At once uplifting and otherworldly, the music of Ulrich Schnauss combines multilayered synthesizers with beats and ethereal vocals, serving as an aural escape route from the trappings of reality. As Schnauss explains, ‘I’ve always used making and listening to music as a way to escape — putting on headphones is a great way to leave reality behind for a while, reminding yourself why it still makes sense to carry on.’
Aside from releases under his own moniker, Schnauss also plays keyboards for Engineers and has lent his hand to the production of recent albums by Kirsty Hawkshaw and Exit Calm. Regularly enlisted as a mixer, remixer, producer, DJ, and artist in his own right, Ulrich Schnauss may use music as a way to escape, but today he seems firmly rooted in the business, albeit constantly pushing against its staid sonic boundaries. Born in 1977 in Kiel, Germany — a post-industrial seaport at the Baltic — Schnauss began improvising chord changes on an old piano in his parents’ flat; a process which remains the backbone of his songwriting to this day. Once settled on a basic chord structure, Schnauss combines programmed synths with layered basslines and rhythms, to consciously adorn each piece with certain emotions and textures.
The titles of Ulrich Schnauss’s studio albums to date — Far Away Trains Passing By, A Strangely Isolated Place, and Goodbye — hint at the artist’s backwoods background, growing up in the ‘cultural wasteland that is rural Germany’. Unable to find like-minded people to create music with, Schnauss’ aural vision became liberated by his discovery of the synthesizer, enabling him to create multilayered compositions on his own, with an aim to ‘translate the aesthetics of the ‘shoegazing’ sound into an electronic context’. Inspired by the alternative guitar bands of the late 80s/early 90s (Slowdive, Chapterhouse, My Bloody Valentine etc.) as well as Acid House and early electronica (Tangerine Dream, 808 State, The Orb), Schnauss began developing his own distinct sonic palette, melding delicate dreampop sensibilities with ecstatic electronic excess, defying the constraints of traditional music genre boundaries.
After a move to Berlin and a slew of atmospheric dnb releases in the latter half of the 1990s — under the pseudonyms View to the Future and Ethereal 77 — Ulrich Schnauss felt confident enough to employ a more freeform approach and began recording ‘little electronica pieces’, culminating in the first album released under his own name, 2001’s Far Away Trains Passing By. As if adhering to a ‘less is more’ ethic, Ulrich created an album which is by turns spare and yet awash with melody. 2003’s A Strangely Isolated Place develops Schnauss’ ambitions to capture the dense, oscillating shoegazing sound, pushing the use of layered, modulated synth patterns to euphoric sonic effect. The inclusion of Judith Beck’s vocals on tracks such as ‘Gone Forever’ and ‘On My Own’ lends a human familiarity to the music. 2007’s Goodbye sees his multilayered approach expanded to include a variety of live instrumentation and guest players, including members of Longview, Chapterhouse and Below the Sea plus vocals by Judith Beck and Schnauss himself. The album is unashamedly complex and daring in its layering of hundreds of separate manipulated synth tracks.
After an initial struggle to perform the unique, interchanging nuances of these tracks live, Schnauss’s discovery of Ableton software has enabled him to build new arrangements on the spot, lending diversity and distinction to each performance. ‘I can also react to the atmosphere of the room,’ he explains, ‘sometimes playing more ambient; sometimes more rhythm-orientated versions of the songs.’
Today, Schnauss expresses a renewed interest in more direct electronic sounds, and aims to substitute traditional verse-chorus-verse structures for more freeform atmospherics. Stripping back the orgiastic excess of multilayered instrumentation, Schnauss is currently working on an album which intends to celebrate the synthesizer — the long-time cornerstone of Schnauss’s sound — as a musical instrument in its own right.
Bio by Richard Milward.
Alex Smoke is a new breed of electronic music producer.
While his music may reside on the dancefloor along with his renowned live sets, it also resonates so much further than this. With a production style drawn from a myriad of influences that blur the boundaries between Electronica, Techno, Classical and Hip Hop, Alex Smokes music evolves in new directions with every new project he undertakes, musically consistently fulfilling, regardless of the listener’s preferred genre.
Perhaps unsurprisingly, Alex’s proficiency in multi-faceted electronic-beat-making is founded securely on a lifetime of classical training, nurtured not least by his mother, by profession a music teacher. At a young age, Alex received a coveted scholarship for Durham Cathedral Choir School, where he excelled on the cello, piano and drums. In fact, the very same voice that adorns his techno tracks, was once heard in Durham Cathedral Choir, albeit an octave higher. After a brief glitch, studying marine biology, Alex soon got back on track, wisely using his student loan to buy his first Apple Mac computer and simple software, giving his imagination the necessary tools to begin producing.
