Alex Kassian is a producer, DJ and artist from Kyoto, now based in Berlin, where he splits his days equally between making music and astral projection.

Alex’s sound is sophisticated and precise (he previously worked on soundtracks for contemporary dance and theatre); it’s also lush and organic, cinematic and uplifting, bursting with optimism and energy, informed by spontaneity and improvisation and specifically designed to promote the kind of out-of-body experiences demanded by discerning ravers across the universe.

As a solo artist, Alex has released on a number of labels here on Earth including Paramida’s Love On The Rocks and Alex Bradley’s Utopia Records. Together with Hiroaki OBA, he is also one half of Opal Sunn, who operate their own imprint Planet Sundae since 2017, through which they self-released a number of EPs, catching the attention of and support from dance music luminaries such as Andrew Weatherall and DJ Sprinkles.

In 2018 they released their first EP Parallax on Nick Höppner’s label Touch From A Distance, and in 2019 and early 2020 took their live show on tour around Europe and Asia, with stops everywhere from Field Manoeuvres festival to The Observatory in Saigon and Panorama Bar in Berlin. Their second release, Laika, came out on Touch From A Distance in 2020, shortly followed by Alex’s first solo outing on Love On The Rocks, Oolong Trance.

If you have ever seen Antal dj, you know the amount of energy he brings to his rotary mixer is unparalleled. Here is someone who feels the vibe and understands how to bring it across. Apart from being an exceptional DJ, Antal is also an entrepreneur, a curator, football trainer and co-founder of Rush Hour Records. Still, "I spend between three and six hours preparing for a gig", he once confessed during an interview with RA.

With a record collection as huge as it is wide in taste, he is just as comfortable spinning Chicago and Detroit influenced house as he is playing rare Afro funk, forgotten Surinam disco or a beautiful boogie gem. Yet, this wide range of styles comes naturally. "Often, the best nights are the ones where I feel I can play anything, no matter how sharp my selection is.” It is this selection which is key, here. Antal can make you dance to an obscure track, because he knows exactly how and when to drop it. He plays songs you never knew you needed in your life.

Things all got an extra push after a magical gig at the famous Lowlands Festival in 2014, together with Hunee. He started playing all over the world, from Oslo to Singapore and from Tokyo to San Francisco. There is a worldwide community that understands the power of a good tune on the dancefloor. And this community is growing, its roots are getting stronger. "That has become more important to me over the years", he confesses. "Otherwise there is no progression. Things have to move forward, in order to survive."

Since 1997, Antal runs the mighty Rush Hour Records in Amsterdam with a close group of hard working people. It’s a vast empire that encompasses a reliable distribution wing as well as a much-loved record store chock full of vinyl, bought during on-going crate digging trips. The label, in the meantime, releases house and techno from the vanguard at the same time as reissuing long forgotten classics that serve to educate whole new generations about what has gone before. You could say Antal himself serves the same purpose when DJing.

Over the past five years, Ben UFO has acquired a deserved reputation as one of contemporary dance music’s most daring and wide-ranging selectors, with his keen ear and razor-sharp technical abilities enabling him to cut between eras, lineages and mixing styles with dazzling ease and fluidity.

Having cut his teeth in early dubstep and drum ’n’ bass, his roots lie in UK rave culture - yet his selections cast the net wider, drawing new mutations of this culture into the orbit of house, techno and other global dancefloor sounds. In the club, his sets somehow manage to be simultaneously considered and raucous, sliding from sidewinding broken rhythms into an irresistible four-to-the-floor groove, or broadsiding you with unexpected tangents, old favourites and bizarre secret weapons.

Thomson’s development as a DJ has been inextricably linked to the maturing of Hessle Audio, the label he co-founded in 2007 alongside Pearson Sound and Pangaea. Just as dubstep was starting to unfurl into a sprawling, globalised festival sound, Hessle Audio, in stark contrast, emerged with a strikingly focused, spacious and percussive aesthetic. As the scene continued to unravel, they went on to become one of the most coherent focal points within a rapidly diverging UK dance music community, through their DJ sets, label releases and radio shows on London station Rinse FM. Listening back to Ben’s two official mix CD releases, 2011’s Rinse:16 and 2013’s Fabriclive.67, you can hear snapshots of that evolutionary process in action; they plot subtle and often surprising connections between the pirate radio-borne genres he grew up with, and the worldwide house and techno scene.

It’s refreshingly difficult to pin down what makes Ben’s DJing distinctive and exciting, whether you encounter it on the radio, in a recorded mix or on the dancefloor. If there’s a core characteristic of his approach it’s an infectious warmth and restless love of exploration, exemplified by his habit of meshing mind-bendingly strange tracks into peak-time sets, and by the way his Thursday night shows on Rinse FM weave together jacking unreleased dance cuts with new finds and dubbed-out oddities from across the globe. In the club, he shapes these elements into something rich and unpredictable, interspersing phases of driving momentum with joyful curveballs and ruptures in the flow that jolt you back to your senses — moments, as he describes it, that feel like coming up for air on the dancefloor.

