A fixture in Resident Advisor’s top-10 DJs for the best part of a decade, Ben Klock needs little introduction. Having become a Berghain resident in 2005, he has since established himself at the forefront of Berlin’s modern techno movement, an ever-present symbol of the city’s vast musical landscape. His long-standing relationship with the notorious techno institution has formed the backdrop to his success, providing an invaluable platform that has allowed him to become one of the most in-demand DJ-producers of the current generation.
Those who have witnessed him perform will note not only the diversity in his track selection, but also his ability to create a room rather than just play to it. Though intense and powerful, his DJ output reflects a certain kind of fervour, capturing an artistry, sensibility and emotion that can often appear absent from the Techno genre. Maybe it's because he trained to play the piano at an early stage resulting in his first dream job aspiration ever - jazz pianist? He possesses a wonderful understanding of how to adapt his music to the circumstances, a competence that means he can be found at both large-scale festivals and small intimate club settings around the world. He says his hope is to add colour to the world of music - a deeper and darker one but always with a certain sexiness. What’s important to Ben is finding your own voice and inspiring others what you really feel you want to do.
Over recent years his focus has been on touring and coming back to Berghain every month to delight the gyrating crowd with his hypnotic, pulsating music. He also travels with his new Photon project, billed as "multi-sensory experience”. The events explore the "marriage between sound, light and architecture" and feature artists outside of the Klockworks roster. Apart from DJing, Tom produces music - most of which was released via renown Ostgut Ton (including „Warszawa”, "Czeslawa" or „Subzero” beloved by his fans), BPitch Control and Stroboscopic Artefacts. Additionally, Klock also runs Klockworks, a label he founded in 2006 as a home for his more raw and minimal productions. The focus, however, has shifted over recent years, with the label becoming a medium for him to present his more diverse personal tastes and support developing talents. Trevino, DVS1 and Etapp Kyle have all released on the imprint during the earlier stages of their careers. His skills as a remixer have also seen him rework tracks by a wide variety of artists, including Kerri Chandler, Depeche Mode, Robert Hood and Kenny Larkin.
It will be his second performance at Audioriver Festival - he's already captured our hearts and minds in 2015.
Audioriver Festival in Plock will be the only place in Poland where you will have an opportunity to see Bonobo live in 2018. Simon Green combines the elements of electronic music with warm sounds of jazz, soul and pop. Upon releasing his first album in 2000 he has been hailed the pioneer of downtempo genre. His latest album „Migration” is nominated for 60th Annual Grammy Awards. By turns lush, manic, beautiful, melancholic, joyful, packed with both emotion and technical skill, this is perhaps his most ambitious attempt yet to capture the very textures of human existence in his work. As Bonobo says about his music: ”Life has highs, lows, loud and quiet moments, beautiful ones and ugly ones. Music is a reflection of life.”
„Migration” is a lush, sometimes manic and joyful, full of emotions and technical skill. It is a proof of Bonobo's top position - not only in electronic music scene. In particular, there is a theme here of migration, eruditely put by Green as “The study of people and spaces,” he expands, “It’s interesting how one person will take an influence from one part of the world and move with that influence and effect another part of the world. Over time, the identities of new places evolve.” It is a theme with a personal as well as a sociological aspect to it. Last year, a close family member passed away. “My family and I are all disbanded and spread to far corners of the earth,” explains Green, “In the end we did the funeral in Brighton. My own personal idea of identity, where I am from, and what home is, has played into this record and its migratory themes. Is home where you are or where you are from, when you move around?”
A contemporary of artists of the status of Four Tet, Jon Hopkins and Caribou, A contemporary of artists of the status of Four Tet, Jon Hopkins and Caribou, Bonobo counts among his famous fans the likes of Wiz Khalifa, Skrillex, Disclosure and Warpaint, as well as exerting a formative influence which can be heard in the music of acts as diverse as Flume, London Grammar and Nils Frahm.
British duo Fred Vahrman and Josh Jackson has debuted in 2011. Soon after, at the beginning of their third year of university, they got signed by acclaimed Hospital Records label. They have taken the drum&bass lands by storm, sweeping through with their melodic and euphoric waves in a whirlwind of musicality.
As two keen musicians with Fred on guitar, piano and vocals and Josh on guitar and drums, unique instrumentation has become somewhat a trademark for their production. Influenced by a wide-spanning range of sounds outside of the realms of drum & bass, from rock, funk, soul & jazz; Fred V & Grafix cite artists such as Arcade Fire, Bombay Bicycle Club, Alt-J, Ben Howard and The Naked & Famous as key inspirations, alongside fellow Hospital D&B artists, Logistics and High Contrast - it was the latter's sophomore ‘High Society’ and Pendulum’s controversial and genre-changing album ‘Hold Your Colour’ that converted the pair to Drum&Bass although both initially into live music.
2017 saw the release of their 3rd album ‘Cinematic Party Music’, confirming the status of Fred V & Grafix as versatile, open-minded artists. Coupling the release is a brand new live show that sees the gents take a multitude of live instruments to the stage and showcase their unique talent. This is how you will experience their music for the first time in Poland here at Audioriver.
DJ and producer from Hamburg, Germany, where she used to run a club night called Birds and Other Instruments at the Golden Pudel Club. They say she has a thunderstorm inside her. Helena’s sound as a DJ can’t be nailed down as she unpredictably and eclectically cuts between genres with ease. Dirty Acid, Chicago, Electro and Wave mixed in an obsessive way. Having developed a reputation as an adventurous DJ and releasing a couple singles, Hauff published her cassette-only debut, entitled A Tape on Dallas-based label Handmade Birds in 2015. Soon after Hauff dropped her debut studio album, Discreet Desires, via Actress’s Werkdiscs, a subsidiary of Ninja Tune.
She's an avid collector analog machines, with which she produces exclusively – just a Juno-60, a Roland-303, an MPC, and a couple of other classics. The aesthetic of machines is appealing to her. She says they fascinate her. She likes when they come to life and become something with its own soul.
Helena is obsessed with the subaquatic experimentations of James Stinson and his duo with Geral Donald, Drexciya. She is also enthralled by Kurt Cobain’s misanthropic grit. “I’m looking for the perfect sound,” Hauff said. "Something grainy and rough and a bit fucked up". But the sound her first priority; her first priority is the energy of a track.
Based between New York and Berlin, Honey Dijon is a DJ and fashion muse who had carved a distinct niche for herself in the world of underground electronic music. As a child she collected both vinyls and art albums. Honey has come to be associated with exquisitely curated cross-genre sets, happiness and total dance-floor chaos wherever she plays, along with transgender rights activism and collaboration with the greatest in fashion. Together with the legendary Giorgio Moroder she has produced music for Louis Vuitton and she's good friends with Kim Jones, the Artistic Director of Men's Collections at LV. "He’s given me Keith Harings and I’ll give him Frankie Knuckles mixes that never came out. We share culture", she says. Antony Hegarty described her as a bridge and a role model for the youngest generations.
Born and raised in Chicago - the home of house music - the city's influence on Honey’s style is deeply ingrained. Like many in the scene, her love affair with music began upon hearing her parent’s soul and R&B records at home. Soon, it was clear to her that she needed to be the one dropping the needle on the record at her parent’s basement parties - at which point there was no turning back - club life beckoned.
Before long she was obsessively collecting tracks from hallowed stores like Imports Etc and Gramaphone in Chicago - developing the taste and style that would become her own. Through digging at these legendary stores, Honey met and formed a long lasting friendship with Derrick Carter, who became a mentor. It was he who introduced her to the underground of Chicago where she was exposed to the sounds of jacking house and Detroit techno. After relocating to New York City, Honey also met another music giant Danny Tenaglia, whose legendary sets at Twilo were also a major source of inspiration. "It’s this combination of Chicago and New York that has helped me develop my signature sound", she says. DJing makes her feel free. "It’s almost like when you’re having really good sex with somebody, and there’s no inhibition, or there’s no thought. You’re not thinking, you’re feeling. I have no concept of time. When I’m DJing sometimes, I don’t know if 10 minutes have gone by or 10 hours. I feel really free, and I feel really lustful. I get so sexually turned on when I get in the zone.", said Honey Dijon.
Drum & bass activist from the capital of Lower Silesia. He has been a part of Polish drum & bass scene continuously since 2000, being one of the most active promoter of this genre in our country. He is engaged in creating the most important drum & bass events in Wroclaw, plays in cities all over Poland and outside the country - he visited, among others, Outlook - the largest bass festival in the world.
MacBeat’s sets are always a multithreaded story told with recently less used vinyl records. Expect a large dose of energy, deep sounds and the selection in which modern experiments with the classics of the genre.
A mix of pure vibrant energy, heated passion and true love for techno, T A K A is the artist behind the stomping dance floor weapons taken over with her Korg. Her tracks are a flavour of her life journeys carefully expressed through synths and heavy drums, yet sometimes have a calm emotional spirit... Her electrical live performances using two Korg EMX-1 spread powerful energy onto the dance floor, creating rave-like vibes.
TAKA is also part of the BIAS project, a techno party and community based in Warsaw, Poland which have a fast-growing monthly event called Proces.
In 2010 Juan Rico, previously known as Reeko, presented his new project to the world. Architectural got off the ground without the need to reveal who was behind the alias. The man who took DJ booths and festivals by storm under the Reeko moniker, needed a new alter ego to channel his effervescent spells of creativity. With Architectural, the Asturian living in Catalonia walks a very different artistic path from the one he was on before.
Over the last few years, Architectural has become a more defined and mature project. After the first releases, all of which were published by his own label Architectural Records, he laid the foundations and the structure has become strong and solid. Juan's next step in 2013 certified Architectural's maturity: he published The Blue Album, bringing Reeko & Architectural together. A fusion of his two projects results in a spatial and futuristic sound, with jazz hues and the feel of a movie soundtrack.
He draws inspiration for his music everywhere. His split album La Metamorfosis, published under Reeko alias, was influenced by Franz Kafka’s ‘Metamorphosis’, recommended to Juan by his brother. He also listens to Danny Elfman and Angelo Badalamenti and cites Birmingham techno scene, including Surgeon or Regis, as a reference for his early live sets. According to Resident Advisor, "Rico is a producer of rare skill, one who completely understands the functionality and emotional resonance of techno."
One of DnB's most prolific producers, having released music on many of scenes top labels - Commercial Suicide, Metalheadz, Soul:r, Subtitles, Shogun Audio and Exit Records. His amazing remix skills have been regularly commissioned, leading to remixes of commercial artists such as Bloc Party, Miss Dynamite and Sigma & Rita Ora.
Acquiring a love for the breakbeat through jazz and funk records, Break learned the drums and piano at a young age and took to the turntables at the age of fourteen. A talented musician with a wide range of influences, Break looks to push the barriers in whatever he’s doing. Crisp breaks, heavy bass and strong melody are trade marks of his productions making him a firm favourite with a variety of the scenes top DJs. Collaborating with vocalist Kyo on many of his album tracks, singles and other non DnB projects has added a talented and familiar voice to the Symmetry sound.
Raised in London, Break lives in Bristol, where he runs his label Symmetry Recordings. He says he was drawn by Bristol's sounds and vibes and admits being under a huge influence of Portishead and Massive Attack. Celebrating 10 years of his label in 2016, Break released “Ten Years Of Symmetry L.P.” to mark the occasion, with collaborations and new solo tracks making this one of the strongest releases to date.
