Dance music is making a come back. Artists, DJs and producers are upping the BPMs (beats per minute) to their tracks, creating a global dance phenomenon geared toward packing dance floors. “If you had to pick one genre that’s migrating at the highest frequency, it would be the dance world,” Black Eyed Peas’ Will.i.am said in a recent Billboard interview.” That’s where music as a culture really lives.” Check out some of dance music’s biggest movers and shakers, and why they think dance-oriented tracks are the future of the industry.

DJ Arsenal: Pioneer DVJ-1000 DVD Turntable, Pioneer DJM-800 Mixer

Armed with more than a decade of experience in the nightlife business, DJ Reza taught himself the art of mixing as a true enthusiast of dance music culture in the early-’90s. He has since then become a musical trendsetter and favored party-rocking DJ, as well as a producer, founder of Go Ventures (one of Americas leading purveyor of dance music events), and owner of Saturday Night Sessions recording label. He has put in years of hard work, self-discipline and strong personal ethics, earning him such notable professional credibility behind the decks.

How did you get interested in DJ’ing?
I’ve been buying records since 1988, but was a promoter first. I officially started playing in 1995, so it’s been about 14 years now that I’ve been doing it. I enjoy the ability of playing good music and pumping up the crowd. I can play what I feel is proper dance music and be able to share that with others. The genre everybody knows me for is house, but I play everything; anything that sounds good and makes sense in my set. I enjoy being able to make a lot of people have a good time and rock a party.

What DJs do you look up to?
I look up to a lot of my peers like Danny Tenaglia, Dirty South, Steve Angello, Axwell…people who have created new sounds that others haven’t done and come out with quality music that’s rocking.

Do you still play at regular clubs in L.A.?
I do more special events, rather than regular clubs now. I’ll play at a club if they are having a certain event. I’m usually booked every Saturday somewhere.

In your numerous years in the industry, what has been your most memorable DJ experience and why?
I have a lot of those. I just played at Queen’s Day in Holland. I was the only international DJ asked to play. I felt honored to go to a country that wasn’t my own and play at such a great event. If I had to choose a memorable gig, it would have to be playing at my own party, “Monster Massive.” It happens each year around Halloween. It’s a special gig for me since I get to close out the night.

Besides being a successful and notable DJ, you’re also a producer and owner of Saturday Night Sessions. What made you want to own a record label?
Being involved in the dance music scene for so long, I wanted to have an imprint label in L.A. and have a strong hold in its music scene. I wanted my own platform since I thought it would be easier than having to go through other labels to release my music.

What do you look for in talent when signing new artists to your label?
I look for people to make good music. I like crossovers and those that don’t usually do the norm. They have to be different and have a new sound to them. I want fun music that will make people have a good time.

What appeals to you more: Dj’ing or producing?
When you’re a DJ, you’re performing what you make as a producer. I love both. I was first a DJ and then became a producer, which gave me knowledge as to what will work or won’t work in my own music.

Will you ever give up DJ’ing to solely produce and run your businesses?
I’ll never give up DJ’ing. I love performing; it encourages me to produce more and make music people dance to. I’m known as a party rocker, so while I’m still behind the decks, the party will definitely be rocking!

Where do you see your future headed within the music industry?
I’ve been getting approached a lot to put music in film and TV lately. I’ve also had a lot tracks that just went on sale. The next five years will be a groundbreaking time as my businesses expand. Things are definitely blowing up for me.

www.goventures.com | www.myspace.com/djrezamusic

DJ Arsenal: (2) Pioneer CDJ-1000 Digital Turntables, Pioneer DJM-800 Mixer, Serato Scratch Live

Jo’B and Daniel Ledisko are causing mad hysteria on the dance floor as the electronic DJ duo LA Riots. Taking their moniker from the infamous riots that blazed across Los Angeles in 1992, LA Riots has quickly established themselves at the forefront of the electronic music scene, with various electro-centered remixes and club bangers from the likes of Justice, The Ting Tings, Chromeo and other big names. Individually, both are veterans to the music scene—Daniel as a DJ and Jo’B as a producer.
Their combined skills and love for mashing up various music genres with electronic sounds led to a record deal on A-Trak’s Fool’s Gold label in less than two years of hitting the L.A. dance scene. Constantly on global tours, LA Riots is bringing their unique energy to the musical masses.

