House music producer & DJ.

N+S America Bookings:
Cody Chapman
CChapman@paradigmagency.com

Spotify: http://spoti.fi/29pBabK

Management: 
Moe@theshalizigroup.com
Adam@theshalizigroup.com

Bookings: 
ROW: Mac Clark / mclark@caa.com
EU: panos@connectedartists.com
leon@connectedartists.com
       

Press:
Alesso@sequel-inc.com

For any DJ and bedroom producer, the ability to “hustle” is often the most underestimated, yet most important factor in determining whether they will fade out or successfully make their mark on the industry. Good hustle is the epitome of both the man and monumental career of international DJ, Roger Sanchez. From humble beginnings in New York City, diggin’ in dusty crates of old vinyl and spinning at house parties in Corona, Queens, to dominating huge dance floors and headlining festival main-stages in every corner of the globe, Roger is truly a self-made man and a house music legend.

The crafting of Roger Sanchez, the DJ, started in the late 80s, where as a young man he was enticed by the explosion of hip-hop that was taking over the city. Embracing the culture as a b-boy and graffiti artist, he would hit parties on the Bronx River and before long, his friends had him trying his hand on the wheels of steel. In a time and place where hip hop, house music, and “turntablism” all collided in a perfect storm of creativity, opportunity, and sick beats, Roger seized his moment and began to build his empire on vinyl and slip mats, starting with a few singles and expanding into a massive collection of over two thousand original productions and remixes.
Releasing music under a multitude of monikers, including the S-Man, Roger S., The Nu- Solution, Underground Solution, DV8, Ego Trip, El Mariachi, The Funkjunkeez, Tribal Infusion, Twilight, and Transatlantic Soul, just to name a few, Roger has been able to maintain the essence of his sound, his flavor, his “sabor”, if you will, while still using each alter ego as a tool to expand on various fresh and experimental sounds. Each one of his multiple music personas have allowed him the opportunity to defy the mainstream and travel out to the far reaches of the musical galaxy, collecting depth, wisdom, and perspective along the way and applying them to his future endeavors in innovative dance music sounds, allowing him to remain fluid and cutting edge across decades.

So many successful endeavors would have never been possible without a rock solid work ethic, something that Roger prides himself on. From the very beginning, he was a dedicated crate digger, searching for obscure samples and break beats in influential NYC record stores like Rock & Soul and Vinylmania. His infallible work ethic, paired with the strong foundation of art and culture that he gained from the Pratt Institute’s School of Architecture took control of the wheel as his passion for music expanded, driving him to start hustling mixtapes on the sidewalks of Broadway in order to finance his earliest gigs. With the encouragement of his father, an engineer, Roger abandoned his plans for a career in architecture and decided to devote all his efforts to his music.
Continue reading... www.facebook.com/pg/rogersanchezfanpage/about

Talk about FINE tuning… talent rising from the heat of the summer day he was born, straight to the dance floors he ignites.Young and ambitious, this music man is already eclectic in the business of beats. Meet and Greet... 

DJ B-Fine

With the main focus on being a crowd-pleaser, DJ B-Fine has one goal in mind and an effortless task at hand... his listeners, the dance floor's crooning beat hounds, focused on their ears drug of choice. With his ability to make a most vivid impression, his style speaks of his earliest influences, while his manipulation of the turntables shows his originality and skill. Known for a knack to throw in a MJ track and peak the crowds attention, he hits you with a dose of DJ doctoring, playing what you want and what you need to hear. 

Gracing booths from NYC and NJ, to Boston and Rhode Island, it is his ongoing desire to rock crowds everywhere. As DJ Riz has always said, "consistency = longevity" ... something DJ B-Fine uses to separate himself from the competition.

Holding Jazzy Jeff as his inspiration, along with the long and colorful track record of his mentors DJ Klutch, his manager Jerry X Carollo and DJ Riz, he is well tailored musically, with a fitting pursuit… of music and its endless versatility... 

"Being able to control emotion is powerful thing and such a great feeling. Seeing the looks on everyone’s faces and hearing the “ohhhs” when you drop a track they’ve never heard before but instantly fall in love with or impress them with a technical part of your set... when you know you’ve really got them... it’s not an easy feeling to describe, but keeps me coming back for more." - DJ B-Fine

For Bookings Email nutouchmgmt@aol.com

“I use my gut, and my gut don’t lie to me” is more than just a lyric in Twin Forks’ exuberant “Something We Just Know,” it is a kind of mission statement for the quartet. If you’ve ever been to a musical performance that made you lose all sense of time and place and give in to the cathartic feeling of clapping and dancing and singing along, you’ve already visited the sweet spot where Twin Forks have made it their mission to reside. “Whatever makes the audience stomp their feet and sing at the top of their lungs, that’s what I want to be doing,” says singer/guitarist Chris Carrabba. “I want to be generating that spirit from the stage.

