A headlining act among the young and promising producers/djs of Paris, John Jastszebski, who previously studied cinema, now draws inspiration from cinematographic culture to create a heavy house and techno sound. Formerly a fan of hip-hop, John is now (and has been for the past ten years) mainly bound to all that is techno.

John began playing in Bordeaux, where he resided before making way to Paris. Here he quickly became resident dj at Le Tryptique (now Social Club), and for backstage parties in Batofar. Beginning with 2011, he also is a regular at the famous Rex Club. Now recognized not only as a talented DJs, in Paris, but as a producer worldwide...

John has released several EPs on labels like Bass Culture, Phonogramme, Baile Musik, Splendi Lo-FI, Danse Club Records, Res Lab, Subversaal Musik, Deso Records, and Tools & Stuffs. His productions have received plenty of affirmation from established DJs such as Sebo K, Josh Wink, Dj Deep, Arnaud Le Texier, Richie Hawtin, Agoria, D’Julz, Laurent Garnier, Nick Curly, Mountain People to name a few. And his tracks remixed by Rick Wade, Zadig, John Dimas, Oleg Poliakov, Delano Smith..

Paris, early ‘90s. The city was a schizophrenic beast—half-glamour, half-decay—where raves exploded like molotov cocktails in abandoned warehouses and smoke-filled basements. It was beautiful chaos. Somewhere in the thick of it was Julien Veniel, better known as D’Julz, spinning records with the focus of a surgeon and the cool detachment of someone who had seen it all.
Then came New York, 1993. A city that didn’t sleep but didn’t really dream either, at least not back then. Veniel—young, hungry, and too talented to ignore—found himself in the depths of sweaty dancefloors, perfecting his craft like a prizefighter working the heavy bag. The kicks were tighter, the grooves deeper, and his sound—dub-infused, stripped-down, relentless—started to carve its way into the foundations of house and techno.
But Paris called him back. By 1997, he was behind the decks at the Rex Club, launching Bass Culture, a night that would quietly and ruthlessly become one of the most enduring parties in dance music. You could feel it in the air, heavy with smoke and sweat: something was happening. And week after week, D’Julz delivered. The music wasn’t just played; it was installed into your brain, a groove so potent it hijacked your nervous system.
The production side came next. 20:20 Vision, Ovum ,Circus Company. Robsoul. ,Rekids. Big labels, underground credibility. Tracks and remixes that hit like slow-burning dynamite—deceptively simple, brutally effective. DJs hoarded his records like they were holding nuclear launch codes.
Then there was Circoloco—DC10 . Ibiza’s sacred asylum for the beautifully deranged. D’Julz became a fixture for 7 years, a reliable madman behind the decks, controlling both the main room and the red terrace like a general marching his troops to the brink of delirium. His sets were measured doses of euphoria and dread, dubby basslines colliding with pulsing techno rhythms, all delivered with a sly grin and the calm of someone who knew.
By 2009, Bass Culture Records was born. A label as lean and unforgiving as its founder—no fluff, no filler, just raw, stripped-back house and techno that knew where it came from and where it was going. Over 70 releases later, it’s clear: D’Julz doesn’t miss.
Now, decades into this strange and relentless trip, D’Julz is still at it. The tour schedule is insane—Bali, Berlin, New York, and back again. Clubs and cities blend together, but the mission never changes: find the groove, ride it hard, and don’t let up until the lights come on.
D’Julz doesn’t care about trends. He doesn’t care about fame. He’s a purist, a craftsman, a man obsessed with the sound—the deep, pulsing, unstoppable sound. Three decades in and he’s still there, calm and unflinching, dropping records that hit like a gunshot in the dark.
If you want to understand D’Julz, don’t bother asking questions. Just listen. The truth is buried somewhere in the basslines.

Coded Message / Subdivisions 
D-Edge Club resident
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Bass Culture Records is a house and techno music label started in 2009 by parisian dj/producer D'julz. The label is named after D'julz' 20 years old residency at Rex Club in Paris which became recently the longest running residency at this legendary club.

Created in 1996, Playin' 4 the City is the brainchild of the multi instrumentist and producer Olivier Portal, a truly Deep house lover. Besides his own production, he has collaborated with the likes of DJ Deep, Franck Roger among others on labels such as Straight-up, Distance, Seasons, La Rosière, Music 101. His latest release is on La Mamie's records  mamiesrecordsparis.bandcamp.com/album/playin-4-the-city-night-shades-ep. His triple vinyl compilation "The Music & the Rhythm" is now released on BRS Records, Paris.
https://linktr.ee/Olivier.Portal

Electronic music producer, live performer and dj from Paris

ormindmusic@gmail.com

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