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True Type Track was created by Xpansul and Daweed in order to release the techno music they love so much.

Please don't message us here, write with demos or enquiries to info@truetypetracks.com please



Max Essa has been active as a producer and DJ since the early 90s, initially releasing music on labels including Warp Records and Paper Recordings and DJing alongside the infamous D.i.Y Sound System.

His later work, for labels like Is It Balearic? Recordings, went on to be play-listed by legends such as Andrew Weatherall and David Mancuso, gaining him a devoted following and DJ bookings around the world. 

Albums for the Japanese major label, Victor Entertainment ('Vacations Never Taken' 2015) and Music For Dreams ('Lanterns' 2018), plus EPs for labels including Hell Yeah! Recordings and Razor N Tape (with Eddie C), and a constant stream of remixes for labels like Compost, Ubiquity, Faze Action and Leng have shown him to be a prolific and deeply imaginative producer.

Since 2008 he has been based in Japan where he plays regularly at clubs and events around the country, from Hokkaido to Okinawa.
From 2010 - 2023 he was a resident DJ at the Lone Star parties, and later the Zim Zam Zu! events at the legendary, Bar Bonobo and for over a decade has been a resident at the ever popular, Aoyama Tunnel in Tokyo.

Whether it’s taking from her esteemed production time under the alias Lady Blacktronika or experience growing up in California, her self-assured approach to gripping and brawling techno tension sees them perform a fast paced and fervent flow on the dance floor. 

Femanyst continues to bring her unapologetically bold signature sound with their new techno imprint “Dark Carousel” as an extension to their much revered DJ sets of twisted and aggressive, 90s influenced high octane electronic music.

El Barrio Djs

Gaspar Antuña & Isaias Sanz, Djs and producers, based in Madrid.

isaiassanz@gmail.com

Linktree: https://linktr.ee/Skatebard
Booking: https://www.klsbookings.com/skatebaard

Bård Aasen Lødemel, aka Skatebård, got into techno and rave during the '90s before he became a producer of retro-futuristic disco, house, and techno. 
Hailing from a town called Ørsta on the Norwegian west coast, Lødemel moved to Bergen in the year 2000, where he quickly became part of the town's growing club scene. 
After handing over a homemade demo to Tellé Records label boss Mikal Telle, Lødemel was signed to offshoot label Tellektro in 2001. 
His first release under the name of Skatebård, a concise vinyl-only album called Skateboarding Was a Crime (In 1989), was released in 2002, and slowly but surely Skatebård's reputation started spreading beyond Norway's borders. 
Throughout his impressive career of releasing five albums and more than twenty 12-inches, he has steadily carved out his own corner of dance music with a unique flair. Traversing a range of seemingly disparate genres and emotions comes incredibly naturally to the Norwegian artist, whose music oscillates between Italo disco and raw Detroit infused house and techno. With an enviably eclectic collection of the mastery to navigate it seamlessly, Skatebård’s DJ sets offer exploratory excursions through the unknown and unexpected. From festival mainstages to intimate clubnights, Boiler Rooms and radio shows, Skatebård has captivated audiences across the globe, performing at many of electronic music’s most revered institutions.
The dynamic scope of Skatebård’s artistry extends to his work in the studio. Spanning over two decades, his impressive discography is dispersed across labels including his own Digitalo Enterprises, Sex Tags Mania and Bordello A Parigi. With a knack for balancing kitsch with elegance, Skatebård creates music that exudes an air of nonchalant fun.

Miami Nights 1984 is Michael Glover from Victoria, BC, Canada. His obsession with the 1980s has led to the founding of Rosso Corsa Records and a revival of synthesizer music. With Rosso Corsa he is championing many artists such as Mitch Murder, Lazerhawk, Jordan F and Lost years to make 1980s-inspired music with modern fidelity.

Being among the pioneers of this revival, Mike’s first project Actrazer initially defined the Rosso Corsa sound together with output from label co-founder Lazerhawk. They coined their music Outrun, a genre of soundtrack music with epic leads and arpeggiated synths. At the same time, Kavinsky, the Outrunners and the Valerie Collective were all contributing to this new sound.

Since 2010 Michael Glover has been ecstatic about the success of his second project known as Miami Nights 1984 (MN84). Characterized by smooth synthesizers and nostalgic solos, this new sound accentuates the carefree feel of the 1980s.

The Miami Nights sound garnered support on an international scale with the official remix of ‘Somebody I Used To Know.’ by Gotye. It infuses 1980s charm with Gotye’s powerful voices and moody lyrics. Rollings Stone says it’s an “eighties-inspired synth-pop remix, inspired by [mike's] love of old John Hughes films” while VH1 says “It’s a synth-led 80s redux, and it’s pretty rad”

When asked about influences, Mike says he obviously takes from the 80s: “The music, movies, shows, cars and girls are all running through my imagination when I write a piece of music. I’m not happy with a piece of music unless I can imagine it as the soundtrack to a film or show. Ever since I was a child I enjoyed synth-based music like Tangerine Dream, Jean Michael Jarre and Ray Lynch.” His name coincides with the original run of the Miami Vice TV show on September 28, 1984.

In creating his sound he uses “a variation of analogue synths and virtual instruments in Abelton Live. I’ve been using more virtual instruments for convenience and ability to leave a project without worrying about getting the same sound again.” Many of the parts are first recorded from live instrumentation and tweaked afterward in Ableton.

Building on the successes of Rosso Corsa Records and an official Gotye remix, Mike released the second Miami Nights 1984 full length album Tubulence. Spanning 12 tracks, Turbulence builds upon the synth-pop charms and synthesizer solos from Miami’s first album with more character: orchestra stabs, percussive rushes, slow motion bends and epic interludes distinguish the album. So does the album’s more intense moments which promote the Outrun electro sound we have championed for many years.


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