Game recognizes game. So it’s easy to see why dance music’s most well-known representative, Diplo, would tap the talents of HoneyLuv for an official remix of his album standout, “Waiting For You.” Once a swirling psychedelic piece, this deep-rooted tune gets a club-ready makeover ready for the darkest dance floors of the world. Thumping bass kicks, bone-rattling subs, and vocals sliced into siren spells give this track an injection of tech house energy in a way that only HoneLuv can.







Taylor Character (aka HoneyLuv) has exploded onto the scene in less than four years. Character turned her sights on music while stationed in Los Angles under the United States Navy and took to the decks like a fish to water. Raised by an R&B-loving father and a house music-loving mother, music flowed through her veins. Now tearing across festivals like Coachella, Outside Lands, Imagine Music Festival, Escape Halloween, and performing alongside artists like Calvin Harris (in Ibiza no less!), FISHER, and Aluna, her house music debut on Twitch in 2020 seems eons in the past.



“Waiting For You” comes off Diplo’s self-titled fourth album. Released in March of 2022. It featured appearances from a wealth of artists, including Busta Rhymes, Leon Bridges, Amtrac, Paul Woolford, and Sidepiece. August saw the release of Diplo (Deluxe), the extended version featuring remixes from Gray Area favorites, including LP Giobbi, John Summit, Soulwax, and Purple Disco Machine.



Follow HoneyLuv on Instagram | Facebook | Twitter

HoneyLuv Boosts The Bass On Remix Of Diplo’s “Waiting For You”

Labor Day weekend is almost here and if you live in New York City, that means the annual pilgrimage of New York festival-goers is upon us! Electric Zoo, founded by Made Event, is NYC’s first and largest electronic music festival with a long-standing history of stacked lineups, meticulous stage designs, and innovative themes. The festival brand has even branched out internationally in cities like Mexico City, Tokyo, and Shanghai.




In its inaugural year 2009, the state of electronic music in the United States was at a much different point than Europe. Inspired by dance music events overseas, event organizers Mike Bindra and Laura de Palma created a weekend-long EDM festival that showcased top-notch artists from across various subgenres, a “literal ‘zoo’ of electronic music” as they put it. Tucked away in the wilderness of Randall’s Island, festival-goers can escape the hustle and bustle of New York City and find themselves in pure bliss. In 2009, most artists only ever performed in dark nightclubs. Attendees were curious to see how that would affect the outdoor, open-air environment Electric Zoo was to offer.






“We’re going to have four different environments. We’re going to have an open-air main stage, which we’ve had experience with before in the past, and it’s worked very well.” Laura de Palma said of the first Electric Zoo. “And in the tented environments, we’ll have the opportunity to create an experience-not like a club-but a unique experience within a unique environment,”




The first-ever rendition of Electric Zoo was a great success, reeling in about 26,000 attendees over two days. It also sparked a newfound excitement for the dance music scene in America.




Electric Zoo expanded to three days in 2011, and 2012 was their biggest turnout yet with 85,000 festival-goers. In 2015, Tomorrowland organizers ID&T announced their creative partnership with EZoo. Billed as “Electric Zoo Transformed,” they were looking for redemption as the festival’s third day was canceled the previous two years due to drug-related deaths and severe weather. The festival experience stood true to its title for the production was completely refurbished, featuring a massive, phoenix-inspired main stage, Riverside stage, Hilltop Arena, and the Sunday School tent. From 2015 on, Electric Zoo provided a more immersive, zoo-themed environment topped with brand new animalistic stage designs.






Electric Zoo 2016: Wild Island

For its eighth anniversary, Electric Zoo turned the festival experience up a notch, impressing Zoo-attendees with an increased emphasis on its stage designs, epic art installations, and astounding performance artists. Transforming Randall’s Island into a literal “Wild Island” festival-goers could explore five unique stages: Temple of the Cobra main stage, Riverside, Sunday School Grove which brought Ibiza institution ANTS to the US for the first time, the Treehouse, and a re-designed Hilltop as the Crystal Cave.








Electric Zoo 2017: The 6th Boro

Electric Zoo stepped up their social media game for The 6th Boro, as they revealed the newly designed stages on their YouTube channel. The video offered festival-goers a look inside the minds of the creative directors.



Electric Zoo creative director Jeff Wright explained that they were, “creating stages that allow you to get lost in the moment, feel like you’re in another place, have an experience of awe, and make memories that last a lifetime, those are the things that are important to us.”



The 2017 edition featured a jaw-dropping elephant mainstage named the “Elephant’s Roar,” an aquarium-themed Riverside stage renamed the “Undersea Dome,” Hilltop reconstructed as the “6th Boro Station,” and was the first time European legends Awakenings and elrow touched down in America, a real-life representation of the renowned warehouse district named “6th Boro Industrial Zone,” and lastly “6 Pointz” which offered local/underground DJ’s the chance to perform.







Electric Zoo 2018: The Big 10

2018 was Electric Zoo’s tenth birthday, and what better way to celebrate than to throw their biggest festival yet? Hosting more than 100,000 attendees, the three-day festival was jam-packed with world-renowned DJ’s and production never before seen in EZoo history. However, they let their stages be a mystery, only those who attended were treated with the official reveal. Electric Zoo also spoiled their guests with curated stages throughout the weekend. The Sunday School Grove featured Anna Lunoe’s Beats 1 Radio Show Hyperhouse, AC Slater’s Night Bass, and Berlin techno institution HYTE. The Hilltop Arena was handed over to Zeds Dead’s Deadbeats on Saturday, and Brownies & Lemonade took over on Sunday.




Electric Zoo 2019: Evolved

Inspired by the metamorphosis of a caterpillar into a butterfly, Electric Zoo: Evolved was the pinnacle of the festival’s evolution. Once again taking to social media for a glimpse of the main stage, festival-goers got a sneak peak of the “tallest and widest mainstage ever” featuring the mesmerizing New York City skyline. They also announced five prominent stage takeovers including DESTRUCTO’s brand All My Friends, the return of Brownies & Lemonade, Gud Vibrations, Eric Prydz’s Pryda Arena, and Seven Lions’ Ophelia Records.







Electric Zoo 2021: Supernaturals

After the 2020 cancellation due to the COVID pandemic, Electric Zoo: Supernaturals had to take extra precautions such as entry requirements and cleaning policies to ensure the safety of all zoo-attendees. New York City was also the direct target of Hurricane Ida just a few days before the festival, so there must have been some “supernatural” energy protecting EZoo. Taking a step away from the animal-inspired stages, the supernatural-themed stage designs did not disappoint. The 2021 edition featured “The Den” which showcased the top house and techno acts, “The Gateway” with melodic trance and melodic bass acts, “The Teleporter” and last but not least, the main stage renamed “The Hive.” Even after battling a pandemic and a hurricane, Electric Zoo: Supernaturals lived to tell the tale.




Electric Zoo 3.0

Keeping up with the ever-evolving state of technology, the 2022 edition of Electric Zoo presents 3.0. In response to previous concerns, the newly reconfigured festival grounds provide an increase in VIP areas and free water stations, and also address their solution for sound bleed issues.


“Think of it as a system update. The value and importance of community is higher than ever, crypto has caught up with cash, and digital wallets are becoming more practical than the leather ones. It’s the year of advancement – and EZoo is entirely here for it.” - EZoo



Hyped to be the most immersive outdoor festival experience New York City has ever seen, they revealed the next generation of stages. “Antheon: The Temple of Anthems” has taken on mainstage duties, “The Landing” which will provide festival-goers with an interactive visual-audio environment, “Levitron” an otherworldly, deep space experience, and “Morphosis” the new home for house music.














The Evolution of Electric Zoo

In a festival market that insists on booking almost the same artists for every event every year, Dimensions is leading the charge towards a truly unique musical experience. Check out ten standout artists who will deliver innovative and exciting sounds at this year’s edition of the festival off the shores of the Adriatic Sea.




Adam Beyer, Amelie Lens, Nicole Moudaber, Green Velvet, Dubfire, ANNA. No, this is not just a list of outstanding house and techno artists who have made indelible contributions to the culture. This is a list of artists who are on practically every festival lineup year after year.




Overall, it’s a good thing that house and techno are becoming more popular on a global scale. A culture once remanded to the custody of dingy warehouses and plagued by voracious and capricious gatekeepers who would prefer that four-on-the-floor beats never made it to the airwaves is now making it big.




But as with every significant change, there is give and take. It’s been great to see the global house and techno community take so much. So many more events are happening, and so many more eager fans can enjoy this incredible culture.




It’s the give that is lacking a bit, unfortunately. As a result of this rapid ascension, lineups are becoming more and more similar. Avid festival-goers have a chance to see the same artists anywhere five or ten times, and this lack of diversity also permeates into gender identity and race.




This is where Dimensions stands apart. Over 100 artists are performing, and the genre and human diversity are simply unmatched.




Dubstep, breaks, leftfield, electro, and live performances will all come together at the Garden Resort in Tisno, Croatia, September 1-5.




Every festival in the world needs to make a profit to continue through the years, and most rely on booking familiar artists to make that happen.




By contrast, Dimensions relies on curating a sonic experience that pushes boundaries to sustain itself. As a result, it attracts people looking for something fresh, something different, and those people will leave with a whole playlist of new favorite artists.




It’s very likely these ten will be on that playlist.




Mala

It’s not common to see a name like Mala alongside Helena Hauff and DVS1 on any lineup, but there is nothing common about Dimensions. Mala is the boss of the label Deep Medi Musik which recently celebrated 15 years of dubstep and bass-heavy releases, and Mala will undoubtedly dish out those sounds in full force at Dimensions.




Follow Mala on Facebook | Instagram | Twitter







Tama Sumo

There is no dance music fan too good for Berghain. That’s like a football fan saying they’re too good to watch a match at Wembley Stadium. So when resident DJs from Berghain play festivals, it’s always good to check them out. However, where most festivals book Ben Klock and Marcel Dettmann, Dimensions booked Tama Sumo. She’s about to take the dancefloor into the darkest depths of Berlin techno.




Follow Tama Sumo on Twitter







Dr. Banana

Despite the comical name, Dr. Banana is not monkeying around. Instead, he is a pure DJ who primarily spins on vinyl and has some of the last year's most celebrated Boiler Room sets. Without productions to weigh him down, his sets can go anywhere, and there’s no telling where he’ll go at Dimensions when he hosts his own stage with other notable artists like Jeremy Sylvester and Eliza Rose.




Follow Dr. Banana




D. Tiffany

Coming off the release of her latest album, Edge Of Innocence, the Canadian sensation D. Tiffany will bring her eclectic mix of house, techno, breaks, and LoFi to Dimensions. The album is also a collaboration with Roza Terenzi, and the two will also share their set at Dimensions.




Follow D. Tiffany on Facebook | Instagram




Youandewan

On the final day of Dimensions, Berlin’s own Youandewan will play two sets. One on the beach stage at the festival and the other during the boat party hosted by his label, Small Hours. Surrounded by the Adriatic's serene, crystal clear waters, both sets are the perfect way for people coming off an epic weekend of partying to soak up some serenity. There is no one better to curate such calm energy than the jazzy, funky sounds of Youandewan.




