Every Tuesday night in the summer of 2022, The Martinez Brothers punctuated their inaugural Ibiza residency at Hï with their season slumper, "KILO." Featuring the melodic flow of Dominican rapper, Tokischa, it was easily their hit of the residency. After finally releasing the slinky simmering banger late in 2022, the boys recently dropped a remix from Brazillian badman Beltran.






Keeping Tokischa's vocals and that smooth marimba-esque synth line front and center, Beltran does what he does best, amping up the energy by giving it a more forward drum rework and a bassline with a spitfire groove.




Beltran hit the top of the Beatport Tech House charts in 2022 with his #1 hit, "Smack Yo.'" Released on Michael Bibi's genre-defining (and defying) label, Solid Grooves, the track picked up widespread support from across the house spectrum with everyone from Gordo and Marco Carola to Solardo, Pete Tong, and fellow Brazillian brethren Vintage Culture, Classmatic, and Mochakk, all dropping it in their sets.




Beltran told Beatport that he grew up almost completely unaware of the massively influential scene in his native country. "I'm from a small town in the south side of Brazil, and because of that, the only contact I had with electronic music was because of my brother and cousins," he said in a 2022 interview. "As I grew up, I started attending local events/clubs and saw that we have a big and amazing scene here in Brazil, the people really get into the story you're telling within your set, and that is the best feeling for a DJ."




Even before having the honor of remixing the Martinez Brothers, the young producer's catalog was a rich offering. He debuted on Cuff in 2022 and later in the year also dropped his follow-up to his Beatport chart-topper, "Warning," on Revival New York.




With only a year of releases under his belt, he's impressively aligned himself with some of the best in the business. We can't wait to see what other tricks Beltran has up his sleeve.

Beltran Amps Up the Energy With His Remix of 'Kilo'

It's been nearly two years since I last spoke to New York DJ and producer Westend, né Tyler Morris. And while the setting of our hour-long conversation is the same, he speaks to me from his light-filled New York apartment, the circumstances of his constantly evolving career have shifted. He's just returned from playing EDC Mexico's mainstage and dropping his first collab with longtime friend Noizu, "Push To Start." Currently ranked the seventh best-selling tech house artist on Beatport and number 23 in all genres, it's safe to say that he has evolved beyond emerging.



Morris ascended to the top of the game, pushing the then-rising sound of new tech house. Once an underground staple, the playful subgenre is now the sound of the mainstage, yet when we last spoke, he intended to find new ways to push beyond its impish bounce and inject more emotion into his music. Over the last two years, it's gone well. Tracks like "Moderation (At Night)" and "Running" express a newly discovered sonic range and a deft handle on the importance of balancing heart-swelling vocals with soaring melodics that stretch the limits of the massive sound systems he's now finding himself playing on.



"I pretty much only made music that evoked a certain emotion, which was party time—weird, wonky house music for the club. I realized that my interests as an artist, a listener, and fan of electronic music expanded outside that," he tells me. "I've always loved more vocal housey stuff and more melodic stuff."



He goes on to explain that not only was this a matter of desire to create a deeper, more visceral connection to his music, he also started to understand there was a ceiling on the power of party tech.



"It's very limiting to play a certain genre of music in all the rooms and places that you play. Once I started to like play in bigger rooms and bigger stages, I found that I needed my own productions to match some of the energy changes that I want. That's why I think you see people like Dom Dolla, John [Summit] playing techno in sets where they maybe weren't playing it before. I think it's also a product of house music artists getting to these bigger stages. We need different tools. We can't just do what would work in a 300 cap club all the time."



His creative expansion has led to collaborative work with various artists, from French-born Latin house stalwart HUGEL to Grammy Award winner (and fellow New Yorker) CID and, most recently, Noizu on "Push To Start."

The latter came after the pair spent a few years passing projects back and forth to no avail. Finally, in late 2022, they hacked their release schedule to force them to make it happen. "It was funny, for 'Push To Start,' we almost started the process backwards, where we committed to finishing a song by a certain day and having it put out. The release was already there."



Having a release date set for a song that didn't yet exist put a fire under them. And when their manager (they are both on the same management team) shared the spicy vocal from No/Me, they knew they could write a ravey anthem perfect for peak hour on any dancefloor.



Noizu has also become a mentor for Morris, advising him on touring, business, and mental health. "It's really good to have someone that's already a few steps ahead of you to [ask] what should I do in this circumstance? He's an awesome person, and we're really good friends."

Morris appreciates the benefit of having a mentor and seeks to pay it forward. After giving some production lessons during the pandemic, he realized that he enjoyed teaching and wanted to find another way to connect with the producer community. He started Kick and Bass, a Discord community where, alongside a small group of coaches, he shares his vast production knowledge with several hundred budding producers. Expanding beyond the stage has been gratifying, "it's such a big part of what I do now, music education and community building," he says.



He recently took this one step further by partnering with Scraps, a new music tech company. If you've ever wanted to take a peek under the hood and see what goes into making one of Westend's hit tracks, you can purchase the entire project file for "Get This Party Started" and "Running" directly from their website.



Morris tells me he doesn't feel production should be a coveted medium. Instead, his production "secrets" are a shared resource. Kick and Bass and Scraps are his way of repaying a debt to a group of trailblazing creators who helped him learn his craft.



Some producers feel that sharing the secret sauce devalues their brand and dilutes the art. Morris disagrees, saying, "It's not a zero-sum game. If I were to share some information that doesn't take away from the space. It took me a bit to realize this. I learned on the internet ten years ago from the people that were the few doing YouTube tutorials at the time. So I owe everything to the people that decided to put resources on how to make music on the internet. I feel indebted to the space to return that favor."



Another institution he feels indebted to? New York's legendary venue, Output. Open from 2013 to 2018. It helped turn a once sleepy stretch of Williamsburg into an international nightlife destination. It's where Morris says he got his house music education. Now under new management and renamed Superior Ingredients, Westend will make his New York headline debut on The Roof this May 5. It's a full-circle moment for him.



"Just the amount of times I went there, the amount of artists I would go to see. That's where I got super into house music in New York. And to do my first proper headline show back there is awesome. I'm sure when I walk into the building I'll feel a little bit emotional because I've just been in that building so much, but it's gonna be really fun. I'm very excited for it. It's probably going to be the most important show I've done so far."



In the two years since we last spoke, Westend made an art out of staying in his lane. He created an entirely new one, setting himself apart from many of his contemporaries and finding new ways to evolve. We can't wait to see what the next two years hold.

Pushing Beyond Tech House: How Westend Continues to Evolve

Walking through Bayfront Park and into the Ultra Music Festival grounds was indescribable. Like a kid walking through a candy store, an immediate sense of being gripped by a symphony of visuals and sounds rushed through our souls, and it was difficult to focus on any one thing.




As we passed by the Resistance stage, the pulsing bass of Anfisa Letyago's set resonated deep within us, beckoning us to come closer and experience the techno side of Ultra Music Festival. The urge to join the crowd and dance like no one was watching was irresistible.




As we continued exploring, attendees drowned in a sea of LED lights flickering and dancing in sync with the beat, every one a symbol of their own unique personal style and expression. Ravers bustled by, wrists adorned with kandee, each bead holding a meaning or cherished memory. The atmosphere is as thick as the Florida humidity as swarms of festival attendees make their way past fellow ravers engulfed in shimmering glitter and joy.






Amidst the throngs of dancers making their way towards the mainstage to catch the performances from top acts like Dom Dolla, Hardwell, and Vintage Culture, a crowd of Ultra Angels formed a shuffling circle at the center of the festivities. The sight of a group of ladies moving in perfect harmony, gliding across the floor with such fluidity that it appears wet, ignites a fire within. Ultra's meticulous attention to detail when it comes to the dancers' outfits is truly noteworthy, as it elevates their presence and perfectly aligns with the festival's energy and theme.




Ultra's Live Stage put us in the mood to break some neck and ride the rail while hiding beneath a pashmina with the stinkiest stank face. We're still basking in the adrenaline-pumping euphoria of Kayzo's debut Unleashed XL live performance a week later. The hybrid DJ and live set featured Kayzo throwing down on the decks, backed by a live guitarist and drummer. The fiery flames, eerie visuals, and the massive cage housing two imposing, glowing-eyed prop Dobermans all contributed to a spellbinding experience that left necks sore.




When it comes to production and set design, Black Tiger Sex Machine consistently delivers a flawless experience that seamlessly weaves together stunning visuals and a compelling narrative, all while unleashing some of the most jaw-dropping bass music you'll ever encounter. They created a mesmerizing multisensory spectacle.




Franky Wah delivered an emotionally charged performance on Saturday, electrifying the crowd with his SHÈN presents energy and dropping his latest single, "Alive," - a collaboration with Vintage Culture. Hearing the song in person was an even more serene experience.




The weather can often make or break a music festival experience, but fortunately, the sun shone bright, and the skies remained clear for three days. The immaculate weather elevated the liberating environment, allowing festivalgoers fully let loose and take in all the outdoor stages and activities without any weather-related interruptions. Miami's warm and balmy climate, paired with the breathtaking waterfront location of the festival, shaped a picture-perfect backdrop for a weekend punctuated by incredible music, friends, and fun.


Beyond the music, Ultra makes impressive use of Bayside Park's space, dotting it with gorgeous art installations and plenty of room to chill away from the crowds. Near the main stage, dancers could recharge in the shade while still enjoying the music and catching a glimpse of Ultra's iconic flower symbol or the truly mindbending Sentient by sculptor Daniel Popper.




