ByCarlCox Music is medicine

Marco Bailey

Cristian Varela

Cristian Varela has maintained for more than 20 years an excellent reputation within the international electronic music scene. One of the friendliest characters you´ll meet, his experience and innate talent have gained him a privileged position amongst his fellow peers within the Electronic Music scene, and fast becoming one of Spain’s best exports and ambassador to the techno music. A DJ, producer, composer, promoter and entrepreneur. A full-on artist!

Cristian Varela has maintained for more than 20 years an excellent reputation within the international electronic music scene. One of the friendliest characters you´ll meet, his experience and innate talent have gained him a privileged position amongst his fellow peers within the Electronic Music scene, and fast becoming one of Spain’s best exports and ambassador to the techno music. A DJ, producer, composer, promoter and entrepreneur. A full-on artist!

One of Cristians best known qualities extend to his background as a classical composer and arranger. He has been composing music for film, theatre, commercials and shows since 1986, and has released more than 150 music references on major record labels such as Sony / BMG, White & Black, Toolroom, Bedrock aor Intec. Whilst not forgetting he is also head honcho of his own record label, Pornographic Recordings, with more than 15 years of history, and continues betting for new and established producers.

Cristian Varela has managed to find a perfect balance between the recording studio and his extensive tour schedules. His spectacular and energetic live mixing sets using three and four turntables at the same time are a unique performance to witness and it has marked the musical taste of several generations of clubbers, who have enjoyed his music in major events like Awakenings festival among many others, or listen to his radio show broadcast on 70 radio stations from 30 countries.

He always advancing new technologies, is one of the few Beta testers Pioneer International and he was responsible for introducing in SONAR BCN first Final Scratch (mostly famous Traktor currently used by DJs). Since 1996 he is also a professor at CEV-Madrid (School of Communication, Image and Sound).

Throughout his career Cristian Varela has been recognised with numerous awards given by respected organisations in the EDM industry. Amongst them he was presented with Best Techno DJ at the DJ Awards, Ibiza in 2007, and has been voted Best Spanish DJ on many occasions. The last award under his belt is Best Techno DJ at DJ Awards 2013.

Cristian Smith

Swedish citizen, Christian Smith spent the late 80’s years in Germany soaking up the early house and techno sound of Sven Vath.

Now based in Sao Paulo, he has been championing his funky mix of house and soulful techno for more than a decade, playing across Asia, North & South America, and Europe, plus regular slots at festivals like UK’s Creamfields, Holland’s Dancevalley, Spain's Monegros and Belgium’s I Love Techno. His music released on a variety of top labels like Renaissance; Adam Beyer's Drumcode, Josh Wink’s Ovum, 100% Pure, John Digweed's Bedrock, and his very own Tronic, only proves his flexibility in the studio. Similarly on the decks, Christian’s set is a cauldron of chunky grooves with loads of energy.

Christian Smith has been at the top of his game as a DJ and producer for over a decade, but despite enjoying a global reputation as one of the most evergreen performers in his field, times have never been quite as good as they are right now. Born in Sweden, Christian spent much of his youth and early adult life in Germany and America. This exposure to different cultures gave Christian a broader outlook than most 30-somethings, even for a well-travelled DJ more familiar with Star Alliance lounges than home comforts. This open-minded outlook comes through loud and clear in the music he makes and plays. While his roots lie in techno, Christian has never been a purist; favouring instead to flavour the tough, rhythmical music he loves with heavy doses of funk or intersperse the raw energy of his sets with inspired moments of pure euphoria.

2009 has been quite a ride so far, and the signs are all there that this year will be Christian Smith’s busiest to date. Having recently relocated to Sao Paulo, Brazil from Spain, it would have been easy to lose touch with the scene’s beating pulse in Europe. Not so for the man whose recent production schedule reads like a discography wish list. Christian Smith & John Selway’s “Total Departure” on Adam Beyer’s Drumcode label was one of the tunes if 2008. This was followed by three singles for John Digweed’s Bedrock label which were all a massive success in the clubs and retail stores, as were his releases on Dubfire’s Sci+Tec label, Renaissance, and Steve Lawler’s Viva imprint. The Smith & Selway remix of the Kevin Saunderson classic “Rock To The Beat” was another massive success in Ibiza, and there were other superb remixes for Valentino Kanzyani’s Jesus Loves You, Nic Fanciulli’s Saved and Dieb Audio. The end result – over 30,000 downloads on Beatport in 2008.

The second half of 2009 will be dominated by the first in a trilogy of mix compilations for legendary clubbing brand, Renaissance. The release of Christian Smith – Platform in September will put Christian on a footing with other Renaissance acts Sander Kleinenberg, Hernan Cattaneo, James Zabiela and Steve Lawler and provide the continuity for a mammoth 30+ date world tour that will stop off at parties across Europe, Asia, Australia, North and South America over the coming months. As a DJ, Christian plays everything between house and techno. Never one for a purist approach, he simply believes that people go out to party. The secret is in the energy that he creates, as witnessed in 2008 at Wire Festival, Tokyo; Brazil’s Skol Beats Festival; Awakenings Festival, Amsterdam (featuring a Smith & Selway live show), Space, Ibiza (with Carl Cox), Ministry Of Sound, London (with Pete Tong); and Fabric’s new uber-cool, Matter alongside John Digweed and James Zabiela.

Honoured as Carl Cox’s “Hero of 2008” and with the success of his productions breeding a renewed energy for studio time, the natural next step was for Christian to re-launch his Tronic label. Kicking off in January with a re-release of the Smith & Selway’s classic “Move!” including chart topping remix from Steve Angello, the label has progressed at a pace to place Christian back at the centre of underground music. Featuring tracks from Umek, Mark Broom, Stryke, Fergie and Psycatron, Tronic has resurfaced with a bang and looks set to track Christian’s personal upward trajectory. Look out for future singles from cutting edge producers including Steve Mac, Ramon Tapia, Jim Rivers and Anton Pieete. With massive crossover support for his music from DJ's across the house and techno spectrum the future looks very certain for Christian Smith. Proof if it was needed that it is possible to reinvent your sound and maintain a position at the very top within the vanguard of electronic music.