It didn’t take long. After his first release in 2002 on local Glasgow label “S.U.D.”, Alex was soon snapped up by the legendary dance music label, Soma Records, on which he released his seminal first album, “Incommunicado” to critical acclaim in 2004. This deeply emotive release utilized cutting edge production techniques to give birth to a beguiling new style, which was lauded throughout the house and techno community. Tracks, such as the anthemic “Chicca Wappa” and his own vocal masterpiece “Don’t See The Point”, announced the arrival of an already accomplished newcomer amongst the heavyweights in the scene. Upcoming Berlin indie label Vakant immediately recognized this young producer’s extraordinary talent and provided a platform for a series of EP releases that continued to tantalize enthusiasts not only within the techno-driven German capital, until the keenly anticipated arrival in 2006 of album no. 2, “Paradolia”, back on Soma.
Paradolia is defined as the human ability to creatively perceive coherent images in randomness, an unusual word by anyone’s standard, but then Mr Smoke is an artist very far from the ordinary. A Rorschach test this was not, more a sonic experiment that explores the parameters of Alex Smoke’s potent psyche. “Paradolia” is swollen with ingenuity and experimentation perfectly suspended in an intoxicating symmetry of melancholy and melody. This release, like its predecessor, welds the influence of disparate genres into one homogeneous opus. In “Prima Materia” Alex unites for example two early influences in Chicago House and Classical, detonating a symphonic explosion, unlike any before.
2006 also saw Alex join the elite wall of fame of Soma’s mix compilation series, “Sci.Fi.Hi.Fi.”. Following in the footsteps of Ewan Pearson and Luciano, Alex was also given the opportunity to portray influences past, present and future on one release with no prescribed genre-related parameters to his selection. Naturally, the Smoke release is a rich journey through eclectic genres and subgenres, from Burial to Basic Channel through to Model 500.
Throughout his career Alex has become an in-demand remixer, with remixes for Steve Reich, Depeche Mode, Mylo, Junior Boys, Funk D’Void, Radio 4, Jay Haze and Envoy under his discography belt, to mention but a few. His dynamic live set has, since the first Soma release, been consistently in demand, leaving almost no country on the world map unvisited, nor unimpressed for that matter.
In 2008 Alex had the opportunity to fully realise his love of classical music when he was commissioned by Dundee City Council to compose an entirely orchestral work which was performed by the prestigious Scottish Ensemble for their ‘Designs For Life’ project.
March 2010 saw the release of “Lux”, his third album on his own label Hum+Haw, garnering more plaudits along the way. He continues to tour globally with his live set, featuring vocals, drum machine and synth.
“Faust” is his second foray into classical composition, a full score written to accompany F.W.Murnau’s seminal 1926 silent film of the same name, and again written to be played by the Scottish Ensemble, and premiered at the Glasgow Film Festival in February 2011. It is written for string quintet, backed with a large electronic and sound design element, interwoven with hidden references to various Faustian pacts of our times, from our devotion to consumerism to Aleister Crowley to Middle East politics.
2011 will see Alex return with a new, more vocal-oriented, synth-led project under the name of ‘Wraetlic’, a project that has so far just seen a few teaser moments on remixes for Sei A and the Lux Remix EP. The album is already nearing completion and will be airing later in the year. He has also been commissioned by Glasgow Concert Halls to write a piece inspired by Terry Riley’s early minimalist classic ‘In C’, which was performed with Craig Armstrong and AGF in September 2011.
As for 2012 he will continue working on projects fusing his love for classical instruments and electronics as well as new Alex Smoke material.
Stefan Betke aka pole was born and raised in Düsseldorf, where he played keyboards and synthesizer in different band projects. It was in Cologne that Betke began work on his acclaimed and influential trilogy “1”, “2” and “3”, completing it in Berlin after moving there in 1996. He released the trilogy as pole between 1998 and 2000. During this time, he also became a mastering engineer for vinyl and cd at Dubplates & Mastering.
In 1999, Stefan Betke and Barbara Preisinger started their label ̃scape, which became an imprint for unique and outstanding electronic music made by artists such as Jan Jelinek, Deadbeat, Kit Clayton, pole and many more. The same year Stefan Betke left Dubplates & Mastering to open up his own studio for cd and vinyl pre-mastering called scape mastering.
