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Drumcode / Bond / Modularz // Gothenburg (SWE)

Petter B (Petter Börgesson) is a Gothenburg based DJ and producer. He started out behind the decks back in 1996. In 2012 he re-launched his solo career after having been a part of the famous techno duo "Hertz" for five years. Adam Beyer immediately signed Petter’s solo material to his well-known imprint Drumcode. His first appearance was on the compilation “Swedish Silver vol.2” together with the most prolific artists within the Swedish techno scene. Adam has heavily supported Petter’s tracks in his recent podcasts and gigs and more material will be released on Drumcode during the year.

2013 was the year Petter launched his own imprint Bond. Bond is the result of the way he plays and thinks of music as a DJ. After leaving Hertz, Petter made the decision to put DJing first and producing secondary when it comes to describing himself as an artist. This influenced his way of thinking about his productions. According to Petter all music has a purpose and makes out building blocks in a DJ performance. The driving idea behind Bond is therefor to create those blocks, rather than complete full-on productions with all the classic elements such as a break, hook, groove and peak present. When using these blocks the perception of a track can be changed every time it is played depending on how the DJ combines them. The unique bond that is created when a DJ combines tracks, loops and sounds is something that always has fascinated Petter.

In the beginning of Petter’s DJ career he was influenced by the 90s house sounds. The way into techno was rather straightforward. In a way he saw techno as all the best parts of house exaggerated to the extreme. The purity and less-is-more approach he found within techno appealed to him in contrast to the house music’s sometimes overcomplicated arrangements of vocals, leads, bridges and chorus. Techno was somewhat closer to the core of what he was looking for in music, skipping all the excess. He felt that techno gave him the biggest potentials to express his own creativity and character as a DJ. After finding techno at the end of the 90s a huge interest in learning about its origin began. He wanted to learn about what drove the first pioneers of the scene, which started the legacy. Knowing your past is essential in order to be able to understand the present and to be part of creating the future, to quote Petter.

The heart of Petter B’s studio is digital but many of its veins are connected to hardware effects, synths and drum machines. The possibility to do what’s not intended is a great benefit of using hardware compared to a solely digital environment. Adding imperfections and dirt are some of the keys in his way of producing. Limitations are also something that Petter finds rewarding from a creative stand point. To be forced to make a decision on how a sound should be and then record it, without the possibility to redo it a week later, can be a good thing. It brings focus to the present and necessity of formulating the idea in the making of a track. Trusting his ears and constantly questioning what he hears has made experimenting more rewarding over the years. According to Petter, such things as “good luck” comes more often to those who train their senses to be sensitive enough to spot the openings when they appear. Some people might just never realize they’ve already missed them.

Over the years Petter has gained worldwide respect as a DJ and producer. Example of people that has supported, charted and played his work are Carl Cox, Adam Beyer, Mauro Picotto, Marco Bailey, Sasha Carassi, Umek, Secret Cinema, Alan Fitzpatrick, Laurent Garnier, Dr. Motte, Mark Knight, Eddie Halliwell, Tom Hades, Danny Tenaglia, Slam, Technasia, Truncate, Gary Beck, Alan Fitzpatrick, Ben Sims, DVS1 and Kevin Saunderson.

Up until today Petter has released lots of tracks and remixes under different names and on different labels around Europe. For example Drumcode (SWE), Defected (UK), Underwater Recordings (UK), Sway (SWE), HzTrax (SWE), Abyss (SWE), Atom (SWE), 1605 (SLO) and Patterns (NE) to name a few. His success in the industry has led to frequent gigs at different events and clubs throughout and beyond the borders of Europe.

0 rating


Teknologik / Rebellion // Lyon (FR)

Enki arrived from space in France on the 21 january 1986

He is considerate as the master of wisdom, arts and techniques including magic and exorcism.

After have cloned humans, he decided to stay on Earth to learn living like them. Thus human feelings started growing in him, the good, the bad, the joy and sadness.

He ended up to mix each of thoses into one.

He decided to make electronic music ( Alien house and Cosmic Techno).

He loves dancing naked under the full moon

He spent his scolarity in a vinyl shop, learning deejaying, listening to electro, techno, house, experimental, hip hop...

