In an industry where trends come and go, Todd Terry stands as a constant force, shaping the house music scene since the '80s. With a career defined by innovative sound, legendary collaborations, noteworthy sets, and sleepless nights, Todd recently sat down with Gray Area to share insights about his journey, his inspirations, and the future of house. From his start in old-school hip-hop to pioneering a unique fusion of breaks, hip-hop, and traditional house, Todd's influence in the genre is undeniable.


As we dive into his interview, Todd reflects on the significance of Freeze Records, highlighting its role in showcasing his style's evolution and history. Todd's home city, Brooklyn, his stomping grounds, are discussed as he explains the energy of performing there compared to international venues and the importance of bringing his sound back to its roots.



Looking ahead, Todd teases fans with several upcoming projects, including retrospective albums, a semi-old school rap project, and even a foray into a more pop-style album. He shares his thoughts on the shift from vinyl to digital music consumption, maintaining a pragmatic view of the evolving industry.


Join us as we explore the mind and music of Todd Terry, one of the realest and most iconic names to do it in house music.



How do you view the evolution of house music since your initiation into the scene in the '80s?



I hope that I have kept bringing some energy to the scene. I always wanted to keep a party vibe as well as have great songs, melodies, hard beats and percussion.


Which of your multiple record labels holds the most personal significance to you, and why?


Freeze Records is the one that shows my history and styles and that for me will last forever. Makes me proud that people still dig the old school sound, it’s a pure treasure.


Your signature sound blends elements of breaks, hip-hop, and traditional house. How did you arrive at this distinctive fusion?

I came from old school hip hop, so I can’t help but keep to these grooves. Culture of hip hop will always be my main element.



How does it feel to be sharing the lineup with Ferreck Dawn, a modern powerhouse in house music at the Roof of Superior Ingredients on January 20th?

It is definitely what I needed right now, and it is a pleasure to have a chance to rock the dance floors together.


How do you stay motivated and inspired after so many years in the industry?


I know there’s going to be a day when real music comes back. I want to be there for that moment in my life. We need it because it got us here.


Being from Brooklyn, how does playing in your home city differ from playing in international venues?



Brooklyn is the only cool vibe in New York and I cannot wait to bring the sound back to where it needs to be.

What role do you believe your record labels, particularly InHouse Records, play in the modern house music landscape?



InHouse was always the experimental label to try and put out more current stuff in the genre whereas Freeze we stick to the classics sound. This way people know what they’re getting.



Can you shed some light on any upcoming projects or collaborations fans should keep an eye out for?

It is going to be a big year! I have a retrospective album [three parts] and a semi-old school rap project coming out. I also have been putting together a pop style album. It’s going to be something new so definitely check it out.



How do you feel about the current digital age of music consumption compared to the vinyl era you started in?

I am not opposed to the digital age, it is okay. I wish I could carry vinyl around but that is impossible these days [and heavy]! 



Do you have a favorite venue or city to perform in, and if so, what makes it special?

I will always love Ministry of Sound, especially in the good ol’ days, but HÏ in Ibiza is banging right now with all their rooms!



For someone new to your music, which three tracks would you recommend as a starting point to get acquainted with the essence of Todd Terry?



I would say, ‘Jumpin’, ‘Something Goin On’ and my remix of ‘Missing’ by ETBG [Everything But the Girl]. 



What is something simple that makes you smile?

Pasta haha!

The Sound of Brooklyn: A Chat with Todd Terry

Sidney Charles Hurricane Vieljans - what a name indeed. The Hamburg-born DJ and producer has swiftly ascended the ranks, making him a household name among house music aficionados. With an exquisite blend of punchy, hip-hop-infused house music, Sidney Charles has not only topped the charts but also ingrained a mark on dance floors and under disco balls worldwide.

In our exclusive interview, Sidney delves into music, discussing everything from his early influences to his approach to music production. He brings us into his universe, sharing insights about his journey, creative approach, and his vision for the future.



Drawing inspiration from various genres, including jazz and experimental sounds, Sidney’s music has evolved without losing its roots. His vision for Heavy House Society, his label and its residency at Watergate Club in Berlin, is not just about producing music but about creating a community, a collective of artists driven by a shared adoration for house music.



Stay tuned as we dive deep into the hurricane that is Sidney Charles.





Your name, Sidney Charles Hurricane Vieljans, is quite striking. How do you feel it represents your music? Have you ever felt like your music hits a crowd so hard, it feels like a hurricane swept the room?

Haha good question. My name is like a bold stamp on my music. It's not just a name; it's a statement about the power and intensity I want my tracks to pack. 

There have been gigs where the crowd response felt like a hurricane hit the room – that kind of raw, unfiltered energy that leaves an impact. So, yeah, the name reflects the aim: to make music that hits hard, like a hurricane tearing through the place.



Your earlier influences included hip hop, funk, and soul. Are there any modern artists or genres influencing your sound today?

My musical roots in hip-hop, funk, and soul still influence me, but today I draw inspiration from the dynamic fusion of electronic genres. I'm particularly intrigued by the creative intersections of house, jazz, and experimental sounds. 

Contemporary artists in deep house, tech house, and minimal house inspire me, and I'm always on the lookout for emerging talents to collaborate with, keeping my sound fresh and evolving.



If there is one, describe the difference between playing for a US crowd vs EU crowd. How would you differentiate the two when it comes to the scene in the US and Europe?


Generally, I think while both the U.S. and Europe share a love for electronic music, the U.S. scene tends to be more eclectic, encompassing various styles, whereas the European scene often emphasizes a deeper and more specialized appreciation for specific sub-genres within the electronic music spectrum.

American crowds tend to appreciate a mix of mainstream and underground sounds, creating a diverse and dynamic atmosphere. In the states the scene feels very fresh and new and the crowd really represents this feeling of a new movement.

On the other hand, European crowds, known for their deep-rooted connection to electronic music, often have a strong appreciation for specific sub-genres.



What is a piece of equipment or instrument you don’t know how to play or use but wish you could incorporate into your music production?

I've always been intrigued by modular synthesizers. The endless possibilities for sound sculpting and the hands-on, tactile nature of manipulating modules in real-time is fascinating. 

While I may not be well-versed in using modular synthesizers at the moment, I can envision the creative potential they offer in terms of crafting unique and evolving sounds. It's the kind of gear that adds a distinctive and experimental edge to music production. Incorporating modular synthesis into my setup is something I've been curious about, and I believe it could open up new sonic dimensions for my productions.




How do you approach the balance between staying true to your signature sound and experimenting with new musical directions? How do you strike a balance between accessibility and staying true to underground roots?

Balancing my signature sound with experimentation is about keeping the core elements I'm known for while exploring new ideas. I stay true to my roots by maintaining the essence of what defines my music—whether it's a specific groove or unique melody.



Experimentation is crucial for growth, and when exploring new directions, I often draw inspiration from a variety of genres.

I believe it's possible to maintain authenticity while expanding the reach of my music. Collaborations with diverse artists, remix projects, and exploring different release formats are ways I strike a balance. It's about staying true to the raw energy of the underground scene while finding avenues to connect with a broader audience.



Are there any artists or vocalists you're eager to collaborate with in the future? If you could collaborate with any artist, dead or alive, who would it be and why?

On top of my list will always be Kerri Chandler simply because he is the one that influenced me the most in finding my identity as an artist. His grooves and musical ideas were just always ahead of time also the way he mixes his music sounds different: more punchy, colorful, and dynamic.

I would also love to sit in the studio with DJ Premier and jam on some beats with him…another musical genius that I deeply admire. I never saw anyone being crafted in the art of sampling like him.

Also collaborating with Quincy Jones would be a dream come true. His musical genius, versatility, and boundary-pushing approach to genres align with my ethos of blending different styles.

How has the shift to streaming platforms and digital releases impacted your approach to releasing music, especially with your affinity for vinyl? How do you feel about vinyl coming back into style, even though they’ve become way more expensive to buy now?

Streaming and digital are big for reaching everyone, but I still love putting out music on vinyl for the real, hands-on experience. Even though vinyl got pricier, it's cool to see people getting into it again. It's about finding a balance between going digital for the masses and keeping that old-school vibe with vinyl.



Heavy House Society has a residency at Watergate Club in Berlin. What did it take to get to this point and who was the first person you called to tell the good news about achieving this?

Getting a residency at Watergate Club in Berlin was a big deal for me. I was truly happy when I received the news also because Watergate has influenced me a lot as a young raver and this place always inspired me in many ways and also finding my path as an artist myself.

It's hard to say but I guess it's because I was able to create a certain identity with my sound and Heavy House Society. The Berlin market is very difficult and doesn’t accept anything that is too commercially orientated. So I take this as a compliment to be able to bring my label to such an institution. When I heard the news I told my family first!



As someone deeply rooted in the scene, what do you think are some under-appreciated aspects of producing electronic music?

Generally, nowadays the skill of producing becomes less and less important while social media seems to be overtaking the main interest of what an Artist should do to make his career. Ghost producers, A.I. and makes it so easy nowadays to completely focus on the fame part of electronic music.

But still I can feel that real artists will always be recognized for what they are and also will be supported for that.

I come from a time where music has been the foundation of a career and nothing else. I still follow this way of thinking and my music is what represents me as an artist the most, not my appearance on social media. Social media is simply a tool to bring my music to the people and that’s it. Somehow you have to play the game a little bit but that’s also the fun thing about it.



Can you describe a pivotal moment in your career that changed your perspective on music?

In my early days as a raver I regularly went to Berlin, mainly Panorama Bar. This place just simply had such a big impact on me on how I perceive house music. Especially that sound system that let me fully understand how I wanted my music sound. I heard many great artists in that room but the ones that stick to my mind the most were Derrick May and Kerri Chandler.

After I heard their set I was more convinced about myself and what music I want to make.

In the past, you've noted the importance of a “red line” in an artist's work. How do you maintain that consistency in your own tracks?

While I aim for consistency, I also allow for evolution. This means building on my established sound rather than completely changing it. Collaborating with others and finding inspiration from various sources is cool, but I make sure it fits with my overall artistic identity.

Having a consistent way of working in the studio, from choosing instruments to production techniques, adds to the overall cohesion of my music. It's about finding that balance between staying true to my style and allowing for growth and exploration in my artistic journey.

How would you rate the feedback labels give artists nowadays? What do you strive for in terms of feedback to aspiring artists?

I think the feedback rarely goes deeper than a no or a yes. It's simply because of this big mass of producers nowadays and demos that are being sent out that labels can’t keep up with this flood of demos.

For aspiring artists, I always aim to be helpful and specific. I try to point out what they're doing well or wrong and suggest ways to improve. It's essential to take both positive and constructive feedback as opportunities to grow, especially when you are an artist trying to develop your sound.

My goal with Heavy House Society is also to create a supportive environment for aspiring artists, helping them navigate the music industry and stay true to their creative vision.

What's the most memorable gig you've ever played, and what made it stand out? Favorite venue or country to play at?

Lately it was probably El Tero in Chile. The venue is simply breath-taking. It's a couple of hours drive from Santiago going into a small coastal town in the pacific. At some point you have to leave the car and take a steep 20 min walk down to arrive at the beachfront. 

There you can find the DJ booth and a hidden space for 2,000 people to dance. When I played there until the morning hours the sunrise was magical. I ended up playing for nine and a half hours.

Are there any non-musical influences, like art or literature, that play into your creative process?

I love reading, meditating and running. When I have a writer's block…those things help me a lot to overcome those periods.

Especially traveling, meeting new people and old friends, seeing new places influence me a lot in my music making process.



I realized that especially in the pandemic. After almost 1-2 years without traveling my ideas became more numb and equal. I guess it's simply how our mind works: the input is as important as the output and they influence each other constantly.

Name one simple thing that makes you smile. :)

Coffee.

Sidney Charles: The Hurricane of House Music

Dive into the dynamic career of Wax Motif, the Australian-born, LA-based DJ and producer known for his musical artistry. With a string of chart-topping successes, including his acclaimed "House Of Wax" tour and sold-out shows in cities like New York, Dallas, and Miami, Wax Motif has firmly established himself as a household name in the house music industry. 

In this exclusive interview, we dive into the highlights, challenges, and creative evolution that have propelled him to such heights. Discover the secrets behind his chart-dominating tracks, collaborations with industry giants like Zhu, and his role as the driving force behind Divided Souls Records. 





What unique experiences have you had in 2023 that have shaped your current direction?

I’d say it was mainly a lot of time in Europe this year; events like Tomorrowland and Ibiza allowed me to check out a ton of other DJ's and parties, and I also played at festivals that are outside of my usual zone, like Lost Lands.

You've previously mentioned wanting to create music that resonates with you personally. In 2023, how has this philosophy shaped the music you've produced so far?

I generally try not to think too much about what other people want when it comes to my music, so everything I do is generally shaped by this philosophy. I think as a producer, you spend so much time with an idea, crafting it, getting the release ready, and then promoting it, that I feel like you have to love it the most out of anyone.

This year, I feel I’ve been able to learn a lot of new techniques and try a bunch of different sounds, but I always want to make sure I’m executing that at the highest level production-wise, so overall, I’m pretty happy with the results.



What has been the highlight of your career in 2023? Can you share a memorable moment that stood out to you?

There have been so many. I’d say probably playing the main stage at EDC was a highlight. Also, the whole House Of Wax tour has been a huge highlight too. Being able to sell out my own shows in many cities like New York, Dallas, and Miami and just engaging with the die-hard fans has been amazing.



How has your sound evolved in 2023? Are there any new influences or genres you've been exploring?

Right now I’m exploring the deeper, darker house and techno side of my production. I try not to think about genre too much. If I can ask myself ‘is this a good song?’ and the answer is ‘yes’ then that is what is most important to me.

How has running your label, Divided Souls Records, impacted your journey as an artist?

It’s just cool to be able to sign stuff I like or give my homies a platform to release on. I think the main impact has been realizing how much talent there is out there and how much goes unnoticed, and to be honest, it makes me want to step my studio game up even harder.



Have you discovered any new artists through Divided Souls that you're excited to introduce to the world?

Yes, so many. Longstoryshort who I produced “On The Low” with on Divided Souls has been getting a ton of momentum. Colorsick, Shahay, SLVR, Maesic, Doug!, Kapuzen & Basura Boys are all amazingly talented producers. 

What can fans look forward to in the rest of 2023 into 2024?

I have a few more releases to round out the year, as well as, a collaboration with Zhu and a bunch of international shows in Colombia, The Bahamas, and Mexico.



How has your approach to live performances changed in 2023, if at all? What can fans expect from a Wax Motif show this year?

My approach has generally stayed the same. I usually try to change up my sets a lot because I know I have fans that will come to multiple shows. The core of my set consists of my own music and the favorites from my discography that people want to hear. Outside of that, I try to sprinkle in new music I think is interesting, forward-thinking, or will resonate with my crowd.

As you continue to grow as an artist, how do you balance the expectations of fans and your own creative desires?

This is such a difficult question. It’s probably the one I wrestle with the most. I guess ultimately I don’t have a real answer for this; I just try to listen to my fans and their response to tracks while trying to stay innovative and interesting.



