Jono Fernandez


Jono Fernandez has achieved more as a Producer and DJ in the last 3 years than many do in an entire career. At 15 Jono discovered dance music and club life and began Djing and writing electronic music, supported by his classical training in piano, violin, flute and guitar. It was not long before Jono’s work was finding it’s way into the record bags of Australian and International DJ’s with his tracks currently receiving plays from John Digweed, Dave Seaman, Anthony Pappa, Plump DJs, Blim, Hernan Cattaneo, Gerry Bonham, Kasey Taylor, Ivan Gough, Phil K, Gab Oliver, Moshic and Gordon Kaye.

Jono was first signed to the Australian label Zero Tolerance in 2001 resulting in “Lo Runner” and “Northern Lights” being featured on the labels “No Nonsense” compilation. Both were charted by Anthony Pappa (UK), Andy Jarrod (UK) and Release Records (US) and released on vinyl in November 2002. His involvement with Zero Tolerance has also seen him collaborating with esteemed Australian producers Gab Oliver, Ivan Gough and Luke Chable.

Throughout the last 2 years the adaptation of his classical training toward innovative production has seen Jono achieve global recognition with “Intruder” featured on Global Underground 22 mixed by Dave Seaman, released worldwide in May 2002.

2003 has seen Jono’s International recognition extend further with Electrofly Records (UK) signing “Colours of Conscience”. This track has already been requested for several compilations and been included on Phil K’s DJ Mag cover mount mix CD (out later this year) and Aussie breaks comp ‘If It Aint Broke, Don’t Fix It – II’. The track is set for vinyl release in July 2003 and has been charted by Tune Inn Records, Plastic Fantastic – Cool Cuts Chart, Massive Records, Hooj and played by John Digweed on his renowned Kiss FM show in London.

Melbourne’s EQ were successful in signing the tribal breakbeat “Monkey Business” scheduled for release later this year. Featuring a re-rub from Jay Tripwire this record is already receiving praise from those in the know.

Jono’s collaboration with Luke Chable saw their most recent track “Before You Break On Me” receive interest from a number of the world’s top labels. Jonathan Lisle (Bedrock Breaks A&R) was successful in signing the track for his own new label ‘M Theory’ (release date is to be confirmed). The hype surrounding the record is being actively discussed by industry and clubbers on the worlds leading websites and message boards.

Paying tribute to his production capabilities, Baroque Records has taken note of Jono’s talents and requested a Fernandez remix for their upcoming double pack ‘Scream To Be Heard’ – SDM Soundclash scheduled for release later this year.

Stefano Greppi’s ‘Screen Recordings’ in Italy has also picked up another of Fernandez and Chable’s tracks ‘Come To Me’ which will be released later this year. The track will feature a remix from Chris Fortier and is receiving much hype through Europe.

In addition to his production accomplishments, Jono has had an impressive DJ career since 1995 with consistent appearances and residencies at numerous Australian club nights and venues in Melbourne, Canberra, Cairns and Sydney. Among his guest spots and residencies, Jono has played warm-up sets for Dave Seaman, Nick Warren, Anthony Pappa, BT, Andy Jarrod, Danny Howells, Craig Richards, Barry Gilbey, The Orb, Lexicon Avenue, Mara and Plump DJ’s.

Jono’s expertise crosses a broad set of modern genres including deep house, progressive, breaks, tech-house and ambient. He brings maturity and experience to the studio and has worked consistently to become a well-respected and pioneering talent. While continuing to increase his portfolio of individualistic sounds, Jono is also looking to adapt his considerable production skills to more remix work.

Rex the Dog


Rex the Dog is a canine producer with a love for seventies synths. Rumour has it Jake Williams helps him out with the buttons he can’t reach with his paws.

When Rex The Dog first signed to Kompakt, Jake’s identity was kept a secret. Whilst in the “Rex” persona, Jake politely shrugs off questions about why he keeps his identity a secret, and it is still largely unknown. However, he was once stated as saying that his original production name “JX”, was “all about chasing a hit”. In contrast, the Rex persona is about the music itself, and is not a money making machine. It’s most likely that for this reason he has attempted to keep his identity a secret, so that his music can do the talking. There is often ambiguity in interviews. Although Jake calls himself “Rex The Dog”, when speaking about his activities he often refers to “Himself”, and then “Rex”, or “We” as if he is a two piece, helped by his dog. During a radio interview with UK personality Annie Mac, taped sounds of a dog barking once or twice to indicate “yes” or “no” were played in order to answer questions.

