Shibuya's largest countdown festival is celebrating the Olympic Year 2020 in the middle of Shibuya,
a venue called Bellesalle Shibuya Garden, with a strong lineup,
that Artists and Dj's appeared in the world's top music festivals, such as Coachella, Tomorrowland, and Burning Man!
And more Headliners & Co-headliners, Support acts, artists will be listed very soon.
TICKETS ON SALE NOW
The Venue
BelleSalle Shibuya Garden Address: 16-17 Minami Nanpeidaicho, Shibuya-ku, Tokyo 〒150-0036 Sumitomo Fudosan Shibuya Garden Tower 1F, B
* Please make sure you have an official ID to confirm your name, age and face photo.
Please note that if you do not provide an Offical ID, your entry will be refused and the ticket's fee will not be refunded.
* Visitors under the age of 18 can only enter with parents. Admission without parents is prohibited.
* Customers under 18 years of age are required to leave at 21:00 by the regulations even if a guardian accompanies them.
* There will be no refunds due to the artist change.
* A separate drink fee (1000 yen) is required.
Since they first burst onto the scene with the release of their classic debut album Melody A.M back in 2001, Norwegian electronic music overlords Röyksopp have only released three further studio albums. First came 2005’s more experimental The Understanding, then 2009’s extrovert, pop-lead Junior followed swiftly by its more introvert sister album, Senior. That was back in 2010. Four years later, however, and following a burst of creativity instigated by personal upheaval and the general living of lives they’re about to release their second album in the space of six months – following Do It Again, their collaborative mini-album with fellow Scandinavian legend, Robyn – in the shape of the multi-faceted, The Inevitable End.
“We feel there’s a lot of music out there that just doesn’t have any identity – something that we really strive for in our music,” says Torbjørn of the time it takes between releases. “We don’t feel like we’re in any hurry; we intend to make music we cannot find elsewhere – which is both ambitious and time consuming” agrees Svein. “And we also want our music to have longevity, therefore we always seek to produce and engineer it in a way that steers clear of generic production trends.”
As with most things Röyksopp do there is a multi-faceted reason behind the album’s title, The Inevitable End. While they’re keen to point out that it doesn’t mark the end of Röyksopp, they do see it as their final album. “We feel like this is a goodbye to the traditional album format,” explains Svein. “In our consecutive run of albums, we have been able to say what we want to say and do what we want to do with the LP. We’re not going to stop making music, but the album format as such, this is the last thing from us.” Having now created five complete bodies of work, the pair feel like the future is open to being more experimental with how they share their music, be it with EPs, one-off singles or something more visually focused. “With Melody A.M we felt like we established our own voice and take on electronic music. Then, with The Understanding, we wanted to move slightly off-centre and experiment more – without losing what is uniquely identified as Röyksopp. With Junior we wanted to be a bit more extrovert, focusing on vocals and youthful energy. With Senior, we wanted to flip it around completely; instrumental, introvert and hidden,” continues Svein. “With The Inevitable End we’ve moved into a darker subject matter, with emphasis on the lyrical content. This candid approach feels very both personal, sincere and conclusive.” “With this album it became clear we wanted to make an album in a classical sense even if it’s the last one we make,” adds Torbjørn. With a story running from the opening, fuzzy electronics of Skulls – with its teasing “if you want to ride” mantra – to the closing, fan-dedicated Thank You, this is an album to be enjoyed from start to finish; a complete story that takes you from A to Z.
The title also relates to the album’s core themes of loss (be it emotional or physical), the passing of different eras in people’s lives and the effects of conflicting emotions, themes that are showcased exquisitely in Monument (T.I.E. Version), the epic collaboration with Robyn that acts as bridge between Do It Again and The Inevitable End’. Re-worked for this album, its power is even more magnetic. “I think it’s fair to say that the two records are dwelling on the same themes. This album has a strong lyrical content and I think that’s more evident than on any of our other albums – I guess writing songs and working closely with Robyn has had an effect,” says Svein. “Without being too gloomy or dark, there’s been turmoil in our lives. And prior to making Do It Again, Robyn was in a similar space, which is one of the reasons why we’re so compatible.” With the two records being worked on simultaneously, The Inevitable End may share a similar headspace to Do It Again, but this is very much a quintessentially Röyksopp album, even if that definition is itself brilliantly malleable. “We’re always looking to push certain boundaries, but there’s something there that’s been there all the time and that binds it altogether,” explains Torbjørn. “We’re not keen on repeating ourselves.”
