Afik Naim

Amato

Anthony Rother was described as an influential visionary, an electro pioneer and one of electronic music’s most prolific producers. For more than two decades Rother aggregated a vast musical canon that reflects his unique career as a sound researcher exploring the aesthetics far beyond the boundaries of electro, techno and pop music. Starting his recording career in the late ‘80s, the Offenbach-based producer established himself in Germany’s electronic music scene with his first two releases, 'Sex With The Machines' (1997) and 'Simulationszeitalter' (2000). In 1998, he founded his label Psi49Net, allowing him to keep his artistic independence and showcase his vision of electro music that cultivated a unique storytelling approach, guided by dystopian future visions on societal changes due to technological progress. The vocoder-driven vocals and the dark dystopian synth sound with machine-like beats have become Rother’s trademarks, even before he found international recognition as a science-fiction avant-gardist with the virtual electro-pop project 'Little Computer People' (2001) and his 3rd solo LP 'Hacker' (2002). In 2004, Rother created the Datapunk imprint to evolve an immediate, more song-orientated language that used simple melodies and even autobiographic anecdotes collected on 'Popkiller.' Perceived as one of his most venturous endeavors, yet his sonic shift had a decisive effect on many artists' careers: The Hacker, Boys Noise and Terence Fixmer published on Datapunk in its early days. While some of the experimental ambient recordings for Pete Namlook’s infamous label Fax +49-69/450464 reflects Rother’s prolific output, he also worked and co-produced with several prominent artists such as from former Kraftwerk member Karl Bartos, Sven Väth and DJ Hell. After its success, Datapunk turned into an enlarging business which devoured both time and creativity to make music. In 2013, Rother decided to let the project rest and took a break that he used to move his studio while only producing music for his HYBRID-Sets. Through his self-contemplative retreat, he eventually rediscovered the artistic instincts that brought him back to his roots; both in terms of his renewed independence as well as how he channels creativity as a producer. In late 2017, Rother resurfaced with an EP on Danny Daze’s Omnidisc and contributed the track 'Technic Electric' to Fabric 96 mix by DVS1. Last year, Rother returned to his Psi49Net label with a new album '3L3C7RO COMMANDO' that transports a clear message: Anthony Rother not only lives in and through his pure electro music, he still has something to say – here and now. The past represents the future! In April 2019, Rother will release two 12’’ on DVS1’s Mistress Recordings followed by another EP as well as a conceptual LP for Psi49Net in fall. Moreover, Rother will drop a 12-inch on Radio Slave’s Rekids offshoot Stranger In The Night.

Anthony Rother

Arpanet

To many, the name Aux 88 has long been synonymous with the term Techno Bass. Having been influenced by the early days of Detroit Techno, as well as the glory days of the Electro Funk and Miami Bass era, the duo had the vision to create something that could actually become a style of Electro, helping not just to revive it, but also to give it a direction which the sound could take and evolve from what it once was…and that’s exactly what happened, the rest is history! Having been involved in the making of Electro sounds for almost 25 years, Tommy “Tom Tom” Hamilton, Keith “K-1? Tucker, William “POSATRONIX” Smith, and Anthony “BlakTony” Horton have just about done it all. To this day, they continue to push the boundaries by not just perfecting the mix, but also by innovating on what has previously been done. Techno Bass from the legendary Direct Beat Record Label created A sound that would soon take over the Detroit dance scene, eventually moving on to revolutionize Europe and beyond.

