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It’s not all fun and games for Adonis, Sci and Finesse. The Triangle Offense trio hailing from New Jersey brings some depth to the table with “Thank God I’m Fresh” – a feel-good song where “being fresh is what you make it.” With “Thank God I’m Fresh,” the group hopes to inspire a positive self-image, breaking the perception of dance music as a shallow medium. With the success of “The Courting” and a new mixtape in the works, it looks like Triangle Offense is living up to their HipTronik potential.

Download Triangle Offense's "The Courting Mixtape" here.

Download their new single "Cricketz Freestyle" here.

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HipTronik gets a taste of South Africa in “Too High” – a vibrant collaboration between Germany’s Schlachtofbronx and South Africa’s Big Space and Spoek Mathambo. The track's blazing energy combines Schlachtofbronx’s heavy electro bass with the sprightly rhythms of Mathambo and Big Space. The colorful mesh of distinct cultural flavors is mirrored in the song’s playful video, shot at the 2009 Oktoberfest. Schlachtofbronx, Big Space and Spoek Mathambo each have their own distinct characters, but “Too High” displays their perfectly quirky chemistry.

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Tiësto is arguably one of the world's best DJs, and he's back with a HipTronik venture alongside Canadian artist Kay. "Work Hard, Play Hard" is an anthem for working men and women, perfect for that Friday night out. You can download the track free as part of Tiësto's virtual mix CD "What's Next," available through SanDisk's Wake Up Your Phone promotion when you purchase a mobile SanDisk memory card. SanDisk will also be sponsoring select Tiësto concerts worldwide, encouraging fans to record concert footage on their phone and submit it for use in an official video. New tracks from Tiësto are always amazing. But an entire free Tiësto album? That's on a whole other level.

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Tom Deluxx and Stella are more than Just A Band. The Bordeaux pair has branched out of their native France, making waves as they play at shows and festivals throughout Europe. Just A Band is known for their edgy remixes from artists like Acid Jacks, Thieves Like Us and Alex Gopher, but they also produce original material, like they’re recently released “To Hell With Gravity” EP. “Bumper Cars” steers away from stock electro, creating a high-energy track that builds on a gritty tension. It’s a complex sound that contradicts Deluxx and Stella's straightforward Just A Band persona.

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Despite the fact that there's not much information out there about the actual identity of Discotech, we can definitely come to the conclusion that they create some awesome remixes. The one we like best? That has to be their take on T.I.'s "Whatever You Like." The original had us smooth grooving, but this version has us jumping on the dance floor. The remix hardly strays from the arrangement of the original track, instead simply giving it that necessary HipTronik push. Discotech has just launched a new blog, which still lacks a bio, but makes up for it with little remix gems. If the music's good, does it really matter?

Meet the LA Riots, a versatile production duo steadily gaining ground with their live deejay sets and their official remixes for everyone from Tiesto to Laidback Luke to Sidney Samson.  Jon Pegnato and Daniel Ledisko are known for their club bangers and indie electro tracks, but -- as you'll read -- the pair are always looking to push musical boundaries and break genre barriers.  Read on to learn more about their unique approach to deejaying, remixing and HipTronik.

Jon: I’m Jon Pegnato.

Daniel: And I’m Daniel.

How did you guys get the name LA Riots?

Daniel: We actually did a remix for Dim Mak for the Scanners and it was supposed to be on this Maxi single as the last track. It was our second remix; Steve [Aoki] had never heard our first one.  I was friends with him, so it was like, “Hey, do you want to do this remix?”

So we did it. He was going to tack it on as the last song, but we played it for him and he liked it a lot, so he was like, “I’m going to make this the first track on it.” [It was] cool because The Teenagers and Classixx, who were young Americans at that time, and A-Trak had all done remixes.

He gave us 30 days to come up with a name. We couldn’t come up with anything, but the deadline date was the 15-year anniversary of the LA riots. It was all over the news, so that’s what we decided on.

How would you guys describe your sound?

Daniel: Jon?

Jon: I would describe our sound as Jon. Whatever Jon’s into. [laughs] No, our sound is kind of like a fusion of tech-house and electro.

Daniel: We make whatever we like. I think people are starting to see that we’re not just these electro-bangers. Our sets nowadays are a little less of that sound and a little more house and techno.

Jon: I guess also, we’re not really trying to be typecasted. We’re trying to stay ahead of the curve, as opposed to following what everyone’s doing.

