Street-smart and wise-beyond-his-years, Jimmy Edgar wanders the desolated streets of junky occupied steaming sewers, an urban ghost town under deconstruction. Reeling through a jungle of industrious landscapes, abandoned buildings, isolated alley ways and homeless people.
In the midst of which lies intense feelings of jadedness and despair that makes the city all the more musical in its thriving evolving decay, and being the inspiration to a unique style which critics rant as being: Songs with “a richly textured character ? softly softly blending a hazy arrangement of static with an engrossing nighttime beat. Scratches galore and moody electronic pulses? via some glorious Detroit Neon,” Boomkat 2002.
Poster child of sound couture Jimmy Edgar, who dropped studies in fashion and design to concentrate on making music, has a background of art production and style which reads much like an urban landscape dissertation. Snatching all kinds of influences from his Detroit dwelling: the city’s decay, urban fashion, and the city’s eclectic music scene, Edgar manufactures unique and provocative ultra modern sound environments.
The alleged young prodigy 19-year old Edgar has been stitching beats since he was 10, when he started producing sounds electronically and fashioned his first analogue pieces. Influenced mostly by Jazz, funk, street beat and r&b in these early years, He began his musical pursuit by playing the drums in experimental bands and by making tape recordings.
“At first it was mostly experiments in sound, acoustic space, pretty minimal stuff,” comments Edgar, “things like tape loops and tape manipulation.”
Most of these recordings, consisting mainly of pitch bended tape loops, cut edits, field recordings, and noise tracks, were the beginning of his experimentations with the technical aspects of production.
Jimmy’s intense passion for music also propelled him at a young age to learn to play any instrument he could get his hands on, including string instruments, saxophone, and mostly percussion/drum set . This is more obvious in recent releases in which he shows off his talent by playing exquisite funk and jazz keyboard solos.
By the time he was 15, he started performing at Detroit raves with contemporaries and techno pioneers such as Juan Atkins, Kevin Saunderson and Derrick May.
In February 2002 Edgar signed his first record deal with NYC based Isophlux Records, following a release of a techno track called “We Like You” on the German label Poker Flat. Then, after only hearing one of his tracks, Miami based M3rck Records immediately signed him and released his first full length album “My Mines I” [merck009] by the “dual alter ego” kristuit salu vs. morris nightingale.
XLR8R rages about the album: “Edgar-under the name Kristuit Salu vs. Morris Nightingale-layers clipped clicks, chopped vocals and brittle high frequency sweeps over SETI pulses and random-access rhythms. This is hip-hop beamed in to deep space, where the sound fragment in a sunspot before returning, riding bare back on slowly weaving radio waves. Warmed and crackled jazz chords roll slowly like clouds as beats tick through random static. Time will come, not so far from now, when folks will reference My Mines I in the file marked “Future of HipHop.”
After the release of “My Mines I” in February of 2002, Edgar started getting some attention which lead to touring cities in the US, including New York City, performing at the infamous experimental music fest the Miami Infiltrate, Vancouver and selected cities in Japan. Touring he got a good response from his live performances as he carried a distinctive energy on to stage and incorporates visuals such as synchronized projections. He was also asked to perform at the Detroit Electronic Music Festival 2003 which was his debut as a Warp Records artist, and in which Detroit witnessed a legend in formation as even the security got down with the local break dancing squad.
Reviews :: Access Rhythm
“the razorsharp beats of dabrye, the twisted hip hop of prefuse 73, the futuristic glitch of akufen and the downbeat machinations of carl craig are all reconfigured into a new shape, with the kind of ease and comfort that would suggest there’s a lot more to come from this talented young buck” 4/5 DJ Mag
“on this, his debut 12″ for warp, the motor city native comes of age with four tracks that combine his techno sensibilities with a love for hip hop rhythms. One to watch for 2004″ Dazed & Confused
“Leading the techno field with his own very distinctive sound, he uses classic elements fused with r’n’b & hip hop, creating a whole new genre, that’s cutting edge, bathed in warmth & funk fueled. Jimmy Edgar is the motor city’s new star” DMC Update
“he’s frustratingly cool — techno’s new toy” i-D Magazine
“merges all of his interests, bringing his strict programmatic methods to bear on glossy r&b-inspired tunes — few can match his edgar’s rhythmic dynamism” XLR8R
“cool and razor-sharp, grabbing the glitch, pushing it onto the dancefloor and telling it to do head spins in the air” Jockeyslut
Legowelt= the name under which Danny Wolfers releases most of his music. What Music you might ask??? Well a hybrid form of slam jack The Hague electronix combined with deep chicago trax,obscure & romantic ghetto technofunk, EuroHorror Soundtracks and lots –a– more!
You can’t quite pigeonhole it but it sure as hell slams the pit!
Already more then 10 years in the business Legowelt has released a dozen or so projects on various formats, most of them on good ol’ vinyl released on homebase Bunker records, The Hague’s legendary pioneering electronic music label. Sometimes these tracks spin out of the obscurity like an asteroid from a spacebelt and fly straight into the charts; such an event happened with ‘Disco Rout’ which was voted track of the year 2002 by the acclaimed german Groove magazine.
Check out the discography for a list of his projects.
Legowelt began producing music when in the early 90ies the adolescent autistic schoolboy came in sporadic contact with the sounds of Detroit’s Underground Resistance, Model 500, Blake Baxter (probably his all-time favorite producer) and Chicago heroes such as Farley Jackmaster Funk, Armando Gallop and mr.Fingers. Later on this palette of influences grew with early Mu-Ziq, Aphex Twin, Drexciya, various stuff from The Irdial Discs label and virtually every type of freaked deep music he could get his hands on.
