INDIGO EXTENDED AVAILABLE EVERYWHERE https://smarturl.it/INDIGOEXTENDED

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. 


Grammy-winning DJ and Producer and Owner of @Yoshitoshi.

I'm addicted to DRUMS and I'm a slave to the Dark Beat....

Music producer from Norway.


Booking North/South America: 
Joel Zimmerman  JZimmerman@wmeentertainment.com

Bookings International: 
Simon Clarkson SClarkson@wmeentertainment.com 


Management/All other inquries: 
myles@goldenharegroup.com

Press INFO:
US Press: myles@goldenharegroup.com
UK/EU Press: matt@getinpr.com

Scand: scandinavia.press@gmail.com

Canadian Jonny White, acting Head of No.19 Music, is now the lone force behind the influential project that began as a collaborative effort with long-time friend Kenny Glasgow in 2009. The prolific producer’s original production style landed Art Department at the forefront of a major underground music movement, transcending genre barriers and forever altering the landscape of dance music. Their game-changing contribution to electronic music has been undeniable, garnering accolades such as #1 track of the year at the Beatport Awards in 2011 and iTunes #2 “Best Electronic Album” of 2011. Notable mention in wide-spread press, including The Guardian, Rolling Stone, Billboard, Vogue, I:D, Nylon and Vibe Magazine who ranked art department the #2 DJ/Producers in the world in 2013, second only to Daft Punk, firmly established Art Department as a rarity in the world of electronic music.

Born and raised in New York City, DJ/producer Miss Jennifer has been a staple in the underground dance music scene since 2009. From her early club residencies to major festival stages, she has built a reputation as one of the leading female DJs shaping the East Coast sound with her signature style. Through her productions, performances, and carefully curated sets, she continues to push boundaries and captivate audiences worldwide.

From intimate club nights to massive festival stages, Miss Jennifer’s ability to connect with the crowd has made her a sought-after artist. Her deep understanding of the dance floor, combined with seamless track selection and undeniable energy, has led her to headline her own events while cultivating a dedicated, ever-growing fan base that follows her across cities.

Miss Jennifer has graced the stages of global powerhouses like Ministry of Sound, Elrow, Electric Zoo, Electric Daisy Carnival, Mixmag, and Awakenings, sharing the stage with industry icons such as Carl Cox, Danny Tenaglia, The Martinez Brothers, Roger Sanchez, Eric Prydz, Pete Tong, and Adam Beyer. Whether headlining or supporting, her sets are pure energy—pulsating with rhythm, passion, and non-stop movement.

Beyond the booth, Miss Jennifer lives and breathes music. Her early releases on the legendary Nervous Records charted and gained widespread recognition, further establishing her as a producer to watch. Constantly evolving, she continues to refine her sound, blending classic influences with fresh, contemporary elements, always pushing the boundaries of her artistry.
A true selector, Miss Jennifer curates sonic journeys that captivate and surprise. Her ability to read a crowd is unmatched, striking the perfect balance between giving fans what they crave and introducing them to sounds they never knew they needed.

Whether headlining a festival or setting the tone in an intimate space, she delivers an experience that is immersive, dynamic, and unforgettable. Miss Jennifer isn’t just playing records—she’s shaping the future of electronic music, one unforgettable set at a time.

It’s all about the music. New York stalwart and beloved DJ, Boris, lives by that statement each and every day. He is a man wearing many hats; one as a touring DJ, another as a producer dynamo and lastly as a label boss of Transmit Recordings. A career forged over decades of long nights in the Big Apple’s most revered rooms. From the infamous Roxy to Crobar to the once dominating Pacha NY on 46th Street, Boris maintained a following so devout, so loyal they were truly ‘Believers’. Pioneering a music movement in a city filled with those who have so little time to pay attention, Boris has been a production powerhouse when not performing for the masses. He’s been tapped by industry leaders such as Carl Cox for his label Intec, Dubfire for his label Sci-Tec, Paco Osuna and his Mindshake records, amongst countless others.

His ability behind the decks and in the studio has not only made him a New York favorite, but his music has taken him places all around the world ranging from the shores of Playa Del Carmen to the magical White Isle known as Ibiza. Known to many as the ‘DJ’s DJ’, Boris has had the career most DJs can only wish to have. The trends, they may change but the New York native has stayed true to his drum driven sounds and created his own niche in the wide and vast world of electronic music. Taking bits and pieces from every part of the globe he visits, Boris always maintains a piece of home in his music. 

Even though his career spans nearly three decades, the journeyman DJ has yet to falter. We currently find him playing leading to destinations across the globe and his music is in high demand with forthcoming releases many sought after labels, Boris will is constantly on the tips of the younger generation’s tongue. Why? Because talent, like wine, gets better with age.

