https://linktr.ee/GorjeHewek

Booking Worldwide: chris@mainsagency.com
Management: mgmt@gorjehewek.com

DJ EZ (pronounced DJ EEE ZED) is widely - and rightly - regarded as one of the finest, most gifted DJs on the planet. The “DJ’s favourite DJ”, EZ has been a musical force of nature for over two decades, saluted by the industry for being a creative mixer with an unparalleled instinct and technical prowess - not to mention one of the quickest fingers in the trade with his trademark cue button action displays during his sets. A set of decks simply isn’t the same without DJ EZ.

BIOGRAPHY:

Born in south of Germany to a vietnamese artist family, chopstick aka Chi-Thien Nguyen may not be able to lay claim to having dated Gisele Bündchen, neither did he invent the Roland TB-303 nor has been punk’d on MTV. But with 10 years of classical piano lessons, 3 years of spanish guitar lessons, 2 years of music harmony lesson, 10 years of studio skills and 4 years of turntable experience under his belt, chopstick is able to lay claim to a production and DJ sound that is genuinely all his own. No Wonder he has remixed artists such as Madonna, Britney Spears, LL Cool J, Xzibit, Deep Dish, Miss Kittin, Sister Sledge, etc. to name only a few.

After having lived in Stuttgart, Vancouver and Hamburg, chopstick is now based in Germany’s electronic music metropole Berlin. Not satisfied with just being a forward thinking producer and DJ, he also cut his teeth in label management with Berlin based label Ministry Of Sound Recordings. He has worked as an A&R Manager for the sub-label Voidcom Records and during this period, Chopstick has learned most of the knowledge needed to run a record label. Later on he was offered a position at Silly Spider Records which he couldn’t refuse. Taking on the new challenge, he established new concepts and products which included various Mix-CD’s, Artist Development, Labelmanagement and of course his expertise: A&R’ing.

Although Chopstick’s name may not immediately trigger recognition on the DJ front, it's his work as producer, remixer and label manager that have seen him emerge as one of the scene's most talented and respected players. He has shown that he is regarded as highly for his production skills as those he displays behind the decks. His sets are always varied and inspired, playing his unique sound between minimal techno, techy house and electro, chopstick has championed this uplifting-emotional-sound throughout Australia, Asia, South America, North America and Europe to a worldwide audience playing events at clubs such as D.Edge (Sao Paulo), Module (Tokyo), SonneMondSterne Festival (Germany), Celebrities and Lotus (Vancouver), Garage (Campo Grande), Chinese Laundry (Sydney), Empire (Brisbane), Clapper (Osaka), 103 Club (Berlin), Turnmills (London) and many more.

In 2005, chopstick together with johnjon have founded their very own record label called Criminal Records, which is distributed along with labels such as Poker Flat, Mood Music, Dessous, etc. by WordAndSound in Hamburg. Their catalogue various from minimal techno to techy house music and has gained recognition by key DJ’s like Martin Landsky, Chloe.., Laurent Garnier, Funk D’Void to name only a few.

Together with longtime friend and Kling Klong Records owner Martin Eyerer, he started a new collaboration named Eyerer & Chopstick. Their releases have sold more than 20.000 vinyls (not to mention the digital download sales). Releases like “Make My Day (Haunting)“ which features Cassius Singer Philippe Zdar have been licensed to various territories and was even made Essential New Tune by Pete Tong on Radio 1 several times.

Chopstick has now released 4 Mix-CD’s, which reflect various styles of good electro house music that work very well on the dance floor. The Mix-CD’s also feature some of his own work, e.g. “She Loves It!”, which is signed to Darren Emerson’s (from Underworld’s infamous imprint Underwater Rec.) label and was in Darren’s eyes “One Of The Biggest Clubtunes in 2005”!

In fall 2007 once he had proved himself with Criminal Records, chopstick began his second label with Johnjon and André Stubbs: Baalsaal. Under his guidance the label quickly began to gain international respect. Not afraid to sign tunes that were different from the mainstream, Baalsaal quickly became recognised as a great source of quality underground sounds. At the same time André opened the doors to his club Baalsaal in Hamburg and offered a musical platform and home to chopstick, johnjon and André aka Preocoop. The three of them started to promote the labels Baalsaal and Criminal Records with monthly special clubnights called Criminal&Friends. Their concept is to invite one of their friends to come and play at their venue. Artists like Martin Landsky, Chloé, Oliver Koletzki, Dirt Crew, DJ Silversurfer, Booka Shade, Kiki and many more have raved behind their decks. Baalsaal quickly became an institution in Hamburg one cannot neglect anymore.

Whether on his own, or in partnership with his friends and peers, whether as a label manager or consultant to his friends, whether as a sound engineer or song writer, there’s something reassuring and inspiring about an individual who’s not afraid to strive for more and keep his cool at the same time.

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.

Submit promos: https://tstack.app/bedouin or music@bedouin.us

LABEL @humanbydefault
Submit demos for Human By Default: tstack.app/human-by-default or send to demo@humanbydefault.us

SAGA @sagaibizaofficial

Bedouin is an Miami-based music production and DJ partnership consisting of Tamer Malki and Rami Abousabe. Together they share a broad sonic vision that pulls from their diverse influences owing to their Middle Eastern heritage, Western upbringing, and worldly travels.


