Juguemos con los djs ...!!

[topa]

El juego consiste en (con la letra que termino el nombre del dj anterior) poner el nombre de un dj a eleccion y info sobre el mismo por ejemplo si yo empiezo con por ejemplo Martin Garcia (pongo la info + una fotito en lo posible) y el que escribe debajo mio pone un dj que su nombre (o algun pseudonimo) comienze con A , ejemplo Armin Van Buuren (si me gustara el trance ^^) y info + foto (en lo posible) sobre AVB .


Arranco yo con : Adam Beyer

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+INFO :Alongside Stockholms Cari Lekebusch, Joel Mull and Jesper Dahlback, Adam Beyer has become synonymous with the techno sound of Sweden, which has quite literally shaken the world since the mid-nineties. From the driving percussive force of his Drumcode label to the more open electronic miasma on his current Truesoul and Mad Eye imprints, Beyer remains one of the biggest and most influential producer/DJs on the planet. Ever keen to continually evolve and develop, his three studio albums Decoded (Planet Rhythm, 1996), Protection (Drumcode, 1999) and Ignition Key (Truesoul, 2002) aptly show the Swedes studio development from raw diamond to the polished article. Hes come a long way from sneaking underage into Stockholms blossoming acid house scene but would also be the first to admit that hes still got just as long and interesting journey ahead of him. From listening to hard rock and Kiss at the tender age of 5, Adam Beyer was always fascinated by music and the black shiny discs he would struggle to save up and buy as a youngster in Stockholm. Whilst getting into hip hop and rap, Beyers young ears were suddenly opened to the new sounds emanating from Italy and the UK in 1987/88 via the "rakt over disk" radio show which played a mish-mash of the blossoming house music scene. I decided that it was the coolest thing on earth, he fondly remembers and listened to it every week. He (the presenter) was manipulating a lot of the records, singing over them - he was in a big fancy studio with all this equipment. It was then that I decided I was going to be a DJ. At the time Beyer was playing drums in one of those youth places where kids hang out. It had a disco in one room with decks, studios, drums and a pool table. However for the young Beyer, buying his own decks and affording all the new dance vinyl he so craved was still a pipedream. Then tragedy struck. At the tender age of 13 his father passed away. A monumental turning point in anyones life and especially for someone still very much in their formative years. With the bit of money he received from his fathers estate he became even more determined to pursue his goal and managed to buy some decks and some records. I think a lot of the drive was that my father was quite well educated, recalls Beyer, and I dont think he would have allowed me to be so sloppy in school and spend so much time behind decks practicing. It was a changing moment in my life for sure. As if to cement this changing moment, later that same year he also went to his first rave. Beyer began frequenting the local specialist dance music store Vinyl Mania which stocked a lot of old italo-disco from the likes of Scotch and Lazerdance. When you are 12 you dont just go for the credible Detroit records, you go for anything thats danceable, recalls Beyer. By the age of 15 he was DJing at school parties and any student gig he could get hold of. When the time came to leave school, Beyers classmates procured work experience in restaurants and offices. Not so the still determined young DJ. At the time there was a DJ school in Sweden and Beyer got some work experience there for two weeks. His contacts at the school helped to get him more gigs and put him in touch with older people who could help him. Beyers school friends had also set him on the path to produce by sparking an interest in the small amount of studio equipment they could afford between them. I met Joel Mull and Peter Benisch in school when I was 16 or 17 and I taught Joel how to DJ, says Beyer. He introduced me to Peter who had a sampler and we started to fool around with that a bit. I didnt have a clue what to do. We started to learn the basics with one thing and then we bought an Atari, then saved some money and bought a Juno 106, a 303 and so on. By 1993 they were confident enough to send demos out and some landed at Drive In in New York which was then run by Adam X and Jimmy Crash. Eight months later Adam Beyers childhood dream was realized. His first record came out. With more records coming out the three friends started to get booked for bigger raves whilst interest abroad remained in the Scandinavian environs of Finland, Norway and Denmark. Then everything just snowballed. In 94 we released a lot of records but I still didnt use my name as it was all still a bit of a compromise. There was a lot of really fast tempo stuff and some hard trance but I was already buying a lot of techno from UR, Jeff Mills to R&S and Harthouse. Nothing was really crystalised. Then Beyer had what one could term a techno epiphany when he finished school in 1995. He went on holiday and came up with the idea of making a record based solely around drums. Thus it was that year that Drumcode 1 was released on Glen Wilsons Planet Rhythm imprint, the same name of the record store that Beyer had managed to find his first work in after leaving the safety net of school and where he was to also meet fellow DJ/producer Cari Lekebusch. After releasing Drumcode 2 and an album for Planet Rhythm in 1995 Decoded, Beyer finally went on to form his own label, Drumcode in 1996. At first Beyers distributors advised him to be cautious and to press up 1,000 copies as he might loose money. The first release on Drumcode however set the pace for the rest of the labels releases by becoming a bit of a hit but I stopped it at 3,000 copies because I was still in this underground mode, recalls Beyer. Cari had his studio and there was a good vibe in Stockholm. There was a big club which held 2,000 people where we played a lot and it made the scene pretty big in Sweden. A lot of people started getting into the sound. By now Beyer, Lekebusch and fellow local artists like Joel Mull were selling as Beyer succinctly puts it shit loads. It took a few years before we realized how big things had got. The first time that we heard about a Swedish techno sound was around 97. From 1995 - 98 the Stockholm triumvirate put out a deluge of records that became underground club hits on labels such as Rotation and Reload as well as their own homegrown imprints. At the same time they started to get more European club bookings and gigs at big festivals where Beyer was soon finding himself as the headline act and soon spinning his pioneering sound across three decks all over the world. From 1997 - 99, Beyer ran a sister label to partner the phenomenal success of Drumcode called Code Red which was stopped at 10 releases. At the time I thought there was a difference between the labels but now looking back on it I think maybe not as much, admits Beyer. Still, ever looking to develop as an artist Beyer released the more expressive Protection album on Drumcode in 1999 which although maintained some of his more customary driving techno tracks as exemplified on his debut album and 12 releases, also displayed more accomplished listening pieces of electronic music which were indicative of where Beyer was heading. During this period Beyer took some much needed studio time out to re-think where he musically wanted to go. When I closed Code Red in 2000 it got a bit flooded with a lot of records sounding the same. Prime (his then distributors) were shipping out loads of titles every week and I felt that there was no need to do similar labels like Code Red and Drumcode anymore. I also wanted to bring the tempo down a bit. Thus when he had the vision and concept, Truesoul was established in 2002. Beyer set the style for the label with his most accomplished work to date, his third studio album Ignition Key in 2002. Displaying subtle tones, shimmering chords and the kind of sonic intuition that heralded a bold change for Beyer as an artist it wasnt long before the world again was clawing to catch up. The original plan was to put out more albums but the market wasnt right for it, states Beyer. The plan now is that it can still be anything within electronic music. Its a completely open forum for whatever good stuff I find but definitely more on a 12 inch angle at the moment. I want to explore electronic music and make a good platform for everything that is not hard and nasty. It can be anything from clubbier stuff, to strings to minimal and fucked up stuff. As long as it doesnt go near Drum Code! With so many new producers coming up through the ranks in his home country, Truesoul has already seen releases from the likes of Joel Mull, Cirez D (aka Eric Prydz), Cari Lekebusch, Henrik B and even Stockholms Ozgur Can who hails from a more progressive background. With such a melting pot of electronic styles, Beyer has also set up a new imprint for a more stripped down and minimal sound. Mad Eye is only for me. Its kind of an anagram of my name. Its more where I am right now. A bit stripped down, not as obvious and as fast as Drumcode and slightly more experimental. The label heralds a new subtle, more production focused slant and Beyer is quick to point out the catalyst for his new musical direction. A lot of the change came from going to Ibiza. A lot of things have happened there over the last three or four years and I have been exposed to another environment with longer parties and long after hours. I was a raver when I was young so its nothing new for me to be out partying but doing it in this kind of way has changed me. Indeed the record slated to be the fifth release for Mad Eye was snapped up for Plus 8 after various MP3 files were sent to Richie Hawtin to play out in his DJ sets. Yet Beyer is also quick to rebute his change as copyist. Im not interested in being another Richie Hawtin, he states matter-of-factly. Its not really my thing to try and copy other people and Ive never been good at it either. Im taking influences from what I think is interesting and new and doing something that is me and my way of looking at it. This change has also filtered into his DJ sets. Known globally for his more punishing, looped up techno mastery, Beyer has also infused his more stripped down productions into the flow of his deck manipulation. If I get to play exactly what I want then I would peak my sets with this music because I dont play a lot of the old stuff anymore. Indeed, Beyers new style can be witnessed on his current mix CD for Fabric (May, 2005) which features tracks from the likes of Dominik Eulberg, 2 Dollar Egg and Alex Under - all themselves rising stars within the minimal techno fraternity. However, Drumcode does still exist but Beyer wants the label to also go through some changes. It will essentially still have the original feel and tempo but with a fresh sound. For me now it is not so important to release a lot of records, states Beyer. Its more about releasing records that matter and records that have a longer lasting life. I want to look back and say wow, I did that. I want to feel that I represented something and I think that things like that become more important with age. What shape or form that takes is hard to tell. The future couldnt be in safer hands.

[Federico]

rowan blades:http://www.muzikanova.pl/obrazy/picdogalerii/Pieksa_RowanBlades.jpg

Acerca de Rowan Blades
Not actually sure which bit is more tedious – reading DJ biographies or the punishing task of writing them (often with a gun nuzzled to your brow, lest you get big ideas and say what you really think). Typically, these screeds of verbiage are characterised by a great tangle of sycophantic waffle and the kind of desperate self-promotion traditionally reserved for hookers, politicians and other soldiers of ill repute.

But Rowan Blades – who this particular screed is about – is not like the others. He doesn’t subscribe to the idea that DJs are avatars, the cult of the superstar DJ utterly repulses him.
Having been half-blinded by the avarice of fame and notoriety during those glory days as one half of Breeder, Rowan experienced the fickle, all-consuming nature that had come to epitomise dance music in the late 90s. When Breeder split in 2001 (or rather, when Breeder was put on ice – Rowan isn’t altogether ruling out a comeback), Rowan took time out to reflect.

This is the bit in the movies where a montage (complete with epic power ballad) would capture Rowan in a Rocky-style struggle to overcome his demons and find spiritual awakening – no doubt involving crack dens and brass houses, that sort of thing.


Of course, that is the slightly embroidered Hollywood version of events. What really happened was an unremarkable but ultimately life-changing DJ gig in Prague, where according to local legend, Rowan discovered that the more time and effort you put into DJing, the more rewarding it would become. Or rather, don’t be one of those ‘big name’ DJs who trade exclusively on their own manufactured hype with little or no regard for artistic endeavour.
This is the mantra by which Rowan Blades now abides – the preparation for a gig, he says, is just as important as the gig itself. This means hours trawling websites looking for obscure tracks that other DJs might have overlooked or simply didn’t have the inclination or patience to find in the first place. It is an exhaustive method, but one that proves his relentless passion for the job.

In 2005 Rowan resolved he was tired of the UK and the associated bullshit one must countenance in order to succeed there – not to mention the inexorable monopoly those ‘big name’ DJs have earned by way of media subterfuge. Thus he packed his record box and jumped on the next available flight to Australia.
Here Rowan based himself in Sydney and soon bagged a residency with Chinese Laundry Club. Given the scant volume of gigs Down Under and the relative solitude imposed by expatriate life, Rowan was able to quietly contemplate his DJing career and what he wanted out of life (cue Lotus position and Zen-like humming). He realised that he was happy with just a handful of select gigs a month rather than being whored out ad nauseam by some big faceless agency every night of the week. Yet despite this welcome repose, Rowan feared the lack of work in Australia would leave him ostracised – a forgotten talent, left (in his own plaintive words) to grow a long grey beard and sit cross-legged in the sand. So he moved on.

The life of any international DJ is nomadic by default – an itinerant whirl of hotels, airports and expensive restaurants. Yet now with the rise of the so-called digital revolution, the geographical hovel an ‘international DJ’ calls home is of little relevance beyond convenience – as long as there is a decent international airport nearby, the world is their mollusc.
Ergo Rowan has swapped Sydney for Buenos Aires; the capital of the South American club scene and a perfect base camp from which Rowan can explore the region he admires most – both culturally and in terms of playing records. He says it’s because of the Latin party spirit, the enthusiasm and above all, the infectious vibe – something he can reciprocate in spades. You see, Rowan is a raver at heart. He’s not motivated by the carrot of vast riches or material gain, he just loves what he does. It might be a cliché and a little bit New Age, but for Rowan (an unassuming borderline tofu head) the ultimate reward is seeing other people happy – and not in the smug and conceited ‘I made them happy’ sense, but because: “happy people send out positive energy, which is very contagious”. Told you – tofu head.


Another reason for Tofu Rowan eloping to South America is his residency with Warung. Raised high on wooden stilts – one side overlooking the beach, the other side overlooking the jungle – Warung is an empyrean paradise tucked away in the idyllic folds of Praia Brava, a desolate stretch of beach near the resort of Itajai in the south of Brazil.
It is a magical place, most notably in the first pious refractions of dawn. For when the sun rises over the Atlantic Ocean, it does so in perfect alignment with the dancefloor. It is the kind of club dreams are made of – and a club where the world’s top DJs are quite literally begging to play. Which speaks high volumes of the confidence Gustavo Conti and the team at Warung have in Rowan to make him their first non-Brazilian resident and international ambassador for the club. Indeed. It’s a tough gig Bucko, but somebody has to do it.

And there we go. Not quite so tedious an exercise after all. Rowan Blades – a pretty damn good DJ by all accounts, even for a tofu head. (Terms and conditions apply. Batteries included.)

[topa]

ON : STEVE LAWLER

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STEVE LAWLER is a definitive DJ and producer, renowned as one of the world’s premier and most respected talents. His rise to the top has been the result of pure talent and dedication to playing and producing the finest quality house music first. It's been a steady rise from the infamous 'motorway raves' of the early ‘90s, to his legendary residency’s We Love and VIVA at Space in Ibiza, Viva Harlem Nights at The End in London, and his Lights Out and VIVA tours of North America. Lawler continues to build an ever-growing band of avid followers who pack out any venue that bills his name. He is one of the most powerful touring brands in electronic music – period.

Steve Lawler was once hailed the pioneer of twisted house, but his sound has evolved through the years although the main elements still remain, meandering through deep, dark, sexy house tracks. Still evolving, and as always still innovating, Lawler will be at the forefront of global dance music for many years to come

[Lulix]

[QUOTE=topab2b]amiguitos , el juego esta , si me lo tiene que borrar un admin no hay problema pero por favor no rompan las pelotas :)

ON : STEVE LAWLER

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STEVE LAWLER
VAMO TOPA YO APOYO EL JUEGUITO
Y COMO TERMINASTE EN R EL MIO ES:http://img207.imageshack.us/img207/7971/richieyp8.png
Nacido en Banbury (Oxfordshire, Inglaterra) en 1970, Richard Hawtin emigró con su familia a los 9 años a Ontario donde su padre trabajaba como técnico en robótica. Desde los 15 años asistía regularmente a los clubes de la vecina Detroit. Y a los 17 ya era DJ de The Shelter, un oscuro club de Detroit donde se mezclaba techno y música industrial. Al poco se pasó a la radio donde hacía un programa inspirado en el otrora locutor de radio detroitiano, The Wizard, es decir Jeff Mills. Aunque por aquel entonces le gustaba el 'breakdancing' y el electro, en seguida se vio seducido por los padres del techno de Detroit, Juan Atkins, Derrick May y Kevin Saunderson a los que intentaba imitar junto a su amigo John Acquaviva a través de la creación de su propio sello Plus 8 Records. Plus 8 empezó a ganar en consideración con un catálogo de hard techno en el que figuraban nombres como Speedy J, Dan Bell o Kenny Larkin. Y que junto al resurgimiento de Underground Resistance supuso el comienzo de la segunda época de Detroit. En 1993, las fiestas que Richie Hawtin organizaba en Detroit se habían convertido en auténticos acontecimientos en los que los clubbers bailaban extrañamente en oscuros almacenes con las paredes decoradas con plásticos. De aquí sacaría Richie su alias de Plastikman, con el que intentó captar el espíritu de las fiestas en el álbum Sheet One publicado en Novamute en el 93, y al que le seguiría el brillante Spastik, un hit que traspasaría el tiempo y que fue grabado dos semanas después de asistir a una sesión del mítico Derrick May.

Desde entonces Plastikman es el artista conceptual, y Richie Hawtin el DJ y embajador de la música electrónica actual. Aunque no debemos dejar de lado su careta F.U.S.E. con la que grabó algún Warp primerizo. Cualquiera que sea su faceta, Hawtin ha demostrado sobradamente ser un auténtico innovador. Desde su alias Plastikman y a través de sus sellos Plus 8 y Minus ha contribuido a darle al techno algunos de los trabajos más hermosos y minimales de todas las épocas. Además Hawtin ha sido un auténtico embajador, junto a su compañero de Plus 8, John Acquaviva, de las nuevas tecnologías aplicadas a la música con su apuesta por el nuevo equipo Final Scratch, un sistema de DJing completamente revolucionario que permite al DJ pinchar con vinilo y sobre dos platos tradicionales temas almacenados de forma digital en un ordenador. Con lo que se consigue que, sin perder el feeling y la inmediatez sensorial del vinilo, se pueda tener acceso instantáneo a miles de temas que el DJ introduce previamente el ordenador (normalmente un portátil).

Justo cuando el fenómeno Hawtin se iba internacionalizando, las autoridades norteamericanas le prohibieron la entrada en USA durante 18 meses, por estar trabajando ilegalmente. Como consecuencia de esto, hubo una evolución en su música diferente a la que se hubiera producido de haber podido continuar sus incursiones en Detroit. Empezó a grabar la serie Concept de la que publicó un EP cada mes durante un año, y que le permitió explorar nuevos caminos sonoros. Aquello fue el comienzo de su álbum Consumed (Novamute 1998), en el que incluía más bajos y melodías, inspirados en las esculturas de Arnish Kapoor y en las pinturas de Mark Rothko. Consumed le elevó internacionalmente a la categoría de artista, gracias a su instalación musical creada junto al escultor Anish Kapoor (del que ya hemos comentado que Richie es un gran fan), para la French Millennium Exhibition.

Después de más de una década de carrera no sorprendió a nadie su reconstrucción del concepto de mix álbum con el DE9: Closer to the edit publicado en Novamute a finales del 2001. Ya, en su primer álbum, publicado en las Mixmag Live series, hizo uso de efectos especiales y cajas de ritmos, al igual que hiciera para el Decks, EFX & 909 de 1993. Pero en DE9 Richie avanzó un paso más en la reconstrucción de más de 100 temas armado con un sampler con el que capta la esencia de cada corte para luego recomponerlo todo mediante efectos de edición de una forma en la que se percibe la esencia de los temas que utiliza a pesar de que apenas se puede reconocer ninguno en su forma original.

