Paris, early ‘90s. The city was a schizophrenic beast—half-glamour, half-decay—where raves exploded like molotov cocktails in abandoned warehouses and smoke-filled basements. It was beautiful chaos. Somewhere in the thick of it was Julien Veniel, better known as D’Julz, spinning records with the focus of a surgeon and the cool detachment of someone who had seen it all.
Then came New York, 1993. A city that didn’t sleep but didn’t really dream either, at least not back then. Veniel—young, hungry, and too talented to ignore—found himself in the depths of sweaty dancefloors, perfecting his craft like a prizefighter working the heavy bag. The kicks were tighter, the grooves deeper, and his sound—dub-infused, stripped-down, relentless—started to carve its way into the foundations of house and techno.
But Paris called him back. By 1997, he was behind the decks at the Rex Club, launching Bass Culture, a night that would quietly and ruthlessly become one of the most enduring parties in dance music. You could feel it in the air, heavy with smoke and sweat: something was happening. And week after week, D’Julz delivered. The music wasn’t just played; it was installed into your brain, a groove so potent it hijacked your nervous system.
The production side came next. 20:20 Vision, Ovum ,Circus Company. Robsoul. ,Rekids. Big labels, underground credibility. Tracks and remixes that hit like slow-burning dynamite—deceptively simple, brutally effective. DJs hoarded his records like they were holding nuclear launch codes.
Then there was Circoloco—DC10 . Ibiza’s sacred asylum for the beautifully deranged. D’Julz became a fixture for 7 years, a reliable madman behind the decks, controlling both the main room and the red terrace like a general marching his troops to the brink of delirium. His sets were measured doses of euphoria and dread, dubby basslines colliding with pulsing techno rhythms, all delivered with a sly grin and the calm of someone who knew.
By 2009, Bass Culture Records was born. A label as lean and unforgiving as its founder—no fluff, no filler, just raw, stripped-back house and techno that knew where it came from and where it was going. Over 70 releases later, it’s clear: D’Julz doesn’t miss.
Now, decades into this strange and relentless trip, D’Julz is still at it. The tour schedule is insane—Bali, Berlin, New York, and back again. Clubs and cities blend together, but the mission never changes: find the groove, ride it hard, and don’t let up until the lights come on.
D’Julz doesn’t care about trends. He doesn’t care about fame. He’s a purist, a craftsman, a man obsessed with the sound—the deep, pulsing, unstoppable sound. Three decades in and he’s still there, calm and unflinching, dropping records that hit like a gunshot in the dark.
If you want to understand D’Julz, don’t bother asking questions. Just listen. The truth is buried somewhere in the basslines.

DJ and producer raised in Napoli. Owner and director of @analytictrail-rec & @mkt-rec

Info & Bookings: antonio@segment-artists.com

LTHM - Listen to House Music 

 Label | Podcast

LTHM founder Diego Valle started the imprint in the summer of 2012, to create a collective of innovative and forward-thinking music pieces for audiences worldwide. 

With a main focus in the genres of Deep House, Deep Tech, Tech House, Minimal and Techno. With just over 132 releases and over 100 different artists the label has delivered high quality and cutting-edge music to its countless fans in the international dance music scene and will continue to become a solid brand in the industry. 

Along with the label a weekly podcast is hosted by Diego Valle to showcase the latest label releases as well as current music that interprets his current taste. It also features guest mixes from international and local DJs. The LTHM Podcast can be found on all your favorite platforms and has been heard in over 50 countries for the past 800 + episodes. 


The weekly podcast is free to listen/download by visiting:
https://music.lthmmusic.com/lthmpodcast

Label Demos:  listentohousemusic@gmail.com

Artist > DJ > Producer > Storyteller 
Innovator of Hi-Tech-Soul. 

The music career of Dimitri Kneppers (1967), generally known as ‘Dimitri’, reads like an encyclopaedia. A Dutch encyclopaedia, that is. After  nearly 40 years of spinning records you could call him a true veteran, known for his enormous sensitivity, true feeling and mixing skills.

