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Sasha (DJ)

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Sasha
Musical artist

Sasha (born Alexander Coe on 4 September 1969), is a Welsh DJ and record producer. Sasha began his career playing acid house dance music in the late 1980s, and became a central figure in the development and popularisation of electronic dance music. He partnered with fellow DJ John Digweed in 1993, touring internationally and producing a series of mixes (compilations of other artists work played in a continuous fashion). Through their track selection and mixing techniques, Sasha and Digweed were instrumental in the evolution of progressive trance and house music.

Sasha has produced multiple UK-charting singles and has remixed tracks for artists such as Madonna and The Chemical Brothers. His remix of Felix Da Housecat's "Watching Cars Go By" earned him a 2004 Grammy nomination. Sasha's remixing and production often combine electronic music genres, making it difficult for critics to pinpoint his musical style, including on his debut album of original work, Airdrawndagger. After achieving success as a producer and DJ, Sasha worked with younger DJs and producers such as Brian Transeau and James Zabiela, influencing their musical styles and techniques. His use of live audio engineering equipment helped popularise technological innovations among DJs who formerly relied on records and turntables. Despite the changing trends in electronic dance music, Sasha continues to perform in large dance venues and is currently on an intercontinental tour of large European and United States venues.

Early years

Sasha was born in Bangor, Wales in 1969, but spent most of his youth with his mother in the Welsh town of Hawarden. Sasha's early musical taste was primarily Top 40 pop music like The The and The Police. After an "idyllic childhood", he passed the entrance exam for Epsom Public School at age 17. He did not like Epsom, however, and left before completing his Advanced Level (an academic qualification in England, Wales, and Northern Ireland). Instead of continuing his schooling, Sasha moved to Bangor to live with his father and stepmother. Sasha's stepmother forced him to take piano lessons, which he disliked at the time; Sasha ultimately found the lessons to be beneficial to his music career.

Sasha became aware of electronic dance music in 1988 at The Haçienda, a Manchester dance venue. Drawn to the rough sound of acid house music and the rebellious attitude he associated with it, he visited Manchester weekly and soon moved to nearby Disley. Sasha purchased many acid house records, and began to teach himself how to mix. A local DJ at a club Sasha frequented announced that he was looking for other DJs to travel with him on a regional tour. Sasha volunteered, and made his first live appearance in nearby Stockport. Sasha recalled of his debut, "I'd never even touched a Technics: I thought the pitch control was the volume, I didn't even know where to plug my headphones in! I'm sure I was absolutely horrendous." Template:Sound sample box align left Template:Multi-listen start Template:Multi-listen item Template:Multi-listen end Template:Sample box end Sasha soon found himself in debt due to low-paying performances and the many records he bought. To finance his record collection, he performed at illegal warehouse raves in the Blackburn and Blackpool areas. With the assistance of another local DJ, Jon DaSilva, Sasha secured work at The Haçienda, where he learned key mixing (matching melodic keys) from DaSilva and refined his ability to beatmatch (to synchronize the beats of two simultaneously playing records). Though he enjoyed playing at The Haçienda, in 1991 Sasha left for a club called Shelley's in Stoke-on-Trent. There, he established part of his signature sound by mixing euphoric trance music with hard techno and emotional a cappellas. Because of his increased popularity and visibility at Shelley's, Mixmag featured Sasha on its first cover, under the headline "SASHA MANIA - THE FIRST DJ PINUP?". While continuing to DJ, Sasha began to produce several of his own dance tracks. He released his first single, "Appolonia", under the name BM:Ex with producer Tom Frederikse on Union City Recordings. After DJing at Shelley's for several years, Sasha left his position because of increasing gang violence in and around the club. As a result of his growing reputation, Sasha was offered work in several London and Australian clubs. He accepted, instead, a spot in the DJ rotation at Renaissance.

