Seth Troxler is one of electronic music’s most instantly recognisable artists. He has carved out his own unique path as a cultural commentator, art curator, restaurateur and entrepreneur. Descended from a family of cowboys and Baptist preachers, Seth is part African-American, with a singular approach to viewing the world through the prism of contemporary music culture.

Born in Kalamazoo, Michigan, and raised in suburban Detroit, Seth learnt the art of DJing initially from his stepfather (then a college radio DJ) and later from working, at only 16, behind the counter in legendary Detroit record store ‘Melodies & Memories’. It wasn’t until Seth made the decision to explore new horizons in the mid-2000s, moving to Berlin fresh out of his teens (after debuting at Panorama Bar at just 18 years old), that his DJ career really took off.

Since the move from Detroit to Berlin, then settling in London for a number of years, and now with his time divided between Ibiza and Berlin (Round 2), Seth has established himself as one of the world biggest DJs (voted the world’s number one DJ in scene bible Resident Advisor and gracing the front cover of Mixmag three times). He’s equally at home playing to the smoke-filled dance floors of some of the world’s most discerning nightclubs, such as CircoLoco, fabric (London), Nordstern (Basel), The Lux (Lisbon) or Blitz (Munich), as he is headlining the world’s largest festivals, like Glastonbury, Movement, Roskilde or Sonar.

Right from the word go, Seth has been as passionate about food and contemporary art as he is about music, and these two interests have resonated at all points, and in parallel, to his music career. A multi-faceted modern artist: he has held residencies at talismanic music institutions, run numerous record labels, and pursued his own solo recording career (including the recent ‘Play In The Dark’ collaboration with the Martinez Brothers on Crosstown Rebels, and ‘Lumartes’ that kick started CircoLoco Recordings in Summer 2021). Furthermore Seth has found the time to launch the successful Smokey Tails’ restaurant in London, to create and host his own party during the Rio Carnival, and then to stop everything and to take the time out to climb Kilimanjaro for charity.

More recently Seth has focussed his creative energies on his ‘Lost Souls of Saturn’ www.lostsoulsofsaturn.com project, alongside Phil Moffa and further opaque participants, that sits firmly at the intersection between futuristic electronica, contemporary art and technology. In 2019 Lost Souls Of Saturn presented their audio/visual installation Transmission at the Saatchi Gallery in London, after its premiere during Art Basel in Switzerland, and collaborated with the Met in New York and the Fondation Beyeler in Basel in 2021. Lost Souls Of Saturn are currently recording their second album and conducting further experiments in augmented reality and virtual reality, which will be revealed soon.

Extremely well travelled, constantly searching and experiencing, Seth Troxler continues to follow his own unique path.

Every event, statement or idea has its own circumstances that define the setting in terms of which it can be fully understood. And to fully understand KNTXT, the techno concept guided and hosted by Charlotte de Witte, you must experience it.

KNTXT has already profiled itself as a force to be reckoned with in the Techno landscape. Its objective is a clear one: to serve a quality techno experience driven by both national as international acts, while staying true to a genuine underground spirit.

All of this has resulted in some mind-boggling editions showcasing an impressive all star wall of fame and also receiving praise from several media such as Mixmag, DJ Mag and Red Bull Elektropedia (Best Really Big Party).

Manifest:
KNTXT /ˈkɒntɛkst/ noun
“The circumstances that form the setting for an event, statement, or idea, and in terms of which it can be fully understood.”

The GHB podcast, formerly happytans, is a podcast focused on sharing the inspiring journey of beauty business owners.  Learn from some of the most successful beauty business owners, including salon & spa owners, spray tan business owners, and more!

