Andy Ash
Andy Ash has released his percussion-heavy take on house music on labels including Still Love For Music, On The Prowl and People Must Jam, as well as dropping a well-received EP on Delusions of Grandeur last year. He makes a broad range of house music, sometimes delving into disco and downtempo chuggers as well as deep house and more techno-influenced jams.
In the 15 years since he first emerged on Skull Disco, Appleblim continues to explore the relationships between underground electronic music in his productions & DJing. Skull Disco, the pioneering dubstep label he co-founded with Shackleton was the first the world heard of his productions, but Laurie Osborne’s innate relationship with electronic music culture reaches back much further than those groundbreaking early days of dubstep. Early days spent soaking up early rave, hardcore, jungle, techno and plenty more besides were fundamental foundations from which to spring into the then-unknown realms of grime & dubstep music. At that time legendary club nights FWD>> and DMZ were the church for this ritualistic sound, and Appleblim was a regular DJ at both. As dubstep matured, magnified, mutated and meandered, so Appleblim moved beyond Skull Disco to explore different avenues of expression in the new many-layered club music landscape. His own Apple Pips imprint was a natural vessel on which to explore the emergent fusions of hardcore-derived sounds and the US-born house, techno and electro, while key UK labels such as Aus Music equally provided a home for his work (often alongside Komon). Meanwhile long-standing collaborations with Alec Storey (Second Storey) manifested in the hyper-modern mind-twist of ALSO, captured as an album on legendary rave & techno label R&S. More recently it’s been possible to hear Appleblim delve into electro-acoustic and ambient production alongside bassweight sounds on Tempa, one of the original bastions of dubstep culture. As the existing boundaries between genres, cultures, eras and scenes continue to dissolve, his debut album for award-winning & critically acclaimed ‘UK Rave’ label Sneaker Social Club offered up a fresh approach that brings some of the foundational sound ethics of rave culture into a modern framework. In the meantime he has produced albums of ambient, drone & noise experiments both on his own & with old friend from the dubstep days Adam Winchester of Dot Product. These 2 albums will be released in 2020 alongside his 2nd solo LP for Sneaker Social Club, a collaboration as Trinity Carbon on ESP-Institute & several single projects for acclaimed underground labels such as Dr Banana and BLKRTZ.
Over the course of the past five years, ATTLAS has become one of mau5trap’s most celebrated artists. Canadian musician Jeff Hartford’s enthusiasm for music in all forms began at an early age as he hammered out melodies on toy pianos as a child. His abilities to translate music from hearing it to replicating it on a piano grew as he became older and eventually began to take lessons at age 9. Throughout his schooling, he played in bands and collected guitars, developing his keen ear for melodies and feeding his insatiable desire to learn. His family moved around frequently, but music continued to be a constant for the developing musician. “I’m not the first teenager to feel out of place and find records that spoke to me,” he says. “I was fortunate that music was this whole world to explore.”  He immersed himself not just in the instruments and the songwriting, but also in how technology could aid the composition process. While recording guitar, trumpet and clarinet, he fell down a production wormhole and opened up endless possibilities in his songwriting process. When he attended university to earn his bachelor of fine arts degree, Hartford developed an interest in the composition side of music and had a strong desire to write music for characters and orchestras in a long-form format. He began interning at a studio in Toronto, which then led him to intern for a composer in Los Angeles. “It was there that I started applying the studio techniques, arrangement and composition style I’d learned at these studios into more of the electronic space,” Hartford says. The electronic music he was creating evolved and improved, and Hartford began looking to genre pioneers like deadmau5 for inspiration. “If I was going to give [electronic music production] a real shot, my standard barrier of entry was going to be deadmau5 had to like it.” He began sending tracks to deadmau5’s mau5trap imprint, and after hearing the high-quality pieces he was producing, they agreed to sign him to the label. In his early mau5trap days as ATTLAS, Hartford put out the “sonic bookends” of what he wanted his ATTLAS project to turn into. In 2015, he released three EPs through the label: Siren, Scene, and Sin. He found his own voice as an artist through works that bridged genres, like “Rasor,” an eight-minute piece that opened with an introspective orchestral introduction and later dropped into a glitchy, dark sonic experience. In the years since his first mau5trap releases, ATTLAS has developed an enthusiastic fan base that awaits each release with bated breath. They particularly embraced his two hour-long Storyline mixes in 2016, which incorporate dialogue into music. Hartford realized he was regularly listening to DJ sets while he was simply cooking or doing other day-to-day activities and was much more immersed in them than he would be in a nightclub setting. “When you have a captive audience, you can craft narrative a little differently,” he says. His captivated fans welcomed the unique format of his Storyline mixes and were thrilled to receive a third installment at the end of last year. “The third Storyline is my own reflection on what kind of man I want to be,” he says. “It’s quite personal. We’re all trying to be versions of ourselves we can be proud of at the end of the day.” In addition to the third Storyline installment, ATTLAS debuted his first album in 2019 – a body of work that was in progress for months. The album “synthesized all the experiences and wandering paths that ATTLAS walks,” according to Hartford, bringing together heavier sounds and the emotive melodies he’s built his musical brand on. “[The album was me] trying to learn who I am and tell my story through music, which has given me so much and has been a home for me: a place to create, a shelter from the storm, and a launch pad into the greatest adventure of my life.” 2020 has proven to be a difficult year for everyone, after releasing his first album at the end of last year, Hartford’s inaugural ‘Lavender God Tour’ named from the album had to be cancelled. Rather than focusing on the missed opportunities, Jeff has taken this year to dive even deeper into his musical abilities. After a few one off releases and several remixes, including a captivating melodic single “The Night Air Was Cool” and a two track EP on Lane8’s label, This Never Happened, Jeff is set to release his second album at the top of November. The latest album, which will be called ‘Out Here With You’, encompasses the shift in the music industry and the way we’re digesting music without live touring. Rawer and more intimate than ever before, ‘Out Here With You’ is Jeff’s way of showing his fans and the world that we are not alone during this troubling time and that were all trying to navigate the state of the current world together.
Big Miz
Since the days of his early prominence as part of his local clubbing scene, Glaswegian artist Big Miz has progressed and developed into a key producer and DJ to emerge from the city’s ever fertile house and techno field. His music is a playful and energetic mix of acidic tinges, 808 rhythms, disco inflections, techno swing and house music hedonism, combining his traditional music abilities and multi-instrumentalism with contemporary electronic equipment and production techniques. His regular releases on record label Dixon Avenue Basement Jams as well as output courtesy of Shall Not Fade and Monki’s ‘& Friends’ label have helped to secure his position as one of the most exciting artists to break through into wider consciousness in the last few years. Miz's first venture into being a label boss sees him confidently launching with a self-released 12" vinyl EP on Miz Records, which features two synth-heavy tracks, the A-side emerges with 'Passing Place' bringing a pace that is vibrant with an evolving synth and rolling four-to-the-floor drums, the flip including a very solid remix from Mella Dee. Miz Records debut showcases what deems to be a slick label with a great future and more releases poised to be certified dance floor favourites. Having already played numerous UK and European shows as well as recorded Boiler Rooms live from Sub Club and Fly Open Air festival, Big Miz continues to stake his claim as a household name for the future of underground music. In 2021 Miz has already remixed Hot Since 82, Ki Creighton and Kariya with a forthcoming release on Will Saul’s label AUS.
Black Loops
Riccardo aka Black Loops has built himself a solid reputation as one of House music’s most creative and progressive producers. Recognizing his momentum and high-quality releases, Traxsource named Black Loops #1 Deep House Artist of 2017. Black Loops influences stem from genres such as funk, soul, and disco, while his style is similar to the sound of the 90’s UK House movement and early 00's NY House. In regards to his discography, Black Loops has released 7 EP’s on the respected German House Record label Toy Tonics, and also released noteworthy EP’s on Neovinyl Recordings, Pets Recordings, Shall not fade, Freerange and Classic music company. Currently working on a first Album project, Black loops is touring worldwide, touching countries like Australia, Canada, and overall Europe.
Cassy’s lifelong love affair with music makes her one of the most respected selectors of her generation. A dynamic, passionate DJ with an encyclopaedic knowledge of electronic music history and a record bag to match it, she can dig deep in any given situation, bringing good vibes and contagious energy to the dance floor. With past residencies at Panorama Bar, Trouw, DC-10 and Rex Club, as well as an exhaustive list of the world’s most influential club spaces on her resume, Cassy is an unrelenting ball of positivity behind the decks, delivering high quality to every dance floor she plays to. A versatile and professional selector with an acute understanding of how to adapt to various settings, Cassy retains that unique touch that only she can provide, never losing sight of her own musical identity and staying true to the art of DJing every step of the way. Born in England and raised in Austria by her Austrian mother and father from Barbados, Cassy was exposed to many cultures growing up and she was surrounded by music from birth. At the age of five she went to music school and, later, she met jazz musicians including Sun Ra, Archie Shepp and Lester Bowie, when they stayed at her parent’s countryside inn on their way to play an Austrian jazz festival. “They left a trace behind of somewhere I knew I belonged, without knowing how to get there,” she says. Artists like Spandau Ballet, Madness, Sarah Vaughan, Talking Heads, The Cure, Ella Fitzgerald, Louis Armstrong, Gilles Peterson and the influential label Talking Loud are among the many influences during the early stages of her life, laying the unbreakable foundation that remains today. Since the early 2000s Cassy has earned a reputation for excellence across the board, moving home on a regular basis in order to evolve and immerse herself in new scenes including vibrant cities like Geneva and Berlin in 2003, to Paris and Amsterdam in 2010. In Berlin she was deeply involved in the city’s club culture; working at iconic record shop Hard Wax, socialising and working with some of the scene’s most innovative artists - producing, collaborating, singing and enjoying the creative freedom that a liberated city like Berlin can provide. Cassy was one of the early residents at Panorama Bar, recording the club’s first ever mix CD, while also releasing music with a range of influential labels and her own self-titled imprint. Now back living in Ibiza, she is working towards a more grounded state of being; embracing her femininity, invoking strength, wisdom and tenacity. These tenets of womanhood are at the forefront of her inspiration, Cassy’s approach to music has matured; benefitting from a refreshed outlook. Over two decades of playing records has bestowed Cassy with a ‘sixth sense’, a refined level of intuition achieved by dedicating much of her life to DJing. Representing herself in a true and sincere way and cultivating a mutual connection with the dancers in front of her, whether it’s 150 people or 5,000, is what drives her forward. Ibiza is also the birthplace of Play House, Cassy’s weekly event series starting in the summer of 2019 in the intimate PachaCha room of Pacha Ibiza. “A total hidden gem that you stumble across, opening the doors to a secret party. The room is yours to take in any direction you feel. I had been looking for a place in Ibiza that allowed me to express myself fully across long sets, to play with no compromise and really show what I can do. This room is it!” A joint project with her long-time friend, art director Liz Mendez, it channels their love of colour and memories of nights in NYC, Ibiza and London in the 90s into something joyous and relaxed. When Cassy first visited Ibiza in 1995 its hedonism and open spirit awakened something in her. “The same as when I went to New York for the first time, it left such an impression on me. The freedom of expression and open mindedness of Ibiza and New York in the 90s are energies’ I want to bring forward into the now, at Play House. Ibiza and worldwide” Play House aside, Cassy also channels her love for straight talking house music through Kwench Records. A&Ring fresh new music, encapsulating that uncompromising core vision. Launched in 2017, the label is intended to blur the lines between commercial and underground, house and techno, fun and top-notch quality, bringing in artists who embody an open- minded view of electronic music. Producers such as Ron Trent, Fred P, DJ Sneak, Art Department, Ian Pooley, Art Alfie, and, of course, Cassy herself have released music through Kwench, contributing to a diverse back catalogue with strong ideals at its foundation. In 2013, Cassy was invited to join their fabric hall of fame when she recorded fabric 71 - a sultry addition to their prestigious mix series. Three years later, Cassy channelled years of production experience into her own debut solo LP ‘Donna’ released via Will Saul’s seminal Aus Music. It was the culmination of years spent collecting and playing music, producing her own tracks and singing. Her voice present on all but one of the 12 tracks featured on the long- player. A remix package followed the original release, with Radio Slave, Marcel Dettmann, Osunlade, D’Julz, King Britt and Ben Sims delivering a wonderful selection of reworks. Her second album project was ready to get released in 2019, Cassy held off releasing it until she found the right channel, the right format and the right label for it. Two EPs on the label House Wax. A label for heads and true music lovers. A lifetime dedicated to music lies at the heart of Cassy’s expertise. A woman who embodies the fundamental characteristics of the archetypal DJ; skilled, knowledgeable, passionate, committed to entertaining the dance floor and utterly smitten with music in all its forms. As the infinite power of love for music continues to energise her, Cassy is alive and kicking, keeping her pure spirit alive.