If you could collaborate with any artist, who would it be and why?

For dance production of probably say Skrillex. He’s a master at production and always coming with fresh ideas. Beat wise I’d probably say Pharrell, Dr. Dre or Kanye because their productions have inspired me so much growing up. 

What's the most significant challenge you've faced in your career, and how have you overcome it?

I think it was probably making it through the pandemic. When the lockdown started, I was stuck in the US, lost all my upcoming shows, and didn’t qualify for government assistance because I’m Australian. I ended up taking to live streaming and building a community discord, which provided me with just enough to scrape by. I’m happy I was able to come out the other side and still have a career.

What are you most excited about for your North American tour?

This tour, we’re focusing mainly on larger hard-ticket venues. It’s been the most exciting, knowing that every single person in the room is there for you. It gives you a lot of freedom and confidence to just do your thing, as opposed to worrying about crowd response all the time. I’m also excited to meet everyone at shows, connect faces to internet names, and give people a fun experience.

How has your lifestyle changed in 2023 compared to the earlier stages of your career?

It’s changed significantly! These days, there is a lot more focus on taking care of my body and mind. The amount of travel and party opportunities has really stepped up in the last few years, so just making sure I keep myself in check regularly.

How do you keep yourself motivated and creatively stimulated?

I’ll usually sample something or try to find a new sample pack or synth to try to get some fresh inspiration. Also just listening to a lot of music helps too.



What advice would you give to an aspiring artist attending their first festival? 

Have a blast! Don’t get too f*cked up especially if you plan on meeting people in the industry.

Looking ahead, what goals or dreams do you have for your career that you're willing to share? What's the next big thing for Wax Motif beyond 2023?

My main goal is to keep innovating and releasing music that my fans will resonate with. Beyond that, I’d love to bring House Of Wax to bigger audiences and be able to bring that vibe overseas more. We have some larger venues and more international tours we’re looking at for 2024, which makes me really excited!



If you were to create a “House Of Wax” themed amusement park, what would be the flagship ride and why?

I hate heights but for some reason, I love roller coasters, so maybe a dragon-themed roller coaster or dodgem cars, but you have to race on a go-kart track because I love motorsports.

What track do you use in your sets that you consider a secret weapon?

At the moment is probably this edit of "Jungle" by Skrillex, Fred Again..

and Flowdan or this older track by Camisra called "Let Me Show You".

You've toured all over the world. What's the most unusual or unexpected place you've ever found yourself creating music? 

There’s been a lot but Russia definitely stands out. It's such a different place but the people are so cool. It’s those times when music takes me to somewhere I probably would’ve never gone on my own that make me appreciate what I do.

Wax Motif's House of Hits: A Q&A Behind the Turntables

Archie Hamilton stands as a leading talent in our generation's minimal house scene. He was an integral part of the Fuse Crew during a time when minimal house wasn't as prominent as it is today, especially in the United States. His musical career has seen a massive evolution, and he shows no signs of slowing down. For those who have experienced his live performances, it's clear that he becomes one with the crowd. Although he’s behind the booth, he connects with audiences, as if he’s a neighbor to you on the dance floor. Slinging tunes and pushing grooves.

Hamilton launched his own label, Micro Hertz, featuring some of the most standout names in house music. His event brand, Frequency, is another focus of his, featuring curated lineups with the hottest names in the genre, including Rossi., Luuk Van Dijk, Fleur Shore, Toman, and many others. Juggling roles as a father of a newborn, husband, traveling DJ, producer, label boss, and event brand owner, Archie Hamilton manages a full plate.


In our sit-down interview with Archie Hamilton, we delve into his journey through music and the industry, highlighting how his lack of mentorship has bred him into someone who doesn't just dim his light or stay in comfort zones. Hamilton stuffs himself in his studio, continually setting new standards for music, and striving to leave mediocrity behind.


What has the journey been like becoming a dad, husband, touring DJ, producer, label boss, and throwing your Frequency events? How have you found a balance within this routine?

Yeah, having a strong routine is definitely key. It's been a bit of a whirlwind, honestly. A phrase I've often used in the past few months is 'pressure makes diamonds.'  



Regarding managing everything, I'm fortunate to have a fantastic team supporting me and the label. We've been doing really well on that front; I think the the label is in the best place it's ever been.

As for the event side, the initial run of shows we did was excellent. The last big one we did was at ADE last year with Frequency. After that, I decided to take a break to focus on building my personal and label brands.

Where did your label name Micro Hertz derive from? 

The idea for the name came after establishing 'Frequency' as a brand as micro hertz is a unit of frequency measurement. The concept of Frequency really resonates with me; everything in our world relates to it – it influences how we feel, it's present in colors, sounds, and everything around us. 'Micro Hertz' was a natural extension of this idea.





Is there somebody on your label that is a bit underrated and you believe should have more attention, or someone you think everyone should keep an eye out for?

That's a great question. There are two artists that I think are absolutely killing it at the moment. We just had a massive record from Ozzie Guven, and then before that we had Luke Dean who’s another young UK producer that’s doing big things. We’ve also got a US artist named Ranger Trucco who's doing wicked stuff too - he actually played the last show we did in New York.


When you were coming up in the scene, was there something you wish you knew back then that you know now?

I think the number one thing I wish I knew back then, which I know now, is not to rush things. Also, not to be disheartened when things don't work out, you need a pretty thick skin in this game. Perhaps the most important thing I've realized is how crucial first impressions are, especially when sending music to people. There's nothing more off-putting than receiving a demo that starts with, 'Hey, bro, this is my first track I've just started producing.' It ruins the illusion of the artistry behind the music.


Do you handpick your lineups for Frequency?

Yeah, we usually bounce ideas back and forth around the team when it comes to picking lineups for Frequency. I have a strong vision of what I want the parties to sound like. It's a mix of artists I've played with a lot in the past, whose music I know well and whom I personally like. To me, having a strong personal connection with the artist is really important. But there are also tons of artists I admire from afar, who I don't know personally, and it's great to have them down.





There's no specific sound I aim for, just high-quality music and good vibes. I believe the energy in the room starts in the DJ booth. If you're playing and you're in a bad mood, it comes across. I know from experience that if I've had a stressful day, or the travel's been tough, or it's the third gig of the weekend and I'm exhausted, you can feel that coming across.



In the event you feel tired or aren’t exactly in the best mood to play, how do you spin around and get yourself on your feet?

Just take a breath. Have a look around. Maybe try and connect with somebody who's obviously having a great time. Right. That’s my reference point.


What is your number one pet peeve in the booth?

Since I’m quite tall I think my number one pet peeve in the booth is having the equipment set too low or too far away. This actually has a significant impact on how I play. 

Also not being able to move around quickly enough, especially since I'm technically involved in playing, can be a challenge. I like to loop and do various things, so it's really important for me to be able to move around the equipment swiftly and without any obstacles.




Another issue is monitoring. If the monitor is really bad, it becomes difficult to get into the groove and mood because you can't hear what the audience is hearing. So that's another key point.

Apart from that, I'm pretty easy-going. I actually quite like having people in the booth with me, dancing around, as long as it's not overcrowded. 



Tell me a little bit more about the minimal genre overall back when you were heading in that direction as a rookie. Was it as popular as it is today or not?

The funny thing is, I've been reflecting on this a lot recently. Being part of the first wave of artists in that genre, there weren't many opportunities to play big shows initially. Especially in the US, the appetite for this genre hadn't really developed yet. So, for the first five or six years, I didn't even think it would take off and blow up in the US as much as it has. 



In those early years, we just thought, 'Well, we do what we do.' It felt so new and exciting and it still does, which is great and it's amazing to see how it has taken hold over time.



Did you ever have a role model or mentor throughout your music career?


That's a very good question; I guess the answer is no, I didn't really have a mentor. Sometimes I wish I had. I listened to a Rick Rubin podcast last week, and he said something that resonated with me. He mentioned that after your first wave of success, it's hard to find someone to get advice from who either has done what you've done or doesn't have a vested interest in the answer.

For me I have always just figured things out myself. The reason I started my first record label was that no one would sign my music since I was an unknown. We started the label and were fumbling around in the dark, trying to figure things out. 

The only way you learn anything is by trying, and that was an important process for me – figuring stuff out on my own. We do have a really strong community in London too; there’s so many people to connect with so that’s really great.

If you could delve into any other genre of music and make a career out of it, what would it be?

I have a real love for downtempo music, trip-hop, that kind of thing. I'm also drawn to cinematic music and movie scores. I think I'd love to have a crack at creating in those genres. Another deep passion of mine is the deeper side of drum & bass, which could be another interesting angle to explore.



There are tons of things I would have loved to do if circumstances were different, and I still pursue them. If I'm in the studio, I might make a trip-hop record or some drum and bass. Doing this triggers a part of my brain that's usually not engaged, and from there, I often find something new to work on.


What has been your favorite show to play this year? What made it stand out?


I think the most memorable event for me was probably my All Night Long at Fabric in London. That club holds a special place in my heart. It was the first nightclub I went to in London and the place where I decided I wanted to be a DJ, standing on the dance floor. Another thing was having so many friends there. So many people who have been a part of my music history were there, hanging out in the booth. It was just eight hours of pure enjoyment.






You have a show coming up with us in New York City at Superior Ingredients. What is your favorite thing about the NYC crowd?



I love the New York crowd. I guess it’s the most similar to Europe. For example, if you compare it to Miami’s Latin vibe, or Los Angeles, NYC stands out as you've got a diverse mix of people, and the atmosphere is quite raw and gritty, which I like.




To wrap things up, what is one simple thing that makes you smile?



The simple answer to that is my daughter. My daughter smiling at me makes me smile.

In the Mix with Archie Hamilton: The Maverick of Minimal House

In a career that extends beyond 21 years, Ferreck Dawn has emerged as a key player in house music. His journey from the tactile era of vinyl to the expansive digital age exemplifies adaptability and innovation. His alliance with the esteemed Defected Records has not only bolstered his profile but also aligned him with the forefront of quality house music. As we gear up to delve deeper, Ferreck's reflections on his experiences, challenges, and the evolution of his sound promise a comprehensive look into the life of a modern house music influencer.

In this exclusive interview, Ferreck opens up about his creative process, the nuances of playing to different audiences, and the personal significance behind some of his most impactful tracks. He also shares his excitement about collaborating with industry legends and looks forward to future projects that continue to shape his distinguished career in music. As we explore his insights and stories, we gain a unique perspective on what it takes to remain relevant and successful in the  landscape of house music.


Over the past 17 years, how have you seen the house music landscape change, and where do you fit within its current tapestry?

I’ve been DJ'ing since I was 17 (so that’s actually 21 years now) and it’s definitely changed a lot. I loved the vinyl days back then, going to the record shop every week on the hunt. Things change and even though that charm is gone, it’s amazing how much music is available to you right now. Pro's and con's to everything. 

The past years I’ve seen certain sub genres come and go but the one genre that’s super consistent to me is house. Great to see how well it’s still doing after all these years. I’ve been producing and playing house music for about 16 years now and since it’s still very relevant, I feel I fit right in.


Being associated with the globally renowned label Defected, what unique experiences or opportunities has this collaboration brought your way?

It’s been a true pleasure working with Defected for the past five years. I’m super happy to be associated with them, they are the biggest house music label in the world and stand for quality house music. So to be associated with that is amazing. We recently further solidified our working relationship with a 12 single record deal and a publishing deal.



I love working with them, they know how to push records and throw amazing events. I literally traveled the world with them, from the US to Australia and Asia, the Middle East and all throughout Europe. Being part of the label and their events I’ve played amazing venues like Printworks London, Savaya Bali and the Ivy in Sydney.

With house music's rich history and myriad of influences, how do you manage to maintain a modern pulse in your tracks?


I try to get inspired by current music. I’m a big fan of r&b, hip hop, and even though I love the oldies, the new wave is very interesting and inspiring. Another thing I’m trying to do recently is also dip into different sub genres of house music to keep it interesting and challenging.



How do you feel about sharing the lineup with a house music titan like Todd Terry for the upcoming event?

Super happy to be playing with Todd Terry. He’s a true legend in the game and an amazing guy. We did a track together last year and I recently played at his event during ADE. The energy that night was insane, definitely one of my favorite shows ever so I can not wait for us to go at it again in New York!

Kittball Records is another elite label you've released on. How has working with different labels shaped your production style?


I’ve released on a lot of labels that each have their own ‘sound / direction’. Sometimes you are working on something and feel ‘this could be something for label X or label Y. I don’t intentionally try to make something specific for a certain label. I just jam in the studio and see what comes out.

From your perspective, what sets European house scenes apart from the American ones, and how do you cater to both audiences?

I love both audiences, they are a bit different indeed. House music has been so popular in Europe for the past 30 years, we literally grew up with it as kids as it was always in the top 40, European crowds tend to also know the older tunes well. In the US I usually like to play a bit more driving and a bit more r&b influenced.


Can you tell us about a track or project of yours that holds particular sentimental value?

I released a track in 2014 together with my friend Redondo called "Love Too Deep". That track went to the BBC daytime playlist and did incredibly well in the UK. I made me decide to quit my daytime job and fully devote all my time to music so that track is special to me.

Another track that holds a special place in my heart is "In Arms’" together with Robosonic. We released it in April 2018 and it blew up in the club circuit. It was one of the most played songs in Ibiza that season and my first release on Defected. That track literally changed my life as I started working closely with Defected after that song.


Being in the industry for nearly two decades, what have been some significant challenges, and how did you overcome them?

Well COVID was a massive challenge of course, for the whole music industry. I managed to get through it by doing loads of remixes for majors. So I’m happy I was able to make a living that way at that time.

What I find most challenging about the job is loneliness. Don’t get me wrong, it’s an amazing job and I’m super happy I was able to transform my hobby into my profession, but I do find traveling alone hard at times. 

People see the picture or video of the event but that’s only two hours of the day. Traveling around the world, away from my wife and kids is what I find the most difficult part of the job. FaceTime to the rescue :)



What's your take on the rapid digitization of music and its impact on DJs and producers?

I don’t have a problem with it at all. Times change and we all have to roll with it. As mentioned, I loved the vinyl days but everything evolves. I don’t really see a negative impact of it on producers and DJ's. For producers it’s great that plug-ins and samples are more accessible compared to the very expensive hardware back in the day. For DJs it means a lot more music to choose from.

Are there any upcoming collaborations or projects you're particularly excited about that fans should anticipate?

I’m super excited about a collaboration I have coming up with Meduza and Clementine Douglas. I’ve been a fan of Meduza for a few years. I played with them a number of times and the guys are great. I really enjoyed our studio session in London and I can not wait to release the result. Also a true pleasure to work with Clementine Douglas, what a beautiful voice.




You've achieved a lot in your career. Is there a specific milestone or moment that you're especially proud of?

I used to go to Ibiza every year in my early twenties, visiting all the clubs, dreaming of playing there one day. So to be regular on the island now and having played almost every club on the island is truly amazing, literally a dream come true. 

