Afro House is a sub-genre of house music that originated in South Africa and incorporates African elements and rhythms into the electronic dance music framework. Sub-genres: Afro Tech, Afro Deep, Afro Soulful, Afro Tribal, Afro Funk, Afro Latin, Kwaito, Gqom, Amapiano.

Afro House

Amapiano

Bass House is a sub-genre of house music that emphasizes heavy basslines and hard-hitting beats. Here's a list of some of these styles: UK Bass House, Future House, Wobble House, Garage House, Breaks-infused Bass House, Dark Bass House.111

Bass House / Future House

Rhythmic, beat-driven electronic music with syncopated patterns.	Sub-genres: Big Beat, Nu Skool Breaks, Progressive Breaks, Florida Breaks, Atmospheric Breaks.

Breaks / Breakbeat

Dance / Pop

A soulful, melodic variant of house music with smooth chords. Sub-Genres: Tribal Deep House, Afro Deep House, Deep Tech House.

Deep House

Tracks or elements designed for DJs to use in live performances. Acapellas, Loops, Samples, DJ Intros/Outros.

DJ Tools

Fast-paced electronic music with breakbeats and heavy basslines. Liquid, Neurofunk, Jump Up, Jungle, Techstep, Darkstep, Drumfunk, Atmospheric DnB, Dancefloor DnB.

Drum and Bass

Electronic music with heavy basslines, and syncopated rhythms. Sub-genres: Brostep, Riddim, Chillstep, Melodic Dubstep, Wonky, Deathstep, Glitchstep, Deep Dubstep.

Dubstep / Bass / Grime

An early form of electronic dance music with futuristic themes. Detroit Techno, Electro Funk, Electro Breaks, Electroclash.

Electro (Classic / Detroit)

Energetic, hard-hitting dance music with heavy basslines. Sub-Genres: Progressive Electro House, Complextro, Dutch House, Fidget House, Dirty Dutch, Melbourne Bounce.

Electro House / Big Room

Diverse, experimental electronic music with various influences: IDM, Ambient, Downtempo, Glitch, Trip Hop, Breakcore, Experimental, Soundscapes.

Electronica

Upbeat house music with disco, funk, and soul elements. Sub-Genres: Disco House, French House, Filter House, Glitch House, Chicago House.

Funky / Jackin' House

High-energy electronic music with aggressive beats and tempo. Happy Hardcore, Gabber, Hardstyle, UK Hardcore, J-core, Powerstomp, Speedcore, Terrorcore, Breakcore.

Hardcore / Hard Dance

Intense techno variant with faster tempos and heavier beats. Sub-Genres: Schranz, Industrial Techno, Dark Techno, Power Noise.

Hard Techno

Electronic dance music with 4/4 beats and repetitive rhythms. Classic House, Acid House, Vocal House, Chicago House, New York House, Swing House.

House

Electronic music with indie, alternative, and disco influences. Sub-Genres: Synthwave, Italo Disco, Coldwave, Dark Wave, New Wave, EBM.

Indie Dance / Dark Disco

Experimental, unconventional electronic music. Sub-Genres: Leftfield Bass, Leftfield House & Techno, Avant-garde, Musique Concrète, Drone Music.

Leftfield

Relaxing, downtempo electronic music for casual listening. Ambient House, Trip Hop, Downtempo, Balearic, Lo-fi, Nu Jazz.

Lounge / Chill Out

A blend of house and techno with strong melodies and harmonies.	Sub-Genres: Progressive Melodic House, Deep Melodic Techno, Uplifting Melodic Techno.

Melodic House / Techno

Minimalist house music with intricate, glitchy sounds. Minimal Techno, RoMinimal, Clicks & Cuts, Glitch House, Intelligent Dance Music (IDM)

Microhouse

Sparse, stripped-down electronic music with repetitive patterns. Sub-Genres: Minimal House, Microhouse, RoMinimal, Glitch, Ambient Techno

Minimal / Deep Tech

Modern disco and funk-inspired electronic music. Disco House, Funky House, Re-edits, Modern Funk, Boogie, Future Funk, Electro Funk.

Nu-Disco / Soul / Funk

House music with natural, organic sounds and world music elements. Downtempo, Ethnic House, World Electronica, Afro House, Tribal House

Organic House / Downtempo

Evolving, melodic house music with long builds and breakdowns. Sub-Genres: Dream Progressive House, Dark Progressive House, Progressive Trance, Progressive Breaks.

Progressive House

Psy-Trance

House music with a strong soul, gospel, and jazz influences. Sub-Genres: Gospel House, Vocal Soulful House, Jazzy House, Latin House.

