In Interview with Kevin De Vries

When it comes to composing music, one of the necessities is to know what the tone and the mood is going to be. That’s the way producers are able to express the emotion that’s embedded in their work. One artist that is an underestimated master at this is Kevin De Vries.

Kevin is the latest growing export out of Germany, now starting to play alongside some of the biggest names in the industry and there’s a lot to catch up on when it comes to his five years of success.

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In Interview with Joyhauser

One of the biggest success stories this year has come from one of the latest techno duo to emerge out of Europe: Joyhauser. Already well respected in their home country of Belgium, the two were able to gain international notoriety after a line of releases charting and being played around the world.

Joyhauser fell on 6AM’s radar after their release Tribunal with Phobiq back in 2017. Ever since then, they have made Terminal M’s best of 2018 with their breakthrough EP C166W, a single at the beginning of 2019 called “Killer Bee,” and a spectacular remix to Amelie Lens‘ “Hypnotized” a few months later. Thanks to their work in the studio, they have gained the support from Adam Beyer, Marco Bailey, and Kevin De Vries. 

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Reeko vs Architectural: Juan Rico’s Split Personality

Born in Oviedo (Asturias) in 1981, Juan Rico is a creative force who has rapidly attained international recognition as both Reeko and Architectural. Holding an innate and incredible capacity to be prolific, alongside a relentless obsession for perfection, Juan Rico uses a variety of aliases to release the diverse artistic sensations that flow through him, each pseudonym possessing various characteristics that unveil his personalities.

Although he marks his “birth” as a DJ in 1997, it wasn’t until his first release in 2002, under the Swedish label Emergence, that he became known professionally. Ascending from Juan Rico are both Reeko and Architectural: two completely different sides of the same coin, two vastly contrasting personalities that play equally important roles in the character and creativity of Juan Rico.

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In Interview with Ellen Allien

There’s no other artist able to distinguish themselves quite like Ellen Allien has. No one else has been able to obtain such notoriety with the unique style that she brings. Ellen has been able to differentiate herself from the rest, making her a legend in the techno community. Ellen is your favorite DJ’s favorite DJ; the influence to many artists that we look up to today. Ellen has not only started one label, but two. Besides her widely successful label Bpitch, Ellen also launched her new label UFO. Inc. last January. From having residencies across the world to being one of Berlins biggest acts, she was able to cement her presence in the techno realm.  

That unique style mentioned is blatantly intentional in order to make sure she distinguishes herself from the rest of the herd. She has mentioned that she wouldn’t play songs that are popular. She likes to play music that no one else is, make music no one else is, and cultivates projects that no one else is doing. She’s personally involved with everything she does, there’s nothing industry about her. From her own tracks, to the festival stages she curates, Ellen has full creative involvement. Obviously, she’s had help, but she only works with close friends that understand who she is. For example, the graphic designer for Bpitch has been the same since the beginning. 

If you have had a chance to listen to Ellen’s sets, either live or on YouTube, you are able to tell how innovative she can be. The way she chooses her music is interesting, because she’s enthralled by weird unpredictable music. She doesn’t focus on the high points or the popularity of a track, which is common among DJs. Instead, she likes music that’s more about intensity. As long as a track is intense, obscure, and unpredictable, it’s one for the collection. Her style of innovation has led her to a very successful career that has no signs of slowing down.  

There are a lot of interesting things about Ellen that go beyond her music. Playing around the world, Ellen shared some of her interesting experiences as well as perspectives being one of the most respected names in the techno world. There’s plenty to talk about, and what really captures people’s attention are Ellen’s roots in Germany.