British DJ and D&B producer. He's starting to become a common name in the minds of drum and bass heads around the world, but don't be fooled - DLR has been around pushing the sonic & technical boundaries of this music for some time now. He debuted in 2009, joining Dispatch Recordings. He's also present in the other labels' catalogues, like Symmetry Recordings or Utopia Music. DLR often works with other artists, stating that collaboration is a chance to learn and inspire everyone participating.
His 2012 album with Octane 'Method in the Madness' set the bar for drum and bass to come. 2016 included the debut of his OneMind project with Mako. Their OneMind project sees them unveiling their live show and forthcoming album, contributing as the 4th full-length release DLR has under his belt so far and this time releasing on the mighty ‘Metalheadz'.
Playing a big part in an ever growing, moving and electric musical landscape in Bristol, DLR knows that this is no time to be slowing down, now is the time to push things even further striving to keep the sounds of minimal, rolling, tech funk at the forefront of the drum and bass sound spectrum.
A true veteran and leading tastemaker in D&B, Doc Scott has been an essential and pivotal figure in the scene since before its inception and continues to push things forward. Founding member of ‘A Bunch Of Cuts’, his DJ sets in the mid-90s became legendary, notably at the Metalheadz Blue Note sessions and ‘Speed’. He says he was buying records and collecting music before there even was a rave scene or DJ scene. When the rave scene came along in late ‘88- early 89’ and parties started cropping up, promoters needed people that could DJ and Doc was one of those guys that had the music and some turntable skills.
Although primarily a DJ, his productions are definitive classics within the scene, such as ‘Here Comes The Drumz’ on Reinforced, the first ever Metalheadz release ‘VIP Drumz’, to the more mellow sounds of ‘Tokyo Dawn’ on Good Looking Records. His own label 31 Records, sparked by Scott’s ground-breaking ‘Shadow Boxing’, has also been a hub for new talent, pushing some of the biggest artists today in their early days.
Marina Rubinstein loves to DJ, but even when she’s perched in the booth, weaving together a invigorating assortment of hypnotic acid, ’90s rave and pumping techno, her mind is on the dance floor. After all, it was on dance floor that this Russian-born, Israeli-reared artist fell in love with techno in the first place. Long before she started playing records and adopted the Dr. Rubinstein moniker, she was a self-declared “true raver” in Tel Aviv, and it was during those long nights of partying that she eventually came to see dancing as a kind of meditation. “When the music is right,” she explains, “you can free your mind and just dance without thinking of anything. For me, it’s the best feeling in life, something that brings absolute happiness.”
That “special feeling,” as she describes it, is something Rubinstein is constantly seeking, not just for herself, but also for those who come to see her play. While her ceaselessly cheery personality certainly goes a long way in this effort, it’s her adventurous spirit – not to mention her unabashed love of all things acid – that truly sets her apart as a DJ. Now based in Berlin, she’s become a regular at places like ://about blank and Berghain, but her talents have increasingly taken her around Europe and the globe to spin alongside a wide array of techno luminaries.
John Talabot has become one of the biggest revelations of the last years, all thanks to his effusive house tracks in which Moodymann, J Dilla, Chicago house, disco and northern soul intertwine to produce organic and humane songs, full of life, and that make your hands and heart dance. People say that Talabot's work reminds them of warm and sunny Spain, his motherland, but the artist says that music is just a reflection of his emotions and state of mind.
Borrowing the name from his school as an alias (his real name is Oriol Riverola) and a diverse amount of samples for his music, his first compositions brought him to Permanent Vacation. “My Old School”, his debut on the Munich label, gave him instant recognition in the electronic galaxy and James Murphy, Âme and Aeroplane were including his music in their sets. On Hivern, he released the now mythical “Sunshine”, which has become one of the songs of the summer and Philip Sherburne has included the track as one of the best maxis of 2009 on Pitchfork (the website already states he’s one of the biggest names in the current house music scene).
But if 2009 has been an intense year, the following ones were full of surprises. His relationship with Permanent Vacation were blossoming and they will released a 12” with the beautiful (and acidic) song “Mathilda’s Dream” and a remix by Jacques Renault, halve of Runaway and member of the DFA label.
2012 definitely was his breakthrough year: The release of his album “Fin” left critics, press and fans stunned in astonishment and is already a classic. Many Magazines regard it to be one of the best records of the year, including Groove, Pitchfork, Debug and Resident Advisor. He then toured with one of the hottest bands at the moment, The XX.
One of the recent accomplishments of John Talabot is the excellent album „The Night Land”, recorded in collaboration with Axel Boman under the Talaboman alias.
KAMP! debuted in 2009 with the "Thales One" EP, the first attempt in Poland to go against the then-popular trends in electronica. Its follow-up, "Breaking A Ghost's Heart", is considered a milestone in the Polish history of the genre. Not attaching themselves to labels, in 2010 members of KAMP! released a double A-side "Heats/Distance of the Modern Hearts" a bit by accident, fitting into the role of "a new hope in Polish electronica" and attracting attention from international labels. The first international Kamp! release was out in 2011 on Portuguese label Discotexas. The premiere of "Cairo" was an impulse for KAMP! to head out in new directions that led to their debut album "Kamp!", released on the band's own Brennnessel label. Dream-pop musings, fitting the album just as well as house tracks, earned KAMP! over 10,000 copies sold and huge demand from clubs and festivals, starting in Shanghai, through London or Prague to Los Angeles.
Summer 2014, KAMP! released an EP by New York City based Cascine, becoming this way one of a few Polish bands so much asserting their presence in the western music industry. This release opened the door to be regularly able to promote their material abroad.
KAMP! released their second album "Orneta" day-to-day, finishing October 2015. "Orneta", as each and every sophomore, especially the one following a commercial success of its older brother, was being awaited and rated even before the first listen. It’s something no band can escape. "Orneta", indeed, is a dancefloor sort of album, but also a contemplative and melancholic one. And, as we’ve seen with KAMP! so far, it blossoms into a rather energetic piece when performed live.
The gleam of cosmic light reflects on polished surfaces, which sometimes trace long smooth curves, other times end in edges, outlining a powerful machine piercing a path between the gravitational pull of a black hole, and the attraction of the brightness of a newly-born star. If Lewis Fautzi´s sound could be materialized, it would look something like this.
And you draw a similar parallel to his career so far. Lewis Fautzi has a meteoric ascension in the world techno scene, like a projectile fired into space at the speed of light: in 2013, the same year as his 1st noteworthy edition in his birth country, Portugal (and from the start establishing the norm of always releasing on well-respected labels, Soniculture in this case), Fautzi started a lineage of releases on a classic label in techno´s history, Slam´s Some Quality. A year later, in 2014, it was time for his 1st album, an artistic step many in techno fear to take, “The Gare Album” (named after the club in Porto which has served as his creative impulse and launch platform for his career), on Soma as well.
By 2015, Lewis has in his log, 2 EP´s on Len Faki´s Figure, 2 works on Oscar Mulero´s Pole Group (an EP of originals remixed by Exium and Kwartz and a track on the Unknown Landscapes Vol.2 comp), with an added one on Warm-Up (Mulero taking care of 2 remixes), a collab with Pär Grindvik on his “baby” Faut Section, the same label where we get an Oscar Mulero EP with 2 Lewis Fautzi remixes. Crucially, he put out a 2nd album on Soma, “Space Exploration”, a conceptual work, as personal as it feels alien, where he displays his unsatiable thirst for musical knowledge and exploration, by broadening his horizons towards more ambient and experimental sound forms. He´s also provided interstellar tourism experiences, both as a DJ or as a live-act, at dancefloors like Tresor, Gare Porto, Lux Frágil and the “final frontier”, Berghain, amongst many other notable spaces.
All these facts almost lead us to forget that Luís Gonçalves (his actual name), from the small town of Barcelos, is still in his twenties. It makes you ask “where did all this world of music come from?”. Most likely it´s due to Luís breathing and living techno. Not just producing it himself but also studying and absorbing the form in all it´s perspectives, taking hold of an arsenal of ideas and notions synthesized into a sound that while adhering to the fundamentals, ends up as very much his own, appealing to technoheads of various outlooks. Yes, there´s the Mills-ian cosmic tones, the subterranean echoes of Berlin, the impact of the british industrialists and the peculiar groove of the Spanish scene, but it all has a definitive Lewis Fautzi stamp.
No matter how many years a techno producer has been at it, he knows he´s doing something very right when, still early in his career, the “alien” Jeff Mills plays multiple productions of his in a single set. It´s the definitive seal of approval for what you are creating. But Lewis doesn´t seem at all fazed by the responsibility. The growing amplitude of his vision and maturity of his output, and the recognition of his peers, prove that his explorations have just begun. Where will he take us next?
He's on a quest to fulfill his need to inject feeling and funk into the world, and he’s already proving to be quite productive. With deep and funky works of audible engineering for the label Crosstown Rebels in the form of a full length album titled “Life Index”, a night with Maceo Plex will be one of galactic proportions.
To explain the evolutionary process behind Maceo’s existance we must travel back to 1993, to the beginning of his creativity. Eric Estornel, better known by his stage names Maceo Plex and Maetrik, is an American DJ and producer. At the start... Maceo was intrigued by a pair of circular shaped objects designed for holding discs created from vinyl that produced vibrations resulting in sound and music. He started working as a DJ when he was 16, only 2 years after being gifted a set of Technics gramophones by his father.
Soon he began conjuring up mixes of techno, electro, and house music that quickly gained him popularity within the early 90s rave culture. But in 1997, while Heavily in uenced by the sounds of other modern funk theorists such as Model 500, Kenny Larkin, Idjut Boyz, Convextion, etc. Maceo began experimenting with hardware modules containing knobs and keys to form his early musical compositions. Seduced by the sounds of techno & electro, Maceo grew into a technologically advanced being later to be known by various names such as Mariel Ito or Maetrik.
After many years of prolific works on such labels as Treibsto , Dumb Unit, Cocoon, Audiomatique, Modern Love, Mothership, to name a few, Maceo travelled the world playing in some of the best clubs such as Rex, Cocoon, Fabric or Womb.
The profound change has taken Maceo Plex from the complex and dark life in America to his current homebase of Spain. The sunny and relaxed atmosphere has been quite useful to Maceo in his lengthy inward journey that is very apparent in his music. After a much needed retreat into the funky sounds of Parliament Funkadelic, Moodymann, Atjazz, Isolee, and Luomo, Maceo has finally completed his transformation and his newest musical output reflects his radiation in a variety of beautiful colors.
In late 2010, Maceo’s single “Vibe Your Love” was finally released on the very foward thinking label Crosstown Rebels and includes a hefty funk remix treatment by Zev of the Wolf & Lamb clan. 2011 kicked off with the full length debut album aptly titled “Life Index” which chronicles Maceo’s life long transformation into the soulful ball of energy he is today. Once experienced, the album will make it abundantly clear the level of versatility Maceo Plex posesses among his many auditory shells. And the world will understand Maceo’s pristine vision of house music from beyond.
Maceo says that Maetrik is a much more futuristic project and that he's most inspired by the evening SF film screenings at his home. He's also a great fan of James Brown and loves to watch Walking Dead and Game of Thrones.
He's one of the most recognized artists of the genre, as confirmed by the top locations in the world's best DJs rankings published by Resident Advisor. Maceo also runs his label Ellum Audio, where he published Agoria and Agents of Time, among others. Recently the world has found out that Eric Estornel will be reusing his old alias Mariel Ito and will soon publish the new material at R&S Records and his own Lone Romantic label - the one that also published his excellent "Solar" in 2017.
