Robert Henke aka Mono­lake, born in Munich, Ger­many, builds and oper­ates machines to pro­duce art.
Amazed and inspired by the con­stantly expand­ing pos­si­bil­i­ties of applied com­puter sci­ence and tech­nol­ogy, Henke explores new ter­ri­to­ries between musi­cal com­po­si­tion, per­for­mance and instal­la­tion. Along­side div­ing deeply into aes­thetic con­cepts, the cre­ation of his own instru­ments and tools is an impor­tant and inte­gral part of his artis­tic process.

read more »

His works are con­cerned with vol­ume, power and impact, the ten­sion between silence and noise, dark­ness and light, and about the explo­ration and manip­u­la­tion of real and vir­tual spaces. They expose care­fully shaped details and grad­ual changes of repeat­ing struc­tures in dif­fer­ent time scales.

Henke is a pio­neer of mul­ti­chan­nel sound, using meth­ods and sys­tems like wave field syn­the­sis and ambison­ics to cre­ate sit­u­a­tions of total immer­sion, expand­ing the sonic expe­ri­ence of his per­for­mances beyond of what can be repro­duced at home.

Dur­ing the last decade, Henke’s artis­tic explo­rations more and more expanded from his ini­tial focus on music towards the field of instal­la­tion, both sound based and audio-visual. His instal­la­tions, inter­net based audio­vi­sual per­for­mances and con­certs have been pre­sented at Tate Mod­ern Lon­don, the Cen­tre Pom­pi­dou Paris, Le Lieu Unique Nantes, PS-1 New York, MUDAM Lux­em­bourg, MAK Vienna and on count­less festivals.

Henke’s inter­est in the com­bi­na­tion of art and tech­nol­ogy is also evi­dent in his con­tri­bu­tions to the devel­op­ment of the music soft­ware ‘Able­ton Live’. Since Ableton’s found­ing in 1999, he has been cen­tral to the devel­op­ment of Live, which became the stan­dard tool for elec­tronic music pro­duc­tion and com­pletely rede­fined the per­for­mance prac­tice of elec­tronic music.

He writes and lec­tures about sound and the cre­ative use of com­put­ers, and holds a pro­fes­sor­ship in sound design at the Berlin Uni­ver­sity of Arts.

For 2013 he has been selected as Mohr Vis­it­ing Artist at the music depart­ment of Stan­ford Uni­ver­sity, where he will be teach­ing a class in com­puter music com­po­si­tion and performance.


Jack Dun­ning aka Untold is cur­rently releas­ing some of the finest bound­ary push­ing music around, simul­ta­ne­ously blast­ing dance­floors and attract­ing world­wide crit­i­cal acclaim. So how did we get here?

read more »

Hav­ing pro­duced music in a bed­room set up for years as a young 20 some­thing, a drain­ing stint of higher edu­ca­tion forced him to down tools “an Elec­tronic Music degree ruined my enjoy­ment of writ­ing for ages”, Jack remem­bers. But these were just years of hiber­na­tion and the time to develop a career in graphic design that put food on the table. The cat­a­lyst for a musi­cal renais­sance came in 2005 after a les­son in sub bass at the then fledg­ling DMZ, the world’s most impor­tant dub­step night.

It was the purity of the atmos­phere and the sub bass that got me. Every­one in the room seemed totally locked on to each tune, there was a crazy energy in the place. After going to my first dance at Third Base I knew I had to start writ­ing music again.”

Picked up in early 2008 by Hessle Audio, his King­dom EP was the third release of the then fledg­ling imprint, intro­duced a sonic palate that was nuanced, under­stated but with bags of bass weight. Here were the early indi­ca­tors of what was to become a fierce sonic arse­nal – the mutant, blunt edges of his synth play, an intri­cate tapes­try of detail which added depth and longevity, but barely audi­ble to even to the geeki­est of listeners.

By early 2009 Jack had been ham­mer­ing a selec­tion of awe­somely anachro­nis­tic and symp­to­matic music on CDR; fuel for an ever grow­ing DJ sched­ule. For those that were lucky enough to be caught in a rave when the awk­ward, stac­cato bleeps of Ana­conda assaulted the ear drums, you knew this was an artists to take 100% seri­ously. Played by DJ’s span­ning gen­res, coun­tries and vast age groups, this 12” release on the Hessle Audio label showed the elec­tronic world they had a new artist with a highly dis­tinc­tive sound to get their teeth into.

2009 unfolded with a slew of essen­tial remixes for 2nd Drop and Planet Mu, along­side orig­i­nal mate­r­ial on Hot­flush and Brain­math. Jack’s largest body of work has been the 6 track EP on his own Hem­lock label who he runs with his mate Andy. The Gonna Work Out Fine Ep was a col­lec­tion of tracks that pushed the genre bound­aries — this wasn’t dub­step, if dub­step was half step wob­ble than this was the anti-christ – and could be seen gaz­ing off into the near future of pro­gres­sive dance­floors and vinyl con­nois­seurs every­where. Stilted rhythms meet, jilted synths and squashed drums with the ever-present specter of grime lurk­ing on the periph­eries. But this EP also pro­vided an insight into Jack’s wider music palate, your can here clas­sic house in the keys of Don’t Know Don’t Care and Never Went Away, the ravey synths of later day hard­core and jun­gle on Palamino. But it’s not always about look­ing back, explo­ration of bpms cre­ates new hybrids, and the low-fi swing of No One Likes A Smart Arse demon­strates his twisted take on dark garage and the funky skele­ton of Palamino off­sets the afore­men­tioned nos­tal­gic melodies.

2010 holds fur­ther promise. Hav­ing just remixed Ke$ha’s #1 Hit “Tik Tok” and signed a col­lab­o­ra­tion with Roska to Num­bers com­ing later in the year, more releases on Hem­lock of his own mate­r­ial is a given. Jack con­tin­ues to show his A&R spurs with the likes of Mount Kim­bie, James Blake, Cos­min TRG and Ramadan­man grac­ing the label.


