*** Historical background ***
In 1991 RePhleX records introduced the concept of 'Braindance' to label the music they release.
Often people equate Braindance and IDM. That is completely wrong. Braindance is More than IDM.
IDM is a style of electronic music, and Braindance isn't one.
Braindance is NOT a limp and lifeless set of sounds like 97% of everything that industry produces. It is the Music! A sound that contains feelings, emotions and inspiration!

Here is the text posted on the Rephlex website in the 90's:
"braindance is the genre that encompasses the best elements of all genres, e.g traditional, classical, electronic music, popular, modern, industrial, ambient, hip hop, electro, house, techno, breakbeat, hardcore, ragga, garage, drum and bass, etc.

BRAINDANCE is...
extraordinary!
fulfilling!
entertaining!
open-minded!
original!
creative!
unpredictable!
sincere!
influential!
highly-acclaimed!
BRAINDANCE is...
unique : )"

And here is the later version:
"braindance is... incredible!
braindance is... boundless; eclectic; entertaining; rephreshing; fulfilling; wholehearted; sensual;
stimulating; bold; unconventional; real; imaginary; visionary; essential; debonair...
braindance is unique!"

The presented artists:
AFX
Aphex Twin
Astrobotnia
Bitstream
Bogdan Raczynski
Bochum Welt
Ceephax Acid Crew
Cylob
Dave Monolith
DMX Krew
Dwaallicht
EOD
Global Goon
Humanoid
Jodey Kendrick
Kettel
Knifehandchop
Lowfish
Loyolla Biaffra'
Luke Vibert
Mesu Kasumai
Monowolfe
Plaid
Rolando Simmons
Squarepusher
The Flashbulb
The Kosmik Kommando
The String Quartet
Waswhite
Wisp
µ-Ziq

Bookings & Info

Doorly@reptiledysfunction.club

Australia / New Zealand:
Mike@thickasthieves.com.au
dom@paxxgroup.com

Management: mattie@involvedmanagement.com
UK / EU bookings: jason@earth-agency.com 
US bookings:  brent@good-direction.agency + caroline@good-direction.agency

FLOORPAN "THE MASTER'S PLAN" (CLASSIC MUSIC):
https://cmc.lnk.to/cmcd141d

Before I got into this music I wanted to be an originator ; I wanted to be original".
Founding member of the legendary group Underground Resistance as a 'Minister Of Information' with ‘Mad’ Mike Banks & Jeff Mills, his seminal works on Jeff Mill's Axis and his very own M-Plant imprint paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno's path throughout the late Nineties.
Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. 

"Growing up in Detroit, I grew up with Motown in the house - a lot of Motown and Philadelphia soul, artists like Marvin Gaye of course and Curtis Mayfield. I remember Isaac Hayes, the soundtrack from ‘Shaft’ had come out. My father was a jazz musician; he played piano, trumpet and drums. My mother was in an R’n’B group.
We listened to a lot of Motown - in fact, my grandfather’s first cousin is Berry Gordy.
"I was influenced by my father - I wanted to play trumpet like he did."
Robert's father tragically died when he was just 6. The photo of Robert siting down holding a trumpet is his fathers.
"I had to beg my grandmother to let me borrow the trumpet to take a picture with it"

In the early 90's he began to concentrate on his own production 'Vision EP', the 'Riot EP' and X-102 were big stepping-stones for him as they were the first releases he worked 100% on his own. The X-101 to X-102, were Waveform Transmission projects with Mills for Tresor. He slowly progressed to work more and more on his own, but collaberated on some of the first Axis releases with label owner Jeff Mills as H&M (Hood & Mills) with ‘Tranquilizer EP’ and ‘Drama’.

He soon decided it was time for him to start his own label to focus on what was in his soul musically. M-Plant started in ’94. I had developed this “grey area” sound - what I mean by that is that in Detroit, even when the sun is out, there’s something in the atmosphere. I don’t know if its pollution or whatever, but the sky has that grey haze over it. It’s got to be something from the industrial factories there. I’d never really heard a sound like that before and it came from a Roland Juno - it was a chord sound that really went along with my depiction of what Detroit was at that time. A lot of buildings were abandoned and there was a lot of lifelessness in the city, especially downtown. The M-Plant, in minimalism, kind of reflected that. I remember thinking of Detroit like a museum. You know, like a work of art standing still, suspended in time. There wasn’t a whole lot of activity going on.

Releasing singles such as "Internal Empire,", “The Protein Valve” "Music Data," and "Moveable Parts", "The Pace", more recently "Range", "Alpha" and that isn't even touching his other monikers Floorplan, Monobox, The Vision, etc.
"M-Plant is what I've always wanted to hear: the basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. “It's a heart-felt rhythmic techno sound. M-Plant is just M. minimal. “

Although his desire to remain underground has been replaced by an urge to reach a wider audience, mainly via his housier, disco, gospel moniker Floorplan with his daughter Lyric Hood,   Hood remains fiercely critical of artistic and economic movements destructive to inner-city communities and has combined his musical enterprises with outreach and social activist ends.