So while the opening track Skulls feels like a classic Röyksopp song – all squelchy bass lines, filtered synths and vocodered, yet soulful vocals – the album also takes in sophisticated, delicate heartbreak on the Man Without Country collaboration Sordid Affair; odd, shape-shifting ambience on the Robyn-featuring Rong; bouncing electro pop on the deceptively upbeat Save Me (featuring regular contributor Susanne Sundfør on vocal duties) and the deliriously sad, cry-on-the-dancefloor classic, I Had This Thing, one of four collaborations with Jamie Irrepressible. In fact, as with all their albums, the importance of picking the right vocalist for each song was paramount. “We always want to find the right voice matching the specific sentiment of a track,” states Svein. “And the people we’ve been fortunate enough to work with, are people who not only possess brilliant vocal abilities individually – they also in their own unique way, bring their own universe with them,” he continues. “We are inviting them to collide their universe into ours. It’s not about having a voice for hire. We want the people we work with to feel like they can involve themselves to the fullest – it’s about finding the perfect voice for our state of mind,” adds Torbjørn.
At the core of the album is this universal sense of conflicting emotions and choice; in pursuit of fulfillment, how far can you go? Should one heed one’s conscience or succumb to one’s desires – albeit the moral ramifications? And then there’s doubt and denial. And the battle between reason and desire, that’s summed up perfectly on I Had This Thing as Jamie softly flits between the lines “I still don’t know just what I’ve done” and the emotional final mantra of “I never meant to let you go” while a cavalcade of electronic textures descends around him. But while the lyrics deal with darker themes, this isn’t a musically introspective album. This is a cohesive, fully realised electronic symphony from a pair of production geniuses constantly looking to innovate. “Senior, for example, is very introspective; both secret and raw production-wise. The Inevitable End, on the other hand, has a very clean and crisp production in comparison,” explains Svein. “We wanted this pristine surface to act as a contrast to the grittier subject matter that lies beneath. At first listen, one might get the impression that T.I.E is a place of solace and bliss. But if you pay attention to the lyrics, you’ll tap into the somber undercurrent running through it all – as if the music is bleeding. This is not a dance album at all. This is home listening as far as we’re concerned. It’s headphones music.” All you need do is pop them on, sit back and let Röyksopp take you into their own special world again.
UMEK is personally responsible for kickstarting the electronic music
scene in his home country by first organizing illegal raves and then
becoming one of Slovenia’s most wanted export products and number
one music ambassador to the whole world.
And he does fly! Around 100 times per year, visiting almost every
continent each year. His gig diary ranges from dark underground clubs
in Berlin to massive techno stages on world’s most renowned festivals.
Apart from making his name in the DJ booth, he’s also a tireless producer.
He mostly releases on his own imprint 1605, where he often gives the
opportunity to talented producers, unknown to the broader public. His
signature sound as well as his label’s production can regularly be heard
on UMEK’s widely popular weekly radio show Behind the Iron Curtain,
which is now featured on more than 150 radio stations across the world.
Two-time Grammy Award Nominated Felix Da Housecat launched Founders Of Filth in Montreal in 2017 as a forward thinking label where no rules apply. Detroit born, Chicago bred Felix has reached dizzying heights over his career with countless productions as Felix Da Housecat, Aphrohead, Thee Madkatt Courtship, Thee Maddkatt Courtship III, and Rocketmann. He has collaborated with Diddy, James Murphy (LCD Soundsystem), Miss Kittin, and Lee 'Scratch' Perry, remixed Nina Simone, Marilyn Manson, Madonna, Garbage, and Kylie Minogue, and performed as a DJ at Glastonbury, Coachella, Exit, and Tomorrowland.
The Guardian - “The flamboyant Chicago house doyen”.
The Fader - “A House Pioneer…”.