Honoured as Carl Cox’s “Hero of 2008” and with the success of his productions breeding a renewed energy for studio time, the natural next step was for Christian to re-launch his Tronic label. Kicking off in January with a re-release of the Smith & Selway’s classic “Move!” including chart topping remix from Steve Angello, the label has progressed at a pace to place Christian back at the centre of underground music. Featuring tracks from Umek, Mark Broom, Stryke, Fergie and Psycatron, Tronic has resurfaced with a bang and looks set to track Christian’s personal upward trajectory. Look out for future singles from cutting edge producers including Steve Mac, Ramon Tapia, Jim Rivers and Anton Pieete. With massive crossover support for his music from DJ's across the house and techno spectrum the future looks very certain for Christian Smith. Proof if it was needed that it is possible to reinvent your sound and maintain a position at the very top within the vanguard of electronic music.

Honoured as Carl Cox’s “Hero of 2008” and with the success of his productions breeding a renewed energy for studio time, the natural next step was for Christian to re-launch his Tronic label. Kicking off in January with a re-release of the Smith & Selway’s classic “Move!” including chart topping remix from Steve Angello, the label has progressed at a pace to place Christian back at the centre of underground music. Featuring tracks from Umek, Mark Broom, Stryke, Fergie and Psycatron, Tronic has resurfaced with a bang and looks set to track Christian’s personal upward trajectory. Look out for future singles from cutting edge producers including Steve Mac, Ramon Tapia, Jim Rivers and Anton Pieete. With massive crossover support for his music from DJ's across the house and techno spectrum the future looks very certain for Christian Smith. Proof if it was needed that it is possible to reinvent your sound and maintain a position at the very top within the vanguard of electronic music.
 

13 minutes ago, ByCarlCox said:

Cristian Smith

Swedish citizen, Christian Smith spent the late 80’s years in Germany soaking up the early house and techno sound of Sven Vath.

Now based in Sao Paulo, he has been championing his funky mix of house and soulful techno for more than a decade, playing across Asia, North & South America, and Europe, plus regular slots at festivals like UK’s Creamfields, Holland’s Dancevalley, Spain's Monegros and Belgium’s I Love Techno. His music released on a variety of top labels like Renaissance; Adam Beyer's Drumcode, Josh Wink’s Ovum, 100% Pure, John Digweed's Bedrock, and his very own Tronic, only proves his flexibility in the studio. Similarly on the decks, Christian’s set is a cauldron of chunky grooves with loads of energy.

Christian Smith has been at the top of his game as a DJ and producer for over a decade, but despite enjoying a global reputation as one of the most evergreen performers in his field, times have never been quite as good as they are right now. Born in Sweden, Christian spent much of his youth and early adult life in Germany and America. This exposure to different cultures gave Christian a broader outlook than most 30-somethings, even for a well-travelled DJ more familiar with Star Alliance lounges than home comforts. This open-minded outlook comes through loud and clear in the music he makes and plays. While his roots lie in techno, Christian has never been a purist; favouring instead to flavour the tough, rhythmical music he loves with heavy doses of funk or intersperse the raw energy of his sets with inspired moments of pure euphoria.

2009 has been quite a ride so far, and the signs are all there that this year will be Christian Smith’s busiest to date. Having recently relocated to Sao Paulo, Brazil from Spain, it would have been easy to lose touch with the scene’s beating pulse in Europe. Not so for the man whose recent production schedule reads like a discography wish list. Christian Smith & John Selway’s “Total Departure” on Adam Beyer’s Drumcode label was one of the tunes if 2008. This was followed by three singles for John Digweed’s Bedrock label which were all a massive success in the clubs and retail stores, as were his releases on Dubfire’s Sci+Tec label, Renaissance, and Steve Lawler’s Viva imprint. The Smith & Selway remix of the Kevin Saunderson classic “Rock To The Beat” was another massive success in Ibiza, and there were other superb remixes for Valentino Kanzyani’s Jesus Loves You, Nic Fanciulli’s Saved and Dieb Audio. The end result – over 30,000 downloads on Beatport in 2008.

The second half of 2009 will be dominated by the first in a trilogy of mix compilations for legendary clubbing brand, Renaissance. The release of Christian Smith – Platform in September will put Christian on a footing with other Renaissance acts Sander Kleinenberg, Hernan Cattaneo, James Zabiela and Steve Lawler and provide the continuity for a mammoth 30+ date world tour that will stop off at parties across Europe, Asia, Australia, North and South America over the coming months. As a DJ, Christian plays everything between house and techno. Never one for a purist approach, he simply believes that people go out to party. The secret is in the energy that he creates, as witnessed in 2008 at Wire Festival, Tokyo; Brazil’s Skol Beats Festival; Awakenings Festival, Amsterdam (featuring a Smith & Selway live show), Space, Ibiza (with Carl Cox), Ministry Of Sound, London (with Pete Tong); and Fabric’s new uber-cool, Matter alongside John Digweed and James Zabiela.

Honoured as Carl Cox’s “Hero of 2008” and with the success of his productions breeding a renewed energy for studio time, the natural next step was for Christian to re-launch his Tronic label. Kicking off in January with a re-release of the Smith & Selway’s classic “Move!” including chart topping remix from Steve Angello, the label has progressed at a pace to place Christian back at the centre of underground music. Featuring tracks from Umek, Mark Broom, Stryke, Fergie and Psycatron, Tronic has resurfaced with a bang and looks set to track Christian’s personal upward trajectory. Look out for future singles from cutting edge producers including Steve Mac, Ramon Tapia, Jim Rivers and Anton Pieete. With massive crossover support for his music from DJ's across the house and techno spectrum the future looks very certain for Christian Smith. Proof if it was needed that it is possible to reinvent your sound and maintain a position at the very top within the vanguard of electronic music.

