Based in Brooklyn, New York, Nick Catchdubs has been dropping his signature club sets (hip hop, electro, dancehall, rock and more, with an emphasis on new music and original remixes) all across the country for the past four years. It’s not a kitchen sink approach to DJing, just lots of different music mixed well, rocking any kind of party you could think of.

Equally at home opening a packed show for the Clipse or spinning between bands at the SXSW and CMJ festivals, Nick has shared stages with the likes of Ghostface, MIA, Spankrock, and the Pack, and played back to back with club champs like Diplo & Low Budget of Hollertronix, Flosstradamus, and Kanye West’s DJ A-Trak. He has been a featured guest at The Rub in Brooklyn (”Best Party To Dance Sweatily To Smart Music” - Village Voice), and helped found the beloved Superfriends bash at Milk in San Francisco (”Best Serial Party” - SF Weekly).

Nick’s expertly-sequenced mixtapes have the Chicago Reader calling him “tastemaking royalty who can break an act single-handedly.” On the production side, his blends, remixes, and re-edits have been getting play around the globe, from college radio to commercial stations like Power 106 in Los Angeles. His tracks have been featured on compilations and vinyl including The Rub’s It’s The Motherfucking Remix series (”Motherfucking brilliant” - Pitchfork) and the acclaimed Clipse mixtape “We Got The Remix.” He’s also working on original beats and production, including official remixes for Dandi Wind, Dr. Octagon, Hail Social, Adam Kesher and others.

Nick recently founded Fool’s Gold records with A-Trak, to release only the hand-picked best in new music from Kid Sister, Kavinsky, Jokers of the Scene, and more.

For nearly three years, Nick also served as associate editor at The FADER Magazine, holding down the mag’s radio show “The Let Out” on East Village Radio, a cross-genre two hour mixshow which played host to live mixes and interviews with the likes of Switch, Annie, Lil Mama, Bonde do Role, Aloe Blacc and many others each and every week.

Lindsey Caldwell, aka DJ Lindsey, has high standards, both for herself and for the songs she plays. The one question she asks of music is “Does it hold up to all these classics that I love?” Nostalgia is a handy tool, especially when prompted by her mix of standards and more obscure tracks, but it’s too dull of a concept around which to base a DJ set. Lindsey has an intergenre naturalism, blending styles and eras effortlessly to create a flow of songs that is beholden not strictly to one sect of the musical spectrum, but that bind smartly by mood and unaffrontable goodness.

Her long running Negroclash night at APT—at which she shared the decks with the likes of Afrika Baambaata, Mantronix and Larry Heard, along with her partners Duane and DJ Language—was the foundation for this logical mix, emerging in the sad wake of electroclash and coming to life alongside early residencies of Metro Area and James Murphy, the night “evolved into a celebration of the African-American contribution to electronic music,” Lindsey says.

Her definition of electronic, of course, was ever-expanding, including early house music, 80s New Wave, Pop, R&B and golden era hip-hop. She’s been exploring that era of rap, ’88 to ’98 at her current weekly night, with her husband DJ Myles, The Hump. The Hump was recently awarded People's Choice: Best Party by Paper Magazine. From time to time she is even called on by Prince to DJ private events and most recently a charity concert.

Parallel to her DJ career’s growth, Lindsey worked for places like Rockstar Games, Girlie Action PR and FADER magazine, participating in all facets of musical creation and business. She has sung back up vocals for the Rapture and Beans, and released a 12-inch single with DJ Language.

She is a resident at Tribeca Grand, has played PS1’s Warm Up alongside Lovebug Starski and has been featured in Lucky, Italian Vogue and The New York Times. She currently works with old friends at Opening Ceremony, and was recently counted amongst men.style.com’s “Women of Style,” a perfection reflection of her refined but playful sensibilities, musical and—like all well-rounded DJs—otherwise.