Saoirse’s first foray into the field of electronic music came at a very young age, accompanying her mother to free parties and raves in her home country of Ireland. It was at these parties that her young ears began to make sense of the sounds from the likes of Leftfield, Fluke & Orbital and a close allegiance to electronic music was forged. It wasn’t long before every last penny was being spent on vinyl and every spare hour spent digging for records old and new.
Once the door had been opened, Saoirse’s passion grew steadily into obsession and so media college seemed like a logical step upon leaving school, something that opened the door into the world of radio. Her earlier years saw her play numerous regular shows on pirate radio stations, before landing her own show on Ireland’s leading media broadcaster, RTE. Saoirse’s love for radio remains and these days she can be found sharing her appreciation and knowledge for music on London’s Rinse FM.
Hard graft, determination and unforgettable sets saw Saoirse make a name for herself on the London scene, over the years enjoying frequent appearances for promoters such as Art of Dark, Toi Toi, Make Me, Half Baked & fabric.
In more recent years, she has gained wider recognition across the UK, Europe and the USA. Her broad & diverse record bag and genre jumping antics is a combination that has seen her booked for a wide range of parties, across a number of different scenes. Whether it’s playing alongside Ricardo Villalobos in Ibiza, supporting DVS1 in London or playing next to Objekt in Paris, it’s clear that promoters trust her ability to deliver, whatever the setting.
When not DJ’ing Saoirse can be found in her London based studio where she continues to improve on her production technique of hardware synths and drum machines but there is no doubt that her recognition up until this point has come from her passion for collecting and playing records.
With growing bookings and a Boiler Room and RA podcast in 2017 it seemed like a natural progression to be represented by the reputable artist agency Paramount. Saoirse is now a recognisable, albeit impossible to pronounce name and one can’t help but feel that this really is her time.
As a DJ, Saoirse is confidently in control of her sound. A sound that is the product of an already long and varied musical journey. Her interest in and comfort with such a range of genres means she is capable of effortlessly weaving sounds together, with equal measures of ease and style.
Expect dub, ambient, house, jazz, electro, garage, techno and some surprises,
It cannot be overstated the impact that Green Velvet has had in electronic music throughout his career.
Green Velvet initially created by house don Curtis Jones (aka Cajmere) is an outlet for non-verbal productions and frequent DJing gigs, grew to become even more popular than the man himself, thanks to club singles like Preacher Man, Answering Machine and The Stalker. Each were infectious, undeniably fun records with simple vocal taglines and a wonderful sense of humour.
Jones, who nurtured the Chicago house renaissance of the 1990s with his Cajual Records, gained immense success in 1993 with the Cajmere single Brighter Days (vocals by Dajae). Later that year, he formed the sub-label Relief mostly for instrumental tracks by himself and others. Besides releases from DJ Sneak, Gemini and Paul Johnson, Green Velvet figured on many of the early Relief singles, including its first, Preacher Man as well as Flash (also released on the British Open label), The Stalker and 1997s hilarious Answering Machine. Jones began to supplement his Green Velvet schedule with quasi-live gigs as well, released his first LP in 1999. His self-titled release on F-111 one year later compiled a dozen of his earlier club hits, and the proper sophomore production album (Whatever) appeared in 2001 on his own Relief label
“I love my hobby, which transformed into my profession and my way of life during recent years. My aim is to see as many people as possible on the dancefloor and to dance with them, leading the mood with what unites us all - music. I am what I do.”
Nastia’s ascendency to her current status has been nothing short of an unexpected whirlwind of success. The DJ, promoter, label owner and producer was born in a tiny village in Ukraine, and forged her own path to widespread recognition out of her sheer love for music without any formal training.
She first heard snippets of electronic music through her older sisters, purchasing a copy of the Matrix soundtrack as a teenager. After her first visit to a big club in the city of Donetsk she was hooked, and subsequently got a job as a dancer in the club whilst studying. Less than a year later she’d taught herself to DJ and began to get booked in clubs around the country.
The following year Nastia landed her own weekly radio show on Kiss FM Ukraine - the country’s biggest station for dance music - and became a resident DJ at Kazantip, the pioneering dance music festival held on the Crimean Peninsula that she continued to be heavily involved with up until 2011.
By this time, she was one of the most well-known DJs of her home country, and landed a residency at the legendary Moscow club ARMA17 that she holds to this day. She founded the Propaganda brand in 2010 for her radio show, and in 2013 she was well placed to begin her own record label of the same name. The label has been steadily releasing a stream of credible but diverse productions ever since, coming from Nastia’s favourite new artists that she discovers on her travels and whilst crate digging.