After releasing two 12 inches and an album on Daniel Miller’s famous Mute label, his well respected solo album “Steingarten” came out on ̃scape in 2007, supported by worldwide concerts at festivals and in clubs in UK, Japan, USA and Europe. In mid 2008, Betke re-issued his earlier trilogy as a triple box set on ̃scape to keep this milestone in electronic bass music available.
While Stefan Betke was continuing to play live shows around the globe as well as produce electronic music and remix artists, he and Barbara were still running the label ̃scape on which the critically acclaimed “Round Black Ghosts” compilations were released in 2008 and 2009: two collections of tracks that blur the line between dubstep and techno.
At the same time, Stefan Betke co-organized Unsound Festival’s “Connections” project in Minsk, where artists from Europe, including Pinch, Kadebostan, Jacek Sienkiewicz, pole and more collaborated for one week with local Belarusian artists. This project ended in a cd release called “Connections”.
Since then, Stefan Betke has been asked regularly to share his knowledge with students and musicians/producers in workshops at festivals and universities, such as Mutek/ Montreal, Unsound/Krakau, Merz Academie/Stuttgart, AKG Scholarship of Sound/Berlin, just to name a few.
While Stefan Betke was expanding his musical output, he still was doing mastering for renowned producers such as Richie Hawtin, Daniel Bell, Norm Telly, Scott Furgeson, Delano Smith, Josh T. Pearson, Erasure, Apparat, Grinderman, Gudrun Gut, Thomas Fehlmann, The Mole, Mathew Jonson and various labels such as Mute, Third Ear, Minus, Wagon Repair, Leaf and many more.
So it became a logical step that in 2009 Stefan Betke bought a Neumann VMS 70 cutting lathe to again offer vinyl mastering for producers in club and electronic music .
Recently, pole ́s live sets developed into a funky and grooving dance floor direction presented in clubs like Fabric/London, Watergate/Berlin and The Bunker/New York CIty, as well as festivals like Bestival/Isle of White, Bloc Festival/UK and Mutek/Montreal, while maintaining the pole sound design and creativity for his record releases.
info coming soon…
Lucy: producer, DJ, founder of Stroboscopic Artefacts. That’s probably how you know him. But there’s also Luca Mortellaro, a published author, experimental sound designer, and the man behind the Lucy moniker. There’s no doubt that the two are linked, but it’s certainly the hidden facets of Luca Mortellaro that are responsible for the dynamic output of Lucy.
In 2005 Lucy left his native Italy for Paris. In search of romance? Perhaps. The fact that the very first demo he ever sent was noticed by James Holden and that he’s now releasing on Luke Slater’s Mote Evolver, makes Lucy’s story more than romantic, it’s fit for the silver screen. As he delved deeper into electronic music Lucy made the essential move from Paris to Berlin. It was here he launched record label Strobosco– pic Artefacts a platform that illuminates pioneering electronic music. Under Lucy’s careful curation Stroboscopic Artefacts has garnered international attention and emerged as one of the most exciting labels in the scene.
Lucy’s DJ sets are techno layered with deep dub and textured with lucid IDM. Never one to shy away from ripping into the peak time and equally in his element playing the ecstatic afterhours, elegance is the foundation of his approach. He manages to refuse the obvious and yet satisfies dancefloors’ appetites for the unexpected. A quick listen to his CLR podcast, Resident Advisor mix or the Modyfier process will attest to one thing: his elusive approach is too angular for genres and pigeon holes. It’s this quality that’s seen him grace the decks at Berghain, Fabric, New York’s Ok– tave party and Mexico’s Bar America.
With a host of EPs and remixes released and forthcoming on the most influential labels such as Prologue, Mote Evolver and CLR, looking towards the future is excit– ing. Particularly for Stroboscopic Artefacts, whose first full length release is Lucy’s debut album: “Wordplay For Working Bees”. for Stroboscopic Artefacts, whose first full length release is Lucy’s debut album: “Wordplay For Working Bees”.
Perc is one of electronic dance music’s reference points: an internationally touring DJ, label owner and one of the finest producers around. For London-based Perc, aka Ali Wells, his rise to prominence has seen him releasing atmospheric drone and premium techno since 2002. It was pretty clear that he was headed for good things when James Holden supported one of his early demos. As usual, Holden wasn’t wrong.
