CRIS LIEBING

Chris Liebing had his first Residency as a DJ in a small club called "Red Brick" 1991 in Giessen, near Frankfurt. There he was playing all sorts of music from Soul, Hip Hop and Pop to House. In 1993, buying his records at Downtown Records in Giessen, he discovered the more electronic side of music, and one year later, he decided to open up a Techno Club, called "Spinclub".
Already beginning of 1995 the club had to close down and Chris began working for Eye -Q Records in Frankfurt. During that period, he met his friend and partner Andre Walter. Together they started to built up a studio and worked on music. Later that year, the first record on Global Ambition was released. Also together with Tommy Bingel from Downtown Records and Toni Rios, they founded the house Label SOAP.

Various Records and Remixes were released, like Traveller on Harthouse, Noosa Heads and E.H.R. on Soap, Strictly Ryth, and others.

In November 1995, Chris had a chance to play at the OMEN in Frankfurt and shortly after became Resident DJ. About a year later, influenced by his DJ-ing, he created "fine Audio Recordings" together with Under Cover Music Group. Chris gained first worldwide recognition with releases like Audio 07 and Audio 11.

Between 1978 and 1999 he hosted his weekly radioshow on Evosonic Radio. Very much happened then in 1999, Chris played the first time for the U60311 and started his Residency every first Friday of a month with " Es ist Freitagaaabend…!", playing along with his favourite DJ´s and Live Acts from around the world.

He joined the Cocoon Agency in Frankfurt to take care of his growing Booking Schedule and also in that same year, he moved on with his Labelwork and created his own Recordcompany "CLR". From then on the Labels CLR, Clretry, CLAU, Stigmata and Soap were distributed by Prime in England.

Since August 2000 you can hear Chris and Pauli Steinbach in their "Pitch Control" on HR XXL every Thursday night.

In may 2001 he mixed this double CD and started working on his Album for CLR which will hopefully bereleased within the following year.

In 2002 he left Cocoon Booking to manage the Booking Schedule by himself. From now CLR is taking care also of his bookings

MARCO CAROLA

Marco Carola is a global ambassador of techno. From Napoli in the south of Italy, Marco was instrumental in the development of the electronic scene in the early 90s, he took the flourishing techno Neapolitan scene to the rest of the world. Over twenty years later and Marco is still one of the most respected artists amongst the techno scene, widely regarded as one of the key factors in driving the genre towards worldwide recognition within electronic music.

As a revered producer and successful label head, Marco has spearheaded imprints such as Design Music, Zenit, Question, One Thousands and Do.Mi.No whilst releasing music on a selection of the world’s finest labels such as Minus, Plus 8 2M and Primate Recordings. In addition to five critically acclaimed albums, including his most recent Play It Loud, Marco has also been responsible for a clutch of seminal mix compilations. In 2006, his mix for legendary London club Fabric’s series was a lesson in sleek, future-facing minimalism. That was followed up by well received compilations for Time Warp in 2009. In 2010 Cocoon label boss Sven Väth asked him to mix the Frankfurt based label’s Party Animals CD alongside Nick Curly, which took Carola's dj taste and skills to new heights.

Famed for his energetic and impressive three-deck style of mixing and long journey set, Marco has remained one of the most in demand DJs on the planet throughout the last two decades. Favoring mammoth eight hour plus sets, Marco is predisposed to a subtle working of the crowd that has made him a favorite among fans from Ibiza to New York, South America and beyond.

ADAM BAYER

Adam Beyer became dedicated to the fascinating world of rhythm early on. After playing the drums as a teenager his obsession turned to the decks. In 1990 he bought his first set of turntables and started spinning a wide range of hiphop, hiphouse, acid and techno at local parties and clubs. Beyer soon learned how to blend his sets in a thoughtfull and highly focused way, a talent that has now developed into his trademark style. In 92 Fellow school friend Peter Benisch introduced Beyer to the sampler , a year later they got their first record deal with New York based Direct Drive. After finishing school in 1995, Beyer started work at the Planet Rhythm record store while releasing some tracks under a variety of names and continually djing all over Scandinavia.

Adam Beyer sites Drumcodes 1 (Planet Rhythm 1995) as the first record to define his style; hard, percussive and loop oriented. This 12" names Beyer´s future label and was soon followed by his critically acclaimed debut album Decoded (Planet Rhythm 1996). His need to create the perfect dj tool gave rise to the launch of the Drumcode label allowing him total musical freedom. The label´s strong concept and high production levels meant it enjoyed immediate success. After six releases Beyer launched his second label Code Red focusing on a slightly softer side of techno. Code Red finished with its 10 th and final release Stand Down (Code Red 1999) which was a compilation of remixes from various international artists.

His production skills soon brought Beyer to the attention of djs worldwide and global bookings soon followed. His meteoric rise has been cited as one of the catalysts for Swedish techno´s current influence. He pinpoints the Stockholm sound as being closely linked to his network of friends in the city aswell as the triumvirate of himself, Joel Mull and Cari Lekebusch. After many releases and remixes on various labels he launched the second album Protechtion (Drumcode 1999). While the market was being flooded with monoton loop oriented techno Beyer worked on strengthening the arrangements that characterised his earlier works, aswell as adding melodic strings. Still with a clear focus on the dance floor.

