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




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




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


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




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




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




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







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




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




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




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




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




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




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




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




Do you remember the first mixtape someone gave you?




Yes. It was Frankie Knuckles Live at the Warehouse.




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




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




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




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

Gray Area and Spotify Launch New Series of Dj Mixes

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




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


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




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




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




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




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

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

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




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




The History of Amapiano




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




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




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









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









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









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









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




The Current State of Amapiano




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









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




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









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




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









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




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




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

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

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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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

Industry Spotlight: Metatone Management

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



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







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



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



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



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



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

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

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



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







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



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



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





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



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













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

https://soundcloud.com/mallgrab

https://shop.mallgrab.world







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

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

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





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



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



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

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

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






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



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



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



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







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



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



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



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











Paskman @ CRITERIO SEVILLA 2022:

Paskman Turns Up the Heat at Criterio Sevilla 2022

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





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


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


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

Kölsch Boosts Kevin de Vries’ 'Dance With Me'

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



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



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



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



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



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

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

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

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

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

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

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

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

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



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

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

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



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




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




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




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




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




Heaven is the limit!

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

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


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




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






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




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







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


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




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




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










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


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










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



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









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


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






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










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


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

Mz Worthy on Being Visible

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









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







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




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









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




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




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

Techno Punk Boys Noize Unleashes a Hammering Set at Peacock Festival

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





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



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







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

Jamie xx Taps Into Dancehall with Second Single Of 2022 ‘Kill Dem’

German collective Keinemusik reached a landmark moment in their career by taking the helm on the Mayan Warrior Burning Man art car. Their set was characteristically lush, uplifting, and melodic, driven forward by vocal and percussive elements by a clash of cultures around the world.




"Our first time ever on the playa was overwhelming,” the group explain. “We knew that our debut at Burning Man had to be as the group that we are: Keinemusik. Being given the huge honor to play the iconic sunrise set on the Mayan Warrior during the Robot Heart link-up was a dream come true for us.”









Hailing from Berlin, Keinemusik consists of DJs and producers Rampa, &ME, Reznik, and Adam Port, as well as artist Monja Gentschow. Both a collective and a label, the crew banded together in 2009 through shared musical aspirations.




&ME, a production intern, first connected with Rampa, a commercial composer, over a shared love for hip-hop in 2006. The two worked together at TRIXX Recording Studios in Kreuzberg, known for clients like Wu-Tang Clan and Wolfgang Tillmans.




“It was like being in a candy shop,” Rampa recalls in an interview with Crack Magazine. &ME would work 12–14-hour shifts, then invite friends who were too broke to afford their own equipment to experiment with the studio gear through the night. Before the studio manager arrived in the morning, everything was hastily sorted back to its original place, as if untouched. Then, &ME would jump straight into the next day’s shift.




Reznik, originally a music journalist, met Port during the same period. The two bonded over their teenage roots in hardcore and punk music. Port introduced Reznik to Rampa and &ME, whom he’d met at Nike parties in the city. In 2007, the gang played as resident DJs at Picknick and befriended one of the bartenders: their current visuals head, Gentschow. Two years later, Keinemusik became official.




Today, with collectivism and positivity at their core, Keinemusik are in high demand at clubs and festivals worldwide. Next up on the crew’s busy tour schedule is Rakastella in Miami, Hawã - Indoors in Düsseldorf, and Circoloco in Istanbul.

Keinemusik Drop a Mesmerizing Set Aboard the Mayan Warrior at Burning Man

ARTBAT's new label UPPERGROUND continues a hot streak with its latest offering.





ARTBAT emerged in 2015 when Artur and Batish, two experienced DJs and producers, decided to join forces and unify sounds. The Ukrainian pair soon played sets in the dance music hub of Ibiza, captivating audiences with their immersive melodic house and techno proclivities. ARTBAT’s overwhelming presence and contributions to dance music culminated in last year’s launch of their record label, UPPERGROUND.