Dimitri starts his deejay career in clubs by the age of 17. 

In 1988 he obtains a residency at the legandary RoXY in Amsterdam and becomes one of the pioneers of house music in The Netherlands.

His HTSM (Hi-Tech-Soul Movement) nights draws clubbers from all over the globe to hear his own unique style of music and mixing techniques. 

By 1991 he spins at all the major (warehouse) parties in The Netherlands, Belgium and Italy.

He releases his first records and starts his own label Be.S.T. (Beautiful Soul Techno). 

From 1992 onwards he continues to take over the world with gigs from Tokyo to Australia, Paris to Peru and residences at Twilo in New York and Ibiza.

In 2007 Dimitri takes a 3 year sabbatical (after playing non-stop for 23 years), trading the club scene for life on a farm and voluntary work with children with learning disabilities. 

In 2010 he returns with his ‘All Night Long’ residency at the legandary club Trouw Amsterdam, one of the best venues in Europe.  

In 2013 he suffers from a life threatening bacterial infection and loses his right underleg. But he is back at the desks in Trouw in only 5 months, proving that music has the power to heal, one of his strong inner beliefs.

Today Dimitri plays in clubs and at festivals all over Europe.
At Amsterdam’s number one venue Thuishaven he finds his new residency for his infamous 10 hour storytelling sets, taking the crowd on a journey through a wide range of energetic, spacious, melodic and hypnotic musicstyles. 

As a producer Dimitri (Kneppers) is always working on new music.
He releases on labels like KMS, Planet E Communications Detroit and Metrohm.

Maria Callas was born Maria Anna Sophia Cecilia Kalogeropoulou in New York on 2 December 1923 to Greek immigrant parents Evangelia and George Kalogeropoulos. In 1937 Evangelia separated from her husband and returned with her two daughters Maria and Jackie to Greece, where she intended to give them the musical education she could not afford in America. Maria began her vocal studies with the soprano Maria Trivella and the following year she became a pupil of Elvira de Hidalgo, who concentrated on coloratura training. The young Mary Kalogeropoulou, as she was then known, made her stage debut at the age of 15 as Santuzza in a student production of Cavalleria rusticana, and in June 1940 she joined the National Theatre company in Athens, and her first engagement was to sing songs in Shakespeare's Merchant of Venice at the Royal Theatre.

On 21 January 1941 she made her professional operatic debut as Beatrice in Boccaccio, and on 27 August 1942 she sang her first Tosca (in Greek) at the open-air Park Summer Theatre. There was a further run of performances of Tosca in September at which the opera was sung in Italian, and these afforded Maria her first real taste of stardom. During the following three years with the company she also sang in Tiefland, Ho Protomastoraas, Cavalleria rusticana, Fidelio and Der Bettelstudent.

As soon as the Second World War had finished, Maria decided to return to the USA to further her career, and in September 1945 she sailed for New York to be reunited with her father. Now calling herself Maria Callas (adopting the surname that her father had devised back in 1929) she failed to achieve anything until Giovanni Zenatello, who was in the USA to find singers for the 1947 Verona Opera Festival, engaged her to sing in La Gioconda.

Callas arrived in Verona on 28 June, and on that same evening she met Giovanni Battista Meneghini, a middle-aged wealthy Italian industrialist and opera lover, who immediately began to take an interest in the gauche and inexperienced girl. On 2 August she made her Italian debut in the Arena at Verona in La Gioconda, conducted by Tullio Serafin. The performances were successful enough but Callas made no special impression and the expected offers of further work did not materialise. But Serafin knew that she had potential and he engaged her to sing Isolde in Italian at La Fenice in Venice in December, and this led to further engagements in Italy, mainly in heavy dramatic roles like Turandot and Aida.

