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.

Anatomy Of A Trend: Slap House

Every year, as the dance music community looks through DJ Mag’s Top 100 list, it’s never a surprise to see David Guetta at the top. Shoutout to his family. The whole industry relishes poking fun at the list, will the full understanding that we should take it with a grain of salt. But are these lists actually necessary to begin with?

Inspired by Twitter user TokenOfTheMonth, who posts pie charts breaking down the diversity (or lack of) of major festival lineups, I took the liberty of tallying up the racial demographics of this year’s list. Excluding the four anonymous artists (those whose identities are withheld from public knowledge), the racial breakdown is the following:

The “alternative” list, DJMag explains, is “a sister poll that uses Top 100 DJs voting data alongside insights from Beatport to recognize the achievements of DJs from genres recently underrepresented in the main poll including house, techno and drum & bass." It was started in 2018 as EDM artists began to dominate the once prestigious list of dance music’s best selectors. Yet after a year of civil unrest due to racial injustice, is this the alternative we really need?

In 2020 the industry promised to do better. Is this the response we need to each year’s practically unchanging white-washed list? Dance music is made up of so many uncharted territories. Full of diverse artists that don't get nearly the recognition they deserve. These lists could be a way to give a elevate musicians from all over the globe who have pioneered different genres as well as continue to innovate, expand, and trailblaze all facets of the scene.

This isn’t to say that those in either list don’t deserve the hype. They get millions of streams for a reason. But if the point of the alternative list is to acknowledge how male and white-dominated the industry is, why not utilize these high-traffic pages as a vehicle to dive deep into what makes dance music unique—jam-packed with heterogeneity and ingenuity—and push the scene forward?

DJ Mag is also one of the most powerful publications in dance music. One can argue that it does give agency to the people through voting. But when these superlative lists are created—with the knowledge that the industry is broken—the initiative should be taken to make a change that’s more inclusive.

Earlier this year, the GRAMMYs announced that it’ll be the first major award show to implement an inclusion rider. Similarly, the Recording Academy determines the nominations through peer-to-peer voting.

We can scream and shout about dance music being a scene created by Black, Latino, and Queer pioneers all we want, but if we don’t see some actual equity initiatives soon, it’ll just be words with no action.

Do We Need An Alternative Top 100 DJs List?

The Picard Brothers are a Parisian duo that initially got their start in the music industry composing beats for French rappers. Their command of hip-hop artistry eventually led to a debut on the Pelican Fly record label in 2014. The pair went on to produce and write songs for artists like Beyonce, Kehlani, and recently, for rising star Yebba on her album Dawn, produced in collaboration with Mark Ronson.

They won a GRAMMY in 2019 for their contributions to “Electricity” by Dua Lipa and Silk City. These days, their production is a complete modern-day revival of classic French dance music. Their unique contemporary French house production style can be heard on energetic remixes of songs by Disclosure, Flume, and fellow French artist, Myd. 

The purveyors of this modern French house resurgence are aiming to repopularize the subgenre this year. In the 1990s, house music and European disco-inspired the short-lived but heavily-adored subgenre of electronic dance music called French house. The subgenre is characterized by disco, funk, and house music elements like funky basslines, filtered and phased effects on vocals, and songs often feature samples of disco hits from the 70s and 80s.

The French house sound dominated the UK electronic music scene in the late 1990s and then, as the subgenre emerged at raves and clubs, it peaked on global dance music charts. Though French house’s popularity tapered off in the early 2000s, Italian and French DJs remain loyal to the iconic subgenre.

The Picard Brothers made a playlist of their top 9 favorite French house tunes of all time to share with you. In it, you’ll find classic cuts from the 90s and early 2000s, by iconic artists like Daft Punk and Cassius—these French house tracks will have you getting up, getting down, and vibing out! Listen to the Spotify playlist here, and check out their cheeky video for their latest modern French house single Best Of Me, directed by Jay Christiansen.





Demon - You Are My High

This hit song by Demon was released in 1999 and has seen a resurgence among younger audiences lately, thanks to the song’s burgeoning popularity on the TikTok app. The tune is timeless and an earworm—you’ll be singing the bridge long after the song is over. 




The Paradise - In Love with You

Produced by Alan Braxe and Romauld and released on the Vulture label in 2003, this gorgeous track features an ethereal soundscape and beautiful resounding vocals by Romauld. This French house song is essential listening.




Daft Punk - Face to Face

This tune was co-produced by American house producer Todd Edwards and is one of Daft Punk’s most memorable cuts off the electronic duo’s 2001 Discovery album. The song is a moody tale that touches upon themes of miscommunication, love, and connection. Face to Face features a plucky chopped riff, a driving bassline, and undeniably Daft Punkesque vocoded lyrics.








Bob Sinclair - Gym Tonic

This simplistic disco-heavy gym jam was produced by French DJ Christophe Le Friant, who built his career under the name Bob Sinclair. It’s groovy, delightful, sexy, and fun—two, three, four, five, six, seven, eight, and Back! Back! Back!




Cassius - 1999

Cassius 1999 is the title track off of the ‘1999’ album released the same year, by venerated French electronic producers, Phillipe Zdar and Hubert Blanc-Francart (aka Boombass. Upon its release in the 90s, the song became an instant hit in the UK. The song is an amalgamation of jazzy-hip hop sounds blended with filtered-down disco house. 




Stardust - Music Sounds Better With You

Stardust—the trio composed of Alan Braxe, Daft Punk’s Thomas Bangalter, and vocalist Benjamin Cohen—released this irresistible dance single in 1998 and immediately disbanded after the single was met with wide acclaim, so the single could retain its magic and mysteriousness, reportedly. After almost two decades, the song still feels as nostalgic and magical as ever.




Cheek - Venus (Sunshine People)[DJ Gregory Remix]

This danceable French deep-house tune is, at 126 bpm, a happy little track that features intensely energetic kicks and distorted synth riffs. "Venus" starts hot, but descends into a slow burner of a house cut, with a quick tempo and fetching percs.




