Electronica /Trip hop/ Minimale
_ thylacine.w@gmail.com
_ Management : clarisse.arnou@gmail.com
_ Tour : 
UNI-T (Booking France / Benelux / Switzerland) I Tommy Addington I tommy@unit-production.com
OUTER MOST AGENCY (Booking North America / South America / Australia) I Todd Walker I twalker@outermostagy.com & Ian White iwhite@outermostagency.com
VON DER HAARDT (Booking Europe, Middle East, except France, Benelux, Switzerland) I Christian Winzer I christian@vdhaardt.com
_ Label Intuitive Records: lisa@intuitive-records.com

Techno Acid - Electro Deep         (Live & Dj set)

Contact: elvagabundzo@gmail.com

Plus qu’un bateau, l’IBOAT est résolument ancré sur le territoire bordelais comme un opérateur culturel privé, indépendant, porteur d’une politique artistique curieuse et ambitieuse.
À la croisée des disciplines artistiques, musicales et digitales, il oeuvre depuis 2011 pour le développement de nombreux projets à l’échelle locale ou nationale autour desquels gravitent artistes, associations, entrepreneurs culturels, à bord du bateau mais aussi sur la terre ferme.
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More than a boat, the IBOAT is firmly anchored on the Bordeaux territory as a private, independent cultural operator, carrying a curious and ambitious artistic policy.
At the crossroads of artistic, musical and digital disciplines, it has been working since 2011 to develop numerous projects on a local or national scale around which artists, associations and cultural entrepreneurs gravitate, both on board the boat and on land.

Since their first big break in 2012 the Adana Twins have established a sterling reputation, refining their sound constantly, pushing the boundaries of their musical ambition and evolving organically with the passage of time. Driven by a deep-seated desire to transmit emotion through electronic music, the German duo have been working together since long, merging Benjamin's love of hip-hop and Friso's passion for club music to produce a series of highly-regarded releases that form the foundation of their global success. Their early triumphs led to bookings all over the world, delivering their unique musical vision to dance floors on every continent, with support from a wide range of dance music luminaries including Radio 1 legend Pete Tong, Solomun, Dixon, Tale Of Us and many more. Now firmly established within the underground electronic music scene, the Adana Twins are universally respected as label owners, A&Rs, producers, and inspiring DJs who love to play long marathon-sets.

Being one of the most in-demand Techno DJs of our times, Ben Klock needs little introduction. His name has been closely associated with Berlin’s legendary club Berghain since 2005. His monthly residency has formed the backdrop to his international success, providing an invaluable platform for his ability to create a room rather than just play to it.

Much of his early career was marked by marathon sets – a signature that played a considerable role in nurturing his skills and reputation – but even the more compressed sets he shares today evidence an intricate narrative and sense of flow that defines him as a DJ. It was these inherent abilities that led him to compile the fabric 66 compilation in 2012, before winning the BBC Radio 1’s Essential Mix of the Year award in 2015.

His releases on Ostgut Ton have become landmarks in the imprint’s history. 2009’s “Dawning”, the first of his collaborations with Marcel Dettmann kickstarted the label itself and remains a stand-out track in its discography. Another release of particular note is the Before One EP including “Subzero”, which many techno lovers still refer to as their gateway track into the whole genre itself. For many, however, it is his album One (2009) that best captures Klock’s talents as a producer. His skills as a remixer have also seen him rework tracks by a wide variety of artists, including Kerri Chandler, Depeche Mode, Robert Hood and Kenny Larkin.

Additionally, Klock curates with great passion his own label Klockworks, founded in 2006. With releases from DVS1, Stef Mendesidis, The Advent, Sterac, Etapp Kyle, Temudo and many more Klockworks became a synonym for unique, high quality Techno.

In 2017 Ben started his own event series PHOTON which is a unique concept show that blends light, architecture and music. Since then he toured PHOTON at special venues in major cities around the world such as Printworks (London), Gashouder (Amsterdam), Arca (Sao Paolo), to name a few. It quickly became a new standard for audio visual electronic music events. In 2023 the project returns after a pandemic induced break with a brand new visual and artistic concept.

https://www.floatingpoints.co.uk/

 hello@floatingpoints.co.uk

Babyshambles and Parlophone are thrilled to announce that the third Babyshambles album Sequel To The Prequel is out now!  Preceded by a first single Nothing Comes To Nothing  the album was recorded at Question Du Son, Paris and mixed in The Bunker, London, with producer/mixer and long time Shambles collaborator Stephen Street.

As Peter Doherty told the NME last week, "I don't want this to be half arsed, I want to get up there and really fu*king smash it out. Babyshambles aren't back, this band has always been here". On hearing the final version of the single Nothing Comes To Nothing, Peter stated, "it actually made me cry".


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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