For enquiries contact : dafina@eddierichards.net
Asia/Australia : James  arai.bookings@gmail.com

It’s said that DJing is a job that needs no qualifications, but experience always shows. Eddie Richards, ‘Britain’s Godfather of House and Techno’(Mixmag), embodies this like no-one else. While many of his peers have faded into irrelevance or bloated into mainstream mediocrity, Eddie has remained at the forefront of cutting edge underground dance music, Often regarded as ‘the DJs DJ’, Eddie’s insatiable appetite for new music has meant he’s always one step ahead of the game, as his relentless schedule of gigs, remixes and original productions proves. The world of dance music may change with bewildering speed, but one thing remains constant: somewhere, Eddie Richards will be rocking the party.

Xtopher is an accomplished DJ and producer with an impressive 25-year career. His music has graced renowned labels including Hotbox (USA), Kitsune (France), and FatFox (London, UK). 
Xtopher has performed at diverse venues ranging from packed nightclubs, sophisticated cocktail lounges, and exclusive private members clubs to energizing poolside events and glamorous fashion shows. His dynamic sets have reverberated through iconic superclubs such as Ministry Of Sound and Pacha in London, as well as popular chains like Revolution, and Soho House. Moreover, Xtopher's talent has taken him across borders, captivating audiences and securing residencies in South Africa, Germany, and Greece.

Adventures in machine music built to make subs rattle and feet wiggle; a convoluted mess of elektrology and teknology, 3-step, bass-core, post windmill, proto-minimal wankstep, gondola, shithouse, acid wonk, ambient gabber, no more, no less.

BOOKING
chris@unfoldartists.com (ROW)
joe@surefireagency.com (NA)
a.montes@cuatroveinte.tv (LATAM)

The tale of Danny Tenaglia's love affair with music, and the world's subsequent romance with him, is one of the critical veins in the body of dance music. He is every dancer's secret discovery; a random purchase at the record store, a reluctant night out that unexpectedly turned magic. Explosive success came not behind a major label release, or a world tour, or a radio hit remix: It happened when enough people had the private Tenaglia experience for themselves.

The momentum started building in early '70s New York, when a barely 10-year-old Danny first got the feel of vinyl in his hands. Enthralled by the music of artists like Philly Soul's The Trammps, Motown's Marvin Gaye, African trumpeter Hugh Masekela, and disco producer Giorgio Moroder, he started to collect records, plumbing the depths of each one, and frequently finding that he preferred the B-side to the A. It was 1979 when he discovered legendary nightclub Paradise Garage, where DJ Larry Levan's rich, genre-less blend of music seemed to mirror his own "no boundaries" policy. It was here where Danny found the club model he would one day emulate: Levan's bold style, the venue's plain décor, and the party's warmth and inclusiveness.

Danny left New York in 1985 and launched a successful DJ-ing career in Miami as a resident at Cheers nightclub. There he schooled the locals in classic New York and Chicago house, but five years later he returned home, tired of only playing other people's music. He started to assemble an impressive roster of remixes, including Right Said Fred's "I'm Too Sexy" (1991), Jamiroquai's "Emergency on Planet Earth" (1993), and Madonna's "Human Nature" (1994). But his first epic was The Daou's "Surrender Yourself" (1993): With the kick in the bass and the underlying rhythm as the foundation, Tenaglia blanketed Vanessa Daou's wispy vocal with grand, thick chords, a combination of classic groove and modern club-ready depth that was, at the time, entirely new. The title of his 1995 debut artist album on New York's Tribal Records described it perfectly: Hard & Soul. But even if the cocktail was his own, Tenaglia never hesitated to declare how heavily his influences weighed in his productions - everyone from Patti LaBelle to Kraftwerk, with countless lesser-known Soul, R&B, Latin, Samba, and Disco artists in between.

