The Afro house spearhead flexes his reach with a pallet of eastern inspired sounds

Some artists have an “it” factor. They are movers and shakers of both industry and sound. Although it can be challenging to stand out in the expansive world of dance music, Pablo Fierro has undeniably risen to the challenge and beyond. While he’s an accomplished remixer and collaborator, some of our favorite Fierro works have been his stand-alone originals. This edition of Track Of The Week series honors one of those originals, Pablo Fierro’s “Bangalora.”




Fierro is renowned for his ability to tap into the vast corners of the globe for new sonic inspirations. “Bangalora” leans into the rich cultural pallet of India. Deep-rooted percussion first captures the listener in a spell characterized by energetic movement. As the instrumental arsenal grows to include a wealth of traditional strings and a bewitching sahnai loop, one can’t help but slip into a trance of physical and spiritual expression. The vocal cries are the final piece of this soul-surging puzzle, taking clear past the moon and the stars into a world beyond space and time.



“Bangalora” was released on Fierro’s label, We’re Here, a launching point for Pablo’s most worldly music to date that grew to include a weekly residency in Ibiza this past summer. He also heads his world club music label, Vida Records.




For more on Pablo Fierro’s story, check out our artist spotlight of the Canary Islands native here.



Fierro’s prowess as a selector, performer, and producer has elevated him to the highest echelons of reputation in dance music circles. Projects with world-class talents like Gilles Peterson, Louie Vega, Atjazz, Black Coffee, and more have readily demonstrated his uncanny ability to transcend genre lines. It's no small feat to seamlessly blur genre lines while retaining the spirit of house music in this way, we are anxiously waiting Fierro's next move.

Pablo Fierro Taps An Ancient Power On World Dance Track 'Bangalora'

How a lifelong passion for electronic music and community building for Dirtybird Records head honcho Claude VonStroke helped establish Dirtybird as one of the preeminent brands in American electronic music.



In the early 2000s, long before he was Claude VonStroke, Barclay Crenshaw independently produced and directed the documentary Intellect: Techno House Progressive. Some regard Intellect as one of the most comprehensive films ever made about DJs and underground electronic music culture.



Intellect features a staggering amount of interviews from pioneering DJs and electronic music producers—Juan Atkins, Miguel Migs, Orbital, Paul Van Dyk, Deep Dish, Sandra Collins, Steve Lawler — the list goes on. Justin Martin, the first cornerstone producer on Dirtybird Records, also made much of the original music for Intellect rendering the catalyst for the foundation of Dirtybird Records.




“Derrick Carter and I were in New York on 9/11. I was completely broke. And I still had to finish my movie,” recalls VonStroke. Despite the tragic events, the desperate director did what had to save his fledgling documentary.




“I went and begged [Carter] to do his interview. He didn’t want to do it. No one wanted to do anything [after 9/11]!” said VonStroke, speaking to Gray Area at Dirtybird Campout. “But he came down out of his room at the W Hotel and did the best interview of the whole [documentary]. Last night, we were chatting about [Carter’s Intellect interview] for the first time since it happened,” reminisces VonStroke.




“Full circle. That’s 21 years later,” VonStroke says, a look of awe quickly spreading across his face.




Roots run deep at Dirtybird Campout.




CHICAGO HOUSE

“It’s so good!” barks DJ Sneak in response to a query from fellow DJ Mark Farina as two Chicago house legends join ringleader Derrick Carter in the Thursday night Bass Lodge booth.




Being onstage like that at Campout “is like cooking with your best friends in somebody’s kitchen that we know,” says Sneak.




“The funny part is that we don’t even speak about what we’re gonna play. We just show up and play. That’s always been our formula, we just freestyle. We’re so seasoned, we each have a style. When we come together — it’s magic.”




Deron Delgado, Dirtybird Records label manager, explains Campout’s booking of the three living Chicago house legends to open the festival.




“Sneak and Carter and Farina — we literally grew up listening to [them] before any of us were DJs,” says Delgado. “Personally, they’re three of my biggest influences growing up as a wee raver.”




Sneak says that “Derrick has always been our lead — I’m from Chicago too, Mark’s from Chicago. But Derrick has always been that lead and that light. He’s like the libra mama, you know? We follow his lead. His best is fucking incredible.”




“I’ve been in the business for 30 years. The last 15 years for me was really strange because the whole EDM thing switched demographics,” Sneak continues. “It wasn’t real talented DJs. It was talented performers, entertainers of some sort. But not DJs,” says Sneak.

Sneak might be right. The musical vapidity of EDM is likely not culturally sustainable. But it’s still a giant slice of the worldwide electronic music pie. But according to Sneak, a generational sea change might be at play.




“What’s happening now is there was two generations after EDM and now there’s this,” says Sneak. “They’re starting to be like, ‘we want authentic, we want underground. We want the real stuff — we want to know what it is that Derrick Carter and DJ Sneak and Mark Farina are known for.’”




As for his relationship with Dirtybird, Sneak says that “Claude’s around my age, we’re in the same circles. It’s great that there’s a new way, a new platform to expose these kids to real underground music.”







THE GANJA GARDEN

“I stopped smoking a couple of months ago and ironically booked the Ganja Garden,” Delgado, the label manager for Dirtybird Records, says before his Friday morning set at the Ganja Garden — the newest stage presented by Dirtybird in partnership with the People’s Remedy dispensary.




Explaining the thought process behind booking artists for Campout, Delgado says, “There’s the Birdhouse and the Bass Lodge. The Birdhouse is obviously the fun house, tech house stuff like that and then Bass Lodge where we can get totally weird and do whatever we want with it. We put out a lot of house and techno records but we’re all big fans of bass and drum and bass.”




The actual process behind the booking strategy?




“It’s a constant jigsaw puzzle,” concedes Delgado.




There’s also the ever-present question of how the label and events have created Dirtybird’s ongoing sound.




“We have our own sound, and I think that sound has a very big dynamic range,” analyzes Delgado. “Maybe when we first started 17 years ago it was more narrow but now the Dirtybird sound both at the label and at our events, is much wider.”




For VonStroke, the record label was created at lead partly as a rejection of the house music status quo.




“The record label was started because we didn’t really like what was going on in house [music] that much. It was cool, but… it’s actually the same stuff that’s getting popular right now,” says VonStroke. “This really glossy, vocal house that’s way too well produced. It doesn’t sound organic anymore. Like a pop producer is making it.”




VonStroke says he seeks something more from the electronic music he purveys to wide audiences.




“I wanted to add elements of hip hop and drum and bass and more gritty sounds into house. I mean, it totally worked [for Dirtybird]. But now, everyone’s cloned it five times over. So we’re always pushing the next thing.”




Pushed to articulate Dirtybird’s constantly evolving central sound, VonStroke responds with a chuckle. “We’re just doing everything that’s not bro house! Anything where you drink beer out of a shoe, we’re not releasing. And it’s kind of our fault that even happened. So — we’re sorry!”




What happens when everything is self-referential all the time? What has meaning then? Will Dirtybird swallow its tail feathers until it eventually blinks out of existence? Or does Dirtybird rise above the cultural fray to become an inter-generational dance music powerhouse? Only time will tell.




The future sound of Dirtybird for VonStroke?




“I don’t have any idea,” VonStroke says earnestly.







AN AUSTRIAN HOUSEHEAD IN AMERICA

Back on the scorching blacktop path near the entrance to the festival grounds, Regina walks sluggishly in the afternoon sun, her face obscured under a full-head tan-colored camping visor.




Originally from Austria but now located near Wilmington, North Carolina, she says there isn’t anything similar to Dirtybird Campout on the east coast where she lives.




“A different mindset,” she croaks in a heavy Viennese accent, voice already obliterated by 3:00 pm on day two.




Regina has strong feelings about house music and her conception of bass music.




“House music takes you on a journey to a new world. I dance with my eyes closed,” she reminiscences, her voice barely a whisper. “You want the people around you to create the energy.”




When asked about her thoughts about the different styles of bass music at Dirtybird Campout, she smirks in a quickly spiteful turn.




“I hate bass music!” she sputters.




It’s not a surprising opinion coming from a European house head like her. She’s immovable from her position that bass music cannot inspire the same feelings as house music.




Her perspective makes sense, though, when referring to Plump Record founder Kevin Knapp’s unique perspective on the physical and cultural divides between bass music in general and house and techno — a gap that spans both musical genres and the Atlantic Ocean.




“I’ve just spent nine years in Berlin. My partner and I just moved back [to America] in January,” says Knapp. “The scene in America and the scene in Europe are a bit more distant now than I think they were in the past. So I don’t know what Europe often considers ‘bass music’ is that influential for them right now from a cultural perspective.”




Perhaps this is where Dirtybird might be able to make its biggest cultural impact — by connecting artists, sounds, and aesthetics across genres and physical space itself.




PINK FUZZY GOLF CART

Back-back stage at the Birdhouse, Mary Droppinz winces in pain as she climbs into the passenger seat of the pink fuzzy upholstered luxury golf cart.




She’d just sprained her ankle in a personal training session before Campout began. Try to see if you can notice even a hint of that injury during her bouncy stage performance and other appearances in the various booths at Dirtybird Campout over the weekend.




Concerning the often disparate sounds that play at Campout, she says, “they totally coexist. I love house myself. I have a house side to me and I play that, but there’s also the bass side,” observes Droppinz.




“Dirtybird is a place where people that have really great tastes can come and just enjoy and frolic. That’s what’s cool — if you like bass and house the you just know there’s seasoned electronic listeners, and I like that”, says Droppinz.




“That’s what’s special about it here.”







A PERCOMANIAC AMONG DIRTYBIRDS

“I think my sound is pretty eclectic, a bit psychedelic, and probably a little disorienting at times,” says Dirtybird resident Lubelski. “My good friend [and Percomanics label mate] Wyatt Marshall loves to say that my sets are like getting beaten down by drums and synths.”




That’s a fair way to describe Lubelski’s unique, dynamically searching sound.




Regarding Dirtybird’s unique crowd, Lubelski says, “I think the Dirtybird crowd really loves their booty-shaking beats, but they are also very receptive to new sounds given the lineup that Claude has curated.”