Catz ’n Dogz
It’s a plain fact - close friends and production / DJ partners Grzegorz and Wojciech are enjoying a stellar and prolific career as the house outfit Catz ’n Dogz. Working their way up from humble beginnings, they now deliver constant DJ shows at the hottest venues across the globe and killer EPs and remixes with the biggest labels on the scene including Defected, Dirtybird and Diynamic. After a huge success with the single ‘Force’ last year, they returned with a 2 track EP ‘Inner Revolution’ to the UK powerhouse Defected Records in May and debuted on Solomun’s Diynamic in March. As well as the underground scene the duo have also broken onto the bigger global stage through remixes and collaborations with names like The Chemical Brothers, Roisin Murphy and Disclosure. While their fourth full length studio album ‘Friendship’ was released just last year on their own Pets Recordings; this year they faced the adversities of the COVID-19 pandemic, bouncing back with the creation of ‘Moments’, the latest album showcasing yet again their mastery in music production, presenting another side of their trademark sound while accompanying the community through a journey of self-awareness, emotionally charged, tapping into the mellow, downtempo vibrations to overcome a time of global crisis. Now active on the scene for over fifteen years Catz ’n Dogz are making a long-lasting impression in the dance music community, their achievements are reflected with press and award nominations including cover features with Mixmag and DJ Mag Spain, spots in the RA Top 100 DJ poll, DJ Mag’s ‘Top 10 Albums’ and ‘Best Track’ at WMC Awards. Alongside all this, back in their home country Poland they have received numerous prizes from Muno PL, held residencies at the top clubs in the country, such as Smolna Warsaw, and are widely regarded as the nation's number one dance music export. Regardless of the current world situation, Catz ’n Dogz duo continue to passionaly create music and won’t stop with productions. Even though the world is at a stall, the polish duo persistently thrive and certainly they are not giving up hope!
Christopher Coe
Dissecting time, pulling apart rhythmic structures and building them up again unexpectedly, Coe's aesthetic is one of chaos and decay underpinned by the deep relentless throb of the ever present kick drum. Coe’s early Digital Primate techno releases through respected underground labels Pro-Jex and Bush in the early 2000's set him apart as an important producer. Over the years Coe has collaborated with artists as diverse as Mad Professor, Carl Cox, Zbigniew Karkowski and Stelarc. He has always put art before commerce. In 2014 he took up residence in Amsterdam where he created and ran the Beatport Amsterdam Studios and worked as a producer alongside the many artists that come through. It was here that he first met rising star Reinier Zonneveld and collaborated with him to create some slamming techno. He engineered an album with Marshall Jefferson and the now sadly departed Sleezy D. He coached many young up and coming producers on a daily basis and worked to develop his own skills as a producer of note. In mid 2016 Christopher Coe moved back to the west of Ireland where he focused for 6 months on creating and producing his last album “MNTNS of SLNC”. A deep, emotional techno work inspired entirely by the mountainous landscape of his original homeland, Coe felt it was time to bring this sound alive by setting aside his DJ career to focus entirely on performing live. It was this decision that inspired Carl Cox to ask Coe to move back to Australia, build a studio for him and to collaborate on a new label together that focuses entirely on supporting and releasing the music of live electronic artists. Since then Coe has worked with Carl as co-producer in his studio, and built the label Awesome Soundwave from this base. In 2019 Christopher realised his dream of presenting a stunning audio-visual show featuring footage from his adventures climbing the mountains of the West of Ireland. In collaboration with animator and visual designer Roy Gerritsen and film makers Paul Meehan, Mick McLaughlin and Damien O’Malley, Coe created his MNTNS of SLNC live A/V show and presented it to a rapturous audience on 50 metre screens at Creamfields festival in the UK. In the last year Coe has performed live around the world, from Creamfields UK to Fabrik Madrid, to the huge Amsterdam Dance Event for Awakenings. Carl and Christopher also presented an Awesome Soundwave showcase event to a sold out warehouse audience of over 3000 punters at this year’s ADE (Amsterdam Dance Event). It was the first time an event like this featured exclusively live acts on the main stage and was produced and promoted by the legendary Awakenings event promoters. Even Carl played a hybrid live set! Most recently Coe has been experimenting with playing extremely long and totally improvised live sets, his last live show, at Festival No. 23, in Australia, ran for a total of 7 hours non stop, and the crowd stayed with him, loving the journey.. He has recently been streaming live ambient sets leading into techno and running them for 8- 10 hours.. Blah blah blah blah... Basically, Christopher Coe loves techno and plays it live. Need we say any more?
Cosmin TRG
As a producer, DJ & label owner Cosmin Nicolae’s dedication to developing a rich and wholly personal artistic landscape provides the driving force behind one of dance music’s most unique & industrious individuals. Opening the door on Hessle Audio over a decade ago, Nicolae’s list of affiliations reads like a who’s who of top tier contemporary dance music record labels. Appearances on Amsterdam’s Rush Hour and Gerd Janson’s Running Back, as well as a brace of singles alongside LP’s Gordian and Simulat on the now defunct 50 Weapons - not to mention work for Semantica and Bleep, have cemented Cosmin TRG deep in the psyche of the ever shifting amoeba that is the dance music zeitgeist.
dBridge is an English drum and bass record producer whose career began during the genre's conception in the early 1990s. dBridge was part of the duo Future Forces Inc., a project made with DJ Maldini, with releases on the record label Renegade Hardware. Later, they joined Fresh and Vegas to form the drum and bass supergroup Bad Company, of which dBridge was a member of during the late 1990s and early 2000s. During his time with Bad Company, they released the tracks "Planet Dust", "Nitrous", and "The Nine". dBridge released his first solo album, The Gemini Principle, in 2008. dBridge owns his own record imprint, Exit Records. In 2011, Exit released a compilation called Mosaic Vol 1. Mosaic Vol 2 followed in 2013. In 2013 he collaborated with Kid Drama on Heart Drive, a project consisting of a series of podcasts previewing autonomic tracks from the duo. dBridge started creating techno and house music in 2015 under the alias Velvit. Other projects of his include collaborations with producers Instra:mental (see autonomic podcasts), Fierce, Break, Survival, Calibre, and Skream.
These days, to leave even the briefest of imprints on the ever-increasingly saturated orbit of dance music can be considered a feat in itself. To make a lasting mark, however, one that manages to cut through the onslaught of new music and artist profiles on spotlight each day, is another accomplishment entirely. Cue Dauwd, the US-born, Wales-raised artist who’s been releasing music for nearly 6 years on such noted labels as Ghostly International and Kompakt, and whose debut album Theory of Colours is released via Ninja Tune imprint Technicolour Records. An integral member of the Berlin night and radio show African Acid Is The Future, Dauwd Al Hilali’s releases have been met with as much expectation as they have intrigue. Spending the last few years out of the limelight and in his Berlin studio, Dauwd’s music has continued to ripple through clubs as his singular, sometimes thrillingly uncertain process of experimentation has continued. Pulling inspiration from electronic music legends like Terry Riley, Raymond Scott, and the seminal Radiophonic Workshop period in the late 50’s and 60’s, Dauwd’s 2017 LP draws a unique line between influences as disparate as hazy Detroit house and early German Krautrock. A skilled musical engineer, Dauwd’s ability to balance between such sprawling genres is, paradoxically, an exercise in restriction, finding creative freedom in limiting his own gear. It’s clear he’s no stranger to focus; sonically, Theory of Colours runs tightly wound, its loops intentional and layers meticulously built. Spanning a succinct forty minutes across seven tracks, Dauwd’s fondness for delays and love for vintage synthesizers characterize much of the album, which was recorded over the course of a year primarily in the Utrecht based Sonar Traffic studio that houses one of the largest collections of vintage synths and other modular equipment in all of Europe. The result is an intricate, scintillating journey that hovers between familiar and strange. For many artists, that enigmatic gap is one that’s anxiously avoided-- the fear of misidentity as a musician more important than the music itself. Throughout Theory of Colours, it’s a space Dauwd comfortably renders as his own.
Dense & Pika
In a studio behind an unremarkable roll-up door in rural England, two men are creating delirious mayhem for the world’s dancefloors. Since 2011, as Dense & Pika, these men – Alex Jones and Chris Spero – have garnered an enviable reputation for making devastating club ordnance that finds the sweet spot between dark, mysterious house and roaring, brawny techno. Not that Chris does anything over than baulk when it comes to trying to “intellectualise” or post-rationalise the creative aspect of making their music, preferring to open it up to individual interpretation. “The whole point of writing music is it does the stuff that words can’t,” he says defiantly.
