HAMZA / AUDIO UNITS / SPIRIT CATCHER / SATYA HINDUJA
Wind Horse Records / WHR022
With their backgrounds in mind, the meeting between Audio Units and Hamza is that of two Indian house heavy weights, if not royalty, and the results reflect this. Chez Guru gets its title from Ashriths nickname Guru and the french word for in the home of, basically a stamp for the place of the studio meeting. The vocals are also in French, which somehow always seems to lend an understated cool to any track, but when accompanied by slick productions such as these collaborators it becomes undeniably clear. The bass sounds are the foundation for Chez Guru, with two different levels responding to, and sometimes talking over, each other. The pads and key stabs are swirling, funky, and deep as ever except for wild, climatic moments perfectly paced throughout. Hand percussion finishes things off with a NY house style groove.
ALEX NIGGEMANN / QUANTUM ENTANGLEMENT / CHYMERA / LEE JONES
Aeon / AEON009
AEON009 is expertly crafted by AEON labelboss and veritable wunderkind of the multi-faceted anologue electronic, German DJ and producer Alex Niggemann. As a firm believer that a collection of music should unravel and develop like the plot of a good book, this EP is an apt offering from the German maestro, who has recently seen (and is still seeing) underground chart success with his release 'Materium' on Poker Flat, as the likes of Sven Vath, Tale of Us and Mano le Tough continue to drop it to revering masses across the globe. Following successful releases on Poker Flat, Compost Black Label and Last Night On Earth to name a few, 'Abaton' carries on his chameleonic success. The title track highlights Niggemann's affinity with texture and genre- defying sound, as he mixes ethereal chords with stark ashen synths for a truly goose bump- inducing musical experience. First on remix duty is the outfit Quantum Entanglement, comprised of Lee Jones and Fink, who provide a somewhat mellow interpretation, leading into a satisfying deeper progression. Irish producer Chymera evokes an eery landscape with his rework of the track, with the tentative sound of synths juxtaposed with murkier sonic trails and a tiptoeing bassline. Niggemann rounds off the EP with 'Tripping Minds' - a maze of rhythmic curlicues that dance around melancholic pads and descend over a bassline that truly packs a punch, causing the listener to yearn for a dancefloor, or reminisce on a past moment of musical clarity that can only come from the most prolific of music. The fifth track is a Beatport exclusive in the form of a Lee Jones remix. This collection of intelligent, almost lugubrious sonic expression is a fitting display of how far Alex Niggemann, and indeed his AEON label have come; catapulting you into a darker, more aggressive and impressive world of musical capability.
Qubiq Rec / Dirty Stuff Rec / MP Digital Rec // Perpignan (FR)
Small Ewok discovered electronic music in 2000. In 2001, he founded “1001 Nights” with his friend and fellow DJ Frank Kaplan and started organizing and playing at nights in bars and clubs in the Languedoc Roussillon region. Between 2001 and 2010, he organized a huge number of nights in the South of France, notably the first ever electronic parties at Mas Bonnet (Perpignan)!! He also mixed at Rachdingue, Villa Rouge, Marina Atlantide, Bar Live and various other underground clubs, as well as festivals organized by Mystic Chrysalide, World People, Groovetek, Tounga and Storms…
He met and played alongside numerous local DJs including Rykkk's, Deff Skual, Antomny, Speedy'T, J Rob, Franck De Villeneuve, Freeda, Cybersonic, Guy Hom, Kick Off, Mateo Loco, Yoan L, Viktor Valentino, Fabrice Torricella, Gomor, Eeror 303, Fédérico Mesclando... During the winters, however, he was based in La Plagne ski resort, where he also organized nights in the bars and clubs of the Savoie region. His diverse experience has enabled him to play a wide range of music: Deep House/House/Tech House/Techno and Progressive House. But now he offers a Deep House/House/Tech House sound that mixes melodies, vocals and percussion!
His sets have a happy vibe and are made for the dance floor! Energy and smiles are sure to follow!! You can find him twice a month at La Payote (beach club in Franqui) where he organizes Moon Beach Parties – as well as on Radio Pink City Beat (Radio house on Facebook)!!