Cinco años más tarde volvería a recuperar su alias de plástico para facturar Closer nuevamente en Novamute. Según la sección Sonorama de esta misma web: "Closer es una banda sonora intimista, claustrofóbica, silenciosa, pausada que desemboca en una vuelta a los ritmos tribales ancestrales para luego ceder el testigo a elementos sonoros puramente electrónicos". En 2004 volverá al Sónar de noche acompañado de su amigo Ricardo Villalobos con el que compartió una especie de live que causó mucha expectación y revuelo. En 2005 volvió para cerrar el Sónar en la pista al aire libre dedicada al sello Minus. Por cierto, que 2005 le devuelve al ruedo editorial con un nuevo experimento, DE9:Transitions, la tercera parte de su personal serie de mixes en las que el canadiense ensambla una cantidad ingente de loops originarios de otros productores -como el madrileño Alex Under que cuela varios trozos de Tercer collage-. La serie se inició con las entregas Decks, EFX & 909 y DE9: Closer to the Edit en las que el canadiense se mueve como pez en el agua manipulando y confundiendo la técnica del Dj y sus mezclas, con la del arte del bootleg. Hawtin utiliza la tecnología más puntera - Abelton Live y DigiDesign ProTools- para servir hasta 95 minutos de minimal cristalino. Minus se convierte poco a poco en la punta de lanza del nuevo sonido minimal enfocado a la pista que domina el mundo tal y como se puede comprobar en el documental producido por la publicación Slices: Pioneers of Electronic Music - Vol. 1, A Documentary Film About Richie Hawtin.

[Federico]

nick warren :D

Biografía

Nick Warren es un dj y productor inglés de música house. Él es mejor conocido por sus siete álbumes lanzados en la serie “Global Underground” y como miembro de Way Out West. Es también el líder de A&R para el sello musical Hope Recordings.

En 1988, Nick Warren comenzó a tocar en Bristol, principalmente reggae y música indie hasta que la música house se volvió popular en el Reino Unido. A principios de los ‘90, Warren se había convertido en uno de los más populares dj’s de Bristol, presentándose de forma regular en el superclub Vision y tocando para Massive Attack.

Mientras trabajaba en una tienda musical en 1994, Nick Warren conoció al productor Jody Wisternoff y los dos decidieron trabajar juntos. Su primer colaboración fue el track “Paradise Is The Sound”, el cual lanzaron bajo el nombre artístico Sub-Version. Warren describe a Wisternoff como el más técnico de los dos, mientras que Warren afirma que él “trae la mayor parte de los sonidos en sus proyectos” y una comprensión de lo que la música necesita para ser exitosa en los clubes nocturnos. Sus próximos dos lanzamientos fueron distribuidos bajo el nombre Echo, con Way Out West siendo el nombre de su futuro proyecto de remixes. El dúo pronto adoptó el nombre de su acto y firmó un contrato con Deconstruction Records.

A mediados de los ‘90, Nick Warren comenzó a residir en el club Cream de Liverpool. En 1997, a Warren se le dio la oportunidad de mezclar el tercer lanzamiento de la todavía joven serie Global Underground. El álbum, “Global Underground 003: Prague”, es un set en vivo de Warren en Praga. Esto comenzó una relación con Global Underground que llevó a Warren a crear seis álbumes de adicionales de remixes para la serie, incluyendo a “Global Underground 008: Brazil”, “Global Underground 011: Budapest”, “Global Underground 018: Amsterdam”, “Global Underground 024: Reykjavik”, “Global Underground 028: Shanghai” y “Global Underground 030: Paris”. Warren indicó que él se sentía bien trabajando con Global Underground debido a una esencial confianza entre él y el sello.

En diciembre de 2000, Way Out West fue abandonado por Deconstruction, después de la compra por BMG del sello, ya que éste sentía que el álbum de Way Out West no era lo suficientemente comercial. Way Out West firmó luego un contrato por tres álbumes con Distinct’ive Records, rechazando ofertas de otros sellos como Bedrock. Su primer álbum con Distinct’ive fue “Intensify”, el que presentaba los singles “The Fall”, “Intensify”, y “Mindcircus”. “The Fall” usaba la letra de la canción de Cole Porter “Autumn Leaves” y “Mindcircus” presentaba coros escritos por Imogen Heap. Para el próximo álbum de Way Out West, “Don’t Look Now (2004)”, Warren y Wisternoff trajeron en voces a Omi y en tambores a Damon Reece. A comienzos de 2007, Way Out West comenzó a trabajar en su nuevo material.

http://www.plong.com/MusicCatalog%5CN%5CNick%20Warren%20-%20Global%20Underground%20011.%20Budapest%5CNick%2 0Warren%20-%20Global%20Underground%20011.%20Budapest.jpg

[markos!!!]

nick sentience

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Nick Sentience es sin lugar a dudas uno de los djs más talentosos del momento, y sus innovadoras producciones lo hacen un referente indiscutido en la escena del hard dance.

Con sólo 26 años -lleva 10 de carrera- ha logrado una gran difusión de su música y su técnica gracias a un estilo único. Ha producido más de 150 tracks, incluyendo grandes himnos del trance, los que editó en reconocidos sellos como Ministry of Sound, Positiva, Incentive, EMI, Tidy Trax, Riot y Nukleuz. La gran mayoría de sus producciones ha sonado en los sets de djs como Pete Tong, Judge Jules, Mauro Picotto, Fergie, Dave Pearce o Lisa Lashes, y en radios como la BBC Radio 1, la de Ministry of Sound, Kiss FM, Galaxy FM y Vibe FM.

Sus tours por el mundo lo han depositado en cabinas de Japón, Brasil, Argentina, Australia, Canadá, Estados Unidos y Europa, tocando en los clubes y festivales más renombrados como Home (Sydney), Liquid Rooms (Tokio), Godskitchen/Polysexual, Creamfields, Gatecrasher, Slinky, y Space, Es Paradis y Eden en Ibiza.

off:yo tmb te banco topa..abrazo man!!:yes:

[KiEdIS]

Todo para entretener a Topa

Eddie Halliwell

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("Dale fiera copate, que ya consegui un par de gatos!!")

Eddie Halliwell is an English dance music DJ, from Wigan, Greater Manchester, England. Eddie has held residencies at Goodgreef and Gatecrasher, was named DJ of the year by mixmag in 2003 and reached number 17 in both the 2005 and 2006 DJ Mag Top 100 poll, and 16th in the 2007 poll. As well as making a name for himself on the UK and international club circuit, Eddie is also a resident DJ for BBC Radio 1.

Having been brought up in the north west of England, it is where Eddie made his name at clubs such as Gatecrasher and Goodgreef. Now he is a headliner at both clubs and also makes regular appearances at Slinky, Inside Out, Cream, Godskitchen, The Gallery and Lush to name but a few. Eddie has also performed at Homelands, Escape into the Park, Tidy Events including Magna and the Weekenders, and Gatecrasher Summer Sound System where he headlined the second arena.

2004 also saw a considerable rise in demand for Eddie internationally with two tours of East Asia, a tour of Australia with Godskitchen and numerous visits to the USA, Canada, Russia, Dubai and Egypt. In Ibiza he enjoyed his third season as resident at Judgement Sundays (again the busiest night on the White Isle) and in August completed his third live Radio 1 Essential Mix alongside Paul Oakenfold at Cream @ Amnesia. This was an experience Eddie particularly relished as it marked his first 'official duties' as a new Radio 1 Resident, having won this coveted position following his previous Essential Mixes (May and August 2003) with a series of outstanding guest mixes on Judge Jules & Pete Tong’s regular Weekend shows.

Eddie later appeared on BBC Radio 1 as one of six hosts of new late-night dance show The Residency, which was designed to showcase the best in British dance music talent. In 2006 Eddie was given his own weekly show on Thursday nights/Friday mornings midnight - 2am. Eddie is leaving Radio 1 in October 2008 and is being replaced by Kissy Sell Out.

To achieve this Eddie has spent nearly a decade honing his skills on the decks. Having caught the DJ-ing bug at 15 when he bought his first set of decks, he was too young for clubs so channelled his creative energies into a Music Technology course where he learnt some of his now renowned hip hop scratches. His ability to adapt these to fit over other genres of music has earned him not only respect amongst fellow DJ’s but also admiration from stunned crowds. Eddie’s technical ability is such that when is in front of the mixer he utilises it as a means to create energy and new sounds with rapid cut ups and warped effects.

Is introduced by fellow Radio 1 DJ Colin Murray as 'Geri Halliwell' .

[andex]

Lee Pasch

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Although best known for his tough energetic hard trance, Lee's first break came via Shock records back in 2001. By that time Lee (a classically trained pianist) had caught the dance music bug off Hardcore and D'n'B before finding favour with hard house classics of the time such as Trauma's 'Higher' and Ingo's 'Ready For Dis'. Consequently his first productions were in the same vein with 'Rock the Beat' and 'Energize' announcing his arrival on the scene. His present sound first took shape in 2002 however, around the same time as the harder floors up and down the country took on a more euphoric edge. Lee demo'd his first hard trance track, 'Emotion' to ten labels, arousing the interest of both Nukleuz and Honeypot before Tidy came in, signing it alongside 'Calling For You'. The success of the double A track led to a raft of remixes for the label, a body of work starting with Paul Maddox's hard trancer 'Reach Out' and including Barely Legal's massive 'We Are The Future' and 'Goosebumps'.
In these tracks its easy to see the three elements he thinks of as his production cornerstones, namely energy, melody and fun. Notable for his catchy hooks and epic floor filling vocals as much as his soaring synthlines they are the kind of tunes you hear in the middle of the night but can always remember, bookmarking you in a certain part of the party. Another quality that embosses Lee's tunes above the rest is the invention. Always keeping on the right side of his production ethos, he chops and changes the arrangement, time stretches to destruction, even re-sampling a production to get every last FX possibility out of the mix. This, coupled with the previously mentioned use of vocals, hooks and soaring synths means you have an epic chunky sound that never threatens a dull moment. Even to the cynic it is quality club music; to the clubber wanting music to put that smile on their face its a sound that stands out in tech dominated times.

[belu]

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HERNÁN CATTÁNEO

Hernán Cattáneo nació en Caballito Buenos Aires Argentina, desde muy joven sintió interés en bandas como Simply Red, Level 42, Depeche Mode y New Order. Acostumbraba a estar enterado de todo lo nuevo en música a través de las escasas fuentes a las que tenía acceso, entre ellas la revista Billboard. En 1987 conoció material de Frankie Knuckles por medio de un amigo que asistió a Vynilmania, muestra de música house, en Nueva York. Frankie Knuckles según Cattáneo ha marcado gran influencia en su carrera como DJ. Hernán siente respeto y admiración por artistas y grupos como Frankie Knuckles, Inner City y Derrick May por lo que el describe como: la manera en que combinaban la energía de la música electrónica europea con el soul de la música norteamericana. Esto de alguna manera ha decidido el rumbo artístico de Cattáneo y lo ha posicionado entre los DJs más respetados del mundo.

Alrededor de 1994 Cattáneo ya era Disc jockey residente en Clubland en Buenos Aires, su talento empezó a ser rápidamente reconocido y su nombre comenzó a relacionarse con algunas de las figuras más emblemáticas de la música dance, como Sasha, John Digweed, Danny Tenaglia y Paul Oakenfold. Justamente con Oakenfold mantiene una sólida relación basada en una mutua admiración.

Fue gracias a su amistad con Oakenfold que en los años 98 y 99, viajó a los Estados Unidos y se presentó en los más prestigiosos y atractivos festivales, como el Burning Man, en Nevada y el Red Rocks Amphitheatre, en Denver. Inmediatamente después obtuvo residencias en el club Cream, tanto en Liverpool como en Ibiza, así inician sus giras por todo del mundo. Ya no sólo continuaba presentándose en los mejores clubs y prestigiosos festivales del mundo, sino que también, por esa época, editó un remix de Morgan Page para Bedrock.

El año 2004 fue uno de los más intensos en la carrera del DJ: realizó una gira mundial para promocionar su Renaissance mix álbum, se presentó en los mejores clubs europeos y realizó cinco tours por los Estados Unidos y tres por Asia; también intervino activamente en diferentes medios, colaborando en revistas de música de alcance internacional, firmando entrevistas y artículos en las revistas norteamericanas URB Magazine y BPM Magazine como crítico invitado y convirtiéndose en columnista especial mensual de la edición latinoamericana de Rolling Stone. A fines del 2004, Hernán ocupaba el puesto nº 6 en el ranking de la Dj Magazine.

En el 2005 Hernán inició otra gira, en la que tocó en un promedio de 4 ciudades por semana. Se incluyeron presentaciones en los Estados Unidos junto a The Chemical Brothers y New Order, y en Coachella, donde compartió cartel con artistas como Coldplay, Nine Inch Nails, Prodigy y Kasabian.

Con su segundo volumen de Master Series lanzado en el año 2006 y en el puesto nº 7 de los mejores DJs de la DJ Mag, Hernán continuó sumando logros a su exitosa carrera, en mayo de 2006 lanzó, también a través del sello Renaissance, la primera edición de su propia serie de CDs, titulada Sequential, que le valió excelentes críticas en los más importantes medios internacionales: 5 estrellas y álbum elegido como “Leading Player” según Dj Mag, revista que lo destaca como uno de los íconos más importantes de la escena dance, M8/M8 en la revista M8 de UK; 4/5 “el mejor compilado de Hernán Cattáneo hasta la fecha”, según Dj Mag de UK, entre otras.

Él continúa en el 2007 con su propio programa de radio a través de Metrodance FM, en su quinto año consecutivo con muy alta audiencia global. Además acaba de salir a la venta su última copilación en CDs titulada Sequential vol.2 para el sello Renaissance, Disco que fue presentado oficialmente en la última edición del festival Southfest en el cual se vio una multitud de personas que coreaban su nombre y hasta personas con banderas gigantes con su rostro impreso que soportaron la intensa lluvia de esa noche para estar presentes en su set.

Hernán Cattáneo es considerado según The Dj Mag el dj 14º y el 12º del mundo según TheDjlist en el año 2007. Es el DJ hispanoamericano más reconocido y mejor posicionado en el mundo.


------------------------------------------------------------------

(el primero q se me vino a la cabeza... ahi tenes topa)

EDIT: me olvide la foto! jeje

[G3R]

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OXIA

Olivier Raymond, born 1971 in Grenoble (France), got into “black music” (disco & funk) in his early teens. During the collage years Olivier befriended Stephane Deschezeaux, another young man passionate about this music. They made their debut on a local radio station broadcasting a radio show dedicated to Funk. Olivier, only 15 years old, started mixing. Olivier’s mixes were influenced by a large spectrum of music styles: electro-funk (Afrika Bambaata…), italo-disco, new-wave (Depeche Mode, New Order… ) and the early Chicago and New-York house scene.

1991 Olivier & Stéphane bought their first bits of equipment and started to compose music.
1993, Olivier became resident dj in Grenoble. Only a year later the live act ‘Oxia’ (Olivier & Stéphane) was born.

1995, Olivier and Stéphane meet Michel Amato (The Hacker), Alex Reynaud and Kiko in Grenoble, the electronic city in France. Together with Kiko, Olivier creates Ozone records on which Oxia released their first EP which was influenced by American techno. Also on this label Olivier co-produced the first releases of Jack de Marseille and made a couple more EP’s with Stephane before splitting up though as good friends. Oxia became Olivier his solo project while Stéphane is now one part of Human Body.
1998 Oxia created a new label with The Hacker (Michel Amato) and Alexandre Reynaud. They baptized it ‘Goodlife’ in homage to the mythical Inner City track.

Both personality and sound evolved, giving birth to a series of EP’s & remixes on Goodlife but also on other prestigious labels (such as Intec, Monoïd, Terminal M, Missile, Scandium, …) leading to a busy worldwide dj-diary.
A page still unfolding, in 2004 Oxia released his debut solo album ‘24 HEURES’ on Goodlife. His first full album floats between groovy melodic techno & electro. Oxia got more and more into an eclectic trip mixing electro influenced house & techno, minimal, atmospheric ‘techno’…

In 2006 Oxia release on Kompakt Extra/Speicher, with the track ’Domino’, one of the most track played from the year.
He produce also some tracks on Tsuba Records with Eric Borgo, on Confused Records and Notorious Elektro with Gino’s & Snake...
And in december 2007 He blows a fresh wind into the Goodlife stamp with his latest 12inch "Lost Memory".

[markos!!!]

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HISTORIA:
Nacido en Leiden, en los Paises Bajos en 1976, Armin comenzo a ser a tener un gran interes en en la musica desde muy pequeño. cundo cumplio catorce años comenzo a producir gracias a su primer sampler comprado por el mismo y al sintetizador de su padre.para entonces Armin era un audio-escucha de artistas de renombre como Ben Liebrand o Jean-Michel Jarre, Armin envio uno de sus demos a Ben Liebrand consiguiendo no solo el aprecio y admiracion de este si no la posibilidad de poder mezclar y producir en conjunto.
Con el pasar del tiempo comenzo a trabajar como DJ en la discoteca Nexus ubicada en su misma ciudad natal. ya para el 95 comenzo a estudiar derecho, consiguio un nuevo estudio (ya que antes su "estudio" se encontraba en su propio dormitorio) donde nacieron temas como: Touch Me y Comunication, mas tarde desde su concecuente frase: "uno no debe de convertirse en prisionero de su propio estilo."
Apartir del mismo año en adelante Armin ha lanzado numerosas produciones bajo distintos
sellos como "Cyber Records", AM:PM Record donde bajo el primer sello lanzo su primer gran
exito: "Blue Fear"(siendo muy popular en inglaterra)junto con el tema "Comunication" y fue
que durante el lanzamiento de ese tema Armin ya contaba con su propio sello llamado "Armind" lanzando hits como "One" y "Touch Me" (comprado por Ministry Of Sound y utilizando
Armin el psudonimo de Rising Star)luego lanzo el tema "Free" y "4 Elements" bajo el sello R&S Records y Captivating Sounds (de Time Warner)con el psudonimo de Gaia, al mismo tiempo Armin se junto junto con Tiesto para terminar lanzando Major League, que como fruto dio a luz la produccion: "Wonder Where You Are?" y Alibi con el que se lanzo el sencillo "Eternity"el primero se unio a Balckhole Records y el segundo al sello de Armin, luego de aquello Armin tambien trabajo con gente como Ferry Corsten donde lanzaron: "Exhale" el cual termino ganando disco de Oro en un solo mes

En [primero de] junio del 2001 se estrenó el programa de radio llamado A State Of Trance (conocido como ASOT) en la emisora holandesa ID&T, que contó con Armin van Buuren como anfitrión. A State Of Trance es un programa de dos horas que se transmite los jueves de cada semana con las principales novedades en música Trance y Progressive. Una de las razones por las cuales el programa contó con tanto éxito, aparte de por su calidad y su rápida difusión en internet via P2P y sitios dedicados a la música Trance, fue el hecho que se publicara el tracklist' de cada programa en el sitio Web oficial de Armin van Buuren.
Sin embargo en 2004 Armin anunció que, debido al cambio de licencia de emisión de ID&T que dejaría la música electrónica para pasar al Pop, se llevaría su programa a otra emisora. Tras un breve paso por ETN.fm, Armin se estableció en la emisora holandesa Fresh FM emitiendo allí su programa en su idioma nativo, mientras que contrató los servicios de TheRadioDepartment para licenciar el programa, en su edición internacional, a nivel mundial, programa que alcanza ya las 25 emisoras en diferentes países. Actualmente además de esas 25 emisoras, A State Of Trance puede ser escuchado en todo el mundo a través del canal de Trance de Digitally Imported Radio, radio por internet). El 25 de mayo de 2006, A State Of Trance celebró su episodio número 250 con una gran fiesta por todo lo alto en la discoteca holandesa [www.asta.nl Asta] en The Hague. Desde allí se emitió el programa en riguroso directo a todo el mundo.
El 17 de mayo de 2007 Armin van Buuren celebró el episodio 300 de su programa de radio A State of Trance en Pettelse Schans's - Hertogenbosch (Holanda). Además, contó con la particpación de conocidos DJ's como Aly & Fila, Marcel Woods, Menno de Jong, Sean Tyas y Markus Schulz.