In 2007 things started to get seriously interesting when Perc was noticed by the tastemaking Kompakt records. With the release of “Up” to massive critical acclaim remix requests flooded in and Perc was invited by DJ Hell to remix “Buttersäure”. The result was an industrially fortified techno remix that sparked interest across the scene. Particularly for Adam Beyer who approached Perc to ask for a release on his Drumcode imprint. That year the brilliant “Sticklebrick” EP came out on Drumcode, which lead to another remix for a heavyweight, this time Trentemøller. By the end of 2007 Perc was rightly established at the forefront of global electronic music.
As a DJ, Perc has taken to the decks from Mexico to Japan and in seminal club like Berlin’s Berghain all across the world. His approach? Perc’s hard drive brims with tracks including his own productions and armfuls of tools. His sound? It’s a blend of the cream of current techno and choice selections from electronic music’s Birmingham and Detroit forefathers. When it comes to playing live Perc goes deep. He mixes purely his own productions both released and unreleased, reconfiguring them into driving sounds;
drone becomes big room techno becomes broken-beat becomes groove. Perc creates DJ and live sets that are industrial landscapes optimized for the dance floor.
His label, Perc Trax, was started in 2004 as a way for Perc to release his own productions, but it’s organically evolved into much more than just that. Under Perc’s careful guidance it’s developed a cutting edge core roster of Sawf, Forward Strategy group, Perc, Donor / Truss with heavyweights like Samuli Kempi guesting. With parties in London, Miami, Glasgow, Mexico, it’s clear that there are people in every corner of the globe with an ear to the ground, listening for where the eclectic Perc Trax will go next. 2010 was a brilliant year for Perc, seeing the release of “Vertigo I & II” on Perc Trax, a 12” on CLR and “Monad V” on Stroboscopic Artefacts. His productions clearly stem from an amalgam of influences and a listen to Perc’s excellent CLR or RA podcast begins to prise the lid off these origins: early nineties drum and bass to British Hammer horror film aesthetics. The horror genre influence is felt in Perc’s approach, his releases and DJ-Sets are filled with tension and play with the audience’s expectations. Perc is currently in the studio working on his first album. The record will no doubt gather together the direction of Perc’s back catalogue and take it to the outer fringes of techno. Not just 4/4, but out into the sinister, droning edges of electronic dance music. As always, Perc is one to listen out for.
Murcof is a very modern composer, who utilizes technology to make epic, moving suites of music with a spiritual undertow. He draws on minimalism, post modernism and baroque music to create music that moves the mind and heart. His work draws on his childhood exposure to pre-20th century classical music and his passion for electronic pioneers like Jean-Michel Jarre and Tangerine Dream as a teenager, as well as his experiments in noise with his pre-Murcof doom/avant garde outfit, Elohim.
]He has released 3 critically acclaimed albums and an EP on The Leaf Label.
Murcof’s international reputation as a staggering live presence has been enhanced recently with a number of special collaborations, including events at Greenwich Planetarium (in collaboration with the Royal Astronomer), Montreaux Jazz Festival (collaboration with Talvin Singh & Erik Truffaz) and L’Auditori at Sonar Festival in Barcelona (with the pianist Francesco Tristano). In 2008 he toured a new work called ‘Oceano’ in collaboration with classical musicians BCN216 and light sculptor Flicker.
Lakker are two Dublin based musicians, Dara Smith and Ian McDonnell (aka Eomac). Formed in 2001, they began writing electronic music, heavily influenced by the sounds at the time coming from labels like Rephlex and Warp. Processed and chopped up electronica, noise, breakcore, techno and jungle all filtered through and informed Lakker’s early music.
Gradually they began to find a sound of their own, sitting somewhere between organic sample-based productions and synthetic, processed electronic beats.
Early tracks appeared on compilations for various labels, alongside a number of EPs, but it wasn’t until 2007 that Lakker put out their debut album – Ruido — on Lazybird Records, Dublin. Ruido focused on the noisier side of their output containing 11 tracks of harsh electronics, beats and noise. A number of releases and remixes followed, alongside numerous live appearances.
Fast forward to 2012 and the Lakker sound has developed further, from hauntingly beautiful melodies to dark foreboding techno. Most recently they have put out their debut vinyl release – Spider Silk – on Killekill Records, Berlin, receiving support from Surgeon, Lucy, Phon.O and Aphex Twin, who was dropping it alongside various unreleased Lakker tracks in his 2011 DJ sets.
Next up is a 12” outing on Blueprint Records, showcasing the next stage in the development of their sound, and the debut of their live AV show, with visuals designed by Dara.
