40 Thieves is a San Francisco based dance music collective with Corey Black, Layne Fox, Jay WIlliams (aka Jaswho?) at the helm. Friends, vocalists and fellow musicians contribute ideas along the way, and driving it all is the insatiable and mutual desire to create lasting, emotive, and sometimes hilarious music. Styles can range from psychedelic disco and blues to proto-house and acid, with influence stemming from years collecting records by artists like Larry Levan, Francois Kevorkian, Patrck Adams, Patrick Cowley, Arthur Russell, Sly & Robbie, Ron Hardy, Larry Heard, Kraftwerk, James Brown, Funkadelic, Chaz Jankel, Indeep and Liquid Liquid have all impacted the 40 Thieves sound. Formed in 2005, 40 Thieves work slowly, and have only released a small handful worth of originals, and a handful of well selected remixes and edits to date. They have appeared on the labels Rong, Permanent Vacation, Chinatown, Tirk, Supersoul, and Strut, with new material for 2011 and beyond finding its way to the limited masses via Claremont 56's sexy sister, Leng. Their remake of the obscure 70's disco classic by Hot Chocolate, Don't Turn It Off (feat. Qzen) Brennan Green version was named #2 of 2009 year by DJHistory.com and landed at the top of Beatport's best of the decade in 2010. The Thieves came together much like other music groups probably do... Corey is the funny charismatic one with a masters in literature, and founded the seminal SF house label, imperial DUB recordings in the mid 90's. He got to tour the globe with the very first wave of rave jocks and eventually found his way into the studio with friend Ben Cook to form The Triangle Orchestra. In addition to a handful of well regarded ep's and remixes for the great labels of the moment, they finished a few songs that would become the first release for Ben and DJ Spun's soon-to-be label, Rong Music. Layne is the one from Florida. He began djing as at the tender age of 12 when a compulsion for radio mix shows drove him to buy his first mixer and turntables. After college Layne held DJ residencies at the legendary SIMONS, Soulhouse and The Loft in Gainesville, playing acid jazz and deep house to the up-for-it college crowd while spending spare moments working on his own music. In 2000 he relocated to San Francisco and met up with Corey, who provided his first SF steady job as label manager for imperial DUB. Jay Williams, aka Jaswho? hails from Hartford, CT... the all around good guy with never enough time, spent his lifetime making dance music albums as a multi instrumentalist. As a session player, he's appeared on dozens of dance records you love, and as a soloist and live performer has an equally impressive list of credits. His wife, Eileen, happened to also work with Layne and Corey at DUB HQ, so it didn't take long for the three to make friends and put it all together. They combined forces and gear and got themselves a real studio . Pretty much like that.. 40 Thieves was born.

40 Thieves

The soundtrack work Overworld marked a significant departure from his previous work, introducing a new alias Art Wilson. The album playfully explores the dance-performance themes of nature and astrology while sticking with familiar low-budget synth and drum machine instrumentation. András also maintains an ongoing collaboration with vocalist Oscar Key Sung, with a string of vocal releases on DoG records (NL). In addition to his production work, Andrew hosts Strange Holiday Radio on Melbourne’s 3RRR 102.7fm where he champions a diverse mix of local and Australian music. In addition to radio-podcasts and mixes, there are a couple compilations and re-issue projects in development with Noise in my Head's re-issue offshoot label Efficient Space.