Despite growing up in the same picturesque village in Hertfordshire, Chris Davids and Liam Ivory aka Maribou State customarily ignored each other at school, but discovered their shared passion for music when they both went to university in Leeds. There, they've made friends and started a band, giving it a name inspired by "Marabou Stork Nightmares" experimental novel by Irvine Welsch, that Chris was reading at a time. Ever since then they have steadily built a glowing international reputation via a string of well-loved EPs and a fistful of remixes, including ones for Kelis, Ultraísta and Lana Del Rey.
Intrigued by the dynamics of electronic music for the dancefloor as much as with the richness and human quality of live instrumentation and song-craft, they have worked tirelessly to evolve and forge a unique, compelling and deeply soulful marriage of the organic and the synthetic, showcased on their breakthrough debut album Portraits. They describe the album as a presentation of their experiences, memories and life events - portraits of their personalities.
They say they draw influence from all kinds of places: "In anything creative, your output is a product of what you consume. We listen to all kinds of music, we like to travel a lot, we just try and stay happy and healthy to be in a good headspace to write music."
Krzysztof Golinski (real name) is a Polish drum&bass producer with many years of experience under his belt. His music is a combination of energetic and tech severity, electro melodiousness and deeper breath of atmospheric. The breakthrough in Radicall's career came in 2007 with the release on legendary atmospheric label Covert Operations. He became one of the top DJ in Poland and released music on such labels as Drone Audio, Red Mist, Levitated, Offworld Recordings and his own Nightworks Music. He released two albums on Absys Records: "Emotive" (2010) and "Ghost Notes" (2015).
Tommy Four Seven
British born, Berlin-based Tommy Four Seven has established himself as a leading name in today’s techno scene. The widespread reception of his DJ sets, a skill much refined during his early years as resident of London’s Fire club, has seen him play at some of the world’s leading venues. Tommy’s sets invariably encompass a rich variety of styles, drifting seamlessly between the straight up techno required of the hour, and his signature, more broken form that is laced through his ever-expanding discography.
His career fast-forwarded when T47 moved from UK to Berlin upon graduating in Music Technology. Chris Liebing invited him to record for CLR and supported Tommy's work. Tommy leaves Germany's capital often these days - not only to impress crowds at clubs and festivals, but also to enjoy vegan cuisine around the world.
The final part of his artistic repertoire is 47, an established party series with a supporting label. The aim is to encourage emerging talent, whilst also recognising established artists in the scene who have helped to shape Tommy’s sound. Previous acts have included Ancient Methods, SNTS, UVB, Shlømo, Killawatt and I/Y. 47 began as a regular event Berlin’s Arena nightclub, but 2015 saw the series grow and cross international borders to Paris and Amsterdam, with more events slated for 2016. Guests are also invited to contribute to the label’s renowned Various Artists compilations.
The British duo JD (James Davidson) and Morphex (Greg Hepworth) is at the top of their game. They know each other since 2001 and first published music together in 2009. They record for Goldie's cult label Metalheadz. Their debut album ‘The Fourth Wall’ was exceptionally well received by press and fans alike, with 3 Drum&Bass Arena award nominations and UK Top 40 Chart success following its release. At the end of 2014 the album regularly appeared within top 10 lists across all genres, a triumph for all concerned. It was inspired by funk sounds, loved by both James and Greg.
Viken Arman LIVE
Pushing the boundaries of electronic music not only towards the future, but also towards the past. Fusing ancient melodies with electronic beats to create magical vibes that go beyond dance music brings rich cultures together in mystical musical journeys.
Growing up with jazz and classical music, he draws influence from a very versatile music background from Keith Jarrett, Erik Satie, Bill Evans, Jay Dilla, Ricardo Villalobos to the Arabic diva Oum Khalthoum. His knowledge of piano as well as his time at the music conservatory contributed to his wide musical culture.
As an artist, Viken is really close to this roots & history. «Never forget, never, but stay turned towards the future, rebuild yourself and go forward» he said regarding TIME, the 100 min. musical creation he composed for the 100th year anniversary of the Armenian genocide.
When he’s not making music, Viken focuses his energy to nurture this particular and rich music scene even further. He founded Denature Records which, as he describes it, is more than just a label but more of a family of artists. He also pledged to support young and upcoming talents from around the world as well as organizing his own events with the SOUQ Festival. "Your grandma can visit a couple interesting shops and your mom can dance with your friend, when your dad drinks rakia with one of the artists. Everyone is welcome here", Viken says about what happens at SOUQ. The festival migrates and has already visited Los Angeles, Nowy York, Dubai, Tulum and Berlin.
His music is engrained with ethnical influences and reveals the passionate explorer that he embodies.
Members of the European techno revival, Ukranian duo Woo York produce a powerful, driving, dark yet sophisticated sound with a unique live performance placing them amongst the leaders in underground, electronic music.
Local heroes in their hometown of Kiev since 2009, Andrew and Dennis have been able to connect the world with their trippy, melodic techno through a string of releases with likes of Dystopian, Afterlife, Life & Death and Soma. They’ve performed numerous showcases around the world with a club and festival portfolio that resulted in their debut listing in Resident Advisor’s Top 40 Live acts for 2016.
Moving between pure dance, techno and more experimental material, Woo York’s hardware driven live performance shows an experience and dexterity that allows them to challenge a crowd’s perception of contemporary live performance. Their aesthetic, although rooted in techno, is left- field focused and driven by electronic music’s vast influences; from the avant-garde to the fundamental creators of Detroit, Berlin and beyond.
What’s in a name? For Adrian Shala and Adrian Schweizer, it’s a decade – and counting – of joint creativity. After getting to know each other in Zürich in 2008, Adrian & Adrian became inseparable, not just as friends, but also as artists. The two men carved out a career as one of the most consistently delivering DJ/producer duos in the house and techno scene: Adriatique. The key to an enduring partnership is, of course, to complement each other, and the two Adrians do so admirably. They met in a club where they often performed at the same events. They complimented each other's sets and admired each other. Then they decided to join forces and make music together. Music-wise, their various tastes combine into one unique sound. Adriatique’s DJ performances as well as their productions are long, meditative, relentlessly building affairs, ever challenging the listener with subtle twists interrupting their hypnotic groove. There is more to the duo than just a well-oiled electronic music machine.
As they say about their relationship: „Everyone knows what to do. We connect even more and more because we live together – we started off as DJ colleagues, then we became friends, and then it evolved into a business relationship, so we almost have a full-time relationship when it comes to our music and work and friendship-wise. We know each other really well and we know what to do.”
After almost a decade of joint work, 2016 saw the fulfillment of Adrian and Adrian’s long-held wish: the founding of their very own music label annex platform for the arts. Called Siamese, their imprint releases Adriatique’s own music as well as productions by others, as long as it adheres to the Adrians’ creed: that music should be meditation. Going above and beyond the average for a label, Siamese also supports visual and performance artists, organizing club nights that place these collaborators in the spotlights just as much as the musical stars.
Drawing from their own experience as strangers turned fulltime partners, Adrian and Adrian know that it is the bridging of differences that breeds creativity. This is why, in the future, they plan on expanding their network of collaborators as well as the creative scope of Siamese’s activities. They may be a decade in the business, but Adriatique’s true mission has only just begun.
“You don’t want to get bored of your music, and that happens very easily so we still explore and we try a lot. There are a lot of other projects that we want to finish, but we just wait for the right moments to finish them or to put anything together which fits.”
One would be hard pressed to find another artist whose meteoric rise parallels that of Belgium’s most exciting new export, Amelie Lens. She has, in a little more than a year, soared from relative anonymity to one of todays most in-demand DJ/Producers the world over. Lens’ rise to the top may seem to have happened in the blink of an eye, but her work ethic, composure at the controls, crowd engagement and an incredible prowess in the studio have proven to be the perfect ingredients for her swift ascent to the apex of her trade. The fact that within one month she can take up to 27 flights to the furthest corners of the world shows just how hard-working she is.
The love for electronic music came to Amelie when, at the age of 15, she visited the Belgian festival Dour and entered a tent full of people dancing to repetitive electronic music. After returning home she immediately became interested in these sounds, and soon after she started to go to clubs. One of the memorable events was the Tiefschwarz performance, to which she went by train, and there for her 16th birthday she received their latest album. Soon her life significantly sped up, because as a model she moved first to London, then to Paris and Milan. In 2010, she even appeared in the "Vogue's Model Faces To Watch in 2010" ranking, which is a great honour. Then she understood that she wanted to devote herself to music and broke up with the world of modelling.
“I knew from the very beginning, I did not want to be the model that also DJs. So I chose anonymity in the form a unisex stage name. Renée, the name of my mother. But I underestimated the emotional weight that came with this name. When I quit modelling, I went on to use my own name. I removed all the model photos on my social media, I emailed sites to ask if they could take away my photos and I started over.”
With her debut release on Italian imprint Lyase gaining a massive amount of attention, Amelie seized the moment and quickly delivered her first release on Pan-Pot’s highly lauded label Second State and followed shortly after with a stellar EP on one of the undergrounds most championed outfits ARTS. At the same time her releases started to flow consistently on high level labels, Amelie started her own event EXHALE at Labyrinth Club where she invites today’s hottest acts as well as her “All Night Long” sets which prove she embodies an equal mastery to that of her peers with years more experience. With these critical foundations laid, it was no time before she began headlining the industries most acclaimed events. From Awakenings and Circoloco to today’s best clubs like DC-10 Lens commands an intense touring schedule trotting to all corners of the globe on a weekly basis. As if it wasn’t apparent after all this, Amelie is just getting going and there seems to be no decrease in her pursuit of worldwide dance floor domination.
As he claims, the beginning of his adventure with music was the moment when, at the age of 9, he visited his uncle's house with his parents and got to know the music his uncle played then. A year later he received his first turntable. A little later, during the holidays in 1988 Arnaud accidentally met a person who showed him Frankie Knuckles’ records and he quickly fell in love with house music, and a few years later he had the opportunity to work in a record store. In that way, he broadened his musical knowledge and formed this perfect taste, which he had the opportunity to present as a DJ during rave parties. His residency at Paris’s Queen and memorable sets around the world perfected Arnaud’s DJ skills, earning him his spot in the worldwide scene where he continues to this day to be a prominent figure.
“You have to be open with all the new styles that are coming and not to repeat yourself too much and if you make music, trying to find different techniques, sounds. I think the most important thing of this job is that you always have to know how to renew yourself and be really open & creative, curious.”
Since 2006 Arnaud lives in London where he is a regular DJ at Fabric since 10 years. Arnaud runs Children Of Tomorrow since 2011, a label created by Emmanuel Ternois in 2008. A timeless rawness is the main element of the label. Arnaud is releasing his own music and confirmed talents such as Terrence Dixon, Oscar Mulero, ROD, Jonas Kopp, Ryan Elliott, Samuli Kemppi, Zadig, Antigone, Tensal, Exium, Savas Pascalidis, Antonio De Angelis or Birth Of Frequency. Almost all the releases have been played or charted by artists such as Ben Klock, Marcel Dettmann, DVS1, Ben Sims, Rodhad, DJ Deep, Chris Liebing or Dave Clarke.
Together with his partners and colleagues Arnaud organises a series of Children Of Tomorrow events in London & abroad that focus on talent.
