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!
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.
Vitalic is the alter ego of Pascal Arbez, a French programmer/multi-instrumentalist who blends electro, techno, and house -- as well as elements of classical, rock, Italo-disco, and '70s electronic music -- into a sound that recalls the work of fellow..
It’s been a good fifteen years now since Vitalic (aka Pascal Arbez-Nicolas) took it upon himself to redefine techno using his native French sensibility, mixing energy and melody to forge his own recognisable style. Many of those tunes, like “Poney”, “La Rock 01”, “My Friend Dario” and “You Prefer Cocaine” went on to become club classics, blurring the boundaries between techno, disco, rock and pop, and profoundly inspiring and stimulating a scene that had been struggling since the end of the ‘French touch’ to find something a little more refreshing than filtered disco house.
It could be said that Vitalic ushered in the French Touch 2.0, masterfully bringing bangers back into fashion and putting France back on the dancefloor map. With his first production signed by tastemaker DJ Hell for his Gigolo imprint, Vitalic paid scant regard to genre boundaries and concentrated on simply knocking out some killer tunes – a mix of irresistible melodies, stampeding synths and pure energy. Within a few years, French electronica had changed direction, eschewing the dancefloors for which it had originally been conceived and starting to tour, live. A revolution was born - Vitalic opened the way and Daft Punk, Justice and Etienne de Crecy followed.
Since his first album, “OK Cowboys” in 2005 which mixed galloping techno, brass bands, 100,000 volt electric guitars and languorous pop songs so sad they could make a stone weep, Vitalic has constantly tried to reinvent himself, pushing his idea and vision of disco to the extreme. This constant renewal is no doubt where the producer finds his strength, exploring every facet (like a disco ball), the myriad possibilities of what he calls metal disco, or more prosaically “disco-poilue” – fuzzy disco.
For “Voyager”, his fourth studio album composed over the course of two years and the one he considers his most ‘disco’ ever, Vitalic remembers initially wanting to make something that could barely be danced to, inspired by the electronic music of the 1970s. However, that angle of attack was rapidly diverted. “I changed my mind during production and added beats,” he explains. “Voyager” thus became a record that has forgotten nothing of the cosmic disco heritage of the 1980s, dominated by deeply energetic, orgasmic synthesisers with influences from pioneers of the genre like Moroder, Cerrone, Patrick Cowley, Lime, Spacer, Carpenter and Gino Soccio.
Both the name and sublimely retro-futuristic artwork of “Voyager” clearly announce the direction Vitalic has taken – this is a cosmic space odyssey, packed with energy-filled retro-futuristic hits perfect for dancing in zero gravity, followed by melancholic cooldown periods spent contemplating the lost galaxies of the vast cosmos. “El Viaje”, the album’s opening track with its Latin-tinged melody, is the perfect launchpad for this cosmic expedition, where analogue synths (like the super-rare Buchla) have taken over and are now laying down the law. It’s a weightless voyage that sends our emotions on a rollercoaster ride, from “Waiting For The Stars” - the first single featuring David Shaw and an irresistible disco-pop hit with gimmicks à la “Funky Town” – to “Levitation”, a veritable turbine punctuated by screams from the crowd as only Vitalic knows how, to “Eternity”, a sort of synthetic opera or contemporary hybrid of Wim Mertens and Klaus Nomi. However, on “Voyager” you’ll also find “Lightspeed”, a true dancefloor bomb filled with outrageously funky synth rifts, you’ll be fascinated by “Sweet Cigarette”, a sombre rock-influenced track haunted by the ghost of “Warm Leatherette” (as performed by The Normal) and “Hans is Driving” an electronic nursery rhyme with Miss Kittin lost in the cosmos discussing the meaning of life with an artificial intelligence, before breaking down in sobs to “Don’t Leave me Now”, a throbbing, ambient Supertramp cover version. Conceived as a cosmic journey into the heart of dance music, “Voyager” perfectly brings together the three elements that have always composed Vitalic’s strength: a touch of experimental folly, killer melodies and a joyful overabundance of energy. It’s this magic formula that makes “Voyager” the ideal disc to listen to with your feet on the dancefloor and your eyes fixed on the stars. Or vice-versa.
