Escape From Wonderland

“What I’m into at the moment”, says Calvin Harris, “is the idea of stadium dance. Playing football stadiums with massive riffs, big hands-in-the-air rave anthems. The whole ‘minimal’ thing has passed, for me.”

A bold ambition, but such boldness is justifiable, coming from a man who ascended from the bedroom to the big time in the blink of an eye. At least, that’s how it appeared from the outside, back there in 2007.

He may have barely turned 23 when he first hit the charts, but Calvin Harris had been making music, legend has it, since the age of 15 on an old Amiga computer in the Scottish town of Dumfries, when he wasn’t stacking shelves at the local Marks & Spencer.

“It seems like I came from nowhere” Harris admits, “but it didn’t feel like that for me. I had a successful record after having lots of unsuccessful records…”

These early recordings, for the benefit of trainspotters, include the single “Da Bongos”/“Brighter Days” under the name Stouffer on the Prima Facie label in 2002, and a track called “Let Me Know” with singer Ayah (on the Unambombers’ Electric Soul 2 compilation) in 2004.

It was when Harris hit upon what would become his trademark sound - irresistibly infectious dance-pop tunes built from juicy staccato synths and squelchy electro basslines - that he caught the public imagination, first with breakthrough anthem “Acceptable In The 80s” (given a release in March 2007 by Columbia Records, who had clocked his growing popularity on Myspace), then the even bigger follow-up “The Girls”, and then his non-stop houseparty of a debut album, I Created Disco.

I Created Disco went on to sell over 100,000 in the UK alone, in fact (earning it a gold disc). Among his growing legion of admirers were Dragonette, who recorded a slyly affectionate cover of “The Girls” (“The Boys”), not to mention the scores of imitators who wanted that Calvin Harris sound.

The smart way to get it, of course, was to go straight to the man himself, which is exactly what a certain Antipodean pop goddess did. When Calvin Harris got the call to meet up with Kylie Minogue with a view to a collaboration, he decided to calm his nerves with booze. “That’s when I was in my Jack Daniels phase. I only had a couple. It didn’t work. It just made me a little bit drunk, but equally nervous. I wouldn’t recommend it to anyone.” Two of the Calvin-produced tracks, “Heart Beat Rock” and the single “In My Arms“, made it onto Kylie’s album X. Other artists seeking Calvin’s console wizardry have included Example, The Mitchell Brothers and Sophie Ellis Bextor, as well as “something I’m not allowed to say,” Harris cryptically adds, “…but it’s really good.”

One Calvin track, however, cannot go unmentioned. “Dizzee texted me”, he recalls, “saying he’d done this a capella over someone else’s music, but his verse was too good for their music, so could he do it with me instead?” He laughs at the memory of the Rascal’s cheek. “So I spent a long time on it, to make sure it lived up to his expectations. I sent him the track, and he called me at 2 in the morning to say it was amazing, so I knew it was good.”

Good enough to top the charts for four consecutive weeks and become one of the biggest selling singles of 2008, not to mention Calvin’s first No.1 record. Taking Calvin Harris record sales to over one million copies.

“Dance Wiv Me” came in the middle of a year when he began to write the as-yet-untitled successor to I Created Disco. “My second album was supposed to come out in 2008, but I realised I had about a week to do it. So I decided not to do anything.” Rather than rush things, Harris locked himself away, “in the dark in a small purple room for the best part of a year and a half. He has, he says, written over 100 songs for the as-yet-untitled successor to I Created Disco. “Not the words - words are not my strongpoint. Music is. Music comes naturally. And I’m not a natural singer, so I spend a lot of time working out what I can get away with singing over it, without getting into the autotune thing.”

He even considered abdicating vocal duties entirely. “I don’t want to be the front man for much longer. I’d rather be a Groove Armada or a Basement Jaxx, but I don’t know if that’s an unattainable dream now. I thought about using guest vocalists on all of it, but after sending various tracks to various people I realised people in general are an absolute nightmare, and - usually - if you want something doing properly, you’ve got to do it yourself.” Which, as we’ll shortly hear, is exactly what he did.

Another way in which Calvin has been keeping busy, in breaks from the little purple room, has been by DJing. Harris has been spinning tunes in Hong Kong, Australia, Milan, Belgium, “any countries where we couldn’t take a six-piece band“. It’s proven a valuable experience. “It’s nice to be exposed to dance music, to hear what’s going off in clubs these days.

It has changed his approach to recording. “Now I’ve decided the new one’s going to be a big commercial dance record. By which I mean it’s going to sound commercial, not that I’m expecting it to sell loads of copies.”

The first taster of the updated Calvin Harris sound has done precisely that. “I’m Not Alone”, the new album’s lead single, went straight into the charts at the top, he’s second No.1 record. Harris calls it “a big stadium dance tune, somewhere between Snow Patrol, Faithless and Grandaddy”, but it’s at least twice as good as that description makes it sound.

It begins with Calvin himself, fronting the song alone with the words “Can you stay up for the weekend and blame God for looking old?”, his voice naked and untreated. A brave move. “I had no choice,” he explains. “The only way that was going to work was with a really stark beginning. I had to just go for it.”

In contrast to the hard-partying hedonism and exuberance of Harris’ first burst of fame, “I’m Not Alone” allows hitherto-unfamiliar feelings of vulnerability and introspection to creep in: it deals openly with pain and fear, it ponders “If I see a light flashing, could this mean that I’m coming home/If I see an arm waving, does this mean that I’m not alone?”, and confesses that “I can’t do this any more”.

It’s a fascinating case of mixed messages: expressions of self-doubt set against a monumental rave riff. “The whole track’s a light and shade thing,” Calvin explains, “two styles put together. I find it quite hard to write a happy-happy lyric now, for some reason. I don't know why that is, to be honest with you. Maybe it’s staying in a room for a huge amount of time on your own, and that’s reflected in the lyrics!”

A more straightforwardly upbeat track, and a future single, is “Ready For The Weekend”, featuring the formidable lungs of Mary Pearce (prolific backing singer for the likes of Beverly Knight, Lionel Richie and Chaka Khan), handbag house piano riffs, and the girl-friendly chorus “I put on my shoes and I’m ready for the weekend”. Says Calvin: “Everyone puts on shoes during the course of a night out. I’m uniting all shoe-wearers. That’s what I’m doing there. It’s the happiest, most joyful song I’ve done so far. It’s got a diva on it, and I’ve always wanted to do a song with a diva. It’s the ultimate dance music cliché, but done in a slightly different way.” 

“Relax”, an album track which begins with a mention of “panic attacks” and lines like “the spinning lights make it hard to react” but shifts into the positive with the couplet “It’s for the taking/All these girls are waiting”, has a similarly mixed mood to “I‘m Not Alone“, and - unusually for Calvin - includes acoustic guitars. “I always envisaged it for the last track,” he reveals. “A sunsetty thing.”

“Worst Day”, another of the already-completed songs, appears to be about dysfunctional relationship (“My first mistake was letting you into my life…“), and has something of a N.E.R.D./Outkast sound, Calvin’s vocals sharing time with rapper Izza Kizza (from Timbaland’s Mosley Music stable). Again, it prominently features acoustic guitars, which is guaranteed to mess with many people’s expectations of a Calvin Harris record.

“That’s definitely the idea,” he confirms. “I wanted to make something I would be proud of: ‘This is as good as I can do’. So I don’t just have that one album to my name that I’m not particularly pleased with.”

If it sounds strange to hear Harris distancing himself from a record as successful as I Created Disco, it’s a symptom of his perfectionism. “The last one was done before I was signed, so I cut corners and didn’t work as hard as I should have done. I’m pleased that I managed to record it in the circumstances in which I did it, but if I were to re-record it, it would sound pretty different now.”

Before finalising the album – which remains a work in progress - Calvin intends to road-test it. “I’m kind of halfway through it, but I want to see how things go down live before I put them on the record, which is new for me. Last time I made the songs, and crossed my fingers and hoped that they sounded good when played out. This time I want to do a big record that sounds great live, as well as at home or in your car.”

Already, this album has a greater musical range than its predecessor. “There’s more of a range of songs to this one. The last album, you heard two or three songs and you’d pretty much heard them all. This one’s more varied, and more interesting all round. The first album is almost like a concept album, channelled all in one direction. On this one I’ve used as many instruments as I can get my hands on.”

When pushed for a description of the overall feel and mood, he opts for “Classic dance music in a modern environment”. He explains: “The thing I like about dance music is you can borrow from all different genres of music, all different instruments, and turn it into a dance track. In the first place, dance music seemed so varied to me, as opposed to being limited by a band with guitars, like you get with indie and whatever. I’m trying to make dance tunes that don’t seem like they are dance tunes, but hopefully work. I’m trying to make something that someone either hasn’t heard for ages, or has never heard before. Hopefully the latter.”

“I’m excited for the rest of the album,” he adds. “I can’t wait for it to come out.” He’s not alone.

In 2010 Dutch dynamo Laidback Luke is so supercharged and all over your body that it hurts. Blasting your bassbins with blockbuster beats, making your heads spin with his hybrid house styles, even cramping up your hands as you scroll down his discography!

Recently, he’s worked with David Guetta, Diplo, A-Trak, Steve Aoki and Lil Jon, and remixed everyone from Black Eyed Peas to Calvin Harris and from Christina Aquilera to Moby. There have been three nominations for Luke in the Beatport Music Awards – and an International Dance Music Award (IDMA) gong in the Best House/Garage Track category for his work on ‘Leave The World Behind’. He’s sold out his own brand Super You&Me parties at Miami WMC. Plus, he’s invited to join Cream for some Super You&Me events at Amnesia in Ibiza. All this while kick-starting a compilation series, with Laidback Luke presents Super You&Me featuring Avicii, via his own label, Mixmash Records, and still finding time to give the next generation of music makers a leg-up through his forum, at www.laidbackluke.com. He’s got over 100,000 followers on Twitter, is sent 12GB+ of promos every week, and boards more than 160 flights per year – without breaking a sweat. Sure his name is Laidback, however when the music’s jumping he’s anything but relaxing!

Born in the Philippines, raised in the Netherlands, as a kid Luke loved guitars, graffiti, house and hip-hop, taking the ‘laid back’ tag from Snoop Dogg’s ‘Gin & Juice’. He had a mentor in Dobre (Chocolate Puma) and by 1996 was releasing tracks, remixing for established artists and DJing professionally. He even beat a Dutch DMC champ in battle. His first album came in 1999, and when Virgin locked down ‘Rocking With The Best’, then released his 2002 album, Electronic Satisfaction, his profile really soared. Following this he remixed the likes of Daft Punk, Murk, Oliver Lieb and Tom Stephan, introduced his own label, Mixmash, and went on to hook up with Steve Angello to remix ‘Sexy F**k’ and co-produce ‘Otherwize Then’. He also joined forces with the Swedish House Mafia on ‘Get Dumb’ and signed tracks to Angello’s Size, while ‘Rocking With The Best 2007’ blew up on Mixmash. Around this time his superhero-themed residency – Super You&Me – took off at Amsterdam club Paradiso. It was followed by another epic 12 months that saw Luke release five tracks and 18 remixes, ignite the Stealth Live! CD series with a near perfect club mix, host a weekly show on Radio FG, and perform almost 200 international DJ sets – including a BBC Radio 1 Essential Mix.

It was also the year that witnessed him making a massive mark on Ibiza. After performing at all the top clubs, he produced/remixed every track on his Ibiza Closing Party mix for Mixmag and ended 2008 on another high: with ‘Show Me Love’ (by Luke and Steve Angello featuring Robin S), which entered both the Buzz and Cool Cuts Charts, and even reached # 11 in the UK’s official singles chart. Moving into 2009, his collaboration with the Swedish House Mafia on ‘Leave The World Behind’ became an Essential New Tune on Pete Tong’s Miami show and one of Beatport’s best-selling tracks. His Super You&Me party during WMC was also a huge hit, starring Diplo and A-Trak. Consequently Luke and Diplo produced ‘Hey’, which was supported by DJs like Kissy Sell Out on Radio 1. Of course, Luke’s remix skills continued to be in hot demand too, by, among others, David Guetta, Tiësto, Black Eyed Peas, Dizzee Rascal, Depeche Mode and MSTRKRFT. In fact, mash-ups like his remix of the Black Eyed Peas’ ‘I Got A Feeling’ with La Roux’s ‘In For The Kill’, his very own ‘My G*O*D* (My Guns On Demo)’ and Luke and Lee Mortimer’s ‘Blau!’ blitzed the globe from Australia to Ibiza, where he was nominated for best House DJ at the DJ Awards. As a result, he landed a #27 slot in DJ magazine’s Top 100 DJs Poll of 2009. And in 2010 he even landed on the 17th spot of the infamous DJ Poll!

Performing and producing relentlessly and innovating musically as an artist like nobody else has propelled Luke and his superhuman fusion of hyperdrivehousestep&ghettojacktrancebass to stratospheric new heights over the last couple of years. In 2010, he’s already remixed Wynter Gordon’s ‘Dirty Talk’, as well as Ferry Corsten, Calvin Harris and Moby, and his own projects, like ‘Till Tonight’ feat. Jonathan Mendelsohn, and ‘Turbulence’ by Luke and Steve Aoki feat. Lil Jon, have gone global. So what more can the new decade bring for our r-evolutionary rebel? Well, with the crazy energy that he conveys and the martial arts that he practises, rest assured it will be out of this world. Yes, our fresh-faced superhero has good ‘kung fu’, always keeping an ear to the ground while his creativity rockets skyward. Luke, we salute you!