Under his first production name; JX, Jake had a string of big hits in the early 90’s. He first shot to fame in 1993 as a 16-year old with the dance anthem “Son of a Gun”. He’s also been part of groups Planet Perfecto, Mekka, and Trouser Enthusiasts, producing mainly mainstream music. It is likely that he created “Rex” to escape the stigma of his previous work.

Jake’s primary production instrument is the Korg 700S. He also uses the Casio CZ230-S, and the Arp 2600.

His live shows feature animations of him and his dog doing various everyday activities. Jake draws these himself.


dj t

Thomas Koch aka DJ T. has been a vital part of electronic music and club culture for over 20 years. Uniquely accomplished in both influence and scope, he has excelled in every one of his incarnations: DJ, label owner, producer, club operator, publisher and journalist. Having recently closed one chapter of his working life – behind the scenes of Get Physical Music management – DJ T. is now primed to conquer 2011 purely as an artist, with his highly-anticipated third LP Pleasure Principle.

As disco reached its shimmering apex in the late 1970s, young Dusseldorf-born Thomas relocated to Frankfurt with his family. His parents plied him with vinyl compilations, and as a nine-year-old he succumbed to disco’s seductive charms, beginning a lifelong commitment to crate digging and vinyl collection. Thomas’ budding obsession moved through disco and hi-nrg, to the burgeoning sounds of early American rap & hiphop music, and finally to electro-funk, the beloved genre that has left an indelible imprint on all of DJ T.’s own productions. It was love at first listen, and driven by the sounds of seminal protagonists like Afrika Bambaataa, Planet Patrol, Newcleus and Mantronix, Thomas took up breakdancing, compelled to move by the genre’s urgent funk and infectious beats.

Donning a new pseudonym – DJ T. – his career behind the decks began in earnest at private parties, soon leading to his first professional gig in Frankfurt. After playing for a range of clubs around the city, T. soon found himself swept away by the powerful current of acid house that had engulfed Frankfurt with the opening of Sven Väth’s Omen in 1988. T. gravitated toward early house, EBM and techno, and secured his first DJ residency at legendary spot Music Hall. Throughout the 1990s, he was booked at all of the city’s essential clubs, including long lasting residencies at Plastik, Dorian Gray and The Box; by the end of that decade, Frankfurt, one of Europe’s epicentres of electronic dance music, had become indelibly linked with the name ‘DJ T.’

In 1989, T. founded the influential German-language magazine Groove. T.’s intention, in his own words, was to “create a magazine that would meet my own needs. I assumed there were many others with similar needs out there.” He was right. To this day, it remains as one of Germany’s most important publications for electronic music, and in addition to serving as Groove’s publisher and editor for fifteen years, T. also contributed to anthologies on club music, such as Localiser 1.0 and Techno.

At the end of the millennium, after years spent coordinating events and club nights, T. felt impelled to bring his own club vision to life. In 1999, T. and his friend Patrik Dechent opened Monza, an intimate club situated in Frankfurt’s city centre. In his capacity as resident DJ and musical director, T. played a decisive role in shaping the profile of the Frankfurt hotspot and its Ibizan satellite, before parting ways with Monza five years after its inception.

In 2002, T. and five of his friends started their own label, Get Physical Music. Within ten single releases, the label had forged an international reputation that took in far beyond its German base; it reached #4 in the annual Groove reader’s poll of 2004, and claimed the coveted ‘label of the year 2005’ award from British clubbing bible DJ Mag. Established by six seasoned veterans of electronic music and club culture, the label collective included DJ and production team Patrick Bodmer and Philipp Jung (M.A.N.D.Y.), producers Walter Merziger and Arno Kammermeier (Booka Shade) and studio owner Peter Hayo. Focusing his attention on A&R responsibilities, T. tirelessly scoured the scene for new talent and mentored label signees, all the while developing as an artist in his own right. Four years after inking Get Physical, its sister label Kindisch was founded. Dedicated to deepness, Kindisch was T.’s playground and he played accordingly, driving its dancefloor identity, and honing in on what he labelled the ‘minimal booty house’ sound.

