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.

Follow Argy on Instagram | Soundcloud | Facebook

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.

10 Tracks That Defined 80s House Music

Time Warp USA allowed techno lovers to bask in all the enchantment that typically goes down at their flagship events in Germany amidst the beautiful New York City skyline. The renowned festival took place right in the heart of Brooklyn's thriving electronic dance music scene at the esteemed Brooklyn Navy Yard warehouse. Following previously successful renditions of the leading indoor techno festival in the city that never sleeps. The Time Warp USA production completely exceeded our expectations, and we're still buzzing from the beauty of it all. 

Photo Credit: Tyler Allix

After missing out on all of the festival's glory last year, there's no way this year's grand return of the highly-awaited festival on this side of the Atlantic wouldn't come back even more incredible than ever before. From the moment we walked into the venue and heard that first rolling techno bassline, there was just something wondrous in the air. We could feel it.

From the gate, the energy radiating throughout the venue was palpable, vibes were unmatched, and it was apparent that every single attendee in sight was ready for the immersive two-day adventure full of nothing but the pure, soulful techno that was about to go down. While there are a plethora of reasons why Time Warp USA 2021 ranks at the top of our list, read on to learn the top five reasons the indoor techno spectacle completely exceeded our expectations. 

A Stunning Wide Array of Talent

As per usual, Time Warp USA was a top contender for many North American techno lovers simply because of its phenomenal lineup of artists. As a leading international festival, Time Warp remains consistent with its exceptional selection of astounding talent. This year, attendees were blessed with techno icons Ricardo Villalobos, Jamie Jones, Seth Troxler, Pan-Pot, Ben Klock, Marcel Dettman, Nina Kraviz, Richie Hawtin, Reiner Zonneveld, Stephan Bodzin, Adriatique, and many more. It's unique to encounter a two-day indoor festival of this range in The States with a lineup as impressive as this.

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Photo Credit: Offbrand Projet

Even in Techno, There is Diversity


If you're a true techno snob, you know that an abundance of distinct sub-genres exists under the techno umbrella, and Time Warp USA displayed that impeccably all weekend long. Techno has no boundaries, and getting to witness such extensive, mesmerizing soundscapes for two days straight was invigorating. There's nothing quite like going from being utterly mind-blown at an electrifying, hardcore DJ set to then feeling chills going down your spine while soaking up the beauty of a live instrumental ensemble just a few minutes later. The flawless intertwining of DJ sets and live performances across both floors throughout the weekend really did it for us, and we have the festival's ideal programming to thank for that. 


Photo Credit: Off Brand Project

Two DJs are Better Than One


This was the case with all of the extraordinary b2b sets we witnessed at Time Warp last weekend. Most artists on the finalized lineup are legends in the game, each bringing their specialized musical expertise to the table in their unique light. But when two first-class artists join forces on the decks and become one during a quality event such as Time Warp, everyone in attendance is bound to be left speechless. Witnessing Jamie Jones b2b Seth Troxler, Ben Klock b2b Marcel Dettman, Ricardo Villalobos b2b Craig Richards, and Mink b2b O.Bee made our Time Warp USA experience more powerful. What a tremendous combination of dynamic duos!

Photo Credit: Off Brand Project


Stunning Production and Otherworldy Design


While many indoor festivals exist around the globe, Time Warp's futuristic production quality is astronomical compared to the rest. The time, effort, and dedication to create this mind-altering, otherworldly visual and audio experience for attendees were evident throughout the festival's duration. The production team did a remarkable job curating this innovative playground of light and video architecture for attendees to indulge in fully. No matter where in the festival we resided, all our senses became instantly enlightened as we completely transcended into another dimension. This hypnotizing sensory overload was only yet another fascinating element of the entire Time Warp USA experience.


Photo Credit: Off Brand Project

There's No Better Place For Techno Than A Brooklyn Warehouse


Vibes and location are essential, and nothing makes a festival stand out from the rest other than when these two components are completely in sync with one another. The festival's 2019 production took place in upper Manhattan. While that was a legendary experience of its own, there was something quite unusual about this recent 2021 edition that took place in the most industrialized part of Brooklyn. Something about a techno-driven festival of this magnitude taking place in a warehouse locale deep in an underground music-loving city such as Brooklyn made it just that much more intriguing. Techno lovers from all over the nation migrated to the city to share space, which is a beautiful concept. 

