Gamer-turned-singer/DJ/producer CRAY has an infectious energy both on and off stage. The Croc-loving artist—whose stage moniker is a childhood nickname adapted from her full name, Cheney Ray—started DJing and making electronic music for fun shortly after relocating from Vancouver to Los Angeles for college. In 2016, she put out her catchy first single, "Infinity Signs," and quickly started to make a name for herself in the indie-electro scene.

Fast-forward to 2019: CRAY is playing major festivals across the country, dropping new tracks along the way and even has a Japanese tour with GRAMMY-winning electronic legend Skrillex under her belt. While On The Road at Lollapalooza 2019, the Recording Academy sat down with her right after she debuted new music—while singing live for the first time—during her set.

So, you performed earlier today here at Lolla, how did it feel? How was the vibe?

I mean, it was the first time I ever sang live. So it was very intense and I almost barfed, in a good way. But it was incredible, honestly just being able to do that. We've been working so hard to get there. I'm transitioning to being a live act, so being able to sing at Lolla for the first time was a really amazing accomplishment.

That's awesome. Did you have a lot of nerves going in? And then once you did it, did it feel like a relief?

Yes, I was shaking at first, and then I started and…everything went away. And then after, I was like, "What the hell just happened?" And I almost barfed, it was good.

You did it! That's awesome. And you're doing an Aftershow here also tonight; are you looking forward to that?

Yes, I am.

Are you going for more of a nighttime vibe?

Yeah, I'll play a little harder, a little more fun, a little more night time stuff. Because today was more my stuff and my singing and everything. But tonight I'll be a little more afterparty vibes, which I'm excited about. I'm still going to keep the hair in, it hits people, I like it. But I'm excited to play. I love Chicago, I love being here, I love the crowd, I love the people here. I'm excited.

And you've been up to a lot lately. I think last year you went on tour with Skrillex?

I did, yeah.

What was that like?

It was an incredible experience, Sonny [Moore a.k.a. Skrillex] is an incredible human being and so open and honest and I felt so inspired. I've never been to Japan. I've never been that far away, ever. So going there was so eye-opening of the world and different cultures. And their music and food and people and customs, it was beautiful to learn that. I felt really, honestly, blessed to be a part of it, and also so inspired. I came back home and was like, I gotta work harder. I gotta keep going. It was awesome.

Are there any artists you're excited to see at Lollapalooza?

Yeah, I want to see Yaeji. Bring Me The Horizon I want to see as well, and Death Cab for Cutie. I kind of want to go back to old-school stuff, some more band type stuff. Party Favor is playing, he's a good guy. There's a lot of fun stuff happening. I'm really excited.

SHAED Talk Lolla 2019, Touring The World & The Meaning Of "Trampoline"

If the holiday of trick or treating, pumpkin carving, and decorating your front porch with skeletons is your favorite of the year, then you'll no doubt already have a playlist stacked with creepy and kooky, mysterious and spooky bangers ready to fire up on Oct. 31. But if you want to add a bit of prestige to your supernatural soundtrack, there's another list of Halloween-friendly songs to check out — one that highlights another celebrated annual occasion.

While the GRAMMYs might not yet have awarded Rob Zombie, Jukebox the Ghost, or And You Will Know Us by the Trail of the Dead, it has embraced the odd musical spooktacular in several forms. In 1988, for example, it gave Halloween obsessive Frank Zappa Best Rock Instrumental Performance for Jazz from Hell. A year later, it handed Robert Cray Band Best Contemporary Blues Recording for Don't Be Afraid of the Dark. And it's also dished out goodies (of the statuette, rather than the sweet, variety) to the likes of Mavis Staples' "See That My Grave Is Clean," Chick Corea's "Three Ghouls," and Mastodon's "A Sultan's Curse."

With Halloween 2023 fast approaching, here's a closer look at ten other tracks which left the music industry's biggest awards show completely bewitched.

Stevie Wonder — "Superstition" (1974)

It seems unlikely that Stevie Wonder walked under a ladder, crossed a black cat, or 'broke the lookin' glass' while recording "Superstition" — the squelchy Moog-funk classic kickstarted his remarkable run of 25 GRAMMY Awards when it won both Best Rhythm and Blues Song and Best R&B Vocal Performance Male in 1974. Taken from what many consider to be his magnum opus, Talking Book, "Superstition" also gave Wonder his first No. 1 hit on the Hot 100 in over a decade. And the soul legend further leaned into its supernatural theme in 2013 when he appeared as a witch doctor in a Bud Light Super Bowl commercial soundtracked by the Tamla favorite.

