Official page for Eric Prydz, Pryda Recordings, and Mouseville Records.

Together with DJ Normal 4 we are The Wizards Of The West.
Member of NRZP Bielefeld and Warning Berlin Crew.
one of two founders of @manaabundance

for questions or booking-requests contact me directly or send email to:
greyscaleofficial.booking@gmail.com

bringing the beats in shades of grey 🖤 energetic, hypnotic and driving with a touch of rebellion 🔥 

>> Greyscale. has been shaping dancefloors for more than a decade, long enough to refine a sound that is unmistakably her own. As her name suggests, she moves in the subtle spaces between light and shadow, blending contrasting tones into something cohesive, textured and alive. Her sets flow through different gradients, from deep grooves to sharp rhythms, from atmospheric layers to raw edges, and from understated tension to bold release.

Versatility is at the heart of her craft. Greyscale. shifts easily between underground subculture and established club stages, reading a room with a precise instinct and adjusting her palette without ever losing her personal touch. Whether she is driving a peak-time floor or building energy in an intimate after-hours space, she performs with the confidence of someone who has spent years behind the decks and with the curiosity of someone who is still deeply in love with music.

Her focus on selection defines everything she does. She digs carefully, mixes with intention and shapes her sets like evolving stories. Her sound is edgy yet elegant, unexpected yet coherent, emotional yet grounded. The charm lies in the way she connects gritty textures with melodic warmth or shifts momentum with subtlety instead of spectacle.

Greyscale. paints moods rather than simply playing tracks. Shades, contrasts, tension and flow come together in a musical grayscale that carries dancers through different states of mind. This combination of experience, sensitivity and boldness continues to expand her presence across diverse venues and scenes and keeps her sets echoing long after the night ends.<<

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18.12. @ espacio KB (COL)
09.01. @ Video Club (COL)

2015 - 2017 resident & management @ clubAJZ
2017 - 2020 resident & management @ Nulectric records
since 2015 member & resident @ Forum Bielefeld
since 2019 management @ Forum Bielefeld
since 2023 hosting SENSUS @ Forum Bielefeld

Deutsch:

Als deKai im Jahr 1992 seine erste Technoparty feierte, war es um ihn geschehen. Bis 2002 legten seine Freunde auf und prägten seinen Sound. Als er dann 2004 den Club Ohm in Madrid besuchte und keiner seiner Freunde mehr selbst in einem Club auflegte, kaufte er nach seiner Rückkehr 2 Technics und 1 Mischpult.
Die ersten Platten waren gekauft, und der Anfang war mehr als holprig :) 

Als dann Günni mit seinen Platten vorbeikam, ging es los. Jedes Wochenende spielten die beiden zu Hause, dann begannen kleinere Gigs in Bars und Clubs. Regelmäßig bei Braaaatz und den 3Klang Partys im Ohrakel.

Schon damals war seine Leidenschaft der düstere, treibende Techno, auch aufgrund seiner Affinität zum Heavy Metal. Ein Fan beschreibt seine Musik als das Gefühl, von einem Raubtier gejagt zu werden und um sein Leben zu rennen.

Nachdem in Bayern die Clubs bereits um 4 bzw. 5 Uhr schlossen und das nicht mehr seinem Feierrhythmus entsprach, folgte ein aufregendes Jahr 2009 in Berlin mit dem Fazit, am 01.12.2009 in Berlin anzukommen!

Einer seiner Meilensteine auf seinem Weg war ein 10-stündiges Set in der Magdalena an der Schillingbrücke, nach dem der Keller des Clubs nach ihm benannt wurde (Kai`s Keller), und ein weiterer auf der Hoppetosse zur Betriebsfeier.

Mit der Gründung von Ragnarøk im Jahr 2013 begann ein neuer Weg, der bis 2022 wild, erlebnisreich und ausgelassen war. 2023 begann eine neue Ära mit der Gründung des Labels „valhall records“ und der Partyreihe „Ruf der Walküren“.
Ragnarøk ist TOT und wird zu Valhall Records: http://tinyurl.com/4xdhuku2

Seit Dezember 2023 ist er stolzer Resident DJ in der Bude in Kutaisi, Georgien.

Englisch:

When deKai celebrated his first techno party in 1992, it was a turning point for him. Until 2002, his friends were DJing and shaping his sound. In 2004, when he visited the Ohm Club in Madrid and none of his friends were DJing in clubs anymore, he purchased 2 Technics and 1 mixer upon his return. The initial records were bought, and the beginning was more than bumpy :) 

When Günni came by with his records, things took off. Every weekend, the two played at home, and then they started with smaller gigs in bars and clubs. Regularly at Braaaatz and the 3Klang parties at Ohrakel.

Even back then, his passion was the dark, driving techno, also due to his affinity for heavy metal. A fan describes his music as the feeling of being chased by a predator and running for one's life.
After clubs in Bavaria started closing at 4 or 5 am, which no longer suited his party rhythm, an exciting year in Berlin followed in 2009, with the conclusion of arriving in Berlin on December 1, 2009!