Watching DJ BORING in action is the antithesis of his mundane alias; vibrant, energising, fun and full of passion, Tristan Hallis puts his all into every set. Over the last few years he has ascended rapidly thanks to his dazzling displays, impeccable selection and high quality productions. The Australian selector takes great pride in his digging capabilities, constantly searching for lesser-known gems from years gone by, and pairing them up with more recent cuts that are equally exceptional. Pre-Covid he was based in London, traveling the globe with a packed touring schedule and earning himself a flawless reputation as one of the most promising new acts on the scene. Since the pandemic hit, he’s kept up the momentum, channeling his knowledge and unrelenting creativity into a batch of new productions. As the world begins to slowly open up again, DJ BORING is ready to step back into club culture with a fresh head and an armoury of dance floor weapons to unleash… Since he arrived with ‘Winona’ in 2016, DJ BORING has continued to push forward and demonstrate his abilities on stage, in the clubs, at festivals and behind-the-scenes in the studio. He has an innate ability to blend seemingly disparate styles and create cohesive, engaging mixes that make sense and keep the dance floor pumped. BORING’s sets play out like energetic journeys into forgotten gems and future classics. He inhabits a space where throwback trance sits comfortably with old school house, and Belgian techno is spliced with rolling grooves. His debut on BBC Radio 1’s legendary Essential Mix and amazing Boiler Room appearance at Lost Sundays exemplify this DJ style, but tune in to any of his streams, recorded sets or, better still, see him in person and you’re bound to be left buzzing by his sheer dynamism. In the studio, the producer has honed in on a contemporary sound that pays homage to the roots of dance music. Whether its Detroit techno-inspired future funk or Chicago house layered with obscure YouTube samples, his productions are birthed in hardware and imbued with Hallis' energetic personality - a human touch which can often be lacking in many productions today. This trait shines through in his new live show where hardware and controllers become a natural extension of his creative self, a conduit through which he presents a fresh take on his music. Recent releases include the soul nourishing ‘Like Water’ on Technicolour/Ninja Tune, a gorgeous four-track EP full of uplifting vibes, rich textures and catchy rhythms. The EP has picked over 1.9million streams on Spotify, making it a certified smash. He also dropped ‘Gardenia’, which was featured on Jayda G’s DJ Kicks mix, plus remixes of Moby’s ‘Morningside’ and CRi’s ‘Stranger’ further demonstrating his knack for striking the right balance between emotional depth and dance floor appeal. There are many sides to BORING’s persona and his DJ exploits present a total contrast to his studio endeavours. Production-wise we’re invited to witness BORING’s sensitive side. This is where he explores his own world of experiences, expressing his feelings through the power of music and often producing melodic tracks that complement the visceral nature of his DJ sets. These emotive cuts are the backbone of his live set, which he has been steadily constructing since 2019, and will be taking out on the road as soon as possible. DJ BORING epitomises the dance floor roots of club culture; positive energy, liberating and unifying selections and unbridled fun and self-expression, combined with respect for the music and a genuine desire to share his unwavering passion. Despite his impressive list of achievements it’s clear BORING is only just getting started, with his live show being finalised alongside plans for an album project in the not-too-distant future, the stage is set for the next phase of this soaring artist’s remarkable career…
DJ Haus
Primarily geared to induce the largest serotonin rush possible, the appeal lies in his skill at creating a moment, as well as his ability to leave a lasting impression in the rave. A regular on Rinse FM, the Londoner typically blends releases from his own Unknown To The Unknown imprint, a regular home for Legowelt, Willie Burns and Luca Lozano, with his own delirious productions that reference hi-NRG, Chicago house and the current spell of grime.
East End Dubs
East End Dubs is imbued with the same urban grit, late night menace and subtle sense of mischief as the East London streets from which he takes his name. It has been that way since 2012 when he first broke through with a dark and infectious tech sound that has been jacking up dance floors all over the world. His own productions are slick, texturally rich affairs that are perfectly sculpted to be a perfect mix of function and form: metallic and mechanical yet scuffed up with a real sense of soul, they diamond cut tools designed for maximum impact with minimal effort. East End Dubs very much considers himself a DJ first, producer second, and has done since he first started spinning 15 years ago. Since then he has spent untold hours lost in record bins, on Discogs, in stores around the world hunting for those most timeless records. It's an addiction as much as a hobby and a passion, and means that this cultured selector keeps ‘floors locked into his stripped back but characterful grooves from dubbed out regions of the house, garage and tech worlds. Always underpinned by a close connection to London, he often plays extended sets featuring plenty of his own trademark analogue grooves, but also likes to link with DJs like Priku for back-to-back sets that show off his versatility and ability to work a range of clubs and crowds. As a producer, he makes tracks for special moments in the night that help elevate any set above the norm. He views each new release as an attempt to inject his own free spirit into various different grooves and has done so on labels like Fuse and Moon Harbour as well as, mostly, his own East End Dubs Vinyl. Putting out limited edition slabs of multi-coloured vinyl, the hotter than hot label has become a much talked about outlet that has found its way into the bags of serious selectors like Raresh and Riccardo Villalobos. What’s more, East End Dubs is also the man behind Eastenderz, which puts out his own work as well as A&Ring exciting new talents like Rossi. next to established favourites like Chris Stussy, Cuartero and Priku. The vitality of his DJ sets, draw of his productions and reputation of his labels have taken him to sets across Europe, America and Australia week in, week out. From Eastenderz Showcases in Berlin, New York, Ibiza and Zurich to fabric, DC10 and Amneisa Ibiza, he plays high profile gigs and international festivals, and always leaves his mark.  East End Dubs, then, is very much setting his own agenda and those in the know cannot get enough.
Fred P
“Deep”, perhaps the word most associated with the career of Fred P, and for once, an accurate portrayal. Eleven albums, innumerable releases and decades of Djing into his career, the New York-turned-Berlin resident continues to push further into his own sound, craft, and mind. For those fortunate enough to be present for one of Fred's cathartic, physical and spiritual DJ sets, the dancefloor is not just a place for enjoyment, but for potential. That opportunity for potential – his own, yours, that of our collective consciousness – has long-been the earnest pursuit of Fred P, channeled expertly through his evolved and deeply personal exploration of house and techno music. His futurist approach is inspired as much by the scene's bonafide revolutionaries, Frankie Knuckles to David Morales and Danny Tenaglia, as his own futurist philosophy, weaved together from a glorious patchwork inspired by an ever-expanding network or thinkers, collaborators, and international encounters. If this all sounds rather academic, then any appearance from Fred P will cement the sound of his vision. Years dancing at New York nightspots such as Red Zone, Sound Factory and Tunnel proved to be the sort of open-minded education that cannot be bought, cannot be sold and cannot be hyped. Here, among an eclectic cast throng of consciously aligned fellow party-goers, Fred P learned pleasure and patience from extensive record collections that often went some way to suggest that less can mean more. It's a confidence that runs through his music and Djing, and most recently earned him a quarterly residency split between London's twin clubs, Oval Space and Pickle Factory, sharing the bill with like-minded contemporaries. He was also handed control of the club's sound system for several all-night sessions, a favorite format of his, creating space to conjure a unique, sensual and almost psychedelic early morning atmosphere that the New York native is almost notorious for being able to conjure like few others (refer to his own cult classic, '6AM' for a seductive glimpse of this particular sound.) All this in mind, what's the eventual aim? “Like-minds together, to raise each other's consciousness”, he considers. “And with that, you can have an experience. I'm all for that because I know music can be medicine. Meditation... It's a gift for everybody. So to use it with intent but not self-interest – which is very difficult nowadays – it's all about the time you're given and the quality of what you decide to do with that time.” Time passes, for better or worse, and with that, change must be embraced. 2018 sees Fred P bring his acclaimed Soul People Music outlet to an end and embrace a new label, Perpetual Sound. Launching with a new recording for arguably his best- loved alias, Black Jazz Consortium, the label will be guided solely by his proven eye for emotion and evolution, anticipating new collaborations and styles. That first release was a statement, tellingly titled ‘Evolutions’, adorned with a retro-futurist cover that harks back, perhaps with a sigh, to retro-sixties futurism. On the cusp of an AI revolution, in the midst of political, cultural and social tension and disruption on an international scale, Fred P is determined to ensure optimism and futurism lead forward his practice. “The 20th century was big on originality... The 21st century, so far, not too much”, he reflects. “That attitude in general, towards everything, pushes this singular ethos. The us or nothing bullshit. So what's standing in the way of the obvious stuff? What is the end goal? The end goal is to fully embrace our potential and to remove the things that hold us back: Greed, envy, and self-interest. To embrace a more humanitarian approach Not just for ourselves, but for our species.”
Gene On Earth
Born in the US and based in Berlin, Gene On Earth made a name for himself these past few years with slick, reduced house delivered with a kind of laid-back warmth. His sound is influenced by the digger community surrounding The Ghost, Berlin's party, DJ crew and mobile record shop, but touched with a sun-kissed vibe and a smirking sense of humor, evident in everything from his cartoon avatar to titles like Gary Town (a place and state of being essential to Gene and those around him) to the loud button-down shirts he favors in person. Gene's life as Gene On Earth came together slowly, and then all at once. He moved to Berlin at the beginning of the '10s and struggled to find his footing as a producer. "The first eight years were spent trying to make whatever was in fashion with very little success," he tells us. After a few "life-changing" sets from Zip and Nicolas Lutz got him on a new tip, he decided he'd have one last go at music and ditch the whole thing if it didn't work out. What came next was was four thumping EPs and a lush album, most of them released on his own label, Limousine Dream, all of them eagerly lapped up by fellow diggers and fans of loopy house (and all available, as of last week, on his Bandcamp). Meanwhile, Gene found his voice as a DJ as well, playing the same kind of breezy party-rockers he produces.