Soulful House

Electronic-infused soul, R&B, and hip-hop tracks. Neo-Soul, Future R&B, Instrumental Hip-Hop, Alternative R&B, Trap, Trip Hop, and Grime.

Soul / R&B / Hip-Hop

A fusion of house and techno with an emphasis on percussion. Sub-Genres: Tribal Tech House, Deep Tech House, Minimal Tech House, Acid Tech House, Dub Tech House.

Tech House

Energetic techno with driving beats and strong rhythmic elements. Hard Techno, Detroit Techno, Minimal Techno, Acid Techno, Rave Techno.

Techno (Peak Time)

More stripped-down, atmospheric, and dub-influenced techno. Sub-Genres: Dub Techno, Hypnotic Techno, Ambient Techno, Deep Techno, Experimental Techno.

Techno (Raw, Deep, Dub)

Melodic, uplifting electronic dance music with a fast tempo. Progressive Trance, Uplifting Trance, Psytrance, Vocal Trance, Hard Trance, Tech Trance, Goa Trance.

Trance

A fusion of house, R&B, and jungle, characterized by syncopated beats. Sub-Genres: 2-Step, Speed Garage, Grime, UK Funky, Future Garage, Bassline, Breakstep.

UK Garage / 2-Step

Presta

Arnold Jarvis

More than any other producer, Todd Terry defined New York house during the ’80s, a varied sampladelic smorgasbord blending the sounds of classic disco, the more introspective Chicago sound pioneered earlier in the decade, plus plenty of hip-hop attitude and sampling piracy. And with two of the most respected crossover remixes of the house era («I’ll House You» by the Jungle Brothers and «Missing» by Everything but the Girl), Terry more than earned his title «Todd the God» (or occasionally, simply «God»). Though he’s often been accused of recycling his own beats and effects (in his production work as well as the DJ booth) a bit too often for his own good, Terry’s immortality as a dance icon is assured.

Born in Brooklyn, Terry began DJing in the early ’80s while still a teenager, spinning hip-hop at school events and on the street with a team called the Scooby Doo Crew. He increasingly listened to Italian disco as well, and when the house sound of Chicago dropped in the mid-’80s, Terry the DJ made an official switch to house music. In league with fellow New York DJ/producer/remixers Little Louie Vega and Kenny «Dope» Gonzalez, Terry borrowed the Masters at Work guise — which Vega and Gonzalez would later popularize — for one of his first big productions, the 1987 single «Alright Alright»; the single became a milestone on New York’s early house scene. The Jungle Brothers, another crew of hip-hop heads who were beginning to stray into house, hooked up with Terry and the collaboration resulted in «I’ll House You,» one of the earliest and most high-profile fusions of hip-hop and house (popularized several years later by C+C Music Factory and Snap!).

The added prestige transferred back to his own name for two wildly popular 1988 singles, «Weekend» and «Bango (To the Batmobile),» both released as the Todd Terry Project. Perhaps preferring the adoration of the faithful, Terry later resorted to dozens of aliases for dozens of club hits — Black Riot’s «A Day in the Life,» Gypsymen’s «Hear the Music,» Royal House’s «Can You Party,» Todd Terry & the Countdown’s «Flipside,» Torcha’s «Feel It,» D.O.S.’s «House of Gypsies,» Sound Design’s «You Can Feel It,» Tech Nine’s «Slam Jam,» and Static’s «Dream It.» Despite his wealth of released material, Terry remixed dozens of artists as well, including Sting, Björk, Janet Jackson, Tina Turner, Malcolm McLaren, Annie Lennox, Robert Plant, and Technotronic, among others. The British house boom of the early ’90s provided Terry with many an overseas gig, including a high-profile residency at the London superclub Ministry of Sound. His proficiency on the decks became a minor sensation, causing several British journalists to describe him as «God.»

Terry moved into label entrepreneurship in 1992 when he formed Freeze Records with William Socolov. (Several of Terry’s early singles had appeared on Socolov’s Fresh/Sleeping Bag label, also the home of rap acts like EPMD, Mantronix, and Nice & Smooth). Freeze became the obvious home for many of Terry’s productions, including several volumes of his EP series Unreleased Projects beginning in 1992 and running through 1995.

