ and label head Marco Carola in 2011, the party conquered Ibiza just a year after founding the brand and has become a religious experience to many. The Music On crew and its loyal fanbase will get together for the first time this season at the iconic Pacha nightclub on Friday, offering pure techno and tech house by the man himself, Marco Carola, Spanish DJ Dennis Cruz, and Italian regular Ale De Tuglie.




Secure your tickets for Music On opening party at Pacha






Follow Music On on Twitter | Instagram | SoundCloud



Amnesia Opening Party | Amnesia | Saturday, May 13

After an amazing pre-season event with Pyramid at the end of April, the legendary club located in San Rafael officially raise the curtains for the summer season with over 14 hours of non-stop music. This Saturday, May 13, Amnesia celebrates its opening party with a trio of special back-to-back sets. Seth Troxler and Skream take over the terrace, Adam Beyer performs with Layton Giordani, and Marco Faraone pairs up with Special Request. Also on the bill are Palestine’s queen of techno Sama’ AbdulhadI, Maceo Plex, and Guy Gerber, among many others. Get ready for one unmissable event!





Get tickets for Amnesia Ibiza opening celebration











Follow Amnesia on Twitter | Instagram | SoundCloud



Claptone presents The Masquerade Opening Party | Pacha | Saturday, May 13

The famed masked DJ and producer brings mystery and joy to the opening party at Pacha this Saturday. Claptone has just launched a new label called Golden Recordings to celebrate house music and its everlasting golden era, so head over to the iconic club and dance to his newest single, “Euphoria.” The Masquerade party continues to transcend generations featuring incredible production, creative decor, and theatrical entertainment! Don your mask and join the spectacle!




Tickets to enjoy The Masquerade opening event at Pacha









Follow Claptone on Twitter | Instagram | SoundCloud





La Troya Opening Party | Club Chinois | Monday, May 15

Following an early season warm-up party this Easter, the most popular Ibiza-born LGBTQIA-friendly show is ready to fill Club Chinois on Mondays with its glamorous style. Created by Brazilian promoter Brasilio de Oliveira three decades ago, La Troya launched its first party in the ’70s at Ibiza’s KU club (known as Privilege since 1995), displaying the colors, symbols, and spirit of his country through flamboyant performers and superlative production. Join the La Troya family on Monday, May 15, to welcome a new season!




Get tickets for La Troya opening party at Club Chinois








Follow La Troya on Twitter | Instagram | SoundCloud







Macaco Live concert | Las Dalias | Thursday, May 18

To commemorate almost 70 years on Ibiza, the charming Las Dalias hippy market in San Carlos organizes an attractive series of live music events throughout May under the concept "Back To Live." This Thursday, May 18 from 8 pm, the multi-platinum band from Barcelona, Macaco (1997) will fill the venue with pop, rumba, rock, reggae, rap, and flamenco vibes, to get all the people “Moving.”









Follow Macaco on Facebook | Instagram | SoundCloud






Pure Pacha | Pacha | Thursday, May 18

No stranger to Thursdays at Pacha, Robin Schulz is back this 2023, headlining The Ibiza Cherries decadent in-house production, Pure Pacha. The German DJ and producer has traveled the world with his dance music style and instantly recognizable sounds, winning over 200 awards and selling millions of records throughout his career. On its 50th anniversary, Pacha’s flagship party promises to be a night to remember, so don’t miss the chance to enjoy Schulz alongside Bakermat, Wave Wave, and Riton this Thursday!





Get tickets for Robin Schulz at Pure Pacha this Thursday









Follow Robin Schulz on Twitter | Instagram | SoundCloud




This Week in Ibiza (May 12 - May 18)





Kyle Watson has captivated the dancefloor for the last decade with wonky, slippery, soulful, bass-forward house music. He’s expressed a unique ability to seamlessly blend playful party starters with dark, sometimes emotional, house music with slick sound design and rich soul-swallowing basslines.


Watson’s music goes beyond trend-setting, existing in a world of its own. It’s why artists like Chris Lake, Diplo, and Gorgon City turn to him when they want something that gives dancefloors those blissful WTF moments. It’s also contributed to the success of Box Of Cats, the label he co-founded with a cast of fellow fidget house castaways, Marc Spence, Wongo, Jeff Doubleu, Jak Z, and Tom EQ. Collectively, they’ve curated a catalog of wonderfully left-of-center music, tossing aside paint-by-numbers tech house in favor of weird and wonky beats from artists like The Sponges, Basura Boyz, and Sacha Robotti, who also ascribe to the idea that they should create their own lane.




In 2022 he wrapped a year of landmark gigs that included CRSSD and a Brooklyn Mirage debut with his My Machines tour. He reimagined the most compelling pieces of his 15-year catalog into a unique audio-visual experience. Beyond curating extended sets that solely featured his music, he also created the visuals—Watson’s former day job was in video and motion graphics.




Watson sees 2023 as a year of change and upward trajectory. In March, he dropped “Kick Drums.” The stuttering club heater is the first track for his newly-minted label, No Context. And in April, he checked an item off his DJ bucket list with his Coachella debut.

We chatted with Watson over a video call about the foundations of his groundbreaking sound, how his wife helped solidify his music career, and what he hopes to achieve with his new label.




Looking back at your catalog, I saw releases on old fidget house labels like Potty Mouth. You’ve had a prolific output of music the entire time you’ve been doing this. How long did it take you to land on this distinct sound that you have?




It’s crazy that you bring up Potty Mouth and that whole era because when I talk to people now, that doesn’t even come up. I started releasing music around 2007. And at the time, fidget house was coming up. People were making music that was so weird. [I thought] “I want to make music like this.”




