This Never Happened is a record and event series created and curated by Lane 8.

Experience the moment. Don’t record it. This Never Happened.

My new Album 'SEROTONIN' is out now: https://armada.lnk.to/Serotonin

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. 


“Globally, there’s so much incredible rhythm-based music right now. From Trini soca and Brazilian baile funk to French afro-trap, South African gqom and the new wave of UK funky; all these different scenes, sounds, they’re thriving. We want to connect the dots between them, bridge the gaps, bring everything together, with our productions, DJ sets and, ultimately, live band.”

Global thinking comes naturally to Jus Now. In the half decade since Trinidadian producer Lazerbeam and UK beat-smith Interface met on a dark Bristol dancefloor, cross-continental collaboration has been at the very heart of everything they’ve done.

Separated by 5,000 miles of Atlantic ocean with deeply disparate upbringings and musical influences, but united by a love of percussion, rhythm, bass and a damn good party, Jus Now’s music could never have been anything but utterly unique. 

While at first the duo may have struggled to place their genre-shirking sounds, or even find enough music to play alongside their own in DJ sets; these days it seems the rest of the planet is finally catching up with what Jus Now have been doing since day one. 

Alongside their production work for many of Caribbean’s biggest superstars - including the smash hit ‘Big Bad Soca’ for Trinidad’s Bunji Garlin and ‘Fire (Spotie)’ with Jamaica’s Busy Signal - Jus Now have been busy in their new London studio working on fresh, globally infused UK rhythms and collaborating with the likes of Dismantle, Champion and Brazilian producers A.MA.SSA.

Although now signed to Warner music and with previous releases on premium independent imprints such as Gutterfunk, Digital Soundboy and 3beat, their latest EP, ‘Accents’ is a self-released project available exclusively via Bandcamp.

The EP packs six powerful, club-ready tracks that, in typical Jus Now style, draw influence from everywhere from Port of Spain to Paris. Bassy, bashy and ridden with rhythm, the tracks are inspired by the duo’s global travels and own unique sets of influence. Fusing classic Bristol D&B b-lines with off-kilter Brazilian drums; clattering Kuduro cadences with hypnotic techno grooves and lolloping Libyan rhythms with pitch-stretching synths; like everything they do, ‘Accents’ is as unique as it is incendiary.

Even though it’s been 7 years since they first met on that smoky Bristol dance floor, it finally feels like the world is ready for what Jus Now do. And with this latest EP behind them and a full live band featuring trumpeters, dancers, drummers and more in the works, it’s clear - Jus Now are ready for the world.


Jonathan Cook

Maudite Machine is a Canadian DJ and producer known for his raw, hypnotic approach to minimal and indie dance. Deeply rooted in the Montreal scene, he has performed at major events and iconic venues across the country, delivering sets that blur the lines between underground grit and dancefloor euphoria.
As the owner of VRSTL Records, Maudite Machine has carved out a distinctive space in the electronic music landscape, curating releases that reflect his uncompromising vision and deep connection to the scene's roots. Through VRSTL, he continues to champion the kind of forward-thinking electronic music that has defined his journey.
His sound speaks for itself—no-nonsense, immersive, and built for those who understand that the best moments happen when the music takes control.

Bookings: 
simon@primarytalent.com
laetitia@primarytalent.com

MGMT: 
james@purplewall.com
abi@hannahwants.com

Mgmt: holt@metatone.com // parker@metatone.com
Promos: deadspacemusicofficial@gmail.com

Orlando Florida, native producer/DJ, Dead Space AKA Steven Brantley has firmly established himself as one of the most talented rising stars in tech house today. Producing a driving blend of tech house and techno with a touch of funky fun and sacred beats, Dead Space delivers a unique and cutting-edge style of music. With productions created almost entirely in analog accented by deep vocals and driving basslines, in his work Dead Space searches for a deeper meaning of the cosmos. His masterfully crafted tunes blend into the heartbeat of life, sending people into a mental state where their consciousness reveals its secrets and builds them up to a moment of personal clarity. 

In a few short years, the talented young producer’s burgeoning career has already landed him releases on esteemed house and techno labels such as Repopulate Mars, Toolroom, mau5trap, and Desert Hearts, garnering support from industry heavyweights such as Claude VonStroke, Mark Knight, Erick Morillo, and Gorgon City. Dead Space’s growing catalog of tracks has been performed globally by the likes of Lee Foss, Gene Farris, Mikey Lion, Franky Rizardo, and more. Steven’s dexterous musical productions, masterful live performances, and keen ability to effortlessly curate and craft truly remarkable sets are fundamental elements of his distinct talent. Amassing millions of digital streams, Dead Space’s creative productions have additionally caught the attention of media outlets such as DJ Mag, Dancing Astronaut, Earmilk, and Data Transmission and gained him placements in renowned Spotify playlists including Housewerk and Swag House along with over 80,000 monthly listeners. 

In addition to having multiple tracks land in the top 100 on Beatport, his prodigal talent has landed him worldwide play on Pioneer DJ Radio and Rinse FM along with several features on SiriusXM radio via Diplo’s Revolution (Claude VonStroke’s Birdhouse & Erick Morillo’s Subliminal Sessions). On stage his energy is unparalleled, exuding ardent passion and grace. Dead Space strives to continue to be a dynamic force behind ushering in the new wave of tech house and underground music in the United States.

MGMT: chrislorenzo@redlightmanagement.com
Worldwide Bookings:
ferry.rais@caa.com
julian.teixeira@caa.com

<3

Bookings:
Atif@meanwhile.nl
perry.gilman@unitedtalent.com

Management: andrew@night-tones.com

Zack Snow is following