Die Jungs sind(waren) da – Marten McFly, Sokke, Knopfdruck und JT (gesprochen Jotte) sind(ware) seit mehr als einem halben Jahrzehnt unter dem Namen Flow im Ohr im Bereich der elektronifizierten Rap- und Gesangsbeschallung tätig.
Wiederholten stilistischen und personellen Fluktuationen zum Trotz hat sich der harte Kern der Band mit dem Ohr mittlerweile zu einem in jeder Hinsicht gefestigten musikalischen Monolithen verdichtet, dessen für die steinerne Metapher eher untypische, aber in diesem Sonderfall extrem ausgeprägte Flexibilität immer wieder positiv zu überraschen weiß.
Auf der Bühne wird(wurde) gerockt was die Stimmbänder und Musik erzeugenden Elektrogeräte hergeben. Ob in der großen Markthalle, im gemütlichen Kaiserkeller oder auch mal draußen unter freiem Himmel –
Flow im Ohr haben es immer wieder allen gezeigt.
      
      http://www.flowimohr.de/
    
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www.Soundcloud.com/NathanQ
www.Soundcloud.com/jaytea
    
DJ Knopfdruck ist mittlerweile in dem Projekt "JALES UND KNOPF" tätig =>
http://www.JalesUndKnopf.de 

Frontmann MartenMcFly ist Solo unterwegs und bringt 2012 sein neues Album raus
http://www.martenmcfly.de

    .....................................................

Daron took to music at an early age first using and making the best use of technology that was to hand, experimenting, cutting and sampling using tape decks and vinyl to make extended edits and remixes.  With the launch of 16 bit computers like the Amiga Daron was there right from the start always making the best use of the tools at hand. 
A few years on and after attending out door parties and going to criticality acclaimed clubs like the orbit, being heavily influenced by artists like sven vath and dj rush.  Darons musical preference quickly started to change and techno started to become part of his life on a day to day basis. Always listening to a broad spectrum of electronic music his now established musical style is influenced not just by techno artists but by pioneering electronic artists like Jarre, Tangerine dream, Kraftwerk etc with a good measure of metal music thrown in for that industrial balance. 
Out side of music his main interests are technology and pushing the boundaries of what something can do and getting that little extra out of it, this leaves him ready for the next steps in music technology as a whole. 
His tracks so far have appeared on labels like Subcult, AK recordings, Filthy infat and have gain support from top artists like... Chris Dynasty, Aka Carl, Kev D, Marcio M, Steel Grooves, DJ Link, Paul Langley plus others... 
Daron is definitely an artist to keep an eye on over the coming months with lots of quality releases in the works

O T T I N G E R 
Electronic vibes with acoustic influences

Over a course of more than a decade behind the decks - Larix has already developed his own distinctive and highly recognizable style. Drawing from hypnotic space techno to much darker, energetic sounds going as far as industrial or often broken sound.Larix delivers driving and hypnotic thump, while positioning earsplitting sounds going to great lengths to be immersive and filling-out a wide part of the soundscape.

In 2011, Larix was chosen by Ritchie Hawtin in the remix competition of the Plastikman track, in which he became one of the five artists. Consequently Larix intepretation of the acid lord Plastikman appeared on M_nus. In 2013, Larix pursued his career further by launching own inprint Brainwash, where he has put out many releases out on vinyl. Besides his own label, Larix's productions and remixes can be found on such labels like ARTS, Leisure System, Nashton
Records, Counter Pulse, Sombra, Naked Lunch, De-Konstrukt, Achromatiq, Phobiq, Labrynth. He has played at the most important events in Poland, as well as beyond - like Tresor Berlin for example.

As a resident of Warsaw's night favourite Luzztro club, he pushes his sound in All night format as well as brings in a wealth of local talent since 2016.

Cosmic music from outta space

Family:
https://soundcloud.com/only-the-finest-blog
https://soundcloud.com/futureissue
https://soundcloud.com/melodic_heaven
https://soundcloud.com/kommakla_music
https://soundcloud.com/all-the-trap


Wir selbst sind die, auf die wir gewartet haben.
Wir können die Welt verändern.

I begun DJing in 1990 back in the day when people were producing tracks in their bedroom and it seemed as though there were more bootlegs on the market than general releases. The labels didn’t have a clue what was going on and D-construction was a small dance label that was signing acts like N-Joi rather than Kylie. I did two years in the smoke playing sets to crowds of 2,000 party people that really knew their music.

If you were a DJ playing old records, you’d get booed off the stage, or the crowd would leave the room and go upstairs. I kept it close with my crowd, people would come up to me and ask if I had this tune, if it wasn’t in the box I’d play it next week. But it wasn’t a case of these people making jukebox requests but rather that they wanted to feel a part of the scene and know that they had some hand in making the night.

Out of the club into another, the nights were long and people just kept on going. 200 cars in convoy going down the A1 that was a real feeling of unity. You’d end up in a field with or without a generator, but someone would light a fire and, in the end, you might be dancing around a car stereo but it still sounded good, people believed that they were part of a new expression, a new movement.

Roll that musical clock forward and by 2011 what remained was a shrink wrapped corporately packaged scene that got its kicks from re-releasing and remixing tracks created from back catalogues of labels from the 70s and 80s snapped up for next to nothing. The majors took over distribution and the public channels of expression for independent producers has got even harder. Take a trip down the lane of the tracks that defined our genre and you won’t find too many happy faces. From Rappers Delight, through to Grandmaster Flash - Larry Heard, the man that gave you Fingers Inc - went off to become a programmer. LARRY HEARD!!! 

Back in the day a DJ would take two tracks and blend them to make a third with a mix that could last up to 4 minutes. That for me has always been a part of what a DJ should do. It's much easier now as all you have to do is push a button to beat sync it, whereas if you were mixing over the quartz lock crest of the 1210s you'd be moving it over and below the green light as you were mixing it up!

Music has today become much more disposable in the digital age, reducing people’s creative art to a click. Skip through it, break it down to a stem, no sleeve notes, no artwork visual dimension to the artists creation. All you get is track01 - 4.5MB! Do you want to download? That's today, but for me sleeve artwork for dance music has always been something special too.

DJ equipment is now cheap much more accessible – my Numark 1762 cost me nearly £400 back in 1990. My current Xone32 is still stupid money but you can’t beat the analogue circuitry inside.

The period 1988-1994 was to dance music what the 1960s was to free love. Either you were lucky to have been at just the right age to have been a part of it, or you missed out. We were the last generation to get a youth culture before the smartphone made the youth look inside instead of the world outside.

Music will take centre stage once again at some point in the future, but for all of use that were part of it we know we were part of something special, and this idea of one love guides us to this day. 

My thanks to the following people:
JJ Slide at St. Matthews Church in Brixton
Goa Nights at Tyssen Street Studios  in London
Global Dance 3,4 and weekly nights of Exposure at the Stour Centre in Kent
Buzzbys on a Friday night
SpiralTribe Sound
Chocki and the boys
Nicki Blackmarket
Ratpack
Fabio and Grooverider
Ellis Dee
Truelove productions
Heavenly Recordings
Blapps Posse
Break the Limits
Reinforced Recordings
K-Klass
Zoom Records (Camden)
Horace, (Camden Market)
Resistance D
P. Slaghaus (rip)
Leigh303 (for showing me the dance light)
K-Alexi Shelby....to understand means a way of life...

Keep listening.....to everything

DJ-Max is following