That was where everything started for me. When you think about how the music got to where it is today, your starting point was the busyness and the weirdness, and the wobbliness. And the interesting approach to drums as opposed to straight-up samples. And the mangling of things, changing the feel and Lo-Fi of everything. I think those have stayed as central drivers for me and my production. Those are still elements that I try and keep in the music today.







I want to go back even further to talk about your dad, who was in the music industry and was the one that got you into production. What did your dad do in the music industry?







He did everything. He started out playing in a band when he was at school and went through university, and then he did a few musical projects—public performance stuff. And then, he started a record label, he started a publishing company, opened up recording studios. That was what he did for most of my life. So the introduction to music production software just came from him. He went to go and meet with one of his contacts [at a] music store, and he was like, “Hey, Kyle’s been playing piano for a while. Maybe, you’ve got something that he can mess around with.” And it was like a piece of software that was pre-made loops. I made records with that software for years. It just never got boring.










Your dad seems like he served as a mentor to you as well.




Yeah, he still is. His arc, being in the industry, starting in a band, and then going and opening up a successful recording studio and running a successful record label and everything. It’s kind of crazy because here I am. Starting out playing the piano, going into music production, two months ago starting a record label with my wife. You know, it’s a very similar kind of arc.







Since you mentioned the record label, you already have Box of Cats, which is this landmark, really fun, and groundbreaking label. What are you doing differently with No Context? Why did you decide to start something that’s a little bit more Kyle Watson?







That’s a good question. Box of Cats initially started as this crazy combination of six dudes’ musical tastes. We’re not finding the music that we all like [with] the influences from back in the day. We were talking about Potty Mouth. We all came from that era. So we decided to do a free record label that was never intended to [have] an income model. It just grew, picked up, people started really enjoying it. And that’s when we took it on to Beatport and started doing merch and stuff. But that was very much multiple people involved, multiple tastes.




Starting a record label that’s a little bit more tailored to my tastes as an artist is something that I’ve been meaning to do for a while. I posted up a clip of “Kick Drums” (which was the first release) back in October. I was like. “maybe I should find a home for this record.” And so many people came in and [said] self-release it. That was almost like the catalyst to get it kicked off the ground. It’s great because I run it with my wife. I’m not very good at the organizational side of things. I’m very good at being a procrastinator, and she is the opposite. She’s super efficient. She gets stuff done. She keeps on top of everything. So it’s quite nice that we’re a team in this venture.







You’re also at the point in your career where you can do this, and it can be effective. But also, you get to work with your wife, who I know has seen you through the entire evolution of your musical path.







She’s one of the reasons why I’m in this position today, to be honest. This is a very difficult career. For the people around you, it’s not easy when you’re touring, and you’re away, you’ve missed things, you’re not always available, in different time zones. It’s very taxing on people and on relationships in general.




In 2006, I met Tash, my wife, for the first time. I was just playing around with music at the time. I never had any end goal of being a DJ, or being a music producer. I knew I enjoyed writing music. I played her some of my music, and her brother was a DJ at the time in South Africa. He had a connection to two guys who had a record label there. And my first releases came from that. And it all just built up from there. So right from the beginning of my career, she’s been there. [She’s] core to everything.





So did she go with you to Coachella?




Of course, she did. No way she was gonna miss that.







Yuma has the most relevant people in house and techno. So how was it to not just play there but also play early and have a full tent?




We really walked in there not knowing if it was going to be amazing or if it was gonna be like, you know, 150 people. It was ridiculous. We went in the first weekend before the doors were open [and] we saw it completely empty, lights on and everything. And we were like, damn, this is a big room. You need a lot of people in a 2 pm set on a Friday to make this feel nice and beefy. Went into the room 10 minutes before my set started, and I think there were probably like 4000 people in there already. Chris Stussy was playing. I think within 15 minutes or so, they [were] closing the doors because they got all 6000 people in the tent, and they couldn’t get any more in. I mean, I knew it was gonna be good. I didn’t think I was gonna be that good. What an experience! And to do it twice and have the same result was just mind-blowing.







So, last year, you went on your My Machines Tour. The tour was a full circle moment for you because you brought together a 15-year library of music and something else that you do, which is motion animation. How did you get into that? And what was it like to bring those two things together for the tour?







I actually studied that at university. So I’ve got a degree in that. And up until July 2021, I had a job doing that. It really helps, for me, because I’m able to make my own show visuals. We had someone come on to design the actual elements. I turned the elements into those visuals that we played on the tour.




When I lived in South Africa, my home club that I played is called Truth. We did the first My Machines there. And it was really cool. You know, it was the town I’d grown up in and played in for ten years. So, a lot of the music people knew, even if it came out in 2010.




[In The States] It was different because I was bringing this to a country where [I] only started touring in 2018. Maybe a lot of people didn’t know the music before then. So it’s risky to dig into your catalog and play something from 2013. Without the context of it, it sounds really weird, right? So I ended up doing a bunch of edits and flips. It was really fun to play those shows and watch people react in ways I didn’t think they would, to tracks I thought they maybe wouldn’t have even known.




You were at kind of an advantage to do it after the pandemic too. Because you have a bunch of new ravers that just discovered dance music, who had never been anywhere before, so they’re all coming out. Crowds are just more willing for DJs to take risks and play those weird records.







I was having this discussion with someone just earlier this morning. I think you can get away with a lot more now: different tempos, different genres. If I look at some of the biggest acts that are playing now on my Instagram, they’ll be playing vocal tech house, and then all of a sudden, the next slide, they’re playing dubstep. And then flip through, like slide six, there’s a drum and bass track. And then in between, it’s like, all tech house. I think people are just going off for it all. So I think that that’s hyper-exciting. There’s nothing better than taking a risk in front of a crowd and everyone being up for that experience.

































