@theaboverecords

Worldwide; ali@aclp.agency

The year is 2000, the year of strawberry kiwi. No, we're not talking about a concoction of fruits and cream. We're talking about a smooth and delicious piece of music: 'Erdbeer Kiwi', the first mutual track of German producers Bitmonx and DJ Fabio. Based on subtle rhythms and grooves rather than an overload of melodies and effects, the minimalist elegance of this track is a showpiece for the still young Progressive Trance genre. In 2014 Bitmonx returns. In the same constellation, as a 2-person project, and with the same motivation: Forget about the rules, it's all about banging dance music.

Both being involved in a multitude of projects, Bitmonx and DJ Fabio have been among the major players of the North German Progressive Trance scene for many years. Their mutual album 'Plugged', released in 2007, made their liveact an international crowd-pleaser. Obviously the chemistry between these two producers is just right – so their mutual comeback in 2014 has everything it takes to be explosive. From now on operating simply under the name Bitmonx, they want to focus on what they love most: Creating delightful music for all the party-hungry Progressive heads out there. A first EP will hit dance floors at the end of the year, the first ripple of what might well be yet another major impact on the scene.

My new Album 'SEROTONIN' is out now: https://armada.lnk.to/Serotonin

Billy Kenny is a British producer, DJ and sound engineer with over 15 years of experience shaping a unique, genre-fluid sound. Blending House, Garage, Bass and modern melodic influences, his music has topped charts, earned awards and led to collaborations and official remixes for many major international artists.

Once a co-founder and A&R of the influential record label This Ain’t Bristol, Billy helped shape a movement that reached dancefloors worldwide. His career includes multiple world tours, performances on major festival stages, award-winning releases and repeat placements in the Beatport/DJ Mag Alternative Top 100 DJs list.

After years of working privately and independently, Billy’s focus now is precision, freedom and evolution. With full creative control for the first time in nearly a decade, he moves quietly, choosing to release only what feels essential and allowing the music to define the direction.

The tale of Danny Tenaglia's love affair with music, and the world's subsequent romance with him, is one of the critical veins in the body of dance music. He is every dancer's secret discovery; a random purchase at the record store, a reluctant night out that unexpectedly turned magic. Explosive success came not behind a major label release, or a world tour, or a radio hit remix: It happened when enough people had the private Tenaglia experience for themselves.

The momentum started building in early '70s New York, when a barely 10-year-old Danny first got the feel of vinyl in his hands. Enthralled by the music of artists like Philly Soul's The Trammps, Motown's Marvin Gaye, African trumpeter Hugh Masekela, and disco producer Giorgio Moroder, he started to collect records, plumbing the depths of each one, and frequently finding that he preferred the B-side to the A. It was 1979 when he discovered legendary nightclub Paradise Garage, where DJ Larry Levan's rich, genre-less blend of music seemed to mirror his own "no boundaries" policy. It was here where Danny found the club model he would one day emulate: Levan's bold style, the venue's plain décor, and the party's warmth and inclusiveness.

Danny left New York in 1985 and launched a successful DJ-ing career in Miami as a resident at Cheers nightclub. There he schooled the locals in classic New York and Chicago house, but five years later he returned home, tired of only playing other people's music. He started to assemble an impressive roster of remixes, including Right Said Fred's "I'm Too Sexy" (1991), Jamiroquai's "Emergency on Planet Earth" (1993), and Madonna's "Human Nature" (1994). But his first epic was The Daou's "Surrender Yourself" (1993): With the kick in the bass and the underlying rhythm as the foundation, Tenaglia blanketed Vanessa Daou's wispy vocal with grand, thick chords, a combination of classic groove and modern club-ready depth that was, at the time, entirely new. The title of his 1995 debut artist album on New York's Tribal Records described it perfectly: Hard & Soul. But even if the cocktail was his own, Tenaglia never hesitated to declare how heavily his influences weighed in his productions - everyone from Patti LaBelle to Kraftwerk, with countless lesser-known Soul, R&B, Latin, Samba, and Disco artists in between.