2008 He helped to create MAO, distributed by the producer Alex Del Amo of "La Vynilothèque"
2010 He released his first two techno tracks: "Ourazi" and "Colibri" (of which renowned Lyonnais producers D'Jamency did a remix).
2011 He released “Swimming Pool” and "La Goutte" (which appears on the album "Future Techno Classics Volume1") as well as signing to Qubiq Rec record label.
Other deep house, house and tech house projects for 2012 are also underway
Intec Digital / Jesus Loved You // (SLO)
Throughout his youth, Tomy DeClerque witnessed at first hand the development of Slovenia's electronic dance scene. As techno artists such as Umek and Valentino Kanzyani found global recognition and the country's club scene thrived, it presented the perfect opportunity for a young DeClerque to ride the wave. His first foray into the world of production came alongside his long- time friend Zox. Together they had early successes with "My Desire" and "Music Makes Me Happy". The latter being licensed to a number of compilations, was also selected by Pete Tong as the Essential New Tune on his BBC radio show. DeClerque was to take a break from the hectic DJ and producer lifestyle. On his return, it was time to head out solo. His early work for Circle Music, Sprout and Jesus Loved You, brought him much attention and, over the past two years, he has rapidly built a strong following with his work for labels including Intec Digital, BluFin, 1605, Terminal M, Toolroom, Cr2 and more... As a young player, Tomy DeClerque has accomplished a lot. But he is determined to accomplish even more. "You'll hear a lot about me in the future" he promises.
Melizma / All Inn Black // Iasi (ROU)
Dubsons(Vlad&Robert) represents one of the newest project on the underground scene.Despite their age,they started making an own sound with influences from dub,techno,house & detoit.Their first vynil release signed at BodyParts Records was out in october 2012.The prime time side contains two tracks signed by them and the other was signed by their russian friend Stab9.The record received big support from the crowd, reaching 3rd place on Juno Bestsellers.You can hear their innovative sound in mixes from dj’s like: Rhadoo,Raresh,Marco Carola,Richie Hawtin,Nima Gorji,John Digweed,Carl Cox,Cezar,Praslea,Gescu,Kozo,Chris Tietjen.On their last year they have the pleasure to play with Rhadoo,Raresh,Nima Gorji,Federico Molinari,and many others.Year 2013, bring for them some fresh vinyl releases and one of the newest colaborations on the romanian scene with their fellow NuZau.
Off / Bass Culture // Italy (ITA)
Fabio Giannelli was born in 1986 in Italy and started djing when he was 13.
Early influenced by the new electronic sounds he decided to buy the first sequencer at the age of 18 years old and started to increase his attitude in music.
In 2006 he officially entered in the music scene with his first official release and in these years his releases received big support from djs like: Richie Hawtin, Mathias Kaden, Luciano, Luca Bacchetti, Martin Landsky, James Holden, Dave Ellesmere, Laurent Garnier, Danny Tenaglia, Marco Resmann, Tiefschwartz, Dan Ghenancia, Marco Carola, Ripperton, Someone Else, Karotte and so on...
Continuously renewing himself and with an eclectic spirit nowaday he's working for labels like Supernature, Supplement Facts, OFF, International Freakshow, Material Series and last but not least for his own label District Raw.
A lot of new stuff is coming, stay tuned!
GET PHYSICAL - Berlin (DE)
The name Smash TV rings bells internationally. Like a phoenix off the ashtray, Holger Zilske and Kai
Preussner are back to bond their knowhow and skills, always burning the candle at both ends…
Founder Holger Zilske is known for his numerous Smash TV-releases on bpitchcontrol: his albums
“electrified” and “bits for breakfast”, singles like “yellow asteroids” “air/earth” and “locomotive
breath” plus co-writing and co-production for Ellen Allien including the albums “stadtkind”,
“berlinette” and “thrills”. Playhouse, Diynamic and Leena have been recent stations on Holgers path,
always displaying a distinct blend of complex arrangements, gargantuan bass lines and sweat fueled
percussion. Furthermore he’s got collaborations with Miss Kittin, Raz Ohara, Daso, Richard Davis,
Dave dk and remixes for the likes of Claude Von Stroke, Kiki, Miss Kittin, Adam Freeland, Toktok and
Marco Resmann up his sleeve.
