Paris based DJ
Tech House / Trap us / Latin
Contact : paul.lenost.pro@gmail.com

Rappeur a mes heures perdus / meloman au millimetre / ecoutez , appreciez et faites tourné

Off the Yak project out now: https://smarturl.it/off_the_yak

Bookings: bookingdjdeep@gmail.com
Open Library: djdeepopenlibrary@gmail.com

Sharing with the audience what I think are the greatest records of the moment or what I think are timeless and personal classics is something that has motivated me through the years. I see my job as being a big filter: As a vinyl junkie, I am in the record stores chasing jams almost everyday. And I am also following movements in what I hear such as when techno was revolutionary or when the NY deep house sound really expanded, that’s what I would showcase. Now that a lot of techno and house roots are being revived and also reinvented, I can as always, enjoy playing a lot of new amazing records and some classics!

Twenty years in, from house to techno and everything in between, DJ Deep has immersed himself in the ebb and flows of music, be it NY, Chicago, Detroit or today’s current pulsating waves. He captures the magic of each as a leading figure of the Parisian scene and label owner, connecting the dots both forward and back with his own personal and multidimensional touch.

DJ Deep first got his break when he was invited by Laurent Garnier to DJ at parties such as Oz and Zoo at club Palace, or Boy, in his hometown Paris. Followed by regular appearances at the influential Rex Club, radio shows ‘A Deep Groove’ on then pirate station Radio FG, and later Radio Nova, plus a string of mix CDs on Distance and Respect is Burning, DJ Deep began touring worldwide, spreading his house and techno obsession to audiences craving his deep crates of musical truth.

In 2003, DJ Deep launched his labels Deeply Rooted (formerly Deeply Rooted House) and House Music Records, shining a spotlight on true-to-its roots house and techno records and harder to find gems from the likes of Kerri Chandler, L.B. Bad, Terence Fixmer, Mike Dehnert and Roman Poncet. The dream catalogue sealed his music curatorship with timeless records such as Kerri Chandler’s now classic “Back to the Raw”, Ben Klock’s remix of “Pong” by Kerri Chandler and Francois X’s “Code Red” remixed by Marcel Dettmann.

A reformat in 2015 and DJ Deep’s latest evolution in expression sees him join forces with Roman Poncet as Sergie Rezza, an open-minded experimentation with a standout album on Desire Records and performances including Berlin Atonal. Their straight-up techno live project, Adventice, saw a trio of releases on the reputable Tresor with performances at Weather Festival (Paris), Reperkusound Festival (Lyon) and many more to come. Fang is the duo’s house-leaning alias, which marked Deeply Rooted’s momentous 50th release in 2015. Unabatedly, DJ Deep’s solo adventure also continues with his own deep “cuts” out on his label or under his Rébeval raw house alias, on the cult NYC L.I.E.S Records.

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.

For all of Matthias Tanzmann’s achievements, the future is showing even further excitement and evolutionary growth. He is known as a global leader of the Tech House scene and is synonymous with Moon Harbour, his influential and soon-to-be 25-year-old record label that has already put out over 100 vinyl releases and more than 200 digital tracks. Like Matthias who first broke through as a DJ at the end of the 1990s, it constantly evolves, adapts and leads the scene from the front. 

Both he and Moon Harbour have stayed true to the signature sound that first stood him apart. They never fail to bring new ideas to the dance floor and constantly evolve with the culture. Along the way, there have been countless seminal moments. From his early residency at Leipzig’s cult Distillery Club to his first releases on Steve Bug’s Dessous label and Freude Am Tanzen in 1998 and 1999 via the infamous Moon Harbour showcases at major events including Miami Music Week, Amsterdam Dance Event, Barcelona’s 'Off Sonar' and the leading clubs of Ibiza over the last 20 years. Furthermore he is an integral collaborative member of the super group, Better Lost Than Stupid, alongside Davide Squillace and Martin Buttrich. This ground-breaking trio performs all over the world from London, Ibiza, Miami to Dubai. Together they released the acclaimed full length album Wild Slide and accompanying remix album. 

Whenever he plays, Matthias locks his global audience into his winding and hypnotic grooves for hours on end, always ramping up the pressure and keeping dancers on their toes. He has consistently performed as a resident for almost 15 years at Ibiza's wildest and the most cutting-edge Circoloco party at DC10. He also plays in demand back-to-back sets with partner in crime Davide Squillace and is regarded as one of the favourite players at the infamous ANTS events at Ushuaia Ibiza. In between those regular gigs and picking up several DJ Award nominations, he is on a constant tour of the world's most celebrated clubs and events from Elrow to Solid Grooves to Music On. 

