A classically trained pianist and French horn player, LaDiabla studied electronic music composition at Oberlin College in the early 90s. Frequent weekend road trips to nearby Detroit for the outlaw warehouse dance parties first introduced the aspiring soundtrack composer to all the deeper shades of dance music. And within 2 years Ersatz Audio adapted selections from her senior recital works into her debut vinyl release First Mode.

In 1996 she moved to NYC, founding Spelunk Recordings with collegiate partner-in-crime & project studio co-conspirator Dave Chromatix to champion their unique flavor of bleep funk which Spelunk proudly labelled "electro-tek".

SPR represented cutting-edge techno and electro at it's best. Each track is a purposeful challenge to even the most pedantic gear whores Yet SPR avoided the more noodle-y, intellectual trappings such synth geek glove-tossing usually begets. Electro-Tek de-stilled is up-tempo minimal grooves, aggressive bass & jazz modalities in seriously complex musical arrangements that showcase Chromatix' unparalleled analogue tweak. Almost 10 years later, their discography can still adroitly work DJ and dance floor, sounding fresh to this very day!

Back to early 1997... LaDiabla stepped up to the public spotlight when she accepted her first DJ residency at an East Village dive, hosting a weekly down-tempo lounge night. It wasn't long before, she graduated to the city's larger sound systems as an opening DJ for NYC's Touch & Matter-Form club & event productions, where she played alongside a bevy of global names such as John Selway, Ralph Lawson, Dave Ralph and Roger Sanchez. Well-armed with uncompromising ethics & a publicized disregard for establishment politics, as many an artist's reckless rookie years are, Serrano's DJ persona LaDiabla developed a public life of it's own, preceeding itself with a divisive reputation for fiery, challenging musical sets. Some party promoters considered her unpredictably perverse. What did she play house, techno, experimental, down-tempo, electro? How do we bill her? Unconcerned, the artist relished the challenge every dance floor offered, every opportunity to expand an audience's repertoire while satisfying their ears' sweetspot & every half-filled room of disinterested bar-fly "experts" with crossed-arms, awaiting the "name" DJ that was to follow. Night after night she'd transform these sexist arm-chair critics & wake them into frenzied ass-shaking glee.

That was her job, as she saw it; and she did it well. Crowd's wanted to know where she was playing next. Yet, as often as she saved a flailing party's vibe, these formidable displays of talent, musical breadth & showmanship behind the decks simultaneously seemed to alienate some of the city's more established talent, thus limiting upward mobility within the local club circuit. Time to travel...

A variety of booking across the US proved to be rewarding [and free] travel but she largely found regional American audiences in the late 1990's still too "green" (at best; myopic at worst). Clubs & promoters often seemed unacquainted with the depth & variety of the new dance music genres & even ignorant to the potential [economic] flame to be kindled within their own patrons. Not hopeless, but America needed "Rave til Dawn" heard on a few more L'Oreal TV commercials before it would support emerging artistry outside of small inspired pockets like Detroit.

LaDiabla wanted to be her own artist, on her own terms; so abroad it was... and indeed, Europe was where her DJ skills came in true demand, delivering a more mature & progressive club circuit the uniquely heady electronic funk palette of Spelunk's "Electro-Tek". Across the European continent she fused edgy adrenalin-fueled house, Detroit ghetto-tek & Berlin's early minimal influences. LaDiabla threw down many a track with some of Europe's most influential underground artists including Ms. Kitten, Zombie Nation, Electric Indigo... as well the occassional DJ titan like Tiesto as when she played Oslo's Rockefeller Centre with the trance god back in 2001.

Yet in 2002 she disappeared from the scene. For 4 years only the occasional experimental composition or soundtrack surfaced, most often a commission for NYC choreographer Heidi Latsky& her modern dance company.

In 2007 however, the low-profile was tossed away & Serrano re-emerged onto her local NYC's underground with a vengeance as she resumed her position behind the decks as co-host of the popular & critically acclaimed weekly downtown event QUEDATE CRUDO and the summer monthly RETURN of the LIC SESSIONS with Peter Anthony & friends. Then in November, LaDiabla shifted gears again, seeking to deliver more alternative & freeform musical programming by joining NYC's legendary underground techno event promotor NYEX as their interim holiday resident at their weekly event LOSER.

Spring 2008 has grown quiet again, but that's only because something's afoot in that damned SPR studio again...