North/South America: hagi@detroitpremiereartists.com
European Bookings: marc@dskonnect.com

Paris, early ‘90s. The city was a schizophrenic beast—half-glamour, half-decay—where raves exploded like molotov cocktails in abandoned warehouses and smoke-filled basements. It was beautiful chaos. Somewhere in the thick of it was Julien Veniel, better known as D’Julz, spinning records with the focus of a surgeon and the cool detachment of someone who had seen it all.
Then came New York, 1993. A city that didn’t sleep but didn’t really dream either, at least not back then. Veniel—young, hungry, and too talented to ignore—found himself in the depths of sweaty dancefloors, perfecting his craft like a prizefighter working the heavy bag. The kicks were tighter, the grooves deeper, and his sound—dub-infused, stripped-down, relentless—started to carve its way into the foundations of house and techno.
But Paris called him back. By 1997, he was behind the decks at the Rex Club, launching Bass Culture, a night that would quietly and ruthlessly become one of the most enduring parties in dance music. You could feel it in the air, heavy with smoke and sweat: something was happening. And week after week, D’Julz delivered. The music wasn’t just played; it was installed into your brain, a groove so potent it hijacked your nervous system.
The production side came next. 20:20 Vision, Ovum ,Circus Company. Robsoul. ,Rekids. Big labels, underground credibility. Tracks and remixes that hit like slow-burning dynamite—deceptively simple, brutally effective. DJs hoarded his records like they were holding nuclear launch codes.
Then there was Circoloco—DC10 . Ibiza’s sacred asylum for the beautifully deranged. D’Julz became a fixture for 7 years, a reliable madman behind the decks, controlling both the main room and the red terrace like a general marching his troops to the brink of delirium. His sets were measured doses of euphoria and dread, dubby basslines colliding with pulsing techno rhythms, all delivered with a sly grin and the calm of someone who knew.
By 2009, Bass Culture Records was born. A label as lean and unforgiving as its founder—no fluff, no filler, just raw, stripped-back house and techno that knew where it came from and where it was going. Over 70 releases later, it’s clear: D’Julz doesn’t miss.
Now, decades into this strange and relentless trip, D’Julz is still at it. The tour schedule is insane—Bali, Berlin, New York, and back again. Clubs and cities blend together, but the mission never changes: find the groove, ride it hard, and don’t let up until the lights come on.
D’Julz doesn’t care about trends. He doesn’t care about fame. He’s a purist, a craftsman, a man obsessed with the sound—the deep, pulsing, unstoppable sound. Three decades in and he’s still there, calm and unflinching, dropping records that hit like a gunshot in the dark.
If you want to understand D’Julz, don’t bother asking questions. Just listen. The truth is buried somewhere in the basslines.

Jules Wells, a discreet yet essential producer, is a prominent figure in melodic and magnetic techno. As the only French artist to collaborate with Detroit’s legendary labels, he has released tracks on KMS Records, Planet E, Electrofunk Records, and Submerge Recordings, the home of Underground Resistance.
A prolific creator, Jules Wells has built an impressive discography, including numerous EPs and an acclaimed album via David Duriez’s Brique Rouge label. He is also featured on Laurent Garnier’s prestigious Cod3 QR label with standout tracks like "Dreamer."
Revealed to the public through his iconic track "Song4Clara," released on KMS Records in 2014 and reissued on the compilation "The Best Of KMS Classics" in 2023, Jules Wells has left a lasting mark on the electronic music scene. The track even inspired Laurent Garnier’s piece "Enchanté."
His visionary style has garnered support from renowned artists such as Carl Cox, Derrick May, Hernán Cattáneo, and Kevin Saunderson. Jules Wells has graced prestigious stages alongside legends like Octave One, Ben Klock, Marcel Dettmann, Moodymann, Henrik Schwarz, and Maceo Plex, solidifying his reputation as an influential artist in electronic music.

CYBER CULTURE.. ROBOTIK SESSIONS... ELECTRONIC VIBRATIONS....

Bookings/contact: djparrux@gmail.com

Listen to Melodica now: https://found.ee/EDancer-Melodica

Bookings: ed@arcade-talent.com 
Management: phil@onehouse.com

Platinum-selling recording artist, label boss, festival promoter, true innovator in the pantheon of popular music, cultural champion, cracking DJ: there’s a lot to be said about Kevin Saunderson.

His influence runs deep, through both adopted hometown of Detroit, and music culture as a whole: as one of the Belleville Three, the high school trio which also includes Juan Atkins and Derrick May, he irreparably changed the face of electronic music; with Inner City, he gave it some of its most memorable tunes. 

The genesis of today’s enormous techno scene can be retraced straight to Kevin, Derrick and Juan, as their formative experiments on rudimentary hardware sketched a blueprint for a genre that was yet to exist. By absorbing Kraftwerk, cutting-edge funk, local radio stalwart The Electrifying Mojo’s electicism, and all manner of new synthesiser and drum machine-led pop music, the Belleville Three broke new ground as musicians and DJs in the 80s. 

Saunderson’s comparatively late start as a producer – kicking off in ’87 under the moniker of Kreem, with E-Dancer and Reese two of the more well-known names to follow – inadvertently gifted him a headstart. With the eruption of house music a few hours down the I-94 in Chicago, Saunderson married Detroit’s raw sound to more tactile, pop-leaning sensibilities. Inner City was born, and global success followed.

