Adam Beyer’s music is synonymous with all that is exciting about techno. Having emerged as the figurehead of the hugely prolific Swedish techno scene, Beyer’s focused and considered approach to his craft has worked to confirm his position as a globally recognized DJ and producer headlining cutting edge clubs and festivals week-in-week-out.
Adam is also one of the most acclaimed production talents on the scene and has consistently delivered cutting-edge music across his 3 labels – Drumcode, Truesoul and Madeye.
Over the years he has also built up a highly prized roster of talent on the labels and his meticulous ear for quality productions is highly renowned.
B.G., whose songs chronicled the gritty street life of hustlers and the high life of flashy MC’s, has been a fixture in the New Orleans rap community since he signed with Cash Money Records at the age of 13.
Born Christopher Dorsey in New Orleans, LA, B.G. made his recording debut in 1995, on the Cash Money album True Story, also featuring Lil Wayne and Mannie Fresh.
Two albums — Chopper City (1996), It’s All on U, Vol. 1 (1997), and It’s All on U, Vol. 2 (1997) — followed, along with the debut album by the Hot Boys (a group featuring B.G.), Get It How U Live! (1997), before Cash Money signed a major-label distribution deal with Universal Records.
B.G.’s major-label debut Chopper City in the Ghetto came out in 1999. The album spawned the hit “Bling Bling”, which reached platinum status and, along with Juvenile’s “Back That Azz Up”, made Cash Money a nationwide success. A second Hot Boys album, Guerrilla Warfare (1999), was released in the wake of this success, and it likewise went platinum, spawning a pair of hits (“We on Fire,” “I Need a Hot Girl”).
In 2002 B.G. formed his own label, Chopper City Records (distributed by Koch), and subsequently released Livin’ Legend (2003). A series of Chopper City releases followed, including Life After Cash Money (2004), The Heart of tha Streetz, Vol. 1 (2005), The Heart of tha Streetz, Vol. 2 (2006), and We Got This (2007), the latter a collaborative album featuring his affiliate group, the Chopper City Boyz.
B.G.’s most recent release has been the acclaimed album Too Hood 2 Be Hollywood and his street album entitled HollyHood
One of Jamaica’s most prolific artists, Beenie Man (Moses Davis) has a wide array of reggae songs across different genres. His catalog has been building since the 80’s, and continues to transform with the evolution of popular music.
“Drinking / Rum & Red Bull” Beenie Man
“Gun Shot” Nicki Minaj feat. Beenie Man
“Girls” Beenie Man feat. Akon
Benny Benassi was born in Milan on July 13, 1967.
He works as a DJ producer in collaboration with his cousin Alle Benassi, who has been a musician and arranger at Off Limits, in Reggio Emilia, Italy, the internationally successful production unit run by Larry Pignagnoli.
The first club hit was “I feel so fine” by KMC feat Dhany (N. 1 club charts UK) in 2001. This was followed by the BENNY BENASSI presents THE BIZ project, a ground-breaking mixture of electro, techno and house dosed with minimalist flair.
The first single SATISFACTION, produced in 2002, made its presence felt in the main charts all over Europe in 2003. Some of the results:
– n. 2 in the Official Singles Sales Chart in UK
– over a month in the n. 1 spot in the Official Dance Chart in FRANCE
– top twenty Official Singles Sales Chart in FRANCE
– n. 2 in the Official Dance Chart in GERMANY
– top forty Official Singles Sales Chart in GERMANY
The record was highly acclaimed:
Timo Mass – “I have it, crazy fuckin record….crowds love it!!”
Carl Cox – “Pure energy I love it!”
Boy George “Dirty Electro house at it best!”
Darren Emerson and Norman Cook claimed that “as soon as I heard it I loved it!!!”
The album HYPNOTICA stayed in the top 20 in the Official Album Sales Chart in FRANCE for over a month, having reached the TOP 5.
Official European Dance Chart:
SATISFACTION and ABLE TO LOVE both went top 5 in the Official European Dance Chart
Benny and Alle then produced Benassi Bros, a project designed to shine the spotlight on the two Biz vocalists, Paul French and Violeta and other guest singers.
The track by Benassi Bros. feat. Sandy, “Illusion” and “Hit my heart” featuring Dhany were both monster top 20 sales charts hits in France and the album, PUMPHONIA, went gold in France.
Other hit singles taken from HYPNOTICA are “No matter what you do” and “Love is gonna save us”
In 2003, Benny won a lot of recognition
– number one in the Top 100 dance tracks on the Ministry of Sound Internet radio
– DJ MAG tune of the year in UK
– Revelation of the year Italian Dance Music Awards
– Dance revelation of the year Danish Music Award
– Nominated for international revelation of the year NRJ Awards, France
Grammy nominated guitarist, composer and producer Bernard Grobman has toured and/or recorded with some of the biggest names in Jazz , Pop, and R&B including: Maynard Ferguson, Dr. John, Peter Erskine, Michael Brecker, Michelle Camillo, Ray Baretto, Gato Barbieri, Steve Gadd, Bernard Purdie, En Vogue, Salt n Pepa, Kanye West, Babyface and many more. He has done extensive live playing on Broadway and for dance companies like the Joffrey Ballet and the Alvin Ailley Dance Theater.
Over the years, Bernard Grobman has worked with the likes of Salt N Pepa, 98 Degrees and Miss Jones. He recently co-wrote ñSame Cryî on JinÍs debut album for Virgin Records and has just completed projects on forthcoming releases by artists including Anthony Hamilton, DMX and Jadakiss.
Bernard has also played guitar, produced and co-written on records by Dead Prez (their entire first album and Hell Yeah from the 2 fast 2 Furious soundtrack), Stacie Orrico, Trey Songz, SWV, En Vogue, The Braxtons, Eric Benet, Kenny Latimore, Lisette Melendez, Christopher Williams, Brand Nubian, Vanessa Williams, Jay-Z, Mica Paris, UGK, Busta Rhymes, Changing Faces, M-People, Vertical Hold (featuring Angie Stone), Ruff Ryders, DMX, Styles P, Roc Raida, The X-Ecutioners, Dougie Fresh, Freddie Foxx, Donnell Jones, Omar Epps, Terry and Monica, Billie Lawrence, Andrea Martin, The Sounds of Blackness, Sheryl Crow, Juggaknots and many more. Notably, Bernard co-wrote “Frontside Ollie” (Robin) UMG Finland which has 13 million YouTube views, was number one on the Finnish singles charts for 4 weeks and in the top 10 for 13 weeks and won the 2013 Finnish Emma Gaala for Song of the Year.
Bernard has recently co-written on Melissa Etheridge’s “Monster” from the album “This is M.E.” which reached #21 on the Billboard 200 and #5 on the Rock Album Charts. “Monster” is currently a charting single in Europe.
He has also appeared on the motion picture soundtracks for “Bulletproof”, “Why Do Fools Fall in Love”, “Don’t Be a Menace to South Central…….”, “Money Talks”, “Jason’s Lyric”, “High School High” and “2 Fast 2 Furious”.
Not only that, he has toured with Maynard Ferguson, Dr John, Sarah Brightman, Jesus Christ Superstar, The Joffrey Ballet, Jane Olivor, Gato Barbieri, The Cover Girls and others.
He’s recorded and performed with musicians such as Peter Erskine, Will Lee, Marcus Miller, Pete Levin, Jorge Dalto, Ray Barretto, Steve Gadd, Bernard Purdie, Michael Brecker, Randy Brecker, Ronnie Cuber, Lennie Pickett, Dr John, Melvin Gibbs, Michelle Camillo, Kenny Werner, Tom Rainey, Bob Mintzer, Biff Hanon, Ray Brinker, Steve Bailey, Jeff Berlin, John Faddis, Jimmy Owens, Gershon Kingsley, Jorge Calandrelli, Carlos Franzetti, Ignaceo Berroa, Marc Copland, Andy Laverne, Lincoln Goines, Jeff Andrews, Fred Alias, Benny Rietveld, Luis Perrico Ortiz, Richie Ray and Bobby Cruz, Larry Harlow, Mark Egan, Steve Jordan, Jerry Jemmott, Danny Gotlieb, Steve Kahn, Jay Berliner, Jim Pugh, Ratso Harris, and many others.
He has worked with great composers and producers such as Kanye West, Dave “Jam” Hall (Mary J Blige what’s the 411), All- Star, Jorge Calandreli, Carlos Franzetti, Carlos Berrios, Jay Chattaway, Teo Macero and has credits alongside Narada Michael Walden, Babyface, The Neptunes, Scott Storch, Swizz Beatz, Missie Elliott, Diane Warren, Troy Taylor, Timbaland, and others.
His live work included being the featured soloist with the Alvin Ailley Dance Theater and The Joffrey Ballet orchestras, the house orchestra at Carnegia Hall and BAM, and in the pit orchestras for Grease, They’re Playing my Song, The Me Nobody Knows, The First, and Big River.
Latin work includes recordings for the Fania Records label, Hector Lavoe, Nydia Caro, Ednita Nazario, The Fania All Stars, Willie Colon, Ricky Ray and Bobby Cruz and Willie Chirino.
Nominated for Grammies in 1995 – The Way That You Love – Vanessa Williams and 1996 Champagne “Soundtrack Bulletproof” Salt n Pepa artists. On one of API’s 10 most important records of the year 2004 Dead Prez RBG Revolutionary but Gangsta
Hailing from the North of England, music has always been a major part of Bontan’s life. Having learnt to play the family piano by the age of seven, it was clear which path in life he wanted to take.
Underground house was his first love, regularly going to see DJs such as Dennis Ferrer, Kerri Chandler, DJ Spen, The Martinez Brothers, Kenny Dope and Derrick Carter, to name just a few, as soon as he was old enough to enter the clubs.
Producing music and fine tuning his sound over many years, Bontan eventually burst on to the scene with his debut EP “Hit It From The Back”, which was picked up by the mighty Pleasurekraft for their standout label, Kraftek. Since then, Bontan has seen releases on labels such as MTA, Toolroom, Pura & Great Stuff.
With countless Radio 1 plays, and support from the likes of Pete Tong, B.Traits, Bondax and Pleasurekraft, it’s safe to say Bontan has stapled himself as a name to look out for on the underground circuit.
Call it whatever you want: nu garage, UK jackin’ house, bassline. Labels aside, there’s something special happening at the intersection between UK garage rhythms, house music tempos, and deep, dubstep whomps. One name is at the center of this new movement; Chris Lorenzo.
Lorenzo is one half of the duo Cause & Affect, a solo artist in his own right, and he’s the production whiz behind one of the movement’s worldwide leaders—Hannah Wants. Alongside artists like Nick Hannam and Tom Shorterz, his name is stamped on many of the most banging basslines to emerge from the English Midlands, proving to the world that not all of the UK’s hits have to come from London. As Cause and Affect he has had many hits such as ‘poppin,’ ‘memories,’ and ‘dreams’. He has also made great music with other ULTRA producer Pete Graham. Watch out for these new guys as this underground sound is getting bigger and bigger!
After building up a sizable base of “ninjas” (what the rapper calls his fans) with giveaway mixtapes stocked full of accessible party raps, Connecticut’s Chris Webby finally went aboveground with this debut 2001 EP, There Goes the Neighborhood. Rapping since he was in the 6th grade, Webby caught fire rapping at college keg parties, but after getting kicked out of school, he joined the mixtape game and began releasing a series of tapes that had fans comparing him to Machine Gun Kelly and Mac Miller. Six official mixtapes had already seen the light of day when the There Goes the Neighborhood EP landed in 2011 on the Homegrown Music label. Two years later, Homegrown became the name of his debut EP for his new label, eOne Entertainment. His debut album, Chemically Imbalanced, landed in 2014 with guest appearances from Tech N9ne, Talib Kweli, and Dizzy Wright.
CHRIS YOUNG IS ONE OF THE MOST INFLUENTIAL AND INNOVATIVE TALENTS IN THE MUSIC INDUSTRY TODAY. A GRADUATE OF INTERLOCHEN ARTS ACADEMY WITH JOSH GROBAN AND JEWEL, HE WENT ON TO TOUR EXTENSIVELY AS A TRUMPET PLAYER PERFORMING AT FESTIVALS AND CONCERTS WITH SUCH ACTS AS: GUNS N’ ROSES, ELTON JOHN, JAMES BROWN, STEVIE WONDER, AND THE RED HOT CHILI PEPPERS, TO NAME A FEW.
