2009 took a sharp turn for Ordell, playing at the infamous Fabric, TBar and Kubicle sparked a noticeable and deserved progression and confidence from this artist. It was around this time Half Baked was formed, now East London’s legendary underground Sunday party where Robin Ordell alongside Greg Brockmann and Hamid are residents. Half Baked has reached phenomenal success and Ordell has played alongside Seuil, Craig Richards, Lee Curtiss, Mayaan Nidam and Le Loup amongst others.

On the production front things are rapidly happening for this young artist with upcoming releases on Remake Musique, Safari Numerique and Leftroom. Deep bassy breaks and warm loops flow through his dj’ing and productions, a unit of electronic rhythm with touches of minimal experimentation spread elegantly within his sound realm whilst remaining resolute in a signature of funk encased in a strong house message. Robin is currently working on solo projects and collaborations with some of electronic music’s most talked about upcoming producers and continues to play regularly around London and Europe.

Once he finished his high school studies he enters the ECAM, where he studied Sound Engineering.
Years are devoted to his studies and his DJ sets are made in private parties.
After some time working as a sound technician in direct tours of various artists and companies of
Dance, decided to travel to London in 2008 and expand his knowledge of sound, with the support of
his family.

In London Unai starts to work as waiter in the famous Café1001.
It is here where he met Altino Fernandes (aka KID AM) and joins Brickbeat collective.
Brickbeat is a group of dj, vj and free thinkers sharing the love for the music beats and also is a well-
known London’s promotion, founded by Altino fernandes and Gabriel Pereira in 2004, famous for
bringing new talented artists and famous international guests to its parties.
Being part of Brickbeat gives to Unai the opportunity to play several times in Cafe 1001.
Unai and his dynamic dj sets shortly begun to get noticed by the crowd.
In October 2009 Unai throw his first own warehouse party called Cartuli’s Day, based in different
warehouse in East London area, with the aim of bringing back the almost lost underground spirit in
the tech/house minimal parties in the beating heart of London’s music scene, the East side.
Cartuli’s Day gives to Unai the opportunity to make himself noticed not just by the audience but also
by the industry: in short time he has been invited to play in the most famous London’s venues
(Fabric,Ministry of Sound, The Egg, Cable, Café 1001 , Bar 54 ,Rhythm Factory and more) as much as
in Madrid (Club7, Fabrik, Goa) and abroad (Basque Country, Portugal).
Cartuli’s Day has also been hosted in Madrd and it is now a well-known and recognisable party in
London.

In 2009 Unai takes his first steps into production, beginning to make his first tracks and collaborating
with other DJ’s and producers.
Released in January 2010 his first EP “Pigeons” for Beiak Records, and in 2011 “Entre Encinas” in a
various artists album for Release Sustain, an East London based label founded by Gabriel Pereira,
Rico Casazza & Altino Fernandes.

Unai’s talent is revealed in both production and dj sets.
Always giving himself entirely to the audience, Unai’s mixes are a reflection of his personality:
dynamic groovy, deep and intense. Unai’s style goes from techouse to techno to more melodic &
deep sounds, passing by minimal & dub. In constant connection with the crowd, Unai always creates
a specific feeling on the dancefloor: only thing you can do while Unai is on the decks is dancing.

Now working full time between the studio and Cartuli’s Day, with a new release coming out soon, a
special edition of his party in July and various gigs in London and abroad (Portugal, Spain), Unai is
surely a talented artist to watch with a bright career in front of him, a name not to forget.

Lab Room will be our personal art gallery. A space conceived to display the work of local and international innovative artists.
Opening hours- 22,59pm – 2.00am

LAB Room with…..

FLORIN MOCANU
SANTINBANQUI
ROCIO IBANEZ

http://overflow.es/web/contenidos/visual-artists

Main Room

Alex Flatner (Poker Flat, Cocoon, Circle Music)
Robin Ordell (Eklo, Half Baked)
Unai Trotti (Cartuli’s Day, Jaded)
Mental Repair (Overflow)
Tolik Nixon
Fish & Cheap
Lapo Frost (Funny Games)
Florin Mocanu (Videomapping)

Doors open at 22.59 on May 17th and close very late.

2 rooms with latest tendencies of art and music
house / techno / minimal /

Nearest Tube London Bridge
Bus: London Bridge Station
(17,21,35,40,43,47,48,133,141,149,343,381,521, N21, N35, N47, N133, N343, N381)

Concession list (till 2.00)
overflow.guestlist@gmail.com

See you on the dance-floor!

Overflow says “”It is not just about the music””

Tickets on: http://www.residentadvisor.net/event.aspx?474376&rc=full

Booking// info@overflow.es

 En la primera edición el invitado es Diego Cobo aka Mwëslee (pronunciado como tu desayuno favorito) es un productor de música electrónica y DJ residente en Vigo. Elegido el mejor DJ nacional 2012 por la prestigiosa revista GoMag, es uno de los miembros fundadores del influyente colectivo/sello Arkestra y participante de la Red Bull Music Academy en 2005, es a menudo comparado con artesanos como Dimlite, Prefuse 73 o Dabrye por su personal perspectiva musical, cargada de paisajes con arco iris eléctricos y ritmos experimentales espolvoreados de neón.

Como residente de estas fiestas Fiestas gamberras cuenta con Drawing Mountains, el proyecto tras el que se esconde Raúl Pindao. Expuesto a una gran diversidad de estilos musicales desde muy joven y abierto a todo tipo de sonidos, DM no duda en defender sus sets a través de una amplia visión de la electrónica más underground, utilizando diferentes programas de producción para dar más dinamismo y vida a sus sesiones. Ambient, dream wave, idm, techno, future beats…

Ademas tendrá presencia en todos los eventos Gamberros realizados en Live Room su residente Jes_Set. La incombustible y ambiciosa dj alicantina se ha hecho un hueco en el panorama sonoro alicantino a pasos de gigante. Su residencia en la sala Live Room es el colofón de una trayectoria de vértigo , habiendo pasado con éxito por salas y eventos como Metro Dance Club, Confetti, La3, Rockers Club o el Festival MIMAA.

 Por último recordar que el aforo de la fiesta es limitado por lo que se aconseja la compra de entradas anticipadas en los puntos de venta oficiales:

 Trocadero

Live Room

Solo

Picnic Skateshop

]]> http://overflow.es/web/llegan-las-fiestas-gamberras-a-live-room-de-alicante-con-mweslee-como-estrella/feed 0 http://overflow.es/web/bookingresidents http://overflow.es/web/bookingresidents#comments Tue, 16 Apr 2013 15:56:35 +0000 Arturo http://overflow.es/web/?p=3623 ...Read More]]> Section dedicated to the recruitment of affiliated artists to Overflow and Overflow Records.

As a booking agency we serve the interests of our artists without neglecting the needs of the customer. We understand the booking related management, centralized as an integral process in hiring artists to a particular event, but expanding the scope to all upstream and downstream processes related to such employment.
Thereby, the range of services extends to advice on programming, market prices, event management, advertising and promotional activities, media planning, transport assistance
logistics and post feedback.

For more information about recruitment:

info@overflow.es

Eclectic and influenced by styles like techno, electro, noise, IDM, EBM, breaks, dubstep, lo-fi, punk, rock and indie, We Are Not Brothers have a range of performances where they combine hardware with software, sampled lines, daily recordings and live vocals. Its two members, Demian and Francho perform the composition, production and distribution of all their work. In their work show political and social content, not yet considered as protest band. With their debut album Autodestrucció (2009) We Are Not Brothers were nominated in ‘Premis Ovidi “for best album of Electronics and Hip-Hop.

With his debut album auto-edited, with Creative Commons license and auto-distributed, this band prove their self-management capacity and their willingness to show their potential on the dance floor.

His performance is based on the perfect synchronization of audio and live video, creating harmony and symbiosis on interactive installations, multi-screen projections and video mapping.

In Midiclorian Visual Lab is developed different ways of artistic creation, divided into two work areas. On the studio projects is performed motion graphics, video editing, photography and design, for live shows, managing all types of audiovisual installations, whether multi-camera systems realizations and multi-screen projection, video mapping ‘or Vjing.

Midiclorian leads his work to experimentation, development and execution, since 2005 has been able to acclimate at festivals such as MIMAA, Monegros Desert Festival, Creamfields Andalucía, Electromar Festival, Festival Live Performers Meeting Rome or International Festival of Music FIVECC Alicante, as well as in venues like Razzmatazz (Barcelona), Metrodanceclub (Alicante),Dot Warehouse (London). Expert of new technologies and trends in art, this Alicante based artist will display to the public his creation capacity on stage and screens.

He displayed his works in Sao Paulo, Quebec, Slovenia, France and Spain. He has been present in festivals as FACYL, EME3. He has imparted workshops about technologies in universitys and indigenous communities. He collaborates with circus and theatre groups developing virual reality scenes.

Rocio Ibañez Morales aka DRuMBeRa is a Spanish artist from Malaga. She studied Fine Arts in Granada, one of the best universitys of the country. Her art is based on several styles as expressionist portraits taking Picasso as maximum reference, graphic design, engraving, black adhesive tape over wall, illustrations…For years ago she moved to London, where she lives now. She has shown her work in several exhibitions as “Identitas Art colective in Corber Place” (2012).

El próximo domingo 21 de abril el Centro Cultural Las Cigarreras de Alicante recibe la primera edición del pequeFEST, un festival para toda la familia. Desde las 11h. hasta las 20h. el festival tiene programado diferentes actividades entre las que destacan las actuaciones de grupos musicales como Tórtel, Dowmo, Sutja Gutierrez o Un Ser humano, talleres en el Baby Resort organizado por Mandarina Garden, zonas de esparcimiento de la marca de puffs de Woooulf, espacios de interacción a cargo de Clan TV y Cefa Toys o RTVE.ES así como una zona de robótica patrocinada por la marca Alsoy. Diez horas de diversión para grandes y pequeños con posibilidad de entradas individuales o abonos familiares.

El Festival se divide en diferentes zonas siendo el escenario principal donde están programadas las actuaciones del artista Tórtel, seleccionado su disco el pasado año según la prensa especializada como uno de los mejores trabajos de pop, Dwomo representando su Show de Guardería, Surja Gutierrez con su concierto interactivo donde los niños dibujaran, cantaran y harán música o Un Ser Humano con su aterciopelado pop… Ademas durante los cambios entre grupo y grupo un Dj mostrara amenizara las zonas de esparcimiento y diferentes espacios. Los niños también podrán aprender, disfrutar y tocar con los diferentes instrumentos que encontrarán en el Laboratorio Musical.

Para los más peques el festival ha creado el Baby Resort coordinado por Mandarina Garden. Un espacio creativo que mantendrá la esencia del equipo de Mandarina Garden. En este espacio los más peques podrán quedarse haciendo actividades mientras los papis disfrutan del festival con sus hijos mas mayores. La programación seleccionada por Mandarina se distribuye en diferentes talleres tales como: confección de galletas musicales, taller de instrumentos, taller bilingüe de canciones y cuentos de baile.

Ademas se han ubicado diferentes zonas donde la tecnología es el invitado especial. Clan TV o Cefa Toys tiene su propio espacio en el que los niños podrán jugar e interactuar con la Tablet del canal de televisión. En la zona de rtve.es los mas pequeños podrán aprender jugando y los padres descubrir 10 proyectos on-line audiovisuales educativos. También cuenta con la presencia de Aisoy Robotics donde tendrán la posibilidad de programar los robots Asió1, para lo que tan sólo necesitan saber dibujar para experimentar con la última tecnología en inteligencia artificial.