Later in 1993, Sasha produced "Together", his first single under the name Sasha. "Together", which he produced with Danny Campbell for Pete Tong's FFRR, peaked on the UK Singles Chart at #57. With this success, Sasha began a series of records for Deconstruction Records with the singles "Higher Ground" and "Magic" (for which Digweed performed a remix), and The Qat Collection with Frederikse and vocalist Sam Mollison.

Digweed era

Renaissance - The Mix Collection, Sasha & Digweed's first mix album.
Main article: Sasha & John Digweed

In early 1994, Sasha partnered with fellow Renaissance DJ John Digweed. Sasha and Digweed honed their DJing skills, often performing in tandem and focusing on track selection and technical mixing abilities. Renaissance was pleased with their performances, and had the duo compile the triple-CD mix album Renaissance - The Mix Collection, releasing it on the club's own Renaissance Records label. The album featured tracks from such artists as Leftfield, Fluke, and 2 Bad Mice, and original productions and remixes from Sasha and Digweed. The Mix Collection was released soon after Sasha's departure from Renaissance in April 1994. Following his success at Renaissance, Sasha was again featured on Mixmag with the tagline "SON OF GOD?", though he resented the accolade. After touring together for two years, the duo became "true superstars" with the release of their double CD Northern Exposure on mega-label Ministry of Sound. Around this time, Sasha began a recurring mentorship and partnership with fellow producer BT with the album Ima. As well as providing guidance for BT, Sasha produced a "euphoric" and "introspective" 42-minute rendition of the album as a "bonus" second disc. He continued to advance his own production work by pairing with vocalist Maria Nayler to produce the single "Be As One", which reached #17 on the UK singles chart.

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In 1997, Ministry of Sound released Northern Exposure 2, Sasha and Digweed's next double-CD entry in their Northern Exposure series. To support the album, the duo toured internationally, and in the process helped to define the sound of trance music in the late 1990s. After extensive touring, Digweed and Sasha took up residency at New York City's famous Twilo nightclub, where they would DJ for the entire night. In 1998, the two released separate mix albums on the Boxed label, as part of the Global Underground series: Digweed's Global Underground 006: Sydney, and Sasha's Global Underground 009: San Francisco, which drew from his experience touring on the West Coast of the United States. Both DJs formed their own record labels that year: Sasha created Excession Records and Digweed started Bedrock Records. Excession released fewer than ten records, the last in 1998; the experience, however, led Sasha to found the management agency "Excession: The Agency LTD." Excession remains a booking agency for many DJs, including Hybrid, Nick Warren, and Steve Lawler.

Sasha reached a more mainstream audience with his remixes of Madonna's "Ray of Light" and Gus Gus's "Purple" for those artists' single releases. His success in pop music led him to score the music for the PlayStation video game Wipeout 3. In 1999, Sasha and Digweed reunited in the studio to record their third edition in the Northern Exposure series, Northern Exposure: Expeditions. In addition to mixing and DJing, Sasha joined Charlie May of Spooky to produce the Xpander EP, which many clubbers still view as "one of the greatest trance tracks of all time". He used the title track as a centerpiece for Global Underground 013: Ibiza, his second Global Underground release. Sasha continued his collaborations with BT on the track "Ride", which was released as a single on Yoshitoshi Records and on BT's Movement in Still Life. Soon after, he worked with Underworld's Darren Emerson on the single "Scorchio", Sasha's first charting single in four years. In between touring and producing original material, Sasha and Digweed released the mix album Communicate in 2000, prompting them to temporarily leave their Twilo residency for a promotional tour of the United States. Communicate had mixed reviews: Spin stated that despite a "few stellar moments, is ultimately a let-down". LAUNCHcast, too, described Communicate as "boring and lackluster…stalled in a monochrome world of dead beats".