SHRUBBN!! was founded by MARCO HAAS aka T.RAUMSCHMIERE and ULLI BOMANS aka SCHIERES in 1995. The aim of SHRUBBN!! was to do dirty-filthy-but-swinging-noize improvisations while tripping. They used to call it ROTZ-POP!! the results were recorded on a stereo tape recorder and by 1997 the first demo was finished. 8 pieces were duplicated and given to special people.
In 1997 SHRUBBN!! released the track “thema” on the vinyl compilation “the cozmick suckers vol. orange” (on the label SHITKATAPULT that was founded by marco haas and marcus stotz in the same year). One year later, 1998, the track “koenig thule” was released on the vinyl compilation “the cozmick suckers vol. blue ” and another year later, 1999, the track “staub” was released on the cd compilation “the cozmick suckers vol. yellow “.
After all these noize– and drug experiences it was time for something else and the two decided to go seperate ways for a while…
Between 1999 and 2006 HAAS focused on his project T.RAUMSCHMIERE and released records on labels like novamute, kompakt, sender and of course his own imprint shitkatapult. He also founded a punk-rock band which is now known as THE CRACK WHORE SOCIETY. In the meantime BOMANS concentrated on doing his artwork, travelled the world, focused on his project SCHIERES and founded the disco-punk-boy-group GLADBECK CITY BOMBING.
In 2004 their ways crossed again. this time in hamburg at the golden pudel club. and after a few drinks the two “rotzloeffel” decided to bring back the maximum blast into the minimal world… It took them another 2 years to make this happen but in october 2006 HAAS & BOMANS had their first session after 7 years… and then in june 2007 SHRUBBN!! has officialy returned!! Kabel rein, weiter geht’s!!
In october 2007 SHRUBBN!! released their first ep (Molly Rhubharb | Brandenburg) on MUSICK TO PLAY IN THE CLUB (a shitkatapult sub label). This time with a more dancefloor orientated sound : 4 to the floor, dry beats and even drier bass lines. another ep (Rumpelritter) followed in 2008 (again on MUSICK TO PLAY IN THE CLUB) accompanied by various remixes for such named artists like DAVE GAHAN, APPARAT, WARREN SUICIDE, MARK BOOMBASTIK, AUX RAUS and FRANZ & SHAPE. with these tracks they were blowing off some roofs of international clubs before the two decided to go another direction (again).
The idea of Echos was born in 2009. And that idea was pretty simple: no 4/4. No gnarz. No stress. Pure sound. Back to the roots (of SHRUBBN!!). About In between 2009 and 2011 they had 4 sessions in berlin where they recorded enough material (all analog) to put an album together. On top of that they contacted their friends THOMAS FEHLMANN & DR. ALEX PATERSON aka THE ORB to get an epic and mind tripping remix done for the first ep teasing the upcoming album. Echos – remixed by THE ORB was released as one-sided 12″ on 11.11.11 on SHITKATAPULT. limited to very evil 666 copies.
The 12″ and the album is wrapped in artwork by TRANSFORMA who also tweak and choreograph SHRUBBN!!’s synapse-bursting live visuals.
So after 17 years of band history SHRUBBN!! released their debut album Echos on 16 march 2012 on SHITKATAPULT.
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
Ceephax Acid Crew
Ceephax Acid Crew or Ceephax, real name Andy Jenkinson, is a musician and artist from the UK currently living in London. His music spans many genres within electronic music from house to jungle to ambient and so on. The main recurring theme is his creative use of the old school acid house box Roland TB-303 and other obsolete equipment, often giving his productions a vintage feel. However his sense of harmony and melody and idiosyncratic approach to using this old equipment transcends his simply being a retro or old school style musician, creating a sound that is instantly recognizable and fresh.
Ceephax’s first record Radiotin EP was released in 1998 on Breakin’ Records, Ed DMX’s label, after Ed was blown away by his first ever show when he was 18. This was later followed by more releases on Breakin’, plus Lo Recordings, Belgian labels Firstcask, Bugklinik, WeMe, Dutch label 030303 and iconic UK underground labels Rephlex and Planet Mu. He compliments his analogue aesthetic by mainly releasing his music on vinyl and has also released cassette tapes on Firstcask, Funbox and most recently his own label Waltzer.