La parte audiovisual, ademas de estar presente con el espacio de rtve.es, lo hará con una zona de proyección de cortometrajes para los más peques. La selección de obras se ha realizado en función de su aporte educativo y creativo y siempre bajo licencias creative commons.

Para los momentos de descanso el Festival ha preparado un espacio de relax y esparcimiento junto a la marca de puffs Woooulf. Una zona sorprendente con guitarras, amplificadores, teclados, hamburguesas y tambores de tamaños gigantes que hacen la función de sofás, cojines y espacios donde descansar.

Por último recordar que las entradas a este evento tienen un precio de 10 € anticipadas, 12 € en taquilla y existen abonos a 35 € (2 adultos y 2 niños). Los puntos de venta para adquirirlos son: Mandarina Garden, Baby Undreground y la tienda de discos Naranja y Negro! en el centro de Alicante o Somos Infancia en San Juan.

Con esta primera edición pequeFEST lanza el evento madre de los que ya esta programando como los pequeconCONCIERTOS o pequeTALLERES.

]]> http://overflow.es/web/pequefest-un-festival-para-toda-la-familia-el-domingo-21-de-abril-en-alicante/feed 0 http://overflow.es/web/florin-mocanu http://overflow.es/web/florin-mocanu#comments Wed, 10 Apr 2013 17:21:07 +0000 Arturo http://overflow.es/web/?p=3459 ...Read More]]> Florin Mocanu is a multidisciplinary artist and designer. He started his creative journey – not even knowing about it – a long time ago somewhere in the Balkans. About 6 or 7 years ago, somehow, he found himself on a island (Great Britain) in a place called Manchester where he has been living and working since he arrived.
He has drifted through different techniques of Fine Arts till he got a Master Degree in Media Arts at MMU where he have developed few new skills of mixing old and new media, exploring the new technologies in a creative, intuitive and interactive way.
He is also a co-founder of Bearded Fellows, a group of creative beards willing of doing big things. That’s why they say: ‘No ideas is a bad idea’. Few of his projects can be viewed at florinmocanu.co.uk.

Overflow Records born with the idea of expanding the music that will not expire in the middle of the dance floor, that one that moves minds. Without any stylistic prejudice but with the ideas very clear, Overflow Records initiates its musical path with a wide range of sounds very near to the deep and dub textures, never forgetting the good rhythms, the good grooves and the underground vibe.

From Detroit to Chicago, Kingston to Berlin, gathering essential pieces of electronic music with some young talents from different places around the world, Overflow Records attempts to get back in time aiming to the future, with nothing more than music with soul.

Overflow Records is proud to present its first reference by Djorvin Clain, a young and talented Belgian with a really personal and interesting musical projection. Obsessed by a deep and atemporal sound, hard influenced by Berlin and Detroit, gives us the first cut of this OVF 001 “Unwritten Secrets”, a techno-trip towards another galaxy with deep and atmospheric dub winks, perfect to dance with the head or to close the eyes and to allow us to be absorbed in the middle of the track.

The second cut comes by one of the Madrilenians who knows more about sonorous cosmos. Tadeo offers us a delightful remix, taking all the echo from the original and giving him this emotional and detroitian touch which delights us. Techno without age and very mature for this OVF001.

The pair split from Downie in 1995, and began rechanneling their efforts full-time with an EP on the neo-electro Clear label before signing to Warp. (The pair also recorded an album with European techno figure Mark Broom under the pseudonym Repeat, two tracks of which also made it onto the South of Market EP, released on Jonah Sharp’s similarly located Reflective imprint.) Both of Plaid’s first two full-lengths, 1998′s Not for Threes and the following year’s Rest Proof Clockwork, were issued in the U.S. through Nothing. Once Warp set up a home on American shores, however, Plaid made the natural switch with the long-awaited collection Trainer, a retrospective including much of their early, pre-BDP work. The proper third album, Double Figure, followed in spring 2001, and the handy Plaid remix collection Parts in the Post was issued in 2003 by Peacefrog. The end of the year brought the duo’s fourth proper LP, Spokes. Plaid were quiet on the recording front for several years, returning finally in mid-2006 with Greedy Baby, a mini-album that found the pair co-billed with visual artist Bob Jaroc. Two years later, they made the small leap to soundtracking an official film, Heaven’s Door, a Japanese film directed by Michael Arias. In 2011, they returned with Scintilli, released on Warp.

Mira has been commissioned to write pieces for the London Sinfonietta, the Aldeburgh Festival, The Royal Shakespeare Company, Opera North and The Manchester International Festival amongst others. In the autumn of 2009 she won a British Composer Awards for the composition, ‘My Secret Heart’ and was awarded a ‘Grant For The Arts’ by the The Arts Council Of England, to develop her skills in orchestration in collaboration with composers; Tansy Davies and Larry Goves.

Within only a few years, DJ Koze has slowly worked his way up through the German Hip-Hop scene. With his band Fischmob, he has released several successful records, steadily building up a strong fan base of young left-oriented
people.

With their mixture of straight-up Hip Hop skills (and none too subtle poiltical content), dry humor, crazy spoken samples, prank phone calls, etc… the band has found their own niche in Germany’s ever-growing Hip-Hop scene. And although he’s not afraid to throw down & rock the mike , it’s behind the decks where DJ Koze really shines. He’s got a light, subtle approach and feel which belies the fact that he took home the Runner-Up prize at the DMC DJ Championships a scant few years ago.
With their album ‘’Power“, and various smash singles, Fischmob found their way into the German pop charts with the corresponding video enjoying a month-long, high-rotation run on both MTV & VIVA.

Although DJ Koze has had a taste of pop success with Fischmob, he’s always been equally interested in experimenting with other forms of electronic music from ambient to break beats to wild sound collages from a myriad of musical genres.

An especially notable voyage in to uncharted musical waters, Adolf Noise (produced and performed by DJ Koze and his buddy Marcnesium) turned many a head around. Taking the artist into a deeper Electronic direction, “Adolf Noise“ features a far more abstract and unusual use of samples and grooves while keeping the listener on his / her toes by incorporating liberal usage of football commentary, television show snippets, radio plays, and telephone terror with drug-delinquents.

It was this record, that made people, that were normally more into Techno or Electronica, sit up and take notice and it is now these people who are his biggest fans on dance floors between Tokyo and Hamburg – a development of successfully melting a world of musical styles with the power-blending strength of Club Culture.

The year 2002 made DJ Koze the deck wizard of Hamburg trio International Pony, whose debut album ‘We Love Music’ (Skint/Sony) was received to critical acclaim.

As a live DJ, Koze builds his sets on house and disco tracks and uses his well-honed Hip Hop skills blending it all together in a furious mix, making it seem that the term “ House Rocking“ was coined with him in mind.

The readers of Germany’s trend-setting SPEX magazine correctly voted DJ Koze the DJ Of The Years for 1999 – 2004 – a well earned title, playing numerous shows all over the country and in different parts of the world. He was
also one of the nominees as best German DJ at 2003´s German Dance Awards.
Please take a look at his discography and check out his massive releases for Kompakt, Cologne´s finest in terms of smashing, heartwarming, minimal house. Amongst them a very deep dj mix called: “All People Is My Friend”.

Lazarus was born in London, where he lived until he relocated to Los Angeles in 2009. During childhood, Damian was naturally drawn to classic pop music, and inherited from his grandfather an affection for showtunes which continues to exert itself in the strangest of ways. He spent his teens immersing himself in the sounds of hip-hop, electro, soul and funk, before discovering house, hardcore and jungle at university – sparking a love of twisted, innovative dance music which endures to this day. After working as Music Editor then Assistant Editor at Dazed & Confused, Lazarus joined London Records and in 2001 became head A&R of the City Rockers label. Here he helped sign and release some of the biggest tunes of the era, including Felix Da Housecat’s ‘Silver Screen Shower Scene’ and Tiga & Zyntherius’s ‘Sunglasses at Night’; his Futurism and Futurism 2 compilations remain the definitive documents of electroclash, not only providing a snapshot of the underground at that crucial moment in time, but mapping its future too.

Damian received a major Djing break in 2002 when he was invited to spin at Barcelona’s Sonar Festival and by 2003 he had residencies at some of the best club spaces in the world. His tenure at Circo Loco (DC10 Ibiza) has become the stuff of legend and found him consistently breaking boundaries of sound and stamina, freaking out the dancefloor and taking those on it to places they never knew existed, and may never get to again.
“I thought a lot about these dj sets when pre-producing the album; especially the idea of placing off and strange melodies within a 4/4 dance music structure. It’s amazing what you can achieve when you’re into weird stuff”, he says.

Inspired by the new energy and possibilities in international club culture and music, Lazarus founded Crosstown Rebels in 2003, the label’s records offering all kinds of unique and twisted angles on cutting edge electronic music. Recent releases on Rebels from Jamie Jones, Seth Troxler, Deniz Kurtel and Art Department have found the label consistently breaking new ground and the new imprints CDR (a digital only label) and Rebellion are set to change the rules once again.

In 2008 Damian began Lazpod (http://www.lazpod.com), a monthly excursion into weird and wonderful sound, a radio show that draws influences and inspirations from all corners of the musical spectrum and is delivered in a fun and laid back style. With many thousands of fans across the globe, Damian uses the show to let listeners in a little closer to his experimental and eclectic tastes.
“Lazpod is a great entry point for new listeners to my music”, he says, “and has been setting off warning signals of what might be coming on my album for some time”.

A number of popular and critically acclaimed mix CDs have appeared in the last five years, charting Damian’s personal development as DJ, listener and supporter of new artists: Rebel Futurism (2004), Rebel Futurism (2005), Bugged out presents Suck My Deck (2005), Get Lost (with Matthew Styles, 2006), The Other Side (2006), Sci:Fi:Lo:Fi 2: Night of The Dark Machines (2008) and Fabric 54 (2010).

Damian’s critically acclaimed debut artist album, Smoke The Monster Out, is another expectation-confounding gesture from this restless musical mind. Released via Get Physical, the album boldly steps outside the realm of what one might hear in a Lazarus DJ set. Featuring his own vocals and riding a vast plain of influences – Neil Diamond to Photek, Bjork to Jeff Buckley – Lazarus demonstrates his keen ear and meticulous attention to detail in a collection of heartfelt, grievously honed tracks delivered straight from the soul. It’s a sensitive record, a bold record and above all a celebratory record – one which revels in the pure pleasure, healing quality and dream-potential of music.
“It took me a while to start producing”, he says “but once the juices started to flow I knew immediately that this was to be the best musical project I ever created”.

A groundbreaking live set to accompany the album was been built from scratch, enhancing different elements and including new club versions of the more introspective album material. Featuring decks, effects (no laptops) and a live visual show, the album club tour debuted at the legendary SXSW festival in March 2009 and went on to blow minds in just a handful of globe’s best clubs.

