̸BIOGRAPHY Having made a practice to steer crowds into deep ecstasy with her hypnotic sets at famed Goa Ultrabeat parties in Rome where she operates as a resident DJ, Adiel kicked off her own label, Danza Tribale Having made a practice to steer crowds into deep ecstasy with her hypnotic sets at famed Goa Ultrabeat parties in Rome where she operates as a resident DJ, Adiel kicked off her own label, Danza Tribale in 2016 with a solid debut instalment, 'Anatomia Del Cavallo', that urged new ravers and dancers to join in with her densely forested musical fantasies where swirling melodic motifs, eerie atmospheres and entrancing 4/4 rhythms coexist in a rapturous communion of sorts. Orbiting around her own output, Danza Tribale is intended to provide a bespoke landing platform for techno dynamics both obscure and profound, alternately wild and held-in, instinctive and sophisticated, functional yet far from merely tool-esque. Fresh off the release of her latest EP, 'Ritmo', Adiel strikes again with 'Tokyo' followed by 'Cavallina' EP where she teamed up with none other than Italian dub techno legend Donato Dozzy to sculpt a truly mind-bending mosaic of delayed drums, stealth acid accents and rolling bass moves. In July 2019 she returned with ‘Musicofilia’, her first record outside her own label, on Kangding Ray’s ara imprint. Adiel this time delivered tracks which will suit a variety of spatio-temporal dynamics, while still crafted for the club. In February 2020, on her Danza Tribale imprint, she had a new exciting EP in collaboration with one of the most respected figures in the techno scene, Northern Electronics label head Anthony Linell. Later on World Wide Window, collaboration between Enisslab, Sebastian Mullaert's Circle Of Live project and visual art collective Sbagliato, featuring more than six hours of unreleased music by 56 artists including Adiel. Just landed a few weeks ago, the four tracks release debut on Stroboscopic Artefacts "If Not Now When?". Now in the works, Club Quarantaene release: 8 tracks from artists at the first event that sum up the sound of virtual raving in 2020 and a new exciting project coming out on Danza Tribale. Adiel’s skills both as a DJ and producer have seen her play at some of the coolest clubs and festivals around Europe, such as Dekmantel, Off Sonar in Barcelona where she did her first Boiler Room, Berghain for the Klockworks showcase and Panorama Bar invited by Marcel Dettman, London’s Printworks for Ben Klock’s Photon event series, Concrete in Paris, DC 10 in Ibiza, De School in Amsterdam, Fuse in Brussels and other prestigious venues. Adiel will continue taking the scene by storm in the coming months, bringing her unique take on techno to dance floors across Europe. Some of her upcoming dates include shows at Amsterdam’s ADE for Photon, Ibiza’s Afterlife and London’s iconic Fabric club amongst many others.

̸BIOGRAPHY Alex Sourbis is driven by his conviction that change comes from the arts. Alex Sourbis, was born in Belgium from Greek heritage, which could explain his natural inclination to Aeolian melodies and emotional drama. He sees music – whether it’s digging, DJing, or dancing – as a cathartic exercise to process a mood or to shift a perspective. His sets are like scores to unknown movies where details, voices, textures, and narration come together to create a captivating scene. The cinematic, immersive nature of his selections plunge listeners into a script and leave the ears wanting for more. His thoughtful touch can also be felt through the programming of the transdisciplinary art space 254Forest and Listen Festival, where he’s focused on building a healthy music community for Brussels and beyond.

Versatile Techno Both as a DJ and a producer, Patrick Gräser aka Answer Code Request has honed a hybrid musical approach that stands out in a world of uniform 4/4 techno. Melding pad-driven harmonies, intricate breaks and an industrial sonic palette, Gräser has occupied a unique space within the Ostgut Ton cosmos since debuting on the label in 2012 and becoming a Berghain resident shortly thereafter. His various releases and remixes for Ostgut Ton, MDR, Dolly Deluxe and Monkeytown Records continue to be highly sought after. As a DJ, he has taken his bass- and breaks-heavy techno to clubs and festivals around the globe, while remaining an integral part of the Berlin scene. ̸ SELECTED DISCOGRAPHY https://www.discogs.com/artist/2426897-Answer-Code-Request

Hangin’ on the streets of Brussels and collecting some wonderfully weird records along the way. Often seen scavenging in the vicinity of Rue Blaes 146, eyes always on the prize. Lastest Red Light Radio mix: https://soundcloud.com/crevetterecords/crevette-records-w-different-fountains-red-light-radio-1 Texture Radio mix: https://soundcloud.com/fred-nasen/texture-radio-30-11-17-arohcrevette-records-bxl-guest-mix-at-urgentfm

