Brooklyn Electronic Music Festival | Saturday
This event is 21 and over
Whether it is Openening, Primetime or Aftershow, Mathias’ intuition for the crowd and location, proves each time again that he lives for his profession. His music is both, distinctly ambitious and refreshing. Following the House music of the 90s, he works thoroughly to create new sound structures. For a while, he has been using different types of percussion elements. The result is an enjoyable rhythm, which communicates with its audience in a very particular way. In a playful approach, he creates an incredible repertoire of feelings that reproduces within the crowd. Mathias’ various sets include the following sound features: funky, freaky, dashing, dub, slamming, enriched by African and South American percussions.
Inspired and motivated by the first House & Techno DJs at Bioxultra in Gera he got his first turntables at the age of 14. One could argue it is necessary to live wherever the sound rises at a particular time. However, Mathias draws on his own strengths. Away from sated urban in- and output, he has always maintained the objectivity for his music.
For 7 years, he has been the resident DJ of the well-known club Muna. He is not only DJing there, but he also supports talented folks within the Freshblood project. Additionally, he is jointly responsible for the Klanglauf events at Kassablanca in Jena, as a DJ and organizer. Together with Marek Hemman, Mathias released 4 EPs on the label Freude am Tanzen and 4 own EPs on Vakant. Amongst others, he also did remixes for Matthias Tanzmann, Onur Özer, Dapayk, Anja Schneider, Daniel Stefanik and Trentemöller.
DJing and, later on, the production of electronic music have been his occupation since 1996. With his style of work, Mathias joins those, who refuse to produce and release music excessively. Thus, the necessity to make records that will remain long lasting is one of the guiding motifs of his profession.
Steve Rachmad is a Dutch techno producer, DJ and remixer. By many, he is considered a father of Detroit techno in the Netherlands, respected in the world of electronic music for his deep, groovy sounds that tend to rest on impressive strings, melodies, funk and soul. His career has been reaching its highest peaks from 1996 up to the present time. Yet, it is somewhat less known that he has been in the music realms for over 25 years by now.
Having released on record imprints such as Mirau, Com- post Black Label, hfn music, Plant and V2, Kasper has po- sitioned himself as one of the most renowned and versatile Danish contributors to the international electronic music scene.
Kasper’s third studioalbum „Fool“ will be released April 1st 2012 on hfn music, accompanied by a stellar remixpack- age by Rebolledo (Comeme), Axel Boman (Pampa), Maxxi Soundsystem (Hot Waves) and Till VonSein (Suol) of the first single „Lose Yourself to Jenny“ – out on March 5th 2012.
As a remixer, Kasper has pretty much covered the whole spectrum: From London based App (WYS!) to fellow Danes WhoMadeWho (Kompakt) and Trentemøller – and international pop artists like Moby.
Recently abandoning his A&R chair at indie label Fake Dia- mond, where he discovered and developed acts like the international phenomenom Oh Land, Kasper now has his main focus on studio work and his business as a manager for Trentemøller and rising stars Reptile Youth.
He is also now hosting a weekly radioshow on National Radio DR P6 Beat, called 4/4 – playing everything from Disco to New Wave, Italo, Post Punk, House and Techno tracks.
As a DJ, Kasper has countless gigs under his belt across the globe, but has decided to play less in the years to come – yet still travelling all over, from legendary clubs as Social Club in Paris, D Edge in Sao Paolo, fabric in Lon- don, Le Bain in New York, Bob Beaman in Munich and Electric Pickle in Miami and holding residencies at Iceland Airwaves festival and Montreux Jazz Festival for the past years.
Kaspers muscial background comes from the discohouse duo Filur (together with producer/DJ Tomas Barfod) that spawned a long line of international radio and chart hit singles.
Kasper has furthermore been awarded two Danish Mu- sic Awards (Danish Grammy) for Best Producer and Best Dance Release (as Filur) and the duo have won numerous Danish Dj Awards (DDJA) though the years.