Since 1999 Arnaud produced different EP’s & remixes for Affin, Cocoon, Children of Tomorrow, Chronicle, Syncrophone, Bass Culture, Safari Electronique, jus to name few. Since 2013 Arnaud is also producing with Antonio De Angelis under Detect Audio’s alias. Arnaud is one of the true veterans of the London underground music scene. Having been associated or played at every major techno party over the last ten years, Arnaud has kept himself at the very forefront of the scene.
Born Bjarki Runar Sigurdarson, 19 September 1990 in Reykjavik, Iceland, Bjarki grew up in Blönduós, a small town in North Iceland. He first surfaced under the name Kid Mistik near the end of 2000’s. Bjarki has kept a low profile in releasing his music, until he met the Russian DJ Nina Kraviz in 2014, who became a fan of Bjarki’s tracks, and began releasing his archive on her label трип (Trip). It was a chance encounter with Nina that resulted in his signing to трип. It was Bjarki's girlfriend that gave Nina, who was DJing at the Copenhagen Culture Box club, a USB with his tracks. "Nina was also playing a nine-hour set, and I can’t be in a club for nine hours because I drink and I don’t stop”, he said in one of the interviews.
Bjarki began making music when he moved in with his dad at age 12. He changed school to improve his grades. They never rose, but Bjarki learned his most important lessons from a friend's older brother who taught him how to make basic beats — hard trance on a home computer, and introduced him to Chemical Brothers and the Prodigy. This started his adventure with music production and led him to creating one of the greatest clubbing hits, „I Wanna Go Bang”. Written in 2012, it was published on 2015 ‘Arthur And The Intergalactic Whales, Bjarki’s first proper release.
Rolling Stone magazine included Bjarki in its 2015 "10 New Artists You Need to Know" report. The world has classified him pegged as a techno artist, but in 2016 he confounded everyones expectations of his musical path and instead he released widely praised LPs that mapped out a broad musical landscape for him - one that runs from ice cold ambient soundscapes, through melodic techno, exuberant breakbeat and on to classic rave. He's also taken a hauntological approach to re-moulding the scents of breakbeat, rave, jungle and IDM into sounds that are entirely his own. Bjarki’s not a fan of boxes - he jumps out and stamps all over every single one that critics put him into.
It’s a plain fact – close friends Grzegorz and Wojciech, who met a dozen or so years ago in Szczecin. How did this happen? As Grzegorz says: "Through our friend in Szczecin.In that time Wojtek played his first parties in clubs, and I was collecting records. So we started to exchange music and then our own productions that we made at home. When I became a resident in the new club - "Mezzoforte" - I invited Wojtek there. We started DJing together and then producing our own songs together." This is how it started, and after a few years, taking a firm lead in the Eastern European electronic music revolution, the pair has previously graced the cover of both Mixmag and DJ Mag Spain. Their international recognition has never lacked momentum, whether gaining a spot in the revered RA Top 100, to their LP ‘Basic Colour Theory’ being nominated in the Top 10 Albums of 2015 by DJ Mag, remixing Basement Jaxx, Kings Of Leon and Friendly Fires, to Producers of the Year 2013 from Muno.pl. In 2013, they were also invited to record their Essential Mix and two years later they had the opportunity to perform on Carl Cox’s Music Is Revolution event.
Asked by one of the journalists to reflect on the performance with Carl Cox, they replied: "We had such a reflection when we were at his villa in Ibiza, when Carl sat with us and we watched Discovery together. The artists who inspired us are now our friends, we play with them and it makes us happy. For example, Laurent Garnier tell us that he was inspired by something from us and it is motivating and very nice, but we do not live it. When one goal is achieved, we're looking for another one! That's the whole fun of it...”.
There were many performances with great artists. Grzegorz and Wojciech had the opportunity to perform at such events as SW4, Park Life, Bestival, Snowbombing, Electric Daisy Carnival and BPM, and has also resulted in them being booked for the iconic Movement Festival (Detroit) and Exit Festival (Serbia). On top of this, they continue to host their Pets Recordings label showcases from Berlin to Ibiza, Sonar to BPM.
Last year was important in their career. Their remix of Marlena Shaw’s classic, “Woman of The Ghetto” became a Summer ’17 anthem, played on the dancefoors by the finest selectors of our scene. In the fall, Catz ’N Dogz collaborated with Seth Troxler on a new production as part of Boiler Room / Ballantine's True Music project and played an unforgettable BR set in Warsaw. The duo completed the year on a high with the release of their Rave History EP on Pets Recordings.
As 2018 begins, the duo shows absolutely no signs of slowing down with a hotly anticipated return to Dirtybird, a 4th album planned for this year and a 3rd edition of their own Wooded festival project in Poland.
The mysterious Claptone is a mythical, little known figure who slips in and out of the shadows, leaving in his wake lasting musical experiences. Since hatching in 2012, he has continued to send people into a frenzy with his DJ sets are coloured with real soul and can jack you up or zone you out depending on the mood. Such an emotionally spectrum of sounds comes from many musical inspirations. Speaking of them, Claptone mention about works of such artists as Wu-Tang Clan, The Doors, Kraftwerk, Michael Jackson, Radiohead, Depeche Mode, Jay-Z, The Beatles and Portishead, but also chicago house, detroit techno and funk. To stay so private and unknown in the visual modern world of likes and photos is no mean feat, especially considering he plays more than 260 shows around the world each year. In 2017 he brought his own immersive and otherworldly 'The Masquerade' events with special guests including Black Coffee, Claude von Stroke, MK and Pete Tong all joining the fun to various places around the world - in Brazil, at Melt Festival, in LA for Halloween, and at the giant Tomorrowland where four million people tuned in to the live stream that saw him play with invited guests and friends. Because of his strong shamanistic powers, Claptone always leaves people lost in music, rather than concerned about who or what it is they see before them. For that reason he still remains proudly anonymous.
In terms of studio work in the last year, Claptone has served up plenty of stylish remixes of huge and influential artists like Depeche Mode, Gorillaz, New Order, Disclosure, Faithless. His track “The Drums” was one of the tracks of the summer at festivals around the world as well as across Ibiza. All this lead to him being invited by the BBC to perform live to the whole UK during the legendary BBC R1 Ibiza Weekender, and comes off the back of Claptone winning Best House Artist for the 3rd year in a row at the Ibiza DJ Awards, and scoring the highest placed house DJ position in DJ Mag’s celebrated Top 100 DJs Poll (next to being the second highest ‘underground’ artist in the same poll, after Carl Cox).
2018 is sure to be just as busy for Claptone and rewarding for his fans, because it will bring with it ‘Fantast,’ a brand new and hugely anticipated album out in June. If you think you knew everything about Claptone let him prove you wrong. As he says: “I just try to produce music for me to clean my soul, to translate my inspirations into sound and for the listeners to supply music they can incorporate into their lives, a soundtrack to their very own special moments.”
Born in Puglia, also known as the heel of Italy's boot, Giorgia is a composer and multi-instrumentalist. After a classical music education Giorgia developed in a short time a deep interest in the electronic music and she started experimenting new live techniques. As she says: “I had a classical education and I grew up listening to a lot of classical, rock and pop music… and of course Björk, one of my favourite artists! She influenced me strongly because she created a unique sound between pop and electronic music. Then I got some albums from my friends and I started to listen to artists like Ellen Allien, Apparat, Autechre and The Chemical Brothers, amongst others. After that I really fell in love with this new sound. So I decided to buy new equipment to produce this kind of music and I bought a sound card, a laptop, synthesizers and Ableton live”.
In the year 2010 with her audio-visual project WE LOVE she concluded an exclusivity agreement with the label BPitch Control performing in many clubs internationally. In 2013 she started her residency at TENAX club (Florence, Italy). This experience gave her the chance to test a new style, creating always different live acts and having the opportunity of constantly improvising on stage. Giorgia Angiuli composed also soundtracks for movies, commercials and fashion shows collaborating with many well-recognized musicians. In 2014 she became a part of Kevin Saunderson’s legendary techno label KMS and in the last years she released music on many labels as: Stil vor Talent, Harry Klein, Crosstown Rebels and more.
Stylistically Giorgia ́s solo project moves between pop, techno and house. As she said some time ago: “I am big lover of melodies and my music is a mix between deep, techno and pop music…in this period my influences are Chopin, The Cure, Dj Koze and Just Her”. Moreover, Giorgia is known for using old toys (!) to produce her music, which generate a very unique sounds. „I truly love sound toys, especially vintage ones and I do believe that if you play with unusual magic objects, sounds become even more fascinating. Using colors in music is fundamental to me.”
Moreover, she uses her voice to create a dreamy dimension intensified by the use of unique toy instruments. During her set she combines keyboards, drum pad and theremin with the sounds of toy flute, sax, trumpets and many other toys. Mixing all these samples and loops she shapes a vibrating and energetic groove that sets the dance floor on fire.
Having established themselves as one of the most in-demand acts in the industry, Gorgon City have enjoyed stellar success over the past 5-years thanks to their unique blend of bass-driven house music and addictive vocals. The UK duo, consisting of Kye Gibbon and Matt Robson-Scott, have developed a huge international presence, playing to enormous crowds of dedicated fans around the world. Asked about their biggest music inspirations, Matt and Kye always mention British electronic scene. “Even though we make house music, we kind of approach it sort of like jungle. For instance, we always make sure that there’s a lot of sub-bass in our bass lines, rather than it just being a kick drum. That comes from us growing up around jungle and drum n bass, grime and garage. Having that influence how we make music, as well as on our more vocal tracks, we’re influenced by those sort of Bristolian acts like Massive Attack, Portishead, and stuff when we’re making more downtempo music. When we’re making more up-tempo stuff that’s more inspired by what someone like Basement Jaxx was doing in the late 90s.”
Following their debut single releases on Black Butter Records in 2012, things went into overdrive in 2014 with the release of their album ‘Sirens’ which also birthed their huge single ‘Ready For Your Love,’ ft. MNEK, peaking at #4 on the UK chart. The album marked a pivotal moment in the duo’s career and spawned five more UK hit singles through tracks like ‘Here For You’, ‘Unmissable’ and ‘Go All Night’, which all achieved Top #20 positions in the UK Singles Chart.
The pair have continued to thrive in recent times with their recent Duke Dumont collaboration ‘Real Life’, providing the soundtrack of summer 2017 from the UK to Ibiza and beyond. Equally adept at catering to the underground scene, Gorgon City have showcased their prowess for more rugged, minimalistic beats, through club-orientated releases, on Crosstown Rebels and Suara, proving their diversity in both sides of the scene.
Matt & Kye’s ‘Kingdom’ party brand sees a return to their roots where they play extended DJ sets instead of the full live band, channeling the essence and energy of the UK’s underground house and techno scene. The global event series has previously seen sell out UK, USA and European tours as well as hosting their own Kingdom Stage at SW4 and legendary party at The BPM Festival in Mexico with Kerri Chandler, Solrado & Latmun.
The brand also encompasses Gorgon City’s well established Kingdom Radio show heard on SiriusXM in the US. Broadcasted in over 40 countries to over 14 million estimated live listeners, Kingdom Radio showcases all of Gorgon City’s favorite tracks and unreleased gems from the duo each week.
Having enjoyed a seminal couple of years, Gorgon City have channeled their roots in London club culture to emerge as a theatre-filling, chart topping live act. From grimy London basement rooms to headlining NYC’s Central Park & Brixton Academy in London, plus a residency at Amnesia Ibiza, it’s been a prodigious ascend for an act birthed in the UK’s underground electronic scene, with the future only hinting at further success on their meteoric rise. Many fans will be happy to hear that their next full-length album will be released this year and Polish fans will hear this new material at Audioriver in Plock.