Burak Yeter was born on 5 May 1982 in Amsterdam. He developed an interest in music at a young age and learned to play classical piano at the age of 5. At age 8, he picked up playing the guitar. After receiving his undergraduate education in Civil Engineering in Akdeniz University, Yeter settled in London and earned his master's degree in Sound Engineering from SAE Institute.
At the age of 22, Yeter came into recognition by winning Burn & MTV Dance Heat DJ Contest 2004. He performed at MTV Dance Floor Chart Party in Malta as a result. The same year, he came second in Miller Master Dj Contest, earning himself a respectable place in EDM scene.
Yeter's debut album, For Action, was released under the record label DSM in 2005. The album is his first solo DJ album to be released worldwide. His second album, released in 2007 For Message Volume 2 was released in support of raising awareness of global warming.
Yeter signed a contract with the world renown audio company Pioneer in 2008, and opened DJ schools in Amsterdam, Istanbul and Los Angeles, giving professional education. Burak Yeter, is the CEO of Connection Records DJ School and has developed nearly 2000 certified students to this day.
In 2013, he released the single "Storm" in Amsterdam. The song reached within the Top 100 spots on the dance charts Internationally. At the same time, he shot a Music Video for the song "Storm" in the Netherlands.
After ten successful years, Burak Yeter started a new page in his career with his "New World" project; new songs with a new world. He releases his first single ‘Happy’ on Spinnin’ Records where the track was voted best song of the week in the Spinnin’ Talent Pool. Follow-up single "Tuesday" reached the #1 on iTunes, Spotify, Shazam, Apple Music and Youtube in more than 30 different countries and became one of the most remarkable songs of 2016. Burak Yeter & Vocalist Danelle Sandoval’s Tuesday is now one of the most wanted songs on the radios and at the clubs and the best seller in many countries and they were given Platinum Sales Award by Sony Music Russia and Gold Sales Award by Warner Music Finland after their big achievements in those countries. Burak Yeter is working on upcoming projects in his studios in Amsterdam, Los Angeles while DJ-ing around the world.
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.
It’s all about the song for Alex Metric. Whether it’s an original track, a remix or producing a band, there has to be a personal connection. If he doesn’t feel it, why would anyone else. “It’s always about making something with real emotion,” says the 28-year-old DJ from London. “My core philosophy is to do whatever’s right for the song and to try and make it have some meaning to me. I put so much love into everything I do.”
You can tell. Alex's album for Virgin, ‘Open Your Eyes', collates all three strands of his music output —his own productions such as his recent single ‘Open Your Eyes’ , those for other people, see Black Sky by Infadels, and most importantly of all, the best of the string of remixes that have made his name over the last two years. It’s a varied but far from disparate collection. A common thread, that sense of communicating genuine feeling, runs through the album, making sense of the different elements.
It opens with Alex’s version of Lisztomania by Phoenix, which transforms the winsome indie dance groove of the original into a dancefloor gem of juddering electro house bass and an explosive vocal-driven chorus built around the line “These days I’ve got to be someone else”. It’s his favourite remix, not least because they are his favourite band. “ Nine times out of ten I get asked to do remixes,” says Alex. “There’s only twice in my career that I’ve asked a band if I can remix them. I heard Phoenix had a new album out. I’d met Phillipe Zdar in Ibiza a few times. I knew he was producing the record. I e-mailed him and said that it would mean so much to me to do the remix.” Turns out it’s the band’s favourite remix ever as well. “That was a real pinch yourself moment,” says Alex. Other stand out remixes include the hands-in-the-air house rework of Quicksand by La Roux, a disco take on Stylo by Gorillaz and his faithful but cleverly done dancefloor tweak of Personal Jesus by Depeche Mode.
