Artists

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

Links:
Jimmy Edgar web­site
Jimmy Edgar in the Artist sec­tion on the Warp Site

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.

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 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.

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.

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.”

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.

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?

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 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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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!

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.”

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.

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.

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.

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 2^nd 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.”

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.

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..

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.

Past achieve­ments

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 2^nd 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.

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.

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

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.

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),)^[1] 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 6^th 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

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.