This fascination with the possibilities of dance music, stemming from Thomson’s formative years spent absorbing the sound-system weight of London’s Plastic People club, extends to his desire to continue playing for huge crowds as well as in tiny, sweaty basements — from large-scale outdoor festivals and world-renowned clubs such as Fabric and Panoramabar, to the intimate spaces of Hamburg’s Golden Pudel, Tokyo’s Air, or Freerotation festival, where the Hessle Audio trio are annual residents. The appeal of his fluid and open-minded approach is self-evident in the way it crosses genre crowds and spans nominal divides between underground and mainsteam. In recent years, for example, he’s played back-to-back with DJs as varied in style as Jackmaster, Morphosis, Gerd Janson, Joy Orbison and DJ Nobu, as well as recording mixes for both staunchly independent platforms like The Trilogy Tapes and Truants, and for widely-acclaimed series such as Resident Advisor and BBC Radio 1’s long-running Essential Mix.

From their early years in Leeds, Ben UFO and Hessle Audio have evolved into core figures in an increasingly globally-connected dance music scene. Having provided an early platform for music from kindred innovative spirits such as Blawan, Peverelist, Untold and Joe, the label continues to release new music from both its founders and emerging new artists. This openness marks the cornerstone of Ben’s approach: drawing connections, exploring new ideas, and feeding some of Hessle Audio’s energy and enthusiasm back into the musical communities of which they are an integral part.

Hailing from the coastal town of Chiba, Japan, Changsie has spent the last decade establishing herself as one of the most in-demand and trusted DJs in Tokyo. Her monthly party, Joyride, transforms a small reggae joint in Shinjuku into a genre-defying celebration of underground music. The open-minded, party-focused philosophy that’s central to Joyride was developed alongside her soul mate, Lil Mofo, and is reflected in her own sets, which have been heard on bills alongside DJs as diverse as Nina Kraviz, Theo Parrish, DJ Sotofett, Ciel and Errorsmith.

Changsie’s ears have long been tuned to the boundary free possibilities of contemporary club culture, an appreciation that has already helped her create a stir across Europe, including a memorable closing set in Ohm as part of Berlin Atonal, imprinting a high-energy memory on ravers even when following a selector as distinctive as Batu. Following a youth immersed in hip-hop and R&B, a studied and timeless appreciation of dubstep and UK bass guides each Changsie set, possessing the ability to shift from meditative states to the rhythmic complexity of bleep techno and the ecstasy of acid-flecked house and techno.

Having played in Europe, Australia, North and Central America as well as across Asia in the last couple of years, a series of mixes for Crack, Discwoman, Dimensions, Beats in Space and Resident Advisor have introduced Changsie’s style to an international audience, and have garnered support from her own heroes and peers. Guided by bass and inspired by the energy of her audience, Changsie has now relocated herself to London. Already appointed as a monthly resident of NTS Radio, she continues to make her imaginative and truly cross-cultural mark on the landscape of dance music.

“Walked on the beach, went to a vineyard for lunch, smoked weed, drank too much and got to play my music all weekend: Etta James, ’80s stuff, Winans Brothers Louie Vega remix, The Orb and John Tejada’s Sweat On The Walls.” Ms Helliker-Hales

When your mum sends you texts like the above it’s perhaps not surprising you find yourself with a musical career. For the Helliker-Hales brothers in Chaos In The CBD, it’s strictly a family thing. They may well be one of the hottest propositions in the current house firmament, but they’ve still managed to maintain the homespun vibe that comes from growing up in the idyllic suburbs of Auckland.

These days the duo – Louis and Ben (aka Beans) – are part of the tight knit Peckham dance community, but the chill summers of New Zealand’s North Island still hold a place in their fertile imagination. Having been schooled in the wares of bands like The Cure and Joy Division from their music-mad parents, it’s now the boys turning them onto house music and, yes, John Tejada.

The pair has always had a certain drive to succeed right from their early forays into electronic music after Louis’ Damascene conversion from rock to house at a Melbourne rave. He returned a convert, guiding Beans’ meandering explorations on Fruity Loops towards the sound of Chicago. They’d stand and watch local heroes like Soane, Dick Johnson, Bevan Keys and Greg Churchill and imagine themselves in the booth. Later, they received lucky guidance from Detroit-born Re-cloose, who washed up on Auckland’s shores and stayed several years.

Their move to Peckham, however accidental, couldn’t have been timed better if they’d tried. They met local scenester Bradley Zero on a train, the week they arrived. “I said, ‘That’s the guy from Boiler Room’,” recalls Louis. “Beans went to say hi and Bradley said, ‘I’ve actually got some of your records.’ And we were like, ‘You got to be kidding. This is crazy.’ He told us about Rhythm Section and the parties and we became regulars.”