Andras Fox

Bjorn Torske

Black Devil Disco Club

Blackbelt Andersen

Bottin (Guglielmo Bottin, 1977) is producer, dj and sound designer based in Venice, Italy Bottin makes music only an Italian can make... probably Take a youth spent against a background of old Italian Giallo soundtracks, add in late 70s Italian disco influences, a touch of free and easy west-coast vibe and a smattering of kitsch. That just about half describes Bottin. Bottin’s seminal releases include “Fondamente Nove” on Eskimo Records (2008) and “No Static” for American label Italians Do It Better (2009). Bottin soon moved to the forefront of the contemporary disco scene with his concept album 'Horror Disco” on Bearfunk Records UK, which garnered critical praise for its dashing display of all of Italo’s delights without the pastiche. The album’s title may conjure up images of a Goblin inspired trip through Dario Argento horror movie nostalgia, but in actuality it is filled with thick, Moroder-esque basslines that inspire dancing rather than dread. Horror Disco has sold out 2 cd editions and is currently been repressed in a double-LP special collector's edition. in 2010 Bottin is back on Eskimo Recordings with Galli/Piazza Venezia (produced together with Rodion) in which the signature italo-disco approach gradually blends into a housed-up dancefloor anthem. Shortly after, Nang Records releases “Discoursive Diversions”, a collection of remixes by Bottin for artists like Lindstrom, In Flagranti, Tosca and many more. 2011 saw the release of the Discocracy single on Eskimo Recordings (followed by the Discocracy Revisited remix EP) as well as Aztaro, a collaboration between Bottin, Justus Köhncke and Rusty Egan of Visage. With an exhaustive touring schedule covering over 20 countries and 4 continents, from North America to Australia, Brazil to Hong Kong, from Europe's best underground parties to cult events like We Love Space in Ibiza, Bottin’s reputation as both producer and DJ is a steadily growing force to be reckoned with. His sets are an unpredictable journey into space disco, italo rarities, and deep funk. A reckless blend of retro-futuristic sounds and contemporary electronica that always sets the dance floor on fire. When it comes to nu disco, Italians don't necessarily do it better. But William Bottin makes a pretty good case (Pitchfork) William Bottin is one of the finest purveyors of electronic disco around at the moment (Vice Magazine) A comic sensibility breathes from your melodies of Bottin's Horror Disco. Based in Venice, Bottin has a closer understanding of the links between Italo disco and giallo soundtracks than most. (San Francisco Bay Guardian)

Bottin

Diskjokke

Dr Dunks

Probably best known for his output on Labels including ESP Institute, Futureboogie and Culprit, Ian Blevins is a prolific producer and a world class DJ based in the UK. Honing his craft as a resident at Ibiza’s legendary “We Love Space”, Ian has been a regular feature in UK clubs such as Back to Basics, Ministry of Sound and Shindig, and now finds himself fulfilling a global clubbing schedule which has seen him travel as far and wide as Asia, Australia and South America, with regular appearances throughout Europe. After scoring a bona fide hit with last years “Hannibal” EP, and it’s follow up “Resume/ My Poor Head”, Ian has a packed pipeline of releases which will serve to reinforce his status as one of the more interesting production voices to emerge in the last year..

Ian Blevins

What do the Human League, Dolly Parton, Lindstrom & the Phenomenal Handclap Band all have in common.......? Ilya Santana has touched them all, with his magical remix fingers, leavin' them supa-high, and rolling on the dancefloor...with just the right touch of chunk. Ilya Santana, a native of the Canary Islands, discovered his passion for music 20 years ago through his father’s love of artists like Alan Parsons, Vangelis, Giorgio Moroder and many more. When he listened to music something was awoken in him, he was compelled to listen to everything he could get his hands on and feed his ferocious appetite. In 1995 Santana began carving out a name for himself as a local Dj by playing at all of the best nightclubs in Gran Canaria . His musical evolution required that he set himself moral and ethical boundaries by closing the doors on substandard music; he vowed only to make and share that music with his audience, which he felt was truly worthy. This decision required the continuous study of technology, which in turn allowed him to demonstrate his musical vision, whether he was Djing or composing. His first release was on Daniel Wang’s label Balihu. Wang believed in his talent from the beginning and helped him greatly on his quest. Ilya has since released music on several respected labels like Balihu, Tirk, Permanent Vacation, Airtight, Hoog Choons & Gomma - as well as remixing artists like Human league, Space, Zodiac, The Phenomenal Handclap Band, Lindstrom, Sugardaddy & more! Ilya has recently been picked up as an exclusive artist of “Eskimo Recordings,” with several E.P.'s and his first-ever artist album, set to come out on the label in spring of 2010...