Aux 88

Well known for the Electro side, since late nineties Boris Divider is producing electronic music under several names and alias, always in touch with the darker minimal and progressive electronics. He also got influences on the one hand from the first ebm waves, industrial/dark electronic scene and on the other hand from the old school electro and hiphop movement that appeared on the streets of his Madrid city in the early nineties. Cult bands such as Kraftwerk, Tangerine Dream, YMO, Vangelis... or SciFi film composers like John Carpenter, Brad Fiedel or David Chronenberg are main background to understand his music, and this helped him to start making music with computer trackers, tape decks, sequencers and synths creating a several electronic projects around year 1992. But it was not until late 2001 he joined PSI49NET A. Rother’s label, with a demo called “Integrated Lives” (1999-2000), and officially presented in early 2002 through the 'Electro Commando 1 Welcome To PsiCity' compilation. Besides that, with some productions in the queue and trying to boost his own works he brought to the light his main project called DRIVECOM in 2003. The label got a very good response around the electronic community and it became as one of the most important reference of Electro and maybe the most representative label of this kind from Spain. Now its discography includes classic tracks like “People Love Machines” (2003), “Shut Down The System” (2005), or the great “La Hora De Las Maquinas” (2006) album. B. Divider’s works appeared not only on his label. You can find exclusively tracks on Satamile, Monotone, MSX, Semantica... imprints with an always anticipated vibe and his releases have got an international respect over the years. They have been charted and supported by the most important electro and techno djs around the world: Dave Clarke, Hardfloor, The Advent, Adam X, Exzakt, Umwelt... From the classic tunes like “Take My Beat” (2003) or “Mundo Conectado” (2006) to the last decade releases such as “Electronics” (2010), “The Last Resistance” (2010), and also the rare and limited “Ultralink” (2010) minialbum released on avant-electronics Semantica imprint. The most recent collaboration in 2011 leads him to work with Hardfloor and E.R.P. on “You Know The Score” (2011) with a dark, and smooth remix. With the great album “The Source” (2012) finally Boris Divider establishes a new path on his career and open his mind to a new frontiers focused into the sequential and progressive electronic music, refreshing the links between the past and the future, and giving the stage for new productions such as the forthcoming “Aeon” and “Surface” episodes... As a musician, one of the strongest points is actually his audiovisual live act. Performing sequencer, synths, keyboards and visuals controlled by MIDI in realtime, making each show different since each track is developed on the air for the audience. After almost ten years performing around the world he has received a good response and high rating from the crowd in countries such as Germany, USA (Miami / Detroit), UK, Netherlands, Finland, Croatia, Slovenia, Ireland, Malta, Spain... and playing in the most important events and clubs: Sonar Festival (ES), Amsterdam Dance Event (NL), Life Festival (IE), ..., taking his beats and sequences into the audience bodies.

Boris Divider

Brainwaltzera

C Lektro

Carl Finlow

Christopher Joseph

Clarence G

Corporation Mindfuck

Native of northern France, Deemphasis has been influenced in the late 80’s by German, English, Detroit and Belgium techno sounds. ( new-beat, etc) In the 90's, He is very involved in the 'demoscene' with his demo-group called 'ukonx'. He is the main coder, and he additionally do the music for these realtime productions. This kind of music must be very synchronized to the visual, with breaks etc.. to magnify the visual effects. Technically, he used 'sound-tracker' to do the music, and still use the same approached nowadays using renoise. This is when he moved to Clermont-Ferrand, in the early 2000’s that he started to do some Techno live-acts with his friends Offset and Peterphonix. Influenced by the DJ Syrob mixes (resident at 101 club/clermont-ferrand - Copilote recording), Deemphasis then gradually steered towards electro, to finally settle. In 2010 Deemphasis released his first EP 'Synthetic cells' on Umwelt label, NewFlesh records. and motivates him to go forward. In 2011, he released his first album “Mechanical Beats” launching his own label : Ukonx Recordings. Great artists like Fleck ESC and Franck Kartell has released his album and EP, and many others greats artists has participate to the compilation 'Magnetism Vol 1'. Ukonx releases had the pleasure to be played by Laurent Garnier and Dave Clarke.

Deemphasis

Der Zeyklus

Detroit In Effect

Dexter

Dez Williams

DJ Dijital

DJ Overdose

DJ Stingray

DMX Krew

Dopplereffekt

Detroit electro-techno outfit Drexciya was conceived in 1989, but first came into the public eye in 1994 with 'Aquatic Invasion' - the first of a thematic series of releases. Drexciya's James Stinson and Gerald Donald remained hidden behind their alias for much of the group's existence, communicating a complex personal mythology of a 'Drexciyan' race of underwater dwellers descended from pregnant slave women thrown overboard during trans-Atlantic deportation. Within this fiction, their music - which they claimed was recorded 'live in the studio' rather than programmed - was imagined as a 'dimensional jumphole' between their black African roots and the contemporary USA.