Music provides him strong feelings , he wanted to experimented more, so he comes to producing his own music.

Influenced by ancient civilizations and all the untold stories of life,

his music is a reflect of a strange and mystical universal connection, and always magical.

Enki's mission is to make all his space brothers to get connected to waves and magnetic frequencies of the music.

The first EP came out on REBELLION ( Crosstown Rebels )

Early 2012, he joined the label TEKNOLOGIK as DJ and Producer.

12 rating


Ovum / Strictly Rhythm / Minus // Philadelphia (US)

"Some people get pigeonholed as being into just one thing’, Wink remarks, ‘I hate that. When there are rules, it doesn't become art, and it's not fun. I've learned that you can't please everybody, so I'd rather be concerned with making good art, and the people that like this art will stick with you."

Philadelphia born and based Josh Wink is one of the true pioneers of techno, house and allied st

yles - blurring the definitions.

At 13, a young Josh Wink began his first job as an apprentice at Captain Jack’s mobile DJ Company, three years later, he had started to DJ at local house parties. By 1988 – the year that ‘rave’ exploded into public conscious - Wink was already a main player on the underground music scene.

“Then I began to realize that I had ideas of songs. Instead of DJing other people’s music, I wanted to translate these ideas into my own music that was in my head. House music and new wave electronic music really influenced me when I was a teenager. Plus, going to see Jazzy Jeff and Cash Money DJ in Philly made me want to get more into the 'art' of DJing.”

In 1990, just out of his teens, Wink released his first EP ‘Tribal Confusion’ on the infamous Strictly Rhythm imprint, under the moniker E-Culture (with King Britt), also releasing other EPs under various different guises. In 1994 he formed his own imprint ‘Ovum Recordings’ and released ‘Liquid Summer’ – a track which helped propel him onto the international circuit.

“I’d say that Wink 'Liquid Summer' (Ovum), Wink ‘Meditation Will Manifest' (R & S Records), Winx ‘How's The Music’ (Sorted) and ‘Nervous Build Up’ (Nervous) were some tracks that got me to start traveling around the world in the early 90's.”
In 1995, Josh Wink became one of the first DJ/producers to translate his music from the underground to above and to international success. He consecutively unleashed a string of classics including ‘Don't Laugh’ (recorded as Winx on Nervous Records) and ‘Higher State of Consciousness’ – tracks that topped charts worldwide and that are still recognized and played today. He also remixed Moby and Firefly in the same year.

In 1996, whilst gaining recognition from leading press including Rolling Stone magazine, Josh Wink released his debut album ‘Left Above The Clouds’ (under the name Winx) on Nervous Records.
In 1998, he released his second LP ‘HearHere’ on his own Ovum imprint. With ‘HereHear’ Wink pushed boundaries even further, inviting fellow artists as diverse as Trent Reznor (Nine Inch Nails), Caroline Crawley (Shelleyann Orphan / This Mortal Coil), and Philly poet Ursula Rucker (Jazzanova / The Roots) to contribute to a far-reaching disc that ran the gamut of electronic music styles - from ambient and trip-hop to drum & bass, as well as the trademark mix of house and techno on which Wink has built his international reputation. “I wanted to continue to push my envelope of making diverse electronic music and not have pressure to only make dance music.”

In 1999, as well as remixing Steve Bug’s ‘Loverboy’ on Poker Flat, Josh Wink began his highly respected ‘Profound Sounds’ Ovum compilation series with ‘Profound Sounds Vol.1’.
In 2000, he sampled Chicago legend Lil Louis’s ‘French Kiss’ to create ‘How’s Your Evening So Far’, released on FFRR records, he also remixed The Utah Saints and Mood II Swing.

In 2001 Josh Wink released ‘Evil Acid’ on Ovum and also teamed up with Carl Cox to release Wink Vs Carl Cox ‘It’s The Machines’ on Cox’s Intec imprint, as well as delivering highly coveted remix workings of Depeche Mode, Dave Clarke and Slam.
Into 2002 and Josh Wink delivered ‘Superfreak’ –a release that again caught the ears of many and inspired many in the process. He also remixed Paul Oakenfold’s ‘Starry Eyed Surprise’, FC Kahuna, Sebastien Leger and Range Of Motion for his own Ovum imprint.