Armin van Buuren has been named number one in the prestigious DJ MAG Top 100 poll four times in a row, in 2007, 2008, 2009 and 2010, as the first DJ in the history of the DJ Magazine and an indication of his prolific output over the more than 15 years he’s been dj’ing and producing. In 2011, he became second in the critically acclaimed popularity poll, taking in a Top 3 position for the 8th year running. Being one of the world’s most popular DJ’s is just one of his many achievements, but the driving force behind his success is an overriding passion for dance music.

Awards & Accolades
Even a basic list of recent successes reads like a lifetime of work: he was awarded with the prestigious Buma Cultuur Pop Award in 2008. This was followed by being voted as the Best Trance Artist in the Beatport Music Awards judged on the musician’s artistic achievements, national and international success. Next to that, Armin was awarded for ‘Best European DJ’ at the 2009 IDMA Awards, followed by ‘Best Global DJ’ in 2010 and most popular International DJ at Australia’s Sony inthemix DJ Poll, along with 3 other big Awards. In March 2010, Armin received the ‘Gouden Harp’, the highest distinction a Dutch artist can get. On Queensday 2011, Queen Beatrix of The Netherlands named Armin Officer in the Order of Oranje-Nassau. The Royal Distinction was handed to him after his set in hometown Leiden by mayor Lenferink of Leiden. It is evident that Armin van Buuren has become one of the decade’s most influential trance acts.

But there’s more. ‘Best Album’ for artist album ‘Shivers’ at both the Dutch Release Dance Awards and the prestigious Edison Awards; ‘Best Compilation’ for ‘A State Of Trance 2006’, claiming the ‘Best European DJ’ award in 2007 and ‘Best Mix Radio Show’ at the Miami Winter Music Conference 5 years in a row for radio show ‘A State Of Trance’ – now broadcasting on a massive 40 FM stations as well as satellite and internet radio, with over 15 million listeners a week; over 50,000 downloads every week from podcasting high end chart-bothering positions all over the world for singles, albums and compilations, with single ‘Rush Hour’ used as the anthem to the UEFA European Youth Championship; the #1 entry in the Dutch album charts with his artist album ‘Imagine’, the #1 entry of the DVD registration of ‘Armin Only ‘ Imagine’, a golden record for ‘Mirage’ on selling more than 25.000 copies in the Netherlands – the landmarks just keep coming!

Productions
Armin’s own productions have all made a huge impact and quickly gain worldwide acclaim; his third artist album titled ‘Imagine’ entered the Dutch Album Top 100 Chart at number one; this is the first time a dance producer has ever accomplished such a feat in the history of Dutch music. The ‘Armin Only – Imagine DVD’ was also released and reached the acclaimed number one spot in its second week. The music video of ‘In & Out of Love’, the hit-single with singer Sharon den Adel, received more than 100 million views on YouTube, holding the first position on the Dutch Top 10 of most viewed videos all-time. Armin’s back catalogue includes Blue Fear, Communication, Sound of Goodbye, Shivers, Rush Hour, Burned With Desire, Exhale, Love You More, This World Is Watching Me, and Yet Another Day. While the remix offers flood in, Armin only takes on tracks that he really loves. He uses exactly the same criteria for his compilations, meaning that every release from Armin or his long-running Armind or A State of Trance label is a bone fide stormer that’s earned its place. His output includes tracks for the cult TV series 24 and the likes of Motorcycle, The Killers, Faithless, BT and Kerli.

But, as a true artist befits, Armin keeps creating new music and has released his fourth artist album, ‘Mirage’, in September 2010. For the album, Armin collaborated with the likes of BT, Christian Burns, Ferry Corsten, Adam Young and Nadia Ali. ‘Mirage’ reached golden status in The Netherlands only 3 months after its release, selling more than 25.000 copies. After the first single, the instrumental, powerful trance track ‘Full Focus’, the second release of the album was a collaboration with Sophie Ellis-Bextor, ‘Not Giving Up On Love’. ‘This Light Between Us’, featuring Christian Burns, and ‘Drowning’ with singer Laura V, were the follow-up singles, as well as his collab with Nadia Ali, ‘Feels So Good’.  In Juni 2011, the official remix album of ‘Mirage’ was released. ‘Mirage – The Remixes’ includes remixes by Avicii, BT, Dash Berlin, Jerome Isma-Ae, 16 Bit Lolita’s, Tocadisco, Kyau & Albert, W&W and many more.

A State of Trance & ASOT 500
But aside from recognition and ever-going fan support, it’s the music that means most to Armin. The perfect example of that given fact, is his weekly 2-hour radioshow ‘A State of Trance’. Listened to by 15 million EDM lovers, he continues to deliver his fans a selection of the best in trance and progressive, no matter how busy his tour schedule might be. A State of Trance 500, the 10th anniversary of the show, was celebrated in 5 different countries on 5 different continents; South-Africa, the Netherlands, USA, Argentina and Australia. All A State Of Trance 500 events were broadcast live.

ASOT Podcast and A State of Sundays
In addition to the weekly show, Armin also started the weekly ASOT podcasts, which contain highlights and Armin’s favourite tracks from the previous episode, to ensure that trance lovers across the world will never miss another episode. Every Sunday, Armin van Buuren hosts a 24 hour radio day called ‘A State of Sunday’, broadcasted on one of the biggest radiostations of the US, Sirius XM Satellite Radio. Next to the A State of Trance shows, the show also introduces its listeners to special sets of other popular DJ’s and talented artists. 

A State of Trance compilations
Armin’s annual A State of Trance compilations have won several awards and continue to lead the trance fans in the right trancy direction with a fresh and exclusive selection of tracks. The 8th edition of the series, A State of Trance 2011, was released in March 2011. As if one compilation isn’t enough yet, Armin has been live recording some of his sets on Ibiza and released them under the ‘Universal Religion’ series. The summer of 2011 saw the 5th edition of this beloved series, a one hour live recording of Armin’s residency at Club Space.

Performances & Armin Only
Being the world’s number 1 DJ sees the Dutch DJ perform at some of the world’s biggest and best festivals, clubs, events and shows. One of the highlights of 2010 was Armin’s DJ set at the Museumplein in Amsterdam in July, during the honoring of the Dutch soccer team. Even though the national team  lost in the FIFA Worldcup, they partied like they were the absolute winners, and so did the 200.000 strong crowd.

Sold-out shows for Armin Only in 2005 and 2006 created eager anticipation of the third edition, which kicked off in a sold-out Jaarbeurs in Utrecht in 2008; over 16,000 fans attended and were enthralled by the DJ’s nine hour set. On New Years Eve 2008-2009, Armin managed to draw 35,000 people to his Armin Only show in the Los Angeles Sports Arena, making him the first Dutch DJ ever to have drawn such a big crowd to an own event.

For his fourth artist album, ‘Mirage’, Armin kicked off another Armin Only World tour: Mirage. After the first show in the sold-out Jaarbeurs in Utrecht on November 13th, Armin will continue to travel the globe with shows in 15 different countries, ranging from Australia to Ukraine, Argentina, Libanon and more.  The Blu-Ray/DVD of ‘Armin Only – Mirage’, including the highlights of the kick-off and many extra’s and specials, has been released in February 2011.

Armada Music
Amsterdam based record label Armada music was created in 2003 by Armin van Buuren, Maykel Piron and David Lewis. Releasing tracks by some of the biggest names in trance, progressive and house, plus organizing several club nights, had Armada gaining a steady and ever growing position in the dance industry. With 23 imprints residing under one umbrella, Armada has definitely proven to be working hard and after 8 years still feel passionate for top quality music.

Armin & New Media
In October 2009, Armin had the premiere of launching the first full music DVD as an application for the iPhone and iPod Touch. The complete DVD of Armin’s ‘Armin Only’ concert in the Jaarbeurs in Utrecht, is available as an app. After downloading the app, users can see the full live registration on their iPhone or iPod Touch.

New media is something that surely gets Armin’s attention. Armin’s YouTube channel, as part of the Armada Music channel, is one of the most viewed channels on the net. The music video for Armin’s ‘In & Out of Love’ has received more than 100 million views, and is therefore the most viewed music video of alltime within all categories on the Dutch YouTube. On Armin’s YouTube, his fans can find the official music videos, exclusive interviews, specials, previews and party reports.

On the road biography ‘Armin Only’
The author of ‘Eén op Eén’(Dutch title), Coen Bom, has followed Armin around the world for over a year. He reports about the hectic life of one of the most popular DJ’s of this moment. During the process of writing ‘Armin Only’, Armin was voted ‘most popular DJ of the world’ by the readers of British Magazine DJ Mag in their annual ‘DJ Mag Top 100′. Coen Bom challenged himself to dig deep in Armin’s past and present to find an answer to the question ‘what is the key to Armin’s success?’.

How it all began
Born in Leiden, Holland (on December 25, 1976) to a musical family, Armin indulged his passion for music from a young age. He spent all the money he earned with his paper round on records. His mum won a computer when he was 10, gaining Armin’s interest. “So as a little nerdy kid I was writing my own basic programs, and learnt about the technology from there.” He progressed from making low-profile mix tapes for friends to higher profile mixes when he discovered experimenting with different sequences on his computer through his uncle. “I was so stunned by what I saw him doing on the computer, that I got addicted to creating music right there and then!”

“I loved dance music immediately – this great rebellious sound that was so different to the ‘beautiful’ songs of the years before”. Armin cites electronic pioneer Jean Michel Jarre as a major influence, as well as Dutch producer Ben Liebrand, who later mentored him in his mixing and producing.

In the early days, Armin thought it was wise to have something extra in case the dj’ing didn’t work out. So he studied for a law degree. The final year of his course was inevitably stretched as he juggled his studies with his increasingly hectic schedule; his rise to fame included lots of productions and remixes, as well as playing out to packed clubs every weekend. It took him three years to graduate, but his determination made him succeed!

Armin is a dedicated trance lover, but isn’t imprisoned by a single genre, saying “What makes trance work so well is that it doesn’t stick to one style, and can incorporate electro, minimal, whatever it likes.”

The main ingredient to Armin’s life will always be music. “This is just what I really want,” says Armin. “It’s not just love for music, it’s my passion. It goes beyond liking, and beyond a hobby, it’s about a way of living. Music is essential to my life”.

Martin Solveig has sharply risen from being a well-respected DJ, to one of the most formidable producers and performers in the world. His music has sold well into the millions, his music videos are renowned as by far the best in their class and his performances continue to electrify audiences in every corner of the globe. With his fourth studio album “SMASH”, Martin draws us into a world of pure and unparalleled fun…but just how did he get here, right to the pinnacle of crossover dance success?

In some ways, the answer for many people is simple, “Hello”. It has singlehandedly become one of the biggest success stories of recent years. What started as a humble club track soon exploded into one of the biggest crossover dance records in the world. It has gone on to sell over 1.3 million copies, achieve platinum status in four countries and the accompanying music video has been viewed in excess of 35 million times and counting. “Hello” catapulted its creator towards immediate stardom, but there are years of work behind the man who made this record. Let’s indulge in L’histoire du Solveig.

Like so many, Martin’s love affair with music began at an early age, influenced by luminaries such as Prince, Lenny Kravitz, Stevie Wonder and Serge Gainsbourg. His eccentric taste and non-conformist attitude have been the backbone to what he is today – a multi faceted artist. He sings, he produces, he deejays, he acts and occasionally he dances too.

Aged 21, Solveig started his own label called Mixture Stereophonic & released ‘Heart of Africa’. The track went on to sell 10,000 copies that offered a clear signal to Martin that a career in music was well worth pursuing. Martin’s first album, ‘Sur La Terre’ released in 2002, achieved critical acclaim and enabled the Parisian to work with Salif Keita for whom he remixed ‘Madan’, one of 2003’s biggest club anthems. The afro-disco bomb as well as Martin’s new funk driven ‘Rocking Music’ both helped to catapult his career to a whole new level.

Next up came the Hedonist album, packed with a ream of hit singles such as ‘Everybody’, ‘Jealousy’ and ‘Rejection’, and indicating quite clearly that Martin Solveig had well and truly arrived. His most recent album “C’est La Vie” was his biggest album to date, selling in excess of 300,000 copies and winning fans over from far and wide. 

In 2009 Martin was presented with two of the most prestigious accolades any Frenchman could hope to win – the ‘Chevalier Des Arts et Des Lettres’ for his contribution to the arts, and the ‘Artiste de Musiques Electroniques de l’Annee’ award at the French Victoires de la Musique – further testament to his ever-growing popularity and truly forward-thinking music style and creativity.

As 2010 was in its final months “Hello” became his biggest career landmark to date. The genius creation that is the SMASH YouTube series came to define a new breed of music videos, signalling Martin as a creative force much more powerful than most of his contemporaries – regularly described by many critics as being “in a league of his own”.

First came the legendary Roland Garros stadium, then the incredible Stade De France, a rooftop pool in Singapore and upcoming episodes from Japan and Australia. There really is nothing to halt the series from going on to achieving so much more. And this is without touching on the soundtrack that accompanies each episode.

Each video is accompanied by snippets of his latest creation, “SMASH”. A modern day masterpiece, bursting at the seams with pure fun, frivolity and all capped off with timeless trademark sounds. Involving the undeniable talents of Dragonette, Bloc Party front man Kele, up and coming UK sensation Sunday Girl plus US whirlwind DEV – it brings Martin to new and dizzying heights.

Martin continues to be one of the worlds most in demand performers, whether it’s headlining festival stages, playing intimate clubs or performing on national TV for millions of viewers. Everything he approaches, he does with the same intensity and flare that has spanned his entire career; he has an innate ability to make each and every person in a room feel welcome, invited and free of inhibitions. At the end of the day this boils down to one thing, Martin Solveig is one of the most exciting and talented performers in the world. Are you ready to SMASH? 