Kai Preussner has been silently involved in Smash TV productions since 2001 and collaborated with
Holger Zilske on his highly rated soloalbum “Holz” on Playhouse. now he steps into the spotlight as
the new member of Smash TV. Kai is also known as Citycobra and has just released an EP. with Axel
Boman and Dave DK on Moodmusic and got another one
on Playhouse coming up.
For Holger and Kai, music is not just about the dancefloor, it’s a way of life and a means of
communication on a deep emotional level. This becomes apparent on their latest releases “Baby Got
Me Open” on the “Full Body Workout Vol. 7“ on Get Physical ,the remix of the M.A.N.D.Y. & Matthew
Dear track “Buddies” out on Get Physical in early in February, the “World Wide Wet”-EP on Leena out
in March 2011 as well as their live- & dj-sets, which achieved them the reputation of being the “last
Berghain // Berlin (GER)
Norman Nodge is a resident dj at Berghain since 2005. Being a life long music lover, dj and promoter of his own parties all led up to his current status of Berlin’s secret weapon for serious techno.
Born in East German Leipzig, raised in Brandenburg, Norman got bitten by the techno bug after the wall came down. From 1994 on he promoted several events, which also helped to launch his career as a dj. At these parties, he crossed paths with Marcel Fengler and Marcel Dettmann for the first time and literally became their mentor for all things techno.
At the end of the 90s, Nodge backed out of the local nightlife in order to focus on becoming a lawyer and starting a family. Five years ago, though, Marcel Dettmann pitched him to Berghain’s management and he became a resident instantaneously. Since then, he plays there once a month specialising in the almost forgotten art of warming up at the beginning of a night. In 2005 he also started to produce his own tracks. His maturity proved to be very beneficial in terms of his artistic vision, as he made up his mind about what he likes and what not a long time ago already.
Unsurprisingly, his outings on Dettmann’s MDR label, as well as his track „Native Rhythm Electric“ for OstGut Ton left a deep impression with headstrong techno lovers. With his dusty funk, static hiss and the rich thump of his kick drums, he managed to made himself recognised as one of techno’s more unique auteurs.
Norman Nodge cites Detroit techno (Jeff Mills, Rob Hood, 430 West), Chicago House (Relief, Dance Mania) and Techno (Luke Slater, Peacefrog, Mark Broom) as his most essential influences. Hence, it is not surprising that he fuses the old with the new, the soft with the tough when he plays out. „It is my goal as a dj to make people dance withought walking on trodden paths of recent trends. I want to sensitize dancers for unusual sounds, old and new.“
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.
Innervisions / Sonar Kollektiv // Berlin (GER)
WHEN DIXON ENTERED THE BERLIN CLUB CIRCUIT IN THE EARLY 90’S, HE ESTABLISHED HIS NAME ON THE STRENGTH OF DJING. BACK THEN, CONFIDENCE OR EXPERIENCE BASED ON PUTTING OUT MIXES IN THE INTERNET DID NOT MATTER AS MUCH AS IT DOES NOW. YOU HAD TO DO YOUR PRACTICE, OF COURSE, BUT WHEN YOUR THING WAS GOOD AND TIGHT ENOUGH TO TAKE IT TO THE CLUBS, THERE WERE OPPORTUNITIES TO DO SO. BUT THOSE OPPORTUNITIES MEANT RESPONSIBILITIES. A RESIDENCY DID NOT MEAN PLAYING THE SAME CLUB EVERY ONCE IN A WHILE, IT MEANT PLAYING THE SAME CLUB EVERY WEEK. THE CROWD DID NOT CONSIST OF PEOPLE THAT WANDER IN AND OUT OF CLUB NIGHTS AND ITS GUEST DJS AS THE WEEKLY HYPE COMMANDED THEM, IT CONSISTED OF PEOPLE WHICH HEADED STRAIGHT TO A CERTAIN CLUB NIGHT BECAUSE THEY WERE SURE ITS RESIDENT DJ WOULD DELIVER THE GOODS THIS WEEK AS HE DID LAST WEEK, AND THE NEXT WEEKS TO COME. AS LONG AS THAT HAPPENED, THERE WAS NO NEED TO MOVE ON. YOU MADE YOUR DECISION TO RETURN OUT OF GOOD EXPERIENCE AND YOU STUCK TO IT AS LONG AS IT LASTED.
