TAS Visuals creates some of the best psychedelic video mapping in the world. His style of using 3d worms and snake-like creatures is easily recognisable and the depth of his creations is spectacular. Layer upon layer combines to create a moving painting, which I can watch for days.
Rarely have I ever seen a visual artist with so much appeal in his creations. A clip of digital hands moving at Vortex was particularly engaging for me. I’ve seen George use it a few times in different pieces. The hands, left and right, flow back and forth, creating a hypnotic rhythm that leads me to a trancelike state. Combined with good music, it is electrifying.
This is the video I’ve created for my Desert Tech track, Walter’s Theme. It’s a zen video that will calm you down and make you feel better. Lush landscapes and beautiful pictures, it takes you on a journey.
You can buy a download of the track and its 2 remixes here:
Arjuna was born in the Himalayas in India in 1982 Ever since, he has had a unique and interesting journey through life. He grew up in Goa, the mecca of psy trance, where he saw the birth and evolution of this mystical genre.
Arjuna started collecting psytrance DATs and mini disks at a very early age. At the age of 19, he got his first shot behind the decks and there was no looking back.
Meeting with Giuseppe Parvati and Teo Discovalley gave Arjuna’s music taste a new direction – deep and purely psychedelic – and it was only a matter of time before the inevitable happened and Arjuna started experimenting with his own sounds with a Playstation game called Music 2000. He first observed friends working at the prestigious Discovalley studio (Chapora, Goa) and then sank into more serious programming and knob tweaking on cubase.
After proving his metal as a dj in Goa, Arjuna was signed by Parvati records to represent their sound as a label DJ. By this time he had also started to perform at partys and small festivals in and around Europe. His Dj sets are a mix of organic sounding groovy dancefloor shaking bombs produced by some of his favorite artists and friends – Atriohm, Farebi Jalebi, Jahbo, Syntax Error, Dronebixie, Onkel Dunkel, Gidra, Encephalopaticys…. Since Goa was installed very early in Arjuna’s system, he always had a natural instinct to cast his spell and get people moving on the dance floors. In order to improve his own sounds, Arjuna took up an electronic music production course at S.A.E. and soon after, broke through with his very first release on Parvati records.
He has dedicated most of his time to develop and consolidate his own idea of psychedelic music. Together with his partner at the time (Seb), he made his nest in the epic Discovalley studio for a few years and his skills evolved leaps and bounds. His tracks are carefully crafted with a lot of precision and heart.
Now his sound is intense and groovy , a balanced combination of power and emotion. He incorporates tight percussive rythms, hypnotic atmospheres and colorful scapes to create deep stories that emit a raw energy to shake the forest and all the creatures living in it. Watching dancefloors errupt since an early age, has given Arjuna the dominion to make people close their eyes, forget the world and just dance till their knees wobble. The mystical vibe of goa flows through his creations, warmly touches the soul and leaves people with their hands up asking for more and more.
Thanasis Confo is dj/producer based in Athens. Born with an italian/greek background he started, very young, to study music theory and play violin. Elctronic music became part of his life after getting into the greek party scene and so he started first to collect and mix trance music and shortly after to produce it. Travels are also big part of Confo’s life, he is often in Goa or playing his music and djing around the world. He’s been signed by Parvati Records in 2013 and have as well released tunes on other underground trance labels.
Some DJ careers are built on hype. John Digweed’s career is built on substance. One of the planet’s most popular DJs, his sets never fall out of favour with clubbers the world over, as his relentless global gig schedule testifies. From ethereal, swirling cinematic soundscapes to energy-infused bass-bothering tech growlers, a new generation of clubbers are learning what we already know – that there’s nothing quite like being locked into a John Digweed set.
But John Digweed is much more than a DJ. Bedrock – his record label, promotions company and production partnership with Nick Muir – is a mothership of creative ingenuity and integrity that other labels orbit around. His vision for the Bedrock record label has been realized over 12 years, as he continuously seeks out mixes and remixes from the world’s best producers. Techno mainstays like Marco Bailey, Christian Smith and John Selway sit comfortably alongside hot new talent like Guy J in the Bedrock camp.