NERVO are sisters Mim and Liv Nervo. Throughout 2011 these multi-talented Australian DJs began to make serious noise in the Dance world.  They are also hit songwriters, producers and artists in their own right.
 
NERVO have spent much of the last two years touring the world and climbing the ranks to become one of the hottest DJ duos on the circuit. They have built up a big profile in the U.S. having opened up  for Britney Spears and Nicki Minaj on the Femme Fatale tour plus DJ dates at big Electronic Dance Music festivals such as Electric Daisy, Lollapalooza, Tommorowland, Ultra, and Winter Music Conference. The girls have recently confirmed a DJ residency in the new mecca for Dance music, Las Vegas, at the Wynn Hotel Group.  Additionally they have spent a lot of time in Ibiza this year with DJ dates at I.M.S, FMIF and Pete Tong’s Pure Pacha closing night.  
 
The talent doesn't stop with their DJing. As songwriters NERVO have been busy behind the scenes for years with their great sense of melody and clever lyrics. They have penned hits for such artists as Ke$ha, Kylie Minogue, The Pussycat Dolls, Jennifer Hudson and Nicole Scherzinger. Their big break-through as songwriters came when they co-wrote Guetta's world-wide smash "When Love Takes Over" featuring Kelly Rowland, which charted at #1 in 11 countries across the globe and won a Grammy.
 
As artists in their own right NERVO recently celebrated their first Beatport #1 song with the official Tomorrowland Festival anthem “The Way We See The World” which they co-wrote and co-produced with Afrojack, Dimitri Vegas and Like Mike.  “The Way We See The World” joins the growing list of NERVO club hits which includes 2010’s “This Kind Of Love” and “Irresistible” both featuring vocalist Ollie James, illustrating their rising status as producers.

Now NERVO are preparing for the UK release of their new single “We’re All No One” which sees them finally step up to the mic as singers.  The single features DJ’s Steve Aoki and Afrojack. There will be a remix package with versions from Hook N Sling, Jungle Fiction, Dave Aude, Autoerotique, plus a NERVO ‘Goes To Paris Remix’ from the girls themselves. In the US, the song has already reached #8 on the Billboard Club Chart, and was in rotation on multiple MTV outlets including MTV Buzzworthy, MTV Hits and MTV Tres.

In the US, NERVO recently launched a monthly DJ mix show "NERVO Nation" on Sirius XM's BPM Channel 51, which airs the third Saturday of every month at 10 p.m. EST. As presenters, curators and DJs, Mim and Liv will preview new NERVO music, spin current dancefloor favorites, highlight a "mash-up" of the month, and conduct special one-on-one guest chats with such luminaries as Armin van Buuren, Nadia Ali and Michael Woods.

Ability, originality and accomplishment. In Michael Woods' short career he has managed to touch on every cornerstone, leaving proof of his musical competence at producing big room, progressive and tech-house tracks, along with a discernible motivation to better the quality of music being distributed. This has not gone unnoticed with DJs like Pete Tong consistently throwing props his way.

From Argentinean & Guyanese decent, he was born and raised in Hackney London which he still calls home and runs his studio from there. Classically trained in a range of instruments at an early age provided Michael with a catalogue of creative skills including the keys (which he learned to play at the tender age of 3), guitar, drums and trumpet, practically making him a one man band. When not in the studio messing around with Logic, developing his craft, he would be found at Pimlico’s Trinity Music College where he contracted a love for musicality, often using his spare time orchestrating with the percussion section of the London Symphony Orchestra.

Earlier achievements include his debut single, "Warrior" released in 2000 and the critically acclaimed remix of Energy 52’s "Café Del Mar", both of which are still considered as classic’s among DJs and fans alike. But today’s finished products could not sound more different. They carry a deep, driving and delectable collection of electronic sounds, with melodious, cascading synths and hands-in-the-air rush-inducing drops. This is what Michael Woods is renowned for, and has created an individual sound that he is pioneering, making him a stunning example of an artist that flows with, as well as initiates, music’s changes.

Collaborations with the likes of Chris Lake, Funkagenda & Mark Knight conclude as featured tracks on various compilations and act as proof of his skillful production abilities. It’s alliances like these that excite the growing fan base, but are not the sole examples of his talent, as original tracks such as "Nitro", "Midnight Run", "Dynamik", “No Access” and "First Aid" are continually supported.

Alongside an impressive catalogue of tracks on numerous labels including Mau5trap, and Toolroom Records, many established artists such as Underworld, Martin Sloveig and Moguai have hired Michael Woods to renovate their sound into a style which emulates his musical vision, including the Deadmau5 & Chris Lake’s “I Said”, which became the only remixed track featured on the 2010 album, “4x4=12”. In addition, mainstream artists such as Kylie, Estelle, The Ting Tings, The Temper Trap, P Diddy and Ginuwine ft Timbaland & Missy Elliot have all borrowed his insatiable remixing skills, leaving his studio rarely empty. His ability to rework music with an exceptionally sharp ear for quality production has left him in high regard with many artists and labels across the industry, leading to a nomination for ‘Best Remixer’ at this year’s 2011 IDMA's (International Dance Music Awards).

Michael Woods now borrows some of this growing respect offering it to his label, Diffused Music, which houses applauded tracks from him self and others. The rapidly growing label is another imperative ingredient in furthering the exhilarating Michael Woods history book.

As well as the continuous success of his music, his dexterity as a DJ completes Michael Woods as a dynamic and credible artist. In demand across the globe he plays everywhere from Europe to USA, ending 2010 with a successful USA Tour. Other accomplishments to-date includes a summer residency for Cream at Amnesia in Ibiza (2010), while Deadmau5 invited him on his infamous 2010 UK tour. The latest addition to Michael's ever increasing list of successes is being crowned the new global resident at one of dance music’s biggest super brands: Ministry of Sound. With industry heavyweights like Fedde Le Grand, Benny Benassi and Mark Knight as his peers, this is yet another triumph for Michael Woods and marks his growing importance in dance music today. After a year of unprecedented success, this residency is another milestone in his career, which sees Michael Woods playing as the face of the Ministry worldwide for a whole host of events, adding his name to the array of esteemed DJ’s that already accompany the Ministry brand and reputation.

For 2011, Michael Woods continues his relationship with Ministry and kick starts a new series of mix compilations for the brand, aptly entitled Ministry of Sound – Residents. Not a first for the artist, after the infamous Amnesia dance-house honoured Michael by asking him to mix one side of the “Amnesia Ibiza Deejay Sessions vol.6” compilation to accompany the Cream summer residency. All are prime examples of the ever growing popularity of Michael Woods, where his presence is always well received by fans and top clubs alike. It is clear that his creativity knows no bounds, and each attainment is just another chapter of this musical characters story.

For electronic dance music fanatics, the year 2011 marks a new musical promise. After three years of work apart, the critically acclaimed and multiple award winning duo of Josh Gabriel and Dave Dresden are back together with a new energy and spirit. 

In 2001, Josh and Dave joined forces under the now legendary Gabriel & Dresden moniker. Within their 6 years of collaboration, Gabriel & Dresden scored 19 number 1 Billboard Hot Dance/Club Play remixes and tracks, made three DJ-mixed compilation albums, an artist album and won seven International Dance Music Awards. Their tracks 'Arcadia', 'Dangerous Power', 'Let Go', 'Tracking Treasure Down' Andain "Beautiful Things" and numerous other masterpieces have turned into some of EDM’s biggest classics. 'As The Rush Comes', by their Motorcycle alias with Jes Brieden, they won the IDMA award for 'Best Progressive Trance Track' as well as peaking at #11 on the official UK top40 charts. The G&D treatment, through remixes and interpretations, was given to tracks by The Killers, Annie Lenox, Sarah McLachlan, Dido, Tiësto, Paul Oakenfold and Way Out West, making their sound cross borders from trance and progressive with pop, indie and soul sensibilities.

In 2008 After 6+ years of hits and and awards, both guys felt it was time for something new and took a break from Gabriel & Dresden to focus on their individual careers. Inspiration came flowing with the new tide. After the split, Josh Gabriel set up his own label, 'Different Pieces' and focused on his Winter Kills and Andain projects. On his album 'Eight', Josh intertwined techno and house into pieces of pure electronic bliss. In the meantime, Dave Dresden took charge of the dancefloor with his Dresden & Johnston project and spawned a US radio hit in the song 'Keep Faith' and "That Day" (with Nadia Ali on lead vocals), as well as remixes for the likes of Owl City, Nadia Ali, BT and The Crystal Method. But you simply can't stop musical synergy. 

As 2010 came to an end, Gabriel and Dresden decided to go back to their roots and reunite at the Hollywood Palladium in Los Angeles for New Year’s Eve 2011. Their return behind the decks showed that after two and a half years apart, nothing really changed. Gabriel & Dresden's comeback marks one of the most notable moments in EDM this year, finally answering the call of millions of dance lovers. With gigs at some of the world's biggest festivals, clubs and events planned and a new compilation in the making, Gabriel & Dresden are all set to do what they love most: celebrate music. And we're all invited.

From Los Angeles, David Steven originally burst onto the scene as UBERZONE’s live show partner. He has captivated audiences worldwide with his dirty bass-filled blend of vicious electro house-tastic beats. Watch carefully when David hits the decks as he sharply brutalizes every knob, button and fader, often playing with the CDJ decks on their sides, vertically.  With a new solo journey ahead terrorizing stages worldwide, David Steven is one to watch this year.

Thought to be a technical and musical genius by many, Sander van Doorn is without a doubt one of the worlds most essential, influential and popular DJ/Producers in dance music today. In very short order, Sander has become a brand synonymous with excellence – both production wise, and in front of the thousands he plays to nightly. He is truly one of the strongholds in dance music, a generation defining artist that reshapes our perception of what dance music can be, and he does it all with that electrifying Sander van Doorn smile.

Those with an ear for music have known of Sander for some time now, but 2007 was when the world started whispering “have you heard of Sander van Doorn?” It seemed the secret weapon of so many top Dj’s was out. 

When Carl Cox stops the music to point you out, telling the nearly 50,000 people “This is one of the best producers in music today, remember his name...Sander van Doorn!” then you can bet the whole world will take notice.

And Carl wasn’t the only Sander fan. Armin van Buuren named Sander one to watch early on, and Tiesto championed his productions regularly. Sander seized the opportunities at hand and dedicated himself to a relentless touring and production schedule for the next few years. It was during this time that Sander penned some of his classics. From originals like Grasshopper, Punk’d and Riff, to massive remixes of The Killers (Spaceman), Sia (The Girl You Lost To Cocaine), Robbie Williams (Close My Eyes) and Depeche Mode (Peace) it seemed the lad from Eindhoven was on a collision course for superstardom.

With the release of his debut album “Supernaturalistic” in early 2008, Sander showed once again that he was no one trick pony. Preferring to term what he does as ‘SvD Style’, Sander shrugged off the confines of genre typecasting long ago. The album was a critical and commercial success and was the first unabridged glimpse of Sanders musical virtuosity. With the help of his prolific alter egos (Sam Sharp, Sandler, Purple Haze and Filterfunk), Sander has been able to transcended the musical prejudice that so often accompanies being a big name Dj. This is why every Dj, no matter the genre, has an SvD track in their arsenal at all times.

But his fans are the real stars in Sander’s phenomenal rise. They send all his records to number one, and helped to make him a required headliner at the most prestigious institutions dance music has ever known.

Mysterland, Dance Valley, Global Gathering, Godskitchen, Garudas, Sankeys, Pacha, Cream, Sensation, Space, SW4, Trance Energy, Creamfields, Electrocity, and Electric Daisy Carnival, have all hailed his arrival and given the world the truest refection of Sander’s real power and popularity. Each year the number of countries visited grows, as does his frequent flier status. With a tour diary that see’s the superstar play to more than a million fans each year, there’s no doubt that that Sander van Doorn is dance music’s favorite son.

Sander continues to meet the demands of being one of the worlds most sought after artists by continuing to evolve musically, professionally and artistically. In 2010 a deal was reached with global satellite leader SiriusXM to syndicate his radio show called ‘Identity.’ The show airs twice weekly to over 10 million worldwide on channel 38, Electric Area. Sander has also worked tirelessly to bring his clubbing concept, Dusk till Doorn to fruition. It’s a fully produced and musically integrated stage show that showcases not only van Doorn, but seeks to highlight and expose new artists, technologies and music that Sander favors. The concept spawned a successful double mix compilation in 2010 that allowed fans to relive the experience anytime. Dusk till Doorn has been hailed as the future of clubbing. Of course, Sander’s label Doorn, a sub label of industry giant Spinnin, has been gaining a strong foothold as one of the most upfront in dance music. Sander is passionate about the music released on his namesake, choosing every track personally. And if this mountain of accomplishments were not enough, he somehow makes time to produce the quarterly ‘how to’ show called ‘Studio Sessions.’ The show airs on his YouTube channel (SanderVanDoornTV) and provides viewers with step by step instructions of his process in the studio.

Today, Sander van Doorn is electronic music royalty. He’s a hit-maker, a tastemaker, and musical visionary. With boundary pushing preciscion, Sander has taken music, clubbing and production to the next level. He’s been awarded so many honors from industry and peers alike that his mantle is permanently bowed. A ‘Future Hero’ says Mixmag, ‘Breakthrough Artist’ says IDMA, ‘Best Producer’ adds the Trance Awards, and the list of accolades, nominations and wins just keeps growing. Poll after poll cement his status as one of the worlds best, and you can bet that whatever the position or rank he holds, in the hearts and minds of his fans he is always #1.