FOUNDERS OF FILTH releases include tracks from Felix Da Housecat, Felix's techno alias Aphrohead, Montreal producer Clarian, and legendary Chicago vocalist Jamie Principle. Founders Of Filth Classics releases include re-issues of Felix's classic albums 'Kittenz and Thee Glitz' and 'Devin Dazzle & The Neon Fever', singles 'Silver Screen (Shower Scene)', 'Ready To Wear', 'Madam Hollywood', and ‘Jack U’, and remixes from Armand Van Helden, Royksopp, Soulwax, Jacques Lu Cont, Laurent Garnier, Tiga, Ladytron, and Sasha. The label has received accolades from Billboard, Mixmag, Resident Advisor, and DJ Mag, and radio support from BBC Radio 1, Triple J, Capital Xtra, and KCRW.
Known to have a golden touch when it comes to dance floor destroyers, Noferini is a shining example that true talent rises to the top.
A long time champion of house music in all its forms, Stefano has been building his legend for some time. Always innovating sounds and crossing into a broad range of genres has been a key factor in his well-deserved rise. Never one to stagnate, Stefano has merged all the musical elements at his disposal into a brilliant sound experience that no one can match.
Hailing from Italy, Stefano Noferini is one of the nations most respected DJs and producers. Having been a pivotal force in Italy’s burgeoning house music scene with his national radio show, Stefano forged a musical symbiosis with his homeland that still exists today. Years of top productions have cemented his status at the top of the dance music food chain. One peek inside ANY DJs CD wallet and you can bet they’re packing something from this hit maker.
Technical prowess notwithstanding, Stefano Noferini is truly a DJs DJ. When he takes charge of the wheels of steel, everyone is absorbed in the musical journey. Fellow DJs, who would normally hide in their dressing rooms, are always sure to catch Stefano if they share the bill with him. Something magical happens with Stefano on the decks, a real energy takes hold and people get connected to music in a way that is beautifully pure. If you want to lose yourself in music, Stefano is for you!
Of course, Stefano is also a top seller on Beatport, holding numerous #1 positions in just about every genre they have. His original music and remixes are charted heavily by a diverse range of talented DJs both of the commercial and underground variety. He’s also been named Beatports “Breakout Artist of the Year” in 2010, and was nominated as their “Artist of the Year” in 2011. He has even crossed into a more commercial territory by overtaking artists like Pitbull, Shakira, Lady Gaga and Beyoncé to score a #1 hit on Billboard’s Hot Dance chart.
On the clubbing circuit, Stefano Noferini is a top draw. Ministry of Sound, Euphoria, H20, F-135, Space Miami, Space Ibiza, Cocoon Frankfurt, Lief Festival, Sankeys and Row 14 have all seen Noferini pack the house on any night he plays. His infectious driving rhythms and brilliant command of the music he plays keeps people dancing until the very last beat drops. And then they want more!
It seems there is only an upward momentum swirling around this incredible talent, but the man at the center of it all stays humbled by all the attention. He continues to expand his global reach by growing his well-known radio program, Club Edition, into new territories each month. The show currently is heard by millions of people in some 15 countries worldwide. His imprint, Deeperfect Records is bringing superior sounds to the masses with sexy tech inspired grooves penned by today’s most relevant producers: Stefano Noferini, Wally Lopez and Paolo Mojo to name a few. It is one of the most respected dance labels today, no question.
But it’s Stefano’s incredible DJ sets that keep fans clamoring for more from this innovative Italian master. While other DJs just mix music, Stefano Noferini takes the art of the DJ to a whole other level. Stefano has the ability to tap right into our primal need to dance, you may miss the subtle expertise filling your mind with proper house grooves, but your body will hail the call, understand, and you’ll be dancing like you’ve never danced before.
Paolo Alberto Lodde aka Dusty Kid is undoubtedly one of his country’s most exciting electronic music exports. A native of Sardinia, Italy, Lodde is a classically trained musician and an individual who approaches house and techno like few others in his field.
A live act of considerable distinction, he first emerged in the mid ‘00s courtesy of a string of rapturously received releases, the likes of which helped breathe new life in to a scene that was then preoccupied with monotonous, over-hyped minimal sounds. With the benefit of hindsight, Dusty Kid’s emergence was one of many sparks that helped usher in a whole new era of genuinely exciting, intricately produced electronic music that remains to this very day.
An early embracer of all things musical, Lodde started playing the piano at age 4. By 10, he was studying alongside students almost twice his age. However, it was when he swapped the piano for synths and sequencers that his take on music took on a whole new approach. Heavily influenced by the likes of Jeff Mills, Underground Resistance, Jam & Spoon and Daft Punk (and free from what he perceived as the constraints of the piano), he began producing his own electronically-inclined compositions, with his first single, ‘I Found a Reason’.