DJ Mehdi - Signatune (Thomas Bangalter Edit)

This track was produced by fellow French remixer and hip hop producer, DJ Mehdi. Inspired by legendary hip hop group Public Enemy, DJ Mehdi’s production style on the original "Signatune" track featured resounding kicks, scratching, and reverberating bass patterns often heard in both electronic music and hip hop. This edit by half of the Daft Punk duo, Thomas Bangalter, is an elevated, pumped-up take on the original yet still stays true to Mehdi’s unique melding of the two genres.




Alan Braxe, Fred Falke - Chrystal City 

Another French house staple by Alan Braxe with co-production efforts by Fred Falke, this funky tune features heavy synth and electronic sounds, paired with samples of the city. The sirens, wind sounds, and answering machine vocals paired with the groovy bass and synth, will make you feel nostalgic.

This Picard Brothers Playlist is a Masterclass on French House

Historically, Amsterdam is one of the most important cities in the world for techno, and Awakening is one of the most important techno parties in Amsterdam. 

As a brand, Awakenings takes on numerous forms. From the legendary festival in the National Park Spaarnwoude, that attracts over 80,000 people every year to their renowned marathon of parties during the annual dance music conference, Amsterdam Dance Event, Awakenings is the place to go for throbbing four-on-the-floor beats from the world’s best selectors. 

Event promoter Monumental Productions BV hosted the first Awakenings nearly 25 years ago in 1997 at Amsterdam’s most famous club, Gashouder. Consisting of a former storage tank with a 2500 square meter interior, this venue epitomizes the gritty and grimy techno aesthetic. It was only fitting that one of the DJs to play their first party was one of the inventors of the genre: Detroit’s Derrick May.

Gashouder has remained the foundation of the Awakenings experience, an experience replete with one-of-a-kind sets and the elated microphone work of the party’s founder, Rocco Veenboer, who serves as master of ceremonies at many Awakenings events around the world. 

Veenboer has every reason to be proud of what he’s built. Over 20 years later, his brand is one of the most sought-after identities in techno, bringing the authentic atmosphere of the genre to places like Rotterdam, Eindhoven, New York, Sao Paulo, and India. 

But the heart and soul of Awakenings remains in Amsterdam. Every year for ADE, Awakenings releases a calendar of events, many of which take place at Gashouder, but the parties frequently land in other venues around the city as well. 

In 2019, there were 11 Awakenings events at ADE. Five happened at Gashouder, featuring epic sets from the likes of live techno composer Stephan Bodzin and the rising superstar Charlotte De Witte.

The other six events happened at Elementenstraat, a warehouse space that was formerly illegal but is now another staple of Amsterdam’s techno community. This is where Awakenings hosted their 24-hour party, a collaboration with Amelie Lens’ party brand, EXHALE, that included an eight-hour set from Lens herself as well as a huge lineup with sets from fellow techno valkyries Nastia and Rebekah.

Even in the face of COVID-19, Awakenings pressed on for ADE 2021 as they are indispensable within the Amsterdam techno community. Restrictions from the Dutch government prevented parties from running past midnight but Awakenings still delivered five shows at Gashouder and three at Ziggo Dome, Amsterdam’s indoor arena with a capacity of 13,000.

In terms of programming for ADE 2021, Awakenings hosted everything from a ten-hour live set from Reinier Zonneveld at Ziggo Dome to a night of Drumcode at Gashouder with favorites of the label like Ida Engberg, Layton Giordani, and boss Adam Beyer.

Unfortunately, Awakenings Festival had to be canceled in both 2020 and 2021 due to COVID-19, which was a huge blow to the worldwide techno community as the festival is one most anticipated of the year, but the festival will return in 2022 to celebrate 25 years. Awakenings Festival was started in 2001 and now welcomes over 100 DJs across two days. 

Looking back across lineups and schedules for Awakenings Festival is comparable to perusing a text depicting the evolution in the careers of various artists. In 2017, Amelie Lens played the second slot of the day at 1:45 pm. In 2019, just two years later, she closed out the entire event Sunday night. Other artists playing the closing slot that year included MPC master Jeff Mills and Berghain Resident, Ben Klock.

 Unlike many dance music festivals where the opening slots are relegated to local acts and relatively unknown artists, headline-level artists are playing the minute Awakenings opens its doors.

Also in 2019, the impressive melodic duo Artbat opened a stage right at noon, while the heavy techno temptress, ANNA, played at 1:30 pm. Artbat headlines shows in populated markets like Los Angeles all the time, and ANNA closed out a stage at San Diego’s CRSSD Festival in September of 2021. 

With nine stages and top-caliber artists performing from the start, Awakenings is a festival where you show up as early as possible and stay all the way to the end, a clear allusion to how Awakenings has curated events since the beginning. 

Looking back through the archive of previous events (which Awakenings keeps readily available on their website) these parties have always been about the long haul. Back in 2005 none other than Ricardo Villalobos played a warm-up slot at Gashouder rather than closing the evening. 

This idea of coming just for the “headliner” isn’t relevant to Awakenings. These parties are about supporting the culture from the moment the first kick hits until the last song. They were there when it started and they will certainly persist until the house lights come up on the last techno party in Amsterdam.

Awakenings Is A Titan of Amsterdam's Techno Scene

Before the pandemic, Baby Weight (Cara Eser) and Worthy (Kristy) had established themselves within the American dance community as sonic forces. Esser’s blend of bouncy tech house and ability to make pop-leaning vocals still sound underground put her on a path to national headlining status. The DC native was gaining a national following and had cosigns from lauded house acts like Walker & Royce and Shiba San. 
 

Worthy was already a well-established house icon. The San Francisco-based artist and Dirtybird co-founder was an architect of the nu-school West Coast house sound. Her label Anabatic had long been a breeding ground for the future of underground dance boasting releases from the likes of Kill Frenzy, Nick Monaco, Justin Martin, Yolanda Be Cool, and Will Clarke. Her status as a forward-thinking artist was clear.
 

That sense of sonic clarity however wasn’t reflected in their personal journeys. And as the pandemic eviscerated the chance of a certain future in the near term, they were both forced to reckon with an internal struggle that blossomed into two compelling stories that reflect the very foundation of dance music’s cultural beginnings. 