For an urban festival, it still felt truly immersive and communal. And despite the din of the surrounding city, Ultra gave everyone a chance to pause the chaos of life for three days, replacing the disorder of the everyday with a sense of togetherness that celebrates life, music, and loving one another.




On Sunday, techno and house took over, with attendees either losing themselves in the pulsating rhythms at the Resistance Megastructure or relaxing on the grass at Resistance Cove. The wonky and fun electric grooves of Dirtybird soundtracked the later's bayside locale amidst a grove of palm trees. Watching everyone melt into the grass while VNSSA was ripping up the decks was the cherry on top of a successful weekend. Having the option to kick back and bop your head to tasteful house or dance on a grassy field surrounded by loved ones is a truly gratifying experience.




The Megastructure is another world entirely. As the King of Ibiza, Carl Cox, closed out Resistance on Sunday, with a set that will be talked about for years to come, I was awestruck by the lights on the Megastructure ceiling as they rose and fell seamlessly with the funky techno rhythms.




Ultra-Miami Music Festival is one of those events to check off the bucket list if you're into diverse lineups, world-renowned artists, visually appealing art installations, and getting a break from reality for three days. If you've already ticked it off your bucket list, it's undoubtedly an event worth revisiting. From the sexy techno beats at the Resistance stage to the neck-breaking rhythms at the Live Stage, to the blissful performances at Main Stage, and everything in between, Ultra Miami Music Festival offers something for everyone.

Putting Reality on Pause at Ultra Music Festival

With the opening of Musica New York, the clubbing scene in Manhattan is experiencing a revival. Occupying a historic location in Hell's Kitchen, Musica is a modern, multi-level venue offering an immersive and diverse experience for clubgoers.

Musica's Origins: From Italy to New York Giuseppe Cipriani, the creators of Musica New York, expanded their successful Italian club concept to Manhattan. Their goal is to revitalize the once-prolific club scene in the city's core, which had largely migrated to Brooklyn and Queens.

A Diverse Musical Experience With a lineup featuring legendary artists like Green Velvet, Victor Calderone, Nore en Pure, Louie Vega, and David Morales, Musica aims to cater to a wide range of musical tastes. From deep techno to soulful house, the club provides an eclectic mix of genres and performances.


The Unique Ambiance of Musica New York Musica's industrial, brick-walled design creates an underground, warehouse-like atmosphere, complete with LED screens and a state-of-the-art sound system. The venue aims to blend the anonymity of a warehouse with the premium club experience.



Three Distinct Floors for Different Vibes Musica offers a versatile experience across its three levels:

The ground floor's Whisper Room features an intimate, old-school vibe with open-format and hip-hop DJs.

The main floor offers a dark, sultry, and sprawling space reminiscent of Manhattan's mega-club era.

The third-floor rooftop, opening in summer 2023, will provide an open-air space for clubgoers to enjoy world-class talent.


A Connection to the Past and a Vision for the Future Musica occupies a space that once housed iconic clubs Space Ibiza New York and FREQ. With its nostalgic atmosphere and modern offerings, the venue aims to become a cultural destination that pays homage to its past while paving the way for the future of Manhattan nightlife.

A New Era of Manhattan Nightlife: A Look Inside Musica New York

“BOOM. The ID you’ve all been waiting on.” That might be the most accurate statement we’ve heard all week, and it comes straight from up-and-coming DJ/producer, Joshwa on his new track, “Bass Go Boom.”





Based in London, Joshwa first stepped onto the scene in 2016. His library and reach have grown with each passing year while fine-tuning his sound with the label Glasgow Underground. Persistence pays off, and in 2021 Joshwa started cracking the code. Beginning with “My Humps,” the Beatport number one that found a home with Lee Foss’ acclaimed Repopulate Mars. Next, he linked with fellow Londoner, Sammy Porter, on the slinky banger, “Eastern Dub,” which was right as rain for FISHER’s Catch & Release records. Joshwa closed out 2022 strong with a string of releases on heavy-hitting outlets Black Book Records, Insomniac, and Ultra.


Joshwa seems primed to continue his breakout in 2023 with the release of his highly coveted ID, “Bass Go Boom.” While only just now seeing official release, the tune has experienced widespread support from dance music movers and shakers like John Summit, FISHER, Danny Howard, Jamie Jones, Solardo, and more. Playing it out in your set is one thing, but signing it is another, and that’s exactly what Jamie Jones and Lee Foss did by nabbing it for Hot Creations.


"Anyone that knows me or has heard a set recently knows this is a staple and marks the next stage of evolution of my sound,” Joshwa shared. “Ecstatic for it be dropping on Jamie’s Hot Creations.”


Hot Creations landed a sizzler with “Bass Go Boom.” This is a bone-rattling, foot-stomping tech house at its finest. The undulating low end is fit for peak UK Bass, but toss in a skittering kit and the vocal punch, and you have a track that will tear up any club. No wonder Summit, Fish, and Jones have rinsed this one out.

The 'Bass Go Boom' On Joshwa’s Highly Anticipated ID

Miami is a year-round hotspot for dance music lovers. Its 24-hour party culture makes it the perfect place for marathon DJ sets stretching for hours. Yet, each year in March, the Magic City cranks the heat up to ten for Miami Music Week. As the dance music community descends on the city’s clubs, hotel pools, and massive venues, Miami comes alive with an endless array of events that touch on every musical taste in the diverse electronic music spectrum.




From the seemingly never closing bacchanal of Club Space to the global festival offerings of Ultra and Factory Town’s laundry list of incredible label shows and one-offs, Miami Music Week is the ultimate endurance test for DJs and dancers.




If you’re heading down this week and still trying to make heads or tails of the hundreds of offerings, we’ve broken down our favorite parties by day and night. Remember, MMW is more like a triathlon than the 50-yard dash. So be sure you’re taking care of yourself while you bender. Check out Guide to Miami Music Week from 2022 for recommendations on what else to do while you’re in town.




Wednesday, March 22nd




DAY

EPIC POOL PARTIES pres. DJ MAG

The Sagamore 

Lineup - ACRAZE, Cassy, Dom Dolla, Dombresky, Heidi Lawden, Jaden Thompson, Kasia, LP Giobbi, Mau P, Purple Disco Machine





NIGHT

Club Space

Lineup - Korolova, Meduza, Miss Monique, Max Stern, + Secret Guest




Thursday, March 23rd




DAY

Heldeep Pool Party

Nautilus Hotel

Lineup - Anabel Englund, Hugel, Kaleena Zanders, Martin Ikin, Miss Monique, Oliver Heldens, Space 92, The Magician, Warner Case





NIGHT

elrow: Miami Music Week Edition 2023

Factory Town

Lineup - Bastian Bux, Chelina Manuhutu, Chris Lake, Daizy, Deeper Purpose, Joshwa, Kerri Chandler, Lee Foss, Mau P, LP Giobbi, MK, Sonny Fodera, Tini Gessler




Friday, March 24th

DAY

All Gone Pete Tong

Surfcomber Hotel

Lineup - Airrica, Chloe Caillet, Damian Lazarus, Golfos (Dennis Cruz B2B Pawsa), Idris Elba, O.Bee, Malone, Pete Tong, Seth Troxler, Tomas Station






NIGHT

Cloonee Presents: Hellbent

Floyd

Lineup - Cloonee, Detlef, Luuk Van Dijk, Seb Zito, Secondcity, Sosa




Saturday, March 25th

DAY

Green Velvet presents LaLaLand Pool Party

Nautilus Hotel

Lineup - DJ E-Clyps, Eats Everything, Green Velvet, John Summit, Miss Dre, Real B2B Rubūke, Shermanology





NIGHT

Anjunadeep Open Air Miami 2023

MAPS Backlot

Lineup - CRi, Eli & Fur, Jody Wisternoff, Luttrell, Marsh, Nils Hoffmann, Sinca





Sunday, March 26th

DAY

EPIC POOL PARTIES pres GLITTERBOX

Sagamore Hotel 

Lineup - Anna Collecta, Catz ‘n Dogz, DJ Holographic, DJ Minx, Eats Everything, Jellybean Benitez, Louie Vega, Musclecars, The Shapeshifters




NIGHT

Carl Cox Official Music Week Closing Party

M2

Lineup - Anifsa Letyago, Bontan, Carl Cox, Enrico Sangiuliano, Guti, Julia Govor, Solardo

Gray Area Guide to Miami Music Week 2023

As Women’s History Month continues, we want to feature the distinguished women in dance music who are causing a commotion in the best way possible and inspiring the next generation of female artists. With Miami Music Week just days away, we’ve compiled a list of talented women who are not only part of the Gray Area family but also guaranteed to deliver mind-blowing sets that will get you and your friends moving and grooving. High energy, lethal USBs, and remarkable crowd control are only a few of the myriad things these ladies bring to the table.




1. Chloé Caillet

Chloé is at the top of her game. She never fails to surprise us with her tasteful choices as a selector and her deep house releases. The DJ, producer, multi-instrumentalist, and record label founder of PVBLIC XCESS hit #13 on Beatport with her infamous track, “NYWTF.” Moreover, her 2023 remix of Tensnake’s “Coma Cat,” hit #1 on Beatport’s house chart only three days after the release! If you haven’t seen her yet, you have three opportunities this upcoming week as she will play: Paradise at Factory Town, Pete Tong’s All Gone pool party at Surfcomber on Friday, and at the He.She.They. party at ToeJam Backlot on Sunday.