PREMIOS Y RECONOCIMIENTOS
Es desde el año 2001 que Armin fue incluido por la revista DJ magazine entre los top 100 entrando en el 2001 en el lugar 27 y escalando del quinto al tercer lugar (que ocupo durante tres años)hasta que en 2006 llega a la posicion numero 2 para luego pasar al numero uno del año 2007 Armin quien se a prensentado en mas de 25 paises alrededor del mundo simpre a sido muy bien recibido por el publico y la critica

PRESENTACIONES
Armin se ha presentado en diversos festivales de musica electronica tales como Sensation, Trance Energy, entre otros

ALBUMES
-2003 76
-2005 Shivers
-2005 10 Years

SENCILLOS
-1997 Blue Fear
-1998 Communication
-1999 Communication part.3
-1999 Future Fun-land (usando el seudónimo "Perpetuous Dreamer")
-2000 Touch Me (usando el seudónimo "Rising Star")
-2000 Eternity (usando el seudónimo "Alibi" con Tiësto)
-2000 Wonder Where you are (usando el seudónimo "Major League" con Tiësto)
-2001 4 Elements (usando el seudónimo "Gaia")
-2001 The Sound of Goodbye (usando el seudónimo "Perpetuous Dreamer")
-2001 Exhale (con [System F [Ferry Corsten]])
-2002 Clear Blue Moon/Star Theme (usando el seudónimo "Rising Star")
-2002 Sunspot (usando el seudónimo "Rising Star" vs. Airwave)
-2002 Dust.wav (usando el seudónimo "Perpetuous Dreamer")
-2003 Sunburn
-2003 Yet Another Day
-2004 Burned White Desire (con Justine Suissa)
-2004 Blue Fear 2004
-2004 Intruder (con M.I.K.E.)
-2004 Pound(con M.I.K.E.)
-2005 Shivers
-2005 Serenity (con Jan Vayne)
-2005 Zocalo (con Gabriel & Dresden)
-2005 Simple Things (Justine Suissa)
-2006 Who Is Watching (con Nadia Ali)
-2006 Sail
-2006 Control Freak
-2006 Love You More (con Raccoon)
-2006 Saturday Night (Trance remake of the 1978 Herman Brood classic)
-2007 This World is Watching Me (vs Rank 1 feat. Kush)
-2007 Miserere
-2007 Rush Hour

COMPILACIONES
-1999 Boundaries of Imagination
-2000 001 A State Of Trance
-2001 002 Basic Instinct
-2001 003 In Motion
-2002 004 Transparance
-2003 Universal Religion Chapter One
-2004 A State Of Trance 2004
-2004 Mixmag: Big Room Trance
-2004 Universal Religion 2004: Live from Armada at Ibiza
-2005 A State Of Trance 2005
-2005 A State Of Trance 2005 Yearmix
-2006 A State Of Trance 2006
-2006 A State Of Trance Classics
-2006 A State Of Trance 2006 Yearmix
-2007 A State Of Trance 2007
-2007 Universal Religion Chapter 3 (Live from Armada at Ibiza)
-2007 A State Of Trance 2007 Yearmix

VIDEOS
-2005 Armin Only - The Next Level (DVD)
-2007 Armin Only - Ahoy' (DVD)
-2007 Limited Edition Armin Van Buuren (2 DVD y 3 CD)

[butterfly]

Ariel Gandolfo aka Nicholas Van Orton, aka alias Zero Reality, aka Alias Kozmic aka, The Defender Droids (junto a SB)
Creciendo en Buenos Aires, Argentina, Ariel conecto con la musica a los 16 años, cantando en bandas de hardcore metal.
A los 19 años, comenzó a acudir a raves y clubs y se interesó particularmente en la musica dance. Compró sus primeras máquinas y comenzó a producir bajo el aka de Zero Reality, teniendo muy buena recepción por parte de los djs locales. 10 años después, habiendo tocado ante más de 20.000 personas en su país, y habiendo grabado 3 discos de estudio con su banda "il phantasmo" (smokinghome records 1999, 2001 y 2003 ) coprodujo el segundo álbum de Kozmic3 llamado Hallucigenia (ksk records 2005). Luego decidió trabajar como solista empezando a producir bajo el aka de Nicholas Van Orton. Sus tracks fueron muy aceptados en la escena dance y son tocados por djs internacionales y locales como Hernán Cattaneo, D-nox, Deep Mariano, Gerardo Boscarino, Victoria R, Bs As Deep, entre otros.
Ariel ahora pasa su tiempo produciendo diferentes estilos de música, tocando como dj o vj, y a cargo de su laboratorio de animación y diseño de sonidollamado Smokinghome, donde trabaja como animador 3d freelance y diseñador de sonidos para TV y cine.

[topa]

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NIKI BELUCCI

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Niki Belucci is the symbol of beauty, health, eroticism, desire, freedom, charm, allurement, sexuality and energy.

The beautiful girl, Niki, who has a considerable past in sports, was 15 years old when she had to stop doing gymnastic on the apparatus after a serious injury. At this moment she possess 21 gold, 12 silver, 8 bronze medals and 2 sport cups as a sportswomen of the Ferencvárosi Gymnastic Club.

She has finished in the Secondary School of Catering Trade but she has worked only a few months in her profession. She was shop assistant in an underclothes shop when she was turned to connection with erotic photography and in soon she found herself in porn profession as an actress.
She spent 6 months in this field when she was 19 then in 2003, at the event of the Porno Oscar-price awarding gala she declared that she quits the porno industry as she wishes to make career of her former hobby, DJ-ing. At that time she has already been roaming small clubs with her vinyl plates entertaining people. Niki launched herself into club life in the autumn of 2003. Thanks to her talent and ability she had about 160 performances per year in Hungary and in the neighboring countries and new gates were opened to her in 2006 mainly abroad. After touring the world 2 years, Niki was approached by Unlimited Sounds, home of the D.O.N.S and Jerry Ropero to release her next single and a mix compilation worldwide. So the story continues…

Discography:

2004: 1234 single maxi (with video), Mima Music
2004: 1234 album, Mima Music
2006: Blue dawn single (with video), Vadwirag Production
2008: Get up! (Unlimited Sounds-CLS Music)
2008: first mix compilation of Niki (Unlimited Sounds&CLS Music)

Niki : Get up maxi single

Niki Belucci now just being signed worldwide to one of the most upcoming house and electro labels Kingdom Kome Cuts (label of the month October on www.djtunes.com) she just presents her brand new single being produced by no others than D.O.N.S. & DBN, Mister Jerry Ropero and herself . Vocals by Charles Salter (the voice of Axwell) and the first mix by D.O.N.S. & DBN will ignite another lovel of warp speed for her. Remixes by Antonyo and Dani Karanyi from Hungary and Burnett & Cooper from Germany are the next mixes being ready to rock the dancefloors worldwide. Booked out for months ahead and playing worldwide she is nominated at the French DJ Awards for the best female DJ. What more you need to work on? A hot track and an absolutely gorgeous DJ. Marketing par excellence.

Media Appearances in the end of 2006 - 2007:

French FHM in December of 2006, UK FHM in January of 2007, Singapore FHM in January of 2007, UK Nuts Magazine in December of 2006, Cover girl of UK M8 Magazine in January of 2007, Cover girl of the Hungarian FHM of February, 2007; UK Daly Star in December of 2006, Belgian Maxim Magazine in December of 2006, Hungarian T-online interview in December of 2006, UK Dance music Radio in November of 2006, www.dance-music-radio.co.uk , NIGHT & STYLE, Austral FHM February, Bulgaria FHM February, Metro Magazin Croatia in January 2007, ONLY for Dj’s Magazin France in February 2007, Escomedia. Magazin Italy in March 2007 , Armenian Magazine Russia in August 2007, Malta Juice Magazine in April 2007., Trend Magazine Italy in September 2007 , Moldova All Fun Magazin in April 2007, Italy Gruppo Pocket Magazine in April 2007, Slobodna Dalmacija Croatia in July 2007, South Africa ZOO Weekly in July 2007 , Italy Editioral Mixer in August 2007, Estonia Sulfur Nightlife Magazine in September 2007 , Italy Matrix Magazin in December 2007 , Playboy Greece in December 2007.

[hernanrivero]

Infected Mushroom - Erez Eisen and Amit Duvdevani (aka Duvdev) - has been the leading group within the global psy-trance scene for nearly a decade. Incorporating pumping, bad-ass grooves and infectious melodies and live instruments and vocals into their songs, they've performed live - a feat that many of their DJ peers aspire to accomplish - for well over a million people around the globe.

The band's energetic live show has triumphed at some of the world's biggest and most important music festivals (OMIX Festival in Mexico, Miami's Ultra Festival, Tribe in Sao Paulo, among countless others), and they continue to regularly sell-out top clubs such as the Brixton Academy in London, Toronto's Koolhaus at the Government, and Avalon in New York and Los Angeles. Their success as an electronic music band on the global concert circuit has translated into record sales in excess of 150,000 albums over the course of six acclaimed independent albums. Not bad for two guys from Haifa who started producing music mostly to escape boredom.

"We met in 1996 through a DJ friend," recalls Erez. "Duvdev was in Goa at the time, and I was working on another project with a German guy. We met and tried to do one track together, and we've continued on since then."

A year later, Erez and Duvdev started buying equipment and began to take Infected Mushroom - a name they stole from a disbanded local punk band - seriously. Finding little influence in Israel's music scene, they drew inspiration from bands like Metallica and The Prodigy. Early productions led to club dates and gigs at local parties. Before long, the twosome had developed quite a loyal following. While the headlines were filled with news about violence and bloodshed, Infected Mushroom's music touched the hearts of the burgeoning Israeli trance scene, and clubbers began looking to the band's music for a respite from the tumultuous political situation.

"People were dying and the government saw that dealing with that as more important than abolishing trance parties," says Erez. "And now the government is supporting trance parties. They want people to party, instead of staying home. There are places in the United States that you cannot go to because it is too dangerous because there are crazy people living there. It's the same thing in Israel."

Brandishing a multi-influenced trance sound that hadn't been heard before, Erez and Duvdev were turned down by nearly every record label in Israel when they attempted to get a deal. "Nobody wanted to sign us," recalls Erez. "We went to the biggest and smallest labels in Israel, and nobody was interested. At the time, we really believed in our music and continued looking for people to sign us. Fortunately, there was this A&R guy from BNE named Avi Youssef [and BNE's owner, Avi Brand] who gave us a chance."

In 1998, BNE released Infected Mushroom's debut album, The Gathering. Inspired by the surreal ambient styles of Simon Posford, X-Dream and Transwave, it took a few months for the forward-thinking album to catch on. But once it did, the buzz within the global psy-trance scene became deafening.

The group's second album, Classical Mushroom, was released in 2000. "This album was totally different that the first album," says Duvdev, who, like Erez, is a classically trained musician. "Not only did we expand our style, but the album was big in Europe and Japan. It sounded totally different that the other trance music that was happening at the time."

"The trance scene at the time was really monotonic as opposed to melodic with chords," adds Erez. "We put a lot of classical elements into that album; it sounded different, and that's why it stood out. At the beginning, nobody believed in that one as well."

Infected Mushroom's third album, B.P. Empire, followed in 2001. The combination of their live show and diverse electronic palette eventually won them the support of critics and a new legion of hardcore fans in North and South America. In 2003, Infected Mushroom issued their sprawling double-disc album, Converting Vegetarians. Perhaps one of their most ambitious recordings to date, Converting Vegetarians was a sonic departure away from trance. Leading the listener through trance, freestyle and ambient sounds, the album paved the way for 2004's I'm The Supervisor.

"After we made the chilled-out non-danceable side to Converting Vegetarians, we wanted to make something for the trance fans that was danceable and full-on," says Duvdev of I'm The Supervisor. "This album is trance, except for the last track. There's more singing, and it's the most difficult thing we've done. Using the voice as an instrument is tough to do. We're like every band in that we're trying to search for something new with every album."

Always one step of their audience, Infected Mushroom are constantly pushing themselves. With fame and success in their homeland and in the global electronic music community, Infected Mushroom threw caution to the wind and relocated to Los Angeles in January 2005. The purpose was to take themselves out of their comfort zone in order to take their music to the next level.

"The weather is a lot like Israel's," says Erez, "and we still don't know the city very well. But we're here and we're looking to push ourselves and do the sort of things that we couldn't do in Israel."

As they work in their adopted surroundings and continue to tour the world, Erez and Duvdev have added famed Israeli guitarist Erez Netz and Brazilian percussionist Rogerio Jardim to select live shows. They're also busy finishing material for their seventh album, Vicious Delicious, which contains a myriad of new musical explorations, from Flamenco guitar, to hip hop, to thrash-metal undertones. They have even been commissioned to remix recordings of rock legends, The Doors. But today they are especially proud to be recognized by their fans - Infected Mushroom was named #12 in DJ Magazine's Top 100 DJ list, a 14 place jump from their debut on the list last year.

While they see themselves more as an electronic band rather than a psy-trance outfit these days, their track record of producing everything from trance to downtempo makes them feel that they can realize all of their musical aspirations.

"Being in the studio is like playing a PlayStation game, where you have to pass a level each time," says Duvdev. "That's our goal every time we do a session. The energy that you get at the parties makes you want to go right back into the studio and create new tracks. You need to be in the studio and do the shows; they're both connected to each other. Our mission now is the same as when we started out, and that's to get Infected Mushroom's music out to more people."

[crisprod]

Dj Marky :) :) :)


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Dj Marky (el Tornado de San Pablo) es ese moreno simpático que le puso velocidad y cadencia bossa novesca a piezas de Fatboy Slim, Towa Tei,
Laurent Garnier, Everything But The Girl y Bebel Gilberto entre otros remixes inolvidables y que con su carisma paulista y su energía contagiosa se ganó el puesto #1 al Mejor Dj Internacional en los BBC 1 Xtra Drum & Bass Awards el pasado marzo 2007. Además su track LK Carolina Bela, firmado junto a XRS, es uno de los himnos del d&b de todo los tiempos potenciado por las renombradas fiestas "Marky & Friends" en The End de Londres y nombre con el que lleva adelante la carpa más concurrida del festival Skol Beats de San Pablo, Brasil, donde fue invitado Bad Boy Orange en el 2006.

[GoxD]

Yoji Biomehanika


Yoji Biomehanika que es tambien conocido como como (Yoji Mabuchi, Mutent DJ, Ozaka y Bionico Onza) popular DJ Japones de Trance/ Hard Trance y conocido como el creador del Hard Dance una mescla de Hardtrance, Hardstyle, techno y trance estilo que es caracterizado principalmente por su velocidad y su gran cantidad de energía y por sobre todo sumando se propia performance sobre el escenario, en el cual Yoji se desempeña transformandose en una especie de "Dj-dance" (dj bailarin). Yoji Biomehanika ha participado en eventos de la talla de Sensation, Mysteryland, Dance Valley, Tidy Weekender, Creamfields, Ageha Tokio, entre otros. Gracias a su desempeño a la hora de producir y mesclar, Yoji Biomehanika ha salido destacado en las mas importantes revistas de la escena electronica mundial como "Mix Mag Vip" (Octubre 2004) incluyendo su llegada hasta los "top 100 dj en 2004", asi tambien como en varias menciones en revistas como "id&t release" (en su edicion Dutch Dj top 100) elevandose tambien hasta el lugar #32 en la revision anual de los 100 Dj mas destacados durante 2005 (djmag.com), y alcanzando el lugar #14 en respetadas listas holandesas de DJ (dutchdjaward.nl), así como ganar el título del “mejor DJ” en la escena "Hard" de Reino Unido. Todo esto es una indicación clara del renombre masivo que Yoji Biomehanika ha construido gracias a su exitosa carrerra. Sin contar el exito en el lanzamiento de sus álbumes en CD y DVD, y una gran cantidad de "Merchandising", articulos y accesorios que venden bajo la marca de fabrica, sin olvidarse de un reloj de Biomehanika diseñado por la compañia japonesa SEIKO, todo parte del fenomeno de Yoji.
Las producciones de Yoji lanzadas bajo el sello de HELLHOUSE han sido un exito de popularidad a nivel mundial.
Tambien ha trabajado en remezclas y producciones con artistas como Ferry Corsten, DJ Scot Project, Mauro Picoto, entre otros.

DISCOGRAFIA:

Sencillos

-Real Nightmare
-Go Mad
-Peace Out
-Do The Nasty
-Seduction
-Anastasia
-Crash Boom Bang
-Look @ The Heaven
-Ding A Ling
-A Theme From BanginGlobe
-Hardstyle Disco
-Never End
-Rain
-Samurai
-Monochroma

Albumes

-Technicolor NRG Show
-Tales From The Big Room

Compilaciones mescladas

-The Future of Hard Dance 1 & 2
-Music for the Harder Generation Volume 2
-Goodgrief: Album 3 (CD2 only)
-Pharmacy vol. 4 - Reign of Blood
-With Romeo
-Six Hours
-Acid Spunk

DVDs

-Yoji Biomehanika/Technicolor NRG Showcase
(Avex Trax -Japan)


SITIO WEB OFICIAL

- http://www.yojibiomehanika.com

BIBLIOGRAFIA:

- http://en.wikipedia.org
- http://en.wikipedia.org/wiki/Yoji_Biomehanika
- http://www.yojibiomehanika.net
- http://www.yojibiomehanika.com

[Gesiete]

Ahhhhh.. Esto no podria ir en DJ/Audio?.. asi de paso se promueve esa seccion..

Gracias.. vuelva pronto..

Gesiete.-

[G3R]

Ahhhhh.. Esto no podria ir en DJ/Audio?.. asi de paso se promueve esa seccion..

Gracias.. vuelva pronto..

Gesiete.-
Si.. Pero como es un juego prefiero que quede acá... De paso se promueve algo interesante dentro de todas las boludeces que hay en Comunidad...





Anthony Pappa


http://www.residentadvisor.net/images/profiles/anthonypappa.jpg

Hailing from Melbourne Australia, 26 year old Anthony Pappa is leading the pack of new young DJ's while taking over the world with his hard progressive sound.

Pappa cut his DJing teeth in Melbourne at the tender age of 13 at a friends birthday party then went on to win a DMC mixing competition at 15 which gave him the opportunity to play in clubs all over Australia. After meeting Sasha, John Digweed and Dave Seaman whilst playing on the same bills in Australia, Anthony came to the realisation that the only way to further his career was to move half way around the world to Britain, a big step at only 21, but the gamble has paid off. Anthony had to accept the fact that after playing to crowds of over 8000 people in Australia, when he arrived in Britain he would have to wait and work his way up the ladder and this he has done.

Pappa established himself over here playing wide ranging sets of funky tech- house and non commercial trance which earned him the honour of mixing Renaissance Volume Two and the Best of Platipus albums in 1999. Alongside his DJing, Anthony has been producing in the studio under various guises, scoring a top twenty hit by layering the vocal from Power Circles, A Little Love A Little Life, over his remix of Offshore by Chicane and seeing chart action once again as one half of Freefall (with Alan Bremner of Brothers In Rhythm) with the track Skydive on Stress records, more recently picked up by Renaissance for a re-release.