Where do you see that curve going?

Daniel: I think it’s getting less noisy: more refined, cleaner sounds, I think. That’s what we’re into.

Jon: It’s all a matter of throwing a bunch of stuff at the wall. Anyone that says they can predict where music’s going is retarded. They can’t. It’s fun to keep trying new things and if it works, it works. If not, so what?

We’re not scared to try something new. Even if a bunch of people don’t like it, we’re always trying to do something new and fresh, not just follow all the big guys.

What’s the process like when you guys are making music

Daniel: We never necessarily try to copy anybody, but we try to get different vibes from different types of music — see how their producers are using different sounds and then try to do our own interpretation of it.

Jon: When we’re playing and stuff, we’ll kind of look at each other when a certain bass or a certain sound comes in.  It’s like, “Dude, we should do something like this or whatever.”

Daniel: The thing is, when we [deejay], we play a lot of stuff for the first time, because we’re not those guys who stick to playing to same kind of set.  A lot of times, it’s stuff we’ve just gotten off of Beatport.

We’ll play it and it’ll hit a certain way and we’re not even expecting it. We’ll try to mimic that kind of sound or vibe in an original way. You know, we just go in the studio and work on stuff so it sounds cool.

Jon: We just push buttons until something works. [laughs]

Have you noticed an evolution to your sound?

Daniel: Oh yeah. It’s so funny. We’ll read a blog and they’ll be like, “Electro-banger DJ…” Some idiot wrote some newspaper article in Montreal because Classixx — who are our buddies — were playing the night before. It was an article on the whole weekend at Velvet, which is an awesome club in Montreal.

You could tell the guy was really into the Classixx sound. This whole article was based on Classixx, and then one line said, “If you’re into that sound, then LA Riots is playing the next night.” I was like, maybe you haven’t heard us deejay in a long, long time.

Jon:That was one thing I also noticed: a lot of people still typecast us that way. You can tell they haven’t been listening in the last year.

Daniel: We put out mixtapes and Fool’s Gold podcasts and stuff that’s total house.  Not to say when we [deejay], we’re going to play a total house set.  But our balance is, we try to play … not necessarily bangers, but more upbeat, high-energy stuff, and then we’ll drop it down into house for a little while.

The advantage we have is we’ve both been deejaying separately. He’s been deejaying for 10 years. I’ve been Djing for almost 17 years. We don’t have a list of 50 tracks we’re going to stay [within].

We have a computer that’s strictly for deejaying, and I’ve noticed the magic number is right around 800 tracks. We have a playlist called “Active” with 300 tracks in there.

We try to mimic [the computer] as closely as we can to having CDs, so we can actually flip and scroll through them to find tracks, and not necessarily have to just play inside of a box. We read the crowd.

Like the other night we played at Monday Night Social, and people afterwards are coming up to us like “Whoa, we had no idea you guys could play straight house sets like that.”

Jon: “I thought your show was going to be stupid.” [laughs] In music or any sort of art, a lot of people don’t realize that to move forward you have to lose a couple fans just to gain a couple new ones. You’ve got to have some tough skin.

You guys were on tour with MSTRKRFT and The Crystal Method. How was that experience?

Daniel: It was great. You learn so much going on those tours. They were so, so different. We’ve been on quite a few tours with MSTRKRFT and the Beetroots.  That’s actually kind of what made us change up our sound.

I remember the first gig we did on that tour, which was at Studio B in Brooklyn. It was Lazaro Casanova that played, then this guy Troublemaker, then The Bloody Beetroots.  Then it went to us and MSTRKRFT.  We were right in between everything.

MSTRKRFT was already huge, and The Beetroots were going to be huge, so we couldn’t just play hard. We had to come with something different, so we started to change it up then. That was probably two and a half years ago.

This last tour we did with MSTRKRFT was a bus tour through Europe.  When I say bus tour, it’s not like Greyhound bus tour, but like a tour bus tour, so there was a lot of time sitting in the back lounge and just talking about music and stuff like that.

You know, when you’re playing every single night — it doesn’t matter if it’s a Monday night or Friday night — you definitely learn a lot.

The last night of that tour, I played the gig, went to the airport before the sun came up, flew from Hamburg, Germany to New Orleans. They don’t have direct flights from Hamburg to New Orleans, by the way, so it was a little bit more of a process.

