The musical career of Mel Reyes started at a young age when he was tutored by his cousins in piano. The sounds of George Benson, Prince, Sade, The Time, Robert Plant, Sheila E, Billy Joel, and Disco were always present in the Reyes household and these influences helped mold the early sound of Mel Reyes in the early 1990’s.

Initially playing the high school circuit in Calgary, Mel landed his first club gig at “The Shark Club” on the infamous Electric Avenue. A visit to his cousins in Los Angeles the spring of 1989 led to Mel’s discovery of the rave scene. Inspired by the music and the energy of Los Angeles, upon arrival back in Calgary, Mel Reyes created a collective known as “The House of Unity”. That was the beginning of an explosion of dance culture in Calgary along with the rest of North America and the world.

The next few years were spent practicing his art and promoting one-offs and afterhours such as "The Royal Stag", "Applewood", "Paradise Garage", and the infamous "Soul Tattoo". Known for his technical skill, Mel Reyes has built a following based on his intricate mixing style. Comfortable cueing three sources of music simultaneously, impeccable programming, and creative mixes, Mel Reyes can mix with the best on the planet.

Over the years Mel has opened for an amazing variety of artists such as Mark Lewis, Chris Flores, Ritchie "Plastikman" Hawtin, Johnny Aquaviva, Marques Wyatt, Christopher Lawrence, Junior Sanchez, Tyler "T-bone" Stadius, and Steve Loria to name but just a few of the countless others over the last 16 years.

Fast forward to the present and you can find Mel Reyes behind the decks at the "Mynt Ultralounge" with a Saturday night residency. Change is a constant of the universe and Mel is not immune. As scenes come and go, music evolves and Mel has managed to bridge the gap between deep soul to more ethnic progressive sounds.

What does the future hold for Mel Reyes? Time will tell but if Mel can apply the same level of skill to his productions, his future will be bright.

In the words of a Derrick Carter track, as chosen by Mel, "When I get to the end of the line, fine, everything will be fine." Fine indeed.