In our interview, we take a deep dive to discuss her music, her culture, and her legacy.      Read more

Emerging Artist DESNA Talks About Establishing Her Career in New York

When someone begins their career as a DJ, usually it’s because they enjoy the sensation of performing, connecting, and controlling the rhythm of the crowd. It doesn’t come from a business perspective, that tends to come later. The passion is driven by the love of music, and the scene. That passion is exactly how new emerging artist DESNA was able to become such a dominant force in Brooklyn, New York.
DESNA came from humble roots in the Brooklyn scene. Her musical momentum began in NYC through performing at underground parties which led to launching her own event series. She was able to gain notable residencies, such as Output. DESNA has been able to establish herself as one of the rising stars to come out of New York. This weekend will be a highlight for her, as she is playing as direct support for COYU at Analog Brooklyn this Friday.

6AM was invited to have a sit down conversation with her face to face, where we were able to get to know the intricate complexities that made her such an unique force in the city that never sleeps.

The first time I got to see you live was opening for Wehbba and Pan-pot at The Brooklyn Mirage, can you tell me what that was like?
I think playing The Brooklyn Mirage is definitely a destination for most artists. It felt great to be put on that party, especially with it being only me and two other artists and not some stacked lineup. It was August 4th so I was so grateful I had a great turnout because it was SO hot. But still, it was a great turn out, awesome time, awesome vibe.

Growing your career in New York, what do you think was your biggest challenge that you triumph?
I think the biggest challenge was cultivating the sound that I wanted to put out. I have a lot of influences, but I’m someone who really cares about what I’m releasing. In a sense that, I want to do something original; I don’t want to copy anyone. We are currently living in society where everyone’s kind of using similar samples and programs. I feel like it’s getting harder and harder to be original yet familiar. That was something I recently felt like I conquered.

You mentioned how you cultivated your own sound, how would you describe that?
There’s always emotion involved in figuring out what sound to put out. I think this year was a big year for me by taking time to really figure out how I want to be represented. Everyone knows I play techno, and are starting to get to know who DESNA is, but I don’t think people really know what music DESNA makes. As a DJ, I feel like this will be my time to showcase what my sound is. I was a DJ first, and I was producing the whole time but I wasn’t seriously putting out anything until last year. Even then, I was happy with the music I was making but something wasn’t sitting right. I really dug deep and researched New York’s sound. New York has this very Underground Tribal feel. I wanted to take a little bit of that tribal vibe and influences from the industrial sound and create something that’s not only beautiful, but well received.

What was your biggest milestone in your career?
Figuring out my sound, that’s a big personal milestone no one’s heard yet. The other one is just the recognition. Before I came out as DESNA a year and a half ago, I was playing under my real name in New York having fun but not really tying everything together. Output was supporting me a lot, that’s where I was like “you know what? I’m gonna go for it.” I have a musical background, I can play the piano, I was a singer for a few rock bands, even Opera. Music has always been a part of my life, but I never took into consideration that it could become a career. When I started getting booked regularly at Output is when I decided to take my music career more seriously.

What do you think is missing in New York techno scene?
Club Culture. We have it, but there is a void now that Output closed. There was something about Output that brought people together. It really put the underground scene on the map for New York. These big venues contribute a lot to Brooklyn, but I miss the intimacy of being able to go to a club, not have to look at the lineup and knowing that it’s going to be a good night regardless.

Do you have any new events release we should look forward to?
Yes! I’m on direct support for Coyu this Friday coming up at Analog in Brooklyn which I’m really looking forward to, and then I’m playing an after-hours set at ‘Day Jam’ in Philadelphia on September 28th. 
As far as releases, I’m collaborating on an EP with Metodi Hristov on his Label, which will be out at the beginning of 2020. I’m very excited for that as well. 

There’s a lot more in store for DESNA as she’s just getting started. We’re expecting great things from this New York grown artist. If you’re in the city, you won’t want to miss her set at the Analog Brooklyn this Friday! Click the flyer below for more information

For more of DESNA
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Danny Tenaglia talks AIM Festival, New York Clubs, and Being Yourself

There’s two things you will need to know about Danny Tenaglia: He’s a living legend of the New York scene, and he will be the nicest person you will ever talk to.