UPPERGROUND’s latest release, “Tibet” by ARTBAT themselves, features Afterlife’s Argy, and Israeli composer and multi-instrumentalist Zafrir. They say two heads are better than one. In this case, four is just unfair. ARTBAT and Argy go to work concocting an abundantly dynamic foundation rich with glistening synths and roaring rhythms. Zafrir provides the ethnic twist that sets this tune apart, tapping into his well of ornate musical knowledge. This track is coursing with immortal power punctuated by layers as deep as the canyons and crevasses strewn about its namesake’s spectacular mountain ranges.


ARTBAT’s recruitment of Argy and Zafrir was crucial for the final product. Argy has thrived in the underground for almost a decade, but a sound as invigorating as his can only be contained for so long. His breakout singles, “Ketuvim” and “Tataki,” have now raised his deep-rooted brand of dance music to a new level of global demand.

Zafrir, a lifelong student of music, evolved his curiosity for traditional ethnic music from around the world into a unique electronic music experience hailed by artists like Armin van Buren, Alok, and Afrojack. His DJ sets, intermingled with a slew of traditional organic live instrumentation, are a remarkable spectacle to behold.


This new single from UPPERGROUND follows the release of the highly anticipated Ibiza ID, “Its Ours” by ARTBAT, Idris Elba, and David Guetta. The collaborating artists held a summer 2022 residency at the renowned club Hï Ibiza.

ARTBAT, Argy, and Zafrir Link Up On Mystifying 'Tibet'

It's the pivotal moment in the arts and culture calendar we’ve all been waiting for, the return of Art Basel Miami 2022.



This week, from Thursday, December 1 to Sunday, December 4, The Magic City will reignite with an abundance of art exhibitions, music festivals, and parties for its 20th anniversary. Set to be the most compelling edition yet, with more artists and creatives flying in than ever before, we couldn’t be more excited here at Gray Area.



It promises to be a treat for both your eyes and ears, and you’re going to have to pick and choose wisely, as we really are spoiled with options this year. Let’s just say, being in two different places at once would be a great superpower to have this week.



From day events on the beach to after-hours gatherings in the club, there is so much culture to be soaked up. Though it’s going to be impossible to fit in all of what Basel has to offer, we’ve picked five parties for you that we believe are an absolute must.

Elrow | Thursday, December 1 | Factory Town

First and foremost is elrow at Miami’s captivating new Factory Town venue. The party will boast the brand new Delusionville theme for its final North American show of 2022, an epic collaboration with wacky artisan Ron English.



This ingenious collaboration makes the perfect setup for two incredible stages of electronic music, both with fantastically curated lineups.



Stage one flaunts an eclectic mix of the globally renowned party brand's resident DJs, alongside some of the most sought-after tech house trailblazers in the game right now, including Blond:ish, Dombresky, Manda Moor, and very special guest, Paco Osuna.



Stage two will be hosted by Amsterdam label king Prunk and his profound PIV imprint, bringing you 12 hours of sultry two-steppers spun by the likes of Rossi, Archie Hamilton, Jaden Thompson, Ms. Mada, Natalia Roth, and wiz-kid producer Toman.



This outlandish extravaganza combining physical art and music promises to be one of the highlights of Art Basel 2022, setting the bar high for the rest of the parties coming up in the week.



Paradise | Saturday, December 3 | Club Space

Wherever you may be in the world, the Paradise party is always a must. It's arguably the most well-known fiesta in the underground scene, and DJ, producer, and father of the famed brand Jamie Jones is a musical force to be reckoned with.



Acclaimed for his productions like "Hungry For The Power" and "My Paradise," as well as for being an introductory mentor for new talent, his contribution to the house music community is unrivaled. If you haven’t seen him yet, Saturday, December 3 is your chance to catch the man in action alongside a host of incredible names.



Club Space is the Paradise promised land, where nine hours of unbeatable music will be right at your fingertips. It's a mammoth line-up, to say the least, and we couldn’t ask for much more in terms of the artists he’s reeled in for the occasion.