Ilya Santana

Both Alex and Sasha started DJing in the early 80s. Both were deeply influenced by and involved with dance music at the time - Alex by this stage in New York at the Paradise Garage and Sasha at cosmic parties such as Typhoon and Melody Mecca in Italy. Their involvement with New York club culture continued through the 90s, with Alex's legendary SMYLONYLON mixtapes, his designs for 8 ball records, Sasha's designs for Liquid Sky and his long running Organic Grooves party. The design has been an integral part of Codek since it began. From the early hand-screened record sleeves, to the unique self-created typeface of In Flagranti and the more recent rough cut video clips. The provocative montages of obscure archival images reflect a dirty, thrift store vibe in their music and subversive punk attitude. In Flagranti is a contemporary collage of all the above.

In Flagranti

Justin Van Der Volgen is an American DJ and producer living in New York City. Known for his extended sets and varied musical style, he’s equally comfortable in foggy warehouses, dirty bars and seaside festivals. Having released music across respected labels such as Golf Channel, ESP Institute and Running Back, his productions receive support from small and big room DJs alike. 2012 saw the release of the Edit Channel XXX 12” which has since gone on to become one of the biggest selling and most played edits of the last decade. Other notable works include his track Clapping Song and remix of Soft Rocks’ “Talking Jungle”. Justin currently runs the My Rules record imprint, where he has a hand in the production of every release. The label not only provides a platform for all of his recent solo outings but also offers a stylistically broad range of releases: from his remixes of the likes of dance music heavyweight Todd Terje to Japanese new-wave group The Creams. As a DJ Justin has traveled the world extensively with appearances at major venues such as Lux, AIR, Panorama Bar, and Robert Johnson.

Justin Van Der Volgen

Justin Vandervolgen

Raised on country and western music in the outskirts of the Norwegian oil town Stavanger, Lindstrom now lives in Oslo where he is making contemporary disco and running his Feedelity label. Claiming that 'Hans-Peter Lindstrom is closing in on Henrik Ibsen and Ole Gunnar Solskjaer as being Norway's poster boy of choice' (quoting an article on Piccadilly Records website) is obviously quite an overstatement, but nonetheless his original approach to dance music is currently causing quite a stir. Following a consistent flow of highly acclaimed EPs and remixes for names like Franz Ferdinand and LCD Soundsystem and The Juan Maclean, expectations were rocketing to the Lindstrom & Prins Thomas album, which also marks Eskimo Recordings long player debut. Judging from the press and record buyers alike, the album - which might be described as downbeat space disco with a singer/songwriter feel - more than lived up to its expectations. Whether it was that specialist dance music website or the broadsheet critic, they all seemed to pick up on the fact that these boys are not your average electronic music makers. (To avoid confusion: Lindstrom works both as a solo artist and in collaboration with Prins Thomas). Hans-Peter never listened to dance music growing up, and the first time he really listened to it, was a few years back figuring out how to make it. He prefers quiet nights in with his family, and Hans Peter never really goes clubbing unless he's Lindstrom. As for artistic background, he used to play the piano in a gospel choir and the Hammond organ in a Deep Purple tribute band in his early twenties, before getting into Bob Dylan and folk/country music. Around 99' he got all fed up with music, sold his instruments, and moved from Stavanger to study literature at the University of Oslo. As retirement often proves unbearable to music lovers, he soon found himself busking the main street of Oslo with his guitar. One thing led to the other: he bought a sampler, borrowed a few 12's to study the structure of dance music, and had a go at it. It's quite impossible to pinpoint the exact origins of his musical originality, although traces might be found in the aforementioned background. Coming from gospel choirs, country and rock bands without any knowledge of dance music whatsoever, he entered the scene rather freed from any preconceived notions of style and trend parameters. He hung on to the habit of making music by playing melodies on real instruments, and the fact that he plays all the instruments on his recordings - guitars, bass, keyboards, drums and percussion- enables him to make music inspired by whatever his influences are at the moment Last time we spoke to him he was mostly listening to 60s and 70s rock and pop, and he reckons that music from that era is much more interesting, both in terms of song writing and production values. His first success was the jazzy 'Granada', being championed by the likes of Giles Peterson and Francois Kevorkian and signed to numerous compilations. Wanting to take charge of his own career, he set up Feedelity Recordings - referring to the contrast between feedback and high fidelity - in 2003, and released 'the untitled EP' which at first sold the massive amount of 150 copies. The track being included on the Chicken Lips DJ-Kicks compilation did the job though, and the recent club monster 'I feel Space' shifting more than 17.000 twelve inches tells of a tale that went quite well in the end. Lindstrom today enjoys a cult-like status within dance music circles, and although the humble guy himself seems quite happy doing what he loves on an underground scale, it will be an interesting watch to see what the future holds for the Norwegian talent. (written by Marius Jøntvedt, may 2006)