Avalon Emerson is from the desert. While she currently lives in Berlin, the music she produces comes from the dreamlike expanse and abstract textures of the Sonoran landscapes of Arizona. Her journey has taken her from that sunbaked state to the contemporary dance music mecca via a long stint in San Francisco, where she cut her teeth as a DJ in the city's storied warehouse party scene. In her DJ sets and productions now, she offers a timeless narrative that reflects a passion for the sound design of new wave, the futurism of techno, the soul of American house and the exuberance of rave. Though she's built up steam in 2015 from multiple sets at Panorama Bar, and globetrotting all around Europe and North America, she's just getting started, and continues to outdo herself with original productions released on labels like Shtum, Spring Theory, Icee Hot, and her own DJ tool edit pool, the Cybernedits series.

Azu Tiwaline is a producer inspired by the need to explore her origins, rooted in the Sahara. Her sound is a mix of the organic and the raw, vibrations from the spaces of the desert where entrancing music resonates and ecstatic rituals are commonplace.

̸BIOGRAPHY BAMBII is a global club DJ known for her genre jumping sets that push music exploration and the spirit of dance and rave culture everywhere. Kirsten Azan, baptized Bambii, is one of Canada’s most compelling DJs. Whether online or on dancefloors, her political and musical vernacular give credence to dance music’s ever expanding reach, the relationships it helps forge between individuals, cultures and spaces. As proof, she has spent the last few years touring Europe and Asia as a solo artist and on support for some of the world’s most relevant artists - Mykki Blanco, Kelela, and BbyMutha, to name just a few. She's a reoccurring name across European venues like Paris’ Afropunk and Germany’s Open Source Festival. On this side of the Atlantic, her event series ‘JERK’ has made stops in Halifax, Los Angeles, New York and Montreal building on the success of the event’s 7th year of existence in hometown Toronto. Publications are also keeping afloat - Wonderland, VOGUE, CRACK, DUMMY and DAZED all want a piece - and awaiting her debut EP, set to hit the internet before the year closes. ̸SELECTED DISCOGRAPHY 2019 NITEVISION - BAMBII FEAT. PAMPUTTAE

̸BIOGRAPHY is anyone there? EN Hawa Sarita (DJ, singer, poetess, writer) and Cristofeu (DJ, producer) merge their dreams and influences to create Baraka. From this alchemy raise a cathartic and moving sound whose repetitive beats and acid tones coming from the depths heal souls and warm hearts. The two DJs celebrate their love for club culture using powerful TR8s, incisive break beats, synthetic layers inspired by trance and trip-hop as well as cavernous female voices. These alliances of electronic music, 90’ aesthetics and dreamy undulations intertwine like the yin and yang and promise a mystical universe with futuristic imagery. With 7 tracks, with empowering, liberating and current lyrics, Baraka shows an intensity in the voices and productions with liquid and moving sounds, all with a touch of sweetness. A true hymn to the party, to poetry, to the night, the duo plays with genres and offers a hybrid work, going from trance through trip-hop to drum'n bass, with a touch of pop that will delight any audience. To be listened to at home as well as in front of a powerful sound system, Baraka is well and truly part of this new scene on which we will have to count in the years to come! FR Hawa Sarita (DJ, chanteuse, poétesse, autrice) et Cristofeu (DJ et producteur) fusionnent leurs rêves et leurs diverses influences pour faire naître le projet Baraka, synonyme de «bonne étoile». De cette alchimie sonore éclot une musique cathartique et mouvante, dont les beats répétitifs et les sonorités acid venues des profondeurs réparent les âmes et réchauffent les coeurs. Les deux DJs célèbrent leur amour pour la club culture à coup de TR8 tapageuses, de break beats incisifs, de nappes synthétiques puisées dans la trance et le trip-hop, et de voix féminines caverneuses aux résonances libératrices. Ces alliances de musique électronique, d’esthétiques 90’ et d’ondulations oniriques s’imbriquent tels le yin et le yang et promettent un univers mystique à l’imagerie futuriste. Avec 7 morceaux, aux textes empouvoirants, libérateurs et actuels, Baraka démontre une intensité dans les voix et les productions aux sonorités liquides et mouvantes, le tout avec une pointe de douceur. Véritable hymne à la fête, à la poésie, à la nuit, le duo s’amuse des genres et propose une oeuvre hybride, allant de la trance en passant par le trip-hop jusqu’à la drum’n bass, avec cette touche de pop qui ravira tout public. A écouter aussi bien chez soi que devant un système son puissant, Baraka fait bel et bien partie de cette nouvelle scène sur laquelle il faudra compter dans les années à venir! ̸SELECTED DISCOGRAPHY Baraka - Baraka Baraka - Baraka (Remixes Part 2) Baraka - Half Faces (Lacchesi Remix)

