Since 2003, Danny White and his crew have been slumming it. With a few lessons in debauchery from creative cohorts Eddie Leader and Rucky (Dan Rucker), the U.K.-based trio Slum Science has been crafting a catalog of funky house tracks that reek of smoke, booze and ingenuity. Could the underground heads demand much more? Labels such as Deep Future, Icon, Jackin Tracks and Black Cherry certainly got buzzed on the smooth sound of their work. The trio’s string of successful drops led the production team to branch out on their own . . .

Living abroad in Amsterdam has repositioned the creative mind-set of Gene Farris, whose deep, spacey sounds echo back to an era of raves gone by. And while his recent batch of remixes is not about reinventing the wheel, the DJ/producer/label owner keeps his Chicago-influenced sound spinning on heavy rotation. In teaming with Control Records leader Bryan Jones of late, Farris has crafted an inspired bag of remix work that quips with quirky tech and acid lines while working audiences with organic finesse. In the mid-’90s, Farris played into another eclectic EDM movement that revolved around the Chicago-based Relief Records.

It’s been more than seven years since one of house music’s most-prolific legends bumped Milwaukee crowds. Now with more than 130 EPs to his name—including his 3-million-selling club gem “Get Get Down”—Johnson returns as part of the one-year anniversary party for the eclectic EDM monthly Boompty at Red Light. “It’s been great working with Red Light this past year,” said Georgie Geewiz, who co-organizes the night with Mike More. “They are very supportive of our party … the people at Red Light know what it takes to make music work.”

The hushed hype surrounding the kickoff of Projekt, Milwaukee’s newest EDM monthly, has sparked discussion among the underground dance community for nearly a month. “We came to the market…with a very creative, mysterious (marketing) method, using the Web as our main focus for promotions,” said Brad Valerine, a co-organizer of the event. “One message board even called us ‘Cloverfield rip-offs.’” Now the new night is ready to launch a barrage of what promoters call “avant” house music on the ears of the local dance scene beginning Friday, Feb. 29. Highlighting the clean, angular sounds of minimal and techno, Projekt aims to give audiences a regular mix of beats that may otherwise only get play in the occasional or one-off scenario.

If Tittsworth was a cartoon character, he could be a blinged-out, globe-trotting pimp sporting a five o’clock shadow. In actuality, only the globe-trotting part is true, as Tittsworth has emerged as a turntablist who turns his own tricks on a dime. The D.C. native seamlessly blends club, rock, rave, hip-hop and house into a high-energy set that has sent him across the globe, including a regular spot at London’s Fabric. With eight club records already released, along with the mega mix CD Ayres ’n’ Titties (Money Studies), Tittsworth spoke with Club Noise about the Baltimore club scene, crunk and one night in Bangkok that was hardly humble.

Whether he's donning his "Sleazy" moniker on the decks or producing his tracks under the likes of "Tony the Pony," Laurin McQueen Fedora is in the business of making seriously good house music without taking the scene too seriously.

Those who remember Darius Rucker's ill-fated dance with hip-hop can rest assured. East St. Louis selector Bitch Ass Darius has more interest in crafting the kind of ghetto techno that would make any plaid-happy preppy blush.

One of Chicago's most acclaimed deep house artists launched his music career as a CD shrink-wrapper for the burgeoning underground label Trax. It took only a few moments before he brushed shoulders with the likes of Glenn Underground

When Minneapolis house selector Jeff Kash visited Milwaukee two years ago, he stumbled on a scene so hot it demanded a take-home souvenir.