In 2003 Josh Wink delivered his third artist album ‘20 To 20’ on Ovum – moreover a collection of his own work that he would class as his ‘secret weapons’ on the dancefloor; heavily 303 inspired releases that delved into Wink’s Acidic House roots. He also delivered his masterful ‘Profound Sounds Vol.2’ mix CD and remixed artists including Sting, Masters At Work, Ladytron, Harry Romero and Icelandic band GusGus.

In 2004 Josh Wink once again set dancefloors in motion with EPs ‘516 Acid’ and ‘Oakish’ – EPs which garnered support both from both the old-school and the new DJs and styles filtering into the scene. He also remixed DJ Minx for Richie Hawtin’s M-nus imprint, Australian band Infusion, Steffan Goldmann’s ‘Shimmer’ EP on Ovum and Alexkid’s ‘Don’t Hide It’ for FCommunications.

In 2005, Josh Wink remixed artists including DJ Sneak and Alter Ego and, in 2006, he released ‘Have To Get Back’ (no vox version) on M-nus, under the moniker Dinky Dog, as part of M-nus’s 'MinimizeToMaximize' / various artist compilation. He also released the third in the Profound Sounds series – ‘Profound Sounds Vol.3’ (coming out in the UK on Ministry of Sound entitled ‘Sessions’) – which exclusively included the remix he crafted for Radiohead’s ‘Everything In It’s Right Place’. His ‘Have To Get Back’ release came out as a double A-side on M-nus, backed with Loco Dice’s ‘Seeing Through Shadows’.

In 2007, Josh Wink released his EP ‘Thick As Thieves’ on Steve Bug’s Poker Flat imprint – an exchange for a release Bug had given to Ovum ‘Houze/Summer Nights’ (released in 2004) - he also released ‘Swirl’/’Have To Get Back’ (Vox version) on Ovum and remixed Chicken Lips, Taho (for Ovum), Someone Else and Radio Slave’s ‘Screaming Hands’ for Rekids.

Into 2008 and Wink has once again switched styles, altered rules and initiated a change. With his influential EP ‘Stay Out All Night’, released on Ovum in May (a massive Miami track and an ‘Essential New Tune’ for Pete Tong on Radio 1), Wink went against the current musical grain and paired NYC 90's house with Chicago jackin’ beats and a bit of St. Germain. Wink also spent the first half of 2008 preparing his fourth artist album – ‘When a Banana Was Just a Banana’.

Josh Wink’s Ovum imprint, since its beginnings in 1994, has seen releases from Loco Dice, Shlomi Aber, Marc Romboy, DJ Pierre, Aaron Carl, King Britt, Steve Bug, D’Julz and of course his own productions. It still continues to grow by both introducing new talents and releasing one-offs from some of the world’s best known producers. “Ovum is about integrity to good music! We feel that we don’t have to follow the music that is trendy or fad-like at the moment.”

As a DJ, since his 1988 ‘rave’ beginnings, Josh Wink extensively traveled the globe since 1995 – playing every festival that counts, through to the smallest and underground venues around the globe. “The Best DJ experience is being able to create an audio atmosphere where an audience can absorb from me, while I get absorbed from them.” His only residency in the world is held in his hometown of Philadelphia at Fluid.

Taking trends, making trends and breaking trends, Josh Wink’s music (under its many monikers including Wink, Winc, Winks, Winx, The Crusher, E-Culture, and Size 9, Accent, Dinky Dog, J Dawg and The Crusher) has always experimented and influenced. The sound of Josh Wink today remains one of a man unafraid to walk the border between stylistic boundaries.
3 rating


We Love Ibiza / International DeeJay Gigolo Records // Paris (FR)

has over the past years become one of the most inspiring DJs and voices to emerge within the electronic music scene. Alongside long-time production partner The Hacker, tracks such as ‘Frank Sinatra’ and ‘1982’ propelled them into the spotlight, whilst further collaborations with fellow feline Felix Da Housecat’s ‘Silver Screen (Shower Scene)’ and ‘Madame Hollywood’, Golden Boy’s ‘Rippin Kittin’, Sven Väth ‘Je T’aime’, Steve Bug, Antonelli Electric and T.Raumschmiere to name but a few, have confirmed Miss Kittin’s star billing status. She released her debut solo artist album ‘I Com’ in 2004, that showed her spreading her wings with jacking Chicago House, distorted punk attitude, skanked-up Dub and Electronic Pop as the singles ‘Professional Distortion’, ‘Requiem For A Hit’ and ‘Happy Violentine’ so aptly displayed.