That same year, Terry’s remix of the erstwhile pop act Everything but the Girl became a worldwide smash, selling over three million copies and almost single-handedly reviving the duo’s flagging career for a sleek new dancefloor incarnation. The British label Hard Times released the DJ gig A Night in the Life of Todd Terry: Live at Hard Times in 1995, while the flip side of the coin, A Day in the Life of Todd Terry (including his best single and remix productions) appeared the following year. His next project, Ready for a New Day, provided more song-oriented fare, though still implicitly dance, with guest vocalists including Martha Wash, Jocelyn Brown, and Bernard Fowler. Terry made another artistic change-up, to LP-oriented drum’n’bass, with his 1999 album Resolutions, recorded for indie/electronica stalwart Astralwerks.

Todd Terry

A leader in  global dance music, Louie Vega has painted an award-winning career from a palette mixed with everything from house, salsa and afro-beat, to jazz, hip hop, gospel and soul.

What distinguishes the Grammy winner and 7-time nominee as one of the best living house music deejays is his ability to evolve alongside the times, distill the current musical landscape through his unique taste and put his own timeless spin on his musical creations.

In 2020, his production team Masters At Work with Kenny Dope Gonzalez will revamp their label Maw Records, and will be releasing their full catalog worldwide via digital and streaming outlets. New Masters At Work Remixes for Dua Lipa (Via The Black Madonna’s Mix Tape), DJ Krust (on Crosstown Rebels), and new productions for the Maw Imprint by The Masters At Work.

Louie Vega has also teamed with The Martinez Brothers for a second single entitled “Let It Go” with Marc Bassy released July 10, 2020 on the titan record label Defected.

In NYC, Vegas' weekly residency night has inspired him to record an album for Nervous Records release coming early 2021 featuring his friends : Robyn, Honey Dijon, Bernard Fowler, Moodymann, Kerri Chandler, Anané, Lisa Fischer, Joe Claussell, Tony Momrelle, Karen Harding, & the super band Unlimited Touch.

Breaking down musical barriers and bringing people together through a love of music has always been Vega’s aim; his contributions continue to positively influence global dance music.


Louie Vega

Their name says it all – Masters At Work. For over a decade, "Little Louie” Vega and Kenny "Dope" Gonzalez have shepherded dance music down new paths with their inventive production style and imaginative feel for different musical forms. The two native New Yorkers have amassed an overwhelming body of work in that time, one that includes hundreds of original productions, remixes and side projects, redefining the way we think of music in clubs. Vega and Gonzalez defiantly mix everything they can find – house, hip-hop, funk, disco, Latin, African and jazz – into a universal groove. And in doing so, MAW has become a cultural mélange unto itself, emblematic of the multicultural society in which we live.

Our Time Is Coming is the group's third official album, second under the MAW moniker, and first for Tommy Boy Records. Comprised of wonderful new compositions and a handful of their most popular singles from recent years, it is indicative of the ambitiously eclectic MAW sound: a vibrant dance groove culled from a mesh of Latin rhythms, jazz and soul. Vega and Gonzalez composed, produced and arranged the album's ten songs, using crafty studio work and live instrumentation and help from some regular collaborators (India, Roy Ayers) and a few special guests (Patti Austin, James Ingram, Stephanie Mills).

The Beginnings

"Little Louie” Vega and Kenny "Dope" Gonzalez officially started their union as Masters At Work in 1990. Vega, a prodigious DJ around New York, met Gonzalez, a producer, through burgeoning house DJ Todd Terry. Gonzalez’s song "Salsa House" was a favorite of Vega, who fell for its Latin-influenced, everything-goes flavor. Desiring to remix the song, Vega asked Terry for an introduction, and almost instantly the two bonded over their insatiable appetite for music of all kinds.

Vega was born in the Bronx in 1965 and raised in an environment rich with Latin music. His father was an accomplished saxophone player and his uncle was renowned salsa singer Hector Lavoe (of Fania All Stars fame). While Vega embraced the music of his Puerto Rican heritage, it was his pair of club-hopping sisters – regulars at David Mancuso's famous late-'70s Loft parties and at Paradise Garage – who introduced him to the vitality of dance music. Already taken with roller-disco and hip-hop, Vega attended Paradise Garage for the first time in 1980. There he witnessed the magic of DJ Larry Levan, whose ability to blend music from seemingly every genre and era into a seamless groove would foreshadow the spirit of Masters At Work. Through the mid-'80s, Vega began to make a name for himself as an up-and-coming DJ, playing house and freestyle in Bronx and Manhattan hotspots like Devil's Nest, Roseland and Studio 54. He was also doing remixes and original rhythm tracks, including one of his early breaks remixing Information Society's "Running" for Tommy Boy.

