G.T.A
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G.T.A

The duo’s open-mindedness is closely tied to their Miami roots, as they were exposed urban, electronic rock and Latin sounds in equal measure. “Our friends were into everything,” Toth says. “That’s how we grew up.” They also got early starts in making their own music; Mejia played trumpet in middle school – he was part of a salsa band for a time – and later learned drums and guitar, and Toth taught himself to play guitar before attending audio engineering school.


In their three years as GTA, Mejia and Toth have kept the releases flowing while also touring nearly nonstop. They’ve released cult-favorite tracks on some of the dance world’s biggest labels – Diplo’s Mad Decent, A-Trak’s Fool’s Gold Records, Tiesto’s Musical Freedom and Calvin Harris’ Fly Eye, for starters – and have done remixes for artists ranging from Kylie Minogue to deadmau5. Meanwhile, the guys have hit the road with Rihanna, opening for her 2013 Diamonds World Tour and ended the year with a bang as part of Calvin Harris and Tiesto’s Greater Than Tour.


As they’ve promoted their genre-free ethos, Toth and Mejia have become bona fide tastemakers to fans and fellow artists alike, proving that “dance music” is best defined as whatever makes you move. GTA’s all-inclusive style is best exemplified in their “Death To Genres” mixes, which resist classification and instead go for maximum energy.



GTA’s first single under the deal – the Juyen Sebulba collaboration “Hard House” – is an ideal taste of what’s to come. It is one of the duo’s most defiantly anti-genre tracks to date, and purposefully so. Mejia says, “We knew the first thing had to be in your face.”


Whether you prefer to say the powerhouse duo is killing genres or creating their own, one thing is clear: GTA is on a bold musical mission, and they’re taking us along for the ride.

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