Drum and bass has historically been “only for the headstrong,” as its MCs are known to say. For three decades, the British-born and bred genre has been the bastard stepchild of electronic dance music, the most underground and its most purist. Over the last few years, however, that’s been blown to bits.




Since its inception, drum and bass has consistently experienced a healthy audience in the UK. In the last decade, the fierce appetite for D&B has spread to mainland Europe with the popularity of genre-bending producers like Noisia, Black Sun Empire, and Camo & Krooked. Drum and bass created a noticeable blip on the electronic music radar Stateside in the late ’90s during the Roni Size/Reprazent, Goldie, and LTJ Bukem wave. However, it was just that, a blip, which faded almost as quickly as it appeared, leaving in its wake a hardcore following that made up for their negligible numbers with unbridled devotion, forsaking all other styles of music to worship at the shrine of drum and bass’ skittering high BPM beats and low-slung basslines.





As drum and bass thrived across the pond, domestically, it struggled to survive. Drum and bass club nights appeared and evaporated, leaving a fractured group of longstanding exceptions like Los Angeles’ Respect, San Francisco’s Stamina, Orlando’s Torque, Seattle’s DnB Tuesdays, and Boston’s Elements.




Drum and bass artists made up a tiny to non-existent percentage of festival lineups. Even behemoth promoters Insomniac, who historically were massive supporters of the genre, relegated drum and bass talent to daylight hours and jammed them into congested (sometimes confusing) back-to-back sets.




Drum and bass record labels failed to make enough money to stay alive.  And while their contemporaries in house and techno experienced exponential growth, those only producing and playing D&B had to have another source of income or move abroad (see: René LaVice and Gridlok) to survive.




Yet, after years of staying underground, drum and bass has become ubiquitous on the global music scene. In the US, it’s woven into the sonic makeup of sounds not strictly under the drum and bass umbrella. Ironically, drum and bass’ omnipresence is despite itself. The new generation of producers are going against the traditional tenets of the genre. Specifically, they have no regard for purism and refuse to make their listeners run the gauntlet to find them.






Drum and bass is becoming more prevalent in songs from high-profile dance music artists that aren’t afraid to cross genre lines, such as Zeds Dead’s “In My Head” (with MKLA) and Porter Robinson’s “Everything Goes On.”




“I listen to 1000s of DJ mixes a week and the new official music videos on YouTube every Friday, and there certainly is a big trend of DJs who didn’t used to play drum and bass dropping some drum and bass tracks,” says Reid Speed, a US pioneer of drum and bass and a trailblazer for women in the space. She adds, “Other genres borrowing from drum and bass are also having a moment of popularity right now.”




Just listen to superstar rapper Rico Nasty’s snarling “Intrusive,” where she spits over a shrieking drum and bass backing track. As teeth-grindingly aggressive as “Intrusive” is, it’s also a bouncing and fun sing-along.







British singer-songwriter and producer Pink Pantheress’ “Break it Off,” based heavily on a sample of Adam F’s 1995 track “Circles,” and piri’s “soft spot” are perhaps the two songs most often referenced when speaking about drum and bass appearing in unexpected places.




And while Rico Nasty and Pink Panthress often dip heavily into dance music subgenres, strains of drum and bass appear everywhere. Cases in point: actor/singer Maya Hawke’s “Sweet Tooth,” and singer/songwriter Charlie Puth’s “There’s a First Time for Everything.”



(This “Drum & Bass what?” playlist on Spotify is regularly updated with new non-drum and bass releases that have drum and bass in them, even if it is for a few seconds.)




There was no way to predict this type of infiltration when drum and bass started defining itself some three decades ago. Interestingly, the origins of drum and bass are as un-purist as music can get. It pulled elements from house, techno, breakbeat, hardcore, hip hop, and Jamaican sound systems to create its own Frankenstein musical being. A detailed dissection of each of these genres and their amalgamation into drum and bass can be found in music scholar Chris Muniz’s excellent Bassrush article, “How to Talk to Your Kids About Drum & Bass.”




Optical, one of the most revered drum and bass producers of all time, explains that in the mid-’90s, when UK drum and bass artists made their way over to the US, “The music was fairly similar to what we had in the UK, but the drum and bass part of it wasn’t there. 1998 was when it really started to take off in America.”