2. Jenn Getz & Alfie

The leading dynamic female DJ-duo for the underground music scene in Dubai is coming in hot to Miami to bring their funky tech house spice and kinetic style to the 305. It took them a couple of years to establish a career in a male-dominated environment, but persistence and a grind helped them succeed. Jenn Getz & Alfie’s song “Let’s Rave,” released via Toolroom topped several charts including house, melodic house & techno, progressive house, and was #2 in the top 100 releases on Beatport. You can catch the UK natives at Toolroom’s party on Sunday at the National Hotel.




3. Arielle Free

In January 2022, we spoke with Arielle Free, and she emphasized her admiration and gratitude for powerful women in the music scene. She is a bright light for the next generation of females in dance music. Her leadership qualities have made her one of the leading presenters on BBC Radio 1. “Release I Need” was her latest release that we needed - no pun intended. Get your most excellent pair of shades and dancing shoes because she’ll be spinning at the Defected Record Pool Party on Thursday at the Sagamore Pool.




4. Hannah Wants

Also at the Defected Pool Party on Thursday is DJ, producer, and label boss of Etiquette Records, Hannah Wants. Before music, Wants was a striker for a women’s national football team for close to a decade. After hanging up her cleats, she decided she would strike the ears of dance music lovers. Her dynamic range of rhythms and basslines has raked in close to 600,000 monthly Spotify listeners, 46 charted Beatport tracks, and close to two million track list views via 1001 Tracklists. What Hannah wants, Hannah gets.




5. Layla Benitez

It shouldn’t be surprising to hear this name playing at a massive event like Paradise on Friday. Layla Benitez has long been a staple in the techno, melodic, and deep house world. Not only has she turned heads with her flavorful style in fashion and stage presence, but she is also making a splash with her unique soundscaping sets, and releases. In 2022 she teamed up with Max Milner, for “Fizzy Pop,” via All Day I Dream. The two busted Beatport’s charts, holding the #1 spot in organic house and #2 in overall top 100 releases.




6. Natalia Roth

Space resident Natalia Roth will unleash her minimal house and techno demons at Music On at Factory Town on Thursday. Miami heads are in for a treat as the emerging DJ, producer, and vocalist always deliver a memorable set enriched with textured grooves and stimulating transitions. In addition to being a fierce redhead, she is also a guitarist and pianist and a writer of songs and poems. The world is Natalia’s oyster.




7. Maya Jane Coles

Excelling in every aspect of creativity and music, Maya Jane Coles does it all. A prime example of having a boundless attitude toward her art, Coles has been streamed on Soundcloud nearly 27 million times, featured on over three thousand DJ charts on Beatport, and acquired over 500 thousand Spotify monthly listeners. Her impressive skill set encompassing engineering, producing, and mixing led her to release her debut album, Comfort, via her record label I/AM/Me. Her UK bass alter-ego Nocturnal Sunshine, also does very well, as she swept into over 400,000 playlists on Spotify, and has been streamed over one million times via SoundCloud. Immerse yourself into Maya Jane Cole’s world at the He.She.They. party at ToeJam Backlot on Sunday.




8. Miane


Miane was born in Spain and made for superstardom. Many celebrated labels have released her music, including Black Book, Saved, Knee Deep in Sound, REALM, Rawthentic, and Moon Harbour. Being nominated by DJ Mag in 2012 for best tech-house artist of the year means you consistently serve the music industry with knockout bangers. There is no doubt Miane does as her music has appeared in over 800 DJ charts on Beatport. Even her latest release, “All The Night,” reached the top 15 in techno. Miane’s diversity in sound is worth checking out at the Black Book party on Friday at Oasis Wynwood.




9. Kaleena Zanders

For a month dedicated to women and their incredible talents, it is appropriate to celebrate a woman who has been steady slaying since elementary school. Kaleena Zanders is the definition of zealous and a master at her art. The queer icon lent her angelic vocals to the 2018 Winter Olympics and SNBRN’s 2016 summer hit track “California,” which Chris Lake and Matroda remixed and skyrocketed to #1 on the house music charts. Kaleena’s charisma is undoubtedly honorable, and her sound is pure magic. Her latest, “Vibration” with Shift K3Y, is #4 on Beatport’s Hype: Mainstage chart. Check her out at Thursday’s Heldeep pool party at the Nautilus Hotel.




10. Melanie Ribbe

One of Germany’s born and Jamaica’s finest, Melanie Ribbe, is scheduled to send listeners into a lovesome groove with her magnetic performance and electrifying energy at Drumcode’s party on Thursday at M2. Her music (and her eyes) pierce through your soul. A model and a London Academy Music production graduate, Ribbe has had an epic amount of success over the years, releasing on prominent imprints such as Drumcode, Saved, Toolroom, Moon Harbour, Rawsome, TBX Limited, Woodland, and more. After lending her name to so many label’s releases, she decided to start her own. In 2020, she launched Agape Muzik, an underground imprint that kickstarted in Brazil but was derived from her German roots. Additionally, she founded her event series Unlocked, a home for underground parties. Miss Melanie is killing the game!

10 Women From the Gray Area Family You Can't Miss During Miami Music Week

A man with beats and performance skills that melt you into an unworldly universe who also maintains an exquisite rollie fingers mustache—his name is Luttrell, and he has been spanking the melodic techno and progressive house scene sideways. The melodic mustachioed maestro had a splendid first two years when he debuted as an individual artist in 2016.


Just look at the receipts. After years as part of the M Machine, he signed his “Need You” EP to Anjunadeep in 2016. Two years later, his track “Contract” was featured on Mark Knight’s This is Toolroom 2018, a curated EP of the stalwart label’s most noteworthy tracks and up-and-coming artists. Additionally, he toured North America with Above & Beyond in 2017 and 2018. Then he accompanied Lane 8 for his Little by Little album tour. He topped things off with his first Tomorrowland and Coachella in 2018. Moreover, the melodic techno talent opened up for Rüfüs du Sol, received massive support from BBC Radio 1, Pete Tong, Joris Voorn, and remixed Moby’s “This Wild Darkness.”




In 2019 he hit his first solo tour and released his debut album Into Clouds, via Anjunadeep Records. It became a prime example that showed his immense progress in creative range and ability to craft expressive, mesmerizing sounds amongst 13 tracks - earning him even more recognition and a fevered fanbase.




In 2020 he released his second album, Lucky Ones, enriched with music that spoke to a crowd and evoked a feeling of beauty and bliss. A year later, he released his album “Music For My Memories” and the companion EP “Music For My Memories Pt.II” his dedication to his craft was evident in the ethereal melodies, fearless rhythms, and lush soundscapes that characterize his music. Whether blasting through your headphones or on a massive sound system, Luttrell has a pure talent for drawing listeners in and taking them on a journey of the senses. His sound and presence made for the big stage.






The artist, who is about to become a father, had his most recent release via Anjunadeep, “More Than Human.” Listening to it is a serene experience that transports you to the mesmerizing atmosphere of the playa at Burning Man. The track’s poignant chords and deep house-rooted basslines stir the mood to dance as the sun sets over the desert landscape, and a stunning golden glow envelops you and your loved ones.




We caught up with Luttrell and discussed his life, career, and what we can forward to. He shared with us some candid and insightful responses that bring him and his expansion on music to life.







You recently mentioned you have been working on new music, some outside your comfort zone. What does working out of your comfort zone look like?

I’ve had so much time to write music recently, being off the road for a bit. It’s been super fun to bring out my guitar and ukulele and play along with something I’m writing that’s more dance-ey or house-ey. Sometimes blending those two worlds brings about some interesting results. I’ve also been experimenting with pitching my vocals around more—getting more experimental with it, while still keeping it within the ‘Luttrell’ sound.




After having such a memorable year with your music, life, and performances, what do you owe yourself?




A back massage. But honestly, I’d say I owe myself the time and space to focus, be inspired, and make the best possible music I can. Life is short, and I already feel time speeding up. It’s wild.




The best part of Gray Area is exposing a new audience to a new artist and vice versa. What would you say is the best part of your career, living in a time where you’re constantly being exposed to new listeners and people?




That’s basically it. The people I come in contact with are the best part. Connecting with people through the love of a moment of music is one of the absolute best feelings in life, and I’m lucky I get to experience that feeling often.




How did your personal relationship influence the creative process and final product of “Around you”?




[My wife] Sara would come hang out downstairs in the studio while I would work a lot of nights. On that track we had the idea of trying a duet-style vocal, so we ended up spending the entire rainy night in the Seattle studio singing and arranging the parts [and] finished working on the song as the sun was coming up. It was a special time.




How did your collaboration with Mat Zo and his introduction to Above & Beyond lead to

your partnership with Anjunadeep?




In 2016, I happened to be in LA at Mat Zo’s house going over final mix decisions on the last M Machine record. We were taking an ear break from what we were listening to all afternoon and sharing any other random bits of music or works in progress. I showed him a couple of early versions of the first Luttrell songs, like “Need You” and “Stormwatcher.” Mat said, “Hey, I think Anjunadeep might be into this.” So he sent it over to them, and the rest is history. A very fortuitous moment in my career, so big thanks to Mat Zo on that one.




Can you speak to the evolution of your sound and style, particularly as it relates to your

releases with Anjunadeep?




My main focus has always been to write music that makes me feel feelings, and I think that’s why I have found a place at Anjunadeep. They are very focused on chords, music, and emotions while staying true to their deep house roots. Personally, I try to make sure my music is pretty, whether it’s more of a chill track or a peak-time banger. It always has to evoke some kind of emotion.