Photo Credit: Off Brand Project

A music festival surpasses the rest for various reasons. Still, when attendees' and artists' energies align with the festival curators' intentions, that's when all the magic happens. If you've ever had the chance to partake in any previous Time Warp production, you know exactly what we mean by this. Time Warp never fails to leave both its attendees and performers in absolute awe, and this most recent techno-filled celebration in the states was nothing short of legendary. Until next time Time Warp USA!

5 Reasons Why Time Warp USA Was Worth the Wait

One of the most fascinating aspects of music is the relationship between artists and their chosen apparatus of creation. Jimi Hendrix didn’t simply play his guitars; he had a relationship with them. Every time he stepped into the studio or onto the stage, he further explored that relationship, and listeners continue to marvel at that exploration to this day.

Lubelski, the ascending LA-based producer, DJ, and label boss of Percomaniacs, has a studio full of different apparatuses of creation. And his latest LP, Happy Accidents, out now on Dirtybird Records, explores his relationship with modular synthesizers.

Where traditional, non-modular synthesizers retain a particular sound pallet, some of which have become unmistakable throughout decades of electronic music (the low-end womp of the Roland TR-808, for example), modular synthesizers allow the artist to create sounds that have never existed before. 

Every different knob and cable on a modular rig alters the sound in its own way. There are infinite configurations and settings, and that level of creative control opens the door to pure improvisation. 

Lubelski, real name Jake Lubell, crafted Happy Accidents through improvisation, and the title of the album refers to the basis of all 12 tracks.

“A happy accident is a found sound,” says Lubell over a recent Zoom call. “I’m letting the music itself be found in my modular jams. It’s not anything that’s pre-conceived. It’s finding the music as opposed to sculpting it.”

During Summer 2021, Lubell broadcast a series of modular jams on his own Twitch channel, under the same name: Happy Accidents. Every track on the album resulted from these jams in some way or another.

“I was able to go back into those individual recordings and nitpick what I wanted to use,” Lubell says. “Maybe I liked the drum idea and I would use that, or maybe I just like one little lead and I would start a new song based on it.”

Every time Lubell started a new stream, he searched for something he didn’t know that he wanted to find, a relationship with his modular rig that he likens to a conversation.

“It’s a conversation between me and the synthesizer,” Lubell says. “I might say for it to do something, and then it tells me something back that I didn’t expect.”

This relationship with modular persisted long before Lubell even started the Lubelski project. While attending UC Santa Cruz, he took an electronic sound synthesis course, and the school housed an extensive modular rig that students used for assignments.





One key aspect of modular synthesizers is they can grow to immense sizes. A single modular synthesizer holds a series of different modules. There is no limit to the total number of modules a synth can include, and each provides a unique quality to the music. 

Lubell used roughly 20 different modules in his setup for a Happy Accidents jam. Artists like deadmau5 and Trent Reznor of Nine Inch Nails have synthesizers composed of hundreds of individual modules.

Each module furthers its relationship with the hardware, refining its ability to make music that sounds unequivocally singular.

“It’s like the LEGOs for adults,” says Lubell with a laugh.

Lubell applies jargon comparable in its esotericism to constitutional law or nuclear physics in discussing modular synthesis. Using terms like “ring modulation attenuation” as casually as most people use words like “the,” which expands further as he describes techniques he applied during the Happy Accidents jams.

“One thing I really love doing is throwing a pitch sequence on a filter cutoff with a high resonance on a filter. You can get these really interesting tones that you can’t get just by sequencing the pitch of an oscillator,” Lubell says. “The pitch comes from the resonance of the frequency as opposed to the actual pitch of the thing making the sound. If that makes sense.”

Most people would have lost him at pitch sequence. However, Lubell has been fostering his relationship with modular for years. It also makes sense to someone like DJ, producer, and head of Dirtybird, Claude VonStroke, who has his own decades-long relationship with synthesizers and electronic production.

Lubell and VonStroke, real name Barclay Crenshaw, had been in close proximity long before Lubell began producing Happy Accidents. 

Lubell put out his debut EP on Dirtybird, Impulse Response, in November of 2019, with a second EP, Lost My Senses, landing in September of 2020, as well as several offerings on different Dirtybird compilations.

As a seasoned Dirtybird Player, Crenshaw asked Lubell to contribute to Dirtybird Live, Dirtybird’s Twitch channel, over quarantine. Most of the programming centered around DJ sets, but Lubell had something different in mind.