2011 was a landmark year for Thomas Gold – you couldn’t step inside the world’s finest clubs this year without hearing a Thomas Gold original track, collaboration or remix blasting from the speakers at some point during the evening. As a DJ, quite simply, Thomas Gold is known for having amongst the most impeccable programming and mixing skills in the business.

When asked by DJ Mag to name their upcoming DJ/producer of 2011, Swedish House Mafia, Axwell, Sander van Doorn, Cosmic Gate (and more) had one name in common – Thomas Gold. As a producer, Thomas Gold focuses on quality over quantity. 2010’s smashes “AGORa” [Size], “Work That” / “Kananga” [Toolroom], “The Button” [Toolroom], ”Marsch Marsch” [Toolroom], “Areena” (w/ David Tort and David Gausa), Thomas Gold & Alex Kenji “What´s Up” [Spinnin’] and Fatboy Slim vs Thomas Gold “Star69” [Skint], set the stage for a massive 2011. Thomas Gold’s collaboration with Dirty South, “Alive (feat. Kate Elsworth),” was named essential new tune by BBC Radio 1 on July 8, shot to number two on the Beatport charts and became one of the summer’s true festival anthems. Thomas returned in October with a massive rework of “Marsch Marsch” for inclusion on the 2011 Toolroom Amsterdam Dance Event Compilation.

In 2009 Thomas remixed Delerium’s classic “Silence” and it was named “Best Progressive House Track Of 2009” by Beatport. Then, in 2010, Thomas Gold remixed Moguai “We Want Your Soul” for Size Records and it was described by Tiësto as a “classic.” These proved to be just the tip of the iceberg as his remixing reached another level in 2011. In January, Axtone released “Hard Rock Sofa & St Brothers ‘Blow Up’ (Thomas Gold vs Axwell Remix)” which promptly rocketed up to number three on the Beatport charts. In March, Toolroom released Jay C & Felix Baumgartner “Souk (Thomas Gold Remix);” In May, Interscope released Lady GaGa “Judas (Thomas Gold Remix);” and on July 4th XL Recordings dropped Adele “Set Fire To The Rain (Thomas Gold Remix).” Thomas’ remix of “Set Fire To The Rain” which now has over 10 million plays on YouTube. Thomas rounded out his 2011 remix work with Sander van Doorn ‘Reach Out’ (Thomas Gold Remix) for Doorn Records

As a DJ, Thomas Gold played all the right places in 2011. The impressive list includes coveted spots on Swedish House Mafia’s legendary Masquerade Motel Miami, EDC Las Vegas Swedish House Mafia (main) stage, Size Matters Governor’s Island, NYC, Tomorrowland main stage, Pacha Ibiza alongside Swedish House Mafia, Creamfields UK main stage and SHM stage, Escape From Wonderland Halloween Size Matters Stage, Sankeys Club, Manchester, Space Miami (headline), Pacha NYC (headline) and Ministry Of Sound (headline), among others.

Things to look out for from Thomas Gold in 2012 include Henrik B “Leave A Light On (Thomas Gold Remix)” [out in winter/early spring on Axtone]; Dirty South & Thomas Gold “Eyes Wide Open” [late January 2012 on Phazing], and finally, the much anticipated release of Thomas Gold “Sing2Me” [spring 2012 on Axtone]. “Sing2Me” was originally premiered by Swedish House Mafia during their September 16 takeover of BBC Radio 1, so this is a long time coming!

The word icon is liberally tossed around the modern music industry. But casually dressed and exceedingly loyal to his vocation, familial House veteran Steve Angello has encapsulated those values with more persuasive vigour than the vast majority of his long serving peers. Never one to hinder under the weight of tribulation, his legacy can be found as comfortably cramming the venues once unfathomable to Electronic Dance Music as it does the Beatport charts with essential new talent. Passion may have seen him pioneer the Stockholm underground, but innovation has seen him join the ranks of luminary mafia man.

You may not know it right now, but somewhere along the lines you have heard the sounds of volatile Swedish don Steve Angello. From the billboard charts to the club floor, his heartfelt diligence and workhorse studio ethics have placed him firmly at the top of his game, while his part as one third of Europe’s most prevalent House assets to date is certainly a royal feather in his already well-plumaged cap.

Though the days of finding Steve in an intimate venue may be limited the memory of his early movements, but having cut his teeth at the globes finest nightspots amid a time of genuine Electronic elevation, Steve’s own live presence has become an increasingly agile display of showmanship and turntable dexterity. Taking the reigns at infamous stages across the globe and boasting annual residencies for the White Isle’s most prestigious night spots, not even Madison Square Garden has proven too daunting a task for his uninhibited live persona. Add the ever-expanding Size Matters concept that has swept through every worthy global festival and seasonal gathering alike, 2012 promises to be another year of rapid expansion for the already well-travelled antics of Size Record’s undefeated live House accolades. Where some say that running a business is like riding a rollercoaster, the industrious footsteps of Steve Angello have equated to quite the ride.

Producing for Interscope in LA and establishing Size Records in 2003, his hunger for universal success has seen him scale the charts and clubs alike with a refined array of musical gems. With such signature Beatport smashers ‘Knas’, ‘Rave N Roll’ and forthcoming stormer ‘Yeah’ accompanying his infamous Size edits for Junior Sanchez and Tim Mason, Steve’s ability to bring the soulful stylings of prestigious House asset Robyn S back to the global charts in 2009. Add astounding remixes for Pendulum’s ‘The Island’ alongside industry peers Max Vangeli and AN21 and his own cut of Alex Metric’s ‘Open Your Eyes’, his unassailable musical sights have truly made for an intense discography of assorted

Amid his industrious actions, his part in the Swedish House Mafia has proven one of the more game changing chapters of his musical legacy. Pitting the dexterious sound of his like-minded peers into wave-upon-wave of universal club fuel, from ‘One’ to ‘Greyhound’ their reign has far overstretched the aptly assumptive title of chart-breakthrough ‘Miami2Ibiza’. The commercial wave was undefeatable, but Steve and his likeminded peers have successfully injected some passion into the epitome of global Dance music infamy. Steve is undeniably a businessman through and throughout. Investing in fresh talent with a familial commitment to his peers, his ability to champion the digital market with wave-upon-wave of enigmatic global talent comes second to none.

Under a host of monikers and set across more than a decade of persistent musical innovation, Steve can still be found relishing in his inexplicable ability to make music that moves the masses. Dealing in goose bumps and unpretentious musical ecstasy at every larger than life outing, Steve Angello has never lost his appetite for universal success. That hunger is was separates the men from mice and is sure to hold the throne for his ambitious manoeuvres amid Sweden’s tectonically tuned mafia man.

AN21
2011 is set to be the craziest year yet for the young Swede. He has just been nominated as ‘Breakthrough DJ’ at the IDMAs (International Dance Music Awards) and was named as one of the ‘top 5 DJs to watch in 2011’ following the Top 100 DJ poll. 2010 saw him DJing in some of the best venues and festivals in the world including Pacha Ibiza, Ministry of Sound in London, Avalon in LA, Zouk in Singapore, Global Gathering and Mysteryland. So far this year he has already taken to the stage at Sensation Amsterdam, Prague & played the Size Matters stage at Tomorrowland. His massive remix of Pendulum’s ‘The Island’ along with brother Steve Angello and Max Vangeli was named ‘Hottest track in the world’ by Radio One’s Zane Lowe and reached Number 3 in the global Beatport chart. Having mixed CD 2 of the successful ‘Size Matters’ album, AN21 is currently working on an album of original tracks, featuring collaborations with Tiesto and Steve Angello amongst others. Look out for the HUGE new single to be launched at Miami Music Week! The album, ‘People of the Night’ follows on Size in 2011 with a worldwide tour of the same name to be announced!!

Max Vangeli
"One of the most promising artists for 2011" as described by MTV, Max Vangeli has grabbed the attention of Electronic Music fans worldwide. With an upcoming debut album featuring collaborations with heavyweights Steve Angello and the UK’s Example amongst others, this year is promising to be his biggest to date.

2010 was a pivotal year for Max Vangeli as he made his international debut, with multiple chart-topping remixes and extensive touring across the world, as well as being named one of the 'Top 5 DJs to watch in 2011' following the Top 100 DJ poll. He has played at some of the world’s top venues and festivals, such as Cocoon in Frankfurt, Mansion in Miami, Avalon in Los Angeles, Creamfields in the UK, and Mysteryland in Amsterdam.

His massive remix of Pendulum's 'The Island' with Steve Angello and AN21 was named 'Hottest track in the world' by BBC Radio One's Zane Lowe and reached Number 3 in the global Beatport sales chart. This was not the first time Max’s productions shined on Radio One’s airwaves as his other tunes instantly became Pete Tong’s favorites, with 2010’s “Swedish Beauty” being named an “Essential New Tune”.

Max will debut the first single off his upcoming album, “People of the Night,” during this year’s Miami Music Week. Watch out for Max Vangeli in your city as he has an extensive world tour in the works.

Sunnery James and Ryan Marciano, two notable personalities with a single goal: to entertain as many people as possible with their deep and funky house sound.

From the moment they entered the DJ profession, they agreed to do something serious with their common passion: House Music! Quickly after their first gig together Sunnery and Ryan established themselves as top DJs.

Besides performing all over the globe, they are very busy in their Amsterdam studio. May 2008 saw the release of debut track ‘Pina’, just 4 weeks later, dance floor cracker ‘Lift U Up’, feat. Melvin Reese & Chappell saw light. Then things went very fast, their inspirational, upfront release ‘The Desert’, was released via D.O.N.S.’s Kingdom Kome Cuts imprint, Steve Angello scooped up ‘Traffic’ and ‘Snitch’ for release on his Size Records label and they made several remixes for the likes of Sander Kleinenberg (‘This Is Our Night’) and Kaskade (‘Dynasty’).
In February 2010, Sunnery and Ryan launched their ‘Amazone Project’ event in the Heineken Music Hall Amsterdam. 5.500 fans came to join the SJ-RM- hype and witnessed an exclusive 5-hour-set. The Amazone Project compilation landed on the #2 spot in the Dutch charts.
The SJ-RM journey continues in 2010, with Sunnery & Ryan debuting at the prestigious Sensation event in the 50.000 cap. Amsterdam Arena on 3rd of July and playing Pacha Ibiza alongside Swedish House Mafia.

Sunnery James & Ryan Marciano – the energetic duo who match soulful vocals with fast pumping House. Their skill lies in the ability to build a track, drop it, pull in the next, sample soul-pleasing vocals, then drop another so smoothly that their whole set feels like a constant upward progression. Another skill is their ability to read the crowd and give them exactly what they want.

2010 has been a big year for Norman, we've seen him release the massive dance floor bombs "Tobita" which was Essential New Tune in Pete Tong Show, followed by 'Chase The Sun' with David Tort, which reached n°2 on Beatport for 3 weeks. He also did his own remix of Dirty South's 'Phazing' and was asked by Atlantic records to remix Toni Braxton's 'Make My Heart'.He is also on fire with some forthcoming tracks : ‘Home’ on Defected and ‘Tweet it’ on Size (Steve Angello's Label).

Outside of the studio, Norman's also had a very busy year touring the globe, highlights including : Miami WMC (10 gigs in one week!), playing Pacha Ibiza for both David Guetta and The Swedish House Mafia, a Brazilian, Indian, Australian and a Japanese tour, gigs at the World's No1 club Sankeys in Manchester and festival sets at : Sunburn Festival (Goa), The Sunset Festival (UK) and Tomorrowland (BE).

Norman is also resident at David Guetta's night : F*** Me I’m Famous all over the world and performed in venues like Mansion in Miami or Zenith concert hall in Paris.

Those claiming immunity to the elegant rage of the European Progressive House resurgence are clearly yet to come across enigmatic London duo Third Party. Transitioning from precious Progressive underground players to Size Record’s inaugural British connection, many have tried to replicate the energy of their double-barrelled studio output. To date, none have succeeded.
As resilient as they are melodically inclined, these supposedly opposing elements have made for the best of friends amid the rise of this young production outfit. Mustering the invaluable support of Steve Records for ‘Release’, the song that would later become their Size Records debut, the globe proved as equally taken by their strong-willed production values for the enigmatic follow-up ‘Duel’ as the head honcho of their now permanent musical abode.
Despite their familiar Progressive appeal, Third Party remain a force to be reckoned with amid a musical revolution to which they have contributed considerably. Taking on Electronic luminaries Cicada for ‘Feel’ and making the familiar reverie of Red Hot Chilli Pepper’s ‘Otherside’ their own with a game changing remix, further remix duties for Swedish House Mafia’s ‘Save The World’ as well as Steve Angello & Alex Metric’s ‘Open Your Eyes’ have established them as an outfit of wide ranging ambition and unlimited capabilities to match it.
Still loyal to club and country alike, their global movements alongside their illustrious Swedish peers and their inherited musical bloodline at Size Records remain untamed and intense at the outset of their biggest year to date. Next time you think of double-barrelled British House music, think melodic, think tectonic, think Third Party!

"One of the hottest dance talents from the U.S." - Pete Tong 

Responsible for one of the top 10 selling House songs in the world 2011, Beatport Award nominated, and highest selling U.S. house artist on Beatport 2011, New Orleans-born, L.A.-based DJ/producer Trent Cantrelle is a bit of a chameleon. In a day and age where most DJ sets come pre planned and formatted, Trent relies heavily on the energy of the crowd for programming. His sound leans toward big room peak-time house, as heard on his recent releases “Night Like This” and the DMC Buzz Chart top ten “I Want A Freak”. Studio duties have seen him work with everyone from Princess Superstar to remixing mainstream acts such as Seal, Maroon 5, Pussycat Dolls, and Mutemath. Over the years having amassed an impressive catalog of original tracks and remixes he has appeared on such labels as Ministry Of Sound, Spinnin, Toolroom, Perfecto, Interscope, Subliminal, Ultra and on and on.