Selected pressquotes: “Kasper Bjørkes music is heartfelt, soulful and will make you dance” Nylon Magazine.
“Each track is a bang on the Krona” Dazed & Confused ‘Kasper Bjørke could become one of the year’s biggest indie-dance crossover success stories. Keep an eye on him” Beatportal.com
His background is shrouded in mystery, his powers are supernatural and his reputation is whispered about among men. He goes by different names, but folks just call him The Magician.
One night not so long ago, he appeared from a place between space and time. The Magician stepped into this world, materializing in a cloud of crystal stars and soft pink smoke. Some say he is the guardian angel of all resident DJ's, others claim he's a former airline pilot who crashed an afterparty – some say it's just an illusion, a well performed hoax. But is it really?
Everywhere The Magician goes, there's music in the air. People come under his spell and dance like there's no tomorrow. Lost in a purple haze, transfixed in a flurry of white doves. He makes clubbers float through disco heaven and takes them around the house on a magic carpet ride. Behind his green translucent eyes, there's an unlimited knowledge of the musical past, present and future.
The Magician shifts shapes in a heartbeat and appears all throughout the world. One moment he's sprinkling space dust on the Balearic isles, next he's performing his rhythmic hocus pocus between the smoke and mirrors of a glitzy nightclub in Santiago or Moscow. When he vanishes, the only proof of his existence The Magician leaves are his 'magic tapes', a sample of his magnetising skills.
No magic wand or top hat needed, it's all in his wizardly mind and flexible fingertips. The Magician has more than one trick up his sleeve though; word has it that the mystery man is working on a special formula to transform the musical workings of others – and don't be amazed if, one day, he perfects his craft and creates his very own brand of spectral sounds.
Forget that Potter kid, Gandalf or Merlin, and get ready for a new chapter in the world of wonder and bewitchment. Get ready for The Magician.
Tensnake, aka German DJ and producer Marco Niemerski, made his name with the huge 2010 dancefloor smash hit 'Coma Cat', and since then has been in ever increasing demand. Seemingly effortlessly managing the elusive feat of marrying classic disco and house influences to a contemporary sound, Marco is in that very rare position where his music appeals equally to the biggest dancefloors, from Ibiza and Miami, and real chin-stroking aficionados. All of which has gained him a solid reputation as a producer's producer. His music effortlessly transcends genres, and the release of his eagerly anticipated debut album Glow looks set to cement his reputation as a major talent.
Born in Hamburg in 1975, Marco grew up listening to disco, soul, boogie, funk and the finer cuts of 80s pop, from Prince, to the more Balearic tracks from Simple Minds to, er, Prefab Sprout. His older brother also introduced him to other influences like freestyle and boogie to Italo-pop. As he grew older he went through a Mod-period before finding and embracing more dancefloor-inspired influences from Larry Levan to Junior Boys Own, Romanthony to Masters of Work. With such a diverse set of influences, it's no surprise Marco's own music has already shown more depth than most artists manage to achieve in a lifetime.
After starting the Mirau label with friends in 2005, Marco's first record was 'Around The House', which he felt was "a lucky strike" at the time, but still sounds fresh six years on. The Mirau motto is 'Not mass but class' and over the years it has steadily grown into an international label, and released their first compilation album last year, as well as Erdbeerschnitzel's excellent album "Tender Leaf'.
It was the aforementioned all-conquering 'Coma Cat', which first made Marco's name. "I knew as soon I wrote it that I had something special," says Marco, "but I never expected it to be so big, or last so long". But although 'Coma Cat' may have been the breakthrough, the 80s tinged, more cinematic and laidback 'Congolal', and 'Mainline', Marco's 2012 collaboration with UK vocalist Syron, and storming remixes for everyone from Aloe Blacc and Friendly Fires to Lana Del Ray clearly showed the depth of Marco's range. Then there was a sublime mix of 'Ritual Union' for Little DRagon, a beautiful downtempo piece which was so good that vocalist Yukimi Nagano herself sang a show-stopping live version of the song with Marco in Miami last year.
