DJ J Warren
For over a decade, DJ J Warren has been igniting dance floors around the world with his signature blend of high-energy big room beats, uplifting vocals, and driving basslines. Known for crafting euphoric, emotionally-charged sets that take crowds on a journey, J Warren’s sound is a staple at major festivals, Pride events, and top-tier nightclubs across the globe.

From his breakout performance at White Party Bangkok to headlining gigs at One Magical Weekend, Unite Music Festival, and Market Days in Chicago, J Warren brings undeniable energy and his signature sound and electrifying presence wherever he goes. His international resume spans cities like Sydney, Tokyo, Ho Chi Minh City, Bangkok, and beyond.

As a producer, J Warren continues to develop his sound with a growing catalog of original tracks and official remixes for artists like Eliad Cohen, Glovibes, and George Figares. With an EP on the horizon and an ever-growing global fanbase, J Warren shows no signs of slowing down.

Whether it’s peak-time anthems or deep, soulful builds, DJ J Warren is all about connection, energy, and unforgettable moments on the dance floor.

International Dj / Producer
Instagram: https://www.instagram.com/djxavieralvarado/
Contact : djxavieralvarado@gmail.com
+52 5519519534

DJ/PRODUCER XAVIER ALVARADO (Mexico)
With a growing passion for electronic music at a young age, Xavier became a self-taught DJ, developing the fresh musical approach that landed him his first professional opportunity in Puebla, in Mexico in 2009. 

His experience with bigger crowds came when he moved to Mexico City the year after, where he had the opportunity to spin for bigger clubs and parties throughout the country. In 2013, he was invited to launch Maninfest, a new fetish brand for men that allowed him to become the resident DJ and to evolve into his well known sexy and energetic beats.

As the Maninfest resident DJ to date, Xavier debuted first in Paris, then in Madrid during one of the biggest gatherings of the bear community in Europe. That same year, he was part of the Arena and Paradiso festivals, both hosted in Playa del Carmen, Mexico. 

In 2016, he was selected to spin the Main Floor for Real Bad XXVIII during Folsom Street Fair in San Francisco making for an astonishing debut in the USA, followed by his debut in Brasilia, Brazil and Montreal, Canada in 2017. 

2018 been his biggest year yet, with a fully booked agenda including dates in The Week Brazil and his first North-American tour with the DILF party in New York City, Palm Springs, Atlanta, Chicago and San Francisco. This new DILF residency will bring him back to the US with more dates to be announced for 2019 and 2020.

Tristan Jaxx brings a fusion of sound for a unique musical experience with each podcast...Experience the trademark mashups/mixes that create an ADHD like experience for those who like to keep their music moving, with transitions that have an almost mashup like effect.

TIFFIN, a stalwart in the house music scene, has been captivating audiences with his pulsating beats since 2011. Influenced by legends like Paul Oakenfold, Benny Benassi, and Peter Rauhofer, TIFFIN's sets are a heartfelt tribute to these icons. His notable collaborations and performances, including stages shared with Diplo and The Chainsmokers, have solidified his reputation. Despite being deaf in one ear, TIFFIN's keen sense of sound distinguishes him in the industry. Drawing inspiration from artists like KREAM and Diplo, he continues to create immersive, emotionally rich musical experiences that resonate deeply with his audience.

Bookings contact:  bonanzabrosmusic@hotmail.com

disabled account

brazilian deejay based in São Paulo - SP

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

qdriver33 is following