How did you come together to form LA Riots?
Daniel: We were friends for more than 10 years. We both made the move to L.A.; I was first, then brought Jo’B with me, who is originally from North Carolina. I’m from New Zealand.

Jo’B: LA Riots didn’t exist at that time. We were both doing separate things then started messing with collaborations. Daniel had DJ gigs, while I was doing more production things. When we thought of a name for ourselves back in April 29, 2007, it was the 15-year anniversary of the Los Angeles riots, and we thought it was a cool name to go by.

How long did it take you guys to make a names for yourselves within the scene?
Jo’B: It was pretty quick since the timing was perfect when we took it seriously. We were able to come right off the bat into a fresh scene, right in our neighborhood. We were able to walk to 80 percent of our gigs in the first six months.

How do you go about choosing songs for your remixes?
Jo’B: At first we took what we could get and did a lot of bootlegs and stuff to get our name out there. But these days, we get offers. If it’s a track we’re into, and if the timing is right, we’ll do it.

So Far, which song has been your favorite remix?
Jo’B: Probably the remixes we did for Justice early on that were completely bootlegged. They ended up picking up one of them after we did it. Then a lot of others started doing it, too.

What’s your favorite type of music to remix and why?
Jo’B: We’re into rock a lot. What pulled us into doing this was the merging of rock and electronic music.

Is there a musical element you always try to incorporate into your remixes that make it an “LA Riots staple?”
Daniel: I think we are getting to that point now, where we are defining our sound more precisely. For a while, it was just trying out a lot of different things and having fun doing remixes.

Jo’B: The first singles from our upcoming album are straight up dance-rock, featuring Chris Cornell; things that can work on the dance floor and still be on a rock radio station.

How has life changed for you since becoming hot commodities in the scene?
Jo’B: No more day jobs for us. We are able to focus 100 percent on what we are doing and put all our time and effort back into making the most out of our music.

Daniel: It’s only been about two years, so we are still in our struggling phase of trying to get our music out there. We’ve been hustling a lot, so we haven’t had much time to reflect on it yet.

There’s no denying that you guys are destined for greatness. Do you consider yourselves having “celebrity DJ” status yet?
Daniel: Not at all...we still get turned away at clubs in Hollywood. We’ve actually tried to pull the “DJ card” a couple of times. We’d be, like, “They’re playing our track inside…”, but haven’t had much luck most of the time.

That’s crazy. Do you guys even make it out to clubs often to just hang out since you’re practically in a new city every night playing?
Daniel: Not really since our tour schedule has always been hectic. Earlier this year we toured Europe with MSTRKRFT, and are currently touring with The Crystal Method and doing smaller venues here and there.

So, what’s your take on why dance music is dominating the industry right now?
Daniel: It’s now being merged with different types of music as opposed to just being associated with that trippy sound of the ’90s. It has more of an idenity to it. You have acts like Justice and MSTRKFT that people know about and can pinpoint out in a crowd. Before, these acts could walk around anonymously. Back in the ’90s, dance music was supposed to be big, but it never was ’cause it was made by all these anonymous dudes, making a certain type of music that only appealed to a certain type of crowd. Now, we have people with an image, who are borrowing from hip-hop and rock, so more people can relate to it.

www.myspace.com/lariotsofficial

DJ Arsenal: (2) Pioneer CDJ-1000 Digital Turntables, Pioneer DJM-800 Mixer, Serato Scratch Live

As a veteran of the music scene, Dave Audé pretty much grew up playing and listening to music. After high school, he began his career as a MIDI instructor at the same place where he learned his process and technique, the Los Angeles Recording Workshop. In the ’90s, he began making house music and helped start Moonshine Music, where he expanded his production acumen and produced a number of top artists at the indie imprint. Since then, he has been working with big acts, including U2, Beyonce, Kelly Clarkson and Madonna, in conjunction to starting his own label, Audacious Records. While producing is his passion, Audé still rocks the turntables to keep in touch with the scene. His love of music and keen production skills has solidified him as an industry leader in the dance world, as he helps lead it into mainstream America.