I got there and immediately went to sound-check at the House of Blues in New Orleans right off the plane, which was really weird, because I went from MSTRKRFT — who are my homies and my boys, and being on a tour bus with a tour manager that we knew and all the people on the bus you know — to going on tour with The Crystal Method, where I only knew the two guys, Ken and Scott, and nobody else.

Playing every night was a totally different dynamic than opening for MSTRKRFT, where I’m going on at midnight or one in the morning. As opposed to The Crystal Method live on tour and having to go on at eight, playing dance music while people filtered in.

It was definitely different. I had to change up the set a lot and the type of vibe I was going for. Actually, on that tour, I did play a set, because I realized after the first two nights, I had to come up with a game plan and stick to it. It was such a different experience for me to play before a band. It was good. I learned a lot from that.

You guys also played at the Electric Daisy Carnival, right? How was the crowd there?

Jon: There were a lot of people. It was cool actually, because the day before, my 15-year-old brother called me and told me he was going to EDC. He asked if I was going to be there, and I was like, “I’m playing.” He was like, “No way!” You know, because he’s 15, and he’s never really done anything like that.

So when I was playing, I was looking out at the sea of over 10,000 people, and all I could think about was my little brother somewhere in the middle of it. He had two girls with him, and apparently I helped him out. [laughs]

What can we typically expect to find from an LA Riots performance?  What are you guys bringing to the table?

Daniel: Um…We don’t really jump around. [laughs]

Jon: Sometimes I do. It depends on the situation.

Daniel: We focus a lot more on technical stuff, as opposed to all of the flair, which works for us and against us with the crowd. A lot of the stuff we do goes above people’s heads, like a lot of the mixing.

You know, what we bring to the table depends on where we’re playing. The EDC set was a lot different from what we played at Monday Night Social, so it just depends.

What exactly do you mean when you say you focus more on the technical?

Jon: More like technical mixing.

Daniel: One thing about our sets is that, 95 percent of the time, we’re mixing. We take a lot of risks when we deejay. We’re not these guys that throw in a new track every two minutes and then it’s on to the next one.

We don’t really dumb it down, I guess, is what we’re saying. Because honestly, the one thing I did learn about being on tour is that you get uninspired really easily. Tours are great, but if you’re doing it every night, sometimes it gets to be too routine. That’s why we’re playing a lot of new stuff every time we play out.

Basically, we’re up there just to mix. That’s the deejays job. It’s weird because I feel like, in the last couple years, deejaying has more performance than actual mixing, which is cool. That works for people, but it’s not our thing.

We want to straddle what’s cool. We want to impress the other deejays and the crowd, so we try to play to both. There are people that are just there to impress the crowd, which is cool. That’s what the deejay should be doing, but, like I said, it burns us out if we’re doing these routine mixes.

Jon: Basically, it’s no fun unless we’re trying to challenge ourselves.

Do you guys do anything special to prepare for or wind down from a set?

Jon: He hates the fact that I’m a complete alcoholic.

Daniel: Jon drinks a lot.

Jon: Prior to even getting to the gig, I’m already pretty drunk. I hide it well, but I smell like a brewery.

What’s your drink?

Jon: Jack.

Straight Jack?

Jon: I try not to drink straight Jack, but I do. [laughs]. I like Jack and Coke, but Coke is bad for your teeth. I don’t want my teeth to rot out, but if my liver fails, I’m fine. My teeth mean a lot to me. [laughs]

What can we look forward to from you guys? Any upcoming projects you’d like to tell us about?

Jon: We don’t really stop and look at how many projects we actually have going on. We have so many things we’ve done, or that are close to being done. I guess just expect, over the next year, a steady flow of material.

Daniel: There’s stuff that we did a year and a half ago for major labels. Like the Kings of Leon remix that was done two Decembers ago. We did a remix for Ciara recently, and we don’t know what Sony’s doing with that.

Jon: We did a remix for Tai with Steve Aoki, which we’re trying to discuss.

Daniel: Management’s handling all of that. People wonder why a track isn’t out because they see stuff on YouTube or they hear us tweeting about it. But the thing is, we don’t own that remix, and we don’t say when it comes out. Yeah, our stuff is on us. “The Drop” not coming out for ages, yeah, that’s on us, but…

Jon: There are so many logistics involved.

Daniel: We went from being bedroom deejays and producers to now touring the world and working closely with major labels on major artists. It’s just a process.