Follow Youandewan on Facebook | Instagram | Twitter




Gene On Earth

This year, a cartoon man who resembles a combination of Mario and the Pip Boy from the Fallout game series slowly inhabited the world of house and techno, and his name is Gene On Earth. With a few sparse singles released beginning in March, GOE soon released his debut album, Time On The Vine, this past June, and it is chalked full of groovy minimal soundscapes overlaid with all types of beats. When GOE plays at Dimensions, there likely won’t be a hologram of his cartoon persona, but his music will provide the wonder and colors of an animated world.




Follow Gene On Earth on Facebook | Instagram




Batu

Of the hundreds of artists on the Dimensions lineup, Batu is certainly one of the more active in terms of touring. This year alone, he’s played well-known niche festivals around Europe like Dekmantel, Freerotation, Outlook, and Sónar, and his music makes it clear why he is in demand. Take his latest album, Opal. The LP amalgamizes ambient, IDM, breaks, dubstep, and more into an aural journey that keeps listeners guessing with every new track. Quite a similar experience to one of his sets.




Follow Batu on Facebook | Instagram | Twitter







DMX Krew Live

Despite the name, DMX Krew is not a crew of people. It’s just one guy named Edward Upton, and he’s going to take Dimensions through an epic and energetic foray into electro. Because it’s a live set, it’s like he’s showing the crowd exactly what living inside a computer would sound like.




Follow DMX Krew on Instagram







ISAbella

ISAbella is an artist who goes full throttle from right out the gate. Her production career began in 2020 with her EP Audio Exotica, and immediately it became clear she was going to explore the furthest reaches of dance music with house, techno, minimal, melodic, and more all crammed into one release. Around the same time, she co-founded MARICAS Records, which just released its first compilation that includes all those sounds and other artists playing Dimensions like D. Tiffany.




Follow ISABella on Facebook | Instagram







Jossy Mitsu

First cutting her teeth on the decks at 18, Jossy Mitsu has shared her exponential talent regularly on the London-based tastemaking radio station, Rinse FM. Catch her playing anything and everything every Wednesday on the station. In truth, her widespread style is an accurate reflection of what the Dimensions 2022 lineup will offer.




Follow Jossy Mitsu on Facebook | Instagram | Twitter






10 Must See Artists at Dimensions Croatia

Gray Area founder Michael Julian Kovadlo discusses the launch of Debut, a new event series aimed at creating value for the entire dance music community.




No single person or descriptor captures the breadth and beauty of the house music community. For a relatively young genre, born in Chicago some 40-odd years ago, house has permeated many corners of the planet in less than half a century.




House is a feeling. It speaks to the soul. Our community is a vibrant, vast, and wonderfully diverse tapestry woven together under the sonic banner of the genre that we love.




Gray Area’s mission has always been to unite the international house music community, bringing together all its sub-genres and sub-cultures to unify the dance floor. In doing so, creating an authentic, sustainable, and close-knit global house music community means building an ecosystem of value for everyone. From promoters to venues, fans to artists. All from the ground-up.




So, we’ve launched a new venture to help us further that mission.




Brought to you by Gray Area, Debut is a new series that expands upon our commitment to creating an even more exciting and curious community. The concept? Debut will bring established and up-and-coming artists to new cities they have never performed in or headlined. It will help expand their fan base and, in turn, allow fans to discover some of the most unique and energizing artists making a name for themselves worldwide.




Why are we investing our efforts in launching this series? Because we’ve seen the beauty, symbiosis, and immense value created when the house music community comes together and opens itself to collaboration.




Debut, by design, is meant for discovery. It’s a timeless concept. An artist always remembers their first time playing in a new market. And fans often remember the first time they see a new artist live who they’ll eventually come to love.




I’ve been working in the music industry, helping “debut” artists for over 25 years. I still vividly remember the raw energy of the dancefloor for Gabriel & Dresden’s first big show in New York at Club Spirit in 2005. Or, in 2001, when Tiësto placed a DJ booth in the middle of the dancefloor at Exit and took the crowd on a powerful journey, culminating with his remix of Sarah McLachlan’s “Silence.” I was fortunate to be a part of the organizing team for these, and many other shows throughout the years. Besides a long list of artists we’ve introduced to new fans, we were also honored to be trusted debuting the very first proper editions of event brands in the U.S, including our beloved elrow and Awakenings.




I believe that exposing people to new experiences and music is just as exciting and relevant today as it was in the 2000s and 2010s—and it creates value for everyone involved.




First and foremost, Debut is a vessel for artists and venues to take risks and experiment. Artists and their teams sometimes prioritize booking shows at “soft ticket” venues (venues with a natural and consistent audience), only touring to new cities and playing at new venues when there is a guaranteed crowd to fill the show. Debut, backed by the power of the Gray Area network, creates an ecosystem of support that will help catalyze and cross-pollinate creative talent in new cities.




Secondly, Debut provides a unique value proposition for “hard ticket” venues that may not have as naturally sticky of a fan base. The more first-time artists a venue can book and sell out, the more its natural fan base will grow—bolstering its reputation, helping sell more tickets, and building a broader and stronger base that helps the venue fill out its event calendar.




This is the intrinsic value of Debut. It’s not a marketing tactic or arbitrary name, it’s core to who we are at Gray Area. I genuinely believe that when you bring new experiences and artists to new cities, it matters. By helping artists find new fans, we are building a bigger house music ecosystem for all.




Though we’re just now formalizing the Debut concept, Gray Area has already been debuting artists in new cities this year, including Miss Monique and Illyus & Barrientos. Over the next three months, we have upcoming Debut shows in New York with incredible artists like SHIMZA, Jaguar, PARTIBOI69, Shermanology, and a tastemaking Dutch label, PIV Records. We plan to collaborate with our friends in other markets to bring Debut to many cities around the world.




Today, it’s hard to imagine a world where everyone “wins.” Venues launch new parties weekly. Promoters fight over ticket sales. DJs jockey for a bigger font size on the flyer. But as the saying goes, a rising tide lifts all boats. We must remember what the dance music community has always been about: unity.




When we build a bigger dance floor, everyone wins.

[Op-Ed] Building a Bolder and More Vibrant House Music Ecosystem, For All

Merely a decade ago, Tisno was a quaint town on the idyllic and vibrant Croatian coast. Situated at the narrow strait separating the island of Murter from the mainland, the municipality of Tisno—approximately an hour by car from the country’s second-largest city, Split—is home to just over 3,000 permanent residents. The town boasts an alluring rocky landscape carpeted with pines and olive trees, nestled alongside crystal-blue, sea-urchin-packed waters (don’t go within your shoes) within view of the nearby Dalmatian islands.




In recent years, this Adriatic gem has sparkled even brighter, beckoning music lovers from around the world. Today, Tisno hosts a continuous carousel of internationally acclaimed (boutique) festivals throughout the summer—including SuncéBeat, Love International, and Dimensions—where the number of weekly ticket holders often eclipses the town's permanent population.




Tisno's ascent into a globally renowned dance music destination is no accident. It’s due, in large part, to August’s annual flagship gathering from one of house music's most respected brands, Defected Records.

Almost every house-head on earth knows the name Defected. In 2022, the London-based label, founded by industry titan Simon Dunmore, celebrated its 23rd anniversary and sixth time returning to The Garden Resort for its summertime pièce de résistance, Defected Croatia.


The musical juggernaut that is Defected Records is perhaps best known for its expertly curated catalog of house heaters and classics, collection of tastemaking sub-labels encompassing the breadth of house music, and stable of artists ranging from the most legendary to the most in-demand.



But Defected has struck gold in Croatia by curating an atmosphere that inverts the very elements of its global success, fostering intimacy, coziness, and a small, self-sustaining community born and raised under the proud banner of house music.




Most dance music fans have likely seen Defected's slogan, "In Our House We Are All Equal,” plastered across nearly every element of the label’s marketing, from merch to digital graphics to social media. For Defected, equality isn’t corporate lip service. It’s an ethos that permeates every moment of the 5,000-person festival.









Defected Croatia eschews hierarchy of all kinds. There is no VIP. There are no headliners in the traditional sense. Just a constant drumbeat of house, techno, and disco for six days and seven nights — every day from the moment the party kicks off at the main site (The Garden Resort) in the afternoon until the next day’s sunrise comes splitting through pines at the iconic Barbarella’s Discotheque (the official afterparty location).




This year, the self-described week of "house hedonism” saw Vintage Culture, Danny Tenaglia, Honey Dijon, Jayda G, Louie Vega, LP Giobbi and more than 100 other established and up-and-coming artists grace its stages and boat parties.




The pure cache of these names might typically conjure images of colossal festival stages and shoulder-to-shoulder, sardine-like crowds. But the secret sauce of Defected Croatia is the intimate, inclusive community it fosters and the somewhat blurred lines between fans and artists.









At any time, on a never-overly-crowded, never-pushy dancefloor, festivalgoers can find themselves moving and grooving next to Natasha Diggs, being summoned onto a boat party by Melvo Baptiste, snapping a selfie with Simon Dunmore by the merch tent, or casually standing in line for food next to any number house music legends. One might even find themselves kicking it with Defected dancers, DJs, and off-the-clock bartenders at the beachside after-after party, as the sun begins to creep higher into the sky.




But wherever you find yourself at Defected, rest assured that you’ll be immersed in a diverse, close-knit community of responsible partiers and music lovers who, above all, are looking out for the well-being and safety of one another.









Defected’s various imprints (Glitterbox, Classic Music Company, Faith, Sondela, to name a few) provide a structure and natural flow to the week. These imprints rotate hosting takeovers of the Garden Resort's four stages (Main Stage, Beach Stage, Olive Grove, and Press Play) and Barbarella’s (about a 20-minute drive from the main site).




This year, Thursday kicked off with a bright and energetic bang with Defected residents Sam Divine and Gorgon City lighting up the Main Stage, while Glitterbox’s Dave Lee ZR offered a late-night disco masterclass to an eager crowd. By Friday, the festival was in full swing. Amsterdam-based PIV Records, founded by DJ and producer Prunk, took fans on all night soulful house journey at the Olive Grove, ending with an astounding six way “B2B2B2B2B2B” sunrise set from the entire PIV artist lineup.









Saturday saw one of week's highlights: the first-ever day-an-night takeover of Barbarella’s—all in praise and celebration of the birth place of techno, Detroit. Detroit's DJ Holographic and Rimarkable (Defected Radio Show host) offered two beautifully intense, rhythmic sets paying homage to their native city, the birthplace of Motown and techno music. Sunday was a kaleidoscopic, glitter-fueled dream with the Glitterbox takeover of Defected’s Main Stage, featuring soulful house masters Kiddy Smile and Bob Sinclar.




The final nights were some of the biggest. On Monday, Classic Music Company took control of the Main Stage. Bulgarian DJ KiNK stunned the crowd with a set that included including live keyboard, synths, and digital air drums. The performance was bookended by sets from globally renowned artists Honey Dijon and Luke Solomon. They were riding the wave of the release of Beyoncé Renaissance, for which the long-time business partners and friends co-produced two tracks. The final day, the festival chartered a boat party featuring some of Defected 2022’s “Unsung Heroes,” winners of the label's competition to give up-and-coming a yearlong residency.








As the week wrapped in Tisno, the energy remained high. There was a pervasive atmosphere that, for many, the this was less of a “goodbye” and more of a "see you later.” And as the DJs took to the decks for the festival’s final sets, a single word was rolling off everyone’s tongues: “magic."