On 19 January 1949, having just sung her first Brünnhilde in Die Walküre eleven days earlier, Callas, at the insistance of Serafin, replaced the indisposed Margherita Carosio as Elvira in I puritani at La Fenice, and her performance stunned the operatic world. This was the turning point in Callas's career and the start of her involvement in the rehabilitation of the Italian bel canto repertoire. On 21 April 1949 Callas married Meneghini in Verona and sailed that night for Argentina to sing at the Teatro Colon in Buenos Aires. Helped by Meneghini as both husband and manager, Callas developed her career in Italy and abroad during the next two years. On 7 December 1951 she opened the season at La Scala, Milan, in I vespri siciliani to enormous acclaim, and for the next seven years La Scala was the scene of her greatest triumphs in a wide range of roles.

On 29 July 1952 Callas signed a recording contract with EMI, the first fruit of which was Lucia di Lammermoor, recorded in Florence in February 1953. Later in the year Callas began a series of complete opera recordings with the forces of La Scala, starting with I puritani and Cavalleria rusticana conducted by Serafin. These were followed by the now legendary Tosca conducted by Victor de Sabata. In 1954 Callas reduced her weight by 30 kilos and her appearance changed dramatically.

During the summer she recorded a further four complete operas at La Scala and made her first two recital discs in London. Over the following three years she consolidated her position as one of the leading divas of the operatic world, and continued to record prolifically for EMI.

In September 1957 Elsa Maxwell, the American society hostess, introduced the Meneghinis to the Greek shipping magnate Aristotle Onassis at a party in Venice. In January 1958 Callas was harshly criticised in the media for withdrawing after the first act of a gala performance of Norma in Rome. Later that year she decided not to appear again at La Scala after quarrelling with the director, and she was fired from the Metropolitan in New York after failing to agree on performances for the following season. In July 1959 Onassis invited Callas and her husband for a cruise on his yacht, the Christina; by the end of the cruise Callas and Onassis were lovers and the Meneghini marriage was over. During the next few years Callas curtailed her stage appearances and devoted herself to the international high life with Onassis, until by 1962 she was performing only at a few concerts.

In January 1964 Franco Zeffirelli persuaded Callas to return to opera at Covent Garden in a memorable new production of Tosca. In May she appeared in Paris in Norma, directed by Zeffirelli, in a spectacular staging that was to be her last new production. During the early part of 1965 she sang further performances of Tosca in Paris and New York, and then five performances of Norma in Paris, but she was unable to finish the last one due to ill health. She was advised on medical grounds to withdraw from her next performances of Tosca at Covent Garden but she decided to sing just once; she chose the Royal Gala on 5 July, which turned out to be her final appearance on the operatic stage.

In 1966 Callas relinquished her American citizenship and took Greek nationality, thereby technically annulling her marriage to Meneghini; she expected Onassis to marry her but instead, two years later, he married Jacqueline Kennedy. Callas was devastated. In the summer of 1969 she played Medea in a non-operatic film of the play by Euripides, directed by Pier Paolo Pasolini, and in 1971-2 she gave a series of Master Classes at the Juilliard School of Music in New York. There she met up again with her old colleague, the tenor Giuseppe di Stefano, who persuaded her to undertake an extensive international recital tour with him. The tour, a personal triumph but an artistic failure, began in Hamburg in October 1973 and continued into 1974. The final concert with di Stefano took place in Sapporo, Japan, on 11 November 1974; this was Callas' last public performance.

Onassis tried to rekindle his relationship with Callas, but she refused to have him back while he remained married to Jacqueline. On 15 March 1975 Onassis died after an operation; Callas was by then a virtual recluse. Alone in her Paris apartment, she died from natural causes on 16 September 1977.

Swedish indie-house since 2001.

U Don't Feel The Same (Single, 2015)
Can U Feel It? (Single, 2014)
Taking U 4 Granted (Giveaway DL, 2013)
Shut The World Out (Single, 2012)
Kissing Taste (Single, 2012)
The Last Summer (Album, 2011)
Boom (Single, 2011)
Sleepless (Single, 2010)
Marchin' In (Giveaway DL, 2010)
Want U (Compilation, 2008)
City (Single, 2007)
Change Channel (Single, 2006)
Wake Up (Single, 2006)
Boylife (Album, 2006)
And The JFG...? (Ep, 2004)

Tivoli Swaran is following