Matthew Dekay

matthew dekay DJ

As far as DJ/producers go Matthew Dekay has always been a name synonymous with quality productions and high energy live performances.

At just 33 years of age he has enjoyed a successful international career spanning over more than a decade and playing to crowds on every continent of the world.
Born and raised in The Netherlands he trained as a classical musician and this background has had a huge influence on his approach to making electronic music. It kept Matthew very open minded and gave him the ability to cross genres without ever worrying too much about composing in one particular style.

Over the years and following an albeit brief, yet very successful period in Dutch pop during the late nineties, Matthew moved into more underground musical circles and it was with releases such as the “Dekay meets Beastie Boys bootleg of “Intergalactic” in 2003, “Higher Thoughts” in 2004 and “Bad” in 2005 that he really cemented his place amongst the big players of the industry.

Matthew was able to develop his sound while playing extended sets as resident of esteemed club “Stalker” in his hometown of Haarlem, Holland. It wasn’t long before Dutch management company Extrema, who are also responsible for the most respected outdoor festival in The Netherlands noticed his talents and asked him to mix the compilation “Time to Think” for the official soundtrack to the festival in 2003. In 2004 Matthew debuted on UK radio with the highly respected and sought after Essential Mix for BBC Radio 1 and then released his critically acclaimed Trousy compilation in 2005.

Since relocating to Berlin from New York in late 2009 things have never been better for the native Dutchman. His touring schedule has continued to take him to his fans all around the world and Summer 2010 saw his play for the first time at Space in Ibiza after many previous seasons spent behind the decks at Amnesia.
After nearly a 3 year break from production Matthew also went back in the studio with new creative partner UK legend Lee Burridge and wrote was to become one of the biggest tracks of the year, “Wongel” signed to German label Cecille Records. It went on to peak at #6 in the Beatport Tech House charts and #1 on Resident Advisor’s 50 most charted tracks of November 2010. The track was also included on Cocoon compilations “Party Animals” and “Green and Blue”.

Since then Matthew has also released remixes for Jimmy Vallance “Stay in Touch” (Monique Music), Nils Noa “Floyta” (Troll Records), Leland McWilliams “Viva La Revolution” (Portobolo Records) and Ian Pooley “Groove Me” (Pooled Music) as well as the original track “Tauben” with Maher Daniel (Maruca Music) a follow up single on Cecille Records with Lee Burridge “Out of Order” plus another Dekay and Burridge original “Tubby” ready for release later this year.

2011 is an exciting time as Matthew launches his new record label with Lee Burridge “All Day I Dream”. The philosophy behind it is to promote and showcase beautiful, melancholic, gorgeous House music as the name suggests.
Matthew and Lee share a strong belief that there is a gap in the market for such a label where artists can create and release music from the heart that defies current musical trends.

The last 10 years have seen Matthew Dekay complete a full 360 transformation through many styles and sounds and have finally brought him back to where he feels the most comfortable expressing his creativity, in underground music.


Shem McCauley (Slacker)

Slacker DJ
Sadly, Shem passed away in 2012. R.I.P in the Jukebox in the Sky.

With a career spanning nearly two decades, it is little wonder that Slacker is usually one step ahead of the game; this is more apparent than ever since the introduction of Ableton Live into the marketplace has finally given him the technology to produce the live show he has always wanted. With a back catalogue boasting over 50 original tracks, and in excess of 100 remixes under his various guises as Streets Ahead, Nation 12, Ramp, Live It!, Head Honcho and Slacker, Shem has been busy developing a new “laptop live” show which will enable him to make every performance unique, remixing live any element of each track as he chooses and giving him the ability to incorporate the many quirky samples and secret riffs that up until now have been locked away in Slacker towers. Throw in a frenzy of scratching and effects from Shem on the CDJ and you have a heady brew indeed.

A DJ for over 16 years, the words “been there, done that!” spring to mind. The world map on his website pinpointing the multitude of cities he has played testifies to his global popularity. Originally as DJ Streets Ahead, Shem was one of the pioneers of the UK Hip Hop scratch scene, playing alongside the likes of Tim Westwood and picking up production and remix credits beside Roxanne Shante and Public Enemy. As a student in Brighton, England he established various sound systems alongside fellow South Coast boys Norman Cook and Carl Cox. Production success followed first as Nation 12 with “Listen to the Drummer”, and then after setting up stall with musician and producer Simon Rogers as Ramp, with the singles “Rock the Discotek” and “Stomp”. Both became international club classics.