“Be original. Don’t follow the fashion and jump on the bandwagon of doing what everybody else is doing. Nobody wants to listen to the same old stuff. Find what you like, what makes you – you and keep at it, just keep going.”
Over the past few years his intricate production skills have helped place Bulgaria firmly on the D&B world map. How did this happen? “I started doing some music related stuff when I was at early age of 13-14. I remember listening to some drum and bass when I was a bit older (15-16) but I didn’t even realize what kind of music is that. I was like 'I need to get into it!' and yeah after some time I was obsessed with drum & bass.”
His impressive catalogue has seen releases on highly respected labels such as Program (belonging to RAM Records) Eatbrain, Rise Audio and Lifted. Supported by the the likes of Andy C, DJ Hype, Dillinja & many more, this young producer is an artist to look out for. In 2016 he released highly appreciated album "Karate", on which he had been working for a long time. – „roughly around year and 2-3 months… or so. The harderst part of it was polishing all the stuff and get it ready for the final phase. Because you are never happy with the things you’ve done so far and you want it more and more perfect, so it’s like an endless circle.”
There's so much more to come from L 33 and those signature dark and futuristic vibes certainly won't disappoint. „I think the key is to really enjoy what you are doing and don’t take it too seriously”, he says.
Singer-songwriter and electronic music producer. To many that might sound like two very different aspects of modern sound culture – which in turn makes Monolink a fascinating character, because he’s both rolled into one. His style seamlessly connects the narrative structure of a song with the compelling forward thrust of electronic rhythms. Guitar chords merge into synthetic pad sounds, hypnotic bass vibrations meet emotional vocal parts, passionate physicality meets sublime stimulation for the mind.
Steffen Linck comes from a background that is often described with the wonderfully vague term “guitar music”. “What first got me into music making was a boy at my school in Hamburg who I heard playing the guitar in a break. I was fifteen I think and he was a year younger. He was so good that I was immediately touched. I asked him to give me lessons and teach me how to play like him. So I got into the world of playing guitar and writing songs, we covered the Libertines, who were awesome songwriters to learn from. Later then Bob Dylan and Neil Young, Leonard Cohen, just to name a few. After I graduated from high school I traveled for a year playing guitar and singing and then moved to Berlin. That's where I first got in touch with the world of electronic music. I felt like I was fifteen again, discovering what were to me very new and different ways of listening to music and storytelling.”
That’s why the Berlin based producer is fascinated by electronic dance music. Its hypnotic rhythms create a very physical dance experience during long party nights. Already being active as a DJ besides his activity as guitarist and singer in various bands, it’s an obvious idea to connect both principles with each other.
A typical Monolink production evolves around a song written on his guitar. It serves as the backbone for percussions, samples, and vocal parts which are usually recorded during spontaneous jam sessions. When performing live he plays this original song in real-time, putting emphasis on a listening experience that is as clean and smooth as possible. The result has great impact on the dance floor, both in terms of sound and stage appearance. Monolink stirs serious euphoria at Fusion, Fuchsbau and 3000° Festival, as well as many other open airs. Also his gigs at trend-setting clubs of Berlin, like Ritter Butzke, Sisyphos or Keller, are highly applauded.
DJ Patife was born in São Paulo, Brazil. Since his youth, he was already connected to music. When he was 14, he was already doing parties at his neighborhood. He also used to do thematic parties such as school prom and weddings. Many different genres influenced his music, e.g. jazz and soul. He is also an old school fan and enjoys styles like Earth, Wind and Fire, Michael Jackson, Stevie Wonder, Ella Fitzgerald, Nat King Cole, going to some new styles like John Legend and Alicia Keys.
He started his career as a Club DJ in 1995, playing at Arena Music Hall, in São Paulo. In 1997, he went to England for the first time. He wanted to know the jungle roots. He returned to the county in 1998, when he finally did the Movement party in Brazil. “Sounds of Drum & Bass”, DJ Patife`s first CD got ready in 1999, when he also hás his firsts experiences in the studio. He opened Chemical Brothers` show and started his tours also in 1999.
New steps happened in 2000. Starting by the song “The Vibes”, that he did together with his friend Mad Zoo. After this song, he did his first remix of the song “Pra você lembrar”, from Max de Castro. This song was a big success and it was one of the most played songs that year. A new experience came in 2001, when he was playing live at Bat Rumba, a club in London, and all the world could listen through BBC the songs Sambassim and Carolina, Carol Bela (from his friends Marky, Xrs & Stamina MC). His CD “Cool Steps” got ready also in 2001, bringing the song “Torch of Freedom”, with Cleveland Watkiss. Patife has done lot of tours around the World. He was also part of festivals like Skol Beats and its six editions, Glastonbury, Big Chill, Exit, Homelands, The Montreoux Jazz Festival and many others.
In 2002, Patife did the “The Drum & Bass Fiesta” album with DJ Suv. The “Trama Sessions” was published in 2004, with songs that Patife created with Mad Zoo. One of the most important tours of Patife`s life happened during this year. A mobile company called CLARO together with Motorola gave him a bus to travel around Brazil, doing gigs during the day, for free. A year dedicated to tours, shows, the “Na Estrada” album studio sessions and music lessons was 2005. Finally in 2006 the album was ready and Patife started international and national tours.
For the last three years, Patife is taking his time, putting some ideas togheter, taking care of his body, mind and soul, doing just a few appearances in Brasil, Europe and creating music. Basically, these were the steps of DJ Patife`s career and he says he still has a lot to. „I try to be honest with myself. Got to do what I like and feel comfortable with. I would say I love music for the heart. Genre doesn’t matter”, he says.
Christian Hoffmann's initial venture into the world of music started out with a guitar whilst at school, and after various attempts attract bands with his passion, he went on a solo mission to produce electronic music after buying Enter Shikari’s first album “Take to the Skies”. After receiving a cracked copy of FL Studio 8 from his guitar teacher at the time, Christian went on to produce IDM, Glitch and Ambient music but had no actual knowledge about the genre apart from a minute handful of tracks. He decided to to do some research on Myspace into IDM artists which later led him to discover Spor, and his first ever D&B track: Spor's remix of “Stompbox” by The Qemists. It was following this that Christian bought his first D&B album, “The Acts of Mad Men LP” on Viper Recordings which sowed the seeds for his passion of 174bpm.
Several years of work and perseverance later, Christian went on to be picked up by the UK bass label Sub Slayers, ran by former Kiss FM and Ram Records resident Jay Cunning. His first release “The Move It EP” received high praise throughout the scene which featured “Spirit Song 2012”, played by everyone from Paul Oakenfold to Sub Focus. “Spirit Song 2012” was also used as the main piece in the Arcadia Spectacular show at festivals all over the world. After several EP’s, remixes and singles on Sub Slayers, Christian went onto release his debut album, “Section Nine” that featured the tracks “A Place in Time, LV-426, Die for You and Field Of Poppies”. It was a concept record that tells the story of a civilisation that falls apart due to their dependence on technology and social networks. This opened many doors for him that led to releases on the prestigious Viper Recordings and Technique Recordings, as well as a wealth of DJ’s who continue to supporting his work in clubs and radio globally, especially his recent string of “post-Section Nine” singles “Original, Voyager II, No Gyal Tune, The Antidote & SXN”.
Following the success of “Section Nine” it wasn't long until Futurebound snapped up Christian exclusively to join the already mighty artist roster on Viper Recordings and set Toronto Is Broken to work on his second album, and sequel to his first album entitled “You Are (Not) Alone”. “YA(N)A” tells the story of an individual’s personal struggle with depression and isolation, trying to find their place in a world that was collapsed in on itself after the events of “Section Nine”.
This enigmatic Mancunian duo famously rose to prominence in 2011 after a slew of ground breaking releases characterised by their refurbished, stripped back and Dave Clarke inspired brand of techno. True vinyl purists, the two maintain strong analogue production ethics and showcase this in their heavy hitting live show.
AnD’s modernistic approach has been endorsed by trailblazing UK imprints Project Squared and Idle Hands, whilst their purist ideologies have been employed by the visionary Horizontal Ground, Black Sun Records, Electric Deluxe and Repitch labels. Embracing the shadowy outskirts of techno, AnD’s covert productions on their own self-titled white label series looks to push them even further into their own brand of sonic destruction. In doing so AnD follow in the footsteps of UK luminaries - Surgeon, Regis, James Ruskin and The Black Dog by continuing to shape a genuine and unflinching vision of techno.
In recent years they’ve been stepping out under the banner of Speedy J’s respected Electric Deluxe brand, culminating in the release of their critically acclaimed debut album, ‘Cosmic Microwave Background’. The record sewed up AnD’s uncompromising sound into a long form dance floor contemplation of the cosmos. But it’s from the booth that AnD have been making their presence truly felt. As on point vinyl selectors and potent live performers they’ve been storming their way across Europe, from Berghain in Berlin to the mammoth Gashouder at Amsterdam Dance Event, leaving no floor unscathed by their wrecking ball sound and sledgehammer ethics.
„We would say that our music has a transcendental quality, for us we definitely go into a trance like or meditative state when we make music together. (…) We like to be spontaneous, so nothing is ever thought about at great length, we like the idea of no preconceived ideas just to make music and see what comes out. We always try to maintain the original energy in our tracks and hope that these energies are passed on to the listener as well", they said.
It was spring 2010 when the Cologne natives decided to kick their ass into gear and get out of their Studio to bring their beats to the world. Less than 12 months later Andhim were voted in the top-ten German newcomers of Groove and Raveline Magazine and their records were found in the cases and remix-wishes of many unknown and famous DJ’s alike. Their sound, which they self describe as “Super House” has become its very own genre built from their soul and passion. Andhim’s unique sound, party proven and of reduced nature, is organic with an emphasis in the finer detail. The boys grassroots ow from Hip-Hop, and they work mainly with samples which makes their tracks one of a kind. This individuality has earned them a home with Labels such as Monaberry, Terminal M or Sunset Handjob.
When performing live one can really feel the full commitment and passion of the boys. Energetic, creative and always entertaining, they present their very own interpretation of electronic dance music that makes dads cheer and mums scream. The boys see the record player as their instrument, which they use to create new sound worlds, which separates them from the standard reproductive character of a DJ.
„The most important thing is to be passionate first of all. Be passionate for the mixing, be passionate for being in the studio all night long, be passionate about digging and cutting samples, recording noises and working on your skills. You have to do it for yourself, for your own pleasure. Nowadays people start to DJ for the wrong reasons. We all love money, fame and sex, but if this is your only intention you will never make it. Be original and try to find your own style. Give love and you will get love. And if nobody wants to hear it then do it only for yourself.”
Their musical talent and knowledge of technique comes from their musical resume: When other kids were playing at the pool eating French fries on their summer holidays, 16 year old Simon was scratching with several jazz-musicians through Europe. When he was 20 he became known as Simon² tempted to electronic music. Similarly, but on a different level, Tobias developed in the late 90’s and early 2000’s. As part of the Turntable-Crew “Noisy-Stylus” he became a multiple ITF- and DMC-Champion and influenced the Turntablism scene of the time with Noisy-Stylus in their own Battlebreakrecords and album “Table Manners”.