You’ve been a DJ and a producer for more than 15 years. What made you choose music as your career?
I’ve been playing music in one form or another since I was 13. I started out playing keyboards, falling immediately for the sounds the synthesizer created. I sort of fell into it actually. I basically woke up one day to realize I was supporting myself doing it.

What was your motivation to start Audacious Records?
Audacious began four years ago because I needed an outlet to make and release music with my friends.

Do you prefer DJ’ing or producing more?
I’m a producer first, and I DJ for fun. Dj’ing is actually a very important part of what I do. It allows me to go out and gauge reactions from the crowd, and it also keeps me in tune with what works on dance floors.

Besides working in the studio most of the time, how often to do you DJ still?
I am on the road three to four times a month, playing big events and clubs. I still enjoy it, which is why I do it.

What’s you favorite type of music to include in your sets?
I typically stick to electro and progressive, but I like to throw in a remix, bootleg or mash-up here and there to keep things fresh.

When you’re producing, what elements do you always try to feature in songs, if any, to make it an “Audé” track?
Something that I like to do that I think a lot of other producers don’t is that I try and keep the original elements of the song. I always keep the original vocals in tact, and I don’t try to remake the entire song. A lot of people look at remixes as a way to make themselves famous, but I look at it as an alternative way to promote an artist. So I just put my personal spin on it.

Who’s been a favorite artist to work with thus far in your career and why?
Probably Sting and U2, but I enjoy working with all different types of artists, as it allows me such diversity on my remixes. Although, right now, I’m very involved with the Pussycat Dolls—I’m also their music director. They are not only great artists that continually record fun songs, but people really enjoy dancing to their music.

Looking back over your remixes, what has been the most difficult or challenging remix you’ve had to do?
The ones I find most challenging are those that aren’t really made for the dance floor. The singles that are already huge on their own can be a little tricky, too, because it’s always going to be compared to the original.

How has your musical skills progressed since you first started?
With new programs, software and techniques popping up all the time, I am constantly perfecting my craft. You really never stop learning in music, especially when there’s always a new flavor of the month. I love technology and the possibilities Pro Tools, Apple computers or Pioneer CDJs give me to make music or pack dance floors.

How would you explain the progression of dance music into what it’s transformed into today?
The electronic music of the ’90s was very underground, but managed to produce some crossover acts like C+C Music Factory, CeCe Peniston and Moby. Then in the mid-to late-’90s, electronic music kind of fell off the pop/radio map. To hear it, you’d have to go to a club. Today, with availability of digital music on the Internet, satellite radio, and even TV, everybody is exposed to dance music. Even today’s top pop acts are integrating dance music into their songs and live shows—Lady GaGa, Pussycat Dolls, Black Eyed Peas and Kanye are prime examples of that.

Why would you say that it’s gone so mainstream lately?
People are just stuck. Not to downplay other genres, but radio has been controlled by one type of music for a while, and it’s ready for something new. It’s an exciting time for electronic music.

What’s your take on the celebrity DJ that is popping up now?
They are all very talented, but basically, these guys are playing the same music that is being played at weddings. Don’t get me wrong, what they do is great, but they have become famous as DJs because of their celebrity status, not because they have a hit song. Maybe I’ll have a hit song one day!

What advice would you give to aspiring DJs/producers?
To get some type of music education to learn how it’s made and to know its history. Having this foundation provides new DJs/producers the blueprint for success. A lot of kids out there think they can just buy a computer and make hot tracks. Honestly, you need to be a little more educated than that. You need to listen to a lot of music; you need to turn a few knobs; crash a few computers; and lose a few hard drives. The other thing I would suggest is to always finish a project and don’t’ dwell on it for too long.

www.daveaude.com

DJ Arsenal: Pioneer DJM-800 Mixer, Apple Macbook, Midi Controller

As a rising electro star from Vancouver BC Canada, Felix Cartal is ready to take center stage of his own music career with the upcoming release of his first LP later this year on Dim Mak records, which features original music produced and mixed all by him. However, fans can now grab his new Skeleton EP to get a feel for his musical prowess. Having always been interested in music, Cartal always knew it was somehow going to be his career, but never actually knew what path it would take. Part of a circle of DJ friends that includes the likes of MSTRKRFT, LA Riots and The Bloody Beetroots, Cartal’s innovative production and DJ dexterity continue to cement him as festival-headlining material instead of merely being considered “the opening act.”