Looking to establish himself further, Shem created a hybrid of his own funk roots with more contemporary house sounds under the moniker of Slacker. The first Slacker single, “Feel Space”, a track that sounds as fresh today as when it was made, became an instant club hit. Shem’s third single “Scared” re-wrote the rule book on progressive house, a haunting anthem with enough funk to rock any dance floor. A record deal with XL followed and “Scared” along with follow-up single “Your Face” went top 40 in the UK and achieved major international success.

On the crest of this wave, Slacker established a live show and heavy touring alongside label mates The Prodigy ensued. It was while touring that Shem rediscovered his love of Djing, and in 1998 he hit the road properly again. He has been criss-crossing the globe ever since. In this time he has enjoyed residencies at Groovejet in Miami, Orbit in Lima, Peru, Slinky in Bournemouth and Fierce in Hong Kong, earnings platinum helpings of air miles throughout the world, especially across the U.S and Asia.

During this period Shem successfully juggled his travelling with further productions, ably assisted by studio partner Simon Rogers. A slew of remixes, such as Junkie XL, Trancesetters, Breeder and Bedrock – many still viewed as classics today – made the Slacker sound the most respected in the business. “Essential New Tunes”, dance chart Number Ones and features on top compilations became the norm. Eager to develop their release schedule, the decision was taken to launch Slacker’s own label, Jukebox in the Sky, and the singles have come thick and fast. Alongside their Northern Exposure classic, Head Honcho’s “Walls of Jericho”, came Slacker’s “Looky Thing”, played by a diverse selection of DJs from Seb to Jules to Seaman to Ivan Smagghe (of Black Strobe). Head Honcho’s “Medicine” is still being hammered by DJs, most consistently Sasha, a year after its release. The decision to concentrate on furthering the label has paid huge rewards, setting the imprint up as one of the strongest of its genre and enjoying regular licenses from the likes of Global Underground, Bugged Out! and Ministry of Sound.

The label continues to go from strength to strength with numerous Slacker original productions ready for release in the coming months, in conjunction with the recent launch of the label’s comprehensive website and webshop. Slacker’s next single, “Best Boyfriend”, will be out mid-November, packaged with remixes by The Scumfrog and Steiger. Currently Shem is back on the road and covering the globe with more than ever to offer, not only as a DJ but now also performing one of the most exciting and revolutionary laptop live shows on the market. Slacker? Far from it!

Cass

cass DJ

Raise your hands to St. Hedonism, the patron saint of dance music, for Cass. In a departure from the usual clichéd club compilation, Spundae’s exceptional new resident DJ continues the Spundae/Mute compilation series with Spundae Interpretations: Cass, a helter-skelter ride through deep, progressive and tech-edged house, breakbeat and techno. Not just another album, you see—nor just another DJ either. Coming to a store near you on July 9th, 2002.

It’s easy to blurt out vague declarations about a DJ’s talents, but Englishman Cass puts his music where his mouth is. He’s quickly making strides to the short list of world class DJs, booked solid around the globe from Australia to Buenos Aires and throughout Europe. He’s developing something of a special relationship with the USA, which started with DJ spots at Twilo in New York and now regularly taking in most major metropolitan cities, whether it’s Los Angeles, San Francisco, Miami, Washington DC, Boston, Atlanta, Austin, or Denver.

Last year, when he hit LA to play Spundae for the first time, he had the crowd rapt. Kids came up to the DJ booth to peer at the man from London creating this energizing sine wave of sound. Moments later Cass handed one lucky fan his portfolio-sized case of exclusive CD-Rs—normally guarded with Fort Knox-like security—allowing him to flick through it like he was shopping in Tower Records. Why? Because Cass knows his fans take his music as seriously as he does.

Cass often releases music with another musician who goes by the moniker, Slide. The duo first met when Slide, aka Pete Martin, was recording for British trance label, Flying Rhino. Within days they had decided to leave and form their own label, Fire, in order to release their own music and the music they collectively loved. The first fruits of their collaboration, “Perception” and later “Opera,” were underground hits with DJs from both sides of the Atlantic; big tunes in the record boxes of Danny Tenaglia, Jimmy Van M, Jerry Bonham and John Digweed. “Perception” also made its way onto Sasha’s Global Underground mix CD, an affirmation of quality if ever there was one. The success saga has rolled on ever since with “Fever Rising” (made with Tenaglia, NYC’s global DJ star) and now with Burning The Candle At Both Ends, Cass & Slide’s debut album on Fire (U.K. import) on March 25th, 2002.