That fortuitous connection became part of their new network in the buzzy, emerging Peckham, with Bradley later releasing the vaunted breakthrough EP, Midnight In Peckham. Beans’ job in Yam Records, round the corner from Peckham Rye station, closed the circle. They might have funny accents, but this was now home.

Nevertheless, it’s the memories of New Zealand – and Beans’ chilled outlook – that produces those characteristically mellow house sounds. “It’s testament to just how chill we are; we grew up by the beach,” claims Louis, while Ben chimes in: “It’s very much a representation of our childhood.” Despite their horizontal approach to studio work, their live sets are on a different level.

“Our DJ sets are completely different to how we produce,” says Louis. “We play heavy – not techno heavy – but it’s very rare we’d play a song like that Midnight In Peckham.”

Since his first release in 2011, Dan Snaith's Daphni alias has become a fixture in the world of underground dance music.

From his debut album 'Jiaolong' in 2012 to his 2017 release of both a fabriclive mix composed entirely of his own unreleased tracks and edits and his second album 'Joli Mai', via various remixes and edits in between, Daphni tracks have populated the DJ sets of many of dance music's most forward thinking DJs.

As a DJ himself, Dan has gained a reputation for varied and extended DJ sets in some of the world's finest clubs - Fabric, Panorama Bar, De School, Warehouse Project, Concrete, Printworks, etc. - and euphoric headline DJ sets at festivals the world over. But Daphni appearances are rare - balancing time recording both Daphni, Caribou and touring means that a Daphni DJ set is always special.

Japan's DJ Nobu is a DJ with no fixed style, but instead a very real ability to draw on a wide world of music and cook up his oose who know, and his decades of experience all get distilled at his acclaimed party Future Terror, his label Bitta and his few choice production outings. All of this has slowly but surely turned him from being one of Japan's, to one of the world's, most in demand selectors who is famously flexible and ever evolving.

For the latest and relevant news please check

Eris Drew is a DJ, producer and trans ecstatic from Chicago. She runs the T4T LUV NRG recording label with her loving b2b partner Octo Octa from a log cabin in New Hampshire. Eris is a recording artist for her own label, Interdimensional Transmissions (Detroit) and Naive Records (Lisbon). She conducts the Psychedelic Rites of the Motherbeat with her friends at Pittsburgh's Hot Mass and at Room 4 Resistance in Berlin.

Eris has been playing and programming keyboards since she was a child. A long-time resident at Chicago's Smart Bar and DJ for the Bunker NY, she started mixing records in 1994 at the age of 18. Her experiences as a musician and dancer showed her that rave is a powerful apparatus which can be used to transform individual lives and communities. In an effort to contextualize the rave experience, Eris gives talks around the world on the connections between dance music culture and other ecstatic traditions. In addition, she is an advocate for trans/non-binary/queer people and mentors aspiring DJs and electronic musicians.

When Eris was 18 she had an intensely disruptive spiritual awakening. House music cracked her open and revealed a mystery contained within sound. This “Motherbeat”—as she would call it—was first beheld by Eris following a rave in 1994 at Chicago’s Oak Street Theater. She has helped Eris to heal, create art and find her friends for over 23 years. Motherbeat is a fundamental primordial pulsation; a whispering geometric wind with the power to heal; the archetype of a goddess ascending. She is there to remind us that: I. Ritual dance music has been here since the beginning, before historical time. II. Each of us is made for better things than the cultural download we receive provides. III. We can use music as a technology to unlock our bodies, dissolve boundaries and models, and find each other.

Hunee pretty much operates on his own terms, in his own world. Since a first release in 2009 he has been in no rush to make it big, but instead has slowly seeped out into the world his choice cuts of rhythmically playful and super-soul infused house music on labels like Rush Hour, Future Times and W.T. As a DJ, too, he is tireless and visibly enthusiastic at every gig. His selections are made with a palpable passion and cover a cultured cross section of essentials from house and disco to afro and techno. The music he serves up comes from a place of love and knowledge in equal measure - there are no cheap thrills with Hunee, just pure musical joy.

Jeff Mills has never wallowed in his DJ status and kept on multiplying outstanding performances, at the intersection between music, contemporary art, pop culture, design and science fiction, while running his own record label, Axis Records, since 1992 onwards. After conquering Detroit's early Techno scene as The Wizard in the 80s, as a part of the Underground Resistance, he took up with his prime inspiration, Space and Science-Fiction. The 2000's marked a turning point, when he started to merge his music with other artforms. He decided to create a new soundtrack for Fritz Lang's "Metropolis", which brought him to many other cine-mix performances and movies soundtracks. As a plastician, Jeff Mills has shown numerous of his performances and exhibitions in artistic institutions such as the CCCB of Barcelona, the South Bank Center, the Barbican Center, the Cinémathèque Française, Pompidou Center, the Art Fair Monte Carlo…

Jeff Mills is the first DJ to collaborate, perform with Classical orchestras which was captured on DVD. It all began in 2005 with “Blue Potential”, followed in 2012 by a new version called “Light from the Outside World”, still scheduled to perform all over the world.
Started in Tokyo, 2015, Jeff Mills created Spiral Deluxe, his first band since Underground Resistance, displaying an Electronic Jazz Fusion, bringing out three records. This led him to have another project called The Paradox and collaborations with late Tony Allen which grew into Tomorrow Comes The Harvest project with various artists.
Decorated in 2007 with the French Government award of Chevalier of the Order of Arts and Letters, Mills was upgraded in 2017 to be Officer, in recognition for his contribution to the Arts, such as the residency at the Louvre Museum.
In 2020 during the pandemic, he started to curate the project called “The Escape Velocity” under which talents from all over the world release Sci-Fi/ Space Science themed music.