CHRIS YOUNG’S INSATIABLE LOVE OF MUSIC PUSHED HIM TO LEARN MUSIC PRODUCTION, SONG WRITING AND ENGINEERING TAKING IT TO A PROFESSIONAL LEVEL. HE SIGNED A MAJOR PUBLISHING DEAL WITH EMI IN 2001, AND HAS A CURRENT DEAL WITH ULTRA INTERNATIONAL MUSIC PUBLISHING. CHRIS HAS PLACED HIS MUSIC AS A PRODUCER AND ORCHESTRAL COMPOSER ON NETWORK TELEVISION, FILMS FOR MAJOR MOTION PICTURE COMPANIES, AND ADVERTISING CAMPAIGNS FOR NUMEROUS FORTUNE 500 COMPANIES. CHRIS WAS FEATURED ON FOUR SEASONS OF THE REAL HOUSEWIVES OF NEW YORK, AND PRODUCED THE COUNTESS’S TOP TEN ITUNES SONG, ‘MONEY CAN’T BUY YOU CLASS.’
IN ADDITION TO WORKING WITH ENTERTAINMENT COMPANIES AND ESTABLISHED TALENT, CHRIS HAS ALSO LAUNCHED THE CAREERS OF NEW, UNHEARD PERFORMERS, HELPING THEM TO REALIZE THEIR GOALS OF MAINSTREAM SUCCESS. HIS DISCOVERIES HAVE MADE IT ONTO NATIONAL RADIO AND BILLBOARD CHARTS AND HAVE BEEN SELECTED AS FINALISTS ON AMERICAN IDOL, THE VOICE, X FACTOR, AND P. DIDDY’S STARMAKER.
IN 2010, CHRIS YOUNG BECAME AN ESTEEMED MEMBER OF THE ACADEMY OF RECORDING SCIENCE’S PRODUCER’ AND ENGINEERS WING. HE IS AN ACCREDITED VOTER FOR THE GRAMMY AWARDS, AND AN ADVOCATE FOR THE RIGHTS OF MUSICIANS AND RECORDING ARTISTS ALL OVER THE WORLD. HIS WORK WITH INTERNATIONAL ARTISTS HAS GIVEN HIM AN EVEN DEEPER UNDERSTANDING OF A GLOBAL SOUND.
CHRIS YOUNG HAS ALSO DEDICATED HIS LIFE TO SHARING HIS KNOWLEDGE OF THE INDUSTRY AND HELPING THOSE IN NEED. HE HAS WORKED REGULARLY WITH CHARITABLE ORGANIZATIONS SUCH AS RONALD MCDONALD HOUSE, THE FRIENDSHIP CIRCLE AND THE SPECIAL OLYMPICS.
“CJ Stone aka “Andreas Litterscheid” succeeds for more than 15 years in the music industry and is one of the most talented DJs and producers of the club and pop scene around the world, capturing the attention of audiences worldwide for years.
He has done it all on his own and definitely on his own terms. It is hard to believe that this man discovered his love for music in his early years at 12 when he started mixing his own tracks together with cassettes and 2 recorders. It didn’t take a long time until his songs became party hits and he got his nickname “CJ” (cassette-jockey).
A few years later he started working as a dj and he decided to call himself CJ Stone.
But DJing wasn’t his only talent. His attention got more and more into producing and now as an internationally known star who has built his network of fans literally through his own tracks like “Infinity”, “Shining star”, “Into the sea”, “The sun (goes down)”, “Don’t look back”, “Be Loved”, “In The Redlight” or “Freak Out” (together with Jean Elan).
His own tracks like “Be Loved” shot without detours on the foremost places of the European dance charts. His remix for Ultrabeat “Pretty Green Eyes” was placed in the top 10 in the English sales charts for more than 3 months and sold more than 200,000 copies!
“Mr. Vain Recall” a remix for Culture Beat went straight into the top 10 of the German sales charts and reached gold status. Same did the title “Turn The Tide” for the Belgium act Sylver and also for Snap! “Rhythm Is A Dancer” in 2003 entered position #4 in the German charts.
His name got in a short time so well known that he did also productions like “Cold Blood” for Voodoo & Serano which was exclusive produced for the Hollywood Blockbuster Blade II.
For the FIFA®World Championships 2006 – together with his partner Reinhard Raith (DJ Voodoo) – he produced the album “Goleo 6”, including “Dance” sung by Lumidee feat. Fat Man Scoop as well as “Alltogether” by Atomic Kitten.
In 2008 he created the number one for Shaggy “Feel the Rush” the official Uefa hymn of the EM 2008 was placed on #1 in German charts!
He also produced the official Uefa hymn for EM 2012 Ukraine, Poland with Oceana.
in 2011 he started with 2 partners Michel Beugel and Adrie Berk their own label Soundz Good with the
Sublabels Electronic Pleasure, Refuge and Refuge Digital.
Andreas Litterscheid was able to make his name well known as a producer in pop and also in dance field. Even so for him it is very important to display his love of club and dance music under his stage name CJ Stone.
CJ Stone – is definitly a name to watch for in the future!”
From underground phenomenon to emerging star of the world’s biggest dance floors: the hottest fresh face of international dance music hails from Italy: Congorock. In only two years, with the single Babylon, the remix of Somebody to Love (Boy George/Mark Ronson), and One (Swedish House Mafia), Rocco Rampino has earned the respect of the most famous names in the game, like David Guetta at the legendary Cocoricò of Riccione where he recently shared the console. The Leccese’s powerful electro-house sound and his tropical deejay sets have gained the support from Afrojack to Diplo, from Tiësto to Benny Benassi, from Martin Solveig to Duck Sauce and the Crookers. They’re all expectantly awaiting August for his new single Sirius and the new album recorded in Jamaica with local singers, out this winter. Check it out.
In an age when the internet has democratized and globalized music production – if it still matters what passport an artist is carrying – check it out: one of the brightest up-and-comers in international dance music is Italian.
Rocco Rampino, also known as Congorock, was born in the Italian province of Lecce in 1983. He passed through Forli and Milan before settling permanently in Los Angeles, where he lives and produces music. This rising star possesses a rare combination of instinct and technique – he’ll play any instrument you give him, generally very well.
But first thing’s first. The story begins with the hardcore punk scene of the late 90s. It was mysterious, not even well known amongst followers of underground rock. But it was rich with talented, creative minds that exploded onto the scene with diverse bands. One was La Quiete (The Quiet), which, thanks to Rocco’s melodic, rock guitar riffs, became known around the world as screamo.
But Rocco’s passion for dance music led him to leave the handful of bands in which he was playing. He threw himself into it, first mixing vinyl records – he took to it quickly, effortlessly – and then he started producing tracks. This was when Italian electro-house blew up, with the Crookers and the Bloody Beetroots leading the way. Rocco worked with both, as well as with Blatta & Inesha. After that, Congorock went out on his own.
The turning points were the 2008 North American tour with MSTRKRFT, and the release of Runark in early 2009, a debut single put out by New York’s own Fool’s Gold. The label A-Trak, Kanye West’s deejay of choice and – with collaborator Armand Van Helden – the mind behind Duck Sauce and the smash Barbra Streisand.
At the same time, Rocco’s first remixes came out for big names like Fukkk Off, Djedjotronic, Nic Sarno, Romanthony, Favretto, and Blatta & Inesha; tracks that earned more and more space in the sets of fellow deejays.
But what cemented his reputation were the dance parties. Rocco spun with a unique energy around the world, pumping 130 bpm electro, fidget and ghetto house. He ventured into frontiers like Latin America and Africa, always on the lookout for the new hottest place.
“I left Italy at a time when our local electronic scene was becoming a real cliché. I had already done several tours in America, so I decided to stick with the scene whose birth I had witnessed. At the time, LA was the creative epicenter of the United States. A place where creativity flowed in from 360 degrees, from the city, from nature and the people who lived there. Much of the local underground music is directly influenced by Mexico. The city resonates with so many new ethno / Latino rhythms that I love to incorporate in my sets and productions.”
The transatlantic move marked a turning point. But watch out: Rocco is not a one-track-per-month, one-remix-per-week kind of artist. He meticulously shapes every release, nothing is left to chance. He doesn’t put out much, but it’s as precious as gold.
Just three tracks.
The first: Babylon. Fool’s Gold put out the single in 2010, with vocals by Jamaican Mr. Lexx and remixes with big names like Steve Angello, CJ Bolland and Proxy. But most of all, the instrumental version made its mark, one of the few tracks that simultaneously defines the form and tears up the dance floor. “It’s electro meets Slayer’s Reign in Blood”, someone said, perfectly capturing the happy coexistence of opposites essential to all great music, and that makes Babylon a masterpiece. Tropical sweat and gloomy darkness, innovative sound and muscular old-school snare drums. Afrojack, Calvin Harris, Diplo, Brodinski, Sinden Malente and DJ are just a few of the superstars who were struck by the sound.
The second: the remix of One, a Swedish House Mafia hit, with the original trance tunes coupled with the syncopated tropical rhythms that have become Rocco’s trademark. One of the biggest dance hits of the summer 2010, it was praised by Tiësto and Annie Mac, proof of Rocco’s adaptability and his musical vision for the “big rooms”.
The third: the remix of Somebody To Love, Mark Ronson and Boy George. See above. “Fantastic, I love it,” said David Guetta after his Cocoricò appearance, which is considered his arrival into the league of international deejays.
No longer the young Italian newcomer on the electro scene, Congorock has come into his own as a producer with an unmistakable flair and a deejay that handles large clubs and festivals. “Over the past two years I have been playing in larger contexts, like outdoor festivals and raves. I’ve realized that my music has a lot of potential outside the club. So I’m trying to combine my underground soul with my “big room” heart, which inevitably leads to epic and intense tracks. ”
The taste for contaminated, peripheral dance sounds is never-ending. In spring Rocco flew to Kingston, Jamaica, where a series of local dancehall singers improvised on the latest beats that Rocco brought along for the occasion. The collaboration resulted in a debut album up for release next winter. The upcoming instrumental single Sirius will hold you over, with its video out on Aug. 23. Both are being released by the giant Ultra Records, in whose catalog Congorock is in good company, with Tiësto, Benny Benassi, David Guetta, Deadmau5, Ferry Corsten, Paul Oakenfold and dozens of other superstars.
Dexter Raymond Mills, Jr. (born June 14, 1977), better known by his stage name Consequence, is an American hip hop recording artist from Queens, New York City, New York. Consequence debuted in 1996, appearing several times on A Tribe Called Quest’s fourth album Beats, Rhymes, and Life. In March 2007, he released his debut album Don’t Quit Your Day Job!, under Columbia Records and Kanye West’s GOOD Music. Consequence left GOOD Music in 2011, on bad terms, after being signed with the label since 2005. He and West later reconciled, despite Consequence speaking ill of West. Consequence subsequently launched his own record label, Band Camp Records, following his departure from GOOD Music.
To quote the British Tilllate (the nightlife community), “he reigns in Spain”. Celebrated Catalan DJ and producer Coyu has made his mark on Suara music by helping it to become one of the most prominent labels in the world of techno and house music. The label’s resounding success has been proved by the fact it has reached #1 on both, Beatport and Resident Advisor. The electronic music scene has surrendered to Coyu’s constantly outstanding efforts. What began as a dream is now becoming a reality.
His studio skills are ever more in demand. The impact of his remix of the Fatboy Slim‘s classic “Right Here Right Now” has been huge (#1 Tech House on Beatport). While his X-Press 2 “Muzik Xpress” remix became massive floor filler as well. Releases on Cocoon, Get Physical, Noir Music, 100% Pure, Tronic or his own Suara plus being one of the most charted artists of Resident Advisor’s history has put Coyu on the map as one of the best producers of the moment.
