Destructo and DJ Glen have never met in person, but their love and respect for each other—and creative compatibility—run deep. And today, January 28, the energetic duo shared their first collab, "Distorted Reality." The six-minute track goes hard from the start and is a sonic response to the unhinged state of the world. With its extra-long build-up—a hallmark of DJ Glen’s sound—it is made to stir the dancefloor into a frenzy.

The accompanying video is also a wild trip, featuring images from the DJs' hometowns (São Paulo and Los Angeles), protests, raves, and the FLUF World metaverse (see for yourself below). Read on for Destructo and DJ Glen's first interview together, in which they dive deep into the new track, their admiration for each other, and what’s to come in 2022.

"I play a lot of Glen's tunes when I DJ—for years now. He's got a very distinct sound. I really like the way he does breakdowns," Destructo shared over Zoom from his L.A. home. "I was stoked he reached out. I always try to find stuff that other people don't play, and it's hard to find that stuff that's really good. It's always Glen's stuff."

"He sent me some stuff and I was like, 'We should do something.' And this one resonated, especially with the vocals. I'm kind of tired of doing happy party tracks. I always feel like I want to say something with the music…The words are very simple, but it [speaks to] the world that we're living in."

"I've followed Gary [Richards, a.k.a. Destructo] for years and I realized we have the same rock and roll roots," Glen added, from his home studio in Americana, São Paulo. "I think a lot about how to bring my roots into electronic music, and with Gary, we found a way to do it."

"After I started to sent some ideas, I watched the whole MasterClass from Tom Morello, who is my favorite guitarist ever. Then, with his ideas, I made more tension, with the biggest drops," Glen explained.

Destructo noted they referenced Rage Against The Machine several times in "Distorted Reality." Morello uses guitars like a synthesizer or turntable, Glen did the reverse; using synths like a guitar. Proving that the best music is often uncomplicated, the track uses scant elements to bring the dancefloor to a fever pitch: one drum, two synths, and his voice with a vocoder.

As for the collaborative process, Destructo tested the track out at his shows last year, observing and adjusting its elements after each play. He and Glen worked on a version to have ready for his Electric Zoo set last September, and when he played it, the reaction was priceless. The whole crowd waved their arms from side to side during the buildup without any prompting.

DJ Glen hasn't been able to play "Distorted Reality" out in his home country yet to see the reaction there, but it's likely to be a powerful one. He draws the connection between the big build-ups in his music and Brazilians' love of soccer:

"Brazilians like soccer so much because they like to be a part of a bigger crowd and bigger scene, they like to be together with people who think like them. And this is why the drop and the one big crowd dancing together at the same time is so special here, because everybody likes to be together as one. You need to be very clear in the music to make it happen and [when you do], it sounds like a goal in soccer stadium. if you're gonna play in Brazil, you need to make bigger goals and bigger drops. They don't care about the things you put between the drops. Just put the fucking drops and make the goals and everybody screams together. It's so cool."

When asked to describe his production style, the Brazilian powerhouse explained that beyond creating tension and massive drops, it's really about being true to himself and using the music to speak beyond words and connect with others.

"I try to be totally true with myself, using the music as a universal language. For example, Gary understands my music, the way I produce, all my references without us talking a lot about it. I don't know your language very well, I cannot express myself using the words, but using music I can be whatever I am. When I'm producing in the studio, I can be 100 percent honest with myself, [which is] different than when I'm playing, because it's a little hard to put all yourself in your set because there's more people in the room," Glen said.

"I released an album [Every Hi-End is a New Beginning in 2020] was this kind of vibe. I made it for me, not for the dance floor. There's a lot of tracks that work in the dance floor, but I made it for me and the things I believe."

For Destructo, remixing Dolly Parton's "Jolene" was a worthwhile and fruitful challenge.

"It's a big one to not fuck up.” he laughs. “When I do a remix, I don't try to change everything. I try to just figure out how can I take the song and the melody and make it work for the dance floor. It was a long process, but I was very excited and happy that Dolly liked it and that it got out," the "Shine On" producer said.

"I think it was around the same time we were working on 'Distorted Reality,' I was playing some shows and I was like, 'How am I going to play this in my set?'…I think I played it probably the same time as 'Distorted Reality,' towards the end of the set, just to see the reactions. And the reaction I got immediately for the Dolly one was like nothing I've gotten on a song ever, ever, ever—immediately, 8000 people singing the song. I was like, holy shit! It was the same thing with "Distorted Reality," when I played it, that's when you really know. We're lucky we get to make shit and play it out and see what happens."

And even as the years roll on and his discography of bangers grows, Destructo is still stoked on his big bops from the past, including 2014's "Dare You 2 Move," and "Party Up" with YG. "The only reason why I started making songs, is so I could play them when I DJ… I was just trying to get tunes that are unique to me. So they're all kind of weapons to begin with. And we're just adding more to the collection now."

You can expect more collaborative weapons from DJ Glen and Destructo in 2022, possibly an EP! And both artists have more of their own tunes up their sleeves to keep you moving all year.

Destructo & DJ Glen Talk Debut Collab "Distorted Reality" & Wowing The Dance Floor

When it comes time to emerge from the nightclub, there’s one item that many find essential: their cellphone. 

Research by the Night Time Industries Association and London-based phone charging solution Joos finds a significant increase in anxiety and stress linked to a dead or dying phone when out at night in the UK. Eighty-two percent of young adults reported feeling unsafe when in such a situation. Additionally, 64 percent of females answered that they feel anxious or scared when out with a dying phone battery at night. Mobile devices are of great importance in getting home safely, whether through a traveling home alone app such as WalkSafe or a rideshare service like Uber. 

Interestingly, the study found that young people living in the U.K. find their phones more important than wallets. “Crucially, for younger people, smartphones and wallets are becoming one and the same,” the study says. “The push towards a cashless economy has been in the works for some time and, with younger citizens already bought-in, it speaks to the need for more charging points.”

Prior to Covid, the research shows that over 12 million nights spent out in the U.K. were abandoned when dealing with such phone issues. The results were staggering: there was a $497 million loss of revenue for the hospitality industry as a whole, resulting in $1.3 million per day. The study says this has likely risen since initial research due to the increased need for mobile devices in hospitality. In addition, U.K. nightlife is the fifth biggest industry, generating  $88.3 billion per year. The study added that 8 percent of all British employment is in the nightlife industry since the pre-pandemic study.

Are Phones a Nightclub Essential?

Looking down the list of upcoming festivals in Croatia this year, it’s clear the plague has not dented the Balkan nation’s enthusiasm for raving. 2022 will see (fingers crossed) the return of Hideout, Senses, Outlook, Sonus, Dimensions, Ultra, and SuncéBeat, among others. 

Almost every weekend from June to September, there’s a huge electronic music festival taking place somewhere in Croatia – usually on a sun-drenched beach surrounded by the turquoise blue of the Adriatic Sea. So how did Croatia transform itself from a post-Soviet warzone to the capital of the European festival scene? 

Croatia was part of Yugoslavia for most of the 20th century. For a communist bloc country, it was relatively liberal and by the late ’70s was already known for the bold, experimental electronic words of composers such as Mario Marzidovšek. 

During the ’80s, Yugoslavia had a small synth-pop scene with acts such as the excellently named Denis & Denis (check this amazing video) and Max & Intro. When the USSR collapsed, Yugoslavia broke up and plummeted into war. By the time it was over, more than 20,000 Croatians had been killed as the nation finally staggered to its independence. 

In 2004, a UK music promoter called Nick Colgan moved to Croatia with his wife, Charlotte, to open a bar in Zadar, a city on Croatia’s Dalmatian coast. Tourism was starting to pick up after the war, he later told The Guardian. Business was slow, so they decided to put on a party and fly in some friends. This was the first Garden Festival, held in 2006 for about 300 people in a fishing village called Petrcane. It returned the following year and by 2008 had grown into an event pulling in a few thousand punters and headliners such as Mr. Scruff and Norman Jay. 

Other promoters started to take note, and in 2008, the first Outlook Festival was held. Arranged by the Leeds-based SubDub crew, it highlighted bass music from reggae and roots to dubstep. The following year saw the inaugural Soundwave festival and, in 2010, the first SuncéBeat, with sets by Ron Trent, Theo Parrish, and Larry Heard, among other legends. 

“We fell in love with Croatia when we first saw Petrcane,” says Alex Lowes, one of the founders of SuncéBeat. “It was the most amazing discovery, full of wonder and charm ­– an idyllic hideaway.” 

Like most festival promoters arriving in Croatia, Lowes worked with Nick and Charlotte Colgan to arrange the event. “It was a nascent scene then, with festivals including ours and intimate get-togethers with a mix of UK, European, and Croatian guests … What was happening in Petrcane was a defining moment for the events scene. It could only grow.”

And grow it did. 2012 saw the first Hideout festival, with guests including Chase & Status, Scuba, Richie Hawtin, Seth Troxler, and Jamie Jones. The following year the Sonus festival arrived – five days of house and techno with a lineup including DJ Sneak, Matthias Tanzmann, Ricardo Villalobos, and Seth Troxler. The same year saw the first Ultra festival in Croatia, a more commercial event held in a stadium in Split with Fedde Le Grand, Avicii, Carl Cox, Armin van Buuren, and Hardwell. 

In the following years, more promoters piled in, with Love International, Defected, and Movement all joining the party in 2016 to showcase some of the most celebrated DJs in the world, including Sven Väth, Nina Kraviz, Ben Klock, Kenny Dope, Roger Sanchez, and Marcel Dettmann. 

Nick Colgan and his crew had by now opened a dedicated festival site, The Garden Resort in Tisno, with outdoor stages, camping facilities, and a club – Barbarellas – in a nearby village to host after-hours parties. The Garden Resort has become the de facto home of festivals in Croatia. It hosts many of this year’s highlights, including Love International, SuncéBeat, Outlook Origins, Defected, Dimensions, and Dekmantel Selectors in Tisno since 2016. 