Asaf borger aka Borgore, has unquestionably become a household name for those who follow the ever growing Dubstep sound.

Distant from the main stages and social circles of Dubstep in Europe, especially in the UK, Borgore turned to creating a huge online presence using many social network platforms.

Music has always been the biggest aspect of his life. Weather it was playing the piano when he was just three years old or graduating from one of the best youth programs in the world as a saxophone major, playing the drums for a Deathmetal band or MC’ing alongside Tomba on their live beatbox group, (which later into their Dubstep group, Amp) Borgore has dipped his toes into many areas of music.

Original, emotional, visceral. These are all words that are used to describe Noisia’s music and each is more than justified. In less than a decade the Dutch trio, renowned for their unparalleled technical skill, has gone from releasing drum & bass on now defunct independent labels to crossing multiple genres, scoring for triple A video games, having their music used on trailers for Hollywood blockbusters and producing and remixing tracks for some of the world’s biggest artists.

Working from their studio in their hometown of Groningen Nik Roos, Martijn Sonderen and Thijs de Vlieger have gradually developed and cultivated a sound that’s all their own; a sound that’s obsessed with production techniques; a sound that’s instantly recognisable whether you’re hearing three minutes of a Noisia track dropped at a festival or three hours of it while playing Devil May Cry 5. Having pushed the envelope and successfully managed to blend incredible sound design with unrelenting and uncompromising beats and basslines, Noisia’s sound is undoubtedly unique.

In 2003 the trio released their first forays into drum & bass on underground labels such as American label Shadow Law Recordings and Glasgow-based Nerve. From there it wasn’t long before those at the top of the D&B scene began to take notice, as legendary imprints like Moving Shadow, Renegade Hardware, Subtitles and DJ Friction’s Shogun Audio all lining up for the latest Noisia release. In just two years the young Dutchmen had become the go-to producers for hard and heavy beats and had remixed one of the D&B scene’s biggest anthems, Konflict’s ‘Messiah’.

Taking the next logical step, the group decided to set up their own label. Having gained their name by reading an upside down VHS tape with the word ‘vision’ written on it, Noisia re-inverted polarities and Vision Recordings was born. Vision has played host to a series of Noisia’s best singles and EPs, including the anthems ‘Stigma’, ‘The Tide’, ‘Dustup’ and KRS One vocalled ‘Exodus’, meanwhile the group began forays into remixing the likes of Pendulum, Moby and Amon Tobin and producing tracks for other artists such as Foreign Beggars’ ‘Contact’ an incredible bass music/hip hop fusion which was way ahead of its time: All of which led to the release of their debut album ‘Split The Atom’ in 2010.

‘Split The Atom’ was a departure from the norm, featuring a wide range of sounds and styles, but all with that distinctive Noisia sound. This was a culmination of seven years of studio knowledge and musical experimentation and it was received with such resounding success that deadmau5 picked it up for a Special Edition re-release on his own mau5trap label. Packed with dance floor anthems and more subdued moments, ‘Split The Atom’ was a milestone in Noisia’s already glittering career.

Enlisted by the likes of Skrillex, Labrinth, deadmau5, Mark Knight ft. Skin and The Prodigy for remixes, Noisia’s career continues to grow as the Dutch trio have become one of the hottest DJ-production outfits around; a fact confirmed by numerous awards, including being voted Best D&B Act three times at the Beatport Music Awards. Noisia were commissioned to write three tracks for Korn’s album ‘The Path of Totality’ and have written and licensed music to video games including Devil May Cry 5, Wipeout 2048, Gran Turismo, Ridge Racer and SSX Snowboarding and blockbuster movie trailers, including the launch trailer of Transformers 3: Dark of the Moon.

Meanwhile the group continue to pay homage to their roots by signing and developing some of the most exciting bass music artists to their Vision, Division and Invisible labels, travelling the globe and destroying some of the biggest festivals and arenas in the world - from Coachella to their own Noisia Invites events at Amsterdam’s infamous Melkweg and their own hometown of Groningen. No matter what Noisia’s vision is clear, these incredible producer’s producers will always stick to their guns, pushing an uncompromisingly original, emotional and visceral sound

Rarely have we seen someone rise through the ranks this quickly, leading a wave of new skool D+B talent from Europe. Having a Belgian passport doesn't often turn D+B heads, so you can be sure it's his tunes which do the talking. In less than 12 months Netsky secured releases on some of the biggest labels in the scene, gained DJ support from the likes of Friction, Hype and Fabio and also earned a nomination as "Best Upcoming Producer" at the Drum + Bass Arena Awards. With his blend of uplifting, melancholic melodies and heavy dancefloor bass + beats it wasn't long before Netsky was well on the radar of London Elektricity and High Contrast.

2010 saw the release of Netsky's eponymous debut album and following all the hype it delivered with a potent mix of dancefloor anthems, vocal led classics and clean cut new jungle sound which is becoming his trade mark.

Netsky's profile has since risen to a new level following his huge remixes of Pedulum, Plan B, Leftfield and Swedish House Mafia. The future is looking bright for Hospital's newest superstar.

He was an early DJ on one of London’s pirate stations, Fantasy FM, and has been popular on the international DJ circuit, landing awards for Best Male DJ and Best Radio DJ (in 1994 and 1995, respectively) at the U.K.’s Hardcore Awards.[1] He is also one of the London radio station Kiss 100’s main attractions, and was a player in Suburban Base’s compilation series, Drum and Bass Selection. A champion of jungle’s dancefloor purity, DJ Hype has also rallied consistently against jungle's compartmentalization into artificial “scenes” in the late 1990s.

DJ Hype began producing in 1989, engineering and co-producing tracks (including chart-toppers such as “Exorcist” and “The Bee”) for hardcore staples Kickin’, Strictly Underground, and Suburban Base. Although he never lost touch with his breakbeat roots (even going so far as to spin hip-hop instrumentals over house tracks to add a bit of rhythmic flair), it wasn’t until he launched his own Ganja label in 1994 (with the single “Cops”) that he began seriously focusing on the post-rave possibilities of sampled breaks.

The Ganja label gained almost immediate popularity, primarily through floor-fillers such as "You Must Think First", "Tiger Style" and DJ Zinc’s “Super Sharp Shooter.” That popularity peaked with the release of their first LP in 1996: 'Still Smokin’, a label compilation released jointly by Ganja and cohort Pascal’s Frontline imprint. The album became one of the highest-selling independent jungle compilations. Re-released in 1997, its success also led to a major label deal with MCA’s Parousia sublabel and the establishment of True Playaz, a DJ Hype–led DJ and production unit also including DJ Zinc, Pascal, and Rude Bwoy Monty.

DJ Hype is known for his jump up dj sets, headlining and smashing up dancefloors at the monthly Playaz night at Fabric (club).

The name High Contrast needs no introduction any more… though when a young, fresh-faced Lincoln Barrett signed on the dotted line back in 2000 he was a complete unknown. Signed on the strength of his mini-disc demos, the Welsh wonder has smashed his way through the D+B scene and has become one of its iconic and much respected heroes.

High Contrast’s debut long player “True Colours“ was released on Hospital to massive critical acclaim in June 2002, featuring tracks such as “Return To Forever”, “Global Love” and “Make It Tonight”, it has become a modern day classic for D+B fans new and old. In 2003 he was featured on Radio 1′s Essential Mix and in autumn 2004, the massive “High Society“ LP was released, an album which features the anthemic singles “Twilights Last Gleaming” and “Racing Green” and was voted as one of the  top 3 jungle albums of the last 10 years by Knowledge Magazine. Then, in 2005 High Contrast mixed the 25th installment in the prestigious Fabriclive series to wide critical acclaim. 2007 saw the High Contrast success story continue, with the gargantuan single “If We Ever“ all over Radio One, followed by arguably his finest album yet “Tough Guys Don’t Dance” and winning the BBC Radio 1′s Essential Mix of the year.

Riding high on the wave of success following “Tough Guys…”, it was straight into 2008 with huge remixes of Utah Saint’s “Something Good”, Adele’s “Hometown Glory” and Eric Prydz’s monster hit “Pjanoo”. As a result, High Contrast has swiftly become the remixer of choice for many labels inside and outside of the drum+bass community.  2010 saw High Contrast studio-bound with rave legends Underworld for collaborative track “Scribble” plus Axwell’s Ibizan anthem “I Found You”.With High Contrast sitting firmly at dance music’s top table, in 2009 he became one of a very rare number indeed, a current recording artist to have released a “best of” album – in the form of  “Confidential” , a massive double CD taking in the high points of his first three albums as well as all of his seminal remixes.

Fast forward to 2011, and High Contrast has not only delivered an immense VIP of the iconic “If We Ever” for the “Fifteen Years of Hospital Records” album, but he has returned from a massive summer headlining at some of the world’s biggest festivals – Electric Daisy Carnival, Coachella, Global Gathering – as well as touring everywhere from Hospitality Miami to Hospitality Ibiza! In October,  he released his first original material for nearly five years. Teaming up with Tiesto and Underworld for “The First Note Is Silent”, this was the first single to be taken from his fourth studio album “The Agony & The Ecstasy”, followed up by the title track “The Agony & The Ecstasy (feat. Selah Corbin)”.

2012 was a golden year for High Contrast as summer heralded a new and exciting passage when he was asked to write the music for the Opening Ceremony of the Olympics with Underworld. An immense undertaking, this once in a life time opportunity culminated in the release of High Contrast’s “The Road Goes On Forever” digital-only EP which was released later that year. And of course, alongside the music, High Contrast is also an avid filmaker, having studied film making at Newport, he directed, filmed and edited the video for “The First Note Is Silent” as well as the recently released nostalgia trip “Spectrum Analyser”. You can read his film, tour and music related ramblings over on www.highlycontrasting.com

Traveling the uncharted terrains of sound, Liquid Stranger's creative output spans a wide range of electronic music in all of its colours and shades. Always pushing the sonic boundaries and merging genres, he consistently creates an ever-evolving blend of unique atmospheres and cutting edge grooves.

The Liquid Stranger has been working professionally with music since 1996 and has released over 50 titles under various pseudonyms in that time. He used to DJ for Breaks FM in London and has worked with numerous record labels including; Dragonfly, Botchit & Scarper, Six Degrees, Hope Recordings, Ministry of Sound, Spirit Zone, Muti Music, Rottun Recordings and Interchill.

With 6 highly acclaimed full-length albums under his Liquid Stranger moniker, this multi-talented producer has established himself as the epitome of trans-national dubstep, covering everything from Latin, Asian, Eastern European and Jamaican Dancehall dubs. His first two albums, 'The Invisible Conquest' and 'The Intergalactic Slapstick' (Interchill 2007 & 2009), generated a substantial buzz with DJs and listeners alike while his next two albums, 'The Private Riot' and 'Mechanoid Meltdown' (Rottun Recordings 2010) made a firm imprint in the dubstep community worldwide, topping the download charts for over a month. In 2011 Liquid Stranger released two more albums on Interchill; The Arcane Terrain and the downtempo masterpiece, Cryogenic Encounters.  The tune Bombaclaad Star on The Arcane Terrain went on to win the 2012 Beatport Music Awards in the Reggae/Dub genre, in spite of being given away for free a month prior to release.  A number of Liquid Stranger's tracks on Interchill have been licensed to extreme sports movies. With a growing number of remixes bearing his signature touch, the Liquid Stranger sound is in high demand as it continues to reach increasingly wider audiences.   Stay tuned for the new album The Renegade Crusade, out on Interchill in Spring 2013.

Performing live, the Stranger has a passion for the unexpected and hits the stage with a stash bag full of devastating dance-floor monsters. Using custom built analogue gear to remix his tunes in real-time, he delivers an energetic and infectious performance unique to every show. Major gigs to date include such world renowned festivals like; Electric Daisy Carnival, Voov Experience, Boom Festival, Roskilde,Samothraki, Vortex and Club Boom to name a few. At the moment, he is one of the most sought-after US-based dubstep producers and is in constant demand from coast to coast.

Anytime he hits the stage, Crizzly has no choice but to go hard. Channeling hyperactive energy and uncontainable swagger, the San Antonio DJ and producer ignites crowds with an intoxicating, infectious, and inimitable blend of dubstep and hip-hop, which he affectionately terms, "Crunkstep". However, there's a lot more to the 21-year-old artist.

Music became a part of Chris Lee "Crizzly" Marshall's life at a very young age. As he recalls, he discovered it as a child—insisting on making his kindergarten class listen to the Space Jam soundtrack during naptime—but he didn't formally embrace it until high school. Picking up a set of turntables, he scored his first gigs at birthday parties. At 19-years-old, production began to inspire him, and he started remixing rap songs from YouTube with a distinctive flare. He released his own takes on Waka Flocka Flame's "Hard in Da Paint" and "Snap Back Swag" from AJ Hernz, and suddenly he set the blogosphere ablaze. Numerous web sites began reposting these cuts, and Crizzly developed a fervent following.

However, some guerilla tactics helped garner even more high profile attention for the fledgling DJ. After playing 2011's Electric Daisy Carnival Las Vegas, he took 20 USB drives with his music and distributed them to some of the festivals top names. "I made it a mission to pass them out to my favorite producers," he remembers with a smile. "I was nervous, but I gave it to Diplo. He listened, and now he plays 'Hard in Da Paint' in his set."