But nothing had quite the influence of when, somewhere in the early 90ies, he first heard a band called ‘Unit Moebius’ on the radio. A punky palette of RAW freaked out Lo-fi chicago trax and deep detroit jams made with machines which were found next to the garbage can. Shocked in awe he heard that this music came out of The Hague, Holland The very same city he lived in! Put on the right track by this fact he stumbled into the Bunker Records office and discoverd a world of contemporary autistic freaked music lovers who looked beyond all the bland house and dance music that ruled the media and clubs. Musical mentors such as IF and Melvin White (aka pametex) lectured him with even more unknown sounds such as early electro and the obscure pre-1983 Italian disco which production secrets were closely studied. In 1998 Bunker released the first vinyl of Legowelt : Pimpshifter, a 6 track mingled Italo Chicago combi which became an instant cult hit with tracks such as ‘Stumvogel’ and ‘Total Pussy Control’.
Apart from producing Legowelt has been playing live all over the world for the last 10 years. A lot of time together with Orgue Electronique and the infamous Bunker Team.
Mika Vainio (FI), currently based in Berlin, is one half of the minimal electronic duo Pan Sonic from Finland, (the other half is Ilpo Väisänen). Before starting Pan Sonic in beginning of the 90’s Mika Vainio has played electronics and drums as part of the early Finnish industrial and noise scene. His solo works, under his own name and under aliases like Ø, are known for their analogue warmth and electronic harshness.
Be it abstract drone works or minimal avant techno, Vainio is always creating unique, physical sounds.
He has released on labels like Touch, Wavetrap and Sähkö and he has been producing with Björk, Alan Vega of Suicide, Keiji Haino and Chicks on Speed.
BILL YOUNGMAN is hell of a producer. Although mostly known for his techno releases on labels like Scandinavia, Tresor, Null etc., Bill has from day one been producing a lot of excellent other stuff. For example, he released one album of the finest electronica on DEPTH CHARGE’s DC Recordings under the alias AUDIBLE, several great EPs of electro on Serotonin and recently remixed JAMIE LIDELL in a rather techy dubstep style for Warp.
Bill doesn’t follow trends and dislikes being categorized into one stale genre and so perfectly fits into the KILLEKILL master plan.
Expect several EPs from him on KILLEKILL in the future that will further display the wide range of styles he is interested in and loves. With all this in mind, Bill will furthermore attempt to push the threshold of modern electronic music production.
According to his press bio, Global Goon’s Johnny Hawk is a former shepherd from Liverpool who earned a recording contract after moving to London and rooming with Richard D. James (aka Aphex Twin) for a time.
Hawk had worked in the capital for a multimedia company while making music on the side; after moving into a shared house with James, he released his first album Goon on Rephlex in 1996. Rumors that Goon actually was Aphex Twin persisted even after the release of Cradle of History 4 years later.
Planet Mu / We Me Records Syntheme project is a recognised alias of Global Goon and his recent live / DJ performances exhbit his tweaked-up take on acid house, techno and disco.
With a background in classical piano and composition, Emika brings a fresh new voice to the ever-evolving world of electronic music. Mixing dark textures with articulate vocals, her recent releases on Ninja Tune have been causing a real stir.
She describes herself as “making pop, but with a hard edge, playing different sounds and intensities against each other. I try to stay on the fence, leaving from for the listener to create a sense of what its about. It’s all about tension for me.”
Having lived through the formative years of the recent global explosion in bass music coming out of Bristol, she now lives in Berlin where she works as a sound designer for Native Instruments.
“I am focused on the world of sound and the power of the human voice, the instant connections it makes with listeners, in music. In general I feel there is a lack of vocabulary in the field of electronic music.”
Klaus Beyer was born in Berlin as a simple and charming boy. He worked as a candle-drawer in a factory until he was fired after 25 years of work in 1997. Since than he takes full advantage of his artistic work.
In the early 80’s he used to sing the songs of the Beatles to his Mom. Unfortunately she doesn’t understand that foreign language. So Klaus Beyer starts what he is mostly know for now: to sing those songs in his mother’s language.
His work process is unique. On an old reel to reel tape recorder he edites passages of songs together where the Beatles are not singing. After that he sings his own poetic translations on top of it. And: they’re always in rhyme ! Cut-up Beatles songs in German.
But the hidden talent of the factory worker is larger than that. He also write own songs, starts filming them and the Beatles songs on Super 8 at weekends in front of a curtain. All by himself. Klaus Beyer is an one man show. Magazines call him the “van Gogh of Home Movies”. And if he needs a female character for his films, he buys a wig.
Since the 80’s he’s performing live and presents his films in small clubs. 1994 his friend and manager, the film director Frank Behnke did a documentary on him which was shown in Europe and overseas in the USA. Beyer won prices and underground fame.
He has become part of the outsider artistic landscape now, was invited to TV Talk shows and subject of two books. Likewise his films has been shown at the Art show ‘Documenta’ in Kassel and his famous short film “Die Glatze” (The baldhead) became a mainstay on MTV’s Alternative Nation.
In 1999 Beyer met his ‘US-brother’ Daniel Johnston on the same Berlin stage they performed. There it was that theatre director and enfant terrible, the late Christoph Schlingensief discovered him and worked with Beyer as an actor for ten years. That has brought Beyer to Africa, Island and Brazil. He even plays the shadow of Parsifal on Richard Wagner’s holy Opera stage at Bayreuth.
Recently he did a clip with director Jörg Buttgereit for the New York all star punk band ‘Osaka Popstar’ (Marky Ramone a.o.). Beyer sings their songs in German too.
2010 the Belgian label Sub Rosa releases a CD of outsider artists including Beyer.
An art-brut kind of guy, who can’t sing properly finishes his life’s work: to release all 13 LPs of the Beatles. In German. That happens now, in Summer of 2011 with the White album.Klaus Beyer will became 60 next year and has worked longer on Beatles songs than John and Paul and he deserves the title of the real “fifth Beatle”.
Giving the people back the songs they own. Home baked, authentic and with naturalistic love.Klaus Beyer stays an unique working class hero as a Berlin Original.
As a real berlin bohemian Alexander Spree is trying hard to avoid success.
He ended his promising career as an electro hero with AeoX to become a loser writing songs about love (aaarrgh) and the art of loosing.