It’s clear: Defected Croatia isn’t just a facilitator of sonic hedonism but of freedom and unadulterated creativity. Like clockwork every year, it creates the physical, logistical, and psychological safety for true authenticity and adventure, calling to mind the words of Frankie Knuckles: “I am definitely in the right place doing the right things. These are the rewards.”





























Defected Croatia: A Blueprint for Responsible and Inclusive Partying  

September brings lower temperatures on the White Island, but party season is far from over. Everything feels more laid back with a little more elbow room in the clubs and at the beaches and coves. However, there are still plenty of options to enjoy from dusk-till-dawn with the best soundtrack.



Eivissa Jazz Festival | Ibiza Town | From August 29-September 3

Eivissa Jazz brings a majestic open-air festival that offers a program of concerts showcasing local and national talent, as well as artists from all over the world. There are some activities that can be enjoyed for free and some other events that require advanced booking. The Eivissa Jazz Festival celebrates its 34th edition and invites not just fans of jazz—welcoming them to discover the new talents of the island and national scenes—but also all lovers of good live music.



The first day of the festival is held in the Plaza de Sotavila and features a screening of The Glenn Miller Story. Also free of charge are the activities on Tuesday and Wednesday night that will take place at the Reina Sofía Park. During the rest of the days, jazz concerts are held in the beautiful Bastion of Saint Lucia in Dalt Vila at an affordable price. Eivissa Jazz infects the town with performances on different stages and marching bands to accompany people devoted to music for an entire week. Visit the town any of these days and enjoy jazz at its peak, as it has helped influence so much of modern music. Book ahead your tickets to enjoy Eivissa Jazz concerts



Follow Eivissa Jazz on Twitter| Instagram |Facebook





Pyramid Daytime | Cova Santa | Wednesday, August 31

Amnesia’s flagship party is stopping one more time at Cova Santa for a daytime event. Pyramid lands at the fully open dancefloor space for a final party of the season, welcoming Maceo Plex & Friends to the decks. Eric Estornel, better known by his stage names Maceo Plex, Maetrick, or Mariel Ito, is not new to the island. He has played at all the megaclubs and even held his own residency , Mosaic by Maceo, at Pacha from 2016-2018. Over the past decade, Maceo Plex has become a dominating force in the world of underground dance music. His music delivers a unique sound between deep house, electr, techno, progressive house, and beyond. This is a great chance to enjoy Pyramid’s energy with a true heavyweight as the sun sets between the hills of Sant Josep!Get tickets for Pyramid Daytime with Maceo Plex & Friends this Wednesday



Follow Maceo Plex on Twitter| Instagram | SoundCloud





EXHALE Closing Party | DC10 | Wednesday, August 31

Amelie Lens’ mini residency at DC10 concludes this Wednesday night after four successful weeks at the notorious clubbing venue. The Belgian DJ, producer, and EXHALE brand owner is ready to drop her energetic groovy techno at the Salinas hotspot for the last time this season. For the closing party, Lens invites world-class techno DJs Pan-Pot, Chris Liebing, Ellen Allien, and more to finish her debut residency on the White Island. The Lenske label boss aims to reach a wider audience with pure techno through EXHALE and keep on building a strong community. “I definitely think EXHALE brings a sound that is missing. Techno can be happy, too—come to EXHALE to find out!” says Lens.

Join Amelie Lens and guests for the Exhale Closing party at DC10



Follow Amelie Lens on Twitter| Instagram | SoundCloud





Rock Nights | Pikes Ibiza | Thursday, September 1

Since its inception in 2005, Rock Nights is a special party, presenting this season a Western Hollywood ambiance under the theme “Midnight Cowboys.” The event takes place inthe amazing and charming Pikes, made up of quirky corners decorated with extravagant and entertaining elements.


Rock Nights offers an original musical selection, very different from most of Ibiza's musical offerings. That is why this party is one of the favorites for residents of the island. In addition, the atmosphere is so much fun and the tradition is that the artists from Dorado Live Shows (featuring Spanish singer Depedro this Thursday), then go to dance there with the public or even perform alongside Rock Night’s resident DJs, Lola Von Dage and Colin Peters.

Register for the guest list and join a unique gathering at Pikes



Follow Rock Nights on Twitter| Instagram | Facebook




Calvin Harris Closing Party | Ushuaïa Ibiza| Friday, September 2

A truly extraordinary open-air experience comes to an end with one of the world's most distinguished DJs as headliner. Calvin Harris finalizes the season this Friday after his 14-week run at the Platja D’en Bossa venue. On this special occasion, Harris will be supported by Billboard chart-topper MK, the renowned American producer and DJ who is well-known for his warm, emotive house sounds, plus additional artists. The venue will go wild for the last time with mind-blowing visuals announcing Calvin’s arrival on stage, who will deliver a mix of his own biggest hits along with sounds from his latest album, Funk Wav Bounces Vol. 2(released less than a month ago) and all-time dance music classics till Ushuaïa closes its doors at midnight. Come to celebrate what has been Harris’ greatest season to date in Ibiza!Get your tickets for Calvin Harris closing party at Ushuaïa

Follow Calvin Harris on Twitter| Instagram | SoundCloud





Paul Kalkbrenner | Ushuaïa Ibiza| Sunday, September 4

A titan of techno, who has become a regular at Ushuaïa’s opening and closing parties, is returning to Ibiza for the last time this summer. Paul Kalkbrenner’s own sound at the open-air venue is a match made in heaven and he will perform his legendary live set from day-to-night accompanied by German innovative artist and live music maestro Stephan Bodzin, with support coming from HOSH (delivering a DJ set). His iconic hit “Sky and Sand” holds the record for remaining #1 on the charts in Germany for 121 weeks, a song that you will definitely dance to if you are there.


Book your tickets to experience these German titans of techno at Ushuaïa



Follow Paul Kalkbrenner on Twitter| Instagram | SoundCloud







Ibiza Selects (August 29-September 4)

The women of progressive house and melodic techno are a formidable bunch. Not only are they inspired, but they’re innovative, evocative, and impressively industrious. These women are from all over the world and come from a menagerie of influence and inspiration. If it were possible, we’d celebrate every single one of them.




The 11 women on our list are an inspiration to fellow females and all burgeoning young producers in the genre. Between the lot of them, they’ve graced the biggest festival stages in the world, released magnificent music on the industry’s biggest labels, and made a name for themselves doing what they love. Let’s hear it for the girls.




1. Miss Monique

The eclectic mix of techno, trance, and progressive house that Miss Monique creates has racked up a severe online fanbase. The producer turned to her YouTube channel through the pandemic to connect with fans and play music. There, her Livestream sets have racked up millions of hits. She also has a fan-favorite podcast, Mind Games, where listeners are treated to a fresh DJ set every month.




2. Gioli and Assia

As two multi-faceted, creative women, Giolì & Assia started as an artist/manager duo. Assia was the practical, get-it-done accomplice to Giolì’s burgeoning sound as a DJ and producer. After opening their label, Diesis Records, and finally landing on a clear direction forward as the melodic techno / electro-pop duo Giolì & Assia. Their music is often flavored with a bit of the Middle East, adding hand pans, steel drums, and other fun instruments.






3. Korolova

Born in Kyiv, Olga Korolova is a rising superstar in melodic techno. Her visually stunning YouTube videos and intimate performances have earned her a mass of dedicated fans and critical acclaim. Melodic techno is a somewhat new direction for Ukranian artist who started her career in EDM. She feels that she's truly found her dance music calling now, evidenced by her domination of the club charts and support from industry luminaries. She even recently went back to back with Gordo on one of her livestreams.




4. Maya Jane Coles

Maya Jane Coles is usually involved in every aspect of her work. From writing, production, engineering, mixing, and even cover design. She has a vision. The London-based producer / DJ has collected a staggering three million followers on Soundcloud, 20+ magazine covers, and countless worldwide fans thanks to her effortlessly chic take on house and techno.




5. Sinca

Sinca has a multicultural and vastly artistic background. The Montreal native is a fast-emerging DJ and producer whose already been named a rising star in her field. Her debut release, the instrumental progressive house track “Mancora,” was picked up by UK label and global tastemaker Anjunabeats.




6. Anfisa Letyago

Anfisa Letyago debuted on the iconic Dutch label Spinnin’ Records in 2016 with “Stop Talking.” Her style is a mix between hard-hitting melodic techno and deep house grooves. In 2021, she officially launched her label, N:S:DA. Toss in a BBC Radio 1 Residency, an official Moby remix, and a digital Mixmag cover, and it’s apparent Anfisa is here to stay.




7. Giorgia Angiuli

Giorgia Angiuli is a classically trained musician, composer, and multi-instrumentalist from Italy. Through her solo productions, she moves seamlessly between techno, house, and electro-pop. She’s also a big fan of toys. In addition to her dreamy vocals, during her live sets, she uses a theremin, toy flute, sax, trumpets, and just about any instrumental toy she can get her hands on.




8. Eli & Fur

This London-based duo created a truly mesmerizing sound. Eli & Fur marry mysteriously moody melodies with evocative vocals and cascading synths with a flair for dark, emotive dance anthems. With a steady stream of releases on their own NYX Music and seminal imprints like Anjunadeep and Sony RCA, they’ll undoubtedly continue to mesmerize dancefloors for years to come.




9. Dinka

Tamara Hunkeler, better known by her stage name Dinka, describes her sound as “Multicultural Dance Music.” The Swiss DJ taps influence from world music to add to her uplifting brand of progressive house. From 2007 - 2017 she couldn’t be stopped, snagging deals with both Anjunabeats and A State of Trance. Though we haven’t heard much from her since then, she’s still earned a well-deserved spot at the top.






10. Eleonora

The genre palette of Eleonora almost reads like a drink menu: dark pop, cold wave, downtempo, and trip-hop. And much like a good bartender, she blends it all seamlessly together. Her chill variety of techno lends itself well to her sultry voice, as apparent in tracks like “Awake.” Besides her experimental electro, she’s also fronted several inspired jazz projects.



10 Women of Progressive House and Melodic Techno

It is no surprise to learn that Shimza’s fans have nicknamed him the “Effects Master.” Deftly layering echo, reverb, and more onto enchanting vocals and hypnotic beats, his mix for Defected explains his rapid success in the global Afro house scene.









Hailing from Tembisa, South Africa, Shimza – aka Ashley Raphala – first showed musical prowess at 15. In 2013, Shimza was signed to Black Cofee's Soulistic Music record label. The release of his full-length album, Shimuzic, as well as collaborations and singles like “African Woman” and “Akulalwa,” have firmly established Shimza as one of South Africa’s leading house music producers.




Backed by the support and encouragement from his family, Raphala now runs the charitable event brand, One Man show – an outdoor party held every Christmas Day to raise funds for underprivileged children in his local community.



Since its inception, One Man Show has featured appearances from some of South Africa’s most accomplished artists, including AKA, Cassper Nyovest, Riky Rick, Black Coffee, Mi Casa, Black Motion, and more.




In 2016, Raphala made his acclaimed Ibiza debut at Destino’s Closing Party alongside Luciano. Hailed as a new rising star by Ibiza music and Essential Ibiza, he now continues to take the island by storm, and is set to play Ushuaïa Beach Hotel and Blue Marlin this September.





























































































































































Shimza Proves his Status as a Leading Afro-House DJ with a Defected Mix

There are still more than five weeks left of one of Ibiza’s most successful summers to date. However, this last full week of August features one final dance at some of the island’s biggest parties. Don’t miss the opportunity to enjoy world-class DJs wrapping up the season. Plus, some other venues we recommend you stop by if you’re around this week!