Recently Anthony has been working with Barry Gilbey of Sheffield based Choo Choo Records after a chance meeting when Anthony's usual studio partner was unavailable to finish a remix of "I Trance You" by Gypsy. Anthony's relationship with Choo Choo has gone from strength to strength and he has mixed their first compilation album, Choo Choo Volume One, which is due for release in September 2000.

A firm believer in letting his music and mixing speak for itself, Anthony during a recent DJ magazine interview commented "When the needle drops the bullshit stops. That's it, end of story, period" and it is a banner that Anthony will continue to carry forward and believe in during his now inevitable rise to the very top.

Anthony's talent and potential are now well bounded exponents on the dance music scene, so much so that Andy Horsfield and James Todd from Boxed/Global Underground recognised his unique talent and kicked off their brand new "Nu - Breed" series by asking Anthony to mix the flagship release in the series.

Taking full advantage of the summer season, Anthony has recently travelled to Israel, the USA, Ibiza, Hungary and Scandinavia receiving rapturous responses and ovations wherever he travels, next stop Mars. But has being based in Britain changed Anthony? Well he's discovered his long lost five-a-side skills, still hates the warm beer, can't stand the motorways but loves the clubs and after all that's what is important, but lets not talk about the weather.

[CarlosLaporta]

Adultnapper

http://www.mpiii.com/images/artists/a/adultnapper.jpg

'Adultnapper' is a shadowy figure drawn from the dark reaches of Francis Harris' imagination. Born in Las Vegas, raised on punk rock, and schooled in philosophy, Harris went from ³hating dance music,² to establishing himself as a DJ/Producer with a unique sound and a global audience. His often introspective productions, which have appeared on Audiomatique, Nummer, Mule, Dirt Crew and Superfreq, defy convention; relying instead on a sophisticated, song-based approach, marked by elaborate swung micro-rhythms, thick musical baselines, complex arrangements and haunting tonal melodies.

As a DJ, primarily mixing records, Harris employs precision skills and thoughtful programming to expand upon Adultnapper¹s sonic terriitory, earning him turns on the world¹s most discerning dancefloors; DC10/Ibiza, The End/London, Cielo/NY, Weekend/Berlin, Pawn Shop/Miami, and Avalon/LA are just a few that he¹s taken on one of his trademark emotion-laden rides. In 2007, Harris launched Ransom Note, a concept label which, through music, text and imagery, will tell the story of the Adultnapper character, an anti-hero who is part creative genius gone awry, part tortured dystopic philospher, part paranoid vigilante outlawŠ and part Harris himself.

[topa]

RADICAL MAJIK

http://a203.ac-images.myspacecdn.com/images01/49/l_d43c6477058984a247d52856b505c122.jpg

Radical Maji[K] were partially formed from reconstituted Rave mince left over from the Ist Great Global Acid House War. Despite debilitating shell-shock injuries & House War Syndrome, they continue to struggle against most things to get right @ it & sculpt bowel-shatteringly funky head-spinners, hewn from bare circuits and disco sweat.

The Boardroom is a live collective producing and performing willful and sophisticated electro-techno for grownups. Sets comprise decks, DJs, keyboards, vocals and all manner of odd equipment; a dark musical journey for your mind that your feet just won't stop moving to. Current support from Roman Flugel, Weatherall, Sven Vath, Ivan Smagghe, Tiefschwarz etc.

The Boardroom has been busier than ever. After 2007's 4 12"s released as part of The 'Boardroom presents' series on Klang Elektronik, an album and 4 more 12"s are to follow on Klang this year. Further Boardroom releases have appeared on such labels as: Sven Vaths 'Cocoon' (Radical Majik), 'Hyper Colour' (Victorville), 'The Rotters Golf Club' (Two Lone Swordsmen remixes & Andrew Weatherall album), 'Harmless Records' (Watch The Ride Mix CD) and 'Mantra Vibes' (Ivan Smagghe's latest Mix CD).

Boardroom executives have produced/remixed for Alter Ego (Klang), Johannes Heil (Klang), Bret Johnston (Left Room), Battant (Kill The Dj), Black Lips (Vice), The Little Ones (Heavenly), Xerox Teens (Mute Irregulars), Siouxsie Sioux (Universal), The Two Lone Swordsmen (R.G.C.), and 2Raumwohnung (Virgin, Germany).

If you want to get taste of their live experience, here is a free download link to a live gig from Copenhagen, in two parts.

DESCARGATE LA PARTE 1 (http://rapidshare.com/files/111110335/Boardroom_Live_in_Copenhagen_part_1.mp3) :)


DESCARGATE LA PARTE 2 (http://rapidshare.com/files/111115601/Boardroom_Live_in_Copenhagen_part_2.mp3) :)

[GoxD]

Kyau & Albert



Kyau & Albert es el nombre artístico de dos productores de música trance y DJs de Alemania llamados Ralph Kyau y Steven Moebius Albert. Ellos eran previamente conocidos como Kyau vs. Albert pero cambiaron su nombre a Kyau & Albert en el 2006.

Ralph Kyau tuvo sus primeras experiencias con la producción de música electrónica en 1990 y se hizo de reputación como DJ así como por sus presentaciones en vivo en varios raves en Alemania, antes de lanzar su primera grabación, "Modulation Experiments", al final de 1993.

Junto con DJ Shandy, fundó el sello discogrpafico Harmony Recordings 1993 y firmaron a Mirco de Govia como su primer acto. Al mismo tiempo, Steven Moebius Albert comenzaba a producir sus propias pistas y en el verano de 1994, Ralph y Steven se conocieron por primera vez.

Produjeron sus primeras canciones juntos para una presentación en vivo y al darse cuenta que concepciones comunes acerca de la música, decidieron producir en conjunto. El resultado de esto fue su primer sencillo, "Let me in", lanzado en 1996. Desde ese punto, fueron conocidos como Kyau vs Albert. Los estudios de ambos productores fueron unidos y fundaron la discográfica "Euphonic" en 1997, firmando a Sonorous (Rough Mullar) así como a Ronski Speed. Con el apoyo de productores exitosos, Kyau & Albert comenzaron a crecer en popularidad.

En el 2000, Kyau vs Albert fueron reconocidos por la WEA (parte de Warner Music) y fueron firmados en un contrato a largo plazo, con el apoyo de DJs tales como Paul van Dyk, KayCee, DJ Tiësto y muchos otros.

Producciones [editar]

* 1993 Kyau - Modulation Experiments [Xplode Records]
* 1994 Kyau - Overflyer [Harmony Records]
* 1994 Kyau - House Will.. [Harmony Records]
* 1996 Kyau vs Albert - Let Me In [Harmony Records]
* 1997 Kyau vs Albert - Rocket [Happy Vibes Records]
* 1998 Kyau vs Albert - Lovemassacre [Euphonic]
* 1999 Moebius AG - Do What I Want [Rouge Pulp]
* 1999 Kyau vs Albert - Great [Euphonic]
* 2000 Kyau vs Albert - LFO [Euphonic]
* 2000 Kyau vs Albert - Euphonic [Euphonic]
* 2001 Kyau vs Albert - Outside [WEA]
* 2001 Moebius AG - Come on Girl [ZYX Germany]
* 2002 Kyau vs Albert - Save Me [WEA]
* 2003 Kyau vs Albert - Velvet Morning [Euphonic]
* 2004 Kyau vs Albert - Made Of Sun [Euphonic]
* 2004 Kyau Vs Albert Feat Julie - Not with You [Euphonic]
* 2006 Kyau Vs. Albert - Kiksu [Euphonic]
* 2006 Kyau Vs Albert - Walk Down [Euphonic]
* 2007 Kyau & Albert - Always a Fool [Euphonic]
* 2007 Kyau & Albert - Megashira [Euphonic]
* 2007 Kyau & Albert - 7 Skies [Euphonic]

Remixes [editar]

* 1994 Mirco de Govia - Sumatra Rain (Kyau Mix) [Harmony]
* 1997 DJ Happy Vibes - Wake Up (Kyau vs Albert Mix) [Happy Vibes]
* 1997 Underground Children (Kyau vs Albert Mix) [Euphonic]
* 1998 Spacewalker - Baywatch (Kyau vs Albert Mix) [Euphonic]
* 1998 Elastique V - Cara Mia ((Kyau vs Albert Fat Cat Mix) [Hanstone]
* 2000 Sonorous - Glass Garden (Kyau vs Albert Mix) [Euphonic]
* 2000 Taiko - Echo Drop (Moebius AG Mix 1) [Eastwest]
* 2000 Taiko - Echo Drop (Moebius AG Mix 2) [Eastwest]
* 2001 Delicate - Close Your Eyes (Kyau vs Albert Positive Mix) [WEA]
* 2001 Elektrostar - Tides of Memories (Kyau vs Albert Hard Dub) [WEA]
* 2001 Flesh & Bones - Rigor Mortis (Kyau vs Albert Mix) [Polydor Zeitgeist]
* 2001 KayCee - I feel You (Kyau vs Albert Mix) [Polydor Zeitgeist]
* 2001 Kosheen - Catch (Kyau vs Albert Mix) [BMG Moksha]
* 2001 Mirco de Govia - Epic Monolith (Kyau vs Albert Mix) [Euphonic]
* 2002 Apoptygma Berzerk - Suffer in Silence (Kyau vs Albert Mix) [WEA]
* 2002 David Forbes - Questions (Must be Asked) (Kyau vs Albert Mix) [Vandit]
* 2002 Mirco de Govia - Thing's That Matter (Kyau vs Albert Mix) [Euphonic]
* 2002 Solid Sessions - Janeiro (Kyau vs Albert Mix) [Eastwest]
* 2006 Oceanlab - Sirens of the sea (Kyau & Albert vocal mix)
* 2006 Schiller mit Jette von Roth - Der Tag...Du Bist erwacht (Kyau vs. Albert remix) [Island (Universal)]

Enlaces externos [editar]

[GER V.C]

TIMO GARCIA
:::: BIOGRAPHY :::::

The final waves of Timo’s set lapping against the effortlessly cool crowd at Leeds’ Mission mark another chapter in his ascension from unknown anybody to underground somebody. He’s just finished recording DJ Mag’s December cover mount CD, mixing funk infested b-lines, progressive, filtered synth lines and wigged-out, stripped back percussion with a nonchalant disregard for any restrictive pigeonholes.

Leeds is like a cosy second home for Timo, having forged ahead in the annals of dance culture there for three years at erudite music boxes like The Warehouse, The Music Factory and The Faversham at the enviable age of 21. Then championing a proto French house sound, the vocoded a cappelas and filtered sonics lacing his sets were nods to a previous sojourn as resident in Paris, where he spun with 4/4 peers like Thomas Banglater and Eric Rug. Keeping on his toes and absorbing innumerate influences on the way, he then split to London in ’05 and to the head of the table at his own imprint: Berwick Street Records.

It is this restlessness, married with a fulfilled appearance diary which is on a par with that of the rudest globe-trotting narco’ (encompassing Brazil, Denmark, Russia, Latvia and, obviously, Ibiza, as it does) that inherently sketch the blueprint for his sets and the make up of his musical DNA. House music to get sun burnt to; gritty little numbers that resonate in the deepest, darkest minimal discos, and metronomic beats manufactured unashamedly for the dancefloor are all musical tools used by Timo to construct bespoke sets tailored to the buggin’ crowds of wherever he be at.

When at work in the studio the scope of his electronic output is no more limited: Decidedly minimalistic and deliciously simple bass is punctuated with weirded-out samples when working on ‘Zombies Revenge.’ Glitches and guitars pepper the tech-house of his collaboration with Ricky Stone .. the Universe’ and the analogue pressings and bouncy beats of recent release ‘Uncle Fly,’ all highlight the point that Timo’s output is a dynamic one. Every set is a transient snapshot of the best electronica has to offer; some carefully picked works by other artists, and some from his, and Berwick Street’s own, audio arsenals.

What better endorsement is there than having records signed by voguish labels like Toolroom, Cr2, OM Records and Ninja Tune? Well, how about big-ups from the likes of Steve Lawler, Claude von Stroke, Tom Middleton, Louis Vega and Layo and Bushwacka? Or having one effort tagged by Radio 1’s dance Dons as an Essential Tune? You get the picture. Timo is one of the boys: welcomed with open arms by our culture’s elite and now a regular at haunts like London’s mighty Ministry of Sound.

It’s no surprise he’s such a regular spinner around the streets of our fair capital, Timo literally lives and breathes the place. Home is where the studio is: Brick Lane, E1. Nestled snugly in the bosom of uber-cool dance district Shoreditch, this locality allows him to selectively absorb all the best bits of Brit culture and intuitively filter out the many passing fads in favour of the cooler zephers which bring with them musical merit and longevity in equal measure.

Spinning New Order and Happy Mondays tunes in the downbeat pub of a London ‘burb as a meandering 16 year old seems a long time ago: but it was those fun, amateur parties that spurred Timo on to eventually go pro’ in ’02. And, whether in the throws of one of his colourful sets, or in the folds of one of his vital productions, you’ll sure be thankful for that. Welcome along.
http://www.derangedanddemented.com/images/photos/gallery/468191.jpg

[GoxD]

Aldo Haydar


Como deejay, productor y conductor de radio y televisión Aldo Haydar tiene uno de los perfiles más altos del dance nacional. Posee un estilo muy particular y personal, influenciado principalmente por el house y progressive house europeo provocadores de atmósferas inigualables en las mejores pistas, razón por la cual es uno de los deejays argentinos más destacados y con un estilo propio y único para un público que
semanalmente se da cita para idolatrarlo, no solo en cualquier parte del país sino en Sudamérica y Europa.

Amante de los viajes a Londres, cuna artística del sonido que Aldo propone, año tras año, el carismático deejay se hace tiempo en su abultada agenda para cruzar el Atlántico, y a partir de este 2006 comenzar su residencia en las Fiestas DTPM en Fabric, Londres; las cuales logra tambien introducirlas en Argentina, iniciando un exitoso ciclo en Pacha Buenos Aires.

Actualmente Aldo se encuentra desarrollando diferentes productos para el mercado Argentino entre los que
se destaca su programa de radio de 3 Horas todos los sabados de 23 a 02 por Fm Beat 88.3.


Estilos: Classic and vocal house, Tribal house, Tech house.
Influencia: House ingles y americano.

Experiencia: Mas de 20 años de DJ profesional en diferentes paises del mundo, Inglaterra, España, Portugal, Brasil, Uruguay, etc.

Eventos: (mas Importantes) Nokia Trends (Mar del Plata 2005), Cream (Once in a lifetime, Buenos Aires 2000), Creamfields Buenos Aires (2000-2004), South American Music Conference (Buenos Aires 2004-2005), BUE (Buenos Aires Electronico 2004), DTPM @ Pacha (2006)

Residencias: (mas importantes) Big One (2001-2004), Fiction (Caix Afterhours) (2001-2006), Ave Porco, El Cielo, Bunker, El Dorado, etc.

Producciones:
Haydar & Lacognata – Sounds of Buenos Aires EP (Orient Records Uk 2004)
London Underground – Various Mixed & compiled By Aldo Haydar (Sum Records 2001)
Expansion – Various Mixed & compiled by Aldo Haydar (Edel Musik 2000)
Sweetly Summer – Various mixed & compiled by Aldo Haydar (Sum records 2000)
Rave-volution volume 2 – Mixed & compiled by Aldo Haydar (1999 BMG)
Rave-volution volume 1 - Mixed & compiled by Aldo Haydar (1998 BMG)

Links:
www.aldohaydar.com
www.myspace.com/djaldohaydar

[SmaSh!]

Bio:
Lots of things going on with Mynt this month! Derek Howell's two tracker sees a UK and European release in the next week or so. Soon after you will see it in the best record stores in the US and Canada. If you prefer it on CD then wait a few weeks and pick it up on Beatport or one of the host of other quality digital download sites on the web!
After that we have some special treats for you Mynt fans. Material and remixes from talented heavyweights like The Low End Specialists, PQM, HernanCattaneo, Phillip Charles and many others will be featuring over the next few releases.

Cats from the MyntCamp have been rocking it worldwide. You can find The Low End Specialists touring Europe with appearances in Portugal this month and Hernan Cattaneo is doing the thing that's made him a top 10 dj worldwide. Catch him in Tunisia at Calypso or in the Bedrock arena at Global Gathering this month. Derek Howell has been in the studio with Josh Micheals working on the new Lonestar joint so….WATCH OUT!!

Myntmaster R.Jones has been hard at work with the label and playing a busy dj schedule. After some promotional appearances in northern Mexico, he headed across the Pacific, to promote Mynt at some dates in the fareast, including an exclusive appearance in Shanghai at Club DKD. It was rocked, Tigerhook style, and Randall was the first international American DJ to appear at this worldclass venue, well known for it's hosting of Global Underground's NickWarren party and subsequent CD release.

Check out the pictures from this blazing party as well as a gangload of other shots in the “Gallery” section. You need to be a member to download tracks and peep photos. We know it’s a hassle joining and confirming but we think it’s worth it to get the extras. Members are also eligible for stuff like remix contests and free gear!!

Thanks again for stopping by and be sure to check out the "media:audio" section, currently featuring one hour of a three hour RJones set from Montreal's Aria nightclub in February.

[GoxD]

SASHA



Alexander Coe ha sido siempre conocido por ser un maestro del "progressive trance" tan de moda en Inglaterra en los últimos años (aunque como muchos grandes dj's del momento empezó a pinchar northern soul). Su toque especial incluso ha llevado a gente de otras escenas a pedirle remezclas, como los Chemical Brothers que dejaron a su cargo Out of Control o que una superestrella como Madonna solicitase sus servicios en 1998 para que remezclase dos de sus temas (Ray Of Light y Substitute For Love/ Drowned World).

Nacido en un pequeño pueblo de Gales, Sasha comenzó escuchando los discos de la Motown cuando aún era un crío, y fue también entonces cuando comenzó a tocar el piano. Un verano asistió a una de las sesiones del legendario club de Manchester la Hacienda, donde quedó maravillado y sorprendido de lo que podían hacer los DJs con los discos. Fue entonces cuando decidió mudarse de Gales a Manchester. Una vez allí, consiguió a través de un anuncio en un pub local presentarse a unas pruebas para una agencia de DJs. Tras demostrar su técnica como DJ, consiguió la residencia en el club Shelly's de Stoke. Cuando otros DJs estaban pinchando house americano, el estilo de Sasha se caracterizaba por sus subidones, y su manera de capturar a los clubbers con su mezcla de House Italiano con piano incluyendo mezclas con temas acapella y northern soul. Esta combinación junto con una gran variedad de temas más comerciales mantenían las pistas llenas con lo que el nombre de Sasha fue creciendo en popularidad. Shelly's fue la plataforma de lanzamiento de Sasha para conseguir su residencia en el Renaissance de Birmingham. Fue en este club donde Sasha grabaría el primer álbum mezclado por un DJ en Inglaterra y donde conocería a John Digweed con quién entablaría una estrecha amistad y colaboración conocida como Northern Exposure.