Damian Lazarus is a believer in giving people something exciting, unusual and idiosyncratic. He lives life to the limit, always rebelling, always moving forward: that’s Damian Lazarus.
“Damian Lazarus plays the best underground records in the world” (DJ Magazine)

However, before such sonic schizophrenia gets you calling for the men in white coats, just feel the quality and consider Matt’s legacy. Fired by the first wave of acid house, Matt gained his musical spurs by partying to dance music that was just that: music you danced to, irrespective of tribal factions.
This was the raison d’être he acknowledged when he took to the decks, first at London’s legendary Milk Bar in 1992, then onto the, then, recently opened Ministry Of Sound and then to parties across the country, most notably in Wales – where he was a regular at free parties – and in Brighton, his home since 1998.
His love of re-edits, dance music’s oft-forgotten backbone, led Matt into the studio himself. His own re-edits and remixes, such as the aforementioned epoch-defining re-imagining for Ms Minogue, soon gave way to his own productions and since the floodgates opened there’s been no stopping the man known as, erm, Matthew E, Quiet Village, Sea Devils, Rekid and Radio Slave.
He’s released records for Skint, Soul Jazz, Classic, Whatever We Want, and he’s worked with fellow travellers, Belgium’s The Glimmers. If Matt comes up with another two projects he’ll have enough alter egos for every day of the week.
Psychologists would probably have a field day with him; mercifully, we don’t have to worry about any crisis of identity, we just get to keep on dancing.

]]> http://overflow.es/web/radioslave/feed 0 http://overflow.es/web/maceo-plex http://overflow.es/web/maceo-plex#comments Tue, 09 Apr 2013 14:53:15 +0000 Arturo http://overflow.es/web/?p=2792 Located deep within the circuitry of a mechanical alien host known as Maetrik you will find a complex web of synaptic dispersements resembling what could be called a soul. And this soul which drives it’s host and manipulates it’s every move is finally beginning to emerge. Its name is Maceo Plex. The emergence of such an entity has been the result of a need for feeling, a need for interplanetary funk. We as humans consider this need a feeling, a feeling rooted in emotion, and emotion being the very basis of humanity.

Maceo Plex is on a quest to fullfil his need to inject feeling and funk into the world, and he’s already proving to be quite productive. With deep and funky works of audible engineering for the label Crosstown Rebels in the form of a full length album titled “Life Index”, a night with Maceo Plex will be one of galactic proportions.

To explain the evolutionary process behind Maceo’s existance we must travel back to 1993, to the beginning of his creativity. At the start…Maceo was intrigued by a pair of circular shaped objects designed for holding discs created from vinyl that produced vibrations resulting in sound and music. Soon he began conjuring up mixxes of techno, electro, and house music that quickly gained him popularity within the early 90s rave culture. But in 1997, while Heavily influenced by the sounds of other modern funk theorists such as Model 500, Kenny Larkin, Idjut Boyz, Convextion, etc… Maceo began experimenting with hardware modules containing knobs and keys to form his early musical compositions. Seduced by the sounds of techno & electro, Maceo grew into a technologically advanced being later to be known by various names such as Mariel Ito or Maetrik.

After many years of prolific works on such labels as Treibstoff, Dumb Unit, Cocoon, Audiomatique, Modern Love, Mothership, to name a few…Maceo aka Maetrik travelled the world playing in some of the best clubs such as Rex, Cocoon, Fabric, Womb, etc… Now in 2010 Maceo has begun to strip back some of his robotic body armor known as Maetrik in order to expose a more musical and groove based side the world has not seen yet.

The profound change has taken Maceo Plex from the complex and dark life in America to his current homebase of Valencia, Spain. The sunny and relaxed atmosphere has been quite useful to Maceo in his lengthy inward journey that is very apparent in his music. After a much needed retreat into the funky sounds of Parliament Funkadelic, Moodymann, Atjazz, Isolee, and Luomo, Maceo has finally completed his transormation and is shining brighter than the star Sirius….and his newest musical output reflects his radiation in a variety of beautiful colors. In late 2010, Maceo’s single “Vibe Your Love” will finally be released on the very foward thinking label Crosstown Rebels and will include a hefty funk remix treatment by Zev of the Wolf & Lamb clang. Soon following will be the full length debut album aptly titled “Life Index” which chronicles Maceo’s life long transformation into the soulful ball of energy he is today.

Once experienced, the album will make it abundantly clear the level of versatility Maceo Plex posesses among his many auditory shells. And the world will understand Maceo’s pristine vision of house music from beyond.

Booking//

Sascha Ring, aka Apparat, regards his moving out of the east German provincial backwater to Berlin in 1997 as one of his best decisions ever made. Since 1999 he runs, together with T.Raumschmiere, the Berlin based record label “Shitkatapult” – a venturous music catapult that dashes a wild mixture of intentional great music onto the turntables of the world. Apparat is the bridge over the German gap of melancholic glitch between Manchester and Laptop-USA. His smart wiring of emotions produces a virtual musical reality, which is based upon different genres, depending on the surrounding of the “apparat”. In his studio, dense, dark and majestic clouds of elegiac pop and heavy Electronica built up to a coherent and emotionally charged atmosphere. Live, on the other hand, the dance floor seems to be repelled to rave from the Bermuda Triangle with its axes Techno, IDM and Elektro. Those styles cannot necessarily be distinguished and heard on every of his releases, but since he started out with a much harder pace of electronic music in the early nineties, his influences are definitely Techno and Elektro as well.

The intensity in Apparats tracks seems to grow with his own pleasure in experimenting. The charming breaking-up of the mechanical walkover of his Elektronica compositions first being subtle clicks and accidental “sound mistakes”, this is now being done by veritable musicians and singers, by classical instruments like violin and cello, saxophone and clarinet, which are then masterly orchestrated by Apparat as the Maestro of his computer.

It was Marr who introduced Rourke to the Smiths in 1982, replacing Dale Hibbert after just one gig with the band. Inarguably, the Smiths were one of the most significant alt-rock bands that materialized from the British independent music scene in the 1980s. Throughout the band’s career, Rourke’s playing style was unmistakable on each album adding a distinct tone, which was derived from a fully cranked tone knob and pick.

He created a number of memorable bass parts, such as his funk bass solo on “Barbarism Begins at Home.” Marr commented on Rourke’s bass playing skills on The Queen is Dead LP as “something no other bass player could match”. Before the release of their fourth studio album, Strangeways, Here We Come in 1987, The Smiths split apart. Attempts were made to continue recording together but their efforts failed and in the end the group moved on their separate ways.

Rourke went on to play and record with many talented artists in the years following The Smiths, including Morrissey, Sinead O’Connor, The Pretenders, Badly Drawn Boy, and Aziz Ibrahim. He formed Moondog One with Oasis’s former guitarist Bonehead, which also involved Mike Joyce and Craig Gannon, and he created the unique bass super-group Freebass in 2005 bringing in Peter Hook, formerly of New Order and Joy Division, and Gary Mounfield “Mani” of The Stone Roses & Primal Scream.

Currently, Rourke DJ’s worldwide and has his own radio on the New York based East Village Radio every Mondays. The show is called Jetlag, which is also the name of his newest collaboration with Olé Koretsky. The two have put out a couple remixes including a remix of “Breakneck Speed” by Tokyo Police Club and they are currently working on an LP together. While the Smiths have no intention of reuniting, Andy Rourke continues to lend his genius within music industry.

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 on Get-Physical, Leena and Soulfooled as well as their live- & dj-sets, which achieved them the reputation of being the “last men standing”.

Their acquaintance began in 2003 and that was a year when they organised their first party at newly opened Mezzoforte club intheir home city – Szczecin. Shortly after that they became residents and that gave them a chance to invite, such worldwide known artists as John Tejada, Antonelli Electr, Wighnomy Brothers, Tom Clark, Dub Taylor, Todd Bodine, Matthias Tanzmann or Duplex 100…

The 2003 appeared to be a really fruitful year in September, when they got a chance from local ABC radio, to host their weekly show, that lasted on air for two years and gathered them a flock of true fans.

During that time they come up with their own productions and in 2005 they got released by Trenton. Next signed labels were Trapez and Crosstown Rabels, where they delivered Super Jurek EP, that was spinned by most major DJs and BBC Radio One. Their biggest hit appeared to be a remix of Claude von Stroke’S – “Who’s Afraid of Detroit?” that shaked dancefloors during WMC in Miami and 2007 Sonar Festival. Shortly after that they got bookings in Fabric, Watergate, Tresor and in other major clubs in Europe, Russia, USA and Japan. The next step was obvious – own label named Channels Rec. that already released four imprints by friends from Poland, Germany and Holland. 3channels are also Catz’n'Dogz, more housy project with a first EP on Leena label (sublabel of Mobilee) and full album on Dirtybird from USA (coming soon). In plans next EP’s and remixes.

The monthly club night hosted and curated by Sammy, “…GET PERLONIZED!”, at infamous Panorama Bar, is anno 2011 one of the most prestigious club events Europe-wide. It has a certain illuminating power up it’s sleeve, that can not be gained by promotional exuberance or by worshipping at the alter of capital return; but with musical consistency – keywords that encompass and define everything the Berlin born artist does.??Various releases, inter alia in cooperation with Guido Schneider and Heiko Laux for Poker Flat and Kanzleramt respectively, are defining the German maestro’s vita. Together with his “confederate in crime” and Perlon co-founder, Zip, Sammy created Pantytec in 1998 – eight letters that stand for an infinite flow of emotions, minimal perfection and properly arranged timelessness. Six publications followed, including one album full of all-pervading anti-labelling named Pony Slaystation.??Working together with Bruno Pronsato, the man being described in this biographical text gave birth to Half Hawaii in 2006. To date, three physical liaison results have been manifctured on Perlon, hello?repeat and Diamonds & Pearls.

Sammy Dee’s youngest child is named Ultrastretch. Titled after the PERLON68-B-side and not to be confused with his regular party series at Berlin based Weekend club, Sammy founded Ultrastretch at the end of 2010 with a collective of like-minded musicians and cultivated artists who were ready to walk with him on his underground community based path into a non-genre-focussed and cross-benched/forthright future. Release #1 was realized in January 2011 with Matthew Burton’s ‘Who Loves You/Small Winner’, a Seuil and Half Hawaii EP is on it’s way.

In addition to making music, he has also acted in movies, most notably in “Merry Christmas, Mr. Lawrence” co-starring David Bowie, for which Ryuichi also composed perhaps his most memorable film soundtrack.
Trivia – he acts as a director in Madonna’s “Rain” video. He also modeled for “The Gap” among other products.

Since he released his first disc in 2003 on Traum Schallplatten, the superior producer disperses ecological expertise and the sound of chirping birds in his tracks. He uses nature as a contentual and dramaturgical source of inspiration for his productions since 1993.

A walk in the woods – this is Dominik´s Blueprint for exciting music, because “there you never know what is expecting you behind the next junction”. In the forest some rustle in the coppice can turn into a hookline: every single sound is important and endows the tracks with the necessary vitality the dancefloor needs. If minimum or maximum: Not giving a damn, the audience loves extraordinary character as much as a great Basedrum. Combining both, Dominik isn´t held in high esteem – which he usually savours in more blinkered clubs all around the world – wrongly.

“More flesh to the bones”, this is his motto. In times of skeletonized diet-techno this is an indispensable estimation more than ever. This is one of the reasons why the DJ, producer and remixer did more than just establishing reputation. Since many years he masters the situationally rocking on 12”-format just as the full-length of an album.

In 2007 Dominik was awarded the “Preis der deutschen Schallplattenkritik” for his second album “Heimische Gefilde”, with which he achieved a lot for the generation-spanning acceptation of techno. It was released on Traum Schallplatten, which is run by its most important patrons Jacqueline and Riley Reinhold. He repeatedly obtained front positions at readers polls of the magazines groove, Raveline and De:Bug. He was even voted for Newcomer and Producer of the year. Also his creations as DJ and his Remixes for various artists such as Hot Chip, DJ Hell, Tiefschwarz, Nathan Fake or Roman Flügel were awarded several times.

He will continue to indulge his affectation for more emotionality in the beat-corset in future. The creativity of his musically work will stay complex and innovative, but remains always accessible due to the inherent down-to-earthness. After all one wants to take his audience on a journey, not wanting to ditch it at the ticket counter.