Doppleref­fekt are the mys­te­ri­ous duo orig­i­nat­ing out of Detroit fronted by Ger­ald Don­ald (Hein­rich Müller / Der Zyk­lus, Japan­ese Tele­com, Arpanet as well as one half of Drex­ciya). Mov­ing from their ear­lier elec­tro sound into more oth­er­worldy synth exper­i­ments, Doppleref­fekt inhabit an inter­est­ing con­tem­po­rary elec­tronic world where their arpeg­giated melodies and visual heavy show could just as well be suited to a seated art space as it could to a club or elec­tronic fes­ti­val stages. Lit­tlebig are proud to rep­re­sent Doppleref­fekt exclu­sively as they pre­pare for a release this sum­mer – their first in 6 years.

read more »

Past Discog­ra­phy:

Gesamtkunst­wek” – Clone Clas­sic Cuts (2007)
“Cal­abi Yau Space” – Rephlex (2007)
“Lin­ear Accel­er­a­tor” – Int Dee­jay Gigolo (2003)
“Myon-Neutrino/Z-Boson” – Int Dee­jay G (2002)
”Sci­en­tist Mixes EP” – Int Dee­jay Gigolo (2001)
“Sci­en­tist EP” – Int Dee­jay Gigolo (2001)
“Gesamtkunst­wek” – Int Dee­jay Gigolo (1999)
“Ster­il­iza­tion EP” – Dat­a­physix Engi­neer­ing (1997)
“Info­physix EP” – Dat­a­physix Engi­neer­ing (1995)
“Cel­lu­lar 7-inch” – Dat­a­physix Engi­neer­ing (1995)

Max Cooper

A rare live techno act whose epic sets rival DJs in vari­ety and dura­tion … [The End of Rea­son is] a truly sub­lime beat­less tour de force that recalls Philip Glass, Aphex Twin’s most serene moments and even Hen­ryk Gorecki’s Sym­phony No. 3″ — Res­i­dent Advi­sor “Beau­ti­ful, hyp­notic techno that should be lis­tened to by any­body with even a pass­ing inter­est in intel­li­gently geared dance music” — Elec­tro­rash Con­trol, humil­ity and pre­ci­sion — emo­tion, release and catharsis.

read more »

There’s two sides to Max Cooper. The pub­lic side is known for extended fes­ti­val sets — a hybrid live/DJ per­for­mance that explodes from del­i­cate, reflec­tive elec­tron­ica into abra­sive noise within a moment, but just as fear­lessly throt­tles back to moments of still­ness and silent beauty — within the same track, across three or four hours of play­ing, or within the space of a cou­ple of expertly cho­sen sam­ples. What oth­ers pro­duc­ers see as an unbridgable chasm between dif­fer­ent styles, BPMs, approaches, instru­ments and feel­ing, Cooper views as a sin­gle musi­cal tool­box, with every tool is at hand to a pro­ducer who’s been play­ing out for 15 years.

The pri­vate side of Cooper, mean­while, is the hum­ble sci­en­tist, the pro­ducer who works while oth­ers net­work, who is more influ­enced by mod­ernist clas­si­cal than dance-music trends, and who intro­duces new releases on his face­book with the self-effacing “I hope you enjoy this one!” Despite the affir­ma­tion of being made a Beat­port artist of the year 2012, voted one of Res­i­dent Advisor’s top 20 live acts, and hav­ing, for influ­en­tial US elec­tron­ica site XLR8R, a top 10 most-popular pod­cast and sin­gle down­load, as well as two of its most pop­u­lar videos, Cooper still feels at the start and not the peak of his artis­tic ambi­tions. There are more col­lab­o­ra­tions with visual artists to come, his debut album, a series of musi­cal pieces inspired by con­tem­po­rary art, his con­tri­bu­tion to the FIELDS live­elec­tron­ica label and tours — all part of his call­ing to fuse the gospel of sci­ence and ratio­nal­ity with the excess and exu­ber­ance of the most cre­ative elec­tronic music.

Blame that on Cooper’s back­ground. Raised in a town out­side Belfast, North­ern Ire­land, as a child Cooper was sent to a Steiner school — the only mixed-religion school in the neigh­bour­hood, but also one that pushed its pupils to be free spir­its: inde­pen­dent and ques­tion­ing, reflec­tive and self-disciplined. And that’s how, first DJing local stu­dent club Fire­fly dur­ing his uni­ver­sity years in Not­ting­ham, he simul­ta­ne­ously man­aged to earn a PhD in com­pu­ta­tional biol­ogy (genet­ics) and pro­duce his first tracks. And how, while stack­ing up the hours as a genet­ics researcher for Uni­ver­sity Col­lege Lon­don, he wrote his first sig­nif­i­cant releases for Ger­man techno label Traum Schallplat­ten: the tril­ogy of “Serie” EPs, each tak­ing a dif­fer­ent sci­en­tific con­cept as inspi­ra­tion, both musi­cally and in the col­lab­o­ra­tive ani­mated videos he com­mis­sioned from Andrew Brewer / Whiskas fX.

Hav­ing retired his research job in 2010, Cooper is now estab­lished as one of the UK’s most intrigu­ing, pro­lific elec­tronic acts. There’s now eleven com­mis­sioned exper­i­men­tal ani­ma­tions with fil­mak­ers like the UK’s Nick Cobby and Whiskas fX, France’s Cedric De Smedt, Russia’s Dmitry Zakharov and Italy’s Vicetto, to accom­pany his music — and a fan­base that reg­u­larly offers up its own own visual take on his tracks. There’s a heav­ily traf­ficked pod­cast series that includes two sem­i­nal mixes for Res­i­dent Advi­sor and XLR8R, John Digweed’s Tran­si­tions show, the upcom­ing launch of the Mag­netic Mag sound­scape series, in which Cooper will release music inspired by the his favourite archi­tec­tural space; Cooper’s research efforts with the staff of noted music-software house Liine; and his back cat­a­logue of nearly 60 orig­i­nal tracks and remixes … With all this, Cooper has pushed beyond his early appren­tice­ship as a 4/4 techno pro­ducer to become some­thing new and unique in the elec­tronic landscape.