You knew music would ultimately be your career. How did you first become intersted in music?
Well, I started really young, playing in punk and rock bands, which was my first musical influence. I then made the transition to dance music from rock bands that had electro/dance elements in it. Once I was of clubbing age, dance music was more prevalent for me. I played bass and guitar in high school, and got into the production side of things after I took a class called “music composition,” where I learned studio software. When my band was in the studio, I’d always try to be with the soundboard engineer, learning my way with the software.

So after you decided dance music was your thing, how did you cement yourself in the scene?
It was basically 100 percent networking on the Internet. I jumped onto the blog scene at the right time before the whole thing blew up. I was fortunate enough to have a couple of songs that got a lot of downloads, and from there, I started to notice my songs were being used in other DJ’s mixtapes from around the world. Then the DJ requests came here and there, which is how I ultimately learned to DJ. I was a producer first and foremost, and then gained the respect from Jesse from MSTRKRFT ’cause he was playing most of my songs. He became my mentor and helped me get my name out there back in 2007; it was the turning point of my career.

What type of music are you currently digging and remixing a lot of right now?
For DJ’ing, I’m playing more techno-edge stuff. For mixing, I’m working on my own stuff for my LP album right now that’ll flow a bit more musically rather than feature all mixes. It’ll have actual song structure with verses, choruses and bridges instead of just mix-in, build up, then mix out. My EP came out this past May, and it contains more dance tracks that I’ve had for a while. The album comes out end of the year and features all of my own produced music.

Do you have certain things that help inspire your mixes?
I think my biggest thing when I write a track is that I never try to follow a formula. I try to bring a new idea to every track. The minute you start to follow what you started out doing in the beginning is when you pigeonhole yourself and your music gets stale. I take risks with every track I make.

Since you’re more of a producer than a DJ, do you have a pre-stage ritual or anything when you preform to get you into “DJ mode?”
Not really. I just try to listen to what the DJ plays before me for, like, 20 minutes. Then I get on stage and really grab the audience in the opening minutes of my set. I’m very conscious of gaining control right away. The first 15 seconds is where you grab your audience.

What’s been your most memorable gig so far in your career?
Recently, I played in Taiwan for a big outdoor festival in a field about 10 minutes from the beach. It was a really cool experience. There must have been more than 5,000 people…it was pretty crazy. I enjoy both big and small gigs. The smaller ones at little venues are fun ’cause you can see people dancing around, and you feel like you’re running a house party. The bigger festivals give you more of a rock-star feeling, as everybody in the crowd throws up their hands when they dig your music.

What are your thoughts on the popularity of indie/electro/house music that is slowly becoming a global phenomenon, including here in the States?
I think it’s a great style of music moving to the forefront ’cause there are a lot of musical genres in dance music, so there is really something for everyone. A lot of people label dance music as techno, and I think as it moves to the forefront, people understand there is other musical elements contained within it. Electro is becoming a bit more commercial since it can appease a mass audience pretty well…as long as North America isn’t afraid of it.

www.myspace.com/felixcartal | www.felixcartal.com

DJ Arsenal: Pioneer DVJ-1000 DVDTurntable, Pioneer DJM-800 Mixer

The Mississippi-born, Philly-based Wesley Pentz, better known as Diplo (a nickname that came about from his childhood love of the dinosaur Diplodocus), wanted to be a paleontologist as a kid, but ended up becoming one of the hottest producers/DJs in the music industry today. But he’s more than that…he’s now part A&R, discovering new acts; part cultural curator (he’s largely responsible for bringing Baile Funk to mainstream attention); he runs the party-centered-label Mad Decent that continues to push the envelope with its artists; has produced a documentary; is currently remixing and producing tracks for Ashanti, Kelis and tons of other big names in the industry; and he isn’t showing signs of letting up any time soon.
There’s literally nothing that Diplo can’t do, which is why he’s such a hot commodity right now, traveling around the world and creating new sounds that will change the way we categorize music. Mixtape and mash-up culture simply wouldn’t be the same without Diplo’s discerning ear, since his cross-genre mixes have been tearing up dance floors all over the world. Check out what makes his creative juices flow, and what type of musical treats he has in store for us in the coming year.