In addition, playing iconic venues like Printworks London, Fabric London, Space Miami and festivals like Tomorrowland, EDC Las Vegas, and Creamfields is incredible. Music wise I’m super happy with the results the past years, great to see so many people around the world enjoying my music.


What's your process when creating a new track, from initial idea to final mix down?

I prefer to start with the vocal and build the backing track around it. The vocal can be an original top line or a sample, I love working with both. Then it’s finding the right chords and bass line to go with the vocal and off we go.



If you could collaborate with any artist, dead or alive, who would it be and why?

Producer wise I’d love to work with Pharrell Williams, Dr. Dre and Dark child. Phenomenal producers would love to work with them. Singer wise I’d love to work with the Weeknd and Whitney Houston. What a voice she had, unreal.
Name three things that you think should be free in nightlife.

Water, toilet visits and beer ;)

Finally, for individuals unfamiliar with your music, which three tracks would you suggest they listen to as an introduction to your sound?

I’d say "In Arms", "Back Tomorrow", and "By My Side".

House Music Through the Lens of Ferreck Dawn: An Exclusive Interview

Introducing Mindchatter, the musical persona of Bryce Connolly, a singer, songwriter, and producer hailing from New York. With his freshly released EP, Spiritual Puberty, on Foreign Family Collective’s imprint, Mindchatter invites listeners on a candid exploration of personal growth and the intricate journey through adulthood. In a recent interview, we not only delve into the intricacies of the EP but also unravel layers of Mindchatter's life and journey. 

From the challenges faced during production to personal experiences shaping his art, the interview provides a nuanced glimpse into Connolly's evolution. Embracing a more lyric-focused, singer-songwriter approach, Mindchatter's music straddles the boundaries of electronic and folk influences, making him a standout in the chaotic industry of music.

About the EP, "Spiritual Puberty"



The title Spiritual Puberty is evocative. What inspired this choice, and how does it encapsulate the EP's essence?

Spiritual Puberty is the stage of life where you start to really grow up and unlearn the parts of your past that hold you back. Late twenties is a weird age because you realize that you’re an adult and adults have no idea what’s going on either.

Which track from Spiritual Puberty was the most challenging to produce and why?

“Day Dreams” went through many phases of destruction and renewal before I ended up with the final version. I fell in love with the instrumental and wanted to write a song that was worthy of the beat so I tried a million different things. Eventually I added the vocals of a completely different song to the instrumental and they fit perfectly.


Can you describe a specific moment or experience that directly inspired one of the tracks on the EP?

I wrote “Misunderstood” right after I got married. It’s about finally finding someone that makes you feel understood.


The electronic music world is vast. How did you ensure "Spiritual Puberty" stood apart from the crowd?

It’s really barely an electronic album, I think it kind of exists in between the cracks. I listen to all genres including a lot of folk and acoustic stuff, so this EP was intentionally more lyric focused and singer-songwritery. The next batch of music I’m putting out is more dance floor focused.



Deep Dives



You’ve spoken about the introspection in your music. Is there a particular philosophy or mantra that drives you artistically?

Our thoughts create our reality, they can make us sick or they can make us well. Trying to stay present is the mantra that drives me… turns out I’m not very good at it, but music helps me get there.

How do you navigate the balance between creating music for personal expression versus music for the dance floor?

I just picture a dance floor full of me’s. I can never know what other people like so I have to double down on what I like. Once artists start trying to guess what others want to hear, that’s where everything goes south.



Your tracks are known for blending introspective lyrics with danceable beats. What's the most personal lyric you've ever written?

“When you’re not sad then life doesn’t count/ cause when things go good you don’t look around.”


Where did the name Mindchatter come from?

The struggle to stay present and free of mind-chatter is a big part of my life and it bleeds into my music a lot.

Past Experiences

Reflecting on your journey, how do you feel your sound has evolved? 

I see a lot of growth, particularly in my voice and lyrics. Spiritual Puberty is more intimate and vulnerable which I think is necessary in good music. On the production side I’m still constantly experimenting with new sound design.

You've received acclaim from industry stalwarts like Pete Tong. Was there a specific moment you realized you were breaking into the big leagues?

The moments for me have been from fans - getting gifts that people made me, seeing some Mindchatter tattoos, nice messages, etc. Those are way more impactful than any industry praise.



Looking Forward

Now that "Spiritual Puberty" is about to be released, what's the next milestone you're aiming for?

More music, more shows! I have some dance records that I’m really excited to put out and I’m still finding ways to push myself with the live show.



Any dream collaborations or venues to play on your wish list?

Thom Yorke at Red Rocks would be pretty sweet.



Fun & Light-Hearted

If you could hop on a track with any famous artist, dead or alive, who would it be?

Radiohead is probably number one.



If "Mindchatter" wasn't your artist’s name, what would be your second choice?

DJ People Pleaser.



If you could name this chapter of your life, what would be the title?

Spiritual Puberty.



Wrap-Up

Finally, for someone new to your music, which three tracks (across your discography) would you recommend they start with to truly understand Mindchatter?

Tough as Nails, It’s Been You, Human Shape, Day Dreams, Tree Rings, Phlegm, (three is not enough).

Mindchatter Chronicles: From Trippy Beginnings to "Spiritual Puberty"

Tube & Berger, a duo renowned in the electronic music scene, embody the essence of creativity and progression. Their journey, starting in the punk rock scenes of Solingen, Germany, seamlessly transitioned into the dynamic world of house music. Known for their unique blend of deep, captivating rhythms and a knack for integrating real-world sounds, their work like "Imprint of Pleasure" has not only topped charts but also reshaped genre expectations.

As co-founders of Kittball Records, they have nurtured and showcased a diverse range of underground talent, influencing the industry's landscape. From energetic performances in clubs around the world to their strategic approach in the studio, Tube & Berger are more than artists – they are catalysts of change in the music world.

In our upcoming feature, we dive into their journey, exploring the blend of experience and innovation that keeps them at the forefront of a constantly evolving scene.

What initially sparked your transition from punk rock to electronic music?

When Daft Punk released "Homework," everything made sense. It felt like a whole generation switched from Punk or Hip Hop to electronic music overnight. Concerts ended before midnight. Raves just went on and on. Crazy times, bro ;)

How has co-founding Kittball Records influenced your musical direction?

We wanted to be independent and free to release any artist or genre. A journey through the genres of underground club music. Let's see where this journey goes next.

What's the creative process typically like for Tube & Berger?

Getting to a point in the studio where we both think this feels worth continuing. I guess every producer out there is chasing this moment. Fingers crossed it still feels good the next day.

This is a very difficult task. Balance is the key. But sometimes it's good to follow your instinct or even your personal taste when it comes to finishing an idea. The only thing that beats a good idea is a better alternative.


What's the most challenging aspect of being in a music duo?

That there is another guy, having his own vision. ;)

What has been your most memorable live performance and why?

Berger crashing through the stage roof (after climbing on it) in Kiev (long before the war) was so funny. We called out the revolution and the fact that the military closed the festival and sent everyone home leaves a bad taste in my mouth now. We're missing Kiev, btw. Played there a lot.


How do you keep your sound fresh in the fast-evolving electronic music scene?

You can't jump on every bandwagon. Some trends and hypes are simply not for us. Honestly, would you like to see us playing 160 bpm hard techno and only wearing a tiny bit of latex?


Can you share a bit about your latest project or upcoming release?

Our collaboration with the Brazilian legend Vintage Culture and singer Kyle Pearce is something we are very happy about. The tune is called "Come Come."




How do you feel your music contributes to the larger conversation in electronic music?

We've seen uncountable happy faces during our sets. That is something, isn't it?



In what ways has your work with the charity 'It Began In Africa' impacted you personally?

Releasing these charity compilations and actively helping kids in Africa by uniting our scene probably was and is the best thing we have ever done. We just started working on "It Began In Africa Vol. 4."




What's a country or festival you haven't played at yet but would love to?

Especially in the U.S., there are a few festivals we haven’t played yet. I'd say Burning Man, but without rain and mud…


If you could collaborate with any artist, living or dead, who would it be?

Yo Mike Skinner from The Streets, we're still up for a session. What about you?

What's something your fans would be surprised to learn about you?

They surely would be surprised about the ghost productions we have made for people over the years.


Outside of music, do you have any hobbies or passions that influence your work?

Latest hobby is designing and releasing a pixel art retro computer game, but also wakeboarding, swimming, and saunas are great to recharge our rave batteries.


What's the funniest or most unexpected thing that's happened during a set?

There are a few things we simply can't talk about that happened that night, but we do remember it was St. Patrick's Day, and we played in Dublin, Ireland. 

The bass was so loud that our eyeballs were constantly shaking, and we couldn’t see what was happening on the CDJs. The stage was so full of people, it was incredibly hot and humid, and the energy was absolutely mental. When people started stage diving, the security had to calm people down a little bit. Fun fact: The security guys were high af.


If Tube & Berger had a motto or catchphrase, what would it be?

Kill your TV.

The Beat Goes On: Unraveling Tube & Berger's Journey

As the blazing Labor Day weekend sun finally sets over Chicago’s Union Park, Lee Foss and contemporary Chicago tech-house pillar Gene Farris are in the thick of a revelrous b2b on Arc Music Festival’s elrow stage. Even for the respective founders of two cornerstone North American-based dance music imprints (Foss with Repopulate Mars and Farris with Farris Wheel Recordings), it’s a definitive performance.

The two Chicago area natives are playing a prime Saturday night slot at Arc, the annual three-day festival which has arguably become the Western Hemisphere’s preeminent house, techno, and tech-house centered extravaganza. There’s hefty historical significance here, too: Union Park lies just two green line metro train stops away from classic Chicago house music club The Warehouse.



As he spins b2b with Farris, Foss wears a classic white Michael Jordan Chicago Bulls home jersey with red satin Bulls away shorts. He sports white Adidas Superstars with offset stripes (three red on the right boot, three black on the left).

The fashionable cherry on top?

A red felt Kangol bucket hat paired with wraparound metallic sunglasses that somehow makes Foss appear authentically classic and wildly futuristic. It’s an outfit that mirrors his career, both hallmarked by a genuine embrace of Chicago’s venerable house music heritage while keeping a keen eye towards the cultural future.



Although many of the artists at Arc are exceptional producers and DJs who have outstanding career achievements, viewing Foss through this hometown lens shows how he stands out in a sea of Jordan jerseys and Chicago house music tropes adorned by attendees and artists alike throughout the boisterous holiday weekend.

For the finale, Foss drops his thumpingly infectious edit of Robin S’s "Show Me Love", the early-90s house masterpiece that became one of the biggest ever house-pop crossover hits when it reached number five on the Billboard Hot 100. Now, the wildly pulsating crowd surrounding the elrow stage’s psychedelic carnival goes absolutely bonkers as one of the most recognizable melodies in house music history hits the mix.

“I've played in Chicago so long as a local DJ that I always knew how to come here and deliver, and be great at Spybar and festivals,” Foss tells Gray Area moments after walking offstage to unwind and collect his thoughts from inside a modestly equipped RV-turned-green-room.



It’s a strange place for quiet reflection.

“I've known the sounds,” Foss says with humble earnestness.

Outside, a deep rumble from massive stacks of festival speakers and tens of thousands of ravenous house and techno fanatics rhythmically rattles the RV door as John Summit’s main stage closing set rages on.

“What’s changed in the [dance music] culture in America?” Foss ponders aloud.

It’s a question whose answer begins with a glimpse into the past.

MISSING LINK

“I came in[to dance music] at an interesting time-point, when I became good enough to release,” Foss remembers. “Minimal had taken over — there wasn't a lot of interest in Chicago house.”

Foss’s well-documented emergence from his Chicago area roots came in the mid-to-late 2000s. That’s when his burgeoning production career was developing alongside longtime collaborator Jamie Jones.

“Jamie and I were best friends, and we had this history together. People knew about me first as I started to produce,” Foss remembers. “We created what became the Hot Natured / Hot Creations sound.”

“It was very musical,” he says of his trailblazing collaborations with Jones, a hint of nostalgia rising in his voice. “Some of it cut in pop samples [and] pioneered bringing hip hop, R&B, and disco into that baseline-driven deep house. At [that] time it was pretty different from what was going on.”

Foss and Jones’s gravitation towards innovation and disregard for hewing along with popular genre trends is a mindset Foss has had since early in his career.

“Even when I was a local [Chicago] DJ, I was always quite different — playing Metro Area and electro house, Get Physical stuff mixed with deep house, mixed with Naked Music,” he says. “I was getting booked by Smart Bar, playing with Dixon and Jazzanova and Metro Area. Playing a lot of gigs like that.”

Now backstage at Arc, Foss reflects on those foundational Chicago experiences, his artistic evolution moving to Los Angeles, and the many journeys across the Atlantic between North America, Europe, and the Ibiza bubble. He’s an intriguing nexus between classic Chicago house music and newly-emerging styles of tech-house, house, and techno subgenres.



“I definitely have my own lane. But I'm such a strong songwriter with concepts, and I like to experiment,” Foss tells Gray Area. “So I think I'm kind of a missing link in some respects.”

That’s a tidy understatement — Foss has been bridging key gaps across dance music genres and subgenres for nearly two decades. For example: this confident passage from a glowing April 2013 article by Paul Lester of The Guardian about Foss and his Hot Natured bandmates modern connection to classic house:

“We keep using the word "dance" when really we should be describing [Hot Natured] as house. They draw on the rhythms, production and vocal sounds and melodies of classic house,” Lester then wrote. “We [at The Guardian are] not sufficiently au fait with contemporary developments in house to establish whether they are advancing the genre or merely casting back to its golden era, but it's definitely [classic Chicago] house: a brief listen to their music will undoubtedly stir heady memories of nights at Shoom.””



Now a decade since Lester’s article was published by The Guardian, Foss further continues warping dance music by setting new sonic boundaries across genres with his label Repopulate Mars, which he founded in 2016. He still oversees A&R at the label, although nowadays that includes Kaysin, whom Foss brought onboard to assist in curating both parent label and sub label South of Saturn. Foss also conceptualizes and oversees almost all of the label’s visual content.



“Repopulate Mars is very much a label where I'm able to consider things that have original vocals from mainstream top 40 rappers as easily as the most underground artists,” he says. “No one's gonna bat an eye” at what Repopulate decides to release, Foss notes with confidence.

Foss is correct.



His resume is unimpeachable, and it’s hard to discount Repopulate’s current status as one of the most influential labels in the tech-house scene (the other being Chris Lake’s explosively popular Black Book Records). Foss disagrees with the conventional wisdom in just one aspect here — not on a point of his career bonafides nor on Repopulate’s broader place in dance music culture, but with how Repopulate has been generally boxed-in as a tech-house label.

“[Repopulate Mars] is considered tech-house because everyone's lazy,” Foss tells Gray Area with an air of minor annoyance. “They don't really listen. Like the Kilhoffer record that came out [on Repopulate] is an amazing deep house record. There's plenty of discovering guys like Ben Hemsley, Mason Talbot. That was never tech-house.”



For Foss and Repopulate Mars, discovering new artists rather than developing them in house is how the label remains so forward-thinking. That’s why Foss is frustrated when his label is clumsily defined as an exclusively tech-house outlet. “The songs and the Camelphat songs were made for Repopulate Mars,” Foss explains.