What is the first thing you think of when you say “I Love”?




Spicy Chicken Sandwich (it’s my vice these days)




What are some things you forget but feel better when reminded about?




Nobody has all the answers, and that’s ok! Also, there are almost certainly some pretty neat civilizations out there in the galaxy and beyond that have their own art, music, architecture, food, and who knows what else. Maybe some inventions we can’t comprehend yet. Just super fascinating, and it makes me happy to daydream about the possibilities.




What are some things normal to you that other people find weird?




Being in airports and on airplanes is relaxing to me. I am really good at fasting diets. The sound of styrofoam squeaking together makes me want to puke. It’s like nails on a chalkboard x10 (to me).




Is there any upcoming exciting news from you that we should be looking forward to?




We recently moved to Long Beach, CA, and Sara and I have a baby daughter on the way! Our first baby, so we’re very excited. I’m experimenting and having a ton of fun writing and taking in my new surroundings. Inspired by all the changes and new beginnings.

Luttrell on Exploring the Space Outside of His Comfort Zone

Everyone loves a good remix. DJs love the near-guaranteed crowd reaction, and show-goers love the quick dose of connected familiarity. No matter who you are, a good remix just hits. House queen Honey Dijon's remix of David Bowie classic, "Let's Dance," ticks all the boxes and is sure to unite generations of music fans across the globe.




Forty years from its initial release, the seminal track receives an injection of new life as part of the Let's Dance (40th Anniversary Remix E.P.) commissioned by fitness company, Peloton. Honey turns the technicolor tune into a carnal tech-house cut fit for the deepest depths of the underground. While we often remember Bowie for his distinct elegance, this flip trades the vogue for the visceral.

The legendary single first came to life four decades ago. A trailblazing offering, the track was an amalgam of rock, post-disco, dance, funk, and new wave, even sampling the Beatles' hit, "Twist and Shout." With the help of Nile Rogers of Chic, Bowie concocted a tune that topped global charts upon release and has remained a staple in pop music culture ever since.




Honey Dijon joins Brazilian Electronic producer RQntz, as the EP's recruited artists. Honey had this to say about her new take on the timeless tune:



"My remix was not only influenced by my love of David Bowie, but by being a Peloton Member myself, I thought about what would inspire me to move my body and sweat, similarly to when I motivate a crowd to dance at a club. My interpretation of 'Let's Dance' is a true celebration of music and movement."



While there are a thousand ways to get your steps and reach your fitness goals, we at Gray Area prefer to get ours on the dance floor. So put on your red shoes, cue up Honey Dijon's Moonlight Remix, and "Let's Dance."

Honey Dijon Turns David Bowie's 'Let's Dance' Into A Carnal Cut

Beyond the mainstage, Ultra Music Festival has a history of curating forward-thinking house and techno lineups that rival any of the downtown and South Beach antics during Miami Music Week. Returning to Bayfront Park Friday, March 24 - Sunday, March 26, Ultra's Resistance will host two stages of heart-stopping techno and groove-inducing house.




Most are fully aware of the iconic Megastructure with its hulking framework, astounding LED bars that rise and fall from the ceiling, and next-generation artistic design. However, Resistance Cove is where you want to be for outdoor intimacy, perfectly positioned for Miami's beautiful tropical weather. Isolated to the side of Bayfront Park Resistance Cove was designed to bring a tiny slice of the memorable Resistance Island concept to Bayfront Park. Set amidst a grove of palm trees, it offers storytelling views of Miami's skyline and Biscayne Bay.




The weekend features three full-day stage takeovers from some of the most respected brands in underground dance.




On Friday, Nicole Moudaber takes on an unexpected yet exciting new location bringing her Mood label family to the intimate side of Resistance. She'll light up the night with a jaw-dropping B2B with techno legend and CLR boss Chris Liebing. UK-born Maya Jane Coles and Swedish star Ida Engberg will bring their powerful female techno-magic to the stage. Luigi Madonna will perform alongside fellow Italian techno don Roberto Capuano reviving the intensity of their 2020 Drumcode collaboration Mad World. And rounding out the intense opening day is Aussie-born, London-based Juliet Fox, who will keep the energy high and fire off some tasteful tracks.

On Saturday, Joris Voorn will unleash his Spectrum project. Started to encompass his divergent duo of record labels in 2005, Spectrum has grown into a force of its own, encompassing a record label, events series, and radio show.




Voorn tells Gray Area, "This is an exciting moment for Spectrum. Hosting the Cove stage at Ultra in Miami with such an all-star lineup - it's going to be an amazing day." And we agree. Joris will continue a weekend of massive talent at The Cove. Heading things up with him are Iranian maestro Dubfire doing a b2b with Danish native Kölsch. Afterlife regulars Mind Against will bring their emotionally drenched melodic sounds to the stage. Fideles, known for their transcendental dreamscapes, will craft a caringly curated musical journey. And Franky Wah, who recently launched his new label SHÈN, is a must-see act as he always delivers and serves his crowd with an unworldly blend of euphoric breakbeat, techno, and house.

On Sunday, Dirtybird heads tap in! The dad West Coast house and leader of Dirtybird Records, Claude VonStroke, is pulling up with his wonky and fresh, out-of-the-box tech-house tunes. VonStroke tells Gray Area that the Dirtybird crew is "kicking off a new year of Dirtybird Players shows and festival appearances. This is our full-label tour in about four years, so everyone is excited about it."




Claude is bringing the finest members of the birdhouse to close out the festival: Rules Don't Apply founders and owners Walker & Royce, modular synth demon Lubelski, everyone's favorite sour and sweet tech house titan VNSSA, Basement Leak founder and producer of one of Dirtybird's most defining hits "OKAY" Shiba San, rising twin duo RaeCola, and Kyle Kinch who has recently begun to dominate the international circuit.

Everyone leaves Ultra with the sense that the Megastructure is one of the festival's crowning achievements. However, with a lineup like this, you'd be kicking yourself if you didn't spend a good amount of time at Resistance's small but mighty little sister. The Cove may be a smaller stage, but the acts are massive, and the music will be next-level.

Resistance Cove is The Move for Underground House and Techno at Ultra Miami

The early 2000s were a time of profound evolution for dance music. Tracks like “One More Time,” “Pasilda,” “Groovejet (If This Ain’t Love,” “Lady (Hear Me Tonight),” and others pulled the once-fringe genre ever closer to the spotlight and the dawn of the music festival boom steadily began to materialize. One particularly groundbreaking track was Layo & Bushwacka!’s famous mashup, “Love Story (vs Finally).”



“Love Story (vs Finally)” took Layo & Bushwacka!’s “Love Story” and Kings Of Tomorrow’s “Finally” and transformed them into a smash hit that was undeniably infectious and practically unavoidable. Indeed, the clubs and radio waves of 2003 were in a near-constant state of euphoria as the track reached number eight in the UK top 10 chart. DJ Mag credited the single as one that “changed the course of dance music history.”








Two decades later, XL Recordings seeks to revive the historic hit. Resurrecting a timeless classic is not something taken lightly. So, who better to take the honor than award-winning DJ and producer, Paul Woolford?



Paul’s ear for a remix is one of his most remarkable traits, and his library proves it. This latest flip puts the nuance of Woolford’s touch on full display as he enhances a long-venerated hit for the modern dance floor. After twenty years, the distinctive piano chords and Julie McKnight’s vocals still pierce the soul. A newly reinforced bass line pairs with fresh builds and strategically layered synths to make this rework a modern-day belter ready to take over dance floors once more.



Some of dance music’s most revered figures have already tagged early support, including Pete Tong, Danny Howard, and DJ Paulette, who included it in her recent Essential Mix. Uniting under a respected classic can set the souls of both crowd and DJ ablaze, and we can’t think of a better way to pay homage to one of dance music’s seminal tracks.

Paul Woolford Drops a Stunning Remix of 'Love Story (vs Finally)'

In celebration of International Women's Day and alignment with Gray Area’s mission to highlight and celebrate fresh up-and-coming talent, we recognize and honor 11 talented queens who are making waves in the dance music industry.

In a field with a glaring and overpowering gender divide, women are still vastly underrepresented in the music industry. We are, however, slowly but surely starting to see a more balanced and openly female-populated environment, and we are striving for this to continue.

Scratching the surface we know, there are simply too many to name, yet these incredible females pave the way towards a more inclusive and diverse industry, whether it be through their powerful productions, awe-inspiring DJ sets, bringing their activist spirit to the dancefloor, or being forthright voices.

1. Eliza Rose

Eliza Rose wears many musical hats including singer, songwriter, expert vinyl DJ, and prolific producer. 

In 2022, her victorious breakthrough anthem, "B.O.T.A. (Baddest Of Them All," rose to #1 in the UK charts. and captured the attention of house music fans and artists.

The addictive production honed in on her love of both UKG and house, proving her ability to create something brilliantly cutting-edge. With a vocal swag that works on almost any record, her latest release, "Better Days," is an exciting tease of the future of one of the UK's most buzzed-about artists.



2. Logic1000

After switching between careers she had no true desire in, Sydney-born, London-based producer Samantha Poulter, aka Logic1000, found her true passion in music..

She is an artist known for her ability to create tracks that defy genres. Her unique production process of, in the moment, spontaneous creation has seen her produce stellar tracks that embody deep house laced with abstract percussion jams, euphoric melodies, and ambient experiments.

Elevating career moments for Logic1000 have included the success of her first self-titled EP in 2018 under her previous alias DJ Logic, backing from fellow artists such as Four Tet, and producing coveted remixes for prolific artists like Caribou, Flume, Dusky, and more.

