One of London’s original warehouse party DJ's and co  promoter of the infamous Dirt Box parties of the 1980's.
From Club Promoter, Club DJ, Radio DJ, Record Producer to Record Label Manager. 
As a DJ he has the experience, the passion and the ability to make a dance floor rock or a DJ that can play the coolest funkiest soulful house for those select intimate sessions and even a mind blowing rare groove funk and soul set - Rob Milton is one DJ that will definitely deliver the goods!
With a DJ career that spans over two decades Rob’s DJ pedigree dates back to the Eighties in London where he was the co founder/promoter and original DJ of the infamous and notorious DIRT BOX
which produced London’s first illegal warehouse parties. Which paved the way for the capital’s forthcoming rave scene.
Rob’s popularity as a DJ also saw him with residencies at some of London’s top clubs at the time such as Oliver Peyton’s RAW with Dave Dorrell and the Electric Ballroom in Camden alongside Jay Strongman. He was also a regular at Philip Salons Mud Club and the Wag Club. As well as resident DJ at some of London’s biggest and hippest clubs and one off events around the UK. Rubbing shoulders and turntables with some of the biggest and now legendary DJ names.
Rob left the UK in 1988 to set up home in Sydney Australia. On arrival in Sydney he was responsible for setting up the omni present LOVE parties with Sugar Ray, which pioneered the huge Sydney house scene in the early Nineties. And was resident at the world-renowned Vibes on a Summers Day and Sydney’s freshest funkiest parties at the time Funk Inc.
Over the years Rob has played at most major Sydney and Australian clubs and bars and was co-promoter and resident DJ of Sydney’s infamous Kings Cross club the Underground Café. The late lamented HIGH TIMES & DELICIOUS nights were two of the most popular club nights in Sydney’s clubbing history. They were the epitome of all that was good about the house scene - no hype, no bulls**t , just pure sexy house! Both nights ran for an incredible seven years from 1995-2002 and were constantly voted in the top three club nights in Sydney, with Rob being touted as one of the best “funky” house DJs in Australia. And the club was one of
the first to book international DJs on a regular basis. With some of the UK and US top DJs playing virtually every other week. After the closure of the Underground Rob took up resident DJ slots at Home and Yu as well as guest spots at clubs all over town. And was a regular on Sydney’s airwaves – hosting his own daily Mon-Fri afternoon shows on Radio Dex and Rhythm FM.
He then immersed himself into music production releasing two of Australia’s biggest house tracks- the anthemic (and still much sort after) “Same Old Thing” by LOVERUSH (voted Australian dance track of the year by 3D magazine) and the excellent follow up “Love 2 See Ya (Dancin’)”. Both tracks were picked up for release in the UK on Credence and Azuli records respectively.
Rob was also responsible for putting together the essential “GROOVE ORIGINALS” compilation series. Which consisted of those original soul/funk and disco tunes that were being sampled for today’s dance tracks. Which was a formula that preceded the huge influx of similar compilations from around the world.
Recently Rob has been taking more time out in the studio to record an album and various single projects. With notable releases like “Keep it Right There” by ULTRAPHONIC on Sydney’s prolific Hussle label and ‘All Over Me” by Body Corporate on Casa Del Disco which encompass all the essential ingredients that makes you wanna dance your ass off – which is all together an apt description of his DJ sets. Rob has recently returned to his adopted Sydney Australia after four years back in his hometown London. He is currently working hard in the studio on remixes and his own new productions and re-edits for his new label Spin Cycle. Watch out for DJ sets around Sydney in the coming months.

Superprince is http://soundcloud.com/jeffreylevifry &amp http://soundcloud.com/shawnryan. Known for their sharp productions and eclectic edits &amp; remixes, they are constantly exploring new sounds. They have also been collecting records for over 15 years and strive to transport listeners through time and space with their mixtapes. Superprince is influenced by Rolands, classical composition, the thrill of the vinyl hunt, Supermax, and, of course, The Purple One. Checked out their 12"s on @razor-n-tape and @universalcave, as well as their productions on Rock It Science Labratories, Young Robots, Moulton Music &amp; Hotbox Music.

