Vikthor blazes through the techno scene like a scorching inferno. His explosive style, blending dark atmospheres and captivating synths, captured the legendary Carl Cox's attention. Cox, recognizing Vikthor's immense talent, labeled him as one of the next generation techno stars, solidifying their collaboration on Cox's esteemed label, Intec.
With an unstoppable natural progression, Vikthor crafted a series of electrifying releases that sent shockwaves through the industry. Tracks like "Twilo" by Elio Riso propelled him to new heights, earning widespread support and recognition. Collaborating with Elio Riso on the acclaimed track "Soul & Trip," remixed by Cox himself, solidified Vikthor's position as a rising force. DJ Mag hailed it as one of the standout tracks of 2020.
Vikthor's debut album, "Low Profile," released on Bush Records, illuminated his artistic prowess and cemented his status as a formidable presence in the techno realm. Unfazed by his rapid ascent, he forged ahead in 2021, joining forces with Oscar Aguilera for a monumental four-track release on Monika Kruse's iconic label, Terminal M. In the same year, Vikthor boldly launched his own label, VKT, providing a platform for his music and the like-minded artists he championed during his electrifying DJ sets.
Since then, Vikthor has embarked on an incredible journey, touring Australia and gaining recognition from Tomorrowland as one of the future's brightest stars. He delivered a captivating guest mix and interview. With meticulous attention to detail, Vikthor has honed his craft, creating remarkable tracks and collaborations, including his remarkable remix of "Lullaby" and a playlist of other sensational releases alongside AdamK.
The world eagerly awaits Vikthor's upcoming releases, including the highly anticipated EP "Redemption" on Carl Cox's 23rd Century label. His meteoric rise serves as a testament to his exceptional talent and unwavering dedication. Vikthor embodies the future of techno, leaving an indelible mark on the industry. Brace yourself for the captivating journey ahead as Vikthor emerges as the guiding force, relentlessly redefining the boundaries of electronic music...

The tale of Danny Tenaglia's love affair with music, and the world's subsequent romance with him, is one of the critical veins in the body of dance music. He is every dancer's secret discovery; a random purchase at the record store, a reluctant night out that unexpectedly turned magic. Explosive success came not behind a major label release, or a world tour, or a radio hit remix: It happened when enough people had the private Tenaglia experience for themselves.

The momentum started building in early '70s New York, when a barely 10-year-old Danny first got the feel of vinyl in his hands. Enthralled by the music of artists like Philly Soul's The Trammps, Motown's Marvin Gaye, African trumpeter Hugh Masekela, and disco producer Giorgio Moroder, he started to collect records, plumbing the depths of each one, and frequently finding that he preferred the B-side to the A. It was 1979 when he discovered legendary nightclub Paradise Garage, where DJ Larry Levan's rich, genre-less blend of music seemed to mirror his own "no boundaries" policy. It was here where Danny found the club model he would one day emulate: Levan's bold style, the venue's plain décor, and the party's warmth and inclusiveness.

Danny left New York in 1985 and launched a successful DJ-ing career in Miami as a resident at Cheers nightclub. There he schooled the locals in classic New York and Chicago house, but five years later he returned home, tired of only playing other people's music. He started to assemble an impressive roster of remixes, including Right Said Fred's "I'm Too Sexy" (1991), Jamiroquai's "Emergency on Planet Earth" (1993), and Madonna's "Human Nature" (1994). But his first epic was The Daou's "Surrender Yourself" (1993): With the kick in the bass and the underlying rhythm as the foundation, Tenaglia blanketed Vanessa Daou's wispy vocal with grand, thick chords, a combination of classic groove and modern club-ready depth that was, at the time, entirely new. The title of his 1995 debut artist album on New York's Tribal Records described it perfectly: Hard & Soul. But even if the cocktail was his own, Tenaglia never hesitated to declare how heavily his influences weighed in his productions - everyone from Patti LaBelle to Kraftwerk, with countless lesser-known Soul, R&B, Latin, Samba, and Disco artists in between.

In 1996, after a brief stint at New York superclub Roxy, Danny landed a Saturday night residency at white-hot Twilo, a position that upped his profile but didn't satisfy his expanding artistry as a DJ and producer. While New York swooned for big-room diva anthems, Danny was turning his ear toward the more minimal, tech-y grooves originating in European production studios. This period produced solid remixes like Grace's "Not Over Yet" (1996) and Janet Jackson's "The Pleasure Principle" (1996), but by the time he moved to Tunnel in 1998, Danny had already created "Elements," an instant classic that caused the dance scene's collective jaw to drop. With his own warped voice providing the narration, "Elements" (one track off full-length Tourism) walked the listener through the different components of a dance track in real time, going from kick to drum loop to snare hit, letting each layer over the other until the track exploded with dark, drum-heavy energy. Next to ostentatious radio anthems, its simplicity was a revelation. 

It was around this time that the murmurs started to get louder: Who is this Danny Tenaglia, and just what does he do to people? Clubbers reported seemingly inhuman mixing capabilities, booth-to-floor telepathy, and the grittiest "modern yet classic" grooves they had ever heard come out of a speaker. A trio of label compilations - Mix This Pussy (1994) and Can Your Pussy Do The Dog? (1995) for Tribal, and Gag Me With A Tune (1996) for Maxi - were the first Tenaglia sets clued-in clubbers could take home to dissect, but the release of his first installment in the UK-based Global Underground series of DJ mixes, titled Athens (2000), lit the international fire. Athens (meant to reflect the set he played at the Greek capital's club King Size) remains one of the darkest, strangest, sexiest sets ever released, and its tame cover photo of a gentle-looking man in a Yankee cap just didn't seem to fit. DJ dates across Europe dispelled the mystery and started the spread of the infectious Tenaglia fever.