 

Both Worthy and Baby Weight came out as Trans. And while they may not be the first to be open and honest about their struggles and triumphs, they do serve as shining examples of how we can re-establish dance music as a safe space for those who feel like they are on the fringe.

Do you feel like, because you are part of the dance music community, you had kind of a safety net to fall back on when you came out?


Kristy: I wasn't sure what I was expecting when I came out. There was a deep fear that maybe this is gonna destroy my career in some way. And I think that fear just came from the repression that I felt all my life around this, hiding it from everybody. For me coming out was super scary. And I feel blessed to have come out and see the level of support that I've gotten. I feel blessed that I'm in this world, this dance music world that's so accepting and so loving, and I've never felt so much love before. I ended up here for a reason.




Cara: I was absolutely terrified. But ultimately, for me, I was pushed into the deep end by somebody on social media to kind of come out and I wouldn't change it in a million years, because I feel like it was the right kick in the ass to finally get me to kind of openly bleed or share that part of myself with the world. I would say that the response is not surprising from the community. Just because I feel like most people read me as a good person, and I'm a good person first, and transgender second.



Dance music was built on marginalized people, but the scene has changed. Do you feel like your story helps shine a light back on those who don't feel seen?


Kristy: I'm not sure if it has. I know my coming out process has definitely inspired a good amount of people to confront stuff within themselves, including a lot of people coming out as trans to me or queer and saying that my story helped them. 


Cara: The more that you have marginalized voices put in front of people that challenge their worldview, the more you get to normalizing those voices … It makes people more comfortable coming out … All the arrows point to this reality that trans people are part of the music industry. The conversation is not that there is a lack of trans voices. The conversation should really be, the trans voices are here, how do we get those voices shared to more people so that other individuals can feel comfortable enough to then say, ‘Yes, I want to be a part of the community because I see myself, I feel validated, I feel seen, and that there are other people like me in front of me doing the things that I want to do.’





What gives you the strength and courage to be so open and honest about your journey?


Cara: Christy makes me cry once a week at least with her social media posts. I’m legitimately tearing up sobbing seeing her journey. And knowing that she and I are on the same journey together—timeline-wise—gives me a lot of courage because we're going through the same things together. That's what keeps me going.


Kristy: I think it's because I was so closed off for so long that I feel like I need to let myself out there into the world. I know that by letting myself out there I’m helping others process their own journeys. It feels visceral. Like I have to do this. I want people to understand what the trans experience is and how difficult it is at times. But also, how happy it is at times. If I'm helping anybody else and come to terms with being transgender, that is everything for me. Being visible helps others so much.



When did you realize you were trans and when did you decide to be public about it?


Kristy: I realized I was most likely transgender in July of 2020. I was working through the feelings and internal struggle of coming to terms with being transgender into the fall, and I started HRT shortly after because I can sit in therapy for five years talking about this, or I can just get this new life started. Pretty quickly, I was on HRT. I shaved off my beard, [started] dressing a little bit differently, and I was just feeling hidden. It felt really weird to be in front of people and not be my authentic self. I was on a mushroom journey at the end of November and in that journey, it came to me that like “your next step is to come out. You need to come out to the world and shine your light.” 


Cara: I privately came out to myself about six years ago. I had the realization that was simmering under the surface at least since college. But I didn't feel safe coming out to my family. There was also this unfounded fear I had—and it sounds so terrible to say now in retrospect—but I was really afraid that if I had come out, and I was openly queer, that would somehow put me in a corner. And I didn't want to be limited in terms of the kind of shows I played, the kind of bookings I got. 






I came out to my partner in 2019 as non-binary but she knew that eventually, I would come out as full-blown trans. Not to say that identifying as non-binary is a steppingstone of some kind. I felt in my mind that maybe it might be easier transitionally if my family and my friends saw it. It was my intention to come out in 2020. This stranger on Facebook dug into my personal life and made some comments publicly on Facebook about me. I came out as a result of that. 




Kristy, How have you navigated the conversation with your daughter?


I think she had a little bit of a hard time with it at first. I remember she cried to me about me not being my old name anymore. 


I was talking to my ex, having these conversations about gender and this transition and what that entailed. And we would have these intense conversations and at times they would be outside someplace. And obviously, my daughter overheard us. And we were having dinner and my daughter is like, ‘Hey, wouldn't it be funny if daddy was a girl?’ And we were just like, ‘oh, crap.’


We were very honest with her. And she got it. And she understands. And she's been super supportive. She accepts me for who I am. And she's been one of my cheerleaders. And she calls me Mom, sometimes. It feels like she sees me. I was really depressed in my marriage and really cut off from everything that was going on around me. And so, she knows this is the right decision. And she is super supportive of it. And she just wants me to be happy. And I want her to be happy, too.



What is the most striking lesson that you've learned in your journey that you want to pass on to others?


Cara: I would just say the moment you come out publicly, things don't happen right away. And there's this idea that maybe the world all-of-a-sudden gets better, and in some ways it does. But you have to have patience, you have to have resilience. You have to understand that for some people that you're close to, they're losing someone that they've spent a good part of their life with. And for them, it may take some time to process the fact that you're still the same person.


Kristy: It’s taken me a while to learn this is [but] everybody's journey’s really different and you really can't compare where you are to somebody else. Hormones treat everybody differently. And just the process of it all is super individualized. It takes time and everybody moves differently, and you need to be patient with yourself.

Worthy and Baby Weight Are Courageous Trans Voices

Will Clarke, the bearded Britt with the pounding techno beats has completely reshaped his career over the last two years. His shift from Dirtybirdesque house to thumping techno, with a purpose, has been effortless. And the veteran DJ and producer is clearly in the most comfortable space of his career. Releases like "U Take Me Higher," "Hallelujah," and "My Church" (with MK) have proven his aptitude for crafting warehouse-ready cuts that are body rocking and emotionally reverent. 



“I'm trying to write songs that have a bit of a meaning,” Clarke told Gray Area earlier this year. 