The formalization of drum and bass in North America came with major label interest and the involvement of professional promoters. “Drum and bass was very UK-dominated in the beginning, but the American thing matured rapidly and became a thing of its own where we were coming along to be part of the American scene,” says Optical. “Also, we were incorporated into those giant raves, like Electric Daisy Carnival. American raves on that scale are the biggest in the world. A lot of our experiences of playing to huge crowds have been in America.”





Optical and his partner Ed Rush have cultivated their formidable audience with zero compromises in what they produce or play. Their patented brand of neurofunk, a particularly harder-edged sub-genre of drum and bass, is possibly a more challenging one in the style that already has a high aural barrier to entry. Even so, Ukrainian techno DJ Nastia has been closing her sets with Ed Rush and Optical’s 2005 track, “Reece,” which has resulted in thousands of downloads of “Reece” every time she has a gig.



“I’m happy people are bringing the music into the sphere, getting a wider audience for it,” says Optical. “It’s obviously made a difference in the US, from what I can see. There are so many flavors of drum and bass, so many varieties of styles. I don’t know if you can necessarily say that about techno or house.”





The malleability of drum and bass is ultimately what drew DJ DB to the genre. The New York-based expat was one of the first people who could translate not just drum and bass, but electronic dance music for executives working in the traditional commercial systems of the music industry. An eclectic DJ in his native UK, when DB moved to the US, he realized that to work as a DJ, he had to pick a lane.



“I went with the drum and bass because it was morphing and expanding and shrinking more than any other genre,” says DB. “Drum and bass was the music that was really changing every three months. You could hear the difference and that’s what excited me so much at the time.”



It was at DB’s NASA parties where British hardcore debuted, becoming jungle and drum and bass. At the time, DB was also working at Sm:)e Communications, an imprint of Profile Records, releasing electronic dance music. Soon after, he opened Breakbeat Science, a record store stocking only drum and bass. Next, Warner Brothers Records tapped him to commission dance music remixes, including many drum and bass flips of songs in the Warner catalog.



Many years later, DB’s 22-year-old son Max is discovering drum and bass in an entirely different context than his father. “Max and his friends go to hear DJs that are playing these cuckoo eclectic sets,” says DB. “It’s part of the woke/alt/trans world. Nobody is a ‘he’ or a ‘she’ or a ‘they.’ It’s all mixed up. They’re playing all kinds of stuff, and a lot of it is drum and bass, but they aren’t purists. They’re the opposite, which I love.”





This scene is somewhat parallel and somewhat apart from traditional drum and bass communities. It is an independent, underground, and a throwback to the early rave days with a strong queer and BIPOC contingent. The genre-fluid subculture leans toward the old school aesthetically and in practice. Bianca Oblivion, AK Sports, I. Jordan, and Mandidextrous are the artists leading this scene, whose figurehead is the UK’s Sherrelle. And even though her profile has risen far above the underground, she still reps for it.



According to DB, “There are no gatekeepers anymore. There is no ‘one’ thing. You can be so disparate.” Streaming, and social media, TikTok in particular, can partially be credited to drum and bass permeating the general public’s consciousness, including music from non-exclusive drum and bass artists.



Case in point, Moonboy is hugely popular on social media for his drum and bass and dubstep tutorials. He’s gotten the attention of longstanding drum and bass artists and has a release on Atlantic Records. He has a solid following, yet he doesn’t have a presence in the conventional drum and bass scene.



Similarly, Bru-C is a rapper and MC who has parlayed rhyming over drum and bass on social media into a career on the festival circuit. This type of overground attention-seeking would have been unheard of in the ’90s when he would have been shut down and shunned instantly.








“Nobody’s embargoing him, nobody in the underground even notices that he’s out there doing it,” says DJ Kalm of Bru-C. A veteran of pirate radio, which was a breeding ground from drum and bass in the UK, and schooled in its restrictive attitude, Kalm says, “Before, drum and bass was put through a much more heavily scrutinized magnifying glass at that initial stage. Now, it’s not the wild west so much as a metropolis of madness. There’s so much of it coming out all the time. There’s no way anyone could do an embargo against anyone because no one can keep up with it.”