Boys Noize is the Berlin-based Dj and producer Alexander Ridha. Founder of Boysnoize Records and its sub-label BNR TRAX.Boys Noize

Brodinski is the most exciting dj and producer to explode onto the scene in recent years. Yes, he may hail from France (Reims, Lille) but he is quite unlike any of his Parisian peers. His taste in music is broad and this is reflected in his own product..Brodinski

David AugustDavid August

̸BIOGRAPHY like gigolo, but Gigola Gigolo means Playboy, but the word originally derives from the ancient French "Gigole" which used to mean Dancing Woman. This makes DJ Gigola both, a dancing woman and a playboy. Where others see tension and contradiction, DJ Gigola sees a chance for creation. In her playful way of breaking down boundaries, she hits the Zeitgeist of a generation that continuously transforms and recontextualises seemingly fixed concepts and stereotypes. As a result, both her sets and productions are quint-essentially genre-fluid. Her critically acclaimed cutting edge releases take a hybrid approach, successfully blending boundaries between Dance and Pop music. On a night out, you might hear DJ Gigola mix Madonna out of an old Bonzai record and back into Surgeon all within 5 minutes. Her sets are enigmatic and reflect a natural sense of curiosity - eager to explore, she does not shy away from experimenting. As playful as DJ Gigola’s selection may seem, however, she rigorously weaves together seemingly disperse tracks with one common thread: rhythm. She experiences music primarily through the rhythmic structure emergent from patterns of percussion rather than layers of melodic harmonies. This deep understanding for rhythm and groove, combined with her multi-facetted knowledge of music and curious audacity to try new things makes DJ Gigola one of the most exciting DJs to experience on a dance floor.

̸BIOGRAPHY Originally from Diadema, DJ K, a 22-year-old artist, is a crucial figure in the consolidation of a new style of funk called "mandelão." This aggressive sound, with a sharp and high-pitched "tuim" and high volume, energizes the favela parties in São Paulo. Known as the "Wizard", DJ K has been producing for three years and is responsible for the beats of hits like "Tuin Destrói Noia" and "Olha o Barulinho da Cama" that resonate through the "paredões" (sound systems). He is one of the main exponents of "Funk Bruxaria", a subgenre of Brazilian funk that emerged in 2019 in São Paulo's favelas. It is characterized by distorted and aggressive sounds, spreading throughout Brazil and accumulating over 15 million views. DJ K started his career in funk at the age of 17, producing his music at home and sharing it on the internet. He became one of the main DJs at the "Baile do Helipa", the famous street party in Heliópolis, one of São Paulo's largest favelas with over 100,000 inhabitants. With a stronghold in São Paulo's favelas, DJ K gained prominence as one of the first and leading artists of the "mandela" style in Brazil.

Depois de DJ Marfox, há um novo produtor pronto a detonar as pistas: Nigga Fox. Não por acaso, os dois formam o alinhamento da Noite Príncipe desta sexta-feira, dia 19 que fica completa com os Niagara. A pista começa a escaldar por volta das 02h00 e Nigga Fox, ou Rogério Brandão, é o segundo neste ataque afro-dançável à baixa da cidade. Não há nada de errado nisso, bem pelo contrário. É apenas o reconhecimento de um clube onde se ouve música inteligente, o MusicBox, da aceitação que esta música tem junto de “camadas informadas”. E, no entanto, nem sempre foi assim. A música de Nigga Fox não é muito diferente da que se ouvia em discotecas como o Mussulo há alguns anos atrás. A fusão de kuduro com ritmos como a morna, o house ou o drum & bass é própria de um produtor da geração iPod para quem a ordem é dançar, mais do que definir fronteiras. O currículo nocturno deste nome que agora se revela é tão excêntrico quanto estes cruzamentos. Não haverá muitos DJs que tenham passado pelas cabines...

