Chrissy is a genre-bending DJ/producer with releases on Hooversound Recordings, Sorry Records, Classic Music Company, 17 Steps, Dansu Discs, Pets Recordings, and more. He’s known for his friendly demeanor, big smile, and unwavering support for new artists and marginalized communities in our scene—traits that shine through in his expansive, multi-genre DJ sets. His selections often center on rave music, Chicago house, and disco, but his multi-decade career has ranged from jungle to footwork to freestyle. This unique form of story-telling has brought him to venues such as Panorama Bar and Fabric, as well as prior residencies at Smartbar in Chicago, and San Francisco’s oldest and most storied queer club, The Stud.

Also known as a well-regarded voice on dance music history, Chrissy ran the popular “My Year of Mixtapes” blog, posting original genre-focused DJ mixes every week for a year. He wrote the liner notes for Hardcore Traxx: Dance Mania Records 1986-1997, compiled the forthcoming Montreal disco retrospective Move Up Energize for Unidisc Music, and has written on dance music history, queer history, and advice for young musicians in Mixmag, Beatportal, DJ Mag, Red Bull Music Academy, XLR8R, and Electronic Beats.

His latest venture is a new record label called Maximum Airtime: a DIY, grass-roots, anti-corporate operation featuring upfront, melody-forward rave bangers from ABSOLUTE., Coco Cole, Tim Reaper, Fear-E, Guchon, Hard Ton, Mister Wallace, and more.

Chrissy is also a mainstay of dance music radio, dropping in for regular guest mixes on BBC 6 Music, NTS, Rinse FM, and The Lot Radio. His monthly Maximum Airtime radio program airs every third Thursday on Dublab.

“Chrissy is one of my fave people in music. He's not only extremely talented and a walking talking dance encyclopedia, he is also someone whose stance I really respect…he actively tries to debunk the gatekeeper mentality that dance music is sadly still haunted by, all with a really constructive approach and positive attitude, truly opening doors for newer blood.” — Violet

“Chrissy is one of the best DJs to ever walk the earth and I am just going to keep saying it until everyone agrees with me.” — The Blessed Madonna

“One of the most versatile and knowledgeable DJ/producers on the planet” — Jerome Hill

“The living embodiment of a ‘DJ’s DJ’” — Mixmag

Jason Paul is a songwriter, vocalist, and rhythm player whose music career spans three decades—from punkish early bands to indie soul collectives to intimate solo recordings. A lifelong explorer of sound and story, his current work reinterprets public domain standards and unearths forgotten originals, weaving personal history with musical heritage. Formerly the voice behind Japan Soul, Jason now releases music under his own name, bringing a raw, lived-in approach to timeless songs.

A highly accomplished New York City DJ, Ray Velasquez is historically widely recognized as the godfather of post disco era DJ culture of his native Kansas City , and as a tireless arbiter and torchbearer of advanced music worldwide. 

As Kansas City's cultural provocateur in clubs, on radio, and in print since 1983, Ray helped introduce, nurture, and elevate from the underground into the mainstream genres from 80's post punk, synth-pop, alternative rock, industrial dance, and acid house, Madchester, and acid jazz, to indie, shoegaze, techno, rave, drum & bass, ambient,  deep house, downtempo, and Brazilian, Latin, and jazz kissed lounge electronica. 

Although fiercely proud of his Kansas roots, Ray's early career as a DJ, artist, and music journalist was irrevocably linked to New York City music, art, culture, and nightlife, from his first visits  throughout the '80's  attending the New Music Seminars, dancing until dawn at Danceteria and The World, seeing New Order at the Paradise Garage, Madonna at the Ritz, the Beastie Boys at the Cat Club, and being waved past the velvet rope at Red Zone by NYC nightlife impresario Steven Lewis who would gleefully shout, "Hey Kansas! I spent a year in Kansas one night!".

Ray's  first NYC DJ gig was playing with Paul Oakenfold and Josh Wink at the Building in '90. Numerous club and rave gigs followed throughout the 90's with the likes of Keoki, Moby, Dmitry from Deee-lite,and Doc Martin.
 
But perhaps the most anomalous and even surrealistic association with New York City culture experienced before he relocated to NYC in '99 is with William S. Burroughs who resided for years on the Bowery in an apartment notoriously known as "The Bunker".   In the 80's Mr. Burroughs left New York City and moved to Lawrence, Kansas where he lived out his remaining years.  Mr. Burroughs passed away in '97, and Ray was commissioned to program the music for his wake.  He actually DJ'd behind the open casket of the iconic Beat Generation writer on the stage of a 19th century opera house in Lawrence, Kansas.