Gonzalez was born in Brooklyn in 1970. As a kid, he initially shunned Latin music, falling in love with the rebellious party beats of hip-hop. He worked as a buyer in a local record store while a teenager, mastering his skills as a DJ playing on the side. In the late-'80s, Gonzalez and a friend began organizing popular neighborhood block parties under the guise Masters At Work. Gonzalez met Todd Terry through these parties and lent Terry the fresh MAW moniker for two eventual club hits – "Alright, Alright" and "Dum Dum Cry." In return, Terry let Gonzalez borrow his drum machine and recording equipment, on which the blossoming producer recorded several tracks for the influential Nu Groove Records, including "Salsa House."

The MAW Union

The first collaboration between Vega and Gonzalez came in 1990 when Vega produced the debut album for singer Marc Anthony, an underground club prodigy at the time. Writing with India and other collaborators, and arranging the album himself, Vega brought in Latin masters Tito Puente and Eddie Palmieri to record the album, and turned to Gonzalez for some beats. Credited as “Masters At Work featuring Tito Puente and Eddie Palmieri,” the recording of the album set the conceptual framework for future MAW productions: combining live instruments with sampled beats, and veteran masters with new innovators. Soon others were seeking the MAW sound, and Vega and Gonzalez began remixing artists ranging from Debbie Gibson to Saint Etienne. They also began making their own original tracks, like "Blood Vibes," a hip-hop/reggae blend that marked their first original production, and "Our Mute Horn," a Miles Davis tribute track that gave a nod to their jazz influences.

As the Masters At Work sound became more pervasive in clubs, they became more sought after by artists and labels, eventually remixing Bjork, Deee-Lite, Neneh Cherry, Soul II Soul, Donna Summer, Janet Jackson, Daft Punk, Incognito, Brand New Heavies, Stephanie Mills and many, many more. Sometimes a MAW remix is literally a re-mixing of the original, like adding a bass line and some minimal keys (Daft Punk's "Around the World") other times, their remixes are total re-imaginations of the songs, as was the case with Saint Etienne's "Only Love Can Break Your Heart".

MAW also began producing for their own coterie of artists, like Barbara Tucker and salsa singer India, as well as for artists like Luther Vandross, BeBe Winans and George Benson. These were artists who had no foothold in the dance world but, based on their collaborations with MAW, were given instant respect. In addition to their own solo departures – e.g., Gonzalez’s hip-hop influenced guise The Bucketheads and Vega's DJ residencies at Sound Factory Bar – the group collected some of their own original tracks and released The Album in 1993. Alternating between hard, head-nodding hip-hop and more inspired house tracks, it was their first album released under the Masters At Work name.

Nuyorican Soul

MAW alter-ego Nuyorican Soul was born in 1993, a play on their heritage (Puerto Rican), residence (New York City) and style of music (soul). They debuted the guise on "The Nervous Track" (Nervous Records), giving us a glimpse of the Nuyorican concept – a groove that wasn't just thumping beats but musically sophisticated and engaging as well. A subsequent track, the hot club hit "You Can Do It (Baby)!" featuring George Benson, helped the project gain critical mass with fans, and after being signed by influential music maestro Gilles Peterson, Vega and Gonzalez recorded the first Nuyorican Soul album.

Released in 1997, the self-titled album was a mix of exemplary salsa, jazz and soul musicians (Roy Ayers, Eddie Palmieri, Jocelyn Brown). There was a discernable Latin jazz influence on songs like "Runaway" (a Salsoul Orchestra cover), a classic soul feel on the Rotary Connection gem "I Am The Black Gold Of The Sun," and a nod to hip-hop with a cover of Bob James' oft-sampled classic "Nautilus (Mawtilus)". Yet while the album's cover songs gave a nod to their influences, nobody could have imagined the timelessness of the Nuyorican sound.

Our Time Is Coming

Our Time Is Coming combines six new compositions with four popular MAW singles from recent years, all co-written, produced, arranged and mixed by Vega and Gonzalez, who recruited a number of friends and influences to add to the sessions.

The title track boasts the inimitable influence of Roy Ayers on vibes and background vocals. "Like A Butterfly (You Send Me)," the opening selection, features the lovely Patti Austin on vocals with lyrics co-written by Blaze and background vocals arranged by Austin. The legendary James Ingram appears on "Lean On Me." Elsewhere on Our Time Is Coming, the diversity of Vega and Gonzalez rears its head with the Latin-jazz-influenced "Pienso En Ti," featuring guitarist and vocalist Luis Salinas, and the deep-house funk of Billie’s "Every Now And Then." And it's nearly impossible to throw on the Soca-influenced "Work," (featuring Puppah Nas-T with vocals by Denise) and casually bob your head – this is a full-body experience.