Meanwhile he plays the clarinet and suffers a bit with a sigh.
No digital sounds at all but preaching on a piano for the hope to get the girls.
What else matters?
Prepare your ears and adjust your brain for some of the most inventive modern pop you’ll hear all year, with Rudi Zygadlo’s debut ‘Great Western Laymen’.
Rudi Zygadlo’s is a musician like no other, taking the fundamentals of dubstep in a direction that is as unexpected as it is unique, he’s created an amalgamation of pop song writing with a contemporary electronic rewiring which is heavy with influences as wide as Frank Zappa, John Carpenter, Eastern European Classical music and contemporary US indie.
Working like a disciplined artist, Rudi’s music squeezes the most out of what he’s got, working with a restricted palette of sounds, using no plug-ins, but layering on live instruments to give the music an added depth, and the results are astounding.
He describes his music essentially as a fusion, a form of music he’s had in his head which brought together the music he enjoys into a new format. The music he’s going to release in 2010 sounds effortless and completely natural, and will be released first as a single and then as a complete album in April called Great Western Laymen.
The title of the album pays homage to his residence in Glasgow which sits between two churches on Great Western Road. There is a strong ecclesiastical theme which runs throughout the lyrics which gives the album yet another layer of intrigue. ‘Great Western Laymen’ is a future classic in the making.
DJ Scotch Egg
UK’s DJ Scotch Egg brings powerful cosmic energy using the simplest tools available: 4 Nintendo Gameboys and a mixer. Not a noisy release by any means, instead a fully activated set of lean muscular gabber pop music that stares boldly into the sun with the jihad of a suicide vest full of gummi bears.
DJ Scotch Egg has opened for DEVO, Shitmat, the Go Team, Lightning Bolt and many others. He is definitely not a DJ, he’s defiantly not Scottish and he’s probably not an Egg.
DJ Scotch Egg’s influences include Karlheinz Stockhausen, SKREAM, John Carpenter, Walter Karloss, Steve Reich, Moondog, John Cage and Speedfreaks amongst others. Many of the tracks on his Scotch Hausen album are inspired by one or more of these particular artists. The Drumized record you now hold in your hands takes cues from older trad jazz, Earache era gabber, and some of your better ringtones. This music is FUN and comes equipped with multiple replay value.
Mr. Egg also has releases on Wrong Music (home of DJ Shitmat) and Kriss Records, and frequently plays in front of thousands of people
Thee Trapped Tigers
Three Trapped Tigers was once just an idea in pianist Tom Rogerson’s head. It’s now a fully fledged, one of a kind, live electronica band that’s being hyped to high heaven. Along with Adam Betts (Drums & Electronics) and Matt Calvert (Guitar & Synths) the trio are being shouted about like no-ones business.
The reason for this? Not the usual reasons for this kind of hype, but the fact that they genuinely sounds like nothing else out there. With bases in jazz and classical it was only a matter of time that the band would look forward to find more contemporary experimental forms.
If you ever get the pleasure to see them live you will hear that they wear their influences on their sleeves. Squarepusher styles drilled beats, the fuzzy treated choords of BOC and math rock patterns of Battles. Keeping in the spirit of experimentation all of their 3 EP’s carry numbers rather than names, leaving the imagination to wonder what universe your ears are currently swimming in. A pleasure to watch and an awe inspiring treat to hear, Three Trapped Tigers are definatley ones to keep your eye on… If you’re interested in bookings.
Plaster is an electronic music project based in Rome, composed by Gianclaudio H. Moniri and Giuseppe Carlini. Grown togheter with deep passion for the music, they decided to involve togheter in 2008, their respective solo projects [Kaeba/Agan] giving the feeling to mix their own prospective of dark experiences.
During the years born differents collaborations especially with video makers and visuals artists like Lasal, David Terranova and Emanuele Foti (tzpx). Plaster’s have various partecipations in several european festivals and in the end of 2009 they moved to Berlin in order to improve their musical experience, promote their music and to perform new gigs. Berlin gave to Plaster higher exposition in the electronic european environment, bringing them to perform in cult places for the electronic music and in international festivals, sharing the stage with important artist such as Alva Noto and Ryoji Ikeda, Frank Bretschneider and Cristian Vogel…
At the moment their are active with new projects, events organizations and music albums.
MDF stands for MidiD’unFaune, the electronic composition and performance project of Daniele De Santis, an eclectic drummer and percussionist active in several bands playing improvisation and avant-jazz.
Thanks to an in-depth continuing research on timbre, MDF’s production contents extend from multi-timbral magmas, drones and constantly changing sound ambiences to complex harmonic and polyrhythmic systems. This diversity allows the project to take place in performative research contexts as well on the dancefloor, using an heterogeneous language that naturally combines isolationist tendencies with abstract hip hop and IDM forms. HORVS, the first MDF album released in April 2010 by Farmacia901, summarises the most experimental aspects of the project. Its music is a progressive transfiguration of ultra-material sounds in ethereal abstractions. In June 2011 a new album will be released by Minus Habens Records presenting a series of new MDF tracks mostly oriented to glitch-hop and abstract beats. Some tracks feature the beautiful voice of Leila Adu. A single, “Prendi Uno” (first meeting between MidiD’unFaune and Leila Adu’s voice), has been released during 2010 in two compilations: “NessunDorma” (Minus Habens Records) and “Urb Alt Sampler Tres” (Urb Alt Community), including also other amazing tracks by Flying Lotus & Gonjasufi, Jneiro Jarel, Howie B and many others.
Øe (Fabio Perletta) is a sound designer and engineer, electronic composer and live performer, focusing in the field of digital soundscapes, micro electronics and multichannel audio environments.
His minimalist compositions explore the relationships between the plastic space and the sound perception; he sculpts sound vibrations as well as the matter in order to create shaping sound architectures. Fabio Perletta is also the artistic director and the graphic designer of Farmacia901, a network and recording label made up of musicians who explore the aesthetics of contemporary and digital sound art; moreover Farmacia901 leads and promotes the Dromoscope Project.