With plans in the works for her debut album, she claims that her logical thinking is not the sharpest (despite her hard-headed moniker), and has no clear idea what it’ll sound like. Either way, we know it’ll be a smash.

3. yunè pinku

Malaysian-Irish producer and songwriter yunè pinku's (yunè means cloudy in Japanese, pinku a nod to her love of Pingu), aka Asha Yunè, productions embody introspective lyricism and hypnotic melodies and have propelled her to become one of the fastest-rising names in electronic music.

Despite not being a fan of "all-out raving," this doesn’t stop the young talent from producing club-ready bangers, which also translate in more intimate environments. 

Equally suited to the rave as they are the bedroom, her 2022 debut single "Bluff" nudged at the artist's mental struggles. It was a track about putting on your best poker face when you're feeling anxious or low.

She recently teased her highly-anticipated EP, BABYLON IX out this spring, with her sensual single, "Night Light." While "Bluff" was inspired by real-life situations, "Night Light" took inspiration from AI and the metaverse, proving her unique ability to find originality and make music through a social lense.

4. Chloé Caillet

The stylish French-born DJ Chloé Caillet’s musical journey first started when she took to the piano as a little girl. Now a globe-trotting DJ, she is best known for gracing the decks of some of the most lauded global clubs and festivals, including Hï Ibiza, DC-10, The Brooklyn Mirage, Burning Man, Glastonbury, and she will play at Coachella this Spring.

In 2021, she debuted her XCESS Records imprint with her single, “Love Ain’t Over.” She has since released tracks on Keinemusik and Circoloco Records, He.She.They, and Defected.

Celebrated by the industry’s leading DJ’s, she is also a force to be reckoned with in the fashion world, with a runway after-party roster that includes Louis Vuitton, Burberry, and Miu Miu.

Caillet is set for a massive 2023, including the release of yet another hotly anticipated EP on CircoLoco Records due out the same week as her second Coachella performance. 

5. Kitty Amor

Kitty Amor is a DJ, promoter, tastemaker, and most importantly, passionate representative paving the way for the flourishing Afro house scene in the UK and beyond.

Often referencing her day-one inspirations Black Coffee, Culoe De Song, Da Capo, Shimza, and Manoo (to name a few) as pioneers of Afro house, Amor strives to continue their legacy pushing the sounds of South Africa into new domains.

With a clear lack of representation in countries outside of the continent, Amor has worked itrelessly over the years alongside a number of brands, labels, and promoters to create space for the genre.

From becoming the first woman to perform at Deep In The City, the superlative Johannesburg night curated by Themba and Black Coffee, to being the first UK Afro house DJ to play Printworks (UK), she is now a mainstay at the events of one of Defected’s newest sub-labels Sondela. She continues to make her mark internationally having played in Ibiza, Dubai, Croatia, Amsterdam, and more in 2022. 

6. TSHA

Off the back of her debut album release Capricorn Sun in October 2022, TSHA is getting all the love and respect that she deserves. Small in size but big in talent and energy, the London-born artist is a true talent both behind the decks and in the studio.

Rightfully tipped as one of the most exciting emerging artists from the UK, she’s been the cover artist for Mixmag and won Album of the Year at the DJ Mag Awards in 2022. Quickly becoming an international sensation, she will take the stage at Coachella in April 2023, and perform her first headline gig at Chicago’s Spybar in May.

TSHA recently opened up about her struggles with anxiety and how she manages it amongst a hefty touring schedule. Her openness and honesty stands to reassure other young artists that it is both manageable and worth pursuing.

7. IMOGEN

While many female techno acts emerge from eastern Europe, UK-hailing powerhouse IMOGEN puts her own British stamp on Berlin’s bullish techno sound.

After moving to London at the mere age of 16 to study electronic music, she began to immerse herself in the capital's club scene and radio circuit. Now a respected artist throughout Europe, IMOGEN’s come a long way since first being profiled by Mixmag at the age of 19 in 2019. She has a radio residency at NTS Radio, runs her own label and party WIGS, and has played at iconic dance music venues and festivals like fabric London, HÖR Berlin, De School Amsterdam, Sonar, and ION.



8. Jaguar

With a dedication to the scene like no other, Jaguar has seen nearly every corner of the dance music industry, from journalism to event producer, broadcasting to DJing, advocacy, and podcasting.

Her UTOPIA Talks podcast and charitable organization The Jaguar Foundation go hand in hand with her end goal being to create a free and inclusive workplace that inspires people from minority backgrounds to demand greater opportunities and representation. 

Paving the way for the next generation, her commitment to making the industry more diverse and even-handed makes her an irreplaceable figure. We need more Jaguar’s in the world.

9. Elkka

Cardiff-born, London-based Elkka constantly seeks to build a brighter future. The electronic music dynamo is a talented producer, singer, songwriter, DJ, and founder of Femme Culture, a record label and collective she uses as a platform to champion women in the arts and push forward-thinking music that stands for an all-embracing industry amongst every gender, background, and belief. 



A jack of all trades, she spent many grueling years behind the scenes, trying to crack the industry as a pop songwriter. Now she finds herself in her own musical lane, producing tracks that have won the hearts of DJ’s such as Four Tet, Floating Points, Caribou, George FitzGerald, SHERELLE, and Annie Mac.



Her latest release "I Just Want To Love You" on Ninja Tune beautifully encompasses her raw, alternative take on house music, that's often built upon melodic lyrics and old-school samples. 

10. ALISHA

From humble beginnings in her hometown of Peterborough, the first-rate UK DJ and producer ALISHA has rightfully nestled her way into the music industry through an incredible ear for production and clear determination to do what she loves.

Highly regarded by industry peers and house music fans alike, she has just about conquered every inch of the UK clubbing scene over the last couple of years, dropping sets at pretty much every reputable venue and festival there is. 

When she’s not behind the decks, ALISHA is tucked away in her studio, honing her unique dancefloor-ready sound. With booming releases on prolific record labels such as Kaluki, Eastenderz, and Nothing Else Matters, her tracks can often be heard in the sets of some of the world’s leading DJ’s.



11. HoneyLuv

LA-based producer and DJ HoneyLuv rose from basketball player to US Navy aviation mechanic to creating a unique musical niche, producing tech house bangers that ooze with attitude.

Proving boundless aptitudes with her 2022 release "365" on Chris Lake’s famed Black Book Records, she has since gone on to produce a number of groove-filled dancefloor riddims, most notably her most recent "Sway" that's caught huge traction overseas in the UK.

Last year saw her playing festival stages and nightclubs all over North America, and she is now set to embark on her debut headline tour this Spring.  With recent sets in Australia, Italy, and Ibiza, don’t be surprised to see her dominating international lineups for years to come.

11 Inspiring Female Artists You Should Know

When Franky Wah emerged in 2017 with a slew of funky tech house releases, he couldn't have imagined launching a multi-disciplinary brand at the scale of SHÈN only five years later. And while the vision for the record label, events, and fashion line has rolled around in his head for the last three or four years, the speed at which it’s taken shape since its launch in April of 2022 is remarkably indicative of his tenacity and talent.




The release of the anthemic breaks doubleheader “More Than You’ll Ever Know” and “Surrender,” featuring a soaring topline from Clementine Douglas, cryptically announced the label. Wah quickly proved that his abilities as a skilled selector translated into a deft ear for A&R. EPs from Korolova, Shadow Child, OUT OF MIND, and his own (second) collaboration with the legendary Sasha followed.






The genre-defying heterogeneous Franky Wah sound permeates the SHÈN catalog, and that’s intentional. “I think the main ethos of SHÈN, the identity that we want to build, is this melodic/progressive tribal sound,” he explains. “That earthy, organic tribal sound [that] leans into a bit of emotional breakbeat—Balearic sounds as well. Because I’m quite eclectic when I play my DJ sets, I want my label to reflect the same taste.”




Franky also reveals that everything about SHÈN brims with the same deliberate intention, from its name to its visual aesthetic.




“Shen is actually a Chinese word that stands for ascending into a higher consciousness, which is sort of what I’d like to say happens at our events.” The name itself holds deeper meaning for Franky, he explains, “my name Franky Wah, actually comes from my granddad, who’s Chinese, Harry Wah.” Even the feathered accent soaring over the letter E in SHÈN is another positive symbol of ascension and transcendence.






In Chinese, shen is associated with yin,—the spiritual aspect of humanity and the counterbalance to yang—awareness, and consciousness. In a scene bereft with artist-led brands, starting one seems natural but must be intentional, employing both sides of the yin and yang. Franky mulled over SHÈN’s creation for several years. Ultimately deciding to move forward emerged from both his sharp business acumen and an acute spiritual awareness that it was the right time. As we discover throughout this conversation, Franky’s self-awareness, his application of shen, is a prime factor in his success.




Over the last few years, Franky has become a figurehead in the progressive scene. Brilliantly finding the balance between old-school sensibilities and modern capabilities, he’s risen to the forefront of dance music with a slew of uplifting originals like “Under The Sun,” collaborations with Carl Cox and Sasha, and memorable DJ sets around the world.




“I sort of stood on my own two feet, moved away from doing lineups and events, and I was actually moving to hard tickets and selling out my own shows,” he explains about how he knew it was time to take action. “I thought, ‘Yeah, you know what? There’s an audience here. I’ve got a lot of traction.’”