Rory Hamilton aka Hammer has established himself as one of the UK’s most exciting DJ and producers illuminating dance floors around Europe and beyond with his own take on electronic music. Gracing the decks at world renowned venues & festivals such as Panorama Bar, Robert Johnson, Concrete, Kompass, Houghton, Love International, Parklife, WHP to name but a few. Rory also has established his own party series which took on a residency for 10 years at the legendary Sub Club with the Thunder Disco brand, inviting the likes of Floating Points, Ben UFO, and Paranoid London to the club. He has also recently launched a sold out The Hammer Hits event series which launched at the end of 2019 inviting guests J G Wilkes, Luca Lozano, Sally C, Holly Lester to name but a few across venues in Ireland, Berlin and the UK. As one of the original co-pilots of the Feel My Bicep blog, Hammers relationship with Bicep runs long from childhood. He has joined the Bicep tour as support as well as having a string of releases on the mighty FMB label. **Live** Hammer's demand in far territories such as Asia & Australia has already seen him play a multi-city tour in these territories, with a second tour already planned. **Production** Since Hammer’s debut EP on Optimo, he has followed up with releases on Huntley & Palmers, Loft, Modern Magic, Hotflush and the aforementioned Feel My Bicep imprint. Continuously achieving praise such as Mixmag's record of the month with his latest track 'Ozone', whilst being held in high regard with his peers. The Hammer Hits label saw his track, Love Somebody (vinyl only) sell out within days. 2019 saw Rory release with Jennifer Cardini’s Correspondent, Denis Sulta’s Silver Service, plus with big independents FMB and Percolate’s new label. 2020 saw strong vinyl releases come out on Soft Recordings, the return of The Hammer Hits label with Strong Enough which included a big remix from Mall Grab as well as a single release on Permanent Vacation. 2021 Hammer launched a brand new imprint, Italo Hiits. Born out of the Belfast producer's workout videos, which he began sharing during lockdown in 2020, the label is a tribute to Italian Hi NRG house & disco of the 1980s. 'I Wanna Be Like You' is the first release to emerge, with the title track a pure indulgent slice of Hi NRG sleaze, engineered to make you move. With more releases to come from his own imprints Remmah & The Hammer Hits, introducing new talent along the way, the rest of the year is set to be jammed with more exciting projects, including a remix for Shibashi featuring Candi Staton and an EP on Correspondant.
Since 2011, Bristol-based DJ and producer Hodge has become an increasingly potent presence at the forefront of UK club music, putting out weighty dancefloor-ready tunes that land in a moody meeting pot of house, techno and dubstep. A signifier of his vital role in Bristol’s musical landscape, he’s released music on Livity Sound and its sister imprint Dnuos Ytivil, Livity co-founder Peverelist’s other label Punch Drunk, Pinch’s Tectonic, and Shanti Celeste’s Peach Discs. Beyond the Bristol hotbed, Hodge has collaborated with the likes of Laurel Halo, Tzusing, Randomer and Peder Mannerfelt, and remixed Bruce, Dusky, and Leftfield. His DJ sets are high-octane, running the bass music gamut, and his productions are distinctive and suspenseful; dubwise techno, urgent and extra-terrestrial synth patterns, and syncopated rhythms.
L.A.-born, Berlin-based, producer, DJ and instrumentalist. 12"s on Slow Life, Small Hours, Voyage, Slapfunk, Oscillat Music, & In Dust We Trust. Head honcho for Leizure.
Hybrasil. The much-loved Dublin producer emerges from the underground. Hybrasil learned his craft working as a house engineer at Temple Lane and Grouse Lodge Studios, where he recorded and produced music on NEVE and SSL Consoles across genres such as Blues, Jazz, Folk Music, World Music and Prog Rock. After many years of honing his skills as a sound engineer with a variety of different artists from different backgrounds, work on the Hybrasil live and studio project began. In 2005 he took up residency as a radio DJ, presenting a late-night 3 deck mix show inspired by The Wizard on WJLB Detroit. It wasn’t long before Hybrasil was picked up by Irish National Radio. A broadcasting career that eventually spanned a total of twelve years. The Hybrasil live project debuted in 2016. What followed was a series of digital/vinyl releases on his own eponymous label and a number of key performances at festivals and clubs across the continent. His most ambitious project took five years to develop. For this, he wrote a live show entitled ‘Spaces’, performed before Jeff Mills & the National Concert Orchestra at Dublin’s Bord Gais Theatre. Shortly after moving to Berlin in 2018, he was welcomed into the Rekids family by Radio Slave, debuting on the label with the ‘Afra EP’ in May 2019, which was duly picked up by a number of key players in the techno scene. Since then he’s been working as a technical consultant for the SRVD Live show and has earned a number of mixing credits on Rekids. In late 2019, as a result of his time spent in Berlin, Hybrasil released his debut LP ‘Embers’ on Rekids. Of his debut album, Hybrasil states: “It’s inspired by the people I have met here in Berlin and my experiences in the city. It is written, produced and mixed for the Panorama Bar / Berghain sound system and the people who dance there.” Following the album release Hybrasil was invited to play at Panorama Bar in February 2020. Experimentation and improvisation are at the core of the Hybrasil concept. In 2020 Hybrasil delivered his first audio visual collaboration ‘We Don’t Flip’ with Tom Hodgkinson of Bristol based design studio ‘Shop’. ‘We Don’t Flip'' was released on Rekids (July 2020). As Hybrasil’s career trajectory steepens... the way through the woods widens... the hard work is paying off.
Ian Pooley
Over twenty years into his career, Ian Pooley continues to embody the heart and soul of real house music. As an ever-present favourite of house & techno fans and DJs, Pooley remains a highly regarded and respected figure within modern electronic music. With five artist albums under his belt, Pooley has perfected the balance of classic and contemporary sounds in his ever-evolving production work. With a studio overflowing with analogue gear and two decades of production experience, he is currently enjoying one of the most fruitful periods of his career, with new material drawing more newcomers to his ever-growing fanbase, while classic older cuts are being reintroduced to new generations via mixes on labels such as Ostgut Ton, Figure and Rejected. His current attentions are primarily devoted to Pooledmusic and Montage, the two labels he runs out of his adopted hometown of Berlin. In the eleven years since Pooledmusic began it has been the primary source of new Ian Pooley material - including his 2012’s ‘What I Do’ LP - while also providing a home for emerging talents such as Spain’s Indira Paganotto and Munich’s Mathias ‘Show-B’ Schober. Meanwhile its techno sister label Montage has made an instant impact since its launch in early 2015, debuting with a new EP from Pooley’s reborn Silvershower alias. In addition to his own labels, Pooley still regularly contributes to some of the scene’s biggest labels, with appearances on Innervisions, Ovum and Tsuba. 2016 promises even more activity, with brand new material - including a sixth studio album - and reissues of classic tracks in the works.
J.Pool has been living life as a nomad, travelling the world collecting inspiration and sounds for the last 4 years.  His goal is to create art that is inspired by the myriad of environments that he’s experienced in his travels, music that is connected to our ancient roots as humans and to the web of all living things on this earth.
Producer, DJ, remixer, label boss, taste-maker. Jamie Odell wears many hats and wears them well. Under his Jimpster alias, he has become one the most revered deep house artists operating on the scene today. His esteemed labels Freerange and Delusions Of Grandeur continue to help break incredible new music and equally impressive acts such as Detroit Swindle, Tornado Wallace and Session Victim. From his UK base, Jimpster has inadvertently become a standard-bearer and custodian of the authentic house sound, and carries this flag to the four corners of the world.
Joseph Ashworth
Joseph Ashworth is a musician, producer and composer who has never been interested in getting comfortable and repeating himself. A regular month will see him working on diverse projects, from intricate sound design, DJing at a world-renowned night club, to spending hours experimenting on new sounds and techniques in the studio. This rich tapestry of experience, gained over the past 15 years has all influenced Joseph’s current musical output, which can by defined by its high production quality and unique musicality and sonic texture. 2019 was a year where Joseph’s music took a turn to the left field, combining a darker edge and catching the attention of DJ Tennis. Trooper EP on Life and Death followed, championed by the likes of Sven Vath and Adriatique. An undeniable stand-out EP, it has come to cement Joseph’s position as a unique talent at the top of his game. 2020 will see this trend continue, with Breathe EP on Moscoman’s Disco Halal. The title track Breathe featuring vocals from Vanity Fairy draws from ambient electronica, shoegazee and drone, and provides a stark contrast to Alternator, which is an undeniable ‘dancefloor’ banger. Joseph’s extensive touring of Asia and the U.S. has seen his DJ style develop to become a perfect representation of his studio sound, showcasing the best of his unreleased and upcoming material. The year ahead is set to take him further afield than ever, as he delves even deeper into this new, unexplored palette of sounds.
Born and raised in London, K-LONE is currently based in Brighton. He co-runs the label Wisdom Teeth with Facta, releasing forward thinking dance music EPs and less dance orientated electronica LPs including his widely acclaimed 2020 "Cape Cira". He has released an eclectic breadth of music spanning from UK Techno, UKG, Dubstep and House records on his own labels as well as Idle Hands, Soundman Chronicles, Dr Banana & Banoffee Pies.
Lost Souls Of Saturn
They congregate to combine music, new technologies, and storytelling into an inextricably linked whole, within an immersive and engaging audio-visual performance environment. Through lost souls of saturn, troxler, moffa et al. explore new ways to open doors of perception and challenge the ways we see our world, whilst marrying the prescient visions, political aspirations and psychedelic energy of science fiction and early rave culture, with postmodern philosophy and contemporary art. Their eponymous debut album, released on r&s records in summer 2019, is a multidimensional mind trip and combines flavours gathered from across the galaxy. Old sci-fi soundtracks, acid, free jazz, avant garde, musique concrete, world music and more all whirl around an underground-dance-music axis.
Man Power
Creatively speaking, pinning down Geoff Kirkwood is a challenge. While best known as the man behind 'intergalactic house’ (Resident Advisor, 2018) alias Man Power, Kirkwood is as comfortable writing and presenting experimental symphonies, ambient hauntology and Audio Visual orchestral performances as Bed Wetter or delivering raucous kinetic Techno as MPX. For everything in between, he is Man Power. The Man Power project initially emerged as an anonymous 2014 project via a succession of dark, chugging remixes, culminating with a debut EP on Correspondant. Conclusions were drawn, expectations set, and boundaries imposed. Never one to colour between the lines, though, Kirkwood has gone on to show the complete picture of his sonic and thematic breadth via output for the likes of DFA, SKINT, Hivern Discs and his lauded Me Me Me imprint. Although unburdened by the need to bow to genre conventions, there’s still a common emotional core through Kirkwood’s creations that, paired with a penchant for the cinematic and absurdist, makes him stand out from other eclectically inclined peers. A contrarian nature also bleeds through Geoff’s approach to the music industry. His label Me Me Me has regularly shed its skin in terms of outlook, artists and methods, with only the steadfast goal of supporting his friends remaining intact. A subscription-based VALUE ‘label’ began in 2020 to circumvent the usual means of reaching audiences and avoid the growth demanded by the mechanics of the music ‘machine’, too. His latest ruse is to reverse the grubby trends of club-night promotion, with his Us & Them parties binning advance tickets, supporting regional talents, booking like-minded souls regardless of profile, and ditching branding obsessions all in favour of more equitable behaviour.