During the late 1990s, the increased popularity and visibility of "superstar DJs" led to the creation of superclubs such as Liverpool's Cream and Sheffield's Gatecrasher. By 2003, however, electronic dance music clubs languished. The Guardian's pop critic, Alexis Petridis, attributed the "terminal decline" of dance music to its over-commercialisation by big-name DJs, such as Sasha, and to their demands for increased fees for performances. Though dance music had been declared "dead" by many in the dance industry, Sasha continued to tour—despite the closing of many superclubs, including his resident club Twilo in May 2001.

Delta Heavy Tour

Template:Sound sample box align right Template:Multi-listen start Template:Multi-listen item Template:Multi-listen end Template:Sample box end After the closing of Twilo, Sasha and Digweed embarked on their ambitious Delta Heavy Tour of the United States in 2002. Featuring veteran tour producer Kevin Lyman and opening act Jimmy Van M, the tour covered 31 cities and played to 85,000 people. The appearances, complete with laser shows and video production, were more akin to rock concerts than to typical DJ events. This development was new to the DJing scene, and compelled other DJs to host similar concerts. A DVD of performance highlights, interviews, and behind-the-scenes footage was released as Sasha & John Digweed present Delta Heavy by System Recordings. Ben Turner, creator of the DanceStar awards, retrospectively described the Delta Heavy tour as "a landmark moment for electronic music". Though the duo of Sasha and Digweed never explicitly split up, demanding schedules and frequent independent touring prevented any substantial collaboration for a long period after Delta Heavy.

Post-Digweed

During the latter half of 2002, Sasha collaborated with big beat artist Junkie XL on the single "Breezer". Junkie XL, along with Charlie May, also assisted Sasha on his first album of original material, Airdrawndagger. Airdrawndagger took several years to produce due to Sasha's desire for the album to be "as near to perfection as possible." That March, Sasha suffered a perforated eardrum in a traffic accident, further delaying the album's production. Though the accident temporarily impaired his hearing, he drew inspiration for the album from his ordeal. Airdrawndagger was finally released, in August 2002, to much fanfare. However, the album was "received with a lot of head scratching", according to Sasha, which he attributed to its unexpected mix of genres. The album did not feature the heavier "club sound" of Sasha's previous mix albums, bearing a closer resemblance to ambient music. Airdrawndagger generally received favorable reviews, though critics noted that it was not as consistent and well produced as his DJ mixes. Sasha himself described it as "a selfish, slightly self-indulgent record", though he maintains that he is "happy with it to this day". Some critics, however, called it "sleepy"; E!Online described it as being "more in league with Yanni than Moby". To encourage listeners' interest, Sasha held an amateur remix contest for the album's first single, "Wavy Gravy". Due to the contest's success, Sasha released all the tracks from Airdrawndagger on his website, so that fans could download and create their own versions.

After the release of Airdrawndagger, Sasha took the young DJ James Zabiela "under his wing". He introduced Zabiela to the CDJ1000 turntable, and signed Zabiela to the Excession talent agency. The two toured the United States together, which extended Sasha's influence to already-popular American DJs such as Kimball Collins.

Sasha on stage with Charlie May of Spooky.

In 2004, Sasha signed with Global Underground to produce another mix album. However, he found the process of creating a standard mix album unrewarding, and decided to apply his production and DJing skills to a mix compilation that resembled a "real" album—that is, one featuring original material. Sasha's next studio album, Involver, was "a fusion of mix album and production record", consisting mainly of Sasha's reworkings of tracks by other artists. "I tried to take all the separate sounds to all the tracks ", he later explained, "and it allowed me to mix the tracks together on a much deeper level." He accomplished this by sequencing the album using Ableton Live and Logic Pro. Ableton Live is a music loop-based software package that Sasha uses to engineer tracks in real-time, whereas he used Logic Pro primarily for premeditated edits to audio tracks.