As a computer engineer and inveterate technocrat, is always on the edge of technology, adapting the way they work to the latest advances in the field of sound processing, a fact that undoubtedly makes each track of this artist becomes an experience new to our ears. His productions are, above all, an example of his vision of dance music, blending his musical roots, the latest technology and its ability to make the feelings to come to make the public dance.

A Iñaqui Direct is a one way trip to the past and present of electronic music. Given his background in this context, to keep track knows where he wants, and subtly becomes a place where the most important thing is not only a strong pace, but a feeling that has to change constantly and make the track vibrate all times. Among his discography are two albums for the label Regular, first Klinischtod in 2005 became the first album dedicated to a single artist in Terrassa seal discography and 19 which appeared in stores in 2007. Some tracks have been licensed to Marin as the Fabric mixes had a starring Ivan Smagghe and mix CD debut of the Le Chic in Madrid Gigolo label.

Booking// info@overflow.es

https://soundcloud.com/fabel

Women Affair are a dance music duo formed several years ago in Madrid. For some time dance music is more and more unclassifiable … The sounds electro house, techno to electro … And that is precisely what they do Women Affair. Just make dance music with energy and without thinking about what label put. Hardness and softness. Rhythm and melody. Dance Music whoever you are.

The duo of Guillermo and Sergio Revilla Baqué born in 2000, with the experience of being DJs and an uncontrollable desire to start creating their own productions. His studies of sound technical and professional experience in this field things much easier and the results are slow to appear. His first song, Dance like a whore, opens the first disc compilation released by the label of Alek Stark, Star Whores Records. This track is a real statement of intent: dance music where labels are a nuisance and how important is the quality and personality. With its Frame by frame reach a degree of experience and 12” is placed on the charts as of Ascii.Disko, Hakan Napsugar or Lidbo.

During this period the actions multiply and either live or as djs appearances are appreciated by audiences and promoters. But production is a drug, and continue writing without stopping … It is when the respected French label Od Records (Heko, Dick Voodoo, Mondwest …) decide to edit his new material, again with a significant progression in the substance and form of production. This new work includes a remix of Frame by frame signed by Dick Voodoo, plus the Ascii.Disko review by one of the new songs on the maxi access included. But these are not just words … Listen and remember: Dance like a whore!!

]]> http://overflow.es/web/the-replicant/feed 0 http://overflow.es/web/undo-vicknoise-2 http://overflow.es/web/undo-vicknoise-2#comments Tue, 09 Apr 2013 14:08:02 +0000 Arturo http://overflow.es/web/?p=3205 ...Read More]]> Original founders of Factor City, which has just fulfilled 20 references, Undo and Vicknoise have revolutionized the Spanish electronic panorama, both together and separated, in the highways and in the study of recording. In ‘All 20gether’, epé compilation of the stamp that assembles its most significant artists (the companions Lontano, System and MouseUp), has been autocelebrated by ‘Expansive Wave’, a superexpressive and hyperexpansive track led by a megaobsessive xilofón and one of these creaking rhythms of those who have the secret.

Its eclectic style and its knowledge of all kinds of styles make a good warm up possible to any Dj that admired Danny Tenaglia crosses for its way –su he could verify it directly in its first sight to Barcelona some summers ago – at the same time that it passes him to puncture in any discotheque that is worn across that chest, adapting itself to every type of public it is already in the “sybarite” Barcelona or in the most deafening of the discotheques of the north of the peninsula. For it it is not strange at all to see him one day in the room Mond Club, puncturing electronic pop, as in the Discothèque going mad to the personnel with its musical eclecticism, in the festival Groove Parade with an arm in sling, or in The Terrrazza, where he has gone so far as to share cabin with already commented Tenaglia. “One” has “stamped” on the most emblematic rooms of its dear Barcelona: Moog, Salsitas, Steep rock, Abaixadors déu, Otto Zutz, Octopussy, Circus, Moviedisco … Simultaneously has taken part in different festivals in Ireland, where club of U2 maintained a residence in the Kitchen of Dublin for 4 months –el – moving later to 3345 where he shared cabin with Donald Scanell or Funk d’Void. Also the Transimission was provided with monthly residence in in Tralee (Kerry). On the other hand its presence in the mythical Festival Sónar is more that clear, since it has been present every year since it started, it even has acted with the property development company Advanced Music in Electric Café celebrated in Japan and Italy.

After all that we are speaking about one of the essential figures of Barcelona and the Iberian peninsula where it ended up by sprouting thank you, topcoat, to its double CD mix: Darkhouz and Popotronic (2001), in which by a face it was tasted electro-pop of the good one and by another dark house of the one that Tenaglia and John Digweed likes. As for proper productions there emphasizes its homage to the already missing discotheque of Mollerussa, “Keeper 21″ and “When I see Kate”. In 2003 it created its own label Hit Kune Do, with a philosophy near to the tao of Bruce Lee: “Jeet Kune Do favors the form, without form, so that it assumes all the forms, and since Jeet Kune Do has no style, can adapt himself to all the styles. As result uses all the ways and it is not limited by any”. As the same Astral, go.

After finishing college in 1997, Maral create his own label: Konsequent Records, who becomes one of the leaders of techno music labels in Germany, and she becomes a founding member of Formic Distributions, where his love of techno and electro starts to become a serious obsession, which causes her to support this music even more.

Maral Salmassi continued alongside his DJ career over the years and has earned a reputation for their furious sessions worldwide (Sonar Festival, Tresor, Stammheim, Moog, Rotefabrik, Loft, Matrix, Studio 672, Danube Rave, Xplosiva , Spectrum, Prag, M1, LOFT, Electric …) and has also organized several parties Techno / electro in the Cologne area.

In 1999 Maral decided to create the label Art of Perception something that would allow him to express his vision of electronic music in a unique way. During this time you take a break from their activities in the distribution business to fully concentrate on this his new project (focused as a sort of soundtrack to the fantasy world created by the company Games Workshop), which has been a success from the start.

Mix Maral has made several CD’s like your Nu Forms of Techno compilation, mixed and released in 1999, is regarded as one of the most remarkable of the genre. In 2003 appears “The Sound Of Warhammer 40.000 Chapter 1 & 2 (Art Of Perception)” a flawless catalog where Salmassi stamp pays tribute to influential producers in the electronic German who shared the philosophy of German label as Codec & Flexor, Mike and Heiko Laux Inc, among others?? although the Finn Jimi Tenor sneaks into the first volume. Although that year will be remembered for the sad and accidental death of Christian Morgenstern on June 17, 2003, closely related affectively young producer with the same DJ and his seal.

]]> http://overflow.es/web/maral-salmassi/feed 0 http://overflow.es/web/david-carretta http://overflow.es/web/david-carretta#comments Tue, 09 Apr 2013 11:51:05 +0000 Arturo http://overflow.es/web/?p=3188 ...Read More]]> David Carretta is live electro/techno performer and DJ. Born in Marseilles, he made his first step in the new wave music with the first synths and sequencers (Korg MS 10 and MS 20) and one of the first samplers (Ensoniq Mirage). Carretta absorbed the prominent industrial and synthetic combos of the late eighties and early nineties: Front 242, Depeche Mode, D.A.F. and Throbbing Gristle very much influenced his first band Art Kinder Industrie.

During the very beginning of the techno movement in 1993, David released his first EP on Harthouse Records under the name of Calyptol Inhalant. Settled in Toulouse at that time, David performed live only occasionally.

During a tour set up by a friend in 1995, Carretta life took an unexpected turn: Helmut Geier, aka DJ Hell, noticed him and signed him on his label Gigolo.

Since 1996 Carretta collaborated with fellow-countrymen DJ Olive and Virtualian on Thrust Records playing in a pumping and dancefloor oriented style. In December 1999, David Carretta released his debut album Le Catalogue Electronique.

In 2000, David has been founded Pornflake Rec. with Renaud Campana, releasing Electric Indigo, Mark Broom, John Tejada, Ferenq and Worker Poor. In 2001, Carretta released his fourth 12-inch on Gigolo, the Domination EP. In 2002 he took a couple of months off to learn to DJ, releasing the mix CD ‘Model: Electro Dash’.

During late 2002 to early 2003, David Carretta launched at last his own record label Space Factory. Caretta’s tunes are hard and metallic (his old machines still work pretty well) his pieces are forthright, with his performance filled with a punk fit of anger. He hasn’t changed over the years: the voices remain vicious and distanced, the bass sounds acid-like, the lyrics are French or English sung with a strong accent.

He took on the name of “The Hacker” in homage to a track by the Master of Detroit. He became interested in the Underground Resistance, in the 88 and the entire US electro sound. In 96, an old friend, Miss Kittin, asked him to co-produce a track with her, in an electro-pop vein, entitled “Gratin Dauphinois”. Discovered by DJ Hell, Miss Kittin and The Hacker went on to produce several tracks on his label ‘’International Deejays Gigolos’’, including the future hits ”Frank Sinatra” and “1982”.

The track was huge hit at the Love Parade of Berlin and the record also saw success throughout Europe. While all this was happening, The Hacker set up his own label with his friend Oxia, otherwise known as Goodlife in reference to one of Kevin Saunderson’s first big hits.

The year 2000 saw the release of his first album “Mélodies en sous sol” (Basement Melodies), a skilful blend of electro and techno with a melancholic and introspective edge. The Hacker, just out of what he describes as his ”Jeff Mills period” had finally found his own sound, influenced by Detroit, Kraftwerk, the German rave sound of PCP, and the synthesized sounds of the new-wave era.

In 2001, working once more with Miss Kittin, the duo released the “First Album”, starting the electro-clash craze. The record would go on to sell over 50,000 copies and even Elton John and Karl Lagerfeld claimed to be fans. However, hype was lying dangerously in wait for them and the duo preferred a temporary separation. The Hacker continued on his path, always in the shadows, working with big names on several French and international labels: UMF, Dancefloor Killer, Sativae, Missile, Rotation, Turbo, Error 404…

He released a new album “Rêves Mécaniques” (Mechanical dreams) in 2004 on which he affirms his love for analogue sounds. This album is considered by many to be his most mature to date. His accomplice Miss Kittin even features on one track. He has since continued to produce music regularly and to perform in public on DJ sets, in major venues as well as in more exclusive clubs, always with the same humility and integrity that has made his name over the years.

]]> http://overflow.es/web/the-hacker/feed 0 http://overflow.es/web/james-murphy-lcd-soundsystem http://overflow.es/web/james-murphy-lcd-soundsystem#comments Tue, 09 Apr 2013 11:45:39 +0000 Arturo http://overflow.es/web/?p=3182 ...Read More]]> James Murphy is a musician, producer, DJ, and co-founder of dance-punk label DFA Records. His most well-known musical project is LCD Soundsystem, which first gained attention with its first single, “Losing My Edge”, in 2002 before releasing their eponymous debut album in February 2005 to critical acclaim and top 20 success in the UK.

Starting in 1993, Murphy used the name Death from Above when DJing, a nickname that was given to his signature PA setup while he was the sound setup for Six Finger Satellite. The original name of Murphy’s and co-owner Tim Goldsworthy’s DFA Records was Death from Above Records (though this name was deemed inappropriate for a New York City-based label after the September 11, 2001 attacks). A two-man Canadian band originally called themselves Death from Above before there was a dispute over the name. In response to the threat, the Canadian group changed the minimum number of characters legally required of them and became Death from Above 1979.