The same year Adam Beyer and Cari Lekebusch linked up to create a stunning live act first witnessed in London to instant acclaim. The act created the intense feeling of a creative dj set while the duo played back to back mixing their production styles.       http://www.myspace.com/adambeyer

LOCO DICE

Biography of Loco Dice


Real name / Dice Corleone

Every so often a DJ or producer comes along who inspires the collective imagination.

If you’ve seen Loco Dice perform at his ten-year-long Tribehouse residency in his hometown Düsseldorf, or at DC- 10 in Ibiza (from ’02-’06), you will have clicked to this. Loco Dice is someone, who can puzzle together intangible moods with a direct approach.

Via his DJ sets or his productions on labels like M_nus, Cadenza, Ovum, Four Twenty and Cocoon, he merges perspectives in his delicate sense for sounds and reflective atmospheres, underpinned with solid, physical grooves inspired by the hip hop that was his early sonic stomping ground in the mid- to late ‘90s. There’s something there for the dreamers, as well as for the 9-to-5ers who just want to lose everything in a moment of abandon on the dancefloor.

Don’t think that merging of perspectives is accidental. This Loco Dice, with his mercurial temperament, may let his thoughts run away with him, but he tends to chase those ideas and make them into an artistic reality. His DJ sets, whether at Germany’s biggest rave Timewarp, Cocoon in Ibiza or a beach party in South America, are spontaneous orchestrations fueled by the nuances of a night/venue/crowd. He began a fruitful studio partnership with Martin Buttrich in 2002 leading to tracks like Phatt Dope Shit, MeninaBrasiliera, and Seeing ThroughShadows, and Dice meticulously plans these productions.
It’s a directorial, cinematic outlook, which permeates Dice’s everyday life, and comes not just from the outlandish escapades and scrapes that he has sometimes found himself living out in real life. It also stems from elaborate film scripts imagined as a young Loco Dice on the streets of Flingern in Düsseldorf and the Kerkennah Islands in Tunisia. This continues to be a habit of Loco Dice’s today: to close his eyes for just one minute, and see a whole cornucopia of scenes and atmospheres.

As one manifestation of this, visitors to Düsseldorf were early 2008 able to see an exhibition of photographs taken by Loco Dice & Martin Buttrich during the year they spent in New York City to work on the Loco Dice album. It’s an album that re-imagines the soul of a city, built from careful observations of urban tribes that crisscross and sometimes clash, of minute details and sensory impressions.

Family is important to Loco Dice, as you might have noticed if you’ve seen one of his tattoos, a Chicano-style artwork with the legend “Guadelupe”. His love for music stems from hearing soul and funk in the kitchen, and holidays with his mother to Tunisia, where he absorbed North African and Middle Eastern folk music and occasionally sneaked away to watch his grandfather playing dice at café tables on the street. Family is how he’s always regarded the people close to him, and it’s how he regards subcultures too. As a football player, those who build strong teams of creative people around them inspire him.

This sense of family is what he wants to create with projects like his and Buttrich’s label Desolat, and an artist management agency he run with Tom Preuss called Artist Alife. When you visit the office of Desolat and Artist Alife, you’re struck by the fact that everyone seems to come from a different cultural background. Loco Dice’s experience of Germany is one that includes friends and collaborators, who are of African, Eastern European, Italian or Turkish descent. Loco Dice is interested in all kinds of people and artistic subcultures: he’s proud of people, who bring a creative flair to what they do, informed by lives lived ever so slightly less ordinary.

In that sense, Dice’s innate understanding of people: what they sense, what they feel, what they want to imagine, is a part of what distinguishes him from other DJs. He’s very aware when playing in Ibiza of the multiplicity of nationalities that are gathered there, the morass of different desires to be catered to. His inner film scriptwriter makes him capable of translating sounds and kicking it like a local, whether it’s in Naples or in New York. Loco Dice is similarly capable of inspiring, of creating that heady atmosphere that can only be experienced in a crowd of thousands. This skill of his, first cultivated at DC-10, is also no doubt informed by his experiences touring with big name hip hop artists in the ‘90s.

Mark Spoon used to promise him that at some point Loco Dice would shuffle sideways from his beloved house and hip hop to “come over and be one of us”, one of the techno believers. In a sense, he was right, though Loco Dice never leaves anything behind: he still brings out classics, whether classic techno from Maurizio to Basic Channel or gritty boompty house by DJ Sneak, and he’s still fond of composing music, as linear as it may be, that draws on hip hop song structures and basslines. At the end of the day, as Loco Dice sees it, everything runs in loops, and it’s his job to trace a line, to sketch out the next scenes in this soundtrack.

Even if life tends to be unpredictable, a little chancey, the next move doesn’t have to be a gamble. In fact, Loco Dice shows via his compositions that it can be very well planned. Listen to his music, imagine the cinematic accompaniments, and you’ll understand how something carefully constructed can begin with a flight of fancy, or a roll of the dice.
   

MACEO PLEX

Located deep within the circuitry of a mechanical alien host known as Maetrik you will find a complex web of synaptic dispersements resembling what could be called a soul. And this soul which drives it's host and manipulates it's every move is finally beginning to emerge. Its name is Maceo Plex. The emergence of such an entity has been the result of a need for feeling, a need for interplanetary funk. We as humans consider this need a feeling, a feeling rooted in emotion, and emotion being the very basis of humanity. 