He says that those tracks were published without top-down label input being pushed onto producers. “I never listen to the demos,” he says, preferring to evaluate the merits of polished final products rather than cranking out label-produced tech-house genre cutouts.



Some products of Foss’s drive to continually evolve: Repopulate Mars’ six Beatport number ones, alongside Mau P’s gold record single Drugs From Amsterdam, which has over 100 million streams in the year following its release.

“It's going to be with us for 20 years,” Foss says of Mau P’s instant classic.

The rising ubiquity of such tracks and such artists in dance music culture during the current tech-house boom is something that “Jamie and I had a big part in starting, and now it's huge,” Foss says. “A lot of the guys who are the biggest current new artists have a long history of me more or less discovering them, us teaching classes together, [and] influencing each other's production.” That list includes Michael Bibi, John Summit, and Eli Brown, for Foss to name just a few.

“It’s important to stay cutting edge — to stay on top of the label being interesting. But I never felt it was one sound” that exclusively defines Repopulate, says Foss. “I’m in a really lucky position that I’ve started several other labels,” he adds. “It allows me too compartmentalize to some extent.”

“And now, if it's something that I want to take to the next level, then I need to step up. It’s an exciting time, and I'll just continue to evolve.”

It’s hard to pinpoint what Foss might do with his creative energy next. Repopulate is at an all-time high, and it’s been a year since he joined forces with Jamie Jones for a global tour celebrating the ten year anniversary of Hot Creations.

What could be the next big step in Foss’s overall artistic evolution?

“Me and Jamie are starting another label,” Foss casually announces to Gray Area.

Imagine those possibilities.


HAVE AN EAR

As musical tastes have evolved over the last two decades, Foss has never had major trouble keeping up as a pacesetting DJ, producer, and label executive.

Why has his music been so popular for so long?

“I just have an ear for a good song,” he says.

What Foss means is that he has an uncanny ability to understand how sounds suit both his own tastes and those of potential audiences. And for him, that’s a required attribute for anyone looking to make an impact on the North American dance music scene.

“You have to have an ear if you want to be the headliner at a lot of these events and play in Phoenix, Tampa, and Orlando,” Foss reasons. “You’ve got to have an ear that can both reach people who are coming from a very mainstream sound and people with a critical ear.”

“But if artists don't do their homework and they come [to America to] play the way they play at Circoloco — it’s [too] niche,” he explains. “Those types of artists “are not going to headline this festival,” Foss notes with confidence.

There’s differences in taste between North American and European audiences which frames how Foss plays on either side of the Atlantic.



“Definitely in North America I am more likely to play a few more things that have recognizable vocal samples. When I've been playing in Ibiza, I have been playing more skippier things that are maybe classed as minimal,” Foss says. “But when I play Paradise, or when I play Pasha with Claptone, I feel like I can be an alternative.”

Foss’s versatility as a DJ is yet more evidence of an undefinable artistic alchemy that appeals to the many pockets of au courant dance music consumers across the globe as well as all those with more mainstream sensibilities.



In short: Lee Foss has an ear for a good song.

Maybe that’s why he’s been able to make such a big impact on the dance music world.

As for the accolades and awards, Foss says that’s all been “nice.” He’s grateful for the recognition. But he’s also frank when telling Gray Area that those prizes are not what motivates him as an artist.

“At the end of the day, whether I ever won a Grammy, add two dozen of those plaques on the wall,” he says. “What’s gonna matter a lot more is that I know what I'm doing is authentic.”

Foss has one central goal for Repopulate Mars moving forward: “To continue to be a platform for everyone to grow and to make great, great music,” he says as the conversation concludes.

“So that's the plan.”

Lee Foss Has an Ear for a Good Song

Leah Chisholm is at the peak of her ever growing musical powers.


For starters: under her LP Giobbi alias, the Oregon born and raised producer’s compellingly versatile, Pacific Northwest-tinged, piano-centered house music-leaning productions have resulted in DJ Mag readers crowning her as North America’s Best Producer of the Year. That accolade was capped by LP’s appearance as the cover artist for the venerable publication’s Best of North America issue.



There’s LP’s critically acclaimed Light Places album that was released in May and promptly followed up in August with a deluxe edition stuffed full of a stunning array of club driven edits and stripped down live renditions.

There’s her extensive production collaborations with iconic jam band "The Dead & Co." that culminated with her becoming a featured performer at the official afterparties of the band’s much hyped farewell tour.

She also managed to tour the United States earlier this year in an airstream trailer outfitted with a customized production studio alongside DJ Tennis.

Now, she’s in the midst of launching her much anticipated sub-label YES YES YES on Defected Records.



Consider what she’s done as co-founder and artistic director of non-profit FEMME HOUSE. Along with co-founder and executive director hermixalot (Lauren Spalding), Femme House’s ongoing dedication to creating “opportunities for women, gender-expansive, BIPOC, and LGBTQIA+ creatives in the technical and behind the scenes areas of music” has led to a string of successful collaborative projects with an impressive collection of cornerstone brands including the likes of Insomniac, Ableton, Spotify, and Moog.

And although the macro-cultural impacts of Femme House’s various activities and initiatives are decidedly difficult to measure, it’s clear that LP and hermixalot have made a significant impact on many of whom they’ve worked with in their ongoing pursuit of a more representative North American dance music scene. Just ask any of the artists who’ve received support from Femme House’s plethora of initiatives for evidence of that fact.



Overall, Femme House is diligently building a comprehensive artistic support and promotion network to boost traditionally marginalized individuals — all within North America’s current cultural ecosystem. Query any of the major industry players who’ve partnered with Femme House; their answers may provide a starting point for gauging the impact of Femme House’s ongoing efforts to reshape the boundaries of diversity and equity throughout the larger North American dance music scene.



The underlying goal is to gradually rebalance what they see as inequitably calibrated cultural scales that continue to harm traditionally marginalized identities.


“For us, what we're talking about and what we're trying to do should be an intrinsic part of the culture,” hermixalot says.


“That’s the whole Femme House ethos.”

FEMME HOUSE’S FIRST TIME

Last March, as lush south Florida humidity hung thick over the secluded back lawn of the W Hotel in Miami Beach, a crowd of about fifty electronic music industry insiders congregated on rows of white picket benches under a canopy of giant pool umbrellas.



“We’re at Miami Music Week and it’s Femme House’s first time here,” hermixalot tells Gray Area. “We’re doing a panel about allyship and amplification, and how we use our platforms to create equity in dance music.”

Although it’s a beautifully bright and sunny Miami Beach day, hermixalot is a bit anxious. The cause? Femme House’s artist showcase and yacht excursion is at risk of being canceled due to complications arising from the city’s crackdown on overzealous spring break partiers and electronic music revelers.

Later that evening, the planned yacht party will be forced to be relocated to the W Hotel’s swanky lounge bar — but the showcase will go on to a packed crowd nonetheless. But first there’s the Femme House industry panel to conduct.

As the audience sips pink lemonade, LP and hermixalot take their places as moderators. The panel of five electronic music industry players do similarly, and discussion commences.

“Femme House was originally just supposed to be for women,” hermixalot begins. “As it grew, we realized [that] the most marginalized among us — women, gender expansive folks, queer folks, bipoc folks — we're all fighting the same battle.”

“That’s the seed of the panel.”



BIG GATEKEEPERS

According to LP and hermixalot, one key cultural shift has allowed Femme House’s diversity and inclusion initiatives to power forward with a hefty head of steam.

“What we discovered when we started Femme House and started reaching out to our very corporate, very specific connections is that these people, gatekeepers, big companies — they wanted to be part of the change,” says hermixalot. 

“They believed in the mission, what we were doing was right, and that it needed to happen. [But] they didn't have the tools [or] the resources. That’s systemic.”

“The biggest change in the last few years — I've seen the big gatekeepers be shockingly willing to open doors that I didn't even think could be possible,” LP says.

As a model example, LP mentions Femme House’s partnership with industry heavyweight Insomniac. In addition to agreeing to co-produce a Femme House stage takeover at their flagship EDC festival, Insomniac suggested further projects to boost Femme House’s reach and impact — all while keeping a clear and open line of dialogue.

“Do you want to do a compilation too,” LP says Insomniac asked, “where [Femme House] can reach out to all of your female and gender expansive producer friends and we can release their records?’” The resulting Femme House compilation which was released on Insomniac Records still serves as a benchmark for all the creative possibilities.



“We've seen Ableton — the DAW that I use to make music — partner with us,” LP continues. “They only have six certified female trainers so far, but they sent them all over the stops on this [Femme House production workshop] tour we did. We've seen Moog help in the same way. We've just seen big gatekeepers [such as] Spotify open doors.”

“We try to step in to say, ‘Yo, here's the playbook,” hermixalot explains. “Let's use your resources to amplify these other voices that wouldn't otherwise get shots.” For Femme House, that pitch has proven to be mightily persuasive.

“The shocking part is that these gatekeepers sometimes still don’t seem to know how to make the change,” LP says with a spark of genuine incredulity. “But if you go to them with the ‘here’s how you do it’ — they will do it.”

“So we’re taking a step in the right direction.”



SEISMIC SHIFT



“We’ve learned a lot at Spotify” about diversity and inclusion in electronic music, says panelist Ronny Ho with measured assuredness.

Ho knows the specifics — after all, she’s Spotify’s head of dance and electronic development, and founder of the company’s Asian employee resource group.

“Originally, we really leaned on minority communities to do a lot of the work,” she explains. “It was exhausting for the people that were experiencing [marginalization] to have to also deal with [fixing] it. So we changed the way that we handled a lot of that.”

According to Ho, Spotify executives readily supported her and her colleagues' more proactive approaches towards diversity and inclusion with substantial budgetary and policy backing. “A lot of the work that you see is actually grassroots effort from employees who really care about the work that's happening,” she says.



“On the consumer facing music side, we started building out different programs for artists and creators really to build a safe space for them,” Ho recalls. “We started out with Frequency, which is for our black creators. You're building spaces across artistry, but we also lean into different communities, really local communities, to work with them and see how we can represent them authentically on our platform.”

She mentions LP and Femme House’s collaboration on Spotify’s female-geared channel Equal, as well as the creation of more identity specific channels such as LGBTQIA+-centered Glow.

“What we really focus on is safe spaces for the artists, the communities — but also making sure that they're embedded in the day-to-day of everything that we do so we're not siloing anyone in one specific corner,” Ho says. That approach necessarily requires active engagement between artists, listeners, and industry curators.

Ho also mentions Spotify’s newfound concentration on one-on-one mentorships and relationship building, which is designed to foster mutual understanding and trust between traditionally marginalized individuals and the company’s relatively untested next wave of industry gatekeepers.

Fellow panelist Sam Sciarra sees the wisdom in the methods Ho embraces in her work at Spotify.

“Actual conversations and the grassroots element — a safe space comes from just sitting down with someone and hearing them out and learning,” Sciarra adds. “Thinking about how you can do better and how you can be more inclusive. How you can evolve both as an individual, but also collectively.”

“Like, I don’t know everything!”, he jokes with a wry chuckle.

Sciarra might not know it all, but he definitely has some useful industry knowledge — he’s been with Mad Decent for six years and is currently responsible for Diplo’s A&R. Sciarra also leads A&R and branding for Higher Ground, the house-leaning sub-label of Mad Decent.



“Generally, there's just been this seismic shift in all sorts of accountability,” Sciarra says. “On a cultural level we now expect there to be more diversity and more inclusion.” Later, he continues his train of thought in conversation with Gray Area after the panel concludes.

“There’s been this collective malaise or disillusionment among the white people in the industry — even though they might not say it,” Sciarra tells Gray Area matter-of-factly. “But that’s naturally starting to subside, and everyone's starting to get more used to this idea of inclusion and diversity. So that’s naturally going to become more ingrained in this industry.”



Efforts from those like LP and Femme House are only “going to continue to result in more amplification and recognizability for marginalized groups,” he says. “What I'm noticing is particular acceptance of trans artists as well, which is something that is unbelievable and super, super important. It’s just going to continue to get more and more diverse.”

There’s also a growing craving from consumers and industry gatekeepers alike for upcoming artists to authentically embrace individuality.



“If you’re a creative, you understand this need to be true to your own identity,” Sciarra explains. “As a queer person, it took me a long time to finally get super comfortable with not only my sexuality on a wider world level, but also being able to authentically express myself creatively. It’s a whole other thing — my tastes, but also owning that.”


Accordingly, that’s what Sciarra looks for in the artists he promotes as a professional and the music he enjoys as an avid listener. “LP is a great example. She really believes in her music,” he says. “She really believes in her vision, her project, and she's having success because it's authentically hers.”

Maybe the dedication to authentic individual identity that Sciarra speaks of is a matter that falls between generational gaps.

“I'm 37, so I’m a late millennial,” hermixalot tells Gray Area in an interview during the artist showcase later that night. “At a certain age for our generation, we've normalized this idea of identity and why it's important. We've normalized this idea of diversity and why it’s important. That’s how we just operate in our lives.”

“Some of the panelists today — we’re of the same generation. We’re just starting to move into positions of power, and we're all thinking of it the same way,” she furthers. “So it’s really heartening to see as we move into positions to make change that we move with that at the forefront.”

After all, hermixalot says that Femme House’s results and ongoing success in collaborating with such key industry players “make us feel confident that the needle is moving.”

It’s a bold and lofty claim, to be sure.

But considering the combined results of the assembled panelists and their shared dedication to ongoing dialogue and collaborative action, it seems like Femme House and their influential electronic music industry partners have provided clear signals that intrinsic changes regarding diversity and inclusion are swiftly approaching the North American dance music landscape.

Two questions remain: will those potential changes be powerful enough to eventually lead to any meaningful demarginalization? And will they be widespread enough to stick around long enough to become the new normal?

Only time will tell.



REPRESENTATION MATTERS



From an alcove tucked between the W Hotel’s back lawn and the hotel bar, Femme House featured artist Kaleena Zanders is circumspect in conversation with Gray Area after finishing her showcase set.


As the moon rises above Miami Beach, Zanders recalls a moment from 2014 when she was working at Trader Joe’s and producer Andrew Reinfield asked her a simple question: “Do you want to be on a dance record?”

“I was gonna quit music the week before,” she recollects. Instead, Zanders said yes to Reinfield and ended up on SNBRN’s "California",  the 2015 breakout track which was promptly remixed by Chris Lake and Matroda.


“Then it became massive,” she says.

That period of initial career success was “crazy, and it was overwhelming,” Zanders remembers. “I was working with a lot of men, a lot of white dudes. Being a black female, it's interesting to navigate. You're constantly protective over your energy and stuff.”




“I wanted to pivot out of it because it had beaten me down so much. But I stayed in dance music to be a representation for all of what I am,” she says. “I stayed here because I feel like I have a purpose in dance music — to actually be a visual representation of people who are trying really hard to be seen in this scene.”