And on the mixture of subgenres for the fan base at Campout and the friction between fans of different subgenres, Lubelski says at Campout, “there isn’t any sense of elitism or snobbery. All good vibes. It shows how Dirtybird places their priorities on fun, music, and community.”




Those who may wonder where Dirtybird’s future sound lies would be wise to pay attention to forward-thinking artists currently in Dirtybird’s orbit — artists like Lubelski, Droppinz, Nala, Ardalan, and Walker & Royce. These artists, who actively explore across genres and aren’t beholden to any hard and fast rule about electronic music, are those to pay attention to moving forward. They’ll set the future Dirtybird sound through their creative decisions in their upcoming releases — likely in unexpected ways.




Maybe that’s why VonStroke sounds so honest when he claims he has “no idea” where the sound of Dirtybird is going next.

Dirtybird Residents on What Makes Campout Unique

LA-based DJ/producer, Lucati is at the forefront of a new wave of house music with an organic brand of tech house fused with Latin beats and alluring textures. His straightforward, powerful approach to music and hilariously absurd social media presence has made him a dynamic and much-talked-about figure in dance music. His no-nonsense sound harkens back to a simpler time in house music, when a groove could carry you into a state of funk-fueled bliss. He's a reminder of why we fell in love with house music.


While seemingly fresh to festival stages Lucati's production prowess dates back more than a decade. He broke through the noise in 2017 when artists like Tchami, Malaa, and Claude VonStroke began playing his music in their sets. However, 2018 was arguably the turning point of his career when he released his debut EP Whistling Duck on VonStroke’s esteemed label Dirtybird.

“I actually had a project maybe eight, five years before that. And I taught my brother everything that I knew. But then he expanded on it, got signed to DIRTYBIRD. I graduated from USC, did the rat race, hated it. And he inspired me to send music to DIRTYBIRD. And one year after he got signed, I got signed.”


While there is a unique unifying spirit in dance music, running the game as a producer or DJ can at times be competetive. You'd think having a brother in the same field might create a bit of sibling rivalry, but Lucati has nothing but respect for his brother, who goes by DATELESS.



“He's my younger brother. And he's amazing...He's incredible.”


The respect is mutual. When they were ready to take the next step in their careers, they moved un unison by launching their label, Kȯlmē Records. However, as their artistic goals evolved individually, they parted ways as co-label heads, leaving Kolme in Lucati's capable hands.


“Initially, it was the concept of just putting out music between me and us. But what we decided was that I have a different concept for it. And he basically had another idea, he started a new label called Thanks for Sending. We kind of just split ways in that regard.”

Kȯlmē isn’t the standard, prototypical house music label. As a “monolith of inspiration and trendsetting” Kȯlmē aims to shed light on the golden age of house music, with Lucati proudly sitting at the helm. But you can’t rush perfection. So instead of sticking to wildly ambitous release schedules, every track is released when he feel that it's ready to be heard.


“With Kȯlmē, I'm trying to be more focused with really pungent releases. The last one I did was “Tribal Break” by 96 Vibe and Namik. And that track I played in all my sets, because it's such a powerful record," Lucati explains about how he curates his label. "So I'm looking for records like that. And I'm also going to be releasing my own music on there as well. Just very much with intention. It's not like a monthly thing, it's when the track is there.”


Kȯlmē Records focuses on what matters most, the music. A philosophy that rings true to Lucati's artistic motto, “music over everything.”



“It basically means set aside the ego, set aside the things that you think you want. This is about us, it's a community. When we're in the crowd, I'm no more important than anybody else. I'm here for you, and you're here for me. And we're vibing, we're feeding each other. That's the ultimate place where every time that happens, it's an amazing show. And you feel it. When you see me having fun, you're having fun. That's how it works.”


These sentiments easily translate into his live sets, and explain why he's become such a sought-after performer. This past August he threw down at the iconic Club Space Miami, which he claims is his favorite venue he’s played.


“It’s nonstop. It has the best energy. It has the energy of what I think house music actually is. You play as long as you want. There's no one-hour sets there. You got to give the DJ the tools to tell them who you are. Club Space. Everybody's gotta go!”

Lucati has certainly carved a route success, and is leading the way for a fresh crop of house music's finest. By keeping it simple, authentic, and never losing sight of his passion, he’s evolved into one of modern house music's most prolific artists. When asked what excites him the most about the future of house music, Lucati says the future is in great hands.



“I think that because the tools are so readily available to everyone, it's kind of leveling the playing field. I'm also very happy that John Summit is getting to where he is. Because this guy means well, feeds the underground…The guy is putting [in] the work. He means what he says. And this guy is going to be a leader. He's gonna have a whole chapter in the book of house music. I promise you. So what excites me is the leaders are the right ones. And the underground is ready to be taken to the next plateau.”

Lucati Paves the Way for the Future of House Music

I'm writing this the day after my birthday—happy Libra season to all my fellow b-day "neighbors" out there! I hope your celebrations are going marvelously! I'm getting to attend quite a few concerts for mine, yay! This week was also full of great new releases across genres, which always makes Friday extra sweet.



This Week In House, we have Bicep's first new music since Isles, a groovy Future Disco Radio mix from Nate08, and a 2000 U.K. garage classic from Sweet Female Attitude. Enjoy!



Best New Track: Bicep & Clara La San - Water [Ninja Tune, Oct. 5]

If you know me, you know I'm a big fan of Belfast emotive dance duo Bicep. They just dropped their first new music since the 2021 standout Isles, another immersive, sparkling collab with vocalist Clara La San, who also offered her angelic voice to "Saku," "X" and "Siena." The new track, "Water," features a dream-like, jingling synth and hopefully points to a third album in the works from Bicep. They've been playing it this year in their stellar live show, confusing me because I recognized Clara's voice but didn't know which one it was. The release also features an earlier, instrumental version of the track, "Waterfall," as the B-side.

“There was no outright idea when we started, but the original 'Waterfall' was born out of experimentation with an instrument called the MEGAfm," the duo explains in a press release. "It’s a new synth but has chips inside which formed the sounds of the SEGA Megadrive/Genesis games consoles. Weirdly, it got more computer game sounding when we developed it into 'Water,' speeding up and slowing down the lead line and LFOs to give that classic low-bit sound effect.”

Also, Ninja Tune dropped another new, must-hear house release from TSHA, her stellar, emotive debut album Capricorn Sun, along with another stand-out single from it, "Anxious Mind" featuring Clementine Douglas.

Follow Bicep on SoundCloud | Twitter | Instagram

Follow Clara La San on SoundCloud | Twitter | Instagram

Best New Mix: Future Disco Radio - 156 - Nate08 Guest Mix

I was delighted when I discovered Future Disco Radio via SoundCloud a few weeks back. Every week, they serve up an hour of groovy, funk nu disco and house, often from an exciting mix of guest DJs. This week's set is deep and grooving, from Mumbai's Nate08. Track IDs include: Baltra's "Baby," Roland Tings' "Hiding in the Bushes," CUX's "Walk Through (Club Mix)" and "Vida Locu (Bruno Be & Breaking Beattz Remix)" from Mc Poze do Rodo featuring Neo Beats and Mainstreet.

Follow Nate08 on SoundCloud | Instagram

Best Classic Track: Sweet Female Attitude - Flowers (Sunship Edit) [2000, Milkk Records / Warner Music]

I'm not gonna lie, I'm jealous that British kids grew up with dance music on the radio. A big radio U.K. garage tracks was Sweet Female Attitude's uplifting party-starter "Flowers." It was the 2000 debut single from the Manchester group—then consisting of young singer/songwriters Leanne Brown and Catherine Cassidy and producer Mike Powell, who wrote the hit with Martin Green, a.k.a. Shine MC. It was originally a more straightforward aughts girl group R&B number, but when London DJ/producer Sunship gave it that groovy garage remix, it topped the U.K. charts, hitting no. 1 on the dance chart and No. 2 on the singles chart, sitting under another U.K. garage classic, Craig David's "Fill Me In."

The song has stayed in the British social conscious ever since, and has reached more ears around the globe in recent years. Like me, you may have discovered the track on Michaela Coel's searing 2020 HBO drama "I May Destroy You." 21-year-old artist PinkPantheress, who brings old school garage and drum 'n bass to modern pop, sampled the track in 2021's "Pain." "Flowers" just keeps bringing us flowers!

Follow Sweet Female Attitude on Twitter | Instagram

This Week in House Music: Bicep, Clara La San, Nate08 & Sweet Female Attitude

It feels unreal that we have finally reached Ibiza’s most anticipated closing week. It’s a particularly magical moment; the weather is smooth, and there’s a tremendous buzz on the island. Everyone here is more than ready for the last dance of the season inside the super clubs, yet no one is quite ready to say farewell to what’s been an incredible return to the dance floor. So don’t miss a minute of the final week in the island’s super clubs. We’ve got you covered for one last round of recommendations.




Circoloco Closing Party | DC10 | Monday, October 10

Circoloco’s longest season ever comes to an end. DC10’s flagship party invites some of the best underground artists in the world, more than 20, for this special occasion, including Dixon, Honey Dijon, Maceo Plex, Michael Bibi, and Âme, to provide the best soundtrack for a night to remember. A crowded event made just for pure beat-lovers with no go-gos, performers, or VIP area, just a proper mix of worldwide party-goers, workers, islanders, promoters, and DJs. So head over to Circoloco’sfinal celebration of 2022 to experience what a real Ibiza closing is like.

Purchase your ticket for the Circoloco Closing event at DC10




Follow Circoloco on Twitter | Instagram | SoundCloud







tINI and the gang Closing Party | Underground Ibiza | Tuesday, October 11

It was back in 2010 when the tINI and the gang brand was born in Ibiza. It started as a free daytime event in Platja D’en Bossa and has become one of the few residencies at Ibiza Underground, where tINI feels free to express her energetic music, style, and dance moves away from the mainstream side of DJing. The German DJ and producer has successfully run more than 15 weeks with her gang in the San Rafael club, and closing sees her playing b2b with her DJ friend Dyed Soundorom (part of the Apollonia trio) all night long. Click here for more details on tINI and the Gang’s closing party.