Of the original tracks, Alex points to ‘End Of The World’, one of the brand new stand-out tracks from the album, as a personal favourite. Up-and-coming singer Charlie XCX supplies the vocals. It was originally supposed to feature on her album, but it was so good Alex “wrestled it back off her”. It’s something of a departure. “It’s quite a sad song, not a club record at all,” he says. “It’s like nothing I’ve done before.” Then there’s the soaring epic house of ‘Open Your Eyes’, his collaboration with Steven Angello from Swedish House Mafia, as representing where his head is at. “It doesn’t sound like anything I’ve put out before,” he explains. “It’s an odd record, seven-minutes of waiting for it all to kick in and it doesn’t happen until the very end. I was conscious while I was making it that I could have had the piano riff all the way through and it would have worked and it would be successful. But I wanted to see what I could do to flip it on its head. I didn’t what to do the obvious.” It begs the question: why not? “Because I’m not interested in doing the obvious. There’s a view that dance music is disposable. People don’t see it as anything other than something for people on drugs to dance to. For me that’s not the case. Just because it’s an electronic record that gets played in clubs it doesn’t mean you can’t make a statement.”
Which is why the vocal version of ‘Open Your Eyes’ featured Ian Brown, one of Alex’s heroes. “I grew up on the big dance acts from the ’90s,” he says. “ People like The Chemical Brothers, who brought people in from different worlds to sing on their tracks.” Again, he says the obvious thing to do was get a “wailing house diva and take the cheque the bank”, but he wanted to get someone he loved involved. As a teenager, he was obsessed with The Stone Roses. “ To have Ian Brown walk into the studio was pretty mental,” he beams. “And he gives it a totally different feeling to the standard house vocal.”
Of his productions for other people, ‘Black Sky’ by Infadels is his proudest moment. “I ended up producing the whole album because they liked that track so much,” says Alex. “Producing bands is something I want to do a lot more of. You can get lost doing your own stuff because you become attached to things. With a band there’s no emotional attachment to any part of the song. You can just go: I like that, I don’t like that, that arrangement needs re-doing. Great.”
Producing other people’s records is a grown-up dream, but even as a teenager in Salisbury it was something Alex wanted to do. He could sing and learnt the keyboard at an early age, but was never in a serious band. “I didn’t feel like I knew how to do anything well enough,” he shrugs. A formative experience was listening to ‘Golden Slumbers’ by The Beatles when he was 15. “At the start of the track, I could hear a synth that wasn’t there,” he says. “I started wondering how you could put it there.” Initially an indie kid, his conversion to dance music came when he once missed the bus home. He decided to kill some time in a record shop. Fat Boy Slim’s 1996 album ‘Better Living Through Chemistry’ was playing at one of the listening posts. “I was blown away. There were guitars, these big broken beats and this mad energy. I bought it there and then. It was a massive turning point.”
After studying music at college in Guildford, Alex released a string of singles on a series of small dance labels, a mix of progressive house, breakbeat and techno. His break came in 2006 when he signed to Adam Freeland’s Marine Parade label. “I’d been making proggy, breakbeaty stuff and I was doing OK at it,” he remembers. “But one night I was DJing in Russia and I realised right there on stage that I didn’t like the records I was making. I had an epiphany. I thought: What’s the music I love? French house, rock music, electro. Why don’t I chuck everything I love into one record. The result was his 2007 single ‘Whatshewants’ release on Marine parade, the starting point on the journey to where he is now, one of dance music’s most exciting new talents.
He sees ‘Open Your Eyes' as a summary of the last two years, but also the start of something new. He’s already working on his full artist album. Actually, it’s his second, but he canned the first one because he didn’t think it was good enough. “There are two sides to me,” he says. “I have this love of ’80s synth funk, but also this epic, tears of MDMA joy sound.” The unreleased album was the former, but the latter defines him now. “Because I put my heart and soul into my remixes, they haven’t dated. That’s really important to me, that they don’t date like a lot of dance music does.” he says.