Matthew ‘Bushwacka’ B, a percussionist in the London School Symphony Orchestra who was converted into a member of the infamous Rat Pack after a warehouse party in ’88, has been DJing for over 30 years now. From that first Acid House experience Matthew quickly started playing all over London, holding residencies at four of the most famous clubs in town by the time he was 18 years old. From London the gigs spread countrywide, doing up to 8 shows a weekend, and then into Europe and the USA by 1992.
 
It was via a mutual friend Mr C that Layo & Bushwacka! first met, whilst Matthew was working at his studio, and by the mid 90s the two had started writing music together. Over a decade later, the partnership has yielded three artist albums, three mix albums, internationally renowned club residencies and a superb record label. 

By 1999 they’d already composed their debut album, ‘Low Life’, released on End Recordings, the label spawned by The End. The album announced the arrival of the duo as a force in electronic music, with a record that brought together electro, house and breakbeat fused with blues, dub and downtempo, all underpinned and informed by their collective experience of underground culture. This inclusive and open minded approach to sound became the blueprint for their future work.

Their sophomore album followed in 2002, this time released on the mighty XL Recordings. Entitled ‘Night Works’, the record featured their unforgettable top ten hit ‘Love Story’, and took their sound onto a bigger and broader canvas, charting all over the in the process. The accompanying live show brought further acclaim with stunning shows from Homelands to Sonar, whilst their famous DJ sets had now garnered residencies at some of the world’s finest clubs including Space in Ibiza, Warung in Brasil and of course The End in London. While this explosion was happening, Matthew was also achieving huge solo success with his remixes for Depeche Mode, his bootleg of Michael Jackson’s Billie Jean, and getting phone calls from Madonna wanting him to work on her music. It was a crazy time. 

Their End residency, known as All Night Long, became one of the capital’s most revered nights with Layo & Bushwacka! taking the club through an edifying tour-de-force of electronic music.
 
When The End closed its doors for the last time in 2009, Layo and Bushwacka! started the Shake It brand and threw amazing warehouse parties all over London, booking Carl Cox, Richie Hawtin, Magda, Laurent Garnier and many other friends, and created dancefloor destruction for 4 years. The parties were legendary, the energy incredible.


Layo & Bushwacka!’s reputation as two of the world’s foremost DJ duos is rock solid. Four artist albums have proven them remarkably talented producers, capable of mixing styles, tempos and genres to create enduring and engaging electronic music. Their trio of mix albums and international club residencies have shown they are masters of the turntables, sonic connoisseurs who can guide a dance floor on an epic journey through the many facets of their sound. Their label Olmeto meanwhile has become a bastion for quality, a label that, much like its figureheads, has become a rubber stamped seal of class, and many of their vinyl only releases have become sought after rarities.
 
In 2013 Bushwacka! took some time out to focus on his solo Just Be project, recording on Crosstown Rebels, Get Physical and Intec, while Layo created a new empire in Soho, of world class restaurants, applying his magic touch to everything he does. Five years later, Bushwacka! started touring and recording again under his original name, only on select shows and keeping it special for the fans, old and new.

rhymes with higher not with layer

maya.law@hotmail.co.uk

*DJ and producer from Stockholm, Sweden.
Joel Mull's career spans over three decades. With a background studying classical music, singing in choirs and playing in bands, Joel found electronic music at a young age as a source of freedom. His first experience came from DJ’ing in the chill-out areas of rave parties in his native Stockholm during the early 90’s.
With his roots from Germany, Hamburg, he moved to the city in 1994, and worked as a resident DJ for 3 years at one of the biggest techno clubs in Germany, Unit Club. This was an important period for him and as a DJ; It taught him how to control the energy of the night on the dance floor, from warm up sets to 10h marathon sets.

With releases on music labels worldwide along with Cari Lekebusch, Robert Leiner, Adam Beyer and Jesper Dahlbäck he counts to the first wave of Swedish techno producer who became known around the world as the "Swedish techno sound".
He has produced over 100 releases and under various names such as Icarus, Gotzkowsky and most recent under his alias Damm.
He often refers to himself and his craft as a sound architect, and if you’ve ever experienced his club sets, you’ll understand why.
Under his ambient and electronica alias Damm, Joel revives one of his earliest aliases and expands upon this discipline even further.

*Part of the label team of the swedish label Parabel.
*Also knows as "Damm" with his latest ambient release on A Strangely Isolated place.

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