̸BIOGRAPHY DONIA is based in Brussels and co-founder of sketchy lines records. As your local dopamine dealer she catches you in the streetlit corner of your soul to stretch genres until they lose their ego so you can just focus on your inner dance.

̸BIOGRAPHY Manchester based producer making music thats a sonic reflection of his heritage, marrying the sounds of latin rhythms & uk low end focus

̸BIOGRAPHY disc jockey * images profile: @sina.raw @suolmusic footer: josh renaut

̸BIOGRAPHY DJ and producer based in Brussels. Kamoun's electrifying mixes are a well done entanglement of Oriental-inspired beats and rhythms, with an array of eclectic sounds and polyrhythmic structures. His productions & mix take you on a journey through different soundscapes and moods, from hypnotic tribal grooves to high-energy dance tracks. Lose yourself in the fusion of traditional and modern elements, crafted by the co-head of the Brussel based label Sketchy Lines records. ̸SELECTED DISCOGRAPHY Mutil- EP : https://sketchylinesrecords.bandcamp.com/album/multi-ep SKL004 V/A: https://sketchylinesrecords.bandcamp.com/track/naja One Instrument: https://oneinstrument.bandcamp.com/track/salah-korg-minilogue-xd Perc & Wood EP: https://aardenrecords-official.bandcamp.com/album/perc-wood-aard003

̸BIOGRAPHY Hailing from Brussels, Le Motel’s world is a vortex of sight and sound that takes in the many and varied corners of the planet. As a music producer and film composer his versatility has taken him to festivals and clubs in every direction as naturally as he has ventured out to the less accessible areas of the globe as a field recordist. It’s somewhere in between these spaces that Le Motel operates, gathering unique experiences and sounds to channel through his studio. With a background in graphic design it’s not surprising that there’s a visual trace element across all of Le Motel’s music. And it’s perhaps why he’s so readily adapted to composing for film. Whatever the pace of the track, whatever template you might think he’s experimenting with and slowly revealing, the evocative collages that swarm around the rhythm is what marks his productions and sets them aside from the crowd. Blissfully organic elements come up against the hard surfaces of the woozy synth-work that you’ll find across his discography, pulling the listener in close in order to gently blow them away. Stacking up early notable releases on LA’s TAR label with a set of tracks that put his spin on footwork, Le Motel’s breakthrough moment came in the form of an album for New Zealand’s Cosmic Compositions back in 2015. Titled ‘OKA’, the record was picked out by Gilles Peterson for special attention as album of the week on BBC Radio 6. Effortlessly fusing juke, hip hop, techno, and with a jazzy strain throughout, the album deftly captures the wide array of styles and scenes that Le Motel moves between.
 The intervening years have seen Le Motel take time out from his own productions to step in and pilot some of Belgium’s biggest hip hop artists into their hard-to-miss fame. However, he’s now out to present his own unique work that he’s been brewing all this while. With a new EP titled ‘Transiro’ that reflects the state of transition that his life has been in, and a new label to call home, Le Motel is about to reignite and restate the direction that his previous album started to lay out. Maloca, his newly minted label, will take its first steps with ‘Transiro’ and will continue to focus on incubating different links between different influences and cultures. A capsule for this new mission is his collaboration with Brussels-based artist Antoine De Schuyter, who has worked with many musical artists at the cutting edge of AV design. Together the pair have put together a fully modular AV show to be performed live, and to be kept in a constant state of evolution. Alongside this, Le Motel continues to build his repertoire as a formidable DJ. ̸SELECTED DISCOGRAPHY https://www.discogs.com/artist/4713363-Le-Motel

̸BIOGRAPHY Co-founder of HE4RTBROKEN, a Belgian collective promoting parties and hosting a radio show on NTS, Liyo conceives her sets as sonic storytelling, meticulously stitching together music from all over the spectrum into a unique and sentimental narrative. HE4RTBROKEN is a Belgian collective bringing unapologetically emotional music into the club. Focusing on feelings and reinvention rather than on a certain musical genre, it offers a safe haven to the lone souls longing for a dance floor to cry on and a communal cathartic experience. Promoting nights since 2015 in Brussels mostly, and sometimes in Paris, London and Shanghai, the collective also hosts a monthly show on NTS Radio. Co-founder and resident dj Liyo conceives her sets as sonic storytelling, meticulously stitching together music from all over the spectrum into a unique and sentimental narrative. Emotions come first, as she is looking for interesting collages, abrupt downfalls and emotional climaxes in her mixes.

