Front 242 - headhunter 2000 (empirion mix)

Making people happy with music makes my day.

"Beats from the Underworld" production album & "Beats from the Underworld (The Remixes) available NOW !

With eyeball-popping, eardrum-throbbing beats and ingenious guitar-driven crescendos, Empirion has created a unique sound that finally fills that vacuous gap in the world of techno, falling somewhere between Front 242, Orbital and Prodigy. While maintaining visceral mayhem, Empirion has also managed to infuse a sense of humanity to their music-it's almost organic electronica.

Empirion credits this amazing quality to their exclusive use of low-tech, archaic equipment and the incorporation of band member Oz Morsley's old fashioned rock guitar solos. Even more remarkable in this age of frenzied sampling, the album contains almost no samples and is composed entirely of sounds that the band creates on their collection of old-school equipment, including an Atari computer. Advanced Technology is a rare dance album, infused with musicianship and artistry.

In 1993, the trio exploded onto England's rave scene with the now-classic "Narcotic Influence," included on this album. Richly layered, this track saturates their audience with the beat and sends it reeling on a six minute rollercoaster ride. The now-infamous "Giving them drugs, taking their lives away" hook has become a tongue-in-cheek anthem for technoheads everywhere. 
Tucked away in Essex, the band is free from the pollution and creative obstacles of London's throbbing pulse. The album is crammed full of original ideas and soul-drenching atmosphere. "New Religion" recalls a sound close to Orbital, but Trent Reznor's influence is also a strong presence; "Jesus Christ," with its ever-building frenzy, is met by the simpler, more mellow "Ayahuasca." This versatility gives Empirion tremendous staying power.

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Motorflavio is the distorted reflection of a brutalist, polluted, and unequal São Paulo — a landscape that shaped the musical sensibility of Flavio D in the 1980s and 1990s.
 Under family influences, he immersed himself early in the gothic subculture and was soon consumed by Death and Black Metal — sonic encounters that would forever define his artistic identity.
The heavy aesthetics, hostile environments, and extreme soundscapes led him to his first DJ sets during the rise of Electroclash clubs and Trance raves in the 2000s — always in marginal, private spaces, far from the mainstream.
His selection distills decades of Old School Industrial music, flirting with Dark Electro, EBM, and Harsh Noise — with the weight of someone who lives counterculture, not just consumes it. With over a decade as a regular at the wildest nights of Berlin, Brussels, Budapest, and Paris, his sets reflect a blend of mechanical textures, distorted vocals, and dissonances.
Beyond his solo work, he is also one half of the duo @TooDeadToDie, focused on Industrial Goth, and the founder of the collective @BringBackElektro, which revives and updates the codes of 1990s and 2000s dark electronic music.
He has performed at festivals like Summer Breeze and iconic parties such as Tarja Preta, Darkosa, Body Kvlt, D.A.N.C.E., Eclipse Fest, Baile Profano, Fronte, Onda Escura, Tiny Bar, Pantera, and Electric Club, sharing stages with artists like Sarin, Yami Spechie, Melanie Havens, Silenzo, Tegron, Bárbara Dunkel and Lilith.

Los Angeles, California 

nojanandre@yahoo.com