He also revealed his dance music origin story. He was first inspired to DJ after seeing 90s icons Faithless perform when he was still quite young. Clarke began DJing as a teenager. And with such a long history, the thought occurred to us that he'd be the perfect person to tap for a playlist of classic techno cuts. His knowledge of dance music is deep, so we knew his list would be a treat. You can check out what he has to say about his favorite jams below, and listen to the playlist via Spotify.

Joey Beltram - Mentasm (1991)

“Absolute belter, I've always loved what Joey did for the techno scene way before I was even working in the genre. However, I recently met him and he’s such a lovely dude which just made it all even better. Do meet your idols, it's key."



Laurent Garnier - Crispy Bacon (1997)

“This came out in 1997, I was seven and it still sounds fucking amazing today and better than most techno tracks currently being released.  If there was an Electronic Music Hall Of Fame, Laurent would be the first person to be inducted”



Maceo Plex - Conjure Sex (2014)

“More of a modern day classic for me, this record just hits different on the dancefloor. Maceo is current day god, everything he touches is unreal."



Jeff Mills - The Bells (1996)

“Do I really need to explain why I love this record? Nope didn't think so”


MK - Burning (1992)

“Yes to all the techno snobs out there saying this isn't techno. No shit Sherlock! It's still better than any record out there and was released 20 years ago”




Bobby Peru, Paul Woolford - Erotic Discourse (Dense & Pika Remix) [2008]

“The original is fucking solid but I remember hearing this in a club once and falling in love with it. It started my love for the Dense & Pika boys who I personally think are some of the best producers around today”


Plastikman - Spastik (1993)

“So simple yet so beautiful, the first time I heard this I was a little confused but after a few listens I was sold, absolute genius record”


Burial - Archangel (2007)

“I have spent many nights in the studio listening to this whole album, it brings back so many memories of when I first started going to Ibiza and I would play his records during the sunset. Again, not quintessential techno but an absolute masterpiece.”


Green Velvet - Stalker (1996)

“I have loved this record for years, played it many times and although its 13:24 long it always amazes me how it doesnt get boring and slams every time”


DVS1 - Black Russian (2014)

“From the first time I heard this I knew it was special and to this day its one of my go to records to put me in a good mood, I love it and it works soooo well on the dancefloor”

Will Clarke Shares His Essential Classic Techno Tracks

This month, we’re celebrating the Latinx artists transforming house and techno music as we know it. Artists on this list originate from Lima, Guadalajara, and Bogota to name a few, but their music transcends borders and even genres. 

These 10 musicians are purveyors of new flavors of house and techno, inspiring their peers in the genre to experiment with sounds, sin miedo. These artists are tastemakers and community builders—working to keep the music scene thriving in their respective cities like Los Angeles and Mexico City, after the past two harrowing years. 

Their projects are infused with the vibrant sounds of colorful indigenous instruments, lyrics of cultural lore, and ancestral wisdom. Get to know these 10 Latinx producers and musicians, you’re sure to see them on the main stage at a festival near you soon enough! 

Sofia Kourtesis 

Born in Lima, Peru, Sofia Kourtesis had a trans-Atlantic education between New York and Hamburg. After organizing many university parties in Berlin, the young jetsetter aptly became a club booker, working some of Hamburg's most renowned clubs such as Prinzenbar, Docks, and Große Freiheit 36. Kourtesis eventually graduated to the mixing deck in Berlin’s Funkhaus and caught the attention of several high-profile fashion houses, like Levis and Adidas. Since then, Kourtesis has played at several festivals and released widely acclaimed projects. Her first two EPs, the 2019 self-titled Sofia Kourtesis and last year’s Sarita Colonia, were both deemed cult hits. Kourtesis’ brand of house music is so uniquely and distinctly hers—much of her work features distorted, harmonized vocals and splintered film samples, expertly weaved into joyful, buoyant house music that only Kourtesis can create. Her latest EP, Fresia Magdalena, is as pulsing as her previous EPs, though more meditative and reflective.

Follow Sofia Kortesis on Instagram | Facebook | Soundcloud

SandJake 

After spending a few years creating and djing independently around Spain, Sandro Merlucci and Jacobo Morata decided to meld their professional projects into one musical persona—Sandjake. The Madrid duo’s discography hovers over tech-house territory, though many of their latest drops have a classic house sound, heavy on drums and synths. 

Follow SandJake on Instagram | Facebook | Soundcloud

Ela Minus 

The Colombian composer is finishing up her BBC Radio 1 residency this Thursday and has recently announced she’ll be supporting Caribou on his 2022 tour. Her work has a consistent theme, that dissent is vital and necessary.  “I want people to feel like they have the power to change the world,” she recently told Pitchfork. The techno producer believes that small acts can lead to big changes. Her debut album, acts of rebellion, is as jarring as it is hopeful. Minus creates powerfully evocative techno that is layered and driving with breathy, minimalistic vocals—it’s a beautiful combination and a unique one at that.

Follow Ela Minus on Instagram | Twitter | Soundcloud

Suricata

26-year-old Mexican musician Suricata, produces house music, big-room, and electronic dance music in Mexico City. He incorporates indigenous sounds into the context of rave culture in Mexico City’s electronic music landscape through his work. “Music is not the expression of ideas but the experience of ideas, that same fact has always made sound the perfect tool for self-transformation,” said the house artist. He works with Drecords.mx in the neighborhood of La Doctores in México City, whose current roster includes other Latinx techno and house acts, Kitschy Kitsch, Prudd, and CasaNegra.

Follow Suricata on Instagram | Soundcloud

Prudd

Prudd has DJed in clubs all around Mexico City, London, Palma de Mallorca, and Tulum within the past decade. His projects are hypnotic, filled with plenty of layers of oscillating deep chords and rhythms. This Latinx DJ, hailing from Guadalajara, México, doesn’t shy away from experimenting slightly into the realms of dub techno and minimal house. His latest EP features expertly integrated sequencers and intensive drum machines to create these warm, memorable techno tracks you won’t readily forget. 

