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In a dark kitchen in the middle of a sweaty night in Las Vegas, all 6’4” of Dan Reynolds is hunched over a laptop, slapping beats on the table and crooning lyrics into a tiny microphone. Before long, he and the other three members of indie rock band Imagine Dragons would be playing “It’s Time,” that same laptop-demo-turned-supersized-anthem, from the roof of a parking garage to a wave of thousands of screaming fans. This song title to the single from their 2012 debut KidInaKorner/Interscope release “Continued Silence EP” is an all too apt descriptor of the band’s hard-earned success—but it’s also emblematic of the deep-seated anxiety Reynolds and the rest of the band experienced leaving behind any realistic expectation of a normal job to do the thing they love most.

A third-generation Las Vegas native, Reynolds is no stranger to the adage “the house always wins,” choosing to pave his musical career with a near obsessive work ethic and hundreds of unused demos rather than roll the dice with the first songs that sprung from his mouth. It’s no surprise, then, that he was drawn to guitarist Wayne Sermon, another founding member of Imagine Dragons. Having practically grown up in a recording studio and graduated Berklee College of Music, Wayne had been practicing his guitar through meals and other socially inappropriate situations as long as he could remember; he challenged Dan in a way that was both uncomfortable and exactly what they both needed. When they began writing songs together and recognized something special was happening, Wayne called up his Berklee friend Ben McKee, who promptly dropped out of school with only a few credits left, moving across the country to play bass for the band. This sort of reckless/genius behavior is typical for Ben, who has an uncanny penchant for spicy food and a suitcase full of unbelievable road stories. More recently, the band was joined by drummer Daniel Platzman, another Bostonian schoolmate who seems way too nice to be playing rock and roll until you actually see him in action.

Several tours and three self-released EPs later, Imagine Dragons had made a serious name for itself, particularly in the west coast circuit. Although their songs vary from nearly whimsical and light to brooding and powerful, listeners are drawn to the inherent honesty in the music. The only rule of thumb for the band, it seems, is to write from a true place; the result is songs that literally run the spectrum of human emotion. Attend a concert, and it becomes clear that the live performance of deeply personal songs has a real effect on people. And the band itself is not immune, as demonstrated when Dan literally passed out into the drum set during a finale song, sending cymbals and drum stands crashing while the rest of the band played on until the close.

Great songwriting is bound to be noticed eventually. As proof that the harder you work, the luckier you get, one of those people who noticed was Grammy winning producer Alex da Kid (Eminem, Rihanna). Alex and Dan began collaborating on projects, and soon the band had developed a relationship with Alex and his team. The alchemy resulting from Alex’s hip hop sensibilities and Imagine Dragons’ anthemic rock is nothing short of explosive. The byproduct of this creative collision is “Continued Silence,” a six song in-your-face sonic grenade that breaks musical boundaries and yet is strangely relatable by its improbably diverse audience.

Despite it all, on any given day when they aren’t on the road playing shows, you can still find Imagine Dragons huddled away in a rehearsal room somewhere, banging out song after song in search of the next perfect track. Like most things in Vegas, the band is angled at going big or going bust. For the sake of those who love great music, we hope it’s the former.

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French producer Watermät has been one of the breakthrough house music stars of the last few years and a key part of the wildly successful Spinnin’ Records roster. Taking a refreshing approach to the genre that blends unconventional sounds with the more familiar, he’s won fans far and wide, including a key supporter in Pete Tong.

The arrival of Watermät followed a decade of Arriau building up his skills and producing music for other artists. “I have never done anything else other than produce music and I never worked anywhere else” he explains. “Since I was 18, I’ve been doing music. If I wasn’t making music I would probably be a science guy working in a laboratory.” Growing up on a diet of hip-hop and house music which both enjoyed a golden age in France at the time, he soon discovered deeper shades of house and techno. 

After having honed his craft so long in private, he decided to step out the shadows of others and into his very own spotlight. Not even he was expecting quite how well things went so very quickly. After the lush sounds and intricate melodies of his 2013 debut Sparks, Spinnin’ snapped him up to begin a long and successful relationship with him. His first release on the label, the joyous Bullit in early 2014, was a huge hit at Miami Music Week, reached the DMC Buzz Chart #1 spot and was chosen by Pete Tong as his Essential New Tune. 

Many wouldn't be able to live up to the pressure of this initial success, but he took it well in his stride, following up with a remix for Years & Years, the fist-pumping piano banger All My Love with TAI and Rudimental collaborator Becky Hill and the rolling techy bruiser that was Portland with Moguai. More recently Spherik brought a summery vibe to the table while Empire indulged a little of his love for French house sounds. 

He takes a quality-not-quantity approach, choosing to release only his finest material rather than putting music out for the sake of it. It’s certainly been reaping rewards, with millions of plays and downloads for his tracks, and sets everywhere from Tomorrowland to Amnesia Ibiza amongst an incredibly busy DJ diary.

Despite all this success, he remains a truly grounded person who has his priorities in order and is doing this for all the right reasons. “I don’t have really high expectations. I’m so grateful for all the love and support I’m getting. I like making the music that I like and want to make. Let’s see what happens. If I can play at huge festivals around the world, it’s great. If not, no problem—I will keep on playing my music.”

Chri L. is following