In 2005, Sasha produced his next album, Fundacion NYC, based on his nights DJing in New York at the Fundacion club. Fundacion NYC received positive reviews for its originality, though JIVE Magazine found it "too complicated for the ear". Sasha is pleased with the album, and plans to make a series of Fundacion albums. The next year, Sasha released 10,000 copies of a June 2006 DJ set for sale using Instant Live, making him the first DJ to use Instant Live's licensing and publishing services. While continuing to regularly DJ, Sasha is working on material to produce another Involver mix and the next Fundacion mix. Global Underground announced that Sasha's Involver 2 will be released in 2007.

Though frequent performing kept them apart for several years, Sasha and Digweed announced that they would reunite for a few Australian performances. In November 2006, the duo performed at several venues, including Sydney, Brisbane, and Melbourne. Sasha's current tour has destinations in North and South America, and several more dates for a trio of UK performances.

Sasha runs a music studio and lives in New York City, and maintains a house in London. He brings his wife with him on his frequent tours. Sasha finds the constant touring to be physically tiring, though he also feels that he thrives on it. While fans may regard Sasha to be a DJ "hero", he is uneasy with fame; Sasha considers himself "shy at heart" and is typically uncomfortable discussing his personal life. He has mentioned on numerous occasions that he is so busy with DJing and production that he rarely has any free time. However, he enjoys watching football, cooking, and sampling the cuisine of the countries he visits.

Musical genres

Sasha performing July 8, 2006 in Bucharest, Romania, playing electro-house.

Influenced by the early sound of The Haçienda, Sasha began his career playing records of the rough, danceable genre of acid house. By the early 1990s, he had moved towards a more dark European house music style, though by the time of his Shelley's residency he had begun to experiment more with American house. His tastes further developed as he moved to Renaissance, and he began to incorporate the pop-based sounds of Moby, Spooky, and Leftfield. Sasha's second Digweed collaboration, 1997's Northern Exposure, was described as "epic house", and subsequent releases featured the spacey and atmospheric progressive trance sound of artists such as Sven Väth, Matt Darey, Tilt, and Armin Van Buuren. A rhythtmic and bassy progressive house influence distinguished his Xpander EP and the mix albums of the late 1990s. At the time, Sasha's music rotation included records by artists such as Space Manoeuvres, BT, and Breeder, and Sander Kleinenberg's single "My Lexicon".

With the 2000 album Communicate, the duo's work moved towards a deeper and darker house music sound. The album featured tracks by Morel, Mainline, and Jimmy Van M. The focus shifted from the melodic themes of previous releases in favour of a stronger emphasis on the bassline. The Delta Heavy Tour and Airdrawndagger marked a dramatic shift in style, and reflected the influences of relaxed ambient and breakbeat music on Sasha's work. These influences inspired the album's strong melodies, occasional breakbeat loops, and limited use of percussion. Involver was primarily a fusion of the musical style of house music characterised by UNKLE and Lostep. With 2005's Fundacion, Sasha's style was mostly progressive house and electro-house music, with work by James Holden, Tiefschwarz, and Swayzak. With his success in progressive house, Sasha has commented that he feels people try to "pigeon-hole" him into playing that genre. Rather than calling it progressive house, Sasha considers his most recent material to be between house, trance, and breaks, though he has stated that he prefers not to associate himself with a specific genre of music.

Techniques and technology

Sasha attributes his success to his technical skill and ability to "connect with his dancers". During performances, he balances new and experimental material, while ensuring that "the party is still rockin". His spontaneity carries over to studio work; he typically has only a vague idea of the track listing when beginning work on a new mix album. Because of this, his albums never turn out quite as he expects.

Sasha using Ableton Live at a 15 July 2006 performance at Panama, an Amsterdam nightclub.