There are no rules, regulations, parameters, structures, or systems to navigate in the new school of drum and bass. If you want to make drum and bass when you previously produced a different genre, like Reaper, who previously made trap future bass under the name Prismo, you absolutely can. You can release your music on any label, even if it has never had a drum and bass release before, which Reaper has done on Monstercat and Space Yacht.

You don’t have to DJ on the drum and bass club and festival stage circuit. You can play drum and bass anywhere, at any point in your set. You can bring drum and bass to a multi-genre promoter, like the aforementioned Space Yacht or Brownies & Lemonade. They will embrace what you’re doing and present it to their audiences with a stamp of approval that results in brand new fans, not just of you as an artist, but of drum and bass.








This system of release and presentation allows for a more accessible point of entry to the genre than the musically and environmentally challenging one that drum and bass has traditionally occupied. In addition to Reaper, Kumarion, Justin Hawkes, and Skellytn are among the new school of drum and bass artists who are, in a way, mainstreaming drum and bass.




“I feel like drum and bass in North America is breaking new ground as it becomes more widely accepted,” says Skellytn, who credits the ramp up of her burgeoning career this year to a slew of consistent releases of her original music in 2022. She gained momentum with tracks on high profile drum and bass labels like Eatbrain, Bassrush, RAM, and an album on Play Me Records.




Social media is also where Skellytn says her multigenerational audience discovered her, for the most part. “Sometimes I feel like my audience is slightly older, 26+, and other times I play festivals and I see young kids 18-23 raging at my set,” she says.



To be clear, a fresh young audience that appreciates drum and bass, doesn’t necessarily (or at all) translate to bigger numbers for the US bastions of the genre that have been putting in their blood, sweat, tears, and cash to keep it going. However, it has resulted in larger festival crowds for these artists, more streams on DSPs, and a renewed interest in drum and bass releases.



Reid Speed observes this on her Play Me Records, a label celebrated for an open attitude toward genres. “Historically, we have had a lot of drum and bass remixes, but those wouldn’t necessarily do as well,” she says. “We refocused on a few people I picked early on, like Dr. Apollo, AIRGLO, Kumarion, Rebel Scum, Des McMahon. They blew up pretty fast. We put out Des’ stuff before, but all of a sudden, it started hitting differently.”








These artists reference the modern bass music scene more than legacy drum and bass artists. A style less identifiable as something heard at a longstanding drum and bass party and more accessible to a broader audience.



While some of these artists are booked at Insomniac’s Bassrush, representing drum and bass, they aren’t playing other legacy drum and bass parties. That circuit caters more to those with OG emotional connections and attitudes toward drum and bass—the same ones that restrained the genre.



“Drum and bass has spiraled out of the hands of the people who traditionally would have been considered the gatekeepers,” says Muniz who also DJs as Nightstalker, one of the longest-repping figures in drum and bass, both behind the decks and behind the scenes as a music scribe. Muniz sees the future in labels like Zed’s Dead’s Deadbeats, which will release dubstep, freeform bass, and drum and bass neck in neck with each other, sometimes as separate releases and other times all on one EP.



DJ Machete has seen every permutation of drum and bass since its start in the US from a trifecta of vantage points: as a DJ, the promoter of Respect, and as an agent for his own Respect Artist Agency. Respect stays steadfast, never bending to the different waves of drum and bass that have blown through its 24-year history.



“There are promoters who don’t normally do drum and bass starting to include it in their programming,” says Machete. “There are also promoters with their followings, and no matter what genre they’re pushing, they’ll have their core crowds. I definitely support it in the sense that I want more people to get to know the music. If they’re really truly into it, they’ll find our club.



He continues, “There are certain artists that created this genre that a lot of these promoters and people will never know or even care about, which is unfortunate. I have made it my mission to keep booking those guys and keep that vibe alive as long as I’m doing this.”

The Fall of the Gatekeepers and Rise of New Drum and Bass

To appreciate where you are and where you're going, you must know where you came from. Few artists in the house music space embody this more than Dutch DJ and producer, Prunk. If its got groove, soul, and pulsates with smooth, hypnotic rhythm, there's a good chance Prunk is nearby.