Between “Big Fun”, “Good Life”, debut album Paradise and a number of follow-up singles, Inner City (Saunderson and vocalist Paris Grey) amassed 12 UK top 40 hits and over six million records sold worldwide during their peak. A dancefloor-dominating remix by Luciano in 2008, and a globetrotting reunion tour in 2012, underscores the longevity of Inner City’s classic sound. 

His nickname of ‘The Elevator’ is apt: for his role in transporting Detroit’s new sound to a wider audience; as anyone who has seen him perform live can attest, his high-energy, high-spirit and high-impact DJ sets; and for spending the past 35 years of his life progressing the culture he helped create. 

Operating in tandem to his golden run as a producer in the late 80s and early 90s, Saunderson’s own KMS record label – a remarkable 30 years strong in 2017 – has chronicled the early footsteps of R-Tyme, Blake Baxter, MK, Chez Damier, Derrick Carter, Bicep and even Saunderson’s son and regular DJ partner Dantiez more recently. 

A special 12” series in 2008 called History Elevate, released in tandem with fellow polymath Carl Craig’s Planet E label, brought contemporary names like Mathew Jonson, Simian Mobile Disco and Loco Dice into the fold, proving his nous for fostering relationships with each new wave to come through techno’s gates. 25th anniversary compilations and numerous reissues have followed suit. 

Saunderson has a behind-the-scenes role to play, too: he is intertwined with the history of Detroit’s flagship Movement (formerly Detroit Electronic Music Festival / Fuse-In). Having produced the event in the mid-2000s, the last handful of years have seen repeated invites from Movement to display his ORIGINS showcase at the festival, bringing acts like Delano Smith, Phuture and DJ Minx under his curatorial umbrella. 

And of course, with a stacked international touring schedule over the decades, playing in nearly every country and at nearly every festival or club worth mention, he has not stopped pushing the feeling of techno on and on. 

The Groove That Won’t Stop, indeed.

++ booking/contact: d.tzschentke@posteo.de  ++ I am running the Labels "smile for a while", "All that jelly" and "Edits for the common man." I'm also doing some stuff under the "Cracked Actor" Moniker. I also ran "Disco Bizarre" until 2023.
I've been listening to electronic music since 1991, DJing for 25 years now...

Some clubs I played at:
- U60311 / Frankfurt
- Das Werk / Wien
- MTW / Offenbach
- Sisyphos / Berlin
- ARM / Kassel
- Galerie Kurzweil / Darmstadt
- LIDO / Frankfurt
- Distillery / Leipzig
- Metropol / Berlin
- Golden Pudel Club / Hamburg
- Hirsch / Nürnberg
- Harry Klein / München
- Club Ost / Berlin

►  https://linktr.ee/Tevatron
This artist, who’s based in the South of France, creates Techno “Made in Detroit” and his music makes me feel a little crazy. It’s right up my street! "
This seal of approval was delivered live and direct on Laurent Garnier’s radio show, It Is What It Is, by the man himself. Laurent Garnier is one of the international techno scene’s biggest names, and he’s not the only one to recognise and support Tevatron’s talent and play his tracks. On both sides of the Atlantic, DJs such as Derrick May, Luke Slater, Mark Flash, Ian O’Donovan, DJ Bone, Buzz Goree, Mark Taylor, Thomas Barnett, Ben Sims, Fabrice Lig and Jack de Marseille support this French artist.

Tevatron may currently be surfing this new wave of recognition thanks to his EP released today on Metrohm, his own label. But he is also an experienced music producer who has been working away behind the scenes in the electronic music sphere for three decades. Originally from Lille, Steve Destailleur began his DJ-ing career at the end of the ‘80s. He became one of the ground-breaking DJs to mix electro funk, acid house, techno, in clubs and events in the north of France and Belgium. He began to create his own productions in the wake of this and published his first maxi in 1994, on the Lille label Peek-ABoo Records. During the span of his career, the producer has released about twenty EP’s, under different identities: Kosmik Nation, Brain Attack, Steve and Steff, OSC, Dr Quarrel, Steve D and Tevatron.
Several of his tracks have been singled out for recognition like, "Drumscape EP" on Re-load Records, " Afro Beat " on Intec Records (Carl Cox's label), "Red Fever" and "Before Leaving" on Recycled Loops (Umek and Valentino Kanzyani’s label). Other tracks signed Steve D / Tevatron appeared on labels like Turbo and Eskimo Recordings (on the latter, the track "Monochromatik " selected by Ivan Smagghe for his Death Disco compilation). Tevatron has played in renowned clubs (Rex Club, Fuse) and at important events (I Love Techno, Kozzmozz).
After a career break in the 2000s, Tevatron recently started producing again purely due to his passion for Detroit techno that has always made his heart beat faster. His productions appear primarily on the Metrohm Records label that he launched in 2015. His current work is both dark and melancholic, with warm, hypnotic synthetic melodies. Just like his last EPs " My Origins " (2016) and " My Origins, part II " (2018). Another EP will soon be released on the Belgian label, Elypsia Records, but Tevatron continues to diversify and evolve the " My Origins " concept with the release of two new EPs.
The enthusiasm for his music from key techno DJs on the world scene, lead by Laurent Garnier, has encouraged Tevatron to return to centre stage. IT specialist by day and, once again, producer and DJ by night, he follows the mantra: "Revisit the spirit of 1990s techno but with the modernity of current technology! "

♫ SEND PROMOS & DEMOS & REMIX REQUEST: contact(@)metrohm-rec.com.fr

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