Spanish party people elrow also joined the fray in 2021, taking over an entire island for a 72-hour festival reserved for just 800 people. No news yet whether that will return this year, but for those after an island vibe, Sonus is held this year on Pag Island, from August 21-25, with a lineup including Dixon, Anfisa Letyago, KiNK, Maceo Plex, and 999999999. Senses is also held on Pag, from July 11-14, with the lineup still to be announced.  

“For us, Croatia is the perfect mix,” says Alex Lowes of SuncéBeat. “It’s a simply beautiful country. The beaches and bays are stunning, with historic cities and beautiful inland areas. The weather is, of course, sublime, so it creates the perfect mix of holiday and festival in one.”




Dates for 2022 Festivals in Croatia

Xistence: (psytrance): June 27th-30th

Fresh Island: July 1st-8th 

Ultra Europe: July 8th-10th

Senses: July 11th-14th

Love International: July 13th-19th

SuncéBeat: July 21st-28th

Outlook Origins: July 28th-August 2th

Defected Croatia: August 4th-9th

Sonus: August 21st-25th

Dekmantel Selectors: August 25th-30th

Dimensions: September 1st-5th

Words by: Nick Taylor

How Croatia Became the Festival Capital of Europe

Like most terms without a dictionary definition "deep house" has held many meanings. But the first definition remains one of the most apt. In the words of one Chicago-bred aficionado in 1999, "Deep house is strictly disco and old R&B. Screaming black lady music . . . DJ Rush on a Sunday night at the now defunct Medusa's. The original Bad Boys of Chicago. Frankie Knuckles. Farley. Hearing Martin Luther King's 'I Have a Dream' over a track."

So the term acts as an umbrella for pre-house classics—not all of them R&B or disco,
either—ranging from Liquid Liquid's "Cavern" or the Police's "Voices Inside My Head" to Loose Joints' "Is It All Over My Face" or Carl Bean's "I Was Born This Way." But that's not all it is—and no, it's not the crisp, digital, bass-heavy tech-house with the occasional sampled vocal snippets that Beatport has insisted for a decade on calling "deep house," either. 

Instead, let's rewind to 1987. In New Jersey and New York, "a deep style of club music based on a heritage that had its roots firmly in R&B . . . was taking shape," as house historian Phil Cheeseman wrote. "The emphasis was on songs, which came with Arnold Jarvis' 'Take Some Time Out,' Touch's 'Without You,' [Blaze Present] Exit's 'Let's Work It Out,' and a record on Movin, a new label run from a record store in New Jersey's East
Orange—Park Ave.'s 'Don't Turn Your Love.'" 

In Chicago, Cheeseman added, "The record that defined deep house was the Nightwriters' 'Let the Music Use You,' mixed by Frankie Knuckles and sung by Ricky Dillard, a record that a year later was to become one of the anthems of the UK's Summer of Love." 

The Summer of Love is a helpful demarcation point. Prior to 1988's season of mass raving hysteria in the UK, the term deep house was hardly necessary. In Chicago, at least, house
meant the seventies tracks as well as the newer ones by Frankie, Farley, et al. It referred to a style of playing and a lineage, not necessarily a genre. But when the Brits went doolally over "acid house"—meaning all of house, to them at the time—it necessitated a more specific terminology.

In 1993 Chez Damier, Derrick May, and Ron Trent started Prescription Records. Damier, a Chicago native, May were the founders of Detroit's legendary Music Institute. Trent's career began at 15 when he made history with the still-astonishing "Altered States."

Prescription issued a knot of 12-inches—in particular, Chez-N-Trent's "Morning Factory"
and Romanthony's "The Wanderer (Journey Man Thump)." Along with the work of Gemini, aka Spencer Kincy, these records defined "deep house" anew. Music made in the present
day with gospel, blues, and jazz running through the grooves. 

"Apart from each other Ron was a fairly decent keyboardist but you can hear the difference and the energy," Damier said in 2010. "So when we came together that was the magic, because you had that kind of intense versus mellow combination actually happening."

Nineties deep house defined the difference between club and rave crowds. By 1993 in New York, Darshan Jesrani of Metro Area once said, "There was a total split. The deep house
sound was a little more urban, a little older, a little more sophisticated, a little gayer. Raves were for everybody else—all the outer-borough kids."

But it wasn't just ravers that deep house reacted against; it was also house music's early-nineties commercial ascent. 

"There was a whole era where house music was number one on the radio," said Larry Tee, who earned a gold record in 1993 for producing RuPaul's "Supermodel." 

"A lot of songs that were happening from '90 to '93, like 'Pump Up the Jam' [and CeCe Peniston's] 'Finally,' went Top 5." House DJs, Tee added, "at that point needed to choose a side, because if you were going to try to play different kinds of music [than house], you were going to get left [behind]."

Deep house was typically American in the eighties and nineties, particularly in Detroit. Producers like Moodymann, Theo Parrish, and Mike Huckaby stepped forward in the late nineties. Huckaby first recorded for Rick Wade's Harmonie Park label, which also issued
many stellar tracks by Wade himself, collected in 2009 on Harmonie Park Revisited, released by Rush Hour in the Netherlands. "Almost instantly, I began getting a lot of gigs after Harmonie Park Revisited came out," Wade said in 2012. "Almost every week, there's a new offer."

Deep house had been commingling with European minimal techno for a while by then. The key album there is Luomo's Vocalcity (2000), which one fan recommended for "early Chez-N-Trent fans . . . wondering where you can scratch that itch with newer artists . . . vocals that creep in and out of the murky dubbed-and-dialed-out deep house."

In particular, UK producers who'd matriculated in dubstep during the mid-2000s swerved into deep house as the 2010s approached. 

"A few years ago, Nick Craddock linked me to these cassette rips of a Spencer Kincy set at a night . . . called Deep in the Flowers," Ben UFO said in 2012. "Hearing those for the first time completely changed my perspective on how house music was 'supposed' to be mixed. His mixing style couldn't have any more in common with UK pirate radio DJing—hyperactive cutting, quick blends, and spin-backs . . . I can't overstate the impact that set had on my DJing." 

No surprise: Deep house remains the gold standard for serious dance-music lovers.

House Music History: What Is Deep House?

Desert festivals might be some of the hardest to come by, and not just because those barren spaces are few and far between. Raving in 100-degree weather is just something that most people wouldn’t dream of, and it might seem even more improbable in such a remote location. So, why do ravers take to these arid sandscapes to dwell in the desert for days on end?

Despite the unforgiving environment, desert landscapes make for some of the best festivals in the world. Often without any towns or cities within earshot for miles, the lack of noise licenses allows for larger than average sound systems with no time constraints. Deserts also provide a completely blank slate meaning they can play host to any kind of creativity or blueprint, whether stages, art installations, or campsites. After dark, once the heat settles over the planes or dunes, it’s high time to let loose, and party as the dry daytime air subsides, creating the perfect starlit setting for any eager raver.

So, with that, let’s dig into some of the best desert festivals across the globe - and no, it’s not just Burning Man!




Monegros Desert Festival, Spain

We’re kicking off this list in Europe - an unusual spot considering the continent’s vast greenery. In the dusty region of Aragon, Northern Spain, a growing community sets up shop in the Monegros Desert, where the eponymous festival takes place. By day, festival-goers take shade under enormous fairytale-esque mushrooms, later lit up by trance-inducing lights transforming the space into a psychedelic oasis. Monegros Desert Festival is known for its prodigious lineup too. Promising one of the most exciting performances of the year as Wu-Tang Clan take to the stage in July 2022, accompanied by a slew of DJs including Adam Beyer, Charlotte De Witte, Seth Troxler, Maceo Plex, and more. This year’s event falls on July 30 for a full-frontal 24 hours.

Website | Instagram | Tickets



Transahara, Morocco

Over in the Sahara Desert, early summertime event Transahara kicks off this year on May 13th-17th deep in the barren zone amongst the “mythical dunes of Merzouga.” With a traditionally psytrance lineup, this South Moroccan festival is a great escape for fans of higher-tempo tunes. Yet, previous lineups have included house and techno artists whose soundscapes fit for the mystical desert environment like John Aquaviva, Nitin, Matt Caines, and D-Nox. Due to the fragility of the ecosystem surrounding the venue, the festival is capped at 1500 and accommodations in one of five hotels and camps nearby. Accommodations are quite reasonable ranging from $30-80 a night. Transahara beautifully fuses art, music, and culture for a grand celebration under the starlit sky every spring. 

Website | Instagram | Tickets




Burning Man, Nevada

Photo Credit: Michael Holden

Of course, this list wouldn’t be complete without Burning Man. It might be the first one that comes to mind when you think of desert-based festivals, but many don’t know the full ins and outs of this unusual event. As thousands of people - 80,000 to be exact - make the pilgrimage each year to Nevada’s Black Rock Desert, festivalgoers land in the barren metropolis of Black Rock City surrounded by art installations, burning structures, adventurous outfits, and a heck of a lot of bicycles. Black Rock City doesn't have traditional stages, the music is instead hosted by sound camps that each add their own artistic aesthetic to the dusty environment. Soundcamps like the fire-laden Opulent Temple, Debouchaerous day party Distrikt, and Carl Cox led Playground have hosted some of the biggest names in house and techno, including Carl Cox, The Martinez Brothers, and Joseph Capriati.

Website | Instagram | Tickets




Ragasthan, India

Previously dubbed ‘India’s craziest music festival’, Ragasthan has a lot to live up to - and it does. The three-day camping event takes place in the medieval trading town-turned-desert of Jaisalmer, Rajasthan, just off the border of Pakistan. Boasting a lineup of both electronic and indie music, India’s top-tier festival also includes cinema screenings and fly-by art on top of late-night DJ sets from the likes of Christ Burstein, Bemet, and more amongst the mystical landscape. Ragasthan takes place each year in February to ease away those winter blues.

Website | Instagram | Tickets




AfrikaBurn, South Africa

Burning Man's sibling festivals are called regional burns. Founded on the same 10 Principles of Burning Man (Radical Inclusion, Gifting, Decommodification, Radical Self-reliance, Radical Self-expression, Communal Effort, Civic Responsibility, Leaving No Trace, Participation, and Immediacy) they give the worldwide community a chance to relish in its spirit closer to home.