We had the opportunity to have a lengthy conversation with the artist as he prepares to headline the Montreal’s AIM Electronic Music Festival July 12-14th. A 3-day festival that takes place on campgrounds that will have some of the best techno and house acts in circulations.

Accompanying Danny this year will be the likes of ANNA, John Digweed, Pig&Dan, and the Desert Hearts Crew. Danny is scheduled to close out Saturday with a 4-hour house set on the main stage.

Danny Tenaglia is a walking encyclopedia with the entire history of the New York Club scene inside of it. Starting in the early ’80s at the age of 16, Danny’s trajectory of success is in large part due to not only his love of music, but of the scene overall too.

When we were speaking to him, we got a glimpse of how passionate he was about his roots as well as his ambitions. Multiple times, the interview would just steer off into a deeper conversation about music. It felt less of an interview and more of an enjoyable conversation. Here are some of the things we were able to talk about.

You are an award-winning producer, Grammy nominated, and a profoundly respected artist, at what point in your career did your success start to shock you?

I don’t think it ever shocked me as it all happened gradually over 3 (now 4) decades and I’ve definitely been humbled by it all. I’ve received many awards since the 80’s. Several were from DanceStar including Lifetime Achievement. DJ Magazine inducted me as the first DJ into their new Hall Of Fame category several years back, many are from The Winter Music Conference and the after The Pacha Ibiza Awards was when it probably all started to affect me and come to a realization of sorts when I started to win awards in Ibiza, most noticeably when I was given “The DJ’s DJ” award back in 2000. This meant more to me than any Grammy nomination because to me I’m much more of a DJ than a remixer, or a record producer, since that is how I started as a very young teen. Being a DJ will always be my first love.

What were your first few steps in your DJing career?

Well, I was probably about 12 when I discovered there was a new artform of entertaining with continuous non stop music by using 2 turntables and a mixer. I always knew of DJ’s being Disc-Jockeys on the radio, but this was a new nightclub thing basically replacing a live act and I was pretty fascinated by it all. The dance floor, the sound, the lights and DJ booths. It was 1976 when I got my first residency in a bar in Williamsburg, I was barely 18. After that I worked at a Roller Disco in Greenpoint 5 days a week from 1990-1983. However, it wasn’t until In 1985 that I jumped on an opportunity to work at a club in Miami 3-4 nights a week. I stayed out there for 5 years. I missed the very first Winter Music Conference, but for the following 33 years I participated every single year. It was there between 85-90 where I started getting recognized and written about in the old school way of social media, which was Billboard magazineDance Music Mags, DJ magazine and other foreign ones. I started getting a lot of attention through that media. In 1988, I went into a studio and made my first record which quickly got signed to Atlantic Records. So between Miami gigs, the WMC and remixes, this kind of put me on the map in a big way and I started to get hired to do several remixes for major labels. By 1990, I knew it was time to come back to New York because this is where everything was mainly with the various recording studios and a big dance music scene. I had already known just about everyone in the business and I knew this was where I need to be if I wanted to pursue being a producer and remixer as well as future DJ gigs.

You’ve been back and forth between Miami and New York multiple times in your career.

I still have a place out there. I got a condo back in 2004 and I use it as my winter escape. New York is and will always be home base for me. Miami is the getaway. Although, I am considering selling and finding a nice home in NJ, but I will always be a true snowbird and head south every winter to escape the frigid temps, even if I have to Air BnB.  Winters are feeling longer and colder each year.

What’s something that Danny Tenaglia would like to see more of in the industry? Is there something he feels like there’s lacking of?