It was a dream of Vega and Gonzalez’s to record with Afrobeat king Fela Kuti.  Unfortunately, their hopes were dashed when Fela passed away in August 1997. So instead, “MAW Expensive (A Tribute To Fela)” reworks Fela’s signature "Expensive Shit," maintaining its dedicated tribal flavor.

Our Time Is Coming is Masters At Work at their finest, a wonderful accomplishment especially given the scope of Masters At Work's robust discography. It's rare to see artists push their creative impulses so consistently and with such acceptance, and even more rare to see it sustained for so long. But as this album reveals, Vega and Gonzalez continue to do so with unequaled ability. If anything, the album's title is too appropriate, for as much as the artists have done in the last eleven years, there is certainly more that lies ahead.

Masters At Work

It can’t be missed that Dennis Quin has emerged his way up into the scene as one of the most exciting names Worldwide, after being Amsterdam’s best kept secret for a while.  
The Dutch native Quin has got a mature, though refreshing sound identity that you simply don’t hear that often.

Quin’s passion for House music started in the early nineties inspired with the Chicago / NY House sound, Dennis bought his first vinyl records (his first records by: Kerri Chandler, Todd Terry and Masters At Work) he got, Dennis is a true curator of undiscovered sounds to apply in his current work as a producer.

HIS MUSIC, HIS SOUND

His signature sound is being adapted in today’s global House scene. Being diverse sound wise, but always consistent within his own productions, Dennis Quin claims the spotlight he deserves.

Dennis Quin's music is irresistible. He has a unique and unmistakable sound, combining heavy bass-lines with infectious rhythms that make the dance-floor heave. His melodies conjure up all sorts of emotions, while his hypnotic grooves are guaranteed to leave any crowd entranced. Whether you're into thumping Tech House or sublime Deep House, Dennis Quin always delivers something special. And with his impressive discography,

His long-lasting legacy as a selector and tastemaker within the scene has earned him recognition from industry professionals, chart success and legions of loyal fans. With each release, Dennis Quin continues to defy expectations with his sublime production skills, creating timeless bangers that effortlessly bridge past and present. His tracks never fail to take listeners on an unforgettable journey through the evocative sounds of classic house music.

It's no wonder why this maestro of modern House Music continues to captivate audiences around the globe.

Highlighting his collaboration and friendship with Kerri Chandler, his successful remix of Kerri’s - You’re In My System opened doors internationally.

It was a matter of time that the music of Dennis nowadays gets heavily supported by the likes of Chris Stussy, Jamie Jones, Seth Troxler, Louie Vega, and Benny Rodrigues.  Next to all of the massive club and festival support Dennis is a regular at BBC Radio 1 and doing resident live mixes on a regular base at the Dutch National Radio SLAM! (The Boom Room)

Being asked by Kerri Chandler to play B2B multiple gigs last year, and also played b2b with Benny Rodrigues, the Dutch king of House and Techno,

No hype, rather timeless music. One of the highlights in 2025 is the forthcoming Dennis Quin remix for legends Moodymann & Louie Vega next to an official Masters At Work Remix seeing the light of day later on on the iconic US Nervous Records label

DENNIS QUIN THE ARTIST

A When it comes to performing, Dennis transforms into a true passionate crowd-focussed DJ when he enters the booth.

Besides being the most friendly giant of the scene he is playing most often exclusive unreleased tracks of his own and cheeky private reworks / edits that makes him stand out for sure.

Dennis performed at shows in Miami, Chicago, New York and even in Tokyo, a regular at Amsterdam renowned festivals like Straf_Werk, Mystery Land, and iconic club venues all over the world like Fabric London, Spybar Chicago, Amnesia Ibiza, Pacha Barcelona just to name a few.

Dennis has got a reputation for creating the most unique and exciting atmosphere. His sets draw on a range of different styles and influences, Dennis is always focussed playing new, mostly his own exclusive music in his sets.

He definitely knows how to work the room. Drawing on over a decade of experience, he has a knack for reading the energy of the crowd and crafting sets that keep people dancing all night long. Whether it's a sweaty warehouse rave, Summer Festival or an intimate club-setting with sweaty gritty vibes, Dennis knows how to set the vibe and keeps things moving.

Always being able to adjust to the right setting without making concessions to his own fingerprint sound.