Murphy was a member of Falling Man from 1988 to 1989, Pixies-soundalikes Pony from 1992 to 1994 and Speedking from 1995 to 1997. He was also the sound engineer for Sub Pop band Six Finger Satellite. Former Six Finger Satellite member John Maclean is now on DFA records as The Juan Maclean. In 1999 he formed DFA with Tim Goldsworthy (formerly of UNKLE). At age 22, Murphy was offered a job writing for what was then a little-known sitcom named Seinfeld. He did not expect the show to be successful and chose to continue with music instead.

Murphy’s second LCD Soundsystem album, entitled Sound of Silver, was released on March 12, 2007. He also has a CD in the Fabriclive CD series, Fabric Live 36, made in collaboration with LCD Soundsystem drummer Pat Mahoney, released in October 2007. In late 2008 Murphy also announced he is to play bass guitar in a as-yet unnamed classic rock band with LCD Soundsystem drummer Pat Mahoney and friends Scott Wells and Paul Sprangers, although this was later refuted by Murphy as a misinterpretation.

Born in 1978, Luciano is a DJ since 1993 and a producer since 1997. In the mid-90′s, he was promoting Sense Club and Encuentros con la Technocultura in Santiago de Chile in the company of many initiators of the Latin American electronic music scene: Senor Coconut AKA Atom Heart, Ricardo Villalobos, Dandy Jack & brother Adrian Schopf, Washington Miranda, Argenix Brito, Microman etc.

He’s played radio stations and DJed clubs & events in Santiago and Latin America, Germany, Spain & Holland, settling in Switzerland in 2000 to release on Mental Groove Records in Geneva, where he also holds a residency at the Weetamix club. His releases appear on the Transmat, Perlon, Lo-Fi Stereo, Bruchstuecke and Klang Elektronik record labels.

Luciano’s mixed Swiss & Chilean identity shows in his music, a somewhat mystical blend of deep techno & electro that integrates southern elements in rhythms and colorful patterns in sound. His collaborations with Ricardo Villalobos (Playhouse, Perlon, Warp, Force Inc etc.) as Sense Club are especially rewarding, as is his partnership with Pier Bucci and Argenix Brito as Monne Automne.

Mellowing his style as times goes by, getting more experimental and spacey with a fresh style of his own, Luciano’s production is destined to the wiser dancefloors that have enjoyed his live sets in Peru, Chile, Argentina, the U.S., Spain, Germany & Switzerland. DJ-wise, Luciano’s trade relies on groovy & minimal.

Mathew Jonson really is one of a kind. He’s developed one of the most distinctive voices in electronic dance music: when you hear one of Jonson’s tracks, you almost immediately know it’s his. And yet there’s no mistaking any given track for another.

His music offers a rare fusion of populist intensities and nuanced musicality. With a keen understanding for the needs of the dancefloor and the universal laws of house and techno, he’s thrown out the rule book time and time again, sneaking tricks learned from electro and even drum’n'bass into minimal clubs, and loading up his B-sides with tracks that do what they damned well please. (No kick drum? No problem.)

His standards for sound and presentation are exacting. Both on stage and in the studio, Jonson’s fealty to analog equipment and real-time play—as opposed to mere playback—serves as a standardbearer for a kind of electronic music that goes way beyond the drag ‘n’ drop world of digital composition. Jonson has always been eager to get his hands dirty, and the music reflects that in gnarled bass sequences and long, intuitive lines. His sounds have serious teeth.

And despite his quick ascent through the ranks of the techno elite, Jonson hasn’t just stayed personally grounded. He’s devoted much of his energy to supporting his own close musical family, both in the groups Cobblestone Jazz and the Modern Deep Left Quartet, and with his Wagon Repair label, which he cofounded with Jesse Fisk, Graham and Adam Boothby, Frank Meyerhofer and Konrad Black.

He studied classical piano as a kid, plus jazz drumming, and played drums in a marching band —thus laying both the melodic and the rhythmic cornerstones of his music today. (Plenty of musicians claim to be “classically trained,” of course, rendering the phrase all but meaningless. But here’s something you might not have known about Mathew: he’s actually begun studying piano again, which suggests a musical seriousness that’s rare in the world of auto-didact button-pushers.

Thanks to his father’s work with sound technology, he also got his hands on synthesizers at the age of 9. By the time he discovered hip-hop as a young teen, he was recreating its electro-based beats on his own rudimentary setup at home.

It was in Victoria, when he was 19, that Jonson met up with the crew that would help guide his musical trajectory: Tyger Dhula, Danuel Tate and Colin de la Plante, who were playing and DJing parties around the area. The four started playing in clubs together, an early version of the group that exists today as Cobblestone Jazz and the Modern Deep Left Quartet. (The Modern Deep Left Quartet was the original name for the foursome; after de la Plante moved to Montreal, the remaining trio carried on as Cobblestone Jazz.)

“It was all improvised,” says Jonson of the group’s early days. “We never really worked in the studio, we would just meet at the nightclub and jam. That’s how it started. We did that for quite a while, and then it morphed into a residency at a club, once every two weeks.” To keep it interesting, they would invite other musicians—on trumpet, violin, bass, sax, and rhythm sections—to join them.

After de la Plante left town, Cobblestone Jazz began focusing its efforts more squarely on the dancefloor, moving away from purely improvised sets to include composed and rehearsed passages. And Jonson gradually began honing in on his own sound, both in his productions and his DJ sets, inspired by a deeper, weirder sound that had begun filtering into the city’s techno parties.

His first record, in 2001, was the first release on the B.C. label Itiswhatitis, appropritately titled “New Identity.” Another followed in 2002, and in 2003. That year, he also made his first appearance on Perlon, “Alpine Rocket”—a track he recorded alongside Luciano during his first trip to Europe. And then, suddenly, Jonson was everywhere: Itiswhatitis, Sub Static, Arbutus, Kompakt, M_nus—and every track an anthem.

“I had all that music kind of saved up,” says Jonson, “and then, just by chance, released it all at the same time. People criticized me for it, said that it wasn’t a good idea. But it worked out for me. All the tracks did well. I wasn’t saturating the market with bad music.” He’s right there.

In 2005, Jonson co-founded Wagon Repair, and it’s been a blur since, a nonstop series of tours and recordings, solo and with his bandmates. Crucially, he moved to Berlin. Here, he and de la Plante—who moved over at the same time—have set up Cobblestone Jazz’ European headquarters, providing not only the launch pad for European tours but, more importantly, the control center for the group’s recorded activities. The studio is jawdropping, frankly: a semi-circle full of gear, from old workhorses like the 808 and 909 and SH-101 to unique beasts like their Cwejman and Roland System 100m modular system. Tate’s Rhodes piano anchors one corner of the horseshoe, and everything feeds into a massive desk where tracks are mixed and recorded in real-time. Jonson makes his own music essentially the same way—only with two hands instead of eight.

Those two hands have come up with some remarkable material. Having perfected his brand of earthshaking epic with tracks like “Marionette,” “Return of the Zombie Bikers” and “Symphony for the Apocalypse,” Jonson has increasingly turned his efforts towards more personal, introspective music. He hasn’t left the clubs behind—his new album, Agents of Time, features a number of tracks that are as hip-windingy wily as anything he’s produced yet, full-on tracks like “Girls Got Rhythm” and “Thieves in Digital Land.” But he’s also taken advantage of the longplayer format to stretch out and indulge darker moods and slower tempos.

“I like to have phrases that sound like they’re major, but then they go minor when they turn around,” explains Jonson. “You think that you’re in a happy place, but suddenly you’re not. I like playing with that tension. When I look at the music I’ve made, the best music is always music that can stimulate any kind of emotion. It’s more like a key, towards opening up whatever is inside of you -a gateway”

You can expect him to be unlocking even more emotions soon—ones you may not have even known you had—when he ramps up with Midnight Operator, a collaboration with his brother Nathan Jonson, aka Hrdvsion. With Nathan also based in Berlin, the two are finding common musical ground, expanding upon the platform they established with their lone, 2007 EP for Wagon Repair as they begin work on an album.

“Obviously, you can look at what I do with my label and the bands I have, to see what’s important to me,” says Jonson of keeping it in the family, so to speak. I’m lucky because I have so many friends who are strong musicians. We can all feed off of each other. You know, when you’re doing music, it’s such a personal thing. To have an outlet with the labels to be able to release our music, and be able to all stay together, I think there’s a lot of strength in that. Everybody is stronger as a group.”

Like a lot of dance music producers, Berlin’s Ellen Allien has had her hands in just about every aspect of her field. Allien’s immersion into dance music began during an extended stay in London, at the height of the acid house phenomenon. Shortly after returning home she got into DJing, and by 1993 she had spun at Fischlabor, Tresor, and a number of other significant clubs. Throughout the remainder of the ’90s, she hosted programs on Berlin’s Kiss FM, worked at the Delirium record shop, operated a label called Braincandy, and threw a number of parties called BPitch Control, which led to her label of the same name. She became a noted producer and issued a series of full-lengths – Stadtkind (2001), Berlinette (2003), Thrills (2005) and together with Apparat Orchestra of Bubbles (2006).

Instrumental and pioneered the role of combining traditional turntable DJing with the digital world, he helped to launch FinalScratch at the turn of the decade. Seeing the full potential of this vision since the very early days, John also became founded and launched Beatport.com, which has changed the way DJs and music fans buy and discover the music they love.

John is well known for his vast record collection of over 50.000 pieces of vinyl, spanning virtually the entire length of club music history. He’s also rumored to have played through it as well.

After Ian Curtis hanged himself on May 18, 1980, Hook joined the other surviving members of Joy Division in New Order. He performed the lead vocals on New Order’s first album, Movement (“Dreams Never End” and “Doubts Even Here”), and his bass-playing style became increasingly melodic as the band developed their use of sequenced, synthesized sounds. He also played some keyboards and electronic drums. Between the release of 1983′s Power, Corruption & Lies and 1985′s Low-life, Hook took part in the short-lived Ad Infinitum, an act featuring Lindsay Reade (then-wife of Factory boss Tony Wilson) and members of Stockholm Monsters; they released a cover of Joe Meek’s “Telstar.” In 1990, after New Order released Technique, Hook formed a side project dubbed Revenge and released One True Passion. Collaborating with Dave Hicks (guitar, keyboards) and Chris Jones (keyboards), Hook combined elements of techno and hard rock; Hook also sang. A second Revenge album, 1992′s Gun World Porn, was released before New Order resumed with the 1993 album Republic.

While New Order went on an extended hiatus, Hook teamed up with vocalist David Potts (who had joined Revenge after that band’s debut) and released Music for Pleasure as Monaco in 1997. Instead of shifting away from New Order’s distinctive sound, Hook Xeroxed it; Potts even sounded oddly similar to New Order’s Bernard Sumner. However, the album startled fans and critics with its well-crafted pop; the track “What Do You Want from Me?” even became a hit in clubs and on alternative radio stations. Monaco split up after label indifference temporarily shelved their self-titled second album; Monaco was finally released in 2000.

Hook remained restlessly active throughout the 2000s. He recorded two more albums with New Order (Get Ready and Waiting for the Sirens’ Call) prior to leaving the band in 2007. He contributed basslines to recordings by a handful of acts, including Perry Farrell, Hybrid, and the Crystal Method. Freebass, a band he formed with fellow bassists Andy Rourke (the Smiths) and Mani (the Stone Roses) as initial members, issued a handful of EPs, along with a 2010 album (It’s a Beautiful Life). Peter Hook and the Light was formed for the sake of performing Joy Division’s two landmark studio albums, Unknown Pleasures and Closer, in their entirety, and was launched at The Factory, Hook’s Manchester night club. In 2011, the band released an EP, 1102/2011, which featured a version of Joy Division’s “Atmosphere” with Rowetta on lead vocals. Unknown Pleasures: Live in Australia was released around the same time. Throughout this phase of his career, Hook also DJ’d, compiled The Hacienda Classics and The Hacienda: Acid House Classics, and even wrote a book, How Not to Run a Club.