When we hear the name Diplo, we think of a modern Superman DJ, throwing huge parties in L.A.; free Mad Decent label nights in Philly, Miami and Austin; and a continuous traveling itinerary that competes with most airline pilots. Who’s the man behind the turntables? Do you have several impersonators helping kill it from city to city every night?
I do have a few Diplo imposters. We are working with Diddy right now to make a hologram projector, but we are a few years away. Then I can perform live in a couple of cities each night.

What were your thoughts/feelings when you got the alerts of Sir Paul McCartney playing one of your mixes as his intro at this year’s Coachella festival in Indio, CA?
Ha…I thought, “Sh*t…how am I gonna make money off this?” I realized it’s impossible. I’m just happy Paul got to hear some of my weird sh*t—that’s pretty cool. I hung with him after the Grammys. He was at Thom Yorke’s after party…that was the jam. I was mad drunk, and he was dancing with some fly girl—like doin’ the Wop; ?uestlove from The Roots was DJ’ing.

A “Diplo remix” has become a hot ticket in the music industry, from Young MC’s “Bust A Move” to the Diplo vs. Santigold mix. Is there a particular project that stands out in your eyes?
That Santi mixtape, and the May mixtape from four years ago. “Piracy Funds Terrorism” was the jam, too, but I liked the remix I just did for Radiohead. That was pretty cool, mad weird and hard.

Not only are you on the music side of things, but you’re also in the works of producing your documentary, Favela on Blast. How did that project come about?
Well it’s done. Three years travelin’ to Brazil and hangin’ with the kids out there, vibin’ on music and culture and puttin’ it on tape. It has been played at a few film festivals. It’s gonna be on DVD later this year I hope.

Would you agree with the notion that the “Brazilian Baile Funk” sound seems to be the core foundation of your own sound?
Nah…my own sound is basically hip-hop—a mix of everything. Early on, I was into bass and dancehall (being from Florida), but now I’m incorporating everything.

How did the name Diplo come about?
It’s short for a dinosaur. I always meant to change it, but never got ’round to it. And, now it’s too late.

You’re a Grammy-nominated producer, and you’ve worked with some of the biggest names in music. Who’s on the radar for your next project(s)?
Got some with my own crew: Amanda Blank, Spankrok, M.I.A., Santigold again. Robyn, Kid Cudi, Lil Jon—a bunch of kids in sessions right now. Also, lots of my own artists like Blaqstarr, Rye Rye, Rusko, etc.

What do you prefer doing more: DJ’ing, producing or running your own label?
All of it, but I stay way too busy. I’m ready for somethin’ else like investing in Mexican cell phone cards or airlines. I’m about to Richard Branson [ the 236th richest person according to Forbes’ 2008 list of billionaires] this sh*t.

What can we look forward to hearing from your Mad Decent camp over the next year?
Rusko, Rusko, Rusko—it’s the biggest record we ever did. Gonna mash it up!

As an automotive lifestyle magazine, we have to ask: Do you have any hot pieces in your garage? Do you have a dream car?
Man, I got a Jeep. But, I’m ready to get a new joint; probably an old Dodge Dart all tricked out. I’m into the old joints, but as far as new joints, I just want some giant bigfoot-style monster truck with a DVD player and a grill to cook on…somethin’ like that.

www.myspace.com/diplo

DJ Arsenal: (3) Pioneer CDJ-1000 Digital Turntables, (2) Pioneer DJM-800 Mixers (one is a one-of-a-kind Gold DJM-800 Mixer)

Once an outsider in a world dominated by European and UK DJs, Christopher Lawrence has risen to the top of the international dance music heap since hitting the dance scene in the early-’90s. He is now considered one of the key global players of dance music, and America’s leading dance export, playing his tough-techno trance sets main stage at the world’s biggest festivals and superclubs. Over the past few years, Christopher has received numerous awards and accolades, including many that single him out as one of the world’s best DJs and producers. Originally from San Francisco, Lawrence travels the globe to play everywhere and anywhere and continues to be one of the world’s most evolving and respected DJs.