It was a sign of things to come. The first single released from his forthcoming debut album, the smooth, down tempo '58BPM' with Fiora surprised a few people when it was released. "That was deliberate decision," says Marco, "I wanted to make a statement with the first single and surprise people." With shades of Prince and a brilliant remix from Mano Le Tough, it was another reminder that it was proving impossible to corner this Snake.
When he first appeared on the scene his early releases were seen as a welcome antidote to the omnipresent minimal house scene of the time. If there's anything Marco is rallying against with Glow, it's what he sees as the sidelining of the songwriting in the desperation to create big brash dancefloor moments, in the wake of the rise of EDM. "I feel like people have forgotten the art of songwriting," explains Marco, "which is all important".
It will come as no surprise to fans of Marco's mixes, which always take listeners on a journey, that Glow is an album that stands alone as a complete, cohesive piece of work, rather than a collection of dancefloor tracks collated on one CD. It's one of those rare beasts, a dance music album that makes total sense if you sit down and listen to it at home from start to finish.
Glow features collaborations with Fiora, Stuart Price, Jamie Liddell, MNEK (British singer Uzoechi Osisioma Emenike), Jeremy Glenn, Gabriel Stebbing (Nightworks)… oh, and the mighty Nile Rodgers from Chic, who plays on two tracks. There's been a million misinformed column inches written about the return of disco over the past couple of years, but for Marco, disco never went away, it's been an ever-present influence in his record collection and music, so for Marco collaborating with Nile Rodgers was a dream.
"I couldn't believe he was so grounded," says Marco. "I sent him a message on Facebook, and didn't really expect a reply, but he replied himself 20 minutes later and he said he knew my music. I sent him the music and he called me and said, 'Would you mind if I was just your session musician on this track' which was amazing."
Marco will also be going out and showcasing the album this autumn, which promises to be a very special show.
All of which looks like hammering home that 2013 is the year of the snake.
Andre Bratten was born in Oslo and grew up in a suburb of the Norwegian capital, which borders on the deep, dark Scandinavian forest. Like most kids in the late 1990s, he was bitten by the hiphop bug, but he also got turned on by the Led Zeppelin records he picked out from his father's record collection. He's broadminded enough to be into everything from the Norwegian electronica masters Røyksopp to Metro Area, Sigur Rós, Eno, Cluster and Weather Report.
Currently dwelling in the heart of the city, his efforts with the synthesizer coincided with a huge boom in Norwegian electronic music, his productions recently came to the attention of Norwegian 'cosmic disco' mogul Prins Thomas and his Full Pupp colony. Andre's tracks share the exploratory vibe of the 80s synth pop pioneers, and misfit electronic pop musicians like John Foxx, who were forced learning to sculpt new sounds with new tools. Yet he updates those sounds to a contemporary rhythm matrix, in parallel with the dayglo analogue dance music of Lindstrøm, Todd Terje and Prins Thomas himself – and he just happens to share the central Oslo studio space used by that glorious trinity.
But Andre has always known his own mind and was never going to be content with being just another anonymous insect in the logpile. So his debut album, Be A Man You Ant, is a string individual statement, his 'I am Spartacus!' moment. It computes almost infinite variations on the sounds he could extract from a single modular synthesizer – 'the limitations are inspiring', he says. So you'll find squelchy bugs in the bassbin, weird analogue squeegee smears, bright drum machine splats and the occasional significant pause. The spaces in his music are at least as important as what fills it. Listen to the movement of "I Am Square", how he gets a yearning effect from a few vapour-trail synth wipes. Or the vivid, neon synth solos in "Aegis" and "Second Steepest". "Libra" is as stripped-back as a late 90s Cologne Minimal joint. Like the best electronic dance music, you can follow sounds on their individual journeys through each track, and nothing ends quite as it started. The ants really do become men.