“I didn’t want to be another DJ doing a DJ thing on Twitch. Everyone was doing that,” Lubell says. “I felt like I could really take the opportunity to dive into the live modular stuff.”

And so Lubell started Patchwork Sessions, a weekly live modular session very similar to Happy Accidents. The primary difference between the two shows is Patchwork Sessions wasn’t building towards a specific outcome. 

Crenshaw was aware of Lubell’s relationship with modular. Yet, after witnessing Lubell captivate audiences during Patchwork Sessions, Crenshaw asked Lubell for an LP’s worth of material based on modular sessions, a humbling and contemplative moment for Lubell.

“I’ll be totally honest I was a bit reluctant at first,” Lubell says of releasing an album on Dirtybird. “I have a very big vision for what my music should be, and I didn’t want to relinquish creative control of an album to somebody else, but luckily Barclay trusted me. He said ‘This album is about you. I want you to do your thing.’ So it felt really great to have someone I’ve looked up to for years ask me to do something like that.”

Following Lubell’s agreement, he migrated to his own Twitch and launched Happy Accidents. Crenshaw gave a strict deadline for the album, so Lubell spent six weeks streaming jams and then another three weeks dissecting and reworking the recordings into the final versions for the record.

The album took nine weeks from conception to completion. The result of the expedited process is 12 heavily technical tracks balanced by a sense of raggedy humanity. 

The improvisation in the jams provided an authentic quality to the foundation of each track while the quick turnaround left limited time to scrutinize the minor tweaks. These tweaks exist as little reminders of how despite house music’s metronomic underpinnings, there is room for some soul, some mortality, an idea advanced by Lubell’s relationship with production.

“I know myself, and if I keep working on something it will be a totally different song,” Lubell says. “I would rather call it, be done with it, and move on to the next project.”

Perhaps the only track on the album that received meticulous attention to detail was “Ice Cream Cone,” the co-production between Crenshaw and Lubell with Life On Planets contributing vocals. 

“[Crenshaw] is way more of a perfectionist than I am,” Lubell says. “He really knows his production and how he wants things to sound. He’s like ‘If it’s not perfect, I’m not putting it out.’ He’s sort of like the Gordon Ramsey of dance music. If it doesn’t taste good it’s not going on the plate.”

Lubell finalized the bulk of Happy Accidents in three weeks. Crenshaw spent over two weeks on “Ice Cream Cone,” by itself. Yet despite their completely inverse relationships with their creative apparatuses, they explored those relationships together. It’s truly fascinating, and the listeners get to marvel at the results.

Lubelski's 'Happy Accidents' LP Explores Improvisation and Modular Synthesis

It goes without saying that 2021 is a particularly poignant year to count what we should be thankful for. Actually, maybe it does need to be spoken because being vocal about what you're grateful for is necessary. And after the dumpster fire of 2020, counting our blessings in 2021 should be required of everyone.

Dance music's return to festivals and clubs in many parts of the world was welcomed with open arms and shuffling feet. And the epic festival season that unfolded in the last half of the year was unlike any other. The house and techno community has much to be thankful for.

While we don't need a holiday to remind us to be grateful, it doesn't hurt to have the reminder. We asked a few Gray Area friends and family to share what they are most thankful for in 2021. As you read ahead, take a moment to reflect on the friends, family, events, tracks, and experiences that made 2021 an incredible year for you. We're thankful for the dance music community and you.

Will Clarke

"This year is a particularly meaningful time to reflect and be thankful. I'm both thankful for all of the time I have been able to spend back home in England and I'm also incredibly grateful to be back on the road doing what I love again."

Follow WIll Clarke on Spotify | Instagram 




Tara Brooks

"I'm grateful for the ocean & that I fully committed myself to surfing. Im grateful for everyone's who's believed in and supported me, even when things have felt empty and disconnected. Im grateful for my passion & drive to never give up. Im grateful for my friends, fam, music evolutions, & all of YOU!"

Follow Tara Brooks on Spotify | Instagram


Life On Planets

"I'm grateful for the team in 2021. It takes a village! I wanna say a big big thank you to my manager Jon McDonald for believing in me. His faith in my music lead to some AMAZING opportunities in 2021 including collaborating with Lubelski & Claude VonStroke, playing the Dirtybird main stage, becoming a Twitch partner, getting a ton of music signed to some very dope labels and so much more. 2022 is gonna be a movie. Much love to my teams at 2+2 Management and Liaison. Also a big shout to Moody Jones for taking our collabs sky high!" 

