Amidst an endless army of DJs, Laura Jones´s light shines bright through the underground. On first glance perhaps it´s her trademark orange sunglasses and presence that can beam a smile from behind a turntable to the other side of a festival. Or the fact that her first forays into production steam rollered her into the spotlight. The house and techno starlet strode into our lives in 2011 with Love IN Me, a summer anthem that filled her diary for the year almost overnight. But Laura´s story didn´t just begin with a big track and an eye condition that requires her to wear the glasses that protect her vision. It began at an early age spending every penny collecting music. Buying vinyl like her life depended on it after discovering underground music on an Ibizan dancefloor. Bucking the trend of one hit wonder producers lacking the DJing skills to maintain their success on the world stage, she´s earning a reputation as a DJ´s DJ.
The proof lies in her gig resume. She was quickly taken under the wing of first Circoloco and then Fabric, the two clubs she´s become best known for plying her trade at and her intensive schedule has featured Detroit´s Electronic Movement Festival, the UK´s Warehouse Project, Amsterdams Mysterylands, Richie Hawtin´s Enter night in Ibiza and a residency at house music institution Back To Basics in Leeds to name a few. Her measure as an artist doesn´t just stop at the DJ booth. Since her debut hit she´s earned a reputation as a producer with depth and style thanks to timeless pieces that centre around her classical training and sultry vocals. With over twelve years of piano training and threee in cello and clarinet, Laura understands the dynamics of composition away from the bedroom computer and her tracks EPs and compilation CD have found homes with key labels such as Leftroom, Visionquest and Crosstown Rebels. As a remixer she´s earning a reputation for breathing new life into house classics like Romanthony´s ´Let Me Show You Love, Hollis P Monroe´s ´I´m Lonely´ and her forthcoming anthemic underground remix of Todd Terry´s Bounce to the Beat.´ In between the studio and the Dj booth her unique stage presence has made her one of dance music´s most unforgettable discoveries.
Gavin Herlihy’s music has been a constant feature on some of underground house and techno’s most iconic labels since 2006. He opened his account for 2013 with a remix of house classic ‘Let Me Show You Love’ by Romanthony in collaboration with Laura Jones. Played on Pete Tong’s Radio 1 show and supported by DJs like Damian Lazarus, Mosca, Jamie Jones or Paul Woolford it was backed up by a track on hot underground house label Overall.
Now based in the UK’s capital of house music, Leeds, Herlihy (pronounced Herl-i-hee) is an established feature on the global DJ circuit. He earned his place thanks to a two year stint learning his trade as an up-and-coming producer in Berlin at the end of the 2000s where he notched up gigs at the Panorama Bar, Watergate and Bar 25.
As comfortable writing sublime deep house as he is at crafting no-nonsense future techno, few artists have achieved such a broad base of label support as this enigmatic Irishman. 2012 alone included releases on esteemed labels Culprit, Get Physical, Sunday Best and Leftroom. Crosstown Rebels single Witching Hour scored a Beatport Deep House Top Ten in February that year closely followed by another Leftroom bomb ‘Get Loose’, which became a Miami WMC and worldwide house anthem. All adding to an enviable discography which also includes previous outings on scene leaders like Cocoon, Cadenza and Buzzin Fly.
It’s a long way from his debut single ‘Machine Ate My Homework’ in 2006, hailed by DJ Hell and Laurent Garnier as one of the tracks of the year. However, his roots in dance music lie much deeper than that. Herlihy’s teenage years were spent lost in the experimental rock of bands like Sonic Youth, Rage Against The Machine and Fugazi before uncovering electronic music during an eye opening festival pilgrimage to England at the tender age of 14. During this pivotal trip he remembers in particular hearing early drum ’n’ bass on a north London pirate radio station. “It sounded like the future being beamed down the radio waves,” he says. "And I've been chasing it ever since."