>>>>>>>

Every one thousand years in the K. Hauenstein star system, on the planet Rogersnelson, a wormhole opens.  It leads directly from the planet's capital city of Bohannon to it's galactic sister city, Philadelphia on the planet Earth.  In the K. Hauenstein star system, music is a valuable currency and many wars are fought over it. It is said "He who controls the music, controls the universe". Almost two decades ago, the disco freighter HMS Sylvester was successfully destroyed by a marauding squadron of Imperial RIAA fighters.  Before the freighter exploded, two families loaded their only sons into escape pods and launched them into space. The pods drifted for days and the fate of the two young men was looking grim. On the fifth day, however, their luck shifted dramatically. The god of cosmic energy, Moroder, noticed their plight and set them forth on solar winds through the closing wormhole. After crashing in Philadelphia, the children emerged from their pods, looked at each other and said, "We are Superprince."  The collection of songs on this page are the efforts of Superprince to communicate in a new world, whilst paying homage to their alien homeland. Please enjoy the music, and if something seems off, cut them some slack - they are fucking alien orphans from the K. Hauenstein starsystem.

The tale of Danny Tenaglia's love affair with music, and the world's subsequent romance with him, is one of the critical veins in the body of dance music. He is every dancer's secret discovery; a random purchase at the record store, a reluctant night out that unexpectedly turned magic. Explosive success came not behind a major label release, or a world tour, or a radio hit remix: It happened when enough people had the private Tenaglia experience for themselves.

The momentum started building in early '70s New York, when a barely 10-year-old Danny first got the feel of vinyl in his hands. Enthralled by the music of artists like Philly Soul's The Trammps, Motown's Marvin Gaye, African trumpeter Hugh Masekela, and disco producer Giorgio Moroder, he started to collect records, plumbing the depths of each one, and frequently finding that he preferred the B-side to the A. It was 1979 when he discovered legendary nightclub Paradise Garage, where DJ Larry Levan's rich, genre-less blend of music seemed to mirror his own "no boundaries" policy. It was here where Danny found the club model he would one day emulate: Levan's bold style, the venue's plain décor, and the party's warmth and inclusiveness.

Danny left New York in 1985 and launched a successful DJ-ing career in Miami as a resident at Cheers nightclub. There he schooled the locals in classic New York and Chicago house, but five years later he returned home, tired of only playing other people's music. He started to assemble an impressive roster of remixes, including Right Said Fred's "I'm Too Sexy" (1991), Jamiroquai's "Emergency on Planet Earth" (1993), and Madonna's "Human Nature" (1994). But his first epic was The Daou's "Surrender Yourself" (1993): With the kick in the bass and the underlying rhythm as the foundation, Tenaglia blanketed Vanessa Daou's wispy vocal with grand, thick chords, a combination of classic groove and modern club-ready depth that was, at the time, entirely new. The title of his 1995 debut artist album on New York's Tribal Records described it perfectly: Hard & Soul. But even if the cocktail was his own, Tenaglia never hesitated to declare how heavily his influences weighed in his productions - everyone from Patti LaBelle to Kraftwerk, with countless lesser-known Soul, R&B, Latin, Samba, and Disco artists in between.

In 1996, after a brief stint at New York superclub Roxy, Danny landed a Saturday night residency at white-hot Twilo, a position that upped his profile but didn't satisfy his expanding artistry as a DJ and producer. While New York swooned for big-room diva anthems, Danny was turning his ear toward the more minimal, tech-y grooves originating in European production studios. This period produced solid remixes like Grace's "Not Over Yet" (1996) and Janet Jackson's "The Pleasure Principle" (1996), but by the time he moved to Tunnel in 1998, Danny had already created "Elements," an instant classic that caused the dance scene's collective jaw to drop. With his own warped voice providing the narration, "Elements" (one track off full-length Tourism) walked the listener through the different components of a dance track in real time, going from kick to drum loop to snare hit, letting each layer over the other until the track exploded with dark, drum-heavy energy. Next to ostentatious radio anthems, its simplicity was a revelation. 