Honoured as Carl Cox’s “Hero of 2008” and with the success of his productions breeding a renewed energy for studio time, the natural next step was for Christian to re-launch his Tronic label. Kicking off in January with a re-release of the Smith & Selway’s classic “Move!” including chart topping remix from Steve Angello, the label has progressed at a pace to place Christian back at the centre of underground music. Featuring tracks from Umek, Mark Broom, Stryke, Fergie and Psycatron, Tronic has resurfaced with a bang and looks set to track Christian’s personal upward trajectory. Look out for future singles from cutting edge producers including Steve Mac, Ramon Tapia, Jim Rivers and Anton Pieete. With massive crossover support for his music from DJ's across the house and techno spectrum the future looks very certain for Christian Smith. Proof if it was needed that it is possible to reinvent your sound and maintain a position at the very top within the vanguard of electronic music.

Honoured as Carl Cox’s “Hero of 2008” and with the success of his productions breeding a renewed energy for studio time, the natural next step was for Christian to re-launch his Tronic label. Kicking off in January with a re-release of the Smith & Selway’s classic “Move!” including chart topping remix from Steve Angello, the label has progressed at a pace to place Christian back at the centre of underground music. Featuring tracks from Umek, Mark Broom, Stryke, Fergie and Psycatron, Tronic has resurfaced with a bang and looks set to track Christian’s personal upward trajectory. Look out for future singles from cutting edge producers including Steve Mac, Ramon Tapia, Jim Rivers and Anton Pieete. With massive crossover support for his music from DJ's across the house and techno spectrum the future looks very certain for Christian Smith. Proof if it was needed that it is possible to reinvent your sound and maintain a position at the very top within the vanguard of electronic music.
 

14 minutes ago, ByCarlCox said:

Marco Carola

Marco Carola is a global ambassador of techno. From Napoli in the south of Italy, Marco was instrumental in the development of the electronic scene in the early 90s, he took the flourishing techno Napolitano scene to the rest of the world.

 

Over twenty years later and Marco is still one of the most respected artists amongst the techno scene, widely regarded as one of the key factors in driving the genre towards worldwide recognition within electronic music.

As a revered producer and successful label head, Marco has spearheaded imprints such as Design Music, Zenit, Question, One Thousands and Do.Mi.No whilst releasing music on a selection of the world’s finest labels such as Minus, Plus 8 2M and Primate Recordings. In addition to five critically acclaimed albums, including his most recent Play It Loud, Marco has also been responsible for a clutch of seminal mix compilations. In 2006, his mix for legendary London club Fabric’s series was a lesson in sleek, future-facing minimalism. That was followed up by well received compilations for Time Warp in 2009. In 2010 Cocoon label boss Sven Väth asked him to mix the Frankfurt based label’s Party Animals CD alongside Nick Curly, which took Carola's dj taste and skills to new heights.

Famed for his energetic and impressive three-deck style of mixing and long journey set, Marco has remained one of the most in demand DJs on the planet throughout the last two decades. Favoring mammoth eight hour plus sets, Marco is predisposed to a subtle working of the crowd that has made him a favorite among fans from Ibiza to New York, South America and beyond.

Richie Hawtin / Plastikman

о боже, мой гугл транслит в ступоре)))

Thomas Schumascher

Monika Kruse

Oxia

Olivier Raymond, born in 1971 in Grenoble (France), got into “black music” (disco & funk) already in his early teens. During college years, Olivier’s friendship with Stephane Deschezeaux, kick started a musical journey, with a debut on a local radio station broadcasting a show dedicated to Funk … hence, only being 15 years of age, Olivier had started mixing. Olivier’s mixes were influenced by a large spectrum of music styles: italo-disco, newwave and the early Chicago and New-York house scene.
By 1991, Stephane and Olivier bought their first bits of equipment and started to compose music. Not too long after that, Olivier became a resident dj at a club in Grenoble, jump starting a career in electronic music! It was by 1994, that the experiments of Stephane and Olivier became official. Their live act ‘Oxia’ was born.
In 1995, Olivier and Stéphane met Michel Amato (The Hacker), Alex Reynaud and Kiko in Grenoble, the electronic-tuned city of France. That same year Olivier created Ozone records together with Kiko, where Oxia released the first EP. On that same stamp, Olivier also co-produced the first releases of Jack de Marseille.
Olivier never rested and went on to create a new label with Michel Amato aka The Hacker and Alexandre Reynaud in 1998. They baptized it ‘Goodlife’ in homage to the mythical Inner City track. Olivier and Stéphane still produced several EP’s together and by the end of the century they decided to part paths (as good friends) and Olivier continued with Oxia as solo DJ act.
Oxia’s continued sound evolution gave birth to a series of EP’s & remixes on Goodlife but also on labels such as Intec, Terminal M, Monoïd, ... The excelling dj qualities were captured in several mix cds, and an intensive touring schedule worldwide. A page still unfolding, Oxia released his debut solo album ‘24 HEURES’ on Goodlife. It clearly illustrated Olivier’s indebtedness to the hypnotic techno rhythms of Jeff Mills, UR and the deep electro dynamics of Other People Place, Drexciya or even Aux88…
The series of strong releases & remixes is ongoing.‘Domino’ (Kompakt / 2006), became a worldwide hit played by every DJ you can possibly think of. ‘Whole Life’ (8Bit / 2009) was a killer in the underground house scene gaining the second spot ‘best tech-house production’ in the Beatport Music Awards and most charted track of that year in Resident Advisor DJ Chart.
In between there was amongst others a follow up for Kompakt, SCI+TEC, Tsuba, Soma, Time Has Changed, … and numerous collaborations with befriended artists alongside two mix compilations (5 years of Systematic in & 5 years of 8Bit).
All this hard work didn’t go unnoticed and In 2008 Oxia scored second & third spot in the Beatport Music Awards ‘Best Remix’ (with his remix of Butch’s track) and Best ‘Techno Artist’. In 2012 Oxia is back with a new LP ‘Tides Of Mind’ on the French Infiné Music. On this album he works for the first time with guest singers: Miss Kittin, Mesparrow, and Scalde. Oxia decided to put aside the trendy electronic patterns and to move back to more classic but no less enjoyable House Music. With this said, the album is not shy of a deep and melodic sound that ventures to the dancefloor with a stamp of the Oxia groove. This is music conducive to daydreaming, smiling, feet-tapping and escapism ... ‘Tides of Mind’ is the work of an artist who appears to enjoy a new-found sense of tranquility and is second to none in managing to convey it. During the album tour Oxia did several special LIVE performances.
After the intensive touring period, Oxia dedicated his studio time finishing numerous remixes and tracks for Visionquest (collaboration with Agoria), Noir Music (collaboration with Nicolas Masseyeff), Clarisse Records, Moan, Material, … By mid 2014, the Frenchman is ready with new own work and SAVED releases his “Perception” EP. Once more this release shows how Oxia masters the house and techno crossover. The success of this release doesn’t go unnoticed and a follow up on SAVED is confirmed for February 2015. By November 2014, a new mix CD compilation hit the stores. Club Kyo called upon Oxia to capture the sound of their Saturday night ‘Forward’, which rapidly became thé reference point of underground house & techno in Singapore.