If so much Scandinavian techno has been content to sound relaxed, steam-bathed and scrubbed-up, Andre Bratten's music rejects cosiness and whimsy, and steps away from pleasing the crowd. Get ready to let it caress your antennae.
The popularity of bass-heavy dance music is spreading like wildfire across the world, with many producers crafting their own styles of dubstep, grime and garage. In the city of San Francisco, CA DJ/producer Kastle has cultivated his own style of bass-heavy beats with a soulful twist.
After teaching himself guitar and piano around the age of 12, Barrett Richards pooled his efforts towards electronic instrumentation about two years later. He began taking production as seriously as he did DJing during that time, and involved himself deep into the Northeast rave scene. It was no surprise that in time, though, personal growth and 14 years of production experience paired with a degree in audio engineering would breed a new sound. Kastle came to life at a pivotal moment after a big move from Boston back to his hometown of Pittsburgh in March 2009. After nearly a year of conceptualizing, he knew he was working on something special.
The name itself implies a fortress, a personal space that is used to cultivate a long-time love of hip-hop and R&B and fuse it with the magnetizing effect that dubstep, garage and bass-heavy music has had on Barrett and, really, the various communities of underground electronic music.
The studio and touring dichotomy of an artist's life is a perfect yin & yang for Kastle in both his production and outlook. His professional experience as an engineer puts forth clean, crisp production, but his love for the party provides a playful bass that eats a room. Altogether, the wide varieties of vocals - both originals and sampled - are a key element to Kastle's sound. "I grew up on hip hop and R&B, and sampling is considered an art form," he says. "It's becoming more and more fun to dig through old records and find obscure samples." He cites another unexpected influence -legendary French filmmaker Jean-Luc Godard, who had once said that "it's not where you take things from, it's where you take them to."
It’s fair to say that Pete Tong’s history is intertwined with the history of acid house and electronic music itself. His career mirrors the story of dance music over the last 25 years. A true renaissance man, Pete has never been about one thing and 2011 represented a significant milestone. The past 18 months has seen Radio 1 hold a special 12 hour takeover on the station celebrating Pete’s 20 years on their airwaves, he’s released three new compilations, Future Underground, (mixed alongside Riva Starr) and All Gone Ibiza ’11 (mixed alongside Felix Da Housecat), and most recently All Gone Ibiza ’12 (mixed alongside Booka Shade) on Defected. In a year of landmarks, he also launched a Las Vegas residency at Encore Beach Club, re-launched his iconic FFRR label at Warner Music, headlined Glastonbury’s dance tent and curated his own tent at the world-famous (and the UK’s coolest) Bestival festival, launched the All Gone App, mixed Mixmag’s covermount CD, and scored the music for a Cultural Olympiad Film.
Add to all this his constant touring, an ibizian residency, production work, remixes, music supervision, film scoring, and a weekly Radio 1 show, and he’s without question the busiest man in dance.
When the beat drops at a Nadastrom show, you better have your hands up. Dave Nada is known to stage dive while his DJ partner Matt Nordstrom squeezes the duo's most riotous beats through the speakers. It's a reminder Nadastrom aren't just pushing 21st century dance music toward the edge – they're jumping off it.
The D.C.-born, L.A.-based duo of DJ-producers come from different backgrounds, but share a ravenous appetite for extremes. As the prime architects of Moombahton – a sound Nada invented on the fly at a basement party by slowing Dutch house music down to the tempo of reggaeton – the duo have been praised in the pages of Spin and Rolling Stone, pumped on the airwaves of BBC Radio 1 and NPR, and revered at nightclubs and festivals across the planet.
