Life in Color - San Diego

With international support growing from renowned DJs and producers including Tiesto, Hardwell and Nicky Romero, as well as two successful Spinnin' Records singles under their belts ("I Like It Loud" & "Michael Jackson"), New York's emerging electronic three-piece Cash Cash has signed with legendary dance music imprint, Big Beat Records, home to a diverse electronic roster which includes Skrillex, Icona Pop, Chuckie, Martin Solveig, Flux Pavilion, Rudimental and Walden.

The group, which consists of best friends and brothers, Jean Paul Makhlouf, Alex Makhlouf and Samuel Frisch first made their way into the hearts of core dance music enthusiasts with their vibrant remixes for the likes of Nicky Romero ("Symphonica"), Capital Cities ("Safe And Sound"), Vicetone ("Heartbeat" ft. Collin McLoughlin) and Krewella ("Alive"); as well as Bruno Mars ("Treasure"), Calvin Harris ("Let's Go" ft. Ne-Yo) and Nervo & Hook N Sling ("Reason"), several which have reigned on the Hype Machine charts.

But the trio truly impresses with their originally produced material, including Krewella's next single, "Live For the Night," coming just before their first official Big Beat release, "Take Me Home" ft. Bebe Rexha, dropping on July 16th along with a remix package to all digital retailers. The track recently premiered during the trio's guest mix on Nicky Romero's 'Protocol Radio' Sirius/XM Radio show and officially debuted on BPM, hailed as the "best new track… heard in a long time" by host, Austin Kramer.

Cash Cash's fusion of captivating pop vocals and signature banging electro‐house beats have already captivated dance music insiders and tastemakers like elektro magazine, Complex's Do Androids Dance and Dancing Astronaut, who named the group one of their "five breakthrough artists for summer 2013." Expect to hear more praise for this crowd‐pleasing act from EDM and pop music fans and writers alike.

"Take Me Home' instills the use of powerful melodic vocals by Bebe Rexha and a mounting synth that builds to an anthemic drop." – elektro magazine

"…packing enough electro house "oomph" to get a push in the major EDM spots… you should expect to hear more tunes like this. Don't be afraid of a little pop in your lives."
– Complex's Do Androids Dance

At a time when the DJ sits firmly at the center of popular culture, A-Trak stands out as MVP, the key participant who holds together all facets of the craft. Very few share his mastery of turntablism while also sitting at the forefront of musical innovation, looking keenly to the future with history tucked in his back pocket. A true connector, Trizzy hops effortlessly from colossal festival stages to sold-out concert venues and sweaty underground clubs, building links between hip hop and electronic music while watching genre barriers crumble.

After spending years as Kanye West's tour DJ and consigliere, he founded the celebrated record label Fool's Gold in 2007 and developed the careers of artists such as Kid Cudi, Danny Brown and Flosstradamus. With its string of releases and parties, Fool's Gold broke down bygone rules of the record industry, paving the way for a new wave of independents and helping to make North American electro a dominating force. As a Grammy-nominated producer, A-Trak's seminal mix of the Yeah Yeah Yeahs' "Heads Will Roll" marked an entire generation's introduction to dance music. Duck Sauce, his irreverent collaboration with Armand Van Helden, flipped the bird to chart-topping formulas and reached #1 in 12 countries with the ubiquitous "Barbra Streisand", electronic music's first true viral music video. A-Trak easily segues from working with EDM's elite to revitalizing rap superheroes, launching Federal Reserve with Cam'ron and Low Pros with Lex Luger. He casually picked up 3 VMA nominations along the way.

Not bad for a kid from Montreal who was once known as a 90's turntable prodigy. As a teenager, he brought home every DJ title known to man, starting with the 1997 DMC World Championships and holding a record-breaking 5 titles by the time he was 18. Meanwhile, as his older brother Dave morphed into the lead-singing lothario in the acclaimed electro-pop sensation Chromeo, Alain grew from a nerdy teen who created an elaborate scratch notation system to a bona fide style icon and one of the most recognizable figures in the DJ scene. He recently appeared in campaigns for Adidas, Grey Goose and Cadillac and graced the covers of Billboard and Complex. Based in New York for close to 10 years now, A-Trak's interest in the lifestyle of his generation has certainly made its mark. As one of the first blogging DJs, he now regularly contributes to the Huffington Post and owns the travel website Infinite Legroom. Through Fool's Gold, he cemented his reputation as a cultural curator: the label's legendary events – most notably the Day Off series – are like a knighting ceremony for new talent; FG has its own clothing line and a Brooklyn storefront which doubles as an art gallery. It's the accumulation of these projects that defines who A-Trak is. With this sort of breadth to his resumé, it's no surprise that Rolling Stone named him one of the 50 Most Important People in EDM. Currently focusing on more solo recordings, the ever-young Trizzy continues to write new chapters in his storied career.