Ceephax has taken his live show across the planet playing in diverse places such as Russia, Japan, China and most countries in Europe. His live show is manic, fun and very live for an electronic performer, using only hardware instruments with not a computer in sight. Due to it’s liveness every show is different from the last yet it almost never fails to get the crowd dancing and enjoying themselves whilst providing plenty of ear and eye candy for the geekier members of the audience.
info coming soon…
Thomas Köner is a pioneering multimedia artist whose main interest lies in combining visual and auditory experiences. Over his long, much celebrated career, he has worked between installation works, sound art, minimal soundscapes, and (as one half of Porter Ricks) fantastically repetitive dub techno. He attended the music college in Dortmund and studied electronic music at the CEM-Studio in Arnhem. Until 1994 he worked for the film industry as editor and sound engineer.
He extended his concept of time and sound colour to images, resulting in video installations, photography and net art.
His point of departure was composition of sound in which aspects of a performance and visual language were gradually integrated. At first in the collaboration with film artist Jürgen Reble and the live performance Alchemie (1992). Following this, he started to compose film soundtracks and music to accompany historic silent films for the Louvre Museum and the Musée d’Orsay, Paris.
2000 the Montreal International Festival New Cinema New Media awarded him the “New Media Prize”. 2004 the Prix Ars Electronica awarded him the “Golden Nica”, and he was awarded the Produktionspreis WDR / Deutscher Klangkunst-Preis” (German sound art award). His media installation “Suburbs Of The Void” received the Transmediale 2005 award in Berlin and was presented at La Biennale di Venezia, Teatro La Fenice as a live performance in the same year.
Köners video “Nuuk” received the Tiger Cub Award (best short film) during the International Filmfestival Rotterdam 2005. The Rimbaud Museum commissioned Thomas Köner five permanent sound installations for five rooms of the “Maison Rimbaud” in Charleville-Mezières, France.
Several significant museums acquired his audiovisual works for their collection. In 2008 he was a participant of the Media Art Biennal in Seoul. In 2009 he received the MuVi Award (1.prize best german music video) Short Film Festival Oberhausen. He is nominated for the biannual Nam June Paik 2012 Award.
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.
Floex started to compose electronic music in 1996. His debut album Pocustone (2001) bridges relatively isolated genres such as nu-jazz, electronic and modern contemporary music. The album was highly critically acclaimed not only in the Czech Republic and gained several awards (Angel Award 2001 and Nomination to Europian Qwartz Awards).
He is well known for his cooperation with Amanita Design on the soundtracks for the games Samorost 2 (2006) and Machinarium (2009). Machinarium OST gained massive reaction by both fans and critics and was selected as the best 2009 soundtrack according world’s number game magazine — PC Gamer.
Ten years after the debut in 2011 Floex releases new album Zorya. Probably most profound album up to date is going further in exploration of acoustic music (especially classical minimalism), soundtrack music and contemporary electronic. Album which takes as symbol Slavic night guard goddess “Zorya Polunochnaya” explores more deep, subconscious and nightly moods of music. However don’t be mistaken, this may be Floex most energetic album up to date — very adventurous, almost storytelling. Zorya received two Angel Awards (Cezch sort of Grammy Awards) in Electronic music and Alternative music cathegory and also has been nominated to Apollo and Vinilla Awards.
Tomáš is also author of several unique interactive multimedia installations and performances (RGB, Crossroad, Live Score) which he created mainly in 2002–2007 while studying at Prague Academy of Visual arts. His recent work Archifon I. made together with Daniel Gregor has been featured in BBC World, Forbes and Wire magazine beside many others.
At the moment Floex is performing live with his band — Sára Vondrášková — vocals and metalophones, Tomáš Dvořák — electronics, clarinet and midiclarinet, Jirka Javůrek — clarinet, midiclarinet and bas clarinet, Marián Petržela — drums!
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.
KID606 is dedicated to bringing his uniquely reckless fucked up and beautiful music to our fucked up and beautiful world. Insipired by the best of electronica, punk, jungle, hiphop, bass, dancehall and techno, Kid606 Fuses it all together with a love of pop culture that Andy Warhol would approve of. Apart from running the labels Tigerbeat6, Shockout, and Tigerbass, Kid606 has performed all around the world many times over, and released records on highly regarded labels such as Ipecac, Wichita, Mille Plateaux, Fatcat, Souljazz, and Carpark.
His highly original productions helped spearhead and define the edgy and confrontational glitch and mashup styles that are now common in modern music production. His album “Down with the scene” (2000) was a landmark release for the burgeoning international electronic music scene, with everything from hardcore ragga jungle and serene ambient to abstract IDM and the dubby soul classic “Secrets 4 Sale” with Mike Patton. Things only got more exciting as Kid606 delved deep into the seedy overworld of mainstream music with critically acclaimed unofficial remixes that many people wanted to hear yet no one else was willing to make.