The PIV Records label head has been a champion of classic house, both past and present, for the entirety of his career. While his sounds have expanded across dance music over time, Prunk never forgot his first love—something he reconnected with this past January, releasing his sophomore album, Le Funk.







"This album is a tribute to my entire music career," Prunk shared in an interview. "My first DJ name was Prunk Le Funk, mainly because I only played funky house in the early years. Le Funk has been removed from my entire DJ name because I didn't want to be connected to just one genre. With this album, I wanted to show that there is still enough 'Funk' in Prunk with a nod to the past," he explains. "My album really had to be a house album and I wanted to do this with a warm, soulful, funky sound. I have tried to make this album with young and old talent. One of my dreams was to make a track with house legend Jovonn and I succeeded because he did the vocals of 'Story of House'. In the vocals he pays attention to how house originated with an important lesson for the new generation."



If you love house music—real, authentic, pure, unfettered house—this is the track of the week for you. "Story of House" is an undeniable new school blast from the past. A perfectly pocketed rhythm section casts an instantly infectious spell. Razor-sharp percussion, dynamic bass, brightly chugging guitar, and feathery keys lay an infallible foundation for the history lesson presented by the smoky vocal of Jovann. Push the desks to the side because this master class will have you dancing, and class is in session.

Class is in Session with Prunk's 'Story Of House'

Born in Munich, based in Berlin, Clara Cuvé's roots go back to classical piano, in which she trained since the age of four. Her music interests evolved over the years, ultimately leading to purchasing her first synthesizer at 15, an accumulation of a healthy record collection, and an interest in DJing.

Clara’s first DJ experiences began at 19 in her hometown of Munich. The city continued to play an essential role in her development as she took residency at Rote Sonne nightclub and became part of the Stock5 label and event group. She now resides in Berlin, techno’s flagship city, and her art has only continued to grow.





While she’s never been one to be pigeonholed into a single genre, Cuvé’s uninhibited energy for hard techno is undeniable. Time and time again, she’s shown just how promising the sounds of the new school can be. Clara put these sounds on full display at the Boiler Room stage in Budapest’s Bónusz Festival this past October.

Wasting no time, Clara leads off with an ominously devastating intro. Hang on tight, kids. This is going to be fully loaded 94 minutes. The ensuing onslaught of hard tech, laden with references to classic and presently popular samples, keeps staunch purists fully present and newcomers engaged. It doesn’t matter who you are, a psytrance edit of “Ich Bin Die Zukunft” will have you absolutely floored.

The night’s energy primed this set to be one for the books. Other artists on this same Boiler Room bill included Charlie Sparks, DTNB, Klangkuenstler, Lee Ann Roberts, Nur Jaber, Shlømo, and TRYM. You know, an artist like Clara Cuvé was brimming with inspiration when surrounded by an arsenal of talent like that.

Clara Cuvé Brings Hard Techno To Boiler Room at Bónusz Festival

While we’re always on the hunt for the latest and greatest grooves in dance music, we also hold a deep respect for the tracks that built its foundations. Infallible acts of today like A-Track, Disclosure, Wax Motif, and others might never exist without the pioneering efforts of house music forefathers like Frankie Knuckles, Chic, Marshal Jefferson, and this week’s featured artist, Farley “Jackmaster” Funk.



Farley was the mastermind behind our track of the week, “Love Can’t Turn Around.” In 1986, his roommate and fellow pioneer of the time, Steve “Silk” Hurley, produced a cover of “I Can’t Turn Around” by Isaac Hayes. Hearing Hurley’s version of the song, Farley teamed up with house music’s first publicly sold, vinyl-pressed DJ, Jesse Saunders, to make his own version of the track. Most of the instrumental arrangement remained, but Farley changed the hook from “I Can’t Turn Around” to “Love Can’t Turn Around” and dropped the rest of Hayes’ original lyrics for new words by author Vince Lawrence. Gospel singer, Darryl Pandy, performed the lead vocals.





“Love Can’t Turn Around” is widely considered one the most important tracks in the history of house music as the first record in the genre to make it to the UK Singles Chart and popularize house music overseas. One spin of this tune, and you’re whipped back to a neon-drenched time rife with the thick beats of drum machines and the distinct smell of vinyl.