Durante los últimos años, Sasha y Digweed han pinchado juntos en los cinco continentes y han mezclado tres álbumes como "Nothern Exposure" de los que han llegado a vender 1 millón de copias. Esta relación les llevó a ambos a conseguir una residencia mensual en el conocido club neoyorkino, Twilo, siguiendo los pasos de Junior Vasquez y Danny Tenaglia. Esta residencia les proporcionó una enorme popularidad tanto en New York como en el resto de Estados Unidos, donde Sasha ha pasado de DJ a "super estrella". El sonido que salía por los altavoces del Twilo ha sido recogido en sesiones piratas y un álbum oficial Communicate (2000), un mix conjunto de Sasha y Digweed publicado por INCredible. Muchos de los grandes éxitos de las pistas de baile como Roaches de Trancesetters y Muzak de Trisco han llegado a ser lo que son gracias a esta pareja. Además de todo esto, en el 2002, Sasha se unió a otro veterno agitador de pistas, Darren Emerson, para producir otro de los temas del verano, Scorchio, pinchado en Ibiza hasta la saciedad donde Sasha actuó habitualmente, en especial en el mítico Space de Playa Den Bossa.

Posteriormente, en el 2003, Sasha publica su primer álbum de estudio, titulado Airdrawndagger en BMG. En el 2004, Sasha vuelve a Global Underground para sacar un CD Mix atípico en donde además de recopilar y mezclar los temas elegidos, el propio Sasha los ha remezclado y editado para conseguir un todo uniforme. El CD se titula Involver y su gira de presentación le lleva en 2005 por todo el planeta, incluidas Madrid y Barcelona. (e Ibiza donde pincha en las fiestas Rennaissance de Pacha). Ese mismo año grabará un homenaje a Renaissance con Digweed, Renaissance - The Mix Collection (Remastered 10th Anniversary Edition) con el que celebra el décimo aniversario de las míticas noches inglesas. Durante la primera mitad de 2006 Sasha pincha en las fiestas Fundacion celebradas en varios clubs de Estados Unidos que tuvieron su guinda en el Avalon de Hollywood (donde Sasha ha estado actuando una vez al mes) junto a James Lavelle. Aprovechando el éxito de las fiestas publica un doble CD grabado en directo durante la citada closing party de Los Ángeles. Ese mismo 2006 pincha en Sónar con su Ableton Live y la ayuda de un hardware –un poco más grande que un mezclador- al que le confía ahora sus mágicas mezclas: el aparato conocido como Wave file controller que él mismo diseñó para manipular el software Ableton Live que utiliza en sus presentaciones en directo.

En 2007 decide sacar su material en su propio sello emFire. Estos primeros trabajos tendrán salida en varios recopilatorios. Por ejemplo, en 2008 edita The emFire Collection: Mixed, Unmixed & Remixed con remezclas de Slam, Audion o Radio Slave. También saca a la venta en una línea similar, The emFire Collection: Club Remixes, en formato doble 12 pulgadas.

[topa]

ALEJO GONZALEZ

Alejo Gonzalez - DJ/Productor

Alejo González dio sus primeros pasos como DJ en el año 1992.
Con tan solo 12 años de edad ya tocaba viernes y sábados prácticamente
en todas las fiestas que se realizaban en esa época.
Viniendo de una familia donde ya había djs y en la cual la música
siempre fue muy importante, el interés por ésta fue cosa natural para él.

Al llegar a la adolescencia, empezó a comprar sus primeros discos
y a la edad de 16 años, llega a ser uno de los djs residentes de Island Vip.
En el año 2001 obtiene su residencia en La Divina, pasando luego por
discotecas como Porfirio, Living 33, La Rambla y Nativo, entre otras.

En Noviembre de 2005 Alejo consigue ser uno de los 9 semifinalistas
del Heineken Thirst Contest. Concurso que contó con un jurado
integrado por algunos de los máximos exponentes de la música electrónica.
Martín García, Big Fabio, Carlos Alfonsín, Capri, entre otros, quienes
fueron los encargados de la selección. Presentándose junto a otros dos
semifinalistas en el club Hípico de la ciudad de Mendoza, en un evento
Heineken que reunió más de 3000 personas.

Compartió cabina con Martín García, Guille Quero, Deep Mariano, Big Fabio,
DJ Paul, Oliverio, MOS, Zuker, Simbad, DJ Buey, Adrián De Bernardi,
Pablo Pinto, Soundexile, Ale Lacroix, Mina, Jay West, Fabian Dellamonica,
Gabriel Floriani, entre otros.

Alejo fue invitado en Noviembre de 2006 para presentarse en Creamfields
el festival de música electrónica más importante del país.
Junto con artistas como Sasha, Hernán Cattáneo, Layo & Bushwacka,
Underworld, Eric Morillo, Sander Kleinenberg, X-Press 2, Tiga, entre otros.

En Mayo de 2007 participó de la cuarta edición de Southfest
Buenos Aires donde se presentaron artistas internacionales
como Hernan Cattaneo, Steve Lawler David Guetta, Sugardaddy
y Slam entre otros.
Alejo compartió la A Tent junto a Martín García, Deep Mariano, Guille Quero,
Dj Paul, David Guetta, Sander Van Doorn y Mstrkrft.

En Noviembre de 2007 participó de la séptima edición de Creamfields Bs As
compartiendo la Cream Arena junto a Hernán Cattáneo Martín García,
Guille Quero & Deep Mariano, John Digweed, James Zabiela, DJ Paul,
16 Bit Lolitas y Mercurio.

Participó del ciclo Metrodance Late Night Guest por Metro 95.1,
la estación de radio de música electrónica más importante y prestigiosa del país.

En Abril de 2008 de presentó en Pacha Bs As como Warm Up a Martín García, el máximo
exponente del Progressive House a nivel mundial, en su evento Journey

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[G3R]

Zero 7

http://www.residentadvisor.net/images/profiles/zero7.jpg


Zero 7 have created the kind of buzz that most major label rock bands can only dream of. From their debut dub deconstruction of Radiohead's 'Climbing Up The Walls'Ǡto the orchestral sweep of their remix of Terry Callier's 'Love Theme From Spartacus'. An ultra rare remix of US country soul pioneers Lambchop's 'Up With People'Ǡreinterpreted the lo-fi original into a dizzying tribute to 60s soul and jazz arranger Charles Stepney ("er, we did get a bit Puff Daddy on that one," they joke disarmingly). Zero 7 have taken great records and won adoring plaudits from fans such as Jools Holland, Gilles Peterson and The Face.

Since the scant 1000 copies of their debut EP sold out in days (leaving only a few tastemakers to enjoy the soundtrack to the films running in their minds) Zero 7 have been extremely busy. Following the enormous success of their top 30 hit 'Destiny' and hitting gold (literally) with the release of their album 'Simple Things', their most notable accolade to date was the Technics Mercury Award nomination they received this year. An appearance on ' Later with Jools Holland' and winning 'Best Newcomer' at this year's Muzik Awards are only two examples of Zero 7's phenomenal accomplishments so far this year.

This is how they do it.

2000 and the producer is king. From Daft Punk to the Chemical Brothers the new rock stars play the studio rather than guitars or keyboards. The ten-year onslaught of dance music and the advent of cheap samplers have meant a slew of self-taught ravers that have changed the landscape of music forever.

But producers also have a different tradition: the 1960s image of a boffin in white coat who's spent years in the back rooms learning their craft. Eccentrics who created sounds previously thought impossible. Producers like the Beatles/George Martin or electronic pioneer Joe Meek, who both spent years working on everything from comedy records to rock n' roll.

Zero 7 like to keep a foot in both camps.

The bare facts are these; two nice lads, growing up together in North London. Henry Binns and Sam Hardaker are both 30, both still live within a couple of miles of each other and have always lived in each other's pockets. At the tail end of the 80s, they both opted to study sound engineering, one hooked on soul, jazz and classical, the other on hip hop. "When we met on the mid 80s I was a soul boy," beams Henry, "Sam was more into hip hop." Both left to serve their studio apprenticeship at Mickie Most's RAK studios. They spent a couple of years watching rock stars like Robert Plant and the Pet Shop Boys and rubbing shoulders with hard-up Northern pub bands down for the weekend. "I don't think either of us worked on anything we actually liked," Sam makes a face. "Speak for yourself," bounces Henry, "I had the Young Disciples."

College mate Nigel Godrich was busy producing Radiohead's 'OK Computer' and he gave them the chance to remix Radiohead's 'Climbing Up The Walls'ǠI had no idea what we had done until I turned on the radio and Gilles Peterson was playing it." Radio One's resident downtempo guru Peterson loved it, and commissioned the pair to give soul legend Terry Callier dome of the orchestral sheen his records had back in the day. Which takes us to where we came in.

This Summer Zero 7 played at some of the biggest festivals across Europe including a headline London gig which sold out 4 weeks upfront. Sia's distinctively seductive vocals, Sophie's sultry, sexy sound and Mozez' deep, velvety tone come together to offer you a stunning combination of vocal talent which crosses over perfectly to the stage. For the live shows Sam and Henry got together with musicians who played on the album and friends to build a group of mostly 11 and sometimes up to 20 members on stage at one time to sell out audiences. For a live downtempo band they create an amazingly electric atmosphere and received standing ovations at every gig.

Zero 7 are currently midway through a European and UK headline tour. Two nights at the Shepherds Bush Empire have already sold out.

Having signed to Palm Pictures in the US Zero 7 will also be touring the States including 3 shows in December. Next on their list are Japan and Australia.


Selected Discography

EPs
* EP 1 - (24 January 2000)
* EP 2 - (March, 2001)

Albums
* Simple Things - (June, 2001) #28 UK
* Another Late Night: Zero 7 - DJ mix album (February, 2002)
* Simple Things Remixes - (January, 2003)
* When It Falls - (March, 2004) #3 UK
* The Garden - (May 22, 2006) #4 UK, #81 Australia

Singles
* "I Have Seen" - (June, 2001) #76 UK
* "Destiny" - (September, 2001) #30 UK
* "End Theme" - (November, 2001) #117 UK
* "In the Waiting Line" - (November, 2001) #47 UK
* "Distractions" - (March, 2002) #45 UK
* "I Have Seen" (re-issue) - (January, 2002)
* "Home" - (February, 2004)
* "Somersault" - (June, 2004) #56 UK
* "In Time" - (August, 2004) (released as a download-only single)
* "Warm Sound" - (May, 2005)
* "Futures" - (March, 2006)
* "Throw It All Away" - (May, 2006)
* "You're My Flame" - (July, 2006)
* "Futures" (re-issue) - (September, 2006)
* "If I Can't Have You" - (October, 2006)

[fed4rk]

Offer Nissim (hebreo: עופר ניסים]] Tel Aviv, Israel) es un exitoso DJ y productor israelí nacido en 1964.

http://a711.ac-images.myspacecdn.com/images01/84/l_b1ffae533547e818429e2500d6151426.jpg

Offer Nissim es productor de música house, incluyendo colaboraciones con voces femeninas como Maya Simantov y Dana International. Offer Nissim como DJ da espectáculo dos veces por mes en el TLV Club, en Tel Aviv, Israel y ocasionalmente ha colaborado y hecho remixes con otros artistas, como Donna Summer, Deborah Cox, Kristine W., Dana Internacional, Christina Aguilera y Madonna.

En abril de 2007, Nissin saca a la venta un álbum doble titulado Forever Tel Aviv. El álbum esta conformado por varios de sus más recientes remixes así como tracks de otros DJ's. Los artistas invitados en el material de Offer Nissim son Maya Simantov, Beyoncé, Suzanne Palmer, Christina Aguilera, Donna Summer y Angie Stone, entre otros. El próximo 5 de julio de 2008 se estará presentando en Mexico para el Karmabeat.

http://www.myspace.com/offernissim

/OFF Offer Nissim...

http://item.slide.com/r/1/20/i/QjSwqL-n6z_UvHAOhyCt7NhHdsSsdroz/

http://item.slide.com/r/1/20/i/CEXsmzPO0j_9lAUYsdYUx-6Z0Fnz7dsK/

[KiEdIS]

Off: AH MATENME

On:
Massive Attack
http://img155.imageshack.us/img155/4157/massiveattackfw9.jpg
Massive Attack es una banda formada en la ciudad portuaria de Bristol, Inglaterra. Hasta la fecha han editado cuatro discos de estudio. Considerados los padres del trip-hop, pese a que siempre han renegado de esa palabra, este estilo puede clasificarse como música electrónica, aunque combina elementos del jazz, rap y otros géneros como el soul y el dub jamaicano contando con una potente influencia del rock en sus ramas más oscuras.

Massive Attack nació fruto de una comunidad artística denominada The Wild Bunch. El grupo lo forman entonces Andrew "Mushroom" Vowles y Grant "Daddy G" Marshall que incorporan a 3D (Robert del Naja) un artista grafitero. Otro miembro inicial que deja el grupo antes de grabar el primer single es Nellee Hooper, que se une a otro proyecto conocido, Soul II Soul. Graban su primer single en 1990 "Daydreaming," con la colaboración de otro miembro del Wild Bunch, Tricky. En ese momento se da a conocer su vocalista Shara Nelson. Los siguientes singles son "Unfinished Sympathy" y "Safe From Harm". En 1991 editan su primer álbum, Blue Lines.Con un pobre éxito comercial en su momento y un gran éxito de crítica, posteriormente este disco se transformaría en uno de los discos más influyentes de la industria británica de los noventa, inspirando otros proyectos como Portishead y Morcheeba. Blue Lines se clasifició en un nuevo género musical conocido como “Sonido Bristol”, al cual la prensa llamaría trip-hop.

Durante la primera guerra del golfo, los medios británicos evitaron utilizar términos que recordaran la guerra y la violencia, y Massive Attack (en aquel entonces luchando por posicionarse en la escena) se vieron forzados a cambiar temporalmente su nombre solamente a Massive por consejo del por su entonces mánager. Robert Del Naja, estaba abiertamente en contra de la intervención militar de Estados Unidos en el tercer mundo en nombre de la democracia y hasta el día de hoy sigue arrepintiéndose de haber accedido a este cambio de nombre.

Tras una ruinosa y fracasada gira por EE.UU, Shara Nelson deja la banda y comienza su carrera en solitario.

En 1994 Massive Attack lanza su segunda producción llamada Protection. Figurando dos arreglos instrumentales de Craig Armstrong, este álbum presenta un sonido más elaborado y profundo que su primer trabajo, marcando la última colaboración de Tricky, miembro de la agrupación Wild Bunch, quien comienza su carrera como solista (Maxinquaye). Dentro de este disco destaca el single Protection, que contó con la voz de Tracey Thorn del dúo Everything But The Girl, cuyo vídeo destacó por el trabajo visual del director francés Michel Gondry. Otros singles son "Karmacoma" y "Sly". Posteriormente, en 1995, se editó un álbum remezclado por Mad Professor y titulado "No Protection", que presenta remezclas de las canciones del anterior disco.

Durante los siguientes años el grupo se dedica a remezclas, una larguísima gira y colaboraciones varias (Garbage, Madonna, etc.). Por fín en 1997 y previo a su aparición en el festival de Glastonbury, publican el EP "Risingson". También en 1997, el grupo registró un nuevo título "Superpredators", una versión de la canción "Metal Postcard" de Siouxsie and the Banshees para la música de la película "The Jackal"

El tercer álbum de Massive Attack, Mezzanine fue editado en 1998, mostrando a la banda trasladándose a terrenos musicales oscuros, y dominados por el sonido de guitarras eléctricas distorsionadas, siendo, en la voz de críticos y fanáticos, una significante evolución. El disco cuenta con la colaboración de Horace Andy, que lo convierte en el único colaborador en sus tres discos. Otra colaboración es la de Elizabeth Fraser de los "Cocteau Twins" y la recién llegada Sara Jay. Mezzanine se convirtió en un disco de culto entre críticos y clubs. Se publicaron singles como "Teardrop" e "Inertia Creeps." Durante una gira por EEUU y Europa, Volwes deja el grupo por "desacuerdo artístico" con el rumbo del grupo. Daddy G y 3D siguen en la brecha pero Mushroom se retira por "agotamiento" y para estar con su familia.

Un cuarto álbum, 100th Window, fue editado el 10 de febrero del 2003 entrando directamente entre los 10 más vendidos del Reino Unido. Ese mismo mes, Del Naja fue acusado de posesión de drogas. Aunque algunos críticos no sitúan al álbum 100th Window a la par de sus obras precedentes, muchos valoran la condensación de un sonido que merece ser tomado en cuenta. El disco cuenta con la colaboración en la voz y las letras de Horace Andy y Sinéad O'Connor. Sus singles son "Special Cases" y "Butterfly Caught".

Su siguiente álbum Danny The Dog, es el Soundtrack de la película de artes marciales Unleashed, escrita por Luc Besson y dirigida por Louis Leterrier, temas que se alejan de los trapecismos sonoros de Massive Attack; donde se dejan sentir con facilidad temas como “Simple Rules” o “I Am Home”. La canción “Right Way to Hold a Spoon” se convierte, desde la primera escucha, en uno de los momentos de mayor intensidad del álbum. El disco está lleno de sorpresas, “Two Rocks & a Cup of Water”, que se inicia con el agónico vaivén de las agujas de un reloj, y que es, junto a “Sam”, un buen ejemplo del misticismo tétrico que impregna las canciones de Massive Attack. La pieza que da título a la película, podría haber sido extraída de Mezzanine o Protection, dos de los discos clave en la carrera de la banda, por su atmósfera calmada y vibrante a la vez. La banda sonora creada por Massive Attack es un rompecabezas perfectamente ensamblado de música ambiental a ratos depresiva, a ratos esperanzadora. Sin perder en ningún momento el aura misteriosa y cerrada que destila la película de Luc Besson.

En 2006 editaron un disco doble Collected que es un recopilatorio de sus mejores temas, más un disco de canciones b sides y rarezas y un DVD con todos sus vídeos. El single es Live With me.

[GastiPau]

KRAFTWERK


Grupo musical vanguardista alemán decisivo para el desarrollo de la música electrónica. Formado originalmente por Ralf Hütter y Florian Schneider en 1970, adquirieron fama tras la incorporación de Wolfgang Flür y Karl Bartos.

Las técnicas musicales y los instrumentos introducidos por ellos son hoy básicos, sin embargo, fueron realmente innovadores en su tiempo. Por las experimentaciones realizadas y por constituir la base sobre la que luego se asentó el género, se les ha llegado a considerar como los padres de la música electrónica ya que fuerón los primeros en tocar música basada integralmente en la utilización de instrumentos electrónicos. Adoptaron un estilo genuino, no restringido a la experimentación fónica cuya influencia es comparable con la de los Beatles.

*MUSICA
Tras sus primeros discos experimentales, en 1974 se hicieron famosos en todo el mundo con Autobahn cuya canción veintidós minutos demostró su confianza con los sintetizadores. Después siguieron tres álbumes muy influyentes para la música pop: Radioactivity (1975), Trans-Europe Express (1977) y The Man Machine (1978).

Fueron uno de los primeros grupos en usar únicamente instrumentos electrónicos, incluso procesaron con un Vocoder o generaron con un sintetizador vocal muchas de las letras para intensificar el tono profético de su sonido.

*HISTORIA
Los comienzos [editar]En 1968 Ralf Hütter (teclados) y Florian Schneider (flauta) (hijo del arquitecto Paul Schneider-Esleben), colegas a finales de los 60, fundaron el grupo Organisation, precursor de Kraftwerk, un quinteto de krautrock, con el que grabaron el álbum Tone Float. A principios de 1970 montaron su propio estudio: Kling Klang y emprendieron el proyecto musical que tomaría el nombre de Kraftwerk.

