A true force in the Psytrance world and beyond it, Yoni Oshrat, better known as Ace Ventura, isn't just a DJ and producer - he's an experience. For over two decades, his infectious energy has ignited dance floors worldwide. From intimate clubs to headlining major festivals, Ace Ventura has captivated audiences with his signature style. His music is characterised by a fusion of hard, pumping dancefloor oriented themes and deeper, groovier influences, always immersed in psychedelia. As a DJ his diverse musical tastes and vast musical knowledge enables him to create unique sonic experiences. In times when lineups consist mostly of short producer sets, Yoni pushes the envelope to play long sets that tell a real story, going back to the origins of DJ culture.

His passion for psytrance extends far beyond music. Alongside Liquid Soul, he co-founded Psy-Nation, a global movement encompassing a monthly radio show/podcast and a travelling party line. This dedication to the genre fosters community and discovery for psytrance enthusiasts everywhere.

While psytrance is his domain, Ace Ventura's musical curiosity extends to downtempo and dub universes.  This deep appreciation for diverse electronic styles adds another layer to his artistry, evident in his acclaimed "Ace Ventura in Dub" sets.

Ace Ventura isn't confined to the booth. Beyond solo ventures, he collaborates on successful projects like Alpha Portal (with Astrix), Alien Art (with Captain Hook), Liquid Ace (with Liquid Soul), and Acid Punks (with Outsiders), each project offering a different sound adventure.

Metal Blade Records history by Dan Slessor:
Founded upon owner Brian Slagel's enduring drive to find great bands and get their music out to as many people as possible, since 1982 Metal Blade has brought wave after wave of powerful, innovative, and often genre-defining music to the ever-hungry metal masses. It is this ethos that has seen Metal Blade build up a stunning and diverse catalogue, weather the various storms facing any independent label, and in an age of declining record sales boast the most successful years of its existence as it strides into its fourth decade.

What perhaps makes this achievement all the more notable is the fact that Slagel never even intended to start a label. Working in an LA record store and writing for various publications, Slagel was acutely aware that many great bands in the local metal scene were being ignored, and he decided to release a compilation of tracks drawn from these ranks. "There were a lot of really good bands and I was just bummed out that nobody could hear them. It just seemed like I could help them out and have some fun at the same time, and that compilation was the first Metal Massacre," he states. Collating tracks from then unknown bands including Ratt, Bitch, Cirith Ungol, and Metallica amongst others, the compilation sold out immediately. "How important is Metal Blade to our career? They're only the reason we are enjoying the worldwide success we have today," states Metallica's James Hetfield. "Without Brian's openness to some raunchy teens with a crap sounding cassette tape we would be who knows where, and playing who knows what!" With the popularity of the tape spurring Slagel on, the first seeds of Metal Blade were sown. "After the success of those compilations I just started putting out records of bands that I was friends with, but without ever really intending it to be a label at all," he explains. "After I put out four or five releases I started to feel like something was happening, and I decided to quit the record store and quit college and see where it went."

Battling through the first few lean years, when the label consisted solely of Slagel working out of his mom's poorly ventilated garage in the San Fernando Valley, it gradually grew in both revenue and stature. Within a few years Metal Blade would go on to release the debuts of Slayer, Armored Saint, Trouble, and Corrosion Of Conformity amongst others, fanning the flames of the burgeoning metal scene and launching careers of bands that would go onto reap global success. "Without Metal Blade, there is a damn good chance we never would've made it out of L.A," says Slayer's Kerry King. "That was the one bit of luck we needed. You can be the most awesome band on the scene, and if no one notices you, you don't catch on. And Brian Slagel is still one of the biggest metalheads I know!" This genuine love and devotion to metal is central to the relationship many of the artists have with Metal Blade, and King Diamond credits much of its relevance and strength to this passion. "I refer to it as having 'boots on the ground'," the mighty Dane states. "It's not like a major label where some people might be into what you're doing but a lot of them just see it as a job – there's a genuine love for metal there. Through staying true to that and doing their own thing they've carved out a very specific niche that they control, and as an artist it's wonderful to be a part of that."over the years. Clearly without those people we couldn't do what we do, and to everyone out there who has helped us along by being a fan we are so very grateful to you."

Read more: http://www.metalblade.com/us/about-us/

A label founded and curated by Above & Beyond.

www.anjunabeats.com

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. 


KM074 is out now
https://ffm.to/km074

Keinemusik is a network with the label as the pulse pumping centre. Driven particularly by the spirit that moves the collective behind the imprint. The spirit to find your own agenda and let nobody get in the way. The spirit of refining House and Techno off the beaten path. Be it within their own tracks, within productions of other sorts or DJ-sets. The spirit of recall value within record- and flyer-artworks and everything intermediate in word and image surrounding releases and parties. And the spirit of diversification – Rampa’s effect-gadget-venture TEILE being one example. Keinemusik’s own booking department ‘Worldwide Dancing Club’, established in 2018, being another.