Meanwhile, the incomparable Spaniard will continue to take his tasty sets across the globe. He’s recruited fans from every corner of the world are following his spectacular performances at Sónar Festival (2012 and 2013) or his exciting Summer DJ residency joining at Pachá Ibiza (Insane parties on Fridays) alongside artists such as John Digweed, Steve Lawler, DJ Sneak or Fritz Kalkbrenner. Coyu is also day in day out touring across the planet, from South America (Brasil, Peru, Mexico), Asia (Japan, South Korea, Thailand), Europe (Germany, Italy, France, UK), North America to Africa… and of course Spain, his country of birth where is considered a visionary with honour. Coyu, a king on a lifelong learning.
Daktyl uses his multi-instrumentalist talents and diverse musical background to make insane beat driven grooves of a future bass sound which completely disregards the confines of a single genre.
After a 32 date tour of the US and Canada with Slow Magic in 2014, Daktyl released an 11 track album on L.A. based label Mad Decent, making him one of the only British artists on their roster. The album, Cyclical was released on the 21st of April 2015 and reached #14 in the US Electronic iTunes chart. Following the release of Cyclical Daktyl was invited to play shows all over the world, including major festivals such as Hard Summer, The Mad Decent Block Party, Capitol Hill Block Party, What The Festival and more.
Daktyl has been featured on Billboard, Noisey, Thump, Vice, TheSoundYouNeed, Do Androids Dance, Rinse FM, EDM.com , and many more. More recently he was given a coveted Artists To Watch title in Rolling stone magazine and was Zane Lowes Next Hype with his track Forgettable. He has also had remixes on Columbia Records, and has recently been invited to do guest mixes on BBC Radio 1 for Todla T, DJ Target and Diplo.
In a short space of time, German DJ, producer, comedian, pilot and guitarist Dayne S has turned a lot of heads thanks to his unique take on electronic music. He started strumming guitar at a very young age and has never looked back from there, eventually falling in
love with the disco scene in his hometown during his teenage years. From there the next step was to start DJing and now, in 2014, Dayne S is gathering more and more attraction by playing all over the world in countries like, Peru, Spain. UK, Netherlands, Belgium, Turkey, Russia and Germany.
“A lot of my inspiration regarding melodies comes from the good old blues legends like B.B. King, Stevie Ray Vaughan, but also from
modern guitarist musicians like Steve Vai,” says the man himself. “I love to work out an idea on the guitar and then try to transform it into electronic music. I kinda use every input I get, no matter if it’s from big artists, pop music on the radio or just an interesting sound I
hear on the street, so my influence, you could say, was life in general. I enjoy processing experiences into music.”
The music he makes for labels like Stil Vor Talent, OFF, Noir and Semester have topped charts at both Beatport and DecksRecords and range from slow and sultry to more kicking and peak time. Always imbued with a keen sense of electronic blues a la Depeche Mode or Tears For Fears, his music is stuffed with far more feeling than your average Ableton producer.
The future looks bright for Dayne, having had a No 1 Single in the Beatport’s Genre Charts for more than 15 weeks. Rolling Stone Magazine also just named him an “artist you need to know for the future“.
His move to Berlin in early 2014 promises a whole bunch of fresh music on the world’s top labels, more to come!
Over the past two years, Los Angeles native Deorro has become one
of the most sought after young producers/DJs in the business. The
young house prodigy has amassed an awe inspiring discography
including a cache of original productions, collaborations/remixes with
Steve Aoki, Chuckie, Axwell, Cazzette, Krewella, Laidback Luke,
Carnage, Diplo, MakJ, Tommie Sunshine, & R3hab and more
originals than even the most devoted DJs could spin in a week. All of
which have been blasted out through Soundcloud to his more than
140,000 followers, amassing over 20 million plays.
Although Deorro initially came to worldwide attention from his
prodigious catalog, neither he or his music exist in a vacuum. Equally
as impressive as his studio chops is his technique behind the decks.
Deorro’s unique grasp on modern party music has led to his services
being requested, and received, in some of the top events worldwide.
Whether in front of 30,000 in Australia alongside Skrillex and Steve
Angelo or at the DimMak WMC Pool Party, Deorro’s fusion of Dutch,
moombah, progressive and bass elements illicit revved and raved up
reactions without fail.
Deorro’s fast growing and fiercely loyal “PandaFam” fan base is a
testament not only to what he’s accomplished in the past few years,
but more importantly to the amazing music and moments that are yet
to come. And nobody knows that better than him, just ask and he’ll
tell you: the only direction he’s going is up.
A thriving rapper from Dallas, Dorrough achieved early success with his first single, “Walk That Walk” which charted on Hot R&B and Hip Hop charts around the country. The smash hit “Ice Cream Paint Job” was his first placement on the Billboard Hot 100, and he has continued to work with huge names in rap and R&B: E-40, Waka Flocka Flame, and Chamillionaire to name a few.
“Ice Cream Paint Job” Dorrough
“Get Big” Dorrough
“The Main Event” Chamillionaire feat. Slim Thug, Paul Wall, & Dorrough
Drop The Lime
Drop the Lime (born Luca Venezia in New York City) is an electronic producer and DJ who also runs dance label Trouble and Bass. Drop the Lime’s new material and DJ sets also feature live vocals on original compositions. In May 2011, Drop The Lime debuted the live show at Music Hall of Williamsburg & the Echoplex in Los Angeles to great acclaim. www.dropthelime.com.
“You Don’t Know ” him but you really do. He’s the man behind the lyrics on a lot of your favorite songs. From his first track, #1 hit with Armand Van Helden, “You Don’t Know Me” and Powerhouse “What You Need” to Bob Sinclar’s chart topping hits “Love Generation”, “Sound of Freedom” and “New New New” to Erick Morillo’s “Believe”, “Life Your Life”, & “Stronger” and even pop sensation Sean Kingston’s “Party All Night (Sleep All Day”).
His latest release is Ryan Blyth x Duane Harden “Back To You” out now on Don Diablo’s Hexagon / Spinnin.
You can also check Duane out every summer at his “Voces” party in Ibiza and festivals around the World. Tune in every week to his radio show where it’s all about the vocals mixed and presented by Duane Harden himself.
Be part of the global movement now.
Canadian-based producer Elaquent is certainly no rookie in the thriving beat scene. Known for his smooth, soulful style; his off-kilter, neck-break beats; and his obsession with Batman and Sega Genesis, Elaquent is finally beginning to reach his full potential. Elaquent, or “eQ” as he is also known by, has been making his mark on the independent beat scene in a big way over the last few years, with a large discography of well received instrumental albums. Since the ninth grade, eQ has been mastering his production techniques, creating a sound uncommon to the crop of other local producers. Citing J Dilla and DJ Premier as some of his earliest influences, eQ has become much of a fan favorite among beat afficionados in Toronto. After a string of successful releases, including “Believing” , “The Scenic Route” and “Green Apples and Oranges”, eQ has begun to take his show on the road, armed with his trusty SP-404sx loaded full of beats. Having toured all around the United States and many parts of Europe, eQ shows no signs of slowing down. The enthusiastic producer is already planning a number of albums, live shows and collaborations. Needless to say, Elaquent is on the come-up.
Era Istrefi (born 4 July 1994 in Prishtinë, Kosovo) is an Albanian Kosovar singer-songwriter. She rose to fame after releasing her debut single “Mani për money” in 2013, which gained a positive feedback and attention from the public. Her following songs “A po don” and “E dehun”, gained the same success. In June 2014, she won three Video fest awards for her music videos, including “Best New Artist” for her work in 2013.
Era Istrefi is child of Suzana Tahirsylaj, a well known Albanian singer in the 80s and 90s and Nezir Istrefi, a journalist. After her father’s death in 2004, her mother quit singing, and her older sister Nora Istrefi shortly became the big singer in the territories. Era made her television debut in 2013, with her single “Mani për money”, a reggae-pop song, new to the national music industry. The song received mainly positive criticism from the audience, becoming an instant hit. However, a few months after her first single, she released “A Po Don?”, another song with a different style, accompanied by a provocative music video. The song received mixed criticism. Her third single, “E Dehun” – inspired by Nexhmije Pagarusha’s song with the same title, which also samples the lyrics and some parts of the instrumental, was another hit from Era, which assured her three Video-fest Awards (Albanian Music Awards), including “Best New Artist” for her work in 2013-14.
Her three videos are heavily broadcasted on every TV and radio station in Kosovo and Albania while it is regularly broadcasted in best clubs all over. Her videos have more that 3 million views on YouTube which ranks her among most popular Albanian singers. Some American magazines have shown interest in her music and style as well.
F51 are Jaicko Lawrence and Demetri James. The two have worked under this Creative Collective since 2014, and have a combined experience of over 30 years in the music industry as performers, writers and producers. Jaicko, formerly a recording artist signed to Capitol Records, and Demetri, a songwriter with Nettwerk One, signed a publishing deal together with ULTRA MUSIC PUBLISHING as F51.
Since forming the F51 brand, they have been in-demand international topliners. They have traveled to Greece, UK, US, and spent time at home in Barbados and Toronto attending songwriting camps and honing their craft.
They have credits with Benny Benassi, Marc Benjamin, Akon, Flo Rida, Jay Sean, M-22 and DJ Antoine to name a few. Jaicko’s lead vocals can be heard on key featured releases like M-22’s “Good To Be Loved” which was a hit in Germany and across Europe. F51 has multiple records scheduled for release in this coming year.
onas von der Fehr aka, Fehrplay always promises to get the crowd pumping. The Norwegian’s style of upbeat, multi-layered sounds are driven with intricate patterns of drum and bass which allow both house and EDM fans to appreciate. His dynamic audience is amazed by this progressive house trailblazer. After winning over the UK house scene, he continues to gain global acclaim by his sensational performance in NYC’s top electronic club Output. With an ethos that a good melody and poignant groove can reign indestructible, the journey from 2012’s ‘Incognito’ to ‘I can’t stop,’ has kept fans and the industry tastemakers in awe. He most recently received recognition by fellow Dj Pete Tong, as he played Fehrplay’s new remix of Deadmau5’s classic ‘The Reward is Cheese’ on the famous BBC Radio 1.
Fehrplay and Eric Prydz featured in Rolling Stone for EPIC 2.0 tour
Fehrplay featured on the cover of DJ Mag
Fehrplay’s “Monte” premieres on Billboard
Fehrplay deemed “a very versatile producer” by Magnetic Mag
Fehrplay Q&A featured on Earmilk
Fehrplay is named DJ Mag’s Cover Mix Artist Of The Month
Flosstradamus spent the last 8 years breaking new sounds around the globe and becoming club kings in the process. But how do they keep doing it? J2K and Autobot’s knack for flipping your favorite tracks in unexpected new ways (from their earliest DJ blends to high-energy hybrids like the duo’s hit remix of Major Lazer’s “Original Don”) certainly helps. So does having a catalog of original bangers on Fool’s Gold, Green Label Sound and Mad Decent/Jeffree’s. Yet the real reason Floss has been able to reinvent party rocking for close to a decade is because these Chicago boys bring an irresistible sense of fun to every single set, whether it’s a sweat-soaked nightclub or in front of thousands at Lollapalooza.
Frankie P is a New York based music producer. He graduated from SUNY Oneonta with a Music Business bachelors degree and minor in Audio Engineering. After graduation, Frankie Interned at Atlantic Records (Urban A&R department) & Island Def Jam (Sales department). Before considering himself a music producer, Frankie P considers himself a creative mind/tastemaker who is inspired by life. His main goal is to inspire others and think outside the box. Frankie P recently had his first worldwide release with ‘Hazy Nights In The Heights II’. This is the second installment following his 2011 release entitled, “Hazy Nights In The Heights”,fresh off producing four hot tracks on A$AP Ferg’s critically acclaimed debut, “Trap Lord”. In addition to the work on Ferg’s album, Frankie also was behind the musical boards for the MTV series, “The Heights”. His unique blend of New York City Hip-Hop with a touch of Jazz has put his expertise in high demand up and down the east coast, and very soon the rest of the country.