RELEASES

With previous original Hit records like ‘ Move Out Of My Way’ Dennis Quin turned heads. Being streamed on Spotify more than 6.6 mln times, charted at the MTV Europe Big 20 Chart Show in 2018 he turned heads.

in 2025 he reached 1.4M monthly listeners and over 10k followers on Spotify.

His second most successful track is the highly respected remix of ‘ You’re In My System’ (Kerri Chandler, Jerome Sydenham) released on Ibadan Records, Selling out 2 represses in a few weeks time, there’s no doubt that this Dennis Quin interpretation of the original will always be a timeless record. Yet again in 2023 officially re-released but this time as an official collaboration with Kerri.

With his diversity in styles he managed to get signed to the renowned Slapfunk’s Sister label ‘Dungeon Meat’ with an original solo EP in 2024 (Vinyl only).

2025 sees a lot of new music on a wide variety of labels such as Dungeon Meat, Constant Sound and Dennis will launch his new imprint this summer.

Dennis released his music on labels such as Beeyou, Dungeon Meat, Constant Sound, Eastenderz, PIV and Kaoz Theory and will release in 2025 on Factory 93 Records, MAW records and more to come.

Dennis Quin

Along with Masters at Work partner "Little" Louie Vega, Kenny "Dope" Gonzalez was one of the biggest figures in house music, and one of the prime connections between the underground and the mainstream. Together, Gonzalez and Vega produced and remixed an endless list of tracks that made an indelible impact upon dance music. With salsa, disco, and house acting as the primary common specialties the two shared, Gonzalez brought his immersion in rap music to the table, while Vega came from a freestyle angle. The duo helmed full-length albums, including some under the Masters at Work name, in addition to one with their ambitious Nuyorican Soul project. Apart from MAW, Gonzalez scored a huge crossover hit with the 1995 single "The Bomb! (These Sounds Fall Into My Mind)," released under his disco-house alias the Bucketheads. He's released numerous 12"s of breakbeats and rhythm tracks, as well as compilations and mix CDs dedicated to all of his myriad influences, particularly hip-hop (1998's Hip Hop Forever), disco (1992's Disco Heat), and '80s boogie (Roller Boogie 80's, 2004).

Like Vega, the Brooklyn-born Gonzalez was prolific on his own before and during the partnership, and started out as a DJ. In the '80s, Gonzalez founded the Dope Wax label while doing production for several New York dance labels, including Big Beat, Cutting, Nervous, and Strictly Rhythm (home to his releases as the Untouchables). Masters at Work actually began around this time, originating as a partnership between Gonzalez and Mike Delgado; the two organized parties under the name. A few years after Gonzalez aligned himself with Vega, he established the Bucketheads, a studio project that released a string of extremely successful singles and a full-length. Both "The Bomb" and "Got Myself Together" topped Billboard's U.S. club chart, and appeared on 1995's All in the Mind full-length.

Gonzalez released several solo productions under his own name throughout the early 2000s, through the Tu Chicks, Freeze, and TNT labels. His skills as a DJ were demonstrated with a pair of impressive releases for the U.K.'s BBE label, too: 1998's Hip Hop Forever was a triple-disc set, including an early-'90s-centric mix on one disc and the selections in full on the other two. The similarly formatted Disco Heat came four years later, and focused on underground disco and house classics from the late '70s. Throughout the remainder of the decade, he was a go-to DJ for quality mix albums. His highlights included Roller Boogie 80's (Traffic, 2004), Life:Styles (Harmless, 2004), Randy Muller's Best (Plaza, 2005), Choice: A Collection of Classics (Azuli, 2006), and Mixes P&P Records (P&P, 2007).

Along with Terry Hunter, Gonzalez formed Mass Destruction; their eponymous 2009 full-length included guest vocals by Byron Stingily and Lidell Townsell. 2010 compilation House Masters compiled two discs' worth of production and remix highlights from throughout Gonzalez's career. In 2011, he produced rapper Rasheed Chappell's album Future Before Nostalgia, released by Kay-Dee Records, the label Gonzalez co-founded with fellow cratedigger Keb Darge. The label also released Wild Style Breakbeats, a 2014 set consisting of Gonzalez' edits of breakbeats featured in the classic old-school hip-hop film Wild Style, spread across seven 7" singles. The producer continued releasing house singles on his own Dope Wax imprint, and returned to Strictly Rhythm with 2017 single "Talk Dirty," featuring vocalist Roland Clark. ~ Andy Kellman