For Zanders, her musical career isn’t about becoming a figurehead or token for any particular marginalized group. Her motivation is to live a life that is authentic to her own identity while sharing her art with others. In living that life, she just so happens to be one of the most popular dance music vocalists and producers in North America.




“I don't actually want to be a role model. I'm not trying to fucking lead anybody to anywhere — bitch, I'm having my own quest! But I’m black, and I’m gay, I’m a woman,” Zanders proclaims with vibrant swagger. “Even if there are mountains of fucking trauma and trouble, you can do anything. I just want to show people that.”



After Zanders met LP in 2018 and the two bonded through the pandemic, it took two years for the pair to perfect and release their track "Carry Us". It was then that Zanders saw the early stages of Femme House coalesce. “I knew [Femme House would be successful]. LP’s just a powerful person, and she believes in supporting all types of life,” Zanders says. “She helps people — POC, gay, women. Femme House is just tying it all together.”



“I've been in this industry for a long time, almost alone,” Zanders says with candor as she wraps up her thought. “With Femme House, [LP]’s helped bring together these people who haven't been seen, bringing more visibility. Having more people in support and more camaraderie, more solidarity — it’s beautiful to see.”



Fellow Femme House showcase artist Val Fleury echoes Zanders comments.



“I'm just a nice Liberian girl who's possibly not even supposed to be here, and I don't take that lightly,” Fleury tells Gray Area with sheepish confidence. “Being able to collaborate with an organization like Femme House is important work, because we do stand on the shoulders of giants who don't have names or recognition.”

Fleury won a Femme House mix contest in Philadelphia after her friends at east coast-based collective Solar Sounds encouraged her to submit a last minute entry. She’s been linked up with Femme House ever since.



“Whether people want to acknowledge it or not, we live in an intersectional world. Electronic music at its fundamental core has always been diverse, inclusive, and intersectional, and I think people forget,” says Fleury. “I wake up every day and try to help project that story, to remind people to include people who are underrepresented.”



“It’s important for me whether I am scared or not to be present, because representation matters,” she says. “There's not a lot of black women in electronic music. Being one of the growing numbers — I do take that as a great honor and a great responsibility.”



Fleury contends that the mission is not only about respecting dance music’s cultural roots — it’s about taking effective action, too.



“Femme House does a really good job at not only preserving and sharing the history, but really training people,” she explains. “Whether it's a curiosity or something that you want to do as a career, you have to start somewhere. You need support, whether it is teaching girls to DJ at summer camps or other organizations.”

Fleury pauses for a couple moments to collect her thoughts.



“They’re really, really doing the work,” she says.

POUND ON A FEW DOORS

As Zanders lays live vocals over her Femme House showcase set, both she and Fleury can’t help but grin from ear-to-ear as LP and hermixalot dance next to the booth of the packed W Hotel lounge bar. The artist showcase is a special one in several ways for Femme House. Most notably, for the first time the lineup consists almost entirely of black female artists — with the sole exception of co-founder LP.



“I feel like I have a community!”, Zanders giddily exclaims as the party rolls on.

As for Fleury, she has a piece of advice for anyone looking to break into or establish themselves in the dance music industry. “I encourage anyone who has a fear of anything — whether it's being the first, being the only one — to know that's a human condition,” Fleury remarks. “You’re not wrong to feel fear, but go ahead and just do it anyways. Do it the fuck anyways!”


Hermixalot views Zanders and Fleury’s brimming confidence, self-reflexive perspectives, and ongoing development as electronic musicians as prime examples for why Femme House exists.



“Art is important,” hermixalot says. “It's where people see themselves, and it's important that we all see them.”


As for the main takeaways from Femme House’s ongoing efforts to broaden diversity and inclusion throughout the larger dance music world?




“All it takes is intention,” says hermixalot. “Gatekeepers in the room, the big guns — I encourage you to find ways to change things. ‘Cause we need allyship before amplification, and that’s how you create equity in dance music.”



“We have a lot of work to do, for sure,” LP says while flashing an optimistic smile. Just then, a glint of rebellious energy fills her face.

“But if you pound on a few doors, I know that they can open.”

New Gatekeepers: LP Giobbi, hermixalot, and FEMME HOUSE

If you've been on the hunt for music that doesn't just play but resonates, capturing both the essence of a moment and the pulse of a generation, then your search might just be over. Enter Hayden James, a name that's not merely a blip in the vast world of electro-pop house but a force, a vibe, an entire mood. With a single track, "Something About You," he not only captured the essence of an Australian summer but also garnered global attention, amassing over 212 million streams since its 2014 release. His iconic track isn't just a song; it's a timeless work of art that always leaves you thinking about how mental the track is.

Hailing from the vibrant landscapes of Sydney, James' music is a masterclass in blending the familiar with the groundbreaking. His talent and special touch to any note he comes across has landed him multiple Platinum-certified hits, sold-out global tours, and collaborations with A-List names such as Katy Perry. In a genre where many risk sinking into repetitiveness, James stands tall with his ingenious layering, evocative basslines, and those subtle shifts in synths that make all the difference. Dive in with us as we explore the world of Hayden James, the artist whose every note feels like a revelation.

How do you believe your sound and production style have evolved since your first hit "Permission to Love" to your recent album "Lifted"?

I believe it's about the time I've spent writing music. I've certainly evolved my production techniques over time. However, my writing style hasn't changed much because it's the core of who I am as an artist. Deep down, from songs like Permission to Love to my latest, "We Could Be Love", there's a consistent feel. 


They might not sound identical in terms of production, but they resonate with my signature because of how I write and convey emotion in my music. Speaking of production, there's no doubt it has evolved. It's been 10 years since Permission to Love, and there have been numerous advancements in production techniques and music-writing methods. Yet, I believe I've remained true to my original sound.



Can you share a specific moment or experience from your tours that has deeply inspired a track or an album?

I don't really work like that, to be honest. It's not about an event on the road or a specific show leading to a song. What does happen, though, is when I have music I want to test. If I play it at a show, that gives me an immediate feeling. It's like instant feedback. 

You can tell right away if something is great or not, whether it's by playing it for people on a dance floor, at an after-party, in a hotel room, or even at an airport. I think playing your music in various surroundings is beneficial.





Can you share an interesting or unexpected story from one of your collaborations with other artists?

One of my favorite collaborations on the Lifted album was with ElderBrook and Cassian for "On Your Own." The three of us have written music together, and for other people. Cassian has even helped me with some mixing in the past. We've worked together for a long time, but we'd never released something as a trio. So, getting into the studio to create "On Your Own" was a special moment. 


I had sent Alex (Elderbrook) the basic music for the song about two years before its release. It was just chords, a drum beat, and a loop. He crafted the vocals, from the verse to the chorus, and it felt so right that I kept it on my desktop. One day, I played some demos for Cassian, and a few days later, he introduced the prominent lead line you hear in the song, especially during the build-up. 

We spent a few hours in the studio refining it, and that was that. It was truly an inspirational moment to work with people I've collaborated with on other projects. It felt really good.

What has been the most challenging aspect of maintaining a career in the electronic music industry, and how have you navigated it?

It's a crazy industry, and I guess you just have to stay true to yourself. But you also have to evolve, which is a bit of a juxtaposition. You need to understand the power of social media and its importance. It used to be all about music, but now, I don't think that's the case. 

Platforms like TikTok, Instagram, and Facebook are incredible tools to speak to your fans and put yourself out there. I'm still learning every day. It's difficult to put yourself out there in that way. I know many artists wish it was always about just writing music and being in a room by themselves. 

But that's not the case these days. You have to stay true to yourself, and if you're going to pursue this, you need to use these platforms to let people know you're out there and what you're doing. There are many new and exciting ways to promote yourself, and that's a challenge. I don't love it, but it's the world we live in.



Without giving too much away, can you tease any themes or inspirations behind the new music you’re planning to release soon?

One thing I believe my first two albums did well was tell a story. I used various methods to achieve that, from songwriting to production and song style. Everything is emotive and melodic, with many beautiful harmonic elements. It's also varied; there's a lot packed in there. For the next batch of music, as I start to write another album, I want to focus on one idea and one specific feeling. 

It's like I'm intentionally pigeonholing myself. I aim to create a distinct moment. I want to explore the concept of capturing a specific moment in time, perhaps a club experience. Everything will be more dance-oriented, faster, and a bit more aggressive and exciting, as opposed to being chill. While it will still have my signature songwriting touch, it will lean more towards club vibes.


How do you think your Australian roots have influenced your music in an industry that is heavily impacted by European and American trends?

Interesting question. I think everyone sees that the industry is heavily impacted by European trends, not American ones. European trends hit America, and then America adapts to them. Australia has its own thing, but European trends, especially from the UK, eventually come to the states and go big, which is great. 

Being an Australian, growing up by the beach and having a positive, outdoor lifestyle has impacted my musical taste. It influences what I like. But I also draw a lot of inspiration from bigger UK artists like the Chemical Brothers and many French artists. I'm inspired by old French disco, like Daft Punk, Alan Braxe, Fred Falke, and Phoenix. Being Australian has molded the emotional side of my music, but trend-wise, I think it all comes from Europe and the UK.



How has the evolution of music production technology influenced your creative process over the years?

Yes and no. While there are many tools and methods available for writing music nowadays, including various loops you can purchase, at the end of the day, my approach remains simple. When I sit in front of a computer to write music, I don't rely on technology. Instead, I pull up a piano patch or use my piano at home to compose. I believe no amount of production can guarantee a hit; it's all about the emotion and feeling. So, for me, there isn't a specific tool that changes everything. It's more about capturing a particular feeling.

Can you share a behind-the-scenes aspect of your music production that fans might be surprised to learn?

Yeah, I always tell people this when they react with, “whoah, what??” I've sung in nearly every song I've ever released. For instance, the lead vocal in “Permission to Love” is me. I also sing on Embrace, “Lay Down”, “Something About You”, and “Just a Lover”. That entire first EP is me. I don't have my catalog in front of me, but I've done lots of backing vocals for most of them as well. I love that, and I'm planning to explore it again. I haven't done it in a long time, but I'm looking to delve into it for the next album and batch of music.



How do you want to be remembered in the music industry, and what impact do you hope your music has on future generations of artists?

Oh, that sounds like I'm retiring. It sounds like I'm dying [laughs]. I'd love to be remembered for being consistent and never really following trends, like, 'Oh, that's really cool right now,' because everything changes all the time. I think it's super important to stay true to your artist project and who you are. 

If you start writing stuff that's just on trend and you become famous or successful from it, I don't think it'd be that great. You wouldn't love what you're doing. So, I think it's important to be remembered for having songs with a consistent vibe. That's what I'd love.



With the increasing focus on sustainability, how do you ensure that your tours and shows are environmentally friendly?

I mean, I think sustainability is obviously really important. For big artists, say, like Taylor Swift, who tour around the world and probably fly in their own planes, the impact is significant. On my personal rider, I try to avoid single-use plastics. That's kind of all I can do right now. 

Being in an industry with a lot of waste, especially at music festivals, is a concern, but it's getting better. Big festivals like Coachella and Glastonbury are working with artists to promote sustainability in the touring industry. I think we're heading in the right direction. There are things we could be doing better, but from my standpoint, I don't feel I have a huge carbon footprint.

Outside of music and touring, what activities do you engage in to relax and recharge, and how do these activities feed back into your creative process?

My favorite thing is being a dad. It's absolutely my favorite thing in the world. While it's not always relaxing and recharging, it's the most rewarding and truly the best job. I love cooking and I cook for my kids every day. I recently got a pizza oven, and if you follow me on Instagram, you'll see I've started making pizzas, though they aren't perfect yet. I need to get some lessons. 

Besides cooking, I enjoy bike riding and spending time with my family, especially since I travel so much. I also love traveling with the family when I'm back home. Being in Sydney, we live just a few minutes from the beach, so I try to get in the ocean every day, regardless of the weather. So, in summary, cooking, bike riding, and spending time in the ocean are my go-to activities.

Something about Hayden James: The Artist & His Story

Martin Ikin, a name synonymous with the ever-evolving landscape of electronic music, began his odyssey in 1991 and has since navigated the winding pathways of the industry with finesse and undeniable talent. From the pulsating beats of his Gold Disc track "Headnoise (Get Hype)" to the enchanting rhythms stemming from his classical jazz pianist background, Ikin's trajectory showcases a musical evolution marked by deepening sophistication and mastery. 

This seasoned DJ and producer, who's had the honor of remixing legends like Mariah Carey and Jamiroquai, remains as relevant as ever by staying deeply rooted in the scene and embracing emerging talent. With a discography as diverse as the aliases he once wore, Martin's continued passion for the craft is palpable. As he enjoys the global appeal of electronic beats, from the fervor of Brazilian crowds to the energy of the USA, one message resonates clear: Martin Ikin's journey is a blend of relentless passion and transformative creativity.



In three words, tell us how your music production has elevated since your early days in 1991.

Smoother, Deeper, Louder



Your track "Headnoise (Get Hype)" achieved gold disc status. Can you describe the feeling of achieving this and how it should serve as inspiration to other aspiring artists who must have patience in the industry?

Yes, this is my first ever Gold Disc achievement, so it was like a huge bucket list tick for me, I was delighted. So, I guess the message is, never give up. It took me 30-plus years!

Given your background as a jazz pianist, how has classical training influenced your electronic productions?

Having some musical knowledge will always aid you if you’re making music for a living. So, I would urge anyone in the business to at least arm themselves with the basics, for example, knowing the basic scales and chord relationships. 

This will help you with things like getting vocals in the right key. You don't have to be an amazing player for it to be useful to you. For me it comes into its own when I'm writing piano chords, I wouldn’t have been able to write tracks like "How I Feel" or "You" without having that theory background.



Over the years, you've taken on various musical personas. How do you decide when it’s time for a change or a new direction? Which alias was your favorite if you could choose one?

Yes, if I’m honest I’ve probably had too many aliases. I’d probably have stuck with one or two if I did it all again. I guess I changed names when I changed genres though. I started in ’91 so it was rave (hardcore) back then. 

That moved into DnB and Jungle. After that period, I was doing a bit of UK garage and house, then onto soulful house, etc. So, the aliases changed with the scene and the genre. My favorite by a mile was my early DJ Mayhem days (91-93). That was an exciting, special time musically, with the birth of rave, hardcore, and DnB.

Working with renowned artists like Mariah Carey and Jamiroquai must have been thrilling. Any standout collaboration experiences you'd like to share?

Yes, they were official remixes I did, which was a massive honor of course. Unfortunately, I never got to meet them or be in the studio with them, that would have been insane! Another standout one for me was being asked to remix the legend AVH a few years ago.

How has the music scene and your interaction with it changed with the rise of streaming platforms and the decline of traditional record shops?

It's a completely different game now. Whether that’s good or bad is probably a discussion that could go on and on, but there are pros and cons to the changes. The pros are it's much more accessible now for people to put music out and to find new music. 

In my opinion, one of the saddest changes was the death of record shops. That was a special environment, going to record shops like Black Market in Soho - London on a Saturday and standing there with 20 other people listening to all the new records, imports, white labels, double packs, and 10” specials that the guys in the shop would play. 

