Just as rave culture was making its first waves in the UK in 1988, a mad English kid named Lee Reynolds rode his BMX bike across the Atlantic to Los Angeles, carrying with him dreams of big air and sunny skies. He was as wild then as he is now, it’s just that on two wheels, Reynolds’ lack of abandon resulted in broken bones, not broken beats. In 1992, he limped off the ramp one last time and soon found himself lost to electronic psychedelia, and thusly one of the West Coast’s finest DJs began his path to the Desert Hearts movement and the hysteria he now conjures with every performance. 

Now, a quarter century later, Reynolds has a lifetime’s worth of experience bringing the weird and the wonderful to the dancefloor. He earned his chops up and down the West Coast in the dance scene’s dustier institutions––Moontribe, Moonshake, LiB––That’s where he developed his endlessly wide palate, penchant for mysticism, and an understanding that a dance party should be a spiritual experience. 

“When I DJ, I want people to feel ecstatic, in a zone, in the moment, like the only thing that matters is the dance,” he says. “I don’t want to play music that people can dance to, I want to play music that makes people dance. I want it to sound like aliens are about to land on the dancefloor.”

In 2011, It was an encounter with a plucky bunch of San Diegans barely out of their teens that was the calling Lee Reynolds had spent his whole life working towards. Alongside Mikey Lion, Deep Jesus, Marbs, and Porkchop, Reynolds formed Desert Hearts and the rest is history in motion. Over the past three years of bi-annual renegade ragers and relentless touring, “Papa” Lee Reynolds has developed into the patriarch of the fastest growing and most visible cultural movement in all of stateside dance music.

“My real role in Desert Hearts is more on a spiritual level, making sure we spread a positive message and do the right thing,” says Reynolds. Wise words, maybe, but behind the decks, Reynolds is a maniacal presence as he channels his past lives, tastes, adventures, and perspectives into a dancefloor magic that captures you upon first beat and does not release: House, techno, acid, and breaks, they’re all conjured up in a plume of purple haze and that little mad bastard is at the center of it all. 

Dance music now is so often about fast rises and immediate gratification, but Lee Reynolds’ story is a reminder that some beats taste better when slowly fried over the course of 25 years. “I’ve been obsessed with this shit forever and I’ve always believed the madness was coming,” says Reynolds. Well, the madness has commenced, and it seems like it’s here for good––and Lee Reynolds is conducting the score.
- Jemayel Khäwåja

Italy: 
Info & Booking: nagni@voxconcerti.it

Rest of the world:
info@riotmaker.net

As co-founder of The Deep End, vibe-setter of San Diego’s West Coast Weekender, and event production manager—over the past 16 years, Eric has seen the circle of music continuously rejuvenating itself. “The underground scene expands and contracts as it evolves,” he observed, “and at a certain point it comes full circle.” As a DJ, Eric gained knowledge of what brings people to a party, how dancefloors respond to music, and an extensive appreciation of music as a whole. Eric has been on lineups with Doc Martin, DJ Harvey, Purple Disco Machine, Carl Craig, Cassy, Matthew Dear. He has opened up for rap legend Warren G, and multiple times for Poolside. He’s played parties and venues throughout Mexico, California, Arizona, New York. Without limiting himself, Eric plays house, disco, with early hip hop influences. You can tell a story through music: “Whether it’s your present emotions or the way you want people to feel, you have the power to express your feelings and move the audience through an artistic experience.”

GL∆M∆NCER is the glam rock opera based on the sci-fi/high fantasy illustrated novel series by Konrad McKane titled "Chronicles of ALKAYA".

Mexican-American bad-boy Victor ‘Harvard Bass’ has always brought together the raw appeal of American booty with the style and function of European Ass. His sound has earned him in-crew-sion in Seth Troxler’s Tuskegee posse, Green Velvet’s Relief Records, and of course Tiga's Turbo. With years of releases under his belt, he’s maintained an impressively consistent voice. 
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It all comes down to the fact that he is a bonafide sex addict who managed to turn a problem into a career by combining his obsession with thickness and his prowess for production. His Releases can be heard as Harvard Bass’ confession, his plea of insanity set to the sound of a perfectly functioning Ibiza super-club, complete with sexy paid dancers, industrial smoke cannons, and the kind of mass communal ego death that comes from 10+ straight hours of tech-house.
 
With the Launch of his very own Bump City Records, Harvard has vowed to put his famous raw ghetto sexiness on the map. Boom-time, ladies and gentlemen.

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