IN SUCH A CONTEXT, THERE IS NO WAY TO LEARN QUICKER HOW TO BECOME A VERY GOOD DJ THAN BY MAKING PEOPLE DANCE THROUGHOUT A SET THAT LASTS THE WHOLE NIGHT, ON A VERY REGULAR BASIS. IF YOU CAN’T HOLD THE CROWD FOR HOURS THEN, YOU FALL THROUGH. IT IS LEARNING BY DOING, THE HARD WAY. DIXON DID NOT ONLY LEARN VERY QUICKLY, HE LOVED EVERY MOMENT OF IT. STARTING OUT LOW, SLOW, UNFOLDING THE FLOW, WORKING TOWARDS A PEAK, THEN WORKING TOWARDS ANOTHER, TURNING UP, TURNING DOWN, TO FIND THE EXACT POINT FROM WHICH TO SWING MOODS, TO FIND THE PERFECT WAY TO END WHAT SHOULD BE A LASTING EXPERIENCE. ONCE YOU PASSED YOUR EXAMS IN THE NIGHT CLUB SCHOOL OF THAT ERA WITH DISTINCTION, YOU CAN RELY ON IT FOREVERMORE, AND DIXON SURELY DID. HIS RESIDENCIES THEN AND NOW ARE OBVIOUSLY SCHOOLED ON THE STYLISTIC AND TECHNICAL VERSATILITY AND SKILLS, ATTITUDE, STAMINA AND EXPERIENCE BASED ON COUNTLESS NIGHTS HONING WAYS TO DIRECT A LOYAL CROWD ON THE DANCE FLOOR AT WILL. HOURS SPENT TO FIND AND SELECT THE RIGHT MUSIC TO ACHIEVE THE LEVELS OF INTENSITY NECESSARY, HOURS SPENT TO PLAN THE IMMINENT NIGHT’S STRUCTURE AND PROCEEDINGS, AND THEN HOURS SPENT PUTTING IT INTO ACTION. DIXON WAS ALWAYS MORE THAN HAPPY TO SPEND THIS MUCH TIME ON HIS NIGHTS, BECAUSE HE TAKES HIS PROFESSION SERIOUSLY. IT IS EXACTLY WHAT MATTERS MOST TO HIM. HE HAS ALWAYS BEEN AND HE ALWAYS WILL BE A DJ FIRST. THIS IS THE MISSION HE EMBARKED ON, NO END IN SIGHT.
KEEPING ALL THIS IN MIND, IT COMES AS NO SURPRISE THAT DIXON EXTENDED HIS MERITS BEYOND THE CLUB BY A MEDIUM CLOSELY CONNECTED TO THE DJ CRAFT. HE COMPILED AND MIXED THE OFF LIMITS COMPILATIONS, WHICH BECAME VERY POPULAR AND INTRODUCED HIS IMPECCABLE STYLE OF MIXING TO A PUBLIC RECEPTION WAY BEYOND THAT OF THOSE WHO HAD ALREADY HEARD HIM PLAY IN A CLUB CONTEXT. LATER HE BRANCHED OUT TO EVEN MORE SUCCESS BY DOING A HIGHLY INFLUENTIAL MIX COMPILATION FOR THE GET PHYSICAL LABEL’S BODY LANGUAGE SERIES, A MIX CD THAT HAS INSPIRED PEOPLE ALL OVER THE WORLD. THESE RELEASES WERE INTENDED TO SHOW THE SINCERE DEDICATION DIXON HAS TO HIS PROFESSION, AND THEY EVIDENTIALLY DO.