Natural born DJ’s Kamma & Masalo have been enriching the Amsterdam scene and beyond with their mind-bending synergy and open-hearted approach to music. Both talented artists in their own right, together they form a phenomenal DJ tag-team with an organic flow and ability to transition effortlessly between contrasting sounds. Their tour de force Dekmantel Boiler Room along a full touring schedule of club and festival appearances, has moved and inspired dance music culture around the world.

KAMMA

Kamma’s path to her craft could not have come more naturally, a child to parents who have both DJed professionally for over 25 years. Her instinctive nature and open-mindedness make her a purveyor of a wide range of sounds, going deep beyond her traditional roots. With an effortless contrast of energy and emotions, she journeys into complex rhythms, dreamy waves and new era electronics.

MASALO

Masalo’s diversified upbringing strongly translates into his musical output, with hybridism being a key philosophy in his DJing. His production art embodies this same spirit, getting much plays and support from music lovers worldwide. His choice productions have found their home on the Rush Hour label, the imprint he’s closely connected with.

Recently Kamma & Masalo helped in the creation of Doka Studio. Located in the east-side of Amsterdam, Doka Studio is a sound bar and dance club focussing on immersive sound experiences. An intimate space with high-end audio equipement where subcultures unite and young talents and established protagonists resonate their soundwaves into the night.

Doka Studio is also the place where Kamma & Masalo currently run their dance party series Brighter Days, a colourful get-together celebrating dance music culture to the fullest. Brighter Days pushes the spirit of friendship and togetherness on the dancefloor, welcoming local talent along tastemakers such as Colleen ‘Cosmo’ Murphy, Hunee, Kuniyuki, DJ Spinna and many more.

With Brighter Days they host a monthly radioshow on Worldwide FM. A two-hour show that is playfully traveling through dance-floor go-to’s, recent digs and personal classics. A warm and energetic journey reflecting on the signs of the time with an uplifting message. Stay tuned for an upcoming Brighter Days compilation on Rush Hour Records where the two curate their choice cuts and upfront releases from local talent.

Kamma & Masalo live and breathe music with a raw and unadulterated approach to good vibes over from Amsterdam to the world.

Kenji Takimi has been an important and prolific underground figure in Japan for decades, and one of the true pioneers of the left field House/Dance music worldwide as a DJ as well as a producer. Kenji’s DJ style is characterised by unmistakable romantic, spacey, and eclectic selection from his famously extensive record collection. His label Crue-L Records has been at the forefront of Japanese alternative music since its inception 30 years ago. From his remixes of Cornelius,Hiroshi Fujiwara,Nina Kraviz,Sebastien Tellier, Cut Copy, Phil Manzanera (Roxy Music),Dimitri From Paris, Boris and countless more, to his studio work with dance favourites Theo Parrish, DJ Harvey and many more.

Based in Tokyo, Japan. Kikiorix has played in many clubs and festivals in Japan as well as abroad including Somewhere in Amsterdam by Rush Hour x RDC, Dusk Camp Los Angeles, Fabric London, The End/Aka London, Space Ibiza, Tresor Berlin - and not only Europe but also he was invited to Hawaii, China, Thailand, Sri Lanka etc. Being based in London in 00s, he gained a lot of DJ experiences as a Holic resident together with Tomoki Tamura, and later he got to perform at one of the biggest music festivals in Japan, Fuji Rock Festival as a member of Tresvibes. During weekdays, he is busy working as a designer at Realrockdesign. A resident DJ and designer for Rainbow Disco Club.