[Interview] Kyle Watson on Making Music the Family Business, Coachella, and Crafting His Sound

Leave it to Chris Lake to take a slinky pop tune and flip it into the most dexterous stomper we’ve heard this spring. If you're a fan of Portugal. The Man, then you're in for a treat as Lake sets his sights on the band’s hit song "Dummy." The once laid-back amalgam of lush guitar riffs and pronounced keys gets turbo-charged just in time for the summer circuit, and all we can say is, “Look out.”

From beat one, we hear the newly weaponized vocal casting a siren song to the dancefloor as the buoyantly precise bass line bounces side to side. While some original elements did get the boot, less is more in this tech house stomper whose percussive energy is both infectious and unrelenting.

This isn't the first time Chris Lake has worked his magic on a pop tune. The Black Book Records label boss has accrued a remix reputation with fresh takes on cuts like Calvin Harris' "How Deep Is Your Love," KH’s (Four Tet) “Look At Your Pager," and "WTF (Where They From)" by Missy Elliot and Pharell. His take on "How Deep Is Your Love" is one of his most popular remixes, with over 66 million streams on Spotify alone.

We first heard this one during Lake's show-stealing set at elrow during Miami Music Week. If you missed that reliably raucous time, you'll be happy to know he's got a busy schedule ahead. He's slated to perform at festivals like North Coast and Imagine while frequenting famous venues like Denver’s Mission Ballroom and Las Vegas’ Marquee Dayclub. His shows are known for their high energy and infectious beats, so you won't want to miss out.



Portugal. The Man also continues to drop transcendent tunes that prove to be prime canvases for electronic remakes. “Feel It Still,” 2017’s global phenomenon, earned remixes by every artist from Zhu to Medasin, while production legend, Tycho, scored official remix duties for “Live In The Moment.” “Dummy” has now received flips by Chris Lake and Chrome Sparks since its release in March of this year, and we wouldn’t be surprised if it sparked a few more as festival season approaches.

Chris Lake Preps Portugal. The Man’s 'Dummy' For a Summer on the Dance Floor

A drizzle of Southern California rain falls in the downtown San Diego twilight as techno patriarch Richie Hawtin finishes his set and steps offstage. As his first North American tour in nearly half a decade concludes, he crosses the concrete plaza of the Quartyard Brewery and ducks into a large, matte white corrugated steel shipping container outfitted as a green room. “It’s the end of our eight-date From Our Minds tour across North America — warehouses, underground,” Hawtin tells Gray Area.




The tour started in the birthplace of techno, Detroit, moved through the western US and concluded in San Diego. Every tour stop featured the techno forefather alongside a hand-selected bevy of emerging North American artists, each with particular tastes and styles.




“I don’t know what [the new wave of American techno] is,” Hawtin says with a subtle frankness. “But, I can say I’ve been around for 30 plus years,” he says in a turn of authoritative confidence. “America, for real, focused techno, is probably at its best that I’ve seen in 25 years. Maybe it’s the best ever.”




The artists enlisted to travel and perform on this North American tour are an eclectic mix across a wide geography who share a singular passion for pushing experimental, uptempo techno sounds. They collectively view electronic music through the generational prism of a completely interconnected, post-COVID digitalized world.




“We’re all working together, we’re friends with the people who came before us. And they’re our peers — we all have this mutual respect for each other,” says Phoenix-based Lindsey Herbert, the artist and co-founder of EvilGroove Records. “[It’s] nice to get that kind of recognition and affirmation of those who paved the way for you.”




Toronto-based Barbosa, founder of the label and party series Heist Mode, is circumspect as he considers the ongoing relationships between his fellow artists and Hawtin.




“In order to produce what we’re doing, you truly need to be DIY. You have to be a producer because the music, after all, is what we’re trying to display,” he says about creating a unique sonic experience. “We really connect because we are producers, we are label owners, we are event producers. Keeping it very authentic and keeping it genuine is what brings more people into that fold.”




So a big important piece is having someone like Rich, who is the front runner and who helped start and get this movement going back in the late 80s [and] early 90s,”




For Hawtin, organizing and promoting such tours is a welcome reminder that musical ideologies transcend mainstream culture across generations.




“Techno’s bigger than its ever been, and there’s a lot of big parties and a lot of big DJs and Instagram and all that,” he says. “It’s very comforting to realize that there’s a lot of people making music in North America, listening, dancing to this music. Searching out something a little bit more alternative.”







FAST MINIMAL




“This tour is about rhythm and bass. Giving people just enough to move their bodies and not fill them with too many melodies or too many samples,” Hawtin explains. “Just giving people room within the music to dance and move — I don’t think that’s happening so much.”




“Techno has become quite formulaic,” he asserts. “I think what we’re trying to play is something different.”




“I always had this idea of minimal [techno] as how Richie, Dubfire, and [Hawtin’s label] Minus sound. But it’s cool because there’s this new wave,” Lindsey Herbert says. “We’re calling it ‘fast minimal’. It’s always got that groove and some kind of element of trippyness, something that makes you feel an emotion.”




The underlying values and aesthetics of this new wave of American techno artists mirror the 90s significantly, Dallas-based label and event series VOIDWARE Declan James observes.




“I think each one of us has played a Planetary Assault Systems track on this tour,” James says of the seminal UK techno producer Luke Slater’s early 90s pseudonym.




When considering the global nature of popular techno music, Barbosa tells Gray Area, “in Europe, what’s big right now is more hard techno or hard trance. Music that is similar to the structure of EDM — big breakdowns, big drops, very melodic focus, vocals.”




These techno artists’ response is to return to minimal techno’s roots, particularly in a way that eschews popular internal structures.