Everything is 100% different these days. My job was always to make people dance, to keep the dance floor full. If you failed or if you started to see people leave the dance floor, you played something else to get them back on. That’s not the case these days.
You know, what is somebody gonna say? “They’re not fist pumping?” or “They’re not holding up their camera phones?”  They’re not leaving the floor to go to the bar and wait for a better song to come on.
DJ gigs are basically a form of concerts now. We are on big stages and platforms now, plus it’s a whole different ballgame and a different attitude as far as entertainment goes with us DJ’s selling tickets.
Even musically, every DJ sounds different from each other. We’re all pretty much playing music that the other guy’s are not playing, and music that the people on the dance floors very likely never heard before, but if it’s relative enough within genres then the crowd participation is pretty much mutual with how they respond to the build ups and the break downs. Back in the heydays, we all couldn’t wait to get our hands on many of the same records being released. We would go weekly to the record pools and record labels and the various shops hunting for new songs, promos, extended versions and dubs.
You know what is definitely missing in a large way? It is the actual art-form of dancing and freely expressing yourself. I think it says a lot about this new generation that many people feel uptight about looking silly. But then again, we didn’t have to worry about people filming us and posting it on social media to shame us. Sad but true. I remember back in the days how one song could come on that everyone was in-sync and united over, and all of the sudden the dance floor is packed like Bamm! That use to happen a lot, especially at The Garage but pretty much everywhere. You would hear the very intro of the song and them Boom! People would say  “Oh my god! I was just about to take a break but that’s my song.” That level of excitement over a song or track is missing. Sweating was expected.


New York music scene has grown out of Manhattan and devoured Brooklyn. As a Staple in New York, how do you feel about the change?

There is something very surreal about it. Looking back, I have been a part of so many of NY’s iconic venues and it truly makes being a successful DJ so much more meaningful to me, but it’s definitely quite surreal. These days, when we drive through Manhattan and pass some of these venues and we say wow, this is where Twilo was, or this is where Paradise Garage was, The Loft, The Saint, Vinyl, Arc, Funhouse, Roxy, Cielo, Sound Factory Bar, Pacha, Crobar, Spirit, Tunnel, Limelight, Palladium, Studio 54, Better Days and so many, many more I could name. Now, they are no longer there, now the new clubs are in my backyard in Bushwick and Williamsburg, right where I was born and raised. But, many will come and go, and most will never be able to compare to some of Manhattan’s best.
What really seemed was the most strange to me was when I started playing Output because Output was only like 6 blocks away from the first bar I ever worked at back in 1976. It feels good at the same time, that I have this amazing history growing up in Brooklyn and learning from the best of best since the early 70’s, but there’s a great sadness about it too because the way it makes me reminisce and wonder what it would be like today if all of these amazing venues were still open? I’d be satisfied with half, but I also left out a whole bunch. Maybe our next interview. Hehe

Do you have any advice for producers/artists starting in New York?

The number one thing I tell people, is how important it is to make music. That’s your business card. That’s what’s going to get you attention. That’s what’s going to get your name around the world once it gets on a record label and Beatport, or Itunes, whatever it maybe.

That’s when an agency is going to find interest in you. Any DJ can go to an agency say “can you get me bookings?” and they’ll say “Well what do you have?” You can’t just put a mix on Soundcloud, you can’t hand out flash drive keys with your latest set. You have to make music. Luckily, it’s more affordable than ever to make own little home studio. It’s easier than ever to make your own track with all the plug-ins that basically throw all the familiar sounds out to you.

My other advice is: Put the phone down. Enough with the social media. FOCUS. Make some music, pay attention. If you party, separate that. Those are the things that will set you back. There are now thousands and thousands of other DJs that are now doing that. Time to prove yourself!

What’s the best thing about the music scene like out in Montreal?

I’ve always said this, it’s my favorite place to play. Especially the club Stereo. The people who come to Stereo seem to equally love what I might play at the beginning of the night, Techno middle of the night, Tribal, closing with classics. You don’t get that love everywhere; that appreciation. It’s really rare you play from the heart and it’s open-minded to it all.

Do you have any pre-show rituals?

I pray. Plain and simple. I’ve always had my moments and I’m giving thanks. It’s a very personal thing for me.

You’re going to be Headlining the AIM Festival on Saturday at the Monolithes stage with a 4-hour house set. What is the significance of house music when it comes to Danny Tenaglia?