Follow Life On Planets on Spotify | Instagram




Jeremy Olander

"I'm grateful for being back on the road again, particularly being back in NYC, but also for the time I got to spend in the studio and with my family and friends. Living a 'regular' life has definitely had it's upsides but I'm more than ready to get back to business."

Follow Jeremy Olander on Spotify | Instagram




QRTR


"I'm grateful to be able to spend time with all the people I love again, dancing in clubs, grabbing drinks at our favorite dive bars, catching a movie at the theater. I've never been so grateful for the little things as I am now, and I'm looking forward to never taking anything for granted again!"

Follow QRTR on Instagram | Spotify



Dillon Nathaniel

"I’m thankful for my health and my family first and foremost. I am so happy that we have survived such a crazy time and we all get to spend the holidays together again!

“The second thing I am most thankful for is to be able to play shows again. Electronic music has stood it’s ground and we are back stronger than ever. I am so thankful I can hug my fans after my set and be able to continue my journey with music.”

Follow Dillon Nathaniel on Spotify | Instagram




Justin Jay

"Got so much to be thankful for this year. It's surreal to experience live music again. I love how music can bring people together and lift people's spirits even when times are tough. It's been surreal to experience that once again from both the stage and the dance floor. I teared up pretty intensely at my first DJ setback since COVID and have attended so many amazing shows as a fan since. 

"Enjoying live music in person has been such a big part of my life, and I'm insanely grateful to have it back. I'm also grateful to have discovered a newfound balance in my life between touring and staying at home. Leading up to COVID, I was on the cusp of being burnt out from non-stop traveling. It's quite hard to turn down gigs when they're so much fun. However, achieving a healthier balance that enables me to be productive in the studio, stay connected with friends & family and treat my body well has been a game-changer. 

"Above all, the thing I'm the most grateful for is all of the amazing people who are in my life. The isolation of COVID definitely put things into perspective for me about how important it is to not be alone. Real relationships take time and effort to cultivate and maintain, which is something I've been trying to improve on. Very very grateful to be surrounded by truly incredible friends, family, coworkers, fans, and humans. Feeling so much gratitude and hoping for all the PLUR going into the new year! <3"


Follow Justin Jay on Instagram | Spotify

We Asked These Artists What They Were Thankful For in 2021

The United Kingdom is synonymous with a wealthy music culture. The region of approximately 70 million people encompasses countless artistic styles that have influenced the rest of the world. Pushing the boundaries of production and sound, Creamfields is one of the UK's premier dance music festivals. The Cream brand expanded from a weekly house night to a mega-festival, drawing in the biggest names in electronic music year after year. The exemplar of headliner culture, Creamfields harnesses the ability to assemble a perfect lineup, one that is not singular in taste but deeply provocative.

Performing at Creamfields is a right of passage for many musicians, a journey of hard work and perseverance in the nightlife industry. With several best festival awards under their belt, Creamfields reigns as a leader in the marketplace. Since 1998, Creamfields commences the summer holiday in late August, spinning a wide array of genres and tempos. The 2022 release of tickets sold out instantly as revelers were hungry for a return to the dance floor.

The original festival grounds at Winchester, Hampshire, drew in a crowd of about 25,000. From 1999 to 2005, Creamfields transferred locations to Liverpool, Merseyside. During this period of growth, Cream had to shut down its nightclub to focus on Creamfields. In 2006 Creamfields celebrated ten years by expanding to two days and relocating to its new home in Daresbury, Cheshire, where it hosts ten stages and welcomes 250,000 people over the weekend. 

The Cream brand has expanded internationally with signature festivals in Australia, Brazil, Buenos Aires, Czech Republic, Chile, China, Colombia, Hong Kong, Ibiza, Ireland, Mallorca, Malta, Mexico, Romania, Paraguay, Poland, Peru, Spain, Taiwan, Turkey, Ukraine, UAE, & Vietnam. Transcendental tunes have spread to the far corners of the earth, slowly shifting the soundscape of these distant regions. 

At home, stage takeovers such as Mad Decent, Pepsi Max, MK Area 10, and Mixmag have helped transform the musical landscape of the UK.

It was all a dream before Cream was founded in 1992 at a nightclub called Nation in Wolstenholme Square, Liverpool, by James Barton, Andy Carroll, and Darren Hughes. Saturday night was their territory, and they threw down every single week. Cream established itself in the UK nightlife hierarchy for a decade and developed a loyal fan base through its jam-packed lineups with the most prominent local and international stars. 