How did you go about progressing your career to become so recognizable in the dance scene?
It’s not something that happened overnight. I’ve been involved in the dance scene for more than 14 years. It was 1992 in San Francisco, and I was in the right place at right time when raves were taking place. From there, I moved to L.A., became one of the first DJs involved with trance music, and then over the years progressed and evolved to become what I am now.

What made you first become interested in dance music?
I’ve been obsessed with music since I was a kid. I was first into alternative music. I became interested in dance music when a friend told me of a party in a basement of a club. I heard house music for the first time and it completely changed my life. It touched my soul like nothing else ever did, and I knew that was the type of music I wanted to make.

When you first started out in the industry, what were your career goals, and have you achieved them all since then?
I had no expectations. There was no such thing as an international DJ that toured back then. I never thought I’d be doing what I’m doing. I had a day job and was in school, so DJ’ing was just a passion that started out as a hobby. I’d DJ a party and get $50 for the night. I thought that was as good as it got. I’ve achieved more than I’ve ever dreamed I would as a DJ/producer.

Having done so many gigs, what’s been the most memorable one thus far?
New Year’s Eve 2000 at the L.A. Coliseum, which was the biggest festival I had played at back then. There was more than 60,000 people in attendance. I remember looking out at the crowd and realizing how I’ve come a long way in my career.

What was it like transitioning from putting out DJ mixtapes to producing your own CDs?
It was a huge difference. For mix compilations, you can just select music from other people that you like, but when you go into the studio for your own music, it’s totally different and more difficult. It’s easy to listen to someone else’s music, but a lot goes into creating your own, especially when you first start doing it.

After you became more interested in producing, you started your own label, Pharmacy Music. How did that come about, and what type of artists do you tend to sign?
Primarily because I knew there was people making music that I liked and since it’s not exactly very commercial, it didn’t always make it to dance floors. It was partly selfish of me since I saw it as a way to get that music so I can play it. It’s an outlet for my own production and one for young producers that other labels have overlooked. I look for artists who make quality music, and if I would personally play what they create. I usually test drive new releases on the dance floor to see if it’ll work.

You said dance music hasn’t been very commercial, but it’s currently going mainstream, as bigger acts tend to feature aspects of it in their music. Why do you think it’s appealing to mainstream markets now?
You can’t keep a good thing down. Dance music has been around for, like, 20 years now, but it’s been as an undercurrent. A lot of people who liked the music before have grown up and are now in positions of power; they want to hear music they are familiar with, which is dance music they grew up with in the ’90s. What held it back was major music labels, media and radio. The established music industry just didn’t have the time of day for it since the big executives were from an older generation that was familiar with rock. They fought rap and hip-hop for a long time, but it became popular. The same is happening with dance music.

With a newfound interest in dance music taking over, who are you digging right now?
I’m really into an underground, psychedelic trance sound that Israeli producers have been creating for a while now, but has taken a while for the rest of the dance world to take hold of. Also, music that my comrades, John 00 Fleming and Astrix, are doing.

With such a notable and successful career in music, what have you yet to still achieve?
I ‘d like to do less touring and more producing for TV or movies; I’ve never done that before. I think it would be a great challenge.

How did you go about becoming a Pioneer DJ?
It was four years ago that I became one of their sponsored DJs. I use everything they make. I first started using their products when I transitioned from vinyl to CDs back in 1997. Their products have become industry standard around the world. Their stuff is what all the clubs use.

www.christopherlawrence.com

DJ Arsenal: (2) Pioneer CDJ-1000 Digital Turntables, Pioneer DJM-800 Mixer, Serato Scratch Live

The names Jesse F. Keeler (aka JFK) and Alex Puodziukas (aka Al-P) alone might not strike a chord with many, but their musical moniker, MSTRKRFT, will definitely spark images of Canada’s production/DJ duo. Their 2006 debut album, The Looks, is partly responsible for pushing electronic music to the forefront of the club scene. As close friends already immersed in the industry while playing in different bands, the guys joined musical forces after realizing they had the same interests in music, switching from heavy rock and punk to funky electro beats that would ultimately lead to headlining tours around the world, non-stop requests for remixes and rock star status reserved for legendary musicians.