Maceo Plex is on a quest to fullfil his need to inject feeling and funk into the world, and he's already proving to be quite productive. With deep and funky works of audible engineering for the label Crosstown Rebels in the form of a full length album titled "Life Index", a night with Maceo Plex will be one of galactic proportions. 

To explain the evolutionary process behind Maceo's existance we must travel back to 1993, to the beginning of his creativity. At the start...Maceo was intrigued by a pair of circular shaped objects designed for holding discs created from vinyl that produced vibrations resulting in sound and music. Soon he began conjuring up mixxes of techno, electro, and house music that quickly gained him popularity within the early 90s rave culture. But in 1997, while Heavily influenced by the sounds of other modern funk theorists such as Model 500, Kenny Larkin, Idjut Boyz, Convextion, etc... Maceo began experimenting with hardware modules containing knobs and keys to form his early musical compositions. Seduced by the sounds of techno & electro, Maceo grew into a technologically advanced being later to be known by various names such as Mariel Ito or Maetrik. 

After many years of prolific works on such labels as Treibstoff, Dumb Unit, Cocoon, Audiomatique, Modern Love, Mothership, to name a few...Maceo aka Maetrik travelled the world playing in some of the best clubs such as Rex, Cocoon, Fabric, Womb, etc... Now in 2010 Maceo has begun to strip back some of his robotic body armor known as Maetrik in order to expose a more musical and groove based side the world has not seen yet. 

The profound change has taken Maceo Plex from the complex and dark life in America to his current homebase of Valencia, Spain. The sunny and relaxed atmosphere has been quite useful to Maceo in his lengthy inward journey that is very apparent in his music. After a much needed retreat into the funky sounds of Parliament Funkadelic, Moodymann, Atjazz, Isolee, and Luomo, Maceo has finally completed his transormation and is shining brighter than the star Sirius....and his newest musical output reflects his radiation in a variety of beautiful colors. In late 2010, Maceo's single "Vibe Your Love" will finally be released on the very foward thinking label Crosstown Rebels and will include a hefty funk remix treatment by Zev of the Wolf & Lamb clang. Soon following will be the full length debut album aptly titled "Life Index" which chronicles Maceo's life long transformation into the soulful ball of energy he is today. 

Once experienced, the album will make it abundantly clear the level of versatility Maceo Plex posesses among his many auditory shells. And the world will understand Maceo's pristine vision of house music from beyond. https://www.facebook.com/MaceoPlex

SETH TROXLER

Seth Troxler is an American born electronic music producer and DJ. History: Seth Troxler was born in Kalamazoo, Michigan but grew up in suburban Detroit. As a child, thanks to godfather S.F. Kapoor, Troxler became aware of house music, as he says in an interview with electronic and dance music Ezine RA: "I started listening to house when I was seven or eight years old." This early exposure to house music seems obvious, since both his mother and his stepfather were involved in the Detroit house music scene. As a teenager, Troxler got a job in the record store Melodies and Memories, working alongside people such as Reggie Harrell, Terrence Parker, and even Theo Parrish. Later on, at the age of 16, Troxler began DJing. three years after graduating from Lake Orion High School, Troxler, together with fellow house music enthusiast Ryan Crosson, moved to Berlin, where he now resides working full-time as a producer and DJ. He is well known for his upbeat tuneage and is soon going to be releasing records on a well-known German label with Bill Patrick, Lee Burridge, Little Mike and Catz n Dogz.   https://www.facebook.com/sethtroxlerofficial

DJ SASHA

         The best DJs know that Djing is first about being able to read people and then about being able to tap into that human experience and take it on a journey. Sasha has always been noted for being a master at this, and although his style is described as "Progressive Trance" with a good presence of House and break beat elements; his music has always reached beyond those record store titles, thus separating him from his contemporaries. Sasha creates and plays music that gives emotion a chance to speak. It is this universal appeal that he has tapped into that has established his strong fanbase around the globe.

        This ability to capture sounds on a universal level was most recently called upon when he was asked to write all the music for Sony Playstation¹s biggest game release of 1999, "Wipeout 3". Sasha wrote 5 original tracks to soundscape the game. "Wipeout 3" won not only the best racing game award, but best game of the whole show.

        His special touch has also recently been called upon by The Chemical Brothers, who singled him out as the only artist asked to remix a track ("Out Of Control") from their new album. "I just dubbed it out to a style like I would play, the elements and sounds that the Chems used were so good that I didn't want to change them at all", Sasha reports on making the mix. Sasha's resume of chart topping remixes also earned him a request from Madonna in 1998 when he was asked to remix "Ray Of Light" and "Substitute For Love/ Drowned World".

        Do not be mistaken, this kind of recognition does not happen overnight. Born and raised in a small town in Wales, Sasha was exposed to Motown records when he was just a baby and it was in the home that his talent for playing the piano was developed. His first exposure to house music was at Manchester's Hacienda; just as dance music exploded into the summer of love. This impact encouraged his move from Wales to Manchester. His first exploration into Djing was when a DJ in a local pub announced he was looking for people to play club dates. Sasha volunteered and now says that he "had about 30 records and basically just blagged it".