Alongside being one of the founders of Cream, Andy Carroll was an integral resident DJ, showcasing his calculated tastemaking abilities. Carroll's background in music put him in a prime position to progress the Cream brand. In conjunction with being the A&R at Deconstruction, Carroll and James Barton conceived Olympic Recordings in 1992 that had a poignant run till 2005. Darren Hughes connected with James Barton through a mutual friend. With Hughes' expertise in marketing and Barton's establishment in the nightlife scene, the Cream brand became a household name. 

Hughes left Cream in 1998 to open a nightclub in London called Home. Destined to be a super club, the political atmosphere of London caused more problems than it created. 

In 2012 Cream was acquired by Live Nation, and James Barton became Live Nation's president, further accelerating themselves in the field to compete with the best music festivals in the world. 

Innovation with partnership breeds success, and Creamfields has partnered with many prominent brands to elevate the brand further. Virgin Records released a series of studio mixes titled Creamfields with legends like Paul Oakenfold, Seb Fontaine, Yousef, and Ferry Corsten. Mixmag and BBC Radio 1 have long partnered to bring the Creamfields experience into people's homes around the world. Headlining partner Cinch, one of the biggest car resellers in the UK, provides lucky winners with a VIP viewing deck. Cinch also provides exclusive behind-the-scenes content from Creamfields on its social media pages.   

In 2013, £500,000 was invested in renovations to the festival grounds to weatherproof against the summer showers, and security enforcement has become a top priority. An additional cash injection of £2,000,000 in 2019 proceeded to improve the logistics in the fields of water, security, parking, and many others to fine-tune the process for festival-goers and staff. 

The lighting and visual rigs from a production standpoint are architectural behemoths slowly shifting the possibilities of design. Over the years, the stage design at Creamfields has progressed from traditional to visually breathtaking. Creamfields currently boasts ten stages in its repertoire.  

The ARC and Horizon / BBC Radio 1 stages utilize mammoth LED screens with advanced architectural precision to create visual paradises that are just as breathtaking from a helicopter as they are from the ground. 

The SILO stage features a 360 light array, encircling the attendee to an ancient theatrical ensemble in a metal superstructure. Finally, the Generator stage combines that same industrial warehouse underground feel as Silo while using shipping containers as walls. 

The internal renovations combined with the technological breakthroughs in 2006 saw the implementation of the Creamfields Steel Yard, a neo-metal megastructure built by Acorn Event Structures that won Best Stage by Festival Supplier Awards in 2017 and 2018. 

Steel Yard residencies have popped up in London and Liverpool as they pay homage to the primal roots of electronic music culture. Eric Prydz orchestrated his spectacle titled VOID (Visual Offset Isometric Design) at the Steel Yard in 2019, illuminating the night with an array of bright lights and lasers geometrically positioned from every direction. 

During the '90s, Cream was the epicenter of the dance music world. What started as a fiesta for a few hundred attendees turned into a few hundred thousand. At its height, Cream was a social landmark, filling out Nation with top-level acts. Seas of people flowed in and out of the Cream doors until its final show in September 2002. The venue expanded from holding 400 people to a few thousand. 

Certain places have become the cornerstone of a city; if you ended up in Liverpool in the late 90s, chances are you brushed shoulders with the same energy and motivation. As that creativity oozed through the audience, a new generation of ravers were born, subgenres upon subgenres later. There are special moments to savor, the ones that freeze time or make it fly while the music remains perpetually timeless.

Creamfields: Transforming a Club Night into a Global Dance Icon

The term "Slap House" is currently one of the hottest sub-genres on the dance music scene, but how did it come to be? 

"I actually first heard it called 'Brazilian Bass.' Slap house as a term came to me way later", explains Tribbs a rising slap house artist. Alok, the well-known Brazilian DJ claims that he invented the sound called Brazilian Bass around the mid-2010s, but in late 2016 there is evidence that this morphed into the sound we recognize as slap house. The new characteristic sonic palette first appeared on Alok's remix of "That's My Way" by Edi Rock and Seu Jorge, followed quickly by his single "All I Want" with Liu & Stonefox. Since then, the term Brazilian Bass has gradually become synonymous with Slap House. 

Compared to this new sound, pre-2016 Brazilian Bass featured a similar, attack-heavy bass tone, but was more obviously synthesizer-based, with a less-swung rhythm, and placed greater emphasis on varied and exciting bass tones and sound design, usually with multiple basses playing in an interlocking pattern. 