Armin Van Buuren | Hï Ibiza | Monday, August 22

Who’s afraid of 138!? Trance music icon Armin van Buuren headlined six special shows on the island this summer. The Dutch DJ and producer has already played twice at Ushuaïa and this Monday will be playing at Hï for two more Mondays. Van Buuren will also return to Ushuaïa to close out his Ibiza tour in September. Armin has enjoyed past residencies at both of these venues with his euphoric mix of high-energy sounds and grooves. Armin covers everything from trance, to house, EDM, and future rave. He is a consistent innovator and remains at the very sharp end as a DJ/producer and Armada Music label owner, and currently holds the No. 3 spot in DJ Mag’s top DJ poll. Enjoy Armin Van Buuren’s special show this Monday at the top nightclub in the world! Get tickets for trance music legend show at Hï Ibiza from midnight this Monday


Follow Armin Van Buuren on Twitter | Instagram | SoundCloud















Carl Cox Invites Closing Party | DC10 | Tuesday, August 23

Oh yes, oh yes! Carl Cox’s last appearance this season takes place under the DC10 roof with his Carl Cox Invites party, which has been rocking the crowds on Tuesday nights this summer. One of the biggest DJs in the world has hosted seven events and invited many DJ friends to join him on the journey such as Laurent Garnier, Danny Tenaglia, Matador, Kink, Stimming, and many more. 



The main room has been led by Awesome Soundwave (formed in 2017), Cox and Christopher Coe’s label, focused purely on live electronic artists to create albums or long-play projects. For this last affair, the king of techno will give party goers an exclusive LIVE performance in the main room. Plus, on the terrace, the iconic John Digweed is one of the guests on the roster, alongside Squire and of course, the main man himself. Enjoy “Carl Cox Invites” at DC10 one last time this summer! Book tickets for the last Carl Cox invites at DC10 this Tuesday



Follow Carl Cox on Twitter | Instagram | SoundCloud







Solomun + LIVE Closing Party | Destino Ibiza | Thursday, August 25

Miaden Solomun is one of the most admired artists on the island and hosts the busiest party under the two cherries on a Sunday night. The outdoor variation of the Solomun + 1 residency at Pacha—in which Solomun plays with just one guest during the party (culminating with a back-to-back)—comes to an end this Thursday at the Cap Martinet venue.




At Solomun + LIVE at Destino, the guest is always a live act that is followed by a closing DJ set from Solomun himself. A great afternoon adventure that features +LIVE favorite Frank Wiedemann, aka Âme, at the closing party this Thursday. Âme has played multiple times at the Diynamic label boss’ party before. Prepare to be surprised by a special back-to-back set on this occasion, but the only way to figure it out is to join the rendezvous! Do not miss the last chance to dance at Solomun’s outdoor gathering in the sunshine. Get tickets to enjoy Solomun + Live last party at Destino this summer



Follow Solomun on Twitter | Instagram | SoundCloud







Trick Ibiza Closing Party | DC10 | Friday, August 26

Patrick Topping’s first-ever headline residency in Ibiza comes to an end after a two-month takeover of DC10. Topping’s biggest project to date has filled up both rooms at the Salinas institution every Friday with his label’s series featuring powerful sets and having some of the biggest names from the scene on board. Among the guests, the British DJ/producer has welcomed cutting-edge talents as well as long-time legends to show off the diversity of sounds that Trick is about. Eats Everything, Christian Smith, Dense & Pika, Kevin Saunderson, Denis Sulta, and Ida Engberg have all played under the imprint during past events. For the last Trick party of the season, Patrick invites Joris Voorn, Dense & Pika, Ben Hemsley, and many more. See you on the dancefloor! Get your tickets for Trick Closing at DC10 this Friday



Follow Patrick Topping on Twitter | Instagram | SoundCloud







Luciano Closing Party | Club Chinois | Saturday, August 27

This last Saturday night of August features Luciano headline his residency for the final time at Club Chinois. Switzerland-born and Chile-raised, Luciano has always been at the forefront of the electronic music scene worldwide since the 1990s. The Cadenza boss also began his Ibiza affair more than 15 years ago.

After his two-month takeover in his new Ibiza home for 2022, Luciano Nicolet has filled up Saturday nights with groove and a distinctive Latin flair at the 1,000-capacity venue in the Marina. Evolving from minimal techno to a characteristic blend of tech-house and remaining true to his lifelong passion and charming charisma, Luciano invites you to celebrate one last appearance at Club Chinois accompanied by German DJ and producer Butch and Circoloco’s regular Mink to close the season in style! Buy tickets to enjoy Luciano’s closing party at Club Chinois


Follow Luciano on Twitter | Instagram | SoundCloud







There have also been a couple of curious additions to the sunset scene in San Antonio that we suggest you visit to spend a pleasant afternoon in front of the sea or dine while the night falls before heading to the club.
















Space Eat & Dance

One of the island's best-known and most beloved businessmen, Pepe Roselló, has just launched an exciting leisure project on the famous coast of Ses Variades (a few meters away from the legendary Café del Mar), in his native San Antonio. The creator of the mythical Space Ibiza, who led 27 years of musical history at the Platja D’en Bossa venue (transformed into Hï Ibiza in 2017) and considered the best nightclub in the world more than a dozen times, says he wanted to create “The place where to meet us all: the old followers of Space, the people of Sant Antoni from so many generations and the new friends that, without a doubt, we will make along this path that now begins." Space Eat & Dance aims to offer residents and tourists a home with the purest Ibizan soul, providing a Mediterranean style food menu and an exquisite cocktail selection that will be topped with music and celebration during sunset and dinner time. All accompanied by music and a great atmosphere for all generations, bringing Space Ibiza’s magic to the present.



Space Eat & Dance is open Monday-Sunday from 12:30 pm-2 am.















Monkey Ibiza

Located on San Antonio's famous sunset strip, the boho-chic Monkey brings a touch of Parisian class to Ibiza, inspired by Monkey Pigalle. Expect seasonal and fresh local products where the dishes are to be shared and the restaurant’s top chefs apply modern techniques with lots of creativity to each Mediterranean flavor. In regard to the decor, you will find a minimalist and warm atmosphere with exotic prints, Tulum furniture and white tones. There is even a trendy pool to cool off located at the bar and taste delicious wines from around the world or specialty cocktails (like Gin Monkey 47, voted the best Gin in the world in 2011).




After sunset, enter the Monkey Club and dance to groovy sounds from the electro music scene as well as performances by different singers. International DJs will make you spend an exciting evening full of promising encounters on the dancefloor, from the traditional Balearic sound to a more stripped-down, minimal Berlin flavor.







Monkey Ibiza is open Monday-Sunday from 1 p.m.-2 a.m.

















Ibiza Selects (August 22-28)

No list of perennial techno talents would be complete without the addition of Pig&Dan. Igor Tchkotoua and Dan Duncan first met on a flight to Spain in 1999. Fast forward to the present day, and the duo has become one of the most recognizable acts in techno. Their broad spectrum of influences has repeatedly led the ELEVATE label heads to fill their library with a sprawling selection of unique sounds and sonic elements. Now, in their twentieth year of the Pig&Dan partnership, Tchkotoua and Duncan prove they’re only getting started with the release of a brand new rework of their pivotal track, “Hope.”



“Hope” was first released in 2008 on Cocoon Recordings. The tune was met with great applause in techno circles, its dramatic builds and rave-ready synths automatically sending audiences into a peak-time trance. The 2022 rework receives a healthy injection of percussive reinforcement while diving into a masterclass of modern-day sound design—a stimulating adjustment to the minimal nature of the OG. You’ll want to grab your good headphones for this one. Otherwise, you’re missing out.



This present-day reimagining of “Hope” comes off Pig&Dan’s new EP, 20 Years: Pig&Dan - Sampler 1. The four-track collection comes in the lead up to the dynamic duo’s new album, 20 Years: Pig&Dan. The twenty-track compilation will include a mix of brand new songs alongside 2022 edits of some of P&D’s most acclaimed anthems to represent every year of their two-decade partnership.




Pig&Dan had this to say about the forthcoming album:



“It’s almost hard to take in that we are already celebrating a 20 year milestone of producing and performing together. To mark this epic pillar in our musical career, we’ve produced a 20-track Techno long player where we’ve devoted ourselves to pushing our envelope and blurring the lines of genre. The project features an array of fresh unreleased productions that hold a sound we hope represents our progression over the last two decades. We’ve also included a cheeky selection of new, updated 2022 versions of some of our more celebrated productions from over the last 20 years of musical madness. For us, this is more of a statement than an album, hence the fact there’s a track that represents every year on this journey.”



Follow Pig&Dan on Instagram | Facebook | Twitter

Pig&Dan Drop New Edit Of their Pivotal Techno Track 'Hope'

Anschutz Entertainment Group (AEG for short) has two undeniable talents–pissing off liberals on the internet, and creating impossibly stacked music festival lineups. The behemoth behind Coachella is expanding up the California coast this year with the inaugural Portola Music Festival in San Francisco. The two-day fest takes place on September 24-25, and features one of the most drool-worthy lineups we’ve seen all year.



Spearheaded locally by Non Plus Ultra and Goldenvoice (a subsidiary of AEG), Portola will fill a notable dance-music gap in the Bay Area festival scene. Though San Francisco is a steward of electronic music culture, there aren’t many local, large-scale festivals. 



What many are questioning is if AEG is the production company to do it. The LA-based company has been regularly shamed for openly supporting anti-gay and anti-weed initiatives. Though SF is openly one of the “gayest” cities in the country–and it is California, so weed is inevitable–it’s unlikely that politics will thwart the success of Portola.






Promoters from Goldenvoice cited the 1909 Portola Fest, which was a kind of rebirth event for San Francisco after the devastating earthquake and fire of the same year. As the city is still picking up the pieces after a pandemic, they see Portola 2.0 as a rebirth of its own. But at $200 for a single-day ticket, this rebirth won’t come cheap.


As far as music goes, it might be easier to ask who’s not on the Portola lineup this year. The roster is heavilly dance-leaning with a few notable hip-hop and electro-pop artists. 



Flume, Kaytranada, Jamie XX, Gorgon City, Fatboy Slim, Charli XCX and Caribou all sit atop the lineup for Friday. Not to be outdone, Saturday night hosts The Chemical Brothers, James Blake, M.I.A., Lane 8, Peggy Gou, Toro y Moi, Duke Dumont, and more. 



It’s an openly indulgent showcase that reads very Coachella, but the distorted event branding and bare, gravel lot venue at Pier 80 make it feel welcoming to lo-fi, house kids. It’s hard to say what the premiere of Portola will bring to the Bay Area, but we can’t say we’re not interested.

Portola Music Festival Fills a Gap for San Francisco's Dance Scene, But Who is it For?

Multi-hyphenate creative Fei-Fei recalls her first exposure to electronic music when she heard John Acquaviva and Richie Hawtin’s X-Mix, Volume 3: Enter Digital Reality! at a party in her hometown of Madison, Wisconsin.