Lindstrom

If one thing has driven Lovefingers’ myriad endeavors since the beginning, it's the love of sharing music — pure and simple. An unwavering passion for crate digging and a penchant for the esoteric, have seen him emerge as a revered selector and tastemaker among discerning international listeners. Andrew brings the same deft curatorial hand to DJing as he does to his esteemed ESP Institute imprint, a global touchstone for genre-bending experimental dance fare. He’s also a really fucking good time!

Lovefingers

Magnus International

In 2018, Resident Advisor referred to Man Power as ‘intergalactic house music’ which, while barely scratching the surface of his musical predilections and output, is about as close as anyone has come to wrapping it up neatly. In the five or so years that Man Power has existed as an alias of Newcastle’s Geoff Kirkwood, it’s become pleasingly difficult to pin down what it’s all about but there has been a media, record label, nightclub and dancer consensus that it’s very much worth paying attention to. A discography that takes in Life & Death, Hivern Discs, Optimo Trax, ESP Institute and Correspondent as well as his own beautifully curated Me Me Me and newly minted Now Now Now imprints is not to be sniffed at. Neither is his club diary, a busy list of great, good and legendary spots where people go to enthusiastically get down to getting down to the latest sounds the modern DJ can muster. What makes Man Power difficult to categorise is what makes him so vital - each record, each set and each remix is unique. Drawing on house, techno, Italo, disco, post-punk, new wave and beyond, Kirkwood’s ability to bend well worn genre tropes to his own will is quite something. He’ll also, occasionally, decontextualise an embarrassing pop record to bafflingly rapturous responses, too. As with any DJ/Producer biog, this doesn’t quite work unless it contains name drops aplenty so, as a fun game, try to unearth another artist in electronic music who has had a firm thumbs up from such a disparate bunch as Ben UFO, Elton John, Bryan Ferry, Andrew Weatherall, DJ Harvey and DJ Bone recently..

Man Power

Marcel Vogel is a German  DJ and Producer living in Amsterdam, widely known  for his labels Lumberjacks in Hell and Intimate Friends. Releases include Being Human (Intimate Friends 2016) and more recently The Deadpool EP (Lumberjacks in Hell 2017) alongside the unique Karizma from Baltimore.