Atlanta Georgia native Alonzo Mathis, better known as “Gorilla Zoe”, first made his splash onto the southern rap scene when he filled the slot vacated by rap star Young Jeezy as a member of the gangsta rap group Boyz N Da Hood (signed to Sean Comb’s label Bad Boy Records), appearing on the sophomore album Back Up N Da Chevy (2007). Carrying his momentum into successful guest turns like on “Coffee Shop” by Yung Joc, Gorilla Zoe quickly followed with his own successful solo career. First two albums Welcome To The Zoo (2007) and Don’t Feed Da Animals (2008) included the smash GOLD-certified hits “Hood Figga” and “Echo”, respectively, as well as the critically-acclaimed hit “Lost”. Alonzo has also collaborated and co-written with lots of top names in the game, including Usher, Rick Ross, Gucci Mane, Paul Wall, Dorrough, 8Ball & MJG, and more.
“Lost” by Gorilla Zoe
“Echo” by Gorilla Zoe
“Hood Figga” by Gorilla Zoe
“Coffee Shop” by Yung Joc (feat. Gorilla Zoe)
Headhunterz’ career is a performance.
Rising from the rapidly expanding hard dance scene, Headhunterz had claimed a top position in the world by reaching an amazing 11th place in the DJ MAG Top 100. This remarkable feat comes after a series of acclaimed main stage performances, three albums, several chart topping anthems and remixes, and his leading, genre-defining, hardstyle podcast named HARD with STYLE. Headhunterz has also hosted the Amsterdam Dance Event’s biggest event by debuting the brand-new, state-of-the-art concert stadium Ziggo Dome. On top of his musical career comes a strong character , which echoes through, in a massive and engaged following world-wide and on the web.
As the first of a new generation of hard dance artists, Headhunterz released a series of hit records since his debit in 2006. Among his greatest pieces of work are ‘Rock Civilization’, ‘Power Of The Mind (Qlimax 2007 Anthem)’, ‘The Sacrifice’, ‘Scrap Attack (Defqon.1 Festival 2009 Anthem)’, ‘From Within’, ‘Dragonborn’, his remix of Nicky Romero’s ‘Toulouse’ and his remix of Kaskade ft. Neon Trees’ ‘Lessons in Love’, which has seen substantial chart-success.
In 2008, together with fellow producer Wildstylez, he created quite a stir within the international dance community with the ‘Project One’ campaign. By producing a highly successful studio album in less than three months, they set new standards and confirmed their abilities as musicians. The tour following the release had high international acclaim but by limiting it to just five performances, it drove the demand to new heights. In 2010, the second album ‘Studio Sessions’ created an equally massive impact and was followed by a new international tour, which included the United States, Australia, Russia, Canada and several big editions in Holland. 2011 was the year Headhunterz released his album ‘Sacrifice’, from which he donated all earnings to Dance 4 life, a charity organization raising awareness for HIV and AIDS. His track ‘Dragonborn’, which was given away for free, became a huge online hit and proved that Headhunterz has one of the most strong and dedicated online fan bases in the electronic dance community.
2012 saw Headhunterz release his chart-topping remix of Kaskade ft. Neon Trees’ ‘Lessons in Love’, and his successful remixes of Hardwell’s ‘Spaceman’, Zedd’s ‘Spectrum’ and Nicky Romero’s ‘Toulouse’. It was also the year where he rose to an astonishing 11th place in the DJ Mag Top 100, celebrated by a sold out show in the brand-new Ziggo Dome in Amsterdam. Having signed a new recording deal with Ultra Music at the beginning of this year, 2013 will prove to be the most interesting year yet for Headhunterz.
Amongst his greatest appearances are his sold-out Q-dance presents: Headhunterz – Hard With Style show, performances at various editions of Qlimax, Defqon.1 Festival, Electric Daisy Carnival and Decibel Outdoor Festival, but also his Headhunterz branded X-Qlusive event in the Heineken Music Hall in 2010.
Heroes x Villains
Armed with this experience, roots in punk/hardcore and an appreciation for Southern rap music, Heroes x Villains start their ascent with warbling, bass heavy, electronic dance music remixes of Waka Flocka Flame’s ‘Oh Let’s Do It’ and Gucci Mane’s ‘Lemonade’. These, a remix of Lil’ Jon and Diplo’s ‘U Don’t Like Me’ and several others make up ‘We Off That,’ their first mixtape which garners critical acclaim.
Less speakers burst into flames these days but Heroes x Villains DJ sets remain as caustic as ever. Stage diving and raucous mosh pits are regular occurrences; champagne spraying in every direction and half naked women moving in ways their parents wouldn’t likely approve of come standard. The raw, occult like energy and track selection is a manifestation of how Disaster and fans of Heroes x Villains choose to live: shameless, unrepentant, maximalist hedonism.
Heroes x Villains barreled into 2012 as diverse and dangerous as ever. Beginning in early January, they introduced the weekly ‘BLXRRD OXT’ series, manipulating records like Young Jeezy’s ode to intoxication ‘WXY 2 GXNE’ and England’s dark pop princess Charlie XCX ‘NUXLEAR SEAXONX’ into soundtracks for a haunting, drug-addled haze.
And in February, showcasing the two year progression of Southern rap music fusing with electronic dance elements, comes rising Atlanta rap group FKi’s mixtape ‘Transformers In The Hood’ produced by Diplo, Heroes x Villains and Atlanta EDM producer Mayhem.
With genre-bending, rule breaking unpredictability as their calling card, it’s pointless to attempt to figure out what Heroes x Villains may do next… best to just sign the waiver and enjoy the ride
The Honorable C.N.O.T.E is an American music producer who was born into humble beginnings, raised in Benton Harbor, Michigan. While in Benton Harbor, Honorable Cnote began to fine tune his ear for music production. He learned how to sequence using the BOSS DR-5 Drum Machine and later moved to the Yamaha Q-Y70. His dedication to his craft enabled him to complete 6 local studio albums. In 2006 he relocated to Atlanta, Georgia to further his goals with nothing but a few dollars in his pocket and a dream. Cnote’s move to Atlanta proved to pay off as his musical placements begin to take off. Since his relocation, he has worked with Platinum acts such as 2 Chainz, FloRida, Gucci Mane, Akon and Yo Gotti just to name a few.
The UK house scene can’t seem to get enough of Michael Dodman aka Dj Huxley. He has truly found his place in the electronic music scene in the UK with breakout songs ‘Let It Go’ and ‘Box Clever’. During his early days producing he was very much influenced by garage house. Huxley first got a taste of garage from the song ‘My love’ by Keli Le Roc. You can hear his sexy beats vary between garage house to now more and more deep house. The talented producer enjoys mixing up his sound by collaborating with friends and other Djs such as Ethyl, which he dropped on his last label Saints & Sonnets. Since then he has released tracks for famous labels such as Tsuba, Morris Audio, Fear of Flying, Hypercolour and 20:20 Vision for starters. To each label he brings to the table a versatile sound for each. We have seen Huxley use more groovy beats with full vocals, while still staying true to his garage sounds as he always shows robust, bass-led house music. He never fails to win over all dance lovers.
‘Let it go’
Songwriter Jason Farmer, knows as J-Vibe Productions, is known for his reggae infused R&B productions. Collaborations include Stacy Barthe, Vivian Green, Ky-Mani Marley, and his Grammy nominated work with Keyshia Cole on “Heaven Sent”
How does someone get from Fox Island River, Newfoundland (pop. 198) to Nashville? The best person
to ask is Jason Benoit, one of Canada’s fastest rising country stars. With his undeniable talent as a singer/songwriter, combined with his magnetic stage presence and devotion to his growing fan base, Benoit has already defied the odds.
Now, with three singles under his belt that have hit Billboard’s Canadian Country chart—including his current Top 10 smash “Gone Long Gone”—Benoit is set to release his full-length debut album in 2016 on JV Records/Sony Music Canada.
He first gained attention with his countrified version of “This Is What It Feels Like,” the Grammy-
nominated hit by Dutch DJ Armin van Buuren and Canadian vocalist Trevor Guthrie, included on the Sony Music compilation Country Heat 2014. Benoit and his Nashville-based producer Dave “Dwave” Thomson followed that up with a Top 30 single, “Crazy Kinda Love,” released in August 2014, and “Gone Long Gone” in March 2015.
The success of “Gone Long Gone” set the stage for Benoit’s widely hailed appearance at the 2015 Cavendish Beach Music Festival, which resulted in him being named the Canadian Country Music Association’s first-ever Discovery Atlantic Award winner. Along with that came a nomination as one of the CCMA’s 2015 Rising Stars, and a performance at the CCMA’s Awards gala in Halifax.
As Jason Benoit continues his path toward releasing his debut album, there are surely more defining moments such as these soon to come. It’s all about connecting with audiences, and the response at Cavendish—particularly the young females singing along with every line—showed that Benoit’s star is truly on the rise.
“From Berlin for the world. It is according to this motto that Jean Elan works in the enigmatic music scene of the city. This is where he makes his productions in a style which has little to do with the regional techno traditions. He works internationally but has his feet firmly on the ground, his base is in Berlin and at the weekends he DJs throughout Europe and even does short tours in the USA, Canada and Brazil.
His Artist name, which was a spontaneous idea, has a strange effect “Everywhere in the clubs people talk to me in English or French, but in the long run it suits my understanding of sounds”.
Jean Elan’s music is a cosmopolitan mixture of sounds – electronic without a puristic departure, House Music with a forceful groove but a certain lightness is also always a part of the production.
2010 has brought enduring recognition for his varied sound. He was nominated for a Grammy in the “Best Remixer”- category for his remix of “The Girl And The Robot” – Röyksopp feat. Robyn. He is only the 4th German ever to be nominated in the Remix category (after Paul van Dyk, Mousse T. and ATB). “At the end of the day David Guetta won the prize” said Jean Elan “but just the respect to be nominated with these other great international competitors, proves that I am on the right track with my ideas”.
Having produced 20 remixes for other projects and 7 own Singles, Jean Elan has been able to build up his own strong profile within a short time.
A fresh start in his career is part of Jean Elan’s history, which made the present success possible. Jean Elan’s original roots are in the Ruhr district of Germany (he was born in Gelsenkirchen), where he was a driving force in the regional club scene at the end of the ’90s. He still works closely with the guys from his old home as they are well-tuned production team. However it was his move to Germany’s capital which led him to the label Ministry Of Sound” and which gave the “experiment” Jean Elan new drive. “I just wanted to try my hand as an Artist one more time” he says to his double roll as Label Manager and musician. The celebrated debut Single from 2008 “Where’s Your Head” created quite an impact. ”This cover version of Basement Jaxx was Top Ten in various Dance Charts worldwide. Really just the perfect start” remembers Jean Elan.
His debut Single was followed by a groove-orientated remix of the Norman Doray track “Krystal”. Then he turned on a very special hit machine for Dahlbäck, Diaz & Young Rebels feat. Terry B!’s “Can’t Slow Down”. His 2nd Single “Shake Me” shows too that Jean Elan does not want to retreat into the specialist’s corner – the main floor is really an option for him. His 2009 remixes alternate between keyboard harmonies and minimalistic effects. In his remix work for Jeanette’s “Material Boy (Don’t Look Back)” he does his new home Berlin great honour and lets a fierce bass track boom. His solo production “Killer”, on the other hand, pulls out all the stops and focuses on wild techno breaks.
Jean Elan has developed a soft spot for crossover tracks because of this DJ-orientated beginnings. “It was very important for me to build a strong base in the clubs. It is possible to create a real hit from this basis, without really “selling-out”.” he says. “Hypes come and go but other qualities are what count behind the decks”. With his open-minded mixture of progressive, electro and House influences Jean Elan can’t be put in a drawer. It is no wonder, that he appreciates the varied tracks of his Scandinavian colleagues and politely declines to follow short-lived trends like “Dirty Dutch”. He knows the world of electronic music well enough to be able to do that – Jean Elan’s music preaches diversity, following one direction is something he will leave to the others.” https://soundcloud.com/jean-elan
Jenson Vaughan is a musical talent who has crafted his skills as a songwriter for more than a decade drawing upon a wide range of influences from pop, dance, R&B and soul to country, rock & roll and beyond.