Best of all, says Cass, is Spundae Interpretations: Cass, his first mix CD proper. “This mix is full of records that I love,” says Cass. “All have been played to death by me. Personally, I think it’s the best thing I’ve done as a DJ and I’m quite a harsh critic. CD one,” reckons Cass, “is one that you could make love to or have babies to. The second occupies darker, harder territories, one that’s good to listen to before you go clubbing to get yourself up.”

Cass was born in England and spent his childhood in a leafy northern suburb of London. But it was in Sydney, Australia, where his mom lives, that Cass discovered his passion for music. As a teenager, Cass worked various jobs at a local club and became entranced with DJing. When he started college, back in the UK, he bagged himself a Friday night slot at the university club night, gradually building up a committed following.

Seven years later, and after a defining spell as label manager at Flying Rhino—where he met Slide and helped turn his new employers onto progressive house – Cass is being garlanded with praise from all-comers. When Spundae Recordings came looking for a DJ from the new breed to mix their new CD, reports from Europe and across the United States came back saying Cass was their man. And when Cass played magical sets on consecutive weeks at Spundae to widespread acclaim, the die was cast for Cass’ mix and the duo’s residency.

“That surprised me,” admits Cass. “I played at Spundae but it was still kind of like a word of mouth thing. There were messages on the Spundae website from punters saying they liked me and that was great.”

If Cass was being honest – and he usually is—he’d probably tell you he only makes and plays records. And of course, that’s what he does. But it’s the way he makes them and how he plays them that is exciting clubbers whether it’s at Spundae or Pacha in Buenos Aires, Argentina.

Written by Tom Holt


Desyn Masiello

Desyn Masiello DJ

A teenager at the time the rave scene exploded in the UK over twenty years ago, Desyn Masiello has been part of the house music and rave scene since the start.
Desyn was a dedicated vinyl junkie from day one, and has a tireless passion to create DJ sets that lift the soul, move the body and open the mind.
A full time professional touring DJ for the past 10 years, he has played almost every mega club and every major festival in the world, from a career he started from one mix cd that he sent out in 1999, which earned the respect of various promoters around the world who started to book him.
Career highlights have seen him appear on the front cover of DJ magazine (Jan 2010, with SOS) and release over 5 DJ mix CD compilations into the stores worldwide on labels such as Balance, Ministry of Sound, Bedrock and Yoshitoshi. Desyn has also appeared in the DJ magazine “Top 100 DJs” three times, 2005, 2006 and 2007.

Once introduced by John Digweed on his radio show as “the man that never sleeps”, this was really recognition from one of the legends of the scene of just how much passion and work is required to craft his sound and stand out as a DJ. Desyn is a self confessed vinyl addict, admitting that he spent most of his youth in dusty second hand record stores, amassing a musical knowledge and taste that stretches across many genres.
Desyn’s career was built almost purely on his DJing ability, having only released a handful of low key underground co-productions in his career…

…it was instead word of mouth and reports from the dancefloor of his DJ sets that sparked his rise and recognition.

He has a work ethic that is focused almost entirely on the production of DJ sets. Desyn states “I really focus all my work time on preparing and editing tracks and dj tools for my DJ sets that take you on a special ride and open your mind to new feelings.”
In 2006, having been voted at that time no. 54 DJ in the world, Desyn and his fellow SOS’ers (Omid 16b and Demi) took a U-turn and decided to focus their work away from a solo direction, and instead team up and create the musical DJ-trio of SOS. SOS was a project born out of three like minded friends who lived in London and all grew up with similar musical tastes and passions. Their journey together saw two CD compilation releases into the stores and took them on a four year tour around the world playing together as a back to back DJ-trio. “Working in a team and trying something totally new with two very talented other music heads was an invaluable experience for me as a DJ, we all shared knowledge and skills and helped each other grow as people and artists.”
2011, Desyn is now fully focused on DJing individually again, a new weekly radio show and forthcoming new album release are all lined up, and the non stop world tour continues…

Watch this space!

