Artists

Ulrich Schnauss

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.’

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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

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.

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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.

Pole

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.

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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.

Tim Exile

info com­ing soon…

Lucy

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.

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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

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.

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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

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.

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]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

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.

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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!!

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.

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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

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.

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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. 

Bersarin Quartett

info com­ing soon…

Thomas Köner

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.

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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

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.

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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

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).

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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

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.

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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.

Kid 606

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.

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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.

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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

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.

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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

Axiom

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!).

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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

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.

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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

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.

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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

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

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.