Clubs, festivals, theaters, football stadiums, museums, beaches, mountains and beyond - Peter Van Hoesen's take on visceral techno has been presented worldwide in many different settings. 

One central element always remains: a deep love and understanding of sound and all its influential effects. Peter Van Hoesen performs live shows exclusively. 

Peter Van Hoesen runs Time To Express and Center 91. Together with Atom™ he is SYNC. - a live techno project focused on improvisation and collaboration. Together with Yves De Mey he is Sendai, a forward looking experimental outfit with releases on Editions Mego, Archives Intérieures, Konstrukt and Stroboscopic Artefacts. 

Since December 2024 he runs Memento Mastering, a mastering studio located in Ho Chi Minh City.

Bookings: mike (at) berytus.art

petervanhoesen.com / mementomastering.com

We are a music blog driven by passion. Supporting artists & labels since 15 years..
https://www.novafuture.blog





we do what we like - music is our passion ... we are a blog presenting and supporting music of several labels & artists we like.  We are not only running premieres - we also present stuff on our page ....


(we try to answer much messages as possible but this will take some time)

bookings: Marco@theblissoffice.com 
Media and collaboration: deas@deasmusic.com

OUT NOW: Chris Liebing - Phantom Rider EP
https://lnk.to/CLR128

CLR is the label imprint of Chris Liebing https://linktr.ee/clrofficial

-- PLEASE DO NOT SEND PROMO TO THIS SITE  --

In 2007 Cisco Ferreira aka The Advent discovers Ricardo’s talent and releases Ricardo’s tracks on his Kombination Research imprint, followed by releases and remixes for artists like A. Paul, The Advent, Christian Fischer and DJ Murphy. Towards the end of 2007,  CodeWorks label was created, which would with its first release immediately prove to be successful—selling out in one week. This new motivation pushed towards a new project: The Advent vs Industrialyzer.

With current releases on Drumcode, as well as the upcoming releases on MB Electronics, Beat Disaster, Theory, etc., the duo has a promising future.

Bookings enquiries and info? management@deepchild.com

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Australian producer, DJ, designer and teacher Rick Bull, best known by his artist name Deepchild, has been one of the Antipodes' best regarded electronic music exports for two decades.

Bookings have included BERGHAIN / PANORAMABAR / FUNKHAUS BERLIN / DEMF / TRESOR / WATERGATE / SONAR / EXIT FESTIVAL / FUSION FESTIVAL / NEW FORMS FESTIVAL CANADA / ENDUP SANFRANCISCO / SANKEYS MANCHESTER / EGG LONDON / SYDNEY OPERA HOUSE STUDIO + many, many more...

With club, broadcast, composition and critical-discourse experience, Bull’s investment in electronic music is deeply rooted. The formerly Berlin-based artist made his debut at the city’s legendary Berghain club in 2007 and he has toured internationally and extensively since then. Fortified by an expansive catalogue of releases and remixes on labels like Get Physical Music, BBE, Sleaze, Leisure System and Future Classic, Deepchild is also one half of the Juno Award nominated duo, Concubine.

“Clinically, surgically sharp, yet always of a complete rhythmicity, Deepchild smoulders in every sense of the word.” – BigShot Magazine

HATE promotes the best electronic, techno-oriented releases.

HATE on Soundcloud is all about exclusive Podcast Series & Premieres Cycle.

Mix series, born in October 2016, includes works from artists who are involved in the development of our channel and provide the tone of HATE Collective for a long time. Past records from them you can find on our YouTube channel.

After only one year from its birth, HATE podcast series was mentioned by Telekom Electronic Beats as one of "10 Techno Podcasts Every Techno Head Should Know": http://www.electronicbeats.net/the-feed/10-techno-podcasts-every-techno-head-hear/
 
Follow us here:
https://www.youtube.com/c/HATE
https://www.instagram.com/hate_collective/
https://www.facebook.com/hatecollective/

Contact us here:
hatemusic1@gmail.com

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. 


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.

Few figures in contemporary music have influenced their respective fields the way Frankie Knuckles has revolutionized dance music.As one of the most renowned DJs in the world, Frankie Knuckles is still packing dance floors with his unique style for almost 30 years. Legions of admirers during his travels penned Frankies nickname The Godfather of House the press picked up on it and made it stick.

He has played a pivotal role in the creation and evolution of house music, which has become the dominant staple of dance clubs throughout the world. It was this celebrity and his constant fundraising for some of his favorite charities dealing with aids, homelessness, and education of our youth, that garnered him one of the most prestigious honors by the City Of Chicago.

On August 25th 2004, the Mayor of Chicago proclaimed the date Frankie Knuckles day, and a street naming Frankie Knuckles Way .As a Producer and Re-Mixer, Knuckles lent his talents to some of R&B and Pop musics elite. Artists such as Mary J. Blige, Sounds of Blackness, Michael Jackson, Janet Jackson, Diana Ross, Luther Vandross, Michael Bolton and Toni Braxton. Frankies production and mixing career was officially recognized by the music industry in 1997.

He became the first recipient of a Grammy for Remixer of The Year and has served as a Governor and Trustee, for the NYC Chapter of The National Academy of Recording Arts & Sciences.As an artist enjoying the success of two Virgin Records releases, Beyond The Mix and Welcome To The Real World . The first album included The Whistle Song which is most memorable as the Lipton Ice Tea commercial in the mid 90’s.

In 2001 Definity Records released the single Keep on Movin by Frankie Knuckles featuring vocalist Nicki Richards. The new song opened his Mix album Motivation and was the beginning of the collaboration between Knuckles and Richards 2004 A New Reality release. Billboard Magazine writes in the Album Reviews noteworthy section Knuckles strings together an inspirational and spiritual collection of gospel-infused club songs .

With critical acclaim from nearly every Electronic Dance and Club Culture magazine through out North America and Europe. Definity strategic crossover plan launched with a visibility campaign in Major Chains for Black History Month in February. Reviews in Vibe, Ebony, Black Beat, Essence, and BET made this Motivation album the first Def Mix Productions release to garner recognition with mainstream Afro American press.

Knuckles was back in the USA mainstream with his positive message. The launch of his Motivation world tour put Knuckles message again in the forefront on an International level and Knuckles realizes post 9/11 was a New Reality for him. In 2003 Knuckles released an exclusive mix album for Armani AX which also renewed his positive Message, and introduced the forthcoming studio album.He started digging through the vaults and writing, and came up with his first studio album to release in 7 years.

A New Reality released April 2004 in the USA, UK, Italy, Australia, and Japan simultaneously, and continues to receive media attention. Knuckles Launches his A New Reality” Tour on the heals of his Bac N da Day success around the globe. Bac N da Day is the first collaboration in 20 years with long time friend, House legend and co writer Jamie Principle. His second single Matter of Time features Nicki Richards, who is one of the most sought after vocalists in the USA. She works with everyone from Janet Jackson to Stevie Wonder. A breath of fresh air, Nicki is featured on half the album and is backed by some of the most amazing vocalists the business has to offer. She also sings with Will Downing who sings backing vocals for her on What’s Goin On .

Knuckles continues to use his celebrity and much of his spare time providing entertainment for various AIDS charity events. He supports anything that has to do with children, noted as saying I cannot stand to hear a child cry of want, hunger, or a lack of love . He has let his services for many past organizations, including Meals on Wheels, GMHC, Pediatric AIDS, and most recently Harvey Milk School.

CLR (Official) is following