Marcel Vogel

Mark E

Maurice Fulton is one of house music’s true originals, an eccentric ex-pat American (currently living in Melbourne) DJ and producer who never fails to surprise and delight his listeners. His first album since the leftfield Stories Of A Broken Heart And Recovering which he recorded as Ladyvipb (for Nuphonic) is an altogether more accessible and dancefloor friendly affair... Maurice Fulton has been round the block in more ways than one, not only did he have a hand in producing Gypsy Woman by Crystal Waters, one of the most successful house tunes of the early ‘90s; he is the darling of both the underground house and leftfield scenes with an enviable back catalogue, he also has a capacity for landing himself ‘in the soup’. Maurice is one of those hapless individuals to which trouble swarms like wasps to a honey pot. His most recent ‘situation’ saw him arrive home to find his record collection had been sold by his jealous girlfriend who, after discovering an unsolicited e-mail from a lady fan, suspected him of playing away from home. If it’s going to happen to someone, it’s going to happen to Maurice Fulton. 

Maurice Fulton

Maxmillion Dunbar

Mental Overdrive

The brainchild of veteran producers Morgan Geist and Darshan Jesrani, Metro Area was born out of the pair's somewhat dichotomous love for both the old moods of R&B, disco and boogie and the more cutting-edge sound of innovative house and techno. Metro Area brings back the soulful experimentation of the early club classics, mixing live and electronic instruments. Simultaneously, the mood and minimalism of more recent dance music forms creep into the mix: Detroit's cold futurism, Chicago's abstract track-modes, and the warmth of New York and New Jersey's deep house. After over a year of late-night sessions in New Jersey and Manhattan, Metro Area burst onto the scene in 1999 with their self-titled debut 12' featuring the cult smash 'Atmosphrique.' With an angular bassline underpinned by a grungy 4/4 disco beat and the most distinctive claps this side of 1977, 'Atmosphrique' sounds futuristic and retro at the same time, and spawned myriad heated debates concerning the record's production date. Most of all, it left both DJs and dancers wanting more. However, the runaway success of Metro Area's MA 4 EP (released November 2001) surpassed all expectation, not least the duo's own. The feature track 'Miura', a sinister, spare and pulsating antidote to the melancholic sweetness of their previous release, captured the imagination of a broad cross-section of DJs, dancers and listeners from almost every genre. Ubiquitously charted and still played with reverence today, 'Miura' fueled sales of over 16,000 copies of the EP to date. It should be noted here that in keeping with Metro Area's low-profile tradition, not a single promo was mailed out to stimulate sales: the frenzy was created purely by word-of-mouth. Exactly a year after Metro Area 4, Metro Area's self-titled debut album finally emerged. Comprised of the strongest tracks from their 12' series plus 4 new tracks, the CD/LP elicited superlative responses from The New York Times to The Onion, from Web-logs to The Wire. Metro Area won a place among Rolling Stone's 'Top 50 Albums of the 2002,' a rock-and rap-dominated area most of today's dance music falls short of. Other accolades included BBC/Radio 1's 'Dance Album of the Year' and the 'Best New Artist' prize at the 2003 DanceStar/American Dance Awards. June 2004's MA5 and June 2005's MA6 EPs are already being touted as an extension of their sparkling tradition of redefining, refining and re-shaping their influences. The duo's remix of Hugh Masekela's 'Mama' for Verve Remixed 2 was hailed as an elegant and innovative treatment of a classic recording, proving that Metro Area is more of an ethic than a production style and prompting Verve to release it and the original as its own 12' single. Besides their work in the studio, Metro Area have toured extensively, both together as a live PA and DJ team and separately as DJs, playing their distinct and individualistic style to crowds from Norway to South Africa. Currently staying busy with continued touring, solo remixes from Morgan and Darshan, new studios in Brooklyn, solo and side projects and the imminent release of a new Metro Area album, the music world can rest assured that Metro Area will continue to rock theories of time and space.

Metro Area

Growing up in a family of avid record collectors, London-based producer Alistair Gibbs was effectively home-schooled in everything from jazz, early hip hop and dub from an early age and began crate-digging for vintage breakbeats at age 13. Having made records under various aliases in the early 90s (including some for legendary British techno stable Ferox), Alistair made his first release under the Nebraska name in 2000. Since then he has been steadily building a reputation with well-received releases on labels such as Rush Hour, Heist, Delusions of Grandeur and Mister Saturday Night, and now also helms his own Friends & Relations label. Nebraska's live Ableton sets have been seen and heard in London, Berlin, Amsterdam, Paris and twice on Boiler Room.