He says that while some use a brand as a tool to build their career, he felt he could do so much more piggybacking on his already established reliability and fan power. “It’s easier to attract artists to your label. It’s easier to put on your own event. For instance, doing your first-ever label showcase at one of the best venues on New Year’s Eve is just mind-blowing. I dream big, but that wasn’t even something I was thinking was possible.”




His debut label showcase at Mia Beach Club in Tulum was a beautiful way to start 2023. For the first two weeks of the year, all eyes in dance music are on the Mexican beachside paradise. With events like Afterlife and Damian Lazarus’ Day Zero dominating the calendar, it was an honor for Franky to be able to compete. And throwing a party in the same space that legends like John Digweed occupy proved he could stand on his own two feet.




“It feels like what I can imagine (because I’m not married) what your wedding day must feel like. It’s a really touching feeling. You can play the lineups for different brands and you don’t really know who’s there for you and who’s just there for the brand, who’s there to see another DJ on the lineup. But when you do your own thing, you ultimately know that everyone’s there for you.”





Launching the brand as his career was exploding, fully realized another dream: his debut album This Is SHÈN. Released in November of 2022 and announced by a winding, gorgeously layered, and composed 27-track mix and YouTube stream to accompany its release.




“One of my first projects, when I sort of got established, a bit of an audience, was a mixtape and it did so well. But then I moved along into the singles world, which is how a lot of people do it now. I moved into that to keep building and then I sat down with my team and I said, ‘You know what? I’ve got so much music, like I’ve got over 1000 unreleased demos. What are we gaining from this music just being sat on the hard drive?”




YouTube approached Franky to work together on a visual component for the mixtape. What initially began as eight records (some of which were over four years old) ballooned to 32 that he whittled down to the beautifully programmed 27 that ranged from the deep progressive breaks of "Pandora" to the emotive uplifting synths of "Rise."

The album was an unsurprising success. “I expected the diehard fans to really love it but never in my wildest dreams did I expect top six. It was number six in the Spotify Albums chart. Number one on Beatport. I had high hopes, but it exceeded any expectation that I ever had. It’s told me that that’s the way I need to keep it going. I’m already working on the next mixtape.”



The next step in the life of SHÈN is a return to New York, where he will present his first label showcase in the United States. Coming back to New York holds immense sentimental value for him. The site of two sold-out headlining shows, he’s overjoyed to work alongside promoters that genuinely believe in him and his vision.



“it made sense for me to do it first in America with the brand that I believe sort of believed in me the most. Gray Area and Joey and MJ, they believe in this. And that works. You need to work with promoters that believe in you. It’s not about who’s got the biggest checkbook. It’s about who believes in you, and who wants to actually build some something that’s got some substance, longevity.”




When you consider that so much of the brand’s ethos is rooted in the sense of spiritual reverence that comes from a deep love for dance music, it’s no surprise that the power of manifestation played a distinct role in so much of its progression, including his upcoming 16 week Ibiza residency in summer 2023.




Last summer, while in Ibiza, he was chatting with BBC Radio 1 DJ, Danny Howard and some other friends about the power of manifestation over dinner. As the conversation moved on, Franky’s plans for next season came up, and he mentioned he wanted to do his own thing, maybe at Club Chinois, which he felt had an excellent vibe for his brand. Several minutes later, Danny Whittle, one of Ibiza’s most celebrated nightlife icons, came by the table to talk to Franky about doing a residency at Club Chinois, which he was now running.



“And Danny Howard was like, ‘what the fuck? You’ve just been talking about manifesting,’ and then this residency sort of dropped on my lap. And then when we went into it, three weeks prior, I had sent my manager a photo or a video from the club saying, ‘Do you know about this club?’, It turns out that day was the day that Danny [Whittle signed] the contract to join.”


Going further, Franky explains that even his residency at Club Chinois embodies the spirit of SHÈN. His grandfather Harry owned a pottery shop. In the club’s restrooms, he says, are sinks nearly identical to a matching pottery set Harry gave his mom and two sisters as wedding presents. Running through the club are three large pillars covered in gold feathers.




Franky has spent his career paying attention to the signs and manifesting these moments for himself. SHÈN isn’t just the culmination of his creative power, it’s proof that dreaming big, working hard, and trusting your most powerful inclinations leads to success. All signs continue to point to the incredible rise of Franky Wah and SHÈN.

SHÈN  is the Next Step in Franky Wah's Creative Evolution

Claude Von Stroke’s trailblazing label, Dirtybird, has become synonymous with innovative music punctuated by left-field elements. Some tracks got groove, some have power, but all are guaranteed to be delightfully weird. “Ice Cream Cone,” by Claude Von Stroke, Lubelski, and Life On Planets is a certified bop with a shuffle-ready beat and enticing production, but the tune recently received a mind-numbing remix that pushes it to the highest echelons of avant-garde.





Exploring the bounds of dance music isn’t for everyone. It takes a strange mind to concoct something fit for the Dirtybird library. But no artist is better suited for the challenge than legendary producer, Skream. Not only did he undeniably impact the development of the dubstep genre in the early 2000s, he is also one of few artists to successfully pivot from dubstep to house. Recently, we’ve seen the multi-label head stoke the old flames of his first love while playing a prominent role in the greater dance music landscape. This mastery of the light and the low end comes to a head in Skream’s four-minute Modular Remix of “Ice Cream Cone.”



Push play and listen to what might be the most alluring industrial glitch around. A steady bounce into sense-tingling hypnosis seems unavoidable as a minimal percussion kit sets a hollow but steadfast tether to reality. Distorted vocals cast a peculiarly tempting spell while mechanical ticks ring out into space, shamelessly suspending listeners in a state of guarded seduction.




Saying this track is off-the-wall would be an understatement, and that’s exactly why we love it. If true art sparks feeling and conversation, consider us set ablaze.

Skream Gives Lubelski’s ‘Ice Cream Cone’ a Hectic Modular Remix

Established label owner and eclectic producer DJ Tennis worked a healthy dose of leftfield melodies, space-age samples, and psychedelic basslines into his set for the most famous bathroom in dance music: HÖR. Mixing house into breaks and indie, he upheld his reputation as an unpredictable and expansive selector.










Manfredi Romano – aka DJ Tennis – grew up tour-managing punk bands and organizing music events in Italy around the turn of the millennium. He also played in bands but confesses that he wasn’t a great singer or guitarist.




“I’m completely self-taught, and I have a weird approach,” he explains in an interview with Beatportal. “I have a very uneducated way of using a guitar, tuning the guitar strings so it sounded very noisy… [but] I think the fact that you don’t have musical instruction, in an academic sense, allows you to be more personal.”




After finishing university, he launched DAZE, Italy’s first booking agency solely committed to electronic music. Two decades later, in 2010, Romano established himself as a DJ in his own right.




His mission was to re-introduce ‘psychedelia’ to the dancefloor, which he describes as “a dimension that is between reality and a dream, between imagination and reason. And I wanted to use vocals, but not classic soulful vocals like in house music.”




Romano is also the founder and A&R of Life and Death, the label responsible for showcasing some of Tale Of Us and Mind Against’s earliest tracks. Carmine Conte and Matteo Milleri of the former ran the label with Romano in the early days, along with Thugfucker’s Greg Oreck, with DJ Tennis providing them with significant guidance in the earliest stages of their careers.



When producing, Romano fuses his past relationships with post-rock into the realm of the electronic. The same is true in curating his label, which has welcomed indie electronic acts like Clockwork into the fold in the past decade. As a DJ, he strives to be varied and spontaneous. “I don’t like to meet expectations, and I like when people are surprised…normally my sets are never the same.”




Today, when he’s not touring, Romano splits his time between Miami and Barcelona, where he enjoys riding motorbikes, collecting vintage action figures, and building upon his vinyl collection - which now numbers over 11,000 strong.




DJ Tennis will step behind the decks at Smartbar in Chicago, StereoBar in Montreal, SXM Festival Saint Martin, and beyond.

DJ Tennis Brings a Healthy Dose of Psychedelia to HÖR

Europe is a continent oozing with countries of spectacular beauty and culture. Each one waiting to be unearthed. With some more discovered than others, it's fair to say that the untouched, hidden-gems remain the most special.

This exact notion brings us to Albania - a modest country situated in the Balkans, surrounded by Ionian, Adriatic and Mediterranean waters, unspoiled beaches, mountainous landscapes, as well as exhibiting traditional cuisine and a fascinating history.

Don’t dismiss Albania as a holiday destination because of its untraversed nature and tourism dearth, embrace for those same reasons.

In recent years early adopters have caught on, having realized it’s a place embodied in natural charm, community, culture, and one with enormous potential.

These early adopters being event brands and festival promoters, are the same as those who put Croatia on the map as a popular holiday and festival destination over a decade ago. 

It now appears that Albania is starting to follow a similar path to Croatia in 2011 with the inaugural Hideout Festival, which was closely followed by an avalanche that included Outlook, Love International and later Defected.

Adopting small seaside towns and villages as the epic backdrops to these events, promoters grasped the opportunity in both hands to do the same with Albania and its beautiful coastal town of Dhërmi.

Now a location that hosts some of the coolest, most sought-after music festivals in Europe including ION, AnjunaDeep, UNUM, and Kala, there are many reasons to visit, yet music seems to be the driving force behind the significant upheaval of tourists to the country.

We spoke with the founders of LWE (London Warehouse Events) who are the proud hosts of ION, and brand new boutique festival SISO, to gain some more knowledge of the unchartered territory.

What makes Albania desirable from an aesthetic standpoint?