El álbum Kraftwerk, grabado entre julio y agosto con la ayuda de Klaus Dinger y Andreas Hohmann por el sello de nueva creación Philips-Label. El álbum se situó en el puesto trigésimo de las listas alemanas y el tema Ruckzuck se usó como sintonía del programa televisivo Kennzeichen D. El 26 de diciembre Kraftwerk dio un concierto, cuando la banda estaba integrada por Florian Schneider-Esleben, Eberhard Kranemann (Bajo, Violonchelo), y Karl 'Charly' Weiss (Batería), pues Hütter interrumpió su participación en el grupo durante un mes.

A causa de la incorporación del guitarrista Michael Rother y Klaus Dinger en sustitución de Charly Weiss, estuvieron formados durante dos meses por Schneider, Hohmann, Krahnemann, Rother y Dinger. En el estudio de Conny Plank grabaron una sesión inédita. El trío formado Schneider, Dinger y Rother apareció en el programa musical Beat Club, con su canción Rückstoss Gondoliere. A finales de 1971 Ralf Hütter y Florian Schneider grabaron Kraftwerk 2, el segundo álbum, editado en 1972 por el sello Philips.

Entonces fueron elegidos mejor grupo por la revista Sounds. Florian Schneider consiguió el segundo lugar en la categoría Músico del año, y su canción Ruckzuck sería canción del año. Kraftwerk 2 fue grabado entre el 26 de septiembre y el 1 de octubre en su propio estudio.

El tercer álbum Ralf und Florian terminado en julio de 1973, se publicó en octubre por Philips. Wolfgang Flür fue el batería que tocó con ellos en el programa Aspekte de la emisora televisiva ZDF. La imagen pública del grupo solía ser ellos dos como dúo, y en aquella época estuvieron influenciados por los artistas ingleses Gilbert and George, que actuaban por esos años en una galería de Düsseldorf.


*DISCOGRAFIA

Álbumes
1970 - Kraftwerk. Philips. .
1972 - Kraftwerk 2. Philips.
1973 - Ralf Und Florian. Philips. POP #160
1974 - Autobahn. Philips. POP #5; UK #4
1975 - Radio-Activity alias Radio-Aktivität. EMI-Electrola. POP #140
1977 - Trans-Europe Express (alias Trans-Europa Express). EMI-Electrola. POP #119
1978 - The Man-Machine (alias Die Mensch Maschine). EMI-Electrola. POP #130; UK #9
1981 - Computer World (alias Computerwelt). EMI-Electrola. POP #72; UK #15
1983 - Tour De France (EP). EMI-Electrola. UK #22
1986 - Electric Cafe. EMI-Electrola. POP #156
1991 - The Mix (recopilatorio reeditado). EMI-Electrola. - UK #15
1999 - Expo 2000 (EP). EMI. UK #27
2003 - Tour De France Soundtracks. EMI. UK #21
2005 - Minimum-Maximum (en vivo 2xcd). EMI. UK #29

Sencillos
1973 - Kohoutek – Kometenmelodie
1974 - Autobahn
1975 - Kometenmelodie 2
1976 - Radioactivity
1977 - Trans-Europe Express
1978 - The Robots
1978 - The Model
1981 - Pocket Calculator
1981 - Computerwelt (Maxi
1982 - The Model
1983 - Tour de France – Remix
1986 - Musique Non-Stop
1987 - The Telefon call
1991 - The Robots (The Mix Version)
1991 - Radioactivity (The Mix Version)
1999 - Tour de France (Reedición remasterizada)
2000 - Expo Remix
2003 - Tour de France 2003
2003 - Elektro Kardiogramm (solo Radio Promo)
2004 - Aérodynamik
2007 - Aérodynamik, La Forme (Hot Chip Remix)

*FORMACIONES DE KRAFTWERK
1968-1970
Ralf Hütter - Órgano Hammond
Florian Schneider - Flauta y efectos de sonido
Basil Hammoudi - Voz
Butch Hauf - Bajo
Alfred Mönicks - Percusión

1970-1971
Ralf Hütter - Teclados e instrumentos electrónicos
Florian Schneider - Flauta e instrumentos electrónicos
Incluidos los siguientes músicos en diversas formaciones:

Eberhard Kranemann - Bajo
Thomas Lohmann - Percusión
Andreas Hohmann - Percusión
Charly Weiss - Percusión
Klaus Dinger - Percusión
Houschang Nejadepour - Guitarra
Michael Rother - Guitarra
Peter Schmidt - Percusión

1971-1972
Ralf Hütter - Teclados e instrumentos electrónicos
Florian Schneider - Flauta e instrumento electrónicos

1973-1974
Ralf Hütter - Teclados e instrumentos electrónicos
Florian Schneider - Teclados, Flauta e instrumentos electrónicos
Klaus Roeder - Guitarras y Violin eléctrico
Wolfgang Flür - Percusión Electrónica

1974-1989 (la formación clásica)
Ralf Hütter - Teclados e instrumentos electrónicos
Florian Schneider - Teclados e instrumentos electrónicos
Karl Bartos - Percusión Electrónica
Wolfgang Flür - Percusión Electrónica

1990
Ralf Hütter - Teclados e instrumentos electrónicos
Florian Schneider - Teclados e instrumentos electrónicos
Karl Bartos - Percusión Electrónica
Fritz Hilpert - Percusión Electrónica y efectos de sonido

1991
Ralf Hütter - Teclados e instrumentos electrónicos
Florian Schneider - Teclados e instrumentos electrónicos
Fritz Hilpert - Percusión Electrónica y efectos de sonido
Fernando Abrantes - Percusión Electrónica y efectos de sonido

1991 - 2008
Ralf Hütter - Teclados e instrumentos electrónicos
Florian Schneider - Teclados e instrumentos electrónicos
Fritz Hilpert - Percusión Electrónica y efectos de sonido
Henning Schmitz - Percusión Electrónica y efectos de sonido

Desde 2008
Ralf Hütter - Teclados e instrumentos electrónicos
Fritz Hilpert - Percusión Electrónica y efectos de sonido
Henning Schmitz - Percusión Electrónica y efectos de sonido
Stefan Pfaffe - Videoperador

[G3R]

http://www.residentadvisor.net/images/profiles/kevinsaunderson.jpg


Kevin Saunderson


Respected and acknowledged around the World as one of the three Detroit Techno innovators, Kevin Saunderson is a legend in his own right, who has helped to reshape the future of Dance music as we know it!

Kevin was born in Brooklyn, New York in 1964, but moved at the age of nine to the place known as the 'Motor City', Detroit. He attended Belleville High School (West of Detroit), where his youthful urge to make music had been fuelled. There he befriended two other like-minded students (Atkins and May). After leaving school he attended Eastern Michigan University in Ypsilanti, where he played Football. After 2 years, Kevin quit playing football in order to focus on music, so he joined his high school pals Derrick May and Juan Atkins, which unknown at the time would be the move that would help Kevin's career escalate.

Starting out as a DJ, Kevin soon developed new skills that led him into producing records, which he released on his own label, KMS Records. The demand for Kevin as a Producer and DJ was overwhelming overseas, as well as in the States. He introduced acts like 'Kreem', 'Reese', 'Inter-City' (later to become Inner City) and 'Reese & Santonio'. Kevin has had many other aliases too, such as; 'Tronik House', 'The Reese Project', 'EssRay', 'Kaos' and more recently, 'E-Dancer', which he uses to show his versatility at being able to create different facets of Dance music. Kevin also pioneered the art of the "REMIX," changing the face of how remixers revamp songs. His very first remix for The Wee Papa Girl Rappers "Heat It Up" went on to pick up 'DMC Remix of the Year' in spring 1988.

Kevin's biggest achievement (to date) and his most commercially recognized project has been INNER CITY, who have come full circle after TEN years, as one of the World's most influential Dance acts. As one of the most important prime time movers in the house and techno revolution of 1988, Kevin Saunderson and Paris Grey have been to the top, struggled and bounced back to the top of the pile. Now in their thirteenth year together, the duo have proven they are one of dance music’s great survivors with a new dazzling renaissance and they're justifiably proud of a healthy career spanning early pioneering hits like "Big Fun" and "Good Life", "Ain't Nobody Better", through to "Hallelujah", "Pennies From Heaven", "Till We Meet Again", "Do Ya", "Your Love" (to name but a few) and most recently the1999 Spanish re-recording of their 1989 hit "Good Life",(Buena Vida), which soon became a Number One Club hit in Europe and entered the TOP TEN on the UK Pop Charts. (The group's latest single, "Good Love", is also destined for success in the UK).

Since the beginning, their career has been nothing short of remarkable, not only for their numerous critical and commercial achievements, but also for their longevity. Whilst most acts have been snubbed out at the onset of the 'next big trend', Inner City have managed to sidestep the trends, making "songs that went on to become classics". Amazingly, the good life of being one of the World's top dance groups came to them by accident.

In 1987 Kevin, then at only 22-year-old recorded a backing track in a makeshift studio stuck in the basement of his apartment. He needed a girl vocalist who could also supply lyrics and his friend Chicago house producer, Terry "Housemaster" Baldwin, suggested Windy City Chanteuse Paris Grey. Paris agreed, flew into Detroit, came up with lyrics and "Big Fun" was born. Incredibly the tape was then filed away and almost forgotten until months later when UK dance aficionado, Neil Rushton, visited the Motor City to put together a compilation album, "Techno – The New Dance Sound Of Detroit" for Virgin Records. He freaked when hearing the song and made sure "Big Fun" was on the LP. Soon afterwards, it was released as a single and went on to become a World wide smash. But despite it’s sudden success, Paris hung on to her job as a sales assistant in a Chicago store - only quitting when the follow up, "Good Life" outsold "Big Fun".

The third single "Ain't Nobody Better" retained Kevin's techno-logic microchip feel, topped by Paris's soulful voice. Their debut album, "Paradise" cemented this prosperity and highlighted the Detroit techno blueprint.

In 1993, INNER CITY parted company with their label, Virgin Records. The label released the "Testament" "93" remix album to celebrate their time together. Also in that year they were voted, by the readers of Mixmag Magazine, the "Best International Act of the Year" and a "homecoming" deal with their manager Neil Rushton's SIX6 label was finalized. Another UK Tour followed in August '93, including a headlining appearance on the Reading Festival's dance stage and the top slot at the European Dance Weekender in Paris the following month. It was also at this time that Kevin's work with his other group THE REESE PROJECT was greeted with equal glee by journalists and clubbers alike.

To date, INNER CITY have had 12 Top 40 hits in the UK, as well as having had two Top 20 albums, with combined sales of more than 6 million. Inner City have also achieved many awards for outstanding accomplishments, such as 'Best Dance Act in the World' by DMC in 1989 and 1992. Inner City have also received 4 Gold singles, 1 Gold Album and 1 Platinum Album.

Meanwhile, Kevin's alter ego E-DANCER produces Techno Music, pure and simple. Created for a savvy audience by an original master. E-DANCER's first full length LP entitled simply "Heavenly", has hooked audiences and critics alike. Even more mains-stream music publications were compelled to take notice. For example 'Spin Magazine' cited "Heavenly" as 'ONE OF THE TEN BEST ALBUMS YOU'VE NEVER HEARD'. Odd praise? Perhaps. But accurate nonetheless, for rarely has a record so "underground" in both profile and content. Indeed, "Heavenly" is a 'Must Have' in any Detroit Techno collection.

With his latest two productions, Inner City ‘Say Something’ (Concept) and Reese Project “This Means That” (SuSu) both providing late summer 05 hits in Europe, it all reaffirms Kevin's standing as one of the 'INNOVATORS', and a leader in the industry.

One of the most exciting movements for Kevin of 2005, was his new title which has also given him one of the biggest challenges of his career, the Producer of FUSE-IN, the newest reincarnation of Detroit’s 6th electronic festival this Memorial Day weekend at Hart Plaza on May 28th, 29th and 30th, with an outstanding line up which included Mos Def, Ken Ishii, Carl Craig, Kevin Saunderson, Green Velvet, Ritchie Hawtin, Underground Resistance, Alexander Robotnick and many more. As Kevin states “What we’ve done in our history in Detroit with techno is a result of a love for all kinds of music, I don’t want this just to be a techno event, I want techno to be the foundation and for people to realize how powerful Detroit has been and still is, I want to put on a good show with good artists so people can be inspired by the music”.

During 2005/2006 We celebrated 20 years of Kevin Saunderson’s music Productions with FUSE-In Presents Kevin Saunderson/Elevator World Tour- The tour featured both House and Techno DJ sets plus a live show incorporating all his most popular productions from 1986-2006. This included tracks from E-Dancer, Esser'ay, K S Experience, Kaos, Keynotes, Reese, Reese + Santonio, , Tronikhouse, Intercity, Kreem,
Inner City and The Reese Project.

The live show featured stunning visuals, and crystal clear audio, taking the audience on a breathtaking journey through the roots and soul of Kevin Saunderson from house to techno and back again. These live shows gave Kevin the opportunity to entertain and inform his audience on his unique history. This incredible body of work, which for the first time will be under one umbrella, clearly defined and clarified the artistry of the man they call THE ELEVATOR. True to his dream, Kevin Saunderson elevated the deep sound of Detroit Techno and took it from the underground into the hearts and souls of music lovers the world over with his Inner City and The Reese Project recordings. These live events will surely be remembered for years to come as a celebration of the one of the greatest ambassadors for techno to come out of Detroit.

In 2007 Kevin is back in the studio working on new productions, and remixes. The first to come out of the box, was a stunning re-working of Claude Von Stroke’s “Who’s Afraid of Detroit” which received 5 star reviews and plaudits from every corner of the globe.

Kevin is set to relaunch his seminal KMS records label with a series of 12” releases throughout 2007.

[Sim0n]

Neil Landstrumm

http://files.list.co.uk/images/2008/01/04/neil-landstrumm.jpg

El escocés Neil Sutherland empieza su carrera musical en 1994 y ya desde entonces deja algunas perlas en varios sellos europeos - Peacefrog, Tresor, Sonic Groove Mosquito y su propio sello, Scandinavia- que quedan prendados ante el savoir faire de este miembro de la escena No Future –esa que proclama a los cuatro vientos que el techno debe ser algo más que una base 4x4-. De hecho, es un lumbreras de la tecnología, no por nada trabaja también en el campo de la animación para proyectos de MTV, Rockstar Games y The Magnificents. Neil ha colaborado en innumerables ocasiones para gente como Cristian Vogel, Si Begg, Mike Fellows, Bill Youngman y Tobias Schmidt –compartiendo el proyecto Sugar Experiment Station- con los que comparte pasión por el techno descoyuntado y sin formas reconocibles. Pasó seis años de su vida viviendo en New York y vagando por Brooklyn y Queens a la caza de material sensible para su música y demás ideas para sus directos desquiciados que han podido disfrutar en lugares tan dispares como Unit (Tokio), Rex (Paris), Tresor (Berlín) o Electrowerkz (Londres). Su propuesta como Dj maneja una serie de estilos tan diferentes como el bass-tech, el grime, el electro-techno, los ritmos rotos y el Miami bass con los que afronta unas sesiones catárticas y la mar de divertidas.

[topa]

MATTHEW DEAR a.k.a AUDION
http://www.morecowbell.net/images/posts/2007/02/audion-live.jpg
El tejano Matthew Dear es la nueva estrella del neo techno minimal con enjundia. Dear es uno de los productores blancos contemporáneos más respetados por la comunidad de Detroit donde vive actualmente y desde donde confeccionó su primer álbum Leave Luck to Heaven editado en la temporada de invierno de 2003-04 en Spectral Sounds (subsello de Ghostly International). Un disco que no pasó desapercibido para medios mainstream como Rolling Stones, Spin, NME y The NY Times y que puso el dedo en llaga de esta nueva ola de productores de minimal bailable. Además de este trabajo de pop minimal muy bien facturado, Dear ha dejado muestras de su clase en sellos como Plus 8 (con su a.k.a. False) y Perlon (bajo el seudónimo Jabberjaw) con el que se ha ganado el corazón de Djs tan importantes como Ángel Molina que incluyó su Lakonic en la segunda parte de su colección Wax Sessions. En 2004 vuelve a editar otro álbum, Backstroke (Spectral Sound), en el que se descuelga con un nuevo catálogo de house bizarro con toques de electro-pop algo alucinado. Cuenta además con otro nickname muy popular entre los aficionados: Audion con el que ha editado otro álbum de techno fracturado, morboso y bien oscuro: Suckfish (2005). Pocos meses más tarde conseguiría hacerse con el título honorífico de hit del año con Mouth to Mouth que en 2006 lo pinchó todo Dj viviente que te imagines desde los cierres de Ibiza, pasando por festivales como Monegros y acabando por otros algo más modestos como el Salamanca Solotech donde varios Djs como Ellen Allien o Dj Hell lo pincharon un par de veces. Ese mismo año 2006 firmó el Fabric 27 como 'Matthew Dear As Audion' y en el que incluyó matraca minimal de la buena de la mano de Billy Dalessandro, Lee Curtiss, Mikael Stavöstrand, Ricardo Villalobos, Robert Babicz o Claude VonStroke, entre otros. En 2007 tiene previsto sacar un nuevo álbum como Matthew Dear, Asa Bread que empieza a promocionar con el single de adelanto Deserter.

[Merengado]

los ultimos muy buenos dios!

[pablosixsixsix]

Nick and John Dalagelis
http://a253.ac-images.myspacecdn.com/images01/47/m_520677347f9d5702ef61175e05481d9c.jpg

El nuevo advenedizo grabación del dúo Dalagelis hermanos ha sido durante mucho tiempo a su pasión musical electrónica, por más años que la mayoría de los DJs que tienen 10 años de sus superiores. En la oferta las edades de 26 y 25, respectivamente, Nick & Johns influencias van mucho más allá del alcance de cualquiera de sus contemporáneos. Nacido en América, pero criado en Grecia, los niños tienen meticulosamente afinado su oficio y está listo para su close-up.