Afrikaburn is the second largest regional event after its sibling festival Midburn in Israel. And it's a worthy contender. Originally taking place on Stonehenge farm, AfrikaBurn later moved to South Africa’s Quaggafontein, where it sets up a similar event with the same ethos as Burning Man. The experiencial festival is said to be a ‘playground without politic’ bringing together the South African Burner community. This year’s event kicks off in the Western Cape province on April 25th until May 1st.

Website | Instagram | Tickets




Desert Daze, California

California’s Desert Daze Festival has consistently had one of the better lineups over the past few years in the arid, mountainous destination of Lake Perris. Though more a beach than a desert festival, this dry setting has previously hosted the likes of Floating Points, Boards of Canada, Flying Lotus, plus a few pop, rap, and rock numbers. Desert Daze takes place annually toward the end of the year to avoid peak summertime heat, but with a lake just metres away, there’s always room for a quick dip. Expect some more magic in the desert this year from September 30th until October 2nd.


Website | Instagram | Tickets




Sandbox, Egypt

Sandbox is a once-in-a-lifetime event taking place mid-summer. As the sun hangs low over the Gouna Red Sea next to Egypt’s El Gouna desert, almighty lineups including Folamour, Palms Trax, Mella Dee, Sweely, and more play to intimate crowds. The desert plane hosting Sandbox sits next to the turquoise waters of the red sea, making it the perfect respite for anyone seeking some time away from the unforgiving heat. This year’s dates are currently unconfirmed, although you can bank on a glorious weekend somewhere in mid June.

Website | Instagram

Day Zero, Israel

Finishing off our selection is Israel's Day Zero festival hosted in the UNESCO World Heritage Site of Masada, not to be confused with the festival’s second event held in the jungle of Tulum. As termed by the festival itself, Day Zero is ‘a convergence of mysticism, music, natural wonder and apocalyptic sentiment’, set amongst the scenic desert space in the heart of Israel. Here, you can find a bill of impressive house and techno artists from all over the globe with previous residents including DJ Tennis, Black Coffee, Four Tet, and Dennis Cruz amongst others. Day Zero celebrates 10 years this year kicking off on September 23rd, 2022.

Website | Instagram | Tickets

Desert Festivals to Visit Around The World

Roland released the TR-909 in 1983 as a heavy-duty, programmable drum machine, a more realistic-sounding successor to their TR-808 and TR-606, which came out a few years before. While their TR-808 (released in 1980) had a fat, artificial, electronic sound, the "Transistor Rhythm" -909 was more thumping, with a tight, punchy kick drum, bright snares, and full, metallic-sounding hats. 

It used analog circuitry to create all the sounds, except for the hi-hats, crash, and ride, which were samples. It was Roland's first use of sampled sounds in a drum machine, designed to compete with the sample-based LinnDrum and Oberheim DMX, which were the drum machines of choice for high-end studios at the time. 

The TR-909 became one of the most-used instruments in electronic music, first for house, then for techno, where it did as much as any other piece of technology to define the sound. These days, if it's a pounding 4x4 beat, it's probably a TR-909 (or more likely a sample of a TR-909 or one of the 909 clones you can pick up – such as Roland's TR-09 or Behringer's RD-09). 



Mr Fingers – "Can You Feel It" (1986)

Released on Trax Records in 1986, this seminal cut from Chicago producer Larry Heard has never really gone away. All the drums are from a TR-909, but it's that ride cymbal that starts up after the first eight bars that's so distinctive. Add to that the clap that kicks in four bars later, and you're in deep house heaven.




Inner City – "Good Life" (1988)

Kevin Saunderson is best known for being one of the originators of techno, alongside his two high school friends, Derrick May and Juan Atkins. But in the late '80s, he had a string of enormous house hits with vocalist Paris Grey under the name Inner City. This was the biggest hit of all and comes with a delightfully cheesy video shot in London. Check the lovely, disjointed 909 snare rolls that lead into the chorus. 




Gene Hunt – "Modevation Process" (1994) 

Chicago DJ Gene Hunt released this acid workout on Saskia Slegers' Djax-Up-Beats in 1994. Ever wondered what a 909 sounds like through a shitty guitar distortion pedal? Here's your answer. The stuttering closed hi-hat, and the enormous clap are enough to shred your speakers. 




Drexciya – "The Countdown Has Begun" (1994) 

Released on Detroit's Underground Resistance in 1994, this is dark, dystopian electro made with a TR-909. The pitched up kick drum

(the 909 kick has tune, decay, and attack knobs), gives it that abrupt punch. The double-timed snares on the rolls mean the track was probably written via MIDI rather than the 909's internal sequencer. The TR-909 was Roland's second MIDI-enabled drum machine, and you can trigger individual drum sounds from a sequencer or sync its patterns.  




Jeff Mills – "Untitled A2" (1998)

The Wizard of techno, Jeff Mill's career is an ode to the TR-909. The Roland drum machine drives almost every release on his Axis and Purpose Maker labels. He is known for dragging a TR-909 into the club to play it live over the top of his DJ sets. In 1998 he put out an EP of live recordings made at the Rex Club in Paris of him playing a TR-909. In this track, you hear him improvising on a 909 while he plays an Axis release underneath. Drool over those 909 toms.  




Peaches – "Fuck the Pain Away" (2000) 

This sex-positive anthem from Canadian artist Peaches remains her biggest track. The TR-909 is front and center throughout. Check the rolling 909 crashes that underpin the chorus. Fun fact: Peaches never recorded this track in a studio. The version we all know was recorded onto a cassette by the sound engineer at one of her live gigs. He gave it to her after the performance, and she put it on her second album, hence the hiss and grit of its sound. 




Bryan Zentz – "D-Clash" (2003) 

Another piece of classic techno made on TR-909, Bryan Zentz's "D-Clash," came out on Carl Cox's Intech records and was a huge club hit. If you can make them out underneath the wall of bright metallic rides, you can hear the TR-909's shuffle feature on the hi-hats – it's one of the most used and loved features on the 909. 




Shit Robot – "Simple Things (Work It Out)" (2009) 

This acidic, vocal house cut from the Irish producer Shit Robot was released originally on James Murphy's DFA Records before coming out on Shit Robot's first album, From the Cradle to the Rave. Check the cheeky 909 woodblock that cuts in and out of the track, evoking the Chicago house sound of the '80s. The rest of the drums are pure TR-909, too, with a slow flange added to the hi-hats to give them a soaring metallic effect. 




Skatebård – “AGFACHROME RSXII” (2016)

This lovely piece of deep house reminds us that the TR-909 sound is utterly timeless. Norwegian producer Bård Aasen Lødemel is behind the Digitalo Enterprises inprint, but he put this out on Otto Kraanen’s label Bordello A Parigi. Its simple hook and straightforward TR-909 drifts woozily on for almost eight minutes and never gets tired.




Peggy Gou – "I Go" (2021)

Proof that the 909 sounds as good today as it did 40 years ago, Peggy Gou's latest release is a straightforward pop-house banger driven by her soft, melodic vocals and a classic TR-909 pattern. I love those bright, hissy crashes that mark the track's transitions and the sharp, snappy claps near the start. It sounds like Gou used a TR-909 clone (like the TR-09) because of the pitched-up woodblock  – something the TR-09 can do, but the original can't. Whatever – it sounds great.

History of the Roland 909 in 10 Tracks

Upon returning from Tulum this week, the Gray Area office was buzzing with new music recommendations. Among them was Argy's "Tataki," a chunky techno anthem that ignited the dancefloor during his set at the Afterlife showcase. The UK-based artist's set was a highlight of the lauded imprint's showcase in the jungle. He played alongside the label's head honchos Tale of Us, Mind Against, Stephan Bodzin, and Recondite.

The track's chugging low-end thump, and a meditative chant are entrancing. And as "Tataki" opens up, it expands into a psychedelic patchwork of sweltering synth swells and hip-shaking vocal edits. 

Greek-born Argy has spent the last decade releasing genre-spanning music on labels like Cocoon, Cuttin' Headz, Crosstown Rebels, Play It Say It, and Archie Hamilton's Moscow Records. The dynamic producer is also a masterful selector. He was a resident at Berlin's Panorama Bar at the tender age of 20 and has since rocked the decks at countless clubs, including residencies in Ibiza at Amnesia, Space, and Pacha. The consummate crate digger is consistently ahead of the curve and revealed the talents of artists like the Martinez Brothers and Solomun in the early '00s, years before they dominated the dancefloor.

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Track of The Week: Argy Unleashes 'Tataki' at Afterlife Tulum

Legendary artist Roger Sanchez and young legend Oliver Heldens give an education in proper DJing amidst a gorgeous London sunset with this mix for Ministry Of Sound. The undeniable chemistry of two artists at the top of their game makes for an unforgettable set that the Gray Area team has had on repeat since we stumbled on it in our YouTube feed.

There's some magic happening behind the decks on this one. They aren't just playing track to track. They're telling a story. And watching these two communicate is just as fun as listening to the mix.

Sanchez is one of dance music's most revered DJs and producers. The Grammy Award winner discovered DJing in the '80s as a young breakdancer and graffiti artist. From his earliest days selling mixtapes on the streets of New York to his multiple residencies in Ibiza, Sanchez has exhibited unmatched creativity and innate musical ability. In his decade-spanning career, he's released countless dancefloor-filling hits and remixes for artists ranging from Michael Jackso to No Doubt.

Follow Roger Sanchez on Instagram | Facebook | Soundcloud | Spotify

While Oliver Heldens career doesn't go as far back as Sanchez's, he's cemented his legendary status through a relentless drive to reshape the face of dance music. The Dutch DJ was a pioneer of future house, and helped make it a global phenomenon. His Hi-Lo alias has allowed him to expand his musical footprint beyond mainstage EDM. He's become well respected in underground circles and worked alongside Nina Kraviz, Will Clarke, Sian, and Alok. He is among the top 500 most streamed artists on Spotify.