In alphabetical order, AMÉMÉ, ANOTR, Apollonia, Archie Hamilton, Ben Sterling, Chelina Manuhutu, Chloe Caillet, Classmatic, DJ Fronter, Ida Engberg, Jean Pierre, Jesse Calosso, Joseph Capriati, Manda Moor, PAWSA, Rossi, Serge Devant, and Toman will all take to the booth in true Basel style.

The famed party will roll on from 11pm - 8am, taking you right through to the last 24 hours of the yearly affair. It's definitely one for the diary.



Music On | Saturday, December 3 | Factory Town

With Saturday evening very much the main occasion in regards to parties, you will find many events taking place at the same time. Not to worry, you can’t make a wrong choice. Pop into a few to experience as much music at different venues as you can!

Over the road from Paradise, Italian adonis and reigning king of tech house Marco Carola will be making his mark on Factory Town with his mega Music On fiesta, from 7pm-7am.

Having just finished an incredible summer residency at Pacha Ibiza with his renowned imprint, this is a great opportunity to see Carola in his element. 

The head honcho will be headlining stage one, alongside London spark plug Micheal Bibi, the curator of Solid Grooves who's risen to number one stardom over the last year. Dennis Cruz, Mason Collective, and Miguel & TONS have also been selected for the occasion.

Stage two is governed by popular Argentinian DJ and Producer Guti. Boasting a unique sound that has been influenced by almost every musical genre you can imagine, he has remained a much-loved and respected figure in the dance music world for nearly a decade. Gerd Janson, Lauren Lo Sung, and Ms. Mada are also set for center stage.

FYI - you can also buy Basel Passes for Factory Town. If you’re planning on going more than once, why not save yourself some money?



Hurry Up Slowly presents Off The Canvas | Nov 30th - Dec 3rd | Toejam Backlot

One of the fastest-rising event series in the industry right now, Miami-based Hurry Up Slowly presents Off The Canvas for an Art Basel special. A whopping, four-night festival combining art, music, and the future of technology, Web3, the innovative festival has found itself in a lane of its own and we are here for it.

Taking place at Wynwood’s Toejam Backlot, the quirky inside-out venue makes the perfect backdrop for the immersive, musical and artistic experience Hurry Up Slowly embodies.

Definitely the promoter to watch out for in the future, the ironically named brand is quickly establishing itself in the electronic music landscape, through collaborations with the biggest DJs and support from brands all over the world.

The lineup features an array of artists performing over the four nights, with headliners Blond:ish, The Martinez Brothers, GORDO, and CamelPhat to choose from. 

Blond:ish will kick things off with her Abracadabra party on Wednesday, November 30, where the music will be coupled with next-generation tech and a variety of Web3 activations.



Zamna Miami | 1-3 December | Island Gardens

A Zamna Miami debut awaits. What’s Zamna, you ask? Renowned for bringing jungle party vibes and world-class DJs to the heart of Tulum, Mexico, the unique festival brand is hinting at the start of cross-country domination with its first-ever show in Miami.

Miami's outdoor venue Island Gardens is the perfect backdrop for Zamna to take place. Surrounded by the aqua-blue waters of Miami's marina, the one-of-a-kind waterfront event space will be transformed into a seductive labyrinth for three nights of musical madness, where nature, free spirits, and cutting-edge production technology will become one.

The series of parties will be headlined by the likes of electronic duo The Chemical Brothers, superstar DJ Diplo, and Ukrainian duo ARTBAT, alongside melodic tech pioneers CamelPhat and maestros Mathame, plus many more.



With special guest announcements to come, as well as many more huge names on the lineup, Zamna is a name that'll be familiar within the house music community very soon.


With many more incredible events on the roster, Art Basel Miami 2022 really is a melting pot of dreams for house music lovers.



This is an incredible opportunity to nurture your love for everything arts and culture, in a variety of unique venues across the stunning 305.