He pauses. “For the last year I’ve been figuring out how I want to sound. It’s all clicking. I think it’s important to figure out what you want to say before you say it. Now I have and it feels fantastic.”
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.
Monika Kruse is a techno DJ, producer and label boss of Terminal M. Active since 1991, she is one of Europe's true techno pioneers and stands as one of the genre's most loved artists.
Monika Kruse’s commitment and innate musical connection is the key to her status as one of techno’s most beloved and enduring artists for more than 25 years. From trailblazing the dawn of the German dance culture in the early ‘90s, organizing raves in abandoned Munich WWII bomb shelters, to launching her revered Terminal M label in 2000, right through to her DJing schedule this year that will see her play across Awakenings, Time Warp, Sonus and beyond – Monika’s history in techno reads like an engrossing novel that captures an iconic quarter century of rave.
Monika’s Terminal M label plays no small part in this legacy, and remains one of the most consistently outstanding labels in its class. Over a 17-year period it has charted the cultural movement of techno, hosting music from everyone from veterans like DJ Rush, to future stars Stimming and andhim who released their earliest records on the legendary label. Today it remains a hallmark for quality, home to the likes of ANNA, Pig&Dan, Paride Saraceni, Noir, Victor Ruiz as well as emerging talent such as Skober, Metodi Hristov, Kydus, Ilija Djokovic and more.
Classically trained in piano, Monika's love of music is broad and deep, accumulating a record collection throughout her youth that spanned funk, soul, hip-hop and house. Alongside her early role in the nascent ‘90’s Munich rave scene, her iconic residency at the legendary Ultraschall is the stuff of legends, where she played alongside the likes of DJ Hell and Tobi Neumann. She was among the first wave of German techno artists to tour internationally, DJing alongside Carl Cox at Global Gathering in the UK, Limelight alongside DJ Pierre in NYC, as well as her residency at Belgium’s iconic Fuse nightclub in the late ‘90s.
On home soil, Monika was seen spinning regularly alongside Sven Vath at Omen throughout the mid ‘90s, while her sets at Mannheim’s iconic Time Warp have become the stuff of legends since her debut in 1999. Nearly 20 years later, and Monika’s performances at Time Warp still rate among the most anticipated in the annual rave calendar for legions of techno fans worldwide.
She’s had a presence on the White Island since 2001 when she played Cocoon Ibiza for the first time, though more recently it was her energy-infused sets that helped make Carl Cox’s final residency at Space Ibiza a poignant one. This year her summer will be highlighted by three performances at Hyte’s fledgling Wednesday night residency at Amnesia in Ibiza.
You'd be hard pressed to find a clued up techno fan who doesn’t have a soft spot for Monika, though it’s her life-long passion for social justice that is equally defining. Her No Historical Backspin charity was founded in 2000 and she’s raised more than 100,000 Euros to assist those suffering from racism, homophobia, anti-Semitism and anti-immigrant attacks.
Her benefit gig at Berghain in March 2015 raised over 20,000 Euros for Amadeu Antonio Stiftung, an organisation aiding victims of discrimination and violence, while her most recent Refugees Welcome party later that year in October raised money for those fleeing violence and persecution.
Ever consistent as a producer, Monika’s collaboration with Pig&Dan last year ‘Sensation’ was heralded by Mixmag as one of the techno tracks of the year. A follow up collaborative EP titled ‘Get Me On’ is due in May, with both the title track and its accompaniment ‘So Good’ highlighting her debut Essential Mix that aired on the weekend of Time Warp and heralded worldwide as one of the artist’s finest career moments to date.