It’s more of soulful feeling, more of a swinging house groove, more to be present. As opposed to the techno stuff, [like I won’t be sounding like] I’m going to pull out my Len Faki records and go that route. Probably be a lot of classics, personal edits, mashups and versions that I’ve done that are exclusive to myself. Not go back to a disco era, but definitely a house vibe.

You’ve been expressing this phrase “Be yourself” for quite some time now. Although the message is obvious, why are you so adamant about getting it out to the rave community?

The song was originally written by Celeda who sings it. She was always a big fan of Sylvester (American Singer known for his hit disco singles in the late 1970s and 1980s) and I was a big fan of Sylvester from day one too. I totally understood where she was coming from with that “Be Yourself”, whether it’s gay, straight, transgender and just accept one another.

I have to be careful with my answers because “Be Yourself” doesn’t mean that you can also be an asshole. But accept one another, by hair color, by tattoos, by ear piercings because we can get over opinionated sometimes. I’m just as guilty as that as well. When it comes to the dance floor, there’s this certainty that you can dance like no one’s watching, and you can “Be Yourself.”

We’re looking forward to your new release “Don’t Turn Your Back” can you tell us anything about it?

I started that song roughly about 6 years ago. I slowly kept developing it but never feeling like it was finished. Maybe because the first 3 years I didn’t even have vocals on it. Then I was in a studio one night and I decided to say “Don’t turn your back” and I did. That gave the song a whole new direction.

I started playing it out and it started getting a lot of attention. Social media hype and people asking “What song is that?” and “When is this coming out?” I finally approached Jamie Jones who asked me to be part of paradise and he said “Yes! I’d love to sign that track!” We were able to get remixes coming out from Carl Cox, Harry Romero, Mendo and I’m a huge fan of all three of them.

It was an absolute pleasure to speak to Danny Tenaglia. C

lick here If you want to see him at the Montreal AIM Electronic Music Festival



We Perfectly Understand Each Other Until We Start to Talk with Arno

Longtime German talent Arno Völker serves up a fantastic debut solo album on Dana Ruh’s Brouqade under his actual name, Arno.

We Perfectly Understand Each Other Until We Start to Talk is also the label’s first album and across 12 tracks serves up a complete and absorbing house vision.

Back in 2010, the Frankfurt tastemaker best known as Einzelkind released a collaborative album with Christian Burkhardt, but this marks his first solo long player. A resident of the legendary Robert Johnson and founder of the legendary Pressure Traxx, La Peña, JAX, and Harlo. With an extended discography spanning across many years he has pushed some of his finest work on Pressure Traxx, Playhouse and Aku and now moves forward under his real name for a fascinating new album, for close companions, Broquade.

This is classy dancing music that is laced with emotion and is designed for cosy and intimate clubs and cultured crowds.

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Digging Deeper with Julia Govor and her latest project JUJUKA


Julia Govor is having quite a busy year pushing forward on her latest project, JUJUKA, which is currently picking up steam. With her latest release and a showcase in Los Angeles this weekend, we took the time to chat with her amidst a busy touring and studio schedule to get a glimpse of what JUJUKA is all about

1. Cheers for taking the time to chat with us today. How has your 2019 been coming along?

When I’m preparing for my sets and listening to promos I feel like it’s the 90s. I try not to think about what year it is now and give maximum focus to things which are happening around me.

2. We have been very intrigued about your Jujuka project, first thanks to the eye-catching and honestly hilarious art, and then the releases and event series. While I did my homework on the project, would you be so kind as to share the story behind the original Jujuka concept with our readers?

I really appreciate journalists doing their homework. I see you have done some research.

The project is about music, short narratives, true stories, comics and illustrations where artists behind this project want to go beyond what the conventional record label offers. Jujuka was born from my personal initiative to write short narratives about the electronic dance scene and the experiences I encountered during my journey inside the industry, as DJ, producer and of course, a true raver.

The universe created is a parallel to New York City: the imaginary 909 District. It is a monotone world where color is non-existent, with a high contrast of black and white, and clean broken line.

