Montreal / Canada based dj and producer. I've been in the scene for more than a decade.
Constantly growing my sound that can be from deep house to melodic tech.

'WON'T BE POSSIBLE' 
with Odd Mob & Goodboys May 9th! 
https://tiesto.lnk.to/wbp

MGMT: bo@id8mgmt.com

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. 


One of the best DJs and greatest underground dance music producers of modern times, Angel Moraes is constantly redefining his craft and in the process, has become an inspiration to many people across the globe. From an early age, music has always been a very big part of Angel's life, so it’s no surprise that it’s this very passion that would pave the road for things to come and ultimately take him around the world. He has come to be known as the “DJ’s Producer” and the “Dance Floor’s DJ.” Born and raised in Brooklyn New York, Angel came of age listening to the great radio stations of New York City throughout the 1970s and 80s. Never out of touch with the sounds he loved, It was around this time that young Moraes realized what he wanted to do with his life. By the age of 18 he was already making the rounds to NYC’s legendary night clubs and making his mark on the house scene. Always on the prowl for cutting edge sounds, he was a regular for the late night underground groove at “Jellybeans Fun House". However, it wasn't until a friend introduced him to the magic of the “Paradise Garage” that he discovered home. He remembers "the Garage wasn't just another club, it was everything, like living in a dream. The first time I walked into the Garage I remember saying to myself, Holy shit! Who the fuck did this?” Sometime later, while spinning at a house party for fellow “Garagehead” and friend Sally Cortes (who's vocals are present in "Welcome To The Factory,” “Burning Up” and “Time To Get Down” alongside Octavia Lambertis of C and C Music Factory), Angel was introduced to veteran producer Victor Simonelli. They hit it off and the meeting turned into an invitation to a studio session. Angel was a natural, so comfortable in the setting that he decided to sacrifice the security of his day job and pursue his lifelong dream of producing music full time.

1993 was a big turning point for Moraes, having founded Hot n Spycy Recordings with partner Jeffrey Rodman (who co-owned Sound Factory Bar and managed Twilo). Angel set out on a mission to introduce a whole new sound, and introduce it he did. From his very first productions "Release Yourself", "The Cure", "I Like It", "Heaven Knows", the Moraes sound started making noise, lots of noise. His creative approach to producing and engineering would result in the hottest Bass-lines and rhythm sections to date. In addition he was introduced to the legendary mix master Tom Moulton, who would later team with Moraes to master all of his Hot -n- Spycy tracks. With drum patterns, dirty bass lines, industrial sounds, and stirring vocals, the likes no one had ever heard before, Angel was quickly creating and pioneering an industrial sound that is widely used in productions today, establishing Angel as a highly respected and sought after Producer/Remixer. Very early in his career he was invited to work on projects for The Pet Shop Boys, KD Lang, Jamie Myerson, Jocelyn Brown, Loleatta Holloway, and most recently Suzanne Palmer, Roy Davis Jr., and Dana Divine.

However nothing could prepare him for what happened next. "Welcome To The Factory," the seminal, now classic underground anthem absolutely exploded. Dedicated to the original legendary Sound Factory manned by the one and only Junior Vasquez, this track defined an era and inspired legions of people, especially fellow DJ/producers to take a different approach in the way tracks are produced. Many of those producers are highly respected artists in the dance scene today. With "Factory," word spread like wildfire, the tracks began to chart, and Angel’s skills in the booth came into heavy demand. Following the success of "Factory," Moraes began an intensive touring schedule that has made him a well-known DJ and a regular favorite throughout the World.

Not one to rest on his laurels, Angel knew that there were a few challenges still brewing in him, especially the one since that first visit to the “Garage.” Coincidentally, during this time Moraes was invited to play at Playground, an afterhours club in Montreal, Quebec, Canada. Angel was absolutely blown away by the vibe and the French influenced "ville" and after a few more trips to Montreal, he knew he would opt on the Canadian metropolis to house his long coming inspiration, the now world renowned “STEREO” nightclub. The underground afterhours that has become known as the World's Greatest Afterhours Club. Inspired by his many nights at the Garage, Stereo was pretty much modeled after the legendary club and with the same philosophy. Mr. Moraes himself designed, built and installed the now infamous sound system. Much of the fame that Stereo has enjoyed is because of that massive sound system and the vibe that Angel created there. Often imitated but never duplicated, Angel is in a class by himself as the only person in the dance music industry who can DJ, produce, remix, design and build his own sound systems at the level that he can. As a person who's always looking to explore and expand upon his professional achievements, Angel hopes to reach new heights in the future. With a slew of top notch productions in recent years including "Music Is Your Life,” "Shakedown" remix, "Magic Carpet" and more recently "A Stereo Tribute,” also in the pipeline is a new remix of the Ralphi Rosario bomb "You Used To Hold Me," with many more already in pre-production and many more to come. Crowds that have enjoyed the vast talents of Angel Moraes are in for a whole lot more. Angel has been pretty stationary in recent years, due to his amount of work in New York and Montreal, but all that is going to change as he is already starting to talk about touring again. Anybody that has purchased one of Angel's tracks or caught one of his DJ sets will tell you that this man is nothing less than a true master. Recently, Moraes along with partner Steve Bishop have introduced Montreal to a whole new level of dance euphoria, LOVE Sundays. Held at Terrasses Bonsecours every Sunday, this party is nothing short of spectacular and a true testament to the creative vision of Angel Moraes. Boundless, energetic and full of possibilities are just a few ways to describe this selfless contributor. August 2011 will see the launch of his brand new website that will be the most cutting edge site to be offered by a DJ/Producer and will redefine the artist’s website. As we look toward the future, it is quite clear that this man has no intention of slowing down.

:: BOOKINGS ::	

john@analog-a.com 

The Soundgarden events: Petra | petra@thesoundgarden.co

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Follow https://soundcloud.com/thesoundgardenrecords & https://soundcloud.com/hoperecordings on Soundcloud.

www.myfavoriterobotrecords.com
My Favorite Robot Records has been a strong force in underground electronic music since 2008.

The Toronto based label is an offshoot of the act “My Favorite Robot” formed earlier in 2002 by Jared Simms and Voytek Korab.

The label has managed to consistently release quality music by some of the electronic dance world’s most renown producers such as H.O.S.H, Kenny Glassgow, Jori Hulkkonen, Eric Volta, Sasse, Fairmont, Tiger Stripes, Tim paris, Chymera, Sid Le Rock, Tim Green, Clarian, and My Favorite Robot themselves just to name but a few and there is no slowing down for them!

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