Follow Oliver Heldens on Instagram | Facebook | Soundcloud | Spotify

Set of the Week: Roger Sanchez and Oliver Heldens Go b2b for Ministry of Sound

This week in House Music History, a look back and celebration of pioneering artist Frankie Knuckles. Known as the Godfather of House Music, he paved the way for dance music culture. He would have been 67 this week.

The Bronx-born artist studied textile design at the Fashion Institute of Technology in New York. In 1971 began working as a DJ playing soul, disco, and R&B. He was a close friend of Larry Levan, resident at the legendary Paradise Garage. Knuckles soon became a regular at New York's top nightclubs such as Better Days. In 1977 he moved to Chicago when his friend Robert Williams opened the Warehouse.

The Warehouse was a nightlife staple among Chicago’s Gay, Black, and Brown communities. Dancers were free to express themselves with no worry. With Knuckles at the helm as a resident, DJs developed their own style and experimented with house music as it began to emerge from the Chicago underground. 



He continued DJing there until 1982, when he started his club, The Power Plant. When the business became challenging to manage and failed, he returned to his musical roots in New York. He picked up residencies at The World and The Choice. When Junior Vasquez took over Sunday mornings at The Sound Factory, he recommended Knuckles take over Saturday nights at the infamous Hell’s Kitchen hotspot.

He immersed himself in producing, remixing, and recording and created some of the most iconic house tracks of all time. His earliest remixes include First Choice's "Let No Man Put Asunder" and Jago's "I'm Going To Go.” As house music spread, producer Chip E. took Knuckles under his supervision and helped produce his first recording, "You Can't Hide from Yourself.”  He produced countless releases such as "Baby Wants to Ride" and later, "Tears (feat. Robert Owens)" with Satoshi Tomiie. 

In 1991, Frankie Knuckles released his debut album Beyond the Mix on Virgin Records America. The album contained classic cuts such as “The Whistle Song," "Rain Falls," featuring vocals from Lisa Michaelis, and “Godfather.”

Knuckles was in a period of creative abundance. Some of his biggest remixes came out, including his rework of the Electribe 101 anthem "Talking With Myself" and "Where Love Lives" by Alison Limerick. In 1997, Knuckles won the GRAMMY Award for Remixer of the Year, Non-Classical. 

Knuckles remained part of the underground scene for years to come. He was inducted into the Dance Music Hall of Fame in 2005. 

He passed on March 31, 2014, leaving an indelible legacy. Defected Records released a compilation, House Masters Frankie Knuckles, a year later. Knuckles selected the tracklist before he passed away.  In celebration of this titan of dance music, press play on any of his tracks to remember the beautiful life of the Godfather of House Music.

This Week in House Music History: Frankie Knuckles

This week, the Mixmag Lab starts the New Year off with a trip to Goa, India. From atop the Salud, Ozran Beach Indian DJ Discokid leads the Mixmag staff on a journey from breezy laidback funk to glittery disco and sultry house music.

One of India's fast-rising stars, Discokid—aka Fatema Hakim—has cemented herself as one of the country's most dynamic artists. The musician, yogi, and budding entrepreneur is a resident DJ at boutique pop-up Paradise Disco and the creative mind behind Goa's Disco Diwali.

READ THIS NEXT: Track of The Week: Kevin Saunderson Remixes Andrea Oliva's "Transit"

Throughout her seven-year career, she's shared the stage with Lee Foss, Pig & Dan, Yolanda Be Cool, and Boris Brejcha. Setting the tone with her impeccable track selection and razor-sharp mixing. Her ability to brilliantly blend the classic sound of 70s and 80s dance with the low-end thump of the modern dancefloor is leading her into a monumental 2022. She will expand her Paradise Disco brand across India. And begin to make waves in the international scene.

Follow Discokid on Instagram | Facebook | Soundcloud

Mix of the Week: Indian DJ Discokid in the Mixmag Lab Goa

In techno, it doesn’t get more legendary than Kevin Saunderson. One of the Bellville Three (with Juan Atkins and Derek May), he’s credited as one of the founders of techno. His work with vocalist Paris as Inner City produced two of dance music's most classic cuts, "Big Fun" and "Good Life." And the bass line for his 1988 track "Just Want Another Chance" was the first known use of the Reese bass and was hugely influential in the Drum and Bass scene.

Listen on Apple Music

On January 7th, his remix of Swiss-born Andrea Oliva’s “Transit” dropped on Oliva’s freshly minted All I Need imprint.

Saunderson leans heavily on the staccato strings from the original, making them the centerpiece of the remix. The spicy rhythmic play is exposed when it breaks down, accenting the wavering synths and a transcendent layer of strings. While Oliva’s original pops and bounces, Saunderson has crafted a remix that shakes and slides. The breathtaking rework is at once cinematic and club-ready.

Follow Kevin Saunderson on Instagram | Soundcloud | Spotify

Oliva is an iconic act in his own right. He taught himself to DJ at 13 and quickly rose to prominence in Switzerland. Since he was first invited to DJ at Space, Ibiza in 2004, he’s been a fixture of the White Isle’s scene. The longtime resident of ANTS at Ushuaia recorded his Essential Mix live from the legendary party in 2016. However, his impact as a DJ and producer extends miles beyond Ibiza. He’s genuinely a globally lauded talent.

Oliva’s label All I Need (a sublabel of Armada) is an extension of the pivotal role music plays in his life. Part record label, events series, and fashion brand Oliva is cultivating something that will carry his legacy for years to come.

Andrea Oliva will drop one of his iconic sets for OCHO 3 on Diplo's Revolution this January 22, 2022.

Track of The Week: Kevin Saunderson Remixes Andrea Oliva's "Transit"

Techno has many beginnings, but let's start with the most obvious one: Kraftwerk. The German synth-pop inventors' 70s and 80s albums had an immeasurable impact, but we can certainly point to their lineage in Detroit. Techno's inventors all worshiped Kraftwerk, to the point that when the group played the Motor City in 1998, one producer thanked them for his career.

"I've always called my music techno, from day one," Juan Atkins once said. "Even with Cybotron, we called that techno." And if any one person invented techno, it's Atkins, whose first project, Cybotron, a duo with Rik Davies, was classed as electro in the early eighties. But that would change in 1988, with the release of Techno! The New Dance Sound of Detroit, featuring Model 500's "Techno Music"—another Atkins alias. 

"The working title was The House Sound of Detroit," Atkins said in 2012. "I submitted my track—it was one of the last tracks submitted—called 'Techno Music.' Most of the artists on the album [said], 'We learned our craft from Juan Atkins.' Well, how can we call this house music? So, they changed the title."

This music was defiantly futuristic. "The future is really the most open-ended subject you can have," Atkins said in 1997. "It can be whatever you want it to be. You're not confined to any kind of parameter." 

But techno was, and is, also in constant conversation with its antecedents. The electric jazz and fusion of Miles Davis and Herbie Hancock are key touchstones. Detroit's Underground Resistance titled a key 1992 track "Jupiter Jazz." And Carl Craig (also from Detroit—sense a pattern?) created the Innerzone Orchestra's Programmed (1999), an album steeped in Hancock's pre-Head Hunters work on Sextant.

   

Once techno left Detroit, it spread fast. In 1989, New Yorker Frankie Bones' track "Call It Techno" caught the spirit: "Computer noise and pounding bass/Hits you in the face/Like a hammer." But the New York techno records that turned heads belonged to Queens-bred Joey Beltram. 

His Volume 1 EP, in 1990, featured the landmark "Energy Flash." Even more explosive was 1991’s “Mentasm,” by Second Phase, a.k.a. Beltram and Mundo Muzique (born Mike Mundo). For a while, nearly everyone who made techno worked audible variations on the "Hoover" noise at "Mentasm's" center. "People were making different sounds by fucking with the waveform and the attacks on it," says Adam X. 

Techno's real home overseas was Berlin. Tresor, the club and label, booked and released numerous Motor City producers, from Atkins to Blake Baxter to Jeff Mills. "You felt this alliance," Tresor founder Dimitri Hegemann said in 2002. "Tresor was the first to invite Detroit DJs to Berlin and bring techno to Europe. They helped develop the music a lot. They really influenced it. but we also assisted them, we gave them a space."

Berlin became a mecca for techno—and in the early 2000s, it became its de facto home, particularly as numerous American DJs and producers moved there in the wake of the era's rave crackdown. In 2002, one DJ told The Wire, "There's too many DJs in Berlin." 

The sound du jour in Berlin during the mid-2000s was minimal techno—pioneered by Robert Hood and Daniel Bell in the 90s, both from, you guessed it, Detroit. Hood is a former member of Underground Resistance. But Berlin plays a decisive role there, too, thanks to Basic Channel's run of mysterious, hazy, and entropic 12-inches from the 90s, among others. But the 2000s' minimalism, while often artful and cunning—see the Perlon catalog—was also widely criticized for being too intellectual and arty, missing the music's sweaty essence.     

In some ways, it resembled a thumping variation on IDM—or "intelligent dance music," the unfortunately named listening-first style. The term comes from the two Artificial Intelligence compilations that Warp Records issued in the mid-90s. Their lineups tell the tale: Aphex Twin, Autechre, Dr. Alex Paterson (the Orb's leader), Speedy J. The music wasn't intended for dancing, per se. 

"I prefer it when people stand around," Richard James, a.k.a. Aphex Twin, told Spin in the mid-90s. "It's amusing hearing what tracks people like shagging to, but I don't care what people think."     

Thankfully, most techno artists do want people to move. In the 2010s, the big move has been to emphasize the industrial/EBM (electronic body music, a la Front 242) side of techno, which is sizable—Jeff Mills played in the industrial group Final Cut before moving into techno full time. DJs like Helena Hauff and Nene H have been playing some of the most blistering sets around by commingling two kinds of hard, dark music together. Far from simple or limited, techno has proven a widely varied and variable template.

From Detroit to Berlin: How Techno Took Over the World

Sometimes a name change is simply an artist growing out of an identity that no longer resonates with them. Often it is accompanied by a complete musical overhaul and a venture into a new genre. It's always a way to try something new.