Mike Oldfield — "Tubular Bells" (1975)

Incredibly, considering how perfectly it complements all-time classic horror The Exorcist, Mike Oldfield's prog-rock epic Tubular Bells was recorded long before director William Friedkin came calling. Mike Oldfield, then aged only 19, used a variety of obscure instruments across its two mammoth pieces. Yet, it's the brilliantly creepy Steinway piano riffs which open Side One that are still most likely to bring anyone who experienced the movie's hysteria in a cold sweat. Oldfield was rewarded for helping to scar a generation of cinemagoers for life when a condensed version of his eerie masterpiece picked up the Best Instrumental Composition GRAMMY.

The Charlie Daniels Band — "The Devil Went Down to Georgia" (1980)

The Charlie Daniels Band certainly proved their storytelling credentials in 1979 when they put their own Southern country-fied spin on the old "deal with the devil" fable. Backed by some fast and furious fiddles, "The Devil Went Down to Georgia" tells the tale of a young musician named Johnny who bumps into Beelzebub himself during a jam session in the Peach State. Experiencing a downturn in soul-stealing, the latter then bets he can win a fiddle-off, offering an instrument in gold form against Johnny's spiritual essence. Luckily, the less demonic party proves he's the "best that's ever been" in a compelling tale GRAMMY voters declared worthy of a prize, Best Country Vocal Performance By A Duo Or Group.

Michael Jackson — "Thriller" (1984)

The 1984 GRAMMYs undeniably belonged to Michael Jackson. The King of Pop picked up a whopping 11 nominations for his first blockbuster album, Thriller, and then converted seven of them into wins (he also took home Best Recording for Children for his narration on audiobook E.T. The Extra-Terrestrial). Remarkably, the title track's iconic John Landis-directed video didn't feature at all: its making of, however, did win Best Music Film the following year. But the song itself did pip fellow superstars Prince, Billy Joel, and Lionel Richie to the Best Male Pop Vocal Performance crown. Jackson would also win a GRAMMY 12 years later for another Halloween-esque anthem, his Janet Jackson duet "Scream."

Duran Duran — "Hungry Like the Wolf" (1984)

Produced by Colin Thurston, the man behind another early '80s Halloween-friendly classic, (Bow Wow Wow's "I Want Candy"), "Hungry Like the Wolf" cemented Duran Duran's status as MTV icons. Alongside their much raunchier earlier clip for "Girls on Film," its jungle-themed promo was also responsible for giving the Second British Invasion pin-ups the inaugural GRAMMY Award for Best Music Video, Short Form; it featured on the Duran Duran compilation that was crowned Best Video Album, too. Frontman Simon Le Bon had been inspired to write their U.S. breakthrough hit by Little Red Riding Hood, giving the new wave classic its sinister, and appropriately predatory, edge.

Ray Parker Jr. — "Ghostbusters" (1985)

Ray Parker Jr. not only topped the Hot 100 for four weeks with his ode to New York's finest parapsychologists, he also picked up a GRAMMY. Just don't expect to hear "who you gonna call?" in the winning version: For it was in the Best Pop Instrumental Performance where "Ghostbusters" reigned supreme. The fact that Parker Jr. wrote, performed, and produced the entire thing meant he still took home the trophy. However, Huey Lewis no doubt felt he should have been the one making the acceptance speech. The blue-eyed soulman settled out of court after claiming the spooky movie theme had borrowed its bassline from "I Want a New Drug," a track Ghostbusters' director Ivan Reitman admitted had been played in film footage intended to inspire Parker Jr.

Ralph Stanley — "O Death" (2002)

Traditional Appalachian folk song "O Death" had previously been recorded by the likes of gospel vocalist Bessie Jones, folklorist Mike Seeger, and Californian rockers Camper Van Beethoven, just to name a few. Yet it was Ralph Stanley's 2002 version where GRAMMY voters first acknowledged its eerie a cappella charms. Invited to record the morbid number for the Coen brothers' period satire O Brother, Where Art Thou, the bluegrass veteran won Best Male Country Vocal Performance at the 2002 ceremony, also picking up a second GRAMMY alongside the likes of Alison Krauss, Gillian Welch, and Emmylou Harris when the soundtrack was crowned Album Of The Year.