Marco Passarani
A tireless innovator, constant collaborator, RBMA studio mentor, inspirational deejay - Passarani has always been at the forefront of electronic music. With more Discogs pages than the EU has legislation, Passarani has released, to name a few, fine twelves on Gerd Jansons Running Back label, crafted covers of Alexander O’Neal and The Jungle Brothers for Peacefrog, re-invigorated Boogie and Italo as Tiger & Woods and could possibly be the only producer to have been remixed by both Ricardo Villalobos and Autechre. He has played a pivotal yet covert role forwarding electronic music in Europe and beyond - strengthening the ties between Rome (his hometown), Glasgow, Detroit and Rotterdam with his Final Frontier / Nature / Pigna stable of labels and to this day he continues to be an inspiration and educator for the younger generation.
Mark Hawkins
Mark Hawkins has had a career in music spanning the past 25 years. It has encompassed torturing Goa trance ravers with esoteric techno records on Welsh hillsides in the mid 90s, hanging with UK house heads like the DiY and Smokescreen sound-systems around quarries, fields, clubs and pubs in the Midlands, after which he found his initial niche in producing punky techno around the turn of the millennium for labels like Djax Up Beats and Mosquito. After an 8 year stint producing, releasing and playing out proper underground house music as Marquis Hawkes on labels like Houndstooth and Aus Music, making techno records for DVS1’s Mistress imprint and Len Faki’s Figure recordings as Juxta Position, alongside other work under the names Contactless and Falcon Black Ops for Unknown To The Unknown, Hawkins now embarks on the next phase of his career, which will gradually amalgamate his broad influences into one unique sound.
Max Cooper
Strip away the awe-inspiring AV spectacles, the peak-time DJ voyages in front of huge crowds the world over, the lofty certifications bestowed upon him by platforms of both academia and electronica – at the core, Max Cooper’s mission as a musician, a DJ and an interdisciplinary artist is all about provoking a greater understanding. So why is the man himself a touch misunderstood? For once, this is a case of scaling down, rather than up. There is no need to over-play the hand; Max Cooper has been a prominent culture figure of the 2010s. Few have been so successful in interrogating and furthering the intersection between electronic music, visual art, technology and science in the past ten years. As a DJ and live performer, he has featured at nearly every major festival and club that one could list. An instalment in the BBC Essential Mix series; a Cercle livestream inside the Musee Bourdelle that reached hundreds of thousands of fans; ‘Glassforms’, a reinterpretation of Philip Glass’ work; and even a collaboration with Zaha Hadid Architects, mapping projections onto an 18th century castle, variously speak to his thrum of high-profile activity in recent years. Cooper has an arms-length wingspan of achievement. Yet the grand question that keeps his mind ticking as the 2020s begin is, in his own words, “a question of communication.” Cooper wants to present a diverse palette of experiences without diminishing them – to show you his world on multiple levels, without it ever appearing daunting. And it shouldn’t be daunting: Cooper’s music is lush, emotive and grand, and the way he brings this to life, using everything from binaural sound positioning to 360˚ visual panelling, is meticulous, technical and often powerful to behold. But all the elements are highly accessible. You could, after all, walk through the Aether installation Cooper worked on with Architecture Social Club, or feel the ripples on your fingers when 4DSOUND speakers pushed swells of bass and soaring arpeggios outward from his equipment and into the physical space. All this adds up to a classic case of electronic exploration that makes use of available technology while referencing that which came before it, and does so in a human way. Cooper points to the groundbreaking artistry of Chris Cunningham’s music videos, and the marriage of score and cinematography in the motion picture Koyaanisqatsi, as blueprints for what he sets out to achieve. “There are often no characters and no speaking, it’s just really impactful storytelling through the medium of abstract visuals and audio,” he says. “That is what I fundamentally aim for. I want to communicate something strong. I want to make an impact on people. And if something is fruitful, I am keen to learn. It’s all a matter of trying as much as possible.” Yearning for the Infinite, his fourth studio album, is another rich attempt to throw a cast net over this innate curiosity. The project arose through an invitation from The Barbican, asking Cooper to respond to their 2019 theme of “Life Rewired.” On the resultant LP, he continues to till the fertile land of “big chord progressions and micro-glitch detailing” that captivated listeners across previous albums Human, Emergence and One Hundred Billion Sparks. On Yearning, Cooper places more trust in intuition and improvisation than before. Musical parameters are set but non-repeating loops, melodic squiggles and ultra-dense layering of channel help him colour outside the pre-defined lines. One song is a rocket of ecstatic release, the next as still and disquieting as a will-o’-the-wisp. The variation ensures the 50th listen is as rewarding as the 1st. Ideated and developed in individual chapters, Cooper’s preferred method, and with a number of longstanding collaborators such as film-maker Nick Cobby and mathematician Andy Lomas continuing to work alongside him, the project extends his overarching goal to reach for the sublime and help his audience get there too. Where previous full-length have explored the birth of the universe, the formation of natural law and the inner workings of the mind, Yearning for the Infinite once again deals with immense topics. Placed together, the audio, filmic and concomitant web media speak of parallax, Penrose tiling and the folly of perpetual growth. There is a red line in Cooper-world over hammering the phrase ‘immersive’, but this does the job rather well. As much as Cooper’s shows are an immersion of sound and vision, his projects are an overall immersion of concept. He wants to reach for the sublime, and, critically, help you get there. This chameleonic quality in his output lends him to varying situations: a viable headliner for both The Barbican and Bangface in the same calendar year, as Cooper wryly points out. A sharp set of hands on the turntables from younger years in Belfast and Nottingham, he still remains as excited about the possibilities of applying himself to warehouse technos circa 7am as high-minded art expos at 7pm. “Both are valid,” and he gives short shrift to those who play gatekeeper at the invisible walls between them. The mutual power, he says, “comes in the fact that both can totally remove you from your normal experience of reality and put you somewhere new. That can be an intense sort of artistic experience.” And this gets to the root of Cooper’s approach. You don’t need a PhD or an encyclopaedic knowledge of the works of Philip Glass to invest in Max Cooper – that is the opposite of his intention. What drives Cooper forward in a state of “Perpetual Motion” is making these great intangibles tangible: to plant a kernel of an idea or a feeling in your body, and then develop that in real time through creative storytelling that defies format. He can scrape the cosmos and divine the near future of art and science’s convergence, and he can do it with a dynamic piece of recorded audio or just a few absorbing frames of film. “If I put something into the world that represents me,” Cooper says, “then it renders my soul in a more solid form for others.” As an accomplished artist, Cooper has reached a point where he can apply his craft to something more timeless: to break off a piece of himself and let it become a piece of his audience, forming a human connection that lingers long after the screens go black and the synths stop humming. For someone who appears outwardly so sorted, a master of his specific domain, Cooper is in a mode of challenging himself anew. The synthesis of interests continues, but the overall questing has taken on an added importance. “People perceive it as a challenge, maybe even a problem,” Cooper smiles. “I think it’s wall to try and knock down though, you know?” Sign up to Max's mailing list to access exclusive music and downloads at www.maxcooper.net/#join
Maurits Verwoerd also known as Nachtbraker (Dutch for night hawk), is a Dutch Producer, DJ, Composer and Sound Designer hailing from Amsterdam. Nachtbraker’s exposure to a wide range of genres is clearly audible in his music, ranging from ecstatic slow grooves and unconventional dub tracks to straight-up 4/4 house. Having previously released multiple EP’s on Heist Recordings, Dirt Crew and Hudd Traxx, Nachtbraker’s sound morphed into new directions with recent releases on his newly found Nachtbraker imprint and the legendary Aus Music. His music has pricked up many ears and finds itself regularly into the editors hands of respected outlets like Resident Advisor, Mixmag, Dj Mag, Groove Mag, Attack Magazine, Fazemag. Artist like Axel Boman, Shanti Celeste, Moxie, Dam Swindle, DJ Seinfeld, Akufen and many others have given his music a spin. Having held a residency at the legendary Red Light Radio whilst also delivering podcasts for Feel My Bicep, Melbourne Deepcast and DGTL, the Quartet Series label boss continues to receive widespread recognition. Building up his career and profile carefully in the past few years we see Nachtbraker mature into a multifaceted and intriguing character in the world of music. It’s unquestionable that Nachtbraker will keep a lot of people comfortably awake for the coming years…
With a sound that embodies a rich, opulent atmosphere and a flawless touch in the studio, Ninajirachi is truly in her own lane. The Australian triple-threat producer, songwriter, and DJ has built a career that encompasses the spectrum of electronic music, garnering praise from critics and notable artists alike. Ninajirachi moved the needle with her record-breaking debut single, “Pure Luck,” receiving recognition from all over the world. There’s a reason “Pure Luck” topped the Spotify Australia Viral charts and became 2017’s second most-played song on triple j — Ninajirachi’s musical aptitude reached audiences far and wide before she even had a chance to graduate high school. Following the success of “Pure Luck,” Ninajirachi linked with fellow powerhouse producer and DJ Nina Las Vegas for their 2018 collaborative single, “Thursdays.” Noticing Ninajirachi’s next-level sound, Nina Las Vegas added the fast-rising producer to her label’s roster: Ninajirachi signed to NLV Records for the release of her debut EP, Lapland. Beyond her own releases, Ninajirachi has lent her savvy in the studio to remixes for artists including Flight Facilities, Anna Lunoe, Hermitude, and more. To say Ninajirachi took 2019 by storm would be an understatement — she was March's resident DJ on Mix Up on triple j, released her first sample pack with Splice, delivered guest mixes for BBC 1XTRA and Diplo & Friends, became the first Australian producer to be featured in Ableton’s One Thing, and even co-wrote and produced the official anthem for Australia’s Matildas in the FIFA Women's World Cup. In the midst of all the madness, Ninajirachi released Water Gun / Stingray via NLV Records, which garnered a premiere from Mixmag. Beyond her work in the studio, Ninajirachi has performed at major Australian festivals including Splendour in the Grass, Field Day, Falls Festival, Listen Out, and more. Along with her festival appearances, Ninajirachi has supported artists including Mallrat, Crooked Colours, and Hermitude on tour. Propelling forward, Ninajirachi kicked off 2020 supporting What So Not on tour and delivered new music: she dropped an official remix for deadmau5 & The Neptunes’ “Pomegranate” just before the release of her latest Blumiere EP via NLV Records, a release that’s already been supported by Charli XCX and Anna Lunoe on Beats 1. Her hit single off the EP, “Cut The Rope,” was added to rotation on triple j and topped Spotify’s New Dance Beats playlist, speaking to Ninajirachi’s prominent influence within the scene. Standing tall as an immovable force within electronic music, the only way for Ninajirachi is up.