Sasha is well regarded for applying new music technologies to both his studio and live work. Both Sasha and Digweed use Pro Tools when mixing their compilation albums, and use turntables and records during live performances. For their remixes, however, they used an Atari ST—an obsolete personal computer from the early 1990s—with Notator, a music sequencer used for arranging audio tracks. For more recent albums such as Fundacion NYC, Sasha uses an Ableton Live for sequencing, partially because of Pro Tools' higher price. In live performances up to the late 1990s, Sasha performed exclusively using records. Before he started using the CDJ1000, a "turntable" used for CDs, he had his digital music specially cut to acetate records before each tour. Once he integrated CDs into his live act, Sasha operated CDJ1000s with Allen & Heath mixers and FireworX. While he is now known for heavily utilizing audio technologies, Sasha was one of the last DJs to begin using CDs in live performance. Sasha began DJing with Ableton Live in his live act as well, using it in tandem with turntables. Having explored its functionality, Sasha found that he could perform entirely through Ableton Live. He then co-developed the Maven controller with Ableton, which he uses as a physical interface to the Live software. Fundacion NYC was the first album on which he regularly used the Maven controller. During DJ sets, clubbers often believe Sasha is playing new, unheard remixes; in fact, he is often playing modifications of tracks created in Ableton. Sasha most often uses the built-in Ableton plugins, preferring their superior stability and performance over third party plugins. For the first public performance of Involver material, he used a PowerBook running Ableton, but has since shifted to a setup that includes an iMac G5 and Ableton Live. Despite Sasha's insistence that Ableton Live allows for greater creativity and spontaneity, "vinyl purists" have accused him of taking much of the challenge and mystique out of DJing by using software in performances.

The Internet has greatly changed how Sasha obtains and uses tracks for performance. While he once hunted through record shops for new records, Sasha now regularly receives new tracks from producers and labels via the Internet. These tracks, which number in the hundreds each week, are edited by Sasha and others for use in his live DJ sets.

Popularity and honors

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He has been voted among the top ten DJs in the world by readers of DJMag every year since 1997, placing first in 2000. At the annual Winter Music Conference, Sasha won the "Best Techno/Trance 12" award for the Xpander EP, and "Best CD Compilation" awards for Global Underground: Ibiza and Involver. He was also nominated in the categories "Best European DJ" and "Best Remixer". At the 1999 Ericsson Muzik Awards, he received an award for "Outstanding Contributions to Dance Music". Sasha has been nominated as the top DJ in his genre every year since 2000 in the DJ Awards, but has yet to win.

In 2005, the Grammy committee debated whether Involver was eligible for nomination as Best Electronic/Dance Album. The Recording Academy decided that the album was eligible, but Involver did not receive a nomination. Sasha did receive a Grammy nomination for his remix of Felix Da Housecat's "Watching Cars Go By", which was featured on Involver.

Selected discography

Albums:

Singles/EPs:

DVD:

Notes and references

  1. The nickname Sasha is a common diminutive version of the name Alexander.
  2. ^ Birchmeier, Jason. "Sasha + John Digweed biography". All Music Guide. Retrieved 2006-12-31.
  3. ^ McGeachin, Nick (2004-09-24). "Sasha: His Life, The Music & Neil Young?". Virgin Megamagazine. Archived from the original on 2006-01-27. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  4. ^ "Chart Stats: Sasha". Chartstats.com. Retrieved 2006-12-31.
  5. ^ Jones, Simon (2006-05-19). "Sasha - Fundacion: NYC". Progressive-Sounds. Archived from the original on 2006-05-19. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  6. Jones, Simon (2002-07-03). "Sasha "Airdrawndagger"". Progressive-Sounds. Archived from the original on 2006-06-04. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  7. ^ James, Colin. "Sasha: No rest for the world's last 'rock-star deejay'". Prefix Magazine. Retrieved 2006-12-31.
  8. ^ "Sasha tour dates (navigate to "Tour Dates")". Djsasha.com. Retrieved 2006-12-31.
  9. ^ "Sasha speaks". BBC Wales. Retrieved 2006-12-31.
  10. ^ "Sasha profile". SoundRevolt. Retrieved 2006-12-31.
  11. ^ Dresden, Dave (1997-07-07). "Interview with Sasha". DJ Times. Reprinted at about.com. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  12. ^ "Sasha - Standing the Test of Time". Resident Advisor. 2004-10-18. Archived from the original on 2005-02-04. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  13. "Sasha". Discogs. Archived from the original on 2006-04-27. Retrieved 2006-12-31.
  14. ^ Brewster, Bill (2000). Last Night a DJ Saved My Life. Grove Press. pp. p. 389. ISBN 0-8021-3688-5. {{cite book}}: |pages= has extra text (help)
  15. Bidder, Sean (1999). The Rough Guide to House Music. Rough Guides. pp. p. 43. ISBN 1-85828-432-5. {{cite book}}: |pages= has extra text (help)
  16. ^ Prato, Greg. "Sasha biography". All Music Guide. Retrieved 2006-12-31.
  17. Drever, Andrew (2002-12-05). "Come in, spinner". The Age, reprinted at Djsasha.com. Archived from the original on 2004-11-01. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  18. "Record Labels: Excession". Resident Advisor. Archived from the original on 2005-02-09. Retrieved 2006-12-31.
  19. "Scoring with Sasha: Interview with [[Rockstar Games]] and [[Psygnosis]]". DJMixed.com. Archived from the original on 2006-04-28. Retrieved 2006-12-31. {{cite web}}: URL–wikilink conflict (help)
  20. Cooper, Sean. "Spooky biography". All Music Guide. Retrieved 2006-12-31.
  21. Snoman, Rick (2004). Dance Music Manual: Toys, Tools, and Techniques. Focus Press. pp. p. 142. ISBN 0-240-51915-9. {{cite book}}: |pages= has extra text (help)
  22. Micallef, Ken (2000-12-07). "Communicate". LAUNCHcast. Archived from the original on 2005-11-29. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  23. Petridis, Alexis (2003-08-21). "Cynical, exploitative and banking on ecstasy to mask the rip-off". The Guardian. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  24. Gillan, Audrey (2003-08-21). "Super DJs forced off the dancefloor". The Guardian. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  25. ^ Jones, Simon (2006-02-07). "Sasha & John Digweed - Delta Heavy: A DVD Documentary". Progressive-Sounds. Archived from the original on 2006-04-27. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  26. ^ Juarez, Vanessa (2006-02-03). "DJ Sasha on Dance Music's Glowstick Culture". Newsweek. Archived from the original on 2006-04-27. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  27. ^ "Sasha". Progressive-Sounds. 2006. Archived from the original on 2006-05-18. Retrieved 2006-12-31. {{cite web}}: Unknown parameter |month= ignored (help)
  28. Jones, Simon (2003-01-04). "Junkie XL "Beauty Never Fades / Breezer"". Progressive-Sounds. Archived from the original on 2006-05-16. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  29. "Beauty Never Fades/Breezer". Discogs. Archived from the original on 2006-01-10. Retrieved 2006-12-31.
  30. Swan, Glenn. "Airdrawndagger review". All Music Guide. Retrieved 2006-12-31.
  31. Jones, Simon (2001). "BT interview". Progressive-Sounds. Archived from the original on 2006-05-14. Retrieved 2006-12-31. {{cite web}}: Unknown parameter |month= ignored (help)