As a young child Lars Bartkuhn started out writing his first piece of music with a syn- thesizer and sequencer, which his parents bought him upon realising their son’s ob- session with music. Playing guitar as a teenager Lars fell deeply in love with the music of Pat Metheny, Keith Jarrett and John Coltrane but also with countless other styles beyond Jazz such as Soul, Funk, Rock, Alternative, Brazilian Sounds, Classical, Con- temporary, Minimal and Dance music.
In the mid 90s Lars became fascinated with the deep and soulful side of House music and formed Lamaya Productions and now legendary record label NEEDS (not wants) together with his older brother Marek Bartkuhn and DJ Yannick. NEEDS rapidly became a synonym for soulful high quality music and while labeled a ‘ House’ music imprint it was Lars’ input that lead the trio to explore into alternative, and at the time unorthodox, musical influences that allowed for original textures and arrangements to be included into their productions. Countless remix commissions fol- lowed and their sound travelled worldwide with works for Francois K, Jazztronik, En- nio Morricone, Atjazz to name a few. Many of Lars Bartkuhn’s productions have been played, charted and loved to death by DJs around the globe. Some tracks even heralded as true dance floor classics creating a solid, international fan base, one example being "Worlds" by Lars' project "Passion Dance Orchestra". To date Lars has produced five solo albums on labels like Sonar Kollektiv, Needs, Ropeadope and Inpartmaint, all of which demonstrate a never ending creative flow of ideas and artistic diversity, complexity and passion.
After some years away from the Dance scene, residing in Brasil and Germany, Lars has decided to continue the journey with a bunch of fresh sounding 12" records on Neroli and Utopia/Phonica. In 2017 Lars re-established his NEEDS imprint with a Gold Series reissue of "Walkin' Thru Circles" which is considered a real classic nowadays and comes in a wonderful live version with lots of live percussion, guitars, vocals, keys and so on, all played by Lars himself. With this return to dance floor oriented music Lars also started touring with a new live act that shows him brewing those special vi- bes and rhythms in real time using sequencers, synth’s, guitars and his voice plus oc- casional guest musicians.
Lars also played countless regular sessions and concerts of freely improvised music in Frankfurt together with some of Germany’s most innovative musicians, combining electronic music and Jazz in a very fresh and organic way. One of the outcomes of these creative encounters resulted in a New Age/Ambient album called „The First Mi- nute Of A New Day“ (Seance Centre/Canada) which is a duo project bewteen Lars and his good friend and legendary producer Kabuki. In 2021 Lars started to work intensely with Rush Hour. After a couple of singles Rush Hour released a vinyl-retrospective of the NEEDS era which sold out at light speed. Many more releases are already in the pipeline ranging from abstract electronic, new age jazz, Fusion to epic deep house anthems associated with his work during the Needs days.

東京拠点のコンポーザー、DJ。ハウスを軸にしながらテクノ/ディスコ/ニューウェイヴをプレイ。22年にはPee.J Andersonの楽曲リミックス、NC4Kによるコンピレーションに参加。NTS、Noodsなどのラジオや、Shanti Celeste等が参加するシカゴ発のDaisychain、Roza Terenzi等参加するベルリン発のhue & saturationなどのレーベルポッドキャストにDJミックスを提供。国内外のクラブをはじめ、Bonna Pot、Fuji Rock Festivalなどのフェスティバルにも出演。21年からは自身がオーガナイズするパーティ「Gross Madness」を始動。

With a background in the underground new house and disco dub, which was spearheaded by DJ Harvey and the Idjut Boys, Monkey Timers is a DJ/production unit that is gaining support in Japan and abroad as a pioneer in the next phase of the Japanese dance music scene.

Launched "DISKO KLUBB" in 2009.  The debut album "MONK" was played by domestic and international DJs such as EricDuncan and Justin Van der Volgen, and in 2016 Monkey Timers released their second "ALABAMA EP" with remixes by Keita Sano. In April 2022, the long-awaited full-length album "KLUBB LONELY" will be released in collaboration with DISKO KLUBB and Sound Of Vast.

Moxie has forged a career that has taken her all over the world to some of the most renowned clubs including Fabric, De School, Concrete and the energy dome of Berghain’s Panorama Bar, as well as India, Africa, Australia, North America and other locations across the world, to DJ in recent years.

As a radio DJ who started out covering for Sinden’s Kiss FM show in 2010, Moxie has gone on to hold down The Residency and INDJ’s We Trust slots on BBC Radio 1 and continues to have one of the longest standing residencies on NTS. Her weekly show is a staple for the latest in underground house, techno and beyond, peppered with her engaging and charismatic radio chat - hosting guests from some of dance music’s leading artistic forces including Jeff Mills, Midland, Four Tet, Honey Dijon and more. This lead to her being featured in Time Out’s article of London’s 10 best radio shows, and a main focus in Mixmag’s piece about the Rise of The Selector. She’s also provided online mixes for some of the best series around – with Essential Mix, Resident Advisor, Truants, FACT, Solid Steel, and Triple J to name but a few.

Alongside her illustrious radio and DJ career, Moxie has established herself as a promoter and label founder with On Loop. Started in 2016, the party has rapidly gained momentum, welcoming artists such as Matthew Herbert, Josey Rebelle, Leon Vynehall, K-Hand and Joy Orbison, in venues across Europe and the UK. The accompanying label has just released it’s fifth compilation, having previously released music from Shanti Celeste, Lone, Nabihah Iqbal, Lady Blacktronika, and Violet. On Loop was championed as one of Mixmag’s Top 20 labels of 2017, and nominated for ‘Best Compilation’ at the DJ Mag awards.