Keinemusik has been around since 2009. It has been naming an existing friendship and linked interests of the four members – &ME, Adam Port, Rampa and Reznik. A more or less constant count of five releases per year have been released ever since, solely laid down by members of the crew. And a considerable count of label-parties went down, not only in Berlin, but around all international focal points for electronic music. And surely, there’s plenty more where those came from. So see you soon in a record store or on a dancefloor in your area!

Psychedelic Trance With A Progressive Touch.

VINI VICI BIOGRAPHY 2016 

Vini Vici is the new project of Aviram Saharai & Matan Kadosh, both well-known and experienced electronic music producers for over a decade.
The concept of Vini Vici was formed by the boys with an intention to express their love for the old school sound, paired with their progressive ideas.
Iboga Records and FM Bookings, widely considered to be the biggest psytrance label and booking agency, were the first to see the potential of the project and invited them to be part of their well respected family, alongside names such as: Ace Ventura, Liquid Soul, Ticon, Captain Hook, Atmos, and the like.

After the huge success of their premier EP 'Divine Mode' and their follow-up ‘Back Underground’, ‘Expender’, ‘Anything & Everything’, and ‘Veni Vidi Vici’ tracks (all top sellers on Beatport and Iboga Records charts), Vini Vici continued to produce massive hits while touring the world nonstop - Brazil, Mexico, South Africa, Switzerland, Finland, France, India, Denmark, Germany, United State, Italy, Portugal, Austria, Australia, Serbia, Netherland, Scotland, United Kingdom, Ireland, Israel…..
It's no surprise Beatport positioned them at No.3 on the Top Artist list of 2014.
2015 was a huge step forward for the boys with the release of their debut album ‘Vini Vici - Future Classics’. They hit the Beatport Main Chart at No.2 (Psytrance at No.1) - a position that very few psytrance artists have managed to stand at before, followed by Psyshop No.1 and TrackItDown No.1 spots, while the legendary Infected Mushroom named them “the best upcoming psytrance artists at the moment”. The explosion continued when trance king Armin Van Buuren edited their already classic tune ‘The Tribe’, and featured them on his legendary ‘ASOT’ radio show over and over again.

Finishing 2015 with a bang, the boys were ranked by Beatport as No.1 on the PsyTrance Artist chart and they also landed the Best Selling Track of 2015. They continued to make history early in 2016 with their Vini Vici Remix of ‘Hilight Tribe - Free Tibet’ - the track gained over 15,000,000 views on YouTube and 5,000,000 plays on Soundcloud, while also hitting the No.2 spot on Beatport’s Main chart, and becoming the first psytrance track ever to have entered the Beatport Main Top 10.

After such an outstanding beginning to 2016, it’s no surprise that the rest of their year continued to bring this elevated level and even after many successful years before became their best year by far. Some even call it the ‘The Vini Vici Year’ - with over 220 shows in some of the most prestigious electronic music events around the globe (A State Of Trance Festival NL, Tomorrowland BE, Boom Festival PT, Electric Daisy Carnival in U.S.A, Ultra BR, Dreamstate U.S.A, Transmission CZ, Experience BR, Vuuv DE, Sunburn GOA, Luminosity NL, Earthcore AU, Unity IL just to name a few…).

Keeping their No.1 spot on Beatport’s Psytrance Artist list and Best Selling Track for the second year in a row went on to lead a new generation of psytrance fans and producers to their style. Just before ending off 2016 came the jewel in the crown; a collaboration with no other than one of the solid founders of modern electronic music - Armin Van Buuren, featuring french band Hilight Tribe in their creation ‘Great Spirit’. This massive collaboration took over the Beatport Main Chart immediately and gained over 1,000,000 views on YouTube in just 2 weeks, taking them one step closer to their life goal of spreading psytrance culture and energy in the world.

Armin van Buuren: “I’ve wanted to work with Vini Vici ever since they embarked on the music scene. Few acts have such a well-defined signature sound”

Wondering what the buzz is all about? It's time to tune in and find out.

Voted #1 Club Night in Victoria, Cloud Nine is Melbourne's premier Saturday night coming from the heart of late night activity known as King Street. Don’t let the fluffy name fool you; Cloud Nine is a gathering of somewhat familiar faces taking place after dark from 10pm every Saturday night until the wee hours of Sunday morning. 54-60 King Street, Melbourne.


Palatiani is following