An air of trailblazing liberty accompanies those canned drum loops and synth lines. And don’t even get me started on the emphatic attitude and energy with which Darryl Pandy delivers his vocals. Queue up the original video and see for yourself just how fabulous and vivacious Pandy’s performance is. He’s got it all: the mullet, the green sequined shirt, the strut, the voice. Farley, Saunders, and Pandy created one of the original boundary-breaking tunes that, almost four decades later, will still have you walking it out like a runway.

Bringing Back the Beat of Farley Jackmaster Funk’s Timeless 'Love Can’t Turn Around'

We are fortunate to live in a time where influential artists are making an indelible impact on the music industry and bringing their unique flavors and energy to every genre. As we enter Black History Month, we are celebrating and recognizing the success of Black individuals in the music industry and recognize the efforts of those who have become an engine for innovation. From their pioneering production talents to live performances that construct our 'lost in the sauce' experiences, these artists are breaking barriers and serving as inspiration for the next generation of Black musicians and the industry.




Listed below are 11 Black artists you should keep your eyes and ears out. These unique and compelling voices are rapidly rolling the tides of dance music and reclaiming their roots.



1. Mason Collective

Mason Collective comprises the killer trifecta Blair Suarez, Adam Myles, and Omar Guedar. Representing one of the motherlands of tech-house, the Manchester music-making entities are feeding fans with their innovative and funky sparse sounds. "MVSON" is a brand they've shaped around a specific taste in vogue and party ethics, which has become a hot commodity in the underground warehouse world. Moreover, the fashion mavens recently launched their record label Whippin, a home for quality beats.













2. Shermanology

Stemming from a family enriched with a noteworthy (and historic) musical background, brother and sister duo Andy and Dorothy Sherman, aka Shermanology, have become prominent faces in the industry. They provide their acoustics to the space by blending groovy tech-house beats with their spicy Dutch-Caribbean lineage. Experiencing a live performance by the two is a treat, not just because of their catchy tunes that are impossible not to sing along to but also due to their radiant stage presence and powerful crowd control.






















3. Black Fancy

Black Fancy, born in Parma, Italy, is poised to be the future of dance music. As an underground producer, his tech and deep house work showcase an impressive range of diversity in each of his tracks. His releases consistently display pure class, from elevating reworks to stripped-back beats complemented by catchy and soulful vocals. Black Fancy's music has earned recognition from well-known artists such as Franky Rizardo, The Martinez Brothers, Marco Carola, and many more.













4. MADVILLA

Emerging artist Adriane Jackson, better known as MADVILLA, is on the path to becoming a major player in the dance music world with his focused, experimental, and persistent approach to producing home runners. Based in the UK, this deep tech and minimal house producer has received critical acclaim for his releases on esteemed labels such as Locus, Pets, No Art, and Heavy House Society. He has also received support from renowned DJs and producers, including Enzo Siragusa, Sidney Charles, Seb Zito, Kenny Dope, Todd Edwards, and East End Dubs.
















5. HoneyLuv

A lady of pure influence on the generation and an absolute trailblazer, Taylor Character, aka HoneyLuv, is a remarkable community leader. Widely known for pumping out roaring tech house hits that feature contagious melodies, fresh vocals, and sexy synths. She's made light work of establishing her mark in an incredibly short period, establishing herself as a top gun in the music industry with her impactful and boundary-pushing productions.















6. Austin Millz

Harlem-born Austin Millz is a standout example of using social media to your benefit. He joyously infuses uplifting house with hip-hop and R&B for a future-forward brand of funk. Scrolling through his Instagram and Tik Tok is a rabbit hole of pure wizardry. He has an innate ability to make you feel like you're standing right next to him, vibing out as he smashes those effect pedals and overlooks a skyline. His expressive vibe is unmatched, and his sound is so hard not to bop your head to. It's no wonder his following is through the roof.







7. Channel Tres

Sheldon Young, better known as Channel Tres, is a rising talent from Compton, California, who cooks up the heat using a tasteful dollop of the following ingredients: house, disco, techno, funk, rap, and hip-hop. At one point, Mr. Tres was a buried treasure. However, his releases "Controller," "Topdown," and "Weedman" propelled him into the spotlight and secured his place in the public's consciousness. And his energetic live shows only helped confirm that he is a singular talent. He refrains from limiting himself to a single genre, a quality trait we appreciate in artists.












