Official page for Eric Prydz, Pryda Recordings, and Mouseville Records.

BIO:
Ahmet was born in Kardjali, Bulgaria where he spent his childhood. His introduction into music came from his father's obsession with electronic equipment. At 10 years old Ahmet was so curious about how the electronic equipment worked that he began assembling and disassembling some parts of the electronic goods in his house. At the age of 12 Ahmet made his first steps in his music career by making his own remixes which showed his passion for music. In 1991 Ahmet's family decided to move to Turkey; that was the beginning of a whole new life for him. 
 
He was going to school in Izmir, one of the biggest cities in Turkey, and in the evenings Ahmet was working in some ordinary bars as a DJ. After graduating in 1995 Ahmet decided to continue his professional music career and started working as a resident DJ in one of the biggest clubs in Izmir called "Club Marina". Later Ahmet wanted to make a difference in his life and continued his music career in different cities in the world working as a DJ in successful parties and organizations. According to topdeejays.com in Turkey Ahmet became the #1 DJ in "DEEP HOUSE",  #1 DJ with the most followers in YouTube and multiple times #1 on Beatport Mixes
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COUNTRIES PLAYED IN:
Belgium, Bulgaria, Croatia, Cyprus, England, Egypt, Greece, Germany, Italy, Indonesia, India, Kenya, Lebanon, Morocco, Netherlands , Nigeria, Poland, Russia, Switzerland, Turkey, Vietnam.
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PRESS:
The Beat Bali - Kenh 14 Vietnam - Smag Live Germany

Redd Kross have always been too good, too perfect, too true, to believe. Mythic. Could this tuneful hardcore punk EP really be the work of a brother band with the 15-year-old on vocals and guitar and the 11-year-old on bass? Did Redd Kross really open for Black Flag? Could Jeff and Steve really have been born and raised in the Beach Boys’ hometown of Hawthorne, California, and did Jeff really see the Beatles live in 1966? Did one of them, dressed in Gene Simmons makeup, really kill a Bruce Springsteen impersonator onstage? Is that really their hair? Could Researching the Blues, their first studio album in 15 years, be not just the hottest thing since Cher went solo but the best start-to-finish Redd Kross record ever?

Somehow, the answer to all the above is improbably, wonderfully, beautifully YES. Long have Redd Kross rocked, and long have critics, devoted fans, Rodney Bingenheimer and fellow musicians from Seattle (Nirvana) to New York (Sonic Youth) to Driftwood, Texas (Butthole Surfers) to Hollywood (everybody) bowed before the Kross and their self-aware pre-spandex Glam bubblegum garage psychedelic Cheap Trick/Kiss/Revolver post-Kim Fowley rock and roll. Degenerate, sweet: tongues in cheek, song-long winks.

Commercial success may never have been theirs (if time and space had been aligned correctly, they’d have been blitzing ballrooms in the early ’70s instead of opening for Stone Temple Pilots in the early ’90s), but Redd Kross have endured and endeared because they’ve always had the best possible attitude: smarts, smiles, and total commitment to live hair-spinning showmanship.

Like fellow legendary Great American John Waters, they’ve devoted their career to making subversive entertainment in a high pop celebrity style, reintroducing in their especially golden late ’80s/early-’90s period such forbidden classic-rock tropes as melodies, harmonies, ripping musicianship, and primary colors-stuff that had (largely) been ditched in the underground rock’s post-punk, No Wave, hardcore, and sensitive-egghead scenes. Redd Kross then spent the ’90s making one great misunderstood record after another until enough shit had caked the fan that in 1997 they pretty much called it quits.

But you never quit being brothers. And so here’s the next Redd Kross album-produced and mixed by younger brother Steve earlier this year after it was mostly written by older brother Jeff in 2007-08, and recorded in that same period with the band’s current lineup, who’ve re-engaged in live performance since being lured back into action by an excitable Spanish promoter.

They’re too nice to say so themselves, but attention must be paid to this band, to this great album, Researching the Blues, which, like a pair of great pants, is tight and the perfect length. By the time you’re two minutes and 51 seconds into the second song, “Stay Away From Downtown,” and the band is breaking into the sha-la-las, you will be running around the room with your hands in the air. As the fourth song, the Brian Wilsonian “Dracula’s Daughters,” ends and the dynamic mid-’60s Beatles jingle “Meet Frankenstein” launches into its first chorus, you will be mass-texting all of your friends with the good news. By the final four songs-”The Nu Temptations” (Stooges-worthy riffs! Cowsills counter-harmonies! And more!), the “Surrender”/Noel ‘n’ Liam rockers “Choose to Play” and “Winter Blues,” and the stunning summer psychedelic power pop that is the closing “Hazel Eyes”-you will know the truth. You tried the rest-but now you’ve had the best. The McDonalds were educated at Rock ‘n’ Roll High, and they’ve stayed true to their school. Here’s to their beautiful reunion! Redd Kross Forever!

Wandertown, on-the-ground comedic reporting from anywhere with fearless host, Andy Peters.  No attendee, comedian or innocent bystander is safe from the portable recording power of Andy’s studio on the go (just his cell phone, guys).

It's Wandertown.  Get Lost.


Acclaimed international DJ and IDMA-winning English producer, Tom Staar, stands as one of dance music’s household most respected names in the ever-transforming realm of dance music industry. With a plethora of Beatport Top 10 hits to his name, including collaborations with industry titans like David Guetta and Armin van Buuren, Staar’s innovative grooves, imaginative beats, and infectious melodies have consistently sculpted the electronic music landscape.

A masterful creator, Staar’s tracks and remixes have amassed over 140 million streams on Spotify alone, solidifying his status as one of the most-played dance music artists globally. Last summer, his release “Not Over Yet” emerged as an Ibiza anthem, earning widespread acclaim from renowned artists such as Armin Van Buuren, Solardo, Camelphat, and Vintage Culture, among others. Meanwhile, Staar graced the stage of major festivals like Tomorrowland and Creamfields and secured his name on Ibiza’s most illustrious parties lineup, including David Guetta’s legendary “F*** Me I’m Famous” at Ushuaïa Ibiza, alongside Armin Van Buuren at the world’s #1 club Hï Ibiza.

After working in the studio during the last months, producing a plethora of new tracks, shaping the future of his artistic odyssey, Tom Staar is poised to make his return on the global scene with a series of confirmed shows at globally renowned clubs and festivals, he is determined to reclaim his position at the pinnacle of the electronic music scene.

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