est. 2012. 
Next event is at REVOLVER DEC 15 with Butane (USA).


Club nights at Melbourne's famed Revolver Upstairs quarterly. And Australia's first premier electronic music podcast.

Presented & Produced by Dylan Griffin.
http://soundcloud.com/dylangriffin

Subsonic Music Festival 2024.
Official After Party Tickets Now On Sale:
Boxing Day 2024 ->

Nouvel Album Primitifs Modernes - 22 03 2019
Le Trianon (PARIS) le 15 05 2019 et bientôt en tournée dans toute la France.

Tour & Info: sunsquabi.com | https://sunsquabi.komi.io
MGMT: jason@mammothmusicgroup.com
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There’s a place, deep in the cosmos, where jam bands and electronic dance music intersect with rhythm-driven funk. You’ll feel like you’re floating here but not lost completely to the atmospheric elements. Instead, you’re tethered to an avant-garde spaceship with Colorado-based SunSquabi on the frequency. This cosmic wonderland is a melting pot of a variety of musical genres and it represents the future of music. 
A three-piece suit - SunSquabi has been catching the eyes and ears of music fans around the world with their ever-evolving sound in the studio and on the live stage. SunSquabi has gained national attention for their unique way of producing music. The band’s live show can be described as an ‘Electronic Hydro Funk Experience’ that is different every single time out. SunSquabi continues to break down and analyze the expectations of what a “Live-Electronic” band should be.

Dave Lee aka Jakatta, Doug Willis, Raven Maize, Sessomatto, formerly Joey Negro as well as being part of The Sunburst Band and many more. 

Bookings: Tim@zrecords.ltd.uk

Mathew Jonson really is one of a kind.  
 
He's developed one of the most distinctive voices in electronic dance music: when you hear one of Jonson's tracks, you almost immediately know it's his. And yet there's no mistaking any given track for another. 
 
His music offers a rare fusion of populist intensities and nuanced musicality. With a keen understanding for the needs of the dancefloor and the universal laws of house and techno, he's thrown out the rule book time and time again, sneaking tricks learned from electro and even drum'n'bass into minimal clubs, and loading up his B-sides with tracks that do what they damned well please. (No kick drum? No problem.)
 
His standards for sound and presentation are exacting. Both on stage and in the studio, Jonson's fealty to analog equipment and real-time play—as opposed to mere playback—serves as a standardbearer for a kind of electronic music that goes way beyond the drag 'n' drop world of digital composition. Jonson has always been eager to get his hands dirty, and the music reflects that in gnarled bass sequences and long, intuitive lines. His sounds have serious teeth.
 
And despite his quick ascent through the ranks of the techno elite, Jonson hasn't just stayed personally grounded. He's devoted much of his energy to supporting his own close musical family, both in the groups Cobblestone Jazz and the Modern Deep Left Quartet, and with his Wagon Repair label, which he cofounded with Jesse Fisk, Graham and Adam Boothby, Frank Meyerhofer and Konrad Black.
 
He studied classical piano as a kid, plus jazz drumming, and played drums in a marching band —thus laying both the melodic and the rhythmic cornerstones of his music today. (Plenty of musicians claim to be "classically trained," of course, rendering the phrase all but meaningless. But here's something you might not have known about Mathew: he's actually begun studying piano again, which suggests a musical seriousness that's rare in the world of auto-didact button-pushers.
 
Thanks to his father's work with sound technology, he also got his hands on synthesizers at the age of 9. By the time he discovered hip-hop as a young teen, he was recreating its electro-based beats on his own rudimentary setup at home.
 
It was in Victoria, when he was 19, that Jonson met up with the crew that would help guide his musical trajectory: Tyger Dhula, Danuel Tate and Colin de la Plante, who were playing and DJing parties around the area. The four started playing in clubs together, an early version of the group that exists today as Cobblestone Jazz and the Modern Deep Left Quartet. (The Modern Deep Left Quartet was the original name for the foursome; after de la Plante moved to Montreal, the remaining trio carried on as Cobblestone Jazz.)
 
"It was all improvised," says Jonson of the group's early days. "We never really worked in the studio, we would just meet at the nightclub and jam. That's how it started. We did that for quite a while, and then it morphed into a residency at a club, once every two weeks." To keep it interesting, they would invite other musicians—on trumpet, violin, bass, sax, and rhythm sections—to join them.
 
After de la Plante left town, Cobblestone Jazz began focusing its efforts more squarely on the dancefloor, moving away from purely improvised sets to include composed and rehearsed passages. And Jonson gradually began honing in on his own sound, both in his productions and his DJ sets, inspired by a deeper, weirder sound that had begun filtering into the city's techno parties.
 
His first record, in 2001, was the first release on the B.C. label Itiswhatitis, appropritately titled "New Identity." Another followed in 2002, and in 2003. That year, he also made his first appearance on Perlon, "Alpine Rocket"—a track he recorded alongside Luciano during his first trip to Europe. And then, suddenly, Jonson was everywhere: Itiswhatitis, Sub Static, Arbutus, Kompakt, M_nus—and every track an anthem.
 
"I had all that music kind of saved up," says Jonson, "and then, just by chance, released it all at the same time. People criticized me for it, said that it wasn't a good idea. But it worked out for me. All the tracks did well. I wasn't saturating the market with bad music." He's right there.
 