 Follow Prudd on Instagram | Soundcloud

Leimantour 

Born in Monterrey, Mexico, the LA-based producer known as Leimantour brings live instruments to his mixes and does his own vocals and live percussion. Leimantour’s latest projects fluctuate between melodic house & techno, and progressive house. His work is powered by driving basslines and vibrant sounds and melodies that ricochet throughout his projects, inspiring a fresh take on techno and house music, ultimately honing his unique recipe of music. Leimantour is a tour de force, and one musical act not to be missed.

Follow Leimantour on Instagram | Soundcloud

El Irreal Veintiuno

Bryan Dálvez is a Latinx producer and visual designer based in Mexico City. His musical endeavor, El Irreal Veintiuno, hybridizes euphoric sounds with peripheral tribal rhythms to explore new possibilities within contemporary Latinx club music. Dálvez’s music strikes perfectly between ancestral spirit and electronic dance music. He regularly DJs throughout Mexico City and is highly active within the capital’s electronic music scene. His latest releases are introspective and incredibly danceable. Tracks dropped within the last year have ranged from footwork-cumbia anthems to dance-floor ready tribal house cuts, intense and full of personal and mythological narratives.

Follow El Irreal Veintiuno on Instagram | Twitter | Soundcloud

Kaleema

Argentinian violinist, vocalist, and multi-instrumentalist Heidi Lewandowski, known in the Latinx electronic music scene as Kaleema, produces uplifting, experimental electronic music. The classically trained artist released her debut album in 2017, Nómada, which was positively received, in large part for her seamless execution of pairing irresistible hypnotic electronic elements with traditional Latin American instrumentals. Kaleema’s latest studio album, Útera, is an immersive experience—one that is full of sophisticated electronic arrangements that merge into downtempo and elegant, electronic ambient sounds.

Follow Kaleema on Instagram | Twitter

Pelada

Pelada is a Montreal-based electronic duo that produces a blend of techno and club music featuring themes of power, gender, and environmental politics. The duo consists of Tobias Rochman, who produces for the duo, and vocalist Chris Vargas. Their work as Palada spans various styles of dance music from house to cumbia. Vargas’ cutting vocals and biting lyrics sung in Spanish, paired alongside Rochman’s pulsing techno music, create a dynamic listening experience. 

Follow Pelada on Instagram | Twitter

Mitú

Mitú is Colombia’s best electronic music act. The duo, formed by Julián Salazar on synths, and Franklin Tejedor on percussions, create techno with a primal flavor. Salazar played guitar for Bomba Estéreo for over a decade and Tejedor comes from a lineage of San Basilio de Palenque musicians—the town was the first free black town of the new world, and as such was classified by UNESCO as an Intangible Heritage of Humanity. Tejedor previously played drums with Las Alegres Ambulancias, San Basilio de Palenque's most iconic band. The history of their lives and careers have inspired their latest works, which contain overarching punk themes reflective of society’s oppressive structures.

Follow Mitú on Instagram | Twitter

10 Hispanic House & Techno Artists to Watch

Hispanic artists have played a prominent role in dance music since its inception. Their contributions to the culture can’t be understated. Dance music history is synonymous with the rise of Latinx producers in mainstream music. And as music has evolved, those artists have continued to be the backbone of the culture growing into global superstars.

 Hispanic DJs played a vital role in developing dance, hip hop, and pop acts. People like DJ Charlie Chase paved the way for the DJs of today. He was a member of the Bronx hip hop crew The Furious Five. Led by legendary DJ Grandmaster Flash, they were architects of the hip hop movement in the late 70s and early 80s.

David Morales, the DJ turned super-producer, helped change the face of remix culture with his multiple credits for Mariah Carrey. His work on "Fantasy" earned him a GRAMMY. He was one of the first producers to work in parallel with an artist on a remix, completely reworking their music. Before Morales, it was unheard of to have the remixer in the studio with the original artist.

In celebration of Hispanic Heritage Month, we'd like to shine a light on the icons who continue to influence house and techno.

 

Louie Vega 

Bronx-born Luis Ferdinand Vega Jr. was born into a musical family. His dad was a jazz saxophonist, and his uncle was a singer in a salsa band. “Little” Louie started DJing at 13, and over three decades changed the face of dance music countless times. He held residencies at New York institutions like the Sound Factory and Studio 54. Vega was also one-half of three-time Grammy-award-winning duo Masters At Work with Kenny Dope. They became sought-after remixers when dance music was still in its infancy and worked with Michael Jackson, Donna Summer, Earth Wind & Fire, and Madonna. He continues to etch his mark on global dance music culture today. His 2020 release, “Let It Go,” is the perfect example of the Nuyorican Soul sound he established with Kenny Dope in the mid-90s. A masterful blend of classic soul, Latin sensibilities, and house music.

 

 

Oscar G 

Award-winning DJ and producer Oscar G’s sonic footprint has endured for over three decades. The Cuban-American artist kicked off his career as one-half of the group Liberty City. Tracks like "Some Lovin,'" and Interceptor's, "Together," on their label Murk quickly found their way into the sets of Danny Tenaglia and Junior Vasquez. The four-time ASCAP songwriting award winner has officially remixed pop icons like Madonna and Jennifer Lopez. He continues to educate dance floors on the intersection of Latin American music and dance with residencies at Space Miami and Pacha, where he regularly transports dancers on 12-hour marathon journeys. 

 

Rebolledo 

Mexican-born, multimedium artist Rebolledo is noted as a forward-thinking artist and self-described Experience Creator. His creativity expands beyond his bass-forward psychedelic beats. As one of the creative minds behind the Burning Man art car, the Mayan Warrior, he exhibits how music, visual art, and cross-continental collaboration coalesces in one epic ode to movement and sound. He also brings a unique slant on music as part of Pachanga Boys with German producer Superpitcher. Their lilting tribal beats are the perfect engine for sunrises over the Playa. In 2014, FORBES Magazine named him one of 50 Mexican creatives with the most worldwide influence.   