        After honing his deck technique, Sasha's first big break came when he was offered a residency at Stokes legendary club Shelly¹s. When all the other DJ's were playing US House, Sasha's style was much more uplifting, and he encapsulated clubbers with his mixture of piano led Italian House whilst playing acapella tracks over the top. This combination alongside a wide variety of anthems kept dancefloors full and elevated Sasha to hero status.

       Shelly¹s was the launch pad for the residency at Renaissance, where Sasha created his niche and helped forge a new style in UK house music. At Renaissance two major things happened; Sasha mixed the first ever UK DJ mix album and he met John Digweed which cemented the partnership known as "Northern Exposure". Over the past couple of years, Sasha and John have played together on five continents, have mixed 3 "Northern Exposure" albums which have sold to over 1 million people worldwide.

         This special brother like relationship that Sasha and Digweed have on the decks, is what landed them the monthly residency at New York¹s "Twilo", following in the footsteps of Vasquez and Tenaglia. This residency reached cult status in New York, until the closing of Twilo in 2001.

          Although Sasha has clearly reached a celebrity status, it¹s his generous personality, his love for his peers and of course his completely candid humour that has enabled him to maintain such a likeable high profile in the often-fickle world of club culture. Always one to share what comes his way, Sasha invited long time friend and collaborator BT to take part in what he called "one of the most amazing musical experiences in my life". He is referring to his experience out at Peter Gabrielle¹s Real World studio in 1998 where Sasha explains in a mixer article, "we were in there for a week and were just going to do one track (during Real World¹s annual recording week where artists from all over the world are invited to Bath to record at the famous studios). "There were so many talented musicians around and the vibe down there was incredible. People were walking in, hitting things, strumming things, and slapping their goats! There were mad African people everywhere. We ended up recording five tracks and finishing four".

 
      Since then of course, Sasha has gone from DJ to superstar status in America, where "Sarsha" is a household name for many teenagers and his and John's residency has continued to provide the launchpad for British dance music into New York and beyond. The sound of Twilo: deep, pumping late night .h.o.u.s.e. is encapsulated on 'Communicate', Sasha and John's joint mix album for INCredible. Modern club anthems like Trancesetters 'Roaches' and Trisco's Muzak all blended in the late night, early morning way that New York's clubbers have come know and love.

For Sasha, music is his first love, and what gives him a buzz is being able to share his music with others. From his presence at those all too talked about after hour parties where his special impromptu sets are heard, to his signature always present child like antics that leave people wondering if he has modelled his life after Peter Pan, to his DJ sets at clubs around the world, all lined with the backdrop of his own productions, Sasha leaves trails of memories, melodies and stories wherever he goes. These are the things that have been, and will continue to be remembered and passed on for years. And that is what legends are made of.     http://www.djsasha.com/

                                                               

JOHN DIGWEED

The word “bedrock” holds two connotations. Literally, it is a solid mass of rock that lies underneath layers of loose, unconsolidated soil. Figuratively speaking, it refers to a basic principle, an irrefutable, fundamental idea upon which other thoughts and movements are derived. Whichever definition you apply, British DJ-producer John Digweed and his 10 year-old Bedrock club event have lived up to its implications.

While lesser DJs bow to the whims of clubland fad and fashion, Digweed continues to stand as a reliable, steadfast pillar of dance floor excellence. He brings the same douse of driving enthusiasm and inspiring innovation to his two-and-a-half year old residency at Manhattan superclub Twilo (where he reigns with Sasha) as he did to his first Bedrock events in Hastings more than 10-years ago, where he emerged as a fresh, young talent who mesmerized faithful audiences with his soul-stirring progressive dance tunes.

His resume of accomplishments makes his proteges swoon and his contemporaries nervous. He served as a resident at the northern club Renaissance during its early-to-mid nineties heyday. He was the first U.K. DJ (with Sasha) to hold a club residency in the U.S. He’ consistently voted one of the top 10 international DJs in prestigious club culture publications such as DJ Magazine and Muzik. He’ a talent whose appearances in locales such as Australia, Africa, and Asia are met with the same fervor and excitement they receive in Europe and America. And this DJ superstar continues to stay on the rise.

It’ perfection he takes to his Bedrock club event, which celebrated one year of holding court at London’ famed club Heaven in October 1999. It, like Digweed himself, has stood time’ grueling test, graduating from its role as a humble hangout for punters looking for an excuse to party on a weekday night to become a globally-revered, outrageously respected club event whose rotation of world-class DJ talents and back-to-basics mentality prompted Muzik to list it in the top 10 of its “21 Clubs For The 21st Century.” Of Bedrock’ 1998 premier at Heaven, Time Out magazine said, “There haven’t been too many things to salivate over in London club land recently, but the prospect of (Bedrock), the new John Digweed monthly residency at Heaven, has left the cognoscente positively drooling.” One year later, the sentiment remains true, as Bedrock has seen the talents of Sasha, Carl Cox, Paul van Dyk, Basement Jaxx, Grooverider, Adam Freeland, Hybrid, The Light, Slacker, and countless other walk through its doors and bring the most enthralling dance sounds to appreciative crowds every other Thursday evening for a measly 5 pounds a head.