After the big reception of the first reference of OVF, next 6th of March we prepare ourselves for the launch of 02, which will come in charge of HD Substance, one of the Spanish artists with biggest musical career of last two decades who gives us “Store in a cool place”, a delightful techouse and super groovy cut, fresh and rhythmical, with a synthetic and repetitive melody that leads the track to pure dance, genuine music for your feet.

The second cut comes from one of the deepest artists of the Spanish scene, Pablo Bolivar. With the whole rhythmic sensation of the original track, Mr. Bolivar presents a dreamy and classy remix to us, perfect for good deephouse and dub lovers.

After two years studio silence, The Presets (Julian Hamilton and Kim Moyes) come rocketing back into the fray with their sophomore album, Apocalypso. Ranging from expansive, emotive techno, to future pagan house and choral space funk, Apocalypso demonstrates the band’s undeniably canny knack for welding hook-laden pop to some of the most singular and exciting sounds of tomorrow.

In less than four years Julian Hamilton (vocals, programming and keys) and Kim Moyes (drums, programming and keys) have worked their way up and out though the musical quagmire of Sydney’s club scene to become Australia’s foremost proponents of twisted electronic pop. They’re now one of the most talked about and in-demand live acts today with a catalogue of dance smashes to their name.

Julian and Kim had first met a decade earlier as tearaway students at Sydney’s Conservatorium of Music: by day they were battling Beethoven, by night sweating it out in seedy clubs to the strains of New Order, Bjork and The Smiths.

They’d also collaborated in the largely experimental band Prop, specialising in highly impractical exotic instrumentation and non-vocal excursions in noodle.

The harder, electronic leanings of The Presets came about when the duo chose an alternative guise to remix one of their own Prop tracks. It was the antithesis of their Prop work, concise hold-no-bars pop, and when paired with a lithe, pared-down live show, made for compelling listening, viewing and partying.

Signed in 2003 to Australia’s Modular Recordings (on the strength of demos which became their debut EP, the dark ‘Blow Up’) The Presets planted seeds throughout their hometown Sydney scene, which within 18 months began to reach germination internationally.

Things warmed up substantially for The Presets with subsequent releases ‘Girl And The Sea EP’ (2004), and their full-length long player Beams (2005), which spawned the dance floor monsters ‘Down Down Down’, ‘Are You The One?’ and ‘I Go Hard, I Go Home’.

So began two years of non-stop touring. From playing to clubs kids in Barcelona, New York and Istanbul, then to thousands of S&M leather daddies at the Folsom Street Fair in San Francisco, to over one hundred thousand people at the Brandenburg Gate in Berlin and every imaginable key festival in-between, Julian and Kim have covered almost every corner of the globe with their take no prisoners live show.

Along the way the band has remixed and been remixed by many of the modern dance music alumni. Additionally songs were picked up for use in hit TV programs such as The OC, CSI: Miami and CSI: New York as well as appearing on dozens of compilations.

All the touring, the music they’ve heard, the people they’ve met along the way, the parties and the tears, the trials and tribulations have borne their sophomore release, Apocalypso.

Wrapping up after headlining last year’s Boiler Room for the Big Day Out the guys packed up and relocated their home studios to an isolated farm near Byron Bay in Australia. For four weeks they began work on how to best distil the experience of the last three years of their lives as The Presets into their new music, in between attempts at to milk bulls, race roosters and embrace life on the farm.

Writing and recording continued whilst touring over the last European Summer. The band based themselves in Berlin for two months and in-between jet hopping to festival dates continued to chip away on the album. Upon returning to Australian soil again they alternated between their own home studios to prepare final mixes.

The first fruit of their labour, the recently released ‘My People’, is clearly a call to arms party, and unmistakably Presets in its sentiment. Tracks such as ‘Anywhere’ and the new single ‘This Boy’s In Love’ are clean hits of pure, emotive techno that blossom with Technicolor ecstasy in their choruses. ‘Talk Like That’ and shoots straight for the pop heart while ‘My People’ and ‘Kicking and Screaming’ aim squarely for the dance-floor jugular. These unabashedly sharp pop songs are offset with tracks like ‘A New Sky’ and, which nudges the balance of the record ever so slightly towards a more abstract future utopia.

Apocalypso trips across a cosmos of sound, and self-assuredly succeeds in its ability traverse the belting soundsystems of the clubs of the world while also sounding like liquid moonjuice coming out of the speakers in your loungeroom.

]]> http://overflow.es/web/the-presets/feed 0 http://overflow.es/web/ovfrec003 http://overflow.es/web/ovfrec003#comments Sun, 07 Apr 2013 17:36:47 +0000 Arturo http://overflow.es/web/?p=3273 ...Read More]]> RELEASE DATE: 10th APRIL 2009

Third reference of Overflow Records, Candongo EP, with Deep’s Edayar, duo composed by Manel Ruiz and Javier Orduña. Manel and Javier have more than a decade offering us good and particular music, Manel as Sistema and Javier Orduña as one half of the respected duo Retronoveau. From the passion for the good dub and the trying to escape from fashions, there was born their project Deep’s Edayar, where they show off their particular sense of humor and good cosmic sound.

They deliver to us “Slices” and “Dub in Carre4″, two good and creamy techno-dub tracks, which is going to surprise more of one.

We have a happy ending for this chapter, through “Slices” remix, by our Turkish star Ismail Genc, better known as Havantepe, who deliver to us a high quality techno track very deep like all his previous work. Fine techno at the height of any production of Gez Varley or Marko Füstenberg. Remember, Overflow Records wish you a happy sonorous trip.

Also, Dskonnect has a wide and well known experience in national and international bookings for clubs, promoters and festivals.

Dskonnect guards to offer a personal and integral service of maximum quality within the scope of bookings.

Contact

http://dskonnect.com/contacto/

Trayectoria

1993 Primeras producciones
1995 Premiado concurso nacional de DJ y primer Radio/ Show en la radio nacional RTN
1996 Reporte y criticas mensuales en discos para la 1998 revista nacional Suiza de
música electrónica Partynews
2001 Organizadora Protechtion intituladas Planet Detroit
2002 Primer disco en el sello Protechtion Recordings
2002-2005 Residente Club Privilege, Suiza
2005-2013 Además de la escena club, participación cada vez más activa a festivales

Salas de actuación

1996/2000
Rtn “Noise Experience” Radio Show
La Rotonde Club (Neuchâtel, Switzerland) La Mine Club (Lausanne, Switzerland) Green House (Couvet, Switzerland)
Goa Tribe (Neuchâtel, Switzerland) Psytrance Festival (Neuchâtel, Switzerland) Psychedelic Mushrooms (Bern, Switzerland)

2000/2004
Planet Detroit Parties (Biel, Switzerland)
Privilege Club (Biel, Switzerland)
Guayas Club (Bern, Switzerland)
La Coupole (Neuchâtel, Switzerland) Salamandre Festival (Lausanne, Switzerland) UnderClub (Bern, Switzerland)
Love Zoo Club (Neuchâtel, Switzerland)

2004/2008
Fatality Club (Biel, Switzerland)
Citrons Masqués Club (Yverdon, Switzerland) Biella Factory (Biel, Switzerland)
La Coupole (Biel, Switzerland)
Bulldog (La Chaux-De-Fonds, Switzerland)

2008/2013
Don’t Miss It Festival (Couvet, Switzerland)
Bleu Café Club (Neuchâtel, Switzerland)
Z Club (Alicante, Spain)
Desden (Alicante, Spain)
Minimalist People Rave (Alicante, Spain)
La Granja Escuela Project Rave (Provincia de Alicante, Spain)
MIMAA Festival (Alicante, Spain)
8 y medio Club (Alicante)
ArteSpiritu (Alicante)

Actuó en muchos clubs y raves con artistas de renombres internacionales como DJ Misjah (X-Trax, NL), Ben Long (Space DJz, Primate, Fine Audio, UK), Laurent Hô (PA Design, HHD, F), Deetron (Music Man, CH), C-Denza (Kobayashi, F), Al Ferox (Kobayashi, F), Mark Verbos (Simple Answer, USA), Robert Natus (Planet Natus, DE), Marcel Woods (ID&T, High Contrast, DE), DJ Noise (Voice-Noise, CH), Steve Murano (D)

booking// info@overflow.es

Since then Damian has been traveling and developing new projects and releases. Music is still the main center of his life. Playing around the world, making people have fun and dance is the biggest satisfaction in his life.

He likes to think about dance music as a whole thing, not focusing on styles but on what people need in every occasion, always focused on the groove and atmosphere, making people’s feet move non stop.

https://soundcloud.com/damianschwartz

His debut release ‘Random As’ came out in January 2002, but Smoke has always been immersed in music. In his youth he sang in a choir for four years (a far cry no doubt from the mournful tones on his ‘Don’t See the Point’ or ‘Never Want to See You Again’), his parents are involved in classical music, and he has classical training in cello and piano.

Smoke’s own productions are often described as moody, a reputation he doesn’t shy away from. His debut on Soma was the euphoric ‘Chica Wappa’, described by Smoke as “undoubtedly the most optimistic track I’ll ever write. My music will never be this upbeat again.” His wish might have come true: recently Smoke’s remix work on Vakant and especially his reedit of Junior Boys ‘In the Morning’ have focused heavily on melancholic electronica, although Smoke has a noisy, brash side too, evidenced on big tracks such as ‘Meany’ and ‘Brian’s Lung’.

Smoke both performs live and DJs, and his agenda as a spinner is perhaps well represented by ‘Sci-Fi-Hi-Fi Vol. 3’ from 2006. His debut DJ mix combined a fascination with dub techno, classic Detroit (Smoke is not averse to playing old records at all) and new European minimal techno.

From the early days of his hugely successful, uncompromising techno ‘Black Series’ on Glimpse Recordings, through to the groove-laden techno of ‘Drifting’ on Planet E.  2010 also saw him fully pursue his deep organic take on house via his Crosstown Rebels singles and album   – this musical range has gained him the respect of his peers and culminated in two successive nominations in DJ Magazine’s prestigious ‘Best British Producer’ category.

His energetic live shows and DJ sets incorporating his beloved Roland 909 are already a regular fixture in South America as well as Japan (in part due to a loyal following at Tokyo’s club-of-the-future Womb)
It has also taken him regularly to Australia and North America, as well as European clubbing meccas such as Panorama Bar, Tenax, Fabric, Cocoon and Tresor. A specific highlight in his career came in summer 2010 when an epic run of gigs at Space Ibiza’s Kehakuma party culminated in him being invited to close the evening on the Flight Area stage (outdoor Car Park) at the Space Closing fiesta. As he wrapped up the show, in front of a 5,000 strong crowd, he joined an elite crew containing literally the biggest names in the history of dance music.

Jamie’s endless touring schedule includes nearly every major city and festival around the world; including such spectacles as Glastonbury, Tomorrow Land, and Burning Man, as well as highly esteemed clubs like Warung, Fabric, and Womb. In addition, he holds his own Ibiza party, “Paradise,” every summer at DC-10, as well as global pop up parties.

His revolutionary sound is an instrumental part of his success, being both artistically innovative yet easily accessible. He and his label, Hot Creations, have been credited with creating an iconic sound that has paved the way for a warmer, more melodic, deeper side of techno to emerge.