During the last years, he worked as a sound artist for A/V installations and performances with the Seventh Sense Art Group (“Electric Rituals”, Nutrimenti Festival 2009, Terni; “Resistance”, Zooart Festival 2010, Cuneo); he released several ambient and experimental albums and his collaborative work with Paolo Buatti has been shown at the Uffizi Gallery in Florence. He is fascinated by the microparticles and the invisible world, by the quantum physics and the concept of void.
Orgon is a visual and music project born in 2010 by Davide Luciani, the name was inspired by the concept of orgon energy by Wilhelm Reich. His personal audiovisual research start from the studies in videotheatre and electronic culture at the University of Rome La Sapienza where he graduated in 2010.
The result is an intimate and direct approach to the visionary world. Shapes and images are taken from pre-recorded super8 films, movies, generative visual software, 3D or programming ambient. Iimprovisation and reason cohabit at the same moment as well as the music born from a mixup of folk and classic instruments and electronic devices. The main concept is to create a central point: clean, virgin; where the opposite are kept in equal distance one each other.
The center is void, the center is Orgon.
Maesia is the pseudonym of Marta De Pascalis.
Sound engineer and designer she has tailored sound for video makers, collaborating with the likes of David Terranova, James Mountford, Nowness and Valentino.
Born in ‘post modern’ Rome, Maesia came to light from the need for sonic experimentation, to search and savor different instruments, shapes and cities and potential transducers of vital energy. The result being syncretic, hypnotic, chaotic beats to which infinite variations of input correspond to finite variations of sonic output.
DJ’ing for over a decade this Polish DJ has played probably every decent underground club in his home country, as well as having the chance to bring his musical vision to Berlin (Tresor, Berghain Kantine, Krake Festival), Kiev (Xlib), Malta (Liquid) as well as many London appearances (Ginglik, Egg, Gramaphone).
Over the years he’s played alongside such a versatile bunch of artists as Modeselektor, Si Begg, Daniel Bell/DBX, Luke Vibert, Scuba, Milanese, The Hacker, Jeff Mills, Neil Landstrumm, Surgeon, Skream & Benga, DJ Assault, Shackleton amongst many others, which gives you an impression of his varied DJ-style. It all depends on the party and the people but you can expect a whole spectrum of electronic music, ranging from various electro/breakbeat forms & sub-bass driven tunes, through microhouse, minimal & techno up to electronica or downtempo stuff.
There’s a lot currently going on in the life of Dalglish, aka Chris Douglas, in and outside of the fact that he’s a man who has been producing confrontational exploratory noises since the techno-advent time of the late 80′s, with his first official release appearing in 1992.
His back catalogue of work since then has informed swathes of genres, let alone the artists operating inside them, over two decades and he is still producing music that is capable of stopping a listener dead in their tracks.
Founded by Ben Lukas Boysen in 2005 Hecq Audio became a genre independent studio that finds istelf centered between music and design.The basic idea and main focus of the studio is to provide high quality and customized music and sound design for nearly all needs!
Hecq Audio has been working for and with bands like In Strict Confidence, Snog, Si Begg, Frank Bretschneider as well as clients like MTV, BBC, Amnesty International, North Kingdom, Hybrid Studio, Marvel Comics and Deutsche Bank to name a few.
Sarge of the Gra(fx) coordinates the pixels and vectors. He is the visual element of the netlabel Crazy Language and has created most of the label’s releases artwork and videos. Besides of that he is involved in many other projects e.g. with Roel Funcken from Funckarma and Syl Kogai. His art has a complex idea of experimental, artistical, beautyful and philosophical elements that attracts you straight away, while you find more and more details the longer you contemplate his work.
Steffen Schröder, born in East-Germany, begins with his first tapes at the age of 14 years. Influenced by the music of Depeche Mode, Tangerine Dream, Industrial, EBM and Acid House, he recorded for the next years mixes from Ambient, Industrial Dance to Acid House.
In 1990 — Techno was just growing in popularity in Europe — he constructed his first Techno tracks with an Atari computer. At the same time he started his DJ-career and began to organise own underground-parties. He was playing Detroit, Chicago and Ambient-Sets.
Around 1998 his music style developed more and more from Techno to IDM, Electronica and Experimental Electronics. From then on he produced multipled IDM– and Electronica-tracks under his new alias HURON. His sound has a wide atmospheric, is dark, also glitchy and abstract and mostly downbeat.
In February 2006 he and his friend AXIOM founded the netlabel CRAZY LANGUAGE to reach more audience for Huron’s productions and offer contemporary electronic music from different artists for free download. The netlabel has developed more and more and has a respectable back catalogue including artists like Rec_Overflow, Plecq, Randomform, ENV(itre), Iameb57//Enabl.ed and many more.
He also published two CDRs on Trachanik Records, did some remixe i.g. for Atmogat, SE and Datacrashrobot and is to find on several compilations like on Tympanik Audio, Halbsicht Records, MIGA, Plataforma LTW and the Cold Room Netlabel.
No space for posing or attitude — it’s all about music!
Berlin based AXIOM started playing electronic music in the 90s. The biggest impact on him in that time after a still rooted Hip Hop period was Techno and Electro (the real Electro deal!).
He never was that guy who goes with trends and wasn’t willing to put himself into the spotlight by playing the newest (and in most cases disposable) records; he never wanted to play the game that way. It was never about the person playing but the music itself. Therefore, he never stopped checking out record stores, digging for stuff with distinctive timeless quality. With his well-balanced taste and also well-executed dj-sets (containing timeless classic and unknown wonders) Axiom started, unwillingly, to leave a distinctive mark.
In the early 00’s, experimental sounds became the gravitational point of his musical interests. Electronica, IDM and Ambient, stunning new grooves and feelings for harmonics took place in his approach for bringing high-quality-dancemusic to the audience. Together with Dubstep (alongside Wonky, Glich-Hop — taking him a bit back to his Hip-Hop roots and other distinctive genres), which plays a very special role in his work as a DJ too, he had the tools for structuring Dj-sets that should not only entertain but to educate and refine audience’s taste all around.