Kenny Dope

Blaze is comprised of singer/songwriter Josh Milan and songwriter/producer/engineer/DJ Kevin Hedge. The songwriting/production team has been recording dance-oriented music for over 20 years, and is considered by many of dance music’s elite to be pioneers in the soulful house genre. In 2005, Blaze wrote and produced the international hit "Most Precious Love" feat. Barbara Tucker, which landed them the U.K. House Music Awards “Song Of The Year” and shot up to a NO.1 position on Billboard’s Hot Dance Club Play Chart. It appears 2007 will be another stellar year for Blaze, having been commissioned by Sony BMG with the latest hot remixes of Beyonce’s “Listen” and Jennifer Hudson’s “Family,” from the Academy Award nominated film “Dreamgirls,” both of which have reached anthem status amongst both dance floors and elite DJs around the globe. Their most recent creation, a song entitled “One Dream,” was picked as the performance song for Cirque Du Soleil and performed by Louie Vega & The Elements Of Life Orchestra in front of millions of viewers around the world during the opening performances at Super Bowl XLI in February of 2007. DJ KEVIN HEDGE Biography Industry veteran Kevin Hedge, one half of the group Blaze, has enjoyed equal amounts of success in the music industry as both a musician and a businessman. In 1991, he opened up Club Shelter with superstar DJ Timmy Regisford. Club Shelter has since made history in the international club scene and acted to fill the void left by the closing of Paradise Garage. In 2001, Kevin Hedge joined forces with Mel Cheren and became part owner and President of West End Records. From 2001 to early 2007, Hedge released an extensive collection of NYC soulful house titles on West End, including heavy-hitters like Junior Vasquez, Louie Vega, Kenny Dope, Danny Krivit, Danny Teneglia, DJ Marley Marl, Stephanie Cooke, etc. Kevin Hedge and Grammy Award winner Louie Vega have just celebrated the 3rd anniversary of their highly successful NYC weekly party “Roots”. As resident DJ, Hedge continues to entertain audiences around the world with his mix of House, Funk, Soul, Hip-Hop and Jazz. "My greatest joy,” Kevin says, “ is to add value to the Universe." Kevin Hedge continues his entrepreneurial endeavors with the launch of his newest label, Blaze Imprints. The Blaze Imprints brand will be dedicated to releasing new music from Blaze, along with soulful dance music hits from the industries leading producers and DJs. With upcoming releases from Blaze, Japan’s beloved DJ Gomi, and the legendary DJ Marley Marl, Blaze Imprints is already on the fast track to success.

Blaze

Dave Lee

Frankie Feliciano

DJ & producer for over 30 years, Rocco Rodamaal run his imprint Label MEMORIES.
Label Owner / DJ /Producer в Memories Records


Rocco Rodamaal

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Chaque titre est jugé uniquement sur sa valeur musicale, son originalité, sa qualité de production et la sensation qu’il procure dans un vrai contexte de DJ. Si le son est solide, il a sa place ici, qu’il vienne d’un artiste connu ou d’un nom totalement nouveau. Les Focus Charts sont conçues pour les DJs et les diggers qui font confiance à leurs oreilles plutôt qu’aux réputations.

Les Focus Charts sont des sélections recommandées, soigneusement choisies par l’équipe de curation de Volumo, avec une seule priorité claire : la qualité du son lui-même. Ces charts ne sont pas portés par de grands noms d’artistes, des labels célèbres ou le battage de l’industrie. Chaque titre est jugé uniquement sur sa valeur musicale, son originalité, sa qualité de production et ce qu’il donne dans un vrai contexte de DJ. Si le son est solide, il a sa place ici, qu’il vienne d’un artiste reconnu ou d’un nom totalement nouveau. Les Focus Charts sont conçus pour les DJs et les diggers de musique qui font confiance à leurs oreilles plutôt qu’aux réputations. C’est un espace où les producteurs émergents côtoient naturellement des artistes confirmés, et où les sorties underground reçoivent la même attention que les titres de labels majeurs. Si vous cherchez de la musique électronique fraîche, si vous découvrez des pépites cachées ou si vous explorez de nouvelles directions dans la techno, la house, la minimal et les genres associés, les Focus Charts sur Volumo offrent une expérience d’écoute et de téléchargement recommandée avec soin, pensée pour les DJs qui mettent le son en premier.

Si vous êtes fournisseur de contenu, vous perdrez aussi tous vos artistes et labels vérifiés, et tout le contenu généré par les utilisateurs (albums, etc.) sera retiré de la boutique et supprimé. Tous les gains non payés seront également perdus.

Si vous souhaitez publier votre sortie en exclusif, veuillez aller sur {album} et remplir le champ {exclusive}. L'utilisation de « Exclusive » dans les titres peut entraîner des résultats de recherche non pertinents.

