Sascha Pieler began playing drums at the age of 15. Shortly there-after his grandmother bought him his first drum set and just two years later, by the age of 17, he played for several, local rock bands such as SALE, Biscuit Circus, Jazz Lag and Pluto 23 to name a few.
His interest in music sparked a flame as he made a special type of music that played with your hearing skills called Hörspeil.

At the age of 18 he studied at Future Music School in the year 2000, where he developed an interesting mixture of Jazz and improvised it to electronic music with his computer. He made the music 'Toen'.

With this fascination he decided to start a DJ project called Coma Club. Where he made experimental sounds, set with lights as listeners relaxed in their lounge chairs.

http://www.kubiss.de/kultur/projekte/toentrips/toenpage/q4E.htm

With this new awareness and professional development he began playing with an Indie Tronic Band called “Clocks” that was and is quite successful.

Sascha started his own independent record label, Fat Orange, which became a platform to create parties and concerts and produce music and videos in his new Surfer Shack recording studio. Within the walls of his Studio, he produced artists such as­________ and _________ .

Find more information at:http://www.fatorange.de/artists.html

He is a professional Drummer, DJ, Stage-Hand and Musician, who incorporates Audio Engineering, Video and Lights as well as music production and live recordings. He is a down to earth person who is not only qualified but also great to work with. Give him a call and make a booking today!

YOHTO sendet auf einer neuen Frequenz!
Sie haben sich einen neuen Sendeplatz geschaffen. Ihr handgemachtes Beat-Juggling läuft irgendwo zwischen elektronischen Clubsounds, karibischen Offbeats und verspricht nur eins: jede Menge grooveorientierter Songs die keinen Platz in einer gewöhnlichen Genreschublade finden. Das neue Album „New Frequency“ zeigt auf ein Neues YOHTOs Vielseitigkeit. Der Bandsound wurde durch den vermehrten Einsatz elektronischer und atmosphärischer Elemente erwachsener, und kann zum Glück seine Intention als Tanzflächenmagnet nicht verbergen. Jeder Song birgt etwas Eigenes und Neues in sich, doch eines haben alle gemeinsam: treibende Beats und Energie! Die Nürnberger Kulturpreisträger beweisen immer wieder, dass vor allem handgemachter Sound zu einer abwechslungsreichen, tanzbaren und mitreißenden Show einlädt. Die energiegeladene musikalische Bombe erschüttert jeden Konzertsaal und zieht die Zuhörer auf die Tanzflächen. Von Italien (Rototom Sunsplash) über Österreich und Süddeutschland (Chiemsee Reggae Summer) bis Berlin (Kesselhaus) wurden die Beben jüngst gemessen. Ein Phänomen! Während man dort die Risse in den Wänden kittet und den Schweiß vom Boden wischt, hält die nimmermüde YOHTOcrew munter Ausschau nach weiteren Möglichkeiten, musikalisch ordentlich Rabatz zu machen. Bei ihren zahlreichen Konzerten teilten sie sich die Bühne mit namhaften Musikern wie Gentleman oder Seeed. Ihre Songs bereicherten einige Compilations und der erste Longplayer „Connection Thing“ bescherte YOHTO konzertreiche Jahre. Jetzt folgt ihr zweiter Streich.
Garantiert ein schweißtreibender musikalischer Trip!


new album »PHANTOM EASY« out now via PRÄSENS EDITIONEN
>> https://praesenseditionen.ch/

Julian Loscher was born into a divided Germany one year before the iron curtain fell.
These were exiting times for the old German Electro school with many artists escaping into a world untraceable to the watchful eye of their suppressors. 
The underground electro enthusiasts used synthesisers and new wave drum computers and samplers to create their quirky dream like soundscapes. They dropped all lyrical content in fear of censorship laws and possible gaol time. Electronic music was not tolerated by any commercial state owned record labels, so the heavy raw shit was buried deep and kept very much underground.

Fast forward to this very day and we still have the same divided world really, but much more sneaky.
Sneaky as in politically driven record labels owned by the religious cults, the oil companies and the elite families. 
These companies pour out as much putrid stink noise they classify as commercial music as they do pollute the world with there chemical wastes and mass consumerism culture. 

Julian loscher's Techno lust is a movement from below ground, demonstrating destructive forces from within a manufactured system. There are minimal lyrical content aside from the occasional sample of gorgeous seductive sirens calling for all out war against the machine. The irony is the Technoscapes are created, often live and using the new age machine boxes from the beasts of manufacturing. The rage for a new life is obvious, and somehow the traditions of his predecessors seeped deep into Julian's own mental switch. The protest is hidden behind an endless party of ecstasy enhanced zombie supermodels, yet never the less a most dangerous taste of what is to be created in the near future. The watchful eyes need to be on this particular German's output, as he could be their best friend minutes before they enter the technical glitch pit that is a Julian Loscher amalgamated techno dream scape. 

Once this happens, there can be no friends nor enemies, but only fixated energy waves of negative and positive techno dancers.  


Mikey Minimusic
January 20th, 2014 
Bondi Beach, Sydney  

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