It’ the same strive towards excellence he brings to his work as a musician. His tracks, recorded with partner Nick Muir under, you guessed it, the moniker Bedrock, are bona fide classics, meshing the deep, luxurious hues of house with the atmospheric rush of trance in Digweed’ characteristic style. 1993’ “For What You Dream Of,” the quintessential Bedrock tune, found its way from the Renaissance dance floor into the film adaptation of Irvine Welsh’ Trainspotting in 1996. “Heaven Scent,” the latest opus, has been embraced by every important DJ with a clue. And his most recent reconfigurations of cuts by Satoshi Tomiie featuring Kelly Ali from Sneaker Pimps, Danny Tenaglia, and DJs Heller and Farley, plus others have made him one of the most respected and in-demand remixers of the year.

And it’ the same distinctive flair and unrelenting passion with which he has delivered the first Bedrock mix CD, released in the U.S. on Ultra Records. Following on the heels of his and Sasha’ groundbreaking Northern Exposure DJ mix series — the third volume, Expeditions, was released in the spring of 1999 to overwhelmingly positive response on both continents, Bedrock is a two-disc set that truly captures John Digweed at his best, and represents his unique signature style that’ driven with his sexy and dark-funky twisted house to his relentless, hypnotic progressive trance. A journey that highlights talents from both sides of the pond, including tracks by up-and-coming U.S. producers —POB & Taylor, Sandra Collins, Tiny Trendies, BPT Feat. Danny Morales, Morel and others — as well as the latest Bedrock smash. A course that demonstrates the global character of club culture as it moves into the next millennium by creating an artistic bridge that between East and West, London and New York, trance and house. An offering that, like none other before it, reflects Digweed’ tri-fold personae as visionary club promoter, forward-thinking producer and exalted DJ.

A strong, steadfast foundation on which the ever-expanding global club culture continues to lean. A standard by which all other promoters, producers and DJs can be measured. With the talent and ambition that has a way of separating the diamonds from the rough, John Digweed’ Bedrock is set to move you in more ways than you can imagine.  http://www.johndigweed.com/

MARK KNIGHT

Mark Knight’s legacy already ranks him as a leading player in dance music culture. His rise to the forefront has been more than just gigs and remixes; his contribution to the scene via his label Toolroom Records, demonstrates abilities that supercede the glorified title of ‘DJ’.
This year, with a Grammy Nomination for work on the Black Eyed Peas’ multi-platinum album ‘The-End’, 3 of the biggest selling records on Beatport’s ‘Best Sellers List’; ‘Music Matters’ ‘Flauta Magica’ & ‘Good Times’, an IDMA nomination for his Toolroom Knights weekly radio show and a prestigious Beatport award for his single ‘Good Times’ – 2010 has most definitely been a year of colossal achievement.
So where did it all start…
In 2004, with a personal vision for house music, Mark created his own workshop for 21st century dance musicians, Toolroom Records, and with it a new way of thinking.
Since its launch, the Toolroom imprint has developed into an uncontrollable beast, celebrating success as the biggest selling label on Beatport and reaching the milestone of 100 releases in 2009 courtesy of Faithless.
As a producer, Mark has built a reputation for outstanding releases; ‘Man With The Red Face’, ‘Downpipe’, ‘Good Times’, ‘Devil Walking’, consistently topping international dance charts, and has been involved in producing tracks for leading artists, including new output from Faithless and contribution to the latest Underworld album.
And there’s more…

As a DJ, Mark holds international prominence, recognised the world over for his extended 7 hour sets, headlining festivals and clubs from Ultra Music Festival Miami to the Terrace at Space Ibiza.
In 2006, Mark’s belief and desire to inject freshness into a stale club scene, inspired him to programme his own parties, this concept became a reality with the launch of Toolroom Knights at Ministry of Sound, London in October ’06.
Having gained unrivalled success as one of THE superior club nights, Toolroom Knights has gone on to generate great global success and support with Mark headlining Toolroom residencies at Cocoon Frankfurt, Space Miami, Ministry of Sound London, Pacha New York as well as hosting Toolroom arenas at key festivals including; SW4 London, Global Gathering UK, Dance Valley Netherlands.
All in all, it’s been a BIG journey for Mark Knight, pioneering a sound and attitude that’s gained respect from fans and industry people alike hungry for the integrity of Mark’s production skills and quality of Toolroom Knights’ parties. And there’s so much more to come.   http://www.djmarkknight.com/

SHARAM

“There’s a presence about Sharam that comes through in his music as well as his shows. Like any great relationship, you leave his show feeling as if you’re a better person… the Sharam experience.” – PLAYBACK:stl

One of only few dance acts who can effortlessly navigate between the nocturnal world of dance music with underground gems like “Crazi”, “Texi” and “Don’t Say A Word” while scoring Top 20 Hits internationally with “PATT (Party All The Time)”, “The One” feat. Daniel Bedingfield, and “She Came Along” with Kid Cudi. His desire to not ever be confined and pigeon holed into one genre of music has enabled him to constantly evolve and surprise people with his productions.