After massive gigs through Europe and Asia, the boys continuously work on their sound and development in an effort to explore the new worlds of sound. With strong support from many Artists and Labels of the scene they are looking forward to the future with optimism and are excited to make the people of the world dance, smile and go crazy!
At the the forefront of the French techno scene, Antigone is today a leader and mentor for a whole new generation of electronic music producers and DJs. His meteoric ascent and the warm reception to all his productions (released in Token, PoleGroup, Dement3d and Soma Quality make Antigone an emblematic player in the world techno scene.
Tracks like „As I Walk to You” for Construct Re-Form or his EP, „The Day the Sky Fell” (for Indigo Aera) illustrate this very personal melodic and melancholic style of his productions. His powerful dj skills has guided Antigone to the doors international clubs and festivals, rewarding him a residency since 5 years at Concrete, where he continuously gathers captivated public with a diversified and intense tracks selection, which definitely brought him a solid artistic reputation.
Digging for more than ten years this young vinyls collector really knows the sevens ways to make you jack. Open to many genres, Antigone belong to this young Parisian DJ/producer at the vanguard of French techno. Focused on the emotions and the atmosphere of his work, Antonin act with a real concern of sincerity and authenticity.
A key protagonist within Paris’ underground scene. Since making his production debut in 2009, the Parisian has gone on to establish his inimitable blend of genre bridging Techno, most notably via DJ Deep’s renowned Deeply Rooted imprint as well as his own label DEMENT3D. With his versatility fueled by a rich knowledge, his rapid rise has seen the DJ establish himself as a key resident at Concrete Paris, not to mention regular appearances at the likes of Berghain, Fabric and Robert Johnson.
Before becoming a DJ, producer and label owner, François is first and foremost an artist impassioned by music. Inspired by the Detroit, Chicago and NYC club scenes, the talented Frenchman cut his teeth as a compulsive record digger, which aided in the development of his rich and eclectic musical knowledge. It was in the record stores that he met French electronic music pioneer and close friend DJ Deep, and before long his recording ethos and skills quickly convinced the Deeply Rooted founder to release François’ debut records. Starting with ‘Future Roots Vol.3’ in 2009, François went on to provide a total of three releases for the seminal Parisian imprint. The final EP featured a remix by Marcel Dettmann, who would later invite François to appear on his own label Marcel Dettmann Records.
Before long, François, in partnership with longtime friend Heartbeat, launched his own imprint DEMENT3D; a vivid record label providing avant-garde Techno to the masses and promoting established artists such as Polar Inertia alongside new talents such as DSCRD. The label also provided the perfect platform for François to release both solo and collaborative work, including his debut album “Irregular Passion”.
Current Value stands as one of the producers at the very forefront of experimentation – a creator truly reaching the top of his game and one who has walked an unmistakable path across the D&B landscape. From beginnings that included extensive training in classical piano and SAE qualification, Current Value has made it his life’s work to consistently evolve and explore new possibilities in both sound design and arrangement: „I had a classical piano education of 16 years starting at the age of 6, which helped me a lot in terms of reading notes and understanding music when I got into making electronic music. It all started very simple - with a Casio keyboard in the early nineties that I got for Christmas. From that time on I spend every penny I had on musical equipment.”
His long career has seen him working with Björk and remixing her as part of her Biophilia LP, remixing Noisia and Foreign Beggar’s track ‘Soul Purge’ for Mau5trap and having his tracks dropped by Aphex Twin. He established himself as one of the most consistent and essential voices of harder, more experimental forms of D&B - being a core part at the center of the heavier end D&B for many years and releasing countless records on labels such as Position Chrome and Freak Recordings, as well as being a figurehead in the past for Therapy Sessions. In 2017 he announced the CVAV project - a 60 minute audio visual showcase of Current Value’s work that sets a new bar in electronic music with a mind-shattering sensory experience that changes the context of one of the most unique artists of our time.
„If things get too serious you forget why you’re doing this. There’s humour to be had here! And if you think of the people who go to the raves, they’re young, they want to play and have fun. I’m twice their age now. If I turn up like a science professor saying ‘I am going to make you dance to this!’ that’s really fucking sad. You can never get away from the pure functionality of the music – to make people dance. And if you can do that with humour, silliness and the ability to laugh at yourself then all the better!”
Born in Greece, living in Krakow. As a teenager he spontaneously came into contact with trip hop music and such bands as Portishead and Massive Attack. Exploring music he meets the work of electronic music producers – Dubfire, Plastikman, Lutzenkirchen, Sebastien Leger and later Robert Hood, Kevin Saunderson and Anthony Rother, who change forever his perception of reality. A young man, fascinated by music, develops interest in club culture and djing. Soon he started playing in clubs as well as exploring the nature of music – what is sound, how it is produced. While analyzing recordings, he learned about music production and began to develop also in this direction.
As an artist, DEAS is never a subject to stereotypes and cliches. He’s not afraid to think different, as the purpose of his work is continuous development. Walking down his career path he recorded in such prestigious labels as Pan-Pot’s Second State, Kevin Saunderson’s KMS Records, British BUSH Records (that also released Joey Beltram, Felix DaHauscat, Dave Clarke).
In 2016 he released his first album - Community LP for Bush Records that collected positive reviews from many artists (Paul Ritch, Pierre Deutschmann, Drumcomplex, Len Faki and many others). Apart from working on his own tracks, which were remixed by such artists as Pig & Dan, Harvey McKay, and Martin Eyerer, he also remixes other artists – including Carl Cox or Inner City.
For his achievements he was appreciated in one of the best rankings of Polish electronic scene - Munoludy 2016, where he was in the forefront as a producer and the author of a podcast year.
The godfathers of D&B and legends of modern music who are idolised worldwide. Industry heavyweights, fans and artists regardless of genre will readily respect and praise the ongoing influence of the two. The scene in general owes much to Fabio & Grooverider’s dedication, focus and longevity. They were part of the very few UK DJs to first play House music, and to then fuse and formulate something entirely new which would eventually evolve into Jungle/Drum and Bass. It is no understatement to say that the respective streams and offshoots of D&B that Fabio & Grooverider both represent from those early times now stretch so wide - liquid, jump up, technical, minimal and half-time styles to name a few – that it’s effectively the fabric of D&B itself.
From their first venture into pirate radio on Phase 1 a simple template was established: fuel the energy of the streets, the illegal, massively-attended raves of the late 80s – legendary raves such as Fantasia, Biology and Sunrise – instantly back to the airwaves. The early days of ‘Jungle Techno’ graduall became the world’s first weekly Jungle night at Rage in London, where the boundaries were pushed into the red every week, so much so that the scene became notoriously hard, even intimidating.
As such, Fabio channelled the kinetic soul of the music to a new outlet, Speed, alongside comrade LTJ Bukem and, in conjunction with Groove Connection, eventually lead to Swerve in the late 90s as his ‘Liquid Funk’ vibe grabbed hold and took flight, and the vocal element successfully ignited with the unique musicality of D&B. Over the years, Fabio & Grooverider’s influence on new and upcoming artists is simply incalculable: key figures such as Goldie, Bailey, Matrix, John B, Calibre & many more will attest to the influence of the pair as they first entered D&B and established their own career in music, ongoing. And to achieve a play of one of your tunes by Fabio or Grooverider: It was simply a pinnacle, a sign that you’d arrived.
Radio was always a natural outlet for the pair and their vocal, extrovert styles: the perfect gift for the airwaves. So, via major UK stations Kiss FM and BBC Radio One a breathtaking era of new talent and styles emerged week after week on their show over the course of a decade and a half, all owing to the deep down ‘finger on the pulse’ dubplate-driven culture of the pair. Names such as Chase & Status, Pendulum, Calibre, Camo & Krooked, Nero, Alix Perez, High Contrast, Sigma, Sub Focus and countless more all know that their key exposure is down to the pair’s organic love of D&B. Not schedulers, playlisters nor stats.
Fabio & Grooverider were voted in the top 25 Greatest DJs of all time in a recent Mixmag poll, and December 2015 saw the pair win the prestigious Outstanding Contribution to music award at DJ Mag’s Best of British awards.
The Romanian DJs and producers captured the electronic music scene since the 00’s. Influenced by the past roots, but staying strong in the present, the twins evolved as artists developing their own signature in styles they have been experimenting over the years; from techno to house, from acid to minimal.
„We are twins, real twins! And in Romanian language twins is translated like ‘gemeni’ and from here the name Gemini! Brothers? We are twins, brothers, best friends who argue sometime but best friends! Is not a long story, is just the truth! We are Gemini Brothers!”
Their complex and intense rhythms, bass line twists and drive fusion materials drawn in legendary record labels to get their releases on Moodmusic, Skint, Eskimo or Miami’s Bad Barbie Records. Known as Gemini Brothers or Francis and Francois, they interconnect like no-others, plus, being twins, the mother-heart connection goes beyond same music tastes and continues into never- forget journeys sets and mixes.
Their various genres, combining techno with minimal and ambient, always transition with tracks that never ends gives them the trippy trips to many European places to share their sounds and experience. Now you can find them traveling to various clubs from Barcelona to Warsaw, from Belgrade to Tel-Aviv, from Mamaia’s Sunwaves Festival to London’s Lovebox.
Jan Blomqvist, born in the 80s is a Berlin-based solo-artist and bandleader. He and his band is into dancy electronica and club soul. As a kid Jan sang 24 hours a day. His parents approved and bought him his first guitar. Just as he had learned to play like Keith Richards, he realized he’d rather be like Mick Jagger. He founded his first band in a little village in northern Germany.
„I guess I was educated by these fascinating brit pop bands in the ‘90s like Radiohead Blur, Suede, Pulp, The Verve. Bob Dylan, Mick Jagger and Kurt Cobain impressed me a lot over the years with their text writing skills as well. When I moved to Berlin, I was 19 and just fascinated by electronic music. James Holden and Stephan Bodzin were my heroes. I had the idea to combine electronic club sounds with those melodic and thoughtful brit pop styles. And I really wanted to bring piano into the clubs without sounding cheesy.” At the age of 21, being an aerospace technology student, he gets acquainted with techno. It dawns on him that music could be a profession. “Being a teacher is riskier if you don’t like to get up in the mornings.”
In the daytime, he sleeps. At night, he constructs his tracks for hours on end. He earns money as a bartender at weekend club and spends it on ‘educational trips’: Radiohead open-air concerts, Bar25, After Hours. Someday it’ll work: “to shatter the boredom in the clubs, to bring a concert feel to their dance floors, with simple vocals and minimal beats. Rock ‘n’ Roll in the club. Everything kept simple with finesse end details.”
In 2011, a gig at fusion festival in front of 3000 people, releases on the Dantze and Stil vor Talent. In 2012 a rooftop concert at weekend club; the YouTube clip is going to be seen by millions. 350 gigs in three years. Jan remembers them all: New York, LA, San Francisco, Moscow, Paris, Istanbul, Rome and many more. For his first album „Remote Control“ (Released in 2016) he took as much time as it was needed. He loves half beats but hates half measures. For him, being in the studio means to draw from his experience playing live.
„Music to me is kind of like love and hate. It keeps me young by forcing me to use my brain so much, but it makes me old by stealing my time. Without music, I would not have met all these nice people all over the world. On the other hand, I spend so much time in the studio that music really prevents me from meeting with my friends. So it is tricky… Music, art and culture in general make us different from animals. Humans were dancing and partying long before they had language, so music is maybe the oldest language on earth.”
