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Lee Burridge

Lee Burridge 

Photo: Roshanak Sariaslan

News
Lee Burridge Hopes LP 'Melt' Helps You See Truth lee-burridge-hopes-his-new-album-lost-desert-melt-helps-you-see-passion-truth-yourself

Lee Burridge Hopes His New Album With Lost Desert, 'Melt,' Helps You See Passion & Truth In Yourself

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"[My hope is] that people will listen from the beginning to the end…Because it's passion, it's honesty, it's truth and hopefully other people will find that in themselves," the All Day I Dream founder recently told the Recording Academy
Ana Monroy Yglesias
GRAMMYs
Jul 22, 2019 - 3:31 pm

If you've ever attended a transformational music festival (like Southern California's Lightning In A Bottle) or enjoyed the underground house scene in the last 36 years, you probably know Lee Burridge. The British DJ/producer is perhaps as well-known for his dreamy, expansive electronic music and the joyful All Day I Dream events and label that showcase those sounds, as he is for his ever-present smile.

Recently, on July 19, he released Melt, his debut full-length, produced collaboratively with Belgian labelmate Lost Desert, who Burridge explains has helped expand his own skills in the studio. The pair have released a handful of tracks and EPs together since 2016, including "Lingala" that year. It features evocative vocals from Junior, who sings on the track in native Congolese language, Lingala. A new version of the song appears on Melt, along with another Junior-powered track, "Mibale." Across ten songs in an hour and seven minutes, the LP is the perfect soundtrack to play as you soak in the magic feeling of enjoying a sunny day outside and watching the clouds pass by, as is encouraged at ADID.

Back in 2011, Burridge launched ADID on a Brooklyn rooftop. It has grown exponentially, into a label and a global event series that highlights a growing, talented crew of house and techno DJ/producers, like Öona Dahl, Lauren Ritter, Bedouin and YokoO.

As Burridge, the other artists and their loyal fan base helps bring the vibey parties to more cities, including Berlin, Ibiza, London and Los Angeles, ADID feels like a movement to create more mindfulness and joy in the dance music space. Sitting down with Burridge at an extra-sunny edition of San Francisco's June ADID, he explains that creating mindfulness is exactly what he set out to do.

"This is the soundtrack to collective engagement and community building. This is really important to me to bring people together, it always was. And also to make them smile. That was actually the first intention at the first party and it's never changed," Burridge said of the events.

Below, Burridge tells the Recording Academy more about the intention behind ADID, Melt and more. 

GRAMMYs

Junior performs live with Burridge at ADID SF | Photo: Roshanak Sariaslan

So you started the All Day I Dream events in Brooklyn about eight years ago? Was it at the Output rooftop?

In 2011, yes. No, I scouted a rooftop one year before. I basically moved into it. They did a job, set up some speakers and two tables, my equipment, a bar. It was baking hot, July 4th. And I just thought, "I can do this better." I'd been to Burning Man. I thought, "It's very gray, I'll hang up material, lanterns and fairy lights and make it look not like an industrial rooftop in Brooklyn. I'll create a world." And that was it. It was just an empty space with a really wonky, wobbly floor that was made of a sort of soft material. The hotter it got, the wonkier the floor got.

Was that the birth of All Day I Dream as it is today? Can you give us a bit more of the origin story?

I mean, it was the birth of the event, the origins came from not being content with where music was and wanting to add another layer or another option for people. Melody, harmony, emotion had kind of been drained by minimal. And that's cool because people are having a great time with minimal, but me personally, I was noticing it being a lot more men at events. Like 95% men at some events, all in black T-shirts.

I really wanted to rebalance that energy out in club land because there seemed to be less options that were attracting girls. And I think it's not only the music, because minimal was a good sound for girls and guys, but I think it was also the tipping point of too many men at a party becomes less comfortable. And it was in black, dirty warehouses with one toilet that had been overflowing for like nine hours.