As known now for visual exper­i­ments as his yearn­ing and emo­tional reworks of huge acts like Au Revoir Simone and Hot Chip — and his more glitchy, exper­i­men­tal approach to work­ing with tra­di­tional orches­tral com­posers like Ola­fur Arnalds and Nils Frahm and ris­ing Planet Mu-style men­tal­ist Vaetxh — Cooper con­tin­ues to evolve, absorb new influ­ence, and change the rules for who elec­tronic artists should work with, and how. The first pro­ducer out­side of Richie Hawtin’s Minus Records fam­ily invited to join Hawtin’s pres­ti­gious book­ing agency, Clonk, he’s also the first musi­cian ever allowed to rework the music of Michael Nyman, sem­i­nal min­i­mal­ist and one of the world’s most iden­ti­fi­able sound­track com­posers (The Piano, Gattaca).

With Cooper, there’s con­trast, and also unity. A reserved, clin­i­cal pro­ducer who’s known for the emo­tion and melody of his music. The writer of del­i­cate sound­scapes for the female voice who qui­etly slipped out an EP of pound­ing snare rolls called Mechan­i­cal Con­cus­sion. A remixer of blog bands like MMOTHS, Halls, BRAIDS — and a go-to remixer for techno labels like Herzblut, Bedrock and artists like Bodzin, Rom­boy and Ago­ria. A min­i­mal­ist who likes to relax with a bit of hip-hop scratch­ing and turntab­lism — and who is work­ing on ways to use turntab­lism to oper­ate other elec­tronic instru­ments. A live act known both to be both nag­gingly hyp­notic and blis­ter­ingly tough.

A blend of sci­ence and feel­ing, risk-taking live per­for­mance and pol­ished musi­cian­ship — in 2013, Max Cooper looks ready to become one of the biggest acts in the elec­tronic world.


Aus­trian gui­tarist, com­poser and elec­tronic musi­cian Chris­t­ian Fen­nesz is rec­og­nized as the key fig­ure and one of the most dis­tinc­tive voices of elec­tronic music today. His wide inter­na­tional rep­u­ta­tion has been con­sol­i­dated through a sub­stan­tial over­all con­tri­bu­tion to the new musi­cal expression.

read more »

In the begin­ning of nineties Fen­nesz became involved with Vien­nese techno scene. From the very begin­ning, he was dis­play­ing tal­ent for com­pos­ing and devel­op­ing his own sound world and the dis­tinc­tive idiom made pos­si­ble by tech­nol­ogy. Although Fen­nesz has been edu­cat­ing for­maly since an early age, first in gui­tar later in ethno-musicology, he decided to look for his own musi­cal goal in the world where he could belong, express­ing him­self as a com­poser and per­former. He main­tained gui­tar as a dom­i­nant musi­cal source chang­ing the con­ven­tional usage and fea­tures by plug­ging it into lap­top. Com­bin­ing these musi­cal tools as well as devel­op­ing his own style in trans­form­ing and pro­cess­ing it, Chris­t­ian Fen­nesz man­aged to cre­ate a spe­cific expres­sion and sound world that is dif­fi­cult to mis­take for another. On the first full-length solo release Hotel paralel.lel (1997) for Vien­nese Mego he had intro­duced mix of ana­log and dig­i­tal, the blend of raw tex­tures and twisted gui­tar sound. The album had been awarded with Prix Ars Elec­tron­ica for Dis­tinc­tion for Dig­i­tal Musics. Two years after the first one, the sec­ond album enti­tled Plus Forty Seven Degrees 56′ 37″ Minus Six­teen Degrees 51′ 08″ was released by Touch. Mile­stone of Fennesz’s career, the third album End­less sum­mer (2001, Mego) is acknowl­edged as one of the most impor­tant releases of the decade that helped chang­ing of per­cep­tion and posi­tion of elec­tronic music today. In the times when com­posers of impro­vised and exper­i­men­tal music had tended almost to negate basic musi­cal com­po­nents, Fen­nesz has given sig­nif­i­cant place to melody in his own pieces. Grow­ing unex­pect­edly into the music, the melody is del­i­catly appear­ing beneath (or on the top) of shim­mer­ing elec­tronic sound often described as sym­phonic for its enor­mous range and com­plex musicality.

In 2004 Fen­nesz pre­sented album Venice where he brought to the full exten­sion com­bi­na­tion of ambi­ence rich sound tex­tures com­bined with pop-song ele­ments — started from the most obvi­ous one as track length, to the more hid­den as struc­ture itself. The last solo release Black sea (2008) has proved to be bold step towards exper­i­ment­ing with longer tracks that tend to fuse or to be per­ceived as a com­plex struc­ture, out­lin­ing and con­struct­ing sonic space with­out nec­es­sar­ily fill­ing it with musi­cal nar­ra­tive and pre­de­fined concept.

Within last ten years, Fen­nesz had made col­lab­o­ra­tion with many other musi­cians as well with authors whose cre­ative field stretch form video art and film to dance. These encoun­ters of diverse poet­ics had resulted with numer­ous stage per­for­mances and num­ber of excep­tional stu­dio releases. He had been record­ing and per­form­ing with Ryuichi Sakamoto, David Syl­vian, Keith Rowe, Mark Link­ous (Sparkle­horse), Mike Pat­ton and many oth­ers. Fen­nesz has also worked along­side Peter Rehberg and Jim O’Rourke in the impro­vi­sa­tional trio Fenn O’Berg.

Nathan Fake

Nor­folk born and bred heir to the UK elec­tron­ica throne Nathan Fake has kept fans of fuzzy-edged synths and pound­ing acidic techno beats alike guess­ing ever since his debut release at the ten­der age of 19. And now, hav­ing just reached his 29th birth­day mile­stone, he is back with exu­ber­ant new album main event ‘Steam Days’, a breath­tak­ing land­mark on Nathan Fake’s road to musi­cal matu­rity which Nathan has rightly branded his “best work to date”, oscil­lat­ing effort­lessly between both ends of the elec­tronic spec­trum to reprise both the sooth­ing melodic indul­gence and heavy dance­floor assault of his albums of yore.  

read more »

And although a career that has been char­ac­terised by such deftly-executed elec­tronic ver­sa­til­ity may to the out­sider appear chameleonic, schiz­o­phrenic even, one thing has remained con­stant through­out his decade at the elec­tron­ica coal­face: a very real sense of the artist behind the machines, no mat­ter which pro­duc­tion hat Fake may cur­rently be sporting.