Noir

“I was 8 years old,” remembers René ‘Noir’ Kristensen, “looking at a poster of Duran Duran outside the Eiffel Tower, and telling my mother that when I was older, I wanted to be a musician, traveling the world like they did.” In the three decades since that day, the softly spoken Dane has achieved all that and more. One of the planet’s most in demand house DJs and the man behind a hugely successful and pioneering label, he’s also the man responsible for one of the decade’s biggest house tracks so far, 2011’s global club smash ‘Around’. The track, a sexy, synthesizer-tinted groove featuring vocalist Hayze, was by far the biggest of Noir’s career to date. Picked up by house giants Defected, it dominated dancefloors across the world for nearly 18 months - and didn’t just catapult Noir to the front rank of producers and DJs but Solomun (whose subtle, sexy remix became the definitive version) as well.
But then Noir’s mission to spread the house music word started early. René was raised in the quiet, close-knit city of Aalborg in Northern Denmark, a town shot through with the peculiarly Scandinavian quality of Janteloven (rule one: “don’t think you’re anything special”). Very much the youngest of three children, his father a smith and his mother a cleaning lady, there was, he says, “no music in the family.” A friend’s big brother, however, had a huge vinyl collection. At 7 years old, when his schoolclass was asked to bring in a tape of their favourite music, René first demonstrated his gift for the unexpected. “All the other kids were bringing in children’s music,” he remembers, “I played Kraftwerk!”
By age 8-10 he was collecting Duran Duran posters and at age 10-12 listening to UK radio stations playing the first wave of acid house, and by 13, like so many European teens, he was a Depeche Mode diehard.
A gifted teenage football player, he had offers from some big local teams, but says he “knew really early that he wanted to create music and express myself.” It was a club called Rendez Vouz that gave him his chance aged 17. “I filled in maybe 5 or 6 times before they asked me to DJ regularly. I told the owner that I would only do it if I could buy all the music for the club and decide the music style.” Soon he was playing three nights a week. As the upper floor DJ, playing “50% house, 50% R&B and hip hop” to the notoriously late arriving, early leaving Danish club crowd, he developed a philosophy of DJing that remains to this day. “The guys that played before me, they played what was given to them via paid promo-service – I bought a lot of music myself to stand out and to push it forward, keep it interesting.” This passion for new music, this wish to give the crowd something unique every time, has never left him: eight out of ten tracks you hear Noir play in any club now has been re-edited by him to fit his sets perfectly.
In 1997 he bought a PC, a Yamaha synth and some Cubase music software. With no experience or musical knowledge (aside from the instinctive sense of ‘what works’ that has guided his whole career) essentially he was starting from ground zero. “I found a guy, Leif Berg Jensen, who taught me to use Cakewalk, and later Reason. He was very technical and I had the flair for arrangement and detail.” The pair made “very electronic, sample based” music, but soon René was looking for a fresh challenge. His next mentor was blues musician Palle Kruse Jensen. “The software I had picked up very quickly but the music stuff came from a lot of questioning. I didn’t know the scales or chords, I judged by mood: ‘why is that happy? Why is that dark?’ It was a long learning curve, sucking all the knowledge I could from these musicians and vocalists.” A trip to Ibiza in 2004 led to Noir’s first big international tune. Inspired by Nic Fancuilli’s Skylark bootleg of Tears For Fears, and a snatch of a Dire Straits song he heard from a passing car’s stereo on his return home, he constructed the cheeky, ‘Money For Nothing’ sampling ‘My MTV’. It finally came out on Toolroom in March 2006 (by then parts and vocals had been re-recorded), and its success, coupled with that of 2005’s polemic, “All About House Music” gave Noir (“I was looking for melancholic DJ names and DJ Dark or Black sounded really bad! My girlfriend (at the time) suggested I look for something French” like my birthname René) exposure outside Denmark and the confidence to strike out on his own. Giving up his day job at a friend’s gym (“I had convinced them to put a DJ booth in there!”) in 2007 he set up his own label, Noir Music. In 2009 Pirupa & Pigi’s ‘Sweet Devil’, became Noir Music’s first Beatport number one. Since then the label has combined acclaim from DJs and critics (it’s currently the eighth ‘most charted’ label of all time on Resident Advisor) with commercial success; over 180 releases to date (including on sub labels NM2 and Klimaks Records) have garnered too many Beatport top ten hits to count, while the ‘Use Your Ears’ compilation series has consistently showcased the label as one of the best and freshest in house music.
Indeed while Noir maintains that ‘the real kick’ for him is still DJing, thanks to his label (and his bi-monthly podcast), he’s almost as well known for his skills as an A&R / house music tastemaker as he is producer and DJ. Two of this years hottest stars in particular, Hot Since 82 and Finnebassen, first got their break on Noir Music. The team-up with Defected has also proven a great marriage. Not only have the giant UK house label brought ‘Around’ to a wider audience, but a hugely successful, quickfire double header of mix compilations for the label (‘Defected In the House Miami 12’ and ‘Noir In The House’) epitomised the label’s new, forward thinking direction, arguably helping it regain its status as one of the leading house labels on the planet.
And since that day in the classroom, Noir’s success has been based on following his instincts and refusing to do the expected. Six months after ‘Around’, confounding expectations of a copycat, cash-in follow-up, his next track was the dark, deep, ‘Found Out’. It was greeted with a mixture of caution and bafflement by his new fans, but today its one of the tracks he gets requested the most. “When I play it now,” he says, “everybody sings along even though there's not big chorus like the one “Around” has got”
Still based in Aalborg, Noir is now firmly established in the first rank of house DJs with bookings all over the world. Last June he recorded his first Essential Mix for Radio One, and he’s just returned from the BPM festival in Mexico, where one of his original heroes, Kevin Saunderson, played at a Noir Music showcase. And while he continues to live that eight year old kid’s dream as a DJ/musician, next on the musical agenda is ‘Angel’, the first collaboration with Hayze in the three years since the completion of ‘Around’. An early Giorgio Moroder-style bassline, fused with a techno vibe and a heartfelt vocal from Hayze, it might well be an even bigger smash than ‘Around’. Not that Noir is too bothered. “I don’t have a strategy,” he insists. “I just have a passion for sharing the music that I love.” From the classroom, to the DJ booth, to the studio: so far it seems to be working.