In 2006 he wanted to widen his view of what music is, especially the experimental electronic-music-scene by providing interesting music without putting it under pressure of the all-digesting and redigestive music market. So he launched with HURON the Creative Commons-based netlabel CRAZY LANGUAGE for contemporary electronic music such as Ambient, IDM, Electronica, Glitch etc. After the first release featuring his buddy HURON, almost 40 EPs and Albums were published for free download, containing outstanding artists like RANDOMFORM, ATMOGAT, PLEQ, FM CONTROL, FRANCISCO GODIKINHO aka XZICD and many more.
Without much passion and spirit the label wouldn’t work as it does. Exactly the same passion and spirit AXIOM is showing when working on new releases as well as when DJing in the clubs. Beyond his label and his spinning-records deals, he is working with KILLEKILL BERLIN, helping to run parties, specially on the genres he grew to love, showcasing this way, the other side of the self-imposed minimal style Berlin had for many years. Alternative music experience to the masses!
Transforma is an artist group who’s work has a focus on video, performance, installations and music/video collisions. Transforma’s work has been performed live and shown at Festivals around the world. Transforma’s work is always highly rhythmic, digital yet handcrafted and visually challenging. Transforma collaborates with other artists and musicians to create pieces, that blur borders of established genres in live performance, art & music
Like my great-grandfather used to say: …In geometry, an icosahedron is a regular polyhedron with twenty identical equilateral triangular faces, thirty edges and twelve vertices, and It is one of the five Platonic solids.
Lars from Mars
“Lars Graugaard is active in a variety of musical areas. He has a strong academic background with a degree in flute performance from The Royal Danish Academy of Music and a PhD from Oxford Brookes University in interactive music.
His background lies in a mix of musical styles, and he has always been very active in music creation.He has composed over 180 score pieces, and he was composer-in-residence for two-and-a-half years at Odense Symphony Orchestra. As performer he has given concerts all over the world, and when the flute was his principal instrument he recorded CDs with the music of his contemporaries as well as classical composers such as J. S. Bach, Boccherini, Spohr, Beethoven, Rossini, Reger etc. In recent years he has turned to the computer, shaping it as a sophisticated performance vehicle in interactive and generative music. There is at times a strong eclecticism in his music, always dependent on the circumstances of its usage.
When performing laptop music Lars Graugaard often uses the alias Lars from Mars. Releases under this alias have been released on the online netlabel Pueblo Nuevo. This music is characterized by an often very strong grounding in rhythms, combined with at times quite abstract sound-worlds. Performances are always in realtime with procedures written into custom computer code for algorithmic rendering of the basic musical ideas and sectional development. Many if these ideas come from research into aspects of music that account for generally perceived musical expression and emotion. Sometimes performances are realtime improvisations with instrumental performers skilled in free improvisation, and the richness of these activities provides a continuous development in research and theory and their application in composition, performance and programming.
Mr. Graugaard has been professor of interactive music at Carl-Nielsen-Academy-of-Music and was for five years lecturer at Aalborg Universty’s Medialogy department. He has participated in and directed several research projects, and holds a handful of trusted positions in international organizations in the field of music. He is part of the re-new forum for digital art.”
Badun is an Electronic/Jazz group. Theire adventurous, and narrative music is the product of (Aske Krammer & Oliver Duckert). The music is somewhere in between abstract digital sound design, Non-repetitive electronica, IDM and the free spirit of seventies fusion Jazz.
Egoshooter shoots first class music since the mid-ninties. Infected by the minimal approach of labels like profan, studio 1 and the early stuff of Autechre and Plaid he soon started to collect and play records.
He organizes the most famous saturday-after-hour in berlin called HDT! since 2005 and enjoys in his afterhours sets to play all the stuff you cannot play during peaktime. At the krake festival he will play a special warm-up set.
Sofus Forsberg is one of the fathers and driving forces behind the nordic electronica movement. Since 1998 he has provided the world with beautiful emotional melodies, intricate beats, and superb production.
He is very active playing live, and has spread his sound at prominent festivals like Sonar and Electro Bunker. Sofus Forsberg have 2 albums and some remixes behind him and is now gathering material, reinventing himself in the joy of modular synthesizers and drum machines.
Headnoaks is one of the last few explorers standing for the real Electro vibe. Infected by the classic Detroit sound and its most mysterious project Drexciya, the Antizero-member realized his mission to open up the hidden connections between human thinking and computer arithmetic.
Therefore you have to leave the well known places sometimes and exceed the lines of man behavior. But no fear, with Headnoaks on your side you will be back in time.
Stockholm’s own, Axel Willner aka THE FIELD joined the KOMPAKT family back in 2005 with the release of his cherished 12” debut “Things Keep Falling Down”.
His adoration for KOMPAKT co-owner Wolfgang Voigt’s GAS and M:I:5 projects from the ’90’s and the shoegazer rock of Slowdive and My Bloody Valentine brought forward a new fusion of ambient and techno that nobody here can ever recollect being accomplished (post-Pop Ambient anyone?).
The road was paved and continued on with a remix of ANNIE that leapt onto the web — THE FIELD immediately became a cult favourite amongst the blogging community which continues to be the case to this day. The turning point for The Field could have been his remix of VICE RECORDS Scandinavian rockers, 120 DAYS. Found on well over 200 blogs and web zines, this exposed THE FIELD to a whole new realm of fans. With his 2nd single for KOMPAKT “Sun & Ice” (which appears on “FROM HERE WE GO SUBLIME”) and a remix for JAMES FIGURINE (of POSTAL SERVICE fame) this poised him for the release of “From Here We Go Sublime”, his debut album which shattered everyone’s expectations making it one of the most talked about albums of 2007…earning a mighty 9.0 rating on Pitchfork where they reviewed the album as that “Willner’s triumph on Sublime remains how he manages to isolate and repeat his little moments, transmuting them through the basic dance music building blocks of juxtaposition and repetition into something bigger, wringing pleasure out of the always potentially dull aforementioned “sound sculpting”.…”…If Willner doesn’t hit at least some of your pleasure centers, well, forget your ears– your nerve endings might actually be dead.”