All the while releasing his own original and diverse productions as well as official remixes for Amon Tobin, the Rapture, the Locust, Foetus, Depeche Mode, The Bug, Peaches, Dälek, Ellen Allien, Saul Williams, Super Furry Animals, and countless others.
His new album “Shout at the Döner” drops late April, and is easily his most accomplished record to date, it combines all the brash and exciting plunderphonic and sampledelic elements he is best known for with a whole new world of uncharacteristically musical and danceable hooks and styles which are both fresh and timeless. 606 draws on some of his biggest electronic influences like LFO, AFX, Mike Ink, Green Velvet, Mouse on Mars, the Prodigy, Daft Punk, Shizuo, Mr. Oizo and Giorgio Moroder, to make bold and powerful songs about the decline of America, leaving California, broken hearts,drunken hook-ups, social phobias, soulless partying, economic downfall, gnarly basslines, ego worship, moving to berlin, diva vocals, baltimore club, obsessive compulsive disorder, the best parts of horror movies, acidhouse, ADHD, shameless irony, speed garage, megalomania, LSD, satanism and the ever prevalent Döner Kebab, arguably europe’s best late night cuisine to consume on the way home from from the club, (Especially if you had to much to drink!).
We think this release is the Kid’s first successful stab at what we like to call “schizotronics” actually combining elements of many different Dance music styles into new songs without pretension,trying to hard to fit into any trendy genre, or losing the joy and energy of the driving beats and basslines that make music so fun in the first place. Maybe it’s intelligent dance music for people who thought they didnt like intelligent dance music, Maybe it’s unintelligent vacant technopunk trash, but you will definitely want to listen to it more then once to find out for yourself!
James Dean Brown
James Dean Brown, Berlin resident, is deeply rooted in the adventuresome Perlon family since the times before the label has been launched. In 1996, he founded Narcotic Syntax, a band he re-boosted together with his producer companion yapacc in April 2003 (releases on Perlon, WIR, Mothership, Sony/Epic). Since 2001, he is a DJ/live regular in the rotating Perlonoids line-up of the monthly, celebrated “Get Perlonized” parties at Berlin’s Panorama Bar.
A music lover and collector with a comprehensive and diversified musical experience, JDB developed an unconditional passion for the essence of music as primary emotion carrier. Consequently, DJing for more than 20 years, he combines an exciting variety of styles in his club, lounge and radio sets which are exclusively designed for gaining “The Emotional Maximum”.
JDB is known for living up to calculated extravagant licentiousness. While he sets the floors on fire by igniting a combustible brew of highly effective dance propellants, his exclusively hazardous DJ manoeuvres produce a flow which often takes deliberately unexpected turns. However, a smart feel for progression and sound design finds expression in elegant fades and rounded resolutions. The destination of these adrenalin-powered roller coaster rides for the crowd is a high grade of approved collective freakability.
Lowering the floor deep down to the boiling groundwater of euphoria, home of the bass, JDB arouses a swarm of sophisticated rhythms with a cordial punch from there. The space in between fills with sensuality, lascivious energy, temptation, tightness, and blasts of heat. “Minimalism” means “reduction of conformity” here. Ranging from the soulful vibes of Casa Profunda via West Coast House to all sorts of Club Funk, his versatile dance sets are strictly intoxicating: percussive, pumping, stimulating, uplifting, hypertonic, vinyl-based, and of timeless quality. They rock.
Recent party reviews rave about JDB’s “oeuvre of massive dancefloor destruction” with an “auditive tsunami” effect of “pure madness”, encouraging to experience his “exciting mix session (that) can manage your body in a way you didn’t expect””, while others “have seen him absolutely kill a dancefloor”. The prodigal groove becomes sensually entangled with the syncopated body of love…
JDB played many popular places and events in Germany, Europe and the world.
During the winterly German Dec/Jan season, JDB held a summer residency in Santiago de Chile from 1997–2000. Longtime friends with the artists from the notorious Chile connection, he accompanied and supported these acclaimed performers over the years, among them: atom™, Mambotur, Ricardo Villalobos, Señor Coconut, Sieg über die Sonne (Tobias Freund + Dandy Jack).
From 2006-08, JDB was involved in A&R activities for Cologne-based Treibstoff Recordings, provider of high-energy club fuels, and participated in forming the musical profile of the associated WIR label.