Meanwhile, he slipped "Snap Back Swag" into a playlist on Skrillex's tour bus, catching the megastar's ear in the process. As a result, Skrillex added the remix into his set as well. Soon after, even more support came in addition to Skrillex and Diplo with Excision, Datsik, and many others introducing his remixes into their shows.

He describes his sound and style best though. "It's definitely a mixture of two different worlds, dance music and hip-hop," he goes on. "People can connect because there's a lot going on, and there's more than one dimension. The audience responds immediately too. Since there's a halftime feel, the blend just makes sense. It feels right to me."

Most importantly, it feels right to audiences. In February 2012, he embarked on a highly successful tour with 12th Planet and Flinch, and he followed that up with shows alongside Zed's Dead. In the midst, he was featured in the July 2012 issue of Spin. Currently, he's confirmed on the bill for the 2012 installments of Nocturnal [California and Texas], Electric Daisy Carnival [Las Vegas, New York, Puerto Rico, Orlando, and Colorado], Atlantic Impulse, Electric Forrest, White Wonderland, Escape From Wonderland Lights All Night in Dallas, Global Dance in Kansas City and Denver, and more. Plus, he'll embark on his first headline tour of college markets in Fall 2012.

In fact the best way to experience Crizzly is to actually be in the audience. "I play a lot of hard stuff," he concludes. "I expend a ton of energy. I want the fans to get buck wild, crazy, and crunk. I want them to make some bad decisions and have fun." One thing's for sure: there ain't no party like a Crizzly party. — Rick Florino, May 2012

The mysterious UZ came up out of nowhere in May 2012, with the amazing T??? ???† series. With huge support from DJ's worldwide, UZ's debut EP was released on Jeffree's, a sub-label to Mad Decent. "UZ tunes are drunken energy sub bass and cartoon horn stabs that make my stomach feel weird and my feet shuffle," Diplo writes. Raw and powerful, but with a laid back tempo, UZ gives listeners a chance to slow down without losing momentum.

Schoolboy, has quickly established his name in the EDM world after releasing his massive remix of SHM & Knife Party's "Antidote" which has received an incredible amount of support from Knife Party, who has played the remix at every major festival around the globe. Amidst all the hype, his highly anticipated EP "The Science Project" was released under Excision's label (Rottun) in early 2012. The EP has 6 original bass driven tracks, most notably "Zombies Ate My Neighbours" which quickly climbed the beatport charts and swiftly became a fan favorite. Not only did his EP do well, but his remixes of "Why I Love You So" by Cassius (Kanye West/Jay Z), "Da Funk" by Daft Punk, and "Nation of Wusses" by Infected Mushroom (Dim Mak) among others, have gained major support from the likes of Koan Sound, Kill The Noise, Qulinez, Mord Fustang, Excision, Skism, Dirtyphonics, Steve Aoki, Zomboy, Dieselboy, and one of his earliest supporters of "Checkmate" Skrillex, and the list goes on.

Now with his highly awaited single "Aftershock" (Subhuman) on the verge of release, his popularity has supernovaed resulting in massive emissions of anticipation for his first music video release.

Not only has Schoolboy been hard at work in the studio, he's been touring and playing venues and festivals all over North America. In between shows he has been collaborating with fellow producer, James Egbert, on a 3-song EP expected to reach Earth in Fall 2012.

Drum & Bass is a culture with one eye fixated on the future. To achieve longevity within the scene a DJ must stay two steps ahead of the general public. The arsenal needed to achieve this task comes in the form of exclusive tunes and an acute ear for "the next sound". Since 1991 DJ Fury has not only met, but surpassed all these criteria.

Steve Blakley began the metamorphosis into his moniker of DJ Fury while snow boarding professionally in the early nineties. It was during this time that Blakley attended his first few raves and was introduced to DJ culture. Reluctant to assume the role of spectator Blakley soon purchased turntables and unknowingly took the first step of his new career. By 1992 Blakley had begun to play the sound of hardcore U.K. breakbeats at events around the Denver area under the guise of DJ Fury. By the next year this sound had began to transform into an early prototype of what would be known as Jungle. Fury shifted with the new sound seamlessly.

From this point forth the Denver Jungle scene snowballed along with Fury's DJ career. The year of 1995 saw the birth of the notorious Rewind series by Lowerworld which catered purely to up front Jungle. These events began to receive attention nationwide thus providing a huge stepping stone in Fury's career. Slowly but surely his reputation of providing the best tunes with flawless mixing began to spread from city to city. From there, Fury continued to expand his growing fan base by maintaining a rigorous DJ schedule rinsing out cities such as Los Angeles, Washington DC, Seattle, San Francisco, and many others. Despite this intense travel itinerary Fury still managed to hold down Denver by throwing monthly events (now known as Reload) and co-hosted one of the longest running weekly's in the nation (Breakdown Thursdays). 

Currently Fury designs for and runs the internationally acclaimed graphic design company, The Firm Graphics, in between his DJing and event promotions. He is a resident DJ for Insomniac's Bassrush, their drum & bass division, and the Reload events are still running strong and picking up steam again in Denver. One thing is for sure - you can always count on some dance floor smashing drum and bass whenever he hits the stage.

Electronic dance music (EDM), mega-legends Infected Mushroom best
known as the sonic innovators of the “Psychedelic (Psy) Trance”
genre. Twice ranked amongst the world’s “10 Best DJ’s” by the
Bible of the Scene (U.K.’s DJ Magazine) and with over 14 million
hits on YouTube and a #8 position on the Billboard chart, the
Israel-bred, L.A. based duo Amit “Duvdev” Duvdevani and Erez
Eisen have created their “music kingdom“ as one of the most
powerful in the EDM scene.

Following a 3-year legacy of success from Infected’s 2009 album
The Legend of the Black Shawarma. Erez and Duvdev deliver their
most multi-faceted electronic album delivery to date in three
years--“Army of Mushrooms” (May, 2012 Dim Mak Records).

Adoring fans continue to congregate en masse for Infected
Mushroom’s 120/year jaw-dropping live shows including psychedelic
visuals that lay as the backdrop for enigmatic vocals, hypnotic
arrangements, and psy-trippy synthetic rhythms . . . All walks
of life gather in attendance for the same reason: to experience
Infected Mushroom, the world’s greatest Psy-Trance band of the
decade.

A shared interest in great music brought the two girls together. Rebecca Scheja and Fiona Fitzpatrick not only reign Sweden's club scene, they have become icons for a whole generation of Swedes and represent what hard work combined with talent can do.

In May 2010 the girls released their first single - Luminary Ones. As 2010 ended, Luminary Ones had become one of the most played songs on nationa
l radio P3. In addition to touring the whole of Sweden they followed Robyn as opening act on her European tour.

If that was not enough - Swedish Television followed the girls for several months, which has resulted in their own self-titled tv-show. Wherein you can follow their work as DJs, producers and urban girls.

2011 became an even bigger year for Rebecca & Fiona, they released their double platinum selling single Bullets, the double a side If She Was Away/Hard and the smash single Jane Doe. In November they completed everything by putting out their debut album I Love You, Man. In addition to that they created Turn It Down, their hit collaboration with US DJ superstar Kaskade.

Last year Rebecca & Fiona played over 100 shows all over the world alongside DJs like Tiësto, Kaskade, Axwell and Steve Angello, and 2012 looks like it will be when the girls hit global stardom, already having a month long US tour confirmed and receiving the award for Best Electronic/Dance at the Swedish Grammy Awards 2012.

Don’t let their beauty and glamorous public life fool you. Rebecca & Fiona are dedicated musicians who spend more time nailing loops in the basement of their recording studio than to splash champagne at trendy nightclubs. They wouldn’t have time anyway, they’re too busy killing the dance floor.

Theo Keating, in true maverick style, has forged his own path as Fake Blood - a hard-hitting, multi genre artist with a cult following like no other.

His previous releases, ‘Mars’ and the ‘Fix Your Accent EP’ that features the hit club song, ‘I Think I Like It’ have gained rave reviews among press and fans alike, cementing the man as a leader of the scene.

2012 saw the release of his critically acclaimed debut album ‘Cells’ which once again trashes the rule book in true genre-defying Fake Blood style; featuring the dancefloor friendliness of lead single ‘Yes/No’ and the pop catchiness of second single ‘All In The Blink’.

As well as being an acclaimed producer and hugely popular live act, Fake Blood is renowned for his dance floor friendly remixes of artists including Underworld, Hot Chip, The Kills, Calvin Harris, The Gossip, Noah & The Whale, TEED,  & Wretch 32.

Having emerged from a small and local Yorkshire scene a few years ago, DJ, producer, promoter, presenter and label boss Doorly had a great year in 2011. Not only did he undertake a nine-month tour of the planet, but so too did he play almost every club on the island of Ibiza (his summer home for the last 5 years), act as tour DJ for r&b megastar Usher and continue his close relationship as reside
nt, host and frontman with the illustrious Ibiza Rocks. It’s clear to see, then, that what separates this man from the crowd is his ability to play – and fit in with – any line-up of talent no matter the style of music.

As well as DJing, the staunchly genreless artist also collaborated with stars as diverse as Grandmaster Flash, Scissor Sisters’ Jake Shears and vocal manipulator Beardyman, all due for release in the coming months. At the same time, Doorly has thrown huge parties in abandoned warehouses in downtown LA alongside barmy bass hound Toddla T and, since first emerging, has been asked to do not one but two Essential Mixes for Radio 1, has remixed Prodigy, Dizzee Rascal and Basement Jaxx and has played on the same bills with acts as diverse as Prodigy (at their 65, 000 strong Milton Keynes Bowls gig), Azari & III, Skrillex, Tiga, Friendly Fires and even The Specials.

Says Doorly of his setup (4xCDJs plus 2 samplers / EFX units and a mic)… "DJing should be about a LIVE & visually exciting performance, not the back of a laptop! I bring as much equipment and broken down parts of tracks with me as possible to give me the ability to remix on the fly and involve as much scratching, looping and turntablism as possible"

A keen proponent of all and any genres from house to bassier dubstep and jungle sounds to hip hop, techno, funky and more, Doorly champions such sounds on his own Pigeonhole this label. He’s recently signed auspicious young Huddersfield act Extra Curricular (debut collab EP with Doorly himself out soon) and hopes to continue to showcase a wide remit of sounds in the year ahead, all of which will be cemented with a series of label parties in London and further afield.

On top of hosting regular slots on cult London radio station Rinse FM, Doorly continues to program his own huge Afterparty warehouse events in Huddersfield where the likes of Annie Mac, 2manydjs, Fatboy Slim and Nero play on a regular basis to thousands of adoring ravers. In fact, Doorly actually went on tour with Fatboy Slim in December 2011, playing in mad venues like Bridlington Spa and Southend Cliff Pavilions.

Before that, the new school star confirmed himself to be someone much in demand across the pond, too, as he completed a 22 date US tour with dubstep superstar Rusko followed by another 15 stateside festival dates including the Identity Tour and the Holy Ship cruise run by the HARD crew. Also in the lead up to summer, Doorly will be spending a further month in the US & Canada on his own solo tour.

“I’ve spent a hell of a lot of time on transatlantic flights and tour buses this year” says Doorly. “But what’s happening in America right now is so exciting for our scene and the world of music has all of a sudden become a much smaller place.”

Given Doorly is known as something of a dexterous talent behind the decks – whether playing to 65 in a sweaty basement or to 50, 000 in an American arena – it’s no wonder gear giants Pioneer have him road testing and giving design input on their kit (as a Pro-DJ along with the likes of James Zabiela) months before it comes out. Now settled back in London, Doorly’s plan for 2012 is to continue writing, playing and unearthing the freshest electronic sounds from across the board… you’d be mad not to join in.

Lock up your genres - Linus Eklow, aka Style Of Eye, is ripping up the rule book with his debut artist album, difficult to describe as anything other than the sort of music that makes you want to call your boss and tell them you’re not coming back to work on Monday.

The Stockholm born and based DJ/producer is making a name for himself in techno, but his productions are essentially a journey through everything from techno to house via raw percussion and minimal, floaty melodies and downright weird noises.

Both intelligent but jaw-wobblingly satisfying at the same time, Style Of Eye’s productions are testament to the hotbed of talent springing forth from the underground scene. After growing up in a jazz and soul oriented family, graduating from banging pots and pans to a drumkit aged 10, he realised electronic music was his calling after getting his first computer aged 15 and making “weird downtempo dubbeat and trip hop.“ DJing upbeat drum and bass followed at 16, and Linus was a firm fixture in the studio before long, developing his unique style of music with releases and remixes on  such labels as Classic Recordings, Tiny Sticks and Rabid Records.

His most recent productions on Dirtybird and John Dahlbäck’s Pickadoll label have been immense - “The Big Kazoo” E.P  (Dirtybird) (#1 on the Heavy Rotation in IDJ´s February Issue), was followed up by “The Prophet” (Pickadoll), and the album, out in September 2008 on Pickadoll, will be preceded by new single “Girls” in May.

As you’d expect from someone who cites influences as diverse as Stevie Wonder, nineteenth century classical composer Edvard Grieg, and Yello, Style of Eye isn’t keen to be pigeonholed. His moniker comes from a desire to
put everything out under one name, regardless of what it sounds like... Says Linus: “Since I take in so much different music and put it in a blender I wanted to be able to put everything I see and that inspires me into one project. This album is a huge step from my first release but you can still hear that it’s me.“

The album, which features vocals from the likes of Stephen Simmonds and Emmma, comprises Style of Eye’s productions mixed together: “it was a way to make stuff I could use in my sets, which I build around my productions. I guess my gigs are a bit like artist sets in a way, but it’s just me and my vinyl and CDs on stage. The album was almost a year in the making, and felt like the perfect time to try and put things in a bigger perspective rather than concentrate on two tracks. So I wanted to make a dancefloor album but one that could also be heard as one CD, that could travel through different styles, but you could still connect the dots between the first and last tracks,“ says Linus.

