The kitchens not all that's cooking.
Eastern Arrernte woman, lover of music. Finding my sounds across multiple genres, naturistic spin.

Techno: Driving, peak time, dub, psychedelic, acid.
Psytrance: Fullon, Forest, Offbeat.
Bass: Liquid rollers, 140, Deep dubs, Jungle Techno, DnB, 160, Footwork, Drum Funk.

The real Drum & Bass queen!
UK Based
Bookings: michelle@makinoagency.com

Passionné de musique électronique underground dans les années 90 , j'achetais ma première platine à l'âge de 15 ans , lorsque j'enchainais des morceaux avec une platine vinyl , un cd , une k7  !!!

J'achetais ma première paire de platines en 1996 , dès lors je me mis à mixer des disques vinyls entre eux et de là est née ma passion pour cette musique ...

Je commençais donc a mixé et à organiser mes premières soirées free party étant donné que le Hardcore était plutôt une musique de " teuf " , j'aimais par dessus tout cette musique énergique et rythmée , je jouais donc dans beaucoup de grosses soirées de ma régions ...

Entre autre avec:

Les Pyrotheks , Les Nonems , Les Sun-Zones , O.G.M. sound systeme , PH.4 Sound6tème , Kalamité sound6tème , et bien d'autres encore ...

J'ai organisé pas mal de soirées également sous différents noms de sounds systèmes comme :

Techno Champy (1997/1998) ,

Pérav Sound Système (1998/2004) ,

Zap sound (2001/2003) ,

Insect Vibes ( 1998/1999) .

Vers 2005 j'ai arrêté d'organiser des soirées car trop trop trop de problémes de lois..............

Third Level promotes Electronic Music from around the world.

 Record Labels, DJ's and Producers are brought to the one place to share with you.



 Great music deserves to be listened to...Turn it up, Crank iT 

 Third Level brings 30+ years in the industry and shares the wonderful talent that is on OFFER.


For Madfast collaborations or remix duties please DM to discuss

Thraking up phat tracks and commiting cardinal spins

I begun DJing in 1990 back in the day when people were producing tracks in their bedroom and it seemed as though there were more bootlegs on the market than general releases. The labels didn’t have a clue what was going on and D-construction was a small dance label that was signing acts like N-Joi rather than Kylie. I did two years in the smoke playing sets to crowds of 2,000 party people that really knew their music.

If you were a DJ playing old records, you’d get booed off the stage, or the crowd would leave the room and go upstairs. I kept it close with my crowd, people would come up to me and ask if I had this tune, if it wasn’t in the box I’d play it next week. But it wasn’t a case of these people making jukebox requests but rather that they wanted to feel a part of the scene and know that they had some hand in making the night.

Out of the club into another, the nights were long and people just kept on going. 200 cars in convoy going down the A1 that was a real feeling of unity. You’d end up in a field with or without a generator, but someone would light a fire and, in the end, you might be dancing around a car stereo but it still sounded good, people believed that they were part of a new expression, a new movement.

Roll that musical clock forward and by 2011 what remained was a shrink wrapped corporately packaged scene that got its kicks from re-releasing and remixing tracks created from back catalogues of labels from the 70s and 80s snapped up for next to nothing. The majors took over distribution and the public channels of expression for independent producers has got even harder. Take a trip down the lane of the tracks that defined our genre and you won’t find too many happy faces. From Rappers Delight, through to Grandmaster Flash - Larry Heard, the man that gave you Fingers Inc - went off to become a programmer. LARRY HEARD!!! 

Back in the day a DJ would take two tracks and blend them to make a third with a mix that could last up to 4 minutes. That for me has always been a part of what a DJ should do. It's much easier now as all you have to do is push a button to beat sync it, whereas if you were mixing over the quartz lock crest of the 1210s you'd be moving it over and below the green light as you were mixing it up!

Music has today become much more disposable in the digital age, reducing people’s creative art to a click. Skip through it, break it down to a stem, no sleeve notes, no artwork visual dimension to the artists creation. All you get is track01 - 4.5MB! Do you want to download? That's today, but for me sleeve artwork for dance music has always been something special too.

DJ equipment is now cheap much more accessible – my Numark 1762 cost me nearly £400 back in 1990. My current Xone32 is still stupid money but you can’t beat the analogue circuitry inside.

The period 1988-1994 was to dance music what the 1960s was to free love. Either you were lucky to have been at just the right age to have been a part of it, or you missed out. We were the last generation to get a youth culture before the smartphone made the youth look inside instead of the world outside.

Music will take centre stage once again at some point in the future, but for all of use that were part of it we know we were part of something special, and this idea of one love guides us to this day. 

My thanks to the following people:
JJ Slide at St. Matthews Church in Brixton
Goa Nights at Tyssen Street Studios  in London
Global Dance 3,4 and weekly nights of Exposure at the Stour Centre in Kent
Buzzbys on a Friday night
SpiralTribe Sound
Chocki and the boys
Nicki Blackmarket
Ratpack
Fabio and Grooverider
Ellis Dee
Truelove productions
Heavenly Recordings
Blapps Posse
Break the Limits
Reinforced Recordings
K-Klass
Zoom Records (Camden)
Horace, (Camden Market)
Resistance D
P. Slaghaus (rip)
Leigh303 (for showing me the dance light)
K-Alexi Shelby....to understand means a way of life...

Keep listening.....to everything

Where Have You Been 🎻 OUT NOW 🫶
Pre-save the upcoming album 'Hopeless Romantic': https://too.fm/xrxn0p7

Contact: hari@drinksonmgmt.com

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