Jamie has always worked to expand the musical spectrum of his industry; from his first release of “Amazon” in 2006 to his acclaimed Essential Mix filled with rare cosmic disco and timeless underground house on BBC Radio 1 BBC in 2009. In 2009, he also released the hugely popular trippy and hypnotic anthem, “Summertime,” on Crosstown Rebels. In 2010, Jamie released a remix of Green Velvet’s classic “Flash” that quickly rose on the charts and filled dance floors.

2011 was the year Jamie Jones and Hot Creations took over. Continuing to power out hits, they released Hot Natured’s “Forward Motion,” featuring vocalist Ali Love. But it was Jamie’s remix of Azari & III’s “Hungry for the Power” that was the quintessential song of the year; heard everywhere in Ibiza and beyond.

At the beginning of 2012, Jamie was voted the #1 DJ by Resident Advisor, and the demand for his signature brand of bass oriented and groove driven house grew exponentially. He started his weekly party in Ibiza, “Paradise,” at the legendary DC-10. It was a wildly successful night, and he will continue it this summer every Wednesday.

Rather than simply riding out the tidal waves he has created for himself, Jamie continues to push forward on new musical frontiers. He and Lee Foss have evolved their project, Hot Natured, into a full band; adding Ali Love and Luca as members. It takes elements of the grooves Jamie has long championed and forges it with song-based vocals and smooth synth melodies into a live act. Jamie looks to challenge conventions with this new direction.

“I’m trying to illuminate this very niche, almost secret world of underground house and techno in a way that can be accepted by the mass public. Bringing two worlds together.” His goal may not be far off. The first single off the new album, “Benediction,” has already reached the top 40 charts in the UK. Hot Natured will release their first album and start their first live concert series in April of this year.

Jamie concurrently continues his own tour and release of his music as well as launching his new label this year: HOTTRAX.

The artist formerly known as Splank, Florian Senfter has carved out one of the most  exciting and glaringly individual careers modern dance music has witnessed. Having such success so early on with his first Gigolo release – the chart-smashing  ʻKernkraft 400ʼ – could so easily have gone straight to his head, but Flo was too  stubborn and single-minded to succumb to any material lure of permanent limelight.  Instead heʼs concentrated on painstakingly moulding one of the most unique sonic characters around.

It was with 2006 album ʻBlack Toysʼ that he really nailed his signature sound. Dirty,  funk-fuelled analogue grooves laden with ingenious melodies and other-worldly production techniques, delivered via a plethora of the most aurally orgasmic outboard toys. That is the name of Zombieʼs game. 2009ʼs ʻZombieliciousʼ saw him take this already feverishly dynamic blueprint and turn the distortion up to 11. The LP was the unmistakable sound of a producer on top of his game and having a ball at the same time.

This year has already seen a crazy flurry of activity – heʼs been busy in the studio with close compadre and Turbo Records head, Tiga, concocting yet more dancefloor dynamite for a new LP under their ZZT guise, as well as creating more incendiary weapons to add to his Zombie Nation live show – which, if you havenʼt yet witnessed, is the only way to fully experience the unbridled force of his insanely infectious genius. It should also be said that Mr Zombie Nation doesnʼt use the term “live” lightly, like so many producers do these days. Zombie Nation live is an orchestra of vintage synths and controllers grinding and hollering to Floʼs frenetic yet magical
touch.

But his recent output hasn’t all been down to him. One of his latest and greatest is a product of his embracing our planetʼs current social networking mayhem – his own brand of “Internet Democratic Music.” Through his Facebook site he put the word out to his fans to submit all manner of sounds and samples, and from these he created the ground-breaking and aptly titled – ʻMinds of Manyʼ. And being such a success, donʼt be surprised if another project crediting his now heaving entourage surfaces very soon.

Suddenly a Zombie Nation of his very own looks to be a very real prospect…

In 2007 Sergio Aphro joins Pablo Bolivar to create the band Pulshar. A band where to unleash his most advanced work ranging from dub to electronic soul. After several EPs in 2008 is out their first album, “Brotherhood” (Phonobox, 2008), and now, two years later, the new effort is entitled “Inside” (Desolat, 2010). In both editions we can enjoy a fine production accompanied by Aphro?s delicate soul/reggaevoice. Together they produced and did the post production of soundtracks for exhibitions and television advertising campaigns, this way they gave birth to Avantroots Productions.

For years he was part of the Decoder Muzique team. One of the most important electronic music distributers in Spain, where he was leading the national sales department. He currently resides in Barcelona, teaching as a professor of Ableton Live in Mad Center, and running Avantroots Records.

The fall of the wall meant reunification, but above all, a sense of no holds barred. The eastern part of the city became the anarchic, creative playground for a euphoric youth, now freed from bureaucracy. The early 90s were formative years for a young Paul Kalkbrenner as well. Eventually, in one of many long and sleepless nights on the dancefloors of E-Werk, Planet and Whale, the dream was born to make music himself, and anything less important would be put aside. A job as TV editor got him through the mid-90s and financed his first music gear. By this point Paul had already decided that he did not want to be a typical DJ playing other people’s records, but rather to play only his own music, live in a club setting. His first tracks were released in 1999 on Berlin-based BPitch Control (the newly founded label from Ellen Allien) as the Friedrichshain EP, titled after his home district in the city’s east. A series of further singles and two full-lengths (Superimpose and Time) followed, plus continuous live performances that threatened to shatter the grid of his calendar.

Together with Paul Kalkbrenner, BPitch Control gained a strong momentum. Interviews in respected German magazines like Spex and De:Bug paved the way for regular international bookings. The Lufthansa fetishist had now become a frequent flyer. Paul’s third album Self (2004) would mark the beginning of a new era. His melodic sound, with its affinity for grand emotional gestures, obeyed the logic of the dancefloor, but Self introduced a narrative aesthetic, serving as a soundtrack to a film that didn’t exist (at least, not yet…). It was Paul’s most musical and mature album to date, although still taking cues from the dancefloor and rave culture, offering a first glimpse of what was yet to come. “Gebrünn Gebrünn”, released one year later, became a crossover hit found in every DJ’s record bag and finally cemented Paul’s status as a Techno MVP.

In early 2006, German director Hannes Stöhr, an avid fan of Self, decided to get in contact with Kalkbrenner. His idea was to produce a film about a musician in Techno City during the new millennium, and Paul would compose the soundtrack. The two met, traded ideas and experiences, and soon after began working on the screenplay’s first draft. In the course of their exchange, Hannes had the realization that Paul should not just contribute the music, but that he would be the perfect choice as the film’s star. Without hesitation, Paul accepted the offer. They decided to title the film Berlin Calling. For the soundtrack’s production, Paul and his friend (and BPitch colleague) Sascha Funke spent half a year in Cézanne’s hometown of Aix-En-Provence in southern France.

Unencumbered by the cold, gray Berlin winter, Paul devoted himself entirely to the musical aspect of the project. One song already had a title: “Sky and Sand” with vocals by Paul’s brother Fritz. Upon Paul’s return to Berlin in 2007, the filming began, and the finished work was brought to German theaters in October 2008. Berlin Calling and Paul’s debut acting performance received positive reviews, and the film, thanks to its authentic depiction of the Berlin club scene and drug culture, became, slowly but surely, a cult classic.

The soundtrack and especially the single “Sky and Sand” broke all sales records. That track in particular went gold in Belgium where it remained in the charts’ Top Ten for weeks. The 2009 DVD release of the film brought Paul to a new, much larger audience around the world. By the end of the year, Paul separated with BPitch Control after a decade-long relationship to take the next steps of his career alone. In early 2010 Paul completed a twelve-city live concert tour throughout Europe (with over 50,000 tickets sold within just a few weeks), followed by many headlining appearances at summer festivals. More tours and new challenges await him.

For a lot of producers, the Akufen way has simply become the way to assemble tracks. After the release of My Way, Leclair was humbled by the unparalleled accolades and legions of admiring peers who began paying homage to his micro-sampling aesthetic. And yet, for Leclair, like any true artist, making music has always been a matter of where to go next, to find those stones still left unturned.
“The aesthetic for the Akufen stuff is changing a lot,” he explains. “It’s become much more old-school, funkier and more downtempo, with a bit more hip-hop favour”. To be sure, no matter which way you break it down Akufen is still in the business of making dance music. As for now, he’s meticulously composing his next attack and looking to show us new ways of dancing. He’s gauging the temperaments he culls from the world’s dance floors while DJing and then crafting his response.

Rest assured Marc has seen more of the world’s dance floors in the past four years than he has daylight. “I’m touring like crazy. I’m gone three weeks out of every month.” Every stop is like a tutorial for him, every dancer a lesson. For those who show up looking for a whirlwind micro-house extravaganza, along the lines of his monstrous Fabric 17 mix (Fabric, 2004), walk away knowing that Akufen is a DJ who shows up not fulfill expectations but to trump them. Give him half a chance, and he’ll fuck with your head.
“My DJ sets are getting more experimental, more technological dance music than techno, with still a little bit of house thrown in. Actually, I’m even clearing out the house records to create a more mental experience from the DJ set, by playing more electronic music with an edge.”

When he’s not DJing, Leclair considers himself a conceptual artist first and music producer second. Perhaps his most considered artistic statement of late has been his least recognized. In 2005, Leclair issued a second full-length called Musique pour 3 femmes enceintes, a boldly experimental meditation on the cycle of pregnancy. He has performed the piece at London’s Tate Modern and across the world.

In 2005, at the prestigious Ars Electronica festival, Leclair debuted an audio-visual version of Musique as part of a project called 5mm, which includes fellow Montrealer Gabriel Coutu-Dumont, who handles the visual component of the performance. The pair will be presenting the audio-visual incarnation of the ever-progressing work at the 2006 edition of the Mutek Festival. A CD-ROM release of this performance will soon follow. Then he leaves for China, where he will spend a month working on his next audio-visual project, which will focus on ancient Chinese music.
And yet, when not recording music or traveling around the world’s nightclubs and museums, Leclair finds time to remix other artists, run his own label, and even work on side projects. These days, he’s remixing Mike Shannon and Radiq, two more names to add to a reputable roster that already includes Richie Hawtin, Cabaret Voltaire, Yello, Massive Attack, Thomas Dolby, and Thomas Brinkmann, to name but a few.

As for Musique Risquée, Leclair’s boutique label, its catalogue continues to swell with new and respected talent alike. Whether it’s the latest whim from his own studios, or the work of artists like Atom TM, The Rip Off Artist, Philippe Cam, Crackhaus, The Mole, Stephen Beaupré, Trendsetter & the Followers, or Bruno Pronsato, Risquée records live up to their namesake and go a long way toward lining the Akufen DJ bag.
Leclair has even released some new music on the Perlon label’s popular Superlongevity 4 compilation, as Horror Inc. And this is what he seems most excited about at the moment. “The new Horror Inc. stuff is totally cinematic, jazzy and really dark”, he says. Whatever he has in store for us, we’re listening.

That’s Alex Unders’ musical universe. Based in Madrid, this producer is the ‘CMYK’ label manager. He is also one of the men behind ‘Apnea’ and ‘Bemysheep’, and one of the founders of Net28 (the net behind these labels and others like ‘Cyclical Tracks’ and ‘Pulpa’).

A true “DJ’s DJ”, he has won legions of fans and the respect of his peers alike for his deep crates and lightning fast mixing skills. And while some may suggest he has gravitated towards smoother, deeper selections as the years go by, those in the know will tell you he has few equals when it comes to whipping dance floors into a relentless techno frenzy should you catch him on a night with that mischievous twinkle in his eye.