Rowan Blades

rowan-blades DJ

Rowan Blades is best known as half of the massively successful Breeder. Breeder’ first two singles, ‘The Chain’ and ‘Twilo Thunder’, have sold in excess of 25,000 copies world-wide, having first come to prominence on Sasha’ near-legendary ‘Global Underground – San Francisco’ compilation. ‘Twilo Thunder’ has since gone on to achieve great commercial success with lucrative licences to compilations from the Ministry of Sound and Euphoria 2, which have sold over 500,000 copies between them. Breeder’ third, fourth and fifth tracks, ‘Tyrantanic’, ‘Rockstone’ and ‘New York FM’ have been showcased on Sasha and John Digweed’ last ‘Northern Exposure – Expeditions’ compilation, as well as on John Digweed’ ‘Global Underground – Hong Kong’. With over 20,000 pre-sales for Tyrantanic, things look set to continue in a similar vain to how they have started, and in doing so stamping out any doubt that they are a ‘one hit wonder’. This rapid rise to prominence has resulted in several high-profile remix projects. These include Tilt’ ‘Children’, Planet Perfecto’ classic ‘It’ Not Over Yet’, Brother Brown’ ‘Under the Water’, Orbital’ ‘Nothing Left’, and Evolution’ ‘Phoenix’. On the back of this success, Rowan has started a new project with Gaetan Schurrer, who has engineered for Sasha. With successful remixes of, Orbital’ ‘Nothing Left’ (FFRR), and of Space Manoeuvres ‘Stage One’, released on Hooj Choons, as featured on Sasha’ recent Global Underground, they seem to have established themselves without even releasing their first single.

Breeder’ success on Rowan’ own Rhythm Syndicate record label has boosted the label to a position of prominence within the dance music community. Rowan has since been able to sign four new tracks to Rhythm Syndicate for release next year, and has prospective mixes from the likes of Slacker, Tilt & Evolution to name a few. Add to this the status of Rhythm Syndicate Records as one of the top 10 independent dance music stores in the UK, helping compile Pete Tong’ Buzz Chart play-lists for Radio 1, and Rowan’ record empire is one of the most influential in the country.

Rowan’ DJ-ing career has taken him all over the world. Having played in Britain for gigs like Bedrock & Gatecrasher the success of Breeder has enabled him to elevate himself onto an international stage. Breeder is currently the biggest selling non-pop dance act in Norway, Rowan has played there with great success, as well as in Sweden, and at a gig for 14,000 ravers in Copenhagen. The burgeoning American demand for dance music has seen Rowan play at the legendary Shadow Lounge in Miami, as well as boat parties on the Hudson. The nascent Chinese scene has seen Rowan playing at The Face in Canton, attracting only 100 people less than Paul Oakenfold! Most recently, Rowan taken his Rhythm Syndicate record label and the Breeder name to Hong Kong as the main attraction of a huge gig for Clubstar Entertainment’. He has also establish a monthly residency in Moscow for Club Xlll. Closer to home, Rowan has a bi monthly with Union @ Space in Leeds. He also still maintains his monthly residency with More Tea Vicar, the Cambridge organisation for whom he has played with Sasha, Carl Cox and Danny Howells, as well as the annual Strawberry Fayre festival, at which Rowan played last year to 20,000 people.

Sean Quinn

sean quinn DJ

With a career spanning over ten years, Sean Quinn can lay claim to being one of Australia’s hardest working DJ and most diverse DJ’s.

Always holding down a minimum of four and as many as seven weekly residencies has meant that being versatile and reliable go hand in hand. Starting Dj’ing at age nineteen, Sean has witnessed and been a part of the meteoric rise of dance music, firstly in his hometown of Melbourne and later in his career, all over the world.

Through his involvement with Quench, Sean has experienced first hand the sort of global impact something that started off as a spare time project can have.

In 1994, Sean got together in the studio with friend and fellow DJ, C.J Dolan, to see what they could create. About a month later, Sean’s current partner in Our House, Kasey Taylor, was brought in and in a period of three solid weeks their first single as Quench, “Feel My Love” was completed. The boys shopped it around to various local record companies with an offer finally taken up from Melbourne based “Vicious Vinyl” and English label “Pulse 8″.