Drexciya

Dynarec

Ekman

Elecktroids

Erotek

Faceless Mind

Galaxian comfortably occupies a space outside of the easily definable genres of today. A sound as equally varied as it is evocative, often hard to classify and pigeon hole but never less than absorbing. He’s never an artist to become stagnant or be confined within obvious conventions. Dousing the listener in dramatic, organic textures before sweeping them into a pulsating blaze of machine-gun percussion. A maelstrom of intricate drum programming and soaring melodies erupt from a wave of psychedelic ambiences. Releases on labels including Lower Parts, Foul-Up, LKT, Shipwrec with DJ Stingray are distinctive and remarkably vital and have further cemented his reputation for an unorthodox, idiosyncratic methodology. A provocative subversive aesthetic steeped in philosophical and anarchistic attitude further submerge the listener in Galaxian’s visions and ethos. Appearing in trademark helmet and mask evoking imagery of militant resistance, revolt and liberation, as if in preparation for the rapid approaching disintegration of civilisation. Searing live performances command attention. 2017 was a year that bolstered Galaxian’s growing reputation and introduced his sound to a wider audience. Playing at throughout Europe, BBC Radio1 airplay and end of year accolades RA 'one of the tracks of 2017'. The release of the “Blowback” EP on Foul-Up, 'Dosing the Population' on Lower Parts and 'Uprising' on Shipwrec + tracks on Repitch and 3TH 2018 will bring an array of record releases and live & DJ shows worldwide.

Galaxian

Gerald Donald

Gesloten Circkel

Starting in Brooklyn, New York over a decade ago Shad T. Scott has been behind the distinctive Gosub sound. Blending his love for Electro-Funk, Jazz and Techno he strives to find the balance to move the listener both physically and mentally. Besides the multiple albums and 12' singles released throughout the years Gosub has also a reputation for some of the best live Electro/Techno performances. Playing two live sets at Robert Johnson's club in Frankfurt to London's Light Box to large festivals in the U.S. and EU he never disappoints.

Gosub

Helena Hauff

Identified Patient is one of the most intriguing talents to materialize from Holland’s bustling music scene in recent times. The Amsterdam based artist made a strong up-rise through some of Rotterdam’s finest imprints while filling dance-floors across the country and throughout Europe. His style infuses raw aesthetics with unrivalled, relentless energy which he translates into his productions as fluidly as his DJ sets. Proudly listing his musical inspirations to include Madonna and George Michael as well as The Prodigy and Legowelt -these early seeds were sewn and it wasn’t long before his passion for music burned stronger and stronger. The desire to create became a priority and from this moment, Identified Patient was born. With a trade mark sound that drifts between the experimental sides of wave, techno and acid, it wasn’t long before his music gained the attention of Rotterdam based labels Common Thread, Pinkman and later London’s Brokntoys. These outlets would become the platforms for his early releases which were recognised as straight hits in several charts and clubs throughout Europe and beyond. At present Identified Patient continues to work closely with Sophie du Palais, who’s dark and dirty vocals are a recurring feature throughout his music, alongside several other projects such as his recently formed alias Stallion Stud. More of this to unfold in the very near future… Besides his fresh and pounding machine-works, Identified Patient has put himself on the map with his highly energetic DJ sets that jump in all directions both musically and physically, oozing a sexual nature with zestfully unpredictable selections. In 2018 he made his mark with performances at a number of Dekmantel events (his debut Boiler Room performance being a key highlight) and became a regular face at the avant-garde club De School. The future looks incredibly bright for Identified Patient with a compelling list of forthcoming releases and a seriously extensive touring schedule for 2019 …the desire to spread his musical anecdotes into the cosmos and beyond is stronger than ever!