David Morales is a globally revered American DJ, a Grammy award-winning record producer, songwriter, and businessman. He has produced and remixed over 1000+ records for an all-star roster of multi-platinum artists, including Mariah Carey, U2, Michael Jackson, Aretha Franklin, Madonna, and Whitney Houston. A true legend of house music, the global phenomenon and penetration of dance music into Top 40 radio would not have been possible without him.
More recently, Morales launched DIRIDIM Records in 2018. With this new label, David is signing and developing new talent - and naturally, releasing some of his own music. DIRIDIM celebrates all kinds of dance music, ranging from the classic house music sound Morales is known for to straight-up electronic sonorities. In January 2022, Morales released "Life Is a Song", his first full-length studio album in almost 10 years. Produced during the pandemic lockdown, the album featuring artists, Mr. V., Blakkat, Elle Cato, Michelle Perera, Lea Lorien, Blondewearingblack among others, quickly gained an international following eager to hear more and skyrocketed up Traxsource's album chart to #1 for three weeks. His unquenchable thirst for newness is precisely why this native New Yorker remains at the top of his game into the new decade - “It’s about keeping an open mind,” as Morales says. In 2020, due to the global pandemic and inability to travel, he launched, Sunday Mass, a livestreaming show on Twitch to entertain his fans across the world. The 2021 IMS Business Report based on data, cited him as one of the dance music artists who experienced online success during the pandemic. Into post-pandemic times and with the reopening of clubs all over the world, David continued his legacy as a native New Yorker and trailblazing DJ, constantly gracing the best international stages with recent standout performances such as the Hacienda Warehouse Project in Manchester, Clockwork Orange in London, Stereo Montreal, EDC Vegas, Hi Ibiza, and After Caposile Venice. In 2024, David Morales is holding a residency at the legendary Pikes Hotel in Ibiza during the summer. A pinnacle in his repertoire is also the ongoing success of the Sunday Mass parties in NY, featuring both club nights and legendary boat parties during the summer. These events stand as a testament to Morales's enduring impact as a true legend on the house music scene. On top of this all, David is on the brink of releasing a new LP, 'Sunday Mass Vol. 1', the inaugural installment in a series with more to come in 2024. As we venture into 2024, expect a flurry of news and projects, with the new year expected to be a more than ever prolific one for David Morales.
 
FILM /TV/FASHION/RADIO
David Morales has transcended musical genres to create a global brand. His music productions have appeared in popular films and television shows, including The Devil Wears Prada, Ninja Turtles 2, Don’t Mess With the Zohan, and Star (TV Series). His DIRIDIM radio show can be heard on Ibiza Global Radio and numerous other stations around the world which is streamed to millions of listeners around the world. In 2016, Morales was the lead judge on “Top DJ” a national television series broadcast on Italia 1. When it came time to wear his fashion model hat, Morales appeared in a global advertising campaign for luxury design house, Iceberg. 

HISTORY
David Morales honed his skills as a DJ in the 1980s and 1990s at such legendary clubs as the Ozone Layer, Paradise Garage, Red Zone, Zanzibar, Tunnel and Club USA just to name a few. When the remix and DJ work began taking off, Morales teamed up with house music legend, Frankie Knuckles, and For The Record DJ Pool founder/NYC nightlife impresario, Judy Weinstein, to create Def Mix Productions.
Morales’ prolific production career kicked into high gear in the 1990s with the release of his solo debut album, “The Program” by David Morales & The Bad Yard Club. In the late-1990s, with hundreds of remixes (Mariah Carey’s “Dreamlover,” Janet Jackson’s “Throb,” Alison Limerick’s “Where Love Lives,” CeCe Peniston’s “Finally,” Jamiroquai’s “Space Cowboy”, Jaydee’s “Plastic Dreams,” Robert Owens’ “I’ll Be Your Friend,” under his belt, Morales recorded the groundbreaking house classic, “Needin’ U,” under the alias David Morales Presents The Face. Morales’ second album, “2 Worlds Collide,” arrived in 2005, followed six years later, by his third album, “Changes.” 
David Morales was nominated for his first Grammy Award in 1996 as a Producer on Mariah Carey’s album, ‘Daydream’ for the song ‘Fantasy’. In 1998 he won a Grammy Award for “Remixer of the Year.”
Though Morales’ past is surely one for music’s history books, the DJ-turned-artist always has his eyes firmly focused on the future—on what lies ahead. He keeps an ear to the ground, regularly exploring new music, new artists, and hotly tipped DJs who might inspire him to “go and do my homework.” He happily embraces the new generation of clubgoers. “They don’t care about yesterday”, he says, with a knowing smile.

For further information on David Morales please contact:
Valentina Cecchini @ OMNIVERSE S.r.L. on: +39 335 6810626 or email info@omniverse.sm

Gringoloco69 is following