8. Jayda G

A London-based environmental toxicologist, environmental management professional, producer, and DJ, Jayda G ticks all the boxes for a well-rounded and talented figure. Well known for her famous 2021 Grammy-nominated track "Both of US," the Canadian artist encapsulates an inspiring message of sustainability and conservation in her music, consistently delivering groovy and soulful beats that showcase her passion for the environment and her commitment to raising awareness through her art. With a wealth of experience and expertise in her field, Jayda G is not just a talented musician, but a true advocate for positive change.


















9. Jaden Thompson

Despite being a relative newcomer to the scene, Jaden Thompson's talent, hardworking nature, and disarming humility have quickly gained him recognition from across the industry. His breakthrough hit "Closer," and its subsequent remixes skyrocketed him to fame in the music industry. Achieving superstardom in a competitive and fast-paced environment can be overwhelming, but if one remains authentic and stays focused, like Jaden, the possibilities are endless!







10. Hitty

It is always fascinating to see DJs who never envisioned music as their primary profession, rise to fame. Hitty didn't pursue production as a professional career until 2008, despite having a musical background dating back to the early 2000s. The best things come to those who wait. And it's good he chose to pursue music full-time, as his effervescent productions are perfect for the dancefloor and the sparkle of a disco ball. His years of DJing at HeatFM have honed his ability to create musically rich tracks that blend tech house, hip-hop, and disco elements. His extensive experience in the studio and on the turntables also led to his partnership with former house/tech duo Shenin Amara & AR to launch their imprint, Nocturnalist Records.
















11. Niteplan

Niteplan, a London native, is rapidly becoming a sought-after artist in the minimal and deep-tech house. His tracks are rinsed left and right by major-league names such as Skream, Jamie Jones, Michael Bibi, Marco Carola, Detlef, The Martinez Brothers, and many others. Niteplan's release, "DURRRTY," is receiving heaps of attention, along with many other tunes, that incorporate those glitchy basslines, tight synths, reverberating stabs, and crispy beats that make the crowd go mad.

11 Rising Black Artists Changing the Face of House Music

"Off my face don't know where I am, cuz I got my drugs from Amsterdam."


Like nearly every dance music fan in the world, we came to recognize this hook as the entry point to the hottest track of 2022, "Drugs From Amsterdam," by underground wunderkind Mau P. In the four months since its release, fans everywhere have been clamoring for any taste of Mau P they can get. XXX Radio, Mau's weekly mix series, and a steady flow of increasingly massive shows have kept us wrapped around his finger, but our patience was recently rewarded with the release of Mau's highly anticipated follow-up, "Gimme That Bounce."


The track went straight to the top of the Beatport top ten and has further evidenced what we already knew to be true: Mau P is here to stay. We reconnected with our Dutch friend to talk about his debut US shows, his new track, and a little research he's stumbled on. Check out the conversation below!






Hey Maurits! Great talking with you again. Thanks for cutting out some time for us. First, congratulations on releasing the "Drugs From Amsterdam" official music video. Was it as fun to film as it was to watch?


Of course! Always a pleasure! It was a lot of fun, but I have to be real with you and say I was only there for the scenes I was featured in. The whole video was produced by my genius best friend, Tommy Reerink. We've known each other since high school, and he absolutely killed it on this video.









You started the New Year with your first two US shows. They looked crazy, but how were they for you? What did you think about your first time in the States, and do you have any big plans for your North American Tour coming up?




I started off at Countdown. I was kinda nervous about how many people would show up because my set time was pretty early, I thought. Two or three songs in, I started to have a hard time seeing where the crowd ended. They were so hyped, and we fed off each other's energy. It was amazing. Then on New Year's, I played Proper in the Petco Park in San Diego, which was a smaller crowd but just as cool. Playing in the stadium was so dope as well. These were my first shows as Mau P in the States, and they just left me hungry for more. I actually can not wait for the February tour.







How have you been keeping up with the influx in demand for your time in the months following the launch of Mau P?