So I was exploring and trying to find that music to try and play in a set, which became a mix that was released on Resident Advisor. Then I played a set like it at Lightning In A Bottle. Everybody else was playing banging [electronic music]. And it really worked, people really connected to it. Then I started playing it at Burning Man, BPM Festival and when 2010 came around, I played that kind of music on that rooftop and it seemed so perfect with the sun setting. But I just knew that I could do it better and add other things to it to create this world. That was the first step forward that I had hoped people would connect to the idea and then it would allow me to take it around the world, which, fast forward nine [ADID] seasons, and here we are.

Related: Jan Blomqvist Talks Playing Coachella, Berlin Techno & Covering The Rolling Stones

With the ADID events, it seems very intentional that mindfulness and just being present is at the forefront of the events. I think part of it is the music itself and your presence and the people that you bring together, but is this something that is important to you?

This is the soundtrack to collective engagement and community-building. This is really important to me to bring people together, it always was. And also to make them smile. That was actually the first intention at the first party, and it's never changed.

I think the music is a filter of sorts, it's not for everybody. Everybody's welcome of course, but you really kind of draw a line with some people, it's not enough energy for them or it's not focused enough on pumping your fist in the air. They don't come and then we get this amazing collection of people that we have ended up with. One of the proudest things is, I've said this a few times, is that I've had over 30 couples that have come up and said, "We met at your event and now we're married." That's amazing to me.

"This is the soundtrack to collective engagement and community building. This is really important to me to bring people together, it always was. And also to make them smile. That was actually the first intention at the first party and it's never changed."

You often open the events with yoga and meditation, which is really cool. Is there anything that you've learned along the way, or anything else that you do to make sure that vibe remains at all the events as you grow to more cities?

By not selling the event to people and letting it grow organically, letting people bring their friends. They are the best filters we have. We could get so many more people and make so much money, but it's not the drive. Of course, the event now makes money, but we put money back into the event to make the event better for people. I always wanted to do that, it never really was a financial project for me. It was a community building project for me.

And to leave it in the hands of everybody else, to not make it my party and make it everybody's party. Of course, we're not the first people to ever have yoga at an event, it's been existing for years, but we definitely want to keep building on other experiences people can have. But at the end of the day, as you just said in the previous question, about the music not being really the center of the experience, absolutely. Because people should come and sit on a blanket and literally look at the sky if they want and listen or hang out with their friends. A lot of people use it as a sort of social meeting point to either make new friends or to bring their friends all together at the same time. And there's not so many of those out there. People go to a festival with a group of friends, but sometimes you're so focused on I need to be here, I need to be there. It seems to be more relaxed it at this event.



View this post on Instagram


All Day I Downward Dog

A post shared by All Day I Dream (@alldayidreamintheclouds) on Oct 31, 2018 at 6:57am PDT

Yeah. Less shoving.

Totally. You can dance your ass off, but also you can just wander around, look at how cool people look, you can enjoy the food. It's not really a pop in, schmooze, I was there. People sort of come and commit to it. I love that because I have the same energy.

You said ADID is not really about you, but you're still running it, making sure it happens. What's your favorite thing about being a part of it?

Actually getting to develop new artists now. I always wanted to help everybody along my way. You know, "come and DJ with me, we should do this together." A few years ago I tried to do it, but I wasn't really at that part of my career where it was easy. Sure, I got gigs for a few friends and it helped a bit.

But with this, I get to curate, explore, discover and then, sort of, impart advice. All the mistakes I made along the way, maybe I can expedite that younger artist's growth and experience within the industry. Because we didn't go to school for this, we just sort of fumbled forward and discovered and loved it, and went wholeheartedly into it. But that doesn't mean you're good at it. I see some people that are great business people and I see others that are just true artists. I feel like we should all be somewhere in the middle.