And holding your hand up like an auction and shouting “I’ll have one of them”. And if you were a regular, they’d have a bag of the newest records waiting for you under the counter, which you could take to the side and listen on the turntables and headphones. It was thrilling and exciting. Something is lost now scrolling when through download sites. Having said that. Carrying a USB is much easier than two boxes of heavy vinyl! So, as I said its pros and cons.



Are there any emerging artists or producers you're currently excited about and feel we should be listening to?

There are so many young talented producers in the scene that now, it’s hard to keep up with them all. There are more and more emerging every week. And that can only be a good thing. We love exciting new talent in the scene, it keeps it fertile and fresh.



In today's rapidly changing electronic music landscape, how do you stay ahead and remain relevant?

It’s hard to stay relevant at any point in your career, and probably harder as you get older. I think it's important to keep yourself involved in the scene as much as possible. Going out and listening even if you’re not playing is very important, I would say.

What's your studio setup like, and do you have any essential pieces of equipment you can’t work without?

I’m a bit of a “gearhead”, I love spending my money on synths, new and old, so I have a room full of those batboys. However, you don’t need any of these to make good records. But the one thing I can’t do without is my Genelc monitors. I mix and master all my records so it is essential to have a quality monitoring system that you can trust if you’re doing the mixing or mastering.

Do you have a personal favorite track or remix from your extensive discography? 

Probably Headnoise, just for the fact that so many labels turned it down, and now it's got a Gold Disc haha! 



How do you navigate the challenges of balancing a busy touring schedule with studio time and personal life?

Haha, I'm not sure if the best at this balance, as I write this I'm currently (very) late delivering my next release. And when I say late, I mean I haven’t even started it yet. It's very tough, I like to work in my studio and not on the laptop so maybe I struggle more than most with this balance. It's a work in progress I would say.

Given the global reach of electronic music, are there any countries or venues you especially enjoy performing in?

The USA and Brazil are currently so vibey, the scenes and crowds there are thriving, I love it.



What's next for Martin Ikin? Any upcoming projects or collaborations we should be on the lookout for?

Yes, a few more cool collaborations are on the way after my release last week with Noizu on Insomniac Records.



What do you owe yourself?

A holiday haha.



Lastly, looking back on your journey so far, is there anything you'd do differently if given the chance?

I'm very grateful for my long journey and career in music and love it more than ever right now, so there’s not a lot I would change. Maybe less aliases in my early years though.

Synthesizing Success: The Martin Ikin Story

Dance music duo Gabriel & Dresden are turning towards techno, although the pair’s initial claim to fame arose from their massively popular, trance-centered, alternative-adjacent work of the '2000s.



Remember their 2004 single "As The Rush Comes," which reached #11 on the UK singles charts? Or their remix of Above & Beyond’s "No One On Earth," which was voted the #1 track of the year in 2004 on Armin Van Buuren’s seminal podcast A State of Trance? Those are just two of the iconoclastic tracks that spring to mind from Gabriel & Dresden’s wide-spanning careers as globetrotting producers and DJs.

In the nearly two decades since breaking into the mainstream dance music zeitgeist with those early hits and their self-titled album, Gabriel & Dresden have also become a central act on Above & Beyond’s label Anjunabeats, having released a slew of singles and two full-length albums on the influential imprint.

“Our remix of Above & Beyond’s 'No One On Earth' was one of the first really big Anjunabeats records, and it was technically one of the first Above & Beyond hits,” Dresden remembers. “So we have a long history with these guys. We put out two albums with them, and we continue the relationship.”


“We’re doing either an album or an EP” for release on Anjunabeats, Dresden casually announces to Gray Area.

Nowadays, Gabriel & Dresden are launching the CQ / Techno tour, a new ten-stop American affair featuring local artists and extended techno-centered sets. The tour’s branding is in part a spinoff of their popular Twitch show Club Quarantine, which first took off during COVID and was recently retooled as a touring concept. It’s also in part due to the tour’s sonic focus “running the gamut of techno music from the pretty and beautiful to the hard and banging,” according to press releases.



And the first stop on the tour?

November 4th in New York City, at Musica with Gray Area.


It’s somewhat of a full-circle moment for Gabriel & Dresden: back in the ‘2000s, one of their first gigs together under their moniker was at Arc in New York City.

Yet, many questions remain about Gabriel & Dresden’s ongoing musical evolution. Gray Area asked Dresden to fill in some of the blanks during a mid-hike conversation as he rested atop the peak of Mount Tamalpais, just about an hour’s drive north of his regular San Francisco stomping grounds.


“We're sort of an act that has never had a total musical identity,” Dresden tells Gray Area. “Like if you listen to our first album — there's some trance on it. There's some indie rock-feeling stuff on it, there's some house-sounding music on it. We’ve always just made music that we wanted to make, and never really thought about the genre of the music that we're making.”



“Recently though, we've been thinking a little more about [genres],” Dresden notes, “because at this point in the game, you sort of have to pick a side, so to speak.”


MODERN TOUCHES

Dresden explains that the upcoming CQ / Techno tour follows the August release of their latest single "Other Eye," a collaboration on Anjunabeats with Andrew Bayer and Sub Teal that’s been years in the making.



“Andrew Bayer is like one of the figureheads of Anjunabeats,” Dresden says. “He’s helped Above & Beyond make most of their music for over a decade. We've shared a kinship with him and Above & Beyond for a long time.”


With such history, a collaboration between Bayer and Gabriel & Dresden was seemingly inevitable.

Yet, it was a life-threatening health scare that finally got that long-brewing collaboration off the ground while setting the stage for the duo’s upcoming CQ / Techno tour.



“Last year, my music partner Josh Gabriel had a heart attack,” Dresden says. “So [we were] trying to find a way for Josh to be productive but not have a lot of stress, because making a song from scratch is stressful.”




During Gabriel’s recovery, Bayer reached out to the pair asking how he could help. “That's really where we began talking, and figured out that it was the perfect time to make a record,” Dresden says.


“[Bayer] was like, ‘I want to make a modern Gabriel & Dresden record’ with the ideas of G & D — the song, the lyrics, guitars, electric basses, like rock basses. And then he would add modern touches,” Dresden says. “But his modern touches were definitely more in the G & D vein than in the Andrew Bayer vein. So it was a really interesting sound clash between two acts that have helped define Anjunabeats in some ways.”




For an act that’s well known for pushing the Anjunabeats sound forward with their trance-laced singles and genre-blending albums, it’s a seemingly incongruous choice to follow such a quintessentially Anjunabeats release with a techno-focused tour.

“There's the confusion as we're putting out a track that’s pretty trance-y, and then going and doing a techno tour,” Dresden says. “And this CQ / Techno tour that we're about to embark on is basically us going out and playing underground sets.”



But when viewing that decision in the context of their entire career rather than in a cultural vacuum, the underlying reason for highlighting their underground-leaning techno predilections with the CQ / Techno tour makes a whole lot of sense.

UNDERGROUND SETS

“Being G & D for all these years, it's kind of like being Rüfüs Du Sol — people want to hear your songs. We’ve been doing that for years,” Dresden explains. “Normally when we go out, we play our music, and music that sounds like our music, and a few other things.”



“But this [tour] is going to be specifically about techno — so this is a way to get away from relying on our songs, to get people to dance,” he says.

“That’s exciting, because we’ve never really done that before.”



Here, Gabriel & Dresden’s choice to showcase underground techno as a style of electronic music they aren’t mainly associated with as producers (but are nonetheless passionate about) is a career maneuver that’s proven to be in vogue for other major dance music artists lately. Look no further than Deadmau5 and his techno-driven alias Testpilot, Jauz and his house-oriented Off The Deep End shows, or Diplo and his house-centered sublabel Higher Ground.



It’s no surprise that prolific producers such as these continue to put their own spins on genres outside of their regular fare. But what is curious is how fan bases across electronic music have fairly wide-open ears for when one of their favorite producers makes something new by stepping off the beaten musical path. That quirk of contemporary electronic music culture seems to stand in stark contrast to past crossover attempts by artists from other mainstream genres, including folk, rock, rap, and country music alike.


For example: recall just how furious many folk music fans were back in 1965 when Bob Dylan performed his first electric show at the Newport Folk Festival. When Dylan played his new single "Like a Rolling Stone" with backing from an electric band, whole sections of the festival crowd reportedly booed the so-called ‘spokesman of a generation’ for embracing that sonic evolution.


A notable example from more recent decades: Garth Brooks’ ill-fated, short-lived project as alt-rock alter-ego Chris Gaines, which culminated in the incomprehensible 1999 album "Garth Brooks… In the Life of Chris Gaines."



Perhaps it helps for dance music producers like Gabriel & Dresden to have bedrock sounds from house and techno traditions as they weave new sonic threads throughout the tapestry of contemporary dance music. “House and techno are the foundations of most of this music,” Dresden says. “Disco, new wave, all that stuff is also foundational. But for all intents and purposes of modern electronic music, house and techno are the foundations. They’re in everything we do.”


“If you’re using a 909, an 808, a 707, a 606, and a 303, you're generally making house and techno,” Dresden says with a dry chuckle. “I've been DJing since 1987, and Josh has been making music since the early 80s. We still in our DJ sets play lots and lots of house and techno.”




“But at the end of the day, Josh and I — we like to break the rules a little bit.”




BODY OF WORK




As for what’s coming out of Gabriel & Dresden’s latest studio efforts?




“We’re currently working on a body of work that I'm not sure what it is,” Dresden muses candidly. “Is it an album? Is it ‘anything goes’, where we release it by ourselves? Does it come out on Anjuna? Are we gonna go some other route?”




“We’re definitely making music that would be aimed more squarely in the techno genre,” Dresden says when pressed on sonic specifics. “But we'll still put arpeggios in songs, chords in songs, and have full verses and choruses in songs, which isn’t necessarily techno music.”




In regards to their staying power in the global dance music scene, Dresden tells Gray Area that there isn’t some grand master plan that’s allowed them to stay relevant in the decades following their initial success.




“I think that we're just always going to be these guys that make a wide variety of music and hope for the best,” Dresden says.




“If we had to make the same kind of music every day, we'd get really bored quickly.”




In light of their upcoming CQ / Techno tour as well as their yet-to-be-announced releases, it doesn’t appear as if Gabriel & Dresden are going to get bored anytime soon.

Gabriel & Dresden: From Trance Titans to Techno Heads

From the heart of Burgos to the global stage, Yamil's musical journey is a unique blend of introspection and broad-ranging influences. Steering clear of fleeting trends, he’s carved out a distinct space for himself in house and deep house. His tracks, a tapestry of cultural experiences, are as diverse in tempo as they are in mood. With major platforms like Beatport and Traxsource frequently spotlighting his creations, and nods from icons such as Black Coffee, &ME, Rampa, and Solomun, Yamil's resonance in the industry is undeniable. As his global audience continues to grow, we delve into the life, sounds, and sonic realm of this Spanish artist, Yamil. 

How did growing up in Burgos influence your musical journey?

Being born in Burgos (an area with a limited electronic music proposal) has made me focus a lot on my music, my sound, on my projects and move away from the fashions or trends of the moment, therefore, I could say that the "disconnection" with the scene has helped me a lot to connect with myself. As they say: disconnect to connect. 



Your tracks span a wide range of sounds. Is there a particular moment or place that inspired one of your favorites?

My sound is an accumulation of cultural insights, and it's fueled by my personal experiences and travels. My tracks can go from 90 BPM to 125 BPM. I don't care much about what people think if I release a slow track or a track to listen to instead of a club track; the same happens with the mood of my music.

I can release something darker or something happier because, for me, the important thing is to bring out what you have inside at every moment and have it reflect the different stages of your life. I like music to have a soul and express a feeling.

How do you approach collaborations with other artists? What's your process?

It depends a lot according to the artist, if we work with the same DAW, we share the whole project as we progress, but if they are different DAW's, it is more laborious to have to send tracks and limit resources. Sometimes we get together to start ideas in the same studio, but the distance makes the projects are completed remotely and connected via internet.

With such a global appeal, how do you maintain the unique Spanish essence in your music?

The truth is that I always try to be myself and not follow what others do in order to not lose the essence of my sound. Although, as you said my sound range is large and I like to experiment with different moods and styles, but I think some elements like drums are always present in my songs and make them easily recognizable.



Which of the esteemed labels you've worked with pushed you out of your comfort zone the most?

Honestly, I never write music thinking about the labels I'm going to send it to. I try to do what I feel, and if the music fits one of the labels I like, then perfect; I'm happy to release it with them. However, I don't feel that urge to make music just to sign here or there. 

That's why we created our label, Pieces of Life, to get away from the trends and the specific sounds of certain labels. I think this is where I have left my comfort zone because there is no pressure, and we set the timelines and create the strategy to publish the music without third parties.

Beatport and Traxsource often feature your tracks. How do you feel when you see your work alongside industry legends?

It makes me very happy to see that these big platforms consider and support my music. It’s gratifying to see that the work of so many years is bearing fruit and is attracting the attention of the curators and the people in charge of these platforms. In the end, they are a very important gateway to our music, so I am very grateful for this.



There’s significant support from heavyweights like Black Coffee and Solomun. How did these endorsements influence your career trajectory?

That artists of this magnitude support your music is fantastic, it's like a trampoline to reach new audiences, they are such a platform that reaches millions of people and your music benefits from it. I think that today this does not change your life and you must keep working hard, but it is a great motivation to go back to the studio with a big smile and keep making better music. 

We’re eagerly awaiting your show at Superior Ingredients on December 22nd. Can you give us a hint about any special preparations or surprises in store for the night?

I am very excited to join your event in New York, one of my favorite cities in the world, by then I hope to have my second album 100% ready. I am looking forward to testing some of the songs I am finishing so stay tuned!

Rapid fire: Analog or Digital? Sunrise set or Sunset set? Studio session or Live gig?

Analog and digital (mix of both).I prefer sunset sets, but I also love sunrises. I'm a studio nerd and I have a lot of fun in my cave creating, but I also love to get out there and try out my new songs to see how the audience reacts.

In short, the answer is 50/50 on everything hahaha. I'm not a strict person or pigeonholed into something, I like to take the positive out of everything.

If you could collaborate with any artist, past or present, dead, or alive, who would it be and why?

Tough question. I could name several artists that have been a great inspiration for me, but without a doubt, I would choose Bob Marley or Manu Chao since both have been revolutionaries in their musical genres.

How do you wind down after an intense tour or music production session?

I relax from the tour by going back to the studio and I relax from the studio by going back to the tour, a rather vicious circle. But I also like to go out in the countryside, connect with nature, and ride my bike.

What's the most unusual venue you've ever played at? What's your dream venue to play at?

I have had the opportunity to play in very random places over the years, from a small island in the Antilles in the middle of the Caribbean Sea, to a 10th-century castle in Spain, to a remote cave in the South of France. For me, it's one of the most beautiful things about this profession and I love being able to keep exploring and discovering different parts of the world.

Can you name a track that never fails to energize the crowd, no matter where you play?

There are several of my songs that I love to play, and the reaction of the audience is always overwhelming as could be "Shesawa" or "Magma", I think I will never get tired of playing these two.