And the head turning has continued this year with his Mach EP releases which include  ”M.I.T.T.”, an underground favorite featuring a powerful vocal hook from Shakira, and “Fun” a song written by Chris Martin of Coldplay. His latest effort “God Always”, a dub-step influenced house track was hailed as one of the runaway surprise records from the Miami Music Conference.

The Grammy Award winning producer’s DJ sets follow the diversity of his productions skills. On one side he rocks a marathon underground set like his legendary 10 hour stint at Warung Beach Club in Brazil to a sold out crowd of 4000 (2 hours of Sharam’s seminal live set was featured on his 2011 Essential Mix on BBC’s Radio 1), and on the other side he can effortlessly entertain a diverse crowd of younger dance enthusiasts and VIPs in Vegas, Miami and Ibiza with a penchant for quality music that’s engaging and entertaining, without compromising his art as a forward thinking DJ/Producer.

Already beyond well known for his role as part of the legendary DJ duo Deep Dish which brought the world huge hits like “Flashdance” and “Say Hello”, he is also the driving force behind the legendary Yoshitoshi record label using it as a vehicle to promote newly discovered talent from around the world.

None of this would matter unless Sharam’s music connected with people which it clearly does year after year in the world’s largest music venues and radio stations around the world, while dance music purists continue to go crazy for his musical choice and mixing technique.

DEEP DISH

            Deep Dish first rose to prominence following the 1998 release of their groundbreaking debut album, Junk Science. Since then, the two have spent their time trotting around the globe at the request of the world’s top clubs and creating celebrated remixes for some of the world’s top artists, such as Madonna, Dido, The Rolling Stones, and Brother Brown. It was there take on Dido’s “Thank You” that landed the two their first Grammy win in 2002.

Its been 14 years since the duo first met in DC, and its been seven years since they released their critically acclaimed debut artist album Junk Science. Over the years, the prolific duo have released a number of genre-defining mixed CDs and have become two of the most in demand remixers in the business. In fact, their remixing prowess earned them a Grammy nomination in 2001 in the Remixer Of The Year category and in 2002 they were nominated and won the Grammy in the Best Remixed Recording giving their treatment to Didos single “Thank You”. Through it all, Dubfire and Sharam maintain a very active worldwide tour schedule.

AWARDS

               Recorded “Be the Change”, an eclectic musical work dedicated to Anousheh Ansari’s historic Space flight as she became the worlds first female private space traveler

Winner: International Dance Music Award 2005 for Best House/Garage Track “Say Hello”, Best Progressive/Trance Track “Say Hello” and Ortofon Best American DJ Award

Nominee: Grammy Award 2005 “Best Dance Recording” for Deep Dish’s “Say Hello”

Winner: Grammy Award 2002 “Best Remixed Recording” for Dido’s “Thank You”

Nominee: Grammy Award 2001 “Remixer of The Year” (NonClassical)

Winner: International Dance Music Awards 2005 for Best Underground Dance Track for “Flashdance”

Winner: DanceStar USA Award 2004 for Best Compilation (US Releases) for Deep Dish – GU 025: Toronto (Global Underground) and Best DJ

Nominee: DanceStar USA Award 2004 for Best Remix (Worldwide DJ’s) for P. Diddy’s “Let’s Get Ill” (Deep Dish Remix) (Bad Boy)

Winner: Ibiza DJ Award 2004 for Best Set of the Season

Winner: DanceStar USA Award 2002 Best Compilation for Deep Dish – GU 021: Moscow (Global Underground)

Nominee: DanceStar USA Award 2003 Party 93.1 FM Award for Best Remix for Justin Timberlake’s “Like I Love You” (Deep Dish remix) (Jive)

“Hot Duo”, Rolling Stone, August 2001

Winner: Muzik Magazine SAS Award 1998 “Best International DJ”

DEEP DISH ALSO RANKED

Number 1 in the “Best Progressive DJ” category of BPM Magazine’s 2006 “America’s Favorite DJ’s” poll

Number 2 in the “Best Dance/DJ Artist” category by the critics of Rolling Stone for their music awards of 2001

Number 10 in DJ Magazine’s World’s Top 100 DJ’s reader’s poll for 2006, number 8 for 2005, number 10 for 2004, number 9 for 2003, number 16 in 2002, and number 10 in 2001

Number 5 out of 50 of “America’s Favorite DJ’s” in BPM in 2005, number 12 in
2004 and number 9 in 2003 and 2002

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FINEBASSEN

Dirty melancholic house music is the produce of much musical soul searching for emerging Norwegian star Finnebassen.

Leaving his teenage genre hopping days behind him, 2008 saw a house music epiphany, as a deep rooted interest in electronic music began, bringing Finnebassen to the sound he relays today.

Although he has been producing music and playing gigs in his hometown of Oslo for a long time, 2012 has finally seen the first attacks of Finnebassen on the worldwide electronic music scene, in both performance and production.

UK label Electronique, took hold of his own production ‘If You Only Knew’ and provided remixes by Matt Fear, The Mekanism and Balcazar & Sordo. The original was seen prior to the full EP release and reached number 3 on the Beatport Nu Disco Chart.