And those that have been successful shouldn't be paranoid about losing their position. They should totally be pushing, influencing and growing the industry. Because it's not about losing your place, it's about the industry getting bigger. That's been a joy for me to see the successes. It's almost like you're vicariously living other parts of your career through younger people. I'm not going to be doing this forever, but I'd like the scene, all this music, to be out there in the world as long as possible because it's positive for people. It's enjoyable. It allows them to have a group of friends that they can empathize with and experience things with.



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Another fabulous family affair with @djleeburridge, @hoj808, @doubletouchofficial, @royrosenfeldofficial, and @junior_akwety in magnificent Golden Gate park. : Roshi Littlelight Sariaslan

A post shared by All Day I Dream (@alldayidreamintheclouds) on Jul 4, 2019 at 8:55am PDT

I want to touch back to when you mentioned the underground scene was all minimal. Going into it were you like, "I want to see if I can create another lane here"?

100%. I found a few artists that had made some records that really blew my mind. Because I came from—I love saying this because it makes me sound so old—I am from a time where DJs used to play long sets and some of them had this innate ability to make you feel like you were on a roller coaster. It wasn't one specific thing. It wasn't this banging energy. I could do that 'til the cows come home and it works.

But there are other lanes, as you say, to really weave together music. If you go to a classical music symphony, it's not one thing, is it? It really has crescendos and it has drops in it and you're on an emotional roller coaster. So it really made sense to me, if I'm going to play music that has emotional elements to it, without being overly cheesy or obvious or overdramatic, that it made sense to actually think of a beginning, a middle and an end, and everything in between. So I integrated that into what the whole thing should feel like.

I also had anthems. Music moves so fast, you might come to a party and only hear a song once. In New York, it was four parties and I decided on about ten records that I would play every single party. They weren't particularly big records at the time, but people grew into them and then were crying because they loved them so much. Then they were asking for them, after they owned them at home or streamed them. I think it was coming back to how it used to be previously for me and seeing if it resonated with people still. It does.

Obviously, I can do that through the label now, but I also do it with any track I find. Every year I try to have a few that they're identifiable with that year at that party, everywhere you go and they're moments, you know? Not fleeting moments, they actually are moments you can build on and become bigger moments.

Yeah, so there was a lot of thought behind it on my part. One of the mistakes I made, but also of the things that worked, was the first ADID New Year's parties I played for the whole seven hours. I got to tell the whole story. And still to this day, it's hard to step away from the project because I'm so integral to it. I'd like to because I'd like the other artists to be more in the spotlight, which is why sometimes I'll put myself on in the middle set and let another artist close, because they deserve it. A lot of the time you don't get that opportunity.

Today is the day we finally get to release Melt out into the world for everyone to experience. I hope you enjoy listening to the album as much as we enjoyed creating it. https://t.co/ExmySUud6F pic.twitter.com/qA3OAIdPjV

— Lee Burridge (@leebu) July 19, 2019

So I was kind of shocked to realize that your album that's coming out soon is your first full-length, because you've put out tons of great music.

Yeah. Finally, right now, when it's not relevant to do albums anymore.

I think albums are coming back, honestly.

No, no, this is the point. We wanted to buck the trend a little bit because people tend to put a collection of tracks on an album in dance music and then there's just a bunch of singles. I really enjoyed listening to albums all the way through and just because it's out of vogue right now doesn't mean it won't find the right people. So, we decided to do an album.

I'm not really a producer, that's the thing. It's not my first skillset. I have to work with people and sort of guide the ship. Everybody I've worked with is super talented. I'm sure they do quite a load. I'm just giving them more ideas and taking them to different worlds. So Lost Desert really even didn't even exist, actually. I mean, he existed as a man, but he didn't exist as an artist then. He was in the middle of nowhere ghost writing, feeling he missed the wave. We became friends and I was like, "there's a new way to catch a ride," and here we are today.

It's one thing to make a track together, but with a full album I'm sure there's points where your visions differ. What was your favorite part about collaborating on that project and what was the hardest part about it?