Ray's reputation as a DJ is one of extraordinary musical, artistic, and creative vision, versatility, and virtuosity, illustrated in large part by the variety of artists with whom he's had the opportunity of sharing a stage or DJ booth including New Order, Public Image Limited, The Sugarcubes, Killing Joke, Suicide, Paul Weller, Primal Scream, Marshall Jefferson,  Paul Oakenfold, Mixmaster Morris, Tom Middelton, Ben Watt, Josh Wink, Sven Vath, Hybrid, Moby, Keoki, Dubtribe, Ian Pooley, Derek Carter, Autechre, Spacetime Continuum, Skylab,DJ Pathaann, Bugz In The Attic, Mondo Grosso, Fauna Flash, Swayzak, Afrika Bambataa, 
Deee-lite,'s Supa DJ Dmitry Doc Martin, My Life With The Thrill Kill Kult, Moev, Nine Inch Nails, Legendary Pink Dots, Genesis P. Orridge of Throbbing Gristle and Psychic TV, Die Warzau, David Holmes, Bebel Gilberto, Gotan Project, Mum, Jazzanova, Kruder & Dorfmeister,  Fila Brazillia, Chari Chari, Nuspirit Helsinki, Da Lata, Yukihiro Fukutomi, Nouvelle Vague, Stacy Pullen, Erik Truffaz, and Nookie to name a few. 

Generating hip, sophisticated yet accessible music environments for some of the finest clubs, lounges, and listening rooms in the city is my specialty having performed or established residencies at such celebrated venues as Cielo, Norwood, Lot 61, Bungalow 8, Union Square Lounge, Bed New York, Aspen Social Club, Sushi Samba, The Galapagos Artspace, the Soho and Tribeca Grand, The Cabanas at the Maritime Hotel, Thom's Bar at The Thompson Hotel, Hudson Hotel, The Standard Hotel, and Room 55 at the Dream Hotel.  The summer of 2010, Ray held a poolside residency at  Sole East in The Hamptons. 

As a music stylist/audio architect He has designed or performed music environments for the retail, events, or public spaces of corporate clients such as Hugo Boss, L'Oreal, Studio Dror, Porsche Design, American Outfitters, Club Monaco, Gordon Ramsay NYC/LA, Bloomberg, Cafeteria, Hyatt Hotels, Eaglewood Resort,  El San Juan Hotel and Casino, Sprint, New York Film Festival, Premiere Brazil Film Festival, Brooklyn Film Festival, and the Gen Art Film Festival.

Ray even DJ'd an erotic ball whose events had been televised on HBO's "Real Sex". Essentially an orgy, he literally generated the aural lubrication for a room full of swingers enjoying public sex at a private event, which is kind of funny considering that Ray often describes what he does as "generating cultural lubrication for deeper penetration".

Whether playing bossa nova and samba electronica on Ipanema Beach in Rio De Janeiro, deep house and downtempo poolside at private extravaganzas in Tel Aviv or the Turks Caicos Islands, ambient electronica in the chill out tents at raves hidden deep in a Wisconsin forest or a Kansas field, ferocious and nihilistic post punk, disco pogo at a beer soaked basement dive bar in the Lower Eastside, or deep and voluptuous house and techno at an urban rooftop cocktail party blanketed beneath a starry New York City sky, Ray's mission is multi-tiered: 

1. To exercise an enhanced sense of empathy, critical judgement, unparalleled good taste, and a vast musical frame of reference that transcends genre, to generate an emotionally engaging musical narrative.

2. To musically and culturally celebrate the past, define the present, and explore the future.

3. To act as a catalyst between music, my clients, and the audiences they intend to impact, thereby branding their musical identity and setting the tone for increased revenue.

Please send all digital promos to paulchillage@gmail.com

Mini-Bio:
As far as we know, we are the longest running electronic music radio show in Ireland having started broadcasting in 1996. We began on Dublin pirate station Xfm and with the onset of ever increasing raids, advance in technology and the way audiences listen to and consume music we decided to just do a regular podcast now at http://www.xfmdublin.com
Our past guests have included Jimi Tenor, Pete Namlook, Cim, Tim Koch, Clair Defocus, Miles Tillmann, Lackluster, Skkatter, Mad Vvm Dog, Front End Synthetics and Rod Morris. We play a wide mix of genres under the electronic banner - techno, house, idm, electronica, ambient, braindance, electro or just weird shit - suffice to say; if we think its good and it's electronic then we play it.

Bronx-born, Freddy Bastone is known for his plethora of styles as a music producer and DJ. Over the course of his career, he has recorded countless Platinum records with the most influential artists in the music business.