The anatomy and design of the protagonist, Jujuka, takes inspiration from Amedeo Modigliani’s sculptures. The Italian painter was strongly influenced by African Art and tends to stretch the length of features of the face and body, keeping the eyes black, creating a charming and introspective atmosphere in his paintings.

Sometimes, when I feel lost, I go to the Metropolitan Museum of Art and look at the sculpture “Women’s Head”. I hear voices in my head when I look at it but don’t understand the meaning, the language.


3. What is the meaning of the word “Jujuka”?

Jujuka means – “dance like nobody watching” on Beja language.

4. From my understanding, Jujuka is a collaboration that brings together your love for music, your experiences in the industry and the artistry of a Le.BLUE, an illustration duo out of London. How did you first meet or discover Matt and Loanne, the duo behind the Le.BLUE project?

I organized an international contest online, there were about 20 participants, but Le Blue’s works caught my eyes the most out of all.

I came to London and we climbed a tree together in Kensington Garden, it was extremely forbidden.  I never forgot how my shoe got stuck so I had to run away from the police without one shoe. We jumped into the River Thames in November.  We survived.

Then, most impressively, when the artists were able to dance 24 hours without any party supplies, and after that crazy test, they went home and drew comics with Jeff Mills!

We made a long-term relationship agreement and promised each other we would be loyal, responsible and respectful.


5. How much of your own vision and direction goes into the Jujuka artwork?

I am not gifted like with drawings and storyboard but I am imaginative and good with stories.

6. Were you a comic reader as a child?

Russian kids read “War and Peace” darling.


7. Why did you choose the comic medium as the art that would accompany these releases and this project?

I like to do things differently plus I like to reach territories where I never been before and there is so much to learn. Contemporary society is dominated by social media, where a need exists to constantly showcase a filtered version of reality.  I felt like Jujuka could bring a completely fresh approach to the techno scene.

8. Jujuka 01 contained 100% Julia Govor work. When can we expect the next release and will future releases feature other artists?

I hope at some point later this year. I would like to release music of others, I would like to do it in a very professional way and be able to offer full label support such as production cost, studio expenses, PR campaigns, tour dates act. It takes time to do it this way.


9. Ultimately, what would you say is the goal behind Jujuka and how do you hope it differs from other label offerings?

My goal is very simple to able to keep standing by my ideas, to continuum get people attention, not using sexual or political tools, stay creative and be generous, independent and free.


10. You’re bringing Jujuka to Los Angeles on Saturday, April 27th as a party concept/label showcase, with some friends in tow. Can you tell us a little about what fans can expect?

Loud sound system in generally my priority,   it will be very fast and physical music. Gerard, Kamran and Henning are working on very special sets. And of course, it will be fully animated techno rave. Jujuka will move in the same rhythm with others– VJ Blake M Carringtone cooking something.

At the event, people can also purchase the first JUJUKA001 record with my hug on top!       

11. I see that you’re hopping over the pond too, playing alongside some great name at Berlin’s Griessmuehle. Do you plan to spend more time in Europe this summer?

Mostly in and out, not for all summer, as i have so much to do at home, traveling really unbalance self discipline. Also I have so many opportunities to play in America and Latin America lately.  My colleagues always complaining about scene in USA and I was wondering how can I not become the same. We obviously playing in same places. After few years I realized, the problem is that some of artists  see half glass empty, i see half full! Some of them are taking risk, some of them not really. Also, I see how local promoters are pushing hard to new genres and they open to try new things. I respect it and always open for ideas, even sometimes financially it doesn’t make sense. I still doing it.  

12. Jujuka and Julia Govor the artist aside, what else are you looking forward to in 2019 outside of music?

I am working on a environmental friendly project which helps festivals go green and I am looking bring on help:  researchers, managers, team leaders, press, businessmen’s and investors. are welcome too. If you’re interested, let me know!