It was dur­ing his upbring­ing in the rural Eng­lish county of Nor­folk that the first tell-tale signs of Nathan Fake’s artis­tic idio­syn­cra­cies began to reveal them­selves. When an early course of piano lessons threat­ened to stall at the abstract first hur­dle of learn­ing to read music, the young Nathan instead took on the much more daunt­ing task of mem­o­ris­ing by ear with the aim of recall­ing dur­ing prac­tice ses­sions at home, with con­sid­er­able – and sur­pris­ing – lev­els of suc­cess. His induc­tion into the elec­tronic arts would come a lit­tle later care of his elder brother’s Orbital tape cas­settes, their unashamedly euphoric melody lines like­wise effort­lessly assim­i­lated by Nathan, pro­vid­ing a wel­come lead to play along to on his junior Casio key­board (lit­tle did he know that years later he would end up sup­port­ing those same Orbital broth­ers on their 2012 come­back tour!). And to this day, Fake retains an abil­ity to recall, decon­struct and repli­cate music that is damn near pitch­per­fect, which has come to him via this alto­gether nat­ural and entirely unstud­ied route.

This envi­able raw, innate musi­cal abil­ity was given a cur­sory pol­ish when Nathan left his sleepy Nor­folk vil­lage of Nec­ton at the age of 18 to com­mence an HND in Music Tech­nol­ogy at Read­ing Col­lege of Art & Design, although Fake would end up drop­ping out before grad­u­a­tion when his musi­cal career sud­denly took off of its own accord – and in grand style. His debut 12” release — the Boards-of-Canada-do-techno of ‘Out­house’ — came care of UK producer-cum-DJ James Holden’s Bor­der Com­mu­nity label in 2003 (the fledg­ling label’s sec­ond ever release), mak­ing seri­ous inroads on the dance­floors of Europe. Fol­low­ing hot on its heels came that inim­itable (though far too many have tried!) James Holden remix of Fake’s ‘The Sky Was Pink’, con­found­ing all expec­ta­tions to notch up 12” sales approach­ing 20,000 at a time when peo­ple were already queue­ing up to ring the death knell for vinyl. The Nathan Fake name thus found itself stamped all over a bonafide mod­ern dance­floor clas­sic, its soar­ing fake gui­tars reach­ing out into the realm of uni­ver­sal con­scious­ness, some­what inescapably cement­ing Fake’s club rep­u­ta­tion in the process.
But Nathan’s brief spell at Read­ing Col­lege would not go entirely to waste: his course-based explo­rations of the influ­ence of elec­tronic music on rock and pop pro­duc­tion would even­tu­ally lay the foun­da­tions of his 2006 debut album ‘Drown­ing In A Sea Of Love’, a melody-rich sweep of shoegazey rock­tron­ica fur­ther in the vein of Fake’s epic, psy­che­delic orig­i­nal ver­sion of ‘The Sky Was Pink’. This endear­ing col­lec­tion of warm and fuzzy juve­nilia trans­lated effort­lessly into ful­lyfledged home-listening album mate­r­ial, mak­ing good on the promise shown by his early dance­floor incur­sions to see through the trans­for­ma­tion into grown-up pro­fes­sional world­wide tour­ing and record­ing artiste, thereby pulling off a feat that most of his then-peers could only dream of as his music broke out of the dance music ghetto to spin off into the record col­lec­tions of album-buying music lovers the world over.

If his harder-edged 2009 stop-gap mini-album follow-up ‘Hard Islands’ then came as some­thing of a dra­matic depar­ture to this new army of home-orientated lis­ten­ers, the process by which it came about was for Nathan an entirely smooth and nat­ural one. As his extended album tour grad­u­ally gave way to the never-ending stream of requests from the techno clubs where he first made his name, var­i­ous ‘Drown­ing In A Sea Of Love’ era tracks were beefed up to com­ple­ment his emerg­ing new mate­r­ial. Evolv­ing grad­u­ally in the con­text of his live per­for­mance before finally being pinned down to a fixed recorded form for their offi­cial release, these sweaty shirts-off ‘Hard Islands’ jams bear the influ­ence of his expe­ri­ences at dance music’s front line, infus­ing them with an increas­ingly musi­cally ambi­tious cere­bral edge and a reac­tive response loop mech­a­nism that leaves them even more opti­mised for max­i­mum dance­floor impact than ever before.

Play­ing live a lot has had a pro­found influ­ence on the way I make music now,” Nathan explains. “It’s all quite impro­vised and I actu­ally for­mu­late a lot of my arrange­ments while I’m play­ing live. I use loops which I can put in depend­ing on the mood, its all free form.” And the resul­tant Nathan Fake lap­top live show is a much more intense, phys­i­cal and visual expe­ri­ence than one has tra­di­tion­ally come to expect from the one man genre, wherein Fake fits and jerks his way through an unstop­pable hour long assault with incred­i­ble focus, elbows flail­ing and body con­torted to impos­si­ble angles as he throws the noises at his enrap­tured audience.

The almost autis­tic musi­cal apti­tude and incred­i­ble feats of mem­ory of Nathan’s child­hood also con­tinue to inform his modern-day stu­dio pro­duc­tions, as he wrings his astound­ing results out of the lim­ited palette of a PC and millennium-era Cubase 5 soft­ware thanks to his ency­clopaedic knowl­edge of every lit­tle detail – bug, quirk, mal­func­tion or bonafide built-in fea­ture — that lurks inside his cho­sen tools. “My approach to mak­ing music, phys­i­cally and men­tally, has actu­ally changed very lit­tle over the last ten years,” he main­tains, some­what sur­pris­ingly. “I like to keep the tech­ni­cal side of things as sim­ple and famil­iar as pos­si­ble.” For Nathan, this absolute and com­plete mas­tery of a lim­ited set of tools is essen­tial to ensure the rapid, vis­ceral trans­la­tion of instinc­tive ideas into jaw-dropping musi­cal reality.