We're once again revealing the (somewhat) little-known stories of your favorite DJs and the identities they left behind before you knew them. Some DJs listed here didn't stray too far from what they knew, while others embraced a radically new style. New musical direction or not, prepare to have your mind blown with some of these artists' past lives.




Charlotte de Witte

When Charlotte de Witte first came onto the scene, she was known as Raving George. She adopted that name because she wanted to dispel preconceived notions about female DJs and for her music and skills to speak for themselves. She truly embraced techno's aggressive and despondent side and established herself as a force with which to be reckoned. As Raving George, she played festivals like Tomorrowland, I Love Techno, Sunset Festival, Pukkelpop, Summer Festival, and Dour Festival. In 2015, she decided to retire the Raving George moniker and switch to her birth name as she began to experiment with a more barebones and emotive type of techno.

Eric Prydz

You know him now as Eric Prydz, with the famous Pryda snare, but did you know he was a founding member of the first unofficial lineup of Swedish House Mafia? Informally, Prydz, Axwell, Steve Angello, and Sebastian Ingrosso found themselves DJing together a lot at The Rainbow Room in Stockholm in the 2000s. The quartet was dubbed Swedish House Mafia. But Prydz, a self-proclaimed "control-freak," chose to venture out on his own and has since adopted his own shortlist of monikers, Pryda and Cirez D.






Noizu

A quick look at the writing credits for Noizu's hit single "Summer 91" reveals the feel-good house producer's real name and a bit about his past. Previously known by his given name, Jacob Plant, the British dance producer and DJ got his big break in 2013 with releases on Ministry of Sound, Defected sublabel Speakerbox, Calvin Harris' Fly Records, and Steve Aoki's Dim Mak Records. He had several high-profile remixes for Rihanna, Calvin Harris, Benny Benassi, Iggy Azaelia, and Sub Focus. He even co-wrote a song with Rhianna for the soundtrack to the 2015 animated movie Home. Jacob's music earned him airtime on BBC1 Radio and billing at festivals like Lollapalooza and the Reading and Leeds Festivals.




Jeff Mills

Since the '90s, Jeff Mills' name has been synonymous with Detroit techno as he was part of the second wave of DJs to put the genre on the map. He felt he had to be more progressive and experimental than his contemporaries. Mills began DJing in the '80s under the name, The Wizard and was known for beat juggling, scratching, and turntablist tricks. 

He co-founded the techno collective Underground Resistance in the late '80s with 'Mad' Mike Banks, of Parliament fame, and minimal techno pioneer Robert Hood. Together, they created music geared towards abstract militancy and raising awareness about political, social, and economic issues. Mills ended up leaving the group to go solo in the early '90s, thus using his given name to fully take the techno world by storm. 




DJ EZ


House and techno DJ Elvin Zedo is also known as UK garage turntablist DJ EZ. He first used Elvin Zedo (and DJ Easy O) back in 2004. The names allowed him to play house and techno without interfering with his progress in the garage and bass scenes. Throughout his DJ career, he's hosted various radio shows featuring UK garage anthems, classics, and bass, with his current show being the weekly NUVOLVE Radio. He recently revived the Zedo moniker as a way to return to his roots but plans to continue DJing under the name EX as well. He reintroduced this alias in the most DJ EZ way possible—by playing a 10-hour Boiler Room set.





Richie Hawtin

Richie Hawtin debuted in the '90s as part of the second wave of DJs bringing that Detroit techno sound. But did you know that in 1993, Hawtin hit the music scene hard with acid techno under his alias Plastikman? Plastikman's most famous release is "Spastik," a dance music classic. This track pushed the musical envelope in skill and production, experimenting with minimal techno. Hawtin uses both the Plastikman moniker and the Hawtin name interchangeably, so it's hard to say which is the former name and which is the current one, so keep your eyes (and ears) out for both. 






Boys Noize

Alexander Ridha, aka Boys Noize, is a Berlin-based producer, songwriter, and DJ known for his genre-defying techno punk beats. He's gained popularity by collaborating with Skrillex, Jean-Michel Jarre, Tiga, and Benga, remixing artists like Snoop Dogg, Daft Punk, Justice, and Depeche Mode and creating his label, Boysnoize Records, in 2005. 

Before becoming Boys Noize, though, he was part of the duo Kid Alex, alongside Andreas Meid. Together, they supported DJs like Felix da Housecat and DJ Hell and had their first significant success in 2003 with the track Young Love (Topless), later remixed and used in a Coca-Cola commercial. The duo continued performing together until 2007 when they broke up due to Ridha wanting to go solo, and thus Boys Noize was born.

More DJs With Surprising Pasts

Each passing year represents a shift in the music industry. The evolution of sound, how listeners consume music, rehashing old tropes. In 2021 we learned that there could be new ways to consume music even in a crowded streaming market. Twitch and Audius blossomed as two new platforms for dance music fans to get that house music fix. We also witnessed 90s nostalgia in full swing, whether we liked it or not.

2021 had a bit of everything. As we enter 2022, we can reflect on one thing 2021 has taught us: nothing is promised. The pandemic put a halt to live music and concert tours, and artists had to get creative in how they continued to reach their fans and put out new music. 

The slowdown of the music business in 2021 has forever changed the shape of the industry. Yet it produced some groundbreaking trends that we hope are here to stay. 




Social Media Livestreams


Livestreams became popular, with venues in flux in 2020 and 2021. Social media platforms with video streaming and sharing capabilities such as Twitch and Facebook Live have provided musicians and their fans the opportunity to connect through streams. They gave us a forum to enjoy our favorite artists and explore new tunes in real-time while interacting with fellow house heads.   

Whether the streaming media included short, raw performances hinting at future music or full-fledged online music festival. These performances allowed giants like Paxhau, Dirtybird, and Desert Hearts to move forward with doing what they do best, entertaining the masses.   

And for emerging artists, they provided limitless opportunities to advance their careers. By the time live shows returned, artists like Mary Droppinz and Nala had established new and growing fan bases that helped make them enticing to festival promoters. While artists like LP Giobbi and Sofi Tukker, while already fan favorites, streamed their way into superstar status because of their daily presence on Twitch.





Festivals such as Electric Daisy Carnival, Awakenings, Ultra, and Tomorrowland continue to maintain live streams, making festivals more attainable to the masses—further propelling house music artists to household names.  




Music Video Comeback

The days of MTV being an actual music network that played actual music video are long gone. Music videos used to be a must for any hit song. However, social media sites and YouTube have reintroduced them as a necessary promotional tool. And yet another way for artists to creatively express their vision.   

Music videos add a sheen to a song. They eliminate the uncertainty of understanding what an artist is trying to covey. They elevate the artist's vision and often add an additional layer of nuance to the message. There is power in creating curated and compelling visual narratives for the music. Artists like Will Clarke have mastered the medium, creating solid, visually stunning music videos.

Cross-Genre Collaboration

Collaborations allow artists to tiptoe the line between genres and maybe do something that lies slightly outside of their comfort zone. While they aren't new to dance music, cross-genre collaborations exploded in 2021 due to the pandemic. Artists were in discovery mode. They had time to experiment with music and the ability to collaborate across vast distances via Zoom, Dropbox, Splice, and any number of collaborative platforms.

The door was wide open in 2021 for performers to pair up with their favorite artists of any genre. And the collaborations were nothing short of magical. With critically acclaimed partnerships in-house music with pop, rock, and hip-hop artists alike, we've seen dance music explode into the mainstream in unprecedented ways. The underground is becoming truly massive.

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DJs Ditching the Decks

When a DJ drops the decks and plays live, it's a thrilling way to experience their work in a new way. Watching them actively create or remix their music is a kind of magic generally reserved for production studios. 





Over the past couple of years, we have started seeing a spike in Live Sets. Groups like Bob Moses, Wajatta, Rufus Du Sol, and WhoMadeWho are no strangers to the festival circuit. But seeing artists like this on more lineups only proves the value of "playing live." 

The immense creativity and emotional weight that artists like Georgia Anjuli, Hannes Bieger, KiNK, and Motez, have created in performing their music live are indisputable—and seeing someone working multiple machines to create soundscapes before our eyes create an immensely meaningful dance floor experience that is difficult to match. 

Here are some other producers taking the house music to new heights as live acts: Jacques Green, Rodriguez Jr, Rybo, and Jamie Jones with Kate Simko as Opus 1.




Rise of the Indie Artists 


The internet and its many devices have allowed independent artists to find inventive ways to get in front of broader audiences in 2021. With touring out of the question for almost half the year, younger artists stepped out front as they took control of platforms like Tik Tok, Twitch, and Instagram and created new opportunities for growth outside of live shows.

They've allowed people the advantage of keeping their music constantly at their fingertips with personally curated playlists, creative content, unique livestreams, and insider videos. They were masters at manipulating the algorithms. As a result, the ever-growing ability to find underground artists across a changing digital landscape is more powerful than ever.

2021 was a treasure chest of indie artists starting to shine. Niles Shepard, Sammy Legs, Arnold & Lane, Nick Siarom, and Lubelski harnessed their powers and are fast becoming names to watch. The future continues to be bright for the underground.

5 Trends in House Music we Loved in 2021

2021 was yet another tumultuous year. A year that constantly highlighted the fragility of the everyday. As lock-downs eased, a late-stage festival season emerged like nothing we've seen before. And as new variants surged, our plans with family and friends were once again thrown into the blender. We learned to understand that the only constant is change. 

We experienced euphoric dance floor reunions and the hope of a reunited house and techno community. The clubs, festivals, and playlists exploded new talent, the dancefloor bustled with new fans, and veterans observed a rediscovered spirit that reflects the storied days of the 90s.


And as artists shared their quarantine anthems, we learned that dance music could be many things. It's always fun, always danceable, but it can also be deeply personal, emotionally transcendent, and a revelation and reflection of our deepest desires. 


It was an unprecedented year of growth for house and techno worldwide. And the Gray Area team took the time to dig through the crates and pull out the songs that exemplified the year best. So here are our best house and techno tracks of 2021.

