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.

co-founder: @fraublaumusic
booking worldwide: louis@muzocreative.com
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After half a decade of constant touring and producing, it’s safe to say Kadosh’s growth has been truly remarkable. These days, he regularly crisscrosses the globe, playing at some of the planet’s leading spots. A typical weekend can be Blue Marlin in Ibiza, Nitsa in Barcelona, Fabric in London, or Watergate in Berlin.

The Americas have also quickly fallen under his spell, with Central America regularly experiencing his dancefloor wizardry, whether it’s at Bar Americas in Mexico, Stereo in Montreal, or SXM Festival in the Caribbean. In 2024, Kadosh expanded his horizons further, with summer residencies in Ibiza and Cyprus.

Kadosh’s studio output has been steady and top-notch, featuring a string of EPs and remixes on renowned labels like Innervisions, Disco Halal, Renaissance, Live at Robert Johnson, and Crosstown Rebels, to name a few. In between, there’s Frau Blau Music, his own imprint, which continues to break new ground with a steady flow of releases and label nights at select venues worldwide.

Kadosh’s journey is a reminder that success in the music industry is not just about talent but also about perseverance and dedication. His story remains a shining example of the transformative power of electronic music and the unlimited possibilities facing an artist who dares to chase their dreams.

“Ce soir, c’est Quartier Libre !”
Aller à une soirée Quartier Libre, c'est s’autoriser une pause, un moment où tout est possible et où les conventions sont mises de côté pendant quelques heures éphémères. Dans la grande diversité de la musique électronique, le public Quartier Libre vient danser, retrouver ses potes, rencontrer de nouvelles têtes et se sortir de son quotidien en se complaisant dans une bulle festive qu’il aura du mal à quitter…

Nous contacter : 
mail : ql.collectif@gmail.com
facebook : @QuartierLlibre.crew
insta : @quartierlibree

Nos DJs :
@mad_xou
@jasmin_quartierlibre
@gaet-apens
@korbendj
@bastiengrd
@pilumusic
@garbapapa
@paul-garb

DJ depuis 98, passe par de multiples influences allant de sa sauce personnelle dans chaque soirée, puisant dans les richesses de la soul, funk, jazz et autres musiques du monde, alliées à la puissance de l' électro tout beat et tout tempo confondus (hip-hop, bootlegs, breaks, nu-jazz, house, broken beat et drum'n'bass).
Des sets festifs, colorés, multivitaminés et instructifs à la fois!
www.myspace/djpopofski

(lee-ons)
World / Remixes / Mgmt: adam@zeya.world

Disco. Dark Disco. Techno.

Instagram: trpl.dj

Management : ghayath@form-mgmt.com
Booking WW : katarina@lovelive.agency

Parisian artist POPOF is one of the most widely recognized names within the world of Techno and House music. 

One of the most downloaded artists in his category, POPOF is in very high demand for his remixes and has worked for famous artists such as Depeche Mode, Chemical Brothers, Moby, BookaShade, Vitalic, Tiga, Maetrik, Martin Solveig and many more.

Eliott Caen is following