Fresh off the release of their sophomore effort, Fist of God, MSTRKRFT is securing their place as innovative producers and evolving their sound with tracks featuring notable hip-hop names like John Legend, N.O.R.E and Ghostface Killah, which fuses dance elements with those from rap, boom bap and bounce, creating their distinctively brutal club grooves. Keeler talks about thier masterful mutations of music and how they’ve evolved since 2006.

Your first singles, “Easy Love” and “Work On You,” put you guys on the electro-house tip as leaders of the scene. When you first became MSTRKRFT, did you guys intend on making this type of music?
Not a lot of stuff sounded like us back then, and we didn’t fully know what we were doing. All we knew was that we wanted to make music we liked...make dance music our way.

Your MySpace page classifies you as “electro/punk/rap.” Since your music is all over the place, how would you describe your musical evolution from 2006 to Fist of God?
It’s natural to change musically. If we made the same record as we did the first time, it would be pretty weird. People expect something similar, and it’s hard because you’re a different person than you were for the first one. We started making this record the month we submitted the last one to the record label. It’s influenced by our remix work. It’s hard because we have a pretty broad skill set. It’s tough to apply how we want to do things. We write everything and then mix it all at once. The whole album isn’t merely club tracks, either, like the first one.

You have an interesting list of guest appearances on the album. How did you hook up with most of them?
The first was with N.O.R.E and that came from a friend of our manager’s, who went to jail with one of his friends. We invited him to collaborate, and he was onboard right away. A lot of credit is due to him for the overall sound of the album. He really was the first to execute hip-hop over electro—it really did guide the production of the album. Once we had that N.O.R.E track, it was an eye opener and people started to see what we were doing.

Besides producing your own music, you guys have remixed songs of notable groups and artists. Do you guys ask to remix a song, or are you the ones asked?
We’ve never asked anybody. They bring us a song, and we listen to it to see if we can add anything to make it better. We’re always getting remix opportunities, but we say no 90 percent of the time. Sure, we can say yes, give someone a piece of sh*t and take their money, but we don’t operate that way. We were asked to remix a Brittney Spears song and dropped it. When we finished the remix, we realized that we didn’t even use any of the original vocals after working on it for two weeks. We’re really particular about what we put out in the world.

A lot of artists are catching on to your dance remixes, and are now putting dance elements into their own tracks all of a sudden. Why do you think they’re doing so?
I think that all R&B and hip-hop is becoming really clubby right now. Just by judging the artists that come to us for remixes like Keri Hilson, Lil Wayne and The Black Eyed Peas, it’s really becoming popular. This type of thing wasn’t happening two or three years ago. Rock music is becoming more dance oriented, too. I think hip-hop is returning to its roots since everything was electro and disco with old rap in the early- and mid-’80s. It changed when the music started coming from loops and samples. Part of our plan was to be on the front of this movement in North America, so we’re happy with the way things are going. The idea was to make a very American-sounding electro album for Fist of God. For sure electro has always been a big part of club culture, so we wanted to take influences from there and mesh in with what’s happening today in the club world.

Other DJ/production acts like DJ AM, A-Track and yourselves are becoming really known beyond only the dance/club scene. How do you feel about this new take on DJs being compared to rock stars?
People are recognizing that these people are really good at what they do. The DJ booth isn’t in the corner anymore—it’s front and center on stages. There’s more recognition for the talent. We are kind of like rock stars now and getting respect at the same level as traditional musicians. As far as being so recognizable, it’s cool and makes us try harder to always push ourselves to make better music. It’s given us a greater responsibility to be innovative and push music forward.

What does the rest of 2009 have in store for guys?
We’re doing less remixes and making our third album, while still touring and doing promo for Fist of God. We’re actually getting involved in doing stuff for movie soundtracks, television and commercials, which is really cool since it’s challenging us to create various types of music.

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