THE A & R AND LABEL WORK
HOWEVER DECIDED DIXON WAS TO FOLLOW THE PATH OF HIS CHOICE THROUGHOUT HIS CAREER, HE CERTAINLY WAS NOT INSISTENT ON TRAVELLING ALONE. HE USED EVENTS TO INTRODUCE FOREIGN DJS TO BERLIN CROWDS, RAISED HIS PROFILE BY PROVIDING MEMORABLE SUPPORT SLOTS IN THE PROCESS, AND CONTACTS WERE MADE. HE GOT TO KNOW LIKEMINDED SOULS FROM ALL OVER THE GLOBE, AND HE TRAVELLED ABROAD HIMSELF, AND HIS REPUTATION GREW FURTHER. MEANWHILE BACK HOME, HE MADE BONDS WITH JAZZANOVA AND BECAME INVOLVED WITH THEIR VIBRANT SONAR KOLLEKTIV LABEL. NEVER THE ONE TO SHY AWAY FROM CHALLENGE, DIXON MADE HIS FIRST FORAY INTO LABEL AND A & R WORK WITH RUNNING SONAR KOLLEKTIV’S SUBLABEL RECREATION RECORDINGS, WHERE HE SET UP A TESTING GROUND FOR HIS PERSONAL VIEW ON HOUSE. HE INTRODUCED ÂME IN THE PROCESS, TWO COMRADES FROM THE TRADITIONALLY STRONG DEEP HOUSE SCENE OF SOUTHERN GERMANY, WHOM HE BROUGHT TO THE SONAR KOLLEKTIV STABLE, ONLY TO OBSERVE THAT THEY PULLED IN THE KUDOS FOR THEIR MUSIC VERY QUICKLY.
IN 2005, THE REIGN OF MINIMAL SOUNDS IN CLUBLAND WAS GAINING MOMENTUM AS MUCH AS HOUSE LOST IT, AND MORE SOONER THAN LATER DIXON CAME TO THE CONCLUSION THAT THERE HAD TO BE A WAY TO MAINTAIN HIS PREFERRED SOUND WHILE SO MANY DJS AND ARTISTS WERE REDUCING THE MUSICAL INGREDIENTS OF THEIR OUTPUT. THE CHOICE WAS SIMPLY EITHER TO ADAPT OR TO REBUILD. DIXON DECIDED FOR THE LATTER AND TOOK THE NEXT STEP WITH ANOTHER SONAR KOLLEKTIV SUBLABEL CALLED INNERVISIONS, WHICH HE FOUNDED WITH ÂME. IT WAS CLEAR FROM THE BEGINNING THAT THIS LABEL WAS INTENDED TO MAKE A DIFFERENCE, AND IT WAS CLEAR FROM THE BEGINNING THAT ALL THE CONNECTIONS DIXON MADE WITH LIKEMINDED SOULS SHOULD COME INTO FRUITION WITH IT. IT WAS A PLATFORM THAT WAS THOUGHT OF TO KEEP UP THE HOUSE TRADITION ALL THOSE INVOLVED STAYED SO FAITHFUL TO OVER THE YEARS, BUT IT WAS ALSO THOUGHT OF TO BREATHE SOME FRESH AIR INTO IT. AND SO IT DID. DIXON’S FAMOUS REWORK OF TOKYO BLACK STAR’S BLADE DANCER KNOCKED ON THE DOOR, AND ALREADY THE SECOND RELEASE, ÂME’S FUTURE CLASSIC REJ EP, WAS BREAKING RIGHT THROUGH IT. THE FOLLOWING RELEASES BY BEFRIENDED ARTISTS CONFIRMED THE ALMOST INSTANTLY GOOD REPUTATION OF THE IMPRINT AND WITHIN A SHORT TIME IT BECAME OBVIOUS THAT SOMETHING WAS ACHIEVED THAT NOT ANY LABEL COULD ACHIEVE: A SOUND WAS INNOVATED AND AN IDENTITY, WHICH BEGAN TO SEEP THROUGH THE SCENE, AFFECTING THE WAY OTHER LABELS RECRUITED AND PUBLISHED THEIR ROSTER. WHILE BEING DEVELOPED ON THE BACK OF A LONGSTANDING TRADITION, INNERVISIONS KICKED HOUSE BACK INTO FOCUS, AND MANY OTHERS WERE HAPPY TO JOIN IN, EITHER AGAIN OR FOR THE FIRST TIME. ALWAYS INTERESTED IN PRODUCING SOME ADDED VALUE TO A GOOD THING, DIXON SOON USED THE SUCCESS TO PUT OTHER IDEAS INTO ACTION. THE LABEL WAS PARTED FROM THE SONAR KOLLEKTIV MOTHERSHIP AND BECAME INDEPENDENT, AND THE TRADEMARK ARTWORK OF THE LABEL WAS GETTING CONNECTED WITH SOUGHT AFTER FASHION AND DESIGN ITEMS, CAREFULLY CONCEIVED TO MEET THE HIGH STANDARDS OF THE INNERVISIONS CAMP AND ITS SUPPORTERS.
