Marissa Guzman is an award winning American dance music singer, songwriter, producer, DJ, and multi instrumentalist. She was born in Los Angeles, California but raised in the suburbs of Detroit, Michigan by her mother, Barbara, and father, Eddie Guzman, who was the percussionist and one of the songwriters for Motown’s “blue eyed soul” band, Rare Earth. Eddie also played percussion on the Doobie Brothers’ most famous album, “What Were Once Vices Are Now Habits.” Marissa decided to emulate her father's musical success after she quit her career in marketing to learn how to produce music in 2009, although she trail-blazed her own path without his help because sadly, he passed away in 1993. Marissa later released her debut self produced album, "Joy Road," and later, the "Joy Road Remix Album," on her record label, Juicy Lucy, which the legendary Detroit DJ, Derrick May helped her to start. She became known internationally in 2011 for her song, "Time To Go," which was remixed by Black Coffee and was nominated for "Remix of the Year" at the South African Music Awards in 2012. It was also featured on Black Coffee’s “Africa Rising” album, which won “Best Dance Album” at the 2013 SAMAs. Because of her popularity in South Africa, she collaborated with several other South African artists, including Liquideep, Black Motion, Mphoza, and Cuebur, creating songs that all became number one hits on South African radio stations. These songs were also on heavy rotation on other African radio stations, which allowed her to tour heavily all over South Africa, Botswana, Mozambique and Angola for five years doing her infamous DJ/Vocal sets. Her song, "No Doubt," a collaboration with Cuebur on Defected Records rose to popularity in Europe after Pete Tong played Shlomi Aber's remix on his BBC “Radio One” show in London, England in 2013. The original version of “No Doubt” was number one on BBC’s “Radio One Extra” show for two weeks in a row that same year, and gave Marissa a whole new fan base allowing for a European tour. Marissa also collaborated with world renowned DJ and Producer, Kerri Chandler on "Fifth Moon" (2012) and "Like A Feather,"(2016) and considers him to be a mentor. Her collaborations with Kerri brought on more fans in Europe and allowed her to do shows with him in Barcelona, Johannesburg and in her hometown of Detroit at the Movement Electronic Music Festival in 2015. Later that year, Marissa entered her original production of "Time to Go" in the World Wide Music Contest without knowing one of the judges was Henry Padovani, the original guitarist for the band, “The Police.” She ended up winning the Grand Prize of 10,000 Euros ($11,100), beating over 1,200 applicants, which was a massive accomplishment and not only gave her respect amongst her peers, but it also brought on new fans all over the world. The last few years Marissa has been learning how to play the keys and guitar to incorporate into her live sets and productions, and she has started writing her inspiring autobiography which will be adapted into a documentary film. Stay tuned for this multifaceted songbird and her highly anticipated sophomore album, coming 2025!

Bookings: toon@e314.agency & 
tim@outlined-am.com

Colorful founder of the much-loved Bay Area dance collective, Friends and Family, Ethan has been making dance floors sweat since 1993. Known early in his career for hard Acid and Techno sets, the years since have revealed a taste for Breaks, House, Tech House, Deep House, and of course Techno of all flavors. 

While currently turning up at DISTRIKT, BrassTax, Space Cowboys, Strategik, MotorCityJam, Prohibition, Opel, and other Bay Area underground events, Ethan has also held residencies at MAD Mondays, RhythmMethod, Delve, and of course Friends and Family. Reaching way back you would have found him holding it down at some of SF's now legendary raves including The Gathering, Vision, Basics and more. 

Ethan is available for gigs near and far! You can reach him at soundcloud_public@djethan.com.

BOOKINGS : 
Worldwide : robert@gembookings.nl
Management: ghayath@form-music.fr

San Francisco based house DJ / producer Ed Mazur is rapidly becoming one to watch for. Ed’s music features a distinctive style that blends widely varying sounds of house music together seamlessly into a sound that is solidly underground yet easily accessible. His productions feature strong funk influences and deep organic sounds mixed in with the tech influenced side of house. Best known as a resident DJ and founder of the Burning Man crew Disco Knights (recently voted the top music camp at Burning Man), he first gained attention for his remix of Radiohead’s “Punchup at a Wedding” on the Fresh Press imprint that received widespread play, and more recently with his label, House on the Hill’s releases including "It's All About” featuring a massive remix by Giom, which enjoyed widespread support from A-list DJs and spent two months in the Top 10 house chart. He also been featured on Blue Orb Records with his track co-produced by Bo, “Jus Piphany”.

Enquiries: mgmt@daveangel.net
Info: www.daveangel.net

The Detroit Techno DJ Blueprint  
Detroits 1st Techno & House 
DJ / Artist & Music Producer                                                                                                                                                                                                                                                 
For Artist Booking: bookingbb313@hotmail.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.

Tasteful techno and electro for the discerning listener circa 1994-2006. Buy my music on my Bandcamp! See the link to my Bandcamp site below:

https://mantic.bandcamp.com/

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.

DJ Ethan Miller is following