скажите мне - что этот человек курит?

28 minutes ago, GreeenPNZ said:

tell me - that this person smokes: D?

????

Только что, trello сказал:

????

точно)))

Hey good topic Carl

Thanks, and ENJOY...

What smokes :/

Grass...?

Green Velvet (aka Cajmere)

Green Velvet (aka Cajmere) studied chemical engineering at the University of Illinois, where he exposed himself to the energetic culture and lifestyle of house. In 1991, midway thoug graduate school, Cajmere returned to Chicago to pursue his dream of producing house music.
In 1992, after surviving on cheese sandwiches and maximizing credit limits, Cajmere finally made an imprint on the dance community with his infectious experiment, "Coffee Pot" (It's Time for the Percolator) – Clubhouse Records. Then he moved on to more complex musical and lyrical arrangements with songs like Lidell Townsell's "Get With U" (Mercury Records).
The Cajmere and Dajae collaboration resulted in a #2 Billboard Dance Chart and International dance hit - "Brighter Days". It was at this point that Cajmere decided to start Cajual Records. Having his own label gave Cajmere the autonomy to attain his goal of developing a sound that was representative of Chicago - thus, putting Chicago back on the map.
In 1993 Cajmere created Relief Records. The label became an outlet for he and other producers' more track-oriented work.
(Green Velvet)
The Relief label also gave birth to the experimental and eccentric, afro wig-wearing entity we know as Green Velvet - a Cajmere alter ego.
Green Velvet produced the first release on the Relief label, "Preacher Man." He followed up the debut release with "Flash" and "The Stalker", both of which brought about unexpected praise and worldwide recognition.
In 1997, Green Velvet's attempt to combine 80s electronic funk with Chicago's cult of a perfect track led to his creation, "Answering Machine" - with the more humorous but rather contagious hook - "I don't need this shit!" For 1999 Green Velvet has crafted "Constant Chaos", an electronic trip over a lyrical landscape or as Green Velvet muses in a recent Muzik interview, "I guess it's sorta like folk music for the rave scene."