Follow tINI on Twitter | Instagram | SoundCloud







Jazz Point Ibiza | Various locations | October 13, 14, 15 & 16

Jazz Point Ibiza was created by Ibiza Music Agency (David Moss and Adam Lenox) and New York’s Joel Chriss Productions. From October 13 to 16, they host an international lineup of jazz groups and soloists. Get ready for four days of pure jazz, funk, and soul.




On Thursday, October 13, Pikes hosts a musical dinner party enlivened by young French singer, songwriter, and guitarist Leïla Duclos, who will be presenting her new album Fille du feu.




On Friday, October 14, at 9 pm, Teatro Ibiza features Dutch jazz guitarist and composer Jesse van Ruller.




At Teatro Ibiza on Saturday, October 15, the Félix Rossy Sextet will present their new album Elena Mágica featuring Spanish saxophonist Enrique Oliver.




On Sunday, October 16, the festival concludes at noon in Ibiza Town, at the Conservatori Catalina Bufí, with jazz duo David Schroeder and Antonio Figura, followed by the Muriel Grossmann Quartet.




Follow Jazz Point on Instagram | Visit www.jazzpointibiza.com







Boho Experience by Camilo Franco Final Reunion | Beachouse & Club Chinois | Thursday, October 13

Born in Colombia, raised in Spain, and based in Ibiza, Camilo Franco has traveled with his BOHO Experience brand across the globe, sharing an evolved vision of electronic music, art, and fashion. This Thursday, the last bohemian reunion by Camilo Franco and guests takes off during the day by the dunes of Platja D’en Bossa at Beachouse and continues at Club Chinois. Get tickets to enjoy Boho Experience’s final reunion at Club Chinois.




Follow Camilo Franco on Twitter | Instagram | SoundCloud







Music On Day & Night Closing Party | Destino Ibiza & Pacha | Friday, October 14

Marco Carola thrives in parties that go from day to night and day again. This season his Music On marathon takes place across two Pacha venues (Destino Resort and Pacha Nightclub).






Carola invites Paco Osuna, Joey Daniel, and more guests at Destino from 5 pm to midnight. The party continues with a cutting-edge club sound and production indoors at Pacha all night long, accompanied by Loco Dice, Richy Ahmed, and Ms. Mada.




Secure your tickets for the Music On closing party at Destino.




Secure your tickets for the Music On Closing party at Pacha.










Follow Music On on Twitter | Instagram | SoundCloud







Amnesia Closing Festival | Amnesia | Saturday, October 15

Amnesia has always hosted marathon closing ceremonies, regularly stretching for more than 12 hours. On this occasion, the legendary club brings The Chemical Brothers for their only appearance on the White Island this summer. The “Hey Boy, Hey Girl” creators and pioneers of big beat will headline the closing party from 9 pm-midnight. Cuartero, Eats Everything, Marco Faraone, and Jamie Jones will also be on Amnesia’s legendary terrace. The Main Room will host techno heavyweights Nina Kraviz, Luca Donzelli, and Kobosil. Buy tickets for Amnesia’s closing festival.


Follow Amnesia Ibiza on Twitter | Instagram | SoundCloud







Solomun + 1 Closing Party | Pacha | Sunday, October 16

After 22 consecutive Sundays, this week marks the last chance to enjoy one of Ibiza’s leading parties. The king of Sundays takes over Pacha for the last time with Boys Noize as his +1 guest. A great musical combo for the most special Sunday night at Pacha this summer.




Get your ticket for the last Solomun + 1 party at Pacha.









Follow Solomun on Twitter | Instagram | SoundCloud

Ibiza Selects Closing Week (October 10-16)

Turkish-Italian DJ and producer Carlita served a spellbinding set for Cercle in Rome’s Cinecittà. Nestled in Europe’s largest movie studio and the hub of Italian cinema, imposing replicas of ancient roman temples surrounded the decks. Evolving from classy house to spellbinding melodic techno and beyond, Carlita succeeded in blending a variety of different emotions into her memorable performance.

Carlita packed her set full of unreleased heaters, including a stunning collaboration between herself and andhim, as well as tracks from LP Giobbi, Jasper James & Wallace, and more. Carnival vibes came courtesy of Sean Finn, DJ Wady & MoonDark, while a classic 80s spirit flowed from the likes of Arno Cost & Norman Doray. The set also featured the stunning lead track from Carlita’s most recent EP, Bon Trip.




To calm her nerves, Carlita always meditates for five minutes before she steps behind the decks. And unlike most of her other shows where she never preplans a set, she chose to prepare her tracklist in advance for her Cercle debut. The results speak for themselves: a crowd ecstatic and bubbling with life from start to finish. “The people were just amazing,” she explains. “It was very, very special.”




Born in Istanbul, Carlita is a classically-trained musician and multi-instrumentalist. First learning piano at the age of three before moving on to cello, bass, drums, and electric guitar, she experiments with a mix of live and electronic instruments in her productions. She first fell in love with DJing while studying at the Royal Academy of Music in London. From Israeli pop to 90s rock, Turkish psychedelia, and more, her musical influences continue to be broad, diverse, and exploratory.




In the coming months, Carlita will play at an array of clubs and festivals, including Brunch-In the Park #14 in Barcelona, Paradiso in Amsterdam for ADE, and III Points 2022 in Miami.




Follow Carlita on Instagram | Soundcloud | Spotify

Carlita Delivers a Cinematic Cercle Debut

Miami-born, LA-based DJ, Producer, and vocalist Nala emerged from the pandemic as one of Dirtybird's most powerful and poised voices. She struck a chord with an aesthetic that fuses indie rock and underground dance with an electric stage presence. Her brilliantly poetic lyrics are a breath of fresh air in a world flush with banal party tech. And her upfront delivery conjures the spirit of Blondie in the heyday of CBGB.




As she fights the sound of a lawnmower outside her LA home she tells me : "I make this joke all the time that I like when women yell and I like gentle, kind men in music. Soft, delicate, men like The Cure. And I like Blondie. I just want both worlds in dance music right now."




The indie dance meets punk rock image she cultivates has made her a standout in house music since the release of her Dirtybird debut, "Red," with Steve Darko in 2021. Her follow-up solo EP, Psychic Attack, further cemented her unique voice as one of the few in dance music that has something to say with her music. And now she's struck out on her own with Mi Domina, a record label and femme-dominated platform. Its first release sees Nala teaming up with Miami techno and electro mainstay E.R.N.E.S.T.O. for the three-track Get Familiar EP.

Being closely aligned with a venerated, respected label like Dirtybird may lead one to wonder why Nala would want to go her own way. Surprisingly she says, "it was Barclay— Claude VonStroke's idea. He thought it would be a good idea for me to have an outlet that's simply my own. And, and he's not wrong."




VonStroke and his wife Aundy were the core of Nala's team over the last year, And after working so closely with her, they recognize the fierce strength and independence foundational to her personality. Her unbridled creativity has led her to occupy a unique space in dance music that both personifies the spirit of feminism and communicates a deft understanding of how one can infuse social justice with modern dance floor heaters.




"That allows me to have the creative freedom to build out this whole space of my imagination," she says about Mi Domina. "In addition to that, I now get to work and highlight artists that I find [that are] femme, or they're non-binary, or they're just like really nice men. I get to exclude the assholes. I don't have to work with anyone I don't want to work with, and I get to really highlight guys in the industry that are actually good people, that are like super kind, but also super talented. [I get] to create this world where nice people come together."

Nala has been vocal about a scene overrun with unkind, self-important people. The lyrics for "God Complex," while open to interpretation, she explains, speak directly to this.




"When I first started writing it, I was really talking about Twitter and DJs. People that think they're so much smarter and better than everyone else. And they're making these critiques as if they're above everyone. That song is really like kind of a mockery."


All of Nala's lyrics are dual-layered, working on a macro and micro level.

It's not just the Dj community she's exposing. She's revealing the hypocrisy of an even wider net of shitty people.




"In a heavier sense, people that are putting out these abortion laws are people that have had abortions or have paid for other people's abortions. So, it's very 'above the law below your standards. We're untouched, but we're also very demanding,' right?" She says, quoting the lyrics to the song. "Like, we have everything we need already. But we're going to go ahead and be more demanding than we need to be. There's always two sides to lyrics that I write, there's the personal side. And then there's the bigger picture side."




It's a strong but expected statement for Nala and her label. Perfectly indicative of an imprint that will see femme-fronted punk bands sit alongside and collaborate with electronic producers. Bridging two worlds with more in common than most would admit and taking on a sound that she lovingly calls "grungy punk acid rave."




Starting the label comes at an opportune time for Nala, a year and change into her journey as a touring act, she's more comfortable and focused than ever. She explains that life on the road at times revealed a dark mental health aspect exacerbated by constant travel, inconsistent diet, and lack of a regular sleep schedule, leaving her to question if her choice to be a full-time DJ and producer was sustainable. She often found herself down when performing in smaller markets with smaller crowds.




However, a shift in perspective (And a chat with DJ Justin Jay) reminded her that this was meant to be fun no matter what. A new agent revealed the power of reworking her support network. And small things like later flights, noise-canceling AirPods, regular yoga and meditation, and bringing her vitamins and favorite personal care items with her on every trip have helped transform her outlook.

She's also discovered a new performance style that has made her eclectic sets even more vitalic.




"I'm really excited that I have this new style of performing. That is really working for me. And I never saw it coming. I started introducing my vocals into my live shows, where I start like yelling at people," she explains in a call back to her earlier reference to Blondie. "It just is working really well for me. The fans are noticing and booker's are noticing. So, that, to me is the most exciting part. Because it just means that I'm onto something good. And I can expand on that. And it definitely is setting me apart. So, I'm excited to see where that can take me."




As our conversation draws to a close, I comment that it seems that the theme has been growth. She agrees and mentions she just wrote a song with the same title, which is a natural segue into my final question for Nala: "what excites you about the future of dance music?"




"What excites me is the fact that there doesn't seem to be something that has caught wildfire yet. [There's] nothing that's just blown people's minds in recent memory. And I'm just excited to see what that becomes. And if I can get a foothold on it."