Albania is one of Europe’s last remaining secrets, still untouched by the hands of mass tourism in the same way as Croatia, Greece, and other destinations. This means you’ll have the privilege of Albania’s huge sandy beaches all to yourself, free from crowds and overdevelopment.

Dhërmi is sandwiched between the Ionian sea and the luscious Ceraunian mountain range, providing stunning views of the landscape from all around. The air is fresh, the water is crystal clear, and the general atmosphere is one of rest and rejuvenation; it’s the perfect escape.

Dhërmi, and Albania as a whole, offers everything you could want from a festival location, with fantastic weather, welcoming locals, amazing culinary experiences, and, of course, top-tier music. Albania is ahead of the other locations as it is less touristy, with quieter beaches and a more authentic atmosphere. It is more cost-effective than other European locations, with very good value prices for food, drinks, and amenities.

Unfamiliar territory for many, why should festival goers choose Albania over other party destinations?

If you want incredible music, with the added bonus of unspoilt beaches and hidden party locations, excellent food and drink, friendly locals and great value, Albania is the place for you.

You heard it here first. With Dhërmi boasting an abundance of holiday destination musts, there is so much to be discovered. It is also markedly cheaper than popular neighboring countries Greece and Italy, meaning that those pennies will stretch that little bit further.

With all this being said, you’re probably wondering how this sudden influx and spike in tourism is impacting such an unspoiled, authentic environment.

Well, LWE works in conjunction with Mainstage: an overseas events company which has been working closely with the Albanian government to get more tourists into the country in a sustainable and viable way. Through this collaboration, ethical policies have been put in place throughout every step of the festival curation process (including pre and post), which has enabled such events in Dhërmi to soar.

How has the local economy/community welcomed this new change and influx of festivals/people?

They have welcomed us with open arms, and are excited at the new prospects brought on by new festivals and other music events. Albanians are passionate about their beautiful country, and love sharing their culture and history with us when we visit. There’s also a small but thriving community of electronic music lovers within the country, who are obviously over-the-moon that we are bringing parties to Albania.

With the green light from local authorities and communities, it appears that they have put their own plans in place in order to accommodate what looks like a hopeful future of tourism for the country.

What makes Dhërmi/Albania desirable from a business standpoint?

The country is still developing from a tourism and business standpoint, with the first hotel only appearing in the mid-2000s. Since then, the number of visitors has skyrocketed, leading to a number of unique business opportunities in the world of travel, tourism and entertainment. These include an in-progress project to build a tunnel through the main mountain range in the country, halving the journey time from Tirana to Dhërmi, alongside a new airport that is coming.

Not only this, but temporary ferry ports will be built closer to Dhërmi, as well as the closing off and pedestrianization of the entire seafront during both festivals, transforming the whole area into a 3,000-capacity festival site.

With artists and party-goers flying in from all directions, what you get in a location like this is a sense of unity. It is said that at previous festivals in Dhërmi, the DJ’s have been seen to be staying at the same hotels as the ticket holders, wandering the cobbled streets and trying out the same local offerings as the rest. You don’t often get that at large festivals in well-established areas.

Through Dhërmi’s quirky characteristics as a small seaside village, promoters like LWE are able to curate one of a kind experiences that simply cannot be replicated. With particular reference to ION festival's unique set-up, the paradisal partisë consists of five different stages which are all completely unique in their own way. 

From stages nestled in quiet coves to secret set-ups that can only be accessed via boat, it is Dhermi and its beautiful people that allow for talented event brands to access and use such incredible spaces.

It is clear to see that this is just the beginning of Albania’s new age, with a plethora of opportunities being thrown at Dhërmi and the surrounding areas. 

If you’re thinking about getting down to a festival on the Albanian Riviera, now is the best time to do so – before the country opens for mass tourism and the landscape is inevitably transformed.

If it’s not already, Albania is well on its way to becoming the next major European festival destination.

Raving in The Albanian Riviera

The Deep Dark Soul of Desert Hearts Black

Drum and bass has historically been “only for the headstrong,” as its MCs are known to say. For three decades, the British-born and bred genre has been the bastard stepchild of electronic dance music, the most underground and its most purist. Over the last few years, however, that’s been blown to bits.




Since its inception, drum and bass has consistently experienced a healthy audience in the UK. In the last decade, the fierce appetite for D&B has spread to mainland Europe with the popularity of genre-bending producers like Noisia, Black Sun Empire, and Camo & Krooked. Drum and bass created a noticeable blip on the electronic music radar Stateside in the late ’90s during the Roni Size/Reprazent, Goldie, and LTJ Bukem wave. However, it was just that, a blip, which faded almost as quickly as it appeared, leaving in its wake a hardcore following that made up for their negligible numbers with unbridled devotion, forsaking all other styles of music to worship at the shrine of drum and bass’ skittering high BPM beats and low-slung basslines.





As drum and bass thrived across the pond, domestically, it struggled to survive. Drum and bass club nights appeared and evaporated, leaving a fractured group of longstanding exceptions like Los Angeles’ Respect, San Francisco’s Stamina, Orlando’s Torque, Seattle’s DnB Tuesdays, and Boston’s Elements.




Drum and bass artists made up a tiny to non-existent percentage of festival lineups. Even behemoth promoters Insomniac, who historically were massive supporters of the genre, relegated drum and bass talent to daylight hours and jammed them into congested (sometimes confusing) back-to-back sets.




Drum and bass record labels failed to make enough money to stay alive.  And while their contemporaries in house and techno experienced exponential growth, those only producing and playing D&B had to have another source of income or move abroad (see: René LaVice and Gridlok) to survive.




Yet, after years of staying underground, drum and bass has become ubiquitous on the global music scene. In the US, it’s woven into the sonic makeup of sounds not strictly under the drum and bass umbrella. Ironically, drum and bass’ omnipresence is despite itself. The new generation of producers are going against the traditional tenets of the genre. Specifically, they have no regard for purism and refuse to make their listeners run the gauntlet to find them.






Drum and bass is becoming more prevalent in songs from high-profile dance music artists that aren’t afraid to cross genre lines, such as Zeds Dead’s “In My Head” (with MKLA) and Porter Robinson’s “Everything Goes On.”




“I listen to 1000s of DJ mixes a week and the new official music videos on YouTube every Friday, and there certainly is a big trend of DJs who didn’t used to play drum and bass dropping some drum and bass tracks,” says Reid Speed, a US pioneer of drum and bass and a trailblazer for women in the space. She adds, “Other genres borrowing from drum and bass are also having a moment of popularity right now.”




Just listen to superstar rapper Rico Nasty’s snarling “Intrusive,” where she spits over a shrieking drum and bass backing track. As teeth-grindingly aggressive as “Intrusive” is, it’s also a bouncing and fun sing-along.







British singer-songwriter and producer Pink Pantheress’ “Break it Off,” based heavily on a sample of Adam F’s 1995 track “Circles,” and piri’s “soft spot” are perhaps the two songs most often referenced when speaking about drum and bass appearing in unexpected places.




And while Rico Nasty and Pink Panthress often dip heavily into dance music subgenres, strains of drum and bass appear everywhere. Cases in point: actor/singer Maya Hawke’s “Sweet Tooth,” and singer/songwriter Charlie Puth’s “There’s a First Time for Everything.”



(This “Drum & Bass what?” playlist on Spotify is regularly updated with new non-drum and bass releases that have drum and bass in them, even if it is for a few seconds.)




There was no way to predict this type of infiltration when drum and bass started defining itself some three decades ago. Interestingly, the origins of drum and bass are as un-purist as music can get. It pulled elements from house, techno, breakbeat, hardcore, hip hop, and Jamaican sound systems to create its own Frankenstein musical being. A detailed dissection of each of these genres and their amalgamation into drum and bass can be found in music scholar Chris Muniz’s excellent Bassrush article, “How to Talk to Your Kids About Drum & Bass.”




Optical, one of the most revered drum and bass producers of all time, explains that in the mid-’90s, when UK drum and bass artists made their way over to the US, “The music was fairly similar to what we had in the UK, but the drum and bass part of it wasn’t there. 1998 was when it really started to take off in America.”




The formalization of drum and bass in North America came with major label interest and the involvement of professional promoters. “Drum and bass was very UK-dominated in the beginning, but the American thing matured rapidly and became a thing of its own where we were coming along to be part of the American scene,” says Optical. “Also, we were incorporated into those giant raves, like Electric Daisy Carnival. American raves on that scale are the biggest in the world. A lot of our experiences of playing to huge crowds have been in America.”





Optical and his partner Ed Rush have cultivated their formidable audience with zero compromises in what they produce or play. Their patented brand of neurofunk, a particularly harder-edged sub-genre of drum and bass, is possibly a more challenging one in the style that already has a high aural barrier to entry. Even so, Ukrainian techno DJ Nastia has been closing her sets with Ed Rush and Optical’s 2005 track, “Reece,” which has resulted in thousands of downloads of “Reece” every time she has a gig.



“I’m happy people are bringing the music into the sphere, getting a wider audience for it,” says Optical. “It’s obviously made a difference in the US, from what I can see. There are so many flavors of drum and bass, so many varieties of styles. I don’t know if you can necessarily say that about techno or house.”





The malleability of drum and bass is ultimately what drew DJ DB to the genre. The New York-based expat was one of the first people who could translate not just drum and bass, but electronic dance music for executives working in the traditional commercial systems of the music industry. An eclectic DJ in his native UK, when DB moved to the US, he realized that to work as a DJ, he had to pick a lane.