THE PRODUCER & REMIXER
THE RELATIONSHIP WITH SONAR KOLLEKTIV HELPED DIXON TO FULLY TAP INTO AREAS HE HAD NOT FULLY EXPLORED BEFORE, AND HE FELT CONFIDENT ENOUGH TO DO SO. IN SHORT, DIXON EXTENDED HIS IDEA OF HOUSE BEYOND DJING, AND APPLIED IT TO OTHER PEOPLE’S WORK. AND IN CONTRAST TO HIS PUBLIC DJ PERSONA HE DEFINED HIS ROLE IN FIELDS LIKE PRODUCING AND REMIXING THIS TIME AS THE ONE WHO STAYS OUT OF THE SPOTLIGHT, HELPING TO SHAPE AND REDEFINE SOUNDS AND ARTISTS FROM HIS LONGSTANDING EXPERIENCE, KNOWLEDGE AND TASTE. FIRST, A STRING OF ACCLAIMED REMIXES ENSUED, REMODELLING THE MUSIC OF THE LIKES OF FEMI KUTI, ATJAZZ, KEMETIC JUST AND A WHOLE PLETHORA OF ARTISTS ON THE DEEP END OF SONAR KOLLEKTIV AND AFFILIATED LABELS LIKE COMPOST, WAVE, YELLOW PRODUCTIONS OR NUPHONIC. THE INVOLVEMENT WITH RECREATION RECORDINGS ALSO GAVE HIM THE OPPORTUNITY TO SHARPEN HIS SKILLS AS AN EXECUTIVE PRODUCER IN THE CLASSIC SENSE OF WORKING WITH OTHER ARTISTS, ARRANGING, DISCUSSING, TWEAKING, ADVISING, EDITING AND ESPECIALLY PUSHING TRACKS TOWARDS THE NEEDS OF SOPHISTICATED DANCEFLOORS. MANY NIGHTS ON THE DECKS HAD GIVEN HIM A GOOD FEELING AND INTUITION FOR WHAT COULD HELP THE MUSIC HE DEALT WITH, AND SO HE LENT HIS KNOWLEDGE TO ARTISTS LIKE CLARA HILL AND OF COURSE GEORG LEVIN, A VERY TALENTED SINGER AND SONGWRITER. HE PROVED TO BE A PERFECT COMPANION FOR THE PROJECT WAHOO, AND AS BY NOW THINGS TENDED TO FALL INTO PLACE AS THEY WERE THOUGHT TO BE, IT ALSO BECAME A MASSIVE SUCCESS. TRACKS LIKE MAKE ‘EM SHAKE IT FULFILLED THEIR UNASHAMEDLY APPEALING HIT POTENTIAL, AND A WHOLE FINE ALBUM FOLLOWED, SHEDDING LIGHT ON THE PAIR’S OTHER MUSICAL PREFERENCES BESIDES HOUSE, LIKE MODERN SOUL, REGGAE AND EVEN ROCK.