Chris Liebing

Chris Liebing is DJ, Producer, radio host of a weekly show and the driving force behind the labels CLR and Spinclub Recordings. His sound has continuously evolved during his dj career, always true to his Techno roots. He was one of the first djs that used the new possibilities in the course of the digitalization of music in a consequent and creative way. The real-time manipulation of the individual elements plays an important role in his sets. Due to the good co-operation with various software and hardware makers, his current setup offers him practically endless possibilities. He is a worldwide requested dj and also part of the Collabs live act, together with the Dutch producer Speedy J. His productions and remixes appear in the play lists of numerous renowned djs. Hereafter some milestones in his career:
It all started 1990 in the area of Giessen / Germany when he was mainly playing Hip Hop, Soul, Pop and House. His growing passion for electronic music caused the opening of his own club named Spinclub in 1994. At this time he also gathered his first studio experiences and founded the label Soap Records alongside with friends. A job at Eye Q Records in Frankfurt provided him with useful experiences and contacts in the Techno scene. When he was called to fill in for a friend at the legendary Omen club, he received enthusiastic reactions from the crowd. From this day until the closing of the club in 1998, he used to play there on a regular basis together with many international djs.
In 1996 Chris left Eye Q and founded his first label called Audio. Before the label ́s closure in spring 1999, they released 17 tracks, amongst them his productions Audio 07 and Audio 11, which received worldwide recognition. At the same time Chris developed a new passion by presenting his first radio show Evosonic Update which supplied the party crowd every Friday afternoon with party tips and vinyl critics on the radio station Evosonic. In 1999 his well-established label CLR was founded. This was the time when he also started to receive top rankings in various categories of the reader polls of the popular music magazines, amongst them “best national dj”, “best remixer” and “best producer” on a regular basis.
In the beginning of 2001 he founded the pure remix label “CLRetry” and released mixes by producers like Marco Carola, Gaetano Parisio, Adam Beyer, Steve Rachmad, Speedy J., Chris Mc Cormack, DJ Rush, Ian J. Richardson and Ben Sims. In 2002 he started to work on his first artist album and the CLR website HYPERLINK „http://www.cl-rec.com“ www.cl-rec.com went online. From then on the CLR office took care of his exclusive booking and the labels. When his album “Evolution“ was released by the middle of 2003 it received massive media attention and enthusiastic critics.This summer many things started moving, for example on Ibiza. After playing for the first four Cocoon Ibiza residencies, this year Chris played for Carl Cox. In the following years 2004 and 2005 he co-hosted Mauro Picotto ́s Meganite at Privilege, where he also hosted the first and promising Spinclub season (named after his club in Giessen) in 2006. In the following year the Spinclub continued at Space. Inspired by the successful season at Space, the label Spinclub Recordings was founded in the beginning of 2008.The first residency of the Spinclub Radio Show started in summer of the same year on the radio station Ibiza Sonica. Due to the big success, another weekly slot on Ibiza Global Radio followed in December.
Since 2005 Chris produces in his own (obviously “state of the art” studio in Frankfurt. In the same year a productive and still persisting friendship between him and Speedy J. began, which so far resulted in the album Metalism on Novamute and various singles. The current releases have just come out and there are plans for another Collabs album.
2009 was a year of many changes for CLR. Chris Liebing and his team celebrated the 10th anniversary of CLR, restructured the label, opened an office in Berlin and celebrated many great parties on Chris ́ club- and festival gigs. The residency at the BE nights at Space / Ibiza became a big success. In the beginning of the year, Chris had begun with the production of the weekly CLR podcast, which by now counts more than 200.000 monthly listeners. He officially renamed CLR into CREATE LEARN REALIZE (as this is what he did most of his life) and by doing so he finally got rid of his ego in the label name.
2010 CLR starts off with a new distribution by Word And Sound. The first common project is the 10 Years CLR Compilation with 10 exclusive tracks by some of the finest techno producers of our time. Musically CLR opened up and became slightly more experimental, which only increased its popularity. For the musically more complex and song based releases, the sub-label CLRX was founded and started off with the release of the new MOTOR album “Man Made Machine” in the beginning of 2012. In the 12th year of the label, Chris Liebing ́s dj schedule, as well as CLR ́s event and release schedule are busier than ever.

Adam Beyer

Adam Beyer became dedicated to the fascinating world of rhythm early on. After playing the drums as a teenager his obsession turned to the decks. In 1990 he bought his first set of turntables and started spinning a wide range of hiphop, hiphouse, acid and techno at local parties and clubs. Beyer soon learned how to blend his sets in a thoughtfull and highly focused way, a talent that has now developed into his trademark style. In 92 Fellow school friend Peter Benisch introduced Beyer to the sampler , a year later they got their first record deal with New York based Direct Drive. After finishing school in 1995, Beyer started work at the Planet Rhythm record store while releasing some tracks under a variety of names and continually djing all over Scandinavia.
Adam Beyer sites Drumcodes 1 (Planet Rhythm 1995) as the first record to define his style; hard, percussive and loop oriented. This 12" names Beyer´s future label and was soon followed by his critically acclaimed debut album Decoded (Planet Rhythm 1996). His need to create the perfect dj tool gave rise to the launch of the Drumcode label allowing him total musical freedom. The label´s strong concept and high production levels meant it enjoyed immediate success. After six releases Beyer launched his second label Code Red focusing on a slightly softer side of techno. Code Red finished with its 10 th and final release Stand Down (Code Red 1999) which was a compilation of remixes from various international artists.
His production skills soon brought Beyer to the attention of djs worldwide and global bookings soon followed. His meteoric rise has been cited as one of the catalysts for Swedish techno´s current influence. He pinpoints the Stockholm sound as being closely linked to his network of friends in the city aswell as the triumvirate of himself, Joel Mull and Cari Lekebusch. After many releases and remixes on various labels he launched the second album Protechtion (Drumcode 1999). While the market was being flooded with monoton loop oriented techno Beyer worked on strengthening the arrangements that characterised his earlier works, aswell as adding melodic strings. Still with a clear focus on the dance floor.
The same year Adam Beyer and Cari Lekebusch linked up to create a stunning live act first witnessed in London to instant acclaim. The act created the intense feeling of a creative dj set while the duo played back to back mixing their production styles.

Bart Skils

His reputation for tight productions gave him opportunities to work and remix artists and friends like Joris Voorn, Adam Beyer, Christian Smith, Nicole Moudaber, Kaiserdisco and Kollektiv Turmstrasse. As one of the main players on Amsterdam’s renowned scene, their percussive take on techno and house music are well loved by many.
Skils’ long running Voltt nights at Paradiso have proven pivotal in bringing Amsterdam’s New School generation together. During the late nineties Skils’ undivided dedication to techno already landed him a residential spot at the infamous Mazzo venue. This was where he promoted his first techno fuelled nights, consistently staging the most futuristic in four to the floor beats. Many techno pioneers made their first Dutch appearances at these legendary nights and Voltt is still widely regarded as one of the leading events in Amsterdam’s internationally acclaimed club scene. His massive outdoor festival “Voltt Loves Summer” is praised by many in the Dutch scene as an absolute highlight of the year; over 15.000 party people attend this yearly happening on an old shipyard in Amsterdam!
With his residency at his own events, gigs all over Europe and many releases and remixes to be played out on the dancefloor, Skils’ dj star has been rising steadily and is shining bright. Persistently rocking venues and festival sites, he has further underlined his position as one of the country’s most reliable and authorative dj’s. His long lasting experience as a dj and his ability to move effortlessly from deep house to banging techno make Skils a sure-fire crowdmover at any given party.

