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.”