Identified Patient

Illektrolab

Jack Peoples

Japanese Telecom

Jensen Interceptor has provided his versatile brand of techno to clubs and warehouses around the world. Gaining respect from his peers, supporting the likes of Sven Väth, Gesaffelstein, The Hacker, Boys Noize & Green Velvet; Jensen has consistently kept up with the elite at top speed. With his selection ranging from Detroit Electro & Miami Bass to rolling Italo, thunderous 90's Breaks and driving EBM, Jensen's audience's are promised a sonic journey like no other. Going further than simply an entertainer, his remixes and productions have been released on some of the most influential labels in electronic music like Boys Noize Records, Cultivated Electronics, Bromance and Central Processing Unit. These releases have been supported and played out by DJ's such as Dave Clarke, Helena Hauff, Dubfire, Maceo Plex, Trevor Jackson and Radio Slave. Bringing a unique and powerful performance to every dance floor - Jensen Interceptor: Engage clutch, shift into top gear.

Jensen Interceptor

Jeremiah R

Komarken Electronics

Kraftwerk

Late Night Approach

Luke Eargoggle

Mesak is an artist & producer from Turku. A key figure in the 90´s electro scene in Finland, later moved on producing techno & hiphop but also creating more experimental music and sound art. Mesak performs his music in clubs, festivals and other events regularily.

Mesak

In 1985 Juan Atkins released the first record on his fledgling label Metroplex, ‘No UFO’s’ and started the clock for Year Zero of the dance music movement. Like Ford’s Model T, the impact of these new machine rhythms was global, hitting especially hard in Europe, where dance music subsequently developed into a mass cultural phenomenon. Since then, Juan Atkins has built what stands as perhaps the most influential body of work in the field of dance music. Characterised by his ability to make machines speak, to give them soul, his style of production has inspired a legion of admirers and can still be heard on dancefloors across the globe as well as in Radiohead’s avant garde rock and the futuristic RnB of Timberland and The Neptunes. In 2007 Atkins form a Model 500 band. It wasn’t the first time they had played together as Model 500 but this time Atkins added Detroit DJ/producer DJ Skurge to the mix along with longtime associate and established funk and techno producer Mark Taylor. As the “new” Model 500, they began performing as a band, debuting at the Detroit Electronic Music Festival, and not too long later, performing at festivals in Europe, Asia and Australia. Taking the band concept farther, the Model 500 has begun work on an untitled full length release “Digital Solutions” (2015 / R&S Records). Digital Solutions is the third Model 500 album, and the first in 16 years, following 1995’s Deep Space and ’99’s Mind And Body, both of which came out on R&S Records.

Model 500

‘Morphology’, a new collaboration from Finland consisting of Michael Diekmann who records under the alias CRC and Matti Turunen otherwise known as Näköradiomies. Morphology fuses early electro sounds with haunting melodies to create a deep blend of atmospheric future funk.

Morphology

Neil Landstrumm

Although they recorded only two albums, Newcleus contributed one true electro classic in 'Jam on Revenge (The Wikki-Wikki Song),' which has been immortalized on hundreds of hip-hop mixtapes and often included in even techno DJs' sets. The origins of Newcleus lay in a 1977 Brooklyn DJ collective known as Jam-On Productions, including Ben 'Cozmo D' Cenac, his cousin Monique Angevin, and her brother Pete (all teenagers and still in high school). Many members - MCs as well as DJs - came and went as the group played block parties all over the borough, and by 1979, the group centered around Cenac, his future wife Yvette 'Lady E' Cook, Monique Angevin, and her future husband, Bob 'Chilly B' Crafton. (The foursome named their group Newcleus as a result of the coming together of their families). By this time, Cenac had begun to accumulate a collection of electronic recording equipment, and the quartet recorded a demo tape of material. With several minutes left at the end of the tape, Newcleus recorded a favorite from their block parties, with each member's vocals sped up to resemble the Chipmunks. The track, 'Jam-On's Revenge' impressed producer Joe Webb more than the other Newcleus material, and it became the group's first single, released in 1983 on Mayhew Records. A huge street success, the track became known unofficially as 'the Wikki-Wikki song' (after the refrain); when it was re-released later that year on Sunnyview Records, it had become 'Jam on Revenge (The Wikki-Wikki Song)'. The single hit Top 40 on the R&B charts in 1983, and its follow-up, 'Jam on It,' did well on even the pop charts. 'Computer Age (Push the Button)' was a more mature single, with accomplished rapping and better synthesizer effects, and it also hit the R&B Top 40. The first Newcleus LP, Jam on Revenge, was a bit of a disappointment, and their second album, Space Is the Place, did even more poorly upon release in 1984. Without a single as noteworthy as 'Jam on Revenge' or 'Computer Age', and with the advent of Run-DMC's organic, rock-influenced approach to rap music, Newcleus faded quickly. Though the Cenacs and the Craftons continued to record sporadically until 1989, they didn't hit the R&B charts after 1986.