In early 2006 techno’s own masked man Redshape appeared first time on infamous Dutch imprint Delsin records. This initial release “Shapedworld EP” kicked him into the international techno scene, getting support from all major DJ from day one.
Redshape soon developed his own individual view on modern dance music and set to leave a mark in techno.
Since coming to prominence over the last few years, very few producers (with the exception of Carl Craig and a few others) have come close to matching his technofied mission, meaning each and every Redshape 12″ is held in high regard by the more discerning techno heads. His music brought him into the yearly toplists of German’s groove & De-bug aswell as a lot of other magazines.
Trying to describe his sound is kind of a hard task, sitting somewhere between everything in dance music and Redshape’s own imagination you get a direct extract — not minimal, not maximal and always historical respecting the vibe of detroit. Resident Advisor’s Pete Chambers once said “The future of the past never sounded more contemporary.” which perfectly surrounds redshapes musical vision. Repeating is definitaly a thing Redshape works hard to prevent, so his live shows, which brought him to nearly every known European club, morph and develop everytime to never play the same show a second time.
As a DJ Redshape is still very inspired by the good old school of mixing and trying to make tracks speak to tracks, making music out of music. Redshapes music and remixes have been released on labels like Styrax Leaves, Delsin, Music Man, R&S etc. not forgetting his own imprint “Present Recordings”. Working together with Delsin Records he will releasehis debut “The Dance Paradox” in October 2009 setting things for a bright 2010 which will see a brand new Live (Tour) show as well as scheduled releases for his labels.
Giuseppe Marchegiano started to produce as Hubble in the earliest 2007 and after his first vinyl release on the label Moulton, he starts to gather support from underground and techno scene in Berlin and out.
His productions and also his edits works are almost rarities or printed on limited edition series, not always produced for being official release, but as tools, played only from closed friends and identifiable into “long hypnotic journeys” as his typical works are.
Hubble, with his floating Techno sound and Pyschedelic atmospheres, he has fronted a number of many parties in Berlin and of his own triptic of parties called Forget Me Not @ Berghain Kantine (’08,’09) that give also the title to his debut album on Pheek ’s canadian label Archipel (out on September 2010).
In 2009 he started to collaborate and produced with Sleep Is Commercial, being with his sound also part of the crew that organize really intense Techno parties in Berlin where is based and groovin the people into underground locations around Europe.
Hubble is often guest in some of most important locations in Berlin as Club der Visionaere, Watergate, Arena, Bar25, Suicide Circus.
His music is a landmark for the psychedelic groovy sound of the label.
He runs the limited vinyl series of the label, called sic ltd, started with “Kirks and Ghosts” and “La Estrella” out summer 2010, and “Focus” and “Tribute02” out on April 2011.
Summer 2011 marks his debut on some important label of the European Techno scene: Hacknam out on May 2011 with the tracks “Floating Souls” and “Sand”; Prologue with a new project called Blue; and berliner label White.
He started in February 2011 to work on his second album called ‘Reverse’ that will be release on Sleep Is Commercial..
Ever since his groundbreaking early album releases, Markus Popp aka “Oval” continues to be one of *the* prolific / influential forces in contemporary electronic music, a true visionary of digital audio. Popp’s now legendary early album releases sent shockwaves though the electronic music landscape and laid the foundations for an entire new class of digital sound & production aesthetics.
With an undeniable instinct for the pleasantly irritating, the drastic and the dreamy, Popp pioneered “glitch” and “clicks & cuts” – and continues to inspire and provoke a new generation of musicians to this day.
The distinctive, organic appeal of Popp’s tracks, remixes and albums are often regarded as watershed moments for the entire genre. Many of his songs have been described as timeless, haunting classics, earning him critical acclaim worldwide – as well as the occasional art award here and there. (Oval-process, his custom, software-based, multiplatform project won 2nd prize at ARS ELECTRONICA 2001).
Popp has constantly refined his signature style and instantly recognizable aesthetics in several musi-cal collaborations, most notably with the long-running projects MICROSTORIA (duo with Mouse On Mars’ Jan St. Werner) and SO (with Japanese songwriter extraordinaire Eriko Toyoda). Popp has also worked for/with: BJÖRK, RYUICHI SAKAMOTO, TORTOISE, MOUSE ON MARS, SQUAREPUSHER, PIZZI-CATO 5, GASTR DEL SOL etc.
Lesser-known facts: Popp’s music video for Mouse On Mars’ “Twift” (1995), made entirely inside a (then) cutting-edge 3D-videogame engine/SDK, could be called proto-Machinima. Popp has contri-buted to video games & interactive applications: he contributed an entire secret bonus stage in Tet-suya Mitsuguchi’s visionary, abstract shooter REZ (SEGA/SONY). Popp has also done original sound track work for art house movies as well as for advertising (Harmony Korine, Darko Dragicevic, Masa-ko Tanaka, Armani, Comme Des Garcons, Prada etc).
A new Oval sound — he only changed EVERYTHING
With the “Oh” EP (06/2010) and the subsequent double CD “O” (09/2010), both released on Thrill Jockey Records, Popp opens up an entirely new chapter in his ongoing critical dialog with music. And it’s a surprise move: this arresting, 101-track extravaganza is truly a radical departure and yet once again challenging music-as-we-know-it – but this time, things happen on music’s own turf.
Out of nowhere, Popp debuts as a producer of unexpected versatility beyond the electronic music arena. “O” is a wild ride – exploring a wide range from delicate, sophisticated pop vignettes to bru-tally torn, electro-acoustic riffing full of angular, colliding guitar work, accompanied by “free”, yet ultra-precise, one-of-a-kind acoustic drumming that evolves organically over the course of a track.