With a touring schedule ever growing at a rapid pace, Moxie continues to take her unique culmination of expertise to clubs and spaces around the globe – seamlessly fusing anything from classic Chicago house to obscure leftfield breaks, or glittering disco with energetic percussive rollers, entertaining and educating club goers wherever the journey takes her.

Based in snowy Sapporo, located in the northern-most region of Hokkaido, Japan, OCCA is involved in various activities including as a DJ or an event organizer. His parties all have different concepts, including: “Archiv”, a techno party at the legendary Sapporo club, Precious Hall; “ApproX.”, an open-air party from Hokkaido; “Phantom Center” with a more experimental approach and more recently, “Sect”, at Tokyo club Vent.
As a DJ, he aims to harness the worldview of his dancers, incorporating techno from across the global field through his deft mixing. OCCA has garnered a name for himself in Japan and has been invited to play sets at various clubs and open-air parties across the country. He has played at events including: “Future Terror” - regarded as the leading techno party in Japan - organized by DJ NOBU and HARUKA; “The Labyrinth”,“Exit The Labyrinth”,“Balance” to which he was invited by organizers of Mindgames and “Dommune×Boiler Room”. From his performance at these events, OCCA has cemented himself as a respected DJ in his own right.

For aspiring DJs and producers, or indeed anyone who appreciates a good story, the genesis of Palms Trax couldn’t have read any dreamier. You know the one; curious yet naive son of the English Riviera lands a job at one of London’s leading record stores and discovers the masters of Chicago house and Detroit techno. Later, stumbling around Berlin, his primitive attempts to emulate the sound of his newfound heroes accidentally land him a bona fide dance floor hit. A gradual but steady stream of EPs courtesy of Dutch dance music powerhouse Dekmantel have allowed his productions to blossom in richer, smoother directions. On 2015’s ‘In Gold’ EP, and throughout the following year’s ‘High Point on Low Ground’, halcyon hallmarks of house - euphoric piano lines, bubbling acid and luminescent keys - are shot through with Donaldson’s tough, distinctive percussion.

It’s that same connection with Dekmantel that has encouraged Donaldson to quickly evolve as a DJ. A memorable performance at Dekmantel’s flagship Amsterdam festival in 2015 captured open hearts, lost minds and aching feet. Since then, the sound of Palms Trax has been a fixture on their enormous main stage, drifting seamlessly between vintage house, esoteric disco and the various shades of a bubbling UK underground he has helped define. Occasional back-to-back performances with the likes of Hunee, Young Marco, and Midland, all DJs regularly credited for their breadth of musical knowledge and versatility, speak volumes for Donaldson’s DJing nous, which has lead him on an international trail; from South America to Australia, and from Panorama Bar to Concrete, Contact, and De School.

A true original of the Amsterdam scene, few are as charismatic as San Proper. His infec- tious personality is present within his many musical endeavours. He is a famously unpre- dictable DJ who lays down party starting sets off House and Disco, Electro, Afro and Acid. An esteemed producer in his own right, San‘s production‘s have become fixtures of highly regarded labels such as Perlon, Dekmantel and of course Rush Hour.

This established Amsterdam artist has roots in playing guitars in various bands, is a frequent collaborator (with artists like Melon, the Mole, Maayan Nidam and other col- laborations) and always has time to support worthy talent whenever he spots it. All that means he is now a firm underground favourite who has been headlining key clubs and cult festivals for many years. As such, he is at home playing a high tech nightbox as he is a dirty basement after party. With close ties to the likes of Trouw and Dekmantel, San Proper likes to champion local stars (see his Proper A’dam Family Series for proof) but has also remixed, and been remixed by, such legends as Ricardo Villalobos. He also likes to go against the grain and do the unexpected, and as such runs his own Proper’s Cult label and is a regular on Red Light Radio with his soul show.

The music he makes is always idiosyncratic from his earliest 12”s right up to his debut al- bum on Rush Hour. It is personal stuff that contains a little piece of him—and “everything I have listened to since I was six”—in every record and always makes for standout stuff in any DJ set. Passionate and full of energy, San Proper has played on every major continent and when he does, he never fails to lay down real, raw musical experiences that never fails to be full of surprises.

He was born into and grew up in the area with heavy influence of psychedelic culture where he ended up establishing DJ collectives/record label called ''Timothy Really''. In beginning of year 2000s, there was an emerging first wave of minimal music. In the movement, there was a legendary party called ''Real Grooves'', and he was performing as a resident DJ.

After all, he was actively involved in many areas of music culture in his career; a collaborative work with DJ Pige and Ryo Murakami to establish Pan Records A&R and a booking manager at SECOBAR where created underground youth culture of Shibuya.

As he was moving through his music career, the depth of his soul and his impulsive attraction to dance music led him to the unique mixed music of disco, world music and house. He has been drawn to unknown unique style of music, and his deep longing is to create Japanese original innovative dance music as he plays an important role of a resident DJ at Rainbow Disco Club, which creates the world-wide innovative dance movement.

