house music all night long....

booking: 
americas: rking@wmeentertainment.com
rest of world: darren@fmly.agency

Acid booty tech is the vision. If you like shaking your rump, acid house/techno, and booming 808's, you've found the right place :D. Get a glimpse of the things that make me wiggle.

- Resident at Kingdom Austin
- 1/2 of Geodudes with Dirtyfeet

Claude VonStroke spent over 20 years shaping underground dance music and building a community. After selling the Dirtybird brand and taking a 2 year hiatus, he’s back with a new mindset - playing only where he wants, for those who love the originality of his unique style.

His new "Life of Leisure" rebrand is not a status flex; it’s a vacation on the dance-floor.The ravers are the heroes; Claude is just the guide. Leave your villains at the door—fear, anxiety, and stress have no place in
VonStroke’s vibe. Only music, movement, and energy matter. Every show is intentional, every moment sacred.

Claude VonStroke is finally doing more of what he loves and dumping all that stuff that sucks. Shedding his stressed-out, overachiever role for a more reflective and grateful approach. "Life of Leisure" is a victory lap, but we all know it’s not so easy to forget reality. Join him, even if it’s just for a few hours in the club on a Saturday night.

From the bottom of brazilian underground dance music 2 decades ago, Dj Glen tracks crossed all the way up to global main Djs sets several times, now being more supported than ever.
 Recently empowered as one of 101 Future of Dance producers last year by the 1001 Tracklists, his unique style and lessons are being highlighted by close friends a.k.a “Brazilian Stormers” like Mochakk, Vintage Culture and Ownboss, all of them with collaborations in studio and live.

To reach this level of recognition, Glen started to keep eyes opened back in 2006, nominated as best independent newcomer artist by Toddy Prize, the biggest of Brazilian industry that time. Later in 2010, he won the Resident Advisor/ Dj Mag remix contest of acid NY Legend, Abe Duque, after that being embraced by Dj Hell on Gigolos Records, releasing an official remix of his classic with Anthony Rother, “Electronic Germany” and in this point opening doors to many releases in Europe underground labels, with some tours playing in clubs like Riterbutzge, Golden Gate, Studio 338, Birgit Und Bier and many others.

Alongside his first steps in international underground house music, the brazilian mainstream dance music was starting to grow exponentially and Glen was invited to act in this promising rising scene opening the mind to play in big rooms, promote festivals, record label and being a inspiration for the next generation until getting sign with labels like Dirtybird and Spinnin, with the target to cross both worlds of music, making one signature sound.

In 2023 had been welcome and signed by Tiesto on Musical Freedom and Armada Records will host the newest big release in collaboration with another Brazilian Legend, Illusionize, with the vocals re-recorded by Chuck Roberts from Chicago.

The background of house music passion and roots dj skiils are reflected by his series of “Only Vinyl Classics” on youtube, side by side with the last years controlling huge rooms every weekend in Brazilian clubs and festivals like, Green Valley, So Track Boa, Universo Paralello and many others.

Dj Glen also collaborated with global legends like Green Velvet, Destructo, Ali Love, Duke Dumont, Fisher, Claude Vonstroke, many of that never released and always being a good surprise in his live sets.

O brasileiro prodígio Rafael Moraes, conhecido como HOLT 88, vem causando maremotos desde sua estréia em fevereiro de 2016 no mundo da música eletrônica. HOLT 88 vem se dedicando à produção musical nos últimos 15 anos.
Aperfeiçoando suas habilidades ao longo dos anos, ele tem lançado suas músicas com gravadoras grandiosas, de renome mundial. HOLT 88 é um dos pioneiros a utilizar o bass 808 em sua música

👾👽🎵 Reality is a Perspective 🎵👾👽

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.

They laughed at Louis Armstrong when he said he was gonna go to the moon. Now he's up there, laughing at them

booking: woodhollymusic@gmail.com
music stuff: woodhollymusic@gmail.com

"As a child, I grew up sitting in front of a computer by myself. That is where I learnt about music; playing video games and watching endless reruns of cartoons and American TV shows. Television gave me shelter when I was alone, nursed me with Hollywood’s mythologies. It guided me through nameless countries; with it I brought down colossuses and climbed mountains. I preached its beliefs. But when I grew up, all my heroes died. 

Today, I still come to mourn in deserted movie theatres. There, lights flash before my eyes. But I don’t feel anything in face of the latest blockbusters and their visual explosions, these chaotic clusters where Mechas and Kaijus pile up in between fights under the rain, tsunamis and apocalyptic scenes… Yet I feel numb, except for the roaring sub-basses that fill the void of cinemas. My music is for those who, like me, have grown up amongst the ruins of blockbusters. For them my bass trembles and my synths screech. 

But I know that beyond this digital coldness lie other horizons, other possibilities."

Danger


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