"Music is the beginning of life, playing for me is a necessity: Sounds are like words and you can combine them in thousands of different ways but sometimes you can't control them... When an artist plays he always shows something about his soul, his mind and his heart." 
Musician, dj and producer, Joy Kitikonti is a polyhedric artist with several discographic successes, important partnerships and awards in his background. All these experiences made him the complete artist of today. Joy Kitikonti was born in Tuscany. He felt immediately a great passion for music when he was young, probably influenced by his father, a musician during 60ʼs 70ʼs. His career began in 80ʼs, he was a self taught musician, skilful with the drum and percussion instruments. In 1990 he became producer. In 1996 he became a member of Media Records. Here he realized important productions, a lot of remix and numerous collaborations with djs. A lot of his productions were born under nicknames. “Joyenergizer (BXR)“ made him famous all over the world. 
We can say he’s “Natural born artist”. His innate talent, his creativity and strong will made him especially known for his mood and for his inspiration. But Joy is always the reserved and quiet person he was before and he doesn’t like talking too much about himself or boasting about his success, because he gives in charge to the music the power to tell his story. 

The dj is a chef, that can mix sounds, riffs, cool bass effects, drums, percussions … at the desks he “cooks” and everytime he produces a different and original set.

Anyway who ask Joy Kitikonti what is music will get this answer...and he continues "Life is a mix: a combinations of sounds, styles, places, pictures. Contamination is the key to re-invent and to live own life, to escape from banality and from something of already seen or heard."
“When the dj plays his music, he feels like a writer: and when he plays he always shows something about his soul, his mind and his heart. Sounds are like words and you can combine them in thousands of different ways and sometimes you can’t control them. Even if Electronic Music needn’t classical instruments and scores, it offers the same possibilities of other genres.”

His own life is a mix: a combination of sounds, moods, styles, places, images. The “contamination” is the key to re-invent and to live your life with your personal style, to escape the banality and the danger of something already seen and already heard. His “hand” is always perceivable in his productions.

His underground vocation comes from those boundary territories, where music means fun, not just money, where friendship among the artists goes further than the interests of the music industry and where new ideas and moods are generated by the artists’ exchange and partnerships. Joy belongs to that world where, if we can use the espression… vanguards often born.

Strong from his solid background, Joy Kitikonti is also involved with Family Piknik Festival and music label. Tom Pooks’s studio partner since ages, they produce many dancefloor weapons together and already have caught the attention of Carl Cox, Sven Väth, Fisher and many other high influence artists. Since 2018, Joy Kitikonti & Tom Pooks have developed Family Piknik Music with many successful releases. Together, they’ve pushed many new talents and gave them the spotlights they deserve. Transmission is also the key for passionate artists to share their knowledge and vision. That way, Italian maestro contributes to the global Dance Music scene with an unlimited devotion and a remarkable discretion.

Musica & Magia è un party pensato per celebrare la lunga carriera artistica di Franchino e di un'altra grande icona Zicky , insieme hanno dato vita a questo progetto musicale molto emozionante e coinvolgente.

Mathew Jonson really is one of a kind.  
 
He's developed one of the most distinctive voices in electronic dance music: when you hear one of Jonson's tracks, you almost immediately know it's his. And yet there's no mistaking any given track for another. 
 
His music offers a rare fusion of populist intensities and nuanced musicality. With a keen understanding for the needs of the dancefloor and the universal laws of house and techno, he's thrown out the rule book time and time again, sneaking tricks learned from electro and even drum'n'bass into minimal clubs, and loading up his B-sides with tracks that do what they damned well please. (No kick drum? No problem.)
 
His standards for sound and presentation are exacting. Both on stage and in the studio, Jonson's fealty to analog equipment and real-time play—as opposed to mere playback—serves as a standardbearer for a kind of electronic music that goes way beyond the drag 'n' drop world of digital composition. Jonson has always been eager to get his hands dirty, and the music reflects that in gnarled bass sequences and long, intuitive lines. His sounds have serious teeth.
 
And despite his quick ascent through the ranks of the techno elite, Jonson hasn't just stayed personally grounded. He's devoted much of his energy to supporting his own close musical family, both in the groups Cobblestone Jazz and the Modern Deep Left Quartet, and with his Wagon Repair label, which he cofounded with Jesse Fisk, Graham and Adam Boothby, Frank Meyerhofer and Konrad Black.
 
He studied classical piano as a kid, plus jazz drumming, and played drums in a marching band —thus laying both the melodic and the rhythmic cornerstones of his music today. (Plenty of musicians claim to be "classically trained," of course, rendering the phrase all but meaningless. But here's something you might not have known about Mathew: he's actually begun studying piano again, which suggests a musical seriousness that's rare in the world of auto-didact button-pushers.
 
Thanks to his father's work with sound technology, he also got his hands on synthesizers at the age of 9. By the time he discovered hip-hop as a young teen, he was recreating its electro-based beats on his own rudimentary setup at home.
 