The heavily-accented deadpan delivery over techno beats that established her notoriety on previous recordings has been unseated by a desire to sing, to scream, to rap and to croon, all of which she manages to do with ample helpings of sly wit and wordplay and a musical landscape that incorporates both brazen beats and intoxicating atmospherics.

However for all her releases and collaborations Kittin’s first and main love remains DJing. From starting out in 1994, Kittin’s name first appeared on a flyer in the chill-out room for a rave in an old military fort in the mountains. From there on Kittin hasn’t looked back. From playing harder edged Techno, rave classics, Chicago, Acid and Detroit Techno Kittin has progressed into more leftfield, Electro and electronic realms. Able to play Prince with Black Dog or Aphex Twin with a new Kompakt 12? she has an uncanny and intuitive sense of selection that not only flows but also maintains that primary sense of the party. Anyone who has seen Kittin dancing behind the decks or grabbing the microphone mid-set will understand only too well that she is also a clubber at heart. As Kittin says, “I love playing records, it’s probably the best thing I know to do in life. I do it because it’s big fun and it makes me free.”

Based in Paris since 2007, Kittin released her second solo album “Batbox” in 2008, followed by the second album of the collaboration with her all time favorite musical partner The Hacker entitled “Two” in 2009, both released on her own label ‘Nobody’s Bizzness‘. After the extensive live touring of Miss Kittin & The Hacker in 2009 all over the globe, 2010 has seen Kittin’s couple of remixes and collaborations and in early 2011 a release of the ’All You Need’ EP on Mobilee Records, that brought her sultry yet punchy vocals back to the floor with a classic electro bassline.

Having spent over a decade cultivating her intransigent image, Miss Kittin reliably brings all her gusto, charisma and inspiration to the decks, which have produced many seminal moments of dance-floor heaven and is rightly placed as one of the most revered and recognizable artists in Dance music today.

As for the future? Watch out for her next, 3rd solo artist album in 2012.

5 rating


Token Records // Copenhagen (DAN)

Troels Knudsen lives in Copenhagen, Denmark and has been immersed in music for most of his life. This focus has mostly been fixed on the club world. And he spent the last 10+ years producing, performing, engineering and dj'ing various electronic genres around Europe and beyond. This activity generated the excentric Pyro drum'n'bass moniker, house works as part of 2400 Operator on Underground Quality and the industrial tinged techno project Northern Structures on Sonic Groove.

After a few years of working in groups it was time to get back to solo work. In 2012 the Ctrls project was iniated with the release of the Interface EP on the new homebase Token Records. A remix of Ø/[Phase]'s Binary Opposition was the follow up, and by then Ctrls tracks had worked their way into the sets of some of the most notable techno djs across the world.

Troels continues to develop his fast paced and futuristic style, seeking out the various nuances of techno and the surrounding genres. Future plans for the project hold more Token Records output as well as dedication to engaged and detailed dj'ing.

3 rating


Toulouse FRANCE (FR)

Miska makes her first steps as she was fascinated by pioneers like Jeff Mills and Svan Vath.

In 2K11, the meeting with Fudido and Damon Jee (Tic Tac Toe, definitive rec) impulse the vice of deejaying.


Then goes many gigs in Paris: La bellevilloise, Kube, Le Leopard café, Le Sherwoodand... in south of France: Classico café Toulouse, l'Elektro Toulouse, le Rockadelik Carcassonne, l'Inox Toulouse and abroad: Boulevard (Barcelona), MultiLayerLaden (Berlin), Rachdingue (spain), Cocoloco (Costa Rica)...


Miska share the decks with artists and producers like Shonky, Mendo, Robert Dietz, Flex, Damon Jee, Octave, Argy, Heartthrob,Vitalic, Traumer, Pan Pot, Monika Kruse.