Boasting a nimble, dexterous and always scrupulously-produced sound aesthetic, his unique way of working quickly brought him to the attention of globally-esteemed labels a la Boxer, Systematic, Southern Fried, Bpitch Control, Suara and Mau5trap, with tracks such as ‘Kore’, ‘Milk’, ‘America’ and ‘Lynchesque’ quickly cementing his name into the hearts and minds of the global electronic music scene.
Alongside his solo releases, Dusty Kid is also an impressively consistent remixer, putting his own stamp on music by the likes of Moby, Armand Van Helden, The Pet Shop Boys, Booka Shade, Robyn and Simian Mobile Disco over the years.
An endlessly consistent purveyor of up-front club fare, Lodde is just as comfortable producing techno-focused records as he is more pop-orientated records, a way of working that’s in keeping with his refreshingly unpretentious take on music.
A truly versatile musician who’s never been shackled by convention, it’s Dusty Kid’s eclecticism and ability to embrace new sounds that means he continues to stick out from the crowd. A musician who continues to electrify and innovate at a rate that would make most of his peers blush, Dusty Kid truly is a talent worth embracing.
AutoKratz are a London based electronic duo composed of David Cox and Russell Crank. They have released on both French electronic label Kitsuné Music and their own imprint Bad Life.
After having released a string of well received singles plus remixes for the likes of La Roux, Alex Gopher, Fischerspooner and Underworld, in 2008 they released their debut mini album, Down & Out In Paris & London. It received critical acclaim across a wide variety of publications including the NME. Their latest single Stay The Same, reached number 1 in DJ magazine Hype Chart. In July 2008 it was reported in the Daily Star newspaper and NME.COM that they had become involved in an altercation with Sex Pistol John Lydon when both were playing at the Live At Loch Lomond event. Lydon is alleged to have demanded AutoKratz get out of the car they were in as he preferred it to the one he was given.
Their first full length Album Animal was released in June 2009 which also received favourable reviews from various publications including IDJ which gave it 10/10, Mixmag (Album of the month), Artrocker Clash Magazine and the Financial times... Techno legends Underworld asked them to support them over two nights at Brixton Academy in November 2008. Since then AutoKratz have supported The Prodigy in Tokyo and completed their first Australian tour as part of the Parklife festival alongside La Roux, Busy P, A-Trak, Tiga and Crystal Castles. In October 2009 they embark upon a 6 week headline tour around Europe in support of their album.
In the inaugural triple j vs Parklife indoor soccer match on September 29, 2009, Russell Crank (who was playing as goalie for Parklife at the time) caused the loss of his team by letting the ball roll slowly in to the net during extra time. The final score was triple j - 4, Parklife 3. Players of the Parklife team included Lady Sovereign, Tiga, Busy P, AutoKratz and Art vs. Science. Players on the triple j team included Scott Dooley, Jude Bolton, Dave Williams, Danielle Brogan and triple j listeners. Throughout 2010 they continued to tour across the world, with highlights including Wireless Festival in London and Melt Festival in Germany.
AutoKratz second album 'Self Help for Beginners' was released on 20 June 2011. It received a range of great reviews including 4/5 in Q Magazine, who said of the album "Superclub dancefloors are safe in London Duo's hands....dealing in peak time pop nuggets welded to Terminator style-backbones". The first single taken from the album was 'Opposite of Love' which premiered on BBC Radio 1 with Jaymo & Andy George. The album saw the band collaborate with some of their heroes including New Order bassist Peter Hook, Primal Scream guitarist Andrew Innes and Primal Scream & Kasabian producer Jagz Kooner. Peter Hook featured on the second single to come off the album "Becoming the Wraith", and he joined the band on stage to perform the track at Summer Sonic festival in Tokyo. Of the collaboration Hooky said “I was delighted to be asked by AutoKratz and knowing their music I understand why. The song was great before I even touched it. I just put the icing on the cake so it was a real pleasure.”