80KIDZ formed in January 2007. They began performing with various leading international artists upon releasing two popular mix CDs independently in Japan. Their early original songs and remixes went viral via the internet and SNS social networking services gaining them worldwide attention and helping them to sell out of their first 12" Vinyl release "DISDRIVE EP"(April 2008) in record time. Their first CDEP release "Life Begins at Eighty"(August 2008) followed by breaking local sales records for CDEP releases. Their debut album "This Is My Shit" (April 2009) won acclaim as one of the best album releases of the year, and was followed by a mini album "SPOILED BOY" (June 2010) featuring Lovefoxxx from CSS on the title track. Their second album "WEEKEND WARRIOR" (October 2010) became the number one selling overall album on iTunes Japan for 2010, and their third album "TURBO TOWN" (April 2012) helped to bridge and crossover between both the "Rock" and "Dance" genres. They have toured heavily in addition to releasing a steady stream of releases and are one of a very select few artists who have performed at most of the leading Japanese music festivals including FUJI ROCK FESTIVAL, ROCK IN JAPAN, COUNTDOWN JAPAN, and SUMMER SONIC. They also started releasing a EP series of Dance-oriented tracks in 2013 as part of their "80 Series," and have just released their fifth album "5"
DJ Slater & Urban Legends is an electronic music project from Prague, Czech Republic. The core band members are Michal Smetana aka Slater (dj, keyboard), Daniel Petkevic (cello, percussions), and Jan Stiborek (electronic pad). The band often performs with Filip Markes (saxophone) and other guest musicians.
Rocking stage performances as well as a number of successful singles, EPs, remixes and compilation tracks brought the project on stages of various famous clubs and festivals across Europe (Fusion festival, Vuuv festival, Lost theory festival) as well as on tours in faraway places such as Mexico. Brand new studio tracks and remixes are scheduled to be released in the coming months.
Ken Ishii started making his version techno at a time when Japan was not yet at the crossroads where all things techno came together.
One of the most innovative and experimental composers who have made a mark on the International dance scene. Ken Ishii started making his version techno at a time when Japan was not yet at the crossroads where all things techno came together.
Already putting out tracks on the cult label R&S since ’94, Ken’s sound soon broke out of the confines of a specialist audience and took the world by storm, receiving support from world class artists such as Dave Clarke, Luke Slater, Thomas Schumacher and many more.He has since been touring Intensively throughout Europe, Asia and America. His fourthcoming album-Future In Light- will have his take on the sound of Detroit, showing the world the new sound of Ken Ishii.
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.
The emphasis on entertainment of club music, is a producer of the project "ALKALOID" which created a transformer dancer boom in Japan,
While with the face of the actor "Ishida Issei" with band that was the basic style of EDM "PRISM MIND", an axis EDM, BreakBeats, Rock, House, Drum 'n' Bass, DUBSTEP in its own interpretation of various genres such as the interwoven, and has been active as a DJ who noted that to excite the floor. Music magazine "LOUD" domestic DJ rankings in 2006 Best 16 of, until 2014 the current year to expand the range of activities, such as by ranking from 07 in fiscal Best 12th, also such as Electro and House of music releases and MIXCD release of "O-MAN "," BeYonD ", I have released selectively used the name of" ALKALOID ". Kobe collection I have also provided such as TVCM music of Sony Ericsson Fast fashion mail order was appointed the "Xperia ray" and stage music and Fujii Lena Reina Triendl of collaboration "GRL". Regardless home and abroad, in addition to a variety of you are outdoor festival in a wide range of performers, continues to also appeared to party all over Japan, also regular appearances on MADO Lounge of events in the Shinkiba ageHa and Roppongi Hills top floor. Ferry Corsten and Calvin Harris, Deadmau5, Axwell, Infected Mushroom, and has appeared in a number of the party with the world TOP DJ who are contiguous a name in the DJ MAG rankings such as SKAZI. Reception party of Swiss watch brand "swatch" and foreign fashion brands, appeared as the secret celebrity party, also played with such Hollywood actress "Kate Bosworth", it appeared or the forces-scale deployment, such as even the United States of FOX TV I have a. Every year since 2007, also appeared in Nagisa Music Festival, in '09 he served as birds of Tech Floor. And, it appeared on the main time in 2014 UMF korea2014 official after party, had rocked the 3500 or more audience.