Skrillex — "Scary Monsters and Nice Sprites" (2012)

David Bowie fans may well feel aggrieved that his post-punk classic "Scary Monsters (and Super Creeps)" was entirely ignored by GRAMMY voters, while the bro-step banger it inspired was showered with awards. The title track from EP Scary Monsters and Nice Sprites added Best Dance Recording to Skrillex's 2012 haul: the asymmetrically haired producer also walked away with Best Dance/Electronica Album and Best Remixed Recording: Non-Classical for his work on Benny Benassi's "Cinema." Packed with speaker-blasting beats, distorted basslines, and aggressive synths, Skrillex's wall of noise is enough to scare anyone off their pumpkin pie.

Eminem and Rihanna — "The Monster" (2015)

Who says lightning can't strike twice? Just four years after picking up five GRAMMY nominations for their transatlantic chart-topper "Love the Way You Lie," unlikely dream team Eminem and Rihanna once again joined forces for another hip-pop masterclass. Unlike their previous collab, however, "The Monster" didn't go home empty-handed, winning Best Rap/Sung Collaboration at the 2015 ceremony. The boogeyman hiding under the bed here, of course, isn't a Frankenstein-esque creation, but the mix of paranoia, self-doubt, and OCD that leads the Real Slim Shady into thinking he needs a straitjacket.

Jason Isbell — "If We Were Vampires" (2018)

While the Twilight franchise may have failed to add a GRAMMY to its trophy cabinet, it did pick up several nominations. But four years after the Team Edward vs Team Jacob saga wrapped up, folk hero Jason Isbell proved mythical bloodsuckers weren't a barrier to awards success. Emerging victorious in only the fifth ever Best Americana Roots Song category, "If We Were Vampires" is a little less emo than the various Twilight soundtracks. Still, as a love song dedicated to wife Amanda Shires, and the quiet acceptance that the Grim Reaper will inevitably end their story, it's certainly no less emotional.  

GRAMMY Rewind: Watch Eminem Show Love To Detroit And Rihanna During His Best Rap Album Win In 2011

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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Few friendships in dance music have burned as brightly as the bromance between Fred Gibson, aka Fred again.., and Sonny Moore, a.k.a. Skrillex. In a few short years, the English phenom and Los Angeles-born bass don have forged a dynamic bond as DJ partners, co-producers, and mutual muses.

Brought together as fellow Ed Sheeran collaborators, their partnership went legit on "Rumble," an instant wobbly-bass classic featuring grime MC Flowdan, which Fred teased in his star-making 2022 Boiler Room set. Mere months after "Rumble" officially dropped that January, they closed Coachella with a historic set alongside their buddy and studio secret weapon Four Tet. 

Alongside all the music and viral moments, the friendship has clearly given Skrillex — a producer always looking for his next musical evolution — a new lease on life. 

After a pinch-yourself start to the year that also included a sold-out show with Four Tet at New York’s Madison Square Garden, Skrillex and Fred again.. will meet again this October at Ill Points in Miami. While billed separately, there’s no keeping these two apart. With much more expected from this superstar pairing, we’re taking a look back through their friendship so far. 

2019: Before his breakthrough as a solo artist, Fred again.. earned his stripes as a producer for U.K. grime acts like Headie One, Stormzy and AJ Tracey, and pop stadium-filler Ed Sheeran. While hailing from different sides of the Atlantic, he and Skrillex were destined to meet some day. 

Returning as a producer on Sheeran’s 2019 album, No.6 Collaborations Project, Fred again.. intersected with Skrillex (and producer/engineer Kenny Beats) on "Take Me Back to London," featuring Stormzy. Fusing pop hooks with grime swagger, the song hinted at the crisp basslines and drums to come from future Skrillex/Fred team-ups. 

In this period, Fred played Skrillex an early iteration of "Rumble," which he’d been trading back and forth with Flowdan. "The first time I ever met Sonny, I played him the first version we had," Fred recalled in an interview with BBC Radio 1’s Jack Saunders.