The method behind the mad­ness may barely have altered, but as we fast for­ward to 2012’s ‘Steam Days’ update of the Nathan Fake musi­cal man­i­festo we find Nathan increas­ingly con­cerned with a new process he describes as “ero­sion of sound”, whereby an unpre­dictable organic layer of post­pro­cess­ing is added to the oth­er­wise pris­tine and all-too-ubiquitous prod­ucts of computer-bound dig­i­tal soft-synths. “The last two records sound really clean to me now,” Fake explains. “This one has the per­fect amount of grit in it, I think. I’ve put a lot of time into find­ing dif­fer­ent ways to erode sounds, to make them sound wooden and earthy instead of plas­tic and metal.”

The uncon­ven­tional low-tech hotch potch that makes up Mr Fake’s idio­syn­cratic home stu­dio thus com­bines the ana­logue rich­ness of a rag tag col­lec­tion of cheap drum machines with the infi­nite power and pos­si­bil­ity of his trusty PC’s dig­i­tal audio edit­ing capa­bil­i­ties, all of which is flat­tened and uni­fied through the cru­cial final step of record­ing to one of his beloved vin­tage home cas­sette play­ers. “The way a cas­sette works when it records stuff is pretty unique,” Nathan explains. “You can get plu­g­ins but you can never really get the same results unless you use real tape.”

The resul­tant ‘Steam Days’ album arte­fact is the con­sid­ered response of an artist com­ing of age, draw­ing upon that self-same char­ac­ter­is­tic indi­vid­u­al­ism to reach matu­rity in the full glare of that spe­cial kind of musi­cal infamy that comes attached to an insid­u­ous club hit. A doc­u­ment of “every­thing that’s gone on in my head for the past two years”, the ‘Hard Islands’ techno tantrum of Nathan’s mid-twenties has clearly now abated, giv­ing way to a sophis­ti­cated organic blend of propul­sive per­cus­sive body and warm­ing pas­toral bliss that effec­tively dis­tills both sides of his frac­tured musi­cal per­son­al­i­ties into a delight­fully var­ied trans­for­ma­tive trip.

Long after his post-college move to the big, bad city of Lon­don, Nathan’s rural upbring­ing in the Nor­folk vil­lage of Nec­ton con­tin­ues to bring its influ­ence to bear on his music, his pas­toral roots weav­ing their way through har­mo­nious washes of synths and folky refrains, and run­ning deep into the mythol­ogy of his track titles. Farm fresh floor­filler ‘Iceni Strings’ is a nod to ancient Nor­folkd­welling Celtic tribe the Iceni, whilst local vil­lages ‘Bawsey’ (out­door swim­ming spot where the teenage Nathan once nar­rowly escaped drown­ing), ‘Neke­t­ona’ (the Anglo-Saxon name for his child­hood vil­lage home) and ‘Cas­tle Ris­ing’ (surreally-named sleepy Nor­folk ham­let) all rep­re­sent per­sonal land­marks in the Fake fam­ily folk­lore. Like­wise the insis­tently anthemic ‘Harnser’ takes its name from his father’s handy­man com­pany, itself named after the local Nor­folk word for “heron”. “I’ve got a really strong con­nec­tion with the place I grew up in,” Nathan declares. “Nor­folk will always be my home, even though I don’t have one there any more.”

Lon­don is also my home, but I still don’t feel like I totally belong here,” he con­tin­ues, hav­ing adopted the British cap­i­tal as cen­tre of oper­a­tions for his cur­rent cam­paign of tour­ing and remix­ing (his string of illus­tri­ous cred­its includes none other than Radio­head, Domino’s pro­duc­tion young buck Jon Hop­kins, Warp’s PVT and Clark, and labels like Ninja Tune, DFA and Lone’s Magic Wire). Though he often ven­tures beyond the walls of his home stu­dio to embrace the full throb of the city’s ever-shifting musi­cal land­scape, every now and then a wist­ful eye is cast back towards his long since sold fam­ily home in Nor­folk, and Nathan some­how never quite man­ages to shake off that nos­tal­gia for good times gone by encap­su­lated in his ‘Steam Days’ album title. But torn as he is between town and coun­try, between dance­floor hedo­nism and home-listening intro­spec­tion, the lone fig­ure of Nathan Fake together with his third album opus ‘Steam Days’ serve as liv­ing proof that these seem­ingly polar oppo­site worlds don’t have to be mutu­ally exclusive.

Cristian Vogel

Cris­t­ian Vogel is a com­poser, music pro­ducer and mul­ti­me­dia artist spe­cial­is­ing in exper­i­men­tal elec­tronic music, club cul­ture and sound art.

read more »

Over a 20 year career at the van­guard of euro­pean elec­tronic music, he has been acknowl­edged for blue print­ing the “min­i­mal” and “wonky” techno music styles back in the mid-nineties, as well as out­stand­ing work in the field of avant-garde composi­tion for con­tem­po­rary dance, film and sound art.

He cur­rently lives and works in Berlin.


Frank Bretschneider

Frank Bretschnei­der is a musi­cian, com­poser and video artist in Berlin. His work is known for pre­cise sound place­ment, com­plex, inter­wo­ven rhythm struc­tures and its min­i­mal, flow­ing approach. Described as »abstract ana­logue pointil­ism«, »ambi­ence for space­ports« or »hyp­notic echocham­ber pulse­beat«, Bretschneider’s sub­tle and detailed music is echoed by his visu­als: per­fect trans­lated real­iza­tions of the qual­i­ties found in music within visual phenomena.

read more »

He is releas­ing his music and per­form­ing at music/new media fes­ti­vals worldwide.

