Beverly crush 
BOOKINGS: elrysmits@hotmail
////
//
/
dj since 1997 under various names and styles.

https://avalonemerson.com/andthecharm

Now one of dance music’s most respected DJs, Avalon Emerson first made a name for herself in the storied warehouse scene of her birthplace, San Francisco, before relocating to Berlin in 2013. Over a decade of performances at the famed Berghain led to appearances at numerous festivals around the world which all cemented Emerson, and her evocative, genre- and decade-spanning sets, as perennially in demand. 

In 2020, she released her first full-length collection: a contribution to the longrunning DJ-Kicks series (which Resident Advisor described as “The sound of a well-honed DJ at the top of her game.”), nestled alongside a steady stream of remix releases for the likes of Four Tet, Slowdive, Robyn and more.

Next up was 2023’s Avalon Emerson & The Charm, an instant classic which saw Emerson exploring her singing voice and more traditional songwriting outside of the boundaries of her dance music work.  Created after a move to New York, the resulting & The Charm album was released to critical acclaim, landing on numerous critics’ best-of-the-year lists.

The stage is now set, then, for her to carve out a wholly unique path, and with the help of new label home and indie giant, Dead Oceans, Emerson is poised to connect her various musical endeavors to create an untouchably rich output of material. First up is Perpetual Emotion Machine, consisting of songs created for her DJ sets, delivered via a living, evolving project and announced ahead of her worldwide tour.

Pianist / Producer
booking contact: info(@)ori-gami.com

UK electronic music performer and recording artist. 
Bookings: michael.matuschek@triangleagency.com

Master Kev’s victory in a mix-off contest in the 1990’s proved that the years of obsessing over the mixes of Merlin Bobb, Timmy Regisford, Tony Humphries and others on radio and in clubs, studying underground dance and beat syncopation and accumulating a killer collection of records finally paid off . And as the number of shows soared, so did Kev’s talent. Soon after, hero Tony Humphries called Kev to ask him to join forces with him on his Yellorange Label. His answer? A triumphant ‘Hell Yeah’.
After spinning in his first WMC in the year 2000 and embarking on several trips to Europe, Asia, Australia, South America and beyond, with Tony Humphries and even solo, his DJ career was officially on the rise. Playing in some of the most prominent clubs in major cities all over the world and playing alongside some of the prominent names in the industry including Louie Vega, Timmy Regisford, David Morales, Danny Krivit, Kerri Chandler and so many more. Also, in 2000 Kev along with founder Marlon D and others helped form the Underground Collective - a collection of DJ’s, performers, musicians..etc created to draw exposure in the dance music industry to major labels and beyond.

While working with Tony Humphries at Yellorange from 1999 - 2004, Kev had many ‘Net Shows’ on the site along with Tony Humphries and the other Yellorange DJ’s that were updated once a month. Then in 2004, Kev started a weekly radio show on CyberJamz Radio (cyberjamz.com).  The show has grown more and more each year, with many producers giving Kev the upfront heat and unreleased jams. Also, many labels send Kev promo’s in hopes that those tracks/songs will be played on his very highly listened to radio show.  With the amount of weekly hits in the archives it was no wonder they would think of Kev to help promote the new music.These days u can find the Master Kev Mixshows on Soundcloud (https://soundcloud.com/master-kev) which are updated frequently.

In 2006 Kev partnered up with long time friend and former Yellorange/Underground Collective DJ partner David ‘Vibes’ Tobon and keyboard wizard John Crockett to form MKDV.  They produced their first track together titled ‘Twisted’ which gained a lot of early support from the biggest names in the dance music industry and was a very popular release on DJ Spen's imprint Code Red as well as Defected Records and even being licensed by the one and only Carl Cox for his mix compilation that was released on Defected Records.  They also worked on original tracks for Tony Records and remixes for Louie Vega’s imprint Vega Records remixing Sara Devine’s ‘Special’ as well as remixes for Mel Cheren’s and Kevin Hedge’s (Blaze) West End Records.  In 2007 Kev partnered up with good friend Scott Wozniak to produce more tracks for Code Red & Defected titled ‘String Thing’ and ‘Uncooked’ .. ‘String Thing’ became the number 1 download on Defected and Traxsources website for weeks .. They also did some remixes on Stevie Wonder’s ‘My Cherie Amour’ and Joe Cocker’s ‘You Are So Beautiful’ (high in demand since the 2007 WMC) which were never released to this date.  Later that year Kev also partnered up with Abicah Soul and worked on original tracks and remixes as well. One of those tracks ‘Kora’ was released on Iwanni Records from Toronto.