Nicole Moudaber is a rockstar. One of the industry’s true trailblazers, few artists can lay claim to having had such an instrumental impact on the global electronic music scene. Her unparalleled production talent and intuitive ability to work a crowd has seen her captivate audiences worldwide, becoming one of the most sought-after DJs on the planet, yet to simply call Moudaber a DJ is to do a disservice to a woman that has dedicated her life to advancing underground culture and championing women worldwide.
Hailing from Nigeria and currently based in London, Nicole’s journey to becoming one of the most revered names in the dance music scene is as dynamic and boundary-defying as her music. From her beginnings as a promoter in Beirut’s underground club scene to becoming a globally adored DJ, Producer and label boss, Moudaber’s inimitable career is a testament to her relentless passion and uncompromising vision.
Whilst her rise to fame was anything but conventional, throughout every step of her career Nicole has been fearless in her desire to offer people the same chance of self-expression, freedom and solace that she was able to find through music. Today, the techno temptress is currently celebrating a decade of her InTheMood empire- which encompasses her label, award-winning weekly radio show, monthly Apple Music show and famed party concept. Her imprint, MOOD Records, has become synonymous with cutting-edge techno, showcasing superstar DJs whilst also providing a home for emerging talent to flourish, championing the next generation of artists and pushing the genre forward.
Drawing on the rich tapestry of cultural influences that shaped her early life, a deep-rooted passion for rhythm and melody, and an innate musicality Nicole's fearless approach to music production is reflected in her diverse discography, which boasts a myriad of chart-topping releases and genre-defying collaborations including Carl Cox, Chris Liebing, Jamie Jones, Ida Engberg, Skin, Moby and the London Community Gospel Choir. From dark and brooding anthems to euphoric dancefloor fillers, Moudaber’s sonic repertoire knows no bounds and her catalogue of tracks have become anthems for the techno faithful.
Nicole’s influence extends far beyond that of the DJ booth. A fervent advocate for gender equality and diversity within the electronic music community, she is not afraid of using her voice to amplify those that need it. Through her charity work, she continues to champion inclusivity and empowerment, inspiring aspiring artists from all walks of life, whilst also offering her support for crucial aid work and benefits for women around the world.
A true pioneer whose influence reverberates across continents, with every beat, Nicole reminds us of the power of music to unite, to inspire and to transcend. Welcome to the world of Nicole Moudaber – where the rhythm never stops, and the journey never ends.

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. 


THE ACID QUEEN
Saskia Slegers, better known as Miss Djax, or as many say 'The Acid Queen', is living proof that age doesn't necessarily always brings peace. For more then 35 years now, she has stomped on the face of techno and acid with hard punishing beats and radioactive sounds. The ferocious releases on her Djax-Up-Beats label helped Chicago and Detroit sounds gain foothold in Europe, as Djax Records was one of the first European labels to put out techno in the early nineties.

Miss Djax started her DJ career at the age of sixteen. Her musical roots can be traced back to disco, funk and new wave. At the age of eighteen she formed the band 'B-System', a new wave band in which she played the bass guitar. 
Having worked in record shops for many years, Saskia met a large number of promising artists whose music never got released because, according to the Dutch record-companies, it was "not commercial" enough. That triggered her to start her own label and in 1989 Djax Records was founded. 

Miss Djax had her international breakthrough when she played at the notorious MayDay rave in Berlin 1992. One year later Germany's leading dance magazine Frontpage declared her 'DJ of the year'. In the following years her name was always in the international top 10 rankings. 
In that same year (1992) Saskia went on a 2 week trip to Chicago and Detroit to meet her favourite producers in person and to see with her own eyes were it all had started. 

Four years in a row, from 1995 to 1998 she took part in one of the major techno happenings: The Love Parade in Berlin. In 1998 Djax even had the privilege to start at pole position! Many people will remember the 20-metres long red/silver Djax-Up-Beats rocket with 20.000 watt of acidtechno terror on board! Miss Djax also played two times, in 1996 and 1998, at the Love Parade end manifestation at the Victory Tower in front of millions of people. 

Besides the worldwide respected releases on Djax-Up-Beats, Djax Records is also known for being the first company to release Dutch spoken rap-music, later called Nederhop. In 1991 Saskia discovered The Osdorp Posse that soon became the most popular rap-band of the Netherlands! In 1995 they won the Dutch Popprijs for being the most innovative Dutch band! Also ABN and Spookrijders were two of Djax’s successful nederhop bands. 

Not only the music but also the looks of Djax Records have always been important to Saskia. Since 1991 she is working with Alan Oldham, the famous illustrator from Detroit. Till today Alan made hundreds of beautiful illustrations and five Miss Djax comics for Djax-Up-Beats. Saskia also worked with  Zender and the famous American illustrator Ed Repka, who is well known for his Megadeth album covers.

AWARDS:

1992 – Position 1 best record label (Frontpage Magazine Germany)
1992 – Position 4 best new talent (Frontpage Magazine Germany)
1992 – DJ of the year (Frontpage Magazine Germany)
1993 – Position 3 best international DJ (Frontpage Magazine Germany)
1993 – Position 3 best record label (Frontpage Magazine Germany)
1994 – Position 1 best international record label (Frontpage Magazine Germany)
1994 – Top 10 position best international DJ (Frontpage Magazine Germany)
1995 – Position 13 best DJ (Raveline Magazine Germany)
1995 – Top 10 position best record label (Raveline Magazine Germany)
1997 – Position 6 best international DJ (Tendance Magazine Germany)
1997 – Best record label (Silver Star Award Holland)
1998 – Best record label (Silver Star Award Holland)
1998 – De Veer Award (Holland)
2009 – Gold record for 1.3 million records sold by Djax Records
2009 – Gold record for 40.000 albums sold of Afslag Osdorp

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