Nala on Punk Rock, Mi Domina, and the Duality of her Lyrics

We’ve made it to the weekend, and you know what that means: time for Gray Area’s Track Of The Week. This time we’re starting your weekend off with something raunchy and ready for the dance floor—Michael Bibi’s new remix of Guy Gerber and Albertina’s “Bocat.”



Gerber has served as one of the leading tastemakers in Israel for two decades. The myriad moods and melodies that make up his expansive library set him apart as an almost mythical figure in dance music. His eclectic tastes have led him to work with artists blazing their unique trails, artists like Albertina. The British/Caribbean artist has proven herself to be a Swiss army knife of music, a wiz behind both the mic and the board.



When it comes to beats, you know Bibi’s got you covered. The UK-based DJ and producer is among the best in the business and regularly shares some of the sauciest sounds via his respected label, Solid Grooves. This rework takes a digital knife to Albertina’s vocals weaving them amongst spacious percussion, deep acid lines, and pounding kicks, all while allowing Gerber’s delicious guitar riff to wind and skate through the air above.



This new remix comes courtesy of Guy Gerber’s label, Rumors. Bibi is joined on the Bocat (Remixes) EP by a deeply powerful reimagining by Tel Aviv up-and-comer OMRI.




If you’re vibing with Bibi’s prowling take on this exotic cut, you’ll surely want to make an effort to attend one of the stops on his traveling event series, ELOVATE. The British beat smith traverses the globe sharing some of the most robust rhythms in the game from London to Tulum and Buenos Aires. Get a taste of what’s to come by streaming Michael Bibi’s carnal new remix of Guy Berber and Albertina’s “Bocat” below.

Michael Bibi Gets Guy Gerber’s 'Bocat' Fit For The Dance Floor

House has a long and beautiful history of uniting people from all walks of life on the dancefloor. From its roots in the gay, Black, and Latino communities of Chicago to the common ground it gave British youths during the acid house revolution, it has, for a long time, offered a sanctuary defined by inclusion and acceptance.



Why, then, is it so difficult for anyone falling in love with house music to learn more about it nowadays?



Getting involved with the scene can seem daunting. Those belonging to the house music community seem to speak in code, and they brand you an outsider unless you drop just the right lingo. For a culture that celebrates self-expression and freedom from judgment, it can feel awfully isolating.





This is, of course, a survival mechanism. As house grew to encompass a worldwide movement, these barriers to entry became necessary to prevent commercial influences from diluting the authentic, DIY essence of the underground. On the same token, though, they keep well-meaning newcomers on the outside. How can we expect the next generation to protect the culture if we won’t teach them what it means to do so?



We started Gray Area with the simple mission of connecting house heads old and new, no matter their age, nationality, gender, sexuality, ability, or any other identity that might divide people off the dancefloor. What isn’t as straightforward is how we get there. As you’ll read below, our platform consists of numerous interconnected moving parts that all work in tandem with one another—and we’re building each of them with your help.



Artist Directory



You just witnessed a DJ set that sent chills down your spine, each song somehow better than the last. You track down the name of the artist and then look them up online, but now you’re met with information overload. How do you know where to start?



There’s an overwhelming number of places online where you can find information on an artist. We here at Gray Area choose to go directly to the source. Each of our artist pages links to articles about its subject as well as recommendations for their upcoming events. Whenever possible, we go a step further by conducting a “Spotlight” interview with them to give you a definitive, concise resource that summarizes their music career and personal background.





With nearly four decades of history, house has its fair share of elder statesmen: artists like Todd Terry, DJ Sneak, David Morales, and Harry Romero. Gray Area is committed not only to honoring these forerunners, but also bringing attention to the next generation of electronic musicians. Shimza, LP Giobbi, Miss Monique, and Mochakk are but a handful of the up-and-coming artists disrupting the dance music industry. We think you should know about them.



Events



When it’s all said and done, moments of transcendental bliss on the dancefloor are what brought us all together in the first place. We want to facilitate as many of these as possible for music lovers like you.



If you click on the “Events” tab of an artist page, (or at the very top of any page) you’ll notice that we here at Gray Area organize many of the gatherings in our searchable directory ourselves. Our team includes promoters with 25 years of experience in the dance music live event space. We especially take great pride in identifying which artists are most actively pushing the culture forward and giving you the opportunity to experience their music for yourself.





Gray Area has partnered on events at such clubs as Quantum and Superior Ingredients in Brooklyn, and we’re working on other gatherings at venues across the globe. Our Debut series brings artists to cities in which they have never headlined—or in some cases, played at all. Double Header, meanwhile, is an event concept in which two artists perform one after another and then close out the night with a back-to-back set.



Outside of our own events, Gray Area also recommends gatherings around the world for fans interested in exploring house music by traveling to other countries. For instance, every week of the Ibiza season we curate a list of happenings on the White Isle for our "Ibiza Selects" series.



Gray Area Academy



Those of us who work in dance music stay abreast of industry happenings before they’re news by talking shop with one another in passing. We want to give you a window into our world. 



As we touched on above, we believe that any house music fan who cares enough about the culture to study it should be given the means to do so. What better resource is there than stories about artists who have influenced the history of dance culture or are actively shaping its future?





Gray Area Academy articles can be found on the “Articles” tab of many artists’ pages. Topics include master music curator Jaguar’s list of artists to watch and Archie Hamilton’s argument for staying true to your roots. Sometimes Academy pieces shed light on a lesser-known facet of one of these artists. For example, did you know Partiboi69’s sister is also a DJ, or that an obscure, Bulgarian sample on a Snoop Dogg record inspired Shermanology’s “Bon Bini”?



Magazine



Gray Area also publishes articles similar to those of a more straightforward media organization in our “Magazine” section. Even with these pieces, we provide our readers with as much context as possible for the topics covered so that even the most informed house heads can learn something new.





Have you ever wanted to read a deep dive on Detroit ghettotech, or to learn about the origins of Afro house? Have you heard about parties in Costa Rica, but didn’t realize that it was growing into a big enough nightlife mecca to draw comparisons to Tulum? You have a wealth of reading material to choose from in our Magazine section.



Streaming and Radio



If you would prefer to listen to our artist Spotlights in streamable podcast form, head over to our Spotify page. Here you'll find audio recordings of all of the interviews we've conducted with artists as part of the series.





Gray Area is also on SiriusXM radio! Our monthly "Ocho" radio show airs on the channel Diplo's Revolution, and each installment consists of eight exclusive, 60-minute mixes by top global house music talent. John Summit, CID, and Paco Osuna are but a few of the artists we've featured thus far.



Inner-Circle Golden Ticket



They're called clubs for a reason: It’s a lot more fun when you’re on the inside.



We have something special for you house heads who would like more direct access to everything Gray Area has to offer. Our Inner-Circle Golden Ticket serves as proof of digital membership, and it unlocks exclusive perks for its holder as part of a long-term roadmap that we plan to roll out in the coming months.





The Golden Ticket is a blockchain-validated non-fungible token (NFT). Unlike the NFTs associated with widely publicized cash grabs you might have read about, we do not intend for ours to be bought and sold by speculators. This emerging technological format is simply the best way for us to offer new IRL and URL experiences to music lovers without having to surrender any data to traditional ticketing platforms.



The Most Important Part is You



Gray Area is a community, not a publication. As active participants in dance culture, we do not pretend to be an objective media outlet looking in from the outside. This also means that we want you to help weigh in on the evolving voice of our platform.



Talk to us. Gray Area is a conversation, not a one-way narrative. Follow us on Facebook, Instagram, Twitter, TikTok, SoundCloud, YouTube, or Twitch, and share any thoughts you might have about what we’re building. If you’re new to house music, think of these channels as a safe space to ask any questions. If you’re a longtime participant in the scene, we encourage you to share your knowledge and impart our scene’s strong values to the next generation.





Gray Area represents no single sound, group of people, or ideology. No barriers stand between bodies on our dancefloors, nor do gatekeeper narratives skew the stories we tell. This cross-section is where art and technology overlap to push the culture forward, authentic and uninhibited. It strengthens the bonds that unite the global house music community as we work towards the inclusive vision at its foundation.



We hope you’ll join us as we explore what it means to exist in the Gray Area. We’ve only just embarked on our journey to provide a definitive resource on dance culture, and we think it’ll be a lot more fun if we do it together. We’ll see you on the dancefloor.

Gray Area's Mission to Blur the Lines and Unite Through House Music

Washington D.C. rave brand Nü Androids' motto is "We're weird, come join us." Their website explains, "We're looking to push the cultural boundaries of what you can expect from a house music event." Nayef Issa is the creative visionary behind Nü Androids, an introverted house head that loves to dance and has worked in nightlife since he was 21.


"[Nü Androids] is about the music and really creating a space where people just come in and dance and leave their problems at the door," Issa says on a recent Zoom chat. "[It's about] making it feel like a home space."



Since 2015, he's hosted around 180 events a year and brought Black Coffee, Dom Dolla, Tchami, Ela Minus, Sophie, Virgil Abloh, Purple Disco Machine, Nora En Pure, and other dance heavyweights, many before they blew up, to the nation's capital. His favorite events are the artists that bring the "melting pot crowd" together on the dance floor. He asserts that many variables contribute to booking such stellar talent, especially when competing with clubs owned by deep-pocketed corporations like Live Nation. And while agents often go after the money, many recognize his passion for the music and artists, which lets them know their artists will be in good hands.


This passion for the music and dedication to creating a fun, inclusive, and inviting party space has allowed Nü Androids to thrive, grow, and continue to book exciting acts.


"In order to counteract corporate offerings, you have to offer something different and create your own lane," he explains.



What started as Wednesday night parties at beloved club Flash in 2014—then just a year old and primarily playing minimal techno—has grown into a plethora of exciting, modular event offerings. Nü Androids is the overarching brand name and refers to events at preexisting clubs, like the first ones at Flash. A.i. are pop-up events held in warehouses and other converted spaces, decked out with custom visuals, art, and lighting. SünDown are open-air day parties, often held on Flash's roof. There have also been two iterations of the Dimensions festival, the first one in D.C. in 2018 and another in a 50,000-square-foot abandoned Macy's in Miami for Art Basel 2019.