T.’s production debut, Monsterbaze, with Steve Bug, graced the latter’s Pokerflat imprint in 2000, and since that time he has notched up releases on Moodmusic, 20:20 Vision, Kindisch, plus twenty 12’’ singles for Get Physical. In 2005 T. unleashed his first album Boogie Playground, a reverential collection that paid homage to T.’s past, and the strands of early club music that shaped his future. In 2009 his sophomore longplayer The Inner Jukebox was rapturously received; a co-production with Thomas Schumacher, his second longplayer is an assured work, and a singular, accomplished statement that reflects T.’s ongoing interest in rigorously re-inventing classic sounds for modern ears and dancefloors. Koch’s additional talents as a remixer have not gone unnoticed. His reworks of acts for labels like ArtofDisco, Yellow, 20:20 Vision, Simple and Naked Music have moved critics and crowds alike.

In 2006, Berlin daily TAZ remarked of T.’s first commercially available DJ mix, Body Language Vol. 2: “Koch combines tracks from the most varied of genres…triggering the most disparate of euphoria-soaked locations, he touches on the different waveforms of twenty years of party bliss.” T.’s famed selector skills took him to even loftier heights in 2010 with fabric 51, his celebrated instalment for the venerated British mix series, and a fantastically diverse and intricate mix full of sharp twists and unexpected turns, otherworldly soundscapes and deep elegance.

Whether DJing in his hometown of 5 years, Berlin, gigging internationally, T.’s sets are invariably stirring and extraordinarily varied. T. is no style fascist, nor is he a slave to trends; he is a bass- and groove-addicted club historian, with a firm grasp of the contemporary. His sets turn 25 years of electronic music history into one finely rendered journey, transforming the links between genres and ages into a truly physical experience, whether he’s capturing the peaktime party spirit, or sending early morning crowds into veritable delirium with one of his famed marathon excursions. T. embarked on an exhaustive 9-month world tour in the summer of 2009 with The Inner Jukebox, and drew on his journalistic background to document the experience, writing a weekly tour diary for online electronic music magazine Beatportal. Invigorated and inspired by his extensive travels, T. channelled that kinetic energy straight back into creativity, undertaking an intensive period of writing and production in early 2010. With new production partner Stefan Eichinger aka LOPAZZ, DJ T. devoted the greater part of the year to Eichinger’s Heidelberg studio, and the resulting album Pleasure Principle – due for release in spring 2011 – is T.’s most accomplished work yet.

Dave Seaman, The Gaelic Club, January 2007


After a massive year in 2006, jam packed with superstar internationals playing across a number of venues, Sweetchilli continues to bust out some of the biggest names in dance music at their regular events. Saturday night was no different as the Sweetchilli crew featured at the Gaelic Club one of the most notoriously cheeky mainstayers of the progressive scene, Dave Seaman.

Seaman is without doubt one of Sydney’s most loved internationals, having played here on a multitude of occasions and regularly selling out events well in advance. His presence and attitude behind the decks have won him many fans and he always manages to generate an amazing atmosphere wherever he plays. With his involvement in the music industry stretching back over 20 years, he has accumulated some amazing career accolades including more than 20 mix compilations, countless productions, star-studded remixes and a plethora of original tracks. Despite this workload he also manages his label Therapy Music which has just released the new Thereapy Session 3 CD. Supporting him on the night was Future Music’s main man Mark James, all the way from Melbourne, as well as fan favourite Robbie Lowe and Sweetchilli resident Dan Crocetti.

After getting stuck into a bottle of wine and generally preparing for a

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The Hacker & David Carretta, Susie Q’s, April 2005

Hacker Top
23/04/2005 | Susie Q’s | Support: Daniel Crocetti, Crispin Kerr, Mark Murphy, Murat + more
 In regards to clubbing, one of the most difficult choices to make is selecting the location of one’s shenanigans on the long weekend (especially when the “long” part of it falls on the Monday). Weeks of planning and preparation must take place: tickets, finances, etc. You are required to have accord amongst friends, and conscientious organisation is essential.  The Anzac long weekend was no different. I would have loved to have been able to do two nights in a row, but I have concluded that my body does not appreciate this as it once used to (I have also concluded that maybe it never did and I am paying for it now).

After much soul searching, I decided that The Hacker and David Carretta at Suzie Q’s was the place for me. Naturally, the headliners did have weight in my decision. Seeing two frenchies who have been influencing techno/electro music for twelve years definitely had its appeal, and Carretta’s moustache (oops, I mean reputation) preceeded him. Due to the longevity of their careers, I also perceived the crowd would be mixed, and slightly older. For once, I did not feel I had to adhere to any particular aesthetic expectations in regards to my appearance: it was oddly liberating to leave the Tsubi’s and high heels in my wardrobe.