With a remix for Moby under his belt and a tour in the pipeline, Style of Eye is proof that cutting edge house isn’t Sweden’s only hottest export...

Audrey Napoleon is a new arrival to the hallowed halls of dance-music production—she released her first track at the end of 2010—but she’s an established force behind the decks, thanks to her residencies at Los Angeles’ Avalon nightclub and the Music Box. Even if you’ve never set foot in L.A. and you’ve never heard her name, it’s entirely possible you’re already familiar with her music—her track ”
#Mysunrise” serves as the soundtrack to a popular Heineken commercial that’s making the rounds, and Napoleon herself appears in the ad as both the headlining DJ and the love interest. Fresh from her New Years Eve performance with Deadmau5 in NYC, Audrey has just dropped the first video in her series, “Banana Soda es Muy Loca”. Three more videos will be released in this series, “Music is a drug to me… When I perform it’s like I’m transported into the crowd. I act like a maniac on stage.”Energetic talent and grace like hers are rare in any profession. Match it with a keen instinct for electronic music, edgy personal style and a playful personality to arrive at one of today’s most gifted new stars. AUDREY NAPOLEON is simply electric.AUDREY started out exploring progressive dance music then moved through many evolutions, including minimal, to arrive at her buoyant signature sound. She describes it as a dark romance and insists, “Nothing comes before my art and my music.” Her lively stage presence is what sets AUDREY apart when spinning at top clubs around the world –destinations including Canada, The United Kingdom and Italy – which she claims is “one of the most magical places I’ve ever been.” Audrey has now shared stages with an array of massive talent (she has looked up to) – from techno legend Ritchie Hawtin, deadmau5, Wolfgang Gartner, and Nic Fanciulli to Umek, Joris Voorn, Simian Mobile Disco, M.A.N.D.Y. and more. To fully experience AUDREY’s production work, listen to her recent 6 Song EP or singles like, “Bird Lynch,” featuring Penny. “Everybody Has The Right,” is her recent collaboration with D. Ramirez on Toolroom Records. “We had dynamic musical chemistry in the studio, and the song is enormous!” she explains. AUDREY admits to not really paying attention to trends. “Especially in music, I’m in the studio trying to carve out my own way,” she explains. Her latest EP is a testament to this as it gives a nod and new spin to Boston on the track “Closed My Eyes,” alongside the ominous and hypnotic “Just Another Beatles Rip Off.” The track “Banana Soda es Muy Loca” is a playful adventure placed next to the even more mischievous “Foxy Boxy,” “Bitchy Queen” and Latin infused “Carlos Martinez.”

Gina Star is a DJ and producer originally from Dallas, Texas. After moving to LA in 2006 to further her career, she was hailed by the LA Times and E! Entertainment as one of the most talented and sought after DJʼs in the city, and was welcomed into some of LAʼs most exclusive V.I.P. celebrity,endorsed nightclubs playing her own special style of big room uplifting house.

Moving across the pond to the UK in 2009 to further her DJ & production career, Gina propelled herself into the limelight working with Toolroom Records and gaining support on her productions, notably Pete Tong spinning her Cirez D & Sunscreem mashup to the masses on his Radio 1 show.

Gina Star released ʻThis Is Hollywoodʼ which entered the Beatport Top 100 at#10, and #1 on the Progressive House chart. David Guetta featured it on his internationally syndicated F*** Me Iʼm Famous radio show. The track features the instantly recognizable vocal talent of Roland Clark preaching ʻWelcome to Hollywood, whatʼs your dreamʼ.

ʻI Want It Nowʼ debuted at WMC ʻ10, and uses the unmistakable hook from the legendary band Queen – I Want It All…& I Want It Now!!! Given the thumbs up from Queenʼs management via EMI, this project developed into a full release for Toolroom Records, with remixes from Robbie Rivera, Keith & Superbeatz, and Mind Electric.

Tiësto featured the record on his international ʻClub Lifeʼ radio show and podcast, Judge Jules named it his ʻTried and Tested Tune of the Weekʼ on his Radio 1 Show, and Gina was busy doing guest interviews for a long list of shows all over the world that also featured the record. David Guetta, Mark Knight, DONS and Jerome Isma-Ae are just a few of the other DJs who supported ʻI Want It Nowʼ. 2010 also saw the release of the Toolroom Miami compilation for which Gina mixed ʻThe Clubʼ disc, and Toolroomʼs Ibiza 2010 comp for which she mixed the

ʻAfterclub disc. She also did an ad campaign for Gio-Goi Clothing which was circulated throughout Europe. In 2011, Gina spent much of her time touring and in the studio completing a handful of tracks that will see release in 2012. She mixed the Toolroom Miami 2011 comp, and the Toolroom Best of 2011 comp. She recently finished a remix for Tiësto and Mark Knight 'Beautiful World' which is out now, and her remix of Chris Willis “Too Much In Love” went to #4 in the Billboard Club chart; both are currently getting radio spins around the world. She launched a self titled monthly Podcast which counts down her current top 10. Her new track 'Midnight' V Yazoo was in the Miami Buzz chart and is getting early support and plays from Armin van Buuren, Fedde Le Grand, Mark Knight, Grum,

Miss Nine, David Jones and Nicky Romero. 'Bliss' is the first instrumental single to be released in the Summer of 2012, and the remainder of the year will see singles featuring the vocal talents of Chris Willis, Marcella Detroit, Jonathan Mendelsohn, Jussie Smollett, and Laza Morgan.

Gina's had single releases on Toolroom Records and Cr2 Records in UK & Eire, Vicious in Australia and New Zealand, NEWS in Belgium, Holland and Luxembourg, TIME Records in Italy, We Play in Germany, Austria and Switzerland, Family Tree Music in Scandinavia, Just Music in South Africa, Blanco Y Negro in Spain, Warner Bros in Israel, and Atlantic Records for North America.

Eliazar (Charlie) Torres, better known as "Monstergetdown," was born and raised in Boyle Heights, California. In early 2008 he discovered electronic dance music and amazing artists such as Green Velvet, Surkin, deadmau5, Paco Osuna, Stimming, and Tim Green. This unique techno/tech house producer stumbled upon Ableton Live 8 Suite in the spring of 2010 and later that year began to produce a blend of electro/tech house music. Shortly after, Monstergetdown was born.
2011 and '12 were spent putting much time into producing prominent tracks and perfecting his performance skills. He was chosen as one of the winners for the Discovery Project: Nocturnal Wonderland this year, which is one of his biggest accomplishments yet, but he is not stopping there. He recently signed one of his latest tracks, "This Place," to Gualan Records which is going to be released later this year. His live sets are full of big fat ass basslines that have the crowd wanting more. Even with two years of producing, his sound seems only to progress more and more each day. Keep an eye out for this productive tech house producer and his vibrant dj sets. There is no stopping him. MGD

Artist, DJ, conceptualist and ambassador, more than anyone else in modern electronic music, Richie Hawtin has relentlessly proved himself to be a true innovator. The one-man mogul behind acclaimed Techno imprints Plus 8 & Minus sends signals out all over the world from his HQ in an old fire station in Windsor, Ontario – just across the border from Detroit Techno City. The signals are constantly evolving, his Plastikman persona gave Techno a unique face with a series of four ruthlessly minimal albums of skeletal beauty, while breathtaking festival live sets at Glastonbury and Tribal Gathering helped invent stadium Techno. His “Decks, EFX & 909” album released on Novamute in 1999 expanded the concept of a DJ mix album beyond the imagination of most DJs. As a pioneering DJ and party promoter he was banned from entering America for 18 months. Yet this jet-setting international futurist is as at home exhibiting alongside acclaimed modern sculptor Anish Kapoor as he is headlining a bush rave with Josh Wink somewhere in Western Australia.

More of a decade into his career, it’s no surprise that the every-youthful Hawtin is up to something new. This time, he’s reconstructing the DJ mix album even further with “DE9: Closer To The Edit”, the groundbreaking new album set for release on the novamute label in September 2001.

His first mix album, for the Mixmag Live series, saw him use extra effects and drum machines as long ago as 1993, “Decks, EFX & 909” cut laser-style between tracks and now, “DE9: Closer To The Edit”, sees Hawtin use his sampler to tear the skin and the flesh from the tracks until there’s just a skeleton left, which he reassembles into a kind of Frankenstein’s robot. The result is a mix album like you’ve never heard before

Hawtin describes this unique process “I recorded, sampled, cut and spliced over 100 tracks down into their most basic components. I ended up with over 300 loops, ranging in different lengths. I started to recreate and reinterpret each track and then put the pieces back together, as if an audio jigsaw puzzle – using effects and edits as the glue between each piece”.

A classic like Carl Craig’s ‘4 My Peepz’ (under his Paperclip People guise) breathes in and out in less than a minute, like a lonely spirit lost on the hard drive.

“I don’t like mix CDs, everyone’s being lazy, so I gotta do something different,” says Hawtin. “Some people think it’s about me using some extra equipment – a drum machine and some effects - but it’s a whole philosophy really. ‘Let’s take it to the extreme, to somewhere that’s it never been before’ “

Hawtin believes the whole DJ thing is stuck in a groove. So beyond “DE9…” he is championing a new DJ system developed in Holland called Final Scratch, with Plus 8 partner John Acquaviva. Dance and Electronic music is the most technology-based genre of all, but to Hawtin’s frustration it’s still rooted in a music delivery system developed in the 19th Century: the gramophone record. Even though more and more DJs play tracks burnt onto CD, vinyl still rules because it’s easier and instinctive to control. Final Scratch links up to the normal two-turntables-and-mixer set up, but lets you play tracks stored on a laptop using a special piece of vinyl as a ‘mouse’, or controller. You can access literally thousands of tracks, and scratch, cut, slow and mix them just like normal records using this special piece of vinyl. It’s nothing short of revolutionary. As Hawtin enthuses: “It feels and acts like a regular record.” He’s already using Final Scratch to play unreleased tracks by Josh Wink and Speedy J, and special re-edits of some of Hawtin’s classics and personal faves.

Born in Banbury, Oxfordshire, England, on June 4th 1970 Hawtin emigrated with his family when he was nine to Windsor, Ontario, where his dad Mick still works as a robot technician in the General Motors car factory (his mother, Brenda, is in real estate). Richie cheekily borrowed his dad’s persona for his house alias Robotman. His brother Matthew, who shares the Windsor fire station studio complex with Richie, is a visual artist. By 15 Richie was creeping out of the house to cross the border and go clubbing in Detroit. By 17 he was DJing at The Shelter, a dark basement club where he mixed House and Techno with Industrial music by Nitzer Ebb and Front 242. He had his own show on Detroit’s 96.3FM – inspired by a late ‘80s Detroit radio DJ called The Wizard, now better known as Jeff Mills.

As a teenager Hawtin, already into Breakdancing and Electro, was stirred by the radically beautiful machine music being fashioned by Detroit Techno pioneers like Juan Atkins, Derrick May and Kevin Saunderson. In 1989 he set up Plus 8 Records with John Acquaviva to release their own tracks and push new artists. They started running parties in Detroit. But far from welcoming them, the tight-knit Detroit Techno scene initially turned a cold shoulder on the two renegade Canadians.

“It pissed a lot of people off because there wasn’t anyone else in the city doing it – it took someone from the outside to come in and say, ‘Look, wake up,’” Richie recalls. “These guys [May, Atkins and Saunderson] have left. They’re doing their thing overseas.”

Plus 8 began to gather momentum with a richly varied catalogue of hard-nosed, cutting edge Techno from artists like Speedy J, Dan Bell and Kenny Larkin. Along with the resurgence of Detroit’s confrontational Underground Resistance, this marked the second wave of Detroit Techno. “We all put the focus back on Detroit for a while, we didn’t want to make traditional Techno, we were inspired by traditional Techno. Derick, Kevin and Juan had sent these waves all over the world and we were the first to feel the rebounds of their ripples”. 

By 1993 Richie Hawtin’s Detroit parties had become legendary intense affairs as freaky dancing clubbers lost themselves in strange, dark warehouses transformed into disorientating warrens by walls of black plastic sheeting. Inspired by this, Hawtin elected to take Techno one stage further and develop his virtual Plastikman alter ego: a red and black gremlin that is tattooed on his forearm. He didn’t want a collection of tracks; he wanted to make an album that swallowed up the concentrated energy of those parties and spit it back out as something new. An album, “Sheet One” was recorded in a rollercoaster 48 hour studio session and released on novamute in early ‘93 and was soon followed by the brilliant ‘Spastik’, a single recorded three weeks later after a long night dancing to Derrick May.

Hawtin was already shifting identities like a spy changing roles: his 1992 album “Dimension Intrusion”, under his Fuse alias, had played a key part in the Warp label’s groundbreaking “Artificial Intelligence” armchair-Techno series, but he wanted to reach further. He remembered the strange shapes that his friends threw at those warehouse parties, the different creatures they almost became. “Like plasticine,” he says. “That was the whole idea of Plastikman, it was all very viscous and pliable and moveable.” Plastikman wasn’t just a clever alter ego – it was a role for you to try on too. The sound was rubbery and sparse; its moments of melodic steel arriving unnervingly. The first album, “Sheet One”, played up Hawtin’s reputation for LSD and was promoted with a free sheet of fake acid tabs.