In 1996, after a brief stint at New York superclub Roxy, Danny landed a Saturday night residency at white-hot Twilo, a position that upped his profile but didn't satisfy his expanding artistry as a DJ and producer. While New York swooned for big-room diva anthems, Danny was turning his ear toward the more minimal, tech-y grooves originating in European production studios. This period produced solid remixes like Grace's "Not Over Yet" (1996) and Janet Jackson's "The Pleasure Principle" (1996), but by the time he moved to Tunnel in 1998, Danny had already created "Elements," an instant classic that caused the dance scene's collective jaw to drop. With his own warped voice providing the narration, "Elements" (one track off full-length Tourism) walked the listener through the different components of a dance track in real time, going from kick to drum loop to snare hit, letting each layer over the other until the track exploded with dark, drum-heavy energy. Next to ostentatious radio anthems, its simplicity was a revelation. 

It was around this time that the murmurs started to get louder: Who is this Danny Tenaglia, and just what does he do to people? Clubbers reported seemingly inhuman mixing capabilities, booth-to-floor telepathy, and the grittiest "modern yet classic" grooves they had ever heard come out of a speaker. A trio of label compilations - Mix This Pussy (1994) and Can Your Pussy Do The Dog? (1995) for Tribal, and Gag Me With A Tune (1996) for Maxi - were the first Tenaglia sets clued-in clubbers could take home to dissect, but the release of his first installment in the UK-based Global Underground series of DJ mixes, titled Athens (2000), lit the international fire. Athens (meant to reflect the set he played at the Greek capital's club King Size) remains one of the darkest, strangest, sexiest sets ever released, and its tame cover photo of a gentle-looking man in a Yankee cap just didn't seem to fit. DJ dates across Europe dispelled the mystery and started the spread of the infectious Tenaglia fever.

Back in New York, Tenaglia was tiring of the cavernous gloom of Tunnel and longed for a weekly home that better resembled where the DJ bug first bit him - the Paradise Garage. He landed at Vinyl, a black-walled, single-environment, no-liquor club about one-quarter the size of Tunnel. He named the night "Be Yourself," after the self-affirming, heavy-bottomed vocal track he had recently recorded with Chicago's Celeda. And he took the name to heart: Without the pressure of bar minimums or an expectant crowd, Tenaglia spread his DJ wings. Next to new tracks by young producers like Rui Da Silva, Peace Division, and Saeed & Palash, he played the artists of his youth, with nary a beat dropped. If he wanted to launch into a two-hour set of straight-up techno, he did. If he wanted to play old Michael Jackson records, he did. If he wanted to get on the mic and tell the crowd the name of the sound he was about to play, or who next week's guest opening DJ would be, or just give everyone a "verbal handshake" to welcome them to the club, he did. And a city tired of drama embraced the barebones, music-centered night. 

The world caught up to Tenaglia in 2000. His annual party during Miami's Winter Music Conference outgrew its home at the cramped Groovejet and moved to just-opened superclub Space. DJ giants like Carl Cox danced on top of the speakers with the Deep Dish boys, Fatboy Slim mingled on the patio, and for a day the ego inherent to DJ culture evaporated: Tenaglia was hailed as the undisputed king, the "DJ's DJ." His roof-raising revamp of Green Velvet's "Flash" won "Best Remix" at the UK's Muzik Awards, where he was also awarded the "Best International DJ" prize. 

In the two years that followed, Tenaglia released another Global Underground installment (London); toured the world, took the party island of Ibiza by storm, remixed Billy Nichols' "Give Your Body Up To The Music" (a Garage anthem); got nominated for a Grammy (for his remix of Depeche Mode's "I Feel Loved," also nominated for Best Dance Song); returned to Twilo for two special gigs - a President's Day marathon with Carl Cox that shattered all its attendance records, and the club's sixth anniversary party with John Digweed, which turned out to be even more meaningful than it seemed at the time (Twilo was shut down permanently a week later); graced the cover of every major dance music magazine; and won a Dancestar Lifetime Achievement award... all while keeping Be Yourself buzzing every Friday. 