Jon: It’s a different boat. A long time ago, I used to have my own label and put out records. It was just so easy; it was a faster process.  But now we have so many moving parts. When something gets done, it’s really hard to get it in everyone’s hands.

It’s frustrating, but at the same time, when we make something, we don’t dwell on it; we’ve already moved on to the next thing. It’s refreshing because we’ve done so many things in a three-month span.  I’ll go through my iTunes and be like, “Whoa, I totally forgot that we made this.”

Daniel: We have tracks that’ll probably never see the light of day, like original stuff  we’ve done. We just kind of do them and send them to a couple friends.

Our blog is called HipTronik, which is a blend of hip hop and electronic. How do you feel like you’re influencing this movement? What is your place in it?

Daniel: I think it’s good because back in the day — and by “back in the day,” I mean like 2 or 3 years ago — it was mashups. That’s how hip-hop and electronic music were fused, by these horrible, horrible, horrible mashups.

Now it seems like those hip-hop producers are starting to reach out, or if not them, then the record labels are starting to reach out and actually get official remixes. They’re getting Guetta, us, and people like MSTRKRFT, to do a remix.

Jon: Also, hip hop — when you get down to the nitty gritty — is electronic. As sound production in general progressed, I think hip hop producers and house producers started to realize how similar they are.

I mean, they both branched off from the same thing anyway. They kind of went away from each other and now they’re coming back [together]. We just did a remix for Ciara with Ludacris. It’s a blend of electronic and hip hop; it’s awesome and it works.

Even if you look at how people deejay now, no one just plays house. Everyone’s all over the place because it’s more fun. You’re getting different cultures. It’s like a melting pot and I think it’s awesome because more ideas will spawn from it.

Do you guys have anything you’d like to say to your fans?

Jon: Thanks for the support. We want to keep supporting you guys and keep giving you something new. And for all the ones that miss the saw sound, we apologize.

Daniel: We’ll make one of those.

Jon: We’ll make one of those just for you.  [laughs]

LA Riots Official Myspace

LA Riots Facebook Profile

LA Riots Twitter

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Jake Stanczak is the man behind the skull mascot. Better known as Kill The Noise, this LA youth proves he’s no amateur, boasting a resume that rivals some industry veterans. The globetrotting DJ/producer has already made his mark on the HipTronik scene, playing at nightclubs and festivals all over the world and accumulating a devoted fan-base outside of his hometown sphere. “Roots” is the title track on Kill the Noise’s first solo release "Roots” EP. Stanczak keeps you on your toes with his unpredictable lines and suspenseful beat. Be sure to look out for the skull in the baseball cap. You’ll be seeing it again.

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Does It Offend You, Yeah? might seem like a brazen attempt at a manifesto, but that just isn’t the case. The British dance-punk group came across the quote whilst watching "The Office," and it stuck. Does It Offend You, Yeah? are a motley crew consisting of James Rushent, Matty Derham, Chloe Duveaux, Dan Coop and Rob Bloomfield. Tracks like “We Are Rockstars” have a rough, discordant beat juxtaposed alongside James Rushent’s soothing, synthesized vocals -- a sound that’s garnered the group plenty of recognition. Rolling Stone called them a “Breaking Artist” and they were the ninth "most-listened to new band of 2008” on Last.fm. Does It Offend You, Yeah? releases their second album “Don’t Say We Didn’t Warn You” in October.

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The Cataracs have become a Bay area sensation. Campa (David Singer-Vine) and Cyrano (Niles Hollowell-Dhar) stay close to their Berkeley roots with their hyphy-influenced tracks. The sprightly duo’s fresh sound caught the eye of their current label, Indie Pop/Universal Republic, and they’ve released songs with high-profile artists like Far East Movement and E-40. “Club Love” has a sultry rhythm and electro beat that’ll have you feeling the hyphy motion. It’s the diverse elements of The Cataracs’s sound that has HipTronik buzzing with anticipation.

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You've already heard Dev on the hit track "Like a G6" by Far East Movement, which sampled her song "Booty Bounce." But this singer is no one-trick pony. Dev has a slew of amazing tracks floating around the internet right now, including "Fireball," an eclectic forray into HipTronik, mixing electro with a touch of reggae. But her style and the song's dreamy interludes remind us of a rougher version of Uffie. The emotion spilling out of Dev's flow and the bass is enough to leave our head spinning. "Fireball" is not a track you can miss.