“I truly believe that hard techno was consumed quicker during COVID with the crowd in America,” Barbosa says. “What’s happening is now that they’re consuming it, they’re looking for something more complex, or that gives you more to your body on the dance floor. That usually happens with very dynamic, very hypnotic music. It’s the core of dance music — having a groove, having a rhythm. Something that locks you in and keeps you going.”




BIG SPECTRUM OF TECHNO




“Declan James and Decoder — they are actually the sound of underground [American] techno,” says Jia. It’s a bold claim, but Jia knows what he’s talking about — after all, he’s the LA underground scene insider and founder of 6AM Group, who co-produced the LA edition of From Our Minds.




James and Decoder’s collaborative project Frame is relatively new — the San Diego tour stop is the sixth time they’ve performed together. Frame released “1076030” on Insomniac Records sub-label, Factory 93, last August.




After the tour concludes, James tells Gray Area about the general contours of those new fast minimal artists and the sounds he experienced on tour. “Everyone had their own style, but the theme was minimalists, 909 [and] 808 driven stuff that’s much more true to form techno than Drumcode style stuff. People were responding to the general sound of faster 909 [and] 808 driven stuff,” James notes.




James’s words hold weight, considering his history playing EDC in 2019 and 2021 on the Drumcode and the Factory 93-hosted stages, respectively. He also has releases on both labels and others, including Above and Beyond’s Anjunabeats and LA-based Space Yacht. James and his fellow artists’ sounds somewhat respond to the cultural commodification of previous waves of techno, all mainstream and underground varieties included.




“We all have our own different styles,” says Herbert. “My style is different from Decoder’s, who is very spacey, and Jay [York] is very groovy. Barbosa is a bit heavier. Henry is a bit more industrial and heavy. We scale a big spectrum of techno, but it still makes sense.”




James agrees with Herbert.




“There’s an overarching continuity between everybody in that we all work really well together as a group. In time, this will develop into something similar to different musical movements like New Wave,” James says.




“That’s what we’re onto here — the beginning of some sort of wave or movement of techno that’s going to be remembered as such in time,” James reasons. “It sources a lot from the timeless qualities of 90s techno without being too nostalgic. It’s traditional in form but still polished and novel.”




A half-hour before Hawtin’s tour ending set concludes in the downtown San Diego twilight, he is running tracks at 138 BPM — brisk but not overly frenetic. The pace moves similarly to Charlotte de Witte’s during her Ultra Music Festival mainstage set the following Friday in Miami. That set had Billboard asking if de Witte’s performance was “the first time a ‘serious’ techno DJ played the Ultra main stage?”



But unlike de Witte’s more digestible mainstage offerings, the sounds Hawtin plays are emblematic of techno: rapidly forming, oft-experimental juxtapositions such as those that Herbert endorses in her fast, minimal sonic aesthetic, James pushes in his blisteringly textural Lovecraftian minimal style, and Barbosa purveys a heavily layered darker minimal material.




It’s about speed and complexity.




“Music is something to get lost in. Hypnotic frequencies that allow you to step away from reality and lose yourself, and then find yourself,” Hawtin says. “That’s what it’s all about.”




COOL TO BE WEIRD




“Now it’s cool to be weird,” says Barbosa. “Crowds in North America, they’re not conforming. So it’s cool to like EDM and techno, and it’s cool to not wear black or wear all black. You see some old heads, but you also see very young people, new people. People are dressed very differently — you see every type of person.”




The focus on personal aesthetic authenticity “was something that was common with ravers in the 90s and early 2000s,” he says. “Now this new generation, kids from 18 to 22, they have the same mindset. It’s cool to be authentic — even if it’s not something that many others like.”




“People are there from the beginning till the end, they’re not there for a headliner [because] we keep it A to Z, we don’t post set times so the energy is there right from the beginning to the end,” he says. “It’s a new type of energy yet it’s also kind of nostalgic of rave crowds back in the day.”




Herbert agrees with Barbosa.




“Each stop was so special in its own way,” Herbert says. “It was also really cool to get to see Richie in some of these smaller, more intimate or underground spaces where he felt more freedom to play how he doesn’t sometimes. It was great for everyone, merging the generations at the events:”






“Tours like this have a lot to offer that type of connection,” says Michelle Sparks, a Phoenix-based producer, promoter, and co-founder of Circuit. “It’s cool to see local promotion companies outside of the Live Nation owned massive corporate promotion companies — it’s nice to connect the dots on that and see the promoters on the [tour] stops. That will ultimately create a network amongst the smaller promoters as well as the artists on the tour. That’ll do a good amount in every city to build that underground community and that safety net for techno out here [in America].”




As for an overarching perspective on the state of American techno, Hawtin tells Gray Area that “there were always pockets. But the pockets of techno in North America are now connected, and they’re really reflecting on what this music is all about.”




DANCE IN DARK PLACES




After the tour’s final show concludes, Hawtin and the gathered artists retreat to a Japanese restaurant on the corner directly across the street from the Quartyard. He holds court from the middle seat of a long black lacquered dinner table while the group gobbles sushi. Then, in true Hawtin style, he pours chilled sake, and glasses clink together in a celebratory end-of-tour toast.




What has he learned from supporting and integrating with this next wave of American techno producers and listeners?




“What this tour showed me was that there’s still a lot of weirdos out there who want to meet other weirdos and dance in dark places,” Hawtin says with a quiet, wry chuckle.




Basking in the afterglow of a wildly successful eight-stop North American tour, Herbert knows his new wave won’t last forever. “Now there’s people even coming after us, newer DJs from after COVID. Kind of brewing. It’s exciting,” she says. “I love to see more people doing it, and I love to see techno growing [in North America].”