Nebraska

Pender Street Steppers

Pete Herbert

His productions have appeared on some of the coolest underground Disco and Balearic record labels from 2003 to the present day, some of which are: Music For Dreams, Warner, and Eskimo - which he is still producing for. Peters track, All Nite (Music For Dreams), not only received huge critical acclaim, but also got licensed for the famous Hotel Costes Compilation, and featured on the American TV show C.S.I, no mean feat! Peter has become known for his cracking re-edits of classics by Dolly Parton (Jolene) called Dolly, which was a big hit in 2007, from the underground New York club scene to Radio One in the UK. There are more edits in the pipeline which will push Peters reputation as one of the worlds best even further...watch this space... Signed to Eskimo for limited releases, Balearic Love has been supported by DJs Todd Terje, Prins Thomas, and DJ Tiga - Kodey 205, and Tokyo By Night, have fast become staple choices for Disco and Balearic DJs across the globe too. All Nite due on Eskimo has remixes by Henrik Schwarz and Trentenmoller, which shows how much Peters work is respected. Peters love of obscure disco, and house means that a PV DJ set spans from the sleazy to the downright dirty, rocking crowds wherever he plays - however his Balearic sets have become stuff of legends, an experience not to be missed.

Peter Visti

Pharoahs

Prins Thomas is responsible for a swag of the eclectic ‘space-disco’ sounds emanating from his homeland, Norway. Thomas is producer DJ and remixer, for himself with his own releases, Way back in time, he started playing around as a DJ at a puerile age. Viewing it as an extension of his break-dancing efforts, Thomas began mixing hip hop, electro and the likes of Arthur Baker and Shep Pettibone. He then took up the bass and played in more bands than Norway has trees. He joined forces with Hans-Peter Lindstrøm in 2003. They both have backgrounds in different Norwegian band projects, ranging from punk to gospel to heavy metal to folk and psychedelia, but they also shared a passion for collecting records and run their own labels Feedelity, Full Pupp and Internasjonal.

Prins Thomas

Psyclops

Ray Mang

Reverso 68

Shit Robot

Skatbard

Soft Rocks hobbled onto the scene in 2003. Their first record was notable for predating current re-edit mania by some years, and being the only one of their own releases so far not to have a pressing fault or printing error. Spurred on by this success, Soft Rocks immediately went dormant for a year. Since then, things have got marginally more serious. But only marginally. They set up two sister labels; Disco Powerplay and Chocolate Love for edits, whilst Soft Rocks Recordings focuses mainly on original(ish) material. Remixes have trickled in for the likes of Lo Motion Disco, MGMT, Disco Sessions & Chris Coco, some of which you can even buy in the shops. Recently the lovely people at Mule Musiq & Lo Recordings have released Soft Rocks tracks, and a home is currently being sought for the pending 2009 LP, which is either going to be called The Curse of Soft Rocks or The Joy of Soft Rocks. Soft Rocks have dj'ed at clubs, festivals and parties across Europe. Finally a few more people seem to be picking up the hint that they don't just play downtempo weird nonsense and tailfeathers have been seen a shakin' to their heady mix of disco, house, boogie, leftfield jams, reggae and other oddities. Online mixes: http://www.beatsinspace.net/main.html http://www.i-dmagazine.com/previews/296/softrocks.html http://www.purepleasuremusic.com/mixes/ http://deepfrequency.com/index.php