As a songwriter Jenson has a variety of Gold and Platinum projects to his name and has recently written for and collaborated with the likes of Madonna, Armin Van Buuren, Benny Benassi, DJ Antoine, Snoop Dogg, Iyaz, Mann, Craig David, Kelly Rowland, Boyz II Men, Honorebel, Shaggy, Ian Carey, Sander Van Doorn, Ferry Corsten, Paul Van Dyk, Fedde Le Grand, Michael Mind, Rosette, Danny Fernandes, Craig Smart, Mia Martina, JRDN, Alex Gaudino, and many more great talents from around the world.
“Girl Gone Wild” Madonna
“This Is What It Feels Like” Armin Van Buuren feat. Trevor Guthrie
“What A Feeling” Kelly Rowland
After studies in musicology (7 years at the Academy of Music Percussion and Piano), Joachim Garraud decided to turn to electronic music where he met many successes. Primarily a DJ in Parisian club in his beginnings, little by little he started to become a true globetrotter while travelling to many countries where he established many contacts and exchanges with other DJs. He takes part in many demonstrations related to electronic music in the biggest festivals of the world. He is featured on three of David Guetta’s albums, producing and writing a lot of his songs. Within the framework of a partnership with Pioneer, Garraud took part in the development of turntable DVD DVJ-1000, allowing DJ’s to mix the image as much as the sound. Nowadays, Joachim Garraud is also famous because of his audio visual show, which is required all over the world. This is a new experience that the crowd loves and not only a dj set we are used to see.
Josh Bulter is a producer/DJ who's dynamic style allows him to play music of all different genres. His musical talent range from deep bass hard house, to relaxing ambient music. The Leeds local has cemented his place in the deep house night scene. His collaborations with Darius Syrossian and Hector Couto has lead to a promising and already distinguished record label iDiOSYNC Music. In 2012 they had profound exposure in NME, Mix Mag, DJ Mag, and may more. The first release from the label "Ghostly Notes" has been nominated for a BBC Music Video Award.
Kaleem Taylor is breaking boundaries with his new sound. This sensation is an up and coming vocalist from West London. His style of music has been described as “delicious,” with it’s soulful piano beats, slow soothing vocals, and electronic spice. His radio debut was on DJ Target’s BBC Radio 1Xtra Homegrown. He had another appearance in the Brixton Academy alongside US superstars Boyz II Men.
His first two singles have been huge successes, with ‘Smooth’ and ‘Alone’. He has also worked with top producers Bondax, and Davince, and Ins. His fame has grown immensely since his live performance for Trevor Nelson at the legendary Maida Vale studios where he covered Frank Ocean’s ‘Thinking about you’. The live performance was blasted and raked in 130,000 worth of views.
Charles Worth (born October 20, 1986 in Cleveland, Ohio) better known by his stage name Chip Tha Ripper is an American artist signed to his own record label, SLAB Entertainment. Releasing projects called, “Money”, “Can’t Stop Me”, “The Cleveland Show” and “Gift Raps”. In 2012, he has released his most recent & highly anticipated “Tell Ya Friends.” Chip has been featured on numerous studio albums, including KiD CuDi’s popular “Man on the Moon” series. He has toured the US & overseas consistently since 2006, being featured on many major tours and headlining his own independent tours. Also, a collab group with friend KiD CuDi, titled “The Almighty GloryUS” to be released in the near future.
Natassia Zolot, better known by her stage name “Kreayshawn,” just released her debut solo album Somethin’ Bout Kreay on Columbia Records. Just 23, the Bay area native rose to fame quickly following the success of her breakthrough single, “Gucci Gucci,” garnering 3 million views on YouTube in its first two weeks. The song went on to hit #20 Billboard Rap Songs, #22 UK R&B Chart, #14 Belgium (Ultratip). Her album features guest appearances from Kid Cudi and 2 Chains, A-List producers Diplo, Jean Baptiste, and more.
She has songs featured on HBO’s Entourage, The Sitter starring Jonah Hill, video game “Dance Central 3,” and The Heat starring Sandra Bullock and Melissa McCarthy.
Late Night Alumni
Finn Bjarnson stumbled upon Becky Jean Williams in the summer of 2003. “I had just been given a local Christmas CD that I had produced a couple tracks for,” Finn recalls, “and as I was listening through the tracks, there she was! Her beautiful voice and style immediately struck me.” A couple of phone calls later and they were in the studio together for the first time. “I had worked up this song called ‘Empty Streets’ and wanted to try her voice out on it…” Finn continues, “and it took off from there!”
Finn had already been working in the studio with Ryan Raddon (aka Kaskade), and soon Finn, Ryan, and Becky formed Late Night Alumni. In 2004, Hed Kandi made an offer to license and release a full length Late Night Alumni album. “At that point,” Finn says, “I knew the band was not ready. We were missing an element.” That missing element turned out to be John Hancock; a talented local producer with whom Finn had been trying to “find an excuse” to work with for years. The band was complete and hard at work at the debut Late Night Alumni album; mixing electronic and organic elements for a unique brand of chill that is easily distinguishable in today’s down tempo house music scene.
“Empty Streets” came out in September of 2005. Around the same time, Hed Kandi was bought out by Ministry of Sound and the album got shelved. However, despite the label not working the album it soon grew into an underground classic. All around the world die-hard fans who supported “Empty Streets” spread the word of Late Night Alumni.
The single also entitled “Empty Streets” received massive support in both the clubs and on the radio getting Top Ten Radio Play in the UK and US, and reaching #1 in Spain. “Empty Streets” has also been licensed to commercials including a spot for the Toyota IQ. Plus, more than a dozen of the world’s biggest dance compilations have licensed the track, and it remains the most popular and downloaded song on Tietso’s “In Search Of Sunrise” compilation.
Finally, four years later, Late Night Alumni is releasing its sophomore album. “Of Birds, Bees, Butterflies, Etc.” picks up were “Empty Streets” left off. Signed to Ultra Records, Late Night Alumni is poised to get its music out to a larger audience and to reconnect with those who have already fallen in love with their ethereal brand of house music.
Leftwing & Kody
“Given the impact they have had, it’s hard to believe Leftwing & Kody have only been around since mid-2012. The duo’s debut EP peaked at number 11 on the Beatport chart and the rest as they say is history. With an infectious sound that draws on swinging hi hats, low slung synths and masterly crafted basslines, and by joining the dots between the past and the present in their own unique way, Leftwing & Kody have since been back in the Beatport charts with releases on OFF Recordings and Exploited, all of which stayed in the Beatport top ten for over a month.
Support for has come from the likes of Loco Dice, Groove Armarda, Jimmy Edgar, Huxley, Noir, Shadow Child, Laurent Garnier and Dusky to name a few. So strong is the support for Leftwing & Kody that they’ve recently been asked to remix for Toronto quartet Azari & III, and world renowned DJ and producer Romanthony. Their busy production schedule also see’s forthcoming releases with Anjunadeep, and a follow up EP with OFF. Despite a busy release schedule, the guys are currently tearing it up around the globe, their sets linking house, techno and garage with their own edits and originals in captivating ways. Their gig schedule for 2013 see’s the guys performing at some of the best venues in London, Brighton, Berlin, Dublin, Reading, Belfast, Nottingham, Amsterdam, Ibiza, Birmingham, Liverpool, Lyon, Manchester, and more.
August sees Leftwing & Kody launch their own label Lost Records, with a two track EP from Darius Syrossian and a remix from the duo themselves. Having been tipped as ones to watch by Mixmag, and with the Bicep boys vocal in their support for Leftwing & Kody on their famous blog, expect this energetic duo to skyrocket in the months ahead.” https://soundcloud.com/leftwingaudio
“Every so often a DJ or producer comes along who inspires the collective imagination. If you’ve seen Loco Dice perform at his ten-year-long Tribehouse residency in his hometown Düsseldorf, or at DC-10 in Ibiza (from ’02-’06), you will have clicked to this.
Loco Dice is someone who can puzzle together intangible moods with a direct approach. Via his DJ sets or his productions on labels like M_nus, Cadenza, Ovum, Four Twenty and Cocoon, he merges perspectives in his delicate sense for sounds and reflective atmospheres, underpinned with solid, physical grooves inspired by the hip hop that was his early sonic stomping ground in the mid- to late ‘90s. There’s something there for the dreamers, as well as for the 9-to-5ers who just want to lose everything in a moment of abandon on the dancefloor.
Don’t think that merging of perspectives is accidental. This Loco Dice, with his mercurial temperament, may let his thoughts run away with him, but he tends to chase those ideas and make them into an artistic reality. His DJ sets, whether at Germany’s biggest rave Timewarp, Cocoon in Ibiza or a beach party in South America, are spontaneous orchestrations fueled by the nuances of a night/venue/crowd. He began a fruitful studio partnership with Martin Buttrich in 2002 leading to tracks like Phatt Dope Shit, Menina Brasiliera, and Seeing Through Shadows, and these productions are meticulously planned by Dice. It’s a directorial, cinematic outlook, which permeates Dice’s everyday life, and comes not just from the outlandish escapades and scrapes that he has sometimes found himself living out in real life. It also stems from elaborate film scripts imagined as a young Loco Dice on the streets of Flingern in Düsseldorf and the Kerkennah Islands in Tunisia. This continues to be a habit of Loco Dice’s today: to close his eyes for just one minute, and see a whole cornucopia of scenes and atmospheres. As one manifestation of this, visitors to Düsseldorf early this year will be able to see an exhibition of photographs taken by Loco Dice & Martin Buttrich during the year they spent in New York City to work on the Loco Dice album. It’s an album that re-imagines the soul of a city, built from careful observations of urban tribes that crisscross and sometimes clash, of minute details and sensory impressions.
Family is important to Loco Dice, as you might have noticed if you’ve seen one of his tattoos, a Chicano-style artwork with the legend “Guadelupe”. His love for music stems from hearing soul and funk in the kitchen, and holidays with his mother to Tunisia, where he absorbed North African and Middle Eastern folk music and occasionally sneaked away to watch his grandfather playing dice at café tables on the street. Family is how he’s always regarded the people close to him, and it’s how he regards subcultures too. A football player, he’s inspired by those who build strong teams of creative people around them. This sense of family is what he wants to create with projects like his and Buttrich’s label Desolat, and an artist management agency he run with Tom Preuss called Artist Alife. When you visit the office of Desolat and Artist Alife, you’re struck by the fact that everyone seems to come from a different cultural background. Loco Dice’s experience of Germany is one that includes friends and collaborators who are of African, Eastern European, Italian or Turkish descent. Loco Dice is interested in all kinds of people and artistic subcultures: he’s proud of people who bring a creative flair to what they do, informed by lives lived ever so slightly less ordinary.
In that sense, Dice’s innate understanding of people: what they sense, what they feel, what they want to imagine, is a part of what distinguishes him from other DJs. He’s very aware when playing in Ibiza of the multiplicity of nationalities that are gathered there, the morass of different desires to be catered to. His inner film scriptwriter makes him capable of translating sounds and kicking it like a local, whether it’s in Naples or in New York. Loco Dice is similarly capable of inspiring, of creating that heady atmosphere that can only be experienced in a crowd of thousands. This skill of his, first cultivated at DC-10, is also no doubt informed by his experiences touring with big name hip hop artists in the ‘90s.
Mark Spoon used to promise him that at some point Loco Dice would shuffle sideways from his beloved house and hip hop to “come over and be one of us”, one of the techno believers. In a sense, he was right, though Loco Dice never leaves anything behind: he still brings out classics, whether classic techno from Maurizio to Basic Channel or gritty boompty house by DJ Sneak, and he’s still fond of composing music, as linear as it may be, that draws on hip hop song structures and basslines. At the end of the day, as Loco Dice sees it, everything runs in loops, and it’s his job to trace a line, to sketch out the next scenes in this soundtrack. Even if life tends to be unpredictable, a little chancey, the next move doesn’t have to be a gamble. In fact, Loco Dice shows via his compositions that it can be very well planned. Listen to his music, imagine the cinematic accompaniments, and you’ll understand how something carefully constructed can begin with a flight of fancy, or a roll of the dice.” (https://desolatmusicgroup.de/en/artist/loco_dice.html)
Marek Hemmann has grown into the electronic music as a hunter, collector and true connoisseur of tones and sonics. It all began in the beginning of the 90’s with a guitar who’s sonic spectrum was far too limited for him. The discovery of the samplers and they synthesizers suddenly opened new possibilities where the acoustic world couldn’t keep up. New technologies now allowed a sound and noise on synthesizers to create what the human ear has never before experienced. He then refined the sound that is now known as his; which is “minimum on technique but rather a very wide diversity of noise and tonal sensibility”. With deep bass meets voice fragments, shakers, and percussion carry the rhythm in a funky minimal techno. In 2009 his debut album “In Between” was published with high acclaim with the label Freude am Tanzen.