Bretschnei­der (1956) was raised in Karl-Marx-Stadt (Chem­nitz since 1990), where his aes­thetic devel­oped as he lis­tened to pirate radio and smug­gled Beastie Boys tapes in the for­mer East Ger­many. After study­ing fine arts and inspired by sci­ence fic­tion radio plays and films he began exper­i­ment­ing with tape machines, syn­the­siz­ers, and mod­i­fied gui­tars in 1984, as well as explor­ing the pos­si­bil­i­ties of exchange between visual art and music by var­i­ous means such as film, video and com­puter graphics.

In 1986, after estab­lish­ing his cas­sette label klang­FarBe, Bretschnei­der founded AG Geige, a suc­cess­ful and influ­en­tial East Ger­man under­ground band. Though lim­ited to the East before the wall came down, they were invited to per­form across Ger­many and inter­na­tion­ally after 1989 and released three albums before split­ting in 1993.

In 1995, Bretschnei­der and fel­low AG Geige mem­ber Olaf Ben­der founded the Raster­mu­sic record label which even­tu­ally merged with Carsten Nicolai’s noton to form raster-noton in 1999.

Most of Bretschneider’s early solo albums — about half a dozen — were under the alias Komet, the first, SAAT, appear­ing in 1996. Since then Bretschnei­der has released his work (in addi­tion to raster noton) on var­i­ous labels includ­ing 12k, Line, Mille Plateaux or Shitkat­a­pult, and con­tributed to some well-known com­pi­la­tions like CLICKS & CUTS on Mille Plateaux and raster-noton’s 20′ TO 2000 series. 2001’s CURVE, his sec­ond album for Mille Plateaux, was crit­i­cally acclaimed and brought Bretschnei­der inter­na­tional atten­tion. Fol­lowed 2003 by GOLD, raster-noton’s most bla­tantly pop album by then. GOLD, how­ever, was topped by the per­cus­sive mas­ter­piece released in late 2007, RHYTHM, an album that was rated very highly by sev­eral major elec­tronic music pub­li­ca­tions, notably »The Wire« mag­a­zine, who put the album among their top releases of 2007. 2010 saw the release of EXP, a rather com­plex and abstract audio-visual work and his 2012 album KIPPSCHWINGUNGEN explores the sound of the Sub­har­chord, a unique elec­tronic instru­ment based on sub­har­monic sound gen­er­a­tion. With 2013’s AUXILIARY BLUE for Dan­ish label Dacapo — a col­lab­o­ra­tive work with com­poser Ejnar Kand­ing — Bretschnei­der enters the ter­ri­tory of new con­tem­po­rary music.

SUPER.TRIGGER his lat­est album for raster-noton and an absolute trove of per­cus­sive ten­sions will be out in July 2013.



Phon.o, the boy with the dot in his name and the dubby back­ground, started to play records with his buddy Appa­rat in the early 90s far in the dark­est reaches of the ruff’n’tuff Harz moun­tains, in for­mer East Ger­many. 1997, seek­ing new and bright hori­zons, our boy moves to beau­ti­ful Berlin and is given the keys to his first apart­ment: a dingy shoe­box which even the Rus­sians had left unoc­cu­pied dur­ing their stint in Berlin.

read more »

Dur­ing the wet autumn of 1998, he started to cre­ate his own music and emerged in the spring of 2000 with his first release on Cytrax (Kit Clay­ton and Dj Jasper’s itchy, noisy, dubby Cal­i­forn­ian Techno label). Phon.o then found him­self “mis­led, used and abused” by the noto­ri­ous big Rock’n Roll swindler, T.Raumschmiere, who con­nives him into join­ing his gang Shitkat­a­pult. Fire does take its toll on those who wield it and Phon.o even­tu­ally real­ized the need for an image change. He enrolled in the Kun­sthochschule Berlin (KHB) in the fall of 2000 and began study­ing Com­mu­ni­ca­tion Design. As a next chap­ter Chris De Luca and Phon.o joined forces in spring 2006. This uncon­ven­tional com­bi­na­tion of inter­galac­tic Hip Hop, Ghetto Beats, sexy booty IDM and dirty Techno goes beyond typ­i­cal con­tem­po­rary genre bound­aries. In 2008 the results of CLPs dirty col­lab­o­ra­tion got released as the EP Ready Or Not on Boys­noize Rec. includ­ing remixes by Diplo and Mix­hell and as an eclec­tic, genre blend­ing Hip Hop album called Super­con­ti­nen­tal on Shitkat­a­pult. In 2009 the boys did not take a rest while world­wide tour­ing and kept on releas­ing. Fol­low­ing CPL Phon.o — in search for his next sound — did remixes for the likes of Mod­e­se­lek­tor, Boys Noize, Schlachthof­bronx and Robot Koch.

In 2011, Phon.o started to release on Modeselektor’s 50 Weapons label with a new sound some­where between the grooves of UK-Funky and Dub­step and the clas­sic Berlin Dub-Techno school of Basic Channel/Hardwax. For many Phon.o has been pro­duc­ing some of his dopest mate­r­ial just now. His 2 sin­gles in 2011 have been com­pared to the best moments of Bur­ial and expec­ta­tions for his debut album “Black Boul­der” are high.

Traversable Wormhole

Tra­vers­a­ble Worm­hole is one of two live projects of Adam X and his most pop­u­lar project to date. After its start in 2009 as a series of anony­mously pro­duced ink stamped vinyl that stirred the global techno scene with its mys­te­ri­ous guise, the project quickly received huge sup­port from many of the world’s most renowned techno shops and glob­ally respected DJs.

read more »

Tra­vers­a­ble Worm­hole tracks have been remixed by some of the best in the scene and released on Chris Liebing’s imprint CLR and Tra­vers­a­ble Worm­hole Records.

The sound of Tra­vers­a­ble Worm­hole is a unique sci-fi laden techno with gaps of time, space & bass in between sound & rhythm. Fol­low­ing the suc­cess­ful com­pi­la­tion of the first five Tra­vers­a­ble Worm­hole 12″ releases in 2010, the most recent release “Tra­vers­a­ble Worm­hole Vol 6–10″ on CLR has just arrived, a full length mix of 10 tracks put together by Adam X himself.