 She is also resident dj on http://www.pink-city-beats.com/ and in the OVERdrive crew as an active member since 2K11

MIska embodies the new generation of women djs and claimes her own style with a mix of deep and minimal sounds in a very pleasant and feminine way.

16 rating


Mobilee Records - Berlin (DE)

Given what a vibrant and dense electronic music scene Berlin has, it's not easy to make yourself stand out from the crowd as a producer and to break out of the city's insular musical bubble. But such widescreen, mind-bending and sophisticated techno as that of local hotshot Sebastian Radlmeier was never going to go unnoticed on a wider scale.

Steadily rising through the ranks of the techno fraternity, Sebastian's ascent began in 2004 when he founded his own label PASO Music with fellow Teutonic talent Marc Miroir. He soon found his records getting love from electronic royalty such as Laurent Garnier, DJ Hell and Sven Väth, and as techno gradually came back into favour with crowds around the world over the next few years, his increasingly impressive productions started to pop up in more and more high profile places. David Squillace's MiniSketch label, Dubfire's scene-leading Sci+Tec, Nic Fanciulli's Global Underground compilation – all undoubted hallmarks of quality and cool. After years of grinding away and a risking everything (he ditched his successful job at MTV Networks to work on his creative passions) his gamble has quite clearly paid off. Alongside his role as one of the founders of hugely successful fashion label German Garment, he is widely recognised as one of the world's most talented up and coming techno producers.

Flying in the face of dumb, thoughtless dancefloor fodder, his tracks are constructed with intricate technical trickery, making your brain do aural double-takes as his carefully crafted grooves thump against your bones. It's music that ebbs and flows, grows and pulsates throughout its course and rewards those who give it their full time and attention. It's no wonder that UNKLE legend James Lavelle says of his work "sick....production is great, proper techno", or that Joel Mull says his tracks "stand out from the crowd", or that the likes of Carl Cox and Richie Hawtin are fully behind his music.

The proof is in the pudding though, as they say, and Seb will soon serve up his just desserts in the form of his debut album The Pain. "I always wanted to do an album" he explains, "but during my time at MTV, it was impossible to think about spending so much time making music. But as soon as i quit, the idea popped up again and I started working on it, which took me now all in all over a year." He'll be releasing it on his beloved PASO Music, with 14 tracks spread thick over two discs, displaying both his production and remix skills – from hard-hitting thumpers to Balearic-tinged ethereal moments and even a daring fusion of techno and indie with German outfit Northern Lite.

"I would say what I did is not a listening album - more a dance album. As a DJ I wanna make people dance and party, and that´s exactly what I did on the album. Sure, it is a much bigger range then a normal 12" with 3 tracks - we have 14 new tracks plus several older tracks and remixes. It's something like a showreel of what I did in the last 2 years combined in a mix CD, plus a CD with new tracks only, including minimal stuff, prime-time techno, vocal tracks, a dub track and even one with a guitar. Everything I always wanted to combined on one release." Working alongside talented producers and engineers like Pan-Pot's Tassilo, Jochen Schmalbach (who has produced with Tiefschwarz and M.A.N.D.Y.) and Dave Shokh (Monika Kruse, Karotte), he has realised his visions with a crisp, thumping, high-definition finish.

His latest PASO 12" comes with remixes from the hugely respected Steve Lawler and Mobilee Mastermind Anja Schneider, while his recent Ideal Audio is going down a storm with everyone from Josh Wink to Marc Romboy to Laurent Garnier. With the support of everyone who's anyone in techno music, Seb's star looks set to continue to rise throughout the decade. Dance music by numbers this ain't.

3 rating


Keinemusik (GER)

You know how every House- and Techno-DJ is raving about the passion for the music. Sounds good in the first place, but when you look closer, it mostly comes down to spinning mediocre Techhouse-standards all day every day in the living room and throwing some pills on weekends, being stuck in a weekly party-routine and gradually losing grip on style and ideas and creativity and life itself. Reznik knows about this kind, it lives next door to his place. Keeping in mind how annoying a continuous pumped up, Altbau-wall-filtered Bassdrum can be (did anybody say torture?), you can imagine how strong HIS passion for House and Techno must be.