You can catch the Jujuka party in Los Angeles on Saturday, April 27th
Event Info | Tickets

Julia Govor will also be doing a vinyl-only showcase pre-party at a record store Stellar Remnant in Los Angeles



It’s a MadHouse in LA with Eddie Portillo and D.Zeledon

The house and techno scene in LA doesn’t seem to be slowing down one bit as we peak into Summer season with endless parties from your classic pool and rooftop vibes, to clubs and into the sweaty warehouses that’s recently exploded in the late night music scene. LA has certainly gone MAD….for house & techno at least! One collective currently pushing the madness is none other than the Madhouse DJs, locally brewed in LA roughly two years, the group features Eddie Portillo, Diego aka D.Zeledon, Mario B., DJ Maxo, Shaun Cruda, and Forward all of whom are known to circulate the local LA club and underground circuits where they share knowledge and taste for house, techno, and everything in between.

We recently had a chance to catch up with two of the members, Eddie and Diego, to discuss their summer and hear their side of things as we quickly approach into Fall and rest of the year.

Hey guys how it’s going? Let’s get straight into it, how was Madhouse DJs formed? Tell us your story.

Eddie: Summer 2016 was a good summer in my career. I had broken the barrier of having to book myself in exchange for selling bottle service and I was finally being booked for direct support and headline sets at some small clubs and bars. When I wasn’t DJing, I would go out to shows to support other local talents. I thought to myself “maybe these guys are doing the same thing I had to do to get by.” It was then I decided to create Madhouse DJs LA as a DJ collective of local talent that I would help give them the exposure I had worked hard to earn. First on board was Julian Anthony. Then it was D.Zeledon and Mario.B who used to play back to back, then Maxo and Jay Torres. With time, the roster has changed with a couple guys doing their own thing and I also started a technology division with Shaun Cruda and now my only duo, Forward. I couldn’t be more proud of all the effort every single one of my DJs is putting in. We’re almost all now on Beatport with releases, some of us have international gigs booked this year, and some have had their first out of state gigs this year as well. Our Mission Statement reads:

Here at MadHouse we strive to bring you (the audience) a well-curated assortment of music that all has an undertone of House Music. Our artists range on style from tribal to tech from tech to minimal from minimal to techno. We pride our selves of respect, professionalism, and performance. Here At MadHouse we are anything but Mad. In fact, we are happy to have the opportunity to share the music we love with you.

To date, how many events have you all collectively performed, promoted, and produced?

Eddie: We’ve had a few monthly residencies. Our first was at Kitsch bar in Costa Mesa OC every first Friday of the month. That was fun. We had a lot of DJs from big labels and different cities. Starting August 2017, we took over Pattern Bar on a Thursday and that resulted in a monthly residency. We celebrated out one-year anniversary party there. Miami Music Week 2017 we had our own show at Oceans Ten in collaboration with Fly Entertainment from Las Vegas run by DJ Flow Fly and international house DJ Chris Garcia. November 2016 and January 2017 we did a warehouse party series with Bassline LA known as Made In LA. Those two parties were extremely successful and we haven’ done another warehouse party since so we’re really looking forward to collaborating with 6AM to bring Rafa Barrios and our supporters to a warehouse for his Los Angeles Debut

What are some of your favorite moments during your events?

Eddie: For me, at every event, I take a moment to thank God and I look around to all the faces of people dancing, laughing, and not giving a care in the world. That’s what music does for me. It’s an escape that literally ANYone can relate to. And then I look at my team. I see them networking and interacting with the crowd. I love what we all represent.

Diego: One of my favorite moments during an event was when I got to debut at Exchange LA. Eddie and I went b2b and we had no idea we were going to end up playing in the Main Stage. I got asked by Vairon (promotions manager at Exchange LA) to close out for Shiba San after we were done in the gallery. Seeing Shiba stay for a couple transitions and check out some of the set really got me happy. Another one is playing on my birthday in front of all my friends alongside Chris Garcia in Hollywood. Birthday shows always are fun, especially in your hometown..

