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New York City native Sin Morera is definitely no stranger to the music industry. Already a rising star in the music scene, this Jersey City-raised producer/songwriter/deejay of Dominican-Peruvian heritage had the fortunate luck of being exposed to a diversity of musical styles due to his close proximity to world capital of the nightlife entertainment, New York City. Already appreciative of his Latin heritage and the richness of its musical diversity, Sin was influences at an early age by a range of names that were making their mark during the 1980s. With Reaganomics operating in full steam, the course of the country and the urban music scene had radically changed during the first few years of the decade. Disco was out, freestyle was in, and artists such as Prince, Madonna, Gloria Estefan, all of them influenced one way or another by R&B and Latin music, had made successful entries into a market dominated by a few. These artists along with an early interest in music production allowed Sin to acquire a taste of what was about to become his lifetime passion. Inspired by industry legends such as Quincy Jones, Nile Rodgers, Todd Terry, Giorgio Moroder, and the late David Cole (of C+C Music Factory fame) gave Sin enough motivation to begin to dabble in music production and other creative areas that would allow him to create a definitive sound that he could call his own. Within time, Sins name had become synonymous with change; something the dance music scene was sorely needed. Unwilling just to slap his name on any compilation that churned out of a label’s R&D department, Sin chose a much more modest, yet steady approach on his career in order to reap the benefits of an apprentice who chooses to be recognize for his work and not due to association. Collaborating with such industry veterans as Shep Pettibone, Tony Moran, Jimmy Greco, Peter Zizzo, Tommy Faragher, and Junior Vasquez to name a few, allowed Sin to acquire not only experience, but exposure to the music world, its operation, and the importance of understanding and catering to the demands of the public, especially in an era where electronically enhanced music slowly started to emerge as the leading genre for most urban and European clubs in the early 1990s. Taking initiatives into his own hands, Sin began to market himself via a combination of calls, direct mail, and face to face meetings. At the end it all paid off as corporations such as Sony, Universal, BMG, and other music conglomerates began to hire him to work both on rising and already established artists already signed to their rosters. With this experience already under his belt, Sin leaped into the world of professional songwriting in 1996 when he signed a deal with Warner-Chapell Music, a subsidiary of Time Warner, one of the world’s leading entertainment corporations. This association provided him an opportunity to reach out to artists, composers, songwriters, and producers looking for new talent and direction. Under the pseudonym of Sin Morera, the man from tough streets of Jersey City has made a remarkable debut in an industry that was slowly moving away from themes of love to those involving what firsthand might sound primitive to a dance-music aficionado, but progressive to those who understand that music is a steady evolution of life that knows no borders. During his time in Europe, Sin was able to firsthand experience success in the songwriting genre when one of his songs, Watching You, reached the top of the pop charts in the Nordic region of Europe in the summer of 2001. The song, which was released and distributed by Universal, earned Sin his first gold record, which is a feat for a producer in his twenties. A region once heavily influenced by the sounds of ABBA, A-Ha, and Roxette had finally evolved to become one of Europe’s first regions to embrace the new trends of dance music that was overtaking cosmopolitan capitals of music as New York, Los Angeles, and Miami in the 1990s.
Upon his return to the United States, the first motion that required implementation was finding residency at any local club or bar in the New York/New Jersey area. After brief gigs at local lounges in the metropolitan area, Sins notoriety began to evolve slowly but surely with dates at local bars such as Splash (now SBNY) and Krash were many locals hounded those establishments on the weekends, looking for an escape from the 9 to 5 work routine many endure daily. With this exposure, the future seem limitless to this burgeoning artist.
Although fame and controversy sometimes comes hand in hand, many know it’s natural that competition and criticism are two trials an artist must face to make it. As an artist, and most importantly as a professional, Sin has brushed away the negative byproduct of competition. Life’s too short to carry on quarrels, Sin remarks on recent publicity that was meant to derail him from his long-term goals. What’s more important to me is finding my place, setting shop, and bringing life to the masses yearning to be freed on weekends. Music is my theology, the deejay booth is my pulpit, and I am ready to give my fans not only the time of their lives, but also promote my existence in the best way I can possibly do so which is my music," he replies as he is working on a project in the studio. With this outlook on life in general, it’s rather easy to observe that maturity has really affirmed a place in his ethos.
Pushing adversity aside, the future looks promising for this multifaceted music pioneer. Keep your eyes, ears, and minds open to the future as he ready to transcend the boundaries of dance music as we know it. The revolution is here and there is no stopping this artist from reaching the heavens.