In 1996, after a brief stint at New York superclub Roxy, Danny landed a Saturday night residency at white-hot Twilo, a position that upped his profile but didn't satisfy his expanding artistry as a DJ and producer. While New York swooned for big-room diva anthems, Danny was turning his ear toward the more minimal, tech-y grooves originating in European production studios. This period produced solid remixes like Grace's "Not Over Yet" (1996) and Janet Jackson's "The Pleasure Principle" (1996), but by the time he moved to Tunnel in 1998, Danny had already created "Elements," an instant classic that caused the dance scene's collective jaw to drop. With his own warped voice providing the narration, "Elements" (one track off full-length Tourism) walked the listener through the different components of a dance track in real time, going from kick to drum loop to snare hit, letting each layer over the other until the track exploded with dark, drum-heavy energy. Next to ostentatious radio anthems, its simplicity was a revelation. 

It was around this time that the murmurs started to get louder: Who is this Danny Tenaglia, and just what does he do to people? Clubbers reported seemingly inhuman mixing capabilities, booth-to-floor telepathy, and the grittiest "modern yet classic" grooves they had ever heard come out of a speaker. A trio of label compilations - Mix This Pussy (1994) and Can Your Pussy Do The Dog? (1995) for Tribal, and Gag Me With A Tune (1996) for Maxi - were the first Tenaglia sets clued-in clubbers could take home to dissect, but the release of his first installment in the UK-based Global Underground series of DJ mixes, titled Athens (2000), lit the international fire. Athens (meant to reflect the set he played at the Greek capital's club King Size) remains one of the darkest, strangest, sexiest sets ever released, and its tame cover photo of a gentle-looking man in a Yankee cap just didn't seem to fit. DJ dates across Europe dispelled the mystery and started the spread of the infectious Tenaglia fever.

Back in New York, Tenaglia was tiring of the cavernous gloom of Tunnel and longed for a weekly home that better resembled where the DJ bug first bit him - the Paradise Garage. He landed at Vinyl, a black-walled, single-environment, no-liquor club about one-quarter the size of Tunnel. He named the night "Be Yourself," after the self-affirming, heavy-bottomed vocal track he had recently recorded with Chicago's Celeda. And he took the name to heart: Without the pressure of bar minimums or an expectant crowd, Tenaglia spread his DJ wings. Next to new tracks by young producers like Rui Da Silva, Peace Division, and Saeed & Palash, he played the artists of his youth, with nary a beat dropped. If he wanted to launch into a two-hour set of straight-up techno, he did. If he wanted to play old Michael Jackson records, he did. If he wanted to get on the mic and tell the crowd the name of the sound he was about to play, or who next week's guest opening DJ would be, or just give everyone a "verbal handshake" to welcome them to the club, he did. And a city tired of drama embraced the barebones, music-centered night. 

The world caught up to Tenaglia in 2000. His annual party during Miami's Winter Music Conference outgrew its home at the cramped Groovejet and moved to just-opened superclub Space. DJ giants like Carl Cox danced on top of the speakers with the Deep Dish boys, Fatboy Slim mingled on the patio, and for a day the ego inherent to DJ culture evaporated: Tenaglia was hailed as the undisputed king, the "DJ's DJ." His roof-raising revamp of Green Velvet's "Flash" won "Best Remix" at the UK's Muzik Awards, where he was also awarded the "Best International DJ" prize. 

In the two years that followed, Tenaglia released another Global Underground installment (London); toured the world, took the party island of Ibiza by storm, remixed Billy Nichols' "Give Your Body Up To The Music" (a Garage anthem); got nominated for a Grammy (for his remix of Depeche Mode's "I Feel Loved," also nominated for Best Dance Song); returned to Twilo for two special gigs - a President's Day marathon with Carl Cox that shattered all its attendance records, and the club's sixth anniversary party with John Digweed, which turned out to be even more meaningful than it seemed at the time (Twilo was shut down permanently a week later); graced the cover of every major dance music magazine; and won a Dancestar Lifetime Achievement award... all while keeping Be Yourself buzzing every Friday. 