The label also hosts parties around Europe, further adding to Nastia’s reputation as a promoter. She now holds her own festival in Kiev, Strichka. Held at Closer - an art space based in a former factory – and running for 24 hours straight, this year’s edition saw artists like Jus–Ed, Helena Hauff, DJ Bone, DJ Stingray, Margaret Dygas and Pearson Sound travel to play alongside Nastia and many other local talents. She also debuted the first of her ‘Stereo Piknik’ events in London this year, bringing DJ Qu, Tobias, Pearson Sound, Function and more to the city.
Outside of her own parties, Nastia’s increasingly busy touring schedule takes her to some of the most respected venues in the world: Panorama Bar in Berlin, London’s fabric (where she has played alongside Ricardo Villalobos and with Richie Hawtin for his Play party), The Block in Tel Aviv, WOMB in Tokyo and Cocoon and Circoloco in Ibiza. With her reputation growing, she is now gearing up for her debut Australia tour at the end of this year. A multitalented DJ and expert at reading crowds, Nastia can play industrial techno, experimental, house or DnB depending on the situation, but at the end of the day, her main goal is to make the crowd dance along with her as she did at her first club in Donetsk.
Robert Hood needs little introduction. Founding member of the legendary group Underground Resistance as a ‘Minister Of Information’ with ‘Mad’ Mike Banks & Jeff Mills, his seminal works on Jeff Mill’s Axis and his very own M-Plant imprint paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno’s path throughout the late Nineties.
Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. Having recorded for Metroplex, Jeff Mills’ Axis label, as well as Patrick Pulsingers ‘Cheap’ label, Peacefrog, and more recently Music Man, Hood also owns and operates the M-Plant imprint, through which he’s released the bulk of his solo material.
He has only released 2 ever CD mixes one for French label Logistic, and a mix for the club ‘Fabric’ mix series ”Growing up in Detroit, I grew up with Motown in the house – a lot of Motown and Philadelphia soul, artists like Marvin Gaye of course and Curtis Mayfield.
”I remember Isaac Hayes, the soundtrack from ‘Shaft’ had come out. My father was a jazz musician; he played piano, trumpet and drums. My mother was in an R’n’B group. We listened to a lot of Motown – in fact, my grandfather’s first cousin is Berry Gordy. “I was influenced by my father – I wanted to play trumpet like he did.” Robert’s father tragically died when he was just 6. The photo of Robert sitting down holding a trumpet is his fathers. ”I had to beg my grandmother to let me borrow the trumpet to take a picture with it”
In the early 90’s he began to concentrate on his own production ‘Vision EP’, the ‘Riot EP’ and X-102 were big stepping-stones for him as they were the first releases he worked 100% on his own. The X-101 to X-102, were Waveform Transmission projects with Mills for Tresor. He slowly progressed to work more and more on his own, but collaberated on some of the first Axis releases with label owner Jeff Mills as H&M (Hood & Mills) with ‘Tranquilizer EP’ and ‘Drama’. He soon decided it was time for him to start his own label to focus on what was in his soul musically.
M-Plant started in ’94. I had developed this “grey area” sound – what I mean by that is that in Detroit, even when the sun is out, there’s something in the atmosphere. I don’t know if its pollution or whatever, but the sky has that grey haze over it. It’s got to be something from the industrial factories there. I’d never really heard a sound like that before and it came from a Roland Juno – it was a chord sound that really went along with my depiction of what Detroit was at that time. A lot of buildings were abandoned and there was a lot of lifelessness in the city, especially downtown. The M-Plant, in minimalism, kind of reflected that.
I remember thinking of Detroit like a museum. You know, like a work of art standing still, suspended in time. There wasn’t a whole lot of activity going on.
Releasing singles such as “Internal Empire”, “The Protein Valve”, “Music Data,” and “Moveable Parts”, “The Pace”, more recently “Range”, “Alpha” and that isn’t even touching his other monikers Floorplan, Monobox, The Vision, etc. “M-Plant is what I’ve always wanted to hear: the basic stripped down, raw sound. Just drums, basslines and funky grooves and only what’s essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. “It’s a heart-felt rhythmic techno sound. M-Plant is just M. minimal.
"These days I am focussed purely on minimalism and really embracing minimalism, because it’s taken on a life of its own. It’s now a music style separate from techno. I would never have imagined that it would take this direction. I didn’t see that one coming! I saw minimalism in life becoming more and more evident - in furniture, in electronics, in art, in automobiles, appliances - you know I could see that coming. But, as far as music itself being thought of now as an art form? Back then, I think people looked on at it as a trend but they didn’t realise that minimalism is an art form. I did not realise it would take on this characteristic as it has now. So, where I’m at right now is embracing minimalism and seeing how far I can push it - in my interpretation of what simplicity and the music is all about. I am really representing it as an art form and not a trend. As the future evolves, we’re going to get more and more minimal"
Whoever you are, and no matter what your musical preference, there is a good chance that you have danced to a Kieran Hebden beat before. The London man best known as Four Tet has done everything in his career, from glistening indie-licked electronica albums to pumping bass and garage mixes from Fabric via collaborations with Steve Reid and Burial, shows on NTS and plenty of club ready projects on his own Text label.
