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
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.
Joy Orbison (Peter O'Grady), a dubstep producer from Croydon, London, England, has cited 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.
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.
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.
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!
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...
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.
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.
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