Achieving marginal success in the English underground dance charts, the next step was to take Quench further. Reverting back to the original line-up, Sean and CJ next created the monster track “Dreams”. It went to no. 2 in the French pop charts above Mariah Carey, was released in over 50 different dance compilations in every continent on the globe, and gained an A.R.I.A nomination. Following”Dreams”, two more singles, an album, and an extensive touring roster including support for the Prodigy (6000 people) and a headline Thunderdome gig in Brisbane (8000 people) came from Sean’s involvement with the talented CJ Dolan and the Quench project.

In 1995 the current project “Our House” was born: out of a very strong friendship with the equally talented and driven Kasey Taylor.

Starting with a few local remixes, the duo began to formulate their own trademark sound, bringing Mushroom Records to their door.

Despite being in the studio so often, the one thing that has remained Sean’s greatest love is the interaction between turntable and audience. In the ten years it has been his chosen profession, DJing has taken him all over Australia on a regular basis and consistently placed him in front of huge audiences. Modestly regarded in Australia’s top four bracket, he is a working example of the sort of talent his reputation suggests.

With a radio show on Melbourne’s Kiss Fm that he has held with Kasey since it’s inception in 1993, plus his five day a week “Clubber’s Breakfast” show, with Barrie Barton (the highest rating show on the station for five consecutive broadcasts) Sean’s interests reach far beyond the studio and the DJ booth.

The year 2001 has left Sean no time for rest. As Our House, Sean and Kasey have just had two new releases. The first a Double “A” Side single with the tracks “Soliton Wave” and “Forced”; and the other, “Crash”, featuring on the “Underground Sounds Of Australia EP” released on Paul Oakenfold’s Perfecto label. His DJ commitments have seen him play as far away as The Freedom Festival in South of Australia, and a national tour kicked off in July to coincide with the release of “The Underground Sounds of Australia EP”. In the latter half of 2001, Sean was awarded “Victorian DJ of the Year” at the prestigious National Dance Music Awards and has picked up the national “The Big Day Out” for a second time. The summer period taken into account Welcome 2002 and his now legendary last set at Summadayze as well as the aforementioned Big Day Out was one of the busiest periods of Sean’s career to date.

“Bighis set in the ‘Boiler Room’ saw him play alongside The Chemical Brothers, Goldie, Bassment Jaxx and Primal Scream. Next on the agenda were his feature sets at Two Tribes and Gatecrasher, two of the biggest parties this country has seen to date, and more recently Trade with Paul van Dyk, another Gatecrasher tour and The Perfecto Tour with Paul Oakenfold and Chicane. Amongst all this, March saw the completion of the first of three mixed cd’s for Ministry Of Sound, “The Summer Annual”, which climbed to the number six position on the ARIA National Compilations chart, going hand in hand with a five week national tour of Australia’s capital cities throughout June. The completion of the second mixed cd later in that year, “Clubbers Guide To Summer 2000″ also saw Sean touring our capital cities.

August 2002 saw Sean embark on a whirlwind overseas jaunt firstly to Holland to play with his friend Lucien Foort and then to Ibiza for someone Sean places very highly, Dave Seaman. The Heineken Fast Forward festival in Rotterdam is a street festival closing off the entire centre of the city as fifteen semi-trailers drive at five kilometres an hour with DJ’s playing for the duration of the six hours the drive goes for. Lucien asked Sean to fly into Rotterdam to play this festival to the 1.5 million people that lined the streets and to play his Saturday night residency at the infamous Night town club. After only three days in Holland, Sean met with Kasey in Manchester and flew to Ibiza to play at Seaman’s residency at El Divina with Sydney’s Ben Korbel, Kasey, Dave Seaman and Anthony Pappa. After three days there, Sean flew back into Australia to play a gruelling four-week succession of gigs taking him to Mt Hotham, Adelaide, New Zealand and Launceston.

The last part of the year saw Sean pick up Victorian DJ of the Year for the second year running at the National Dance Music Awards in Sydney and provided the opportunity for himself and Kasey back into the studio to finish the Our House album. The single “Twilight/Fire and Ice” (to come out early in the new year) represents the first single release by the boys in a number of years and the first airing of the new material written during this time. The album “Our House is Your House” will be the first in the seven years these guys have been recording together and will be in stores mid April 2003, expect some surprises!