It’s been a number of years since he last played at the Slam Tent and we are excited to see what he has in store for us when he makes his debut at Riverside Festival.
Detroit and Chicago might be nearly 6000km away, but when Ida is DJing in Scotland, the anarchic, electronic spirit of prime era American techno and house is alive and very much kicking.
So much so that her night, Acid Flash, has become one of Scotland’s hottest parties, a riot of 303s, 808s and acid wonkiness that reverberates from first beat until last hands-in-the-air track.
Ida’s move from Finland to Aberdeen to study Economics in 2014 ignited her DJing career, with gigs across Scotland quickly following, including prestigious clubs like Glasgow's SWG3 and Sub Club, Edinburgh’s Cabaret Voltaire and The Tunnels of Aberdeen. In 2014, her proudest moment came when she was announced as resident for legendary night Let It Bleed, who have hosted Nina Kraviz, Jackmaster, Jeff Mills, Midland, Fatima Yamaha and many more in recent years.
A crate-digger by nature, she’s happiest when immersed in ambient, synthy Detroit Techno, electro, Chicago and Italo house, and has dropped her expansive sound alongside A-list DJs like Gerd Janson, Rødhåd, Heidi, Kolsch, Slam, Skream and more. DJing across vinyl and CDJs, she’s started collecting her own hardware arsenal and inspired by electronic warriors like Aphex Twin, Underground Resistance and Derrick May, her first foray into the production world should be something very special.
But it’s thanks to her DJing that she’s making the right sort of noise, her cultured, deep-rooted house and techno sets the perfect antithesis to the current trend of dull tech-house and by-numbers techno.
With her night Acid Flash now based in Aberdeen and Glasgow, this May will see her bring forward thinking retro sound to Riverside Festival for the first time.
Leftfield - one of electronic music's all time greatest acts is returning to the UK in 2018, after selling out venues and causing a mass break-out of smiling faces across the world.
2017 was an amazing year for Leftfield (led solely by Neil Barnes since 2010), as they toured the world playing venues and at festivals cementing their reputation as one of the finest electronic acts on the road. Having celebrated a very special reissue of their seminal debut album Leftism, ‘Leftism 22’, this year is all about looking to the future and continuing to build upon their unrivalled reputation for incredible Iive shows, DJ Shows and recording new music.
Praise for the Leftfield’s live show in 2017:
“The floor is packed with a sea of blissed out faces – people are talking to friends and random strangers. It’s like being in the Best Club Ever” The Independent
“Steam rose from a crowd determined to rave, whatever their age. By the finale, soaked bodies littered the floor of the foyer” The Times
“The electronic mavericks prove they can still bring down the house” The Guardian
“ A Dance Music Landmark.” Mojo
Leftfield was formed in 1989, before emerging publicly in 1990 with Not Forgotten, a song that established a template for a new strain of British house leaning away from American styles dominating UK clubs. Released in January 1995, their debut album (made by Neil Barnes and Paul Daley), Leftism remains one of the defining statements of dance music, a gloriously inter-woven bombardment of musical styles and immaculate grooves, nominated for a Mercury prize and later voted in the top ten greatest albums of all time by readers of Q magazine. As a duo, Leftfield went on to release the album, Rhythm & Stealth in 1999. In 2010, Leftfield (now led solely by Neil Barnes) chose to take the group out on the road, which ultimately spawned the band’s third album ‘Alternative Light Source’ (2015).
“It's hard to overestimate the significance of Leftism, roundly acknowledged upon its release in 1995 as the first truly complete album experience to be created by house musicians and the first quintessentially British one” - Q Magazine
Throughout the 90s Leftfield were untouchable live and on record, starting a snowball rolling for British dance music alongside outfits like Orbital, Underworld and the Dust / Chemical Brothers in breaking electronic music from the underground, onto the stage and into the charts.
They have always been regarded as one of electronic music’s defining live acts. The now-infamous Liveism tour that followed Leftism’s release set a new precedent in sonic presentation as the behemoth sound system, which aimed to replicate the cataclysmic bass effect of reggae sound systems, incurred more complaints than Motörhead, and a ban from Brixton Academy when plaster started flaking from the ceiling. The tour elevated dance music from anonymous club PA to major event, with guest vocalists joining the party.
2018 is looking good.