A side note from the past: in the 80es, under the alias of Hypnobeat, he conceived an early, seminal form of electronic dance music. Including an array of up to six synchronized rhythm machines, JDB programmed, released and performed tracks with a tribal “Prototech” approach, anticipating a phenomenon that would be denoted Techno a few years later.
James Dean Brown’s classical Lounge sets give off glamourous vibes with a touch of decadence, characterizing today’s extravagant lifestyle.
Asking for the dance of the blue hour on a trip to Lotus Land’s Narcôte d’Azur, James Dean Brown concocts a brazenly seductive arrangement of exquisite sounds by exhausting the whole spectrum of secret emotions. A relaxing cocktail of Exotica, Big Band Blues Noir, Loungecore, Mambo, Crime Jazz and other tropicalia from the golden age of coolness conveys an impression of the sophisticated verve that modern nightlife agents display when putting silver golf balls into champagne coolers which are casually lying around. The ladies’ romantic looks ignite rainbows through the finely cut cocktail glasses, which burn into PDA monitors. As a result, men’s hearts melt like amorous ice cubes on hot bed sheets.
A former resident of Frankfurt’s famous (but meanwhile extinct) Coconut Groove bar, restaurant and “metropolitan public living room”, and of the award-winning Luna Bar, JDB is now furnishing classy venues like Bar Tausend and Solar in Berlin with made-to-measure music selections. Beyond doubt, one of the highlights in his DJ career was a booking for a billionaires’ gala in the garden of the luxury hotel Cala Di Volpe in Porto Cervo on the island of Sardinia.
Other peak performances include a live remix of the Quiet Club environmental light installation score by Brian Eno at the Galleria of the Fair and Exhibition Centre, Frankfurt, and providing the musical accompaniment for the exhibition “Berlin-Tokyo/Tokyo-Berlin. The Art of Two Cities” at Neue Nationalgalerie, Berlin. In the meantime, JDB continues refining the development and presentation of space and event-related, custom-made music concepts for international clubs, bars, lounges, galleries, art and media spaces, festivals, agencies, stores, and – as close to the spirituality of sound as he could get – even once in a church.
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
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!
Goner is a Berlin based soundartist Martin Maischein, releasing numerous records since the mid 90ies as Heinrich at Hart, Sandbenders, Goner, Neon, Ritalin War Dance, White Frame and others on labels such as Position Chrome, Force Inc, Defect, Craft/Sabotage, Science City, 800trak and also his own imprints neon, Gone, Sport and more.
Concentrating on heavy soundscaping in his very unique way he incorporates various electronic dance genres in his sets, be it heavy drum and bass, electronic funk, IDM and others.
Phlex aka Daniel Matz likes to combine ornamental melodies with humping bass, floating beats and painstaking chordal work, creating a sound that is both thrilling and disturbing. It’s a bright-eyed and bushy-tailed music, that grows from a core of a seemingly unending playfulness and excitement.
Born in 1979 in Schwerin, Germany, Phlex began making music around 1995 on Amiga 500 and released several tapes with experimental hard dance music. After 10 years of development and a degree in Sound design he founded Rock Paper Scissor, a Berlin party series which took place from 2006 till 2008, bringing his favorite artists to big stages and cinemas around Berlin .
Aside from releases under his main moniker, Phlex has released several remixes and tracks under his two other names “Ziggy” and “Tex n Terok”, making remixes and works for artists like Shitkatapult, Peter Fox, Agnes Obel, Northern Lights and Bela B. Regularly he is enlisted as a producer and sound designer in his own right.
Phlex’s debut album will be released on the 15th of July 2012 at Schematic Records which hosts artists like Richard Devine, Scott Herren (Prefuse73, Savath & Savalas), Otto Von Schirach, Push Button Objects, and collaborate with the likes of Matmos, Autechre, Jamie Lidell, Matthew Herbert, and Glen Velez amongst many notable others.
His live set at Krake’s, this year, will include material from his new album as well as his project BAAL which is based on a work-up from the recent heavy weight garage house movement with the air of Berlin club-scene as well as his work as a sound designer.
Tornado Horr writes brutal, efficient, beautiful and disorientating electronic music that taps deep into the hidden rhythmic and melodic structures that surround us. After a single obscure release on Schematic he’s already starting to make excited ripples of anticipation in the electronic music scene.’
Monty is a young talented DJ from Berlin and part of the collective VRU Berlin. He has a love for UK funky bass stuff and real techno, so the range of his mixes are varying between floating and hardness. He’s supported massively by his mates Modeselektor, Phon.o, Cosmin TRG, Jackmaster (UK) and the Shitkatapult Crew.