Top 5 Party Picks - Art Basel Miami 2022

Quite literally the holy grail of house music, if you’ve yet to visit the motherland that is Ibiza, we may have the perfect opportunity for you to do so. While mid-October marks the end of summer and the typical closure of clubs through the winter months, the beautiful Baleric island has a surprise in store for us this year.

NYE is usually a low-key festivity on the White Isle. However, this year is quite the opposite. Some of its most iconic venues will reopen the doors for an epic New Years celebration like no other. And we’ve got four exclusive events for you to pick from, so let’s get into it.

Pyramid | Amnesia | Friday, December 30

On Friday, December 30, from 8 pm-6 am, Amnesia and in-house brand Pyramid celebrate another mold-breaking year with The Last One of 2022.

For those not so familiar, Amnesia is the clubbers club, Ibiza’s OG mega venue, and one steeped in history. The enormous dance factory opened in 1976 before house music became its bread and butter. Ever since, it has remained one of the island’s most sought-after venues for DJs and music fanatics alike, who travel from all over the world to experience it in all its glory.

It’s essentially a warehouse consisting of two humongous rooms. The Main Room is a dark, tempting chamber, and the Terrace, an expansive glass-roofed dance hall that fills with light at sunrise.

The legendary club has hosted some of the island’s most beloved events, including Sven Vath’s Cocoon, Music On, elrow, and Paradise. Its eclectic programming attracts massive crowds every day of the week in the peak summer season.

As for Pyramid, it is an original Amnesia night boasting a packed-out dancefloor every Sunday. This comes down to its sole focus on the music, curating line-ups that no other Ibiza night offers.
The fiesta hones in on minimal and techno artists, having invited some huge names to the famous booth this year alone. Friday, December 30, Pyramid reels in yet another massive line-up for a proper 2022 send-off, including Cuartero, Deborah De Luca, Enzo Siragusa, Stella Bossi, and 2vilas. You don’t want to miss this.

Music On | Pacha | Sunday, January 1, 2023

Pacha is considered Ibiza’s most prized possession. From its beginning as the first superclub of Ibiza, it’s now a global enterprise with clubs in various countries worldwide. It’s become more than just a party. Pacha has established itself as the most affluent clubbing brand in the world.

First founded in 1973 as a traditional Ibizan finca, it is now a sophisticated, hi-tech party venue worshiped by locals and tourists. Many of the biggest DJs in the world call it home, with Pacha renowned for adding a hint of VIP vitality to the ordinary clubbing experience.

The club hosts an array of sought-after parties every day of the week in summer, with one, in particular, standing out from the crowd—Italian adonis Marco Carola’s renowned Music On.

On NYE, Carola returns to the island for this one-off fiesta. Fellow tech house mastermind Andrea Oliva will join him for six hours of mouth-watering electronic music. Expect plenty of rolling groovers, with the prestigious dance floor filled with the most avid house music fans.

A New Year’s countdown at the iconic venue is a rarity guaranteed for the history books.

elrow - Nowmads | Amnesia | New Year's Day

To say this party is one of a kind would be an understatement. Wildly explosive decor, outlandish costumes and makeup, and larger-than-life production make elrow the epitome of an immersive outerworld experience, where reality becomes a distant memory.

The colorful extravaganza has traveled all over the globe and remains unrivaled wherever it lands. Think confetti cannons, flying inflatables, and jaw-dropping theatrics. Both DJs and ravers highly respect the Ibiza staple. Not only does the brand attract a hefty crowd at every party, its line-ups never fail to miss a beat. Whether at a festival or a club, elrow reigns in a host of leading DJ talent, making it like no other party in the world.

While renowned for its pumping tech house sound, elrow line-ups always represent the underground properly. This time, elrow’s resident DJs Toni Varga, Marc Maya, and Bastian Bux, join an array of international stars, including Adam Beyer, Arielle Free, Eats Everything, Fleur Shore, Francisco Allendes, Ilario Alicante, Manda Moor, Marco Faraone, Mason Collective, Matthias Tanzmann, and Silvie Lotto.