This new oval sound is a celebration of a new level of skill & sensibility in contemporary music: handcrafted polyrhythmic phrases, riffs and structures, bristling with tiny resonances & detail — add-ing up to oddly timeless tunes which are effortlessly traversing rhythms, scales and harmonies. But despite the picturesque, accessible “songwriter 2.0” trappings, this album is no revisionist, kitschy “love letter to music”, “O” totally is a contemporary hi-tech product.
Over the course of many lectures, workshops and presentations Popp has shared his creative vision – with topics ranging from “alternative workflows in time-based media” to his very own flavor of video game discourse; advocating a perspective on media productivity that simply does not cease to chal-lenge conventions.
Missaw is The Centrifuge’s founder, label curator and resident DJ. His repertoire spans the cutting-edge musical spectrum, from ambience and drone to electro, acid and drill & bass. He is equally at home in concert hall and club conditions, mining his well-travelled collection of classics, obscurities, forthcoming label material and exclusive music from the artists and labels The Centrifuge is affiliated with.
DJ Flush aka Nico Deuster has been a dj for 15 years now pushing the borders of electronic music: from chicago jack and booty tracks to electro, from distorted no future sounds to rather minimal funk — dirty, freaky and often with a big drop of acid.
DJ FLUSH played al most of the relevant clubs in Berlin as there are OstGut/Panoramabar, Tresor, Maria, WMF, Watergate and with THE ELECTRIC FORCE, SWEAT & ERROR and FREAKED he has been promoting party nights that are renowned for presenting some of the freshest and most upfront music to the audience every time. Daniel Bell, Cristian Vogel, Ark, Roman Flügel, Neil Landstrumm, Frankie and many others were playing there. Since June 2008 he has started the Killekill Club at Berghain Kantine which by now has become a Berlin legend. Strongly connected to the scene DJ FLUSH has also been rocking many non commercial underground locations all over Berlin and Germany as well as international clubs in Poland, France, Sweden, Netherlands, Belgium, Turkey, Mexico and so on… With his own productions DJ FLUSH has also far contributed to some compilations on Shitkatapult and Musick To Play In The Club.
Adam Weishaupt aka Holger Hilgers is a DJ and promoter based in Berlin. Born 1976 in cologne he discovered his fascination for the sounds from sappers of electronic music. At some point he started to mix his own tapes for his first parties to the point when he discovered his passion to collect albums.
With arrangements in whole germany and all over europe he built up a reputation as a DJ, further he gathered experience internationally with an amazing mix of techno and idm. He combines individual music to create new views, to break limits and open up new rooms. He believes in the capability of music to originate a communication just by listening and sensing. Holger also managed the “DELIRIUM-BOOKING” agency with artists like OTTO VON SCHIRACH, NEIL LANDSTRUMM, TOBIAS SCHMIDT to name but a few. he organizes the “KRAKE-FESTIVAL” with DJ FLUSH in Berlin
EOD (Stian Gjevik) started his journey into electronic music in 2002, and has released on labels like 030303, Kvist and Stonedwave. From his igloo in Norway he writes tracks that keep him warm through the norwegian 13 month winters, favoring his analogue equipment more than anything else (it basically heats the room by itself). He prefers to let the music do the talking, so do have a listen!
Darrell Fitton is an electronic musician from Manchester, England. Most of his work is recorded under recording monikers Bola and Jello, released primarily on Skam Records.
Fitton has also contributed to electronic acts D-Breeze, Brahma and Ooblo, and Autechre’s Gescom project. Fitton was rumored to have left the music industry in November 2007, but he announced his intention to continue making music on the Bola Facebook page in July 2009. Fitton described these rumors as stemming from a miscommunication with PMW Creative.
Fitton had his first electronic music release in 1994, on Warp’s now infamous Artificial Intelligence II compilation, in 1995 he returned, but with the now more familiar Bola moniker releasing the Bola 1 12″ on Skam Records. A rare set of 3 EPs called Shapes was released in 2000, pressed at only 300 copies; in September 2006, it was remastered and reissued in greater numbers by Skam, adding three bonus tracks.
His latest album, Kroungrine, was released in 2007. Fitton has stated on the Bola Facebook page that he is currently working on a new album, to be titled Ambrosia, which at this stage is still without an estimated release date. Most recently, Fitton remixed a track by Australian group Ektoise; his first fresh output in three years.
Morris Gould grew up in Lincolnshire and was educated at Millfield in Somerset and King’s College London. At 15 he founded a punk rock band, The Ripchords, whose sole release, an eponymous EP with four tracks, was championed by John Peel and quickly sold out.
He moved to London to attend King’s College, where he got involved in putting on bands at the Student’s Union, and DJ-ing at the gigs.
After leaving university, he began working as a DJ in 1985 with his “Mongolian Hip Hop Show” on pirate radio station Network 21 in London — the handle Mixmaster Morris was suggested by the station director. After a year of managing a club called “The Gift” in New Cross, Morris began releasing material as Irresistible Force in 1987, initially in collaboration with singer-songwriter Des de Moor. He became involved with the emerging UK acid house scene, after organizing Madhouse at The Fridge, Brixton in 1988 — which was the subject of a piece by John Peel in The Observer
A show with the band Psychic TV led to him becoming full-time DJ with The Shamen, and touring with them on their celebrated ‘Synergy’ Tours for nearly two years.
The first release as Irresistible Force was the single I Want To in 1988, but success came with the first album, Flying High, released in 1992 on Rising High Records. In 1994 Morris released the second album Global Chillage which featured a holographic sleeve and was released in the USA on Astralwerks. After a period of legal problems the third album It’s Tomorrow Already came out on Ninja Tunes.
In 1990 he made one of the first chillout compilations, Give Peace a Dance 2: The Ambient Collection for the Campaign for Nuclear Disarmament (CND),) followed by the series Chillout or Die for Rising High Records. A mix tape for Mixmag shared with Alex Patterson was also released as a CD. The Morning After became his first major-label mix album, followed by Abstract Funk Theory for Obsessive.