It was around this time that the murmurs started to get louder: Who is this Danny Tenaglia, and just what does he do to people? Clubbers reported seemingly inhuman mixing capabilities, booth-to-floor telepathy, and the grittiest "modern yet classic" grooves they had ever heard come out of a speaker. A trio of label compilations - Mix This Pussy (1994) and Can Your Pussy Do The Dog? (1995) for Tribal, and Gag Me With A Tune (1996) for Maxi - were the first Tenaglia sets clued-in clubbers could take home to dissect, but the release of his first installment in the UK-based Global Underground series of DJ mixes, titled Athens (2000), lit the international fire. Athens (meant to reflect the set he played at the Greek capital's club King Size) remains one of the darkest, strangest, sexiest sets ever released, and its tame cover photo of a gentle-looking man in a Yankee cap just didn't seem to fit. DJ dates across Europe dispelled the mystery and started the spread of the infectious Tenaglia fever.

Back in New York, Tenaglia was tiring of the cavernous gloom of Tunnel and longed for a weekly home that better resembled where the DJ bug first bit him - the Paradise Garage. He landed at Vinyl, a black-walled, single-environment, no-liquor club about one-quarter the size of Tunnel. He named the night "Be Yourself," after the self-affirming, heavy-bottomed vocal track he had recently recorded with Chicago's Celeda. And he took the name to heart: Without the pressure of bar minimums or an expectant crowd, Tenaglia spread his DJ wings. Next to new tracks by young producers like Rui Da Silva, Peace Division, and Saeed & Palash, he played the artists of his youth, with nary a beat dropped. If he wanted to launch into a two-hour set of straight-up techno, he did. If he wanted to play old Michael Jackson records, he did. If he wanted to get on the mic and tell the crowd the name of the sound he was about to play, or who next week's guest opening DJ would be, or just give everyone a "verbal handshake" to welcome them to the club, he did. And a city tired of drama embraced the barebones, music-centered night. 

The world caught up to Tenaglia in 2000. His annual party during Miami's Winter Music Conference outgrew its home at the cramped Groovejet and moved to just-opened superclub Space. DJ giants like Carl Cox danced on top of the speakers with the Deep Dish boys, Fatboy Slim mingled on the patio, and for a day the ego inherent to DJ culture evaporated: Tenaglia was hailed as the undisputed king, the "DJ's DJ." His roof-raising revamp of Green Velvet's "Flash" won "Best Remix" at the UK's Muzik Awards, where he was also awarded the "Best International DJ" prize. 

In the two years that followed, Tenaglia released another Global Underground installment (London); toured the world, took the party island of Ibiza by storm, remixed Billy Nichols' "Give Your Body Up To The Music" (a Garage anthem); got nominated for a Grammy (for his remix of Depeche Mode's "I Feel Loved," also nominated for Best Dance Song); returned to Twilo for two special gigs - a President's Day marathon with Carl Cox that shattered all its attendance records, and the club's sixth anniversary party with John Digweed, which turned out to be even more meaningful than it seemed at the time (Twilo was shut down permanently a week later); graced the cover of every major dance music magazine; and won a Dancestar Lifetime Achievement award... all while keeping Be Yourself buzzing every Friday. 

In 2003, Danny came full circle with the release of Choice: A Collection Of Classics, a two-CD mixed compilation that let him pay direct tribute to many of the artists who had influenced his sound and style. It featured everyone from Blaze to Adeva to Imagination, as well as hefty liner notes explaining the significance of each track, penned by the man himself. He also remixed another Garage classic (Yoko Ono's "Walking On Thin Ice," which became her first Billboard number one ever), opened another Space during Winter Music Conference (the new location down the block), and took another Dancestar award, this time "Best Party" for Be Yourself. 