By contrast, Alok's single "All I Want" features only one bass sound in the main chorus section, a sample-based tone that has the sonic quality of being somewhere between a synthesizer and an organic source such as a real bass guitar. This sound was most likely created by layering two or more sounds together, and then rendered and played back as a one-shot sound, pitch-shifted to the different bass notes via some form of sampler software.

Shortly after this slight change of sound, Alok had a big hit with the track  "Hear Me Now." It's a mellow acoustic-guitar-driven track that features a classic (yet restrained) slap house bass sound in the chorus. The success of that track would probably have brought international attention to the rest of his catalog too.

In early 2017 —likely inspired by Alok's new sound—Lithuanian DJs Lucky Luke and Dynoro began regular releases on the dance label Lithuania HQ. They dubbed their sound Lithuanian house but the parallels to slap house were clear. 

"When everybody in Brazil was soooo over Brazilian Bass, it blew up in Europe," says TRIBBS. 

The earliest European example, Lucky Luke's track "NTFL"  features a typical slap bass drop, among other details that would become de-rigueur for the sub-genre: a triplet-based fill leading into the drop, and something very similar to a deep legato Reese bass (commonly used in D&B) in the verses.

Shortly after "NTFL," Dynoro released his third official single, the global smash hit, "In My Mind." The cover version of Ivan Gough and Feenixpawl's hit of the same name has all the clichéd elements of slap house. And an interpolation of Gigi D'Agostino's 1999 song "I'll Fly With You."

Slap house values simplicity in the drums. A basic deep house pattern in the chorus and little to none in the verses. Add high-pitched lead counter melody in the chorus, and some heavily affected, synthetic sounding vocals with FX swells between sections, and you have a slap house hit.

In 2018, Berlin-based DJ and production duo Vize released the next notable hit of the genre on Kontor Records, "Glad You Came." It was based on the chorus of a 2011 single of the same name by British boyband The Wanted. 

"The first time I heard the term slap house was from Vize. I know this type of sound was very popular in Lithuania and Russia already by then," says Y3LLO KOALA, one half of the duo Sondr and co-producer of Vize's "Kids."

Vize followed up in 2019 with "Stars", and together these two tracks brought enough attention to popularise the name that Vize had given their genre. "Vize Presents Slap House," is the name of their official Spotify playlist, which no doubt introduced many to the sound of the sub-genre.

While Vize was blowing up across Europe, 17-year-old producer Imanbek was working in his bedroom in Khazakstan, on an old Windows laptop, cheap earbuds, a copy of FL Studio, and a few classic sample packs from Vengeance and KSHMR. With this simple setup, in less than two hours, he created a global hit. His ubiquitous remix of SAINt JHN's "Roses."

First released as a bootleg on Soundcloud in early 2019, the track quickly gained attention and an official release on Russian label Effective Records. It eventually found its way to Sony Music and commercial radio.

Although the track doesn't feature many of the stereotypical slap house tropes, it fully solidified the sound for the global charts (it peaked on the US Billboard chart at No.4 and reached No.1 in many other countries). The now-famous bass tone is present right from the intro of the song, an unusual technique for a genre that prefers to save the power for the drop.

In recent years big-name DJs like Tiesto, R3HAB, Afrojack, and Robin Schultz have capitalized on the trend while up and coming producers like Hvme, Twocolors, Vinai, and Yves V have broken through by riding the wave.

As each new sound reaches and passes the point of saturation, its creators must keep pushing the boundaries to keep it fresh and interesting. Producers remain hopeful that the sound can adapt to market pressures. 

Y3LLO KOALA muses, "For me it’s got the same energy and power as classic EDM. It’s like the modern EDM right now. The BPM and rhythm lends itself well to both rock and hip-hop, so I’d expect to see some experimentation in these areas. The new Ed Sheeran song "Bad Habits" essentially has a pop slap house drop, so it’s coming into all areas."

Tribbs believes the sound has plenty of places to morph and evolve. "I can see two trends, one of them being back to old 90s UK garage style with some slap house flavours, and the other one will be the dark side of house with just a few slap house elements, and still very car-friendly."

In 2021 we haven't seen much slowdown of the trend, but industry rumblings are that the labels are busy looking for a new sound. Some label A&Rs and managers believe we're on the cusp of a revolution in dance music, that the slap house trend will soon be coming to a close and the next sound of the early 2020s will emerge. For now, this remains to be seen.

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