A major highlight was their event with the late cultural powerhouse Virgil Abloh, eight months before he signed with Louis Vuitton in 2017. The A.i. branded event took place in a former restaurant and lounge, Café Asia, with a Boiler Room-style set up, perfect for Abloh's electrifying set. Issa grew up on hip-hop and R&B and loves house. So, he loves a DJ set that spans the spectrum, as Abloh did so seamlessly.

Seeing the excitement and joy on peoples' faces is everything for Issa. It's humbling when attendees thank him after an event, knowing they had a good time and appreciated the space and vibes. It's vital that he intentionally create a space where people feel joy and feel welcome.

"Money and access don't curate the culture you want," Issa states when asked about V.I.P. While they have tables available for purchase to those who want their own space and can afford it, there's no V.I.P. entrance or viewing area. He's mindful of how many tables are available for each event, leaving plenty of room on the dance floor and good vibes.

"We're doing this because we're making a living, and you have to find a good medium where you're not selling out, but you're also still hitting certain numbers. When we did the Black Coffee pop-up, I waited till the last three days to sell tables because I wanted people that really just loved Black Coffee to attend. We had 2500 people and we only listed 12 tables and they sold out within a few hours. People kept asking me to add more, and I know I could have added another 10 or 15 tables, but I didn't want to. I wanted the majority of the people attending to feel like they're part of the party and not have table space taking up the majority of the dance floor."



Issa is mindful of every detail and, as a seasoned raver, does everything he can to ensure an energetic dance floor with a collective spirit. He's always loved dancing, and while he doesn't have quite as much energy as he did in his early 20s, he will still create dance circles at events sometimes to encourage people to get grooving.


"I'm a host, not just a promoter. There's a negative connotation with promoters, the ones that are labeled as douchebags [chuckles] and are just popping bottles, not giving a shit. Because I love the music and dancing and I have that host mentality, if I go into the dance floor, it encourages people to let loose and have a good time. Once you see a few people letting loose, all the barriers evaporate and you feel that everyone is here on the same wave length."



He started promoting at 21, at Top 40 clubs in the city—where the money is, he says—but he always had a taste for forward-thinking music. The connections he made in nightlife helped him envision and build Nü Androids. And even before he could enter clubs, he was a music curator for his friends—before Spotify and SoundCloud, he was always burning them CDs. In the blog-heavy days of the early aughts, he partnered with Complex's (former) dance music blog, Do Androids Dance, which inspired the name for his events and allowed him a public space to share his eclectic musical taste.

At the first Nü Androids events, on Wednesdays at Flash, he explored his music taste and shared it with D.C. ravers, the ones who were down to get down on a weeknight. They were there for the music, and the artists could feel it. The very first event was with Wax Motif, and the first five weeks in a row sold out. Nü Androids had officially landed and met a need the city's existing nightlife offerings had yet to fulfill.

The next space Issa set off was the former Café Asia space for a year and a half. The first event in that space was with EDX—800 people showed up.



"That kind of put the stamp [on us] and built our credibility for being able to bring 800 people to a space that's not known for music. That was the eye opener where, I was like, 'Okay, we kind of have something now.'"

Issa is on a mission to "normalize that D.C. is cool," pointing to the rich art, food, and music scenes.

"People just think of D.C. as a political town and that we're not cool… My biggest pet peeve now is when we do cool shit—I have a cool restaurant [Residents]—and people will come in and be like, 'I don't feel like I'm in D.C.' Well, what the fuck is it going to take for you to feel like you're in D.C.?" he explains. "It's definitely frustrating to constantly educate out-of-towners, or even D.C. people. They'll go travel, and then they'll come to the events and they'll be like, 'Oh, this is just like New York.' Why isn't it just D.C.?"




Like the broader music scene, he says the dance music market in D.C. has always been good and is currently healthy, with some good competition keeping things exciting. D.C. offers an array of dance music venues, from Insomniac-owned Club Glow and Echostage to 9:30 Club and Anthem. And as the club experience likes to put the DJ on a pedestal, Issa feels there's something lost when the crowd grows too large, or the DJ can't directly connect with the dancefloor.

"I think anything over 800 to 1000 people, it's not really a culturally forward-thinking venue, it doesn't create the atmosphere. Once it gets too big, you lose the essence of a dance party. When you're on a big stage as an artist, it's harder to connect when you're not within arm's distance [of the crowd]. I always value and want to bring that no matter how big the show is… that's what creates the vibe."



And soon, Issa will have his own club, Culture. It will be the first official permanent home for Nü Androids, although they will still work with other spaces. He hasn't shared much about it publicly yet; you can expect the creativity and adaptability of his events to inform the vibe. There won't be a fixed stage at Culture, meaning one show to the next could look completely different and always offer a different point of view for the DJ and audience. The setup and vibe for each party will be tailored to what's suits it best.

Like anyone involved in events, getting through the pandemic has been a challenge. At first, the 2020 shutdown was a much-needed time for rest for Issa, the ever-busy introvert. But as things dragged on, he figured it might be necessary to figure out a career change. Luckily, that didn't have to happen, and he was able to pull through. And it was so worth it. At the first party back after restrictions began to lift, a SünDown roof party at Flash in May 2021, it was a proper reunion—everyone was crying and hugging each other.

And what's the biggest lesson he's learned from all his time in the rave business? "Always expect the unexpected."

Nayef Issa On Throwing Raves With Nü Androids: "Money And Access Don't Really Curate The Culture You Want"

VNSSA continuously keeps the momentum going. After years of rising through the American DJ circuit, she has checked off another career box with an official remix of "These Notes In This Order" for Dirtybird boss Claude VonStroke. The remix comes with the massive remix package for Von Strokes Covid era album Freaks & Beaks alongside remixes from Nikki Nair, Shiba San, and Steve Darko.




VNSSA burst onto the scene in 2019 with club favorites "Word" and "Rave Grave" with Walker & Royce. While she was a new name to some, she'd spent years honing her skills in the LA scene and had already scored underground cred with releases on Box Of Cats, Psycho Disco, Dim Mak, and Country Club Disco.




VNSSA has since become a festival favorite. Her onstage presence matches her wonderfully eclectic catalog, often breezing from bottom-heavy tech house to joyous disco in one set.




We caught up with VNSSA to chat about her latest Dirtybird release, her upcoming performance at Dirtybird Campout, and more.









You've been a regular on Dirtybird over the years, with multiple appearances on compilations and your first single coming last year. However, this is the first time Barclay tapped you for a remix. How do you approach a remix for someone like him? Do you feel pressure to try and make it in the "Dirtybird style," or is it simply about expressing your take on the track?



I still cannot believe I got to do a remix for Claude VonStroke. He's been one of my favorite artists for so long. I was definitely feeling the pressure because I wanted to stay true to myself while also making something that he would like and that we would both play out at shows.



You're playing the upcoming Dirtybird Campout Festival. Given your association with the label, this festival is probably somewhat of a homecoming filled with friends and family. What does it mean to you to play this event, and how is it different performing at an artist/label-driven event versus other festivals?



Dirtybird Campout is my home away from home. In a way, it's just like summer camp. Every year you see the same friends (and meet a ton of new ones), catch up, hang out, and enjoy all the music and activities together again. It brings together some amazing people and music, and I'm so happy I got asked back to play again. It really is the most unique festival I've been to.



Can you tell us about coming up in Newport Beach? It doesn't seem like a place that one would necessarily associate with electronic music, yet we've spoken to a handful of DJs over the years from the area. What was your time like there, and how did you discover electronic music?



Growing up by the beach, I did a lot of surfing and riding my bike around at the beach. I went to a lot of surf, punk, and rock shows until eventually starting my own band with some friends, although we were more indie rock than anything. After a while, I started going to clubs and DJ shows at the local live music venue (Detroit Bar at the time) and just fell in love. I decided that I didn't want to be in a band anymore. I wanted to be the band. So I started DJing.



You DJed the local circuit for five years before scoring your first release on a label in 2018. This period in any artist's life often gets overlooked. It's easy to think your career starts with that first release, but the reality is you were grinding for years. Do you have fond memories of this time? Is there anything you miss from those early days? How do you feel the electronic scene on the west coast has changed since you first got your start out there?



I had a great time early on before releasing music. I was hanging out with all the other local DJs and learning new stuff constantly. I stopped getting booked in my local scene for a while, so I decided to start throwing my own parties. Every party had a theme. They were kind of like janky elrow parties, except confetti would eventually get banned.



You've managed to avoid being put into a box throughout your career. You've released music with an eclectic group of labels, from Dirtybird to Higher Ground. It seems that tech house is becoming increasingly popular every day. What's the biggest challenge in staying fresh with your music and consistently finding new ways to approach producing/DJing?



My music taste is always evolving, and I listen to just about everything. I think it's important to draw inspiration from other types of music, not just dance music. As the music I listen to transforms, so does the music I make. I hope to continue to keep changing and growing and stay out of a box.



2019 was a massive year for you. "Word" and "Rave Grave" with Walker & Royce received an incredible response and put you into the spotlight. Did you have a sense that these tracks were a little different? How did you meet Sam and Gavin?



I met Gavin and Sam in 2016 or 17 at a gig in my hometown. I opened for them a few times, and we remained in contact. I knew those tracks were different just from the amount of hype they were getting before they even came out. Walker & Royce have been a huge inspiration for me over the years and have believed in me from the start. I'm super thankful for their support and always love working with them. We currently have a few tracks in the works, so hopefully, you'll hear more from us soon!





In the last year or two, you've been releasing music at a higher rate, carrying the momentum and growing rapidly. What do you hope to accomplish in the next year or so of your career? Are there any long-term goals you have, such as starting a label or building out some crazy tour production?



I want to keep releasing music and honing my craft. I feel like I'm still learning new stuff, and I don't see an end to that. I hope to continue to tour more outside of the US. I'm touring Australia for the first time in October, and I'm so excited! Eventually, I'd like to take a live set on the road, but for now, I'm going where the wind takes me!



What are your favorite songs to play out right now?



Anything by Hannah Laing or Ben Sterling.




Do you have any pieces of hardware or software plugins you rely on frequently for producing?