WEISS, Sharlene Hector - Lift Me Up

Now that house music has wriggled its way into the mainstream, we’ve seen a surplus of house bangers filling up the charts. An old-school house-styled cut like "Lift Me Up" stands out among the rest not only for its nostalgic sounds and production but because  Sharlene’s fervent vocals captivate and inspire. Her resounding, soulful vocals combined with Weiss’ masterful house production form one of this year’s most compelling piano house tracks—one that could easily be heard in a set by Marshall Jefferson or Paul Johnson back in the day. -Melissa Yuriar

KREAM, Dan Caplen - Roads (feat. Dan Caplen)[VIP Remix]

Norwegian electronic dance music duo KREAM has a penchant for producing deep house cuts with emphatically heartfelt lyrics. "Roads," released earlier this year, is a saccharine dance track driven by poignant vocals from classically trained musician Dan Caplen. He cites Bill Withers and John Legend as vocal inspirations. Though Caplen’s heart-rending vocals remain at the forefront of the reworked deep-house tune, they appear to have a more pronounced sultry finish. The VIP remix is a bouncy, enthralling remix of the original that feels timeless.  -Melissa Yuriar


Gorgon City, DRAMA - You've Done Enough

Gorgon City’s distinct bass-driven house music is immediately recognizable, having amassed over 1.5 billion streams to date on all their records combined. Their latest album Olympia, released in June, features incredible collaborations with Sofi Tukker, Hayley May, and Jem Cooke. The self-deprecating love ballad “You’ve Done Enough,” features vocals from Rosa of the Chicago-based duo DRAMA. Powered by an infectious, oscillating bassline and sweetly sung lyrics that form a compelling story many resonate with. 

“It’s been said that if you become the best version of yourself that it’s easier to find someone to love you for who you truly are, as opposed to someone who loves you for who they think you are or will become,” said Rosa about the song’s meaning to Genius. “Know that you deserve nice things, like people loving you.”  -Melisa Yuriar

Shaolin Cowboy, manon - Réveiller (feat. manon)

Rising London producer Shaolin Cowboy is one to watch. Last year he released several singles on Bandcamp and his acclaimed debut EP, Catch Feels Get High. While his production features plenty of lofi-grooves, textures, and breaks, he’s demonstrated his fearlessness in experimenting with various tempos and elements from multiple genres. His latest EP, 21 Hours, amalgamates several elements plucked from sound system genres–UK garage, breakbeat, acid, and house–and contains the stunning breakout single, "Réveiller." The tune is an upbeat lofi-house club track that features alluring vocals by upcoming French songstress, manon. Shaolin Cowboy’s production on the tune is one of the most interesting we’ve heard this year. Don’t sleep on this unbelievably underrated house tune.  -Melisa Yuriar

Sofia Kourtesis - Nicolas

Peruvian tastemaker-producer Sofia Kourtesis' brand of house music is distinct. Much of it centers around distorted or looped vocals and splintered film samples that she expertly weaves into emotive and buoyant beats. "Nicolas," off her latest EP, Fresia Magdalena delivers house-realness with its driving bassline, lofi textures, and shimmery fills—the enchanting song is a potent cut with infectious energy. Sofia’s adeptness in sound design and mixing is nothing short of sensational. - Melisa Yuriar




Dom Dolla, Mansionair - Strangers

Australian house producer Dom Dolla collaborated with electronic-indie artists Mansionair on one of the most stirring house tracks of the year. Mansionair’s Jack Froggatt lent his impassioned vocals while Dom showed off his production prowess with driving basslines and atmospheric melodies that ebb and flow throughout. 

The song’s narrative deals with themes of longing and impulsivity with sweeping strings and a heart-rending delivery from Froggatt. Catch this and many more house hitters from Dom this year as he tours across the United States and the United Kingdom, Netherlands, New Zealand, and Australia next year. Mansionair recently announced the forthcoming release of their sophomore album; they'll be touring the US early next year.   -Melisa Yuriar


TSHA - Power

Awarded BBC Radio 1’s “Future Artist” title, UK-producer TSHA is having an incredible year. Her latest EP OnlyL, which contains the stand-out single “Power,” received broad support from Annie Mac, Zane Lowe, Bonobo, and publications like Fader, Resident Advisor, Mixmag, XLR8R, This Song is Sick, and Dancing Astronaut. 

"Power," released on Ninja Tune, is one of her best releases this year. The song features oscillating instrumentals, uplifting vocal samples, and a delicate piano loop that exudes warm, jubilant energy. Her hip-shaking club bangers and production style are inimitable. We can't wait to hear what this rising talent has in store for us next year.  -Melisa Yuriar






J Worra feat. Little Boots - Wasteland 

This tune is a straight banger with signature bass heavy-hitting beats by J. Worra. The vocals by Little Boots add the right element to the track to make this tune straight up sassy and sexy.  -Alicia Baron

Alinka- Glimmer 

This full-throttle-house track has no shortage of texture and soundscapes that keep you energized. With a fun nod to 90's Eurodance in the hook. The pumping bass mixed with euphoric glimmering synth packs so much multidimensional punch.  -Alicia Baron

Nala- Psychic Attack

This track has taken dancefloors by storm. An ecstatic blend of indie electro and house, wonky beats, and a fat groovy bassline. Nala's voice adds an element of ethereal with her signature lyrics as she dives into the topic of mass media manipulation of the mind.   -Alicia Baron



Disclosure- Observer Effect 

Disclosure mixes their signature house shuffle adds heavier synths than we're used to from the boys. It's gritty analog sounds are fundamentaly face-melting.  -Alicia Baron

Joshwa, Lee Foss - My Humps

"My Humps" combines a blissfully nostalgic throwback with the thumping speaker-freaker sound. It easily viral even before its release combining rampant energy and a new take on Fergie's 2005 smash hit of the same name.   -Alicia Baron

Maceo Plex, Liberty City - You Know What I Got

Maceo Plex's swirling melodies and Liberty City’s infectious vocal are a match made in heaven. This track is a fresh take on the 1995 classic featuring soaring leads, fluctuating synths, and warped vocals, which is nothing short of epic.   -Alicia Baron

Kevin Knapp - Dancing with the Devil 

This track kicks off in Kevin Knapp's usual fashion - with big fat beats, heavy drums, and powerful synths. This track has a hard edge with echoing vocal samples to deliver a fast-paced drive throughout.   -Alicia Baron

Sacha Robotti - Fuck the Pain Away

A remake of Peaches’ iconic track Robotti delivers punching bass throughout. The infectious percussion arrangement offers a fierce dance floor groove under the infamous vocals redone by BabyGirl. This is a true Robotti classic.     -Alicia Baron

Jayda G - All I Need 

GRAMMY-nominated Jayda G has beautifully emerged from the underground onto the stages of Boiler Room, Dekmantel Festival, and Aluna’s upcoming all-Black Noir Fever New Orleans. Her track “All I Need” premiered on the coveted DJ-Kicks series and garnered rave reviews by the likes of Rolling Stone, NYLON, as well as being placed on Pitchfork’s electronic and regular top songs of 2021. Jayda G brings back vintage house feels in this ultra groovy tune, even including clips of an old rave in the accompanying music video.  -Arielle Lana LeJarde


TOKiMONSTA - Say Yes (feat. VanJess)

Los Angeles producer, DJ, and record label owner TOKiMONSTA first received a GRAMMY nod in 2019 after her personal Lune Rouge album. "Say Yes” is a rework of Floetry’s 2002 track by the same name. R&B duo VanJess and TOKiMONSTA reimagined it into a sexy, soulful house tune that you can’t help but groove to. When venues started opening up again, it was rare to find a house set this wasn’t rinsed in. -Arielle Lana LeJarde

Gemi - Talk

Gemi is one of London’s hidden gems who describe their music as “nukg shithousery.” And precisely as advertised, “Talk” is a UK garage track that showcases playful percussion, dreamy vocals, and shimmering synths that make you feel like you’re floating. 
-Arielle Lana LeJarde

Rome In Silver - Fill Up My Soul 

Multi-faced Rome In Silver never sticks to one genre, and that’s why he can be found on esteemed labels ranging from Monstercat to bitbird to Quality Goods Records, as well as supporting a wide range of names from CloZee to Dabin. In a turn of events, Zeds Dead's label Deadbeats released Rome In Silver’s latest track of the year, “Fill Up My Soul.” The song is a funky disco tune that seamlessly blends in bass elements and stays true to the label's sound. The soulful adlibs and vocal chops throughout the track truly take you back in time.  -Arielle Lana LeJarde


Make Me Feel - John Summit

John Summit announced himself on a global scale with 2020’s song of the year, "Deep End." Although many artists would be satisfied with that accomplishment, John did not take a day off. "Make Me Feel" is just one of many hit songs John Summit dropped in 2021 to continue his ascension. The track majors in John Summit’s signature low-end bassline, with a satisfying female vocal loop to keep feet moving on the dancefloor. It maintains hype without sounding too radio-friendly, a lane that John seems to manage regularly. -Jonah Flint

Do It - Sohmi

A classically trained pianist, and vocalist, Sohmi refuses to be defined. One of the breakout stars of 2021, the Korean-American has turned heads with her unique blend of dark minimal house, techno, left field, breaks, and funk. "Do It" encapsulates her work, a stunning release on Yotto’s label Odd One Out. Utilizing her sultry vocals, the track takes listeners on a journey through her unique take on techno with a monster synth line and punchy bass. -Jonah Flint

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Alter Ego - Duke Dumont

Duke Dumont is no stranger to big hits. He has been a headliner for years now, although the last few have regularly seen him raise the bar. Returning to his club sound, "Alter Ego" is infectious. Calling upon the budding star Channel Tres for his iconic vocals, the track is a club-ready banger that can put a groove in your step walking down the street or at 4 am in a dark room during a night out on the town. -Jonah Flint


Ahora Todo Va - Josh Butler & Dennis Cruz

When two veterans get together, you can expect brilliant results. "Ahora Todo Va" is a track that Josh Butler was sitting on for months until he enlisted the assistance of Dennis Cruz. Together, the two crafted a Latin-influenced tech house track that is relentless. Spanish vocals, lively drum patterns, and a lengthy build-up give this track the energy to fit any size of the room. Coupled with a monster remix by Gorgon City, ‘Ahora Todo Va’ is one of the year’s best tracks.  - Jonah Flint

The Best House and Techno Tracks of 2021

We caught up with LP Giobbi at elrow’s Rowsattacks! show in Brooklyn earlier this month. And as always, it was fantastic to speak to the queen of piano house. Her set was a blazing ride through classic house beats, Grateful Dead remixes, and of course, her vivacious spirit and expert improv work on the keys. 

