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Phil Hartnoll and his brother Paul are ORBITAL - one of the leading bands and pioneering producers of the UK electronic music and rave scene since 1989.
ORBITAL have produced some of the most groundbreaking works in the history of electronic music. Signed to Pete Tong's FFRR label in 1990, they released a string of classic and celebrated tracks such as 'Chime', 'Halcyon', 'Belfast', 'The Box', 'Impact' and 'Satan' .. to get you started.
Decades after their first release crossed over from the rave scene anthems to the charts their evergreen electronic, melodic, emotional sound can be heard as inspirational to others everywhere you turn.

Phil established himself as a prominent DJ through his attitude and extensive playing over the past 20 years. Phil’s passion for performing as a DJ as well as playing live with Orbital has served to broaden his musical scope and reach, allowing him to share his wealth of talent through multiple channels.
“I love searching for that fat juicy track which hits your very being - that’s what makes me want to DJ, if the crowd love it, feel what I’m feeling - that’s “gezellig”- that’s what being a DJ means to me”
Phil’s DJ sets are streamlined while still maintaining unpredictability and eclecticism. While he loves to mix it up, playing old tracks and new, the message is always the same –
“It’s party time” “Can you feel it?”

For Management & Booking Enquiries please contact: 

Jamie & Jo Young I Backroom Productions enquiries@backroomproductions.co.uk

BOOKINGS (WORLDWIDE) - www.constructindustries.com

Paul has been on Dance music’s frontline since the release of Leftfield’s debut single ‘Not Forgotten’ in 1989. With partner Neil Barnes, the duo went onto become one of the most globally successful and respected acts in Dance music, along the way shaping styles and creating sounds that have influenced heavily and been borrowed from literally. As a DJ, remixer and producer in his own right, Paul employs the same approach to being different, fresh and exciting as he has throughout his vocation and the success he has enjoyed has come through an absolute understanding and love of the music, the clubs and the people.

Paul spent the late seventies and the early eighties soaking up the wide variety of music that the vibrant gig and club scene of his hometowns of Ramsgate/ Margate offered. This meant he was able to soak up everything from Rock'n'Roll, Punk, bass leaden Reggae rhythms,Disco/Funk, Soul and an emerging post punk underground electronic music scene.
Along with being a drummer with various local Punk bands such as The Rivals and The Need he also ran and DJ'd at his own nights in a basement club on Margate seafront, based around underground european uk/us electronic disco/ Post-Punk/Funk
and alike. 

The early 80’s were also spent living/moving to  London with underground clubs such as the Dirtbox,
Le Beatroute,Mud and Wag clubs along with early warehouse parties in the then derelict east/south of london providing the night-time hangouts and the places to hear old and new/contemporary underground music such as US/UK Funk,Rockabilly,jazz,soul,early 80's US\ UK Electro, Hip-Hop,dub. 70's soundtracks,disco,afro latin,dub, northern soul and unrealised at the time these clubs and happenings were to be the embryonic Balearic/House/scene pre-cursor to the late 80's\early 90's uk rave movement to which Paul was later to be fully involved on a creative musical level.

Bank Holiday's of the early/mid eighties provided rites of passage weekender trips to Bournemouth and the uk coast for Dirtbox all nighters and daytime sessions again accompanied by a pre-balearic DJ soundtrack.
The mid/late 80's saw Paul working a lot in the Acid Jazz scene run by Eddie Pillar and Giles Peterson,
he  also playing regularly as a percussionist with bands and dj's at Blitz legend Chris Sullivan's Wag club.
A trip to the states in the late 80's as session percussionist with the Brand New Heavies enabled him to visit clubs such as The Sound Factory, Red Zone, Save The Robots and many other underground happenings of the NYC club scene of the time, opening him up to the exotic American scene and House music in particular.

Back in the UK and Ibiza this new breed of dance music was bubbling away, but it’s highly potent cocktail of repetitive beats and exiting new  electronic sounds would explode on contact with a simmering British boredom and the Ecstasy boom. For Paul, the abundance of music arriving from the States and Europe, the excitement of the clubs and hearing British DJ’s mixing it up and doing things differently persuaded him to become involved in the music and get behind the decks again. 
Paul was now in demand as a DJ on a UK and international level taking his cutting edge sound around the country
and the world as part of the early 90 's wave of superstar dj's to emerge from the london underground scene of the time. 
He also played regularly at every main club in Ibiza such as Ku,Space,Pacha,Amnesia as well as playing regularly along side chill out legend Jose Padilla at the sonic sunset temple that is Cafe del Mar.
He held down guest and residency gigs at uk clubs such as Love Ranch,Full Circle,Strutt,Solaris,Ministry of Sound,Renaissance, Back to Basics and many more including regular trips to Naples,Amsterdamn,Japan,Ireland,Scotland,
South/North America,Australia,Goa,Canada and Europe.
“Suddenly at those early Acid-House/Balearic parties, it seemed that everything I’d ever been into came together under one roof,and everything was nice’ Cue Leftfield...