Dasha Rush

Dasha Rush is Russ­ian born, but actu­ally she is a cit­i­zen of the world.

Com­bin­ing her activ­i­ties as a techno pro­ducer and dj with multi-artistic col­lab­o­ra­tions along­side artists and dancers, Dasha Rush brings up a mix­ture of rather rare techno elec­tronic exper­i­men­ta­tions, and syn­the­sized sounds more akin to the brief move­ment of under­ground music. Roots of such sounds par­tially go back to the early 20th cen­tury and rise to sig­nif­i­cant Art Move­ments to this day.

read more »

Dasha likes to push the bound­aries of con­tem­po­rary dance to the limit, encour­ages exper­i­men­ta­tion with var­i­ous musi­cal (and non musi­cal) forms and assem­bling into deep, slightly dark, and very emo­tional artis­tic way of expres­sion. In her strange and twisted world the machines are the pro­tag­o­nists of a neo-romanticism, weaved with human dreams.


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.

read more »

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.

Hard Ton

HARD TON are the Ital­ian duo with a larger than life disco sound and a sur­pris­ing love of metal. Fused together in 2008 from the musi­cal loins of DJ Wawashi and heavy metal singer Max, Hard Ton met online through a site for hir­sute lov­ing — though very quickly it became clear their rela­tion­ship was to be based on a mutual love of music.

read more »

Finally meet­ing in per­son at a party in 2009, over some cherry wine and mus­ings of future hopes and dreams, they solid­i­fied their vision. Sylvester-styled falset­tos con­jure up mem­o­ries of smoky dance floors dur­ing the heady days of Hi-NRG, which com­bined with a con­tem­po­rary sound of accel­er­ated beats and scream­ing acid bass lines, shows a nod to the past can result in a slap across the face for the present. Using ana­logue and vin­tage gear, from the 303, 606, 707, Ober­heim DMX, Korg Monop­oly, MS20, Prophet 5, the music is as organic as syn­thetic music can be, their equip­ment liv­ing and dying by its own unpre­dictable rules.



Anklepants aka Reecard Farché is a live elec­tronic music machine. From deep in the aus­tralian bush comes a nice exotic shapeshift­ing con­vict with no face for one genre.
The Exoslkele­ton sup­port­ing Reecard Farché is crea­ture / spe­cial effects artist Joßhüa Héad. Anklepants is a per­fect spec­i­men. His eyes, nose, face and mouth are perfect.

read more »

A con­coc­tion of knowl­edge of music , char­ac­ter design, crea­ture effects and ani­ma­tronic con­trol. Anklepants was born in 2008. This project is promi­nently elec­tronic music, using a vast array of audio hosts and hard­ware instru­ments / syn­the­siz­ers, also includ­ing gui­tar, oud, voice, ani­mal sounds, any sounds, field record­ings and cus­tom elec­tronic instru­ments, phys­i­cal com­put­ing / con­trollers / micro­phone bent and mutated toys.



info com­ing soon…

Bill Youngman

BILL YOUNGMAN is hell of a pro­ducer. Although mostly known for his techno releases on labels like Scan­di­navia, Tre­sor, Null etc., Bill has from day one been pro­duc­ing a lot of excel­lent other stuff. For exam­ple, he released one album of the finest elec­tron­ica on DEPTH CHARGE’s DC Record­ings under the alias AUDIBLE, sev­eral great EPs of elec­tro on Sero­tonin and recently remixed JAMIE LIDELL in a rather techy dub­step style for Warp.

read more »

Bill doesn’t fol­low trends and dis­likes being cat­e­go­rized into one stale genre and so per­fectly fits into the KILLEKILL mas­ter plan.

Expect sev­eral EPs from him on KILLEKILL in the future that will fur­ther dis­play the wide range of styles he is inter­ested in and loves. With all this in mind, Bill will fur­ther­more attempt to push the thresh­old of mod­ern elec­tronic music production.


Eomac is one half of Dublin based duo Lakker, but is also a DJ and pro­ducer in his own right. His eclec­tic style is reflected in both his pro­duc­tions and his DJ sets — expect any­thing from blis­ter­ing techno to haunt­ing 2-step to the dark­est depths of dub­step and back again.

read more »

This year will see him stray fur­ther afield with a forth­com­ing 12” on Berlin based imprint Killekill, backed with a remix by Stro­bo­scopic Arte­facts boss Lucy, a free EP under a new alias (EeOo — http://eomac.bandcamp/album/eeoo-angel-ep), remixes for Boy Scout Audio and Acroplane, and the revival of his mix series — a mix uploaded every month for the entire year. DJ sup­port has already come from Cassegrain, Damu, DJ Flush, Wen, Black­down, Lucy and none other.

Pharoah Chromium

Pharoah Chromium is a project by german-palestinian musi­cian and per­former Ghazi Barakat and was named after a song of the band Chrome. The project draws inspi­ra­tion from diverse sources: free jazz, rit­u­als from acient past and near future, the dream syn­di­cate, sci­ence fic­tion nov­els and neo-brutalistic archi­tec­ture groups like Archizoom and Superstudio.

read more »

Sound­wise it moves in waters close to the ger­man sound of the psy­che­delic avant-garde of the 70’s as well as early indus­trial bands of the early 80’s.
He has released his first dou­ble lp “elec­tric cre­ma­tion” and con­tributed to the imag­i­nary sound­track AZURAZIA for Grautag records, the label of french con­tem­po­rary artist Nico­las Moulin.

In the near future he will release mate­r­ial with Gün­ter Schick­ert, with whom he has been per­form­ing live since 2012. Pharoah Chromium wears a golden Mask and his live per­for­mances can be con­sid­ered a bizarre space rit­ual in which he plays an assorted choice of flutes and electronica…


FURFRIEND is every­thing you never dared to sex about. From the depths of warm and tight cav­i­ties come the two fuck pets DINGO TUSH (vocals) and DAS UBERDOG (pro­duc­tion) be it the plea­sures of gay cir­cuit life or the sweet feel of sheep in their best years — FURFRIEND cov­ers it all and more.

read more »

The techno duo doesn´t know their ori­gin exactly — their mem­o­ries go back to dark but also jolly times at an ani­mal shel­ter in antwerp where they were kept until MUM, their recently deceased fos­ter­mother picked them up, to have them join her 21 other pets. It was a hard child­hood, not even know­ing what type of mam­mal you were, but the tough­est part was being relent­lessly used by ´MUM´as a sex slave, hav­ing to ful­fill all her sex­ual desires in order to get a bit of food.