In a dance scene increasingly inhabited by inflated egos and gimmicks, John’s approach remains all drive, no drama, a heads-down crack-on attitude that has won him the respect of his peers. However, the fact remains that John Digweed has notched up a mighty list of groundbreaking achievements since he first became involved in the embryonic acid house scene as a 15-year-old lad in Hastings. From Top 40 smashes ‘Heaven Scent’ and ‘For What You Dream Of’ (with Nick Muir) to world renowned mix CDs for Renaissance, GU and Northern Exposure, it’s little surprise he was voted No.1 DJ in the World by DJmag readers in 2001.
Ten years on, the excitement John Digweed generates is even more palpable today. With Nick he has scored a Hollywood film (Stark Raving Mad) and Spiderman`s animated series for Sony/MTV. toured with David Bowie and Moby, and transformed Brighton Beach into the UK’s biggest beach party (250,000 people) with Fatboy Slim. His Transitions, Bedrock and Structures albums continue to turn new fans on worldwide, Bedrock’s recent 12th birthday party at London’s O2 Brixton Academy was a road-blocked sell-out and his Transitions radio show is one of the world’s most successful dance music shows, broadcast across 45 countries to a staggering weekly audience of over 14 million.
But the real beauty in John Digweed’s story lies in his unflinching belief in the music he plays. And with new music comes new chapters in an already astonishing career.
The sun and the moon have always been perceived as opposites; the sun is the active, rational, masculine and materialistic part of the world which happens during day time, while the moon is the dark, crazy, feminine and mysterious part of the world which occurs during the night time. There is one magical moment when these opposites unite into one incredible phenomenon, which merges the characteristics of these binary entities – Solar Eclipse.
Marko Radovanovic, from Belgrade, Serbia, took the essence of the Solar Eclipse and transformed it into a musical phenomenon that mixes the sun and night aka his alter ego – E-Clip. Along the way, he polished his precision and beat skills while he was playing as a drummer in Hardcore and New Age bands. And as a new star in the celestial sphere of Progressive Trance he absorbed a lot of inspiration from artists such as Jean Michel Jarre, Pink Floyd, Klaus Shultze and Astral Projection. The big change for Radovanovic was similar to the process of Solar Eclipse; where the moon decides he wants to follow the sun’s fire and hot atmosphere. Radovanovic fell in love with the heat and energy of the other side of the decks of the Psychedelic Trance parties, and made his move. Thus, soon after he entered the psychedelic world in 2002, he started to produce music as well.
His first experiment was under a different more Full-Onish alter ego, named Beyondecliptica, and with it he released his debut album in 2008, ‘Groove technologies’, in the Greek label Medusa. Then Radovanovic realized it was time to undermine nature’s course and bring E-Clip to the world in 2009. Since that moment of creating his unique manifestation, he released music in various labels including: Blue Tunes, Spin Twist, Oxygen, Prog On Syndicate, Yellow Sunshine Explosion. Of course Iono Music spotted his magical influences and joined him to the family. His recent EP – ‘Press Hold’ at Iono that came out in November 2011 is just a taste of the many trips he will make on the orbit of the sun while inviting the moon to join occasionally.
Berlin’s Paul Kalkbrenner is a unique international talent. In fact, with seven studio albums and more than 2.3 million Facebook fans, he is one of techno’s biggest superstars. In a time where the big drops of EDM (Electronic Dance Music) and cake-throwing DJs seem to reign supreme, Paul Kalkbrenner is keeping his cool. He trusts on his remarkable talent as a producer and live act—no added artificial flashiness needed. He can rave with the best of them, and raise his arms to full dancefloor delirium, but his head will never spin right off.
Paul Kalkbrenner’s demanding compositions are full of energy; they exist to take listeners away from the everyday, from the weekly grind, into rapture—into art, ecstasy, absurdity friendship, hope and love.