Eric Prydz

Eric Prydz is on a roll at the moment, without doubt leading the way. His labels Mouseville, Pryda, & Pryda Friends are positively brimming with underground club hits. Eric is now in charge of three highly respected labels whose releases are in feverish demand, consistently selling huge quantities of vinyl which is truly incredible in the markets current climate. The labels are arguably proving to be the most successful and forward thinking imprints currently existing. Each label was strictly developed to give Eric a platform to release his own productions without outside interference, simply his music on his terms. It was important for Eric to step back after his previous successes and release music without schedules and pressure. Ultimately he wanted to control his own image & destiny, something extremely important to him and his career. The ethos behind the labels was truly underground, scarcely any promotion, no press intrusion and true label/design identity… a formula which has proven massively successful!
Releases on his more hard-edged Mouseville Records under the pseudonym Cirez D have been tough and powerful a throw back to the underground techno roots his native Sweden has become so famous for. The huge demand for this label has been nothing short of amazing with his massive ‘Knockout EP’ selling over 18,000 copies on vinyl alone. The more melodic based Pryda imprint showcases his early house influences with harmonies, melodies and hooks fused with his trademark powerful basslines. Pryda & Mouseville are solely for Eric’s own productions, vehicles to develop his sound a sound that has become so influential, constantly imitated and copied but yet to be bettered.
Therefore Pryda Friends was created to release friend’s productions as currently there was no other outlet for the growing list of tracks submitted to Eric by his close colleagues. Collaborations such as the hugely successful Paolo Mojo “1983” & Axer “123”/ “321” written with fellow Swede Axwell proved the worth of this new imprint.
Then just recently he became the first ever artist to be given the green light to sample Pink Floyd as his massive ‘Proper Education’ fused “Another Brick In The Wall’s” school choir chorus into a UK & European chart smash for Ministry of Sound. Eric has proven to be an artist that can actually fuse commercial success with underground success, something previously impossible to achieve and sustain.
It was always the enjoyment of working with music that kept Eric coming back for more. From making music on the piano aged 8 to convincing his parents to buy him a keyboard so he could make his own Depeche Mode tracks it was always “just a bit of fun.” However, with his debut artist album set to hit the world this summer, Eric’s key loves of house, techno and electro will see him bring all of his styles under one roof for the first time as his underground club roots come to the fore. A bonefide global chart smash in the making, it’s surprising just how far a bit of ‘fun’ can go.Going back to 1994 Eric became the drummer in a synth band called ‘Enemy Alliance’, touring Sweden and dreaming of becoming the next Kraftwerk. He jacked his job in, hooked up with two friends who had a small studio set up making more pop based material and lived the next two years virtually penniless - working on his own hard-hitting, techno-funk tracks and DJing locally when gigs came up.
Eric’s first release came about almost by accident. Having made a bunch of new material solely on a Roland MC-505 Groovebox he gave a cassette to a friend who ran a clothing store in Stockholm. Eventually finding its way to the London offices of EMI’s New Religion, in 2000 they released ‘By Your Side’/Mr. Jingles’ and Eric was at last on the hallowed grooves of black vinyl.
After the success of that initial release, EMI moved Eric to their flagship dance label Credence. A remix of the boogie bassline driven ‘Mr Jingles’ together with two new tracks followed and ‘EP1’ formed the first of three hugely successful releases. By the time ‘EP3’ came around, Eric had developed into one of the hottest names in house music and the original version of ‘Slammin’ from EP3 became the biggest instrumental tune on Ibiza in the summer of 2003. As an in demand producer the remix offers were flying in. Defining moments like his work on fellow Swede Steve Angello’s ‘Voices’ & Woz Not Woz firmly established Eric’s trademark electronic sound and he went on to remix the likes of The Shapeshifter’s, Alter Ego, Pet Shop Boys and Switch to name but a few.
Then things went a bit crazy. A record that he made to play out for friends in Stockholm that sampled a vocal hook from Stevie Winwood’s ‘Valerie’ became a local club anthem off the back of just six dub plates. A year later in 2004 ‘Call On Me’ was out on Ministry of Sound’s Data imprint, topping half the national charts of Europe and remaining at number 1 for six weeks in the UK, generating sales of over 2.5 million units worldwide.
As Mouseville Records and Pryda Recordings continue to deliver the dancefloor goods, Eric Prydz is now one of the world’s most in demand underground spinners and producers. With is debut album and new single set to drop, the worlds of techno and house are in safe hands.

Stephan Bodzin

Stephan Bodzin has been a hugely influential figure within the global techno scene for years. The reason the German has endured where many had fallen by the wayside is because of his devotion to authenticity. “Without it, everything would appear to be nothing more than a hollow shell,” says the son of an experimental musician who is now a revered talent in his own right.
After starting out by composing music for several prestigious European theaters, Stephan Bodzin soon fell in love with nocturnal club sounds and began producing his own brand of techno. He impressed right from the off and has gone on to work with Marc Romboy many times, including on albums like “Luna” and more recently “Kerberos & Styx” in 2014, and with Oliver Huntemann under myriad aliases including Rekorder. The fruits of these labors have defined the modern techno scene until today.
“Throughout my releases and all my collaborations I managed to let my ideas flow freely and to develop my own style,” Stephan Bodzin explains, and he proved that with 2007’s debut album, “Liebe Ist…” and the many other original productions that have followed, such as 2014’s single ‘Sungam’, which sat at number four on the RA charts, and his massive remix of Super Flu’s “Jo Gurt” in the same year.
Stephan Bodzin productions are driving, hypnotic things with a very real and memorable sense of melody that sticks long in the mind. Of course, running his own Herzblut label has also defined his career since 2006, and as well as being a place for his own work, has also housed refreshing contemporary music from Dominik Eulberg, Max Cooper and Pig&Dan amongst many more.
In the club, meanwhile, Stephan Bodzin is both a story telling DJ who really takes dance floors on a ride through his many musical influences, but is also an impressive live specialist who creates mesmerizing, high impact soundtracks on the fly. Across all continents, there is barely a club or festival in the world worth its salt that he hasn’t headlined at some point or other.
2015 will see this Bremen mastermind release his second full length, “Powers of Ten”, as well as a new single on DJ Tennis’ and Tale of Us’ taste making label Life & Death. The album is another magical piece of work that focuses on melody and rhythm, on fat bass and vivid sound design and is a truly captivating journey through the mind, music, body and soul of one of dance music’s truly modern greats. It is just the latest chapter in what has been an exhilarating musical journey in the capable and creative hands of Stephan Bodzin.