In 1990 Paul was given the opportunity to remix "Not Forgotten" the first single by Leftfield.
The result was the 'Hard Hands" remix.
Paul's Hard Hands mix was a genre splitting funked up heavy bass spaced out balearic/techno dj dance floor monster, still dropped today and regarded as a seminal 
tune in the history of dance music, it set sound systems alight and paved the way for other budding electronic artists and dj's.
This record joined the ranks of classics and cemented Paul and Neil's partnership for the coming decade.......

As dance acts go they don’t come any bigger and few have had such an enormous impact on the international scene. By not repeating themselves, Leftfield delivered two key albums - for which they received Brit & Mercury nominations for Best UK Dance Acts in both 1996 & 2000 - that helped shift Dance music’s sound into new and dynamic phases and as such the reputation and the respect that the name Leftfield still commands to this day, is literally second to none.

Their debut album ‘Leftism' (1995) redrew the borders for dance music, pioneering a radical hybrid that drew intuitively on rib-shaking dub, futuristic techno, house and breaks and with its timeless qualities, is regularly declared ‘The Greatest Dance Album Of All Time’. Its included collaboration with Sex Pistol John Lydon on ‘Open Up’ was the first ever dance/rock crossover not to sacrifice any of the attitude of either genre. Their second album ‘Rhythm & Stealth’ (1999), contained an equally exciting new blend of crisp, cutting-edge electronic sounds and alongside vocal contributions from Afrika Bambaata and Roots Manuva, included the fearsome electro-breaks beast ‘Phat Planet’, with which Leftfield once again wiped all pretenders away. Sales are in excess of 1,000,000 copies worldwide for each album.

With the Leftfield sound dictating much of clubland’s direction they were in-demand as remixers and subsequently deconstructed then dusted their magic over an assortment of artists that included David Bowie,Stereo MCs, Inner City, Tricky ,Renegade Soundwave and many more. During the Leftfield years the duo also formed their own label Hard Hands which itself was at the front of the scene and aside their own music was responsible for issuing over 60 other releases by underground artists that included Pressure Drop, Dark Globe and Full Moon Scientist.

As well as Leftfield scoring music for the soundtracks of the internationally successful Trainspotting and director Danny Boyle’s follow-up Shallow Grave, their music has been used on the big screen in the films Tomb Raider, The Beach, Hackers, Hackers 2 and Vanilla Sky. It has also been utilised in a number of television commercials, most notably the now infamous ‘White Horses’ ad for Guinness, for which the fearsome rumbling intro of ‘Phat Planet’ was also the teasing first taste listeners got of Leftfield’s then imminent second album. This critically acclaimed unison has since been voted ‘The Greatest Television Ad Of All Time’ in myriad charts, programmes and polls. Other Leftfield music used in advertising clips has been for Volkswagen’s Lupo car (‘6/8 War’) and the atmospheric intro of ‘Release The Pressure’.

The impact of Leftfield’s debut single helped secure Paul DJ bookings and he quickly earned himself a reputation for spinning a choice of solid tunes and raising the temperature on dancefloors worldwide. Throughout the decade he played regularly across the planet at clubs and festivals, including all the large UK outdoor events like Tribal Gathering, Homelands, Witness in Dublin (now the Oxygen Festival) and the Brighton Essential Festival. The overtaking demands of Leftfield meant that DJ’ing took a back seat through the turn of the decade, although he maintained a residency at London’s Fabric club between 1999-2003.

For the last ten years Paul has been in demand as a DJ, remixer and producer in his own right, turning out killer dancefloor ammunition for, among others, Slam (‘Alien Radio’), Dub Pistols (‘Six Million Ways’) and Bolz Bolz (‘Take A Walk’ - which went on to be synched to a Smirnoff commercial), plus the sunset-tinted ‘Adios Ayer‘ for long-time friend Jose Padilla (Café Del Mar) and a rework of Massive Attack’s ‘Butterfly Caught’. In 2004 he produced a single for the alliance of funk renegade Afrika Bambaata and robo-synth-pop pioneer Gary Numan, who teamed up on a new version of Numan’s 1979 track ‘Metal’, resulting in an electro floor-curler with a commanding presence.

Paul has been operating more in the shadows over the last few years, DJ'ing and remixing whilst putting the finishing touches to his solo album.
He is still just as comfortable playing to 100 people in a sweaty sub-basement as he is DJ'ing to larger event crowds.