object blue
Born in Tokyo, raised in Beijing and now resident in London, object blue is one of the most exciting new voices in experimental club music, her limber live sets blending techno and sound design in a way that’s both cerebral and body-moving. Since storming onto the scene in 2018 with her TT released debut EP Do you plan to end a siege? and follow up REX on Let’s Go Swimming, object blue has been in all the right places. Over the past few years, object blue has become one of electronic music’s most crucial new artists. Her third critically acclaimed EP in 2019 FIGURE BESIDE ME and recent sweltering collaborative club EP with TSVI on Nervous Horizons Hyperaesthesia garnered support from everyone from i-D, Pitchfork, RA, The FACE, Pitchfork, Dazed, CRACK, Mixmag, DJ Mag, Hunger and more. Always keeping fans on their toes and proving you never know what to expect from this exciting artist, earlier this year she announced a theatrical return to TT label with a 5-track new audio-visual EP Grotto which was supported by FACT, Electronic Beats, Mixmag, XLR8R, DJ mag and more, seeing her explore a more melodically rich and ornamental direction with her music. Premiering alongside the release was a unique virtual live show creatively directed by object blue and her wife and creative partner, Natalia Podgórska - visually exploring and echoing the dramatic, play-like structure of the EP. Shortly after, she was invited alongside a select group of artists to DJ at the iconic Smithfields Market as part of fabric’s incredible ‘London Unlocked’ stream series. To unforgettable shows including performances at international music festivals including Dimensions, Dekmantel, Sonar Hong Kong, Retextured Festival, Primavera Sound, Simple Things, RedBull Music Festival London (where she debuted the “FIGURE BESIDE ME” live show, a 360-degree audio-visual installation created with Natalia Podgorksa) and more - the London-based producer, DJ and live artist was also announced a SHAPE artist for 2020, one of Soundcloud’s 10 Artists to Watch and Mixmag’s Class of 2020. She’s turned in remixes for everyone from Murlo, Jasper James, Crystal Murray to Seb Wildblood, been invited to record her debut BBC R1 Essential Mix and performed live at Paris Fashion Week, after composing the music for Andreas Kronthaler for Vivienne Westwood SS20 and worked and collaborated with brands including Apple, Adidas and more.
Peverelist has been at the very heart of the Bristol music scene since starting work behind the counter at the legendary Rooted Records in 2001. He spent the 2000s deeply involved in the reinvention of the Bristol music scene, whilst carving out a name for himself as a producer, writing bonafide classic tracks of the era such as Roll With The Punches (Punch Drunk), Dance Til The Police Come (Hessle Audio) and Circling (Skull Disco). In 2011 Pev launched his current label project Livity Sound Recordings. Working closely with fellow Bristol artists Kowton and Asusu, he created something more personal, fusing his influences of UK rhythms, the sonics of US & European techno and the textures of Jamaican dub music. The label quickly gained critical recognition and has become one of the most influential UK electronic music labels of the decade. Pev's latest LP 'Tessellations' was released on Livity Sound in 2017 to great acclaim, a distillation of his sound and his most definitive work to date. Under his stewardship, the label has continued to evolve, redefining and reshaping UK club music and celebrates it's ten anniversary in 2021.
Portable is Alan Abrahams, a South African born artist and producer who is also a celebrated live act. Portable grew out of the ruins of the post-apartheid era of South Africa, being part of the generation that was to bring about the freedom of Nelson Mandela and all that followed for his country. He later moved to London to establish his electronic music career. In London, Abrahams began recording as Portable, the experimental, atmospheric project that acts a living link between the indigenous African sounds of his youth, and those first records whose futuristic aesthetic broadened his horizons. He founded the record label Süd Electronic with partner Lerato Khati and released a string of seminal and highly regarded releases. A succession of full-length albums followed, namely 'Cycling' and 'Futuristic Experiments #005' on German label Background records and 'Version' on ~Scape records. After 10 years in the London bustle, he decided to switch gears and moved to Lisbon, Portugal. His album ‘Powers of Ten' for his Süd Electronic imprint followed in 2007. A rich and expansive record, 'Powers of Ten' further explored his African heritage through a new lexicon of sonic influences. Lisbon was his base for 5 years. Here he launched his alter ego project BODYCODE for Detroit label Ghostlyinternational / Spectral. He went on to release 2 albums, 'The conservation of electric charge' and 'Immune' under this moniker to huge critical acclaim. The next capital city would be Berlin, 6 years in this music capital cemented his deeply syncopated brand of electronic dance music. Portable’s music reached a new level of exposure when the 2014 track 'Surrender' received a “Best New Track” designation from Pitchfork, and appeared in a re-edited form on DJ Koze’s critically acclaimed DJ-Kicks mix (named the #1 mix of 2015 by Resident Advisor). And the video to which was named 2nd Best Video by Inverted Audio. This gave birth to further video experiments which Portable began to use for his many live performances Portable signed to !K7, and released his sixth full-length artist album through the label in August 2016. The 11 track affair is his most personal yet, and as such is a self-titled work that features plenty of his own vocal work, as well as some choice collaborations. Alan is now resident in Paris, France. There he has setup he’s own imprint Khoikhoi on which he’s last album ‘Transit of Mercury’ was released, this to critical acclaim and amongst Pitchforks best albums for Winter 2020.
Rinzen is an electronic artist from Los Angeles seeking to build entire worlds with his music. Dedicated to the pursuit of wonder, Rinzen combines cinematic sound design with forward-thinking techno production to create something that is downright awe-inspiring. Rinzen began in January of 2017. In the time since, he’s become a rising figure in the global electronic scene, with a slew of releases on renowned US-based labels like mau5trap, Yoshitoshi, and brand-new tastemaker label Desert Hearts Black. Meanwhile, his otherworldly club tracks have found their home on many of Europe’s most sought-after underground labels: everyone from John Digweed’s Bedrock, to Octopus and Steyoyoke. Rinzen is perhaps best known for his concept EPs: a variety of innovative releases which find the producer crafting immersive, narrative-based worlds. His EPs have been lauded by everyone from Mixmag to Billboard, with the latter hailing his debut concept EP, Forbidden City, as “a sonic exploration of human depth.” As a performer, Rinzen looks to curate a cinematic journey with every set. His captivating approach to DJing has landed him headline dates across the US, as well as support slots for world-class artists like deadmau5, Richie Hawtin, and Rufus Du Sol. Now set to debut on Sasha’s renowned Last Night On Earth label, Rinzen’s expansive vision for his music is only just beginning to unfold.
Working across UK funky, house and various, mutated strains of bass-heavy club music, Roska has earmarked himself as one of the UK’s most accomplished underground exponents. Continuing his journey as a pioneer of the Funky House sound via his Roska Kicks & Snares (RKS) imprint. Presiding over 100 releases, RKS has welcomed the likes of MA1, Champion, Murder He Wrote and DJ POLO to the label since its inception in 2010. After spending the last 2 years developing and mentoring the later artists also including DJ MOTU and more in the fold. A renowned DJ to boot, Roska’s ‘Roska Presents’ brand has seen him curate line-ups across the UK for the last 6 years and shifting into a worldwide DJ from being Euopean based for many years playing over 20 different cities across the world frequently touring Asia, Australasia and Americas. After a few years off radio where, Roska returns to the airwaves (and online) with Reprezent every 4th Wednesday of each month bringing guests from his label.
Sydney-based, DJ and producer Dylan Martin (middle name Royalston) has been listening to drum & bass since ’93, as well as producing & DJing for over 20 years. A man of many talents, Royalston is also an illustrator and designer and first got into music production when he was making a soundtrack to a 3D animation. Royalston started producing in 1998 with an old Yamaha RM1X groovebox. Wanting to learn more, Royalston went and studied piano and composition, taught by a film composer who had worked at CBS throughout the 70s and arranged and orchestrated many classic disco tunes. After a short stint at music school, Royalston has gone on to write music for documentaries, educational programs, video artists and a few TV commercials. His music is characterized by a raw, analogue sound with a techy edge – thanks to plenty of hardware – and he has released on labels such as Bad Taste and Black Acre before signing exclusively to Hospital/Med School from 2010-2019. Since then, he has released 3 full-length albums - ‘OCD’ (2012), ‘People on the Ground’ (2014) & ‘Popular Mechanics’ (2017), featured heavily on Hospital and Med School compilations & remixed several huge acts outside the Drum & Bass world. Sometimes experimental, sometimes melodic, his work draws influence from techno, trance, modern classical music and the odd 80’s B-movie soundtrack. Apart from DJ’ing and teaching mixing and mastering at Ableton Liveschool in Sydney, 2021 saw Royalston start his own label, ‘Midnight Zone’.  His 4th studio album ‘The Midnight Zone’ is due for release in December 2021.
Whether on stage, on record or deep in the collaborative process, the musical lexicon of rRoxymore develops with frequency and pace. As respected for her esoteric, offbeat club records as her semi-improvised live performances, the sheer expansiveness at the heart of rRoxymore’s work has marked her as a vital artist on the fringes of contemporary club culture. rRoxymore’s sound may radically evolve, yet her principles as an artist remain rooted in experimentation, community and a committed social consciousness. This integral approach is shot through every aspect of her work: from the bands and DJ booths of her youth, to her longstanding residency with the progressively influential Berlin collective Room 4 Resistance, to projects in tandem with with some of the most provocative artists from the wider sphere of alternative and queer culture. The most recent of rRoxymore’s accolades include her 2019 debut album, Face to Phase, which was highly acclaimed by Pitchfork and Resident Advisor, her premiere live performances for leading-edge festivals Atonal in Berlin and Festival Musica in Strasbourg, and original productions curated by SOS MUSIC, On Loop and Tresor’s 30th anniversary compilation. Further commissioned projects in development for 2021 include collaborations with Austrian choreographer Ian Kaler, a musical movement for two dancers by Swedens’ Stina Nyberg, and a remix of E-Dancer's "Human Bond" on Drumcode Records rRoxymore’s name first crossed the lips of record collectors with ‘Wheel of Fortune’ in 2012; as the accompaniment to Planningtorock’s ‘Patriarchy Over & Out’ it was an assured and audacious 9+ minute debut that proved as distinctive for DJs to blend as it was addicting for dancefloors to pulsate in. Further crossovers with Planningtorock occurred alongside Aquarian Jugs, Jaguar Woman and The Knife’s Olaf Dreijer, under his Oni Ayhun pseudonym, producing collectively as Decon/Recon. In the years since, rRoxymore has found a home as a solo artist on UK label Don’t Be Afraid, a noted outlet for idiosyncratic records that capture dance music’s euphoric history and complex future. Beginning with the ‘Organ Smith’ EP, each subsequent rRoxymore release has carved out its own unique time and space, whether embracing bracing and buoyant melodies, or burrowing down deep into wide-reaching influences and heady studio practices. rRoxymore has contributed seismic cuts to the vinyl sampler of Fiedel’s relentless ‘Berghain 08’ compilation, and the frenetic stepper ‘bBRINGTHEbRAVE’ for Bristol’s forward-thinking Timedance imprint. Her remix honours have taken shape in inventive ways, crafting reworks for SHHE and BNJMN, and landing on releases for Delsin records and Strut. An ever-generative sense for contrasting textures and intriguing, one-off blends runs through rRoxymore’s freewheeling DJ sets, which have taken her to some of the world’s best-respected clubs, including Berghain, Concrete, De School, Fabric and MOMA’s PS1 series, as well as electronic and experimental music festivals like Unsound, Mira, Nuits Sonores, Dimensions, Mutek and Freerotation. rRoxymore’s live sets incorporate an ever-evolving carousel of concepts, blending established rhythms with sketches and improvisations transported from her head to an increasingly bewildering array of analogue gear. Far from the distilled nature of many live sets, rRoxymore’s raw performances allow dancers to connect with her music in a truly physical, soulful sense. Pushing forward to larger and more diverse audiences with her music, yet possessed of the clarity of vision and humble urge to experiment, rRoxymore continues to be defined only as an artist who exists outside of common boundaries.