The theme for this Balearic bonanza is Nowmads and will roll for a solid 12 hours from 5 pm - 5 am.

Circoloco | DC10 | Sunday, January 1, 2023

Lastly, Circoloco at DC10—the club that defines what the island represents - authentic underground music returns for one more stomping day-to-night event. From humble beginnings to becoming the most coveted house music venue on the planet, DC10 has come a long way since its opening in 1999.



Quite literally a shack at the end of the island’s airport runway, it has blossomed into a quirky inside-out venue that has become famous for its off-beat clown face logo, iconic red walls, and infrared light beams that shine onto the crowds in the garden.


Purposely, the name comes from the McDonnell Douglas DC10 aircraft, as the al fresco dancefloor is the island’s best plane-watching spot.

Without a doubt, the venue’s most synonymous party is Circoloco. One known for its hedonistic nature and wild day-to-night Monday sessions. You may think that this is an odd day to host one of the island’s biggest nights, but it started a global clubbing revolution, shaping modern club culture.

On New Year’s Day (Sunday, January 1), from 6 pm-6 am, a pool of resident DJs and special guests will fly in to perform. So far, the line-up includes big dons Archie Hamilton, Cassy, Dennis Cruz, Sweely, and Tania Valcano. Just wow!



There we have it, your New Year’s trip to The White Isle sorted. Not only is it a beautiful place to visit all year round, it really is the epicenter of house music. Be warned. Once you go, you may never come back!

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New to the whole concept of Ibiza? You’ll be hearing much more from us about the magical island shortly, ahead of the 2023 summer season.

New Year's Eve in Ibiza - The Ultimate Fiesta Guide

EDC Orlando 2022 has officially come and gone. This year over 200,000 festival-goers reunited “Under the Electric Sky” for Insomniac’s flagship East Coast event. The threat of Hurricane Nicole, which passed through the Orlando area the day before the festival, left many with flight cancellations. However, the festival grounds remained unscathed, and those who could arrange other travel plans experienced an unforgettable weekend.






Each EDC Orlando stage encompassed a unique vibe and genre. With more than five to choose from, there was a little something for every dance music fanatic. But for the house heads and techno tourists, all feet were glued to the dancefloor at the neonGARDEN with acts like Charlotte de Witte and CamelPhat throwing down.




On Friday, in-house underground house and techno brand, Factory 93 partnered with Patrick Topping to bring his legendary Trick brand to the United States for the first time. And on Saturday Green Velvet presented his La La Land party brand and stage takeover where attendees were lucky enough to witness a rare triple b2b as Green Velvet, Dom Dolla, and John Summit closed out the stage.

As we predicted, Insomniac repurposed the neonGARDEN stage from this year’s EDC Las Vegas. Out with the old hangar-style tent and in with the new open-air warehouse setting. Shipping containers splattered with graffiti surrounded the stage in a one-of-a-kind 360-degree fashion, offering an exclusive urban jungle experience.









The success of neonGARDEN wouldn’t have been possible without the help of stage-curators Factory 93. In fact, it was one of their most memorable stages yet. Each year they explore the depths of creativity and innovation while preserving the authenticity of the underground. Since they began curating the neonGARDEN stage in 2018, their love and appreciation for house music has ignited a country-wide movement and mass admiration for its distinctive culture. Outside of EDC Orlando, they have hosted stages at other Insomniac festivals like EDC Mexico and one-off events at their warehouse in Los Angeles.



Factory 93 has risen to be one of the reigning brands for all things house music. Last year, Insomniac announced another addition to their evolving catalog of record labels, Factory 93 Records. Honing in on the worldly sounds of underground house, techno, tech house, and even disco, listeners can discover established and rising artists from across the globe. Factory 93 Records is the next big step in achieving its goal to grow its platform and the culture within it. Insomniac founder, Pasquale Rotella, released the following statement in a press release:




“Factory 93 represents the beginning of Insomniac. Underground dance music will always be the roots of everything we do. Factory 93 is a very passionate part of the Insomniac portfolio worldwide, which makes this new record label even more exciting for us. With the addition of Factory 93 Records, our team will be able to carry over its vision from the live events side into a carefully curated catalog we can’t wait for you to hear.”