Petar Dundov

What is techno? Scientists and philosophers have long since pondered the concept of its musical definition since it burst out of Detroit in the mid-‘80s. Is it that notion of the “ghost in the machine”, of soul from electronics that its inventors elicited? Or is it more the repetitive throb and thump of 4/4 beats and slow-burning momentum that the Berghain generation are proponents of? Croatian producer Petar Dundov’s stunning music manages to marry both ideals in the most explosive of fashions.
To Dundov, “techno is music that precedes movement. It is dance music, solid enough to carry emotions through the dance floor and abstract enough to be a template for ever”. And indeed his breathtaking productions embody this ethos, serving the inherent function of making your body pulse spontaneously while also challenging your brain with its complex melodies and slow-burning, hypnotic progressions. It’s the antidote for anyone who thinks that techno is about senseless, dull looping.
Although maybe the word “techno” doesn’t give enough detail about his style, it’s probably the nearest ballpark to whose principles his music adheres – and he is keen to expand the horizons of what people know and expect of the genre. But it’s that sense of his tracks being alive, forever evolving and expanding and increasing in intensity, which gives his music its unique sound and has seen his work crossover into a myriad of different areas of the global electronic music scene. The last two years have seen his mind-bending single Oasis (played by everyone from Dubfire to Sasha to Ben Klock to Prins Thomas to Timo Maas) take the scene by storm with its intricate, ever-changing melodies, John Digweed snap him up for an epic rework of Alan Fitzpatrick’s Reflections, and Gregor Tresher squeeze a deep, mesmerising remix of his track The Life Wire out of him.
His music shows you that he’s a producer with more than churning out mindless, functional and dispensable drivel on his mind. There’s a philosophy entrenched in his productions that breathes the very spirit of life and dynamism into them: “My ultimate goal as a producer and musician is to bridge the world of inspiration and physical world to the extent where the listener wouldn't be able to distinguish between the two. Music has this unique property to communicate deep emotions that are inherently in all of us. We just forgot how to use them, and my search is an attempt to revive those emotions where we all resonate as one.” Born in Zagreb in the early ‘70s, his career in dance music stretches back the best part of 20 years, but it’s only in the new millennium that he’s been using his own name for his productions. Over the years he’s graced many of the world’s most prestigious and best-loved techno institutions – including mega-festivals I Love Techno, EXIT, Awakenings and Wire, and cutting-edge clubs like Berghain, Matter (RIP), Womb, Air, Fuse and Space. He counts a longstanding relationship with Belgium’s legendary Music Man label amongst his achievements, an imprint that has also played host to releases by everyone from Jeff Mills (for whose label Tomorrow he created the Sculptures mini-LP) to Green Velvet to Robert Hood, and after completing his acclaimed debut album Escapements in 2008, he’s got the follow-up in the works (for completion by the end 2010).Petar Dundov makes intelligent electronic music that breaks boundaries, moves feet and twists minds. He is without a doubt one of the most inspiring, original and daring producers in electronica, and with the likes of Sven Väth, Francois K, Laurent Garnier, Adam Beyer, Josh Wink, Guy J, Glimpse, Hernan Cattaneo, Brendan Moeller, and Danny Tenaglia amongst his fans, it would be hard to disagree.

Jeff Mills

A founding member of noted Motor City institution Underground Resistance, Mills helped build the artist roster and label ideology (as well as much of its back catalog) with partners "Mad" Mike Banks and Robert "Noise" Hood before moving to New York in 1992 to pursue more vigorously his solo and DJ career (with a resident spot at the legendary Limelight and a recording contract with the noted German label Tresor). (Although rumors of bad blood between the early UR crew have been denied by all involved, Mills' decision to split was apparently total, with Banks all but repudiating his involvement with Mills and Mills distancing himself from the continuing political militancy of Banks and the UR organization.)

Mills' UR-related releases (including "The Punisher" and "Seawolf") are stripped-down and erratic, fusing elements of hardcore acid and industrial techno to the sparse Detroit aesthetic. Not surprisingly, his post-UR sound hasn't eased a bit, although UR's penchant for the four-track has been replaced by higher-quality production.

Prior to his involvement in UR, Mills was a DJ at Detroit public radio station WDET (he was also studying architecture at the time), spinning everything from Meat Beat Manifesto and Nine Inch Nails to Chicago house and underground Detroit techno. He began producing in the mid-'80s, working with Tony Srock on the project the Final Cut.

Mills met Banks through a local garage group Members of the House, who Banks was working with in the late '80s. Mills remixed a track on a Members 12-inch, and his and Banks' shared love for Chicago soul and the harder edge of Detroit techno blossomed into Underground Resistance as a combined business and creative enterprise. The pair, along with Robert Hood, recorded several EPs and singles together, including tracks such as "Waveform," and "Sonic," before Mills defected to New York in 1992 to pursue a residency at the Limelight club and a solo career recording for Tresor and his own label, Axis. Mills' discography includes two full-length volumes of Waveform Transmissions for Tresor, a live album and rarities collection for the British label React, and the first album in a new contract with Sony Japan, as well as a handful of 12-inch EPs on Axis and several collaborations with Robert Hood on his M-Plant label. In 2000, Mills took more memorable action by scoring a new soundtrack for Fritz Lang's 1926 film Metropolis, screened around the world at venues including the Museum of Music in Paris, London's Royal Albert Hall, and the Vienna International Film Festival.