WHEN INJURIES KEPT YOUNG STEFFEN “DIXON” BERKHAHN FROM WHAT MIGHT HAVE BEEN A FOOTBALL CAREER, HE TOOK TO MUSIC. LOOKING BACK, THAT WAS A SMART MOVE. OF COURSE HE LATER RETURNED TO THE GAME, BOTH AS PLAYER AND CHAIRMAN OF HIS BELOVED FC MAGNET MITTE. BUT NEVER MIND THAT NOW, LET’S STICK TO THE MUSIC. WHEN DJ DIXON, AS HE THEN WAS KNOWN, ENTERED THE CIRCUIT IN THE EARLY 90’S, THE MUSIC DOMINATING BERLIN’S CLUBLAND WAS RELENTLESS. THOSE WERE THE DAYS WHEN THE CITY’S WELL DOCUMENTED LEGACY AS TECHNO MAINSTAY WAS FORMED. MAYBE SURPRISING TO SOME, DIXON DELVED INTO BREAKBEATS FIRST, AND MADE HIS FIRST APPEARANCES PLAYING AT EVENTS ORGANIZED BY ATARI TEENAGE RIOT. AND HE WAS A TEENAGER HIMSELF. AND TEENAGERS TEND TO DISCOVER WHAT THEY REALLY WANT VERY QUICKLY. AND WHAT DIXON DISCOVERED WAS HOUSE. HE VERY MUCH TOTALLY FELL IN LOVE WITH IT. WHAT DIXON ALSO DISCOVERED WAS THAT HIS CONCEPT OF HOUSE DID NOT NECESSARILY MATCH THE CONCEPT OF HOUSE OTHER DJS HAD, AND IT CERTAINLY DID NOT MATCH THE RELENTLESSNESS MENTIONED ABOVE. DIXON IS A SOULBOY AT HEART, BUT HE DOES NOT LIKE HIS SOUL SCREAMING IN YOUR FACE. HE LIKES HIS SOUL TRUE AND PURE. IT WAS THE FIRST AND NOT THE LAST TIME THAT DIXON FELT HE DID NOT REALLY BELONG TO THE PROCEEDINGS. HIS STYLE OF PLAYING WAS TOO DEEP AND STRIPPED FOR THE RULING GARAGE POMP OF THE GAY HOUSE SCENE, YET NOT BANGING ENOUGH TO MEET THE DEMANDS OF THE TECHNO RAVERS. NEVERTHELESS DIXON DECIDED TO STICK TO HIS IDEA OF HOUSE, ALSO THE FIRST BUT NOT THE LAST TIME. AND HE WAS AROUND, DEVELOPING HIS SKILLS AND STYLE AT CLUB LEGENDS LIKE E-WERK, TRESOR, TURBINE AND WMF’S SEMINAL AUDIO VIDEO DISCO NIGHTS. IN 2005, DIXON FOUNDED INNER CITY, A MONTHLY NIGHT AT BERLIN’S SEMINAL WEEKEND CLUB THAT SERVED TO GIVE DIXON BACK THE OPPORTUNITY TO PLAY LIKE HE COULD PLAY WHEN HE STARTED OUT PLAYING. IT WAS OBVIOUS TO ANYBODY ATTENDING THAT THE CLUB WAS MORE THAN LIBERATING. DIXON USED THE POSSIBILITIES OF HIS NEWLY FOUND FREEDOM TO FULL EFFECT, CONSTRUCTING MARATHON SETS THAT SOOTHED THE CROWDS, AND LATTER WHIPPED THEM INTO A FRENZY UNTIL SUNRISE AND FURTHER. SOON THE OTHER INNERVISIONS DJS AS WELL AS ILLUSTRIOUS GUEST DJS JOINED THE PARTY, AND INNER CITY BECAME A GUIDING LIGHT FOR ALL THINGS HOUSE, AS ATTENDING CLUBBERS, DJS AND PRODUCERS SPREAD THE WORD FAR BEYOND BERLIN’S CITY LIMITS.