Bittersweet album- Zunder
Bittersweet album- You know
“The Father Of House Music” – Marshall Jefferson – is a Chicago based producer and pioneer of dance music. His 1986 single “Move Your Body” was been deemed the house music anthem, and its composition has served as a building block for dance music since created. His style evolved with the trends, with recent collaborations with UK duo House of Virus.
The Berlin native began as a Hip Hip producer and Rapper. After several years full of tapes and Rap jams, Max began to establish himself more and more as a hook singer. From building beats he started more and more to compose. 2010 he began to work at the company audioforce GmbH as a composer, singer and producer. By working with International operating advertising agencies and corporate companies as (Kemper Trautmann, Jung von Matt, Heimat, Ferrero, Ikea, Nikon, LG, Audi, Sony) he could professionalize his workflow. From rock music over soul, funk, 60s, electro music, to pop, he had to learn to produce and compose different styles.
Since 2014 he worked as a freelance musician, composer, producer and singer-songwriter and has been able to implement some projects as a toplinewriter, producer and ghostwriter. He works in his own studio in Berlin Mitte – Beat.An – together with his partner Dennis Scheffel (Dayne S). They are currently working together with some electro artists: M.A.N.D.Y., Mantu, Daniele di Martino.
Increasingly, Max is working on his artist career – Max Joni – and wants to establish itself in the electro and pop scene. For the future he will integrate live performances into live sets. The style of his productions and compositions is characterized by a strong topline and a distinctive vocal.
The city, urban life and the contrasts of Berlin inspires him as well as the sounds of the 80s.
From behind the sixteen foot laser and LED structure dubbed “Eye Live,” Midnight Conspiracy emerges as a riddle, wrapped in a mystery, inside an enigma that will literally overload your senses and still leave you coming back for more.
When the dark, moody, and even ominous undertones of their hard-hitting, no-holds-barred bass drops and harmonic melodies lift, you’ll be left pondering a few things. What is the Midnight Conspiracy? Who is behind it? Where did the last two hours of my life go? These aren’t questions that we can answer for you. These are questions that only you can answer, and only after experiencing Midnight Conspiracy live. Here’s what we can tell you:
Throughout history, imagery of “The Eye” has been associated with everything from secret societies to ancient deities, but Midnight Conspiracy is concerned with something much different: using an out of this world light show and their own special blend of heavy bass to put on an unforgettable show. It worked. They’re signed to the legendary Ultra Records, which is also home to favorites like: Deadmau5, Bloody Beetroots, Wolfgang Gartner and Benny Benassi. In addition to the DIY endeavor that is the “Eye Live—Laser Light & Heavy Bass Experience,” they also started the art collective and clothing line Dead Fame. They’ve risen to the top of Hype Machine, Beatport and BBC Radio 1, along with destroying stages at Lollapalooza and Ultra Music Festival.
Is Midnight Conspiracy a collection of heavy bass, mixed with electro and topped with dubstep? Or, is it some sort of mystical, musical chimera with a singular goal of putting on the best show you’ve ever experienced? Or, is it a perfectly produced musical narrative that evolved into live instrumentation and ultimately into a sixteen foot bastion of laser lights and brain-melting bass? The correct answer is all of the above, but “The Eye” commands something else entirely. Put yourself in its gaze at a show and get inducted into the Midnight Conspiracy.
Alyssa Palmer’s voice is undoubtedly one of the most unique in the industry. With a sweet vulnerability and unrivaled distinction, her contributions to EDM tracks have made the great, unforgettable. Miss Palmer has worked with Laurent Wolf, Felix Cartal, Steve Aoki and Afrojack and continues to dominate the EDM scene.
“No Beef” Afrojack & Steve Aoki feat. Miss Palmer
“Falling Anthem” Bad Boy Bill
“Who We Are” Tom Swoon feat. Miss Palmer
Murk (also known as the Funky Green Dogs) is the production team made up of Ralph Falcon and Oscar G. Pioneers of the 90’s dance scene, their number one songs “Fired Up!” and “Dark Beat” remain classics. Oscar and Ralph are now regulars as DJ’s at international spots like Pacha and Space around the world.
The Atlanta native Nate Walka is a Grammy award winning songwriter, known for his huge hits in pop, R&B, and hip hop. After huge success with “Blame It” by Jamie Foxx featuring T-Pain, Nate has continued to prove his prominence in the hit music scene as a key songwriter for the Far East Movement, Trey Songz, Collette Carr, and many others.
“Blame It” Jamie Foxx feat. T-Pain
“What I Be On” Trey Songz
“Say Aah” Trey Songz (feat. Fabolous)
Neil Ormandy is a singer-songwriter and producer from Manchester, UK. He has been part of two internationally recognised bands and has toured with Keith Urban, Simply Red, James Morrison and Paolo Nutini, amongst others. He has signed two major record deals and was signed by Kenny Mcgoff . Neil made the move to Los Angeles, USA six years ago and has been writing music for TV and Film, signing Writer / Producer contracts with Pusher, Archangel and most recently Patrick Moxey and Ultra International Music Publishing.
Neil has landed placements in multiple TV shows such as CSI, CSI NY, ARROW, Gotham, Silicone Valley, Nikita and Teen Wolf. He also has success landing various major motion picture trailers cues, which include; Clash Of The Titans, Green Lantern, Knight and Day, Dead Man Down, The Girl With The Dragon Tattoo, Selma and most recently The Avengers.
Since signing with Ultra in September 2014, Neil has secured three cuts on Eric Prydz new album which included two features, a summer single for Shift K3Y, three cuts on Hey Violet’s debut album, a new Punk band signed to Capitol Records, a summer single with Thomas Gold and a single with Tim Mason. He is currently working on an EP with Moguai and writing for KYGO.
For over a decade now, Jamaican talent Nigel Staff is one of the most sought after session pros on the Reggae scene today. A multi-instrumentalist best known for his work on keyboards, the producer/songwriter/arranger boasts a catalog over 250 songs deep, spanning the biggest names in Reggae & Dancehall, which include Sean Paul, Beenie Man, Shaggy, Elephant Man, T.O.K., Sizzla, Vybz Karel, Capleton, Bounty Killer & Voicemail to name a few. An oft-collaborator of Sean Paul, Nigel’s credits include cuts on the Grammy-nominated albums The Trinity (2005), Imperial Blaze (2009) & Tomahawk Technique (2012). The Trinity (2005) remains one of the most successful albums in the genre’s history, selling over 4 million copies worldwide. Notable hits include “So Fine” by Sean Paul (which has sold over 300,000 digital downloads just in US) and T.O.K.’s biggest hit “Footprints” (which crossed over Top 20 on the US Billboard Hot R&B/Hip Hop Chart and US Rap Singles Chart).
“So Fine” by Sean Paul
“Eye Deh a Mi Knee” by Sean Paul
“Footprints (When You Cry)” by T.O.K.
Insightful Jamaican artist Omi (Omar Samuel Pasley) is bringing his breakthrough story to the U.S., with the compelling sheen of “Cheerleader,” leading the way. The smash dance song has notched more than 90 million Spotify streams, topping iTunes in 14 territories, including Germany, Australia, Sweden and others (Top 10 in nearly 30 other markets). Released in 2012, a cleverly understated remix by German DJ/Producer Felix Jaehn helped power the global momentum building around the infectious track.
The affable singer/songwriter, who hails from the rural Jamaican parish of Clarendon – ‘a stone’s throw from Kingston’ he says – describes how art and music have always been a part of his DNA: “My father did both. He passed away when I was 9, but imprinted on me the lessons and tools for a lifetime,” he says. “I think it was genetically encrypted. I started writing music when I was 14, always interested in words. The poetry side of the music artist fascinated me.”
omi musician on magazine Others began to notice by the time he entered high school, where Omi and his peers would rap and dance on top of desks during their class breaks. “Everyone knew I had a passion for art, but when they saw me rapping over beats – and doing music that I wrote – they were like ‘you got to get into a studio, man.’”
Omi did just that – determined to ‘see what I sounded like on a record,’ he says. He became fascinated with lyrics, transitioning from influences like Tupac, Biggie, and Eminem, to a wider spectrum that included John Legend and even mid-century crooner Nat King Cole. But when it came to crafting his own identity on record, he promised to be hardest on himself: “I knew that if it didn’t sound like something where I could make a difference in the world, I wasn’t going to pursue it.”
Omi was also intrigued by Jamaica’s magnetic hold on popular music throughout history – “a lot of different genres have been touched by Jamaican roots,” he says. He began venturing to an underground studio around 2007/2008 to record material he wrote. “I became an explorer, going deeper into the idea of music as pure expression.”
He met Clifton ‘Specialist’ Dillon in 2009, and the two formed a special creative relationship, with Dillon (Shabba Ranks, Patra. Alborosie, Ky-mani Marley) setting up Omi with his own studio in Kingston. “To have that at my disposal, where I could pour out my creativity was unbelievable,” says Omi. “A great vibe was born, another great learning process where I fell even more in love with music and dedicated myself to a fulltime career.”
The touchstone song “Cheerleader” would eventually become part of that process. Omi is quick to point out, however, that even from the start the track’s charm was its allegiance to simplicity. “I had put together a nice portfolio of songs to show my depth,” he says. “But I also wanted to do something that only had vocals to a beat. ‘Cheerleader’ started out as just two verses and a chorus.”
The song ‘grew’ on him, however, and when Dillon first heard it, he made a bold prediction. “He said immediately that ‘Cheerleader’ was going to be the ‘one.’ The hit,” recalls Omi. “We put a third verse to it, worked on the beat, and sent it out into the world.”
“Cheerleader” originally took off in Hawaii, but Omi was getting a larger sense of the song’s ‘stickiness’ where ever he performed it live. “People just gravitated to it, always remarking how it was their favorite.” Felix Jaehn’s 2014 remix added to the combustible nature of the track,” but by deftly imbuing acoustic gestures into the mix – conga, piano, trumpet – embellishing its unornamented feel. “I loved the mix even before it took off,” says Omi. “So calm; And unusual for a remix, it made you want to listen to the words, too.”
Always a student of durable songwriting, Omi is juggling in-demand tours of Europe and upcoming promotional work in the U.S. with the mission of returning to his studio and completing his newest batch of songs for a future album. “Touring gives you great unfiltered feedback. I’m always excited to use that in the studio. But my goals aren’t just to compose songs, but to keep mastering everything I can about music. To lock myself away and do what I need to do to become the artist I know I can be. Having this hit is a blessing, maybe even destiny, but I want people to look back and say ‘‘Cheerleader’ was just the beginning.”
With forthcoming music being released on Carl Craig’s Planet E, Scuba’s Hotflush Recordings, London’s Phonica label, Paul Woolford keeps reinventing himself and pushing the boundaries, maintaining a hectic global tour schedule playing key clubs globally such as Panorama Bar, Fabric, Warung and D Edge in Brazil, and for the 6th year, the renewal of his key We Love.. Space on Sundays residency in Ibiza.
Initially inspired by the constant throb of the radio throughout his childhood, the seeds of Paul Woolford’s future direction were sewn by the time a record-collecting addiction kicked in properly during his teenage years. This insatiable appetite for musical stimulation has driven him to explore far beyond the cutting-edge house and techno that is his stock-in-trade, and led him down more experimental paths, embracing aspects of improvised jazz through his collaborative work with Paul Hession, and taking huge inspiration from the modern composition of Steve Reich. All this is distilled within the house and techno dynamic that Woolford has made second-nature and you can clearly see these influences emerging across various productions.