The Christmas/new year period was as hectic as usual seeing Sean play Welcome 2003 and then the closing set at Summadayze on new years day to 24,000 people. 2003 began with gigs alongside Steve Lawler and Sasha bringing us to Two Tribes in March with Dave Seaman, Junkie XL, Sander and Layo and Bushwacka. All signs point to the fact that this year is showing no signs of slowing down.


Kasey Taylor

kasey taylor DJ

Kasey Taylor began his DJ career at the age of 13 on the decks at a little roller disco in Australia. 26 years on and he’s become one of Australia’s biggest ever dance music exports, and one of the most widely recognised DJ’s around the globe today.

To date, his career resume is an impressive read, ticking off gigs at almost every big show in Melbourne and having held residencies at every club worth noting.

In particular, Kasey played an integral role in creating the magic that was the ‘Mansion’. In fact, it was such an institution that you felt like you were at a special church for music every Saturday night.
The venue has gone down in clubbing history and during Kasey’s time spent there, he played alongside everyone you could imagine, like Sasha, John Digweed, Hernan Cattaneo, Carl Cox, Satoshi Tomiie and the list goes on and on.

In fact, so impressed was Digweed that he invited Kasey to play at his Bedrock night in London, twice! A night and a brand recognised by the music industry as one of the greatest in the world. Kasey was lucky enough to be invited to play 2 years in a row on Easter Thursday, which is always one of the biggest Bedrock nights of the year.

On top of this, he’s supported at all major festivals in Australia like Renaissance, Global Underground, Two Tribes, Future Music Festival, Summadayze and so on. He has a very loyal fan base at Rainbow Serpent Festival in his hometown of Melbourne, which now holds the reputation of being up there as one the best outdoor festivals in the world – a festival where Kasey plays each and every year. On his most recent trip back to Australia in February 2011, he was asked to be the exclusive DJ to support the Leftfield & Infusion tour around the country. A tour that was simply amazing to be a part of.

RECORD LABELS (VAPOUR RECORDINGS, EVAPOUR8 & VAPOURISE)

For well over a decade now, Kasey has had the luxury of releasing his records on his own well respected label ‘Vapour Recordings’, which he founded in 1997 and has just reached it’s special 100th release. In the time since Kasey Taylor founded Vapour Recordings, the label has forged itself an enviable reputation, not only as one of Australia’s leading independent dance labels, but the worlds too.

The last three years have seen Kasey launch his most recent label titled ‘eVapour8’. A label dedicated mainly towards Tech House, House and Techno. The first release, ‘Shorkel’ by Miki Litvak &Ido Ophir was featured in the Beatport main top 10 chart for over six weeks; while the second release, Avilo ‘Rubicon’ was featured on Anthony Pappa’s triple mix CD – Moments, (released in April 2008). Following these successes, Fiord’s ‘Get Up Jude’ appeared in the Techno top 10 for two months, proving that eVapour8 is growing a strong reputation for releasing quality tunes.

RECENT LABEL NEWS & KASEY TAYLOR NEWS

2011 is shaping up to be a very big year for the label with some quality signings. Some of Kasey’s most recent remixes include the classic Infusion track – Love & Imitation, just released on Vapour Recordings which also includes remixes from Peter Horrevorts, Luis Junior, Dousk, Logiztik Sounds, and a new Jamie Stevens & Steve Ward mix. He’s also just completed a remix for Hernan Cattaneo’s Sudbeat label for the track ‘In My Naked Village’ by Rodskeez, a remix for Chris Fortier’s Fade records label on the track ‘ Chava Vagana’ by Karraskilla with the most recent remix coming out on Vapour Recordings 100th on the classic ‘Snowcone’ by Dousk.

Also watch out for new EP’s from Parham & Plaza – Outside the Inside (which features a remix from Charlie May, out now), a couple of new singles from Roger Martinez, along with new singles from Dousk, Kasey Taylor and our newest addition to the label in Rodskeez, who you will be hearing a lot about soon if you haven’t already.

VAPOUR RECORDINGS 100TH RELEASE SPECIAL

Kasey spent the first half of 2011 getting the 100th release ready for Vapour Recordings and which was finally release on July 11-201. The clock was wound back for this one choosing artists from past, present and future to remix the back catalogue. This package contains some fantastic names and remixes from the likes of Guy J, Hernan Cattaneo, Luis Junior, Dousk, Jamie Stevens (Infusion), Peter Horrevorts, Luke Chable, Nick Warren, Rodskeez, Fiord, Kassey Voorn, Barry Jamieson and many more. For those who follow Vapour Recordings, this is definitely not a package you would want to miss out on – Out now!