Richie Hawtin is a genuine original. His critical acclaim spans the creative realm of the fine art community to the technological vanguard. Meanwhile, as a performing artist, he is constantly pushing conceptual frontiers, moving things forward, welcoming as many as he can to ideas and experiences that would have seemed pure science fiction when he began his career.
Hawtin is British-born and Canadian-raised. He is the business mind behind Plus8 and MINUS Records, nurturing a plethora of talent from Speedy J in the early 90s to Gaiser in the 2010s. And, of course, he is Plastikman, perhaps that most of all, electronic musician par excellence, maintaining an underground agenda of avant-garde electronica over six albums (and two compilations). He returned spectacularly to the live circuit in 2010 with his Plastikman 1.5 incarnation which held its own among the new EDM generation of Skrillex, Deadmau5, etc, stars to whom Hawtin is both old guard ambassador and hero.
It is not just the rising young talents who look up to Hawtin. Daniel Miller, founder of the seminal Mute label, referred to him as “a leader” and “a pioneer”, the New York Times called him “one of the electronic dance world's intellectual forces,”. However, it's plaudits from other areas that showcase the breadth of Hawtin's appeal. Raf Simons, former Creative Director at Dior, says he listens “to Richie Hawtin's music like others listen to classical music”, calling him “the Kraftwerk of today”. In 2013 Simons asked Hawtin to put on a special performance at the Guggenheim, New York's iconic art museum, as the centre-piece for their annual fund- raiser. A special Plastikman show in November that year, constructed around an LED obelisk and with music specifically composed for the occasion, awed everyone present and pushed Hawtin through a six year creative block to complete his latest Plastikman album "EX", the first full studio album in over a decade. “Going to the Guggenheim to make a site-specific work was one of the most incredible experiences,” he explains, “It put me put me back in the studio, inspired me to make new material and in five days I'd finished the new album. Music came out of me because of the opportunity to play in this beautiful architectural space renowned for art not music. It allowed me to step very far from dancefloor, gave me a huge amount of freedom back. Art and music, architecture and music, painting, sculpture - these mediums live together.”
This has not been Hawtin's only crossover to other art forms. In June 2011 he worked with the Turner Prize-winning British-Indian artist Sir Anish Kapoor to transform the Grand Palais in Paris into a gigantic red-themed installation and cultural happening. The result was a strikingly memorable 5000 capacity art-rave, and for the 2006 Winter Olympics Opening Ceremony he worked with Italian choreographer Enzo Cosimi to soundtrack and co-create a stand-alone dance piece.
More recently he was commissioned as part of Bertrand Bonello' exhibition at the Centre Pompidou in Paris to re-score Dimitri Kirsanoff's silent film "Brumes d'automne” (1928). Then there's his ongoing work with his younger brother, the established graphic artist Matthew Hawtin who has been involved in visually representing much of Richie Hawtin's work throughout his career. Most recently the pair's Contained concept pieces created a sensation at Art Basel/Art Miami 2013, with the duo combining visual art and popup musical performances based around shipping containers in the city's famed Wynwood
Art and music were always synonymous when we were growing up,” Hawtin recalls, “We lived together for about 8 years and I would walk through his art studio, see what was on the walls, go to my music studio to make noise. The soundproofing wasn’t good so as he was painting he’d hear what I was doing. There was always an unspoken discussion about what I was working on and what he was working on. Over the years we did a lot of travelling together. We started to have this night and day creativity. In the daytime we'd go to art galleries see Ellsworth Kelly, Mark Rothko, and at night we'd be hearing Jeff Mills. Somehow it all made sense to us. We want to represent this synchronicity.”
The Hawtin family moved from the Oxfordshire village of Middleton Cheney, UK, to Ontario, Canada, in 1979 when Richie was nine years old. His father, a robotics engineer, encouraged his son's interest in music and technology. To this day Hawtin remains at the forefront in this area. A beta-tester for sequencing software Ableton Live as far back as 2000, he has also worked closely with Native Instruments, notably on their Traktor Scratch programme. On 2008's Contakt Tour with fellow MINUS artists such as Magda and Troy Pierce, Hawtin jammed on Wireless Audio Workstations using brand new technology such as the Lemur Controller. His own Berlin-based development company Liine have created an array of innovations, from the Synk app, which allowed users to interact with Plastikman's live tour in 2010-11, to the Smudge app, which synchronized with audio-visual installations at his ENTER. Residency in Ibiza in 2012.
It was always thus. The teenage Hawtin was into Detroit techno in the mid-80s, then a nascent underground machine music rather than a popular style. He became a DJ, setting up Plus8 with his friend John Acquaviva, with whom he would later co-found the online dance music hub Beatport in 2004. He set the techno world alight with Plastikman's birth on the ’Spastik' single and 'Sheet One' album in 1993, the latter arriving in a cover that looked like blotter acid. Where Plastikman began as stark techno, it would later bloom into more thoughtful fare such as 1998's strange, wonderful "Consumed" album.