Barbosa hopes tours like this inspire others in similar pursuits. “I hope that we’ve inspired others to do what we’re doing. Just do what you believe in. And if this type of an experience was something you like and want more of, then the best thing you can do is to connect with others who do it,” says Barbosa. “And if there’s no one else, just do it yourself.”




Herbert feels similarly when asked about her thoughts on this next wave of techno artists and their ongoing impact on electronic music.




“Trends come and go,” she says. “What will always remain is the true, pure, no BS kind of stuff that us [artists] on the tour are all about.”



Neo-American Techno: Richie Hawtin and the New Wave of American Minimalism

May in Ibiza means beach days, warm nights under the stars, and the beginning of summer residencies at clubs all over the island. Below are our favorite selections of Ibiza events beginning on Friday, May 5.




Melon Bomb Opening Party | Pikes | Friday, May 5

The DJ collective, formed by local Ibiza DJs Paul Reynolds, Scott Gray, Ben Santiago, and Juan Corbi, brings an exquisite mix of house and disco that perfectly captures the spirit of Ibiza. The party brand has played an essential role in Ibiza’s clubbing scene, appearing at Glitterbox, Pacha, and Pikes (where they performed their first gig together in 2015). This season, Melon Bomb returns to Pikes with a monthly residency, kicking off this Friday with some special guests!


Join the guestlist for Melon Bomb Opening Party at Pikes.








Follow Melon Bomb on Facebook | Instagram | SoundCloud





TRIP Opening Party | Club Chinois | Friday, May 5

In 2022 legendary promoter Johannes Goller (formerly of Cocoon fame) launched the TRIP concept, "from Ibiza, for Ibiza," a profound new journey into underground sounds and trippy visuals. After a spectacular debut summer last year, TRIP returns to Club Chinois, the 1,000-capacity club in Ibiza Marina Botafoch. For the official opening party this Friday, TRIP brings Shonky (from French trio Apollonia), Doublet (a duo formed by Tomoki Tamura and Tuccillo), and Ibiza regulars Isbel and Cesar Vinzent. Listen to Shonky's last EP, Le Velour, to get in the mood to TRIP!


Buy tickets for TRIP Ibiza at Club Chinois this Friday.


















Follow Trip Ibiza on Instagram 





ANTS Opening Party | Ushuaïa & Hï Ibiza | Saturday, May 6

The ANTS colony celebrates its 10th anniversary by launching three colossal day-to-night events at both Ushuaïa and Hï Ibiza in Platja D’en Bossa. The Ibiza-born party brand will transform open-air club Ushuaïa and futuristic night club Hï, into an immersive playground inspired by science-fiction B-movies from the ’60s, with all-new mesmerizing production, a revitalized soundtrack, and new special guests such as Franky Wah, Oden & Fatzo live, Mahony b2b Wheats and many more. Crawl to the ANTS opening party this Saturday and enjoy over 12 hours of underground music!




Purchase tickets to enjoy the ANTS opening party this Saturday.









Follow ANTS on Twitter | Instagram | SoundCloud





Glitterbox Opening Party | Hï Ibiza | Sunday, May 7

On Sunday, dance to the rhythm of house and disco anthems at the Glitterbox opening party. Creating a feel-good vibe on the dancefloor since 2015, Defected’s sister brand brings the most respected DJs alongside emerging talents playing dance music in its purest form to an inclusive crowd of all ages and genres. Glitterbox returns to Ibiza super-club Hï Ibiza for its sixth season and brings Roger Sanchez, Carl Craig, Riva Starr, and many others to the opening party.




Get tickets for the Glitterbox opening party at Hï this Sunday.







Follow Glitterbox on Facebook| Instagram | SoundCloud





Cosmic Pineapple | Pikes | Thursday, May 11

“It’s a mix of the music and magic sides of Ibiza,” says Cosmic Pineapple founder Kim Booth, a real raver and music PR turned yogi, healer, and creator of galactic events. This day-to-night event invites you to dance and open your heart to creativity and connection, offering trance and immersive music, yoga, conscious talks, workshops, healthy food, and a children’s area. Since 2016, Pikes has been home to Cosmic Pineapple happenings, and the charming San Antonio venue is ready to kick off the cosmic season this Thursday from 4 pm.


Although it is a free event, all donations are welcome and go to local NGOs.



Join the guestlist to attend Cosmic Pineapple opening party at Pikes.







Follow Cosmic Pineapple on Facebook | Instagram | Mixcloud





Ibiza’s Medieval Fair | Dalt Vila | Thursday, May 11

For over 20 years, Ibiza's old town goes back to medieval times for a long weekend, from this Thursday, May 11, through Sunday, May 14. Hundreds of professional artists participate in the event representing the different religious and cultural groups that lived peacefully on the White Island during the Middle Ages. Dalt Villa transforms into a vast open street theater that showcases a craft market, dance, magic performances, and live music.



It is a must-visit for anyone who wants to learn about Ibiza's cultural legacy. This festival is one of the most important celebrations on the island, attracting residents and tourists alike.






Follow Eivissa Tourism on Facebook| Instagram | Twitter





This Week In Ibiza (May 5 - May 11)

Franky Rizardo, the Dutchman who has the house scene in a chokehold with his dexterity on turntables and expertise in production, has established himself as a force to be reckoned with through his leading-edge brand, FLOW. An incessant drive to build both his imprint, Listen to Flow (LTF), and his FLOW events, has shown the world his meticulous and creative approach to music. Whether they are moving and grooving at his live events or vibing to LTF’s releases in the comfort of their homes, fans are plugged into Franky Rizardo’s orbit.



With fond memories of FLOW starting as a humble radio show, to kitchen table grooves, all the way to FLOW Beach Club events, Rizardo’s wicked ride has been undeniably successful. In between the blossoming moments of FLOW, he had also carved a distinct niche for himself and his music by releasing on acclaimed labels such as Defected Records, Altra Moda Music, Spinnin’ Records, Stereo Productions, and more.