Carrabba figured out the guiding principle for Twin Forks before he even knew exactly what the project would sound like. During recent solo tours, Carrabba -- whose Dashboard Confessional grew from an intimate solo-acoustic affair to a bona fide arena rock band during the mid ‘00s -- says he was reminded how important that audience connection had always been to him as a performer.

He also knew he wanted to craft a sound closer to the music he’d loved as a kid -- classic folk, country and roots music. Growing up outside Hartford, Connecticut in an area he describes as “half-rural, half-city,” Carrabba developed an early fondness for acoustic singer-songwriters he heard on the radio -- Cat Stevens and John Denver and Gordon Lightfoot -- as well as the more obscure Townes Van Zandt, Bob Dylan and Guy Clark LPs he found in his mother and step-brother’s record collections. “At the beginning of Dashboard, I wanted to write an acoustic record, but every time I played a D,C, or G chord -- which are called the ‘cowboy chords’ -- I would think about how Tom Petty or Cat Stevens or John Denver or Gordon Lightfoot did this already,” says Carrabba. “That’s when I started tuning my guitars all to hell and back, just so they sounded weird to me. I was probably playing DCG anyway, but I didn’t know anything about guitar, and that was how I could get myself feeling like I was in new territory.”

“When I started playing acoustic-based music, I wasn’t trying to avoid traditional folk because I didn’t love it -- I just loved it so much and didn’t wanna do an injustice to it,” Carrabba notes. “And I had other influences and I thought, why can’t I combine this punk and hardcore feeling with this classic folk feeling -- because they were both such massive loves of mine. But right now I’m more excited about utilizing the age-old, time-tested thing and trying to excel within the parameters of a traditional template.”

He still wanted to be in new territory, though, so when he started writing songs for the project that would evolve into Twin Forks, he wanted to add a new twist. So Carrabba spent three years teaching himself traditional fingerpicking technique. “There’s magic in that kind of playing, where you’re managing two guitar parts,” he says. “I have always found it fascinating and it just seemed like it was calling to me.” Equipped with that new set of skills, Carrabba started writing his most delicate, musically articulate compositions yet, temporarily setting them aside for he-didn’t-know-what. In the interim, making his 2011 covers album, “Covered In The Flood,” gave him the chance to explore his relationship with songs by some of his favorite folk and country artists, both classic and contemporary, including Clark, John Prine, Justin Townes Earle and Corey Brannan. He then worked up those covers for a performance at San Francisco’s Hardly Strictly Bluegrass festival.

The experience was a major awakening. “Onstage at HSB, we were elated. All I want to be is elated while I’m performing. Why else should we be getting onstage? We’re not up there to be some good-time charlie band, but we are not hiding the fact that we are elated to be onstage with you and we’re choosing the songs that are giving us the best edge to be able to do that.”

After Hardly Strictly Bluegrass, Carrabba returned home with a new sense of purpose and a clarity of vision for Twin Forks. In the previous two years, he had been sticking to a temporary rule he’d imposed on himself as a songwriter: “I had made this rule that I would not say ‘love’ or ‘heart’ in my lyrics,” he explains. “I would talk about those things but I wouldn’t say them. So when I came home from that festival and I did write the first song and it did say both ‘love’ and ‘heart,’ they felt like the right words, after not having used them for so long. I let the songs happen and found a tempo that suits what Twin Forks became.”

“Something We Just Know” came to him first, and then, the flood -- another eight songs in the following eight days. Twin Forks began tracking the new songs whenever they could, between tours with other projects, in a multi-purpose space Carrabba had converted into a studio. Over the course of several weeks starting last fall, they managed to record more than twenty tracks that they plan to whittle down to eleven or twelve for the debut LP they plan to release later this year. “We tracked everything live, and I have this tendency to get really excited about what everyone is doing and I’ll make a little hoot or shout, and you can hear all those things in the final versions of the songs,” says Carrabba. “On ‘Scraping Up The Pieces,’ everytime I listen to it and hear Suzie laughing, I’m dying to remember what could have been so funny. Then we additionally multi-track, which we figured was a thoughtful way of approaching the record. You get the error-prone thing that has all the magic in it, but that doesn’t mean you can’t chase a little more precision. But the goal is always to do our best to get it right in the same room with each other, looking at each other, laughing with each other. I think you can feel that all over the songs.”

Originally recorded with musician friends including mandolin player Suzie Zeldin, bassist Jonathan Clark and drummer Ben Homola, Twin Forks has evolved as a live band to include Kimmy Baranoski on backing vocals, Kelsie Baranoski on mandolin and Shawn Zorn on drums.

Euphoria (Nicky Romero Remix) out now!
nickyrome.ro/bio

I make music, play instruments and my dog gets all the shine ✨
Label || Protocol Recordings
Radio Show || Protocol Radio

Nicky Romero:
Follow me on Spotify: https://nickyromero.com/follow/
Instagram: http://instagram.com/nickyromero/
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Protocol Recordings:
Spotify: http://prot.cl/spotify​
Instagram: https://www.instagram.com/protocolrecordings/
Website: https://protocol-recordings.com

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