After her set, we sat down for a bit of fun and asked her some totally random questions. We covered everything from her connection to 70s music to her favorite track of 2021. Check the video out below and read on to see how it all went down.


What was your first thought this morning?


"Oh, fuck." I played in Vail last night. Three days ago, I was in London. Two days ago, I was in LA. Last night I was in Vail and then I had to get up at five in the morning to drive down to Denver to get here. So, my first thought was ‘oh fuck!’ It's all worth it. Tonight was amazing.


Explain Elrow In three words to me like I've never been here.


Fucking next level hyphenated amazing.


If you could pick any era in history to live in. When would you pick?


I mean, this is a complicated one. I would probably pick the '70s because, you know, The Dead, Janice Joplin. But also, the world wasn't as progressive then. So, I feel kind of bad saying that. So, it's complicated.


Because, in terms of music, it was probably one of the best decades of music, let's just say you would mix the 70s with where we're going?


Yes, which is what I try to do in my sets.




If you weren't a musician, what would you be?


I'd be a midwife. I would deliver babies for women because I became a producer to empower other women to do this. And I think like helping a woman deliver a child is also an empowering experience. So I would probably do that.


My wife and I's midwife was absolutely amazing. 


And you'll never forget that, right? Like literally life-changing, like empowering women to like, empower her body to give birth is just, I honestly hope I do in this life.


Would you rather only be able to whisper or only be able to shout?


Definitely shout. That's the easiest question. 



I wrote this question for you. But I gave it to everybody else. And I knew what your answer was gonna be. What was harder? Learning to play a 20 page piano concerto or learning to do a mixdown?


That's a really good question. That's a, you did your research question. I honestly think pretty equal. I mean, it took me a few years to learn the Greek concerto from beginning to end. I would say like the same amount of time to really master production. Just, you know, consistent work. 

Same, same but different? 


Yeah, totally. But that taught me how to work, so for that, I'm grateful.


What sound or noise Do you love? 


Okay, well, I have a white noise [machine] to sleep. I need it to sleep and actually carry around a white noise machine with me, which takes up a lot of my suitcase. That's how much I love it.

Favorite Grateful Dead tune? 


Oh, "Franklin's Tower" I just did a remix of it. His lyrics are so weird. I did some research on them. And they're genius. The songwriter, John Barlow, wrote this crazy essay on it. It's just genius. 


I'm playing with The Dead actually in a few weeks. They do a festival in Tulum, and I'm doing their after-parties. My parents are coming. I've cried about it so many times.

808 or 909?


808. 


Favorite track of the year?


Bicep "Apricot." This whole album is cool. There's no vocals. It's just like weird electronic music and went to number one on the pop charts.



Intimate club or festival? 


Oh, that's easy, intimate club.

Intimate club or rave?


It depends on how long my set is.

Two hours 


Two hours for both? Then maybe rave.

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Dream collaboration?

I think I know the answer to but let me just think … Grateful Dead. 

Would you rather be forced to sing along or dance to every single song you hear?


Dance. I can't sing to save my life. 


One time I went on tour with a band and afterwards I was talking to the lead singer and I said 'I love that one song you do,' and I sang it to her. And she didn't know what song I was singing.


Would you rather swim in a pool full of Nutella or a pool full of maple syrup? 


Yes

New York or London?


I would say London because of the music scene.


Finish this sentence: I love house music because ...


it's body music.

On the Spot: LP Giobbi

Roland's TB-303 is one of electronic music's accidental heroes. Released in 1981, the small, silver box was designed to emulate a bass guitar and accompany live musicians playing in bars and restaurants. It was relatively expensive at $395 (about $1,200 in today's money) but highly portable – it came in a silver satchel with a strap to carry it around like a handbag, and it could run on batteries.

 Unfortunately for Roland, it sounded nothing like a real bass guitar, and the product flopped. They made about 10,000 before discontinuing it in 1984. Many ended up in second-hand music stores in the US and were picked up cheap by producers from the Chicago house scene. They used the bouncy sequencer, the raucous low-pass filter, and the screamy resonance knob to invent a new type of music: acid house. 

 

 

Sleezy D, I've Lost Control [1986]

Many say Phuture (Earl Smith Jr., DJ Pierre, and Herbert Jackson) invented acid house. Their EP "Acid Trax" (on Chicago's Trax Records, 1987) certainly gave the genre its name. However, Sleezy D's 1986 Trax release "I've Lost Control (Remix)" is an earlier example. If you want to go back even further, in 1982, Indian musician Charanjit Singh released the album "Synthesizing: Ten Ragas to a Disco Beat," which uses a TB-303 in the same squelchy style. 

 

 

Armando – Land of Confusion [1987]

The late 80s are filled with incredible Chicago acid tracks, most made with little more than a TR-707, a TB-303, and a mic. One classic is Armando's "Land of Confusion," released on Chris "Bam Bam" Westbrook's label in 1987. Funky, brittle, scrappy, it was made when Armando was just 17 years old. Fantastic acid house from a producer who died tragically young, at the age of 26. 



Mike Dunn – A Groove [1990] 

Hiding right at the end of Mike Dunn's first album, "Free Your Mind" (Desire Records, 1990), "A Groove" is a Latin-tinged banger with a TR-727 beat backed up by two TB-303s and Dunn's hip-house vocals. Mike Dunn released dozens of incredible house records over the following decades and is still DJing and releasing music.  

 

 

Tricky Disco ‎– Tricky Disco [1990]

Like so much Black American electronic music, acid house found more popularity in Europe than its birthplace. Acid exploded in the UK during the Second Summer of Love in 1988. Sheffield's Warp Records was an early champion, with releases from LFO and this one from Tricky Disco, which reached No.14 in the pop charts. Who were Tricky Disco? They're better known as the fascinating experimental art act Greater Than One. 

 

 

Plastikman – Plasticity [1993]

Richie Hawtin used a 303 all over his FUSE album "Dimension Intrusion" (Warp, 1993), but it was his first Plastikman release, "Sheet One" (NovaMute, 1993), that evolved acid into something deeper, damper, and darker – music that makes you feel like you're trapped at the bottom of a well. 

 

 

Hardfloor – Lost In The Silver Box [1993]

In Detroit, 303s had become a staple of the Underground Resistance techno sound. In Europe, 303s had been seized by hard trance acts. The first album by Dusseldorf's Hardfloor, "TB Resuscitation" (Harthouse, 1993), was named after the 303 and dedicated to its designer, Tadao Kikumoto. Its first track, "Lost In The Silver Box," is just layers of distorted 303 over a TR-909 and remains a nuclear bomb of a track. 

 

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Josh Wink – Higher State Of Consciousness [1995] 

By the mid-90s, big beat artists like the Chemical Brothers and Fatboy Slim blended sampled breakbeats with TB-303s. The huge breakdowns and snare rolls captured the maximal spirit of the times and found enormous popularity – none more so than Philadelphia DJ Josh Wink, with "Higher State of Consciousness" (Strictly Rhythm, 1995).

 

 

Syntheme – Blue [2007]

Tracks like "Higher States of Consciousness" and Daft Punk's "Da Funk" (Soma, 1995) put 303s into the mainstream, and as digital emulations got better, more producers got a chance to use the sound. By the early 2000s, the high-tempo, screeching 303 buildup began to sound cartoonish. But funky, downtempo acid was happening on labels like London's Breakin' Records, run by Ed DMX of DMX Krew, and Planet Mu, which put out a series of acid EPs by an artist known as Syntheme (now considered an alias for the producer Global Goon).

 

 

Tin Man – Nonneo (Donato Dozzy Remix) [2011]

Around the same time, California-born producer Johannes Auvinen started releasing deep, melancholic acid under the name Tin Man. Throughout the 2010s, he built a following for his slow, melodic acid tracks that channel Plastikman's bare 303 compositions. This track from 2011 was on the first release from Acid Test records and featured a beautifully stripped back remix from Donato Dozzy. 

 

 

Lauren Flax – It's Ours [2018]

Detroit native Lauren Flax is one-half of the Brooklyn band Creep. She's also put out a string of jackin' acid tracks on labels like Nervous Records, Magic City, and The Bunker. This one comes from "Dance Trax Vol. 16" on Unknown To The Unknown – a great label to check out for innovative jackin' house. 

 

 

 

Magic bonus track: Charlotte de Witt – Selected [2019]

The tracks above primarily focus on acid house and quirkier users of the TB-303, but the most celebrated purveyor of acid right now is probably Charlotte de Witt. The Belgian DJ and producer has put distorted 303s at the forefront of a sound that's made her one of the most celebrated techno DJs in the world. Here's a thumping piece of acid techno that came out on her label, KNTXT.

A History of the Roland 303 in 10 Tracks

Nigerian-born Nicole Moudaber is a household name in dance music and for good reason. The techno tour de force has a storied past, promoting dance parties in Beirut, Lebanon since the ‘90s, at a time when the conservative political landscape in the middle east was terribly unfavorable for her in so many ways.

Moudaber made her way to London, where she solidified her name as a DJ and producer, signing to Carl Cox’s Intec imprint in 2009. Now, she remains one of the most prominent figures in dance music. 

In 2013, she launched her own record label, MOOD Records. She’s been seen on major festival stages like Coachella, EDC, Tomorrowland, Glastonbury, and Movement. And she currently hosts a fan-favorite mix series, “In The MOOD,” that pairs with her event series of the same name.

On December 10, Nicole Moudaber released a two-track EP, What Was / What Is. Listen to the new tunes as you learn more about her collaborators, philanthropies, and love of New York City.