My Novation Peak is my favorite synth at the moment, and U-he Diva.



What music do you listen to outside of dance music?



I listen to a lot of dream pop synth wave, indie rock goth punk. That's one genre.



Festival, large venue, or club?



Festival during the day. Large venue at night and club for the afters.



West Coast or East coast show?



Different vibes, but both are amazing. I can't pick



What advice would you give to an upcoming artist in an ever-crowded scene?



Be true to yourself and follow your own path.

VNSSA on Remixing Claude VonStroke and Dirtybird Campout

Nashville is frequented for its honky tonks and cowgirl-clad bachelorette parties, but soon enough, it may be a destination for eco-warriors too. That’s because Deep Tropics, a two-day gathering produced by Full Circle Presents, brings environmental visibility to Music City with the help of their parent 501c3, Deep Culture. What used to be a dream for the social impact organization is quickly materializing, and its leaders couldn’t be happier.




“Deep Culture started in 2019, originally as a vehicle to support the festival’s sustainability initiatives,” explains Joel Atchison, Deep Tropics’ co-founder and head of regenerative design. “Now we’re trying to map out what we’re doing so we can share that information with other organizers and festivals.”




Joel and his twin brother Blake Atchison are responsible for the nonprofit and its critically acclaimed electronic event, which in 2022 attracted over 5,000 attendees and featured high-energy sets from international acts like Tchami, Chris Lake, Vintage Culture, Wax Motif, and LSDream.




The colorful stage designs and art installations made from hempcrete and aircrete that cover Deep Tropics’ Bicentennial Park home each August are impressive on their own, but it’s the behind-the-scenes magic that makes this green-friendly party stand out in a sea of summer music attractions.





Among the most distinguishing factors are Deep Tropics’ green activities, which drive positive change on a global scale. In the past, the team has created rainwater catchment systems and produced biochar to promote soil health for local grounds, and that doesn’t even touch on what happens during the main event.




In 2022, Deep Tropics captured 2,819 pounds of post-consumer materials from the festival (including 650 pounds of compost). In total, they diverted a stunning 93.01% percent of the festival’s waste from the landfill — an effort made partly by their reusable “infinity cup” program and “Earth Guardian” volunteers who work on-site while bass rumbles in the backdrop.




Attendees also had the option to purchase "Green Disco Eco-bands” — bracelets made from organic, all-natural materials — the proceeds from which are now being used to plant a total of 23,150 fruit-bearing trees in Kenya later this year. An additional local donation of more than $2,000 went to Root Nashville and Tennessee Environmental Council. The agencies will plant 1,000 trees locally, including inside the municipal park where Deep Tropics takes place. The carbon sequestered, or offset, by these trees is expected to reach some 407 metric tons — a number that has positive implications for air quality far beyond the downtown metro area.






That said, Deep Tropics and its aforementioned outcomes wouldn’t exist without Full Circle Presents — the leading independent promoter of house, bass, and dance music events in Nashville. With more than 100 shows on its rosters annually, Joel sees an opportunity to leverage that existing infrastructure to build more mindful programming within the flourishing tourist spot.




“We’ll be curating events that are more in the health and wellness lane — we’re bringing epic sound baths and thought leaders and conferences to our city,” he shares excitedly with Gray Area of what’s still to come. “It’s all about exposing people to the righteous ideas of self, community, and planet. We want to encourage personal development and growth, while obviously taking care of the Earth, too.”




Joel is feeling particularly optimistic, and with good reason — he’s all in these days. After working for years as a partner for a local cannabis company, he recently decided to redirect his attention entirely to Deep Culture.




“I’m still a partner but I have officially moved out of my operational role,” he adds happily. “I’ll be doing a little consulting in September and then my plate’s all cleared.” Regarding the evolution of the nonprofit, he says there’s no better time than now to expand.




“We’re trying to do events all year around and find different ways to activate people,” he explains. “All of my favorite podcasters — I’m booking them, along with great teachers, doctors and philanthropists. We’re aligning with like-minded organizations, like-minded people and creating community, which is just desperately needed here.”






Full Circle Presents’ regular Decompress party is already a fixture of Nashville’s dance music ecosystem. Joel hopes to soon unveil sister events backed by the Deep Culture mission. Eventually, he wants to create a multi-day hybrid celebration that blends educational programming with shows and wellness activities.




“I see us having a night of partying, maybe some ecstatic dance with fun, festive components to it, but I really want the main focus to be on healing,” he elaborates.




While the ultimate look of Deep Culture and its forthcoming schedule is still taking shape, Joel is putting his money where his mouth is. “Since we established the 501c3, I just haven’t known exactly what exactly I was going to do with it,” he continues. “Now that I’ve decided that is what I’m going to be doing full time, I’ll be spending the rest of the year working on pitch decks and reaching performers. We plan to raise a half million dollars to make it happen.”




While a fat stack of cash is sure to bring the goal within reach, we’re betting it’s Joel’s passion that will push Deep Culture and its mindful vision over the finish line.

Deep Culture Deepens Social Impact in Nashville and Beyond

October in Ibiza is a month full of emotions as the season is officially ending. Closing parties are a tradition in Ibiza, just as the opening events are. Exclusively during three weeks this year, party lovers, artists, and seasonal workers get together to celebrate one last dance inside the clubs and let the festive atmosphere carry them away. We are celebrating the second closing week with a selection of some of the top fiestas.







Flower Power Closing Party | Pacha | Monday, October 3

We kick off the second week of closings featuring the last opportunity to enjoy the most genuine and oldest party on the island! Flower Power by Pacha was launched in 1980 by Piti Urgell and stands out from the musical landscape of Ibiza. Head over to the cherry club and listen to the original versions of rock and soul songs from the 60s, 70s, and 80s by resident DJs Victor Nebot and Sergio Vicedo. You’ll find people of all ages dancing and singing along with flowers and a happy hippie spirit. Tickets for Flower Power closing party at Pacha

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SAGA by Bedouin Closing Party | Pacha | Wednesday, October 5

For the first time, Bedouin curated their own night at Pacha Ibiza under the name “A Wednesday Saga.” For the last dance this week, Bedouin brings Hoomance, a regular at Storytellers and Burning Man, alongside Swiss-Chilean legend Luciano, who will display minimal house with a Latin flavor. In addition, the multicultural duo plans to release their debut album later this year, so the Saga continues beyond their Ibiza closing event. Purchase your tickets for the A Wednesday Saga closing party

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Paradise by Jamie Jones Closing Party| Amnesia | Wednesday, October 5

This season, Jamie Jones and Paradise’s switch from DC10 to Amnesia has been a match made in heaven. Entitled The Age of Love, every Wednesday Amnesia has been adorned with abstract neon shapes and futuristic dancers, bringing back the original Ibiza Balearic vibe of the historic venue. For the grand finale, the Hot Creation boss invites Nicole Moudaber, Joseph Capriati, and Amémé to The Terrace. The Club Room, named The Music Box, will be hosted by Alan Fitzpatrick b2b Richy Ahmed, Darius Syrossian, and more. Do not miss the last chance to experience The true Age of Love. Get your tickets to enjoy the Paradise closing party this Wednesday.

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ONE MORE dANTS| Ushuaïa | Saturday, October 8

Ushuaia has hosted over a hundred parties this summer and saved the best for last, ONE MORE dANTS. ANTS colony, The Night League's creation, and Ushuaïa’s flagship party take over on the final summer date this Saturday with a mind-blowing line-up. The global Afro house DJ Black Coffee will headline the party, performing outside a week after concluding his residency at Hï Ibiza. Cutting-edge Brooklyn duo, The Martinez Brothers, will join him with house and techno favorites Camelphat. Buy tickets to enjoy ONE MORE dANTS at Ushuaïa.


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Hï Closing Party | Hï Ibiza | Saturday, October 8

After Ushuaïa holds its One More dANTS closing event, Hï Ibiza begins its season-ending celebration across the street at midnight. Both venues opened the season with the Better Together party in late April and have selected the same day, once again, for a monumental final event. The World’s #1 club brings together several high-profile international artists, Peggy Gou, Anna, Anfisa Letyago, and some of the club’s most notable residents, including Vintage Culture, The Martinez Brothers, Damian Lazarus, and Paco Osuna. This promises to be one of the many highlights of Hï ’s longest and most successful season. Get tickets to experience Hï Ibiza's final party this Saturday

Follow Hï Ibiza on Twitter | Instagram | SoundCloud




The Masquerade by Claptone Closing Party | Pacha | Saturday, October 8

The mysterious German DJ with the golden mask brings his magic one last time this Saturday to the legendary club Pacha. The Masquerade is a party for the senses with the best house music and a fun and uplifting atmosphere. Expect a dance floor full of masked faces beneath the most fantastic lighting system, mystique décor, astounding dancers, and eye-catching performers. Claptone will bring special guests for the closing, so get ready to groove. Grab tickets to enjoy The Masquerade Closing event at Pacha.

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WooMooN Closing Party | Cova Santa | Sunday, October 9

Hidden in the countryside, among the Sant Josep hills, WooMoon has become the best alternative party in Ibiza. A spiritual fusion of art, theatrical performances, tribal music, food, and drinks are found at Cova Santa, a mix that celebrates its final ritual together. A day and night immersive experience with intense deep sounds from Valentin Huedo, Landikhan, Lalou, and Num feat Jo:ke, coinciding with Cova Santa’s last day open this summer on Sunday, October 9. Buy tickets for WooMoon and Cova Santa's closing party before they run out!

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Pyramid Closing Party | Amnesia | Sunday, October 9

The purest electronic music community reunites at Amnesia on Sunday for the second part of the Pyramid Closing. Headlining the party, Ricardo Villalobos will play back-to-back with his old friend Luciano, marking the pair’s last time playing together in Ibiza this season. tINI makes her first and last appearance at Amnesia as the special guest on the terrace, alongside Gianluca Pagoiani and resident DJ Mar-T. In the Club Room, get ready to enjoy proper techno by Lilly Palmer, Helena Hauff, and Circoloco regulars Tijana-T and FJAAK. Amnesia's in-house underground party is closing the season in style! Get Tickets to dance at the last Pyramid party of the season.