Just 12 years old when the Berlin Wall fell in 1989, Kalkbrenner watched as East Berlin became an anarchic playground for a previously oppressed generation, recently freed from an overbearing state. Techno music became a way of expression and for many, Paul included, the soundtrack of Germany’s reunification. In the autumn of 1992, together with his friend Sascha Funke, he started DJing at local youth clubs. Very quickly Paul and Sascha were either DJing or obsessively collecting records as electronic dance music’s first tidal wave spilled over dance floors in Berlin’s soon-to-be legendary clubs Tresor, Planet, Walfisch and e-werk.
At 18, he took a job at German television, spending his days sitting and editing suites watching as staid German political parties held national conferences. This would make him enough money to buy equipment to produce his own tracks. As much fun as DJing was, Paul wanted to play his own music live.
His first tracks were released on Ellen Allien’s newly founded Bpitch Control label in 1999. In contrast to the darker, monotone sounds that characterized techno at the time, Paul’s music was more melodic and enriched with a warm, dubby feel. After a number of 12″ singles, Paul realised he was better suited producing albums. In 2000, he released ‘Superimpose’, followed by ‘Zeit’ one year later. His third album, ‘Self’ from 2004, resonated beyond the dancefloor and took the cinematic quality of his music to new heights—an indication of what was to come next.
In 2004, Berlin-based film director and self-confessed Kalkbrenner fan, Hannes Stoehr, got in touch with Paul. He was planning to make a movie about an electronic musician in Berlin’s techno scene and wanted Paul to produce the soundtrack. As the script for the film developed, Hannes suggested Paul might be perfect in the starring role.
Together with his old friend Sascha Funke, he moved to Aix en Provence for six months. There, far away from Berlin’s dreary winter, Paul produced some of his most diverse and mature compositions yet, which would later make up the soundtrack for ‘Berlin Calling’. He started shooting the movie upon his return to Berlin, with the result being an unconventional but outstanding performance. Somewhere between Paul Kalkbrenner and his character Ickarus, an intimate dialogue developed between actor and audience.
‘Berlin Calling’ became a surprise hit, and a German cult movie in its own right. It drew audiences all around Europe and stayed on the big screen at Berlin’s Central Kino for several years. The soundtrack went platinum and the single “Sky and Sand”, featuring his brother Fritz Kalkbrenner’s vocals, spent over 121 weeks in the German singles charts—a German record.
At the end of 2009, Paul split with his longtime label Bpitch Control to form his own independent imprint, Paul Kalkbrenner Musik. A sold-out European tour and a documentary followed. Made with the help of the ‘Berlin Calling’ team, Max Penzel and Hannes Stoehr, ‘2010 – A Live Documentary’ featured an 8-camera shoot of 15 live shows, with computer graphics created by Pfadfinderei (who also worked on ‘Berlin Calling’). The documentary remains an intimate insight into Paul’s life on the road, sprinkled with his dry, deadpan humour.
Between June 2011 and November 2012 Paul released his fifth and sixth studio albums ‘Icke Wieder’ and ‘Guten Tag’. These two self-released albums are Paul’s bestselling albums yet—both went top five in his native Germany, with ‘Guten Tag also topping the charts in Switzerland.
Not one to rest on his laurels, Paul returned to the studio soon after, but this time made a conscious decision to take his time and explore new avenues of his sound. While working on new tracks, flipping samples and experimenting, Germany’s Federal Government asked him to play a headlining live show in front of the Brandenburg Gate in a historic ceremony commemorating the 25th anniversary of the fall of the Berlin Wall. It was another milestone moment in Paul’s career. The framed thank-you note he received from the Government afterwards has a special place in his apartment.
After 15 years of releasing on independent labels (ten years at Bpitch Control and five on his own label), Paul decided to take the next step and signed a long-term deal with Sony International/Columbia in March 2015. Enthused by this new chapter in his career and incited by the pressure a deal like this is usually accompanied by, Paul went back to his studio to finish his seventh studio album and create a new live show.