Soft Rocks

Starting with primitive PC-software and DJing in the late 90s, Telephones debuted in his hometown Bergen, Norway at the turn of the century as an underage, snuck into clubs and put behind decks by the lively scene around Tellé Records. Since then he has equally focused on production and DJing, now with nearly 20 years experience behind the decks. A firm believer in quality over quantity, Telephones has released a sparse, but highly sought after discography on acclaimed underground-lables like Running Back, Sex Tags UFO, Acido, Klasse Wrecks, Love On The Rocks and Full Pupp. In 2015 he was responsible for production and remixing of Jose Padilla's much celebrated 'Day One' single on International Feel, following up Telephones' sound and success of 'The Ocean Called EP' from 2014, whereas the track 'Blaff' became an international underground-hit, awarded as #16 on Resident Advisor's list of 2014's Best Tracks. In 2016 he released his debut album, 'Vibe Telemetry' on Running Back, taking his eclecticism and sound one step further, expanding the palette with influences from early Norwegian club-roots, Ambient House, NY House and Disco, 90s UK Balearic, Italo House, Underground Resistance and Detroit Techno. The album received praise and reviews from publications such as XLR8R, Mixmag, iDJ, Future Music, Resident Advisor, DJ Mag and Testpressing. 2019 saw the birth of his new label, European Carryall, kicking off with the series 'From The Vaults 1998-2018 Vol 1 & 2', the first 12' selling out in a matter of days. The last years has taken Telephones around the world with frequent tours in Asia, Australia and the Americas, playing diverse locations like Sao Paulo, Taipei, New York, Mexico City, Tokyo, and Melbourne, as well as frequently laying it down on his Berlin/EU home-turf at some of the best underground clubs like Berghain/Panorama Bar, Bassiani, Corsica Studios, Griessmuehle, Jaeger and festivals like Dimensions, The Garden, Love International, Nuits Sonores, Pitch and Splendour In The Grass.

Telephones

The Emperor Machine

Scottish producer Graeme Clark aka The Revenge has a gift for crafting forward-thinking and inspiring cuts although his work pays fitting tribute to the past. His experience and versatility as a DJ fuses this approach with a love of forgotten gems and future classics. After fifteen years of curating and cultivating quality music, 2015 was a momentous year for Clark with the release of his long-awaited debut album ‘Love That Will Not Die' on his Roar Groove imprint. The LP picked up 'Best British Album' from DJ Mag and drew support from leading DJs including Jackmaster, John Talabot, Solomun, Craig Richards, Axel Boman to name a few. Although his remixes and edits have been a staple of discerning DJ’s crates for many years, recent production work has cemented his reputation; with his remix for Auntie Flo being re-touched by Dixon for the Philomena label and his continuing collaboration with Craig Smith as 6th Borough Project showcasing his love for dusty disco and deep cuts. Summer 2018 saw the release of his sophomore album ‘When The Thrill Comes’ on Roar Groove and added a new dimension to his sound; harnessing elements from his live shows and reinforcing them with his signature production.

The Revenge

Toby Tobias

Todd Terje

First blowing a gale as a forerunner of the new wave of Melbourne dance producers, Tornado Wallace’s distinct and perceptive electronics now find him in a constant rotation of both hemispheres, spending most of the year based in Berlin. From formative house beginnings, the ESP Institute initiation Thinking Allowed proved Tornado Wallace as a force to be reckoned with - the driving groove and Will Powers stargazing quickly matched by an EP of eco-electro burners on Beats In Space. This two timing continued for another round with ESP issuing the elegant Circadia, while Beats In Space got their churning acid two-tracker Kangaroo Ground/Ferntree Gully. In tandem, krautback duo Coober Pedy University Band was formed with Otologic’s Tom Moore, who he’d previously stirred up trouble with as fractions of C Grade and Animals Dancing - two long standing parties of undeniable impact on their hometown. Their trance inducing debut on Soft Rocks' imprint Kinfolk recruited vocals from a lesser known Chet Faker, followed by the bonkers 2014 anthem Kookabura. After some time in between releases due to an increasingly busy DJ schedule, 2016 sees the release of a Tornado Wallace 12” on Second Circle, sister label to cult Amsterdam archivists Music From Memory, as well as a long overdue and eagerly awaited album Lonely Planet, on Gerd Janson's Running Back.