Factory 93’s involvement with Insomniac doesn’t stop there. Last May, they teamed up to premiere a brand new two-day festival dedicated to underground house music called Skyline. Taking place at Lot 54 at The Vanguard, festival-goers experienced a mesmerizing display of digital & street art exhibits, graffiti murals, and of course, non-stop heart-pumping house and techno beats.

Inspired by EDC’s neonGARDEN concept for its second edition this year, Skyline did not feature a single LED wall. Instead, they enclosed the main stage with their graffiti-laden shipping containers. By focusing on the basics and providing an intimate environment for attendees, they cultivated the ultimate underground experience. Skyline even expanded to the West Coast in Los Angeles, so no matter where you’re from, Insomniac and Factory 93 have got you covered.




Since Factory 93 was founded, they have shown no signs of slowing down. As our underground community continues to grow increasingly popular across the country, we are excited to see what the future holds for Factory 93’s impact on the neonGARDEN stage and the festival community.

Factory 93 Continues to Bring House & Techno Heat to EDC Orlando

If you set foot in a club this summer, there’s a good chance you heard Future Looks Bright” by UK up-and-comer Max Dean. One of the most sought-after IDs of festival season, this ripper was a premiere piece in the sets of many of dance music’s heaviest hitters, including Michael Bibi, John Summit, Hot Since 82, East End Dubs, Andrea Oliva, Nic Fanciulli, and Lee Foss.





With just one spin, it becomes abundantly clear why so many Reddit threads and online forums clamored for this single all season. “Sanam Re” by Indian multi-hyphenate Mithoon and singer/composer Aright Singh gave us the viral vocal loop that took the internet by storm with its use in CJ’s “Whoopty.”



Max Dean repurposes the swirling sample as the staple for this dance floor stepper, proving that some samples have god-tier staying power. A trusty four-on-the-floor kick package keeps things pressing forward. At the same time, synths swim and bounce before clearing space for the reflective monologue by house music guardian Mr. V on the next generation of house music enthusiasts.



Mr. V states, “The future looks bright,” and Max Dean certainly seems to be evidence of that. While only 22 years old, the London-based young gun has put together a handful of impressively strong grooves in one year of official releases culminating in this 150th release of notable label, Repopulate Mars. And we know there’s something to look out for if an artist like Mr. V is in his corner.



Mr. V has had a front-row seat to the evolution of house music since he first entered the industry in the late 90s as Louis Vega’s assistant at the world-famous Masters At Work label. In 2004, he established Sole Channel Music and later a second label, Muzik 4 Tomorrow. In addition to releases on his labels, he’s dropped hundreds of tunes on esteemed imprints like Ultra, Toolroom, Armada Deep, Defected, Musical Freedom, Vega, and Dopewax.

Max Dean Unveils Highly Anticipated Summer ID 'Future Looks Bright'

When Juliet Fox hopped a plane home to Australia for the first time in two years in January of 2022, she thought she was just coming back to visit family. She'd left there over a decade ago, seeking a proper audience for her hard-hitting techno. Instead, her visit lined up with the country reopening its clubs, and during her two last-minute gigs there, she realized that her music could finally come home as well.



She was moved to tears on the plane, hearing an Australian accent for the first time in so long. And when she found in the final week of her stay that she could DJ there again, she was excited to see how far Australia had come in its appreciation for proper techno.







It's been a landmark year for the London-based artist whose releases on Drumcode, Kneaded Pains, and her TREGAMBE imprint have found their way into sets by Adam Beyer, Deborah De Luca, UMEK, and Charlotte de Witte. Since her stint in Australia, she's been on a whirlwind tour of the world that's taken her to Tomorrowland, fabric in London, Glastonbury,  Watergate in Berlin, Zurich Street Parade, CRSSD, OFFSónar, Space Miami, and the first Berlin Love Parade in nearly a decade.