It was in Victoria, when he was 19, that Jonson met up with the crew that would help guide his musical trajectory: Tyger Dhula, Danuel Tate and Colin de la Plante, who were playing and DJing parties around the area. The four started playing in clubs together, an early version of the group that exists today as Cobblestone Jazz and the Modern Deep Left Quartet. (The Modern Deep Left Quartet was the original name for the foursome; after de la Plante moved to Montreal, the remaining trio carried on as Cobblestone Jazz.)
 
"It was all improvised," says Jonson of the group's early days. "We never really worked in the studio, we would just meet at the nightclub and jam. That's how it started. We did that for quite a while, and then it morphed into a residency at a club, once every two weeks." To keep it interesting, they would invite other musicians—on trumpet, violin, bass, sax, and rhythm sections—to join them.
 
After de la Plante left town, Cobblestone Jazz began focusing its efforts more squarely on the dancefloor, moving away from purely improvised sets to include composed and rehearsed passages. And Jonson gradually began honing in on his own sound, both in his productions and his DJ sets, inspired by a deeper, weirder sound that had begun filtering into the city's techno parties.
 
His first record, in 2001, was the first release on the B.C. label Itiswhatitis, appropritately titled "New Identity." Another followed in 2002, and in 2003. That year, he also made his first appearance on Perlon, "Alpine Rocket"—a track he recorded alongside Luciano during his first trip to Europe. And then, suddenly, Jonson was everywhere: Itiswhatitis, Sub Static, Arbutus, Kompakt, M_nus—and every track an anthem.
 
"I had all that music kind of saved up," says Jonson, "and then, just by chance, released it all at the same time. People criticized me for it, said that it wasn't a good idea. But it worked out for me. All the tracks did well. I wasn't saturating the market with bad music." He's right there.
 
In 2005, Jonson co-founded Wagon Repair, and it's been a blur since, a nonstop series of tours and recordings, solo and with his bandmates. Crucially, he moved to Berlin. Here, he and de la Plante—who moved over at the same time—have set up Cobblestone Jazz' European headquarters, providing not only the launch pad for European tours but, more importantly, the control center for the group's recorded activities. The studio is jawdropping, frankly: a semi-circle full of gear, from old workhorses like the 808 and 909 and SH-101 to unique beasts like their Cwejman and Roland System 100m modular system. Tate's Rhodes piano anchors one corner of the horseshoe, and everything feeds into a massive desk where tracks are mixed and recorded in real-time. Jonson makes his own music essentially the same way—only with two hands instead of eight.
 
Those two hands have come up with some remarkable material. Having perfected his brand of earthshaking epic with tracks like "Marionette," "Return of the Zombie Bikers" and "Symphony for the Apocalypse," Jonson has increasingly turned his efforts towards more personal, introspective music. He hasn't left the clubs behind—his new album, Agents of Time, features a number of tracks that are as hip-windingy wily as anything he's produced yet, full-on tracks like "Girls Got Rhythm" and "Thieves in Digital Land." But he's also taken advantage of the longplayer format to stretch out and indulge darker moods and slower tempos.
 
"I like to have phrases that sound like they're major, but then they go minor when they turn around," explains Jonson. "You think that you're in a happy place, but suddenly you're not. I like playing with that tension. When I look at the music I've made, the best music is always music that can stimulate any kind of emotion. It's more like a key, towards opening up whatever is inside of you -a gateway"
 
You can expect him to be unlocking even more emotions soon—ones you may not have even known you had—when he ramps up with Midnight Operator, a collaboration with his brother Nathan Jonson, aka Hrdvsion. With Nathan also based in Berlin, the two are finding common musical ground, expanding upon the platform they established with their lone, 2007 EP for Wagon Repair as they begin work on an album.
 
"Obviously, you can look at what I do with my label and the bands I have, to see what's important to me," says Jonson of keeping it in the family, so to speak. "I'm lucky because I have so many friends who are strong musicians. We can all feed off of each other.  You know, when you're doing music, it's such a personal thing. To have an outlet with the labels to be able to release our music, and be able to all stay together, I think there's a lot of strength in that. Everybody is stronger as a group." – Philip Sherburne


In the trend-driven universe of electronic dance music, Gregor Tresher is the rare artist who transcends such cycles. His secret? A relentless focus on melody and timbre, timeless musical elements that other producers often undervalue. Just as a painting or a photograph appears to move if one stares at it long enough, close listening to the stratified grooves and melodies in Tresher's music reveals an organic universe of shifting sound.

This is the Official SoundCloud account for Richie Hawtin and contains all audio media from Richie’s career: releases, remixes, DJ mixes, Live shows and interviews. We invite everyone to listen and enjoy what will become the definitive audio history of Richie’s career from past to present. All this material will also be linked into the new richiehawtin.com website that is currently in development.

Please note that we will NOT answer any emails, listen to any demos or tracks, or follow any individuals that are sent to this account. QUESTIONS CAN BE SENT TO info@richiehawtin.com

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