̸BIOGRAPHY MIMI (Ekstrakt) Zagreb, Croatia As one of the founding members of Zagreb's notorious Ekstrakt collective, responsible for the series of successful events in Zagreb in the last decade, Mimi built his reputation as an excellent selector and technician playing only vinyl. In addition to regular performances in all important clubs in Zagreb, he played as a guest in Berlin, London, Paris and entire EX-YU region. In the recent years, besides monthly residence at Masters club, Mimi has shut himself in the studio and devoted to production.

An outspoken voice in the normally non-confrontational world of electronic dance music, Moodymann (Kenny Dixon Jr.) is committed to keeping a distinctly black imprint on techno and house. Moodymann

̸BIOGRAPHY Leipzig based Techno DJ Host of LÄRM Distillery (Leipzig, Germany) Laut Klub (Braunschweig, Germany) Inspired by the symbiosis of many well-known artists and their sounds within the techno scene Ninette is reinventing herself again and again. The synthesis of dark and always high energetic industrial techno with a bunch of hypnotic acid allows her to build a unique sound raising the crowd to another world. Besides expressing her passion for pounding kicks behind the booth she is constantly eager to try out new things in order to ensure making the crowd sweat without mercy. Meanwhile, she can proudly name the oldest techno club in the old eastgerman territory - Distillery as her musical homebase. Additionally curating the techno event series LÄRM allows her to actively shape and enrich the scene as well as leverage her own ideas.

known for her eclectic mix of styles, tempos, and sounds, ojoo, fka OJOO GYAL, has a knack for blending diverse elements into an engaging and infectious experience. born and raised in Morocco, and currently based in Brussels, ojoo has established a mean reputation for mapping a sound uniquely hers in meticulous DJ mixes since 2019 at venues across Morocco and Europe, radio shows on Noods and Movement, and mixtapes on Accidental Meetings and Chrome. ojoo’s mixes give equal attention to atmosphere and groove. They are a swirling cauldron of rhythms across a whole spectrum of genres, from old-school dancehall to its most futuristic and distorted mutations, twisting through dub, reggaeton, dembow, grime, and sometimes excursions into the noisy, grubby and sludgy, with illbient, musique concrète, and more. AMX004 - OJOO GYAL vs. FUMU CHMIX005 - OJOO GYAL - Untitled

̸ BIOGRAPHY Overmono were on a roll before lockdown. As the top YouTube comment for their Joy Orbison collaboration track ‘Bromley’ put it Overmono were on a roll before lockdown. As the top YouTube comment for their Joy Orbison collaboration track ‘Bromley’ put it, “so this is the track that was on every 5 minutes at Warehouse Project. ”That track and the duo’s own ‘Le Tigre’ were played out constantly by the likes of Four Tet and Ben UFO, the former also hiring the duo to remix his track ‘Teenage Birdsong’. Then there are their edits. Thom Yorke was so impressed by the duo’s versions of ‘Not The News’that he let them release the tracks on their own Polykicks label. Add to that their cheeky version of Rosalia –‘A Palé’,which caught the ear and the eye of the respected flamenco artist, as well as being a highlight of their live performances pre-lockdown. Then the world abruptly stopped, all their forthcoming gigs were cancelled and suddenly Overmono were able to fully commit their energy to their legendary Bromley studio. It’s was during this time that the duo feel they’ve been able to realise exactly what Overmono’s music should be. “Our work together had so far been about exploring and defining what Overmono is... and we feel like we’ve got this now”.

̸BIOGRAPHY b. 1993, Kyiv, Ukraine Project of Sasha Zakrevska, composer, dj, curator and graphic designer currently based in Berlin, DE due to full scale Russian invasion. ̸SELECTED DISCOGRAPHY Music For Candy Shops LP [TRNS003LP] 2017 + / - [BAS006] 2019 Currency [MONDOJ] 2019 Bartosz Kruczyński & Poly Chain - Pulses [ITLInt02] 2018/2019 Nene H, Poly Chain [STDEV001] 2020 Lake Lemuria EP [ORKL-W-04] 2021 Dogtooth EP [DT008] 2022 Fairy Disco EP [Mystictrax] 2022 Relax EP [Funclab Records] 2023

̸BIOGRAPHY Portrait XO is a soulful music artist and the inaugural resident artist at Factory Berlin exploring all the possibilities of where we can go with AI, sound, and new media. From a young age, Portrait XO has always been inspired by jazz and improv but her upbringing was strongly focused on classical piano. After listening to Radiohead and Bjork for the first time in the late 90’s, that changed her entire perception of music making. With an ongoing interest in exploring experimental approaches to writing, her move to London from 2006-2015 set her towards a new direction and appreciation for electronic music production. She’s a singer, songwriter, producer, and installation artist working in AR/VR/XR and AI. Her musical style has been compared to Laurie Anderson, James Blake, and Lana Del Ray. She continues to explore different sounds to keep her productions evolving. Her latest experiment with AI involves feeding a neural network with 1 hour of her vocals that generated 10 hours of new audio. Debut AI album is due for release end of 2019.