Ahhhh the mystical DJ biography. What does one say, what does one hide. I’ve never really liked writing these things as they always seem to be contrived, even more so when written in the 3rd person. So I’m going to stick to just rambling on like this as it’s a lot easier to write. If you choose to continue reading (I’m not sure if these things actually get read anyway) I hope that it can at least be a little entertaining. 

So there was no musical influence in my family, my mum used to and still does listen to the cheesiest of 60‘s, 70’s and 80’s.  So I grew up listening to the Bangles and the Beach Boys. Not much street cred there but good fun nonetheless. I eventually got the entire record collection and I still love playing them, there’s some surprisingly good stuff. My teens were consumed with Punk rock. I still love punk rock. Usually sung rather badly but with such energy. 

So it wasn’t until I stumbled into the boiler room at one of the Big Day Outs back in the late 90’s that I first heard “proper” dance music. It was the big fella Carl Cox and it really changed my perspective. I didn’t go down the techno path straight away though, there would be too much credibility in that.  Although I did want to buy turntables pretty much from that point onwards. I also remember hearing Darudes sandstorm that day, I still love that track, bad video clip though. There are 2 albums I can remember I bought which was the change from me buying only punk to starting to swing my leg over the electronic fence. I can’t really remember why I bought them. Firstly was Roni Size Reprazent – In the Mode, I just love this album every track is so good and when you see footage of them performing it when I first came out on these big chunky PC’s and live drums, so good. Second album was Stanton Warriors – Stanton Sessions, yet another fantastic album that set me down the broken beat path. So I was listening to this broken beat stuff but still listening to some pretty terrible rubbish, hard house stuff. The 2 records I mainly contribute to learning how to mix would be a double LP of a Cream compilation. SO my flatmates had to listen to some pretty naff trance stuff over and over again. I did have a big love for anything by Mauro Piccoto back then also after getting one of his Mixmag cd’s. That and Krafty cut’s Mixmag cd are still on high rotation for me. 

So breakbeat was getting pretty big in the early noughties. I bought so much of the stuff I would be at the record store every weekend. It seems kinda weird now that you don’t have to do that anymore. I remember hearing Zero’s - Emit Collect at breakfast and it took me the best part of a year to track it down. Everyone used to haul their records around to peoples places and have a good old time mixing. It used to be a pain trying to locate all the strewn records post party though. 

So I played around Perth a bit and a few gigs in Melbourne and Brisbane through friends, the usual haunts before deciding I’d had enough of Oz and left for a year in Canada where I played a few gigs in BC in some pretty strange places. One being on the back of a flatbed truck for some party to tempt the snow gods to have a good season or something. It was snowing and damn cold but pretty sweet to be playing while there were fireworks. Another was on Halloween dressed as a giant red M&M. I found out the hard way that it was a bit of a poor costume choice as I had no pockets for my phone or wallet which eventually I lost most likely left on the bar. This was all still using vinyl which made it pretty expensive and impractical for travelling. 

I then moved over to London and was still in this breakbeat thing even though it was dying in the arse. I have London and Berlin to thank for turning me towards house and techno music. It was these places that I really started to understand what it was all about, those moments when the whole dancefloor is just in tune with the dj and everything just comes together. Places like Berghain , Exit Festivals Dance Arena, Warehouse parties in London & of course Ibiza. This is where I also began my love affair with Funktion 1 sound. So crisp and so clean. 

I met my good friend Nick and we used to put on boat parties under the Dim Sum banner  on the Thames and in a cool East London boozer which saw a pretty random assortment of dj’s come play for us. I got to play some cool venues in London,  Turnmills was a good one before it closed. I was lucky to play a few festivals and also a few Euro gigs that I chased up, one in a pub in Chamonix that was next to the hotel we stayed in when snowboarding and another in Istanbul when I lived there for a bit en route to South America which saw a few more crazy gigs. One in Peru at a rather randomly organised “festival” just outside of cusco which saw dudes being suspend by hooks and drunken tattooing, sounds kinda like a biker party. I’m not really sure what it was about. I made some good friends in Colombia as I spent a few months in Bogota playing some crazy parties in the hills overlooking the city, again for Halloween. This time I was “the Crow”. 

Now living in Melbourne I’ve tried to focus myself on making music, I’m really fond of music that is driving and hypnotic with organic elements that really creates atmosphere. Let's see how that turns out hey !


Now an established force in contemporary Techno, Mike Bierbach, better known under his stage name Rødhåd is someone who has seriously put in the work. Having cut his teeth DJing as a relatively unnoted (but well loved by those in the know) local in Berlin for 10 years, one could argue that by the time success knocked on his door, he was more than ready for playing the international stage. It was during these 10 years of obscurity when he refined his craft to become the singular DJ he is now. 

Launching his party-series-turned-label Dystopian in 2009 was what truly tipped the ball over for Rødhåd. In a time where the Berlin scene was heavily oversaturated by fluffy, miscellaneous dance music, he & his peers set out to form a platform for real techno. The reception to this was raucous. 

Although he has lauded productions and remixes to his name, DJing is his true forte. Before abandoning his day job as a draftsman in construction “The Red” (as some call him due to his gingered, bearded appearance) was known for playing very long sets in Berlin’s most notorious hideaways. 

With an album, several EPs & remixes for a multitude of different artists under his belt, Rødhåd the producer has received equal praise as Rødhåd the DJ. Dystopian has hosted most of his releases, but in 2018 he founded a new label WSNWG that serves as a home for collaborative productions, excavated in sessions at his East-Berlin studio with his peers such as Lucy, Alex.Do, & Antigone.

Jaymin Doe is following