Follow Pyramid on Instagram | SoundCloud

Ibiza Selects (October 3 – October 9)

Last week, Scottish DJ and producer Jamie Roy passed away at 33. The sudden passing left a massive hole in the hearts of artists, fans, and the dance music community. One year ago this week, Roy released his breakout single, “Organ Belta,” on Patrick Topping’s label, Trick. The track was a force in the Beatport charts reaching number one in house. Even a full year after its initial release, it remained in the top 50 while continually seeing surges of improved position.



One year after its release and this tune is still an absolute roller. A turbocharged engine of percussive energy gives sturdy reinforcement to the attitude-filled bass line. The simple yet tasteful addition of that anchoring organ sample ensures that no one gets too lost in the sauce. Rapid fire synths at peak drop do their best to prove otherwise. This track is a can’t-miss addition to any DJ’s USB or enthusiast’s playlist.




In honor of Jamie’s passing, the Trick label is pushing fans to play and purchase “Organ Belta” in hopes of pushing the track back to Beatport #1. The label will also send all track sales proceeds to Roy’s family.




The young artist was truly just getting started. A regular in the eclectic Scottish scene, his reach had only recently extended to the house music Mecca that is Ibiza. 2019 marked his first residency on the White Isle at Nic Fanciulli’s Dance or Die parties at Ushuaïa. The next three years would see the up-an-coming Scott expanding his sound and brand across the globe. While we can only imagine what might have been possible for Jamie Roy, we know his relentless drive and immutable energy made an impact that will last a lifetime.

Remembering Jamie Roy: The Immutable Force Behind 'Organ Belta'

With enchanting vocals, anthemic hooks, and mesmerizing stage presence, Sofi Tukker – aka Sophie Hawley-Weld and Tucker Halpern - won the hearts of ravers at Ultra Europe this year. Taking place in Split, Croatia, this past July, the festival drew in vast swathes of fans from every corner of the globe.








The American duo's self-described "house-inspired jungle pop" has made a splash in recent years; their full-length Ultra Records debut, Treehouse, was nominated for a Grammy in 2018 and peaked at number 14 on Billboard's Independent Albums chart.



The pair released a steady stream of singles into the 2020s, including high-profile collaborations with John Summit, Icona Pop, Gorgon City, Amadou & Mariam, and Lady Gaga. This year, they dropped their highly anticipated sophomore album, Wet Tennis, which featured Turkish producer Mahmut Orhan and Halpern's father.




Hawley-Weld and Halpern met in Providence, Rhode Island while attending Brown University. After deciding to collaborate as a duo, they wrote their first song, "Drinkee," which became an international hit. The track featured lyrics adapted from a Brazilian poem sung in Portuguese (which Hawley-Weld studied in college), adding to its global appeal. Streamed millions of times and charting in multiple countries, the song received a Grammy nomination for Best Dance Recording.




Experience Sofi Tukker in person as they continue to tour across North America and beyond, featuring shows at Emo's in Austin, House of Blues in Dallas, Hakkasan Nightclub in Las Vegas, and Dreamland New Year's Eve weekend in Miami.













Follow Sofi Tukker on Twitter | Instagram | Soundcloud

Sofi Tukker Takes the 'Freak Fam' to Ultra Europe

ARC Music Festival returned for its second year at Union Park in Chicago this past Labor Day Weekend. The three-day festival by event production company Auris featured techno and house luminaries such as Carl Cox, Joseph Capriati, Boris Brejcha, Richie Hawtin, Chris Lake, and Fatboy Slim. And while the headliners represented an international melange of heavyweights, Auris was sure to pay homage to the locals and legends who have been instrumental in building the scene in Chicago and beyond. Derrick Carter, Mark Farina, Carl Craig, Gene Farris, Hiroko Yamamura, Dani Deahl, and DJ Heather were among the many Chicago-born artists who took the stage.



Emerging festivals have a lot of competition regarding stage design. ARC has established a unique artistic footprint over the last two years, proving that even new festivals can create memorable and immersive visual experiences.



The main stage, dubbed the Grid retained its industrial design with towers of shipping containers emblazoned with lighting looming high above the dance floor. The addition of pyro was a noticeable and welcome change over last year's production.



The elrow stage was arguably the most interesting from a design perspective, housing a DJ booth inside a blow-up sea monster while costumed performers, stilt walkers, and jugglers worked the crowd. Of course, no elrow party would be complete without hourly confetti blasts, all perfectly timed to the most epic drops. The area surrounding elrow shone a gorgeous hint of red after sunset while attendees packed in and raged in close quarters like something out of a movie.



Expansions, a beautiful stripped-down jungle-themed outdoor oasis, featured DJs like Giolli & Assia and Seth Troxler & Carl Craig playing sets
that slanted a bit more underground.



Finally, the ARC Car centered around art car (see what they did there) the Goodbus switched things up this year to significant effect. Last year, the DJs performed atop the bus creating issues for performers with sound bleed from the main stage. This year, they put the DJ booth on the ground creating a dancefloor in front of the bus. It made for a cozy atmosphere where up-and-coming local talents like Abigail & Zooey, Meesh, and Jaygee could throw down intimate sets for people looking to escape the madness of the other stages.



The production and logistics at ARC this year continue to exceed expectations and delight the masses. While the festival's footprint is small (you can quickly get around every stage in less than 15 minutes), there was minimal (if any) sound bleed across stages. The sound systems were pristine. And for an outdoor music festival in the heart of a bustling city like Chicago, there was never a moment where the music felt dull or quiet.



Above all, ARC shines for its expertly curated lineup of the finest in house and techno. High-profile artists like Charlotte De Witte, Adam Beyer, and Cirez D threw down proper techno on the main stage. Legends in the game like Carl Cox, Fatboy Slim, Dereck Carter, and Honey Dijon gave newer fans much-needed exposure to the foundation of the music we cherish today. In-demand artists like Gorgon City and Chris Lake were also sprinkled throughout, enticing younger fans to the festival.



ARC wasn't the only festival in town. Just a few miles away North Coast Music Festival featured a more mainstream-leaning lineup with Fisher, Kaytranada, Diplo, and Porter Robinson, to name a few. It could hardly be seen as direct competition, however. Instead, ARC's strong focus on the underground house and techno scene made it a clear choice for those looking for a more boutique festival experience. It might seem counterintuitive that these festivals would happen on the same weekend, but the healthy turnout at both proves the demand for electronic music continues to be strong. We predict ARC continuing to grow and look forward to what they have for us next year.

ARC Music Festival Remains Strong in its Sophomore Year

Whether you’re a diehard house fan or a mainstream music enthusiast, you’ve probably encountered the work of John Digweed. After all, his career spans four decades and has transcended the house music genre to influence pop culture from the ’90s to the present day.




English DJ, producer, label owner, and club promoter John Digweed began his career in music at the age of 15 in Hastings, England. In his early days, he saw quick success as the organizer of a series of successful club nights and raves at Hastings Pier. The parties featured high-profile guests such as Carl Cox and The Prodigy, making the young DJ’s taste and eye for talent apparent early on.




Digweed caught his big break seven years later in 1993 when he sent a mixtape to Geoff Oakes of Renaissance nightclub in Mansfield. Oakes was thoroughly impressed and extended an invite for Digweed to DJ at the British nightclub alongside his future collaborative partner DJ Sasha.




In 1994, the pair released Sasha & John Digweed’s Renaissance: The Mix Collection. The three-CD set gave listeners a taste of the intoxicating soundscape that Sasha & Digweed regularly delivered at Renaissance. The compilation also laid the foundation for DJ mixes to be supported by major marketing campaigns, from artwork commissions to heavily-funded promotions.




In an interview with Redbull, John described how groundbreaking the mix release was, saying, “Clubbers could now start to hear what the possibilities were for DJs outside of a club. It’s like, all right, you can transfer that experience onto a CD and still have it be as enjoyable as being in the club.” The release was a smash hit and is still considered one of the best DJ mixes of all time.




Sasha & Digweed gained popularity in the United States with the release of their Northern Exposure mix series from 1997-2000. They also became the first British DJs to hold a monthly residency at New York’s storied Twilo club. John described his success in New York, explaining, “I think Sasha and myself brought in a European sound, but with a New York influence.” During their legendary parties at Twilo, Digweed often played sets for over ten hours. He loved the crowd’s vibe, saying, “You’d have 4000 people in there going nuts, but they weren’t looking at us, and they weren’t all on their phones; they were just on the dance floor.”




In the late ’90s, Digweed was also busy collaborating and building his empire with fellow DJ and producer Nick Muir. Together, the two formed Bedrock, an onstage moniker for the pair and later the name of their production company and label. Bedrock landed in the UK. Top 30 with the track “For What You Dream Of,” featured in the iconic film Trainspotting. In 1999, Digweed premiered Bedrock Records with the release of the hit single “Heaven Scent.” He discussed his inspiration for the label with Forbes, saying, “I was being given so many tracks from DJs and producers who were asking me to pass them onto labels…so it really made sense for me to set up a label and find a home for like-minded DJs and producers.”




Throughout the 2000s, Digweed released an unbelievable amount of work, sometimes as many as three recorded mixes per year. From 2000 to 2011, the DJ began a weekly two-hour radio show called Transitions on the UK radio station KISS. Digweed continues to showcase his impeccable programming and ear for on-the-rise talent via the Transitions podcast, which now boasts over 900 episodes.




John Digweed also drew crowds in Brooklyn as a regular guest at Output until the club closed in 2019. He quickly fell in love with NYC, saying, “I always find the New York crowd brings the best out of me when I play. Output was a very special club.”




As a crowd favorite, he was invited to play the club’s closing night. Digweed played a historic set he felt was befitting of Output’s legacy. After listening to the recordings from the evening, Digweed decided to immortalize the party in album form. In 2019, he released Last Night At Output, an album mix containing six CDs worth of music from the evening. He has described the night as “one of his favorite NYC sets ever.”




