Management:  Amlak Music
banch@amlakmusic.com

Agent:  ICM Partners
MBlackman@icmpartners.com

Booking: booking@ronflatter.com

For more than the last decade, Ron Flatter has been enriching the house and techno landscape with his own direct and energetic productions and warm, groove-driven DJ sets. Initially the young German was a keen skateboarder and hip hop fan, but the lure of dance music soon pulled him in and he has never looked back since. 

Over the years he has turned out a high number of consistently excellent and innovative tracks that are filled with unique sound design, fresh melodies and plenty of dance floor drive. He has done so on labels like Pour La Vie, Still vor Talent and Traum Schallplatten, always evolving with each new release and exploring fresh new ground. Plenty of taste making talents ardor the world have all played his productions in the past, and recent cuts like “Stupid World” and “Desert” have taken DJs by storm: they combine heavy drums with light, emotive pianos and well-timed breaks that thrill and surprise just when you least expect.

As a DJ, too, Ron is a skilled selector who knows exactly what to drop and when to drop it. He has played in every major club and festival in Europe in the last decade and holds down a key residency in his hometown of Halle (Saale), Germany. It is there that he likes to interact with crowds, read their needs and play to their passions, mixing up deep house and techno and plenty in between. 

After more than 26 EPs and singles, a fine 2011 full length in Growth Rings that really showcased the breadth of his style and more than 50 remixes, all of which have seen Ron put his special stamp on a cultured selection of sounds, Ron Flatter is well and truly a global electronic player who wins big with each and every project. Always releasing and headlining on a regular basis, Ron Flatter’s beats are the beats that matter.

Cate Le Bon is an artist hailing from Carmarthenshire, rural West Wales. Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day and the Mercury Award nominated Reward, Cate Le Bon’s solo work — and indeed also her production work, such as that carried out on the recent John Grant album, Boy From Michigan, or  Deerhunter's Why Hasn’t Everything Already Disappeared?  (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.

New album Pompeii bears a storied title summoning apocalypse, but the metaphor eclipses any “dissection of immediacy,” says Le Bon. Sonically minimal in parts, its lyrics jog between self-reflection and direct address. Written primarily on bass and composed entirely alone in an “uninterrupted vacuum,” Le Bon plays every instrument (except drums and saxophones) and recorded the album largely by herself with long-term collaborator and co-producer Samur Khouja in Cardiff, Wales.

The songs of Pompeii feel suspended in time, both of the moment and instant but reactionary and Dada-esque in their insistence to be playful, satirical, and surreal. From the spirited, strutting bass fretwork of “Moderation”, to the sax-swagger of “Running Away”; a tale exquisite in nature but ultimately doomed (The fountain that empties the world / Too beautiful to hold), escapism lives as a foil to the outside world. Pompeii’s audacious tribute to memory, compassion, and mortal salience is here to stay.

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