“I was obsessed with how the DJ was conducting the energy of the room,” she reflects. The revelation led to her passion for DJing, a career that led her to work with legends like Armin Van Buuren and Tiesto. However, the toll of industry toxicity began to dilute that passion she’d first felt. Leaving a thriving dance music rise on the table, Fei Fei turned her attention to rock project THRILL YOU KILL YOU as an antidote to passive sexism and racism she’d endured during her time in entertainment.




After a period of healing and creating a new artistic narrative, Fei-Fei found herself yearning to return to the dance floors that started it all. “I missed playing sweaty warehouse parties and festivals. Techno, trance—those are my roots.”




A five-hour set at Amazon re:Invent marked the rebirth of the Fei Fei project. “It stirred up the feeling of how I fell in love with the scene.” Her latest single, “MY BODY IS GOD ON ACID,” poured out of her in a single day, fueled by the powerful realizations of her strength as an Asian woman in dance music.




“I feel like my whole career as Fei-Fei is about not fitting into one box. We need more artists with unique perspectives that are out there fucking up the system. That’s the whole point of why I’m back now. I’m not fitting into what I was before, or what the scene wanted. Now, I’m here to do it on my own terms.”




Speaking about your newest single, “MY BODY IS GOD ON ACID,” you mentioned an experience you had DJing at Amazon re:Invent inspired it. In some ways, it sounds like a form of rebellion against the records that men make and dance to at the expense of women. How do you seek to rattle the cages of male-dominated spaces with your new music?




I want to see more women producing their music and singing about their own damn bodies. Fuck the patriarchy. I’m here to share my story and be a role model for the next generation.




I express myself however I want, wear (or don’t wear) whatever I want, and produce the music I want. I hid my femininity for a long time, afraid of not being taken seriously if I was dressed too sexy. I pretended to be a part of the boys club for so long.









Your project THRILL YOU KILL YOU saw you turn over a new leaf in your artistic career, focusing on live instrumentation and singing. What did starting a new project do for you creatively?




I threw myself out of my comfort zone. I let all my guards down—emotionally, professionally, and in my personal life. I stopped pretending to be someone else and started listening to emotions I spent years bottling up.




I started over. I took voice lessons, guitar lessons, and recorded vocals in my bathroom. I relearned Ableton all over again by making completely different kinds of music, with no pressure for it to be anything other than what I wanted it to be. I felt liberated, making music that was one-hundred percent me: raw, imperfect, and emotional. I studied all my favorite pop songs from artists like Katy Perry, Charli XCX, and Garbage and banged my head on the wall until I figured out how to write a catchy bop. I learned how to perform and sing – be a frontwoman, lead my band, and run my own playback sessions.




If I didn’t know how to do something, I’d learn! TYKY was a rebellion against everything.




I realize now that I needed a break to reset and grow. I’m a better artist and producer now and am more confident than ever.






Where were you when you realized you wanted to devote your life to music?




I grew up surrounded by music. My Dad played oboe and clarinet, and my Mom sang in the Chinese opera. I played classical piano for 13 years before I traded it in for my Technics!




I think I always knew [I wanted to be a musician], but never thought I could do it. Once I moved to LA to go to USC’s Film School, my DJ career started to take off. After I got my masters, I decided to pursue music.




With your imprint PUSSY POP, you’re putting femininity front and center in everything you do. Was there an awakening that led you to feel more connected with your feminine self?




TYKY is how I found myself – pushing this vulnerable femininity because there’s strength in that. I wanted to make people uncomfortable, subvert the male gaze, and flip expectations. It’s empowering.




Dance music started in queer Black nightclubs, yet year after year, we see lineups filled with predominantly white, straight men, coupled with exclusionary hiring practices across the music industry. Why do you think misogyny is still so prevalent in dance music, considering its origins and the diverse artists driving innovation today?




I’m not sure why it’s so prevalent in dance music, but it is a larger part of society. Systems of misogyny, racism, sexism are so baked into our lives, you really have to be ANTI to fight it. Maybe it’s the God complex with the rise of the superstar DJ that enforces certain behaviors from men. It’s everywhere in the industry. I guarantee that every woman has had shady experiences. I certainly have, from agents and managers to other DJs. Over time it starts to take a toll.




Is it any better than when you first started in the industry?




That remains to be seen. I’m thrilled to see more women, non-binary, queer, and racially diverse artists, but there’s still so much work the industry needs to do. I’ve gone to a few warehouses and festivals lately, and the majority of the crowd and talent were dudes. So have things changed? I’m not sure. I’ll have to report back.




What do you do to get out of your comfort zone when you’re feeling stuck in a rut?




Start a new project.







I saw a recent reel you posted that spoke about growing up in a Chinese family in Wisconsin. Did you ever feel dissonance in your family or community as you developed a deeper relationship with yourself as an artist? If so, how did you navigate it to where you are now?




I was born in Beijing. My family came to the states when I was eight months old. I grew up feeling like I was the only Chinese girl in Madison, Wisconsin. I wanted to fit in so badly. I even wanted to change my name to an American name when I was young because other kids made fun of me so much. Thankfully my parents wouldn’t let me. Sometimes it’s better not to fit in.




Fortunately, my parents have been supportive of my pursuit of the arts, whether it was filmmaking, DJing, or starting a band, although I think that deep down inside, they’re secretly hoping I become a lawyer or something. However, it was extremely challenging to break into the scene and still is.






Who has given you the most valuable piece of advice in your career?




My Mom told me when I was super young, "You’re a woman, and you’re Asian. You have two strikes against you, so you have to work a thousand times harder than everyone else to be taken seriously." I’ll never forget that.




Techno has a stereotype of snobbery attached to it, but your music has an energy of inclusion and joy. Do you think that dance music fans ever misunderstand techno? How can we dissolve those misconceptions?




Raving should be fun! It’s 2022. Can we all agree to be genre-fluid now? I like the freedom of making whatever I’m inspired by. I’d hate to be bound to one thing forever, or boxed in. Why don’t we get rid of the box? I think techno purists (or any genre purists) can be so serious. I’m happy to spice things up and surprise people.




Where do you go to find new music or sounds to inspire you?




I listen to so much stuff! I have whiplash deciding what project to work on myself! Currently obsessed with “Pink G-String” by Scene Queen, Dylan Fraser, and Alaska Reid’s “Vampire,” and my fav pop bangers—Katy Perry’s “Never Even Really Over'' or Charli XCX’s “Good Ones.” Alice Deejay’s “Better Off Alone” is always a choice too.




I read that you’re a big Garbage fan—me too! Which song is your favorite, and why?




“I’m Only Happy When It Rains” and “Stupid Girl” are my two favorites! Shirley is the GOAT. She’s unapologetically fierce and badass.




When people describe your music, what do you hope they’ll absorb from it?




Raw femme power and feral y2k rave.



Fei Fei: Raw Femme Power and Feral Y2K Rave

Opting for an all-vinyl set at the legendary Dekmantel Boiler Room stage takes courage. But for Eris Drew – a mixing specialist and seasoned vinyl DJ – it was business as usual at this year’s festival edition. Drew quickly brought the crowds at Amsterdamse Bos to life with an hour of vibrant house flavor and squelching acid basslines.


Chicago-born DJ, producer, and trans ecstatic from Chicago, Drew has been playing and programming keyboards since she was a child and first started mixing records at 18.




Alongside her talented b2b partner, Octo Octa, she runs the T4T LUV NRG recording label from a log cabin in New Hampshire. The couple are a force to be reckoned with in the world of dance music; they were BBC Radio 1 residents for the 2020 Spring/Summer season and continue to tour extensively today.




A key advocate for trans, non-binary, and queer people within the electronic music community, Drew also gives talks around the world on the connections between dance music culture and other ecstatic traditions such as shamanism.




Widely regarded as a holy grail for DJs worldwide, Dekmantel is an electronic music festival held annually in Amsterdam. The event curates some of the most creative and influential acts in house, techno, and more and is an open space for DJs to experiment and take risks within their sets.




Catch Eris Drew at festivals and clubs worldwide, including WHOLE United Queer Festival in Germany, High Hoops Pride Weekender in Manchester, UK, and Dimensions Festival in Croatia.













Follow Eris Drew on Twitter | Instagram | Soundcloud








































































































Eris Drew Showcases her Vinyl Mixing Mastery at Dekmantel

While the adage, “it’s a man’s world,” is entirely tiresome, it still begrudgingly has a hint of truth to it. While women and non-binary artists are gaining more recognition, it’s still difficult to avoid prejudgments based on gender, especially in the music industry.




Today we’re here to celebrate some of the industrious women of the genre. Some women on this list have performed under male-skewing monikers to avoid criticism and fight against harsh stereotypes. These women are an inspiration, not just for female producers but for all artists in the modern techno scene.







Stella Bossi



Stella Bossi is impenetrably cool. This German DJ is part social media star, part hard techno producer, and–most recently–part record label owner. With dark sunglasses permanently fixed to her modelesque face, she deadpans her way through joyous rave-kid activities on Instagram. Hot boxing inflatable bubbles, leading unicorns into the club, and napping in supermarket freezers are just a few of her specialties. Internet humor aside, her new label, The Beat Must Fuck has a truly innovative approach. She taps her virtual community to vote on which tracks will get a deal. All her releases, including her 2021 hit “Molly for Breakfast,” were released there.









Amelie Lens

Amelie Lens is a Belgian techno DJ, record producer, and owner of the imprint Lenske. She’s always had a broad taste in music but cites a 2006 festival as the start of her obsession with techno. She started immersing herself in the history of electronic music, clubbing regularly, and teaching herself how to mix. In 2014, she left her career in fashion to pursue music full-time. In 2016, she debuted with her Exhale EP on Italy’s Lyase Recordings. As a resident at Labyrinth Club in Hasselt, she began to curate her own club nights, also under the name Exhale. She’s since taken Exhale experiences to festivals around the world and recorded a mix for fabric London in 2019.







Lilly Palmer

Lilly believes that music is freedom. Well-known for the intriguing energy of her live sets, Lilly Palmer wants, first and foremost, to create a bond with her audience. She became enchanted with the hypnotic rhythms of techno when she was a teenager and said the more she immersed herself in the scene, the more she became addicted. Though this German DJ and techno producer only started releasing original music in 2017, she’s in hot demand these days. After a breakthrough performance at a boutique Netherlands festival called Hrfst introduced her to a slew of new fans, Lilly felt her career began to surge forward. Now based in Amsterdam, she’s touring around Europe, sharing the music that set her soul on fire.




Deborah de Luca

As one of the most impressive talents to emerge from the international techno scene over the past decade, Deborah de Luca is unrivaled in her determination and passion. Raised in one of Naples’ toughest districts, this young Italian came from humble beginnings. She talks earnestly of her early days as a nightclub dancer, telling young artists that nobody should tell them what they can and can’t become. In 2013, the industrious artist launched Sola_mente Records and began releasing music rapidly. In 2018, she celebrated a decade in the business with her first full-length album, Ten. Now regularly referred to as ‘The Techno Queen of Naples,’ Deborah de Luca has left an undeniable mark on the music industry.







