Hector Moralez Artist Bio

Now in San Francisco, Moralez began playing records at Rebecca’s weekly at The Top, as well as at Liquid, and other DJ bars. It wasn’t long before he got his own residency on Fridays at The Top, playing alongside Buck, Miguel Migs, Lance Desardi, J.T. Donaldson, Wally Callerio, Joeski, Onionz, the Idjut Boys, Joshua Iz, Solar, Mark E. Quark, John Howard, Simon DK, Steve Loria, Jeno, Tony, Gene Farris, Mark Ambrose, Pepe Bradock, Alexi Delano, Evil Eddie Richards, Gemini, and many other renown producers. There he met one of his most influential producers, RaSoul, who took him under his wing like a brother. In the fall of 1999, RaSoul took Hector on tour with him in Europe, spending several weeks in Germany, Berlin, and Amsterdam. They also spent time in the studio (which was conveniently in the basement of their flat), and worked on some of what has since been released on RaSoul’s promising Soulfood label In the year 2000, Moralez traveled to Paris, and played at the legendary Rex Club, Queen and L’Enfer, and The Trolley Bus in Marseilles. He made many new friends, one of them being Phil Weeks, and they worked on a few tracks together. The track “Time to Yourself” was released on Phil’s label, Robsoul. Since then, the pair have remixed tracks for Mazi and David Duriez, and are releasing an EP under the Fries and Bridges moniker for Music for Freaks. Hector is now currently working on material for Brique Rouge, Primal Records, Dufflebag Recordings in Los Angeles, and Vista (a subdivision of Large Recordings). Despite a hectic studio schedule and his full-time work with Primal Records, Moralez has had consistent gigs locally as well as throughout the US. He has established himself in Los Angeles, San
Diego, Seattle, and Chicago. Hector has also played in Madrid at Club Cool, The Cream, The Room, and The Weekend where he will return this summer alongside gigs in Barcelona, Paris, and London. His passion for the music has given him flight, and now he soars… Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.