Where house music, art and mythology collide **SPARKLE**

The Unicorns offer more than just the ever popular art car at Burning Man, but that’s where this fairy-tale started in the spring of 2011. A group of artists, makers, DJs, and adventurers brought their love of all things funky and magical together to create the Charlie The Unicorn Art Car, an homage to the most infamous Unicorn in the history of popular culture.

Shortly after the launch of the art car, the Los Angeles based team realized they could spread the Unicorn sparkle to thousands more by producing local parties and participating in community festivals. Since then, this blessing of enchanted beings have put on events in Los Angeles, San Francisco, New York City and San Diego. More art was built including the LED Rainbow and The Unicorn Lair, a unique staging and art area that can feature DJs, musicians, dancers, live painters, projection mapped imagery and whatever your imagination can add to it.   
As of 2018, The Unicorns have hosted stages at or been a part of LA Pride, Boogaloo Art Car & Music Festival, One Love Festival, i3Arts Festival, Los Angeles DeCom, San Francisco DeCom, Venice After-Burn, Untz Festival, YouTopia, Chalice Festival, Emerald Exchange and the San Diego Mardi Gras Parade. The Unicorn DJs and musicians have performed at Coachella, Lightning in a Bottle, and many other internationally known events.

House - Techno - Breakbeat - Electronica

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Objektivity(NYC)
BOOKINGS: World (excl. North America): andrew@objektivity.com 
North America: olena@objektivity.com 
Management: olena@objektivity.com


Could Nasser Baker be the next huge talent unearthed by Objektivity boss Dennis Ferrer? We certainly think so. Displaying a real maturity in his productions and a distinct lack of vocal fear, Nasser delivers quality, time and again.
 
Off of the strength of his first ever release and label debut, ‘Salutations EP’ (Objektivity, 2013) came the 2015 'Deadlines EP' (Objektivity), followed by the 'Future Primitive EP (Objektivity, 2016). Keeping it busy in between the original releases, Nasser has delivered a couple of stellar remixes for PMR, Objektivity, Nervous and more. His 2016 endeavour, the ‘Gramercy EP’ on Suara received great reviews and showed off Nasser’s more techier side. Follow-up releases didn’t disappoint. Both ‘Just Like That EP’ (2017, Objektivity) and ‘Say Something’ (2018, Circus) received raving reviews and connected brilliantly where it matters most – the dancefloor.
 
The 2019 marked a collaboration with Yulia Niko on ‘Someone I’m Not’, another banger called “Shake It Shake It” (both on Objektivity) followed by the now classic ‘Bodytude EP’ on Relief. A “rising artist with a sound and musical taste well beyond his years” according to upfrontbeats.com, Nasser choses quality over quantity time and gagain, and Bodytude EP is the proof. Title track ‘Bodytude’ opens the EP is fine style as Baker combines infectious lead synth with hooky male vocals and bumping low-end tones to reveal a lively cut typical of his ever-maturing production style, whilst ‘Pickelhollaback’ introduces a more off-kilter arrangement as layered vocal samples work alongside soaring melodies, driving percussion arrangements and sporadic bleeps and sonic effects go to work to shape up proceedings.
 
Feeding off the success of Bodytude, Nasser releases his ‘Tribes of The Metronome’ on Dirtybird in 2020. The title single's stuttering bassline and simple vocals is an example of how to have maximum impact without being overproduced. The flip side, 'About You' is a tech house track with a house music feel - dirty bass and a playful lead line, accented by a straightforward phrase that proves effective.
 
After taking a couple of months to regroup and recharge in the studio, the next brainchild of Nasser was ready to meet the world. 2021 marked Nasser’s return to Relief with the ‘Funky Uncle EP’ followed by his remix of ‘Whisper’ (Ferrer & Disciples, Defected) shortly after.
 
Currently back in the studio wrapping up the next batch of fresh beats, Nasser is excited for the world to go back to normal and can’t wait to share the dancefloor with everyone once again.
 
Stay tuned!

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

Domestic Science delivers utmost quality to an industry based beats and authenticity of the best known music underground culture. He's had some stand out releases over the past few years on International labels DeepStitched Records, DeepWit Recordings, EDM Underground and Limitation Music.


Aliases: Domestic Science, 4llucinex, Cosmic Society, Alpha Citizens (Koala), Magnetares, T.A.S.E (Akkad), Perseids.

boss of Trippy Ass Technologies
all bookings: bookings@trippyasstechno.com

Sexy Dirty Melodic Funky Soulful  Music 
     Vocal Electronic Deep Bass House

Justin Fuller aka Art Official has been involved with electronic music his whole life and has been DJing clubs, festivals and house parties since 2001.  He has headlined shows all over Canada and has played alongside major artists like Marten Horger, Kiinjo, Deko-Ze, Guest Who, We Are Robots and Mikey Da Roza..just to name a few.  Art Official is known across Canada as a purveyor of sexy, vocal, electronic house music aka "Party Tunes".  Since 2001 he has recorded over 80 full length mixes showcasing his broad and signature brand of house music.  
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403-975-0814
justin.r.fuller@gmail.com

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