Monika Kruse

The musical career of Monica Kruse spans more than 30 years. In the early 90s, she played a massively influential role in the early Munich rave scene, and she was among the first wave of German techno artists to begin touring internationally. While her earliest sets slanted towards hip hop and funk, she listened closely to the budding techno and house music from the midwestern United States. At the turn of the century, she moved to Berlin and started her label, Terminal M. In the quarter of a century that the label has been active, she’s helped to cultivate some of the genre’s strongest modern talents. These days, Monika is seen as techno royalty and is held in the highest regard by her peers.







Charlotte de Witte

Charlotte is a pioneer, not just for female DJs and producers but for all artists in the modern techno scene. Born in Belgium, she started spinning in 2010. A year later, she won a DJ contest held by a local radio station, giving her a performance slot at the massive Tomorrowland festival. At the time, she was performing under the alias Raving George, attempting to avoid negative presumptions against female DJs. Though she continued regularly releasing music, she didn't use her real name for another five years. Her hits “Doppler,” “Sgadi Li Mi,” and “The Age of Love”–written with her now husband Enrico Sangiuliano–solidified her spot as a trailblazer in the acid techno movement.







Marika Rossa

Marika Rossa is not afraid to experiment, even if it risks causing a bit of backlash. She comes from the harsh underground of the Ukrainian techno scene, but she’s not held down by any mold. Her daring self-expression shines in her music and style, and it seems to be working. This bold producer, DJ, designer, and businesswoman has already garnered an army of loyal fans worldwide. In 2010 she joined the label Italo Business with the track “Loppestein,” produced together with Dandi & Ugo. Recently, she started her label Fresh Cut. In true “coming out swinging” fashion, Fresh Cut’s first release charted on the Beatport Hard Techno top 100 in less than a week.







ANNA

DJ Mag once said about ANNA, “DJing feels not so much like something ANNA does, but something she is.” If said about anyone else, it might feel a bit cliché. But for ANNA, it feels fitting. Born in Brazil, she grew up in her father’s popular local nightclub. From a young age, she developed an irrevocable connection to music and permeated herself into the clubbing atmosphere. On the production front, she’s dropped critically acclaimed music on nearly every significant label in techno. In 2019, a richly deserved slot on BBC’s Essential Mix distilled her 20 years of experience into one remarkable masterclass in great techno.







Nicole Moudaber

Nicole Moudaber is more than a DJ. She’s also a record label founder, event promoter, radio personality, philanthropist, and advocate for the electronic music community. She began her career as a party promoter in Lebanon before she moved to London to establish herself as a DJ. In 2009, she caught the attention of legendary techno producer Carl Cox, who signed her to his label that year. She’s since started her label, MOOD Records, in addition to her award-winning radio show In The MOOD. With nearly 500 episodes, In The MOOD is broadcast weekly in over 50 countries to over 20 million listeners.



9 Women in Hard Techno You Should Know

On Friday, August 5, I had my first Boiler Room club experience—at the historic Catch One in Los Angeles—and it was everything I could've hoped for. In a disparate scene often catering to VIP clientele, divided by a winding mass of freeways and neighborhoods, Boiler Room LA was the first rave I've experienced that really felt like LA, not just part of it.

The music, DJs and performers, crowd, fashion choices, and vibes across the four rooms felt inclusive, wide-ranging, inviting, and exciting.




When I arrived, I walked up the stairs of the two-floor, 2,000-capacity venue to find the main Disco room serving up neoperreo—the feminist take on reggaetón. Hosted by none other than Chilean neoperreo queen Tomasa del Real, she brought her neoperro party brand and a fierce crew. Tech Girl, Nemix, and Myheartsweat, served up cool sis energy and a rapid-fire mix of booty-shaking hype tunes en Español.




The trio rocked intricate, punky makeup and 'fits. A crew of even cooler, swaggy girls stood behind them, non-smiling, like the best-dressed security guards. Because someone's gotta protect the vibes and the DJs!




The Disco room had the biggest dancefloor and stage of the four rooms. Behind the decks stood elevated platforms for anyone to dance on and possibly become one of the infamous People of Boiler Room. A guy rocking a Playboy t-shirt in the top middle kept smiling at everyone, me included, nodding his head and holding his hands up perpendicular in a "yeah, we winning!" kinda way. May we all be the "I'm just super stoked to be here" guy at some point in our rave lives—cheers to him.







It was hard to leave the neoperreo energy, but it was time to scope out the other three stages. So we wandered to the other side of the upstairs level, where the neon-decked, disco-ball-filled Circle Bar was open. There you can order a drink easily and play vintage video games like Pac-Man (my fave). I posed for pictures under several cute neon signs, peeked back into the disco room, and made my way downstairs to Jewels room (named after the club's iconic original owner, Jewel Thais-Williams).







Joaquin & D33J of LA's Favela Worldwide were hosting and also closed out the night. The room is small, cozy, and full of people dancing and vibing. For those who need extra space to dance or head nod, there are speakers in the adjacent space, which even has some seating.







We continue to No Nazar's takeover in the Underground room, where Atlanta's November Rose delivered groovy Afro house vibes with joy and swag. The bass is deep and strong in this room, and it feels good.




November Rose was rocking round wire-rimmed sunglasses, a stripe of face paint across his nose and cheeks, and a necklace with large yellow beads swung as he danced. At one point, he took off the accessories and handed them to someone on stage as if to really focus on the decks. But by the next song, the entire look returned. His one-ear headphones had the look of a landline phone. And as he cued up each track, it appeared as if he was receiving a call from the divine god of rhythm. "Hello? It's Rose. Oh yes, they'll like that."







In front of the booth, someone was FaceTiming a girl who looked super stoked to virtually tap into the energy. It was unclear if they were part of the squad or fans, but it was pretty cute to witness.







The entrance to the aptly titled Noise room was tucked away downstairs, curated by LA's Bianca Oblivion, easily the loudest and most packed of the four.




Star Eyes was absolutely tearing things up with her quick mixing, high BPMs, and glitchy banging beats. As I entered, she played a remix of Megan Thee Stallion's "Thot Shit." As the doors rattled from the bass, the video screen displayed a yellow Boiler Room logo, surrounded by spinning caution signs. It's only right to put a warning on something so hot.




The set shifted to Latin rhythms and then into more techno-leaning territory. Then, it was time for the "Percolator," but make it glitchy. And that begs the question, when is it not time for the "Percolator"?!









The packed Noise crowd was as lit and diverse as the music. There was a mustachioed "points disposable camera at you" guy. His camera didn't flash. I was unsure if there was film in it. And if there was, wondered where he would develop it or if it mattered.




Of course, there was someone, somehow, talking on their phone, looking very excited about things. Their long side swept bangs, ala "The Karen," bounced violently. She wasn't giving Karen vibes, but we still will dub her Techno Karen. She's chill.




There's a cute little crew, possibly early-to-mid-20s, all dancing joyously together. One girl has a faux-fur-rimmed knit beanie and a tank she cropped into an underboob shirt. Her friend is rocking cheap Oakley-ish sports shades atop his wavy hair, a white tank with "the future is DILF" handwritten on it, and wide-leg denim with an '00s black double-eye belt. I want to befriend them and buy weird sale items at the mall to take home and add flare to.







There's no unspoken uniform at this party. I'm no longer a colorful anomaly in a sea of black t-shirts and dad hats. I'm thriving. Of course, there are some techno cool kid kits, Boiler Room and other dance branded shirts, rave and clubwear, and soccer jerseys of the world. The bountiful cornucopia of LA nightlife came to represent! This party really feels like it's for all of us.




There are disparate squads of different ages that, under normal circumstances, wouldn't coalesce under the same roof in LA. I want to adventure to (almost) all the places they frequent. Boiler Room is for the people and brings them together.







I wish that I could somehow be in all four rooms at once. They're all so fun! I'm not sure if my legs could handle four dance parties at once, though. So, it's time to go back to shake my booty in the neoperreo Disco room, and it was the perfect time to do so, as Tomasa was about to throw down some bars and serve some straight up thot shit, with assistance from DJ Lizz.




Before her live set, she served as Lizz's MC and hype queen. Farruko's 2021 hit "Pepas" was setting the crowd off. Tomasa looked like a real-life Bratz doll, rocking high pigtails with bangs, shoulder-grazing sparkly hoops, dark lip liner and face gems, long nails, and a black latex corseted babydoll dress.




From atop the dancer deck, Tomasa dedicated the set to the perras and began to up the vibes even higher with her rapping. After a solid helping of songs, she exited. "Perdon, perdon, EXCUSE me!" you hear her say without being able to see her. She reappeared with massive black wings for her 2014 track "La Vampira." Perfection. CutThroatCrew came up to do their thrashy 2021 version of "Gasolina." The hot clown girl in their crew rocked out hard to this one.















I tried to enter the outskirts of the platform to witness Tomasa up close, but security let me know it was full. Later, I spot two older white guys in the left corner of the platform, intently taking it in. At one point, one of them raised his Modelo in the air, the universal symbol for "Dale!"







We went back downstairs to Jewels room for more Favela Worldwide tunes. This set felt a bit grimey, with some Jersey club energy, and included my second and final successful Shazam of the night (at least my brain added a few IDs, ha!), a trap-y banger with Brazilian vibes, "Tokyo Drift!" from Koto. They also dropped Robin S's "Show Me Love," mixed with a Timbaland-esque beat.




The crowd here was serving great party energy and peak club people watching. This is where I discovered the best shirt of the evening.

"Time to eat" was printed above an image of the grim reaper holding a large fork and knife behind a bikini-ed bottom in front of him. Obviously, I needed to point this out to at least a few people.




The DJ booth, and the standing ledge above it, is now packed, and one of the DJs passes around the holy water, aka DJ booth tequila.







We closed things out in the Noise room for some more fire served up by host Bianca Oblivion and a taste of the closer Spiñorita. The room is even more packed and quite steamy.







What blows my mind is that the London-based Boiler Room seems to have its pulse on what's hot in dance music and the underground pretty much around the globe. I used to think I needed to go to a Boiler Room of an artist I knew so that I could really engage with the set and have an idea of what I was getting into, but that changed after checking out the Boiler Room stage at the Primavera Sound festival in Barcelona in June.




On the last day, I heard it going off and witnessed 19-year-old DJ Travella throwing down super high BPM singeli music from his home country of Tanzania. I had never experienced anything quite like that—the energy was unparalleled, and I was stoked to tap into it for a thrilling, sweaty 45-minutes. And looking back at Boiler Rooms from past years, they often tap artists before they blow up.







Boiler Room celebrates the underground in many cities and is a place for discovery. Wherever I am in the world, if there is a Boiler Room going on, I will try my best to be there. Maybe I need a Boiler Room shirt after all.


















The People Of Boiler Room LA are Actually the People Of LA

As we roll towards the second half of August, the Ibiza calendar is filling up fast, and there are plenty of events to enjoy during the hottest month on the island. Currently, most of the venues are open daily, and the most sought-after DJs stop by to deliver their best sets on the most infamous party island in the world.




Pyramid Carry On | Cova Santa | Monday, August 15

Pyramid is all about the music, the energy, and dancing till the sun comes up. It's the kind of party that Ibiza does best. The Amnesia mega club has been home to the Chilean-born German-based minimal techno pioneer Ricardo Villalobos for more than 20 years, and he usually makes a few appearances in Ibiza under its roof.