In late 2011, the AutoKratz track Stay The Same featured in the motion picture '50/50' with Seth Rogen and Joseph Gordon-Levitt. With the growing success of their label Bad Life, the latter part of 2011 saw AutoKratz return to releasing more club-centric tracks and adopting a sound which combined elements of electro and techno. The 'autoKratz present Bad Life #1' EP featured tracks Heart Attack Man and Sucker Sirens, and became Mixmag's Electro Tune of the Month for January 2012. This was followed by 'Faith', a collaboration with Lee Mortimer, which also received the Mixmag accolade for February 2012, as well as becoming DJ Magazine's Tune of the Month. Both releases received extremely favourable DJ support worldwide finding their way into the playlists of Style of Eye, Mumbai Science and Benny Benassi.
They became part of a burgeoning new scene know as Future Techno and early 2012 also saw the release of 'AutoKratz present Bad Life #2' which cemented the bands intention to continue making progressive electronic music. They also developed a more techno inspired live show for their first Bad Life label tour in Spring 2012.
Michal Smetana aka DJ Slater is label/booking manager and A&R of internationally well-known electronic music label Tribal Vision Records and at the same time one of the most renowned Czech DJs abroad.
His carrier started in the late 1990's, during the big boom of dance music in Prague. In the last decade he performed at countless parties and festivals across the globe, held in almost all the European countries from Portugal to Russia, Sweden to Greece and everywhere in between, as well as oversea locations such as Japan, Brazil, USA, Canada, Australia, China, Mexico, Israel, Turkey, Morocco, Tunisia or Chile. You might have already heard his sets at huge international festivals such as Boom (PT), Glade (UK), Fusion (DE), Ozora (HU), Freedom (PT), Voov Experience / VuuV (DE), Aurora (GR), Soulclipse (TR), Sonica (IT), Virada Cultural (BRA), Antaris Project (DE), Akasha (AUS), Antiworld (UK), Tribal Park (MEX), Spirit Base (AT), Atmosphere (CH), Sundance (MEX), Enigma (BRA), Sol (SP), The Equinox (MEX), Paradise (AT) or Fullmoon (DE) as well as the prestigious clubs in Shanghai, Tokyo, New York, London, Tel Aviv, Los Angeles, Paris, Mexico City, Sao Paolo, New Delhi, Berlin, Osaka, Moscow, Lisbon and many other places. These days, DJ Slater is playing a unique fusion of progressive trance and psychedelic techno, always including a lot of fresh new stuff from label related artists.
DJ Slater has been also collaborating with different artists in the studio on brand new tracks and remixes and as a result there were releases coming out recently - including well-known hits King of the Night, Virus, Springish, The Clap, East Block, Virada, King of the Day, Prague Full of Snakes or remixes for artists such as Vibrasphere or Jaia. His tracks have been remixed by heavy weights such as Jerome Isma-Ae, Beckers, 16 Bit Lolitas, Manuel De La Mare, Koen Groeneveld, Andrea Bertolini, Perfect Stranger, Ticon, Fiord, Komytea, Magitman, Weekend Heroes, Ben Coda or Lish. Slater has also compiled more than 30 CDs for various labels around the world and as a creative director of Tribal Vision Records he is to be found behind the album releases of artists such as Vibrasphere, Jaia, Brisker & Magitman, Peter Gun, Tegma, Duca, AstroNivo, Solid Snake or Fitalic and countless singles and EPs.
Besides his regular dj sets, Slater is also performing with his live project DJ Slater & U-Prag Drummers, consisting of Akai APC 40 controlled Ableton Live, keyboard, different sets of live percussion, cello and other live instruments.
Miss Monique is possibly the most recognised female Progressive House DJ’s in Europe. Gradually rising to prominence, she is beginning to create waves on the international circuit too.
Recent years have seen Miss Monique make her debut in Ibiza, as well as hundreds of shows across the globe; from Hungary to Belarus, to Czech Republic and even India. Her eclectic mix of trance, progressive house and techno, give Miss Monique a versatility that is suited to intimate venues and festival headline slots, alike.
Since entering the studio, she has begun collaborating with some of the world’s most important DJs; her biggest and most recognisable hit, ‘No Fear’ was championed by the likes of Armin van Buuren, Paul van Dyk, Paul Oakenfold, Gareth Emery, and many more.
Her live sets on YouTube have garnered thousands of hits, with her most popular set at Radio Intense boasting 6 million views. With her acclaimed Podcast, Mind Games, fans are treated to a fresh DJ set every month.