The album, aptly titled ‘7’, was released through Columbia Records in August 2015, and it saw Paul work with vocals for the first time since his chart-topping, record-breaking single “Sky and Sand”. In an unprecedented move by the label, Sony and Columbia provided him total access to their Legacy vaults, allowing him to incorporate vocals from previously-unsampled music icons Luther Vandross and Jefferson Airplane. The album was a success across Europe, hitting No. 1 on the charts in Austria, Switzerland, and his native Germany; and earning plaudits from the New York Times, Village Voice, Mixmag, and others.
Following ‘7’’s success, Paul continued to blaze new milestones, becoming the first techno artist to grace long-running European institution Tomorrowland’s main stage in July 2016. At the end of the day, though, he always comes back to his underground Berlin roots, which he celebrated with his “Back to the Future” mixtape series, a trilogy that chronicles his personal history of electronic music’s arrival to Germany as heard on the radio during his teenage years. The series went viral, amassing over 490K downloads and 502K streams, prompting rumors of a live experience in 2017.
Amelie Lens is a self-confessed control freak. Every step of her journey as a DJ so far has been the result of her own obsessive attention to detail and laser-focussed determination which permeates everything she does. Nothing is left to chance. The often-referred to ‘explosion’ with which the Antwerp native made her way into the global techno scene has been the result of a long-standing love affair with dance music, ignited by her first outing to Belgium’s Dour Festival at just 15 years old. Techno had Amelie at ‘hello’, and she spent the rest of her teenage years crossing Belgium by train to attend gigs, hypnotised by the new world that was opening up to her.
Fast forward a few years and Amelie had started her own club nights in Antwerp, DJing under numerous aliases and learning to produce at the same time. “I started making edits for myself, like old-school tracks with a different kick.” That fusion of classic techno with a fast, futuristic edge helps define Lens’ sound today. “A mix of old and new strong techno records, tough but not hard, fast and throbbing, hypnotic and energised” is how Richie Hawtin described it after being blown away when hearing her for the first time at an ADE showcase.
Her debut release came on Italian imprint Lyase, and soon after a trio of releases on Pan-Pot’s Second State gave her recognition on a global level. Despite her measured and considered approach, the gigs came thick and fast. “Timing is everything to me – and a lot of times I’ve felt like it was too soon for me to play somewhere.” But it wasn’t long before Lens was sharing stages with the most respected artists in techno. From headline club shows to peak-time slots at the likes of Sonar, Time Warp, Awakenings and Movement Detroit, as well as the legendary Circoloco at DC-10, whilst featuring on the coveted Mixmag cover and recording her first Resident Advisor podcast in 2018. At the start of 2019 Drumcode marked it’s 200th release by asking Lens to remix the label head’s 2014 release “Teach Me” – a milestone in her career that speaks volumes about Adam Beyer’s admiration for his younger counterpart, who describes Lens as having “a unique pure form of timeless techno. You can feel the passion when watching her – there are only a few DJs with that energy, that ‘it’ factor.”
As a resident at Hasselt’s Labyrinth Club, Lens started curating her own nights under the name EXHALE and soon was inviting the likes of Marcel Dettmann, Ben Klock, Ellen Allien, Rødhåd and Kobosil to play alongside her, often delivering her own all-night-long sets that have become the stuff of legend for Belgium’s adoring fan base. Lens has steered the EXHALE parties further afield, with regular showcases at the likes of London’s fabric club and colossal stage hostings at Creamfields, OFFSonar, Dour and Extrema Festivals and many more on the international summer circuit. Her aim is to showcase a new generation of hand-picked, up-and-coming talent alongside international heavyweights.
Lens has moulded her own imprint, LENSKE, in her image – driven, energetic and authentic. A handful of carefully curated releases from fellow Belgian’s Farrago, Milo Spykers and Paris-based AIROD fuse a high- velocity mix of uptempo 909 uppercuts, hyper-futuristic acid accents and evil-minded drops. The label’s tight- knit family of artists help solidify Lens’ reputation as a curator and taste-maker as much as a master in the booth.
In just a few years Lens has achieved what many artists would dream of achieving in a lifetime, and her rapid ascent is something many find hard to grasp. “It just happened so fast – too fast. So I understand. It’s going to take me ten more years to prove myself, but I’m going to do it.” Rest assured that the Amelie Lens story is just beginning.