Nada was born in Maryland, a first generation Ecuadorian-American surrounded by five brothers and the sounds of cumbia, Ecuadorian folk, salsa, merengue and reggaeton. As a teen, he gravitated toward Washington's legendary hardcore punk scene, playing in bands while learning to DJ on college radio. A move to Baltimore landed Nada in the second surge of Baltimore club music, where he DJed alongside club icons K-Swift, Rod Lee and DJ Technics, while producing acclaimed club tracks of his own.
Nordstrom grew up in Virginia on the other side of the Washington beltway where skateboarding provided a contact point with punk, metal and hip-hop. In the late '90s, he swapped the skateboard for turntables and switched his college major from psychology to audio engineering. Soon, Nordstrom was the resident engineer for esteemed D.C. house heroes Deep Dish and piloting recording sessions with the likes of Stevie Nicks and P. Diddy, even scoring a Grammy nod along the way.
When Nada and Nordstrom came together in 2007, the chemistry was instant and the music was colossal. The group signed to Switch's Dubsided label where their debut debut EP, "Pussy," immediately topped the charts on Beatport. Since then, Nadastrom have produced tracks for a slew of artists, including Kid Sister, and have done remixes for Kid Cudi, Benny Benassi, Christina Aguilera, Waka Flocka Flame, the Death Set and Alex Clare.
In 2010, the duo relocated from Washington to Los Angeles and hit the road, performing at the biggest festivals in dance music, including Australia's Creamfields festival with Deadmau5, the Disco Biscuits' Camp Bisco festival, Bass Island with Bassnectar, the Mad Decent Block Party with Major Lazer and the HARD Festival in Los Angeles with Ducksauce, Chromeo, BoysNoize and Odd Future. This fall, Nadastrom joins Skrillex and 12th Planet for more than 50 nights on the hotly anticipated Mothership Tour.
Meantime, Moombahton has become a movement of its own, with Nadastrom serving as the genre's leading ambassadors. Diplo's Mad Decent label dropped the acclaimed compilation "Dave Nada presents Blow Your Head Vol. 2: Moombahton" in May and Scion released Nadastrom's Moombahton EP "El Baile Diabluma" this fall.
"There are never any rules," says Nada of the duo's approach. "And Moombahton helped us realize that even more."
Earlier this year, UK bass icon Sinden launched his own record label, Grizzly. The label’s discography is only a few releases deep—the most recent being WAFA’s “Ewid Disco” 12”—but it’s quickly become clear that Sinden’s A&R acumen is as potent as his talent for crafting high-quality radio broadcasts, not to mention his top-notch DJ and production skills. Speaking of the latter, he’s also got the debut album from The Count & Sinden which came out in September, not to mention plenty more Grizzly releases and his usual spate of DJ gigs around the globe.
"Paul Salva is a funky motherf-cker," says The FADER. Beyond those who already know this, the rest of the electronic music world is catching wind of the 29 year old producer, DJ, promoter and label boss. Already heralded by the Numbers, Ernest Endeavors and LuckyMe crews in the UK, the Low End Theory residents in LA and his own Frite Nite label/crew in SF, Salva is primed as he preps the release of his debut album, Complex Housing for the Friends of Friends (FoF Music) label.
Growing up in Chicago in the 80's, Salva cites early inspiration in all sorts of of electronic and sampled-based music ranging from electro, juke, analog house, ghetto house, underground hip hop and bass productions. With a strong foot in all of these idioms, Salva creates a future-leaning style of electronic dance music that is all his own. Shimmering synthesizers collide with funky vintage drum programming, heavy bass drops and rapid arpeggios to create an album that remain both listenable and danceable.
What do Ibiza Rocks, Wax:On, Metropolis and Reclaim The Dance Floor all have in common? The cream of international DJ line-ups? Legendary tales of debauchery? A clutch of awards and critical acclaim? Yes, yes, and yes, and one more important ingredient; genre-hopping resident and rapidly rising UK producer/DJ talent, Doorly.