KASEY TAYLOR FORTHCOMING PRODUCTIONS

Kasey is now back in the studio with vengeance having completed about 15 tracks and has finally commenced work on his first studio album, which is due for release in early 2012. Before we see the release of this album though, you will see Kasey’s name attached to many remixes and originals over the coming months.

PROTON RADIO

Tune into Proton radio for Vapourized with Kasey Taylor on the 4th Monday of each month at 4pm EST

A FINAL FEW WORDS

So what is it about Kasey’s music that has won him the respect of the dance community? If you really want to know, plant your feet on the dance floor for the full duration of a Taylor set as Kasey effortlessly changes gears from all genres of music, sucking you into his sound scapes to a point where you look up all of a sudden and realise you’ve been lost in music for hours – You can talk about his astounding mixing which is so precise that you probably won’t even know whether a track is coming or going -You can talk about the fact that Kasey will be playing records weeks before most, You can talk about a lot of things but at the end of the day, Kasey just ‘gets’ dance music, He writes music, lives it, studies it, and embodies it, so if you ever get the chance to go and hear a Kasey Taylor set, enjoy it!

Phil K

phil k DJ

The term ‘pioneer’ is bandied about too readily in dance music but for Phil K, the term is just right in so many ways. Born, bred and based in Melbourne, Phil has been lending his services to the dancefloor since way back in 1985 when he started as a mobile DJ playing all the party classics. A combination of ugly drunk secretaries, a few flat Bah mitzvahs and the acid house exclusion lured the young DJ from functions to the murky depths of clubs. Thank God too because since that move, Phil K has turned the clubbing experience into something different altogether.

As dance music boomed in the early 90s, so did Phil K. Names such as The Chevron, Inflation, The Metro and Chasers have all become clubbing legends and you can be sure that Phil K has played a major part in crafting that reputation. Forging a name for himself through immaculate mixing, mind bending programming and just down right dirty tunes, the name Phil K has appeared alongside the likes of Sasha, Seaman, Oakenfold, Freq Nasty, Craig Richards…. and the list goes on. There’s a very good reason why the list of support acts is so long. Promoters might look and behave like twits but those who have booked Phil K know one thing – he’s professional. The master of setting the room just right for a big name. No ego involved. No stealing the limelight. Just rock solid performances every time.

As dance music slid towards the masses, Phil K typically went his own way, finding a home at Melbourne’s institution of the underground ‘Sunny’. Playing closing sets of breaks, techno, house and everything in between, Phil K consistently turned the room on it’s head and was even known to make a few cry at the end! Phil’s broad appeal has also seen him dutifully employed at a number of large festivals such as The Big Day Out, Vibes on a Summer’s Day, Gatecrasher and Two Tribes. These days, Melbourne’s ‘Godfather’ can be found playing any one of a number of international and interstate guest spots as well as devastating dancefloors across his hometown of Melbourne. Most notably, Phil has recently returned from a tour of the US where, according the press, his performances left people gobsmacked.

When it comes to technique, Phil K is, without a doubt, one of the best in the world. When the Pioneer DJM600 landed, all Phil’s Christmases had come at once and he set about putting the mixer through it’s paces as only someone with his commitment and could do. Locked away in his studio, Phil was thinking of tricks that the people who built the mixer hadn’t even thought of so it was no surprise when Pioneer asked him to demonstrate their equipment across the Asia Pacific area. The past few years have seen Phil travel around the country and abroad to show people the most recent Pioneer models and teach them just a thing or two about just how far you can go.

In many ways, dance music has lost some of its buzz. When the fever was at its highest there was a sense that you were partaking in something different – it wasn’t for everyone. Nowadays you can hear the same music on major radio stations in most clubs and that’s just stale. Phil K changes all that. 18 years on from spinning his first record he still find new ways to do something, ways to challenge himself and ways to challenge the audience. In this way Phil not only captures the dancefloor – he captures the meaning of the word ‘pioneer’.

