Kontakt: bookings@joelsarakula.com

'The new album The Imposter is dreamy and Bowie-esque... It's a really engaging and adventurous record, I would highly recommend it', Lauren Laverne, BBC 6 Music (2015)

'This is a really cool new release by talented Aussie singer-songwriter Joel Sarakula... I love this actually... It's like modern Northern Soul', Craig Charles BBC 6 Music (2015)

Joel Sarakula (AUS/UK) writes, produces and sings Soulful Pop, gazing out at his 60's and 70's tinged world through vintage glasses... imagine Ray Manzarek fronting a 70s soul band. Born in Sydney and now based in London, his current album THE IMPOSTER has racked up generous plays across BBC Radio 2, BBC 6 and has been play-listed on national radio in Germany, The Netherlands, Belgium and Italy. He is a regular fixture on the festival and club circuit in the UK, Europe and Australia, including appearances at Scala, Latitude, Glastonbury, The Great Escape, V-ROX Vladivostok and Reeperbahn Festival Hamburg. Sarakula is a songwriter who has travelled the world in search of his muse, experiencing everything from being the victim of Caribbean carjackings to performing in the remote fishing villages of Norway, via the dive bars of Europe and the US. It was the hodge-podge musical tapestry of England’s capital that finally drew him to a settling point.

With personal tastes that span from the more avant-garde to soul and pop greats like Sly Stone, Todd Rundgren and Elvis Costello, there are clear nods to contemporaries like Beck and Erlend Øye in terms of ambition and style.

His previous single Northern Soul racked up 150,000 views within the first few months of the online and limited edition 7" vinyl release by mod and soul specialists Heavy Soul Records (UK) - Sarakula has definitely touched more than a few Northern Souls. The remix of his latest single European Skies (due Aug 19, 2016) teeters on the edge of a decadent night in 1980s Ibiza before unashamedly losing itself in Euro Dance-Pop.

Both songs are from current album The Imposter (Elevate Records), where Sarakula lovingly indulges his late 60s and early 70s references while executing them with a colder, contemporary vision. Ever the internationalist, Sarakula recorded The Imposter in studios spread across London, Berlin and Sydney with a host of his musical comrades appearing on the record. It's a fitting album title for a man unafraid of playing his various roles as singer, artist, writer and producer. Joel Sarakula is THE IMPOSTER.

Kollektiv Turmstrasse, one of the most successful German live acts in electronic music, is an influential presence in the global techno and house scene. With a compelling discography featuring releases on renowned labels like Kompakt, Diynamic, Cocoon, Fabric, and FFFR, his sound is deeply rooted in house music while also drawing inspiration from breakbeat, indie dance, techno, and even elements of hip-hop and modern pop. Turmstrasse is a complex, progressive and intriguing artist who focuses on the liberated space between driving house tracks and dancefloor anthems.

Musik machst du aus Leidenschaft, aus Bock, deinem Innersten bisweilen eine Sprache zu geben
ohne zu viel sagen zu müssen, sicher auch ein bisschen aus exhibitionistischen Gründen, und, weil
du eben musst.
Wenn du Anfang dreißig bist, hast du entweder deine Instrumente verkauft oder im Keller verstaut
oder du spielst noch, hast aber keinen Keller, oder Musik ist dein Job geworden.
Und das muss nicht viel anders sein als am Fließband oder an der Kasse zu stehen.
Flash Preussen ist kein Job.
Zumindest nach Düsseldorfer Verhältnissen ist es eine Allstar-Band, von Leuten, die in den letzten
zehn Jahren erfolgreich Musik gemacht haben und sich immer mal gegenseitig gesagt haben:
'Wir müssen irgendwann mal zusammen eine Band gründen...' Hier ist sie -
benannt nach dem Anti-Comic-Helden, vor dem noch eine letzte Aufgabe liegt, bevor er zur Ruhe
kommen kann.
Mal ehrlich – Musik aus Leidenschaft zu machen, ist immer wie eine letzte Aufgabe, eine Mission.
Zur Ruhe kommt man entweder vorher oder eben nie.
Und was machen vier Antihelden für eine Musik, die so eine Mission rechtfertigen sollen?
Nun, wäre es nur das Schlagzeug, dann wäre es sehr tanzbare Musik, die vielleicht an Phoenix oder
Editors erinnert. Wäre es nur die Gitarre, kann man an die Weite von Kashmir oder The Boxer
Rebellion denken. Gäbe es nur den Bass, käme einem vielleicht Hot Water Music in den Sinn.
Un die Stimme schafft einen eigenartigen Spagat zwischen der hohen Emotionalität eines Nathan
Gray und der Kühle eines Dave Gahan. Wenn alle vier Stimmen zusammen zu hören sind, könnte
man fast...
genug davon. Die Frage, ob das alles zusammen passen kann und Sinn macht, mag sich aufdrängen.
Uns nicht. Flash Preußen ist kein Job. Flash Preußen ist vier mal Leidenschaft, vier mal 'warum
nicht?', vier mal 'auf jeden Fall'!

Of Finnish descent, but born and raised in California, TIN MAN now has a home in Vienna, a town perfectly suited to his deep and moody productions. TIN MAN launched his Global A label project in 2005. The first two releases, 'Places' and 'Acid Acid', weighed in at three pieces of vinyl each, and showcased his two major musical passions: fragile deep electronica and acid house. TIN MAN has acclaimed releases on the Finnish record label Sähkö / Keys of Life, Cheap Records from Vienna, and continues with new releases on his own imprint, Global A . While TIN MAN's output is diverse in its references, certain underpinnings can be heard throughout. There is always a strong reference to Acid House music, as well as a strong reference to Ambient and Electronic Pop music from the past 30 years. TIN MAN's newer output features his voice and follows a "concept album" format. Thus, complete records are as important as individual songs. The songs tend to follow a simple structure with changes that grow slowly within motifs. Mood construction and story telling are both equally important. And with each new record, there are new historical references to tell different stories. TIN MAN also continues with his passion for Acid House by continuing to produce retro-acid tracks and playing live shows regularly. These live shows celebrate early house music, its hypnotic charm, and its blissful raw energy. To find out more about TIN MAN please visit www.tinmanmusic.com


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.

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