Many know Paul Woolford’s name through the 2005/6 slow-burning hit “Erotic Discourse”, released on 2020 Vision, the Leeds label with which he made his name initially. The success of this proved he has the ability to create a genre-defining sound and led to sales of over 15,000, capturing the imagination of DJs across the board from Ivan Smagghe to Ricardo Villalobos, The Chemical Brothers, Richie Hawtin and DJ Hell to Francois Kevorkian, Laurent Garnier, Trevor Jackson to Erol Alkan. Indeed Erol Alkan described the track as “a modern day psyche record” and the track became a stone-cold classic.
He has since appeared across international media including the cover of DJ Mag and IDJ including a photo shoot from Tate Modern’s Doris Salcedo installation “Shibboleth” (after a personal email from Woolford, Salcedo gave her express permission). With each release Woolford is showing a level of artistry that is clearly on an ascending plane, and shows every sign of flourishing beyond.
Through musical styles ranging from contemporary to progressive house and from 80s funk to nu-disco, rare grooves and beyond Phil doesn’t fail to take the listener on a journey to outer space and back again. His music has been described as edgy, unique, radiant and alluring. Phil has came out with hit singles such as ‘Music Got Me,’ ‘Get down,’ and ‘Aramis’.
Polina Goudieva has been crowned the “Voice of EDM” reflecting her extensive catalog as a writer and vocalist in the dance music scene. She’s worked with Kaskade, Tiesto, and Steve Aoki to name a few, and can be spotted on the festival circuits singing on the main stage.
“Tornado” Tiesto & Steve Aoki feat. Polina
“Night Like This” Laidback Luke & Angger Dimas feat. Polina
“Come With Me (Deadmeat)” Steve Aoki feat. Polina
Pomo is a Canadian multi-instrumentalist and producer based in Vancouver who makes electronic beats influenced by hip hop, house, 70s and 80s funk music. He grew up in Port Moody, British Colombia and cultivated his tastes and sound through the Vancouver electronic music scene before moving for a time to Montreal and joining the likes of Kaytranada, Ta-Ku, and Stwo on the HW&W roster.
Since then, Pomo hit his stride in the electronic dance music market, garnering millions of listens online with his multifaceted productions on handful of original songs and a battery of remixes for some of dance music’s biggest players. With that hype has come recognition from renowned music outlets like BBC Radio 1, the Fader, Complex, Vice’s THUMP and Noisey publications, Triple J, Earmilk, Majestic Casual and many more.
Of late, Pomo has brought his live show on the road, traveling around Europe and The States alongside Disclosure, and bringing his unique grooves to gigs all over the world in places like London, Berlin, New York, Los Angeles, Sydney and even Bangkok.
Most recently, his debut EP, The Other Day was nominated for a Juno Award, Canada’s largest Music Award Show.
Project 46 is a Canadian DJ/producer duo made up of Thomas Shaw and Ryan Henderson. They are best known for their tracks “Last Chance” with Kaskade, “Collide” with Laidback Luke and “Reasons” featuring Andrew Allen.
With her deep-rooted Spanish temperament and her undeniable musical talent, Rebeka Brown is recognized as one of the most well known vocal figures of the International Electronic Music scene. Through her live performances she has been able to bring us to her inner-universe, always full of energy, while being as glamorous as ever. Rebeka has the natural ability to captivate her audiences making the crowd and performers feel as one in the same while she’s on stage. Versatility and a rich musical background are her foundation for being at the forefront of the latest music trends. Her hits have taken her on tour around the globe, leaving an everlasting mark on her faithful audiences and always hungry for more.
In 2005, the song Sun Rising Up featuring Spanish house producer, David Penn (Urbana, Azuli), became the summer anthem of Ibiza. As a result, Rebeka won her first award for Best Track of the Year at the annual DJ Awards. She lit up every stage in the club capital, from the terraces of Space and Amnesia in Ibiza to countless other international venues where she performed it live that year. Furthermore, her successful collaboration with the Matinée Group placed her right in the heart of the global dance scene and left her in high demand for many important key players in the market.
It was shortly thereafter in 2006 that Rebeka received her next award for Best Track, Maniac, featuring producer Juanjo Martin of Rainlove. Later, in 2008, she received Best Song of the Year for Real Things by DeeJay Mag (Houseworks, Matinée recording). Also in 2008, Rebeka won the Lifetime Award for Best Pioneering Live Artist. She then continued in the summer of 2008 with weekly performances for sold-out audiences at the world-renowned megaclub, Privilege in Ibiza. One of her performances has held a Guinness World Record for largest club audience of 12,000 people on the night of SuperMartxé featuring Rebeka Brown live. Her next track, Don’t Let This Moment End featuring DJ and producer, Carlos Gallardo, was released in January 2009 and gained instant hit status in Spain with non-stop radio play throughout the season. Later in 2009, she released Keep On with Blanco y Negro, which featured top producer, Tuccillo, and moved-on to receive much international acclaim. Rebeka also had a milestone live performance at the most popular dance competition show FAMA on Spanish television that year, attracting more than 2.5 million viewers and marking the beginning of a string of appearances on FAMA in 2009.
Sailor & I
“Sailor & I is a metaphor for two wills inside a person that are fighting against one another. It is part of most peoples’ everyday lives. It’s interesting because there are times people do things they don’t want to do, but they can’t stop doing it for some reason.”
Time is running out. There’s no way around it really. Which leaves a couple options: give up now and lose the race, or sprint full speed ahead like Alexander Sjodin has in the wake of his breakthrough single “Tough Love.” In the three years since its low-key SoundCloud leak, Sjodin’s landed on a couple labels (Life and Death, Black Butter Records) and held his cards close, opting to let the arty pop songs of Sailor & I grow organically rather than rush into a proper long player.
Maybe not the smartest move when you’ve earned the support of everyone from Radio 1 to KEXP, but that’s okay. It’ll all make sense in the end, as the string-swept power balladry of “Tough Love” bleeds into the beatific melodrama of last year’s “Turn Around” 12” and the tense, slow-burning summit of “Sweat.” The latter is Sailor & I’s latest deep cut, the lead-off listen from an EP that also manages to turn a classic Joy Division track (“Disorder”) on its head. Faithfully mind you, as a blank, drum-less canvas is coated in cold-pressed keys and a strictly ’80s setup.
“In a lot of ways I escape in music,” explains Sjodin. “It’s a world where I feel home, where life is quite easy, where I can explore sides of me I didn’t knew existed.”
It’s been this way for a while, starting with a childhood discovery of the Swedish Radio Symphony Orchestra and a growing stack of seminal records: Blood on the Tracks, Pet Sounds and Dark Side of the Moon, with a dash of Miles Davis and Ryuichi Sakamoto thrown in for good measure. Meanwhile, the singer/producer/multi-instrumentalist has gone from hiding beneath his family’s piano to picking up a guitar and tackling elements of jazz, rock, classical and punk with a tightknit circle of Stockholmers.
“We used to change instruments all the time,” says Sjodin, “which was a great way to learn how the different roles in a band worked. It helped me see the big picture—how the different layers in a song work together instead of focusing blindly on just one.”
That explains why he breaks up extended bouts of songwriting with binge-worthy movie blocks. In a lot of ways, that’s what Sailor & I is alluding to in the months ahead—an album filled to the brim with restless productions, richly woven storylines, and no signs of slowing down.
“I’m a bit terrified by the force of music,” explains Sjodin, “and what it turns me into in the long run. Will it slow down eventually or will it go the other direction and make me insane? I have no idea, but I feel that it’s very important to keep exploring what is behind those invisible doors.”
“”À votre santé!“ – that’s how french people and, occasionally, some extra-sophisticated middle-class-intellectuals everywhere are drinking to the health and well being of each other. So it’s pretty obvious, how the label-moniker Avotre came about. On the one hand, it draws a line to its initiator Santé – busy, renowned, Berlin-residing producer, DJ and soundwizard. On the other hand, it already hints towards the agenda of this enterprise. Around all those labels popping up all the time, mostly being just virtual phenomenons, the Avotre-cosmos aspires to grow into a distinctly recognizable and even sensible matter of heart. To put it straight: Avotre is concerned about its scene’s well being.
That said, Avotre is not like the common, genre-specific label as we know it all too well, not another Techhouse-imprint that’s dropping hardly distinguishable productions every week. The basic principle coming to effect in this venture would be called ‘laissez-faire’ in its mother tongue. It’s not just Housemusic about to happen here, there are rather all sorts of things about to happen. Be it R’n’B, be it Downbeat, Disco and whatnot. Stylewise, Avotre offers a home for everything that represents the different tempers of the contributing producers. Belonging to this crew are, next to Santé himself: the already capturing, on Gigolo and Souvenir releasing Re.You, Munich resident Sascha Sible, who already came into picture with releases on Be Chosen and Souvenir and Ahmad Laren from New York, who just recently moved to Berlin and Hamburgs very own New Comer Sidney Charles who had his debut at Kling Klong.
After all, who says, an Avotre-release necessarily needs to be a vinyl or an MP3? There are a lot of other things in the making, all of which have one thing in common. The knowledge, that music always encloses a sense of life.” https://soundcloud.com/sante
Nick Terranova, aka “Starkillers” has a signature sound that sophisticatedly fuses pianos, heavy bass, and pulsing synths into flawless tracks. 2012 was a breakout year for Nick, highlighted by huge success with “Keep It Coming” which reigned #1 on Beatport. With continuing success, Nick’s strength as a remixer has emerged with his renditions of songs by Pitbull and Sandro Silva.
“Pressure” Starkillers feat. Nadia Ali
“Keep It Coming” Starkiller feat. Nadia Ali
“Let The Love” Starkillers, Dmitry KO & Amba Shepherd
The Toxic Avenger
Toxic Avenger comes across as something of a paradox at first. An introvert capable of extremes. An electro producer who only listens to pop. An independent thinker with an addictive personality. Simon Delacroix (as he’s known on the street) is a mass of contradictions, providing fertile ground for excess. At his own admission, his long-term plans are ambitious, but at least they’re clear: “My goal is to make music that appeals as much to ordinary people as it does to those with more hip credentials.” Not that he particularly wants to give hip credentials to the mainstream, or to make the avant-garde more accessible: what he wants is to combine all the influences that are most important to him, however much they run counter to one another.
Obviously, the key to getting this combination right is living a life where difference and plenitude are one and the same. Raised in Mitterrand’s France 1 by journalist parents in the offices of Libération 2, he was taught the virtues of cultural diversity at an early age. In his teens, despite being a hardcore metal enthusiast, he fell in love with an avid club-goer. Always willing to try something new, Simon started to get into electronic music, discovering the world of Respect parties, Pulp3, and a freer, more personal way of making music. One day, he uploaded a few electro tracks to the Internet. Three weeks later, high-profile American record label Iheartcomix took him under its wing. The next chapter of this young Parisian’s story would play out in L.A.
At 23, Simon became Toxic Avenger and made his way to the States. He got to know America as he already did Europe.
With the release of his first album, he crisscrossed the States over the course of three lengthy tours. Toughened up a little. Hung out in dive bars, popular clubs, big festivals and jam-packed baseball stadiums alike. He was anointed by Rolling Stone, he experimented with excess, and he realized his potential as a live performer. Toxic Avenger made a name for himself and returned to France, armed with new savoir-faire.
In 2008, he signed with Roy Music and released his album ‘Angst’, which in German (as well as English) refers to a feeling that combines both anger and fear: ambiguity upon ambiguity, as always.
One of the tracks, “Angst#2” (which was a success with both critics and the public at large), was chosen as the background to a Nissan ad in 2012. As far as this album is concerned, he “think[s] Toxic followers were really expecting something totally wild, club-ready, but I couldn’t make the style work in a longer format. Seventy minutes of drum beats would be fucking boring. So yeah, a lot of people were surprised. I think that people are starting to get it now.”
In 2013, Toxic Avenger started to play with the idea of temporality in his music, paving the way for ‘Romance and Cigarettes’, an album that explores nostalgia and modernity. This search for lost time underscores a common thread to all his work: “There are always two sides to what I do: one dance-floor, one pure pop. When it comes to the latter, everything’s very clear in my mind… If there’s anything in my life I’d want to remember, it’s the music that I listened to as a kid with my dad in the car when we went away on holiday. That’s the exact feeling I’m looking for when I make music.” So it’s not surprising that the album is mixture of electro and 80’s radio pop, combining the sounds of days gone by with more contemporary ones.