Double Grammy nominated producer, remixer, song-writer and DJ Paul Woolford has been redefining and reinventing all shapes of dance music for over 20 years. He has has applied his touch to hundreds of records, including the global multi-platinum single Looking For Me with Diplo and Kareen Lomax, as well as working with Ellie Goulding, Sam Smith, Depeche Mode, Chemical Brothers, Gabriels, Tori Amos, Lana Del Rey, Disclosure, Jamie XX, London Grammar, Underworld, Morgan Geist and plenty more.

You are as likely to hear his music on daytime radio as you are on runways for the likes of Givenchy, Fendi, Burberry, Marc Jacobs and various other designers. Woolford has recorded 6 Essential Mixes for BBC Radio 1, completed an 18 month Residency for the station as well as sitting in for Pete Tong’s legendary show twice in 2022. 

He has released 4 official mix compilations including most recently DJ Kicks 25th Anniversary: Special Request. As a DJ he tours relentlessly and held down a 9 year residency at Space on Sundays in Ibiza, as well as a 7 year hometown residency at Back To Basics in Leeds, in addition to playing pretty much every respected serious venue of note globally. Woolford sites a combination of the raw energy and diversity of the pirate radio airwaves, a lifetime of collecting records and the enlightenment of his art school days as key influences.

e debuted with "The End Of The Edge EP" from Going Good Records (UK) in 2015 and since then, the work has been discovered by true curious music freaks as well as avid music listeners from all over the world. Its sound might not be the straight forward dance tune but it got 6th position in Juno plus Best of 2015 : Top 50 Singles.

His creation kept blooming and releases went on including “ The Forgetting Curve EP (Jinn Records)“ (which included remix by DJ Sotofett), “Asylum“ from Lovers Rock (owned by Ital), an split EP with DB.SOURCE "Square Sun" (Gravity Graffiti) and so on.

He is also acclaimed as a DJ and his style goes beyond House, Techno, Disco and sometimes steps into so-called dangerous zone which is classic and experimental at the same time and forms original eclectic obscure philosophy.

Yoshinori has managed to establish himself as a new rising artist and his sensibility to prioritize the music logics is something which is longed for in the cu

Discography

-EP-
The End Of The Edge EP : Going Good (2015)
Asylum : Lovers Rock (2016)
The Forgetting Curve EP : JINN Records (2016)
Square Sun / Anapo : Gravity Graffiti (2017)
Uncountable Set : Disco Halal (2018)
Harleys Dub / Jheri Tracks (2018)
Graffi Gravi / Gravity Graffiti (2018)
γ / Smalltown Supersound (2019)
Bjorn Torske/Prins Thomas Remixes / Smalltown Supersound(2020)

-LP-
AMBIVALENCE / Smalltown Supersound(2018)
Pulse Of Defiance / Smalltown Supersound(2021)

-V.A & REMIX WORK-
HUSBAND VERSION / Fairbrother (2022)
Fear Or Music / Gravity Graffiti (2022)

-PRODUCE WORK-
UNTITLE / NONESUCH×DA GOONZ FEAT. YOSHINORI HAYASHI (2022)

Kaifeng-born, Vancouver based Yu Su works as a composer, DJ, and sound artist. Tapping into an expansive repertoire of “forth world” ambience and left-field dance music, Yu Su’s emotion-packed compositional punches are best described as organically groovy jazz-bient expeditions between coasts.

A proficient instrumentalist who conjures up moments of natural and synthetic beauty, her delicate, dub-inflected signature balances a variety of luminous and wistful downtempo textures. She is responsible for productions on DC’s People’s Potential Unlimited (2017), The Hague-based Wichelroede (2017), NYC’s RVNG Intl. & Arcane (2018), and Amsterdam based Second Circle (2019).

As a DJ, she holds a highly unique voice, crafting evocative musical narratives which touch on a wide-range of influences and personal introspections.

“一瞬感じたものをインターフェイスに閉じ込め、目に見えない何かをグラフィックとして落とし込む”

音楽、カルチャー、ファッションの洗礼を受けた人であれば一度はその名を聞いた事があるだろう。
活動は音楽からアートへ、カルチャーから広告へと常に拡張し続ける先鋭的ビジュアル・アート・デザインチームである。

2000年、ジャパニーズ・サマー・オブ・ラブとも称されたダンスミュージックフェスティバル「Metamorphose」からキャリアをスタート。以降数々のフロアを経て「表現」を見つめるなかで、エンターテインメントにおけるクリエイティブの可能性を模索し続けている。
盟友 DJ HARVEY の2014年再来日以降の東京公演演出。国内外の大型フェスから東京アンダーグラウンド・パーティーまでボーダレスに参加している。 そのクリエイティブはメジャーシーンにも侵食、今や日本を代表するクリエイティブカン パニーへと成長した。