And it’s not only strong, it’s elaborate and diverse at the same time. (Quite fittingly, writing about music and culture in general is his main occupation.) You can be sure, that he holds a Kevin Saunderson record as dear as a Bauhaus-, Human League- or John Coltrane-record. Grown up with Metal, Punk and Hardcore, he soon discovered the thrills of exploring new territories rather than embracing the familiar ones to its entirety. He began collecting Postpunk-records, got interested in Rap and R’n’B and Popmusic, found inspiration in early minimalists, in experimental music, in Drone and Noise, got into Electro and vintage Disco-Sounds and at some point realized the, in both ways, emotionally and physically moving potential of Techno- and Housemusic.

In 2009 Reznik found some like-minded comrades-in-arms with the keinemusik-clique. Until now he successfully avoided to produce anything that is genuinely his own work, but who knows how long he will live up to this refusal. Right now, his DJ-sets speak for themselves anyway. They can be deep, they can be accessible, they can be hard, but they are always classy. Maybe just trust Alec Empire in this case, who once stated: “Berlin has about a handful of DJ’s with talent and integrity. Reznik is one of them. Just forget the other douchebags and support this fella.” We agree.

1 rating


Kanzleramt / Rejected / Soma Records // Berlin (GER)

This artist, born in the city of Bad Nauheim in Hessen, which is close to Frankfurt, regards Farley Jack Master Funk's 1986 release 'Love can't turn around' as one of the most important influences in his early career. "I wanted to make my future audience as happy as this house track made me. I wanted to play this energy and to pass it on to others" remembers Heiko. It was at this point, that it became clear to him that he would become either a DJ, or a musician. He decided to become both.

It started in Hessen

On leaving school, he started an apprenticeship. By day, he worked as an Industry Wholesaler. By night, he mixed countless tapes for friends. These tapes soon became highly desirable Collectors Items and the cost of a genuine Laux tape rocketed.

In the mid 80's, he began his career as a producer with a Casio Keyboard. The presets and patterns were edited and the resulting sounds were passed, via his brother, to the only club in town 'The Soccer Club.'

At the end of the 80's the young Laux was a frequent guest in the new club 'Omen' in Frankfurt. "Omen has been the most influential club for me and from 1989 onwards, I was there several times a month".

Meanwhile, 35 kilometers away in Bad Nauheim, the studio in his parents' house was filling up with more and more machines and had become a central meeting place for like minded musicians. When his brother opened up a pub, Heiko seized the opportunity to move the studio. Although the space moved, the idea: 'to find a new way and an own sound in this new musical movement', remained. Anthony Rother, Johannes Heil, Patrick Lindsey - who became the first league of the Kanzleramt artists - were regular guests in what was soon to become the legendary pub 'Kanzleramt'. While honing his DJ skills, Heiko discovered his love for the work of Jeff Mills and the idea to develop a label. In 1994 the label he founded was named Kanzleramt.

Numerous publications followed and Heiko became known as 'The Hessen Techno Tiger'. And, although other DJ's seemed stuck in musical limbo, his notoriety was growing on the scene. Soon, Sven Väth from Omen, the club that was so hot it had guttering mounted for the sweat, signed Laux. It was here that Heiko played his first live gig. He remembers "my set was to be one hour long. But, I was so excited that after just 30 minutes I was through and for the rest of the evening I had to improvise. "It was like a boiling kettle back then. If you listen to Kanzleramt No.14, you can hear the excitement"

In 1996, during his last live gig at the Popkomm, Heiko met a young producer named Christian Morgenstern who gave him a demo tape. He was so impressed with his sound that, just a few months later, he released Morgenstern's debut album on the Kanzleramt label. It was around this time when Heiko was offered the prime time slot as resident DJ, at Omen. And this is where he fulfilled his promise to give energy and luck to the people through his music. His reputation as a 'Concrete Techno DJ' was growing.

More personal success came in 1998, when he released his own debut album 'Liquidism' on Kanzleramt. "I think this album has the best flow. It represents me so well. It's like looking at a picture of my self".


At the end of 1999 Kanzleramt moved to Kreuzberg, in Germany's Capital city of Berlin. Despite a long phase of becoming established, Heiko was able to replicate his previous success. New opportunities arose and other artists joined the now, internationally renowned, label. The so called 'Next Generation' comprised: DJ Slip, Alexander Kowalski and Diego.