Rizardo’s sound and style have become synonymous with his name, making it recognizable to identify a remix that has been graced by his touch simply by the track’s flow – and that’s no pun intended. His distinguished taste in sound is exemplified in every aspect of music. One of the many examples to note is his ability to take a hip-hop/rap track like LL Cool J’s 1996 hit “Doin It,” extract a sample from it, and ingeniously transform it into a groovy, modern house track.

Franky’s rare musical flair makes him a formidable weapon on stage behind the decks and in the studio when he is cooking up house bangers. Our Q&A with Franky delves into LTF and the ever-growing FLOW phenomenon, revealing the passion of the man behind the music, and empowering the bond between this unstoppable artist and his fans.



Discovering the Unique Sound: A Pivotal Moment

Throughout your career, you've experimented with various genres and styles. Can you share a pivotal moment when you felt that you had truly found your unique sound, and how did it shape your music going forward?



I remember moving into my new house and starting my remix for Blue Boy’s “Remember Me” at the kitchen table, where everything clicked, and it hit me that this is the kind of energetic groove and flow I’d like to have in my productions.

Wearing Different Hats: Label Owner and Events Organizer

In addition to your work as a producer and DJ, you've also taken on the roles of label owner and event organizer. What challenges and rewards have you encountered while wearing these different hats, and how do they influence each other?



Having been on both sides of the spectrum, the booker, and the artist, I understand the dynamics more deeply between the two as a collaborative effort on both sides, not a one-way business transaction. The booked artists are as much part of the event as the owner is.



Capturing the Essence of FLOW: An Unforgettable Memory

FLOW has become a prominent force in the electronic music scene. Can you share an unforgettable memory from one of your FLOW events that encapsulate the essence of the brand and the connection you strive to create with your audience?



One of the best memories for me was our FLOW Beach Club party at Colorado Charlie Beach Club in Scheveningen. Everything merged perfectly, the sun setting, the music, and the people. There is a special magic when this happens, when DJs start choosing tracks, they normally don’t dare to play, and when they did, they hit perfectly in sync with the crowd and the magic moments happen. One of my favorite memories for sure.

Pushing Boundaries: Memorable Collaborations

Collaboration plays a significant role in your music-making process. Can you tell us about a memorable collaboration that pushed you out of your comfort zone and resulted in a truly unique track?



I’m working on my debut album, and I’ve had the pleasure to work with the ambient melodic artist Rebelski. As a big fan of his compositions, we have managed to connect our worlds and create an amazing track called “Islands” - look out for it this summer.

Shaping a Love for House Music: Daft Punk's Influence

Your passion for house music is evident in your work. Can you share a story about a specific track or artist that had a profound impact on you and helped shape your appreciation for the genre?



The first album I ever bought was Daft Punk’s Homework - I remember playing this on repeat for weeks. It cemented my love for the dance music genre.

Words of Wisdom: Advice for Aspiring DJs and Producers

With your extensive experience in the music industry, what advice would you give to aspiring DJs and producers looking to make a name for themselves?



When performing, try to relax, just do your best and connect with the people. It’s a moment in time when people come to unwind, destress, and have fun. Make sure you do the same and connect with love. Make sure you feel excited about the music you have in your bag and carry this excitement over to the crowd.

Iconic Performances: Memorable Moments and Inspiration

You've performed at numerous iconic venues and festivals around the world. Can you describe a particularly memorable performance and what made it stand out from the rest? How do these experiences inspire your future performances and productions?




There have been many moments I’m grateful for - from after-hours magic at Lost Beach Club Ecuador to my 10-hour set at Thuishaven. One moment engrained in my mind is my first ever time playing in Ibiza at Pacha, closing the night from 5.00-7.00, ending the night with disco-infused house music, I could see that Ibiza magic happening in front of me. Still, goosebumps thinking about that!

A Glimpse into the Creative Process

As a music journalist, I'm curious to know about your creative process. Can you walk us through a typical day in the studio and how you approach the creation of a new track from start to finish?




It’s a fun and flowing process for me, I don’t try to think too much but just let the project lead me. I like to work quickly and first start off with a broad idea before going in for the details, having fun first, then perfecting it later.


The Future of House Music and Shaping the Genre

In recent years, electronic music has continued to evolve and diversify. How do you envision the future of house music, and what role do you see yourself playing in shaping the genre's direction?



I love the way house and electronic music have been evolving over the recent years, with house music gaining more love and I feel the freedom to play all the music I love. My aim is to do my part to show the more warm and groovy side of the genre, getting lost in a groove and dropping back in from a break is the best feeling for me.

A Message for Loyal Fans

Lastly, for fans who have followed your journey and supported your music, what message would you like to share with them? How do their love and enthusiasm motivate you to continue pushing boundaries in your career?



I appreciate the love I’ve been receiving, online as well as during my shows, it motivates me to always bring my A game, and always bring 110%. If it’s for 1 or 10,000 people, I will give it all I got to have the best time together and reciprocate the enthusiasm.

The Art of Connection: An Exclusive Interview with Franky Rizardo

The world of dance music is filled with contributors of all ages and backgrounds. The scene would not be where it is today without the years of trial, error, and trail blazing done by its stalwart seniors. However, the energy and forward thinking plays its own important role with fresh perspectives and invigorated energy for performance and discovery. One younger talent in particular has had a notable impact in recent years—Jaden Thompson.



The UK young gun has wasted no time making his mark on dance music. A regular favorite of Pete Tong’s BBC Radio 1, he’s been backed by the likes of The Martinez Brothers and Damian Lazarus and even started his own label, Midnight Parade. The label serves as a launchpad for Thompson’s revitalized, Chicago-tinted brand of house music, including one of his latest tunes, “Shimmer.”