2019 年にはヒューマンアートギャラリー『NEVRLAND』を開園。人をギャラリーにするコミュニティデザインを現在進行している。

彼らの Visual 演出手法はその多様性においてユニークだ。
音楽から受けたイメージをモチベートし、映像、照明、レーザー、ドローン、時に組み合わせ、パーティやコンサート空間というキャンバスにオーディエンスを没入させる。 近年はリアルタイムレンダリングオリジナルシステム「RRD H 101」とレーザーを組み合わせた独創的な演出が話題を呼んでいる。
2021 年から、宇川直宏 (DOMMUNE) 氏と「VJ」という手法の制限の中でコラージュ・ コラボレーションを遂行。

Rainbow Disco Club においては開催初年度より VJ を含めた総合演出、グラフィックデザイン、マーチャンダイズ、WEB などのクリエイティブを担当。
2020 年 Covid-19 影響下にて配信で開催された「Rainbow Disco Club ~Somewhere under the Rainbow~」では、XR を取り入れた配信映像演出。主催の ユナイテッド・ワークスとともに「内閣府クールジャパンマッチングアワード 特別賞」を 受賞した。
ドローン・レーザーやARを用いた場内でのバーチャルインスタレーションなど、実験的な作品を発表している。
Rainbow Disco Clubでのクリエイティブは彼達のコレクションといっても過言ではない。

ライブビジュアル・ラボ"COSMIC LAB" を主宰。 ダンスフロアから世界遺産までを舞台に、可視と不可視が交わるオーディオ・ヴィジュアルの体験を通じて、認知の拡張を探求する。
フジロック史上最も異質なステージと評された∈Y∋(BOREDOMS)を中心に結成したプロジェクト ”FINALBY( )”のXRVJや、長谷川白紙のライブヴィジュアルのディレクションなど手掛ける。
２０世紀末、"BetaLand"を結成してVJ始動。

2008年より関西を中心に VJ として活動を始める。 近年ではTHE STAR FESTIVAL、SUMMER SONIC等のビッグフェス、ファッションショーなど、多岐にわたる空間演出を手掛ける。
繊細な映像を中心に独自の世界観で創りあげられた空間は、見る者すべてを圧倒させ賞賛の声を得ている。 また2022年にはFUTURE TERROR 20th Anniversary, Rainbow Disco Clubに出演。
ミニマル、テクノシーンにおいて国内外問わずビッグ・アーティストと共演し絶大な信頼を得ており、なくてはならない存在となっている。

VJ / Visual Artist based in Tokyo. She has performed at Awakenings Festival (Amsterdam), NOT YET FREE (NewYork), Newforms Festival (BC), ZOUKOUT (Singapore) and other festivals overseas, as well as at FUJI ROCK FESTIVAL, SUMMER SONIC, Rainbow Disco Club and other festivals in Japan. He has been a VJ for many regular parties at WOMB Tokyo, and will be a countdown VJ from 2019.

She has also been actively involved in the production of music videos for Sven Väth's Cocoon Recordings and techno producer Joris Voorn's Tour Visual as a designer.

While working as a VJ in the dance music scene, she has also been active in the field of digital art and media art in recent years, participating in MUTEK.JP+MX (Tokyo), MUTEK Montreal , MUTEK ES+AR (World Premiere at Virtual Platform), Refraction Festival(World Wide), and Japan Connection Festival (Paris), where she presented live performances and exhibitions as part of collaborative projects with musicians.

She has also shown his enthusiasm for installation work, presenting "Little Things," an A/V work that synchronizes an 8-channel surround sound system with LEDs that surround the space 360°, at the GLOBAL RING outdoor exhibition space in Ikebukuro, Tokyo with Electronic Musician Sakura Tsuruta.

She has consistently collaborated with various global fashion brands, including live performance at PPADA RINEA ROSSA LAUNCH PARTY, RADA EXTENDS TOKYO curated by Richie Hawtin, and installation at DIESEL x ACW She has also been featured as a VJ at NIKE #airmaxday worldwide as one of Tokyo's representative culture, and is active in a wide range of activities with a borderless view of the world that is not bound by genres or frameworks.

2000年よりレーザー・ライティング アーティストとして活動をスタート。

アーティスト活動では「色彩=メロディ_感動」「明暗=リズム_感情_」 のメソッドを軸にインプロビゼーション的_オペレーションでオーディエンス_空間にカッティングエッジな印象を与える。

そして、 企業インスタレーションやエンターテイメントショーからイルミネーション_ライブステージ_ダンスミュージックフェスとリアルな空間と  WEB_CM_ ミュージックビデオ_オンラインライブとバーチャルな空間と多岐にわたる活動をしている。

映像_照明を光と捉えアナログ機材からデジタル機材をシームレスにリンクし拡張させ、オーディオビジュアルシステム ドローンレーザーの開発、SHOWの演出まで型にとらわれない幅広い表現を行う YAMACHANGは、ブランド、アーティストや演出家の世界観を拡張しパフォーマンスをバックアップ 彼らからの絶大な信頼を得ている。
クリエーター集団「REALROCKDESIGN」所属。