Management. Development. Bookings.
Intuitive, Intelligent, Creativity. 

With dynamic musical taste and timing sharper than a razor, Sterling Moss is renowned for his technically explosive DJ style that never fails to electrify crowds the world over.

Having toured extensively in over 25 countries throughout North America, South America, Europe, Asia, Africa and Australia, Sterling regularly rocks dancefloors around the globe in an exotic list of locations, playing at clubs and festivals to hundreds of thousands every year alongside the world’s DJ elite.

Once resident with Dancevalley & HQ in Holland and Tribal in London, Sterling now serves a residency with Harley Davidson as tour DJ on their Bike Festivals, having played for 9 years with them at destinations all round Europe, culminating every September with the 100,000 attended European Bike Week in Austria.

Music production has remained the in-demand creative mainstay of Sterling’s abilities, including UK chart success and his own label catalogue of Raceway, Racetrax and 99.9 supporting his musical output onto more than 50 other international imprints including: Stay Up Forever, RAW, Hydraulix, Cluster, Hardasfunk, Wah Wah, Subcult, Neuroshocked, Powertools, DJAX Upbeats, Yolk, Scythe Squadron, Polymeric, Apex, Hellhouse, Nukleuz, Yin Yang, One Inch, Rotters Golf Club, Sweet Peaks, Offical, VCF, No Entry, Strata, BR-909, Carbon Audio, TMM, Keep On Techno, Corrupted, Corrosive, Teknic, Braingravy, Bordelik, Flatlife, Maximum Minimum, Aktivists, Abusive 303, Acid Corp, Bodyshock, Beetroot, London Underground United, Many Birds, Project 303, Interstate One, Celtek, Skyride, AK, Hive & Torque.

Sterling has worked alongside the mighty Stay Up Forever crew for the last few years, tirelessly stoking a 303 & 909 driven rebellion in the studio alongside Chris Liberator to create a huge body of work that has ripped dancefloors apart across the world with devastating effect. They have sold out events in countries including Australia, Japan and Brazil with their live show, their remixes of Sicknote, Tribazik, The Dice, Miss Djax & Patrick DSP and Dynamo City’s ‘One Night In Hackney’ are universally acclaimed, and their genre defining hits including: ‘Scum Like Us’, ‘Croydon Girl’, ‘Punk Attitude’, ‘I’m Bored’ and ‘Massive Line’ will be making waves for years to come.

‘E.S.C.’ is another alias Sterling has recorded under as part of ‘The Boardroom’ collective with Steve Boardman. Their work saw its way onto two highly acclaimed collaborative albums with Andrew Weatherall, which gained rave reviews universally from the music press. The collective has also played live at some of the world's most prestigious venues including London's 'Fabric' & Berlin's 'Panorama Bar'. 

The 'Sound Lab' studio is the nerve centre for Sterling’s production work, but he also worked extensively alongside Roland Synthesisers Japan as an official programmer on their MC-909 Groovebox, after they were impressed with his use of their vintage TR-909 drum machine. He has also released two sample packs with Chris Liberator through New York’s Industrial Strength Records, which contain a wide-ranging palette of sonic tools for up and coming producers to utilise.

While constantly striving to innovate with his productions and DJ'ing, Sterling Moss always looks to explore new musical territories and ideas, while relentlessly touring his compelling sound around the globe.

In a basement music-making studio in the south of England sit a bunch of machines. A Moog System 15, a Juno 106, classic Roland TR-808, TB-303 and TR-909s, an Emu SP1200, a Sequential Circuits Prophet 5, Akai MPC, a Mini-Moog… these machines have been some of the foundation hardware for electronic music over the years.

But these machines can’t make music by themselves. Despite all the hype about artificial intelligence (AI) and robots, these machines need somebody to collaborate with — a human — to draw out their soul and funk.

We’ve been fascinated by machine music since the second half of the 20th century, and electronic music has been powered by the ever-developing automation of new technology. “I’ve collected these machines for a long time now, and each one has a story,” says uber-producer Steve Mac, owner of all these machines. “Every time I buy a new one, the rule is that I have to make a track with it.”

The variety of people who drop by to play on these machines are what make the music coming out of this studio so diverse. Whether it’s house music legends like Marshall Jefferson or Danny Rampling swinging by, or cult Trainspotting author Irvine Welsh laying down some vocals on a German/Scottish kosmische disco ditty; a session with dubwise breakbeat rave act Genaside II to making a track with unknown guitar n’ bass whizkid Scott Booth; from working with young house hotshots Cousn from Bristol to some songs with a Brazilian band Steve met in the pub — these machines need humans to collaborate with. They can’t do it themselves.

The above-mentioned Brazilian band member Rafael Berrio provided the impetus for ‘Martina’, a Balearic Brazilian love story that’s the first single from Steve’s new project. It’s backed by a melodic breakbeat piece that also utilises those Brazilian vibes. “I want to make music from the heart,” says Steve. “It’s the interaction of people and machines that I’m really fascinated with.”

Each of these machines is a feat of engineering. Machines like these have created countless classic electronic music cuts, and lately Steve has been adding to that cannon — with a slew of tracks ready to go. The electricity is on. The motor is running. Are you ready for the sound of These Machines?

Tom Forster 1 is following