̸BIOGRAPHY Output is rooted in industrial- noise, sound collage, power electronics and concrete music, with a vast amount of releases - first and foremost on the Copenhagen based label Posh Isolation.

Richie Hawtin played an essential role in developing the sound of minimal techno, as well as spreading its popularity throughout the global club scene. Most famous for his experimental acid techno productions as Plastikman, including the classic albums Musik (1994) and Consumed (1998), he is equally well-regarded for his groundbreaking live sets and mix CDs (especially 1999's Decks, EFX & 909) which utilize cutting-edge DJ technology, fusing loops of techno records with additional synthesizers and drum machines. Initially based in Windsor, Ontario and connected with the techno scene in nearby Detroit, he co-founded the highly influential Plus 8 (and its harder sublabel Probe Records) along with John Acquaviva, later establishing Minus and relocating to Berlin during the early 2000s, just as minimal techno began receiving mainstream exposure. Hawtin has continued pushing the limits of technology, developing highly conceptual events which are often intertwined with the art world. ~ AllMusic

̸BIOGRAPHY Raised in Tunis and now located between Brussels & Milan, Samar plays with atmospheric spatiality and sonic textures. Constantly evolving her musical craft, she is not afraid to take unexpected turns and imbue vim and vigour into her transcendental yet resolute DJ sets. Expect mixes with a metaphysical, tangible texture. From visceral ambient to blood-pumping percussions, Samar is adept at experimental bass, jungle, breaks, leftfield, and electronica. A transgressor of the traditional codes of the dancefloor. No frills, all thrills. KIOSK & RAHEEM Radio resident.

Scalping are a Bristol based live techno band. Blistering performances are known for astute production formed through a love their hometown’s visionary off-the-wall dance music as well as full throttle noise and punk. Starting in 2017, the band played live for two years, almost exclusively in Bristol, before releasing any music. Through their time in other bands, they hooked up with promoters they trusted and focused on doing fewer shows with better results. After a couple of years, Nick Berthoud was brought in, on guitar; a “fan first, member second” who was impressed by the developing live show and attuned to their conceptual frustration. “As a live band, your entire output is dependent on your equipment, but guitar music is historically always so far behind electronic music, and how that technology and the language around it can change the music itself”, says Rushforth. “The ideas that people try to push with guitar band technology are naturally limited. We’re taking elements of guitar culture, like distortion and smearing, and inserting them into the technology and language of electronic music. We’d seen bands try to do this before, but it always felt too ‘arty’, happy, or unstructured. We wanted to do it but make it heavy, and create focused, structured songs.” By sourcing band-centred equipment that pushes boundaries, they incorporate bass-amplifying techno elements into their repertoire. Rushforth’s bass guitar set-up comes with two octave pedals, subharmonic generators and two amps – “effectively bringing a soundsystem around with us” – to play basslines “one or two octaves lower” than a bass guitar traditionally can. Berthoud’s guitar is sidechained from Jones’s kick drum; “which everyone’s done in the studio for decades, but we found it difficult to find a single guitar pedal that would allow us to do it at gigs”, Berthoud says. Their curiosity and resourcefulness has paid off. Since forming, SCALPING have performed across the UK and Europe, at festivals such as Glastonbury, Visions, Green Man, Simple Things, Pitchfork Festival and End of the Road, and as support for Black Midi and Squarepusher. Live, the effect is immense. SCALPING play continuously for the duration of their sets, generating a storm of metal- and-techno through a rising beats-per-minute count; starting between 80-90bpm, ticking gradually up to 140bpm – and then, for maximum dynamic impact, dropping to 70bpm and playing in half-time. In the heat and darkness, it’s a swarm of low-end frequencies and ripping guitars, somewhere between Black Sabbath-esque psychedelica and The Bug’s sub-bass headfuckery. “Within each section of each song, we can push and pull it,” says Hill. “We have a setlist, and once we start playing we don’t stop…. we move through the various songs and tempos fairly seamlessly, and try to emulate the feel of watching a DJ.” As the coronavirus pandemic stopped SCALPING from playing together for over two years, their songwriting was transformed into a series of retro-fitting techniques that would leave most bands lost in an organisational fog. Their debut album, “Void”, out on Houndstooth this April, necessarily became a mammoth undertaking. “We wrote this whole album without playing a single note of it together,” says Hill. “We produced all of the songs using the computer – as a blend of recordings and samples of our live drums, guitars and drum machines into production software – and then translated it all back into a live performance. And although there are structured songs on the record, there’s no explicit focus on exactly recreating those songs live, either,” he continues. “Everything is adapted to work into a set that flows well. A lot of album parts are rewritten during rehearsals for the good of the live set as a whole.” On “Void”, SCALPING are heavy metal in 4D; the sound is moody, distorted and rhythmic, but the use of electronic techniques gives the finer details room to breathe. Their early lust for “all loudness, no nuance” has cooled, too, making more space for experimentation. Tracks such as “Tether”, featuring Oakland rapper DÆMON, puts a modern, metal twist on Bristolian trip-hop, whereas album closer “Remain in Stasis” features fast-rising artist Grove, a Bristol-based rapper and self- professed metalhead whose commanding presence sets the track alight. These songs also mark an additional new chapter for the band with the addition of vocals for the first time. ̸ SELECTED DISCOGRAPHY April 2022: Void (LP, Houndstooth) October 2021: Flood Remixed (EP, Houndstooth June 2021: Flood (EP, Houndstooth)