 The Martinez Brothers 

The Martinez Brothers were born for a life of performance. Their father instilled a love for a diverse set of influences early on. He put Steven and Chris in church bands and encouraged them to collaborate with older musicians. Growing up inspired by house, disco, salsa, and soul, their musical selection is always ahead of the curve and versatile. They were noticed early on by New York legend Dennis Ferrer, who became a mentor and signed them to his label Objektivity. In 2011 they began their decade-long residency at DC-10 in Ibiza. They have become fashion icons, producing music for Givenchy and starting their own line with Seth Troxler, Tuskegee. In 2014 they did percussion for the Nile Rodgers album, It’s About Time. They were the only artists not associated with Rodgers band Chic invited to contribute.

 

Luciano

Luciano was born in Switzerland but moved to Chile when his parents divorced at age 11. He carved the path for dance music to flourish in Chile. When Luciano began DJing in the late 90s at 16 years old, rock music was the sound of the clubs. He worked tirelessly to legitimatize techno in Santiago. In 1999 he moved to Europe, just after he DJed for Chile’s installment of Love Parade, proving his years of hard work paid off. His work is heavily influenced by his Hispanic heritage. He incorporates the rhythmic sensibilities of traditional Chilean music into his music, be it minimal techno or tech house. 

 

DJ Sneak

Dj Sneak may be a polarizing figure in house music, but the Puerto Rican artists’ contributions to the culture are clear. Sneak was one of the many Chicago legends who worked the counter at Gramophone Records. He met Cajmere—aka Green Velvet— while working there. He helped launch his career as part of the second wave of house music makers in the Windy City. Sneak has released over 10 albums since 1996. He was name-checked on Daft Punk’s 1997 record, “Teachers.” And went on to write the lyrics for their 1997 release, “Digital Love.” His rapid-fire mixing skills continue to make him a crowd favorite around the world. His infamous I’m A House Gangster brand is all about bringing house music back to its roots and drawing the focus away from the sounds of commercial dance music.

 Ricardo Villalobos

Ricardo Villalobos is a Chilean-born DJ and producer who came up in the early 90s in Germany. While he never envisioned himself as a musician, he eventually forged a path that saw him travel the world studying percussion, a skill he applied to his expansive music. Known for his winding compositions, his gorgeously minimal tracks stretch and swell, incorporating influences of his home country and organic worldly soundscapes. His 2006 single “Fizheuer Zieheuer,” is a 37-minute long epic based on a horn sample from a Roma folk song “Pobjednički Čoček" by Serbian group Blehorkestar Bakija Bakić. It’s evidence that Villalobos is one of the few in dance music to push the envelope. Renowned for melting the dancefloor into a mass of liquid minimal bliss, he was selected as Resident Advisor’s top DJ of the year in both 2008 and 2010.

 

 Hernan Cayetano 

The Colombian-born DJ founded BAUM nightclub in Bogota. Before it closed its doors in 2020, it was Bogota's premiere spot for house and techno. Built in an old home that sat abandoned at the center of the capital city, Cayetano envisioned a nightclub and community building project. The tree growing through the middle of the house became the central focus of the DJ booth. And the community that coalesced around the club was truly unique. Despite the club's closure due to increasing residential complaints, Cayetano continues to produce BAUM Festival, which returns to Bogota on May 21, 2022. As a musician, he blurs the lines between house and techno. He can be found on the exclusive circuit of global festivals captivating dancers with his compelling sound.  

Kenny Dope 

Kenny Dope came up in the 80s DJing for block parties in Brooklyn under the name Masters At Work. He famously let Todd Terry borrow the name to record two releases. Todd returned the favor by letting Kenny borrow a drum machine and introducing him to “Little” Louie Vega. It sparked his career as a producer. His 1994 release under the moniker the Bucketheads, “The Bomb! (These Sounds Fall into My Mind),” is an iconic piece of house music. But his career stretches beyond one hit. He was among the first dance music DJs to be commissioned for remix projects from the major labels and helped pave the way for the remix culture that persists today. His expansive catalog includes remixes for Luther Vandross, Daft Punk, Geroge Benson, and Tito Puente.

Nicola Cruz

Ecuadorian artist was born in France and spent his first three years there until he moved home to Quito. His parents encouraged his musical leanings and gave him a drum kit when he was 12. At 25, he collaborated and toured the US with the iconic Nicolas Jaar. His interest in the oral traditions of his ancestors and the rituals of native South Americans inform his explorative music. Highly organic, intensely creative, and strikingly beautiful, Cruz melds the worlds of the traditional with modern sound design masterfully. His blinding creative output saw him release five albums in the last five years while touring regularly. At only 33 years old, Cruz has a lot of musical experimenting ahead of him.

10 Influential Hispanic House and Techno Artists

So much of our recent chat with Shelley Johannson centered around her musical roots. She opened up about the songs that made her fall in love with dance music and how they’ve made such a lasting emotional impact on her life. Her podcast One-Eighty and her Instagram feed perfectly encapsulate her love for moving forward while never forgetting where she came from. She’s a dance music encyclopedia and regularly shares her knowledge with the community.

We thought it’d be a great move to hit her and have her share her favorite classic dance tracks. It was a welcome trip down memory lane for the Toronto-based techno artist. It was also a reminder of the rich tapestry of sounds that have made up dance music for the last three decades.

Follow Shelly Johannson on Spotify | Instagram | Twitter

And grab a pre-save her upcoming Bedrock Records release here.

 

1. Reese - Rock To The Beat (1989)

Released on Kevin Saunderson’s KMS records this classic Chicago house cut features a slinky soulful vocal from Latonya Saunderson, Kevin’s sister. Saunderson adopted the Reese moniker for the first time on "Just Want Another Chance" in 1987. It was the first time the iconic reese bass was used in dance music, a sound that has gone on to be the foundation of jungle and D&B.

 

2. Age Of Love - The Age Of Love (Jam & Spoon Watch Out for Stella Mix) (1992)

Long before Charlotte DeWitte and chart-topping remake by Charlotte de Witte and Enrico Sangiuliano, this trance classic captivated the murky warehouse dancefloors of the early 90s. The Jam & Spoon remix was released two years after the original and was much more successful than the original. The remix takes its name from Jam El Mar's daughter of the same name. While it’s not the first trance record released, it’s one of the finest examples of early trance.