Through the 1990’s he was a regular DJ in the chill out room at Return to the Source parties in London, around the UK and abroad. In 2003 he released the mix CD God Bless the Chilled for the Return to the Source Ambient Meditations series.
He has produced many remixes since 1985, the most celebrated being Coldcut’s “Autumn Leaves” which regularly tops polls of chillout classics. This remix was nominated by Norman Cook as his favorite chillout track of all time on BBC TV. Link at Epitonic for a free download of that song. His mix for INXS was a Top 20 hit in the UK as well. Other early remixes were of Lloyd Cole, Dave Howard Singers, Bang Bang Machine, Irish band Stump, Higher Intelligence Agency, Sven Vath, Rising High Collective etc.
In the early 1990s he played a lot of pure ambient music as well as emerging styles of ambient electronica (see the ambient music article) and 60’s electronic music. His key residencies at this time were alongside the Detroit masters at Lost, Megatripolis the original festival-in-a-club at London’s Heaven, also the large Tribal Gathering parties. He became known for wearing holographic suits, produced by the company Spacetime, which he even modelled for Vogue magazine; as well as for his long eclectic sets of up to 12 hours.
Throughout the 1990s he wrote extensively about electronic music for New Musical Express, Mixmag, and i-D. He was resident on Kiss FM for several years, and then a regular on Solid Steel, the Ninja Tune syndicated radio show. He made his movie debut in the cult film Modulations (Caipirinha Films), and his music can be heard in a number of other films including Groove and Hey Happy.
Morris has played in over 50 countries at myriad clubs and parties, particularly outdoor festivals like the Full Moon parties in the Mojave Desert, Glastonbury Festival, Rainbow 2000 and Mother SOS in Japan, Chillits in Northern California, and Berlin’s Love Parade. He also ran the successful downtempo night Nubient in Brixton, which continues 12 years later at the Big Chill Bar. In 1995 he played at the first The Big Chill which has grown into the UK’s largest chill-out event, and has appeared at every one since.
He collaborated with the German musician Pete Namlook under the name Dreamfish, recording two albums. Also with SF-based musician Jonah Sharp and Haruomi Hosono of Yellow Magic Orchestra he made the album Quiet Logic for the Japanese label Daisyworld.
In 1998 he joined the UK’s Ninja Tune record label and multimedia collective, with whom he toured as a DJ and made three releases. 1999 saw him win ‘Best Chillout DJ’ at the Ibiza DJ Awards at Pacha, and play at Ibiza’s famous chillout bars like Café del Mar, Cafe Mambo, and Kumharas. Morris also became friends with Ibiza chillout stalwarts like Rob da Bank, Chris Coco, DJ Pathaan, Lenny Ibizarre, José Padilla. In 2001 he won the title for a second time, becoming the first DJ to achieve this (2008 and 2009 saw him nominated again). T
Morris has appeared in many lists of the worlds top DJ’s including the Ministry of Sound book The Annual and 2003’s DJs by Lopez, and URB Magazine’s Top 100 DJ list. His most recent remixes have been the band 6th Sense and singer Anne Garner, and he also did some music for a recent series of the BBC’s Doctor Who. His club Nubient is still running at the Big Chill Bar in Brick Lane, and he records regular radio shows for Japanese internet radio station Samurai FM. In 2006 he started a new club at the Big Chill House in King’s Cross, London, and did a guest mix for BBC Radio 1’s The Blue Room show. His long essay about Jazz was published in the book Crossfade, and he made a one-off appearance reading it aloud.
In March 2007 together with Coldcut he organised a tribute show to writer and philosopher Robert Anton Wilson which they performed at the Queen Elizabeth Hall to a full house. He also played in Goa for the first time with The Big Chill, and started a new residency at The Prince in Brixton.]. May 2008 saw him again doing an ambient mix on Radio 1, and putting a live Irresistible Force band together to play at The Big Chill festival.
2009 he compiled a podcast for Tate Britain to accompany their Altermodern exhibition, and opened a new AV night called MMMTV in Camden. The mix CD Calm Down My Selector was released on January 15 by Wakyo records, and he made an extensive tour of Japan to promote it. He was back in Japan in July for the Total Solar Eclipse, and was interviewed on TV news.
In 2010 he won another Ibiza DJ Award, for an unprecedented third time. Oct 2010 he was announced as the new CEO of Apollo Records
Dadub project is an electronic music duo formed by Daniele Antezza and Giovanni Conti, focused on the production of electronic music that mixes IDM, dub and techno influences.
Our aim is to go beyond definitions and commercial stereotypes associated with techno and electronic music, showing on the dancefloor a sensitivity and an aesthetic approach usually related to experimental music practices.
The project was originally set up in 2008, in Murgia (South Italy) by Daniele Antezza, debuting on the label Aquietbump with a collection of electronic dub songs revolving around mid-tempo pace. In 2009 he moved to Berlin, and joined by Giovanni Conti they transformed Dadub into a duo, shifting the musical direction from pure dub into more experimental territories, becoming one of the core artists of the label Stroboscopic Artefacts, and working on the post production and mastering of all the releases of the label.
Dadub debut on vinyl, “So the nothing grows stronger remix”, was released by Stroboscopic Artefacts in March 2010, hosting on the other side of the record the techno pioneer Luke Slater: De:bug reviews Dadub track as “Berghain sound of the forthcomings months”. Feedbacks have been excellent: enthusiastic reviews on De:Bug and Clash Magazine and appearances into important Podcasts and DJ charts (Chris Liebing, Lucy, Xhin, Walter Ercolino, Phlow.de, FWD.DJ, Blindspot, etc…)
Besides Dadub project, Daniele and Giovanni estabilished a mastering and audio post-production studio, Artefacts Mastering, forging the sound of several european record labels: Stroboscopic Artefacts, Parquet, Meerestief, Lineal and many others.
The duo is actually working on new tracks to be released in the upcoming months, and will tour Europe in the next months. Aside from EP for digital and vinyl formats, Dadub is working on a fulllength album to be released in 2012 by Stroboscopic Artefacts.