When Paul DJ’s, it’s still predominantly a diverse mixture of electronically infused Techno, House and beyond. The linear connection being the all important funk and sonic subversive element. But appreciating so many different types of music, has always made it hard to pinpoint Paul Daley as a particular style DJ (or producer, or remixer…) and is key to his ability at keeping a dance floor and sound system on the edge.
"i'm not a one sided coin,being into a multi faceted pop culture for 45 years creates a lot of different influences, that is why i like playing different sets for different situations, there's too much good music around to be blinkered by one style or sound"

“My laws are still the same as when I was DJ’ing at my sister’s house parties in the mid seventies which is, if the people aren’t dancing or smiling then it’s not happening. I still get the same buzz I got when I was 12 years old playing records in my bedroom, it’s the same feeling but I’m sharing it with 100’s of other people”

Paul understands and encourages new music from underground labels from all over the world, anyone who comes to listen to a set should not expect to hear some kind of 90’s revival (he didn't hold down a 3 year residency at Fabric for nothing...), his sets and records represent an energy of someone half his age with twice as much musical experience. 
Anyone fortunate enough to catch his summer residency at Ibiza’s uber cool country club ”The Underground”from 2005 - 2010 bear witness to this.

Those who have heard Paul play understand his love and sincerity to the music. This has always outweighed taking an obvious commercial route as a DJ and this attitude continues to this day.



Not one for talking about himself in the 3rd person, Key Lo is a self-confessed mixing perfectionist; typically I can be found joining the dots between House, Techno, Breakbeat and Acid.  

My first gigs were raves/ free parties and squats and one of my biggest achievements included getting shortlisted in the top 5 “best new Breaks DJ’s” category in the Breakspoll international Breakbeat awards back in 2011. 

Nowadays I run an event called Say WHAT?, which I think of as a bespoke little Acid House party with world class residents and a crowd that any DJ would love to play to! Hosted at a small intimate venue in Todmorden, guests so far have included Justin Robertson, Dave Angel and Phil Hartnol (Orbital), Darren Emerson and Luke Solomon.

Anyway, that’s enough waffling from me…
My advice is to let the music do the talking and have a listen…

I hope you enjoy listening to my sets as much as I did putting these mixes together. x

Feel free to drop me a line via Facebook:
https://www.facebook.com/profile.php?id=100087366240588

BEATPORT CHARTS: http://dj.beatport.com/profile/9125

Bookings: (47) 98422-5897
                   leon_music@outlook.com
                  

SUB by The Martinez Brothers, Michael Bibi, Amine Edge, Visage and others

LABELS Blackartel, HUB, CUFF, Dirtybird

Circus Recordings / Circus Events 







What more can be said about Yousef…

A leading figurehead in dance music. A man who has lived and breathed house music since he was a teenager, with over 20 years of dedication to the global electronic music scene, his contribution can’t be over exaggerated. Yousef, constantly pushing his own creative and artistic boundaries, while he is considered one of the best, most skilful and most respected UK DJs of all time. 

Yousef has now completed his 5th artist album, the truly accomplished “I Operate in Purple”.
The project has invited a series of world class musicians and singers to help Yousef realise his ambition to release a 14-track legacy project that leans upon his two decades in at the forefront of house music and plans to stand up next to the great dance music albums of our time. IOP eloquently manoeuvrers through original vocals, radio ready crossover and the emotive underground. Each track comes with its own individual and original 3D video that reveals the narrative Yousef has created. This is easily Yousef most unforgettable work he has ever created. 

Yousef’s powerhouse record label Circus Recordings has released music from many of the world’s most significant names, from Carl Cox to Kerri Chandler to Green Velvet to Jamie Jones, all while breaking completely new artists from all over the world directly to give them a much-needed platform. The record label runs parallel his equally globally respected Circus Events, where Yousef holds one of the longest and most important DJ residencies in the history of UK club culture. 

Circus at Blackstone Warehouse is the UK’s most cutting-edge warehouse venue. In term of sound, lights and staging there is nothing like it in the UK. Circus has invited names from Peggy Gou to Pawsa, Bicep to Ewan McVicker, Chris Stussy to Micheal Bibi and literally every major name in electronic music to join Yousef at his two decades long party… 

Yousef’s prolific music output consistently sees his music in the boxes of every major DJ from Joseph Capriati, Marco Carola, Carl Cox, Fisher, The Blessed Madonna, Seth Troxler, Honey Dijon and everyone. 
in-between 

Yousef has released more music on the world’s best record labels than almost any other artist in his field. Seminal releases on Crosstown Rebels, Desolat, Cocoon, Moon Harbour, Knee Deep in Sound, Defected, Hard Times, Renaissance and of course his own legendary Circus Recordings.