In 2005, Jonson co-founded Wagon Repair, and it's been a blur since, a nonstop series of tours and recordings, solo and with his bandmates. Crucially, he moved to Berlin. Here, he and de la Plante—who moved over at the same time—have set up Cobblestone Jazz' European headquarters, providing not only the launch pad for European tours but, more importantly, the control center for the group's recorded activities. The studio is jawdropping, frankly: a semi-circle full of gear, from old workhorses like the 808 and 909 and SH-101 to unique beasts like their Cwejman and Roland System 100m modular system. Tate's Rhodes piano anchors one corner of the horseshoe, and everything feeds into a massive desk where tracks are mixed and recorded in real-time. Jonson makes his own music essentially the same way—only with two hands instead of eight.
 
Those two hands have come up with some remarkable material. Having perfected his brand of earthshaking epic with tracks like "Marionette," "Return of the Zombie Bikers" and "Symphony for the Apocalypse," Jonson has increasingly turned his efforts towards more personal, introspective music. He hasn't left the clubs behind—his new album, Agents of Time, features a number of tracks that are as hip-windingy wily as anything he's produced yet, full-on tracks like "Girls Got Rhythm" and "Thieves in Digital Land." But he's also taken advantage of the longplayer format to stretch out and indulge darker moods and slower tempos.
 
"I like to have phrases that sound like they're major, but then they go minor when they turn around," explains Jonson. "You think that you're in a happy place, but suddenly you're not. I like playing with that tension. When I look at the music I've made, the best music is always music that can stimulate any kind of emotion. It's more like a key, towards opening up whatever is inside of you -a gateway"
 
You can expect him to be unlocking even more emotions soon—ones you may not have even known you had—when he ramps up with Midnight Operator, a collaboration with his brother Nathan Jonson, aka Hrdvsion. With Nathan also based in Berlin, the two are finding common musical ground, expanding upon the platform they established with their lone, 2007 EP for Wagon Repair as they begin work on an album.
 
"Obviously, you can look at what I do with my label and the bands I have, to see what's important to me," says Jonson of keeping it in the family, so to speak. "I'm lucky because I have so many friends who are strong musicians. We can all feed off of each other.  You know, when you're doing music, it's such a personal thing. To have an outlet with the labels to be able to release our music, and be able to all stay together, I think there's a lot of strength in that. Everybody is stronger as a group." – Philip Sherburne


World Bookings: Carlos Calico
carlos@ingeniumbookings.com
DEMOS: cube@thecubeguys.com

THE CUBE GUYS Biography:

THE CUBE GUYS is a club undertaking that was born in 2005 between two of the most prominent producers in Italy: Roberto Intrallazzi and Luca Provera. Although their backgrounds and professional training differs, their common desire to release new productions and contribute to the international club scene is equivalent. Together, they combine their previous experiences and endeavors to launch a fresh and innovative musical journey!

Roberto Intrallazzi began his musical career in the latter part of the 80’s and beginning of the 90’s as part of one of the most successful projects of the ‘made in Italy’ dance era, F.P.I. Project. Their track ‘Rich in Paradise’ received worldwide acclaim and was one of the first house music releases to come out of Italy. Over the 90’s decade, his sound evolved into more like ‘house’ of today with influences from electro of the 80’s. The combination of the strong energy and search for new rhythms typical of the 80’s along with the contemporary minimal-electronic sound further assisted with the development of Roberto’s style.

In 2000, Roberto Intrallazzi met the DJ and producer, Luca Provera who matched Roberto’s knowledge of music and technology. Luca got involved with music at a very young age by building his own recording studio and becoming familiar with the technicalities of making music. Luca utilized computers, mixers, samplers, and keyboards to launch his career as a producer and sound designer; employing both digital and analog equipment. 

Luca later went on to produce a private Italian radio show and together with the artist Intrallazzi produced the album ‘The Pleasure is All Mine’ by Kym Mazelle. His radio and recording studio know-how led him to quickly gain familiarity with both the software and hardware necessary to produce quality house music. He isn’t just a quality producer however he is also a well-known DJ who plays frequently in alternative venues in Italy and all over the world.  


DJING:

1 mixer... and 4 hands... playing Back 2 Back! 

The Cube Guys know how to make the dancefloor go wild spawning miraculous moments. Continually striving to bring an animated, floor shaking, and diversified attitude to their productions and performances, The Cube Guys draw inspiration from cutting-edge nuances in technology and the international clubbing community. 

Combining house with tech elements and Vocal contributions, The Cube guys steadily persevere to emerge and mature on an international level. Taking part in some of the most eminent and influential parties and clubs globally, The Cube Guys have managed to disassociate themselves from the masses. 


PRODUCTIONS AND REMIXES: 


The Cube Guys sound has traveled all around the globe with recognition from Mark Knight, Pete Tong, Bob Sinclar, Roger Sanchez, Chus & Ceballos, Prok & Fitch, Mike Vale, David Penn, Atfc, Ralph Falcon, Oscar G, Erick Morillo, Dj Boris, David Morales, Hector Romero, and many other big names. 

The Cube Guys' have managed to chart every single on of their releases and have been selected and licensed by the most important international record companies. Day after day they receive requests to have their special 'touch' on new productions and these requests are constantly multiplying. 

Some of the artists they have remixed include:
Anastacia, Sophie Ellis Bextor, Steve Angello, Moloko, Coolio, Luciana, Ultra Nate, Roger Sanchez, Bob Sinclar, Suzanne Palmer, India, Romathony, Shawn Christopher, 
Ralph Falcon, Fish Go Deep, Yello. 


General Infos:
info@thecubeguys.com

[W]: www.thecubeguys.com
[SC]: www.soundcloud.com/thecubeguys 
[BP]: www.beatport.com/artist/the-cube-guys/7091
[TW]: www.twitter.com/thecubeguys
[FB]: www.facebook.com/thecubeguys
[YT]: www.youtube.com/user/thecubeguystv
[RA]: www.residentadvisor.net/dj/thecubeguys

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.

MannaTuba is following