Setting standards in the industry ever since they first collaborated in 2005, Matrix & Futurebound aka Brendan Collins and Jamie Quinn possess one of the most impressive track records in Drum and Bass history. The duo can boast over 30 million combined Spotify Streams, one critically acclaimed album, ‘Universal Truth’, and many productions in Top 40 UK tracks.
As two of drum and bass’ brightest stars, Matrix & Futurebound have remixed the likes of Emeli Sande, Tine Tempah, Jess Glynne, Eric Prydz and Birdy. Their remix for Emeli Sande gained huge support from daytime Radio 1 making its way onto the A list and with extensive specialist play from Annie Mac and many others. This culminated in a highly successful Live Lounge appearance where the pair performed ‘Breathing Underwater’ live with Emeli at Maida Vale. Adding to their remix credits the guys did a remix of Paloma Faith’s new single which was released in January.
Summer 2018 will see the release of the second Matrix & Futurebound artist album and a jam-packed release schedule.
Formation created by two producers - CLS & Wax and the specialist of turntablist tricks - K-Size. From the very beginning of group's existence – year 2000, all three of them were interested in popularizing positive sounds of drum & bass genre, which they currently enrich with heavily dubstep content. Formation contributed to the development of the Krakow club scene, inviting the brightest stars of the genre and exploring new places that could accommodate a larger public than more than one club's basement in the city. They are also co-creators of the series of events, BassTheory, taking place in Warsaw, which received a nomination for the Nocne Marki Award in the category of Best Event of 2007.
CLS & Wax, thanks to their music, have become a producer duo recognizable outside the country. They debuted in 2003 for the British Hospital Records, and played on the 10th anniversary of its existence in the London club Heaven in 2006. Since the debut on the compilation Weapons Of Mass Creation with "Why Do not You" track, they continuously create new sounds, and their work has repeatedly visited the BBC Radio and mixes of such artists as LTJ Bukem, High Contrast, London Electricity or Artificial Intelligence. However, K-Size fascinated by the technical aspects of the game on turntables, enriches performances of the three with scratches and other turntablist tricks.
Combining production experience with a turntablist show, group serves music on three turntable plates using additional mixers and CD equipment, creating and rewriting their own songs. They developed such formula of performances by looking for a new way to use technological possibilities, to give their DJ and production skills an outlet, and to deny the myth, according to which, a DJ is a modern embodiment of the jukebox.
A brilliant multi-dimensional Berlin duo currently twisting house and techno fans into rapturous fits. In just a few short years, Pan-Pot—comprised of Tassilo Ippenberger and Thomas Benedix—have developed a dominate presence amongst the top tier of electronic dance music, with an ascension paralleling the rise of their native label, mobilee records. After booking Anja Schneider for an infamously ill-fated party in 2005, the duo established a connection with Schneider’s then recently formed imprint and within weeks had released the EP on mobilee—their first release and the label’s second. Graduates of Berlin’s SAE, their initial musical efforts placed a primacy on integrating electronic experimentation with minimal stylings while simultaneously establishing the ominous, murky sounds that have since become synonymous with their name. The next few years saw the release of a steady stream of original tracks and remixes on both mobilee and Einmaleins.
The defining moment of their career, however, was the release of their debut artist album, Pan-O-Rama. Serving as a playground for their experimental leanings, the album was a definitive statement of Pan-Pot’s past, present, and future: an affirmation of the possibility of a wider sonic spectrum that suggested a move towards stripped-down techno while simultaneously hinting towards a newly developed sense of melody.
When not in the studio writing original material or putting their unique spin on tracks by a myriad of artists, the bad-boys of impassioned, pitch-black techno can be found on the road touring at a near ceaseless level. Their dance floor oriented DJ sets see them playing back to back and are unconstrained by boundaries as they effortlessly transition between techno, house and everything in between, demonstrating an immaculate understanding of the audience’s wants and needs.
Their willingness to expand the components of their productions while staying firmly rooted in what they do best—colossal, haunting techno tracks overflowing with noise and static, throbbing bass lines, and epic builds that manage to be both tasteful and restrained—is only part of what differentiates Pan-Pot from the hordes of other techno producers currently flooding the airwaves. They may name themselves after a piece of gear, but Pan-Pot’s music is ultimately about moving bodies, not knobs, all the while giving way to an unprecedented degree of dynamism on dance floors around the world.
Richie Hawtin, one of the most important artists in electronic scene, challenges the distinction between DJing and live performance with a new 75-minute audio-visual show which takes you closer to his unique way of performing. The show, CLOSE - SPONTANEITY & SYNCHRONICITY, explores the relationship between human creativity and the innovative technologies that enable the freedom of improvisation. Using intimately placed cameras this man versus machine relationship unfolds onscreen in real-time bringing the audience closer than before to Hawtin’s intuitive gestures.
“I’ve always thought of DJing as an art form, it could elevate to an extreme form of creativity and spontaneity. CLOSE is my attempt to let people have a better understanding of what the art form can strive to be: through the cameras, by taking away the table and letting people see my form and how I’m interacting with my machines, even if someone’s at the very back of a field with 10,000 people.”
HAWTIN's career has continually evolved and innovated over the last 25 years through his own music as Plastikman, his co-creation of Final Scratch which led the huge shift of DJing to digital, a co-founder of the Beatport retail platform and more recently the analogue MODEL 1 mixer he designed for his own PLAYdifferently technology company. Co-designed with Andy Rigby-Jones, who designed the X-One for Allen & Heath, the MODEL 1 has seen many of the world's most creative DJs change their central choice of instrument after many years.
In recent times as a performer, Hawtin took Plastikman to the Guggenheim in New York, performed at the Grand Palais in Paris in response to work by sculptor Anish Kapoor and recently worked on two sound installations with famed German artist / photographer Andreas Gursky.
5-piece electronic outfit Vessels made a welcome return with their fourth album before summer 2017. The Leeds-based act signed with Different Recordings (the electronic imprint of [PIAS]) at the beginning of 2016, who reissued their critically acclaimed third album Dilate. The band quickly followed the album’s success with two new singles in ‘4AM’and ‘Are You Trending?’ both rising to the top of the Hype Machine Chart and picking up big BBC 6 Music support. Appearances at Glastonbury + Melt! plus support slots with Battles and Flume have further helped establish them as one of the most exciting live electronic outfits.
„We became Vessels in 2005 after a number of years playing together in a post-hardcore band. We realised during that period that we wanted to be making interesting and dynamic instrumental rock music. At the time we were listening to bands such as Mogwai, Explosions in the Sky and the Appleseed Cast among many others. Gradually our passion for electronic music has creeped into the Vessels sound.”
Their latest album "The Great Distraction" was released last year and a lot of material from this album will definitely be heard during their performance at Audioriver.
Alegria & Artiztix represent the Poznań-based DrumObsession collective which promotes the best strains of jungle & drum & bass. Alegria is its driving force and mastermind, Artiztix - its founding father. But that’s not all they do. Alegria hosts two weekly radio shows and Artiztix runs the Drum And Bass Poznań project. Both of them boast versatility in their sets, but the former is definitely most partial to the futuristic vibes of Autonomic to soulful melodies, while the latter loves to roll it out in a darker Metalheadz style, intertwined with raw and techy rollers.
DrumObsession were the first in Poland ever to book artists like Halogenix, Icicle and Technimatic. The event name obliges: both Piotr and Grzegorz are obsessed with this music as well as honing their DJ skills. This year marks the third Audioriver appearance for Alegria, while Artiztix makes his festival debut. What will come out of their joined forces? One thing’s for sure - it sure as hell will be interesting!
Lasse Bruhn Svendsen (that's his full name) produces an organic, melodic and nomadic style of groovy techno, which paints tonal stories that invoke the primal parts of your feral imagination. After starting his solo project in 2011 releasing a series of EPs and remixes on various labels, the ripples spread via live performances, and a breakthrough into the international scene came in 2014.
„I was never trained in any instrument, but always fooled around with them, learned a bit of guitar as a kid, but only standard stuff. I was very attracted by the thought of playing multiple sounds simultaneously and experimented with old turntables and reel-to-reel tapes found in flea markets, effect pedals and such. Finally, I saved enough money to get a pair of 1210’s at the age of 15 and started mixing. Then bought my first sampler and HD recorder in 96, and here we are 20 years later, ha!”
Touring through Europe, USA, Canada, Australia and South Africa, performing at festivals such as BOOM, Fusion and Burning Man, the world quickly awoke to his enchanting vibrations. While exploring a myriad of styles and musical traditions, Be Svendsen’s live showdowns has developed into a melting pot of hypnotic desert-circus-shaman-cowboy- techno, incorporating elements of vocals, teased field-recordings, nostalgic samples and live instruments.
His performance takes the audience on a deep experimental journey, allowing the receivers to celebrate the light and dark parts of existence. It never fails to create an intense, shared experience that evokes big smiles and open hearts on the dance floor. „The music should ultimately connect you to a bigger picture. The goal is to express and convey a feeling, and to behold the moment – the essence of oscillating between a smile and a tear. I like to bring tragedy and humor together, and invite them up for a dance”
Constantly evolving and eager to experiment, both musically and in life. He often balances on the verge of trashiness, trying to do it with style that takes roots in Tarantino movies - another big inspiration. Looking for his own sound across genres, he stretches his compositions from deep house, through tech-house, to the more melodic kinds of techno. Keywords: jungle, anxiety. His sets are varied, as he tries to incorporate different musical currents that permeate both his head and his music collection.
Although collecting vinyls and slowly acquiring skills since 2008, he counts as his first serious performance an illegal rave under Wrocław's Millenium Bridge in summer 2015. Later that year a DJ contest put him behind the decks of his favourite Polish club, Das Lokal, where he could finally present his set-building skills to a wider audience. After earning local recognition quite swiftly, he was invited to support many artists he admires (such as Patrice Bäumel), line festivals he loves (like Plötzlich Am Meer) or play in clubs in his musical mecca - Berlin (e.g. Club der Visionäre’s Hoppetosse). While he attaches significant importance to the kind of gig he's playing and adjusts accordingly, he enjoys dark sweaty clubs quite as much as green open spaces.
DJ, producer, and record label owner who helped launch the underground club scene in Asia during the early 1990s, and today plays at nightclubs across the world. „It was the true beginning of me making my life of music. I loved Hong Kong of course and ended up staying for six years. The DJ gig was, again, in a commercial bar but during the first few years there I started playing most nights incognito across the road in another empty club. I was lucky enough to be a part of the earliest dance music movement in that country and really helped shape the scene there. I was also fortunate to discover Koh Pha Ngan in Thailand really early on in 1992. Think hippies playing drums on the beach for full moon and two hours electricity a day. I visited that island, Haad Rin in particular, for months, playing sunrise sets on the beach and then for days at a little hidden club. Well, a wooden shack that was a snooker venue before it transformed, called the backyard.”
In 1997 he had returned to the UK to attempt to start a DJ career there. Renowned for his DJ sets that mix varieties of electronic dance music into the early hours of the morning, as well as for his antics behind the turntables in the DJ booth, Burridge was a member of England's Tyrant Soundsystem (along with DJs Craig Richards, ATTICA (Graham Duncan) and Sasha) and has mixed albums for labels such as Global Underground and Balance.
In 2011, Burridge launched a new project encompassing daytime events and a record label. Titled 'All Day I Dream', Burridge began investigating a new musical direction that leaned towards the more melodic and melancholic sounds of house and techno which have since grown enormously in popularity.