Tornado Wallace

An eclectic selection, made of well kept secrets as well as of timeless classics, this is what Waxist strives to propose in his DJ sets. DJ & record collector based in Lyon, France, Waxist started his love story with records as a teenagers when he bought his first reggae 7 inches. If his love for Jamaican music has survived through the years, the DJ has progressively extended his interests to different, more dancefloor-oriented music genres. Disco, Modern Soul, Boogie or even a touch of House when needed… Being careful with the technique, as well as with the coherency of his selection, his sets are an invite to a dancing musical journey taking the audience from Disco to Modern Soul, through more Caribbean or Brazilian sounds. Aside from his DJ activities, Waxist collaborates with various labels on rarities reissue projects and / or edits, especially with Favorite Recordings (FR), with which he started a durable collaboration becoming responsible for A&R at SOL DISCOS (Favorite Recordings sub-division) two years ago. His mixes have been noted by US magazine Wax Poetics, or more recently, by the famous French station Radio Nova. Finally, Waxist acts as a radio host at Le Mellotron with SERENDIPITY MUSIC (since 2012) and for Lyon based FM station RTU with LOVE PENALTY (since 2015).

Waxist

There was a time when Marco Sterk a.k.a. Young Marco’s talents as a DJ and producer were among Amsterdam’s best-kept secrets. For well over a decade, he plied his trade, largely unheralded, on the city’s underground dance music scene. It was here, via several now infamous residencies, that he learnt his craft, gaining a reputation for ballsy, genre-defying eclecticism, playing sets that joined the dots between everything from tropical rhythms, afro gems and quirky Middle Eastern disco, to lost proto-house, throbbing techno and industrial-strength jack-tracks. These days, the Dutchman’s talents are widely known around the World. His position as a crate digger, record collector and infamous party-starter now guarantees a packed schedule of gigs in Europe, North America and beyond. His passion for working a dancefloor with “strange music” and “unclassics” is renowned, and it’s this that makes his sets so special. This humid, off-kilter obsession with the inspired and unusual has become a hallmark of Marco’s music, too. Once a key part of the Rush Hour family – the legendary Amsterdam label releasing a number of his early singles – in 2011 he made his debut on Lovefingers’ highly regarded ESP Institute label. His first two EPs for the label set out his now-trademark style, and won support from the likes of Dixon and James Murphy, amongst others, along the way. It’s perhaps unsurprising that a string of remix requests followed, leading to now classic reworks for the likes of Heatsick, Joakim, Francis Bebey and Soft Rocks. His 2013 remix of Tony G’s “Dreams”, a killer chunk of blissful new age deep house, became one of the most in-demand and sought after records of that year. At the tail end of 2015, the best of these remixes were gathered together on Sorry For The Late Reply, the first release on Marco’s freshly minted Safe Trip imprint. 2014 saw the release of his most accomplished studio work to date, the superb debut album Biology on ESP Institute. Wonderfully picturesque, melodious, humid and glassy-eyed, it received rave reviews and confirmed his status as one of electronic music’s truly unique voices. The same year also saw the release of Clouds, a magical collaborative fulllength written and produced in a weekend with Italian ambient pioneer Gigi Masin and British artist Jonny Nash. Credited to Gaussian Curve and released by Amsterdam’s Music From Memory label, it was the unfeasibly beautiful sound of three like-minded musicians working towards a shared goal. In 2017, Marco is as busy as ever. He’ll be hitting the road April onwards with Gaussian Curve for a handful of live dates around the world in support of their second album The Distance, while his contribution to Dekmantel’s series of crate-digging compilations, Selectors, is due to hit in March. His own label – Safe Trip – will be picking up steam with a string of releases that explore electronic music in many different directions. As usual, you’ll also find him spreading his love of weird, wonderful and eccentric music in basements, warehouses and clubs the world over.

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