Some artists are so in tune with themselves that it’s impossible to escape their charms. That’s the case of Diana De Brito, aka IAMDDB, who’s been climbing the ranks within urban music since she was featured on BBC Music’s Sound of 2018 list.

De Brito’s sound is like an urban siren song. She calls it urban jazz, but it’s actually a fierce mix of hip-hop, rnb and soul with a raspy voice shining in a versatile pantheon of beats and instrumental accents. It’s not hard to imagine why De Brito has critics in turmoil.

IAMDDB continues to shine in 2019: she’s released her spectacular album Swervvvvv.5, made a catchy collaboration with Diplo, “Mira Mira,” and will first set foot in Madrid on the stage of Paraíso. Be careful, everything she touches turns to gold, and you don’t want to be petrified by a live show like hers.

Polo & Pan navigate the seas through legends, fables and tales, the same ones they use as an inspiration to impregnate the epic beats that welcome us to their luminous cosmos. 

On board this ship we find daring rhythmic patterns dancing with the nostalgia of childhood and the optimism of youth. They take the French touch to a particularly melodic, pop and heterogeneous terrain, where it comes into contact with baggage that ranges from bossa nova to cumbia.

These globetrotters have found the perfect formula to radiate enthusiasm in their live shows. Wherever they go, they make it very difficult for the dance floor to escape their charms. They don’t take no for an answer.

You may already be familiar with everything we can tell you about John Talabot, since his is the first case of a Spanish electronic producer taking a firm leap into the international spotlight and thereby setting a precedent. 

Responsible for all this is Oriol Riverola, who has won over half the world’s clubbers with an enveloping kind of house full of nuances. Since he released his two maxis “My Old School” and “Sunshine” in 2009 on Permanent Vacation, nobody has dared to question the position he has achieved on his own merit.

Loaded with something as necessary and attractive as mystery, Talabot’s sound is as dark as it is vital, one of those combinations that seduce and hypnotize. We are sure more than one of you will fall into his web at Paraíso 2019.

Few things sound like Jacques Greene, the name behind the young and enigmatic Canadian producer Philippe Aubin-Dionne.

His compositions evoke that liberating feeling experienced on the dance floor through music, just as electronica was revealed to him by electronic music when he first set foot in a club, while his sets are the result of the desire to share and convey that liberating experience.

In less than a decade and from Montreal, Greene has consistently generated ideas about what electronic music should mean in the new era and, in this short time, his has become one of the most cutting-edge and avant-garde sounds in the international scene. Greene’s high level of introspection and melodic sensitivity have us in check, making our minds an especially easy target for his rhythms.

What this trio have been up to since they burst into the scene in 2013 is much more than catchy rhythms and unbridled performances. CHVRCHES have gone from creating a one-of-a-kind sound to being one of the most influential references in electronic pop.

With their third album, the Scots ask themselves whether love is alive. For them it is clear, you just need to look at the present state of society to affirm that it has, indeed, died. Their vocalist and composer, Lauren Mayberry, has left behind the exclusively romantic lyrics to show a greater political commitment. Despite this, Love is Dead (Glassnote Records, 2018) invites you to dance within a colourful sound universe that leaves the door open to certain optimism.

Whether love is dead or not, there’s something that doesn’t change in Mayberry and her fellow travellers, Iain Cook and Martin Doherty: that contagious, almost addictive, adrenaline they exude onstage. So don’t resist, it’s inevitable.

Before disco music arrived in Europe, Cerrone had already arrived at it. His first solo song from 1976, “Love in C Minor”, was rejected in France, but reached the other side of the pond by chance, becoming a hit in the US. Overnight, Cerrone jumped to fame and became a successful producer and regular at Studio 54.

Cerrone opened the ears of the world to a new genre, disco music. Off his first LP, the song “Supernature” was like a covering letter, an environmentalist anthem that topped the charts in North America.

Cerrone was expected to have a hectic career. What wasn’t expected is that he would end up becoming a legend, selling over 30 million records and influencing the scene for decades, as he’s also responsible for that French touch sound that years later French electronica would inherit, with Daft Punk at the forefront.

In 2019 Cerrone comes to Paraíso with a show with visuals, drums, keyboard and Barbara Tucker as a vocalist. That is, a privilege you don’t get every day. 

Not long ago different rhythms started coming out of Uganda: polyrhythmic percussions, catchy voices, booty and tropical bass. That’s the style of Kampire, a DJ promoting a flourishing scene and a writer with a special interest in gender relations and feminism.

For several years now, Kampire has been at the forefront of the country’s dance music from the key label and collective Nyege Nyege Tapes, the seed that’s revolutionizing and inspiring crowds in this scene unknown to Western culture. In addition, she has not only helped put Uganda on the musical map, but she’s also one of the most remarkable profiles of the new wave of African artists serving as a meeting point between East African music and Western electronica.

Her sets reveal new sounds to European dance floors, melodies and rhythms from a yet-to-be discovered folklore; what better place for it than Paradise 2019? 

At first, it may sound comical but what Felix Clary Weatherall does is serious business. Beyond the name that makes reference to the American sitcom from the 90’s Friends, Ross From Friends conceals a meticulous craftsman who’s entering a new dimension of sound.

He’s not from another galaxy, though he might as well be. It is simply evocative, extremely nostalgic old school sound and worn-out lo-fi that Weatherall neatly fit into his compositions, note after note and with the pulse of a surgeon.

His beginnings showed promise and his first LP Family Portrait (Brainfeeder, 2018) confirmed what we had imagined: Ross From Friends is currently one of the most outstanding young talents in the British scene. Get ready, Weatherall will take you to a stratospheric territory from which you won’t want to return. 

For Raphaël Top-Secret, it all started in the record shops, basements and clubs in Paris. That is where the club culture—and now his great passion—was revealed to him: a cosmos of sound playing with the lights, the shadows and the energy the dance floor exudes.

From the booth, Raphaël glimpses distant horizons where one can hear Afro-Caribbean echoes, industrial sounds, boogie, ambient and even rap. These are the paradisiacal Champs-Elysées that guard the best gems that were found by the Frenchman while dusting off forgotten vinyl boxes.

Close to the Music From Memory family, Raphaël Top-Secret climbed many steps before becoming a reputed DJ and producer in the French underground. We don’t know how much longer the French scene will be able to keep his talent secret; what is clear is that once you listen to his music, it’ll be difficult for you to forget his name.

There may be many kings of electronic music, but what is clear is that Solomun is one of them. His name is usually accompanied by a certain sense of hysteria wherever he goes, and there are good reasons for that: his magnetism is difficult to put into words but easy to understand when you listen to his sound on the dance floor.

His fame has exponentially increased since the second decade of 2000, and not only in Europe, as his name has sailed the Seven Seas. Since then, his career has been sheer frenzy: residences, festivals, parties, clubs… So much so that it would be impossible to put a figure on how many hips Solomun has made dance.

Behind all this success lies the celebrated role the producer has played in redefining European house by giving the genre a touch of sensitivity and freshness. Reinvent yourself or die, they say. In that case, Solomun must be immortal.