Those fortunate enough to catch one of Mike’s rare live performances are encouraged to do so with an open mind, as it is in this context that the breadth of his creativity truly shines. From the shuffling house and techno of his solo performances to the narcotic jazz of his new Blue Fields project alongside singer Fadila and guitarist Takeshi Nishimoto, his is a musical vision which easily wriggles free of the usual genre signifiers and pays grand dividends to those with the good sense to get nice and close to the speakers; the devil is most certainly in the details as the old saying goes.

Yet beyond all of this, perhaps his greatest achievement has been his unfailing support of the music and people he loves. As head A&R and damn near everything else of Cynosure and formerly Revolver Canada Recordings (alongside Jeff Milligan) for over 10 years, Mike has shown an uncanny ability to select and release tracks which have become go-to fixtures in the sets of the industry’s best DJs, as well as introducing the world to the work of some of his nearest and dearest before anyone knew their names (Akufen, Deadbeat, Ernesto Ferrerya). Far from pursuing the next one hit wonder or sound of the season, his steadfast curatorial vision and passion for the music have earned him the trust of discerning music connoisseurs the world over.

Mike Shannon lives and works in Berlin.

]]> http://overflow.es/web/mike-shannon/feed 0 http://overflow.es/web/ovfrec004 http://overflow.es/web/ovfrec004#comments Sat, 06 Apr 2013 17:34:44 +0000 Arturo http://overflow.es/web/?p=3280 ...Read More]]> RELEASE DATE: 22nd MAY 2009

Overflow returns to battle with its fourth reference which is not going to leave no one indifferent. Good music and some emotional smile is what gives us the duo of Barcelona Retronouveau in their “Mojabragas EP”.

After beautiful Candongo Ep (OVF 03), our dear Javier Orduña repeats with us doing what he can do so well: Good techno. His passion and obsession for Dub and Detroit scene is well known and he makes that clear in his amazing sets that have gone across all around the Spanish scene. On the other hand, Hector Herrera (aka Impulse), recently emigrated to oriental soil, where he’s becoming established as an authentic alien of the decks.

 In “Mojabragas EP”, we will find lots of that pleasant, positive and danceable techno-dub that we love and to which we don’t get tired of. The other track, Molinillo Man is genuine Overflow!!!

And to round off this enjoyable reference, Stereovirus (Dosem + Activates) give us an authentic bomb track… be attentive with “Mojabragas remix”, with which they are going to blow up many of the best dance floors of the international panorama. It is not coincidence that Technasia has recruited them for the ranks of Sino. We have to admit it, yes, we have soaked our knickers as well!!

By the middle of May will take place the first of the scheduled dates for this 2013 within the celebration of the 10th anniversary of the collective. For the event are planned two different scenes; the Club Scene will host the performances of big names of the international electronic scene; the Art Space will display the work of multidisciplinar and dynamic artists. A fusion between music and art, where the atmosphere will have a huge prominence, moving people to a guaranteed fun experience. We congratulate the Overflow team for the effort and dedication they are having and also for making this event a unique experience.

Shortly more info.

The OVF 05 it’s in charge of the big catalonian master known as Sistema (you may heard from him with Deep’s Edayar, among some other projects). We don’t need words to describe this genius, a figure on the Spanish electronic scene.

In “No Los Conozco Ep” we’re able to enjoy two great tracks and three remixes from some awesome artists…. Go ahead and listen: With “Demetrio Schmith” we can reach deepness to the core, serious and special techno, chords from deep sea and bleeps that taste like a finnish drink… a whole science fiction panorama with a more than worked out technoid remix from Javier Orduña, a usual partner in crime at Overflow Records.

And if with “John Clanders” minds and dance floors are getting blown up with a first-class detroitian evolution, just hold on and check the remixes for this track. On one side, we have Marko Fürstenberg (Thinner – Ornaments – a.r.t.less) giving an incredible emotional pulse, projecting the original mix on high octane, indicated to go beyond, a massive bomb from A to Z. And on the other, the next resident on the iberican península, just brought us an exceptional remix. Eric Estornel, better known as Maetrik (Iron Box – Treibstoff – Mothership) unfolds the original’s mystic with some chorus between his own trademark rhythmics, achieving full respect on original’s mix. “

Overflow Records is back on track with the sixth reference, coming straight from one of the biggest names when it comes about Techno: Mr. Fanon Flowers, the raising star from Kalamazoo, MI, a place between two cities that marked the history of electronic music (Detroit & Chicago) it’s our next artist.

Producing techno since 1992, with a original style mixing the soul of house music with the syncopated rhythms of techno, creator of one of the best labels in techno like Mechanism Industries, Fanon Flowers is for sure one of the few that continues the traces of the original school. With “Blue Dreams” we’re going to find a lot of that. Pure of that Chicago sound on the first two tracks that gives the name to the release, with a neat progression of layers, a journey to those days. The third cut, named “Stoney Island” it’s pure minimalistic techno track, where the dephts and darkness are merged together into this hypnotic rhythmics, almost like a tribal ritual. Are you all going to miss this?

OVFREC 007 “No retornable EP”, done by Black I.C.E. (Black Intrusion Countermeasure Electronics), a duo coming from Barcelona, making music since 2004 are the next ones in charge. Their single debut was out on 2008 through the label Soundfate, titled “Black I.C.E. EP” and with some great response by well known artists of the underground stage and since then they have received the support of artists like Phuture 303, UR’s Cornelius Harris, Submerge, Glenn Wilson, Angel Molina, Funk d’Void or Tim Xavier. They also are the heads of Omicron Records, a very promising platform established in Barcelona. “Not for sale” y “El almuquine de los canis” will be the tracklist on this OVF07: “Not for Sale” is a mixture of energies, soft and elegant but infected with the most furious techno rhythmics.

Straight to your entrails or your heart, that’s up to you. “El almuquine de los Canis” is a freakin’ retroelectro track from A to Z, dark and sinister just like hell is. One of the first appearances of the finest and raw electro at Overflow Records. And the cherry on the top is an atmospheric remix of Not For Sale done by Sendo, another moniker of Marc Ramirez (Better known as Dosem) where he develops deeper sounds, IDM, floating electronics and more. He already collaborated with us at the Mojabragas Remix (as Stereo Virus), but in this one he takes the track slowly and directly to space, with an acidic bassline that drives track into this empire of senses. No more words needed. “

After one year amplifying the artistic and sonorous platform, Overflow Records begins this 2010 with the first Various Artists compilation under the name of The Family Grows.

Through the 8 tracks that complete this reference, you will find a well cared selection. Starting with the dark and intimist ambient from Sowing Paranoia, the deepest Tech House from Mr. Bizz or Robert Solheim; Javier Orduña & José Lucker with an emotional, dubbed-out Techno House; the intense and melodic Techno from Florent Y Yo and Yin Elek; the hard-edged deep Techno from Black I.C.E. and the brutal Echoplexs Acidub remix of Fanon Flowers Blue Dreams Part 2, previously released at the OVF06. A track that might remind you of the old infamous Plastikman, merged with some Emmanuel Top classics.

After our first compilation “The Family Grows LP”, Overflow Records is pleased to introduce you all the next release.

A surprising and delicious work from HD Substance & Javier Orduña. “Conexión Maño Serrana” is the title of this project, where both develop different perspectives from a single idea. HD Substance goes deep and spacey with a cleaned out track with some vocals that will drive nuts anyone in the dancefloor. Javier Orduña offers a dynamic, techno-edged version of “Conexión Maño Serrana”. Fully loaded with repetitive patterns along the track, with his characteristic sound progression. As a final surprise, we present a remix done by one of the best names in the dub techno scene. Brendon Moeller (Third Ear/Steadfast) brought us an impressive remix, extracting some ideas and samples from the originals. A heavenly track, loaded with a massive bassline. The perfect way to get lost in time. Enjoy the ride.

Proceeding from the American school: Detroit, Chicago New York and San Francisco, Satore, the young producer from Madrid settled down in Majorca has done publications in labels like AvantRoots, Minuend or Instabil. In ‘Similar Way EP’ it delivers two original tracks (Similar Way and The Man Of The Trees) that maintain his style on the halfway between the dub techno and the deep house.
Completing the reference, the remixes by three well-known producers in the international dub-techno scene: Quantec (Styrax Leaves/Echocord), Ohrwert (Millions of Moments / Field Records) and P. Laoss (Instabil / Pong Musiq).

It’s been a while since we launched our last reference. The reason is that because of our multicultural agenda we barely had time to keep working in our beloved label. We are very near to reach our 10th anniversary, and we are working hard to relaunch our label again. We will be back soon with the finest sounds and killer beats that we love!! Keep calm and crack de dance floor!!

Overflow Records Team

Booking// info@overflow.es

Love Battle supone toda una vuelta de tuerca en su sonido. Después de regalar más de 50.000 unidades del álbum con una revista gratuita, su última idea ha sido pedir financiación a sus fans para grabar un video musical. Después de haber pasado por festivales como el FIB, Sonorama o Low Cost, ahora afrontan con muchas ganas una gira otoñal por las salas en la que presentarán ante su público su nueva propuesta, que incluye percusiones, coros, samples e incluso dos músicos adicionales.

El que fué su primer álbum Reel#1, llevó al grupo a tocar en mas de 40 conciertos por todo el país, participaron en muchos de los mejores festivales nacionales y algunos importantes festivales europeos. Además, en esa gira abrieron conciertos para grandes artistas como Pet Shop Boys, Brian Ferry, Dirty Pretty Things o New Model Army. Un álbum que ha conseguido la atención y el aplauso de los medios, como uno de los 10 mejores álbumes por las publicaciones musicales (Rolling Stone, El Pais, Público, Squire).

Pero ante su debut y su segunda referencia han pasado dos años, What´s the time Mr. Wolf ? es el segundo álbum de la banda lanzado en el año 2008. Es un álbum interesante, melancólico, con cortes de primer nivel como “Stumble in Vigo”, “Sister”, “Goodbye Angel”. Es el momento perfecto para ellos, para el sexteto formado por: Adrián Pérez, Fito Rodriguez, Javi Abalo, Iván Fernández, Raúl Muñoz y Paco Iglesias.

Algo así es lo que podemos ver el día 16 de Diciembre a las 20:30 en el Aula de la Cam y recuerda que puedes adquirir tu entrada por sólo 3 euros en www.servicam.es

La productora madrileña Doctor Zhivago es una referente en producción y desarrollo de artistas iberoamericanos, con éxitos cosechados en las presentaciones de Julieta Venegas, Natalia Lafourcade y Ely Guerra. Gracias a su reconocimiento, cuentan con la participación de la ciudad de México y el Instituto Cervantes. El propósito de este proyecto es potenciar la escena musical iberoamericana en Europa, con el fin de exhibir a los artistas Iberoamericanos a través de los nuevos canales de comunicación.

La cita dará comienzo el 21.01.12 de 21:00 a 02:00 en París, en la sala @lescombustibles, contarán con la colaboración de medios especializados radio El pingüino y el Magazine Que tal Paris?. La sala ofrecerá una serie de programaciones mensuales, donde la atractiva y cuidada selección de artistas iberoamericanos completen las noches parisinas en una exitosa cita. En la inaguración se presentará a uno de los artistas más reconocidos en la escena musical española Iván Ferreiro, continuará con Levi Star y acabará con Dj radio El pingüino.

Para más información, visita el Facebook de Músicas al Sol en:

https://www.facebook.com/MusicasAlSol

Booking// info@overflow.es