With an abundance of traveling and playing in major clubs as well as major clubs back home in NYC such as Cielo, Santos, Sullivan Room..etc..work and the frequently updated podcast shows on Podomatic & Soundcloud, Kev was once again back in the studio this time with very talented Tony Loreto from Italy forming the MKTL brand. They have been working together a lot throughout 2009-2013. They have done remixes for Tortured Soul ,Arnold Jarvis, Kenny Bobien, Peven Everett, Underground Collective,Michelle Weeks, Boddhi Satva's Offering Label, DJ Spen's 'Code Red' label, Louie and Anane Vega for Vega Records and scores of others.

FLOORPAN "THE MASTER'S PLAN" (CLASSIC MUSIC):
https://cmc.lnk.to/cmcd141d

Before I got into this music I wanted to be an originator ; I wanted to be original".
Founding member of the legendary group Underground Resistance as a 'Minister Of Information' with ‘Mad’ Mike Banks & Jeff Mills, his seminal works on Jeff Mill's Axis and his very own M-Plant imprint paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno's path throughout the late Nineties.
Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. 

"Growing up in Detroit, I grew up with Motown in the house - a lot of Motown and Philadelphia soul, artists like Marvin Gaye of course and Curtis Mayfield. I remember Isaac Hayes, the soundtrack from ‘Shaft’ had come out. My father was a jazz musician; he played piano, trumpet and drums. My mother was in an R’n’B group.
We listened to a lot of Motown - in fact, my grandfather’s first cousin is Berry Gordy.
"I was influenced by my father - I wanted to play trumpet like he did."
Robert's father tragically died when he was just 6. The photo of Robert siting down holding a trumpet is his fathers.
"I had to beg my grandmother to let me borrow the trumpet to take a picture with it"

In the early 90's he began to concentrate on his own production 'Vision EP', the 'Riot EP' and X-102 were big stepping-stones for him as they were the first releases he worked 100% on his own. The X-101 to X-102, were Waveform Transmission projects with Mills for Tresor. He slowly progressed to work more and more on his own, but collaberated on some of the first Axis releases with label owner Jeff Mills as H&M (Hood & Mills) with ‘Tranquilizer EP’ and ‘Drama’.

He soon decided it was time for him to start his own label to focus on what was in his soul musically. M-Plant started in ’94. I had developed this “grey area” sound - what I mean by that is that in Detroit, even when the sun is out, there’s something in the atmosphere. I don’t know if its pollution or whatever, but the sky has that grey haze over it. It’s got to be something from the industrial factories there. I’d never really heard a sound like that before and it came from a Roland Juno - it was a chord sound that really went along with my depiction of what Detroit was at that time. A lot of buildings were abandoned and there was a lot of lifelessness in the city, especially downtown. The M-Plant, in minimalism, kind of reflected that. I remember thinking of Detroit like a museum. You know, like a work of art standing still, suspended in time. There wasn’t a whole lot of activity going on.

Releasing singles such as "Internal Empire,", “The Protein Valve” "Music Data," and "Moveable Parts", "The Pace", more recently "Range", "Alpha" and that isn't even touching his other monikers Floorplan, Monobox, The Vision, etc.
"M-Plant is what I've always wanted to hear: the basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. “It's a heart-felt rhythmic techno sound. M-Plant is just M. minimal. “

Although his desire to remain underground has been replaced by an urge to reach a wider audience, mainly via his housier, disco, gospel moniker Floorplan with his daughter Lyric Hood,   Hood remains fiercely critical of artistic and economic movements destructive to inner-city communities and has combined his musical enterprises with outreach and social activist ends.

The Silence at sea is OUT NOW:
https://lnk.to/SilenceatSea

CKRIS is following