I thought the differences are the best part because they pull left and right. If you eat a dish that has one ingredient, it doesn't taste the same as if you throw a couple in there. And his emotional journey through life and my emotional journey and our professional journeys led to a lot of conversations about who we are as people and what's happened to us in our lives. And then we've tapped into those experiences of ups and downs, of things that you wish you'd done, but then we say, "Why don't we do it?"

And I actually got to make a friend out of it which was important on a very deep level for me. Again, the music will stay out there in the world, and I have this friendship that was built by being really honest with somebody in the studio about how you feel and just learning from somebody, actually. Patrick [Bruyndonx]—Lost Desert—has so much talent, it's so raw and just gushes out. He could make a thousand tracks in a year. But you need another person to just sit and really focus on what's actually coming out and whether that resonates out in the world. As people, our moods change on a daily basis. If he's tapping into an angry day where somebody's turned up and shouted at him, perhaps that's not the message we want to put out there in the world right now to represent him.

My favorite bit was the learning. And growing as a producer for me, because if I'm compared to Patrick, I'm still in my infancy. He's teaching me the walk. I can articulate what I want, but I'm a one finger keyboard player. I used to be afraid to do that but he encouraged it and now at least I can, again, muddle forward and we can get to where I hear something in my head.

So now, when you're producing, do you prefer to do collaborative work?

I think I have to only do collaborative. I think I'm a long way off of even making a single on my own.

"It's never too late for anybody to make music. If you feel like you have any sort of creativeness inside you, why not?"

When you first started DJing, was producing something you were scared to try?

I just was busy being a DJ, I think. I was in Hong Kong and back in the day, when I used to party all the time, my days were being up all night and sleeping all day. I didn't put time in, which is my one regret, that I didn't allocate more time to learning then because it was time I could have started on the path. But it's never too late for anybody to make music. If you feel like you have any sort of creativeness inside you, why not? I mean, you don't have to release it. Sometimes you just make it for yourself.

Honestly, I could have just paid Patrick and this could be a Lee Burridge album, but I don't like artists that do that because it's not really a representation of who you are. And I want to always big up everybody I work with. I mean, we tried to put Patrick's name first on the album, because I think he deserves that, and everybody was saying, "No, you're the bigger artist." I understand why, but I'm definitely going to make sure he gets his credit for being the true talent behind the music. I guess I'm much like an executive producer.

When you've made a name for yourself and you're good at what you do, it can be easy to just keep doing that. But it sounds like it was a great experience for both of you.

It was. Fantastic!



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Myself and @LostDesertmusic. On a couch. Smiling. True story...Oh, by the way, I can't wait to share some of our new music with you soon...

A post shared by Lee Burridge (@djleeburridge) on Jun 13, 2019 at 10:01am PDT

Are you going to make more albums together?

Absolutely. I mean, we're already starting the new one. We're both hugging each other constantly going, "Thank you so much." From me for various things, but definitely in the case of making the album, Patrick's generosity, and from him for plucking him from obscurity, I guess, and giving him the opportunity.

How did you first meet?

The real version or the lie? I said I was hiking through a desert and I heard strange sounds coming from around the corner and found Lost Desert field recording in the Serengeti. It works. I wanted it to give it some mystique. You know, we didn't say his real name at the beginning and then people buy into things, and why not?

It could have been that, but we just played together in Belgium and luckily he had been on as the warmup DJ. I really liked him, I felt that "I want to get to know this guy." I never go to after parties anymore and he said, "Do you want to come to my house?" We went and sat and listened to music all night after we played and we just really got along. Then we started talking and then I just was like, "Can I come work in the studio with you?" I took the train from London and went to the studio and we started making music. "Lingala" actually came out of that. So it's magical. It's magical to still be able to have the drive to learn, not just be, as you say, stuck in a lane where everything's fine. I like learning, I have a thirst for it.

How are you feeling about sharing the project now, your first LP?