Since 2003 Paul Rose – aka Scuba – has released productions covering the entire spectrum of electronic music, revelling in the creative process, and bucking expectations. He’s released five critically acclaimed artist albums and crafted mixes for the esteemed DJ Kicks, fabric and Ostgut Ton series, winning a DJ Mag Best Live Act award along the way. He remains one of the industry’s most astute tastemakers, his Hotflush imprint shaping the direction of the electronic landscape and breaking the careers of innovators such as Mount Kimbie, George FitzGerald and Or:la. He’s also run a series of seminal nights ‘SUB:STANCE’ at the world's best club, Berghain, opening a portal for many involved in the UK-centric dubstep movement of the 2000s, immersing them directly at the core of Berlin’s inimitable techno scene.  In 2021 he continues to chase absorbing studio projects. Continuing his recent passion for incorporating live instrumentation into his productions, as exemplified by the guitar-licked ‘Forgive Me’, the artist will embark on a new indie-tinged collaboration this summer, which takes inspiration from acts such as Talking Heads, Wang Chung, David Newman, Arthur Russell, and The Blue Nile.
Sei A
Originally from Glasgow now based in London, Andy Graham aka Sei A debuted on fellow AiMi artist, Alex Kid’s label Imprimé back in 2008 before attracting the attention of labels such as Gigolo, Turbo, Kompakt, Life & Death and Hemlock. A fruitful relationship with Aus Music, home to 2016's Space in Your Mind’ LP and his most recent album from 2020 ‘Kinetic Action’, followed. Andy's knack for carving out melody is what's gained him a cult following throughout his career whether it's a sparse dubby warm up cut or a hypnotic techno bomb he always finds a way to play in those subtle melodies which gives him that complete unique sound.
Shanti Celeste
Her career to date has been characterised by a contemporary, U.K. take on the classic Motor City sound. The expansive, emotional visions of the early Techno pioneers are reflected in Celeste's open take to her craft. This freedom is reflected on the platforms she shares her craft through - her regular NTS Radio show, and more recently, her label Peach Discs. These outlets provide Shanti with a place to amplify talent she meets, hears and wants to help along the way. Dancing, and the music that gets us there, exists to uplift, and in her life and work, Shanti is the embodiment of an elevated state.
Soul Clap
Before today there was yesterday and after tomorrow is the future. In the beginning, Eli and Charlie ́s paths were crossed for all time when a supernova collided with the mothership, emitting a mighty SOUL CLAP and sending these two musical beings tumbling to Earth. As Rave babies they were taught the history of dance music by Boston disco and house legends DJ Bruno and Caril Mitro, where they learned that "house wears many hats”. At The Marcy Hotel in Brooklyn they joined forces with Wolf + Lamb and formed Crew Love as their international journey took off.Building momentum, Soul Clap released two albums, curated editions of renowned DJ mix series DJ Kicks and Fabric, and collaborated with some of the greatest, like George Clinton, Nona Hendryx, Laid Back, Egyptian Lover and Louie Vega… Always pushing new boundaries, always traveling through time and space,The Clap is on a mission to change the world on the dancefloor and beyond.Now in 2021, Soul Clap drops a new series of EPs on Fool’s Gold Records, culminating with an LP of music that asks the question WTF?!? And provides the answer: WORLD TRANSFORMATION FORCE. Together our FORCE is stronger, and can TRANSFORM the WORLD. As the magnitude of ourUniversal Love grows, now is the time. We are all a WORLD TRANSFORMATION FORCE.
Space Dimension Controller
Space Dimension Controller is Mr. 8040 from a planet called Mikrosector-50. OK, he might not be, but his musical storytelling is so evocative you'll be happy to believe him anyway. His highly conceptual style is as cinematic and widescreen as the film music he once dreamed of making. It has given rise to critically acclaimed albums on R&S and Ninja Tune and always soundtracks self-penned and emotional stories of space flight, cosmic exploration and intergalactic adventures. His music is an absorbing mix of electro-funk, 80s pop, acid house, sci-fi ambient and astral disco that is both cerebral yet propulsive. Space Dimension Controller's first album proper, Welcome to Mikrosector-50 was, in his own words, "proper 80’s B-movie sci-fi shit," and, he says, is a sound he might return to in the future following Love Beyond the Intersect. That latest album was a hyper-personal reflection that drew from Space Dimension Controller's own life, meeting his wife and battling to sober up with her help that resulted in his most mature and emotionally involving work yet. Space Dimension Controller's sound was fully formed as far back as 2008 when he was experimenting in his bedroom. Since then his ability to coax narrative from his tape machines, synths and hardware has continually evolved and given rise to EPs for Royal Oak, amongst others, and remixes of Model 500 and Anthony Shake Shakir. As a DJ, Space Dimension Controller likes to reset the mood and set off in his own direction. Small dark spaces are the best canvas for this, and from there he journeys though all his influences in smooth fashion, with tempos rising as he shifts through 80s, disco, acid tech, IDM and house.
Dutch-born Steffi is a key figure in the realms of contemporary electronic music. As a resident at Panorama Bar, a respected producer and label owner, her work embraces electronic culture in its many forms. With the experience that comes with promoting underground parties for many years, and running two record labels – Klakson and her quickly expanding Dolly, Dolly Dubs, and Dolly Deluxe imprints – Steffi has developed a natural and professional balance between DJing and making records. Drawing upon a disparate range of influences, her sound has achieved a state of singularity, fusing classic and futurist approaches with an unmistakable personal flare. Since moving to Berlin in 2007, Steffi’s discography has continued to expand. Starting with the inclusion of the track “24 Hours” on Tama Sumo's Panorama Bar 02 mix, and “Sadness” on Prosumer's following 03 CD, her relationship with Ostgut Ton grew stronger. This was confirmed with the moody Kill Me EP. 2010 brought the Reasons EP on US imprint Underground Quality, which preceded the arrival of her debut album Yours & Mine on Ostgut, released in 2011. The album included the unmistakable “Yours” featuring Virginia. The development of her forward-pushing sound was then marked by the Schraper EP in 2012, emphasising Steffi's ability to produce flowing, bass-heavy club tracks, floating between classic House and contemporary Techno. Continuing the trend of working with strong, cultured labels, 2013 saw her contribute to the Bleep Green Series for a joint EP with Redshape. Steffi also releases music as Third Side alongside Lucretio and Marieu, better known as the Analogue Cops. Together in 2012 they released their Unified Fields LP on Restoration Records, exploring the dynamics of a live-jam studio environment. As a Panorama Bar resident, Steffi compiled and mixed the Panorama Bar 05 mix CD in 2013. Her second studio album Power Of Anonymity was released on Ostgut Ton in November 2014. Collaboration has also featured heavily in her career, having co-produced Virginia’s album Fierce For The Night (Ostgut Ton, 2016) and, under her joint Doms & Deykers moniker with Martyn, released the Evidence From A Good Source LP (3024, 2016). In June 2017, she unveiled her contribution to the iconic fabric mix CD series, which was shortly followed by her most recent album, World Of The Waking State. As a marked musical departure for both her and Ostgut Ton, this third album in her discography is a testament to years of personal and musical development, reflecting a serious commitment to abstract electronic composition that manifests itself as a totally inimitable collection of tracks. Over ten tracks, Steffi stretches her wings. Created in a period when she found herself free of the past and settled more comfortably in her own skin, the shift in her mindset let to a new freedom of exploration in her creativity that enabled her to write more experimentally, and logically led to the creation of a new album. Her DJ sets draw upon an immense collection of music, flawlessly blending genres and moods into a cohesive narrative. With a carefully curated touring schedule ranging from festival settings to intimate live shows, Steffi’s work comes to life in all manner of performative settings. Possessing a keen interest in exploring the dynamics between studio productions and live improvisation, she is constantly looking for new ways to realise her work in different environments. She embarked on a mini tour presenting songs from World Of The Waking State in specifically chosen venues including Säule in Berlin, Closely in Strasbourg, De School in Amsterdam, Elysia in Basel, Nuits Fauves in Paris and Roskilde Festival, further exploring the ways in which her work can manifest itself. Always looking forward, Steffi's field of influence continues to expand. This is where Air Texture comes in: for this survey of leftfield and experimental electronic music, Steffi reunited with Martyn as they both selected a CD of unreleased electronic music for combined release (October 2018). In September 2019, Steffi and Virginia returned with an eight-track double EP on Ostgut Ton. Work A Change expands on Steffi and Virginia’s aesthetic, merging elements from a number of genres into a cerebral, highly personal release. It also signals a change of direction for the duo's work, voyaging through entirely new terrain while retaining a sound that is undoubtedly their own. 2020 marked the 20th anniversary of her Klakson label which she celebrated by curating 3 twelve inches featuring tracks by herself and Stingray, label regulars like Mesak, Fastgraph and Privacy as well as newcomers Watching Airplanes and more. Her work as a DJ, distinctive productions and sought after releases on her own labels all reflect a profound passion for celebrating the culture of contemporary electronic music, justifying her position as a vital voice in that scene.