Since its sister venue Cova Santa opened its doors, Villalobos has also carried out daytime sets, usually as an afterparty. Everybody knows that it’s going to be a party when Ricardo Villalobos is involved. The Pyramid party begins at Amnesia Ibiza on Sunday night and keeps going with Ricardo going b2b with Luciano and special guests to kick off the week

Get tickets for Pyramid Carry On at Cova Santa




Follow Ricardo Villalobos on Instagram | SoundCloud



















Mercury Rising Opening Party | Pikes | Monday, August 15

Disco music and Balearic spirit await you with DJ Harvey and his popular party Mercury Rising this Monday at Freddies. 




Harvey Bassett has created a great gathering of pure Ibicencan hedonism mixed with feel-good house party vibes. He started the party in 2014, although he came to the island in 1990 and became the leading man at the legendary Pikes hotel in San Antonio. Register for the guestlist and enjoy DJ Harvey's opening party at Pikes




Follow DJ Harvey on Twitter | Instagram | Facebook







Elrow outdoors | Ushuaïa | Wednesday, August 17

The second of three absurdly fun outdoor rendezvous at Ushuaïa this summer is happening mid-week this Wednesday afternoon. Always coming with a colorful theme, the elrow brand features El Rowcio, filling the dancefloor full of fun, flamenco, and fiesta with typical elements from the famous Spanish Feria de Abril in Seville. The DJs in charge of this evening are Wade, Cloonee, Tini Gessler, and Amedeo Picone. They will keep you dancing non-stop between confetti explosions, giant inflatables, dancers, acrobats, and stilt walkers.




Ushuaïa and elrow together will bring their electric daytime energy for an epic party on the shores of Playa d’en Bossa. Discover your most folkloric side with the elrow family and the best crowd! Book tickets to elrow at Ushuaïa this Wednesday!




Follow elrow on Twitter | Instagram | SoundCloud







Thursdays with Rhadoo | Ibiza Underground Club | Thursday, August 18

Radu Bogdan Cilinca, aka Rhadoo, is a Romanian DJ and producer associated with both DC10 and Cocoon in Ibiza. He was one of the first artists to fly the flag for electronic music in Romania, making his debut as a DJ in 1995 at Club A and Studio Martin in Bucharest.




Radu (often accompanied by Raresh, Petre Inspirescu, and always supported by Ricardo Villalobos) has brought the Romanian sound known as rominimal—Romania’s answer to underground minimal techno—to the island, a style of music that has gained much recognition in recent years. Rhadoo and his unannounced guests focus entirely on musical storytelling with sounds that go from deep house to uplifting and seductive techno. Get more info and guestlist for Ibiza Underground.




Follow Rhadoo on Instagram | SoundCloud










Eric Prydz | Ushuaïa | Sunday, August 21

Eric Prydz' only Ibiza show this summer is happening at the end of this week, outdoors at Ushuaïa. The Swedish dance music icon is responsible for some of the biggest tracks of the last decade and creates some of the most visually impressive live shows in dance music. The Pryda Recordings boss is not new to the island—he held a headline residency at Hï in 2017 for two consecutive years. This time Prydz stops by the island to bring a special one-off show, combining his unbelievable talent with breathtaking visuals and production. If you haven't experienced a Prydz show yet, add this one to the Ibiza bucket list. Purchase tickets for Prydz one-off show at Ushuaïa




Follow Eric Prydz on Twitter | Instagram | SoundCloud




There is also a wide selection of boat parties to choose from every day of the week. Dancing in the sunshine around the Mediterranean Sea is something you have to enjoy while in Ibiza.




Lost In Ibiza celebrates ten years as the most-loved sunset ocean rave. This party provides a sunset trip through the underground world of house music with international DJs on board every Wednesday. Setting sail from San Antonio, it also includes club entry to Paradise at Amnesia that night. It's a great way to warm up before heading to the club. The meeting point and pre-party is at Rio Ibiza in San Antonio.






Only Ibiza Boat Party includes everything you need to enjoy a three-hour sailing adventure while partying non-stop. There are several packages to choose from, and multiple departures take place at Platja D’en Bossa pier (Bar Albatros) on Wednesdays, Fridays, and Sundays. Packages include paella, fruit, an unlimited open beer bar, sangria, cava, soft drinks, swimming time, great music by international DJs, live entertainment, and much more.












Ibiza Selects (August 15-21)

Last year, as artists and industry were still navigating a Covid-curbed way of life, producer Danny Howard launched a unique initiative to spark life into a struggling dance music community. Lockdown Link Up was created to connect artists by randomly selecting sixteen duos to collaborate on a track while in isolation. Enter Franky Rizardo and Joe Goddard. The two producers, paired by chance, joined forces for a passionate progressive house tune titled “No Judgement.” And while a product of this pairing is enough to send any dance music fan into a tizzy, the fun didn’t stop there.







Dutch techno technician, Kölsch, was also brought in on the project. This time, for an official remix. What was once an impassioned prog house offering took new life as a hauntingly beautiful melodic techno tune. The crisp chimes of the original transform into echoing atmospheric synths, the steady bass kick now reinforced with a resounding presence. Reverberating soundscapes set the scene for the heart-bearing vocal that served as the cornerstone for both the original and this emboldened edit. Kölsch taps into his signature style of emotionally driven production to deliver a deeply powerful cut that seems more fit for the title “rebirth” rather than “remix.”



The dance music landscape is far different this summer. Now, artists like Kölsch can share the fruits of their labor with live audiences once more and share he has. Festivals and clubs worldwide have been immersed in the sensory experience of a Kölsch set. We are undoubtedly exceedingly grateful for the return of live shows, but here’s hoping we get more tracks like “No Judgement” from the techno titan very soon.



Follow Kölsch on Instagram | Facebook | Twitter

Follow Franky Rizardo on Instagram | Facebook | Twitter

Follow Joe Goddard on Instagram | Facebook | Twitter



Kölsch Provides A Haunting Reimagining Of Franky Rizardo & Joe Goddard’s 'No Judgement”

Before EDM was the most divisive acronym in dance music, there was another that stoked even more vitriol. An acronym that has receded into the darkest depths of the culture but still retains a certain undeniable presence: IDM or “intelligent dance music.”




See, while “EDM” (which stands for “electronic dance music”) is relegated to dance tracks with features from pop stars that celebrity DJs play on gigantic stages, its division is not inherent. Instead, it is assigned by the people who don’t want to be associated with that section of the culture.




Much to the dismay of the “EDM” haters, from a technical standpoint, pretty much every genre in club culture is “electronic dance music” because it’s electronically produced music meant for dancing.




IDM, on the other hand, inherently applies a quality of separation via the word “intelligent,” Though the acronym was and remains divisive in nature, from a purely etymological standpoint, “intelligent” is the apt word to create that separation.




“Intelligent” stems from “intelligence,” and the etymology of “intelligence” leads back to the Latin, “intelligere,” which means “understand.”




It is not insulting to say there is more to understand in an IDM track than in an EDM track. Just like it’s not insulting to say there is more to understand in Leo Tolstoy’s epic, War & Peace, than in the latest Spider-man comic. Someone who understands and appreciates both War & Peace and Spider-man can make their own decision about which they enjoy more, but that doesn’t remove the in-depth quality of the former.




IDM is dance music that is layered and deep. It’s music that includes club-driven elements like four-on-the-floor kicks, but those club elements sit against soundscapes that provoke thought. The music is thematic and intuitive, and most importantly, it's equally fit for home listening as it is the live environment.




For those who read the above description and still think the term is snobby and elitist, don’t fret because numerous artists and experts in the genre feel the same way.




IDM innovators like Aphex Twin, Cylob, and μ-Ziq have all expressed their discontent with the term.









In a 1997 interview, Aphex Twin said, “I just think it's really funny to have terms like that. It's bascially saying 'this is intelligent and everything else is STUPID.' It's really nasty to everyone else's music. (laughs) It makes me laugh, things like that. I don't use names. I just say that I like something or I don't.”




Some might say if one of the inventors of a genre term rejects said term, then the term is obsolete. But in reality, Aphex Twin, real name Richard David James, rejecting the term, defines the ethos of IDM.




This genre is attached to esotericism, obscurity, and complexity. And as such, it is only natural that those who create it (intentionally or not) reject praise and acclaim on all fronts.









IDM isn’t rap. There aren’t any Kanye West-type figures in the leftfield electronic community talking about how they’re gods. When James won the Grammy for Best Dance/Electronic Album in 2015 for his LP, Syro, he didn’t even show up to accept the award. 




To James and his fellow IDM originators, the idea that anyone would consider their music better, superior, or more “intelligent” than any other music is repulsive. Yet, that is why the term persists and also how the term inherently came to exist in the first place.




By the early ‘90s, club dance music like disco and house had a significant enough presence to where subsections of the culture were forming. When any genre of music starts to grow, people who love the sound but are averse to its popularity start taking the sound in a new direction.




It was in the ‘90s that subgenres like ambient, acid, electro, and breakbeat started to veer off into their own realm, inspiring further experimentation from young producers. These new experimental sounds began to take hold in the UK, and soon European labels started to release them.




Rising High Records, Richard James's Rephlex Records, Kirk Degiorgio's Applied Rhythmic Technology, and Eevo Lute Muzique are some labels that originally shared what would become IDM, but the most avid purveyor of the term was undoubtedly Warp Records.









Originally founded out of a record store in Sheffield, UK, in 1989, Warp has maintained its tastemaker status and, over the last 33 years, ensured its reputation eschews any single genre. In 2022 alone, they’ve released the latest folk LP from Daniel Rossen, You Belong There, and LOGGERHEAD, the debut album from alternative rap artist Wu-Lu.




This attitude of innovation allowed them to cut through the noise and change the trajectory of dance music towards this more “intelligent” destination. Early releases from Aphex Twin, like 1994’s Selected Ambient Works Volume II, were Warp releases, along with the debut albums of now IDM stalwarts Boards of Canada and Squarepusher in 1995 and 1996, respectively.




Warp was so innovative in their output that when they released the 1992 compilation album, Artificial Intelligence, composed of the IDM sounds the label would soon champion, the word “intelligent” from that compilation morphed into “intelligent dance music,” with the help of Alan Parry, Brian Behlendorf, and their electronic music mailing list, the “IDM List.”









Parry and Behlendorf started the mailing list in 1993, directly citing Warp’s Artificial Intelligence as a source for the title and placing heavy emphasis on Warp releases. Whether or not anyone liked the term, there was a community forming around it, and the IDM list was a huge reason that community came to be.




As Parry told Vice in a 2018 article on the IDM list, “I wanted to know who the people making these records were. And the way to do that was to connect with other people and talk about it.”




That community continues to exist today, and as electronic music overall has become more widely accepted, there are artists in the IDM sphere who have garnered significant attention around them. These larger artists also serve as a gateway into the more obscure corners of the IDM sound.




Four Tet, Floating Points, and Daphni, three friends and collaborators, all share similar inclinations in making music fit for the club and for home while applying intricate composition.




Jon Hopkins is another artist sustaining IDM through his celebrated albums like Synchronicity and Objekt, whose DJ sets span the entirety of IDM soundscapes. A classic example is the enigmatic Burial, who resurfaced with his 2022 EP, Antidawn.









It is required to mention that, like most electronic music scenes, unfortunately, IDM was dominated by white cis men when it first arose, and many of its biggest stars today are the same.




But this music is now beyond the anonymous halls of the old internet, and white cis men are far from the only people bringing their unique identity to IDM.