Newcleus

Many musicians are genre-hoppers these days, but few have an inventive take on every style they touch. Objekt could be an exception to the rule. Born in Tokyo to British-American and Filipino parents, TJ Hertz grew up in Belgium and the UK before settling in Berlin in 2009, where he released his first record, the white-label Objekt #1, in 2011. Across his subsequent club output (on labels such as Hessle Audio, Leisure System, Power Vacuum and his own imprint) audacious sound design and meticulous arrangements have served to buckle and twist dancefloor conventions across a range of genres. The quality control exercised in his productions has been reflected in their critical reception: his 150-bpm IDM opus ‘Ganzfeld’, released on a split EP with Dopplereffekt, was selected as Resident Advisor’s rather unlikely #1 track of 2014, while Mixmag named ‘Theme From Q’ their top track of 2017. Hertz applies similar rigour and imagination to his LPs, which conjure engrossing soundworlds rich with conceptual possibility. His debut album, 2014’s ‘Flatland’ on PAN, consolidated his influences – IDM, electro, techno, industrial and ambient, among others – into a sonically adventurous narrative imagining “a world in which any scene can be seen from every angle at once”. His 2018 follow-up, the introspective ‘Cocoon Crush’ LP, deploys a more organic sound palette of foley recordings and ASMR-inspired textures in service of more personal themes. In parallel, Objekt has built a reputation as one of the must-see DJs of his generation. Though techno is still his centre of gravity, his club sets trace ever-wider orbits, typically encompassing electro, house, acid, bass music, DnB, dub and unclassifiable club music across a broad tempo spectrum. These virtuoso voyages are made possible by a deft, highly technical mixing style, along with a technician’s mindset honed through his years working as an instrument developer at music software company Native Instruments. In 2016 Hertz recorded ‘Kern Vol. 3', a mix CD for Berlin techno institution Tresor, which was described by Resident Advisor as “a window into the very essence of DJing”. Recent years have also seen him deepen his ties with Freerotation in Wales and Dekmantel in Amsterdam, where he performs year upon year, as well as playing an increasing number of all-night-long sets, often going back-to-back with his close friend Call Super.

Objekt

Offset begins his music experience with classical trumpet at the music academy, and took part in some crazy jazz/funk bands. Later on and parallel to his electronic engineering studies, he comes across electronic music thru some techno parties and finds a means of expression that classical music couldn't offer. His music, deep and hypnotic, is marked with techno, electro, funk and Detroit house (Carl Craig, Recloose) mixed with dark and cold influences (Dopplereffekt, Joy Division, Front 242…). After a lot of liveact gigs performed in his hometown, he decides to go ahead and focus on production. The effectiveness and musicality of his tracks will soon be spotted by the label Missive Music on which he released two EPs, followed by another on the label Groovetronic Records and composed in the same time for bands. But first of all, Offset is a rare quality live performer, play’in the best clubs in Paris and across France. When he's behind his machines, Offset captivates your mind and transports you into his world. Then he invites you to sway your hips on a dance floor where you'll meet breaky rhymes and other ethereal melodies that will electrify your senses one by one....... After a little pause in his carrier he walks his way with several Eps released on labels such as Fine Art Recording (London/UK) and Correspondant (Koln, Germany) and a new live act.