“I went with the drum and bass because it was morphing and expanding and shrinking more than any other genre,” says DB. “Drum and bass was the music that was really changing every three months. You could hear the difference and that’s what excited me so much at the time.”



It was at DB’s NASA parties where British hardcore debuted, becoming jungle and drum and bass. At the time, DB was also working at Sm:)e Communications, an imprint of Profile Records, releasing electronic dance music. Soon after, he opened Breakbeat Science, a record store stocking only drum and bass. Next, Warner Brothers Records tapped him to commission dance music remixes, including many drum and bass flips of songs in the Warner catalog.



Many years later, DB’s 22-year-old son Max is discovering drum and bass in an entirely different context than his father. “Max and his friends go to hear DJs that are playing these cuckoo eclectic sets,” says DB. “It’s part of the woke/alt/trans world. Nobody is a ‘he’ or a ‘she’ or a ‘they.’ It’s all mixed up. They’re playing all kinds of stuff, and a lot of it is drum and bass, but they aren’t purists. They’re the opposite, which I love.”





This scene is somewhat parallel and somewhat apart from traditional drum and bass communities. It is an independent, underground, and a throwback to the early rave days with a strong queer and BIPOC contingent. The genre-fluid subculture leans toward the old school aesthetically and in practice. Bianca Oblivion, AK Sports, I. Jordan, and Mandidextrous are the artists leading this scene, whose figurehead is the UK’s Sherrelle. And even though her profile has risen far above the underground, she still reps for it.



According to DB, “There are no gatekeepers anymore. There is no ‘one’ thing. You can be so disparate.” Streaming, and social media, TikTok in particular, can partially be credited to drum and bass permeating the general public’s consciousness, including music from non-exclusive drum and bass artists.



Case in point, Moonboy is hugely popular on social media for his drum and bass and dubstep tutorials. He’s gotten the attention of longstanding drum and bass artists and has a release on Atlantic Records. He has a solid following, yet he doesn’t have a presence in the conventional drum and bass scene.



Similarly, Bru-C is a rapper and MC who has parlayed rhyming over drum and bass on social media into a career on the festival circuit. This type of overground attention-seeking would have been unheard of in the ’90s when he would have been shut down and shunned instantly.








“Nobody’s embargoing him, nobody in the underground even notices that he’s out there doing it,” says DJ Kalm of Bru-C. A veteran of pirate radio, which was a breeding ground from drum and bass in the UK, and schooled in its restrictive attitude, Kalm says, “Before, drum and bass was put through a much more heavily scrutinized magnifying glass at that initial stage. Now, it’s not the wild west so much as a metropolis of madness. There’s so much of it coming out all the time. There’s no way anyone could do an embargo against anyone because no one can keep up with it.”



There are no rules, regulations, parameters, structures, or systems to navigate in the new school of drum and bass. If you want to make drum and bass when you previously produced a different genre, like Reaper, who previously made trap future bass under the name Prismo, you absolutely can. You can release your music on any label, even if it has never had a drum and bass release before, which Reaper has done on Monstercat and Space Yacht.

You don’t have to DJ on the drum and bass club and festival stage circuit. You can play drum and bass anywhere, at any point in your set. You can bring drum and bass to a multi-genre promoter, like the aforementioned Space Yacht or Brownies & Lemonade. They will embrace what you’re doing and present it to their audiences with a stamp of approval that results in brand new fans, not just of you as an artist, but of drum and bass.








This system of release and presentation allows for a more accessible point of entry to the genre than the musically and environmentally challenging one that drum and bass has traditionally occupied. In addition to Reaper, Kumarion, Justin Hawkes, and Skellytn are among the new school of drum and bass artists who are, in a way, mainstreaming drum and bass.




“I feel like drum and bass in North America is breaking new ground as it becomes more widely accepted,” says Skellytn, who credits the ramp up of her burgeoning career this year to a slew of consistent releases of her original music in 2022. She gained momentum with tracks on high profile drum and bass labels like Eatbrain, Bassrush, RAM, and an album on Play Me Records.




Social media is also where Skellytn says her multigenerational audience discovered her, for the most part. “Sometimes I feel like my audience is slightly older, 26+, and other times I play festivals and I see young kids 18-23 raging at my set,” she says.



To be clear, a fresh young audience that appreciates drum and bass, doesn’t necessarily (or at all) translate to bigger numbers for the US bastions of the genre that have been putting in their blood, sweat, tears, and cash to keep it going. However, it has resulted in larger festival crowds for these artists, more streams on DSPs, and a renewed interest in drum and bass releases.



Reid Speed observes this on her Play Me Records, a label celebrated for an open attitude toward genres. “Historically, we have had a lot of drum and bass remixes, but those wouldn’t necessarily do as well,” she says. “We refocused on a few people I picked early on, like Dr. Apollo, AIRGLO, Kumarion, Rebel Scum, Des McMahon. They blew up pretty fast. We put out Des’ stuff before, but all of a sudden, it started hitting differently.”








These artists reference the modern bass music scene more than legacy drum and bass artists. A style less identifiable as something heard at a longstanding drum and bass party and more accessible to a broader audience.



While some of these artists are booked at Insomniac’s Bassrush, representing drum and bass, they aren’t playing other legacy drum and bass parties. That circuit caters more to those with OG emotional connections and attitudes toward drum and bass—the same ones that restrained the genre.



“Drum and bass has spiraled out of the hands of the people who traditionally would have been considered the gatekeepers,” says Muniz who also DJs as Nightstalker, one of the longest-repping figures in drum and bass, both behind the decks and behind the scenes as a music scribe. Muniz sees the future in labels like Zed’s Dead’s Deadbeats, which will release dubstep, freeform bass, and drum and bass neck in neck with each other, sometimes as separate releases and other times all on one EP.



DJ Machete has seen every permutation of drum and bass since its start in the US from a trifecta of vantage points: as a DJ, the promoter of Respect, and as an agent for his own Respect Artist Agency. Respect stays steadfast, never bending to the different waves of drum and bass that have blown through its 24-year history.



“There are promoters who don’t normally do drum and bass starting to include it in their programming,” says Machete. “There are also promoters with their followings, and no matter what genre they’re pushing, they’ll have their core crowds. I definitely support it in the sense that I want more people to get to know the music. If they’re really truly into it, they’ll find our club.



He continues, “There are certain artists that created this genre that a lot of these promoters and people will never know or even care about, which is unfortunate. I have made it my mission to keep booking those guys and keep that vibe alive as long as I’m doing this.”

The Fall of the Gatekeepers and Rise of New Drum and Bass

To appreciate where you are and where you're going, you must know where you came from. Few artists in the house music space embody this more than Dutch DJ and producer, Prunk. If its got groove, soul, and pulsates with smooth, hypnotic rhythm, there's a good chance Prunk is nearby.



The PIV Records label head has been a champion of classic house, both past and present, for the entirety of his career. While his sounds have expanded across dance music over time, Prunk never forgot his first love—something he reconnected with this past January, releasing his sophomore album, Le Funk.







"This album is a tribute to my entire music career," Prunk shared in an interview. "My first DJ name was Prunk Le Funk, mainly because I only played funky house in the early years. Le Funk has been removed from my entire DJ name because I didn't want to be connected to just one genre. With this album, I wanted to show that there is still enough 'Funk' in Prunk with a nod to the past," he explains. "My album really had to be a house album and I wanted to do this with a warm, soulful, funky sound. I have tried to make this album with young and old talent. One of my dreams was to make a track with house legend Jovonn and I succeeded because he did the vocals of 'Story of House'. In the vocals he pays attention to how house originated with an important lesson for the new generation."



If you love house music—real, authentic, pure, unfettered house—this is the track of the week for you. "Story of House" is an undeniable new school blast from the past. A perfectly pocketed rhythm section casts an instantly infectious spell. Razor-sharp percussion, dynamic bass, brightly chugging guitar, and feathery keys lay an infallible foundation for the history lesson presented by the smoky vocal of Jovann. Push the desks to the side because this master class will have you dancing, and class is in session.

Class is in Session with Prunk's 'Story Of House'

Born in Munich, based in Berlin, Clara Cuvé's roots go back to classical piano, in which she trained since the age of four. Her music interests evolved over the years, ultimately leading to purchasing her first synthesizer at 15, an accumulation of a healthy record collection, and an interest in DJing.

Clara’s first DJ experiences began at 19 in her hometown of Munich. The city continued to play an essential role in her development as she took residency at Rote Sonne nightclub and became part of the Stock5 label and event group. She now resides in Berlin, techno’s flagship city, and her art has only continued to grow.





While she’s never been one to be pigeonholed into a single genre, Cuvé’s uninhibited energy for hard techno is undeniable. Time and time again, she’s shown just how promising the sounds of the new school can be. Clara put these sounds on full display at the Boiler Room stage in Budapest’s Bónusz Festival this past October.

Wasting no time, Clara leads off with an ominously devastating intro. Hang on tight, kids. This is going to be fully loaded 94 minutes. The ensuing onslaught of hard tech, laden with references to classic and presently popular samples, keeps staunch purists fully present and newcomers engaged. It doesn’t matter who you are, a psytrance edit of “Ich Bin Die Zukunft” will have you absolutely floored.

The night’s energy primed this set to be one for the books. Other artists on this same Boiler Room bill included Charlie Sparks, DTNB, Klangkuenstler, Lee Ann Roberts, Nur Jaber, Shlømo, and TRYM. You know, an artist like Clara Cuvé was brimming with inspiration when surrounded by an arsenal of talent like that.

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