En 1998 John decidió tomar el reto aún más y entró en el DMC DJ Championship en Grecia en la madura edad de 17 años. Después de ganar el campeonato estatal que tuvo lugar en la final. En contra de las probabilidades que rayado y cortar hasta 4 º lugar, ganando los elogios de la prensa griega, que le llamó la estrella de la noche y mejores jóvenes dj. La industria tomó nota de este nuevo wonderkid que fue invitado por Universal Trilogy (uno de los principales actos de electrónica de baile griego de la época) a unirse a ellos como "calentamiento" de DJ para sus apariciones Europea. John seguirá gira y construir su sonido en su país de origen, que culminó con la actuación de su vida por ser invitado a tocar la ranura de apertura Orbitals primera gira por Grecia en 2000. Como si este hombre rap hoja wasnt el tiempo suficiente, también se graduó en el Instituto de Pasteur, como ingeniero de sonido, aumentando aún más su experiencia y conocimientos a una edad tan joven.
http://b6.ac-images.myspacecdn.com/00611/61/55/611325516_m.jpg
Desde este punto, los hermanos Tomaron la difícil decisión de desalojar el estudio y trasladar a la ciudad de Nueva York, que, a su juicio fue el epicentro de la música que estaban tan involucrados pulgadas Configuración del Dalasounds de estudio y llegar a trabajar en sus producciones era la prioridad número uno . Rápidamente los chicos lanzaron su primer auto de registro EP en los EE.UU., incluyendo dos pistas, Fat Oscar/God Is Great, que obtuvo elogios de sus futuros objetivos. A partir de esta versión, que se convirtió en buscado por las etiquetas de sus favoritos, que fueron tras ellos por su remix touch. Remezclas para etiquetas de propiedad de Satoshi Tomiie, Dave Seaman, Chris Fortier y Gpal, por nombrar unos pocos. Si bien estos remezclar grandes éxitos, los hermanos se sumaron a Chris Fortier y su etiqueta (Fade Records). Ayudar a Chris para el funcionamiento de la etiqueta no es la única obligación que tengo. Los niños con Chris tiene ocupado en el estudio y, mediante la producción, la ingeniería, la mezcla, edición y grabación de todo tipo de proyectos. Uno de ellos fue Chris Fortiers Saldo 007 compilación. Su único Bend hasta 2 fue publicado por Mo-Italys hacer grabaciones, que se llevó a los hermanos aún mayor, no sólo con que no tiene fin DJ apoyo, pero también con éxito en la tabla de clasificaciones de varios de los indicadores de ventas de los EE.UU. y del Reino Unido. Amplió sus vocal remix of Micahs fue ofrecido exclusivamente por Hernán Cattaneo Para su Renaissance Masters 2.
http://a649.ac-images.myspacecdn.com/images01/68/m_a0226d70288cd6a7b1a0beb83ab9d820.jpg
En 2005 su producción original Quiet (Steve is listening) es una de las principales características de audio Therapy álbum a través de las Fronteras, sobre la base de los productores provenientes de Grecia y su mezcla de lo alternativo, titulado Quiet (Stelios is watching), fue ofrecido exclusivamente por Dave Esta compilación es Seamans audio Therapy . La producción y remezcla frente aun era para Nick y John en 2006, incluida su próxima único en terapia de música titulado "R2 Units Gone Wild" (original mix) se ha incluido en Therapys colección primavera / verano de CD), así como su más reciente producción original Utapau, firmado por Swift Records (original mix incluidos en Gpals próximo álbum Gpal 2). El programa también incluye remezclas Stels y la próxima gran Phatjak único "A mí me gusta Porno, barroco en los registros. Y si todo esto no era suficiente, Nick y John eran responsables de un gran grueso de la producción y obras de ingeniería en la Ste"This is Audiotherapy"l CD mezcla que estará disponible en un futuro próximo, como acompañamiento a Dave para marinos ya clásico cuota, así como golpear el circuito internacional con conciertos en Norteamérica y América Central, Europa y Australia. De las pausas para el progreso y la tecnología a más experimental, Nick y Johns dj y producción de estilo puede ser descrito como una combinación de exuberantes paisajes sonoros atmosféricos, ajustado a lo largo de los efectos de conducción y poderosos sonidos de los ritmos de percusión.

http://www.myspace.com/nickandjohndalagelis
http://www.johndalagelis.com/djset/

Un poQuito de el Buen Underground...:cheesy:

[globalUnder]

DJ SHOG was born as Sven Greiner in Hamburg on November 8th 1976. In the early nineties, he began to develop his interest in deejaying and electronic music. After performing at school festivals and private parties, SHOG took part in several DJ competitions and got some resident jobs in clubs in Northern Germany.


DJ SHOG's breakthrough was the double-CD compilation series "Technis DJ Set". The first CD is mixed by himself, the second one by well-known guests like Cosmic Gate, Dumonde, Talla 2XLC, Green Court or Nic Chagall. Since 2001 each release is followed by a club-tour, where DJ SHOG met his current producers and someday they brought up the idea of recording a solo single.


With "This Is My Sound" (Top60 in Germany and Top40 in Great Britain), "The 2nd Dimension" (Top60 in Germany) and "Another World" DJ SHOG solidified his fast and furious career.


The success of "Another World" was so mind-blowing that it really seemed to come from another world: the single remained in the Top40 for nine weeks and in the German charts for more then three month, which is quite unordinary in the fast moving dance market.


The follow-up singles, "Live 4 Music" and "Running Water", reached the Top40 and Top50 and were part of the set of many well-known international DJs. In 2006 DJ SHOG finally released his first solo album, "My Sound". It entered the German charts at #55 and remained there for four weeks. Some weeks later, at the DJ Meeting in Duisburg, DJ SHOG was voted as #3 in the category "Trance DJ National", surpassed only by Paul van Dyk and ATB.


The first single "Stranger On This Planet" from his second album "2Faces" entered once again the german sales charts just like the album in summer 2007. In the beginning of 2008, another track from this album will be released - "(Feel Me) Through The Radio" with a couple of remixes from Duderstadt, Inpetto, S.H.O.K.K.&Space Raven, Axel Coon, Jolie and of course from himself a SHOGs 2Faces Remix.


In addition to mix tracks, Sven Greiner also diligently produces them. Together with E-Cutz he produced the three hymns "Summer Sound System" (2002), "Alive&Kickin'" (2003) and "The Golden 10" (2004) for Germany's biggest Open Air dance event, Nature One. Moreover he is jointly responsible for various other projects.


Recently DJ SHOG also produced some remixes under the name of his side project 2Faces, to show his second, more progressive and trance sound face. These mixes ("Beam pres. Michelle Aragon - Silent Tears", "Kuffdam&Plant - Dreammakers", "Bossanova - Stonecold" among others) have been played by famous DJs like Paul van Dyk, Tiesto, Armin van Buuren and will make him more popular as both DJ and producer.


With the remix-works of renowned acts like DJ Sammy, Cappella, CJ Stone, Three Drives, Ayu, DJ Tatana, Ian van Dahl, Lasgo, Filo&Peri DJ SHOG has become an essential part of the global dance scene.


By playing a number of big events like Nature One, Streetparade, Love Parade, G-Move, Energy, Nautilus, Goliath, MDR Sputnik Turntabledays, Airbeat One DJ SHOG has proved his international class and he is still on the road to heat up the dance floors in places like Poland, Switzerland, Hungary, Austria, Estonia, France, England, Ibiza, Russia and Thailand, to name a few.


As bursting with energy as a DJ or a producer, Sven Greiner runs two labels named 7th Sense stands for the more mainstream sound and Mandala Beatz for the more trance sound


---


tarde en leer la biografia:p peroo de a poquito.. se puede

Off: jajaja se parece al hermano pelado del pelado de la serie de fox de los no me acuerdo!

[Lucho Xp]

G7
proximanete info

[Sim0n]

Off: jajaja se parece al hermano pelado del pelado de la serie de fox de los no me acuerdo!

JAJAJAJAJA!! es igual.

la serie es Prison Break :) (R-E-C-O-M-E-N-D-A-D-I-S-I-M-A !! y mas la 1era y 2da temporada ;) )

y el tipo se llama Dominic Purcell

Salu2

[topa]

G-PAL
http://www.electroyhouse.com/wp-content/uploads/2007/07/g-pal.jpg

George Pallikaris originally hails from Thessaloniki, one of the largest cities in northern Greece. George was first introduced to music at a very young age. By the age of 4 he was already training to play the piano. Although he was studying the likes of Jean Michelle Jarre and Vangelis he was also composing music on his first synthesizer. Once George reached his teen years, he got very involved with early dance music buying house and techno records and playing them for his friends. After graduating from high school, G. Pal stepped in a direction away from music for about 4 years. So instead, he chose to pursue the subject of physics. While in the University, G. Pal slowly drifted back to his true passion, musical production. If it wasn’t for this almost complete musical void G. Pal may never have gotten so determined to earn a living producing music.

After a few years of developing his skills composing and producing tracks, G. Pal decided to move to New York City so that he could pursue a degree in music technology. According to G. Pal, he would have stayed in Greece, but not one of the schools offered a degree similar to the one available through NYU. And frankly, it is tough to argue with George’s thinking. After all, there can’t be a better time to get a degree in music technology. This educational experience, combined with his own interest in studio gear, hardware and software puts George way ahead of your average dance music producer. While attending NYU, George started shopping his tracks around the end of 1997. About a year later, a decent amount of respectable labels were knocking on his door. Soon after his first commercial record release, a double pack on the UK’s prestigious Low Pressings label, he started preparing material for labels. On a cold night in November at Mike Bryant’s Friday night party, GPal brought a demo down for Plastic City A+R Rick Salzer. After some small discussions, both parties agreed that G. Pal should join the UCMG NY artist roster. Since then he released many singles for Plastic City and the critically acclaimed album ‘Life by G.Pal’.

George had to leave New York City after six years of studying at NYU, to join the Greek military force for two years. At that time Swift recordings was founded as a joint effort by him and UCMGNY as an outlet for his club-minded tribal and progressive productions. Since it’s inception, Swift has streadily gained momentum and created quite a buzz within the dance music community. There has been four releases in the Swift stable and several waiting for release. This accomplishment seems even greater when one considers that the label’s founder and principle artist served in the Greek military from Spring of 2001 until December of 2002.

Even though he was limited in his civilian capacities, George still managed to produce a weekly 2 –hour mix for a large radio station (www.bestradio.gr) in Greece and organize a regular Swift night at Athens’ premiere nightclub +Soda. Because of military restrictions though, George was not allowed to leave the country and play in clubs around the world.

Now that George is released from the army, initially his focus will be on building Swift into the label he has envisioned all along. Swift records will no longer be a part of UCMGNY, as George decided to run the label by himself from his own country Greece. Swift will be globally distributed by Intergroove UK. In Greece it will be represented by KLIK records.

Concerning his productions and remixes, George will start to work at his studio full time again. Expect remixes and productions from labels such as Yoshitoshi, Shinichi, Low Pressings, Addictive & many more. With sales steadily increasing and licenses coming in from Deep Dish and Steve Lawler for their Global Underground mix albums as well as DJ mixes from David Duriez, Terry Lee Brown Jr., Oscar G. for the Space club compilation, Tim Fielding for JDJ, Hardy Heller, Pascal Feos, and Steve Bug to name just a few, expect big things from G.Pal and Swift in the near future.

From September 2004 to May 2005, G.Pal launched the monthly Swift Records nights at LUV club in Athens. Among him and his wife Anna Maria X, Christian Cambas, MOS, DJ Tim, Mr. Roussos and Cleopatra also joined the nights.

[Gesiete]

G7
proximanete info

Eeesaa.. cualquier cosa hagan lo que dice debajo de mi imagen.. :*

[topa]

gonzalito la onda es que empezara con L y que no me copiaras el formato y todo tal cual -.-

[MARTHUR]

Topa: el pueblo kiere saber , y ahora con q letra seguimos ??

con la "L" o con la "S"-.... eh¡!!

[topa]

-----> L <-----

[GonzaloHP]

LAURENT WOLF


http://www.amoxis.fr/medias/Image/_img_dyn/hd/laurent_wolf.jpg

BIOGRAFÍA :
Laurent Wolf es un DJ nacido en los años sesenta diez. Da sus primeros pasos en el oficio en 1989 mixant en un modesto club del suburbio parisiense. Al compás de los años, pule su estilo y en 1992 se vuelve uno del principales que reside del Queen, la celebra cojea parisiense. Laurent Wolf se da a conocer rápidamente fuera de las fronteras de Francia y él mixe en clubes a las cuatro esquinas de Europa luego del mundo. En 1995, se convierte en productores y permite la salida de tubos como “Funda Tren”. Con todo a pesar de su éxito innegable, es necesario esperar 2004 para oír los títulos de Laurent agrupados sobre su primer álbum, “Positiv Energy”. El álbum, con tubos como “Saxo” o “Calinda” es un cartón, en particular, en el extranjero o el French Touch no deja indiferente. En 2006, muy del éxito de su precedente opus, Laurent Wolf vuelve de nuevo con el álbum “Hollyworld” que va a hacer bailar para largos meses sobre los dancefloor.






OFF : ahi te gusta topa ? con L te gusta? asi me dejas de romper los huevos de una vez.

Gonzalito.-

[mellimartin]

FABRÍCIO PECANHA
http://c1.ac-images.myspacecdn.com/images02/57/m_35cdf1c179824492b2298730cb6432dc.jpg

Born in Brazil, Fabricio Peçanha is a DJ that can make you enjoy electronic music even if you never listened to it. With amazing technique, feeling and charisma, he crowds parties, raves and festivals, leading people to dance and vibrate with his explosive music.

Since 1990, he has been building his career in Brazil and in nearby countries, initially motivated by receiving his first award in a DJ championship in Rio Grande do Sul, his native state. Once he received mention in the San Francisco’s XLR8R magazine, he became associated with the most respected DJ’s in Brazil.

In 2000, he played in Buenos Aires, Argentina for Energy Parade, a festival that attracted more than 150,000 people. That same year, he oversaw the line up for the biggest event of electronic music in Latin America, the Aca World Sound Festival, in Acapulco, attended by 300,000 people.

Fabricio next began touring outside Brazil, performing in gigs in the US, Switzerland and Argentina. He also participated in events in Brazil, appearing in clubs, raves and festivals such as MegAvonts, Parada da Paz (SP), Rio Parade (RJ), Recife Beats, Skol Beats and Fulltronic.

In addition to his career as a DJ, Fabricio is expanding his producing career. The "Hypno Series” (2005) launched his first mixed “CD 001”, which boasted national and international names and included his single "Ritalina." The CD received extensive attention in the the media and led to a promotional tour around the country, and one of his productions became converted into a popular cell ring-tone. Pecanha also permeated the fashion world, launching his own line of T-shirts.

He reached a milestone when he was ranked 242 among international DJ’s in the English magazine DJ Mag in 2005. He secured his rank by receiving 123,933 votes from voters in 150 countries and today, is one of only three Brazilians to receive recognition in the magazine.

Among his credits are playing alongside such stellar names in electronic music as Carl Cox, Danny Tenaglia, LTJ Bukem, Moby, David Morales, Little Louie Vega, Dave Seaman, John Digweed, Deep Dish and Seb Fontaine and working with such top DJs as Ritchie Hawtin (Aka Plastikman), Groove Armada, Mr. C., Layo & Bushwaka, Mauro Picotto, Green Velvet, Derrick May, Dave Clarke, Darren Emerson, Colin Dale, Dave the Drummer, Hernan Cattaneo and Circulation.

Over the last year, his career has accelerated. In Brazil, he was the opening act for the Fat Boy Slim tour during the summer and played at Mix Magazine’s party in Brazil. In July and September, he performed gigs in Barcelona, Mallorca, Ibiza, including time at the legendary after hours spot DC 10 club and at Cocoon in Frankfurt (Germany). He segued to China, becoming the first Brazilian DJ to play there, and next performed at the Music Conference of San Francisco.

Pecanha continues to wow the masses in some of best clubs and most prestigious festivals of the world, as he maintains his role as one of the greatest DJs of South America.

Currently together it to the DJ Leozinho and the Drumsinker Rodrigo Paciornik they present with the design "Life is Loop".

In the years of 2006 and 2007, Fabrício is elect the best Dj of Brazil, for the Cool Awards.

[GonzaloHP]

ABOVE&BEYOND

http://www.gatecrasher.com/crasher/profiles/aboveandbeyond/image


Biografia:
Jono Grant, Tony McGuinness and Paavo Sijam son productores y son Above and Beyond. Responsables de muchísimos temas que fueron y son hits en Clubes a través del mundo, con un número de exitosos proyectos incluyendo OCEANLAB, FREESTATE, TRANQUILITY BASE, POS, NITROMETHANE y DIRT DEVILS.
Después de construir una gran reputación a través de trabajos de remix como Adamski y Dario G, Above and Beyond fue que el que mas les abrió el camino.
Desde entonces los muchachos han estado ocupados puliendo remixes para artistas como Delerium, Three Drives y el súper estrella japonés Ayumi Hamasaki, quien en su ultimo álbum vendió 5 millones de copias solamente en Japón. El rumor de Above and Beyond también alcanzo los Estados Unidos, donde un remix de "The sound of Goodbye" de Armin Van Buuren se convirtio en Hit Nº 1 en el Chart Dance de Billboard en el 2002
"Farm from in love" fue el primer tema bajo el pseudónimo de Above and Beyond. Altamente apoyado por Dave Pearce/Judge Jules en Radio 1 y Armin Van Buuren en ID&T.


Gonzalito.-

[mellimartin]

DANNY HOWELLS
http://www.radiodeea.ro/phps/images/stories/danny_howells.jpg

Danny Howells (born on 24 November 1970) is an English producer and DJ. His music is often described as progressive house, though he prefers to associate more with tech house and is sometimes described simply as "progressive". At performances, he is well known to interact personally with the audience. Howells has mixed several albums for Global Underground in addition to his Nocturnal Frequencies series. Howells is also a member of the duo Science Department with Dick Trevor, which has produced the singles "Breathe" and "Persuasion"/"Repercussion" as well as remixes for artists such as BT.
Contents

Biography

Danny Howells was born in the South East England town of Hastings in 1970. Howells's first event DJ-ing came in the late 1980s and he began to perform at local clubs. In 1991, Bedrock founder John Digweed heard one of Howells's mix tapes and invited Howells to join the Bedrock club nights. Howells traveled with Bedrock until they settled at the club Heaven in London. He would spend nine years as warm-up DJ for Digweed at Bedrock.

In 1995, Howells began producing experimental techno tracks with fellow Hastings native, Tim Cross, under the moniker Squelch.Over the next two years, Squelch produced several singles and attracted the attention of the record label Jackpot, who released what would be Cross's and Howells's final single together. In 1997, Cross and Howells split, though Howells stayed with Jackpot. Jackpot teamed Danny Howells up with Rob Green to produce a remix of React 2 Rhythm's "Intoxication". Howells performed for the first time outside of the UK, traveling to Holland for his first gig abroad, which gained him a large fan base there. Following his international tour, Howells signed with Dutch record label ID&T to create his debut mix album, Nightlife Report 1: Mick Boskamp Presents Danny Howells. Howells and Green continued to work together, including on a remix of Robbie Williams's "South of the Border. Howells began to produce solo as well, taking on projects such as Ashtrax's "Kafka" and BT's "Dreaming".

In 1999, Danny Howells began his Nocturnal Frequencies series of mix albums on the record label Obsessive. He also began remixing with Dick Trevor, and the two soon adopted the name Science Department for their original productions. Howells continued his live DJ-ing, playing regularly at clubs including Bedrock, Renaissance, Cream, and Ministry of Sound. After the release of his next Nocturnal Frequencies album, Howells left Bedrock and Ministry of Sound, taking a residency at Twilo in New York City. After finishing the Science Department track "Breathe", Howells compiled his next mix album Nubreed 002. The second entry in Global Underground's Nubreed series, Howells's album consisted largely of funky, progressive, tech house.Howells was voted number ten of the world's top DJs in DJ Magazine's 2001 Top 100 DJs poll.

Howells continued his relationship with Global Underground, releasing the first album in their 24:7 series in July 2003. The first disc features a primarily downtempo or chill out music, similarly to Nick Warren's Global Underground 024: Reykjavik, while the second is more of a club mix. In 2005, Global Underground brought in Howells for the 27th entry in their series. Howells entry, Global Underground 027: Miami, is based on his 31 October 2004 performance at Club Space in Miami, Florida. The first disc is based on his morning set and the second disc on his late night set. Danny Howells currently in 2008 made his own record label "Dig Deeper" and is in the progress of releasing his debut album sometime in the summer of '09.