 

3. Bedrock - For What You Dream Of (1993)

Written by progressive icons John Digweed and Nick Muir, the vocal that carries this rousing emotional beat into the stratosphere was written and performed by noted playwright and vocalist Carol Leeming. It was just one of the many classic dance tunes featured in the movie “Trainspotting.”

 

4. New Order - Confusion (Pump Panel Reconstruction Mix) (1995)

There are few synth riffs more recognizable than the bouncing acid line from this remix. Often mistakenly called “Blood Rave” by The Crystal Method, no such song exists in their catalog. Aside from the distorted vocoded vocal version of the original’s acapella, Pump Panel’s remix bears no resemblance to the original and has become an iconic piece of dance music history all its own. 

 

5. Armand Van Helden - U Don't Know Me (1998)

Armand Van Helden sent German vocalist Duane Harden a loop of samples from “Dance With You” by Carrie Lucas, Plastic Dreams by Jaydee, and oddly a clip from 90s Nickelodeon cartoon Dexters Laboratory, to write a vocal for. What resulted was a disco house tune for anyone that has ever felt judged in their life. Thirty years later it still results in a giant dance floor sing-along.

 

6. Stardust - Music Sounds Better With You (1998)

This is the only release by French band Stardust, made up of Thomas Bangalter of Daft Punk, DJ and producer Alan Braxe, and vocalist Benjamin Diamond. The song was originally performed live by the trio at the legendary Rex nightclub in Paris. The lyrics were co-written by the bandmates, and were originally much longer. The shortened version ended up sounding like a mantra, and when completed the trio felt like they had written something groundbreaking.

 

 

7. Mr. Oizo - Flat Beat (1999)

 

Flat Beat was a wonderfully weird beat written for a loveable orange puppet named Flat Eric. Oizo thought it was just a “stupid loop” that he created solely to make Flat Eric dance in a Levi’s commercial. Oizo didn’t even consider himself a dance music producer at the time, but he unknowingly gave birth to the electro house movement several years before it had a name. 

 

8. ATB - 9PM (Till I Come) (1999)

Taken from German producer ATB’s debut album Movin' Melodies, the iconic pitch-bent synth comes from a pipe organ hook played on a guitar. The sultry suggestive vocal from spanish model Yolanda Rivera’s appearance on “The Way You Make Me Feel” by Ricky Rich and Julio Posadas. According to legend, ATB spent just a bit too much time in a studio session, giving the song it’s name 9PM.

 

 

9. Zombie Nation - Kernkraft 400 (1999)

I bet you thought the name of this song was Zombie Nation, so did I at one time. “Kernkraft 400” had a slithery hook that was inescapable after its release. It echoed from the rave to sports arena’s around the world. It’s seeped so far into the fabric of popular culture that its become genre-less. Elements of breakbeat, trance, and german techno are all heard, but who cares what genre it is, it still slaps.

 

10. Motorcycle - As The Rush Comes (2003) 

Motorcycle was a collaborative effort between Gabriel & Dresden and vocalist Jes. Released at the height of trance’s popularity, it was a crossover hit in the US and UK. It hit #1 on the US Billboard Dance Charts in 2004, remarkable for an underground record in the pre-EDM era. Proving that sometimes the best things in life come when you’re in the flow, the trip says they wrote and recorded the song in one day.

Shelley Johannson's Essential Classic Dance Playlist

House music was born in the 80s but really hit its height in the 90s. As its sonic footprint expanded, many directions of influence emerged. And in the process gave birth to countless genres making it a global phenomenon. At the turn of the decade, the grips of the house movement expanded to the far corners of Europe. Tracks with origins in Chicago, Detroit, and New York were studied, reconstructed, and sampled. And a vast web of subgenres emerged, elevating rave culture. 

The great producers of the 90s are known for successful singles that grew beyond the rave into mainstream radio culture. Many are sampled, covered, and remixed (sometimes ad-nauseam) today. Below you can dig into some of the house tracks that made an impact in the 90s. 

 

Stardust - Music Sounds Better With You (1998)

A collaboration between Thomas Bangalter (1/2 of Daft Punk) and musicians Alan Braxe and Benjamin Diamond, the track samples the disco classic "Fate" by Chaka Khan. It took house into uncharted territory. The simplicity of this beloved feel-good house track is warm, inviting, and timeless.  




Harddrive - Deep Inside (1993) 

Harddrive is made up of artists Louie Vega and Kenny Dope, a powerful and innovative duo championed by the label Strict Rhythm. Released in 1993, its catchy and evocative hook is sampled from Barbara Tucker's 1993 track “Beautiful People. Since the original release, the song has been remixed countless times.  




Cajmere - Coffee Pot (Percolator) (1992) 

Cajmere—aka Curtis A. Jones or Green Velvet— released this iconic track in 1992 during the second wave of Chicago House. This vocal-heavy track is minimal and raw. Composed of a drum machine, Cajmere on the vocals,  and a bed of silly synth sounds it paved the way for a free frame structure not common in house music. It was also a trailblazer for the tougher sounds of ghetto house.   




CeCe Peniston, “Finally” (1991) 

Background singer turned vocal queen Cece Peniston's bright and colorful  “Finally” was a strong debut for the former gospel singer. Considered one of the top house tracks of all time, it showcases Peniston’s bold voice, a euphoric riff, and chorus quintessential of the disco influences in house music. Next time you go to a festival, count how many times you hear that iconic synth line break through the mix. 




Paul Johnson - Get Get Down (1999)

This smashing 1999 release put iconic DJ and Producer Paul Johnson on the global radar. "Get Get Down" is one of those tracks that everyone has heard at least once. It's beyond catchy and a blissfully simple concept. A bangin' 4/4 beat sampling Hamilton Bohannon’s disco hit, "Me And The Gang." The simple lyrics have made this a nostalgic icon of 90s house. 




Daft Punk - Around the World (1997)

Daft Punk dominated the music scene in the 1990’s so of course, they had to be included in this list. The acclaimed duo’s 1997 track, "Around the World" was their introduction to the mainstream. It's a perfect example of Daft Punk’s French house sound. The robot vocals, with a disco boogie bassline, a sprinkling of synth, topped with a catchy hook. You would never guess that it was recorded in a bedroom. Regardless of the DIY recording, this track retooled dance music as we know it and still echoes today.  




