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.

Techno is a family affair.

Arriving onto the electronic scene with "I Believe", featured on the monumental (10 Records) compilation "Techno 2: The Next Generation" (alongside Carl Craig, Marc Kinchen, and Jay Denham) in 1990, Octave One is the brainchild of the phenomenal native sons of Detroit, MI (USA), the Burden Brothers. The core unit of the band, made up of Lenny and Lawrence Burden (with revolving members of Lynell, Lorne, and Lance Burden), have had the privilege of bringing their high energy live shows to many parts of the world, including Australia, Belgium, Denmark, France, Germany, Greece, Ireland, Italy, Japan, Netherlands, Portugal, Romania, Russia, Slovenia, Spain, Switzerland, UK, and the USA, among many other places.

The brothers have released groundbreaking dance anthems on their own Detroit based record label, 430 West Records. Including DJ Rolando's "Jaguar", Random Noise Generation's "Falling in Dub" (the other Burden brother moniker), Aux 88's "My A.U.X. Mind" (on the 430 West sister label Direct Beat), as well as their own Octave One recordings: "Empower", "Nicolette", 'The X-files", "Meridian", “Love and Hate”, “The Greater Good”, and 'Siege". They have remixed tracks for such artists as Massive Attack, Akabu (Joey Negro), DJ Rolando (Jaguar), Steve Bug, John Thomas, Aril Brikha, Vince Watson, The Trampps, Rhythm is Rhythm, and Inner City.

II started my analog live in rave parties in the early 2000s.

Bookings
juliette.coste@supermonamour.com

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