Skee Mask is a versatile producer from Munich, who doesn’t want to be identified. He got influenced by a lot of different types of music over the last years, which made his productions pretty various. Skee Mask’s direction is mostly rolling rhythms, combined with electronic soundscapes, always forcing to create a deep vibe. His influences mainly are from “old” techno labels like Chain Reaction, Warp Records or Counterbalance. He’s still developing his procedure in making tracks, but always staying himself. In his DJ sets he tries to create a deep trip, constituted of organic grooves and diverse clang accompaniments. Skee Mask would describe his DJ-Set variations as techno, ambient and mostly experimental, forward thinking.

̸BIOGRAPHY Space Afrika With their slow-stepping, spacious urban dubscapes, Space Afrika harness ambient, Detroit techno and shades of early nineties Sheffield with a fresh and open approach to composition — this is dub techno stripped-down, sealed in a time capsule and sent back from the near future. Driving, echo-laden deep beats form the bed for a heavily subaquatic sound palette with undercurrents of cybernetic dread. Friends for almost 2 decades, the two Joshuas formed Space Afrika after years of listening to music together, sequestered by harsh Northern winters. Heavily inspired by the industrial architecture of Northwest England and notions of travel, their sonic framework evokes images of rust and disintegrating concrete, and sensations of movement and redemption — exuding a distorted analogue soul offering escape into their overcast skies. Closely associated with Brighton/London label, Where to Now?, who slink along a vintage axis of post-punk, On-U Sound, minimal and no wave influences, Space Afrika's diverse and creative radio shows (notably their residencies on NTS and Reform Radio) also display a breadth of curiosities in experimental and avant-garde music, old and new.

Rising in Turin and currently based in Munich, Stenny debuts with his first 12″ Solstice Deity on the Zenker Brothers label Ilian Tape in 2013. Mainly inspired by the spirit of 90’s Techno and IDM, his contribution as a producer could be described as club focused but not merely functional. The dusty and stepping drum programming, often contrasting with the dense, atmospheric surrounding, is one of the peculiarities of his style, which in fact, references often to the Jungle or Hardcore era, but basically aims to evolve with no genre boundaries. As a Dj he maintains a similar, versatile and open minded approach, ranging between contemporary and classic but forward thinking club music.

