Born in Santiago, Chile in 1973, Ricardo Villalobos soon fled with his family to Germany following General Pinochet's military coup. While living in Germany, he was exposed to the country's nascent house scene, and soon became involved himself, DJing at at parties as a student. Following a few false starts, Villalobos starting DJing professionally in 1998 and became a figurehead of a nebulous group of artists playing stripped back & minimal house music - a style which dominated European dance music for almost a decade. Following minimal's decline in popularity, Villalobos remains a legendary figure in dance music, famous for marathon length sets full of playful detours and unexpected surprises. 

This In Focus is two hours of music from the crown trickster of house, curated by 150 Session's  ML.

https://www.nts.live/shows/in-focus/episodes/in-focus-ricardo-villalobos-11th-august-2019

In Focus: Ricardo Villalobos

@janeret is part of the rising generation of the French scene. He is one of the key artist of @yoyaku roster and the AD of Joule Imprint.
As Janeret, he performs regularly through Europe, but has also toured through Japan, Australia, and the Americas, acknowledged for his energetic sets that incorporate minimal house and breaks.  Janeret grew up in Grenoble, a city in south-eastern France, but has called Paris home since 2010. It was around this time that he began “taking production seriously,” he explains; his earliest experiments had started several years earlier. He marked his relocation to the French capital with a slew of releases on various imprints, but it wasn’t until 2015’s Heat EP that Janeret began to feel comfortable with his production methods and style, a smooth take on deep house with a solid groove.
Stay Rave with #R13!

5th anniversary #159 | Janeret (FR)

https://www.youtube.com/watch?v=bVGYmoonVq4&list=PL0G-EJohpTymSa4q79hbr5k8rD73Y16UE&index=2

D'JULZ  @ Mixmag The Lab LDN 30 01 2015

Few artists have done for Serbia’s electronic music scene what Marko Nastic has. Having been instrumental in introducing Techno and its many sub genres to his corner of the Balkans, he has since gone on to become one of the biggest touring artists to have entered the game. Via his own many original works and remixes on a huge variety of labels, including his own Recon Warriors / Recon Light, Traffica Records, and more recently Easy Tiger, Marko has kept his sound fresh and forward-thinking at all times. [continue reading at...

Trommel.222 - Marko Nastic

BUSSIT

A1) COUNTING
A2) U.BSTRDS

B1) BUSSIT

28.08.2025

BANDCAMP EXCLUSIVE;
https://bohn-aus.bandcamp.com/album/bussit

STREAMING AVAILABLE ON ALL PLATFORMS

BUSSIT

M.I.A. - Bucky Done Gun (Laero’s TechHouse Edit)

Made in House. Musicas de qualidade feitas por artista independente apaixonado por musica eletronica principalmente house music e todas suas vertentes

Full Dreams

The Romanian producer steps out of the shadows for a mix of otherworldly house and techno on this week's RA podcast.

RA.193 Petre Inspirescu

Ricardo Villalobos b2b Zip @ Sunwaves 19

Terry Francis Essential Mix 1998-05-04

Zip is co-founder of the label Perlon, is familiar with the dancefloors around the world and famous for his tremendous minimal shifts within the 4/4 scheme. He has an illustrious musical history which began in 1986 as singer in the band Second Voice. In 1992 he moved to Frankfurt and joined the EBM band Bigod 20. After several releases the band split. In 1996 he got together with Markus Nikolai and Chris Rehberger to form the audio-visual project Pile. In 1997 he and Nikolai founded the Perlon label, on which he has released under the pseudonyms Dimbiman, Pantytec (with Sammy Dee) and Narcotic Syntax (with James Dean Brown). In 1999 the SuPERLONgevity compilation was released, featuring 'Bushes', a track that has since garnered chart-topping remixes from the likes of Derrick Carter and Fatboy Slim.

Zip also recorded with Peter "Baby" Ford and has appeared on Ford's label PAL SL. He is a regular guest DJ in clubs around the world and holds residencies at Robert Johnson (Offenbach) and the Panorama Bar (Berlin). He participates in the Narod Niki project, occasional collective laptop live jams initiated by Ricardo Villalobos and Richie Hawtin. He has released tracks and remixes on Perlon, Playhouse, Force Inc, Novamute and others.

GH live | 02 - mixed by Zip - May 2013

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.

D'JULZ @ Mixmag The Lab LDN 30 01 2015

D'Julz