I love what I do and everything that comes with it. I never expected any of this to happen, so I take it all for granted and try to give every aspect of the job my all.





Aside from touring and filming a music video, you've been on top of your XXX Radio releases. What keeps you coming back week after week with an hour of fresh energy?




There's so much good music being released every week, and I love DJing in general, so one plus one equals two. The music I play on the radio show also really aligns with what I play at my shows, so it's a great way to always keep the library fresh.











After much demand, you have a new song coming out, "Gimme That Bounce." Was it challenging to follow "Drugs From Amsterdam," or were you still flowing with the same creative energy for the underground sounds you mentioned in our Artist Spotlight Interview?




I was actually working on both songs at the same time, I remember. I just left the "Gimme That Bounce" project file for a while because I didn't know how to finish it. I feel like when you step away from the production like that, you can crack the code easier, so that's what happened.









We know you have a busy tour coming up, but do you have more new music in the works? If so, can you share any inside info, or will we have to wait another four months before we get another fresh dose of Mau P?




Ouch Haha! There's A LOT of music coming, actually. I feel like we were riding off the "Drugs From Amsterdam" wave for a few months and firing up the Mau P machine before dropping "Gimme That Bounce." I had a call about my release schedule today, and it's looking amazing. Can't really share anything yet but just get ready.









What are you most excited about coming up in 2023?




Playing so many shows.










Thanks again for sitting down for another interview with Gray Area! Anything else you'd like to leave us and our readers with?




I just want to let everyone know that research has shown playing my song "Gimme That Bounce" at least three times every day will bring you good luck and fortune. That's all. Bye!

[Interview] Mau P Delivers Another Beatport Number 1 With 'Gimme That Bounce'

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




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




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



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




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





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




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



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




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







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




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




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




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





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




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



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




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







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




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




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







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




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

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

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






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


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


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


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

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

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





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

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

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

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



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

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

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

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

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

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



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

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




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

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

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

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

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

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



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

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

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


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

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

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







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

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

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

Don't miss Desert Hearts NYC at Knockdown Center on September 29th!

Artists & Fans Share the Positive Impact of Desert Hearts

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




CLASS CLOWNS

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















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




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




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




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












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




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




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




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




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




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










BLACK WATER

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




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




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












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




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




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




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




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










A VERY AMERICAN EXPERIENCE

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




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




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




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















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




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




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




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




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




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




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







THE GIANT GRID OF NEO-AMERICAN TECHNO

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




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









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




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




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




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




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




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




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




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







JUST KEEP BOUNCING

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




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




The main technical lesson that Neptune learned about shuffling?




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




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















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




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







WHAT FUELS THE FUTURE

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




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




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












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




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




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







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




"Because that's what fuels the future."







OFF THE DEEP END

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




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




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




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




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




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







INTO THE SUNRISE

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




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




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




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




Thus goes Groove Cruise Miami, straight into the sunrise.

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

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




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







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

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




2. De Mthuda x Njelic - Shesha

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




3. Kwiish SA - Iskhathi (Gong Gong)

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




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

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




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

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




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

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






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

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



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

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




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

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




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

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




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

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




12. Felo Le Tee & Myztro - 66

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




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

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




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

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




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

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

Dive Into Amapiano With These 15 Essential Tracks

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





1. Alan Braxe & Fred Falke - Intro

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





2. Cleptomaniacs - All I Do

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



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

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



4. The Bucketheads - The Bomb

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



5. Every Daft Punk Record Ever

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

Wax Motif’s Favorite Classic House Tracks

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





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



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




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



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

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

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




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




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


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




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




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




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







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




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




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




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




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




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




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




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




Do you remember the first mixtape someone gave you?




Yes. It was Frankie Knuckles Live at the Warehouse.




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




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




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




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

Gray Area and Spotify Launch New Series of Dj Mixes

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




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


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




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




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




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




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

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

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




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




The History of Amapiano




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




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




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









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









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









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









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




The Current State of Amapiano




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









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




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









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




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









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




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




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

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

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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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

Industry Spotlight: Metatone Management

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



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







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



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



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



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



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

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

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



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







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



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



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





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



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













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

https://soundcloud.com/mallgrab

https://shop.mallgrab.world







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

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

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





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



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



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