Offset

In 1998 he got involved with promoting electro events in London and soon after started writing music as Plant43. His first vinyl release came in 2006 on the much-missed Ai Records. Several 12’s and the well-received “Burning Decay” album in 2010 alongside other releases on Semantica Records, AC Records (acidlab.de), Bleep43 Recordings and Cultivated Electronics have highlighted his singular and ambiguous style of sinewy electro that draws deep from the influence of Drexciya. Emile is also graphic designer and co-founder of bleep43.com, which is dedicated to promoting and reviewing electronic music. Since 2003, the London based Bleep43 parties have seen him play live alongside such acts as ERP, DJ Stingray, Surgeon, $tinkworx, Microthol, Urban Tribe and many more.

Plant43

Privacy

Quaid

Radioactive Man

Reedale Rise's debut vinyl release was a deep techno cut on Edinburgh based label Common Dreams in 2015. This was followed up by two well received EPs on Holland's longstanding bastion of electronic deepness, Frustrated Funk. A return to Frustrated Funk beckons again in 2020. In 2019 Reedale Rise joined the 2020 Vision label's electro movement known as 'Exit Plant Earth' by playing at two parties in Leeds and contributing an EP and track on a various artists release for them. He continues to play far and wide with gigs from Lisbon to Kiev under his belt. 2018 brought a critically admired debut LP on Kondi Records and a Reedale Rise track appearing on one of the final Fabric CDs, mixed by Craig Richards. Other labels he's released on include Boe Recordings, Where We Met, Emotions Electric, Childhood Intelligence, Assemble, Subwax Excursions, Propersound and Spaecial. Through these releases his varied production styles have been flexed whilst always retaining a clear identity centred around melodic, emotional sounds. Before releasing any music Reedale Rise was a prolific Youtuber with a cult channel demonstrating his skills in the hardware studio and providing advice and support to other budding hardware lovers. His teenage years in were spent in Cornwall listening obsessively to techno and drum and bass mixes taped from the radio, with the likes of LTJ Bukem, Goldie, Dave Clarke and Jeff Mills being pivotal influences. 1998 was the year to leave sleepy Cornwall and head north to Liverpool for university and further musical education. Cutting his serious clubbing teeth at Liverpool's Bugged Out! parties, led him deeper into the world of house and techno, with Derrick May and Carl Craig becoming ongoing inspirations.

Reedale Rise

Kurt Baggaley gained attention with his releases under the alias Scape One writing for various Electro and Techno labels in the early 2000's. Although his musical interests go back as far as the 80's with projects ranging from robot dancing to writing beats for local Hip Hop and Electro projects. In that time gaining influences from all aspects of electronic music. More recently Kurt has evolved his productions into a more personal and unique sound, taking in influences from early 80's Chicago House, Detroit Techno, New York Club with a fusion of Italo Disco, Euro Synth and Electro. As well as being influenced by these pioneering scenes he also tries to keep the production old school by using classic drum machines and synthesizers alongside some new machines to inject a unique sound. It can be analog or digital as the end result is the important factor. The results have proved to be very popular and firstly being snapped up by labels such as Italo House label HotMix Records and the Deep House imprint Stem Records. Things really took off with the release of 'Former Self' on Nuno Dos Santos' label Something Happening Somewhere with an excellent remix from The Drifter. This EP has gained support from Joris Voorn, John Digweed, Atish, Lehar, Dominik Eulberg, Solee, and many more great DJ's. This has lead to much interest and a spawn of new releases and remixes are scheduled from labels such as Abstract Theory, Chapter 24, CPU and Space Factory. Alongside these will be follow up Eps on HotMix and Stem. Kurt also writes under guise of Tau Sagittarii for his Ambient Experimental compositions, described as 'Sensory data for hypersleep chambers'.

Scape One

Scopex

Silicon Scally

Simulant

holger zilske's project SMASH TV is burning the candle on both ends since 2001. studio nerd, versatile music lover with a deep understanding for the dance floor and high technical skills.