Hawtin developed a Plastikman live show that still tours the world. Huge audiences at Glastonbury and Tribal Gathering twitched to its twittering insect rhythms, lost in a soundtrack far freakier than anything else those events had to offer. In 1994 the second album on novamute, “Musik”, let a little human warmth seep onto the clattering Plastikman rhythms, but despite its closing robot lullaby ‘Lasttrak’, it was, if anything, even more discomforting.

Just as the little Plastikman gremlin was becoming an international phenomenon, American immigration officials banned Hawtin from entering America for working illegally. He was barred from entering the States for 18 months. It was a devastating experience.

“My girlfriend lived there and most of my experiences were in Detroit, my friends were there and all of my musical inspiration was there – and suddenly it was like, ‘See that building over there? You can see your inspiration, but you can’t go there.’” Now, typically, he believes the ban had its benefits. It was at this point the Chemicals Brothers and Underworld began to break out of the dance world and into a wider Rock arena. Hawtin now wonders whether he might have gone further down the stadium Techno route. Instead, grounded in Windsor, he went back to the studio to reinvent. “When that happened it was the worst day of my life,” he says now, “and it was one of the best things too.”

The next Plastikman project, ‘Klinik’, wouldn’t come together. “I had tried to follow those records up but there were feelings of pressure at that point,” he says now. Stuck in the studio, depressed, Hawtin set himself a new challenge and gave it a deadline. He pressurised himself back into action, releasing a series of ‘Concept’ EPs based on the months of the year. Each release would feature two tracks recorded in one month only using a set template of sounds. They would be released and then forgotten. The discipline of producing 24 tracks in 12 months rewired the creative circuits. “It progressed me to a different audience, it progressed me with effects which came into my sets and it progressed me into more of this spatial environment I was trying to get to,” says Hawtin.

It was the starting point for his last Plastikman album “Consumed”, which replaced the angry black and red gremlin with dark, abstract sleeve art and the tense rhythms with swathes of bass and melody. Released on novamute in 1998, it was acclaimed in countries like France – where conceptual artists are traditionally celebrated. “Consumed” elevated Hawtin to a new status, he was now not just an international Techno star, but a contemporary artist. Asked to contribute to a French Millennium Exhibition celebrating different ideas of beauty, Hawtin created a musical installation based around the clicks, hisses and pops of vinyl – a beautiful sound, he argued, to his generation. The exhibition also featured the work of world famous sculptor, Anish Kapoor, who Hawtin had long been a fan. In fact “Consumed”’s unique textures had been inspired by Kapoor’s beguiling, futuristic, curved shapes and the cover art echoed the sculptor’s famous obelisk. “I was walking around those sculptures and putting my head into some of them. They had like a sonic quality like chambers of nothingness – and that’s exactly what I was trying to hear. Suddenly I was able to walk around a physical version of what I wanted to do musically.” Hawtin was also moved by the mournful purple washes of the late Mark Rothko, which now hang in London’s Tate Modern. Rothko’s work, says Hawtin, “is very, very subtle, just washes of texture. It kind of gave me a visual perspective of what I was trying to get out of my head, sonically. On a flat surface.”

This is where Hawtin is at now. Constantly touring all over the world and keeping fans updated on his world wide DJ travels via his website diaries; taking his dad out to dinner with John Peel (a big deal for his Peel–fan father especially now his son is a huge favourite of the radio DJ); pushing himself to his creative boundaries and taking Techno with him. Not just to the middle of the dancefloor, but also above it.

“The good Techno musicians enjoy having a good time, but can see beyond it,” Hawtin notes. “It’s the closest to a contemporary art form.” With Jeff Mills providing an installation to the recent Sonar event in Barcelona, Germany’s Thomas Brinkmann moving from conceptual art into conceptual Techno, and increasing connections between the two worlds.

As Techno and art move closer together Hawtin sees it as a logical part of his constant reinvention. “It’s about setting a standard for yourself and progressing yourself. Showing people you can do something interesting that’s more than just dance music.”

Ali Shirazinia, known by his stage name Dubfire, left the comforts of a storied career as one-half of Grammy-winning duo Deep Dish in order to pursue new life as a producer of "jet-black, polished chrome techno." Such daring reinvention is not for the faint of heart - yet Dubfire in just three short years has emerged as a technological innovator, an acclaimed producer, and the owner of the lauded SCI+TEC Digital Audio record label.

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, Menina Brasiliera, and Seeing Through Shadows, and these productions are meticulously planned by Dice. 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 early this year will be 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. A football player, he’s inspired by those who build strong teams of creative people around them. 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.

Art Department is the brainchild of Canadian techno/house Legend Kenny Glasgow and Canada’s fastest rising star and No.19 label owner - Jonny White. As individuals both Kenny and Jonny have released countless critically acclaimed records and are regarded internationally as two of the most forward thinking, relevant underground producers out of North America. Kenny’s credentials date back to the late 80’s and include productions on Narcotic, Jinxx, his own Method 11/11 label and Turbo. Whilst White’s revered No.19 Music label along side a blindingly fast - growing discography have seen him rapidly rise to the forefront of the international scene.

The pair, despite being close friends and stalwarts in the Toronto electronic music scene for years, had not joined forces in the studio until only as recently as 2009, when Damian Lazarus called on them to remix Riz MC for his prestigious Crosstown Rebels Label. The result was an entirely new sound that drew cues from the best of both artists. It was a futuristic and raw, synth-driven, underground masterpiece, the start of a new idea and the birth of Art Department…

Before long the two were working full time in the studio to expand upon what they had created but now with a new focus… the concept for Art Department was to create a live dj/vocal performance based on the new sound they were beginning to produce and would feature Kenny Glasgow’s unique and sublime vocals that had been heard only 10+ years earlier on records like “Pressing On”. It wasn’t long before Damian heard what the pair had been working on and immediately offered them a deal with Crosstown Rebels that would include several singles, remixes and a full length album due out at the beginning of 2011.

The momentum continued and Art Department performed their first ever live show at the Crosstown Rebels Get Lost event at the 2010 WMC in front of a jam packed room, along side an A list cast of 17 artists from the label. DJ’s, promoters and party animals regarded the performance as one of the most ground-breaking & important shows at this years WMC…Simple label boss - Will Saul was quoted saying “the live show was the best thing we’ve heard since we heard Mathew Johnson for the first time…”. The follow up performance came the very next night at Jamie Jones & Lee Foss’ Hot Natured party where Art Department treated the enthusiastic crowd to a mind-bending dj set and secured their spot as residents for the much lauded Hot Natured brand.

With Endorsements from  the likes of  Clive Henry, Damian & the rest of the rebel crew along with an exciting release schedule including collaborations with Seth Troxler, Jamie Jones and Soul Clap there is no doubt that this will be yet another inspired chapter in the story of these Canadian talents.

Minus are proud to present the newest member of the family, in the form of Matador. In the past four years Gavin Lynch’s sounds have found a home on Perc Trax and Cocoon, plus most recently on Plus 8 , where Richie Hawtin recently introduced the young Dubliner ahead of his first Minus event (at Berlin’s Watergate, joining the Minus team for the official Fly Bermuda after party), with his stellar remix of Bryan Zentz’s D-Clash. After that introductory taste, Matador now takes the bull by the horns for his first full EP for Minus, exploring the twisted but organic techno sound he’s best known for.

It should come as no surprise when you listen to the body of work that Joel Boychuk has created under his Hobo guise, that each individual output sounds so different. Hobos are wanderers - migrant work-seekers, constantly on the move. You can tell that he is aware of this fact every time he steps into his studio, because speaking musically, for him the same path is never trodden twice. When asked why he never seems to repeat himself, he will answer without hesitation: “You stay still, you’re more likely to be left behind.” It sounds so simple but it makes so much sense. He freely admits that there will be people who come along and stick around by playing it safe, finding something that works, and riding it as long as possible. For him, however, that is not an option. Boychuk speaks of idleness and stagnation as though they’re the worst plague imaginable. And it’s valid logic. Everything is in a state of change, why not embrace it? And embrace it, the twenty-four year old producer has. With simple beginnings in between Canada and Detroit, the young star has risen from total obscurity, to performances at some of the world’s hottest clubs, along side it’s hottest DJs. Fabric in London, Amnesia in Ibiza, Tenax in Florence, and Europe’s biggest festivals are among the stops that this Hobo has made in his never ending commute. And there looks to be no end in sight. Boychuk is always hard at work on his next idea, and yet somehow he makes time to gain extra credits wherever possible, most recently as ‘Assistant Executive Audio Producer” for the acclaimed Plastikman Live tour in store for 2010. When asked how he manages, he reveals his first noticeable consistency, in saying: “Just never stop moving.” It’s a mantra he wears proudly, and that pays off everyday. After having his 2009 hit, ‘Symptom’ charted as one of Depeche Mode co-founder Martin Gore’s favourite tracks, to having Hugo Boss select his ‘funk jam’ (as Boychuk calls it) ‘Howard Watson’s Jam’ as one of their monthly favourites, to touring along side Richie Hawtin at the biggest events and clubs in Europe, this Hobo is most certainly earning his keep. Boychuk has made it very clear that he doesn’t ever plan on sitting still; so wherever you go, keep your eyes peeled. There’s a good chance he’ll be passing by any day.

COOK is a bass-driven 22 year old from Denver, CO. His actions often cause trouble and create havoc, affecting those around him. His goal is to get the biggest possible reaction out of everybody, day in and day out. Cook's sets are filled with wild unpredictable switches and double drops as he uses 3 decks to hit you with bass from every direction. He fits within the characterization of a Byronic hero. He is an impulsive 22 year old as is translated into his productions and DJ sets. He loves to have a good time and is constantly the life and soul of any party. With only a couple of years under his belt, who knows what is in store for the future...

Gydyr is a digital leader who, with his trademark vibrational life-altering basslines, seeks to navigate through the chaos faced in this modern world. In a reality of spiritual unfulfillment and electronic chaos, we are all looking for a place of inspiration and connection. Gydyr has a vision in which through music we can bridge the gap between the seeds of our natural path and the growth of our electronic future. His all original and self-produced sound combines the pulsating chuggyness of classic house music with the deep reverberating resonance that dubstep is worshiped for.
 
There have been many strong roots that aided the musical growth of Gydyr. He has been playing drums since the age of six, started producing his own music in 2003, and has been rocking the decks since 2005. Until this year Gydyr was VITAMINDEVO, famous for dropping his acid tech house sounds of sunrise up and down the West Coast and NY areas, all while wearing an LED mask. He was also half of duo 3L3TRONIC, known for their wild Burning Man shows and their mainstage performance at Lovevolution 2009.
 
Gydyr seeks a balanced existence. He strives to learn from the past, look towards the future, but always worship the present moment, the only true time where music and connections can exist. With an authentic sound, a new vision, and an all-original artist album on the way (featuring collaborations with Nicole Torres and Bianca Dino), there’s a new digital spirit guide on the scene.

21 year old from Los Angeles, has been producing for 4 years, and DJing for 2 years. He plays with his own style, while also catering to the needs of the audience he is in front of. T-WRECKS has held multiple weekly residencies in Hollywood, and has also released music under Rhino Records. He hosts his own weekly podcast Basslines and Good Times including guest DJs each week, local and from around the globe.

From having his productions get played out in clubs around the world to having his music get featured on some of the world's most recognized tech house/techno radioshows, Alex Sibley is quickly becoming a recognizable name in the global tech house/techno scene.

Hailing from Santa Ana in California, Blur the Technicolor (aka Blur) started to produce and DJ in the summer of 2007. His influences have ranged across the entire spectrum of dance music. His music has been featured locally (Sept. 2008 issue of OC Weekly) and internationally (June 2010 issue of Future Music Magazine UK). Blur has come a long way into finding out his true calling. His humble beginnings in fidget, breaks, electro-house were great times but his love of deep-house and techno is what defines his DJ sets and original productions today. Armed with a selection of deep, groovy, hard hitting tunes, Blur is now ready to unleash his brand of deep-house and techno upon the masses.

Hayden Capuozzo, aka Kayzo, and his unique blend of expressive melodies embodied through crafty mid range synth work is a true testament to his relentless non-stop work in the studio. His cleverness of composing records with elements of an array of "genres" is a direct influence of his love of many different artists. These artists range from the likes of Alvin Risk, Savant, and Gemini to others such as Wolfgang Gartner, Tommy Trash, and Gregori Klosman. Styles of both original production and remixes ranging from dubstep, electro house, glitch hop, and trapstyle help keep Kayzo's fans satisfied in many different directions stylistically. Living day by day under the words "do what you love, love what you do", the energy and frequencies Kayzo puts into his music will help him grow as an artist and spread his message to those all over for years to come.

Coming from Santa Barbara, California, Felicity, as a musician and producer was born out of the progression of expression. In late 2011, he began producing his own original music with aspirations to someday share his sounds with the world. Less than a year later, he has just finished his first independent album that crosses the boundaries from deep house to dubstep. Simply put, Felicity is set to release material that is both familiar and original to a wide variety of music fans, while also performing energetic DJ sets that emotionally capture his audience, from start to finish.

At age 4, hammering out his first notes on the piano in sunny Ormond Beach, Florida, Adam Share was introduced to the world of music and hit the ground running. Fast forward to today and you’ll see at age 23 he hasn’t slowed down. From Miami to LA, music festivals to nightclubs, Share always brings energy and originality to each set.

Be sure to subscribe to the “Sharecast," the monthly podcast Share packs full of fresh new tracks, and stay on the lookout for Share in a city near you.