I'm really excited. I listened to it a lot and, ego free, it's a nice album. It's cohesive and it has some really nice moments. We worked with Junior who's going to sing today, he's got an amazing voice. I have no fear because I don't think we have any aspirations for it to be number one or anything, you know? We're putting some work out there and hopefully people will find it and enjoy it for a moment. Or it'll mark people's summertimes.

I gave it to a few friends who I knew would critique me, but the worst I got was, "It's kind of an album you'd hear in a restaurant in Ibiza all summer." I think that's amazing. People will have Shazam, I don't need to just be discovered at my own gig playing a record. I think it's really important to reach other worlds and that's a brilliant place to hear music. I've Shazamed plenty of things in restaurants, so it makes me happy to think that they said that.

I like that.

No, and also everything's always out of our control. So, 100% there'll be, "This is dull, it doesn't sound fresh," because the person who's listening, it's not their jam. And other people will be gushing. I think you learn more from criticism than you do from praise. So bring all of it on. I'm going to read everything that's said and it's not to fill my heart with joy that people love it or this might do well, I actually want to read what people didn't like. And then the next album, maybe somewhere in my subconscious that will sort of spike other ideas.

What was your biggest vision or hope for this project?

That people will listen from the beginning to the end is all, and realize it's one piece of work that is a journey. And maybe win some more people into committing to an album rather than three minutes of a track or just 30 seconds. Because it's passion, it's honesty, it's truth and hopefully other people will find that in themselves.

"[My hope is] that people will listen from the beginning to the end is all…Because it's passion, it's honesty, it's truth and hopefully other people will find that in themselves."

And then what about for All Day I Dream, what's your biggest hope and wish for—

All Weekend I Dream is the next cycle.

A festival?

Yes. But we want to approach it in a different way, that it's not just relentless music. There's a lot of talk of the mental health consciousness. So we're going to approach it in a different way and actually have things for people to do, it's not just party after party. Lots of quality things that people can connect to, but they can also go sit and have dinner with their friends or go have a nap, and just approach a weekend a bit differently.

You travel a lot with ADID events and other DJ gigs. Do you have any self-care musts to stay grounded when you're on the road?

Meditation, 100%. And stretching out after the gig. When I get back to the hotel, I'll always stretch for at least half an hour because I'm old. I throw my body around and forget I'm old because my spirit is exactly the same age it's always been.

How old is that?

And then I wake up. I'm 50 at the moment.

No, your spirit.

Oh, my spirit. Oh I don't know, like two and a half with the maturity of a 15-year-old. [Grins.] I forget and I'll wake up in the morning, [saying], "Oh my legs, my back." Ever since I started stretching, I don't really suffer from that anymore. So definitely meditation and stretching.

Agoria On Making His First Album In Eight Years, Playing Coachella & The Architecture Of Dance Music

Damian Lazarus

Damian Lazarus

Photo: Santiago Felipe/Redferns/Getty Images

News
Damian Lazarus Reveals Day Zero Tulum 2020 damian-lazarus-day-zero-tulum-2020-me-audiofly-black-coffee-dubfire-ellen-allien-more

Damian Lazarus' Day Zero Tulum 2020: &Me, Audiofly, Black Coffee, Dubfire, Ellen Allien & More

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Aren't sure how you'll be celebrating surviving the '10s? How about in a jungle in Tulum, set to trippy beats?
Ana Monroy Yglesias
GRAMMYs
Oct 18, 2019 - 2:10 pm

Today, British DJ/Crosstown Rebels label head Damian Lazarus, beloved for the otherworldly soundscapes he channels in his DJ sets around the world, has revealed details for his Day Zero Tulum 2020 event. The Jan. 10 party once again features an epic offering of experimental house and techno DJ/producers, including Lazarus himself, from across the globe.