Steve Spacek
Steve White is a pioneer, from his earliest incarnations in Stex at the beginning of the 90s. Collaborating with the likes of Johnny Marr(The Smiths) and Dave Ball(Soft Cell)to the present day as Steve Spacek, he has pushed boundaries with aesthetics, innovation and technology. Throughout his career he has released music on some of the most forward-thinking labels across the musical spectrum- Island Universal, Warp, !K7, Eglo, Ninjatune, Exit Records and now his own imprint, SPA. Midway through the 90’s and alongside Morgan Zarate and Edmond Cavill, he formed the band Spacek, a group that would innovate and define a new type of electronic soul music. Two acclaimed albums followed: Curvatia and Vintage Hi Tech (Island Universal/!K7). Steve Spacek's next endeavor would be his first solo record: Space Shift, an instant classic that featured household names such a J Dilla(rip), Thundercat and the late grate Leon Ware - author to notable works for Minnie Riperton, Marvin Gay and Michael Jackson. Next, Steve’s most storied contribution to Exit Records would be the Black Pocket project, an electronic instrumental hip hop album, developing previously explored themes in downtempo electronica. It was with fellow explorer Mark Pritchard that the Africa HiTech (Via Warp Records) project was born. Hard to pin down in words but instantly recognisable by ear. Sampling Ini Kamoze on their smash single ‘Out In the Streets’ and Sun Ra for ‘Light the Way’. It was with Ninjatune in 2015 that he released his next solo record as Beat Spacek titled Modern Streets. An exploration in iOS beat making via contemporary genres- newave, soul and reggae, shedding previous workflows in favour of developing his creative discipline further, using said iOS apps! For 2018 and beyond Steve is working with Alexander Nut for projects for Eglo and his own label SPA. Along with Invadas Records and Remote Controller for the (2018) released Space Invadas record- ‘Wild World’, which sees Spacek joining forces with well respected Australian producer Katalyst. Feat guest Guilty Simpson, Remi and Natalie Slade. Last off, Steve has just released the second chapter via his BlackPocket moniker. Utilising subtle guest vibes via the amazing Swedish soul and RnB vocalist, Fatima. This offering a mini LP once again on Exit. From Newave soul to ambient dreamscapes, Spacek takes it there and everywhere else for that matter. Never one to rest and always onto the next, look out for Steve’s new and upcoming release via Kamal Williams(Henry Wu) Black Focus label. This one titled Houses and feat a selection of Steve’s take on that ever popular four to the floor genre. Slated for early 2020 release, hold tight! Ever the futurist Steve is not one to rest on previous achievements, watch this Space(k)
If there’s one word that keeps cropping up around Tensnake’s new album, L.A., it’s change. Change musically. Change emotionally. Change in scene. But then Marco Niemerskihas never stood still. His second artist album, L.A. – named after the city that, until recently, he called home – may introduce the wider world to a different take on the Tensnake sound, but while growing up in a small village south of Hamburg, Germany in the 1980s, Marco went through “all the phases” musically. It instilled in him a thirst for advancement, of keeping moving, that continues to guide him today. It’s this compulsion that finds one of the most-acclaimed house producers of the decade offering a different version of himself across L.A.’s glittery, sprawling 16-track expanse. Where, if you close your eyes, you may imagine yourself at the wheel of a Mustang convertible, arcing blue skies above, heading down palm-lined boulevards towards Malibu. You’ll also get a taste of Tinseltown’s party-loving craziness, as well as insight into the bittersweet nature of the final period of Marco’s five years there –more on that later. This is an album, says Marco, committed to the power of his beloved pop music. They go back a long way. “My first musical contact came with early ’80s radio pop,” remembers Marco. “Then it was reggae and lots of disco and funk through my older brother's record collection –that's what people listened to in the countryside in Germany, during that time.” There followed an indie rock period, metal and hip-hop too, even a brief Mod phase. But it’s a love for disco and boogie that’s become his red thread, served with a dusting of pop. You will have heard it earlier this year in Tensnake’s take on The Pointer Sisters’ classic, “Automatic,” which Marco memorably twisted into something more brooding and tinged with melancholy. It’s now 14 years since the label he launched with friends, Mirau, released his debut EP, Restless. Since then, Tensnake has built relationships with some of house music’s finest labels, including Running Back, Defected, and Permanent Vacation, the latter being home to 2010’s “Coma Cat,” the slice of atmospheric, finger-clicking house that cemented his rep as a master of slinky, sensuous grooves. Four years later, the debut Tensnake album, Glow, showcased his knack for melody and sparkling sound design and boasted top table guests like Nile Rodgers and Jacques Lucont. By then, Marco was living in the city that inspires this new record after moving there from Berlin, with his muse and then-partner, musically and romantically, Fiora. “I didn't like LA at first,” muses Marco. “I couldn't figure out its layout. But once I experienced Venice and the East Side, it felt more European –more gritty, a bit more creative.” A settled home meant a settled studio and Marco soon grew into LA life, zipping around on a Vespa scooter ina nod to his European –and Mod –roots. It was here that L.A., the album, developed in the ensuing years after Glow’s release. But if you can detect a certain melancholy peeking through, then that’s only to be expected. Marco is now back in Hamburg, memories of California still vivid, although coloured by breaking up with his partner. L.A. is in many ways a love letter, where he pours his heart out to the city that inspired it and that he’s now left behind. “The city and all its aspects had a huge influence on this music,” says Marco. “You see the Pacific Ocean coming up and you get all thosesunsets. Amazing food. Hiking. Your first earthquake! And also the craziness about it –which I discovered later, after the break-up. Then you realise that nobody really has any time and it's very superficial sometimes. You need to have a lot of money to be part of it, so everybody's constantly working.” Including Marco himself. A steady stream of vocalists and fellow songwriters beat a path to his door, both physically and digitally. On the spiralling, euphoric “Somebody Else”, Tensnake invited over Boy Matthews–best-known for his work on Duke Dumont’s gigantic 2014 house hit, Ocean Drive –to add vocals, with an instrumental that owes much to the skills of his long-term song writing partner, Anton Sonin. “We met up in Berlin and he played me the chords and it was like, ‘Wow!’,” enthuses Marco. “It reminds me of Midnight City from M83, which is a very LA song.” Elsewhere, the lithe, fluid bassline and clipped guitars that propel “Antibodies” imbue it with a classic French Touch feel, while Michael Jackson and The Weeknd, as Marco rightly points out, are further points of reference.A significant factor in the Tensnake aesthetic is Marco’s crisp, pin-sharp productions. “World Beneath” provides a perfect example, where snares hit with a searing intensityto counterpoint dreamy pads. “It’s probably the most Tensnakey thing on the album,” says Marco. “Disco-ey. A bit tracky. And a bit weird.” Which makes the spiky, earwormy “Hide Our Love,” in particular, stand out. “It's not as slick as the other tracks,” explains Marco. “Not super well-produced and I could polish it way more, but that was the intention –I didn't want it to be. It's why it’s probably the most ‘indie’ song on the whole album.” LA closes, poignantly, with what Marco describes as his most personal track of all –“Adam’s Hill,” a beautiful, hypnotic swoop that feels like it’s made to soundtrack a ruby red sunset. Towards the end of his time in California, Marco and Fiora went their separate ways. “It’s the last track I made in Los Angeles,” he says. “When I basically had packed all my stuff, left the house and I moved to a place called Adam’s Hill. It’s the one song here that sounds like it could have been something from my earlier work, like “Congolal” [from 2008’s Keep Believin’ EP]. It kind of matches that era.” “This album was about me, about evolving, about getting better,” says Marco. “I could never produce just house music for the rest of my life –there's not been that much inovation in house music since the late ’80s. I put a lot of effort, love and energy into this record. And I think they’re great songs. Songs that will find the right people.”  
Theo Kottis
Over the last 10 years Theo Kottis has been building his career as a DJ & Producer, with some side hustles thrown in, including his own label, Beautiful Strangers. He’s been fortunate to tour nationally & internationally, playing at renowned clubs, festivals and has accrued a solid following. As a Scot (though raised in Greece), Theo is proud to hold down residencies at Sub Club and FLY Club. After a series of highlights in 2019, moving to London, securing Annie Mac’s 'Hottest Record In The World', a Boiler Room debut & a Mixmag 10/10 review, alongside consistent support from BBC Radio 1, 2020 was looking promising. Theo kickstarted the year with a Berghain/Panorama Bar debut and despite the pandemic, has continued to develop himself as an artist, dropping new EPs, remixing Disclosure & OMD, releasing his Rinse FM show each month and playing a Pikes DJ set. His debut Circoloco mix dropped in March & has secured upcoming releases with DGTL & Permanent Vacation for later this year. While 2020 didn’t deliver in the way he had planned, he made the most of the downtime, to set himself up exciting times ahead.
TMSV (Tomas Roels) is a music producer from the Netherlands. Mostly known for - but certainly not limited to - dubstep and other bass-heavy genres such as jungle and drum & bass, his broad musical catalogue spans over a decade. He has worked with labels such as Deep Medi, Cosmic Bridge, Innamind, Artikal, WAR and runs his own labels Perfect Records and Broken Records. Notable releases include the Jungle Vol. 1-5 series, Funeral Bill, Modification, Over Out, his 2020 album ADHD and early career-defining tunes such as Haze VIP, Myth and Difference. TMSV is a skilled DJ and has toured Europe, the UK, the USA and Canada, and has played world-renowned festivals such as Bass Coast and Shambhala. He also streams on Twitch,giving production advice and showing his creative process. Several TMSV sample packs are available via Noiiz and Bandcamp. Tune into Stranded FM every month to hear TMSV’s show Common Thread Radio with co-host Case.
Two friends meet outside Karlsruhe, in Schwarzwald. One is an explorer of galaxies far away, the other a composer of fragments. Together they create a joie de vivre, arranging and deconstructing their creations, their own formations. Beneath their feet, a stone world rests against the living world, touching rivers, mountains, forest floors and the first foot trails between Schwarzwald, Vosges Mountains and Naturpark Pfälzerwald. This stone world is made of smooth subterranean rock that swirls and folds. Altered from its original igneous by pressures a hundred thousand years strong. What was once sharp is now smooth. Lines become curves, reversals. If you were to try read its origin, its strata, you would not tell which direction the past flowed or the future began. Âme’s singularity is derived from their strata – a catacomb of Frank Wiedemann and Kristian Beyer’s symbiotic relationship. The inception of their 15+ year collaboration impossible to pinpoint, woven among chance meetings, seminal introductions and unbridled curiosity. They are not so much defined from their past but by what is to come. In partnership, their dual counterparts are identified as part of their artistry: Frank the composer or creative engine behind the live act and Kristian, the explorer as DJ – each of his marathon sets a voyage and vision. Together their output is a synthesis in melodies, rhythms and arrangements that only an honest, working kinship can cultivate. Their label Innervisions is metamorphic of their expression and powers combined. Kristian's quest for the new and Frank's dense production turned tangible in 2005. From influence to influential, shared interests became a label, to publishing house, to the mythological Lost in A Moment parties, to a shop and distribution company in Berlin under Muting the Noise and booking agency, Temporary Secretary. Like atoms repeating an ancient structure, each entity shares Frank and Kristian’s defining characteristics. Each new foray into the industry is beleaguered by the same attention to detail and continual exploration of the music universe in that it is also revered. Intentionally, every venture knows no bounds. Their musical quest existing as long as the opportunity for new work does. Every composition, output and live performance a culmination of experience and experiments, infinite.