  32. "Airdrawndagger by Sasha". Metacritic. Archived from the original on 2005-12-05. Retrieved 2006-12-31.
  33. ^ Harrington, Richard (2006-03-31). "Master Manipulator Keeps It Spinning". Washington Post. Retrieved 2006-12-31. {{cite news}}: Check date values in: |date= (help)
  34. "Review of Airdrawndagger". E!Online. Archived from the original on 2004-12-16. Retrieved 2006-12-31.
  35. "WAVY GRAVY REMIX CONTEST WINNER ANNOUNCED". Djsasha.com. Archived from the original on 2003-10-10. Retrieved 2006-12-31.
  36. "Sasha's Freedom of Airdrawndagger". Resident Advisor. 2003-02-24. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  37. Davis, DJ Zak. "James Zabiela - Alive Review". About.com. Archived from the original on 2006-05-06. Retrieved 2006-12-31.
  38. ^ Romero, Dennis (2004-06-24). "Building a Better DJ". Los Angeles CityBeat. Archived from the original on 2005-12-31. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  39. ^ Reeves, Mosi (2004-10-07). "Don't Speak: A man of few words, dance music hero Sasha talks with his hands". Houston Press. Archived from the original on 2005-09-15. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  40. ^ Schaal, Tilmann. "DJ Sasha: Crossfade into the Digital Domain". Apple.com. Retrieved 2006-12-31.
  41. Jewels (2006-06-22). "Sasha - Fundacion". JIVE Magazine. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  42. McCarthy, Zel (2005-05-31). "One More Time: Interview with Sasha". Groovetickets.com. Archived from the original on 2005-11-19. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  43. Paoletta, Michael (2006-05-24). "Sasha Plans Live DJ Mixes". Billboard. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  44. Woodcock, Clare. "Interviews: Sasha". 4clubbers.net. Retrieved 2006-12-31.
  45. "Global Underground Newsflash". Global Underground. 2006. Retrieved 2006-12-31.
  46. Jones, Simon (2006-08-10). "John Digweed Interview". Progressive-Sounds. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  47. Skrufff, Jonty (2005-07-02). "Sasha's Secret Of Superstar DJ Success". Trackitdown.net. Archived from the original on 2005-08-30. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  48. ^ Schoenbohm, Kevin (2006-08-31). "SASHA". Djfix.com. Archived from the original on 2006-02-17. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  49. ^ Nathan Brackett, ed. (2004). Rolling Stone Album Guide (4th Edition ed.). Fireside. pp. p. 718. ISBN 0-7432-0169-8. {{cite book}}: |edition= has extra text (help); |pages= has extra text (help)
  50. "DJ/Producer Sasha Interview". Kidzworld. Archived from the original on 2005-12-28. Retrieved 2006-12-31.
  51. ^ Blue, Ben. "Sasha - Fundacion NYC Interview". Archived from the original on 2006-05-01. Retrieved 2006-12-31.
  52. Gerrish, Bruce (2001). Remix: The Electronic Music Explosion. ArtistPro. pp. pp. 65, 127–133. {{cite book}}: |pages= has extra text (help)
  53. "Sasha Fundacionnyc Mix". DJMixed.com. Retrieved 2006-12-31.
  54. "DJ Sasha talks Macs and Ableton". Macworld. 2006-06-26. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  55. ^ "Sasha tops DJ poll". BBC News. 2000-11-20. Archived from the original on 2002-12-03. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  56. "WMC 1999 IDMA Winners". Winter Music Conference. Archived from the original on 2006-05-03. Retrieved 2006-12-31.
  57. "Winners for the 20th Annual INTERNATIONAL DANCE MUSIC AWARDS". Winter Music Conference. Archived from the original on 2006-04-23. Retrieved 2006-12-31.
  58. Romero, Dennis (2005-02-17). "IN A GRAMMY GROOVE". Los Angeles CityBeat. Archived from the original on 2006-05-25. Retrieved 2006-12-31. {{cite web}}: Check date values in: |date= (help)
  59. "Billboard Artist Chart History". Billboard. Retrieved 2006-12-31.
  60. "Chart Stats: Danny Campbell And Sasha". Chartstats.com. Retrieved 2006-12-31.
  61. "Chart Stats: Sasha With Sam Mollison". Chartstats.com. Retrieved 2006-12-31.
  62. "Chart Stats: Sasha And Maria". Chartstats.com. Retrieved 2006-12-31.
  63. "Chart Stats: Sasha/Emerson". Chartstats.com. Retrieved 2006-12-31.

External links

Official

Biographies and related

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