‘Romance and Cigarettes’ is perhaps Toxic Avenger’s most ambitious work of synthesis yet, in that it’s a synthesis of his own generation itself.
Like his peers, who used Minitel and got hooked on Twitter, who grew up with francs and now count in euros, which spun vinyl but now only listen to Mp3’s, Toxic Avenger brings together all the contradictions of his time, whose creative potential can only be realized with a firm footing in both the past and the present. He belongs to a generation that comes across as something of a paradox at first, that combines contradictions as a way of getting as much out of them as possible. ‘Romance and Cigarettes’ is the embodiment of this generation, forever engaged in aesthetic play.
Going back to 2010 a Polish DJ/Producer formerly known as Pixel Cheese started his producing and DJ-ing career. Born in 1993, this young gun – now distinctively known as Tom Swoon – has made some major leaps forward in the world that breatheselectronic dance music. Although being quite new to the scene, his productions and remixes would make you believe he’s been doing it for years. His unofficial remix of NERVO feat. Ollie James – Irresistible got early support by theNervo ladies themselves, while his Swedelicious bootleg of Gareth Emery & Ashley Wallbridge “Mansion” has made it onto Gareth Emery’s own podcast. Under his previous moniker Pixel Cheese, he gained lots of attention thanks to his bootlegs and remixes, most prominently his booty mashup of David Guetta & Avicii vs Laidback Luke – Till Sunshine (Pixel Cheese Bootleg) topping over 8 million youtube views.
His first official remix of Gareth Emery’s single “Tokyo” (Garuda) immediately saw Tom Swoon debut onto the main Beatport Top 100, only 4 days after it’s release. More remixes for trendsetters like Steve Aoki, Kaskade, Tara Mc Donald and Nervo are assuring Tom Swoon’s continued ascent. Besides this list of A-list DJ’s, international super rock/rap stars are also experiencing first hand what the impact is of a Tom Swoon remix resulting in remixes for Linkin Park’s “Burn it Down” (Warner Bros) and Flo Rida’s “Let it Roll” (Atlantic) both set to be released this August.
But remixing is not the only thing in which Tom Swoon excels. With his debut single “Elva” (Ultra) –(receiving early support from the likes of Tiësto) – “Who We Are” feat. Miss Palmer and “Not Too Late” feat. Amba Shehperd (both Ultra Records) Tom Swoon is making sure he’s here to stay!
Make sure you check out his own monthly SUPERHEROES podcast and listen to his weekly residency at Radio FG.
Songwriter and rapper, TomE offers a vital component to dance music with collaborations with DJ Frank, RIME, and Michael Mind Project. DJ Antoine’s “Bella Vita” is a catalog highlight, charting in various countries around the world.
Tastemaker to tastemakers and musical-icon, Tommie Sunshine is renowned for his reputation of being consistently ahead of the curve while still standing firmly in the zeitgeist.
Set apart by his iconoclastic productions, he is regarded as one of today’s most prolific remixers with over 300 commissioned remixes to date, and his original production career spans collaborations with such artists as Junkie XL, Arthur Baker, Felix da Housecat, Midnight Magic, Peaches, Kid Sister, Bart B More, Shinichi Osawa, The Disco Fries, James Murphy, and many more.
Whether as a Producer, DJ or Artist, Tommie brings a unique enthusiasm to his craft; one that is fueled by his encyclopedic (if not obsessive) knowledge of underground and pop music spanning the last half-century. Also Sunshine sometimes serves as writer on sites such as Huffington Post & has been known to cause an uproar in his firm stance on many issues most won’t dare talk about.
“I have to make something that’s never been made before; have to make the best thing that I’ve ever done in my life – otherwise it gets stagnant or worse,” says producer/DJ Wolfgang Gartner. Whether or not his progressively more maximilist take on electro-house is your bag or not, you have to respect his exponentially steep rise through the electro-house ranks. And Lord knows, you’ve heard it — or about it: flipping Beehthoven’s 5th for the 4 am crowd; eight #1 tracks on Beatport; remix/collabs with Britney Spears, Timbaland and Black Eyed Peas; festival-highlight performances at Coachella ‘10 and Electric Daisy Carnival’s ‘10 and ‘11.
Where Joey Youngman, the one-time party kid from San Luis Obispo, CA and another-time househead old soul, has been electro-house’s dark (work) horse, Weekend in America, his debut full-length for Ultra Music, is Wolfgang Gartner becoming dance music’s one-man parallel universe, outpacing electro-house and outdoing himself.
“One of my mantras is that I have a responsibility to advance the genre. If I’m capable of doing something I’ve never done before, I feel like I have to use that ability, because there are not many people who do – or can. I have to push myself real real hard to do it. That’s something that’s really surfaced with this record,” he admits. Gartner’s work ethic is mythical amongst even his most storied contemporaries: Make music all week. Play it out all weekend. His DJ sets – and this speaks to a combination of prolificness, personal taste and a proven track record – are almost entirely made up of edits of his own work. Then again, when you spend 20 hours a day working on music…
“Maybe it’s like an insecurity and not being satisfied listening to it over and over, but I’m constantly asking myself ‘Could it be better?’It could take me three hours to add this little milisecond sound that nobody but me will ever know is there, but I do it,” Gartner says of his somehow self-effacing self-confidence. “I get into tweaker mode; I’m just sitting there tweaking for ten hours straight on this sound or that track and putting everything together and coming up with something else.”
Take “Forever,” the menacingly not-what-you’d-expect will.i.am collab on Weekend In America. It’s a track that, with its ominous chord progression and middla-nowhere “RIP” shout-out to DJ AM from will, is as unlikely as it is, literally, amazing. “ That’s just me sitting with my keyboard and pounding out chord progressions for three days and coming up with a hundred or so and some of them are good and a few of them are great, until finally I get to that one where I can say, ‘This is something I can spend three weeks making into something,” says Gartner.
He attributes this spike in his equal parts obsessive-compulsive/obsessive-creative disorder in part to his recent move from Austin, TX to Los Angeles. “I had one friend in Austin – who I met for breakfast once every six weeks. I woke, up, went to Starbucks, made music, drove to the airport, flew out, and flew home. My studio was in the master bedroom. With my house in California, it’s in a guest room – I decided I want to make the master bedroom for sleeping.” There are no love songs on Weekend In America, but there is a new love: hip-hop. “Still My Lady” features Omarion, Dipset’s Jim Jones and Cam’ron trade verses on “Circus Freaks,” and Eve brings it on “Get ‘Em” as highlights on the album.
“Rap music is actually all I listen to when I can just listen to music, like in my car. I spend so much time listening to dance music, rap is something I can just enjoy,” Wolfgang Gartner explains. “I’m not trying to do all these collaborations with rappers to be trendy,” he adds. “I reached out to each of them to make sure they were down and understood where I was coming from. I honestly like hip-hop almost as much as I like dance music, so it’s a perfect combination.”
It should come as no surprse then that the track that opens Weekend In America is “Get ‘Em” featuring Eve. Gartner explains: “I was in New York playing Pacha so I actually went into the studio and work with her on the track, looping it, trying stuff out,” he says. “She came up with, ‘Party round the world/All my fly people no nasty girls/Jet planes baby that’s me/ Come on people now sing along with me.’ We knew that was the hook. It sounds like something Sugarhill Gang would have done, like it knows it’s this classic-sounding hook.”
The addition of rappers is all part of the progression of Weekend In America, he says: “It’s getting progressively harder to make music without hearing vocals and vocal melodies on it – that’s what comes naturally to me.”
Of course, “naturally” is an evolving word in the Wolfgang Gartner lexicon. As “Menage A Trois” proves, you don’t need a vocalist to hear voices. Another of Gartner’s mantras is that he’s making music for the future, and “Menage A Trois” sounds straight outta 2016: fully articulated synth lines trading verses in their own freaked-frequencies like MCs spitting in some as-yet undecipherable tongue. “The thing that makes that track for me is how conceptually different it is for me,” Gartner offers. “It’s literally just a bunch of random pieces from all over the place and some Fender Rhodes piano and this bass tone and then this vocal snippet that sounds like it’s saying ‘Menage A Trois.’”
Random, yes, but Weekend In America is nothing if not inspired by Wolfgang Gartner’s almost contradictory need to evoke his best live moments while pushing himself to top them – and then gig some more to create new moments to top: “Mantra number three for me is that when I’m writing I think about the last really amazing show that was f$%ing unbelievable for whatever reason – everything I make is designed for playing out. I get super tired of playing out every weekend, having one day at home. But I know I I need to get out there – I have to do it for market research,” he says.
As Weekend In America proves, it’s often the tracks that are most obsessed over privately that make the biggest impact publicly. Take the Electric Daisy Carnival festival ‘11 favorite “Space Junk,” caned as it was in several sets (Afrojack, etc.), which seems to take everything great and terrible over the last 15 years of dance music – vintage synths, hands-in-the-air trance flutter and dubstep’s modulated stammer, and fits it in one track – often in a single measure, sometimes even a single bar. “That’s the one that haunts me,” Youngman admits. “That’s the one I’m always trying to top.” Ironically, it’s also the one that contradicts another Wolfgang Gartner myth: that Youngman is himself a gearhead.
“I’m actually working on Windows XP with limited RAM, on Abelton and three vintage synths – one of which I don’t even use anymore,” he admits. “My computer’s constantly freezing up and maxing out,” he says. “But I’m more concerned with music than technology. I’m willing to write the entire breakdown of ‘Space Junk’ on an old keyboard with a busted arpeggiator that comes out so muddy that I have to deal with the hassle of spending a whole day editing it in 16th notes,” he continues. “But the fact that it came out of a synth – and not a plug-in – makes it totally worth the day I spent.”
Likewise “Illmerica,” with its long, phantasmic synthesizer chord progression, belie the heart of a composer over the somehow soulful rhythm sections that chug and chew more than chop or churn- Youngman’s past life as a Kerri Chandler-loving househead living on. That, he says, and his other past life: third grade piano virtuoso. “My parents made me take classical lessons,” Gartner laughs. “I played in competitions at local colleges with a bunch of other ten year-olds and I think I won a couple of them. Now I couldn’t play to save my life, but that foundation is there.”
And therein might lay the greatest mantra/myth of the Wolfgang Gartner story and the greatest contradiction of Weekend in America: that it’s just dance music. “I would think I would hate what’s mainstream, but the truth of it is, the dance world makes sense to me,” says Wolf. “I understand how and why it creates the response that it does with people.” That said, as Weekend In America shows in its byzantine soul, kaleidoscopic command of frequencies and impossibly imaginative arrangements, Weekend in America the artist is answering to an altogether higher power and potential, one the Wolfgang Gartner massive has the good fortune of being able to get onto the floor and out of their heads to every weekend.
But for Wolfgang Gartner, the introverted empath spending thousands of hours in isolation making these tracks that will connect him to tens, even hundreds of thousands of people at a time, Weekend In America is party-rocking speaker-freq’-ing as self-realization. “I can imagine it and I know something amazing that’s never been heard before is possible. Occasionally it’s even something I can already hear in my head and that’s why I have to make this music.”
One of the hardest working producers in Urban/Rap today, German born San Francisco raised Xavier Dotson (“Zaytoven”) is very much at home, both personally and professionally, in Atlanta. Since migrating to ATL, Zaytoven has amassed an astounding number of productions with some of the biggest A-List artists out there, including his good pal & collaborator Gucci Mane, Usher, Young Jeezy, Plies, Twista, DJ Drama, Soulja Boy Tell’Em, Nicki Minaj, and the list goes on. Check out his first hit “Icy” that helped launch Gucci Mane from underground icon to major label star at WB Records. Zaytoven achieved his first ever Billboard #1 in 2010 with the song “Papers” by Usher hitting #1 on the US Billboard Hot R&B/Hip-Hop Chart.
“Icy” by Gucci Mane
“Papers” by Usher
“I Think I’m in Love” by Gucci Mane