"I didn't realize how much I missed, not just the traveling part, but mostly going and connecting with people worldwide. I must have been lacking that a lot," she says about her return to touring.



Fox has lived in several cities over the years and is a confessed travel junkie, so being on the road again and soaking up the culture and energy of the global dance music community has been a return to form. It's been a life-affirming year, reminding her how impactful her music truly is. "Having these major events happening, it's been really good for myself to get back in and to build up the confidence and also to be able to see the reaction from people, and also to interact again with crowds and energy, which has been superb."



Throughout the pandemic, Fox felt like her sound went more introspective and experimental. It was part of why she started TREGAMBE, creating a home for her more emotional side. However, after time spent back at dark clubs and in cities like Copenhagen, where she can come out of the gate at 145 BPM, has brought her back to the heavier sounds. Yet, one thing that has remained true is her ability to inject meaning into her music.





With each release, there is a story. Often taking a queue from her more spiritually reverent yoga-loving side, she finds inspiration in life's frequencies and inherent vibrational nature. For example, the phrase "Humans tend to overthink" was the impetus for her hypnotic recent Drumcode release "Evolution of Thinking." These tiny nuggets of wisdom make their way into so much of her music, offering brief moments of meditation for the dancefloor.



"I don't think I do it intentionally, it does just come naturally," she says about the introspective refrains that have become a hallmark of her music. She says the lyrics "harmonize with, the track I'm building, and it creates the melody in itself."



And while she explains that she's not against the odd cheesy vocal or catchphrase, she wants to send a (somewhat subliminal) message to the listener. "For me, it's more important to have something that's a bit more impacting, that means something to me at the time and hopefully [to] other people."



Philosophical footnotes aside, 2022 has been an absolute stomper that included some legitimately historic moments. In July, she opened up the festivities for Rave The Planet, the first Love Parade event in Berlin since 2010. She had the honor of playing on the lead float directly after the iconic event's founder Dr. Motte, spoke to kick things off. Love Parade's history is thick in Berlin. The event has been the stuff of legend since it began in 1989 as a political demonstration for peace and understanding through music.

"I didn't actually realize it until the end of the day. It kind of sunk in that I was on the first float you know, Dr. Motte's float, the first DJ to perform and play the first track. It gives me goosebumps talking about it now. Just to be asked to be in that position basically making history. It feels incredible. I'm still buzzing about it."



It was a heartwarming moment for an artist who is so dedicated and inspired by creating love on the dancefloor. One where her inner raver was on full display, "Just to see how everybody was connecting. All ages, nationalities, sexual identities, everybody was there for one reason: to be there for the music and to just enjoy themselves."



A thread of unity and service runs through everything Juliet Fox does. As a global techno ambassador, she loves nothing more than finding ways to connect people through music. It's her love language. And on her way to Amsterdam Dance Event (ADE) this year, she joined other industry folks in yet another act of service, the Bridges For Music bike ride from London to Amsterdam.



"Bridges For Music are a nonprofit organization that had built a school in Langa, which is in South Africa outside of Cape Town. [It's] a music center, creative center where underprivileged children can go [to] learn an instrument, mostly music production, DJing, singers… I've been to South Africa four times. And it's just incredible to be able to go there and to provide something and to keep this school moving and monetized."



The four-day cycle came amid a chaotic weekend of gigs. After flying back from Dubai to London the night before it left, Juliet woke up before dawn to set out across London to Dover, where they took a ferry to France for the culmination of the ride in Amsterdam. Despite the challenge, the beauty of riding through the streets of London with a group of selfless industry professionals as the sun peeked over the horizon made for a beautiful and inspiring moment.



It's experiences like these that set Juliet apart from her contemporaries. Throughout our conversation, I'm touched by her vulnerability, joy, and honesty. These qualities shine through in her music and acts of service. While making music intrinsically uplifts the artist, her brilliant dose of altruism exemplify how selfless sharing your talents can be.