Throughout his 40-year career, John Digweed helped popularize progressive house in the ’90s, and his prolific work essentially established the format of modern house music. His impact as a musician is undeniable, with DJ Mag voting him the World’s No 1 DJ in 2001 and appearing in the Top 100 DJs poll over a dozen times. On Saturday, Nov 26, 2022, fans can see John Digweed play again at Superior Ingredients, the evolution, and reimagination of Output. As for how John feels about returning to the city that never sleeps: “I always love coming back to New York. It’s a place that I feel is like a second home after so many years of playing there, and the crowd always gives me so much love.”

John Digweed's Lasting Love for New York

Gray Area founder Michael Julian Kovadlo discussed Gray Area’s new Doubleheader event series, building synergy between artists and fans in a high-energy back-to-back showcase

Think about last time you stumbled across an artist you’d later grow to love. An unknown opening act at a concert who completely blew you away. A DJ at a local bar that you dropped into on a weeknight. Discovery is fundamental to how humans experience the world. It applies to music, art, food, careers, relationships… the list goes on. I believe these “happy accidents” are the magic of the music industry. Sonically, we’re always searching for new and inspiring sounds, and tend to gravitate toward things similar to our current tastes but with a slight twist.

I’ve written before: Building a bolder and more vibrant dance music ecosystem means fostering a lifelong sense of wonder and discovery, for everyone. At Gray Area, our mission is to create opportunities for fans to discover new music and new artists intentionally. We do so, first, through digital content. Then, we connect the dots with live events where diverse audiences can naturally cross-pollinate — exposing fans to new artists, and artists to new fans.

With our new Doubleheader event series, we’re doubling down on that mission.

Doubleheader is our new series based on an old concept: There is power in partnership. “Double header” is a term likely familiar to American audiences. In baseball, it’s when the same teams play two back-to-back games on the same day – one game flowing seamlessly into the next.

We’re bringing that same ethos from the stadium to the club. Doubleheader will pair together two artists with similar styles but distinct fan bases. One artist will play, the second will follow, then they will close out the party with an epic back-to-back (B2B) set.

Doubleheader stems from a lessen I’ve learned throughout my 20+ years in music: B2B sets are a recipes for sonic gold. When we bring together best of both artists, magic happens. I’ve been enjoying and booking B2B sets for a long time, but I’ll never forget one that blew me away and forever made me fall in love with the concept of back-to-back sets: I recall the pervasive energy at BPM Festival 2013, when tech house icon Dixon went B2B with German deep house juggernaut Henrik Schwarz. Despite the rain and winds in Playa Del Carmen, these two artists were a match made in heaven and delivered an incredibly memorable set.

Our love for B2B influenced us to curate an all B2B lineup at Awakenings Debut in North America at Manhattan’s legendary Hammerstein Ballroom. Open to close, it was only B2B sets for this Dutch techno powerhouse festival, including Adam Beyer B2B Ida Engberg and Nicole Moudaber B2B Victor Calderone. In 2018, our first open air elrow at Brooklyn Mirage saw an entire lineup of B2B sets. Yes, for 10 hours straights. Even more recently, we’ve been inspired by labels like PIV Records and their multi-artist “B2B2B2B2B2B” closing sets rotating through their entire roster.

With Doubleheader, when we put two artists with similar style but divergent fan bases on equal footing for a headlining show, they both win —introducing them to new fans and bolstering their reputations through playing a sold-out show as a co-headliner, which will create more and bigger opportunities for both Doubleheader artists. This fall, we’re proud to be kicking off our Doubleheader series with a pairing of two stellar artists, with elrow resident De La Swing joining forces with Cuttin Headz producer and DJ Jean Pierre.

Exposing people to new experiences and new music creates value for everyone. From fans keen to discover new artists adjacent to their interests. To venues eager to pack rooms and sell tickets. To DJs who can intermingle audiences to ultimately sell out venues. We want to lead in building a bigger community and a stronger dance music ecosystem, for all.

Because the reality is: The same love, camaraderie and unity that happens on the dance floor happens behind the decks and in the green room. Mutual respect. Beautiful friendships. And, above all, a love for delivering dance music to fans eager for discovery.

Op-Ed: Creating Valuable, Unifying Connections — On the Dancefloor and Behind the Decks

I'm currently listened to an advance stream of Honey Dijon's Black Girl Magic, and it's such a vibe; so grateful for Honey and all she brings to dance music. For this Week in House Music, we have the last stellar lead single from the upcoming album, a chill, vibey mix from Atish, and a celebratory classic from Fatboy Slim. Enjoy!

Best New Track: Honey Dijon & Channel Tres feat. Sadie Walker – Show Me Some Love [Classic Music Company, Sept. 27]

"Show Me Some Love" is the sixth and final lead single from Honey Dijon's upcoming Black Girl Magic album, due out November 18 on Classic Music Company. It's a collab with Channel Tres, a perfect marriage of their styles, both of which are housey, sexy, and together, fun a.f. It also features gorgeous vocals from Sadie Walker, which dance with Channel's confident bars atop a bouncing beat.

"I had a lot of fun working with Honey on this track, and it's been fun through each step of the process," Channel Tres stated in a press release. "It’s everything I love about underground dance music confident, and sexy."

Follow Honey Dijon on SoundCloud | Twitter | Instagram

Follow Channel Tres on SoundCloud | Twitter | Instagram

Follow Sadie Walker on SoundCloud | Instagram

Best New Mix: atish - [091] - august 2022 - surface tension

For the 91st edition of his mix series, New York-based house DJ Atish welcomes fall with a moody, groovy blend of downtempo vibes. Track IDs from the hour set include: Tea White's "Bread & Milk (Enchanted Mix)," Bookwood's "One Last (Fka Mash Glitch Dub)," boys be kko's "Lop Nor," and Orbital's "Are We Here (30 Something) (Dusky Remix)."



Follow Atish on SoundCloud | Twitter | Instagram

Best Classic Track: Fatboy Slim - Praise You [1998, Skint Records / Astralwerks]

"Praise You" is the jubilant third single from U.K. legend Fatboy Slim's second studio album, You've Come A Long Way, Baby, which also includes two more of his massive tracks,"Right Here, Right Now," and "The Rockafeller Skank." "Praise You" features a prominent sample of Camille Yarbrough's 1975 soulful "Take Yo' Praise," as well as a handful of other samples, including a test piano recording from JBL in 1973, and Steve Miller Band's "Lucky Man."

The Spike Jonze-directed music video features Jonze and the fictional Torrance Community Dance Group flash-mobbing a Los Angeles movie theater. The video is said to have cost just $800 to make and won three MTV VMAs in 1999. The radio edit of the song (the album version is about two minutes longer than the video and radio version) hit No. 1 on the UK Singles, Dance, and Indie charts.

Follow Fatboy Slim on SoundCloud | Twitter | Instagram

This Week in House Music: Honey Dijon, Channel Tres, Sadie Walker, Atish & Fatboy Slim

This past weekend, Portola Festival brought big rave energy to San Francisco's Pier 80. I was chuffed to be there, and seemingly all 30,000 festival-goers there were too. It featured a stacked lineup across dance music, incomparable to any event in the city in my rave lifetime.




Held in an active shipyard, the space served industrial vibes, plenty of room to dance, and a beautiful backdrop of the bay and rolling hills, with Karl the fog unfurling a stunning scene of fluffiness at sunset. Upon entering Portola on Saturday, I thought, "Why haven't we raved here before?"




The looks were on point, with Folsom Street Fair's kinky leather uniform providing sexy fashion influence. There were some creative signs and festi-poles, with the winning one reading: "Last year was better."





I began my Portola at the Crane Tent with DJ Holographic, thrilled to see the space swiftly fill out in just the second hour of the event. She played a bouncy set to get the positive energy flowing as the tent's large disco balls sparkled above us.



After getting distracted by the free margaritas and good company in the artist compound, I emerged to find tons more smiling faces. I caught the end of Jungle's joyful jubilee on the main stage, followed by Kaytranda's infectious beats and swag.


After, it was time to experience the Warehouse for Jamie XX, who filled the space with a high-energy mix ranging from his In Colour hits and more recent singles to Ludacris and UK garage.




As Flume closed out the main stage with his breaky beats rattling across the space, Bicep flooded the Warehouse with their euphoric rave dreamscape. I've seen their stunning live show three times this year, and it continues to entrance me with its simple-yet-impactful visuals perfectly adapted for the space.


On Sunday, I was on a mission to see more music than Saturday and find friends before losing cell service. I began with the adorable French disco funk band, L'Impératrice, who played a joyful set sending us to galaxies beyond with a closing song that sounded like space disco.


Yaeji was next on the main stage, clad in all-white, effortlessly swinging from Korean to English over playful beats. Her dancers added drama to her set, including her breakthrough hit "Raingurl," and a very cute, unreleased song.


While Kelly Lee Owens captivated the Warehouse with a set of slow-burning left-field electronica that slowly rose into trippy techno SG Lewis brought Sunday Funday disco vibes to the main stage. Clearly as stoked as we were to be there, he announced, "This lineup is fucking sick, I have no idea how I'm a part of it."




Channel Tres was next up in the packed Warehouse. The crowd shook their booties to his swaggy blend of house and G-funk. Another live dance act I can't get enough of, he sounded and looked great as he and his dancers moved confidently on stage.




The final main stage acts were two of my favorites, James Blake and the Chemical Brothers. During Blake's vibey, pulsing set, we found out it was his birthday (yay, Libras!) and sang to him (poorly) as he blushed. His emotional set was gorgeously set off by moody, smoky red and blue lights. He brought Atlanta rapper SwaVay for their 2021 collab "Frozen," also featuring JID, and closed with his piercing cover of Frank Ocean's haunting "Godspeed" (which he co-produced and co-wrote).

The Chemical Brothers were the perfect way to close a world-class, fun AF weekend in the city I became a raver in. The visuals enhanced the journey the lads took us on through their three-decade rein over electronica. It was one of the loudest sets of the weekend, activating whatever energy we had left in our bodies. After bringing out their giant rave robots for a dance, they paused briefly with a message on the screen reading, "Hold tight San Francisco." Proving why they are one of dance music's most sought-after live acts, they closed with the feels. "Swoon" swept over the speakers offering a mantra-like message fitting for the current chaos of the world: "Just remember to fall in love, there's nothing else."