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



+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:

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.)

[Federico]

nick warren

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.

[markos!!!]

nick sentience



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!!

[KiEdIS]

Todo para entretener a Topa

Eddie Halliwell


("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



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]

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]

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!!!]

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]

NIKI BELUCCI



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







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.-