Hawtin ruled '90s techno from his base in Windsor, Ontario, via Detroit, his public image that of the ultimate techno boffin, shaven-headed, serious, with glasses. Things changed after the millennium. He moved to New York for ten months then headed for Berlin where he grew his hair, lost the glasses and threw himself wholeheartedly into the lifestyle. There was concurrently a huge interest in minimal, a stark stripped techno style pioneered by Hawtin and revelled in by all at MINUS. It was a phase that energized clubland, chucking out cheesiness and taking dance music back to its percussive roots. Hawtin's close association with Sven Vath at this time tempered the dark twitchiness of his Plastikman persona, bringing out his inner joie de vivre. His residences at Vath’s Cocoon nights in Ibiza finally allowed him to fall in love with the island after a rocky start there back in the '90s. It was the beginning of a new era.
In 2012, Hawtin created his incredible ENTER. experience at Space, Ibiza, a distillation of his vision, a five-room adventure impeccably designed, boasting all-night ecstatic dancing and, as importantly, a Sake Bar, which provides five unique and delectable ENTER.sakes. Then there's Hawtin's personal favourite space, the glowing, psychedelic, womb-like Mind Room, marinating in avant-abstract electronica. For 12-14 weeks between 2012 and 2015, 7000 revellers gathered, drawn by the power of “the dot”. ENTER.'s black spot logo, part total eclipse silhouette, part minimalist art statement, and all marketing genius, bespatters the white island all summer, from temporary tattoos to beach balls to the cannon confetti that rains down on ENTER's dance floor. ENTER. has evolved into huge global shows in Amsterdam, Japan, London, Madrid and Mexico.
In January, 2016, he called an end to ENTER. in Ibiza, driven by his desire to focus his attention on an array of new projects. He has always changed yet always stayed the same, remaining true to his core ideals but driving forward at speed to see what he can achieve. Nowadays his position as a statesman for dance music is acknowledged. At the CNTRL series of lectures in 2012, he toured America's universities, putting the country's current electronic dance boom in context. If that was about giving the musical present historical perspective, CNTRL returned in 2015 with an 8 date US Tour with lectures at colleges in the day and club shows in the evening, the talks stroked provoking ideas and practices for burgeoning musicians, producers and DJs. In 2015, his commitment to education, was solidified, when he received an Honorary Doctorate Of The University Of Huddersfield for Outstanding Contribution to the world of Music- Technology. The year before, AIM aka the Association for Independent Music, gave him the Outstanding Contribution accolade for his dedicated to the sector.
To mark Plus 8 Records reaching 25 years of age, Hawtin wrote and released an entire album of new material under the various recording aliases he’s used in that time. Titled "From My Mind To Yours", it was the first dancefloor material from him for some time. Alongside the new recordings and taking the ENTER.Concept worldwide, Hawtin started 2016 by announcing a partnership with product designer Andy Rigby-Jones, Allen & Heath and parent company Audiotonix to create Play Differently. Now as we enter 2018, Richie Hawtin will, as ever, be revelling in the possibilities of whatever comes next…
If you’ve been to see any of the UK’s best DJs play over the last decade, it’s more than likely you’ve danced to a Joy Orbison record at one point or another. His style is a coalescence of house, dubstep, UK funky, UK garage and oldschool jungle and he cites a range of influences including Phil Spector, Todd Edwards, Ray Keith, Martin Hannett, and Arthur Russell.
He made his commercial recording debut in 2009 on Scuba's Hotflush label with the euphoric underground hit "Hyph Mngo," which would top Fact magazine's Tracks of 2009 list. Prior to the year's end, he kicked off his Doldrums label with his second single, "J. Doe," and remixed tracks by Jose James and Four Tet. A third release, "The Shrew Would Have Cushioned the Blow," was issued the following March, just after it was officially introduced on Scuba's Sub:stance mix for Ostgut.
Oliver Jones aka Skream has become one of the UKs best loved DJs. You might associate the name with UK dubstep but that was then. He famously quit dubstep in 2013, opening saying to the media that the scene had become uninspiring to him and he planned to enter the realm of 4/4. Since then his sound has broadened having dabbled in disco, house and techno. Tailoring his sets to suit each crowd, he has travelled the world many times over delivering his unique club sets.
For over 15 years Paula Temple has been pursuing her own unique musical path. As a self-confessed noisician living in Berlin, she specialises in a noisy, phantasmagoric techno sound, where the dial is rarely turned below 200% and every moment of silence seems deafening. Paula’s music is fearlessly liberating artistic statements that defies the boundaries of linear.