[pablosixsixsix]

http://www.bodyjack.org/portal1/components/com_fpslideshow/images/SteveMacBackground.jpg

Since his first foray into House music back in 1990, Steve Mac has carved out an enviable career for himself within the very top tier of the world’s DJ’s and producers. Starting out as a scratch DJ at the tender age of 11, Steve’s musical background was rooted in the pioneering sounds of 80’s Hip-Hop when genre defining artists such as Grandmaster Flash and Public Enemy were laying down the blueprint. As part of a local Hip-Hop group in Malta, Steve met his production partner-to-be Rob Chetcuti. The pair took an interest in each other’s ‘formulating talent’ and went on to form the hugely successful production/DJ duo The Rhythm Masters.

The formative years of the partnership were spent working tirelessly in the studio whilst absorbing the bountiful supply of creatively rich records that were flowing from the US before setting up their own Disfunktional Recordings label in 1995. The label was mainly a showcase for the pair’s own productions although world renowned artists such as Danny Tenaglia, Junior Sanchez, Paul Woolford, and Giorgio Moroder also contributed over the years to the labels impressive output.

1996 was the year that The Rhythm Masters really hit the big-time through their smash remixes of Todd Terry’s ‘Jumping’ and Jaydee’s ‘Plastic Dreams’. Steve and Rob were widely regarded as being among the decades finest remix teams, an assumption which was cemented in 1997 by them winning the number 1 slot in Music Week’s remixers of the year. A quick flick through their discography reveals a staggeringly high number of quality productions, and remixes for the likes of Todd Terry, Farley “Jackmaster” Funk, Byron Stingly and Candi Staton. The boys were unsurprisingly named among Music Week’s top 5 remixers in the world at the end of the nineties, testament indeed to their hard work and commitment to producing only the finest re-rubs. Naturally the duo found themselves as highly in-demand DJ’s, playing all over the globe and at clubs such as Cream, Ministry of Sound and Back 2 Basics back in the UK.

Since Rhythm Masters decided to go their separate ways to pursue solo projects in 2002 Steve has since had huge underground and mainstream success with tracks such as ‘Circus Parade’, ‘Da Canto’ and the ubiquitous ‘Lovin’ You More (That Big Track)’ for Cr2. In addition Steve has collaborated alongside dance music luminaries such as Mark Knight, Nic Fanciulli, and Pete Tong. The other side to the Steve Mac sound is apparent through his numerous remixes for mainstream artists; Jamiroquai, Charlotte Church and Simply Red are just a few of the globally recognised stars that have come in for the unique Steve Mac remix treatment.

As a performer Steve’s DJ sets are pure energy. He regularly makes use of 3 decks, CDjs, FX and samplers that all contribute to the seamless and funk-fuelled sound for which he is famed.
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2008 has already been among Steve’s busiest and best. At the WMC his track ‘Gotta Have Some Fun’ was placed in the hands of a select few DJ’s and immediately sensing its potential, Ali Dubfire picked up on the track and immediately signed it to his Sci + Tec label. Pete Tong has also been repeatedly playing the track on his Radio 1 show and has selected it to feature on one his of upcoming compilations.

Steve’s track ‘You’ produced with Paul Harris came out on Toolroom earlier in the year and made it to an impressive number 3 on the Beatport chart. In addition his latest track ‘Paddys Revenge’ has been bubbling under for the last few months and is finally due for a release through Data Records in September. The release is shaping up to be absolutely massive right across the board and is already receiving daytime airplay on Radio1 in addition to Pete Tong naming it as an Essential New Tune.


http://www.myspace.com/mrstevemac



Radio 1 Essential Mix October 2008
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TRACK LIST.
1. MARC HOULE (MEATIER SHOWER) - MINUS

2. TIM WRIGHT (THRIST) LUCIANO MIX
MAC RE-EDIT - NOVAMUTE

3. SIS (STANDING) MAC RE-EDIT - WHITE

4. MATT NORDSTROM LUCKY DRAW
MAC MASH UP - SAVED

5. SINNER MAN (LUCIANO MIX)
MAC MASH UP - WHITE LABEL

6. SEBO K (DIVA) - MOBILEE RECORDS

7. BASEMENT JAXX ( FLYFILE )
MAC RE-EDIT - ATLANTIC JAXX

8. UNKNOWN

9. LOCO DICE (PIMP JACKSON IS TALKING NOW)
- DESOLAT

10. ROBERT BABICZ (DARK FLOWER)
JORIS VOORN MIX - AUDIOMOTIQUE RECORDS

11. RICARDO VILLALOBOS (ENFANTS) - WHITE

12. RADIO SLAVE UNKNOWN - WHITE

13. MASTERS AT WORK (LOVE AND HAPPINESS)
- MAW RECORDS

14. DJ KOZE (I WANT TO SLEEP) - IRR

15 CIREZ D (TEASER) DEADMAOU5 MIX
- MOUSEVILLE

16. DUBFIRE (DIOSA) MAC RE-EDIT EXCLUSIVE
- WHITE

17. SIS (TROMPET) MAC RE-EDIT
- WHITE

18 TIMO MASS AND SANTOS (SUBTELLITE)
MAC RE-EDIT - COCOON RECORDINGS

19. MAC AND FANCUILLI - WHITE (EXCLUSIVE)

20. JORIS VOORN (NO REVOLUTION)
TECHNASIA REMIX 1 - GREEN

21. DAN DRASTIC (SLICE OF LIFE)
JOHNNY D REMIX - MHR

22. RADIO SLAVE (EYES WIDE OPEN)
- R AND S

23. JOHNNY D (MANIPULATION)
- WHITE

24. JAMIE PRINCIPAL (BABY WANTS TO RIDE)
MAC RE-EDIT- FFRR

25. MORGAN GEIST (DETROIT)
CARL CRAIG REMIX - ENVIRON

26. GEL ABRIL (SPELLS OF YORUBA) - BE AS ONE

27. GEL ABRIL (VERY WRONG)
CHAIM REMIX MAC RE-EDIT - BE AS ONE

28. GUIDO SCHNEIDER (ALBERTINO)
- CADENZA

29. LUCA AND PAUL (DINAMICRO)
GREGOR TRESHER REMIX - POLAR NOISE

30. STEVE MAC (GOTTA HAVE SOME FUN)
PRUDO MIX - SI TEC

31. STEVE MAC (GOTTA HAVE SOME FUN)
ORIGINAL MIX - SI TEC

32. STEVE MAC (SCATTER BRAIN)
33. STEVE MAC AND MARK BROWN (THE FLY)
EXCLUSIVE - WHITE

34. SURKIN (WHITE KNIGHT TWO)
MAC RE-EDIT - INSTITUBES

saludos.

[mellimartin]

Carl Cox
http://www.residentadvisor.net/images/profiles/carlcox.jpg

Carl Cox - Autobiography

Soul Thing
I can't remember a time without the strains of soul music drifting through our house. With both parents coming from Barbados I was brought up very much in tune with a natural party ethos that went hand in hand with a love of good music. My earliest musical memories are of Booker T and the MGs, Aretha Franklin and, of course the great Elvis, and I used to hijack my parents collection of 70's soul 45's and get the whole family grooving round the lounge! I guess the early signs were there - my passion for music combined with an over-whelming desire to entertain as many people as possible.

By 10 I had well and truly caught the bug and was spending every bit of my pocket money on soul and funk records. I got my first pair of decks (just the 2!) by the age of 15 and I started to play as many parties as I could, discovering that I could buzz off a crowd whilst funding my habit at the same time. As the 70's became the 80's I followed the musical trend from soul to disco to hip-hop but it wasn't really until I moved to Brighton in 1986 that I discovered, along with so many others, the pure thrill of acid house.

The 'Summer Of Love' was special for me in more ways than one. It was at the Sunrise rave on the outskirts of London in 1988 that I had had my biggest breakthrough yet. I was already something of a regular on the infamous M1/Orbital rave circuit but it was at Sunrise that I had the idea to hook up a third deck. At 10.30am on a hazy Sunday morning I managed to tempt 15,000 partied out ravers back onto their weary feet and kick the party back into action - it was an amazing experience- and since then my phone has not stopped ringing with offers for 'The 3 Deck Wizard'. I was fortunate enough to participate in many of the events that have gone down in history as defining moments in the history of UK club culture, such as playing the opening night at Rampling's legendary Shoom, running The Project with Oakie as well as holding a residency at Brighton's ZAP club.

With my reputation as a DJ well and truly secured I was able to turn my attentions towards producing. Initially signing to Perfecto I had my first hit in 1992 with 'I Want You' and, believe me, no one was more surprised than me when I found myself performing on Top Of The Pops when my record peaked at number 23 in the UK charts!!

Despite the fact that the follow up 'Does It Feel Good To You' also charted in the top 40, commercial success was never what I had been aiming for, it was all somewhat too far removed from the reality and buzz of setting a dance floor alight. Whilst fellow spinners such as Grooverider and Fabio moved from raves into Jungle, choosing to focus on a very UK and London orientated sound, I couldn't escape the American and European influences that had always been there whilst I was growing up. I have always been very globally minded which comes across in my choice of music, which I use to cross physical and cultural boundaries to bring people together. Essentially my heart lies with house and techno and it was for this reason that I chose to take a back seat from my impending career as a pop star and be true to myself by going underground and re-discovering my roots.

Designer Labels
I started by setting up my first imprint, MMR, for Techno productions. I found that my popularity as a DJ gave me an opportunity to take techno to the masses and my first album FACT (Future Alliance of Communication and Technology) has to this day sold 250,000 copies. I spent 5 years under my own Ultimate Music Management which spawned club nights and tours alike and set up the forward-looking Worldwide Ultimatum to encourage the creative talents of more DJ's such as Josh Abraham's, Trevor Rockcliffe, Earl Gray and DJ Dan. In 1996 Nicky Holloway approached me to start a new night based on the style of music I was playing at the time and Ultimate Base was born at Velvet Underground along with the help of Jim Masters. Over the last 5 years Ultimate Base has showcased some of the world's finest techno DJ's, steered by a futuristic ideal, which very much reflects my own way of thinking.

The last several years have been absolutely mind blowing. In between jet-setting between gigs as far afield as South Africa, Israel, Tasmania and Asia I kick-started my acting career in the classic UK clubbing film 'Human Traffic' and somewhere along the way I found time to start new labels Ultimatum Breaks and Intec to focus on providing quality purist house and techno. I have regularly contributed Essential mixes for Radio One and I followed up the success of FACT (1&2) with several more mix albums including 'Phuture 2000'. My career has been marked by a number of awards - I was awarded IDA 'DJ Of The Year' 2 years in a row, Muzik named me as the Best British DJ and I've had more honours from NME, Dancestar and countless other organisations all over the world.

The time is now
Out of so many highs it is difficult to pin-point the peak for me - it is a close call between The Love Parade and the dawn of the millennium. Playing for a crowd of 1,500,00 up-for-it clubbers in Berlin was the ultimate DJing experience in terms of seeing how wide reaching music can be but then being lucky enough to see in the millennium not once but twice - first on Bondi pavilion, then hopping on a jet over the timeline to Honolulu, Hawaii, was also pretty special.

More recently I have given up my residency at Base in order to concentrate on spreading myself even further afield. But don't worry, in between producing, writing, remixing, presenting, TV appearances, managing, not forgetting DJing I will still be making regular appearances at Base and hanging with the very people who got me where I am today.

[GastiPau]

pero tecknikal empieza con t... :P


X-Press 2

Rocky y Diesel, amigos desde 1986, conocieron a Ashley Beedle, dj igual que ellos, como suele ser habitual en estos casos: tropezándose el uno con el otro en fiestas o tiendas como la Black Market londinense donde Beedle trabajaba. Después, la independiente Junior Boys Own (ahora simplemente Junior) encargó a Rocky y a Diesel un single, para el que contaron con la colaboración de Ashley.

Cuando terminaron la canción, que titularon "Muzik X-Press", el trío no quedó del todo satisfecho con el resultado. No así Terry Farley, por entonces uno de los capitostes del sello, que quedó impresionado con el tema. El track se hizo popular y cruzó el charco ya que Junior Vasquez, residente por aquel entonces del Sound Factory de Manhattan, se convirtió en uno de sus mayores seguidores y valedores al otro lado del mundo. Entonces llegó 1993, el año clave para el grupo. Después del éxito inicial de su single de debut volvieron con "London X-Press", un tema chillón cargado de campanas con una línea de bajo sacada de Funk Central. La trilogía de maxis se completó con "Say What!".

X-Press 2 siempre han estado abiertos a todo tipo de influencias. "Lo que nos gustaba era el groove de los discos americanos, pero también nos gustaban los arreglos de los discos europeos. Siempre hemos sido fans del sonido Wild Pitch y también del de Hardfloor. Pensábamos que se podían mezclar los dos", confiesa Diesel.

A pesar de ser aclamados internacionalmente a principios de los 90, continúan en contacto con la escena de fiestas underground que les vió nacer. Quizá debido a la fragmentación de la escena dance su música se convirtió en algo más oblicuo, publicando material bajo varios seudónimos. Los proyectos paralelos del grupo, Ballistic Brothers o Problem Kids, han mantenido en estado de letargo a X-Press 2. El single "AC/DC" publicado en Skint en el 2000 los devolvió a la actualidad y a un excelente estado de ánimo.

Ese año firman con Skint, llevando sus sesiones a seis platos y tres mezcladores a un nivel superior y a la residencia del The Cross londinense. Los tres singles publicados en el sello que publica los trabajos de Fatboy Slim ("AC/DC", "Muzikizum" y el aclamado "Smoke Machine" allanan el camino para su inminente primer larga duración: "Muzikizum" también en Skint. De él despegará en 2002 su pelotazo "Lazy" con la voz de David Byrne al frente. Tanto el original como las remezclas se dejaron notar en Ibiza.

[Sim0n]

2 Many Djs a.k.a Soulwax

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Soulwax, headed by David and Stephen Dewaele, are an alternative rock/electro band from Ghent, Belgium. The two are perhaps best known for their influential contributions to the bastard pop genre under the names Flying Dewaele Brothers and 2 many DJs and the landmark record As Heard On Radio Soulwax Pt. 2. The Dewaele Brothers have also released several major albums under the "Soulwax" moniker, including Leave The Story Untold (1996), Much Against Everyone's Advice (1998), Any Minute Now (2004), Nite Versions (2005) and Most of the Remixes...

EDIT: me ganaste de mano ! aunque no vale pq fue doble post :p

[GastiPau]

Xabi Beat

Xavi Beat, conocido también como X-Beat, le avalan más de 11 años como deejay y otros tantos como productor, durante todo este tiempo ha realizado trabajos muy variados... Durante 4 años fue técnico de sonido en la compañía discográfica Vale Music y en la actualidad es A&R de uno de los sub sellos de la misma, concretamente de Tanga.Su labor de deejay y productor la compagina con su trabajo habitual en la discográfica, pero además es reviwer de la sección techno de la revista prestigiosa revista Deejay Dance Magazine Oficial.Durante sus 11 años de carrera ha sido residente de diferentes salas como pueden ser: Menfis 3 (Villalba, Barcelona), Triple Zona (Granollers, Barcelona), Casino (Barcelona), Terminal (Granollers, Barcelona), Circus Nature (Cardedeu, Barcelona), Orbital (Barcelona)... Actualmente es residente de la sala Cosmic Club de Millenium en Girona donde realiza sets de techno house y techno, esto la compagina con su residencia mensual en las sesiones Supernova y diferentes galas que va realizando por todo el territorio nacional. Por el momento durante su trayectoria a parte de las residencias, sus sesiones han pasado por salas como; Penélope y Plastic 6 de Madrid, Mondo Paradiso de Pamplona, Txitxarro de San Sebastián, Non Stop y Circuito de Bilbao, Coliseum de Zaragoza, Caballito de Mar de Valencia, Ibiza y H2O de Toledo, Karai de Menorca. Sus sets de tech house y techno has sonado también en diversas salas de la zona de Cataluña como: Festival Techno Tarragona, El Cel (Barcelona), Illusion (Barcelona), Somnis (Girona), Lokotron (Barcelona), Cala morisca (Sitges)… También ha participado en festivales de gran relevancia, Sonimag 1998, Megaplec Dance Barcelona en las ediciones de 1998 y 1999, TechnoHouse Festival de Madrid edición del 2000. En su faceta de productor nos podemos encontrar con temas como: Faby & Xavi Beat "Nova 4", Xavi Beat "Open Up", X-Beat "Sexual Relations", X-Beat "sexual relations" (Rmx)...Además de tener producciones propias ha hecho los siguientes remixes: Rubber Soul "Can You Releate", Sharpside "I Love Techno"...Y a participado en recopilatorios tan sonados como: Technics "The Original Sessions" (Vol. 2, 3, 4, 5), Master DJ (Vol. 1), Las Catedrales del House (Vol. 1)

[meenu5]

TIMO MAAS

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Dj, productor y creador de una música potente, dura y oscura. Timo Maas ha visto como su nombre se ha hecho cada vez más popular fuera de su país desde su residencia en el club The Tunnel de Hamburgo, Alemania.

Timo Maas comienza a desarrollar su carrera en su país de origen, Alemania, a finales de los noventa como uno de los Dj’s de trance más importantes. Su trabajo se puede comparar fácilmente con Paul van Dyk o Sandra Collins.

Sus primeros platos los compró a los 17 años y comenzó a mezclar por toda Alemania cualquier top dance de la época, específicamente en 1982 empezó a mezclar en fiestas que sus amigos organizaban.Timo Maas se introdujo a la naciente escena rave en 1992 en la movida de Alemania del este. Pero a pesar de los años lo único que Timo Maas había editado era un trabajo que no es considerado un larga duración editado en 1995 que lleva por titulo “The Final Xs”, y junto al productor Gary D un trabajo llamado “Die Herdplatte”.

De 1994 a 1996 Timo Maas fue residente de la famosa disco de Hamburgo The Tunnel. Posteriormente Maas pasó a Bristol, Inglaterra para mantenerse como residente en el club de House Lakota y comenzar a trabajar con el sello Hope Recordings. Durante 1996 y 1997, edito sencillos aparte del sello mencionado, para Lakota, Phuture Wax y UK44. Sin embargo su primer disco como solista se edita en el 2000. El álbum es titulado “Music for the Maases”, parodiando el nombre del clásico álbum de Depeche Mode de 1987 “Music For The Masses”. Ese mismo años Timo Maas comienza a trabajar como dj residente en el Mega-Club de Nueva York, donde también comparte los platos con Deep Dish.

En el 2002 publica “Loud”, un disco donde el ritmo predominante es el break beat El disco contiene 14 tracks con músicos invitados como la cantante Kelis, Martin Bettinghaus, MC Chickaboo y Finley Quaye. “Help Me” o “Shifter”, son temas que demuestra el talento como compositor del músico, sin embargo el primer sencillo es “To Get Down”.

Aunque Maas nos ha tenido acostumbrados a un house con mucha técnica, en esta nueva grabación la fuerza de la música hará sin ninguna duda que la historia del músico cambie. Si bien en estos momentos es preocupante la cantidad de dj’s que sacan discos mezclados donde no hay un proceso de composición, en este trabajo de Timo Maas podemos encontrar una propuesta tan poderosa que podría comparase con el gran álbum de The Chemical Brothers “Dig Your Own Hole”.