London based producer influenced by the French electro scene of the early 2000s. I've added that electro feel to house, electro and hip hop tracks

Booking: 
bruno@kompakt.fm (Worldwide)
pete@wearee.nl (Netherlands)
hamilton@wrightbookings.com (North America)
diego@analog-a.com (South America)
mike@thickasthieves.com.au (Australia & NZ)
prateekpandey@slickevents.in (Asia)

What can you say about an artist who grew up in the sheltered village of Bergisch Gladbach, a suburb of Cologne, and who has enjoyed a classical music education since his childhood? Who next to his training on the piano, trombone and alphorn has also won numerous prizes on "Jugend musiziert", operated for years as a choirmaster and also worked with various church choirs?

These are the exact types of boys who are drawn to the untamed and juicy techno beats that can push a sound system to it's limits. This is also what our Roland decided to do. He has been schooling his ear for techno since he is thirteen years old and became to be a enthusiastic supporter of the Detroit school from an early age. He started to worship artists such as Charles Siegling, Jeff Mills, Petar Dundov and Secret Cinema. Very soon, he came to own analogue synthesisers and music software and tried himself as a producer. So far so good.

But in order to be a good techno producer, one needs a good label and a good mentor. After a confirming nod from Riley, his first release happened in February 2008 on Trapez ltd. Since then Roland has proven himself as a distinctive composer that produces with analogue instruments and rarely employs the usage of various music programmes. His method of producing has proven it's worth at the latest since the big successes of remixes from Minilogue's "Space", Lucio Aquilinas "Disco Bus" or Extrawelt's "Im Garten von Eben".

Roland's music is rhythm on a high level. He does not want to function as a ambassador and thus convey a message. For him, techno is functional. He is fascinated when the crowd can delve into the atmosphere of his music and this can be anything - from the highly ordered structures of total minimalism right up to the wild sample and effect chaos of general bass type sequential harmonies and total atonality. He enjoys the freedom of being able to move within this musical freedom.

Defyne is following