AMIGA (also known as Electrical LOVERS) is a Japanese electrical musician, DJ from Tokyo. She started her musical career in 2001 as the brains of the ambient music project Electrical LOVERS. Her second single “Double Helix” was regarded highly in the world, where it attracted Norman Cook and incorporated in Fat Boy Slim’s “Live On Brighton Beach-BIG BEACH BOUTIQUE” DVD.Mixmaster Morris has also taken to it, and included it in his mix CD “Ambient meditations4 God bless the chilled.”
She is popular as an exceptional female artist, who stages a variety of spaces with a technique of a sound creator. Most recently AMIGA provided music for CMs, motion picture soundtracks, and video works. She has also been appointed as the music producer for museums, aquariums and luxury hotels.
AMIGA is one of the most talented and respected DJs in Japan. Her selection of music ranges widely with unique style of groove. She stages from the reception parties for world’s top brands to the top underground parties in Tokyo, to large scale music festivals such as UMF. She has been invited for gigs to many biggest cities in Asia, IBIZA, N.Y. San Francisco, Moscow, and Punta del Este.
Q'hey (Masaya Kyuhei) started DJing in 1989 and ever since has been one of the few key individuals of Japan’s club scene (alongside mainstays Ken Ishii, Takkyu Ishino and Fumiya Tanaka). With a lot of determination, focus, hard work and with the support of loyal fans he has been one of Tokyo’s Techno milestones for many years. From club events to massive outdoor music festivals such as Fuji Rock Festival and Ultra Music Festival Japan, Q'hey is the artist who always delivers.
In 1995, Q'hey's time was spent producing tracks and introducing his music to the Asian and European clubbers. Around the same time his Tokyo underground techno party was created, REBOOT at Maniac Love. With a solid line-up of DJs and with Q'hey as the main organizer of the monthly party it has been going strong for 20 years. Needless to say, the remarkable music quality plus the powerful fan base, is the fuel for this great everlasting party.
In 1998, after a few releases from several prominent labels he started his own label "Moon Age Recordings". This was a time for more hard work and international exposure. In a matter of months his releases were charted on the play lists of big DJs such as Carl Cox, Sven Vath and Marco Bailey.
His works have been some very unique projects and again delivering many superb remixes and productions. These were released by MB Elektronics, Pornographic Recordings, Octopus Recordings, Rhythm Convert, Renesanz Records, Subwoofer Records, Torque among others. Also, some releases from BluFin as Q-Ram in collaboration with Ramon Zenker from Hardfloor.
On a more technical side, he reviews DJ equipment for music magazines such as "Sound & Recordings" and "Sound Designer". With his extensive knowledge of DJ/production equipment, he also got involved in the development of MC-505 and MC-909 for Roland, providing advice and support for Yamaha and Vestax.
Q'hey has been lucky enough to DJ in countries such as Belgium, Germany, Spain, Luxembourg, France, Holland, Poland, USA, Taiwan, China, Hong Kong, Singapore and Malaysia. In between long hours in the studio and DJing domestically he is continuing to add some more international gigs to his list.
After the earthquake disaster in Japan, Q'hey established charity project "BPM Japan - Be Positive by Music Japan" and continues working to make donations for the victims by making compilation albums, releases and events.
In 2013, with several remixes for legendary artists such as Jeff Mills and Orbital, Q'hey released album "Core" from Japanese label Torque.
This album got big support and reviews over the world, and charted Top 5 on Beatport Techno Top Releases.
Now he is running radio program "radio REBOOT" every Tuesday on Japanese first