Outside of music, do you have any hidden talents or hobbies that fans might be surprised to learn about?

I love cooking, it's my second passion after music. I think I could be a chef in another life. 

If you were stranded on a deserted island, which three albums would you want with you?

Jahsta - El Mensaje, Manu Chao – Clandestino, Daft Punk – Homework

With 2023 on the horizon, can you share any upcoming projects or goals you're setting for yourself?

Now, I'm still focused on the present as I have a pretty full tour schedule until the end of the year. I'll be in Europe, the Middle East, and America. Also, I have a few releases about to see the light soon as my new EP on Sol Selectas, which I'm looking forward to coming out because they are songs that I've been playing for quite some time, and I'm very excited to finally drop them. 

I also have a remix to Clemente that will see the light in the coming weeks. Then, the next step will be to finish my new album to finally release it next year - I love everything that goes into releasing an album, from the recording process to the moment of release, so super excited about this!

Tuned In: Yamil Uncovered in an Exclusive Interview

In an industry that often heralds the "overnight sensation," Miami's very own DJ and producer Fiin stands as an example of the passion and the dedication. For him, music wasn't an inheritance but a discovery. Soccer fields and sports medicine textbooks were his initial companions until a fortuitous brush with house music at a store shifted his life's trajectory.



Trading college dorms for CDJs and a dream, Fiin dived headfirst into the world of beats and bass. Guided by the mentorship of DJ Diego Harispe, Fiin was introduced to the legends of the disco era, grounding him in the very foundation of the genre he loved.

From being the youngest resident of Miami's iconic Heart Nightclub to sharing decks with global DJ maestros, Fiin's rise was noteworthy. His sentiment towards his hometown resonates deeply, "Playing at III Points holds profound importance for me because it's more than just a gig; it's a connection to the heart of Miami. This is not just a performance; it's a celebration of our vibrant city's energy and a moment to share my passion with the place that has always been my inspiration." 



His Sunday venture, Relic, became Miami's musical haven, an ode to pure, unadulterated sounds, stripped of frills and fads. Understanding the need for originality, Fiin embarked on a production journey, relentlessly perfecting his craft. The result? A coveted contract with Ultra Records and tracks that reverberate with sensuous grooves, techy rhythms, and a soul that's unmistakably Fiin. From hits like "Le Crocodile" to the rhythmic allure of "Wild Trees," his music invites listeners to lose themselves.


Further amplifying his reach, Fiin's inclusion in the Gray Area SoundCloud mix introduces his unique sound to a broader audience. This curated auditory journey, designed to spotlight emerging talents, provides a platform where artists like Fiin resonate with global listeners, embodying the essence of the contemporary music landscape.

On the SoundCloud Pulse: Fiin's Vibrant Voyage & III Points

Every autumn, Amsterdam takes center stage in the electronic music world with the Amsterdam Dance Event (ADE). Since its inception in 1996, this monumental festival and conference has evolved, bringing together the industry's brightest minds and most dynamic talents. This year, the ADE lineup promises to offer a deep dive into the multi-faceted world of electronic music. 



From Claptone's riveting first live interview, marking a decade of "No Eyes," to the future of festivals and the intricate economics of music streaming. Additionally, sessions like "How Jayda G Inspires Climate Action" showcase how dance music intertwines with pressing global issues. As we gear up for this year's event, this article offers a curated selection of the top conference picks, ensuring attendees navigate ADE's rich tapestry with insight and enthusiasm.





Claptone: First Ever Live Interview and Experience




ADE Pro is set to present the first ever live interview and Q&A session featuring Claptone, commemorating the 10-year milestone of the chart-topping song "No Eyes." Hosted by BBC Radio 1 presenter Danny Howard, this event will delve into the rapid ascent of one of the globe's most enigmatic artists, offering professionals a unique insight.




The Future of Festivals



The Future of Festivals TalkShow will provide a comprehensive perspective on the evolving nature of festivals and their societal significance. The discussion will encompass a close examination of the shifting sociological composition of festival-goers and evolving demographics, exploring topics such as redefining festivals to prioritize distinctive community interactions over mere lineups, delving into the core components that define a truly unique event.




20 Years of Armada Music: How to Stay Relevant



Discover the secrets to maintaining your relevance in a swiftly changing industry from Armin van Buuren and Maykel Piron, who are both co-founders of BEAT Music Fund, alongside Nadine van Bodegraven, who serves as COO.




Whether you're a well-experienced expert in the field or a rising star, this session offers valuable resources, tactics, and knowledge to safeguard and advance your career in the realm of dance music.





Predicting Hits: Human vs. Machine



In an era marked by the growing integration of Artificial Intelligence across various sectors, a fundamental query has emerged within the music domain: Is AI's ability to predict poised to transform the music landscape?




As we embark on an investigation into this prospective transformation in our field, we venture into the realm of Neuroforecasting, a convergence of neuroscience and artificial intelligence.




How Jayda G Inspires Climate Action



During this engaging Q&A session featuring Jayda G and Nicolas Brown, they delve into their upcoming documentary "Blue Carbon", a compelling call to action for the preservation of vital coastal ecosystems, aimed at enthusiasts of dance music and environmental advocates alike.




Fossil Free Festivals of the Future – Presented by Greener Power Solutions



How can festivals transition from relying on fossil fuels to embracing sustainable, future-proof energy sources? This panel aims to ignite the festival industry's imagination regarding the future of energy while exploring three exemplary approaches to renewable energy solutions.




Inside Cercle - Unveiling the Creative Process




Examining one of Cercle's recent projects showcasing the incredible Miss Monique, this panel uncovers the inner workings of their stunning productions, delving into the partnership between the artist and Cercle for their performance at the Biosphere Museum in Montreal.




The Art of A&R by Adam Beyer






The core essence of any remarkable record label lies in its A&R abilities, and Adam Beyer, the creator of Drumcode, will delve into this concept during his Creative Keynote at ADE Pro.




How Much is Music Worth: The Value Proposition in Streaming Economics






A study into the economics of music streaming, examining the prevailing trends and how artists can shape the future, while also considering the model's influence on the production, release, and promotion of records.





HE.SHE.THEY. - How To Create Positivity Out Of Frustration





This is a story of how founders Stephen and Sophia transformed their industry-related frustration into a worldwide concept, demonstrating that anyone can achieve the same.

ADE 2023: The Ultimate Guide to the Top 10 Conferences

The annual showcase of Amsterdam Dance Event returns to the Dutch capital next week for its most flavorsome and large-scale edition yet. From Wednesday 18 to Sunday 22 October the city will come alive with over 1000 events at 200+ venues, as well as 2,500+ artists migrating from every corner of the globe.

Aside from the incredible conferences, panels and workshops, the world-class parties are of course the foremost reason to attend. With so much to choose from, it's going to be almost impossible to squeeze in all of ADE’s incredible party offerings into your schedule, so we recommend you propose an itinerary to make the most out of your time in the Netherlands.

To save you some work, we've carefully selected ten events over the course of the five day affair that we think are parties not to be missed. From intimate boat parties on the canal, to sweaty warehouse raves with incredible line-ups, here we present to you Gray Areas chosen ones.

(For a full scope of events during ADE and to purchase tickets for these events, head to Resident Advisor. For more information about the history of the event, check out this article.)



Shelter Presents Boogeyman: Wednesday October 18, Shelter - 23:00 - 6.30am

The Martinez Brothers Cuttin’ Headz sub-label Boogeyman takeover at Shelter makes the cut as the first of our top ten. Taking place on night one, Wednesday October 18, of the five day extravaganza, this perfectly curated line-up radiates the Bros’ synonymous tech-house sound that will play out at one of the city's most iconic venues, Shelter.

From 23:00 to 6.30am the sounds of Jesse Calosso, A-Trak, Fleur Shore, Guti (live), AJ Christou, Jean Pierre and Nathan Alzon will penetrate the walls of the subterranean nightclub, setting the tone perfectly for what’s going to be one hell of a few days.

If you’re yet to experience a rave at the renowned nightlife institution that is Shelter, then this is the perfect opportunity to do so. Located in the underground of the landmark A'DAM Tower, its industrial setting is not only complemented by a fantastic sound system, but a 24/7 party permit also. Excited is an understatement.



Kaluki ADE - Thursday October 19, Bret - 12:00 - 23:00

Who doesn't love a day rave? Next up on our top 10 party roster is the one and only Kaluki. This incredible UK label/events brand that was formed in a grubby Manchester (UK) basement back in 2006, has transformed into an underground success story that works with both established and upcoming producers.

Thursday October 19, the coveted brand will take over one of Amsterdam’s most sought-after nightclubs, BRET with an incredible line-up. From midday to 23:00, Loco Dice, Richy Ahmed, East End Dubs, Rossi, Joey Daniel, Alisha b2b Wheats and Pirate Copy will all be spinning some sexy deep tech tunes in the vibrant spot.

This venue is said to be the life and soul of the city as it lights up the slightly gray corner of Sloterdijk with a much-needed splash of color with its bright red exterior. BRET is also a beer bar, restaurant and urban vineyard that regularly transforms its indoor and outdoor spaces for magical club nights.



Paradise X Loveland - Friday October 20, Mediahaven

Jamie Jones and the extended Paradise family return to Amsterdam for another ADE showdown together with the Loveland crew. This time, the party will go down at the mighty Mediahaven where three rooms of Paradise await.

Located in the center of Amsterdam in the Houthavens lies Mediahaven. The large-scale warehouse consists of three rooms that vary from a 12-meter-high ceiling to a basement with a grungier feel to it. And best of all, it has amazing acoustics with a state-of-the-art sound system.

This line-up is one not to be missed. In A-Z order, AMÉMÉ, Bontan, HoneyLuv, Hot Since 82, Jamie Jones b2b Loco Dice, Kolter, Mason Maynard, Richy Ahmed, Rossi, SYREETA and Toman will all take over the decks for this a rave to remember.



SW (Strafwerk) Presents Camelphat - Friday October 20, De Kromhouthal

With this one, we delve into the deeper, melodic depths of electronic music as Strafwerk presents Camelphat at De Kromhoutal. The impressive industrial venue of over 5000m2 has now been transformed into an event venue after decades of history as a manufacturing hall, perfect for music events of this kind.

From 23:00 to 7:00 the British duo powerhouse are back at it, straight off the back of their summer long residency at Pacha Ibiza, where they’ll be joined by Kölsch, Fideles, ARODES and Layla Benitez for a night to remember.

You know it’s going to be a good one when Straf Werk is involved.



Music On X Loveland - Saturday October 21, Mediahaven

Saturday is the pinnacle night of the whole five-day event. It’s by far the busiest day in the ADE calendar, but for us, this super magical line-up stood out from the crowd.

Bringing to you another event from one of the top promoters in the game, Loveland. Founded in 1995 by Marnix Bal, Loveland is today one of the leading event organizations in the world, headquartered in Amsterdam.


This time the imprint will be working with Marco Carola and his world-renowned Music On party. The Italian adonis will be joined Saturday October 21 at Mediahaven by a host of his Music On entourage including (A-Z) Ale De Tuglie, Archie Hamilton, BLOND:ISH, Calvin Clarke, Chelina Manuhutu, Jean Pierre, Cuartero, Joey Daniel, Mahony, Maqossa, Marco Carola, Paco Osuna and Wade.

From 23:00 to 7:00, get involved and immerse yourself in the Music On madness at Mediahaven.



Franky Wah Presents SHEN ADE Boat Party - Saturday October 21, Watt Events Boat Party

In true Amsterdam style, your trip to the Netherlands wouldn't be complete without a boat party on one of their picturesque canals. Saturday October 21, Franky Wah takes his progressive and emotive SHÉN imprint afloat, embarking on a sonic and spiritual awakening.

Wah will be joined by his day one musical luminary Sasha and rising star KALISMÃ. Expect a broad pallet of music which takes influence from a range of genres including trance, breakbeat, house, techno from 21:00 to 3:00. Wah’s sonic identity is one that sits at the apex of what modern dance music is all about: diversity, unity and a progressive outlook. This is going to be special.



VBX, ADE - Friday October 20, The Loft And Saturday October 21, BRET

From one iconic venue to the next, the VBX crew go in with a double whammy as they take over The Loft on Friday October 20 as well as BRET on Saturday 21.

For those real underground, authentic Amsterdam vibes, you can ensure the VBX music collective will bring you just that. Embracing the minimal tech and house sounds, the brand runners Jasper and Maurits know their way around the city's music scene like the back of their hand, and are known to throw a killer party. The pair state that it boils down to just one simple thing: the groove.

Starting off at The Loft on Friday from 15:00 to 22:00, Mandar, Laurine, Junki Inoue, Alexia Glensy, Alex Dima will all take to the 16th floor of Amsterdam Noord’s iconic A’DAM Tower, The Loft. The exclusive penthouse boasts towering windows that indulge its patrons in a breathtaking panoramic view across the city. It's known for intimate sunrise and sunset parties, which go strictly by the musical guidance of some of electronic music’s greatest.

On Saturday VBX will then take over BRET for a 12 hour stint of B2B music brought to you by Quest, Julian Anthony, Gene On Earth, Gabbs, Frank Haag, E.LIN and Annyrock. Your chance to get to know some artists that you may not be familiar with, but will for sure leave a musical memory etched into your brain.



Fuse ADE 2023, Saturday October 21, De Kromhouthal

Saturday October 21, London-based event brand and record label FUSE returns to Amsterdam for its biggest ADE showcase to date. The brands founder Enzo Siragusa will be joined by some of minimals finest including Apollonia, Raresh, Traumer, Rossi, Sweely & Alexia Glensy at the 3000 capacity industrial space De Kromhouthal.



Joy X Locus ADE - Sunday October 22, Het Sieraad

Joy, one of Hollands most in demand house brands, invites Locus London for a special ADE takeover at Het Sieraad. Once a jewelry factory, Het Sieraad has transformed into a pulsating electronic music haven, hosting a diverse array of techno, house, and urban parties in the heart of Amsterdam. Drawing over 470,000 visitors every year, this venue is alive with excitement and energy.

LOCUS is a brand new record label brought to you from the team behind FUSE London. The ethos behind LOCUS is to explore all shades of house music, with the dance floor at the forefront of the imprint's thinking.

Oden & Fatzo, Rich NxT, Up The Stuss’ latest sensation Locklead, Lauren Lo Sung, Julian Anthony, De Sluwe Vos, ADMNTi, Boss Priester will all play at Het Sieraad that is steeped in history. Only in Amsterdam, can you party in venues with such quirky narratives.



Deeperfect x Guerrilla ADE 2023 - Sunday October 22, Koepelkerk

Deeperfect is a signature label for the minimal/deep tech and tech-house genres founded by Stefano Noferini. After receiving the DJ awards for best label in 2019, the appreciation for Deeperfect has only grown worldwide.



Together with the Amsterdam based organization Guerilla, the innovative pairing will take you to church this year at the Koepelkerk on Sunday October 22. The unique 17th century domed monument features nearly 1,000 square meters of flexible event space, with a sweeping 450 square meters Koepelroom, complete with Bätz organ and domed ceiling.