This track is brimming with attitude and energy that demands to be seen, heard, and felt. The buoyant bass line proves infectious and unstoppable while the synth accents do in fact shimmer in a technicolor whirlwind that is as pleasant has the new spring’s breeze. And is that my heart pounding or the kick drum? Either way I’m so here for it. This cheeky groover is nothing but pure unadulterated vibes from bottom to top. Careful—press play and you will undoubtedly begin strutting your stuff.

“Shimmer” serves as the B-side to Jaden Thompson’s latest EP, Memories. This latest release is aimed straight at the dance floor, a noted difference from the anthemic vocal cuts that launched the label in 2021. Expect to see more club focused tunes from Thompson as summer and festival seasons approach—news just broke that he will be joining The Martinez Brothers and Skepta at HÏ Ibiza along with a host of other phenomenal artists. You know where to find us on Tuesday nights this summer

Jaden Thompson Makes the Dance Floor 'Shimmer' with Effervescent New Groove

Croatian-raised DJ and producer Matroda has been on fire in the house music scene for quite some time now, owing to his skill in producing chart-dominating tracks, dynamic energy, and mastery in rinsing some of the most tasteful edits of house tunes. With extensive classical training in violin, drums, and keyboard, Matroda's diverse influences and signature sound have set him apart and put his name in the spotlight.



Influenced by legends like Carl Cox and Justice, classical composers such as Mozart and Beethoven, and iconic bands like Led Zeppelin and The Beatles, Matroda has successfully blended these elements with his classical training to create a distinct sound. Establishing his label Terminal Underground has been a massive step up in elevating Matroda’s career, as he can showcase both his music and that of other gifted artists in the house scene.



Matroda's authentic talent and raw sound have not only earned him a devoted fan base but also garnered the attention of some of the most eminent record labels in the industry. His music has been signed to prestigious labels such as Insomniac Records, Cr2 Records, Repopulate Mars, Ultra Records, and HARD Records, among others. Moreover, he was ranked #19 in the world for Top 101 Producers in 2022 by 1001 Tracklists.



The impressive list of affiliations speaks volumes about Matroda's virtuosity as an artist and is further highlighted by his performances at several famed music festivals and clubs worldwide. He has graced the stages of renowned events such as EDC, Beyond and Nocturnal Wonderland, Amsterdam Dance Event, and Electric Zoo, to name a few. Additionally, he has executed memorable sets at big-league clubs like Club Space, Noa Beach Club, and Ushuaïa Ibiza. 





Matroda’s dedication to staying true to his musical vision is evident as he approaches each show with an open mind and a willingness to experiment, never playing the same set twice, and allowing the groove to take control of his creativity. The journey in the world of house music has been nothing short of remarkable for Matroda, and it’s exciting to hear from him that this is just the beginning.



Don't miss the opportunity to catch one of Matroda's dynamite sets on May 14th at Superior Ingredients in Brooklyn, New York, for an Open-Air Sunset Performance that promises to be unforgettable.



Throughout your incredible journey in the electronic music world, which artists or experiences have had the most significant impact on your unique Matroda sound? Can you share a pivotal moment that helped shape your artistic direction?

I've been influenced by a wide range of different genres, artists, and experiences throughout my journey in the electronic music world. In terms of specific artists, I've always been a big fan of Carl Cox and Justice. Their unique blend of electronic music has had an impact on my sound. I've also been inspired by classical composers like Mozart and Beethoven, as well as more contemporary artists like Led Zeppelin and The Beatles.





It’s hard to pin out one pivotal moment that helped shape my artistic direction. I think an artist/producer needs to develop all the time and look at how to be unique and different.



Your classical training in violin, drums, and keyboard has set you apart from other house music producers. How do you blend these classical elements with the influences of Led Zeppelin, Frank Sinatra, and The Beatles to create your distinct sound?

My classical training has had an impact on my sound. I think the key to blending these classical elements with my other influences like Led Zeppelin, Frank Sinatra, and The Beatles is to approach my productions with an open mind and a willingness to experiment.

Ultimately, the key is to stay true to my musical vision while also incorporating different influences and techniques to create something truly unique and innovative. It's a delicate balance, but one that I'm constantly striving to achieve with each new track.





With your label, Terminal Underground, you've been able to showcase your vision and talent even further. What inspired you to create your label, and how do you see it evolving in the coming years?

Creating Terminal Underground was an important step for me in terms of showcasing not only my music but also the music of other talented artists in the house music scene that I like. I wanted to create a platform that will help to support and promote the next generation of music producers.

In terms of how I see Terminal Underground evolving in the coming years, I think the key is to continue to stay true to our core values of supporting innovative, forward-thinking music and fostering a strong sense of community within the house/electronic music scene. We're always on the lookout for new talent to sign to the label and new ways to showcase our artists, whether that's through live events or other collaborations.





Your live performances have been praised for their electrifying energy and connection with the audience. How do you approach preparing for a show, and what elements do you believe are essential for creating an unforgettable experience for your fans?

I never prepare a full set-in advance. I need to see the fans and feel the energy, that's it. And I never played the same set twice. There’s so much new and dope music out there that I love being creative and selective. For me music is the key, everything else will follow.



As a trailblazer in the house music scene, what advice do you have for aspiring producers looking to make their mark on the industry? Are there any specific challenges you've faced in your career, and how did you overcome them?

My advice for you is to stay true to yourself and try to sound unique. Don't try to emulate others or follow trends just because they seem popular at the moment. Focus on creating something that resonates with you and be confident in it. Additionally, don't be afraid to take risks and push boundaries. The music industry is constantly evolving, so it's essential to stay ahead of the curve and try new things.