Yousef’s trusted voice led him to be requested to represent electronic music community for a private meeting with ‘HRH Prince William’ the future King of England, and later with many leading MP’s, to relay the difficulties dance music is facing through before and since covid. These efforts helped pave the way for Yousef’s Circus event to be asked to take on the colossal task to organise ‘The First Dance’, the world’s first sanctioned music test event since covid struck… The monumental event captured the attention of the entire world and its major media, with 7 billion online and news engagements, and is now cited as ‘one of the most significant moments in electronic music history”’. Yousef & Circus were given the BBC “Impact Award” on Radio One for all the work done to help the music industry in 2021

Jon Carter has been a DJ, producer and recording artist for 35 years. He is about to release his latest artist album ‘Medication Time’ which has already received much early critical acclaim from various music legends, who heard it in late 2023.
One of the shining lights of the 90s/noughties dance scene worldwide, Jon gave up production at the height of his fame, to open pubs, music venues and a retreat venue just outside of London.,
He haslcontinued DJ at various festivals and venues, and is a Glastonbury fixture.
The new album sees Jon return to the fray, with a slew of tracks ranging from discerning styles of house music, acid and techno through to discursive electronica, all underpinned by his trademark eclecticism.

Bookings: matt@thepool-london.com 
Promos: promo@gregwilson.co.uk 
DJ Dates: https://blog.gregwilson.co.uk/upcoming-dj-dates/
Greg began DJing in 1975 and is regarded as one of the most important figures on the UK dance scene. He enjoyed hugely popular residencies in the early eighties at Wigan Pier and Manchester’s majorly influential Legend, having originally started out in his hometown, New Brighton. A pioneer of mixing in the UK, he became the first ‘dance music’ specialist hired for a regular weekly session at Manchester’s now legendary Haçienda club in 1983. Greg was instrumental in breaking the new electronic, post-disco records coming out of New York, a sound he has dubbed ‘Electro-Funk’.

In 2003 he set up electrofunkroots, a website documenting this crucial era in the evolution of dance culture. After a two decade hiatus from the booth, he returned to DJing and soon welcomed bookings throughout Europe and, subsequently, worldwide.

Greg was the first DJ to mix live on British TV, putting together the first UK radio mixes of their type for Piccadilly 261 in Manchester and showing a certain Norman Cook (later Fatboy Slim) how to scratch.

Nominated by DJ Magazine for outstanding contribution, and also named amongst their top twenty remixers of all-time, Greg’s remix credits include Grace Jones, The XX, Groove Armada, Bryan Ferry, Confidence Man, Gilberto Gil and Simian Mobile Disco, whilst he’s edited tracks by A Guy Called Gerald, Talking Heads, O.M.D., Electronic, Imagination and Missy Elliot.

In January 2009 Greg’s reputation was further enhanced when his Essential Mix on BBC Radio 1 received almost universal acclaim and was selected as one of 10 classics that spanned the show’s near 17 year history.

Greg’s Blog, ‘Being A DJ’, was launched in June 2010 for observations on various aspects of club culture now an online touchstone for an ever-increasing amount of dance enthusiasts and aficionados.

In August 2010 he co-curated areas at the inaugural Vintage Festival at Goodwood, which was named ‘Best New Festival’ at the UK Festival Awards.

He has produced a series of documentary podcasts, Time Capsule, Random Influences and Early 80’s Floorfillers, as well as the long-running blog series, Living To Music.

Greg has given talks on music and DJ culture at a number events at venues The Tate Gallery in Liverpool and London's Southbank and Institute Of Contemporary Arts, whilst in 2013 he was invited onto a panel alongside legendary figures Nile Rodgers and Giorgio Moroder @ ADE in Amsterdam. 

In 2014 he unveiled the multi-media label Super Weird Substance, focusing on recording and live events. In 2015, the label released 8 vinyl singles, brought together in the 2 CD comp, 'Greg Wilson Presents Super Weird Substance'. September 2015 saw a memorable Festival No.6 Happening in Portmeirion and Greg rounded off the year with the Liverpool-based celebration of the 40th anniversary of his first club date in 1975 as well as being presented with DJ Magazine's Industry Icon award.

Greg launched his Credit To The Edit club collective at 2016's Festival No.6 and since then has taken it to Liverpool, Berlin, Brixton, Bethnal Green and finally back to Portmeirion for Festival No.6 2017.

2017 saw his label host the epic 14 Hour Super Weird Happening at Liverpool's Florrie, following a mixtape collaboration with Alan Moore, who also appeared at the Happening, whilst it also saw the digital release of The Super Weird Society's 'Gone With The Vibe', released the following year on the first Substance Select 12" vinyl alongside 'The Ghosts Of Watling Street', 'The Best Is Yet To Come' and 'Summer Came My Way'. 2018 also saw the release of Vol.3 in Greg's long-running Credit To The Edit compilation series.

After a handful of further releases, the label was put into hibernation with the onset of covid. Diversifying, ‘Greg Wilson’s Discotheque Archives’ was issued during 2020 lockdown as a limited run paperback, with more books, both Wilson’s own projects and by other authors, now planned.

Ciaran Joseph is following