Also, having been present at Sweetchilli a week earlier I had no false expectations of the venue. Whilst it is slightly dark, and does not boast an exciting selection of beer, the sound is great and there are a few separate areas to chill. The crowd is always friendly, and even if there is a queue in the ladies, there are sufficient mottos and witticisms on the wall to keep you entertained. It is an intimate venue, which could hypothetically cause a problem if you were trying to avoid people. There are also two separate rooms for music and neither of those rooms encroaches upon the other. I realised how important this was when I was there last week and the side room outshone the main room. Which leads me to the final clincher in me attending Suzie Q’s on Saturday night.

Even though in my opinion the headliner was not up to “scratch” the week before, it was still a sensational night held together by the powerful support and the crowd. Sweetchilli amalgamating with Gusto Productions and Mo Groove for the the next Saturday evening was  something I was looking forward to as I can honestly say I have never had a bad experience at any of  their events (and this goes all the way back to Splash in 1998). There was no doubt in my mind that the night involving Hacker & Carretta would be executed by all involved with aplomb.

I was under the misconception that Sweetchilli’s forte was prog nights: I was wrong. These people are adept in throwing parties anywhere, anytime, any genre. All of my presumptions came to fruition in a manner even I was not expecting. There was nothing bland about the night (more Frenchman would have done me just fine though). The music was a delightful rollercoaster: each set contributed to the package. When we arrived, we were treated to techy house in the side room, which moved on to electro, and consistently got heavier. When The Hacker came on in the main room, there was not a stagnate body in the club: everyone was well and truly warmed up. The bar area was moderately empty, aside from people pausing briefly to get a drink.

Dave Carretta started at 3.15 and was splendid. He played from the front of the main room and it was definitely a performance. Sadly I didn’t get close enough to take in too much, but this didn’t seem to matter as his presence radiated throughout the venue. From the back you could see his hair flopping about, and everyone immersing themselves in the set. He had a very cool French accent: I never thought that theatrical techno was possible. I was proven wrong. The set was at exactly the right time, and it did not disappoint.

At 4.45 I looked around and believed briefly that the party had quietened down. I was sorely mistaken. The side room was, for lack of a better term, going off. I could barely squeeze in there. The ambiece of the night had not diminished. Naturally the support acts such as Ajax, Simon Caldwell, Crispin, Mark Murphy, Daniel C, N-Zed, Murat and RifRaf were all very solid. These guys never fail to surprise me with their versatility: one week they are playing cheesy breaks, the next they are providing the punters with deep techno.

I was also under the misconception that Sweetchilli’s forte was prog nights: I was wrong. These people are adept in throwing parties anywhere, anytime, any genre.

(Review by Quirks

The Hacker

the-hacker DJ

At the end of the 1980’s, strongly influenced by Joy Division, New Order, Depeche Mode, Duran Duran, The Cure, Cabaret Voltaire, DAF, Throbbing Gristle and even Einstürzende Neubauten, Michel started a New Wave rock band. When he discovered the first wave of successful house music, including S-Express, M/A/R/R/S and Inner City, he left his group, convinced that this music would change everything. He started to mess around with a few tracks on some rudimentary equipment, and LFO and Belgian techno were like a wake-up call to him. From this point onwards, Michel started to produce techno tracks purely for his own pleasure, finally proving himself as a serious artist when he mixed music for the energetic Jeff Mills.

He took on the name of “The Hacker” in homage to a track by the Master of Detroit. He became interested in the Underground Resistance, in the 88 and the entire US electro sound. In 96, an old friend, Miss Kittin, asked him to co-produce a track with her, in an electro-pop vein, entitled “Gratin Dauphinois”. Discovered by DJ Hell, Miss Kittin and The Hacker went on to produce several tracks on his label ‘’International Deejays Gigolos’’, including the future hits ”Frank Sinatra” and “1982”.

The track was huge hit at the Love Parade of Berlin and the record also saw success throughout Europe. While all this was happening, The Hacker set up his own label with his friend Oxia, otherwise known as Goodlife in reference to one of Kevin Saunderson’s first big hits.

The year 2000 saw the release of his first album “Mélodies en sous sol” (Basement Melodies), a skilful blend of electro and techno with a melancholic and introspective edge. The Hacker, just out of what he describes as his ”Jeff Mills period” had finally found his own sound, influenced by Detroit, Kraftwerk, the German rave sound of PCP, and the synthesized sounds of the new-wave era.