Découvrez les visuels partageables de Volumo. Nous savons que vous passez beaucoup de temps à peaufiner votre son et votre style, alors nous avons simplifié la création d'images et de vidéos promo en quelques secondes. Personnalisez-les comme vous voulez, téléchargez-les et utilisez-les où vous le souhaitez — sur les réseaux sociaux ou dans votre propre contenu.

Il semble que le titre contient des espaces inutiles à l'intérieur des crochets. Les supprimer ?

Il semble que le titre soit écrit en lettres majuscules, allez-vous corriger cette erreur ?

On dirait que le titre de l'album inclut un numéro de catalogue. Le déplacer dans le champ approprié ?

On dirait que le titre du titre inclut un numéro de version de mix. Le déplacer dans le champ approprié ?

Ensuite, rendez-vous dans la section playlists et créez une nouvelle playlist. Commencez par donner un titre à votre playlist. Cela peut être le titre final ou simplement un titre provisoire. Puis cliquez sur « Créer une playlist ».

Une fois votre playlist terminée, allez dans « Mes playlists ». Ici, vous pouvez téléverser une image de pochette, renommer votre chart et ajouter une description sur vous, votre son ou l'ambiance que vous recherchez. Vous pouvez aussi réorganiser les titres.

Pause {title}

Lire {title}

Titre de la playlist

Prêt à partager ? Cliquez sur les trois points à côté de votre playlist et sélectionnez « Publier en tant que chart », ajoutez une description accrocheuse, sélectionnez l'image de pochette et voilà — votre classement est en ligne !

Notifications de ventes (pour les fournisseurs de contenu)

Sélectionnez le nom de l'artiste ou le nom du label à afficher dans le champ auteur du chart

Afficher le titre du titre

Commencez à saisir le titre d'un chart ou d'un titre, ou le nom d'un artiste ou d'un label pour voir les résultats.

Commencez à saisir le nom d'un pays pour voir les résultats

Commencez à saisir un titre de genre pour voir les résultats

Commencez à saisir le titre d'un titre ou d'un album, ou le nom d'un artiste ou d'un label pour voir les résultats.

Arrêter {title}

L'album {title} a été supprimé

Les 24 premières heures après la sortie de votre titre sont absolument cruciales : c'est à ce moment-là que l'algorithme vous observe. Que ce soit Volumo, YouTube ou Instagram, ce premier pic d'écoutes, d'enregistrements, de partages et d'engagement dit à la plateforme : « Hé, ça vaut le coup de pousser ça. » Si vous arrivez à mobiliser vos fans, vos amis et votre réseau pour vous soutenir tout de suite, vous avez plus de chances d'atterrir dans des playlists pilotées par l'algorithme ou d'obtenir plus de visibilité. Alors ne vous contentez pas de cliquer sur “upload” et de vous poser : préparez du contenu à publier, contactez votre liste e-mail et soyez actif dans les commentaires. Cette première journée donne le ton de tout votre cycle de sortie.

Le titre contient le nom de l'artiste. Vous n'avez pas besoin d'ajouter le nom de l'artiste au titre, il sera ajouté automatiquement

Titre

Les 3 choses que les DJ pros détestent sur les sites de musique ? On fait le point. « Superposition de texte » : les 3 grosses frustrations

Titre du titre

Titre {title}

Le titre {trackTitle} ne peut être acheté que dans le cadre de l'album {albumTitle}.

Titre {trackTitle} retiré de {playlistName}

Retirer l'album {title} ? Ensuite, l'album devra être modéré à nouveau avant la publication.

Sans titre

Mettre à jour la description de la playlist

Utiliser « Volumo » dans les titres peut entraîner des résultats de recherche non pertinents.

Nous, Volumo, sommes responsables du traitement de vos données personnelles, utilisons des cookies pour personnaliser le contenu et les publicités, pour fournir des fonctionnalités de réseaux sociaux et pour analyser notre trafic. Nous partageons également des informations sur votre utilisation de notre site avec nos partenaires de réseaux sociaux, de publicité et d'analyse, qui peuvent les combiner avec d'autres informations que vous leur avez fournies ou qu'ils ont collectées lors de votre utilisation de leurs services

Vous n'avez pas besoin de numéroter les titres dans le titre : ils sont numérotés automatiquement.

Il est possible de déposer une plainte auprès de l'organisme de régulation, mais contactez-nous d'abord à {address} : nous ferons de notre mieux pour aider à résoudre le problème que nous rencontrons.

Presta

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