Smash TV

Solitary Dancer

Squarepusher, the performing pseudonym of Tom Jenkinson, is an English electronic music artist signed to Warp Records. He specialises in the electronic music genres of drum and bass, musique concrète (sampled digitally rather than by tape), and acid, albeit with a significant jazz influence. Jenkinson was born in Chelmsford, Essex, and educated at King Edward VI Grammar School. A self-taught expert-level bass guitar player and drummer, his style of extremely fast, cut-up beats mixed with fusion jazz and interlaced with synth lines and samples has gained him a cult following. He is friends with Richard D. James (Aphex Twin), and his albums have been critically acclaimed for their forward-thinking approach to electronic music. Jenkinson performs live, playing with a fretless or fretted bass guitar, a laptop, and other hardware. He appeared twice on BBC Radio 1's The Breezeblock show. On 26 June 2005, Squarepusher played at London's Royal Festival Hall as part of the Show 'Songs of Experience' a tribute to Jimi Hendrix. His 12 minute performance was built up of a medley of Hendrix tracks played solely on the bass guitar with the use of effects. One of his brothers, Andy Jenkinson, is also a respected recording artist, under the name Ceephax Acid Crew. A third brother, Jonny Jenkinson, also performs and occasionally supports his siblings on tour as a drum and bass DJ.

Squarepusher

Stingray313

Sync 24

Sync24

Textasy

Based in the humble city of Jena in central Germany, Robert Witschakowski-Jockel started producing music in the late-'90s, during which time he was resident DJ and booker of Kassablanca. His tenure there proved influential in bringing the likes of Jeff Mills, Robert Hood and Claude Young to the city's nascent club scene for the first time, where he remains a pivotal figurehead of Germany's electro-tipped underground. With mixes netted for Resident Advisor, Electronic Explorations and Digital Tsunami, to the CD release of We Are Not Your Friends Vol 1, Robert's work as The Exaltics is no longer exclusive to the tight-nit circles of street-wise DJs, producers and label owners alike. With a live acid show now in full swing, Robert's performances as The Exaltics have seen him tour Europe and dominate Berlin, billed in 2017 alongside a huge cast of acts for Tresor & DJ Stingray's Kern Vol 4 release party. With the bulk of Robert's music now released on his ever-growing Solar One Music, the label he runs with Crotaphytus collaborator and life-long friend Nico Jagiella, Robert's world of shadowy electro has gravitated to, among others, discerning imprints like Shipwrec, Clone West Coast Series and Crème Organization. Robert has collaborated with Drexciya's Gerald Donald for Solar Music's Hubble Telescope Series as Project STS-31, and Arne Weinberg as Val_Ex, with Gerard Hanson (aka Convextion) also welcomed into the Solar One Music fray under his E.R.P. alias. Add names Helena Hauff, Ekman, Drvg Cvltvre and the late Andreas Ghem to the body of artists delivering Solar One Music its lone aesthetic, Robert's purism and integrity to his field of science fiction, acid-influenced electro is undeniable.