Skrillex requested the "stems" (the individual isolated parts of a recording) and made a version that he worried missed the mark. "I didn’t like it," he also told Saunders. "I thought I ruined the song." He and Fred tweaked the elements until it  clicked — and their friendship was born.

2021: With COVID-19 keeping artists grounded, Fred again.. released Actual Life (April 14 - December 17 2020), a collection of achingly personal electronic elegies that cemented his signature sound.

He followed it later that year with Actual Life 2 (February 2 - October 15 2021), which explored themes of grief and catharsis through a collage of electronic production, samples and audio clips from the producer’s "actual life." Skrillex, meanwhile, kicked off the year by releasing his collaboration with Four Tet and Starrah, "Butterflies," setting the stage for more transatlantic collaborations. 

June 2022: To kick off summer, fast friends Skrillex and Fred again.. rented a house in the idyllic English village of Pangbourne to work on new music. As Skrillex recalled on Instagram, he had an album to finish, while Fred again.. was finalising music for his then-imminent Boiler Room debut. Four Tet agreed to come and hang out for a bit, bringing his toothbrush just in case he was compelled to stay. As Skrillex put it on Instagram, "This moment marked the birth of the Pangbourne House Mafia."

July 2022: When Fred again.. rolled up to his Boiler Room debut in London, no one could’ve predicted the energy to come. Surrounded on all sides by sweaty, screaming admirers, the producer blazed through a hybrid DJ-live set that blended house, U.K. garage, grime, drum & bass, and pop.

He also used the set to preview a few of his collaborations with Skrillex, including "Rumble," which sent fans clamouring for clues online. The Boiler Room session blew up on YouTube (where it now has 22 million views), catapulting Fred again.. and his to-be-released collaborations to a whole new level. 

October 2022: While promoting his third album, Actual Life 3 (January 1 - September 9 2022), Fred again.. sat down for an interview with Apple Music’s Zane Lowe at Skrillex’s house in Los Angeles. "We’ve done a home swap at the moment," the producer told Lowe, "so he’s staying at mine in London and I’m at his in L.A." Now, that’s true friendship.

January 2023: After making fans wait, Skrillex and Fred again.. Kicked off the year with a bang and finally released "Rumble" via Skrillex’s OWSLA label. The pair also grabbed Four Tet for a surprise back-to-back-to-back DJ set at London’s Electric Ballroom, which featured a whirlwind of new and unreleased music. What started as a one-off show rolled into three extremely sold-out nights at different venues, with the trio of DJs clearly having the time of their lives.

February 2023: In a career-defining month, Skrillex released his much-anticipated album Quest for Fire, which featured collaborators like Porter Robinson, Missy Elliot, Mr Oizo, Bobby Raps, and — of course — Fred again.. and Four Tet. To celebrate the release, the "Pangbourne House Mafia" casually announced a show at New York’s iconic Madison Square Garden, which sold out within three minutes. To warm up, the trio created pandemonium with an impromptu DJ set in Times Square, where they trialled some new edits ahead of the big show.

April 2023: After selling out Madison Square Garden without breaking a sweat, and releasing team-up track, "Baby again.." in March, the unlikely supergroup of Fred, Skrillex and Four Tet went looking for the next high.

As it happened, that opportunity came on the second weekend of Coachella. With Frank Ocean relinquishing his Sunday headlining spot after a divisive weekend performance, the festival left a tantalizing TBA in the final slot. Before long, the cat was out of the bag, and dance music’s new favorite trio were headed to the desert with memeable merch bearing the slogan, OMG TBA.

"I didn’t think I was gonna be back with my brothers like this for a longgggg time," Fred again.. wrote on Instagram. "Until last night. And here we are." 

Appearing on a circular stage deep in the crowd, the DJs closed down Coachella with the excitement of three friends who couldn’t quite believe their luck. 

June 2023: With the members of the "Pangbourne House Mafia" returning to life as solo artists after Coachella, Fred again.. announced a three-night run at New York’s Forest Hills Stadium in October, followed by Ill Points in Miami, and then eight shows at Shrine Expo Hall in Los Angeles. With LA being Skrillex’s hometown, the two producers are sure to cook up something new - after, this is one friendship with a lot more to give.

NEIL FRANCES Just Want To Have Fun & Get Fuzzy

It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

The Rise Of Underground House: How Artists Like Fisher & Acraze Have Taken Tech House, Other Electronic Genres From Indie To EDC