Kelly Lee Owens is a staple of the international festival circuit who has ventured deep into IDM territory, especially with her newest LP, LP8, out now on Smalltown Supersound. Nene H just released her hard-hitting percussive album, Ali, on Incienso, another top-notch label for IDM. Another non-male IDM artist is Indiana’s JLin, a regular on Planet Mu, one of the premier IDM labels running today.




https://www.youtube.com/watch?v=JsPWBsti1qs




No matter what anyone may think of the term “intelligent dance music,” the intelligent thing to do is ensure that BIPOC, queer, and non-male identifying artists have a place in the IDM conversation moving forward. Perhaps with more diversity, people won’t hate the term as much.



Let's Talk About IDM

When the Supreme Court overturned Roe v. Wade, it’s no surprise that NAIAD’s feelings were running wild.




She was stuck at home with COVID so her existential dread was grinding against bodily illness. She couldn’t march. She couldn’t support the women in her life. She was alone in bed feeling helplessness, rage, sadness.





At the mercy of her emotions, but not for long. As a victim of sexual violence herself, her thoughts soon shifted to other women who shared that painful experience.




“The thought of women going through that and not having autonomy over their own bodies—I had to do something,” NAIAD says. “It just popped into my head that I have a platform. I have friends. I have people who have voices.”




NAIAD’s platform is on Twitch, and through it she raised thousands of dollars for Planned Parenthood in one weekend, but more importantly she demonstrated the power one person has to make a difference, and she found the power of her own voice.




NAIAD is a DJ and producer based in Los Angeles who continues to regularly stream on Twitch alongside playing IRL gigs. Before starting her own channel she DJ’d on channels like Desert Hearts TV and was hugely impressed by the community she saw.




She started her own channel and fostered a community on the platform she never could have anticipated. One that’s helped her expand her own career as a DJ by getting her IRL gigs and meeting other DJs. Her Twitch community is also a reflection of who she is in her heart.




“Your community grows and evolves with you,” NAIAD says. “That’s why people stick around. It’s not necessarily the music or the game, they want to hang out with who they met and the community that’s been built around that personality.”




Some streamers create an alter-ego that is snarky or silent for their Twitch channel, but NAIAD’s personality is one that outpours love to her community of nearly 5,000 followers.




This community includes regular viewers who tune in from around the world to hang out with her and listen to tunes, but also moderators who volunteer their time to ensure her stream runs as efficiently as possible so she can focus on DJing. Not to mention her fellow streamers, some of whom have become dear friends even though they’ve only communicated online.




So when NAIAD felt the urge to do something in the face of Roe being overturned, she didn’t know what to do, but she knew who to reach out to.




“I didn’t have a clear vision of what I was putting together yet. I just needed action, and it became really clear that I was not the only one,” she says.




One of those people who also needed action is Mable, a fellow streamer and one of NAIAD’s friends who she has yet to see in-person.




Mable has been streaming since April 28, 2021. She never even DJ'd before starting streaming, and her experience on the platform started at what she calls her rock bottom.




On top of the pandemic, she’d just been let go from her job and she was dealing with major health issues that made it hard to move her body at all.




Twitch is what turned things around for her. Mable started attending the Zoom parties in the early days of the pandemic to dance and help her heal emotionally and physically.




Then the live electronic duo SOFI TUKKER made an appearance at a Zoom party hosted by a collective called Day Breakers. Mable followed SOFI TUKKER to their own daily Twitch streams.




“They were helping me move my body again, start to exercise and feel less helpless with my health issues. It was also at the same time that I was looking for a new direction in life and looking for a new career. There was just something that clicked when I watched them on Twitch,” says Mable dialing in from her home in Upstate New York. “I really liked the creative freedom they had. Something about DJing and transitions just made sense to me.”




Mable first connected with NAIAD a few months after she started streaming looking for advice on how to take her Twitch channel to the next level and begin earning some real money.




NAIAD already had a solid community around her, of which Mable was a part. So she reached out to NAIAD for advice via Instagram message. In return, NAIAD video-called Mable in an instant, and on top of solidifying their friendship, NAIAD provided two key pieces of advice for success on Twitch:




Longer streams and a consistent schedule from day one. Which Mable then implemented on her own channel.




“That’s when it went from feeling like viewers from random places all being together to feeling like unity,” Mable says.




These two tenants allow both NAIAD and Mable to treat Twitch like a career. Both of them stream between 12 and 18 hours per week, every week, following a specific schedule that works for their chosen genres. NAIAD plays a lot of melodic and progressive sounds while Mable goes into more funky and tech house (but they both switch it up all the time, too cause Twitch affords them that freedom.




They also study analytics to know when the specific genres they play earn the most money. For example, NAIAD wakes up at 5:30 am on Mondays because her melodic house and techno style does really well at that hour.




About a month after her call with NAIAD, following her schedule consistently, Mable went from earning approximately $300 a month to making a few thousand dollars a month, but both are sure to note that it takes consistent work to reach a solid place in terms of income from Twitch.




“It’s a hustle,” NAIAD says. “You might have a somewhat consistent average per month that you can count on once you get ramped up, but at the end of the day until you have established yourself—once you start making money don’t quit your day thing quite yet.”




“It’s truly an unstable form of income,” Mable says. “It’s all donation-based. One week can do really well for me and then the next week can be a really big drop off.”




Mable is now a Twitch partner, a Community Manager on LP Giobbi’s Femme House Twitch channel, and has an affluent community of her own, which is why NAIAD recognized that Mable was a natural choice to partner with her on what would become their charity stream called Your Body, Our Voice in support of Planned Parenhood.




NAIAD and Mable were originally hoping ten other streamers with similar-sized communities would participate. 28 different streamers ended up coming on board from the US, Canada, Japan, and other countries.




“It expanded from a one-day thing into a three-day thing,” NAIAD says. “We just had so many people going ‘I hear you’re doing this. Can I be a part of it?’”




The Supreme Court overturned Roe V. Wade on Friday, June 24. NAIAD started reaching out to people to participate in the stream on Monday, June 27.




By that Tuesday, June 28, the stream turned into three days, and by midnight that Wednesday, June 29, she and Mable finished the visual assets to send to all the DJs before the stream started two hours later.




NAIAD and Mable’s original goal for the 70 hour stream that started on June 30, was to raise $1,500. In the end they had raised $40,111.11.




But more than the money, the two of them recall the stream as being incredibly cathartic and supportive for all involved.




NAIAD and Mable watched all 28 broadcasts across the 72 hours in shifts to demonstrate how important it was to them as hosts. But they also stuck around because they didn’t want to miss any of it, and their communities followed them from stream to stream.




It became a safe space for the community to share their deepest thoughts and feelings about the Roe ruling or anything else on their minds. Viewers were bonding, some were even offering to bake or knit things for people who donated.




“It’s the most fulfilling I’ve ever done in my life,” Mable says. “It showed us the power of Twitch…”




“I think it showed us the power of our voices,” NAIAD says, finishing the thought. “For the first time in my life I am not afraid to use my voice publicly. This is the first time in my life that I want to actually fight.”




And NAIAD and Mable will continue to fight, on Twitch and beyond. They are already ideating a second charity stream that will be happening soon, and they don’t intend for their charitable activities to end there either.




Your Body, Our Voice showed NAIAD and Mable the strength of their communities, it shifted their careers in a more philanthropic direction, and it gave them even more faith in themselves as individuals, and it all started on Twitch.


















Two Twitch Streamers Raise $40K in 70 Hours  For Planned Parenthood

Last month French producer and DJ Sirus Hood delivered a summery mix for Gray Area’s OCHO that brought us to the sunny shores of Ibiza. Recorded during an epic sunset at White Isle institution Bora Bora Beachclub, he blazed through a set that fluidly drifts through classic Chicago, funky tribal, warped tech house, and disco.





Putting his deep knowledge of house music on display has been a hallmark of his style since he burst onto the scene with releases on CUFF and Dirtybird in 2014 and 2016 respectively. At that point he’d been a student of dance music from the age of 10, when he started listening to mixtapes passed down to him from older friends.





Over the years he’s flexed his skills as a producer on many lauded labels including Hot Creations, Cajual, and Sola. However, his more recent project with Manda Moor is where his focus lies these days.



We caught up with Sirus to chat about Mood Child Records, the challenges of producing vinyl, and what’s to come for the Ibiza regular.









You have a new label with Manda Moor. What brought the two of you together for this project and what's different about this project?



That’s right. Actually, this is the first time that I’m talking about our label. The name of the label is Mood Child. After releasing a series of successful edits with Manda Moor, it seemed natural to evolve to original music from us, from the artists that we love, and to start our party [brand]. The whole concept of Mood Child is to have multiple colors, multiple moods, and multiple cultures. We believe in diversity, and this is what we want to share.





Vinyl has consistently been on the uptick for the last several years. What's the thought process behind putting out a limited vinyl release?



During the pandemic, we created a community on Bandcamp of music lovers who supported our limited stuff. We believe in the scarcity, and we are huge vinyl lovers. By definition vinyl is limited so, we decided to launch our best edits on wax for all the DJs who want to play rare edits on 12”.





Where there any challenges you had to overcome when planning on releasing vinyl?



Producing vinyl is very challenging. The vinyl pressing plants are facing material shortages and a higher demand which increases the costs and delays. Some plants are facing a one-year delay. So, the first challenge was to find a plant who offer a shorter delay and the best pressing quality. Then we had— in a very short time— to remaster the 12 tracks for vinyl because mastering for digital releases and vinyl doesn't have the same requirements.



We called Most Wanted Audio who do analog mastering. It’s very challenging because any change means starting from scratch and re-recording second by second. The final result is amazing.



Then we had challenges of the artwork and label stickers with very specific formats. But our friend Sami Galetto created for us a crazy piece of art. Now we are waiting to see the babies (the vinyl copies).





You have a project with DJ Pierre as well, can you tell us about that?



The legendary DJ Pierre (Phuture) who created the acid sound (acid House, acid Techno) in Chicago in 1985 [asked] me to remix the first acid track ever called “Acid Tracks.” It’s a huge honor for me. It’s gonna be released on a very limited vinyl that is available on pre-order on Diggers Factory.







What's it like being asked to remix such a historical piece of dance music culture?



I’m so proud to retouch such a classic piece that served as a foundation of the music that we make and play today. I had the chance to get an original Roland TB-303 to recreate the acid bass parts as the original track, then I added my groove on it. I love how it came out, a very groovy acid techno version. I can’t wait to have the vinyl in hands.





What's coming up for you this summer?



Mainly Ibiza. Manda and I did our first Mood Child party at Hï in the Wild Corner in June and it was one of the few super magic nights that we had in our lives. The feedback was incredible. Fun fact: The same night, Hï Ibiza was announced to be number one club in the world. After this first success, I’m happy to announce the next Mood Child party at Hï on August 23rd.





I’ll also play Paradise Amnesia on August 10th, The Martinez Brothers event on August 30th at Hï, and very nice gigs and festivals in some of my fav countries like Brazil, Italy and France.







Can you talk about your OCHO mix? What's special about the tracklist?



This OCHO is very special because I recorded it during a sunset at Bora Bora Ibiza for their opening party a couple of weeks ago. You can hear in the background the crowd vibing. The track selection is mainly 90s Ibiza magic vibe. I won’t say more ;)





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