May 2012 saw Finnebassen release two tracks on Noir Music’s “Second Chances and Romances EP”, entitled “Touching Me” and “Such a High”. These releases have gained support from Solomun, Hot Since 82, Sasch BBC, Motorcitysoul, Atapy, Djuma Soundsystem, Alex Niggerman, Gabriel Sordo, Hunter/Game, The Mekanism, Blond:ish, Toky and MORE.

“Touching Me” reached the number one spot on Beatport’s Deep House chart, and was also played by Pete Tong, on Radio 1, in his ‘Wonderments’ section.

The Finnebassen remix of Brandy track ‘Baby’ has also been picked up, and now soon to be released by UK based bloggers and label, The House of Disco. They have also featured his track ‘Bleedin Out’ on their recently released ‘House of Dikso’ compilation.

Warner Music are soon set to release a remix from Finnebassen of Parachute Youth – Can’t Get Better than This.

The guitar you hear in many Finnebassen tracks is Finn himself playing: a note to his true understanding of music.

Respecting the work of his peers, he lists artists such Maceo Plex, Solomun, Art Department and all of the major players in house music of today as his influences.

But, it is his own version of silky smooth house by which he intends to impress. As well as regularly playing at massive Oslo night spots Jaeger and The Villa, Finnebassen also has regular gigs worldwide, with recent visits to Berlin, Greece, Brazil and many appearances around the UK just to name a few.

Finnebassen was also recently interviewed on BBC Radio One, interview can be heard here:

THE LEGEND OF FRANKIE WILD

Former musician Frankie Wilde is a legend within the Ibiza club scene for being the most inspired DJ around. On top of that, he has a beautiful model wife named Sonja Slowinski, although many within his social circle don't see her as being a good influence on him. But Frankie has disappeared from the Ibiza club scene now for a year, with most only speculating that his life has degenerated into squalor based on his excessive lifestyle in Ibiza. In reality, Frankie's current disappearance and his ultimate fate is due in part to his excessive substance abuse, especially of cocaine, but also partly due to exposure to continual loud music and a physical disorder: he went completely deaf, with no possibility of getting his hearing back. As he went from partial hearing to total deafness, Frankie believed he could still eke out a living as a DJ without telling many of his descent into total deafness. As Frankie went through a self-imposed isolation to deal with his deafness in his own unique way, it wasn't until he killed the giant badger that haunted him that he could reinvent himself and his life. He did this with the help of a young woman named Penelope Garcia. After his reinvention, Frankie first tried to capture his old glory but his current disappearance ends up being really for his and Penelope's sake


Its All Gone Pete Tong is a comedy following the tragic life of legendary Frankie Wilde. The story takes us through Frankie's life from one of the best DJ's alive, through subsequent battle with a hearing disorder, culminating in his mysterious disappearance from the scene. A genius in his own right, he clawed his way to the top of the DJ ranks, now living the opulent life of a superstar, he resides in his trophy villa in Ibiza with his trophy wife. This is when tragedy hits. Due to a hearing disorder he is rapidly going deaf with only one functioning ear to complete the new Ibiza season. How is he doing behind the decks? Horrible. How is he doing in the studio where he produces his remixes? Frankie dives into a low period, struggling with deafness in utter depression. After a year of locking himself away he emerges on the other side with a fresh attitude towards his affliction. He accepts his deafness and learns to function without sound. Will Frankie make it back to the DJ booth? Will his new single be any good? Will he get back his opulent old life or does he even want it back? When you can't hear, things look very different.

                                                             


    TRACK LIST                                                      

Trailer

CARL COX

A musical ambassador since he was in short trousers, a professional DJ since his early teens, a veteran of acid house and a champion of techno – you name it, Carl's been there and done it, never losing sight of his passions – playing music, breaking tunes and celebrating life.

It was at the tender age of 15 that Carl was given a set of turntables and began working as a mobile DJ. Disco was the first music that captivated him but by the early 80s Cox had moved on to playing the same music as other young London DJs – rare groove, New York hip-hop and electro. He was perfectly placed to hear Chicago house music in its earliest forms, and when the epic 'Acid Trax' by Phuture (a.k.a. DJ Pierre) came out in early '87. “It was then that I thought, 'This is it,’ says Carl. “I would do my parties, and I'd play old rare groove and hip hop and soul and I would say 'Right you've got to hear this Phuture track’ and people would just stop.  It's funny because all the people who thought I had freaked out then are the people who are making the music now."

As a founder of the sound, Carl rode the exploding British rave scene. He played the opening night of Danny Rampling's legendary Shoom, co-promoted The Project with Paul Oakenfold, held a residency at the Zap Club in Brighton and at the Sunrise rave in 1988, hooked up a third turntable for his dawn-breaking set, got 15,000 kids back on their feet, and established a personal rep for three-deck wizardry.

The next step was to make music, and Carl's 1991 debut single for Paul Oakenfold's Perfecto label, 'I Want You,' gave him a top 30 hit and a Top of the Pops appearance. Two more singles also made the charts. But Carl was a reluctant pop star and as the masses moved onto fluffy house and trance, and the hardcore created jungle, Cox retreated into the club world that had nurtured him and instead embraced the underground sounds of techno. "Techno drives home somewhere," he says of his core music. "It takes you to an element of surprise, not knowing where you're going. It's scary but wonderful at the same time."