In 2003, Danny came full circle with the release of Choice: A Collection Of Classics, a two-CD mixed compilation that let him pay direct tribute to many of the artists who had influenced his sound and style. It featured everyone from Blaze to Adeva to Imagination, as well as hefty liner notes explaining the significance of each track, penned by the man himself. He also remixed another Garage classic (Yoko Ono's "Walking On Thin Ice," which became her first Billboard number one ever), opened another Space during Winter Music Conference (the new location down the block), and took another Dancestar award, this time "Best Party" for Be Yourself. 

Be Yourself took the same honor again in 2004, but this time the win was bittersweet. At the time of the ceremony, Vinyl, now called Arc, had already been sold to developers. Danny closed the classic club on Sunday, April 25, 2004, with an emotional set that lasted well into Monday afternoon, and culminated with his mix of Kings Of Tomorrow's paean to unending love, "Finally."

And as in every year since his DJ odyssey began, all across the globe, from Acapulco to Tokyo, more people experienced their first night with Danny Tenaglia, that clubber rite-of-passage that forever changes how you listen to music, go out to nightclubs, and think about DJs. 


Bookings: bookings@discofaith.com

From Melbourne’s iconic Saturday morning spot at Revolver to some of the most prolific bills across the country alongside Denis Sulta, Fred Again.. Kings of Tomorrow, Fatboy Slim and more, there is no denying the stamp Sunshine has had on the electronic scene in Australia and beyond. Known as one of the country’s most standout producers and DJs, Sunshine has not only left her footprint on dance floors and festivals across the country, but her happy house and techno catalogue known fondly has Hap-No, has lit up the lives of enthusiasts and fellow music peers across the industry for over two decades.
 
Having become a staple in Melbourne’s core pool of DJs and producers, Sunshine has never let the passion for music diminish, giving party devotees some of the most soul-moving moments of their lives, with a stellar blend of house, funk, soul, disco and techno at her fingertips. The last few years have imprinted an impressive string of shows for Sunshine, from her renowned 16 hour set at Revolver’s 20th anniversary party, Rainbow Serpent Festival and big closing vibes at Piknic Electronic and Ability Fest, making the Sunshine energy contagious.
 
As the passionate owner of Disco Faith Recordings, this tastemaker has also been celebrated for her curation of one of the most enigmatic outfits - Sunshine and Disco Faith Choir, creating a community unlike any other and blessing people with the uplifting energy of her dancefloor ready music fused with the soul of her 12 piece choir. Joining the likes of Groove Armada and more, the collective has set in stone their impeccable verve from stage to stage, led by the OG herself, Sunshine.

James & Conner
✨ shiny dance music ✨

nvoymail@gmail.com

Minimal DJ/PRODUCER 
In The Mix Voted #31 in Australia Peoples choice 2015
#1 Minimal Track Beatport - In the AM
For Bookings Please Email: johnnycanik@yahoo.com

Bookings Worldwide:
✉ booking@upward-records.com

"Benzoo," the Progressive Trance project by Benjamin Klügel, has a sound that captures the essence of deep, melodic soundscapes with a driving, uplifting energy. Known for hypnotic beats and layered synths, Benzoo's tracks often have a rich, atmospheric quality, mixing pulsing basslines with shimmering arpeggios and smooth transitions that build intensity over time. The style incorporates both classic trance vibes and modern progressive elements, creating an immersive, almost cinematic feel that's both introspective and dance-inducing. The result is a journey-like experience, perfect for listeners who appreciate depth and emotional progression in electronic music.

Alex Ryan 30 is following