"I wanted to create a place for people to get to know each other again. Back in the day when people use to use chat room boards, people from London would know people from New York having never met them. I would like to create that sort of community where you travel around the world and people have common ground."
Burridge's popularity has grown exponentially once again in recent years, both through his ADID brand but also through his affiliation with Burning Man festival. Burridge's seven to ten hour DJ sets each closing Sunday are one of the playa's best kept little secrets. All Day I Dream continue to grow and support and nurture emerging artists such as Yokoo, Lost Desert, Bedouin, Gorje & Izhevski, Hoj and many more.
DJ with over 15-years’ experience, who is not only performing in Polish and international clubs and festivals but also co-creating and promoting many electronic events’ around Poland.
He’s one of the promoters behind Audioriver, engaged in creating the festival programme and responsible for artists’ bookings. Thanks to his effort, during the last 12 years artists like Underworld, Richie Hawtin, Sven Väth, Ben Klock, Dubfire, Solomun, Tale Of Us, Nina Kraviz and many more have performed in Plock.
Nowadays, as a DJ he holds residency in one of the best known Polish clubs - Smolna, where during his sets he’s switching between many different electronic music genres – going from deep house to techno.
He made his first steps in electronic scene in 2001. That’s when he started co-operating with legendary Warsaw clubs, like Klatka, W5 and Piekarnia.
DJ and promoter of events associated with the Polish club music scene since 1996. He has played a countless number of events in all leading clubs in Poland, as well as at festivals and during events organized abroad (e.g. London, Tokyo, Stockholm, Dubai). Together with Bartek Winczewski he co-founded the DJ-event agency and a series of events IMPORT! The event featured such artists as Nic Fanciulli, James Zabiela, Lottie, Seb Fontaine, Desyn Masiello, Gus Gus, D Ramirez and many others.
Glasse is also a co-author of the "Feeva!" compilation, four "IMPORT!" compilations and the mixed compilation "Solar Classics" prepared for the Solar club. Moreover, he’s also known from Radiostacja radio station, where in 1999-2004 he co-created the famous programs "Starter" and "Houserka".
Upcoming drum & bass producer with first official release on Viper Annual 2017 compilation which was also premiered by DJ Mag. His DJ sets presents wide spectrum of genre from groovy liquid rollers to highly energetic bangers with everything in between and can be listened on his show at dnbradio.com.
His works were featured on 2017 Technique Summer and Viper Summer Slammers compilations, made their way into BBC Radio 1 and were played by top names in the industry like Drumsound and Bassline Smith, Miss Trouble or Benny L.
His first EP “The Night” was released earlier this year on C Recordings and got great feedbacks from respected artists like Radicall, Silence Groove or Flite. Forthcoming tracks will be featured on this year's Technique Summer LP and Logams imprint – Santoku.
His pioneering 2-step sound went on to influence everything in British electronic music, from grime to dubstep, to bands like The XX. His breakthrough track, “Sincere”, was one of the first proper garage songs to penetrate the UK top 40, and even now it is the track played religiously at 6 AM during every house party from Hackney to Hartlepool.
Cole grew up in West London. His family home was always an intensely musical environment. Dad was a singer and actor, starring in West End musicials, his grandparents both played piano and so did his mother. He ended up studying at the Royal College of Music, and that classical background still informs much of the way he crafts electronic music. “Those earlier years learning in the classical world really trained my ears to understand how music works and learn the language of musical expression.”
As a teenager, Cole and his mates got a hold of a music program called Octalyser for the Amiga. They would set up two computers with a DJ mixer in the middle and start switching between different chunks and samples to create their own tapes. Quickly they upgraded to the Atari and got Cubase. “I’d go out to raves, then I’d come back home to my little computer in my bedroom and try to re-create what I was hearing the clubs.” After sending his demos around, he ended up with a job at the cult label Sound of the Underground, and the rest, as they say, is history. By 1998, “Sincere” was into the top 40 and in 2000 he got his first top 10 single with “Crazy Love”.
Over the years, Cole has established himself both as one of the most consistent producers in Britain and a mastermind for bringing through new talent. He’s produced tracks across the spectrum for artists like Dizzee Rascal, Katy B, and Example. In 2014, he co-wrote and produced “Nobody But You” for Mary J Blige, alongside Sam Smith.
Looking back on a twenty year career, it would be easy for Cole to become entrenched in the past and just try to re-create those 2000s days, but instead his obsession is the new. He talks glowingly about D&B, Amy Winehouse and early Radiohead, but what happened yesterday is still what is inspiring him the most when making music. His record label, 892, is one that rapidly adjusts to the changing face of the modern music industry, and when you add that to The Gin Factory, he’s created a innovative platform not just for himself, but for new artists as well. “The best stuff right now is coming from the underground. The artists making stuff that’s real and connected to their lives, without this industry point of view. I am trying to capture that in this record.”
British drum & bass icon and one of the most recognisable talents in all of underground electronic music. He is a pivotal figure who has been at the heart of his genre for many years and was a pioneer in the earliest days of jungle, who has continued to showcase the genre to crowds around the world. He was aged just 14, way back in the 80's, that Nicky started playing records. Initially mixing up electro, he moved on to house music, rave and much more on the booming London pirate scene, playing on various radio stations.
As a producer Nicky has turned out sporadic but essential tunes such as his Spam EP, but primarily he has focussed on DJing. In his time he has showcased his skills on many official mix CDs for everyone from Azuli to Ministry of Sound and he also runs the label Kartoons, which put out his anthem ‘Two Degrees’. Still influenced by his mother’s jazz collection, Nicky has formed DJ partnerships with the likes of Clarky and Stevie Hyper D and recordings of some of their sets are still regarded as classic of the genre. Always playing high profile events, clubs and festivals all over the world, Nicky Blackmarket is very much an essential part of the global drum & bass scene.
„I'm still playing out almost every weekend, which is a blessing. Back then we didn't know so much about what was happening and what would happen, but there was a core of us and we were just happy to be playing music, just like I am today.
MC FATMAN D
One of the scene’s most imitable MCs. Resident at Warning, one of the UK’s longest standing D&B events, his lyrical and performance dexterity still carry the same heavyweight impact when he first picked up the mic nearly 20 years ago.
A versatile MC flexing numerous styles – high energy, reggae twist, ragga, double time, rap – his rise to the top was as fast and as furious as the music itself. The late 90s was a golden time for MCs establishing their key role in drum & bass and Fatman secured his place in rave history both as a solo artist and as battle maestro with fellow lyrical luminary Foxy, forming the mighty New Breed outfit. New Breed remains one of the most notorious MC/DJ performance outfits as Fatman and Foxy are joined by Majistrate, Rekless, Dazzler, Herbzie, Evil B, Eksman and Shortston.
Firing into the 21st century, Fatman grew from strength to strength adding new stamps to his passport on the roving regular. From Ultrafest Miami to Sunbeatz Ibiza, Fatman’s chiselled a sterling reputation to rouse crowds of thousands on all corners of the globe.
More recently he’s also developed his reputation on the business side of the scene; his label Biological Beats has been a solid platform for the most exciting new producers such as Macky Gee, Jayline, Turno, Dominator and Hizzleguy. With regular rotation from the tastemakers far and wide (Hazard, Hype, Crissy Criss, Logan D, Bailey, Sub Zero, Blackmarket, the list goes on…). Biological Beats comes armed with its own agency, parties and an exciting new sister brand Young Guns.
Raidho is one of the twenty-four runes that comprise the oldest form of the runic alphabets. It represent important changes and personal development in all spheres of life. Raidho is a manifestation of rhythm and cosmic equilibrium, determined by the cyclical movement of sunrise and sunset and the changing seasons. It supports and surrounds the protection of dreams, it also helps in their proper sense. This is where the name of the new musical project came into being, founded by one of the already known tech house artists –Simon Mattson. Inspired by the music of such producers as Satori, Sabo, Acid Pauli, Bedouin and Rampue - slower electronic music with ethnic elements. In his recent work and sets you can expect magical raptures, hypnotic sounds and ethnic vocals. The first EP was released by the Bar25 music label, which is named after the legendary Berlin Bar25 Club. All the tracks from the release got featured in Top30 Electronica / Downtempo Charts on Beatport and was supported by such names as Acid Pauli, Audiofly, Blond:Ish, Be Svendsen to name a few.
His story could be a techno fairytale: starting out with teenage bedroom productions, now playing around the world. People love his music - not only because he still is the congenial guy with a trashy sense of humour, but also because with his no frills, tender live-sets, he invades everyone’s hearts and minds. Techno reacting to the sun like the sea reacts to the moon. House inhaled by pop music, descending over the dance-floor like schlepp-bass thunder. Rampue is not only the first to play this internationally-hyped sound, but also the best.
Being part of Audiolith Records, Rampue proves that the techno pie is no longer divided between the same old labels. During the past years, he played around the globe and managed to win thousands of friends and fans in all corners of the world. Fusion Festival, Burning Man, Beirut, Istanbul, Kiev: Rampue doesn’t orbit from club to club, but from continent to continent, leaving traces of love behind. What else is there to know about him? Oh yes, his tomcat has got his own Facebook page.
UK Garage pioneer, broken beats fanatic, dub connoisseur. His pseudonyms include Zed Bias, Phuturistix, Funk Bias, Daluq, Talissman, Ruffcut Bias, Nu Design, 7 Wonders, Almighty Beatfreakz, Dekata Project – just some of the names Maddslinky, aka Dave Jones, has recorded under in the last 20 years as himself or in collaboration with others.
With a slew of seminal releases on his own Sidewinder and Sidestepper imprints, Jones then hit the UK Charts as Zed Bias in 2000 with Neighbourhood, now widely regarded as one of the all time classic UK Garage tracks.
He is cited as one of the pioneers of breakbeat garage but is always moving with – or ahead of – the times and his recent productions still grace the playlists of Radio 1 DJs Annie Mac, Benji B, Nick Grimshaw, Gilles Peterson and Mista Jam, as well as into the record boxes of DJ / producers like Toddla T, Loefah, Skream, Pearson Sound, Oneman, Julio Bashmore, Kode 9 and Martyn.
Throughout his career he has traversed genres with ease whilst all the while retaining his signature sound. It was in 2016 that he debuted on Exit Records with a three tracker featuring Zoe Violet, the release was a sign of things to come. The format was Modern U.K. soul delivered in the 160bpm axis, its this aesthetic that has now been developed with the Different Response album.
A musical talent from Manchester. Cutting his teeth on the whirlwind come-up of grime in the early part of the millennium as part of the notorious Mayhem Crew, a then teenage Slay decided that he would stay the course while his counterparts steered towards finding the crossover potential of pop-rap and attempting to fit into an industry which up until recently was not designed for grime in its pure form. This gritty determination and honesty in Slay's music has cemented a spot for him in Northern Grimes hall of fame.
Slay is a product of an era where grime was all but outlawed, ostracised by the mainstream and hit hard by the law and local authorities for its unforgiving nature and critique on todays society. The integrity and intensity of Slay is what makes him a special proposition in an era where MC's want to come up quick and make a quicker buck. This is an artist with heart and soul, and the underground credentials to back up every word.
With his recent inclusion in Red Bulls Grime-A-Side competition as part of Manchester’s semi final team, fresh announcements on music with bass heavy producer Chimpo and Coco and continuous work on his own solo efforts with legendary producer Zed Bias, Slay is an artist ready to take the culture beyond the fast hype of the internet and into making music with strength and fortitude.