One of his milestones on his journey was a 10-hour set at Magdalena at Schillingbrücke, after which the club's basement was named after him (Kai's Keller), and another at Hoppetosse for a company party.

With the founding of Ragnarøk in 2013, a new path began, wild, eventful, and unrestrained until 2022. In 2023, a new era began with the founding of the label "Valhall Records" and the party series "Call of the Valkyries."
Ragnarøk is DEAD and becomes Valhall Records: http://tinyurl.com/4xdhuku2

Since December 2023, he has been a proud resident DJ at Bude in Kutaisi, Georgia.

Junge Junge is the DJ-production project of Michael Noack and Rochus Grolle. Both enjoyed their own respective successes as solo artists before the collaboration began: Grolle has been DJing and producing music since the early 2000s, while Noack has been DJing ever since he debuted on George Morell’s Groove On Records in 2012. Having crossed paths on various occasions the road—“We were always bumping into each other at random events,” they say—the duo decided to spend some time in the studio together in late 2012, only to discover a shared language and intention: “to excite people” with their music. Soon they began touring as Grolle & Noack before releasing 2013’s “Why” as part of the Schneeweiss II compilation on Oliver Koletzki’s Stil vor Talent imprint—albeit as Grolle & Noack rather than Junge Junge. 
The first official Junge Junge release landed in April 2015. Titled “Beautiful Girl,” and stemming from a spontaneous jam session at 2014’s Helene Beach Festival, the single landed on Get Physical Music. Pairing a feel-good bassline with the smooth vocals of Australian Kyle Pearce, the track served as a perfect example of the deeply melodic, pop- orientated sound. “Our songs automatically become melancholic, harmonic, and somehow ‘poppy,’” they say, describing their style as “pop with other influences.” 
Having heard “Beautiful Girl” played in a local beach bar on holiday in Ibiza, the Managing Director of Universal Music Sweden offered the duo a record deal on the spot. The first product of this arrangement was 2016’s “Run Run Run” single, followed soon thereafter with the Beautiful Girl EP which featured three original productions alongside the licensed title track. “Run Run Run” went double platinum in Sweden and has over 35 million streams on Spotify; while “Beautiful” went gold in the same territory. Earlier this year, the duo returned to the label with the “Postcard” single. Away from original productions, Rochus and Michael are also regular remixers—and can count Glashaus, Charlie Puth, James Arthur, Kyle Pierce, and Avicii as artists they’ve reworked. 
As DJs, the duo also continue to impress—although their tech-house sound is distanced somewhat from much of their studio output. “If we’re DJing we’ll play only tech-house or techno,” they say. “This is what has inspired both of us to play out music as DJs.” Following a busy few years of touring—during which they played Pacha Ibiza, Germany’s Magnetic Festival, HYTE on New Years Eve in Berlin, WET Open Air, to name just a few—the duo’s tour schedule continues only to grow. 2017 will see them combine bookings at large-scale festivals with smaller, more intimate club performances. 
Up next is the duo’s highly anticipated debut LP, scheduled for Spring 2018 release on Universal.

The future:

08/11 Ormside, London (UK)
21/11 NE x Headframes, Kiruna (SE)
12/12 Tresor, Berlin (DE)
19/12 Under Bron, Stockholm (SE)
20/12 Astron, Athens (GR)
31/01 Industrial Copera, Granada (ES)
13/02 TBA Tblisi (GE)
06/03 Under Bron, Stockholm (SE)


Requests/Booking:

booking@northernelectronics.se

The cohesive array of depth charged devices that Anthony Linell has produced is formidable. From his opening statements as Abdulla Rashim on his early label of the same name, right through to his recent work that puts his aliases aside, there is a robust and rigorous intent that compounds the elemental strategies of techno's models to apprehend his singular vision.

Presiding over Stockholm's Northern Electronics label with Varg (Jonas Rönnberg), Linell dispenses with mechanisms of attention on all fronts. Marked by an indefatigable self-reliance, the label presents exactly what it means to display, and no more. Carving an idiosyncratic platform for his music is as great of a warning as there could be that Linell's leveraging little toward the benefit of the audience. By his measure, the familiarity and comfort of contemporary techno is stripped back to its rushing heart, the senses left tailgating the strobe in a fit of intuition over decision. The greater this is exposed the colder it gets, and its in these extremes that Linell's caustic rhythmic precision hits. Live, it comes off as a galvanizing strike from the outside; analysing the room as a DJ, it's a case of being pursued through the dark.

Just as the brevity of Linell's output in the eyes of techno is exalted as it is brought into focus, the background to this blurs as you start to decipher his other projects. Lundin Oil skirts the fringes of noise and experimental music, and in collaboration with Varg as Ulwhednar, this is perhaps even more pronounced.

Purposively ricocheting between the techno world and experimental electronic music, Linell forges a distinct passage that gathers the aesthetically uncompromising motifs and missions from across this spectrum. It's this combination and resolve that's brought Linell to the world's attention, however little that attention has been solicited.

Lui is following