Carl’s classic releases include his 1995 mix CD, 'F.A.C.T,' which became a techno benchmark, selling over 250,000 copies, and the 1996 EP 'Two Paintings and a Drum,' which again broke the British top 30. Alongside Carl’s ‘Ultimate Music Management’ company, which counted Josh Wink and Laurent Garnier among 27 clients, there was the Ultimatum record label, for which Carl recorded his third top 30 UK single, 'Sensual Sophis-ti-cat.' In 2005, Carl’s third album, ‘The Second Sign’ caused a stir across Europe and reached number 3 in Spain’s national chart. Also gaining critical acclaim was speaker freaker ‘Dirty Bass,’ a collaboration with Christian Smith, and the funky ‘Give Me Your Love’, both released on 23rd Century Records, an outlet for his own burgeoning production output.

Carl formed his own label, Intec Records, in 1999, scoring a series of underground hits and enjoying eight years at the forefront of electronic music. After its closure in 2006, Carl was still inundated with new music, finally deciding to re-launch the label as Intec Digital at the start of 2010. It’s been a triumphant return, thanks to exclusives from some of the biggest names in techno. “The label couldn’t be going better,” says Carl. “It’s great to be back at the helm discovering underground DJs.”

Intec Digital will also be the home of Carl’s much-anticipated new artist album, due out in 2011. “It’s the most forward-thinking album I’ve ever made,” promises Carl. “I’ve missed making music and I’m really looking forward to finally getting it out there, especially as it’s coming out on Intec.”  On top of this, there are plans to follow the already successful Intec live shows, with a full Intec world tour, featuring Carl and his label’s artists.

Carl’s legendary Ibiza residency also continues to break boundaries. Celebrating an astounding 10 consecutive years at Space, Carl and Safehouse Management have built their weekly residency into one of the Island’s most popular nights. Marking a change in direction from traditional Ibiza parties, Carl and his Space revolution has always been acclaimed for its adventurous and forward-thinking line-ups, musical direction and state of the art production. This, along with Carl’s highly involved and passionate role as promoter, programmer and host, is why each year has seen a growth and progression from the last, both in terms of quality and size. “We have a successful night because we just batten down the hatches and stick to what we do best, which is give value for money,” explains Carl. “People come back to us, as they’re big believers in our brand. Also Space is a great club, they’ve spent a lot of money on it, and it’s just getting better and better.”

All this and still Carl’s ‘Global’ radio show is still breaking records, now reaching over 12-million listeners worldwide and syndicated across 60 terrestrial FM, Satellite and DAB stations throughout 35 countries, making him one of the most important broadcasters on the planet.

With this, Intec Digital, Ibiza and his highly anticipated new longplayer, Carl shows no signs of slowing down. “After the Ibiza seasons, after the festivals I’ve done, after my own events, albums and remixing,” says Carl, “the story still continues in a massive way – there’s so much more still to come.”


                                                         

DIMAS A.K.A. D-FORMATION

Dj Producer, Beat Freak Recordings Label Manager D-Formation is the last and final pseudonym chosen by Dimas Carbajo, owner and greatest exponent of the Beat Freak Group Recordings. With an extense trayectory of music production and DJ’ing make Dimas Carbajo a talented and respected artist in the electronic music industry, Beat Freak Recordings probably one of the most respected labels in the world house scene in recent years are proof of the wise vision of this producer based in Madrid, without neglecting other group labels such as T.U.S.O.M, Intenso Recordings, or Distinto Recordings or Menta. D-Formations performances do not reach limits, appearing in events such as Black & Blue Montreal Festival, Formula- 1 Malasya Opening Party, Freedom Festival, Cordoba (Argentina), Rock In Rio, seen as the biggest festival in the world, and not to forget his residence in Stereo Club in Montreal. Obtaining awards as the Best Spanish produces by DJ1 magazine, Best House Label by DJ magazine, DJMAG ranked D-Formation in position 39 (2006) best worlds DJ'S and several nomination as Best House Spanish DJ every year. Recently nominated by "DeejayMag 2008 Awards" :

Best DJ of the year Best Tech House Dj Best Production : D-Formation & David Ferrero 'What you want' Best Remix : Sharam Feat Daniel Bengifield 'The One' Best online Project : Freakybeat His talent has led him to carry a busy schedule playing for the best clubs in the world as Ageha and Womb-Tokyo, Zouk Club-Singapore, Pacha-NY, Sirena-Brazil, Ministry Of Sound-London, Queen-Paris, Pacha Sharm-Egypt, Space-Miami, Avalon-Los Angeles, Privilege, Amnesia or Pacha, Ibiza, Space Of Sound-Madrid, SOS Club-Hangzhou, Cindirella Club-Jinan, Absolut Club, Shanghai, Feelnet Club-Guangzhou, Evil Club-Seoul, Vertigo Club-Jakarta, among others. The magic musical touch by D-Formation has been confirmed by countless remixes and requests for collaboration. His currently close collaboration with Toolroom, Mark Knight's label and Sharam (Deep Dish) for Yoshitoshi Recordings and other Yoshi labels establish D-Formation as one of the hottest producers this 2008. Today D-Formation embraces the great challenge of being considered a master of the dance floor, no doubt he deserves such a title !

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