What are your thoughts on the current event landscape of Electronic Music specifically towards the Tech-House, Deep-House, and Techno scene?

Eddie: I believe that in any industry the trends are forever changing. All it takes is one guy to lead and a million to follow. The best we can do is worry about ourselves and what we represent. As long as we don’t change our intentions and the reasons we do this, then the landscape can change all it wants. Our house will stay the same.

Diego: I think Tech-House, Deep-House, and Techno are at its highest peak right now in LA. Tech House is everywhere in LA, its definitely getting a lot of recognition by the people. Techno is definitely something HUGE in LA at the moment, all these European DJs are something special to see. It’s awesome to see names like Perc, Speedy J, Webbah, some to name, be in LA and throw some amazing sets. LA is spoiled to say. We get some quality and rare artist, so happy to witness great acts.

What are some current artists you’re feeling these days as far as production goes?

Eddie: Dennis Cruz, for me, right now, is an absolute genius. I respect his craft so much. He’s really influenced my style and I look up to him and respect him a lot. Always a great human being when I run into him and he’s just as humble as the first time I met him at Federal Bar in Long Beach. Aside from him, I’ve been eying Classmatic, Solardo, Melé I’ve followed for a long time, and my mentors, Sunnery James and Ryan Marciano.

Diego: Some of the artists that I’ve been feeling at the moment on the production side are Guille Placencia, and George Privatti, these two are killing the charts. Their record label is something that I look forward to when they release new music. Others to name are Wade, Aaran D, Michael Bibi, Rendher, Fhaken, and Wayne Madiedo, these producers are some that I really get hyped to hear new music from.

What can we expect from Madhouse DJs rest of the Summer?

Eddie: We have our 2-year anniversary party coming up on September 15th at Station 1640 in Hollywood. I have two shows in Maui coming up at the end of August and will be having my Europe debut during ADE. I will also be DJing in London on my way back from Amsterdam. 

On the music side, Maxo has just released his freshman EP titled Transitions on Destroy Records.

Mario.B! has been signed to Minimal Sessions for his first track ever official released. Expecting that to be released sometime in September. Also another pending release on Fervence Records.

D.Zeledon and Shaun Cruda have finalized an EP that is being shopped at the moment. That release will be HOT!

Forward recently released a remix for a track called Mimic on SLC6 records.

We’ve all been, still are, and plan to keep making moves to share our love, appreciation, and creativity for House Music whether it’s thru production or DJing.

Name 3 tracks currently on rotation during your gigs (spill some beans!)

1) Dennis Cruz: Mother F*cker
Ilary Montanari- Morenita (Flashmob Remix)
3) Classmatic & Jamie Coins – SWAG(Original Mix)

1) Back Then (Original Mix) – D.Zeledon and Shaun Cruda
2) Salvatierra (Original Mix) – Fhaken
3) Eleven (Original Mix) – Rendher

Catch Eddie and Diego on August 18th in LA as we welcome Rafa Barrios for a night of warehouse shenanigans. More info click here 

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Digging Deeper with Silky

UK born Uttam Shah, better known in the world of electronic music as SILKY from his label imprint Faceless recordings with productions in notable labels such as No.19, OFF Recordings, My Favorite Robot, and his latest on Timo Mass’ Rockets & Ponies where he shares an EP with James Teej (scroll below for preview link).

Currently based in Los Angeles, SILKY is aiming to make a strong statement in 2018 after taking a much needed break for most of 2017 to clear some of his mind, we sat down with the British bred talent over the course of an afternoon where he shares his journey and career that has spanned more than 15 years and how he has coped with the inevitable changes in the electronic music and DJ industry. SILKY is a vinyl-loving artist with rare old school mixing techniques and deep crate selections that only serve to amplify his roots in early house and techno, our exclusive Facebook Live showcase will feature SILKY mixing live on Vinyl so be sure to tune in Tuesday, Jan 16th via our FB Page.

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