Be Yourself took the same honor again in 2004, but this time the win was bittersweet. At the time of the ceremony, Vinyl, now called Arc, had already been sold to developers. Danny closed the classic club on Sunday, April 25, 2004, with an emotional set that lasted well into Monday afternoon, and culminated with his mix of Kings Of Tomorrow's paean to unending love, "Finally."

And as in every year since his DJ odyssey began, all across the globe, from Acapulco to Tokyo, more people experienced their first night with Danny Tenaglia, that clubber rite-of-passage that forever changes how you listen to music, go out to nightclubs, and think about DJs. 


Giorgio Moroder - the father of Disco

Casablanca Records

Genres and Styles:
Disco, Electronic, Hi-NRG, Synthesizer, Pop, Rock, Dance, EDM

Moroder is frequently credited with pioneering synth disco and electronic dance music.

Soundtracks: 
Metropolis, Scarface, Midnight Express, Cat People, Electric Dreams, American Gigolo, Flashdance, The NeverEnding Story, Top Gun, Over The Top, Grand Theft Auto III (Flashback FM), Grand Theft Auto: Liberty City Stories (Flashback FM), Racer

Giorgio collaborated with Daft Punk in 2013
(My name is Giovanni Giorgio, but everybody calls me Giorgio - "Giorgio by Moroder"),
he is officially the oldest DJ in the world and currently working on his new album called "Déjà Vu" featuring Britney Spears, Sia, Charli XCX, Kylie Minogue, Mikky Ekko, Foxes, Matthew Koma, Kelis and Marlene.
Stay tuned.

#74isthenew24
#Righthererightnow
#Dejavu
#Diamonds
#Dontletgo

DJ Bookings > ali@warmagency.com

Initially established in 2003 at The Eagle in London’s Vauxhall, Horse Meat Disco has evolved into a powerful force in queer and club culture as a whole, while staying local to its original home, each and every Sunday. Co-founded by James Hillard and Jim Stanton, and encompassing residents Severino and Luke Howard, the crew continue to maintain not only the weekly Sunday party, but a number of residencies in cities across the world, alongside a kaleidoscope of club appearances, festival dates and specially curated mixes.

Taking inspiration from a diverse, counter-cultural history of clubs and DJs, as well as from the sprawling, ever-expanding musical collections of it's resident crew, the sound of HMD is impossible to place. Nonetheless their style is undeniable, as is a popper-scented air of sheer authenticity. Rooted in hedonism, rhythm, freedom and emotion, a Horse Meat Disco set reinforces everything invigorating about disco, as comfortable as shattering old-school mirror ball cliches as basking in their light.

A typical HMD set blends classics, italo disco, house, oddities and punk funk, to conjure their initial spirit of “a queer party for everyone”, including, but not limited to, “Homos and Heteros, club kids, bears, fashionistas, naturists, guerilla drag queens and ladies who munch.” They have made appearances on every notable club scene in the modern world, as well as those beyond, and have long been a key fixture at festivals including Glastonbury, Bestival and Festival No.6.

Outside of the club, the Horse Meat Disco train rolls across the airwaves on Rinse FM, where the crew hold down a weekly residency every Sunday afternoon, serving as a pre and post-club Sunday lunch accompaniment, often delving into the more soulful shades of their sublime taste, often encompassing rave groove, gospel and whatever they can’t get away with on the dancefloor (which, as the years have proven, isn’t much). A series of expertly curated and acclaimed compilations for reissue label Strut helped further cement HMD’s formidable but communal reputation as disco masterminds, spreading their sound and many enviable obscurities into front rooms and record bags across the world. Their latest, ‘Meat Me Down the Disco’, was released on Z Records in 2017.

After decades of crate digging, globetrotting and partying, the HMD story continues apace. 2017 also saw the crew record their long-awaited contribution to BBC Radio 1’s ‘Essential Mix’, as well as their first joint foray into production, ‘Waiting For You To Call’, featuring Roy Inc., and released on their own, self-titled imprint. They are currently working on new music to be released with Glitterbox, with the new single ‘Let’s Go Dancing’ released in December 2018.

MAN RAY PEREZ is following