Gwill Morris

Gwill Morris DJ

Gwill Morris was thrust into the limelight of the music scene when he was picked out by mixmag as one of the ‘stars for 2001’. His production guise ‘Main Element’ is known to many, the first outings Hedfuk and Delta of Venus earning inclusions on Nick Warren’s Global Underground compilation as well as Lucien Foort’s Singularity, not to mention a multitude of American comps. He followed that up with Fuktitles on a smaller label ‘Midset’ earning acclaim from Mike Truman (Hybrid) who proclaimed it his ‘tune of Miami’ in 2001. Since then his production career has gone from strength to strength. Solo productions Generation, and Narcosis were well received, and his forthcoming vocal number ‘Take Me Down’ appeared on the recent Sasha and Digweed essential mix from Miami, rumour has it that Sasha was overheard proclaiming it THE tune of the?Delta Heavy tour. Remix offers have rolled in from labels including Bedrock, Additive, Polyester, Vapour, Automatic and Deviant.

Other production credits include Ogenki Clinic – First Light / Kirei, with his partner in production crime James Holden, described by mixmag as ‘the best progressive house tune ever’. The recent Ogenki Clinic mix of Ashtrax – Digital Reason took the clubs by storm. He was also part of the trio that produced the much-acclaimed Future Sound Collective.

Anyone who has seen him perform behind the decks will know that his ability is not limited to the studio. His DJing career spans back for years beyond his forays into production: ‘I had been DJing for years before I started producing and still thing of myself as a DJ first and foremost. I think it’s what I do best.’ His sets are consistently well programmed and betray his ability to connect with the crowd: ‘I think DJing is all about watching and getting into the mindset of what the crowd are into, I’m not interested in DJ’s who just play what they like and crap on about educating people. You go to a club to dance and have a good time.’ His varied tastes and tight mixing have seen him provide everything from deep house to progressive house and techno in clubs including the Limelight (New York), Q-bar and Zone (Melbourne), Sounds (Sydney), No – UFOs (Berlin), Bedrock, Ministry of Sound, and Elements (London).

He has had heavy involvement in radio since he presented and produced a weekly house show on Oxygen FM in Oxford with close friend Scott Edwards (Avus) ‘I enjoy providing material for radio, you can do something a bit different: the emphasis is shifted’. Since the encroachment of commercial interests forced the underground sound off the air he has looked elsewhere for an outlet. Recent mixes on John Digweed’s Kiss FM show and the Groovetech internet station have been met with critical acclaim, showcasing his wide tastes.

The next year looks set to be busy, an album being the main focus of attention. Studio time will also be spent producing a number of singles, including collaborations with Cass, James Holden, and Infusion.

Nubreed

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The foundations of Australian act NUBREED were laid over 10 years ago when three graf/b-boy/hip-hop dudes hooked up; Jase (Jason Catherine), Mykel (Michael Walburgh) and DB (Danny Bonnici) met while working on various music projects around the Melbourne club circuit. By this stage all three had realized that their future paths would revolve around music, but it wasn’t until they began writing and producing together, that they realized they would eventually create a career out of music as a trio.

Under the NUBREED guise, the boys have completed remixes on ‘Symmetry’ by Apex for Adam Freeland’s Marine Parade label, re-worked 80′s icons Scritti Politti on a saucy bootleg excursion as well as finding time between spliffs to team up with Phil K on the tribally-monstrous remix of ‘I’m afraid I think I’m Human’ by Ozzie pop-ravers Sonic Animation

NuBreed have released 2 singles on Zero Tolerance, ‘Welcome’, a radio-friendly vocal tune with nagging guitar riff that found favour with many of the breaks fraternity, who also got into ‘Mutst’ on the B-side. Their more recent release ‘Food For Thought’ was another nu-skool anthem in the making and came equipped with a 125 bpm tribal remix on the flip courtesy of label cohorts Dark Alley. Next up from NuBreed on the Zero Tolerance imprint is ‘R.D.C’ which is more on the electro tip and has an Apex remix in the pipeline.

On the stage, NUBREED dish up a raw, explosive and dynamic live show with mixers, effect units, samplers and all kinds of NuBreed like gadgetry. To anyone who has seen NuBreed perform so far (2000 Technics World DJ Championship-Australian Finals, Welcome 2001 amongst other various high profile gigs) will know that live really does mean ‘live’. It was due to this high standard of show that they were booked to play the Big day Out event in Melbourne, plus Two Tribes and a host of other gigs throughout Australia.

© 2012 Sweetchilli