Helping guide the sound journey amidst the magic-filled Tulum jungle venue is South African house maestro Black Coffee, Berlin techno queen Ellen Allien, GRAMMY-winning Iranian-American house and techno heavy-weight Dubfire and London-based Italian vibey house master Francesca Lombardo, to name a few.

pic.twitter.com/CAi88ZwGhM

— Damian Lazarus (@damianlazarus) October 18, 2019

Along with Lombardo, Art Department, Audiofly and Bedouin are among the artists on the lineup who have released music on Lazarus' acclaimed Crosstown Rebels imprint.

Lazarus' one-day (well, his set typically journeys hours into sunrise the next morning) extravaganza is returning to Tulum for the seventh year. He first launched Day Zero in 2012, to coincide with the end of the Mayan calendar (Dec. 21, 2012, which was believed to be the end of the world).

He has since brought Day Zero to a select other locations, including Playa del Carmen, Mexico and, most recently, in Israel, for the first Day Zero Masada: Dwellers of the Dead Sea, at the base of an ancient palace. His Get Lost parties, launched as an alternative experience (really, an alternate dimension) at Miami Music Week over a decade ago, are another showcase of his eclectic musical tastes, many talented friends and next-level experiential parties.

Last weekend marked the very lit looking Get Lost New York debut. Damian will also be bringing his spooky, spacey sounds to a few more U.S. events this year, including DJ sets at Space Miami on Halloween and at HARD Day Of The Dead in Downtown Los Angeles on Nov. 2.

Tickets for Day Zero are not yet on sale, but will be posted, along with more details, on the event's site.

Marbs Talks New Techno Sublabel Desert Hearts Black, L.A.'s City Hearts, Looking Up To Dubfire & More

John Digweed

John Digweed

Photo: Dan Reid

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John Digweed's 'Last Night At Output' Lives On john-digweed-played-clubs-final-party-now-last-night-output-lives

John Digweed Played The Club's Final Party; Now The 'Last Night At Output' Lives On

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On Dec. 31, 2018, Brooklyn's famed Output held its final party after six years of reshaping the New York club scene. Now, with Digweed's new compilation album, fans can experience the beats he shared that night
Ana Monroy Yglesias
GRAMMYs
May 3, 2019 - 6:54 pm

Fridays tend to feel extra special when that album you've been waiting ages for is finally here, or a surprise drop shifts the course of your day. Today, Fri. May 3, British DJ/producer and underground house hero John Digweed's new release Last Night at Output is a not only chock-full of house and techno bangers, but it is a memento of the iconic Brooklyn club where he first shared the set.

On Dec. 31, 2018, Digweed DJed at Output for his twelth and final time, only a few weeks after the club's owners sent a ripple through the house community by announcing its eminent shuttering. Digweed kept the dancefloor moving for 10 hours (yes, you read that right, he played a 10-hour set!), playing beats from fellow underground legends like Agoria, Dixon, Josh Wink, Acid Pauli and many more, as well as some deep cuts and unreleased tracks of his own.

"Output changed the clubbing landscape in N.Y. and in six short years became the destination venue for quality house and techno in North America," Digweed tells the Recording Academy over email.

"I was lucky enough to play there 12 times and had the privilege to be the last DJ to play that room. I wanted to mix the 10-hour set up with a selection of classics tracks from the likes of Âme, Dixon, James Holden and Laurent Garnier alongside my trademark new and unreleased tracks. Sometimes it's hard to achieve a mix of old and new without some tracks sounding out of place but when I first listened back I realized how well they worked together and I wanted this set to be released and serve as a lasting memento for fans of the club." 