Almost simultaneously, alongside his move to Berlin, Heiko released his next album. 'Sense Fiction' was the lightest album he's ever produced. It sounded easy, jazzy and funky at the same time. Critics praised him for his successful musical research of the senses and they stressed the albums subtleties. In the meantime, to add a further component to his DJ sound, he began working with 3 decks. An art many cannot master. "I got the idea with the 3 turntables after seeing Marco Carola in the Palazzo. He only used a third record every once in a while. I watched him and wanted to do better. Eventually, it worked and I managed to keep the three stable. Then, my sound got much deeper."

In the meantime Kanzleramt was busy. Slip and Diego both released debut albums, the 'Sense Fiction Remix-Series' was celebrated and Riccardo Villalobos' mix charted No 1 in Groove Magazine's Top 50. After the Europe wide, 7 year anniversary 'Fully Fledged' tour, Heiko devoted his time to producing the album 'Ornaments' which became one of the most important milestones of his personal development. This album symbolises the renaissance of the individual as a feeling being. The inspiration for this album came from Heiko's own experience of moving to Berlin. The man who moved, from the countryside, to the big city had finally arrived.

Now, with his talent recognised and revered globally, opportunities to view life from different angles and perspectives are plentiful when touring. On one such occasion, around Christmas 2002, he extended an Australian DJ gig in Melbourne to 4 weeks and his experiences with nature left a lasting impression and influenced his music.

By the beginning of 2003 Heiko was ready to explore a new musical openness. He had already demonstrated on earlier albums that he was able to move away from '4-on-the-floor' rhythms, but the collaboration with his studio neighbour Teo Schulte, a Berlin-based Jazz musician and Producer, accelerated this development and the 'Offshore Funk' project, described as "Funky Flow with Club Entertainment", was successfully released. "In the early days, me and my siblings were in a marching band. I think the beats, from playing the snare drum, got into my blood and influenced the Offshore Album. So, I think it's fair to say that some of my Techno roots can be traced back to that early Hessen marching music." Heiko is proud of his humble beginnings and demonstrates his fondness for his hometown by spending most of his mealtimes in the Kreuzberg 'Markthalle' Restaurant, whenever they have a 'Hessen' week.

2 rating


GET PHYSICAL / Morris Audio / Hi Freaks / Kindisch / Keno Records / Berlin / Germany

David Keno / Morris Audio / Hi Freaks / Kindisch / Keno Records / Berlin / Germany

Swiss born David Keno began his musical life learning classical instruments such as guitar and drums when he was 12. After playing in various rock bands he discovered his love of electronic music. He bought a drum machine and an old Korg synthesizer and started to experiment. Over the next few years he developed his skills and eventually the guys from the Pocketgame label loved his melodic productions so much that they signed him for his first release: Vernis - Bubble Bath EP which came with a fantastic Trentemoeller remix.

From there his career took off. He has released on labels such as I220, Zenit, Meerestief, Karateklub, ELP and provided remixes for Samuel L. Session, G-Man, da Fresh, Robert Drewek, Hugg&Pepp, DK8 and even 80ies heroes Trans-X who wanted a remix for their "living on video" that came out on ZYX Music.

The next step in his career was to launch his own label and in January 2007 Keno Records 01 was released with huge success. "Liquid" went on to be found in the playlists of many DJs.

In David Keno's DJ sets or also as a Livect his musical range goes from minimal techno to house. Very floor-oriented but often with a certain melodic touch. Maybe these are his roots from the 80ies shining through.

30 rating


Inputselector // Nantes (FR)

After spending 3 years kicking the turntables he learns how to align kicks,

blips and hats. Huge vinyl lover his style goes from minimal house to jazzy
techno without flourishes. His short musical career already brought him to
few clubs and festivals around Europe. He released on labels like Telegraph,
Multivitamins, Timid Records... He also takes part of Input Selector’s crew.

7 rating


Isgud Records / Circo Loco / Dc10 Ibiza (ES)

House - Tech House

Tato inciates his career in clubs around PALMA de MALLORCA with his personal style of deep house music which evolved in leading clubs such as BRUSELAS, MINICLUB and EL GARITO CAFÈ

16 rating

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