The legendary label R&S Records released ’Colonized’ EP in 2013, ‘Deathvox’ EP in 2014, and her massive remixes for The Prodigy in 2015. The track ‘Deathvox’ is regarded by her peers as one of the most original contributions to modern techno. Her most celebrated track ‘Gegen’ remains an anthem at festivals worldwide and was inspired by the caring and defiant queer community of Berlin. ‘Contact’ from her ’The Speck of The Future’ EP appeared on Jeff Mills’ Exhibitionist compilation, and her track ‘Oscillate’ appeared in the final releases on Modeselektor's 50 Weapons label. Both of these tracks are distinctly inspired by classic Detroit and German electro techno.
She has remixed avant-electronic acts such as The Knife, Peaches, Perera Elsewhere and Planningtorock. In 2015 she started a unique collaboration series called Decon/Recon on her label Noise Manifesto, working with several artists including rRoxymore, Aisha Devi and SØS Gunver Ryberg. In 2016 Karin Dreijer invited Paula to co-produce songs on the new Fever Ray album ‘Plunge’.
Never one to shy away from her political convictions, during the 2000s Paula withdrew from the techno scene for six years to teach music and technology to young people facing disadvantages in England. She also co-developed an innovative live performance midi controller MXF8, one of the first of its kind for music technology and ultimately shaped her current style of Hybrid LIVE/DJ performances. Progress never comes from following the norm. So before Paula returned to music making, she wrote the Noise Manifesto in 2012, a clear statement challenging the oppressive norms of society and the music industry, from which Noise Manifesto operates as a platform to support likeminded artists and collaborations.
2017 has been one of the biggest years yet in the glittering career of the dynamic Glaswegian duo SLAM (aka Stuart McMillan & Orde Meikle).
You only have to take one look at their label Soma Records release schedule to understand why they have remained on the cutting edge and firmly at the forefront of music innovation.
Pratagnoists since the early days and always in the vanguard, this last year has seen them celebrate 25 years of Soma Records with the release of a vinyl box set. They enlisted the likes of Jeff Mills, Robert Hood, Steve Bicknell, Andrew Weatherall (appearing as Woodleigh Research Facility), Blawan, Adam Beyer and more to provide brand new musical excursions for today's dance floors and beyond.
Slam have never been ones to rest on their musical laurels and they are constantly and consistently experimenting in the studio, working multitude of tracks. When they are not playing at some of the worlds best clubs and festivals, 2018 will see them host their stage at Riverside again where they will be inviting an international line-up of artists to join them
You never know exactly what you’re going to hear with Jackmaster. The element of glorious surprise is crucial to his sets: from the lost Dance Mania gems he spends his time unearthing to forgotten Disco tracks to straight-up house and techno sets, the Numbers co-founder has more options up his sleeve than just about any other DJ out there – and a rare knack for connecting seemingly disparate styles with each other. “I don’t do eclecticism just for eclecticism’s sake,” he states firmly.
What you are guaranteed to get is a master selector’s instinct for creating and riding the energy of a crowd: few can get a dancefloor as hyped as Jackmaster. “I don’t think about music in terms of genre, I think about it in terms of energy levels,” he says – and as his star has risen over the past few years, this has been on perfect display at parties from Glasgow to Berlin to New York, and from superclubs such as Berghain and Fabric to legendary underground warehouse parties.
Dixon and his label Innvervisions imprint has been one of dance music’s biggest success stories over the last few years. He has always maintained the importance of delivering an authentic message. This striving for a unique identity has driven an obsession with making personal edits, tweaking tracks until they fit just right. Sometimes it means striking the right balance between educating and entertaining the crowd. But mostly it involves staying open to new ideas, following the urge to explore and trusting the same instincts that were formed in the very first years of his career. It is a unique combination that has helped to create intimate, compelling and above all lasting memories on and off the dance floor.
When Len Faki moved to Berlin in 2003, he already looked back to years of fruitful productivity and the management of two highly acclaimed Techno labels: Monoid and Feis. There, he had attracted artists such as Samuel L. Session, John Selway Umek and The Hacker, with releases of 12inches, albums and mix compilations.
His move to Berlin marked a decisive turning-point in his career. With Len Series he founded an independent platform and trademark for his idea of Techno music. The basic concept including sublabels allows him to explore musical depths and artistic freedom.
His strong appearances at venues like Tresor and Ostgut (Berlin) culminated in his residency at Berghain (the former Ostgut), a position which further fueled his open-minded approach as both DJ and producer. The characteristic extra-long DJ sets force him to vary in tone, style and feed him with extra inspiration.
At Berghain, he also launched the Podium night, a quarterly event where he invites his appreciated colleagues from all over the world. This step also resulted in the birth of his sublabel Podium with releases by Raudive (aka Oliver Ho) or Shinedoe. Right with his first offshoot, he stormed the cases and charts of top DJs/producers such as Luke Slater, Sven V..th and Ivan Smagghe.