So excited that this album is Out Today “Last Night at Output“
Available to buy / download and stream today check this link for full details: https://t.co/OfSF2mzPq7

Have you already got your copy? let us know what you think...pic.twitter.com/8gdOApIFxR

— John Digweed (@DJJohnDigweed) May 3, 2019

The vibe and music lives on with the new album, which you can get a taste of with the mini-mix above. Via Digweed's own Bedrock Records, Last Night at Output can now be enjoyed as a six-CD box set or vinyl four-pack, both with colorful packaging and limited signed editions. Beatport also offers digital download options, as well as Spotify and Apple offering a streaming version. With the album's description, the internationally-revered DJ/producer offers more context:

"Having been a regular behind the decks since it opened and having released a Live In Brooklyn album over two years ago, you could say I have a real love for this space. When it was announced that the club was closing and I would be playing the very last set there I had so many mixed emotions from sadness to joy and an overwhelming pressure to deliver a party that a club of that stature deserves. I really put my heart and soul into that party drawing from my favorite tracks over the years.

The set seemed to fly by and there was just a constant sea of smiling faces from the dance floor all night long as the crowd literally savored every record on that crystal clear sound system. After listening back to the set I knew this album had to come out and not just be another mix online. It deserved to be part of people's music collection and a memento for years to come. We have managed to license six CDs worth of music from the night. I hope you can immerse yourself in one of my favorite sets in N.Y. for years."

Jan Blomqvist Talks Playing Coachella, Berlin Techno & Covering The Rolling Stones

Maceo Plex & Carl Cox at RESISTANCE Ibiza 2018

Maceo Plex B2B Carl Cox at RESISTANCE Ibiza 2018

News
Ultra RESISTANCE 2020: Maceo Plex, Carl Cox, More ultra-miami-2020-resistance-lineup-maceo-plex-b2b-carl-cox-amelie-lens-anna-dubfire

Ultra Miami 2020 RESISTANCE Lineup: Maceo Plex B2B Carl Cox, Amelie Lens, ANNA, Dubfire, Richie Hawtin & More

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Ultra Music Fest's dark and moody house-techno offering is preparing for another lit year, with The Martinez Brothers, CamelPhat, Cirez D, Nicole Moudaber, Tale Of Us and many others also slated to throw down
Ana Monroy Yglesias
GRAMMYs
Dec 19, 2019 - 5:29 pm

Today, Ultra Music Festival revealed more exciting details for its upcoming 2020 flagship Miami event: the phase one lineup for its darker house and techno RESISTANCE offerings. Longtime underground icon Carl Cox will be performing three times, including a first-time B3B set with The Martinez Brothers and Jamie Jones, as well a B2B with "Mutant Disco" king Maceo Plex; their first North American joint DJ set.

Drumcode founder Adam Beyer and Cirez D, the darker techno alias of Eric Prydz, are also slated to bring the B2B fire to RESISTANCE Miami 2020. Also on deck for collab sets are GRAMMY-winning house legend Dubfire, rising techno queen Nicole Moudaber and longtime Spanish club staple Paco Osuna. Another Spanish legend, Dennis Cruz will pair up with rising U.K. act Michael Bibi to represent European tech-house.

https://twitter.com/CamelPhat/status/1207750142243287042

MIAMI 2020... 🤯🇺🇸 https://t.co/NJIbl4mGV0

— CAMELPHAT (@CamelPhat) December 19, 2019

Techno heavy-hitters Richie Hawtin, Tale Of Us, Amelie Lens, ANNA and Pan-Pot will also bring their explosive, warehouse-filling DJ sets to RESISTANCE. On the more housey side of electronic music rainbow, the lineup features past GRAMMY-nominees CamelPhat, along with Ukranian duo ARTBAT, British pair Gorgon City, Manchester duo Solardo and Tunisia's Dice Corleone a.k.a. Loco Dice.

Read: Bye Bye Plastic: BLOND:ISH, Annie Mac, Eats Everything & More Advocate For Eco-Friendly Parties

Previously announced Ultra Miami acts include Gesaffelstein, GRAMMY winners Flume and Zedd, past GRAMMY nominees Above & Beyond and Armin Van Buuren, and many more. Additional acts will continue to be revealed for both the main Ultra stages as well as RESISTANCE as the festival approaches, with a handful of major surprises being unleashed at the event itself (Swedish House Mafia famously surprise-reunited after a five-year break at Ultra 2018).