In 2001, working once more with Miss Kittin, the duo released the “First Album”, starting the electro-clash craze. The record would go on to sell over 50,000 copies and even Elton John and Karl Lagerfeld claimed to be fans. However, hype was lying dangerously in wait for them and the duo preferred a temporary separation. The Hacker continued on his path, always in the shadows, working with big names on several French and international labels: UMF, Dancefloor Killer, Sativae, Missile, Rotation, Turbo, Error 404…

He released a new album “Rêves Mécaniques” (Mechanical dreams) in 2004 on which he affirms his love for analogue sounds. This album is considered by many to be his most mature to date. His accomplice Miss Kittin even features on one track. He has since continued to produce music regularly and to perform in public on DJ sets, in major venues as well as in more exclusive clubs, always with the same humility and integrity that has made his name over the years.

David Carretta

david carretta DJ

David Carretta is live electro/techno performer and DJ.

Born in Marseilles, he made his first step in the new wave music with the first synths and sequencers (Korg MS 10 and MS 20) and one of the first samplers (Ensoniq Mirage). Carretta absorbed the prominent industrial and synthetic combos of the late eighties and early nineties: Front 242, Depeche Mode, D.A.F. and Throbbing Gristle very much influenced his first band Art Kinder Industrie.

During the very beginning of the techno movement in 1993, David released his first EP on Harthouse Records under the name of Calyptol Inhalant. Settled in Toulouse at that time, David performed live only occasionally.

During a tour set up by a friend in 1995, Carretta life took an unexpected turn: Helmut Geier, aka DJ Hell, noticed him and signed him on his label Gigolo.

In December 1999, David Carretta released his debut album Le Catalogue Electronique.

Since 1996 Carretta collaborated with fellow-countrymen DJ Olive and Virtualian on Thrust Records playing in a pumping and dancefloor oriented style.

In 2000, David has been founded Pornflake Rec. with Renaud Campana, releasing Electric Indigo, Mark Broom, John Tejada, Ferenq and Worker Poor.

In 2001, Carretta released his fourth 12-inch on Gigolo, the Domination EP.

In 2002 he took a couple of months off to learn to DJ, releasing the mix CD ‘Model: Electro Dash’.

During late 2002 to early 2003, David Carretta launched at last his own record label Space Factory.

Caretta’s tunes are hard and metallic (his old machines still work pretty well) his pieces are forthright, with his performance filled with a punk fit of anger. He hasn’t changed over the years: the voices remain vicious and distanced, the bass sounds acid-like, the lyrics are French or English sung with a strong accent.

John Askew

John Askew DJ

After spending most of his teens playing guitar in a variety of local rock bands, John’s musical alliance was suddenly disrupted when he attended a rave in Cornwall in 1993. He immediately ditched both his band and traded his guitar for a set of decks.

In 1994 John made his club debut at a then notorious Acid House venue in North London. A few months later he took up a residency for the infamous Wiltshire rave sound system “Code Red”. This position gave John the opportunity to regularly play to literally thousands of underground followers that would loyally make their way out into the countryside every weekend. His sound was influenced by a mixture of the melodic German music that had put Frankfurt on the map as the capital of trance, and the tougher, more percussive sounds of artists like CJ Bolland.

At the end of 1995 overwhelming pressure from the police led the organizers to move the parties from the fields into the clubs. With this move John started warming up for a host of top international techno names such as Billy Nasty and Dave Angel, to name but a few. He quickly established a name for himself and was subsequently booked to play a number of other high profile club nights, including Universe’s legendary Final Frontier where John rocked the decks alongside Paul Oakenfold and Carl Cox.

Over the next few years, John found himself starting to regularly frequenting Heathrow and Gatwick, traveling to Slovakia, Denmark, USA, Sweden, France, Ireland and Amsterdam to deliver his now trademark sound. A sound and style that one Swedish journalist summed up as: “…like watching Jeff Mills mixing but using Paul van Dyk’s records!”

John’s debut appearance at The Extreme Club in Bratislava (Slovakia) was simultaneously broadcast on the national radio station Fun FM. Two hours into the set and there were still 1000 people waiting outside on a “one in one out” basis. This night has been a huge turning point for John, as it was the one event that started his obsession with radio.

The next 5 years brought John residencies and guest slots at some of the coolest club nights in the South of England, not to mention his regular trips abroad. In 1999 John teamed up with Bristol’s most respected techno DJ, Simmer, to form Shimmy recordings. With highly acclaimed reviews from the national dance press and a huge underground following in the West Country, John began to gain a reputation for his unique writing and production skills which combined euphoric melodies with hard punchy beats.