Hello, world: Rusko kindly requests that you wake the fuck up.

The Leeds-born DJ/producer who ascended with the original U.K. dubstep movement – and gave it one of its first and most enduring anthems, a bolt of foul-mouthed rave lightening called "Cockney Thug" – is here to tell you that music is not about labels and dance is no fad. And to prove it, he proudly presents "SONGS": His gutsy, freewheeling, brilliant second album.

"The sound of my early releases was very dub-influenced, and just good, fun, bouncy vibes," he says. "The majority of dubstep at the moment I think is aggressive, and I don't like angry music; I don't want to be angry in a club. So I wanted to make something really happy, but still heavy."

"Happy and heavy" is a proper way to describe the vibe that has carried Rusko from the first moments of dubstep's life to the biggest stages in the world; from a single, seminal bass wobble to a swath of sounds that can't be capped in a few simple syllables. He might be one of the guys who started it all – but he's sure as hell not going to leave it at that.

A staple of the global electronic underground, Rusko has packed nightclubs, concert venues and festivals across the world, and not only dance-dedicated ones: From Electric Daisy Carnival and Ultra Music Festival, to Coachella and Lollapalooza; from Germany's Melt! to Australia's Good Vibrations. He created the majority of "O.M.G.!," his hard-hitting debut artist album, on the road, cutting tracks by day, and testing them on living, breathing dance floors by night. But for the follow-up, he wanted to try a different strategy.

"From January to late September 2011, I didn't make a single track," he says. "I spent all that time touring around the world, building up a massive swell of ideas inside me."

With the long tour done, the artist took two months completely off and ensconced himself in a tiny one-room studio in California's Hollywood Hills, with no phone reception and spotty-at-best Internet access. The hermit style paid off.

"I made all 14 songs in 8 weeks," he says. "I didn't try any out like before; I just stayed in the same headspace and vibe, and made the whole album in one go. You can really tell: Compared to 'O.M.G.!,' it sounds like one crazy Technicolor song!"

There is indeed a rowdy kind of sprightliness throughout "SONGS," which sets a wizard's box of dance music charms to some of its most misunderstood: cracking, smacking breakbeats, and reverberant, sonic-boom bass. The rave piano vamp of first single "Somebody to Love," the accelerated classic house of "Pressure," the head-nodding reggae of "Skanker," the epically trancey sweep of "Opium" and "Thunder," even "Dirty Sexy," a tongue-y but not so cheeky nugget of American-style R&B: They all express a different part of what makes Rusko pogo like a punk while he spins, and carry the energy and soul of his inimitable, genre-be-damned style.

Back in 2007 – when "dubstep" was an idea known to a critical few – Rusko and DJ/producer Caspa lit the spark with a dubstep-dedicated mix for London nightclub Fabric's influential compilation series Fabriclive. Rusko's "Cockney Thug" was the centerpiece, evangelizing the bass "wobble" that's since set the world on fire – a seminal moment that the Guardian UK called one of the 50 key events in dance music history. The young artist released a slew of singles and EPs, including the "Babylon" series, which shows his transition from happier rave to heavier dub. Remix commissions came in droves: Rusko has put his buoyant spin on over 20 tracks, including Kid Cudi's "Day 'N' Night," Lady Gaga's "Alejandro," and Kid Sister's "Pro Nails." He also produced the majority of "Maya," M.I.A's third and highest-charting studio album.

In 2010, Rusko's "Cali Anthem" becoming the first dubstep tune to be listed on US radio, and "O.M.G.!" was released on Mad Decent/Downtown. Containing tracks like the raucous "Woo Boost" and elegantly aggressive anthem "Hold On" (featuring Amber Coffman from The Dirty Projectors), it cemented the young artist as one of the leaders of the new dance movement.

Rusko is touring internationally behind "SONGS," and preparing to release an EP with a similarly ingenious group of rule-breakers: American hip-hop outfit Cypress Hill.

So world, if you're awake, now hear this: Rusko is here to roll the beats, and dance music will never be the same.

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