Founded in 2000 and followed by sub-label Cargo Edition in 2006, Moon Harbour Recordings has been a vehicle for much of his music over the years, though it has also been responsible for bringing through plenty of next-generation talents. Matthias Tanzmann has served up three solo albums on his own label - Restless in 2008, Momentum in 2016 and the far-reaching Round And Round album in 2019. Each one shows how he brings colour and narrative to his music through the careful layering of percussion and the teasing out of deft sound designs to make for moments of real dance floor drama. Whether working solo or in collaboration with the likes of Steve Bug, Black Circle or Daniel Stefanik, the key for Matthias is to never stop evolving, asking questions and exploring new ground. Furthermore as a keen contributor to the industry and passing on to the new generation, Matthias shared his vast knowledge with a unique production masterclass in collaboration with Mixmasters in Ibiza in 2023.

As a remixer, Matthias also brings an in-demand signature sound for the likes of Jamie Jones, Dennis Cruz, Moby or Booka Shada. His Remixes 2002-2012 compilation showcased his adeptness and adaptability, and he has further cemented his legacy as a definitive DJ with seminal mix CDs for revered series like Cavo Paradiso Mykonos in 2010, Circoloco in 2008 and 2011, fabric London in 2012, and several times for Moon Harbour.

What started as an obsessive hobby back in Leipzig became a globe-trotting profession. Importantly, though, Matthias Tanzmann has always retained the sense of fun and inquisition that motivated him back then. That shows in the tracks he continues to skillfully craft, whether deep and moody for cozy backrooms, or more raw and jacked up for the main room. From his sets to his productions via the music he A&Rs for Moon Harbour, Matthias Tanzmann blends a deep understanding of dance music dynamics with a burning desire to keep things moving forward.

THE NAVY ALBUM 🐺 2025
Pre-Save/Order: https://roddyricch.lnk.to/THENAVYALBUM

FLOORPAN "THE MASTER'S PLAN" (CLASSIC MUSIC):
https://cmc.lnk.to/cmcd141d

Before I got into this music I wanted to be an originator ; I wanted to be original".
Founding member of the legendary group Underground Resistance as a 'Minister Of Information' with ‘Mad’ Mike Banks & Jeff Mills, his seminal works on Jeff Mill's Axis and his very own M-Plant imprint paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno's path throughout the late Nineties.
Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. 

"Growing up in Detroit, I grew up with Motown in the house - a lot of Motown and Philadelphia soul, artists like Marvin Gaye of course and Curtis Mayfield. I remember Isaac Hayes, the soundtrack from ‘Shaft’ had come out. My father was a jazz musician; he played piano, trumpet and drums. My mother was in an R’n’B group.
We listened to a lot of Motown - in fact, my grandfather’s first cousin is Berry Gordy.
"I was influenced by my father - I wanted to play trumpet like he did."
Robert's father tragically died when he was just 6. The photo of Robert siting down holding a trumpet is his fathers.
"I had to beg my grandmother to let me borrow the trumpet to take a picture with it"

In the early 90's he began to concentrate on his own production 'Vision EP', the 'Riot EP' and X-102 were big stepping-stones for him as they were the first releases he worked 100% on his own. The X-101 to X-102, were Waveform Transmission projects with Mills for Tresor. He slowly progressed to work more and more on his own, but collaberated on some of the first Axis releases with label owner Jeff Mills as H&M (Hood & Mills) with ‘Tranquilizer EP’ and ‘Drama’.

He soon decided it was time for him to start his own label to focus on what was in his soul musically. M-Plant started in ’94. I had developed this “grey area” sound - what I mean by that is that in Detroit, even when the sun is out, there’s something in the atmosphere. I don’t know if its pollution or whatever, but the sky has that grey haze over it. It’s got to be something from the industrial factories there. I’d never really heard a sound like that before and it came from a Roland Juno - it was a chord sound that really went along with my depiction of what Detroit was at that time. A lot of buildings were abandoned and there was a lot of lifelessness in the city, especially downtown. The M-Plant, in minimalism, kind of reflected that. I remember thinking of Detroit like a museum. You know, like a work of art standing still, suspended in time. There wasn’t a whole lot of activity going on.

Releasing singles such as "Internal Empire,", “The Protein Valve” "Music Data," and "Moveable Parts", "The Pace", more recently "Range", "Alpha" and that isn't even touching his other monikers Floorplan, Monobox, The Vision, etc.
"M-Plant is what I've always wanted to hear: the basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. “It's a heart-felt rhythmic techno sound. M-Plant is just M. minimal. “

Although his desire to remain underground has been replaced by an urge to reach a wider audience, mainly via his housier, disco, gospel moniker Floorplan with his daughter Lyric Hood,   Hood remains fiercely critical of artistic and economic movements destructive to inner-city communities and has combined his musical enterprises with outreach and social activist ends.

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