In 2000 John took up a touring residency for Universe (of Tribal Gathering fame). In one month John played 21 gigs across the country alongside many of the world’s finest DJ’s, including Carl Cox, Timo Maas, Danny Rampling, Danny Howells, Way Out West and John “00” Fleming.

On NYE 2000, John rocked the main stage at Ministry of Sounds’ infamous millennium event at the Dome. His technical wizardry on the decks in front of 26,000 clubbers led Ministry to offer him a residency at their world famous club – Ministry of Sound, London. For two years now, John has rocked the main room at Ministry with his legendary, end of the night sets.

Since 2001, John has also been pushing his distinctive sounds to the masses through his record label – Discover Records – which has seen releases from the likes of The Thrillseekers, Pablo Gargano and Germany’s Kyau vs. Albert, to name but a few. Today, Discover is often credited in the press as a trend setting label that enjoys an almost Cult status. Its strict music policies, instigated by John, firmly oppose “cheesy melodies, predictable clichés and horrendous, meaningless female vocals” that in John’s mind have tarnished so much of the scene today.

In fast forward mode John Askew is conquering dance floors all around the world. John has played at high profile club nights, such as Cream, Plus Soda, Meganite, Slinky, Godskitchen, After Hour Power, and Passion as well as at prestigious festivals, e.g. Homelands (Radio One Stage) and Creamfields. His DJ sets reflect his highly opinionated views on music. His ear for high quality music, without always taking the obvious anthemetic route, and subtle, yet highly emotive melodies, derived from years of song writing in a plethora of rock bands, makes each and every one of John’s sets unique.


Ripperton DJ

Ripperton was born in the 70’s, one of the most exciting times in music, which would explain his passion for soul music, his 12 inch vinyl collection which knows no bounds and his nickname, (think of one of the best female soul singers of that time).

Growing up as a teenager to the rhythms of Tony Humphries, Djaimin and Kid Bachelor, working in the well-known Lausanne record shop, Tracks, and generally drowning in all that was vinyl, Raphael started DJing in the early 90s.

Soon after, thanks to MPC3000 and good analogue synths, he began producing. His first releases came under the names of Soul Merge and Reasons, the latter won the Diesel U Music awards in 2003 and then led to the setting up of his first label, Lovearth Records.

He gained outstanding popularity with his project Lazy Fat People that was signed to labels like Border Community, Wagon Repair and Carl Craig’s Planet E, as well as new successes as a solo artist known as Ripperton.

Aka Ripperton, he’s enjoyed working in the studio with fellow Swiss producers, such as Sthlm Audio and Plak Records.
He’s also released tracks on Dessous, Systematic, Rekids, Liebe Detail, Connaisseur and many more top labels, and delivered remixes for Laurent Garnier, Beanfield, Steve Lawler and the exceptional Radiohead.
Very popular with artists such as Steve Bug, James Holden, Joris Voorn in their compilations over the last few years.

In 2006 he started the well-known underground label, Perspectiv Records, which brought out some fresh talent from Switzerland and around the world and nurtured some interesting interactions with amazing producer like Tobias, DJ Koze and Isolée, all highly respected by Raphael.

His long-awaited LP is due out in early 2010. Called “Niwa”, this modern piece of music mixes different kinds of sounds from varied horizons and will be released on the Dutch ‘Green’ label owned by friends Joris Voorn & Edwin Oosterwal.

Touring around the world the last decade, Ripperton spins the melodic and lush end of House, Minimal & Techno.
Definitively one of the most creative Swiss DJs of today, Ripperton is a perfect electronic music chameleon.

Robert Babicz

Robert Babicz DJ

Robert’s musical output is inspiring and staggering. A true one-man operation, he writes, records and performs solo; commanding an ever-expanding touring schedule, tailoring the music he creates to the cities he visits. But that’s only part of the puzzle, Babicz’s art is comprised of more than just his music. He films everything. Using his music to open doors and build relationships with people in only the way music can, he then records his experiences and interaction on film, both still and moving, later editing the images together as a picture track to his audio. Robert creates short films that capture the emotions, colours and feel of his trips, his music and the people he finds who want to be part of that experience. In turn these then also have an effect on his music colouring his emotive, unique take on electronica with a very human feel.

© 2012 Sweetchilli