Welcome!!
2 Soundcloud:
https://soundcloud.com/hv2 and https://soundcloud.com/hv2-part-ii

Strictly Kev aka DJ Food aka Openmind - Music producer, DJ and Graphic Designer. I've worked with and for Ninja Tune since 1993, designing covers, mixing radio shows and producing records as well as touring the world DJing. 

British-born Lee Coombs has been DJing since 1989, when he got his start at acid house parties in London and Cambridge. He went on to run several of his own labels and collaborate with some of the most respected artists and producers in his field, combining breaks, house, electro, techno, and acid to create groundbreaking mixes in his own signature style. Coombs is a talented and innovative fan-favorite around the world, whether he’s releasing music through his own Thrust Recordings or as part of the Lot49 team, or mesmerizing massive audiences filling dance floors from Australia to Burning Man.

DJ since 1993 from Berlin, Germany

Style:
Hardcore, Rave, Breakbeat, Techno, House, Drum n Bass, Chillout/Ambient, Hardtrance, Gabber, Sounds 1991-1995 .. many more
Contact:
https://www.facebook.com/JimBeanDJ/
http://twitter.com/djjimbean
http://www.youtube.com/jimbean75

References:
Planet, Subground-Pfefferberg, KissFM, Insel der Jugend, Nontox, Scheune bei Lüneburg, Pavillon am Weinbergsweg, Hanfparade; T92, Stellwerk, Eingang28,Oranke Orange,XS-Club, Acud, Spooon, Mal Pais, G2, Fraystil, Beatclub, Velvet, Bastard,www.djsyndicate.de, Centrum,FunkwelleFM, www.36fm.de ,Ruderclub,www.basslover.de, “Schall&Rau[s]ch" open airs, Multimat, FateClub, Trabrennbahn Karlshorst, SkyClub, Club 2010, M-Bia, RAW-Tempel, Alte Fleischerei - Silverlounge, Karneval der Kulturen, Spielraum, M.I.K.Z., Künstliche Beatmung, Speicher, Tacheles, Zur Möbelfabrik (ZMF), Redclub, Ruhestörzyklus Camp @ SonneMondSterne Festival, Subland (Theater), Weeß der Fuchs .. OPEN AIRs, Void, Velvet Monkey, Ava Club, Alte Molkerei, Kili ...

Omegachild is the solo project of Brisbane-based electronic producer, multi-instrumentalist and vocalist, Daniel Newstead. 

Newstead fuses the raw emotion of his classical piano training with the primal physicality of his band days by playing live synths and drumming simultaneously. This led to the development of the Omegachild 'one-man-machine' live show. The show incorporates audio-activated projection and lighting to create a synesthetic music experience that not only challenges the limits of his own performance, but also explores the potential of technology to act as an extension of the human body. 

In what begins as a stream-of-consciousness style that may borrow the instrumentation of heavy electronic music at the pace of industrial rock one day, the next will see Newstead’s muse tempting him into the introspection of ambient, classical cinematic textures, or the rhythm found by allowing the fingertips to translate the way kaleidoscope patterns rearrange themselves. Vocals weave in and out of the futuristic landscape not demanding attention away from the ‘one-man-machine’.

After years of primarily working as a producer and touring as a live drummer in various bands (playing notable support slots for luminaries such as Pop Will Eat Itself, Combichrist, Cog, and Sleepmakeswaves), Newstead reigned his talent back home, and, drawing heavily from his experiences of life as a musician in the digital age, redirected his primary focus toward electronic composition and the formation of the Omegachild project. 

In 2014 Newstead journeyed to India with filmmaker Danny McShane. It was there, whilst transversing the countries mountainous terrains that the foundations of Omegachild's debut EP Postcards took form. McShane captured the entirety of this creative process, resulting in the vivid documentary film, Waiting for Postcards, accompanying the EP's release; a dual music-cinema event, which forms the initial patterning of Omegachild's highly ambitious audio-visual approach.  

Omegachild began his live journey in 2015 and quickly started showcasing the unique show at warehouse parties in Brisbane and festivals around Queensland and Northern NSW including; The Australian Body Art Festival (QLD), Faraway Festival (NSW), Jungle Love Festival (QLD) and Manifest (QLD).
This boundary-pushing approach quickly gained recognition and in 2016 Omegachild received the 'Best New Talent' award from the Brisbane City Council for his 360degree VR performance in The QUBE Effect. 

Drifting away from channeling the beautiful landscapes of India on his 2014 documentary ‘Waiting For Postcards’, Omegachild explores a more virtual space on the soon to be released album ‘Youtopia’.
The album is a vivid spectre of our time. Stark beats and dense synth walls sketch out a dystopian terrain, but a spirited resistance slowly emerges, with critical vocal lines unveiling slithers of optimism and progress.
 With an EP, documentary film, and a successful run of festival and warehouse gigs laying down the prelude of sorts, Omegachild stands poised and ready to launch into the next frontier of his musical saga. A performance at this year's Jungle Love Festival looms on the horizon, but the launch site is here and now. Enter Fifth Dimension and set your controls for the heart of an electronic sun.

http://www.trancentral.org
JAMS23 IS A TRANCENTRAL GROUP WITHOUT  GROUP BY DILL BRUMMOND & CIMMY JAUTY
THIS IS NOT KLF - INCOMUNNICATIONS - 2016 WHAT THE FUCK IS GOING ON? THIS IS NOT CONTAIN ANY ABBA SAMPLES! 


All Bound For Mu-Mu Land.
Only Another Fan Cloud

WHY SHEEP?
Okay, fine, but what's with the white fluffy animals on the cover?

"The sleeve is a very very English thing. The Pink Floyd album ATOM HEART MOTHER, do you know that album? The sleeve with the cow's head on it? That's a very English thing and it has the vibe of the rave scene over here. When we're having the big Orbital raves out in the country, and you're dancing all night and then the sun would come up in the morning, and then you'd be surrounded by this English rural countryside ... so we wanted something that kind of reflected that, that feeling the day after the rave, that's what we wanted the music for.

"So when we went to the photo-library, we had a copy of ATOM HEART MOTHER under our arms, and we went in: 'Okay, we want a picture of sheep, like this.' They didn't have any pictures of sheep that were like the cover of ATOM HEART MOTHER, but they had these other pictures of sheep ... hundreds, thousands of pictures of sheep, and we picked the ones we used because it had that same sort of feeling." 


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