The 22nd edition of the beloved electronic music festival will return to its longtime home at Bayfront Park, after changing locations in 2019, March 20-22, 2020. This year's event saw a much-buzzed-about second iteration of RESISTANCE at the fest, after the Ultra united their growing house and techno offerings as RESISTANCE in 2018 and brought many of the DJs on this year's lineup to Ibiza and other hotspots over the past few years. (You can check out Maceo Plex and Carl Cox's epic 2018 RESISTANCE Ibiza B2B in the above video.)

Tickets for Ultra Miami are on sale now; visit their website for more info and the complete phase one lineup.

Gershon Kingsley, Electronic Music Pioneer And Composer, Dies at 97

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Carl Cox

Carl Cox

Photo: GUILLAUME SOUVANT/AFP/Getty Images

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CRSSD 2020: Carl Cox, Charlotte de Witte & More crssd-2020-lineup-carl-cox-charlotte-de-witte-gesaffelstein-patrick-topping

CRSSD 2020 Lineup: Carl Cox, Charlotte de Witte, Gesaffelstein, Patrick Topping, Télépopmusik & More

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The 11th edition of the beloved San Diego electronic music festival returns to Waterfront Park March 7-8 and will also feature Nora en Pure, Soulwax, Chris Lake, Red Axes and others
Ana Monroy Yglesias
GRAMMYs
Dec 4, 2019 - 3:25 pm

CRSSD just dropped the lineup for their Spring 2020 festival, and it's fire. House and techno O.G. Carl Cox—Oh yes, oh yes, this will be his first-ever CRSSD appearance—and Belgian techno queen Charlotte de Witte lead the City Steps techno stage acts, while French superproducer Gesaffelstein and first-time GRAMMY nominees RÜFÜS DU SOL return to the fest to lead the live music stage, Ocean View.

The first round of Spring ’20 is here@rufusdusol, @gesafflstein , @Carl_Cox, @soulwax, @chrislake , @NoraEnPure, @patricktopping, @charlottedewitte + so many more on March 7+8!

Tix open this TUESDAY, 12.10 at 11 AM (Alumni at 10:45 AM)

RSVP: https://t.co/IfNlRIlHAM pic.twitter.com/tflGQyK0E5

— CRSSD festival (@crssdfest) December 4, 2019

Global dancefloor heavy hitters Chris Lake, Nora en Pure and Patrick Topping fill the topline spots of The Palms stage, which explores all the rich textures and subgenres within house music. All these acts, emblematic of the excitingly eclectic melting pot of current electronic music, make CRSSD a fun fest worth checking out.

The spring edition of the event returns to San Diego's Oceanfront Park on March 7 and 8 for its 11th iteration.

CRSSD Fall 2019

CRSSD Fall 2019 | Photo: Quinn Tucker

French chill house legends Télépopmusik, OVO R&B duo Majid Jordan, New York alt-electro band The Rapture, pioneering Belgian house act Soulwax—who are currently nominated for Best Remixed Recording at the GRAMMYs—and emerging Israeli techno Red Axes will also be bringing their live acts to the Ocean View stage.

As for the other Palms Stage artists, French DJ/producers 2manydjs and Brodinski will be doing a special B2B (back-to-back) set. Rising German funk and disco lover—and king of the remix—Purple Disco Machine, as well as Dirtybird fave Sacha Robotti, among others, will bring the heat.

As the press release says, "techno underneath an administrative building isn't something you'd typically imagine in America, but that's what the dramatic City Steps stage offers." In addition to Cox and de Witte, other heavyweights helping Make America Techno Again include Hernan Cattaneo and Nick Warren, who will serve up a major B2B set, Berliner Ben Böhmer, who will showcase his emotive music with a live set.

Tickets for CRSSD go on sale Tues., Dec. 10 at 11 a.m. PST; more info at crssdfest.com.

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.