This Sunday is not for resting, as the line-up is filled to the brim with both upcoming names in house music and some established playing alongside the founder, Stefano Noferini. (A-Z) Bassel Darwish, Daniel Orpi, Joe Vanditti, Manu Gonzalez, Rayzir, Rendher, Vidaloca, wAFF and Yaya will all gather to repent for their sins in this breathtaking venue. What a way to round off an incredible week.

Gray Area’s Top 10 Parties of ADE

Last week was a whirlwind of amazing closing parties, but it’s not quite over yet!

We’ve got less than a handful of parties to go before the official end of the season, so here’s our roundup for you to dig your teeth into.

Will we see you on the island this weekend?

Music On Closing Party | Pacha Ibiza | Friday, October 13

Marco Carola is preparing for a final fiesta at Pacha Ibiza on Friday, October 13. Alongside Carola, techno legend Paco Osuna, and the incredible Cloonee will bring a mix of techno and tech house to the island’s oldest super club.

Since its inception in 2012, Music On has become an integral part of Ibiza's nightlife, with Pacha providing a fitting venue for its underground vibe since 2019. This closing party not only celebrates the end of the Music On parties for 2023, but also showcases the enduring appeal and evolution of the electronic music scene led by seasoned artists.

Online tickets are sold out, so make sure to get down there early to secure entry at the door.

Don’t miss out on the final Music On of the season.

Follow Marco Carola on Facebook | Instagram | Soundcloud

Amnesia Ibiza Closing Party | Saturday, October 14

Ending the summer on a high note, Amnesia’s closing party lineup features some incredible talent from the techno and house scene, including Charlotte de Witte, Deborah De Luca, Danny Howard, Jamie Jones, Joseph Capriati, and Nina Kraviz among others, across both the Main Room and the Terrace.

The party celebrates a mammoth season for the iconic Amnesia, who this year collaborated with world-renowned brands like Paradise and Elrow, each bringing a unique essence to the season's events.

Get your tickets to the closing parties of closing parties.

Follow Amnesia Ibiza on Facebook | Instagram

Solomun +1 Closing Party | Pacha Ibiza | Sunday, October 15

Not only does this closing party mark the end of the Solomun +1 residency in 2023, but it is also the final event of Pacha Ibiza’s 50th anniversary year.

Flor the closing Solomun and his guest Dixon will be gracing the decks, showcasing the very best in techno music.

The duo will start with solo sets, eventually merging into a back-to-back set, a tradition that has become the hallmark of Solomun +1 nights.

Don’t miss out - this will be one for the memory books!

Get there early to secure a ticket.

Follow Solomun on Spotify | Instagram

UNA MÂS | Club Chinois Ibiza | Monday, October 16

Throughout October, Club Chinois is inviting outdoor promotors the opportunity to have a branded night in their opulent club. 

On Monday, October 16, Ben Klock, Fell Reis, Marina George, Tony Castello, Sarahrey, and Fabrice will be giving us one more chance to have a dance on closing party weekend.

The question is, can you handle one more party?

Book your tickets to this one-off party.

Follow Ben Klock on Facebook | Instagram | Spotify

If you are lucky enough to be on the island for another couple of weeks, there are still some great parties to attend.

Club Chinois is hosting a 2-party closing party for Trip, on October 28 and November 4, featuring Apollonia, Ricardo Villalobos, and Sonja Moonear among others, as well as their Halloween party named ‘Shadows’ on October 31.

Playa Soleil also have a Halloween bash on October 31, with Rock Nights in charge for the evening.

Akasha Ibiza are starting their winter series of events, including Burning Man fundraisers, Summarians, and Ethereal. The vibe at Las Dalias is unmatched, so make sure to head there if you’re on the island in the off-season.

And that’s it! It’s been an absolute pleasure to highlight the very best in parties across the island this summer, and we cannot wait to do it all again next year.

See you in approximately 197 days!

This Week in Ibiza (Oct 13 - Oct 16)

In 1996, nestled within Amsterdam's vibrant landscape, a new chapter in electronic music was being written: the inception of the Amsterdam Dance Event (ADE). This initial event wasn't the large-scale festival we recognize today but a more intimate gathering focused on the business side of the Dutch music industry. Hosted in a single hotel on the Vijzelgracht, ADE began as a platform for industry insiders to connect and share.

Founded by former Director Richard Zijlma, who is now the head of Conservatorium Haarlem, and the Buma/Stemra Foundation, ADE was developed to champion the rights of composers, lyricists, and music producers across the Netherlands. The collaboration's strength and vision for ADE were evident from its early success. 

By its second iteration in 1997, the event had expanded to De Balie for its daytime conferences. By night, 30 DJs provided the soundtrack for attendees at Amsterdam's iconic venues: Paradiso, Escape, and Melkweg.

But ADE was never just about music; it aimed to capture the ethos of dance culture from its earliest days. Dance music has its roots in underground movements and served as an anthem for protests against mainstream norms and as a celebration of diverse cultures, notably black, queer, and trans communities. ADE sought to amplify these roots, providing a voice to the often voiceless in the world of electronic music.

The conference element of ADE has always been its backbone. It serves as a global meeting point for the electronic music industry. The event's reach expanded dramatically, drawing attendees from all aspects of music production, from DJs and producers to brand managers.

Over the years, Amsterdam's DeLaMar Theatre became a primary venue for these interactions, hosting myriad conferences, lectures, and workshops.

As the years went by, the Amsterdam Dance Event Foundation took the reins in 2018, overseeing the festival's growth into an even larger entity. From its singular venue in 1996, ADE exploded to feature over 1,000 events across nearly 200 venues by this time. Such expansion bore witness to ADE's evolution from a local industry event to a global phenomenon in electronic music.

Each ADE also brings the unveiling of the DJ MAG Top 100, a ranking initiated in the '90s. With votes from around 350,000 fans annually, this list has seen legends like Tiësto, Armin van Buuren, and David Guetta rise to the top, emphasizing ADE's central role in the dance music arena.

In summary, the Amsterdam Dance Event's history is a journey of passion, vision, and continuous growth. From its modest beginnings to its present-day stature, ADE remains a pivotal moment on the electronic music calendar, reflecting the genre's evolution and the city of Amsterdam's enduring commitment to the arts.

Echoes from the Canals: The Rise of ADE

Who’s ready for a big weekend of closing parties in Ibiza?

The buzz on the island is unmistakable, we are at peak closings and the crowd on the island is here for just one thing - the clubs, the music, and that iconic Ibiza vibe!

There are so many events to choose from, so we’ve put together a selection of the very best for you to enjoy this weekend.

Music On | Pacha Ibiza | Friday, October 6

The penultimate party is upon us! This Friday, Pacha Ibiza is set to host the penultimate Music On party of the summer season, with Marco Carola of course, filled with techno and house music.

Alongside Carola, talented DJs Wade and Chelina Manuhutu will take the stage, keeping the energy high from midnight until the early morning hours.

Known for its dedicated fanbase and being a staple Friday night event, Music On at Pacha has carved out its reputation as a prime destination for underground music enthusiasts on the White Isle. You’ve simply got to be there.

Online tickets sold out. Some will be available on the door.

Follow Marco Carola on Facebook | Instagram | Soundcloud

The Vortex | Ushuaïa and Hï Ibiza Closing Party | Saturday, October 7

If you’re on the island this weekend, you’re probably not going to stop hearing about The Vortex. 

Playa d’en Bossa giants Ushuaïa and Hï Ibiza have joined forces for a mammoth closing party double-header, very much like they did for their opening fiesta back in May.

Kicking off at 1pm, the likes of Peggy Gou and Bicep will headline the al-fresco portion of the party. 

Then, when nighttime falls, Hï Ibiza will open its doors and we’ll be partying all the way through to sunrise and beyond.

This is going to be one for the books!

One last chance for tickets.

Follow Ushuaïa Ibiza on Facebook | Instagram

Follow Hï Ibiza on Facebook | Instagram

WooMooN Closing Party | Cova Santa Ibiza | Sunday, October 8

WooMooN closing takes place on Sunday and is the last date of Cova Santa’s summer season.

If you haven’t had the pleasure of experiencing WooMooN yet; it’s a unique blend of music, art, healing, and fun, with live performances, interactive areas, and even a market with local crafts.

It’s the perfect day-to-night party. Top tip: make sure you’re there for golden hour because the place really transforms at sunset.

The party starts outside at 5pm and transitions down to the club from midnight until 5am.

Don’t miss out, get your tickets for the final event at Cova Santa.

Follow Bora Uzer on Facebook | Instagram | Spotify

Circoloco Closing Party | DC-10 Ibiza | Monday, October 9

It’s one of the biggest closing parties of the season, and it’s right around the corner.

The Circoloco closing party at DC-10 has, quite frankly, an incredible lineup, including the likes of Seth Troxler, Tania Vulcano, Adriatique, ANOTR, Bedouin and so many more!

Kicking off at 6pm, there’s a 12-hour stomping session ready and raring to go. 

Plus, new for 2023, Circoloco have launched an event on Tuesday, October 10, named ‘The Day After’. No lineup has been released as yet, but it will run from 9pm - 5am. We just know that this is going to be epic.

Get your tickets and celebrate with Circoloco.

Follow Circoloco on Facebook | Instagram | Soundcloud

Moon Harbour | Club Chinois Ibiza | Tuesday, October 10

The head honcho of Moon Harbour returns to Ibiza on Tuesday, October 10, for a night of strong underground vibes at Club Chinois. 

Matthias Tanzmann will be playing B2B with Davide Squillace, both supported by Milou. 

It’s the 2nd in the series of late-season parties by the Marina Botafoch club, and if Moon Harbour’s pre-season showcase was anything to go by, this is an unmissable event.

Purchase tickets and experience Club Chinois.

Follow Matthias Tanzmann on Facebook | Instagram | Spotify

The Ritual with Anané & Louie Vega Closing Party | Club Chinois Ibiza | Wednesday, October 11

The Ritual is a unique event curated by the celebrated musical duo Anané and Louie Vega, where genres are blended and a fusion of music, culture, and spirituality brings all kinds of people together on the dance floor.

The closing party is taking place on Wednesday, October 11, and Anané and Louie will be joined by some special guests who are yet to be announced.

Get your tickets to this mid-week closing.

Follow Louie Vega on Spotify | Facebook | Instagram

This Week in Ibiza (Oct 6 - Oct 12)

We're definitely feeling the shift in energy on the island as we dive deeper into the closing party season! There's excitement in the air, happy faces all around and and the clubbing calendar is looking busier than ever!

We’ve cherry-picked the best of the best for the next 7 days, so let’s get down to business with our selections:

Defected Closing Party | Eden Ibiza | Friday, September 29

21 parties have passed and we are left with just one more chance to enjoy the ‘back-to-basics’ parties by Defected at Eden Ibiza. 

Low Steppa, Hannah Wants, Darius Syrossian, Monki, and Sam Divine will all be taking to the decks - Defected regulars we all know and love.

There’ll be a queue around the block for this one so make sure to get your tickets and get down there early.

Remember, “It’s all about House!”. No frills, good vibes, and a pure house music policy.

Finish the season strong at Defected. Get your tickets.

Follow Low Steppa on Facebook | Instagram | Spotify

Elrow Closing Party | Amnesia Ibiza | Saturday, September 30

Are you ready to Dance With The Serpent?

The closing party brings a brand new theme from Barcelona-born elrow - which is a collaboration with Austrian artist Nychos. From what we can tell, it looks like it’s going to be an incredible explosion of color, slithering serpents, and, as always, incredible confetti explosions and inflatable drops.

Topping the bill is Adam Beyer, and joining him on the Terrace are Joris Voorn, Sarah Story, Bastian Bux, and Toni Varga, promising a night of tech-house fun. Ilario Alicante will be playing in Elrow City (the Main Room) all night long.

One last chance to enjoy elrow in Ibiza in 2023.

Follow Adam Beyer on Facebook | Instagram | Spotify

Pyramid | Amnesia Ibiza | Sunday, October 1

There couldn’t be a better way to end your weekend than witnessing The Chemical Brothers at Amnesia. Just like last year, the duo is back for a one-off performance for the home-grown party Pyramid, and we’re even getting one more hour of fun as, for this Sunday only, the doors open at 10pm.

The Chemical Brothers will be joined by Eats Everything and Marco Faraone on the Terraza, while Kobosil, Fatima Hajji, and Reinier Zonneveld (live) make up the roster in the Main Room. 

It’s going to be a busy one!

Don’t miss out, get your tickets before they disappear.

Follow The Chemical Brothers on Facebook | Instagram | Spotify

D4 D4NCE Closing Party | O Beach Ibiza | Monday, October 2

There’s nothing better than a Monday in Ibiza. 

Your social media feed may be full of people getting ‘back to the grind’ but we’ve got a better option for you. 

Defected-owned D4 D4NCE is having its closing party at the iconic O Beach Ibiza, headlined by none other than house music legend Roger Sanchez. 

It’s a day-to-night party full of feel-good vibes, high energy, and, of course, the famous O Beach performers.

Get your tickets or VIP beds here.

Follow Roger Sanchez on Facebook | Instagram | Spotify

Camelphat Closing Party | Pacha Ibiza | Tuesday, October 2

Camelphat’s first-year residency at Pacha comes to a close on Tuesday, so make sure to get down there if you haven’t had a chance to yet this season.

Joining the Grammy-nominated duo for the final hurrah are electronic music maestros Stephan Bodzin, who’ll be treating us to a live set, and Mita Gami, a rising star with a unique sound that the island has loved this summer.

Pacha’s 50th anniversary celebrations this year have echoed through all the residencies, and this closing party will be very much the same.

Purchase tickets to this epic closing party.

Follow Camelphat on Facebook | Instagram | Spotify

Paradise Closing Party | Amnesia Ibiza | Wednesday, October 3

The Paradise closing party at Amnesia is going to be an unforgettable end to a strong summer series of events.

Jamie Jones, the mastermind behind the event brand, will be joined by techno and tech-house icons Joseph Capriati and Hot Since 82, as well as the incredible Marshall Jefferson and Wheats on the Terrace. 

Ilario Alicante, Richy Ahmed, William Djoko, Alisha, and Dateless will all be bringing their sound to the Main Room.

This season's Paradise parties, celebrating a decade of Jamie Jones’ label, Hot Creations, have been the talk of Ibiza, and this grand finale is going to be one for the books.

Buy tickets to Paradise and get ready to party.

Follow Jamie Jones on Facebook | Instagram | Spotify

Tale of Us present Afterlife Closing Party | Day and Night | Ushuaïa and Hï Ibiza | Thursday, October 5

If there’s one thing that Playa d’en Bossa has going for it, it’s the fact that Ushuaïa and Hï Ibiza have absolutely mastered the double-header opening and closing parties.

Techno label Afterlife is bringing an epic day-to-night fiesta to Ibiza, full to the brim with some of the best DJs and producers from around the world today. Legendary doesn’t quite cover it.

Buy tickets to this sell-out event before they all go.

Follow Tale of Us on Facebook | Instagram | Spotify

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