The Exaltics

Michel Amato's contribution to electronic music can barely be overstated. As The Hacker, and under different aliases, he has inspired generations of dance music fans and artists. He continues to perform at the very top of his game, constantly evolving and challenging himself with boundary-pushing projects. Coming from the French city of Grenoble, Amato spent his younger years absorbing futuristic Techno sounds from Detroit, bands like Depeche Mode, New Order, Kraftwerk and Front 242, as well as Italo Disco and Acid House. Given the breadth of his influences, it’s no surprise Amato's own discography defies simple definition, covering a wide range of styles in the years since his first release in 1996. Traversing zeitgeists, Amato had a Techno phase, dipped into EBM, sci-fi tinged Electro and New Wave, but is perhaps most famous as a founding father of Electroclash. Peaking at the turn of the millennium, Electroclash fused technoid rhythms with humorous punk and synth-pop sensibilities. Amato met a kindred spirit in Miss Kittin and together they became of one the most iconic duos in electronic music. Her vocals proved the perfect match for his productions, lending them a certain accessibility and new found audience. Kittin's deadpan delivery brought flair to Electroclash hits such as ‘Champagne’ (1998) and ‘Frank Sinatra’ (2000); DJ Hell released the tracks, as well as numerous other Hacker & Kittin productions, on his seminal International Deejay Gigolo imprint. Managing to incorporate elements of popular music without ever sacrificing their authenticity, Amato and Miss Kittin sold hundreds of thousands of records and gained worldwide recognition. In 2004, Amato released his most well-recieved album to date, ‘Rêves Mécaniques’. Largely a solo record, it was a return to the more eerie and edgy, instrumental sound he had pursued in his early years. The album showed that, in the right hands, even this ice-cold, ravy, Acid sound was fit for the charts. The years since wtinessed Amato put out a wide array of his own club mutations, whilst working on remixes, a DVD containing interviews and live footage, mix CDs and his label GoodLife. Today, he is as in-demand as ever. A highly-acclaimed LP, ‘Le Théâtre Des Opérations’, on Dark Entries in 2017 recalled the tough sound of his early works but with more modern production and fresh ideas. The currently thriving, young Electro and EBM underground consider Amato as a master of his craft and many of his older tracks are becoming classics. He has drawn the attention from tastemakers like Helena Hauff, Erol Alkan and Veronica Vasicka for contributions to their labels, released a new collaboration with Miss Kittin and been commissioned to remix both Dave Gahan of Depeche Mode and DJ Hell. In the live and DJ environment, Amato is as revered as he is on record. His set up has taken many forms over the years, largely centred around classic hardware such as the Korg MS 20, the Roland TR 808 and SH 101. His new live project (called ‘Amato’) is a 100% analog, return to his roots that has been presented at venues and festivals such as Dekmantel, Berghain, Nuits Sonores and Off Sonar. It’s a testament to the consistently high quality of Amato’s work and his visionary nature that he remains such a well-respected pillar of electronic music, with his timeless musical innovations continuing to rock dance floors worldwide.

The Hacker

The Other People Place

Transllusion

Transparent Sound was originally formed in 1994 by Orson Bramley and Martin Brown, making it one of the UK's longest running electro acts. After Martin left the duo to pursue other avenues some years ago, Transparent Sound has continued with Orson at the helm. Orson grew up during the heady days of acid house’s first wave in 1987/88. Originally a fan of early electro acts and the breakin’ scene that accompanied it, he was turned on by the illicit electronic thunk and hypnotic grooves of house and techno. Not that he completely lost touch with his roots: in the early ‘90s Orson was a member of legendary UK hip hop act/breakdance crew, Severe Carnage. These days Orson’s style takes in various flavours of electronic funk. Alongside the project he also runs Orson Records (launched in 2004) and in 2019 he introduced the world to his Empty Orchestra side project, and the re-launch of the new Transparent Sound label. “After seeing the rise of vinyl sales again over the last few years and some of the classic early Transparent Sound releases soar in value, I felt people were ready for Electro properly now and may even be getting tired with the usual 4/4” says Orson, promising “high quality forward thinking Electro that isn’t scared to take a few risks.” The first two releases on the label (Empty Orchestra ‘Nervous Smile’ and Transparent Sound ‘What Is Your Name?’) have already set the bar high and will be followed by a new Transparent Sound album, ‘Gently Evil’ to be released in September 2019.

Transparent Sound

Starting as Europe's only true answer to Underground Resistance, the godfathers of the Hague's industrial techno/planet rock scene, evolved gradually from deep alienating lo-fi acid house and crazy rigid jack trax (mixing the best of the detroit and chicago styles) to hard pounding dark industrial techno, freaky techno funk pop and mean minimalistic machine music. Raw primitive production and sound (the first 7 albums were recorded on a nearly-broken cassette recorder - it was all they had!), very diverse in style, but always with that typical twisted, paranoid and fucked-up drive, a bad sweaty groove that feels like a mindfuck.

Unit Moebius

VC118A

VCS2600

Versalife

His recent releases on bbbbbb records and trip records are intoxicating EP's that pair impeccable sound design with an unruly approach to genre, form and style. 1/3 of 3ddancer

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