He started his professional DJ career in NYC as a teenager in the 80s at the world-famous Danceteria (Rudolf Piper and John Argento), Studio 54, the Palladium (Steve Rubell and Ian Straeger) the Underground (John Contini), and Torries where his versatile style earned him a loyal following and the attention of renowned record labels and producers who hired him as an influencer with dance music ears in the clubs, studios and in the editing room.The mid to late 80s was a very busy time for Bastone, playing live shows for Hot 103 FM from The legendary Palladium & Studio 54 on Friday and Saturday nights. The recognition from his work on hot mixes for radio and relationships developed with his mentors John Luongo, Mark Kamins, Arthur Baker, Larry Levan and others led Bastone to create studio remixes for artists such as Carolyn Harding, The Communards, The Style Council, Frankie Goes to Hollywood, Blaze, The Temptations, Michael Jackson, Quincy Jones, Samantha Fox, George Michael, Taffy, Secession, Dread Flinstone, Queen, Freddie Mercury, Konk, Brilliant, Jackson 5, Billie Idol, Yes, Loleatta Holoway, Sky, Rod Stewart, When in Rome, Nu Shooz, The Voice in Fashion, Raww, Lonnie Gordon, Boy George, Malcolm Mclaren, Judas Priest, Savage Garden, Full House, Safire, Mitsou, Was not Was, and Danny Extravaganza which was the first vogue track to hit the clubsBastone also worked as an A and R rep for both Profile Records (Corey Robins) and Emergency Records (Sergio Cossa and Curtis Urbina), where he developed artists Paul Hardcastle, Blaze, Taffy, Raww and started his own label, Metropolis Records, under the Emergency umbrellaWith mgmt. company Promotion (Brad LeBeau), Bastone went from remixing to producing. Freddy Bastone (alias The Corporation of One), “The Real Life” was a #1 track in the UK which led to a record deal with Fiction Records (Chris Parry) and a publishing deal with MCA. Bastone’s new Dance music is released under the name Bastone & Henry.



Bastone introduced the band Nu Shooz “I Can’t Wait” to Atlantic Records which quickly went to #1. Epic 

Records President Don Greason hired Bastone to bring new acts to his lineup of talent, delivering their first house music group “Full House” and #1 pop sensation Will to PowerKeeping to the streets, Bastone Produced Latin rapper/singer Pablo Toto for Tuff City who became a cult 

artist with his hit “Dame Chocha”. At this point in his career, Bastone was DJing at the newest and hottest clubs in the world such as Marz (Rudolf and Yuki Watanabe), The Underground (John Contini), 4D, and Merlins in NYCBastone toured the world performing in countries in the UK (Heaven, The Whiskey & The Hacienda), Japan (Genesis, Air Craft Carrier), and Taiwan (Taipei) amongst others.



The 2000s also saw Bastone collaborating with numerous producers including Jeffrey Burnstien (Bastone and Burns), Mark Henry, Tony Mangurian, Rockafella, and John Robie. They created remixes and 

productions for such artists as J. Lo, Missy Elliot, Jamirquai, Jewel, Res, Kevin Lyttle, S Club, Gioia, 

Cristina Aguilera, Rod Stewart, Nora Jones, Lil Kim, Yazmeen, Hall and Oates, Shakira, Titiyo, Laura Fabian, Justin Timberlake, Radio Head, Adele, Jessi J, Bastone & Berrios, Kim Cameron, Carlton Ford to name a few.



In recent times Freddy Bastone has been playing at San Bar, Zeppelin Hall and has a residence at Ethyl’s (Gerard Reny).

creative soundscapes for the mind... utilizing the entire frequency range

Eclectic DJ/Producer/Music Curator/Music Designer from New York City.
Currently living in Miami Beach.


Sonic prognosticators Monta At Odds is a Kansas City combo led by the brothers Dedric and Delaney Moore. Dedric's pulsing, melodic bass and Delaney's artfully unhinged synthesizers frame the band's central character, which is fleshed out by a talented cast of musicians and collaborators. The result is a heady sonic pool that has been inscrutably referred to as ‘Ummagumma meets Arthur Russell’s mutant disco at Vangelis’s house.’

2021 finds the addition of acclaimed vocalists and songwriters Mikal Shapiro and Teri Quinn to the band’s lineup of Krystof Nemeth (Emmaline Twist) on baritone, Matthew Heinrich (Mysterious Clouds) on drums, Kenn Jankowski (The Republic Tigers) on synth, and Lucas Behrens on guitar and synth. With Mikal and Teri's otherworldly vocal contributions, along with guest Your Friend, Peak of Eternal Light, released on the Record Machine label,  is a cosmic sonic journey stopping off in post-punk and dark synthpop galaxies.

Monta At Odds continues to push their alternate reality into streamlined consciousness. Expect minimal rhythms set to maximum noise, shoegazed guitar signals, slo-mo psychedelic darkwave, endless dub echo, and extended-cut warped disco. Live musicians manipulating time and space via knob turning, cymbal cracking, and pedal pushing as they interlock into hypnotic moments of heavenly bliss that seem to hold forever, captivating the mind.

Grooveselector is following