As for challenges, one of the biggest ones I've faced is staying motivated and persevering through difficult times. It's easy to get discouraged when things don't go as planned or when you face rejection. However, it's important to keep pushing forward and remain passionate about what you do. Surround yourself with positive and supportive people who will encourage and uplift you along the way. Remember, success is a journey, not a destination.





Your journey in the house music scene has been nothing short of remarkable. Can you share with us the story behind your first breakthrough moment and how it set the stage for your flourishing career as a producer and DJ?

My first breakthrough moment happened in 2015 when I released a “California” remix together with Chris Lake. The track ended up charting on Beatport's Top 100 for several weeks, and it put me on the map as an up-and-coming producer in the house music scene. It was a pivotal moment in my career and set the stage for everything that has come since.





The fusion of your classical training and diverse musical influences has given birth to the signature Matroda sound. How do you approach the creative process when producing a new track, and what are the key elements you prioritize to ensure that your music resonates with fans?

When I approach the creative process of producing a new track, I always try to let my intuition guide me. I start with a basic idea or concept and then build on it, experimenting with different sounds, melodies, and rhythms until it starts to take shape.

My goal is to create something unique and different, something that will stand out in the crowded electronic music scene. I believe that authenticity is key, and I always strive to stay true to my artistic vision while also pushing myself to innovate and evolve as a producer.





You've had the privilege of performing at some of the most prestigious music festivals and venues across the globe. Can you tell us about a particularly memorable performance that stands out and why it was so special to you?

It’s hard to pick one moment as every play is a special one. I like traveling the world, meeting new people, and doing what I love. I appreciate every moment of it.





As the founder of Terminal Underground, you've expanded your reach in the house music community. What motivated you to establish your label, and how do you envision its growth and impact on the scene in the future?

Terminal Underground was established to provide a platform for artists to showcase their unique sound and creativity. I wanted to create a space where upcoming talent could be nurtured and supported to reach their full potential. With Terminal Underground, we aim to discover and develop new talent, while also releasing tracks from established artists who share our passion for pushing the boundaries of house music.

As for the future, I see Terminal Underground continuing to grow and expand its reach while maintaining our commitment to quality and innovation. We want to continue to be a driving force in the house/tech music scene, introducing fresh sounds and unique perspectives to the industry. Ultimately, our goal is to contribute to the evolution of the genre and inspire the next generation of electronic music producers.





Having achieved significant success in the industry, what goals and aspirations do you have for the next phase of your career? Are there any dream collaborations or projects that you're eager to pursue as you continue to shape the future of house music?

I have a feeling that I haven't achieved anything yet. I just started. Every day is a new learning experience. For the next phase of my career, I am focused on continuing to evolve my sound and push boundaries in the music genre. I have some exciting collaborations in the works that I can't wait to share with my fans, as well as some new projects that will showcase different facets of my artistry.





Matroda: Blazing a Trail in House Music with Classical Roots and Mastery in Beats

TSHA, the London-based DJ and producer, has become a force to be reckoned with in the electronic music scene. Known for her exceptional skills on the decks and her authentic, personal approach to her craft, she has captured the hearts of fans across the globe. Here, we delve into five unforgettable moments from her life and career that have shaped her into the artist she is today.



1. The Bonobo Breakthrough



TSHA's career began to blossom when Bonobo, her idol, featured her track “Sacred” on his own "fabric Presents" mix. This moment not only brought her significant attention and awareness but also validated her hard work and dedication. It was a turning point that reinforced her belief in herself and her music, ultimately paving the way for the extraordinary journey that lay ahead.



2. BBC Radio 1's Future Artist Recognition



In 2021, TSHA was named BBC Radio 1's Future Artist, an accolade that solidified her position as one of the most promising talents in the electronic music scene. This recognition not only increased her fanbase but also helped her secure collaborations and gigs that would shape her career.


3. The Launch of Jackfruit Radio



Embracing her love for sharing music, TSHA started her own show, Jackfruit Radio, on Apple Music. This platform allowed her to showcase her diverse musical taste and introduce her fans to fresh, groundbreaking tracks from both emerging and established artists. Jackfruit Radio has become an extension of her artistry and a space for TSHA to connect with her audience on a deeper level.





4. TSHA's fabric Presents Release



TSHA's “fabric Presents” release demonstrated her unwavering dedication to the electronic music community. The compilation not only paid homage to the acid house era but also introduced a number of up-and-coming artists to the world. This carefully curated release reinforced her commitment to giving back to the scene that has given her so much.





5. Overcoming Anxiety and Sharing Her Journey



As a self-described introvert, TSHA has always been candid about her struggles with anxiety and the pressures of life in the limelight. By sharing her experiences on social media, she has connected with fans on a deeper level and created a sense of solidarity among those who face similar challenges. TSHA's openness about her mental health journey has made her an inspiration to many and has shown that it's possible to overcome obstacles and achieve success.





TSHA's meteoric rise in the electronic music scene can be attributed to her unyielding dedication, authenticity, and passion for her craft. The unforgettable moments mentioned above not only highlight her career achievements but also provide a glimpse into her personal journey. As she continues to break boundaries and inspire fans worldwide, we eagerly await what the future holds for this incredible artist.



Magazine

Pilar Lopez

John Cameron & Katie Knight

Michela Iosipov

Austin Miller

Pilar Lopez

Harry Levin

Austin Miller

Pilar Lopez

GA Editorial Team

Alexander Dias

Austin Miller

Pilar Lopez

Alexander Dias

Austin Miller

B. I. Empey

Pilar Lopez

Michela Iosipov

Austin Miller

Michela Iosipov

GA Editorial Team