While figure sees his own releases in loose combination with artist’s remixes, Podium features exclusive artist releases in combination with his own work. Whereas figure is like heavy tropical rain, Podium appears like a sharply defined sky after the downpour. Both labels stand for cutting-edge Techno music.
His bone-dry but communicative DJ style marks him as a true gentleman behind the turntable, an artist whose sets are based on passion and beauty. His finger tips are like sensors on the Richter scale, and anticipate as well as trigger eruptions on the floor...
Nope, Marcus Worgull’s parents didn’t have a record collection full of miraculous funk, soul and jazz records. Believe us, they didn’t. Consequentially, six-year-old Marcus didn’t place himself on a soapbox to play those non-existing ones to his relatives during family celebrations. I bet you are glad that we clarified that. Instead, Marcus had to go the really hard way. It were the late 80ies and growing up in cosy Wuppertal near Cologne, Germany that meant lots of learning, digging, searching and no perching at all.
So the boy was on his travel through the world of merry music. Hip hop, reggae, funk, soul all purchased with his lunch and pocket money at a smalls tore named Groove Attack. Worgull got his fingers dusty there and as fate would have it, the store moved to Cologne mutated into a distributor along the way and is now run by Marcus himself. At around the same time, MW snuck into club’s like the Beat Box to hear DJs like Norman Jay or Gilles Peterson selecting, before he cut his teeth as a DJ at the infamous U-Club, where he took over the fortunes of the “house room” and played from start to finish. Learning the art of programming and all the other important disc jockey techniques from scratch. Thrilled by all the amazing platters of majestic deep house that were a plenty these days, Marcus’ soft spot for profound yet moving house music turned into a real obsession.
As it goes with most passions, you cannot get rid of them that easy. So instead of making an occupational decision in getting an academic degree, Marcus choose the doomed path of music. A full-grown man by now with a mature record collection, he got deeper and deeper into the production side of it, recorded his first 12” for Spectrum Works, followed by the Texel EP including the still ueber-massive “Dragon Loop” for Berlin’s Innervisions imprint. Bound to the label of Dixon and Âme on a professional level and even more so on a personal one (friendship is way more important than fame and money a wise man once said, you know?), he is considered part of their inner circle and in-house producers. When he is not working on tracks for IV, you can catch him almost certainly on remix duties for people and labels like The Juan MacLean and DFA, Gerald Mitchell from Underground Resistance fame, Permanent Vacation and Running Back.
But most of all, Marcus is still adoring the art of moving butts, spending his weekends on planes and trains (he actually prefers driving a car) to carry a bag of records to prized clubs like Robert Johnson, Fabric, Plastic People, Trouw or Sub Club on the regular. His very own selection of well-made and often newly laid house music that knows its roots as well as it is yearning for the future or explores the leftfield, is what you can expect from him. You can also reappraise his methods (and love for other music) on each of his specifically created and applauded mix shows that float the net. All of this is presented and custom-made for your pleasure with the loving hands of a working DJ. Pure Worgold!
Dax J is a London born, Berlin based artist, known as a powerful DJ, producer and label boss. His trademark sound is on constant rotation from the biggest DJ's in electronic music today.
In 2016 Dax was voted into Resident Advisor's top 100 DJ’s of the year at No.56, while also being nominated in Mixmag, Groove Magazine and DJ Mag as Best Breakthrough DJ. He played closing sets at monumental parties including Awakenings for ADE in the Gashoulder as well as a 10-hour marathon set in the worlds most notorious techno club, Berghain.
In 2015 Dax released his highly acclaimed debut album "Shades of Black" on his own label "Monnom Black." Mixmag awarded it "Album of the Month", it reached the No.1 spot on Juno Records with Hardwax describing it as "Brilliantly Banging".
His current and past productions have frequently earned Dax BBC Radio 1 airplay throughout the years, including his tracks being consistently featured in the BBC's Essential Mix episodes from DJ’s such as Dave Clarke, Tini and most notably in Ben Klock's award winning Essential Mix of the Year in 2015.
He's released records on seminal labels including; Deeply Rooted House, Electric Deluxe, Soma, Fondation Sonore, EarToGround, Arts, and has been remixed by a collection of the Techno scenes' key players such as Shifted, Phase, Ryan Elliot, Truss, Jonas Kopp, Slam and Par Grindvik.