Armand Van Helden (feat. Duane Harden) - U Don’t Know Me (1999)

Armand Van Helden's lengthy discography includes remixes for Tori Amos, Brittany Spears, Katy Perry, and Janet Jackson. One of his most iconic tracks hit the airwaves in 1999, sparking a surge of disco house tracks that dominated dance floors. "U Don’t Know Me" has proven to be a timeless, good vibe creator. The groovy four-on-the-floor beat features the rousing soulful vocals of Duane Harden. It easily tugs on the heartstrings, if it doesn't touch you, you may not be alive.




Deee-Light - Groove is in the Heart (1990) 

The pop crossover trio Deee-light is quintessential as it gets. The 1990s hit single “Groove Is In The Heart" is ageless. The song is full of hype, led by the sultry and charismatic vocals of Lady Miss Kier, backed with a playfully funky '70s inspired house groove. Showcasing influences of hip hop and disco it took the clubs by storm and has appeared on multiple greatest dance hits of all-time lists.




 

Crystal Waters, “Gypsy Woman” (1991) 

This memorable track, produced in 1991 by the Basement Boys harmoniously fuses a crispy house beat with Waters' background in Jazz. House was still very much underground when "Gypsy Woman," was released. And despite its crossover success, Waters kept her day job for two years after the record hit the top of the charts. The iconic heavy bass line layered with chunky, shuffling beats and the iconic keyboard riff tells the story of a homeless woman who panhandled in front of the Mayflower Hotel in Washington DC but still wore her makeup so she should look presentable while asking for money. With that, the hook and perspective of the song were crafted, leading to the first socially aware classic house track to top the charts. 

 




Everything But the Girl - Missing (1994)

"Missing" is a song by English popular music duo Everything but the Girl, taken from their eighth studio album Amplified Heart (1994). It was written by band members, Tracey Thorn and Ben Watt. Released in August 1994 as the second single off the album it was an initial failure until their label Atlantic commissioned a remix by Todd Terry. Re-released in 1995 it received worldwide acclaim, peaking at or near the top of the charts in many countries.

10 House Hits That Defined the 90s

The birth of tech house is symbolic of the tenacity of electronic music. Dance music is malleable, constantly changing, and evolving. This is the key to its decades of success.



Tech house is the warm and funky child of dance music’s most revered genres. A union formed in the ’90s, it’s evolved into the sound of mainstage dance music. Like Chicago house, it’s heavy on loops, vocals, and syncopated basslines. It adds the weight of techno’s percussion and sometimes a touch of acid from the Roland TB-303. By merging the symbolic genres of dance music, a whole new scene developed with new creative feasibility.

Where did this all begin?   

Tech house was born in historic London events like The Wiggle, Heart & Soul, The End, and The Drop. The Wiggle—hosted by Terry Francis, Nathan Coles, and “Evil” Eddie Richards—spearheaded the genre’s modern moniker. According to legend Eddie Richards received a mixtape from Mr. C, a resident DJ at The Drop. One side was labeled “Tech,” and the other side “House.”

Swag Records, a record store located in Croyden, London, and owned by the late Liz Edwards adopted the term and became a hub for the burgeoning subgenre. Swag Records (which opened in 1993) had an in-house record label that birthed a litany of sub-labels that helped form the foundation for early house music. Funknose, Surreal, London Housing Benefit, Pirate Radio, and Uhuru Beats all had a hand in expanding the UK house sound.

The staff at Swag was just as vital to the proliferation of the genre. Carl Cox and Colin Dale may have been its most well-known employees. Producers and DJs like Terry Francis, Jazzy M, Archticht of French Touch, Richard Grey, and Grant Dell also served behind the counter. 

Tech house steamrolled the UK scene. Chicago had house, Detroit had techno, London now had (another) unique sound that defined the dance floor. The emerging genre’s goal was to spotlight the unique local approach to DJing. UK ravers and clubbers had already responded positively to the harder edge of acid house and jungle. Tech house found the sweet spot between heavy and funky.

Labels in the United Kingdom dominated the early days of tech house and were instrumental in defining its sonic footprint. Songs like “Blue Wig” by Terry Francis and Giddy Jackson, “Loop,” by LFO and F.U.S.E. (with Richie Hawtin on editing), and “Tech House” by Mr. C are some of the greatest tracks to come from those halcyon days.

As the ‘90s ebbed into the aughts, tech house drowned under the rise of progressive house and minimal techno. It wasn’t until 2005 when the synth-based, Euro-flavored sound began to prove popular again. M.A.N.D.Y. and Booka Shade’s 2005 classic “Body Language” beautifully reflects the resurgence of the sound with deep clarity. Tech house didn't hit its stride until 2010, though.  

The New Kids on the Block

Labels like Jamie Jones’ Hot Creations, founded in 2010, began to redefine and popularize tech house to the masses. Artists like Steve Lawler, Lee Foss, Miguel Campbell, Solomun, and Marco Carola were responsible for the new class of tech house. Production techniques had progressed exponentially since the early days, and dance music was at the advent of streaming, so tech house could now reach a global audience.

The summer of 2011 marked a turning point. The Jamie Jones remix of “Hungry For The Power” by Azari & III and “Around (Solomun Vox Mix)” by Noir & Haze dominated global dance floors. Even with EDM looming large in the public eye, it felt like a new beginning for tech house.   

In the past decade, dozens of tech house-leaning DJs and producers have risen to prominence and become household names. As a result, Tech house has started to eclipse harder-edged EDM styles as the most popular (or hated) genre of electronic music.

Dubfire, Pan-Pot, Hot Since 82, Fisher, and John Summit are just a small sample of a much wider and diffuse scene that exists everywhere. Most global electronic festivals have some, if not the majority of, real estate devoted to tech house, as it has become the defining sound of the moment in modern electronic music.  

The true legacy of tech house is, much like its original spirit, something both subtle and special. DJs reacting to audiences defined the genre. It was born in a community of dancers, DJs, producers, record shops, and promoters, created in the ashes of genres before it.