I read that you actually discovered house and techno on a trip to New York in the early ‘90s. How does it feel to be able to bring your vision back here, especially after everything that’s happened in the last—extremely difficult—two years?

It feels like a full circle. New York is where I fell in love with house music, where I discovered the artist in me on the dance floor. I remember following the iconic drag queens Guerlina and Kevin Aviance to name a few, to every single club and after hours, the vibe was high, people danced and felt the music, they LIVED it. 

Photo Credit: Off Brand Project for Avant Gardner NYC

InTheMood New York was created with this in my mind, bringing back the feeling I had on the dance floor, after all I was a professional clubber! I had voguers on the night, they really lifted the MOOD. The visual concept is all about the matriarchy which got wiped out 6000 years ago, it’s time to claim it back. I will elaborate more on the theme on future shows, we have plans to tour the show in 2022, watch this space.



What can people who’ve never been to one expect from the In The Mood series ?

This is not your typical club show! I’m bringing a whole new experience that is going to blow your mind. I’m portraying the female ancient goddess warrior meets sci-fi – visually and musically. 

For that show, you collaborated with some incredible people and companies like fashion designer Gia of Gelareh Designs and Volvox Labs NYC. As a pioneer in curating events, what makes you decide to want to partner with someone to help bring your vision to life?

I work with people who make me feel something. I adore Gia, her designs are off the charts! They are empowering, seductive, feminine and make you feel fierce. As for Volvox Labs, they are a leader in what they do and they have helped to bring my visions to life, it’s like they’re inside my head.

Photo Credit: Off Brand Project for Avant Gardner NYC

You were one of the first people to throw techno parties in Beirut. In your interview with Beatport, you said because of political reasons, you almost got thrown in jail for it. Do you find any differences when it comes to barriers to entries in dance music in various parts of the world?

Well, I did get thrown in jail for seven hours. I was lucky to have my sister on board, she’s a lawyer and she managed to get me out later on that day. The only difference in barriers worldwide is a creative one, whereas being in the middle east throwing parties where dance culture was non-existent is a whole different kettle of fish. Your life depends on the choices you make and being a woman in the clubbing scene back then was unheard of. 

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In this world, it’s so important to be unique. I would say take that leap, be brave, be yourself! Authenticity is key and people know when it comes from the heart and when you’re just following everyone else. Don’t be afraid to stand out. 

Photo Credit: Off Brand Project for Avant Gardner NYC

We also really appreciate the charitable work that you do outside of dance music. Like creating the ELEVEN campaign and your advocacy work with the Lower Eastside Girls Club. Is there anything else you’re working on that we should know about?

I’m actively involved with the Lower East Girls Club, in fact we just added more gear in the music school from Native Instruments.

Is there anything else you’d like to talk about that I haven’t asked about?

I have a new EP out on my label MOOD called What Was / What Is. This one is guaranteed to smash all the moments whether you’re transitioning into techno or during a peak set, it’s been creating a lot of noise lately, make sure to check it out.

Nicole Moudaber Gets In The Mood and Talks Techno, New Music, and Love for NYC

Regardless of the womp in their woofers, some festivals just hit different. It's tough to pin down exactly why, and suffice it to say a great lineup helps, but there's gotta be more to it for the truly legendary ones, right? 

Well, sure, take SXM Festival, for instance. The event goes way over the top with music lineups each year and still raises the bar for the house and techno industry. The festival also shows up in significant ways for its fans and the local community. 

We did some sleuthing to find out more about how SXM Festival is furthering the chasm between themselves and their peers. We came back with six colossal ways SXM Festival is raising the bar.

Here's what we found!  



Heavyweights of House and Techno


If we're honest, it's safe to admit the main attraction for us at music festivals is the music. Those who hold true to the music that brought them together always make a big splash too. Case in point: SXM Festival. Past acts at the island-wide suaré include Audiofly, Damian Lazarus, BLOND:ISH, Guy Gerber, Maceo Plex, Lee Burridge, Goldcap, Jamie Jones, Be Svendsen, Sabo, Bedouin, and more. With a record stacked with titans like these, it's really no wonder SXM Festival is such a magnet for house and techno fans who love to party.  



Funded Relief Efforts After Hurricane Irma


As if combining a glamorous destination event with a world-class music festival isn't challenging enough, SXM Festival became a venerable bastion of hope when Hurricane Irma hit in 2017.  The festival was only in its infancy, but it still aimed to impact the locals. SXM Festival donated funds to aid in the rebuild, organized volunteers to clean up debris around the island, and even brought in international artists to make sculptures and stages from the fallen trees. 



Dancefloors On the Beach


Several other festivals are near a beach or have one just outside their event, but SXM Festival transforms a beach into a sandy dancefloor for one its stages. If that doesn't make your shoes rubberneck, they're probably tied to each other. In other words, you're trippin'.



You know exceptional dancefloors rocking the world's top house and techno icons are few and far between, but that's why going to Saint Martin for SXM Festival makes so much sense. Not only are the best of the best slated to be there, but the memories you get to take home will be of complimenting watercolor sunsets and starlight over sapphire water.  



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No Single Use Water Bottles or Cups


Islands intrinsically have a waste problem because everybody needs this or that, but nobody wants to pay for the leftovers to go somewhere else. As a result, recycling, upcycling, and repurposing are traditionally a bedrock of the culture on the island. Keeping in stride with this direction, SXM Festival works to eliminate plastic at the festival with incredible results. Today, the festival doesn't sell a single plastic cup or water bottle on-site, minimzing the event's carbon footprint. 



Donates to Local Schools


Partying is so much more fun when there's a purpose behind it. So, in addition to a slew of other philanthropic efforts SXM Festival donates regularly to local schools on the island. Equally important to its financial support, the festival has made a significant impact in the lives of some of the youngest residents of Saint Martin with donations of time and dollars to the Green Learning Academy. They were even working on a new playground for the kiddos during the last event, built entirely from sustainable and repurposed materials.



The Whole Island is a Dance Floor



Photo Credit: Off Brand Project

For newcomers at SXM Festival, other city-wide events like SXSW and ADE quickly come to mind. And similar to those events, SXM Festival encourages you to explore what the local community offers. 

SXM Festival has a centralized location, but it also prides itself in a broader net of decentralized events that happen in conjunction with the festival around the island. From day parties to after-hours, the celebration never really stops for the entirety of the five days and nights the festival takes place. As a result, the crowd shuffles from one end of the island to the next, which more than doubles the thrills jam-packed into the experience.

How SXM Festival Raised the Bar for Destination Events Everywhere

In the 80s, as the ashes of disco smoldered, house began to envelop the underground scene. Producers of the era experimented with repetitive and jacking rhythms to build a foundation for a subculture that would carry forward for four decades. 

It was a particular time. Innovators like Frankie Knuckles, Farley Jackmaster, and Marshall Jefferson were having fun while revolutionizing the music industry. 

The early tracks of the 80s were trailblazers for their time, and select tracks stand out as setting the stage for global house music. The progression of house music during the 80s revealed a precise transition to a more rhythm-focused sound while still retaining a melodic nature. 

We compiled a collection of timeless tracks from the early days when house music was only commencing. Here are ten '80's house classics.   




Frankie Knuckles - Your Love (1987)

This track by the Godfather of House features the infamous vocals of Jamie Principle, and some consider it one of the best house tracks of all time. "Your Love" is a song of contrasts. Smooth washes of synth and bass topped off with the sultry vocal of Principle layered over uptempo beats to create its distinct sound, which still knocks today.  




Joe Smooth - Promised Land (1987)

"Promised Land," was written by Chicago native Joe Smooth. An essential of the 80's dancefloor, it hits with a melodic disco layer and infectious 808 percussions. The melody is heartwarming, and the vocals are eloquent and uplifting, pushing the deep end of house music forward to the masses.  



J.M Silk - Music is the Key (1985) 

"Music is the Key" was is the first release under the moniker J.M. Silk. This track is a quintessential dance in the '80s with disco cuts and fun nu-wave synth.  




A Guy Called Gerald - Voodoo Ray (1988) 

After leaving the group, one of the original members of 808 State, Gerald Simpson – aka A Guy Called Gerald – became a house innovator in the UK. His first solo project was this acid house track "Voodoo Ray" which came from those secret sessions, which became a staple anthem of the era which still carries today.




Mr. Fingers - Can You Feel It (1986) 

This track was produced by Larry Heard under the moniker Mr. Fingers this track was way ahead of his time and is considered the first deep house track. The production level of this classic is unmatched, especially for its time. It features raw percussion, layers of deep basslines, and classic vocals.  





Jesse Saunders - On and On (1984)

Jesse Saunders' 1984 jam is considered the first proper house record, full stop. This track blended, took disco loops and samples, and presented them with a futuristic flair courtesy of a Roland 808 drum machine and other production magic of the time.



Marshall Jefferson, 'Move Your Body' (1986)

This track is the first use of piano on a house record, a sound often imitated but never duplicated. The song's vocalists and intense lyrics helped foment the long trend of the self-referential track: house music about house music itself.





Farley Jackmaster Funk and Jesse Saunders - Love Can't Turn Around (1986)

This track is the result of musical evolution. It started with the Isaac Hayes 1975 original, "I Can't Turn Around." Steve "Silk" Hurley then re-recorded it as a house number with singer Keith Nunnally — this further transposed and reinterpreted version was the one that took off. And how could it not? The robust, silky vocals of the great Darryl Pandy here are instant sunshine.







Steve "Silk" Hurley - Jack Your Body (1987)

Arriving a few years into House's existence, Hurley's "Jack Your Body" was unapologetically experimental.  Its Roland-centered electronic spine is a substantial contributing factor to the acid house revolution in the U.K., Eventually becoming the first house song to hit Number One.




DJ Pierre, 'Box Energy' (1988)

"Box Energy" has no vocals — just waves upon waves of Roland TB-303 acid basslines over a bass drum and the occasional snare. This track is a laser beam of energy that seems powerful enough to melt dancefloors and is an early foreshadowing of the mastermind DJ Pierre.

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