Dax grew up listening to the UK sounds of Jungle, Drum n Bass and Garage. Being heavily influenced by Drum n Bass heroes like Goldie and Bad Company, his love for the underground meant he soon started to DJ on pirate radios at an early age of 15 whilst he was still at school. He became an avid vinyl collector buying from his local record store "Black Market" on a weekly basis, whilst at the same time producing and crafting his sound. His first vinyl releases would come in 2005 on old Jungle labels like Mickey Finn's "Urban Takeover" under alias "Dangerous" and his own imprint back then "Xplicit Sound." Following on from this Dax went on to discover the sounds of Techno during one summer spent in Ibiza. From this point on his passion for cutting edge 4 by 4 beats took over but the old Jungle influences are still heard today in his DJ sets and productions.
Degree educated in Music Technology, Dax runs his own studio in Berlin where he also works as a Sound and Mastering Engineer. With a constant supply of music set to be released and a packed tour schedule around the globe, the UK artist is firmly set for another successful year.
A young lady, born to a Japanese father and a Turkish mother.
Fatima Yamaha is the story of a release on D1 Recordings, of a small number of records pressed, and of a side-product quickly put on the backburner. Yet the story picks up fully eight years later via Magnetron Music, with the electronic scene going mad for that long-forgotten song. For many years, Fatima Yamaha was shrouded in mystery, known only to be a project led by “a young lady born to a Japanese father and a Turkish mother”. Now, after two fully sold out tours in the past two years, the mystery remains. In 2015, he collaborated with Dekmantel on a reworking of his hit “What’s A Girl To Do?” and in 2017 the next hit “Araya” arrived. Meanwhile, his live shows unfailingly live up to expectations, offering refined house complemented by virtuoso synths. Fatima Yamaha is now in the spotlights of the electronic music scene.
Sven Väth is quite simply unique. A legend in his own lifetime with a commitment and passion that has influenced the advance and evolution of electronic music. Clubs, record labels and careers have been launched.
There are some people that are destined to emerge and change things. Change landscapes. Sven Väth is a risk taking visionary, an instigator, an innovator and very possibly invincible.
1981 and Frankfurt it started. Quickly the figurehead for a techno revolution in Germany that was to spread far and wide. Worldwide. Setting sail alone, this was 1981 and this was new. The Omen Club and so many other adventures punctuated this period, getting the sound out there . Vinyl then, vinyl now. Parties that mattered and changed things. Parties that reinforced a vision and eventually gave birth to Cocoon.
An extraordinary residency in one of the best clubs in the world was unleashed in 1999. Cocoon Ibiza, Amnesia on a Monday night. Now 18 years of parties that have set new standards in production and have never compromised on what matters. The music. An incredible risk became, and still is, one of the great successes in modern music and clubbing. A phenomenon now attracting upwards of 80,000 visitors in a 4 month season with Sven Vath front and centre throughout.
Along with Cocoon Ibiza Sven created a booking agency (now Flash Artist Booking - targeting the best and the brightest), an event agency (Cocoon Event – spreading the vision across 5 continents and now over 30 countries) and a record label (Cocoon Recordings - with a back catalogue stuffed with quality) that gets ever more important and keeps on growing.
For all that you just have to meet the man behind the decks to really get it. With vinyl flailing he picks up a crowd and takes them with him. At a Sven gig you are in a performance with no one knowing quite what is going to happen. It has always been so. There may be 120 gigs a year, some very big some more intimate, but you will always feel invited and you will always see the heart of the man. That heart belongs to the crowd. Everyone is a VIP. Sven Väth is rock and roll.
In October 2014 there was a happening that expressed this togetherness and mutual respect. It was a 50th birthday party in stunning surroundings where 12,000 people joined together in Mannheim to celebrate a monumental life and career. An unforgettable night of dancing and community
In 2015 another very special moment as Sven was honoured by the City of Frankfurt with the „Goethplakette“, issued only to those that have made a real contribution to the cultural life of the city. A formal occasion but one that was important because it acknowledged at a different level the positivity that dance music can bring. A force for good. There was an after party of course, it is Sven after all.....
Some fascinating collaborations have emerged as Sven has continued to explore another passion, contemporary art. Intriguing link ups with such influential figures as Tobias Rehberger and Andreas Gursky, both long term friends, are sure to throw up more surprises in the next months and years.
2018 and that means an astonishing 37 years as a Dj and an equally astonishing 19th season of Cocoon Ibiza coming up, the most charismatic DJ of his generation is more vital and relevant than ever. Utterly professional, utterly unpredictable. No one else like him. Not even close
Rødhåd has been socialised by Berlin's looptechno nights and always finds the perfect balance of timeless techno to lift the dancefloor higher and higher.
His style is always deep, powerful and melancholic - from dubtechno to techno and back to house.
A technological society, a mechanist present, an industrial era... long and dark nights, warehouses, cogeneration plants, noise.
Which kind of music matches the rhythm of Western civilization better than Rødhåds music?!