Back in New York, Tenaglia was tiring of the cavernous gloom of Tunnel and longed for a weekly home that better resembled where the DJ bug first bit him - the Paradise Garage. He landed at Vinyl, a black-walled, single-environment, no-liquor club about one-quarter the size of Tunnel. He named the night "Be Yourself," after the self-affirming, heavy-bottomed vocal track he had recently recorded with Chicago's Celeda. And he took the name to heart: Without the pressure of bar minimums or an expectant crowd, Tenaglia spread his DJ wings. Next to new tracks by young producers like Rui Da Silva, Peace Division, and Saeed & Palash, he played the artists of his youth, with nary a beat dropped. If he wanted to launch into a two-hour set of straight-up techno, he did. If he wanted to play old Michael Jackson records, he did. If he wanted to get on the mic and tell the crowd the name of the sound he was about to play, or who next week's guest opening DJ would be, or just give everyone a "verbal handshake" to welcome them to the club, he did. And a city tired of drama embraced the barebones, music-centered night. 

The world caught up to Tenaglia in 2000. His annual party during Miami's Winter Music Conference outgrew its home at the cramped Groovejet and moved to just-opened superclub Space. DJ giants like Carl Cox danced on top of the speakers with the Deep Dish boys, Fatboy Slim mingled on the patio, and for a day the ego inherent to DJ culture evaporated: Tenaglia was hailed as the undisputed king, the "DJ's DJ." His roof-raising revamp of Green Velvet's "Flash" won "Best Remix" at the UK's Muzik Awards, where he was also awarded the "Best International DJ" prize. 

In the two years that followed, Tenaglia released another Global Underground installment (London); toured the world, took the party island of Ibiza by storm, remixed Billy Nichols' "Give Your Body Up To The Music" (a Garage anthem); got nominated for a Grammy (for his remix of Depeche Mode's "I Feel Loved," also nominated for Best Dance Song); returned to Twilo for two special gigs - a President's Day marathon with Carl Cox that shattered all its attendance records, and the club's sixth anniversary party with John Digweed, which turned out to be even more meaningful than it seemed at the time (Twilo was shut down permanently a week later); graced the cover of every major dance music magazine; and won a Dancestar Lifetime Achievement award... all while keeping Be Yourself buzzing every Friday. 

In 2003, Danny came full circle with the release of Choice: A Collection Of Classics, a two-CD mixed compilation that let him pay direct tribute to many of the artists who had influenced his sound and style. It featured everyone from Blaze to Adeva to Imagination, as well as hefty liner notes explaining the significance of each track, penned by the man himself. He also remixed another Garage classic (Yoko Ono's "Walking On Thin Ice," which became her first Billboard number one ever), opened another Space during Winter Music Conference (the new location down the block), and took another Dancestar award, this time "Best Party" for Be Yourself. 

Be Yourself took the same honor again in 2004, but this time the win was bittersweet. At the time of the ceremony, Vinyl, now called Arc, had already been sold to developers. Danny closed the classic club on Sunday, April 25, 2004, with an emotional set that lasted well into Monday afternoon, and culminated with his mix of Kings Of Tomorrow's paean to unending love, "Finally."

And as in every year since his DJ odyssey began, all across the globe, from Acapulco to Tokyo, more people experienced their first night with Danny Tenaglia, that clubber rite-of-passage that forever changes how you listen to music, go out to nightclubs, and think about DJs. 


bookings worldwide: 
alma@lb-agency.net

bookings NA & SA:
alo@prismaartists.com

Watching Cassy eagerly dive into her record collection is a joy. Away from the transcendent spaces she continues to play at most weekends, her vinyl-digging series Talking About My Records on Instagram gives ample opportunity to engage with her endearing excitability. Its concept being spurred by moving back home to Austria and reconnecting with a stacked vinyl stash, you can feel the buzz gained from rediscovering lost gems and rinsed B-sides. Keen to share this experience with whoever’s watching, what makes this series stand out is the sense that Cassy’s enthusiasm and faithfulness to the music that fuels club culture has been revived. We’re seeing the beginning of a new era for Cassy.

Formerly: The Black Madonna. Currently: Too blessed to be stressed.

Godspeed, my debut album, out October 18th 🕊️


MGMT info@goodlife-management.com
US/South America bookings: bshprits@teamwass.com, ehancock@teamwass.com

EU + rest of world bookings: jim.oregan@teamwass.com

SMART BAR. STRIPPED & CHEWED. ARGOT. KIND OF A BITCH.

https://dubfire.komi.io/

@scitec

From global success in the commercial domain, to equal accomplishments within the underground scene, Dubfire (aka Ali Shirazinia) is an artist whose drive, talent and intuition have placed him in the top tier of electronic music artists in the world. He maintains this position within the industry with an unrelenting work ethic and a determination to innovate, evolve, and entertain. Whether it’s his involvement with Deep Dish, his solo performances at an extensive list of the world’s most influential clubs and festivals, his dubfire:live HYBRID show, running his label SCI+TEC, or simply his exploration of audio and visual technology, Dubfire is in a class of his own.

Booking
North America: 
julian@thebullittagency.com 

Central / South America: 
diego@analog-a.com

Europe:
jmac@paramountartists.com
tom@paramountartists.com

Asia / Australia / New Zealand / MENA:  
ross@tboasia.com
kenny@tboasia.com

• hopeless day-dreamer • dedicated fitbit-user • committed beach-bum • desperate globe-trotter • tireless mother-fucker • passionate music-lover •

AdRiSneeze is following