Then the con­fu­sion that arose when MUM was killed hav­ing sex with her old­est aqui­si­tion ‘Bob’ the ger­man shep­herd who couldn´t take it any­more and ate her face — the poor guy was put down right in front of their face. Now, being freed from the clutch of MUM Furfriend look into the bright future of being pop­stars, know­ing this is what they were born to do.

DAS UBERDOG has been lis­ten­ing to MUMs records on head­phones ever since he found the power switch for the stereo — it was clear back then he would become an awe­some pro­ducer. DINGO TUSH, the singer of the duo, howled the melody of ‘my favourite things´when MUM was watch­ing her favourite show: ‘The sound of music‘ — they were clearly bound to become a music pro­duc­tion team. It just had to hap­pen eventually.

These times are long past now, but they have left a mark on their souls which they heart­break­ingly sing about in songs like ‘GECK’ ‘FIST FUCK’ or ‘SHEPHERD’ which relates to the tough life, herd­ing sheep just after MUM had passed away.

Orig­i­nally based in Antwerp the duo has now made a move for berlin.

Antwerp was just not the right place for us. As much per­ver­sion as there is in bel­gium, it is the peo­ple of Berlin we love for the open sex­ual deviance present all over Berlin We think this is the right breed­ing ground (haha) for our art.” says DINGO TUSH, the band´s cock­sling­ing singer. Techno just has a dif­fer­ent mean­ing here — every­body does it, spit in a cor­ner, and you’ll hit a dj! This is per­fect for us because it shows what peo­ple really want. and we are here to give it to them.” adds DAS UBERDOG, the musi­cal genius behind the furfriend productions.

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.

read more »

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

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.

read more »

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.


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!).

read more »

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!

The Apron Controller

The Apron Con­troller (for­merly known as 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.


Prokoyon is an exper­i­men­tal project by Berk Off­set and Adam Weishaupt, which is inspi­rated by the recon­dite sci­ence fic­tion lit­er­a­ture of Stanis­law LemDeep in the uni­verse you can see six bright stars sur­rounded by a ring.

read more »

Off­set and Weishaupt will take you there with a mix­ture of space odysseys, fic­tional adven­tures and drones, which is the main lan­guage of this astro­nomic union. Be part of this trip and learn new forms of com­mu­ni­ca­tion. And some day, when you are vis­it­ing Prokyon or Sir­ius, you will be abled to say more than just “can i have a beer” or “which is the fastest way to Aldebaran”?


Until this very moment Berlin based Christin & Ultra­vi­o­lett can be con­sid­ered as DJ, pro­moter and dancer — yes.

She got first turnta­bles in her early teenage days, has her 15th anniver­sary and since then she spins reg­u­larly at quite ver­sa­tile party, arts and cul­ture events.

read more »

“all we like”

Christin & Ultra­vi­o­lett likes for exam­ple Abstract HipHop, Baile Funk and beats at all – melody arrive through frag­ile Elec­tron­ica. When she’s in the mood this all is mixed up with weird tra­di­tional asian music or melan­cholic 80s songs or what­ever she like tem­po­rarely. She calls it or Abstract Pop or Weird Ambi­ent Disco then.

“some­times it’s a four to the floor thing, baby” 
Ultra­vi­o­lett soli­tary is mainly attracted by bass and dry rhythm — that might have to do with her Strictly Rhythm teenage days, her columbian father or it’s sim­ply because of the warm hon­esty of reduction. The styles vary from House, Detroit Beat­down to bouncy Techno pro­duc­tions. To make it short: her club set kicks ass i an intel­li­gent way.

Rhythm, bass and clicks  - House goes abstract micro rave galore (but never beyond 124 bpm)!

She spinned par­ties with Magda, Cassy, Miss Dinky, Zip, Tobi Neu­mann, Peter Grum­mich, Tanith, Tony Rohr, Troy Pierce, Kid606, Con­sole, Monika Kruse, Mijk Van Dyk, Mär­tini Brös, Steve Bug, T.Raumschmiere, Gudrun Gut, Bar­bara Preisinger, Appa­rat, Chica Paula, Tama Sumo, Ada, Burnt Fried­man & Jaki Liebezeit,…

Her influ­ences are Theo Par­rish, Ricardo Vil­lalo­bos, Daniel Bell, Sutekh, Dabrye, J Dilla, Mat­mos, Kate Bush and Sonic Youth.  

Karl Marx Stadt

KARL MARX STADT is a diverse elec­tronic music project of Chris­t­ian Gier­den which was orig­i­nally born as a one-off in 2001. Dur­ing the late 90ies, Gier­den reached inter­na­tional acclaim as part of the Soci­ety Suck­ers with “com­pli­cated dance music” full of fran­tic beats, pop cul­tural sam­ples and gen­eral may­hem. KARL MARX STADT chan­neled his qui­eter, more melodic pro­duc­tions from that era on two releases in 2001 and 2005 on Berlin’s now defunct LUX NIGRA label and in 2011 on SOZIALISTISCHER PLATTENBAU.

read more »

Gierden’s fas­ci­na­tion and tal­ent for melodies has always been appar­ent, but gained even stronger promi­nence as he turned to ana­logue pro­duc­tion tech­niques, dub and skweee. He recently released the first release on his own label, KARLMARXLAND. Strong in con­cept, visu­al­iza­tion and cheese fac­tor ™. You are about to wit­ness not only the birth of Ger­manys Skweee scene, but the birth of a place that we can always count on — wel­come to Schun­kel­funkel Glitzer­flitzer heaven, smile style.