In 2003, Danny came full circle with the release of Choice: A Collection Of Classics, a two-CD mixed compilation that let him pay direct tribute to many of the artists who had influenced his sound and style. It featured everyone from Blaze to Adeva to Imagination, as well as hefty liner notes explaining the significance of each track, penned by the man himself. He also remixed another Garage classic (Yoko Ono's "Walking On Thin Ice," which became her first Billboard number one ever), opened another Space during Winter Music Conference (the new location down the block), and took another Dancestar award, this time "Best Party" for Be Yourself. 

Be Yourself took the same honor again in 2004, but this time the win was bittersweet. At the time of the ceremony, Vinyl, now called Arc, had already been sold to developers. Danny closed the classic club on Sunday, April 25, 2004, with an emotional set that lasted well into Monday afternoon, and culminated with his mix of Kings Of Tomorrow's paean to unending love, "Finally."

And as in every year since his DJ odyssey began, all across the globe, from Acapulco to Tokyo, more people experienced their first night with Danny Tenaglia, that clubber rite-of-passage that forever changes how you listen to music, go out to nightclubs, and think about DJs. 


Craig’s journey began at art school in the late eighties. Over a six year period he attended Bournemouth school of art, St. Martins School of art and the Royal college of art. 
Artist, record collector, DJ, producer, festival organiser and gentleman of the night - Craig Richards can be described in many ways but most of all he is a storyteller. His ability to bring life, breadth and narrative to everything he does is the secret to his success.
As artist in residence and Musical Director at Fabric for 15 years he was responsible for the modern approach taken to the programming of Saturday nights and as a DJ his unique and uncompromising sound provided a unique identity for the club. His early morning sets at the club were legendary, never the same and always challenging. He is as an originator and a DJ held in high esteem by his peers.
His label THENOTHINGSPECIAL has released music by Schatrax, Calibre, Trevino, dBridge and Mathew Johnson to name but a few. Craig’s paintings and drawings appear on all of the covers. He has an ongoing collaboration with studio genius Howie B. In 2006 they created the soundtrack for the award winning animation Rabbit and released a limited edition boxset of music, poetry and drawings to accompany the project. Craig’s own notable releases to date include “Sleeping Rough’ and ‘My Friend Is Losing His Mind”.
In 2017 an opportunity came about for Craig to curate a new festival in Norfolk. Craig was so impressed by the venue Houghton Hall and the existing sculpture park that he decided it should be an arts and electronic music festival. The first edition of Houghton was a huge success. Craig’s ethos of doing things simply but to the best they can be was a winning formula.
After 3 years of cancellations due to extreme weather and the pandemic, Houghton made a grand comeback this year and with some 230 artists from around the world. This instantly reinstated the significance of Houghton within the underground electronic music scene.
To accompany the festival, Craig illustrated a book of drawings representing every artist who performed at Houghton 2017. The work was exhibited in a disused building opposite the Bank of England. The exhibition was entitled ‘A Show of Heads Inside and Out’. Craig’s paintings, drawings and handwriting are synonymous with the festival.
2018 saw the launch of Craig’s project ‘I Want To Like You But I Find It Difficult’ a three part series of events which took place at the Fondazione Prada in Milan. His curation explored the relationship between juxtaposition and preconception.
In recent years Craig formed a project called Collisions. Again exploring the idea of juxtaposition and contrast within Dj sets, it involves infamous back to back sets with Ben UFO, Ricardo Villalobos, Nicolas Lutz and Ivan Smagghe. It takes place bi monthly at Fabric, at Wonderfruit in Thailand, Love international, The Lion and Lamb and every so often around the globe. His solo DJ sets are varied and highly considered. They continue to inspire and excite in equal measure.

A Resident DJ, party starter, rabble rouser and dancer at...
Motorcity Bath / Bristol
Ultrasound 
All Over The Shop
Sonic Shakedown
Rinsing the dance like a champ since 1992. 
Musical obsessive, collector, mixer of beats. 
I have a Mixcloud account too, stuffed with various mixes, which is below>>>

listen: https://band.link/crummyBobolink7

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