How does one begin to write about Tiga? Where to even start on a long road marked with notable checkpoints? What can be told that can’t be tallied in raw statis...tics (which he’s a total stickler for), or an unfurled parchment scroll of places gone and plaudits won? The duality of a life split between aspirational popstar and touring deejay falls short: by this point in time he’s lived dozens of lives, let alone a mere two. Frankly the only claim that doesn’t wash is that of being in a legacy mode – because that, to him, denotes the cardinal sin of coasting. And that just won’t do. The core engine pushing Tiga forward is ambition. It’s there, everywhere: at the dials in any given club in any given city in any given country on any given weekend; burning the midnight oil in the Research & Development wing of his career control centre, crisp shirt sleeves rolled, assessing and strategising over his next move; with his feet up on the gleaming glass desk in the penthouse office of Turbo Towers, gold plaques of decade-dominating dancefloor delights flanking him – it’s there. Self-aware, well-moderated, yet totally unrepentant ambition. Plus a bit of wit, too. To be insulated from any real backlash over a quarter-century in the game and across many different hats worn, a touch of humility and humour certainly helps it all go down easy. His goal is to dunk on people with success, but do so in a friendly way, soaring overhead with the sly wink of chutzpah (but never the nudge-nudge of solipsistic irony for irony’s sakes). To maintain pole position while swerving between all these lanes with impunity, he taps into a well-spring of regenerating desire. From the getgo Tiga has sought to not merely play a part in the culture he abandoned all life commitments for age 17, but frequently scale its heights too: Attending Berlin’s Love Parade circa ’92-95, then hearing DJ Hell drop “Sunglasses At Night” to the masses not too many years later. Giving a speech at his Montreal alma mater, then converting some of the impressionable graduates in the audience to come work at Turbo. Starting an independent label on a whim, then reaching 200 releases in a stormy industry with a higher turnover rate than Real Madrid managers. Getting hooked first on the fearless compulsion of Bowie, Reznor and Almond, then the frigid cool of Mills, Hawtin and D. James, then threading the needle consummately between these two worlds. These highwatermarks form the backbone of his pride, and in turn, fuel the self-perpetuating motion machine inside. There’s always extra room in the cockpit, mind. An army of collaborators, remixers and remixees have provided vital thrust over the years. From Alter Ego and Azari & III through Duke Dumont and Depeche Mode; from Matthew Dear and Moby, through Zombie Nation and Zdar, Phillipe; Paranoid London, Pusha T, Pet Shop Boys and Peaches.…on and on it goes. Read between the lines and you’ll get a measure of the man. Teamwork affords stimulus, shuts down ego, and juices something he can’t get to alone. At heart, it brings out the best in Tiga. So it’ll prove in 2018, where the fingers of his well-combed Rolodex currently rest on entries marked Kolsch, The Martinez Brothers, and Hudson Mohawke. The fruits of this friendly jousting with find their way out of track ID requests and into the shops before long (perhaps even by the moment you read this – hope you’re enjoying the future and remembered to short your cryptocurrency in time). It would be a lot easier to rest on his laurels by this point, really. To trade on former glories, reflect fondly on a career spent dovetailing in and out of the spotlight with likeminded friends, turning in a jaded, half-assed representation of himself at festivals and recording sessions when the taxman comes knocking. But Tiga is still too confident, self-respecting, and – how did you guess? – ambi-tious for that. The challenge he seeks is to keep experiencing the frisson of creative alchemy, to lock into a groove where he is truly in the zone, to dig deep and reproduce a fresh take on that first-love feeling of music: something that connects with young ravers and inspires the same spark he felt all those years ago. That’s the spur, the lifeblood, the DNA. And that’s why Tiga remains an ever-present light in our little corner of the universe. See more

̸BIOGRAPHY next stop Shell City

Name: Tzusing Birthday: ??? Height: 183cm Blood type: O Astrology sign: Cancer Looks: 5 stars Sense of humor: 5 stars Drinking ability: 5 starsTzusing

̸BIOGRAPHY As co-founder of Ghent based collective Grid and its small but energetic offshoot label Lieftuig, Vers has a genuine ear for obscure sounds and baffling club tunes. Vers delivers carefully selected and genre dodging mixes that are both intriguing and vigorous. He first arrived on the airwaves in 2021, maintaining a monthly residency at Kiosk Radio ever since. He's also active at LYL radio, where he shares a slot with longtime collaborator Mankiyan, and recently, Microwave, where he showcases a slower, more downtempo side of his diggings. Among the places he performed at in the past years are Horst Festival, Listen Festival, Funke and Onder Stroom where he has shared the bill with esteemed artists such as Kahn, Stenny, LCY, M I M I, AliA, K Means, Le Motel, Ojoo Gyal, Lolo Batten etc. In 2023 he continues to push the envelope by making a first appearance on Rinse France and landing his first club residency at Funke in Ghent.

Yves Tumor is the solo moniker of Sean Bowie, the enigmatic multi-instrumentalist and producer based in Turin, Italy.Yves Tumor