Get Physical, Toolroom, Rebirth, Copenhagen (DNK)
used to be two and now it's one. Norwegian DJ & producer Mikkas is flying the
Djuma Soundsystem flag solo these days. The spirit of production and DJ style
remains the same. That trademark of warm beats and melodies is alive and well both
in the studio and on the road. The sound is between tech house, house, disco, and
techno, with a lot of personality and humanity involved. This is music, and not just
grooves! It's catchy, but still underground and it can entertain a festival going mad, as
well as an intimate club.
Djuma Soundsystem had a major radio and club hit with "Les Djinns" (the single
biggest selling track on beatport.com) and has proved to be much more than a one
off, with releases like "This sound", "Atilla", "Small fries", "Zillion lights", "Bipolar",
"Blizzard" and "Stoli", on well known indie labels, like Get Physical, Rebirth, Soundz,
IO and Tool Room. They have been remixed by Uner, Tiger Stripes, Trentemøller,
Martinez & Moby, to name but a few and Djuma Soundsystems music has been
charted and supported by all the major tech house DJ's.
As Djuma Soundsystem, Mikkas has toured the world many times and played some
of the best venues and crowds out there, clubs like The End (London), Space (Ibiza),
Zouk SG (Singapore), Blue Frog (Mumbai), Kazantip (Ukraine), Villa (Oslo), Hardpop
(Juarez), Nevermind (Sydney), Cielo (NYC), Stadium (Jakarta), Space (Miami),
Watergate (Berlin), Kristal (Bucharest), or festivals like Fusion (Germany), Roskilde
(Denmark), Reworks (Greece), Universo Paralello (Brazil), Hove (Norway), Free Fat
Festival (Ukraina), Exit (Serbia), and the biggest gig of all - playing the last hour
counting down to midnight at Baha beach in Rio on new years eve 2009, - in front of
close to a million people!
... there's plenty gold left in the Djuma vault, and new tracks on the way!
Dame Music / Contexterrior - Berlin (fr)
Always on the lookout for new sounds and fresh music, the sets of this French-born,
Berlin-based Dj provide a fine example of what is happening at the moment.
With the explosion of the minimal scene, Mary adds to hit her very own touch.
She continuously expresses her love for the German sound every time she takes the
Bloody Mary grew up in the region of Aix en Provence. Her favorite musical genre
was new wave until she went to her first rave party and discovered the world of
electronic dance music. This revelation inspired her to give it a go herself, and she
did her first gig in Marseille only one year after acquiring her first pair of turntables.
Bloody Mary soon got booked all over the South of France, establishing herself as
a strong figure on the techno scene.
2005: Bloody Mary held a monthly residency at Studio88 (Aix en Pce). Her
subsequent move to Berlin took her career to an international level. She regularly
played in various cities and clubs in Germany (Watergate Berlin, Harryklein
Munich...) and Europe (The End London, Rex Club Paris, Cassero Bologna...).
This was only the beginning of her productive career.
2006: Having already focused on her Djing abilities, she set up her studio to make
tracks that will go along the lines of her favorite label! This led to her debut release,
"Apparence" on Sender Records.
2007: As a producer, she had her second release on Sender in addition to remix for
Nomor Records. As a DJ, she expanded her territory, which now includes South
America (Mexico, Ecuador, Colombia...) and North America (NYC).
DYSTOPIAN // Berlin (GER)
It can also be seen metaphorically that the fall of the Wall just happened in the year of birth of the 24-year-old. It symbolizes, too, the meeting of two forces, two trends which are reflected in the life of the young artist.
From House, Dub and Techno of all decades and seasons he creates something that can be called the essence of electronic music. In his DJ-sets, which are deep, last several hours and give you the feeling of being on another planet, he can live his melancholic, introverted side. At the same time, his pulsating mood sweeps are electrifying, which characterize his personality as well as his productions.
With the team DYSTOPIAN has he not only found comrades-in-spirit. He has also found a platform of his music style and the possibility of performing on the own shows in Berlin and all over Europe since the last year.