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Powerfully primed for the bass-favoring ranks of electronic music, South Central has proven to be one of the genre’s most unconventional kingpins. A live dance outfit driven to spit in the face of 21st century dance music’s comfort zones, their tremendous sound has mustered incredible landmarks across the globe. Now taking the industry by storm on their own unique terms, these Brighton, UK-based trailblazers really are the unapologetic face of eclectic bass culture that modern dance music has been praying for. 

Emerging with the ability to unite versatile productions and a stubborn track record for live dance redemption, their collaborative efforts have benefitted from a double-edged approach to dance floor dominance. Drawing influences as broad as metal, house and classical music, that fusion of big band energy and coherent dance values remains untouchable. Forget the cookie cutter ranks of dub step and its various offshoots – when South Central strike up, their impact is always felt. 
Armed with three genre-defiant EPs for Dim Mak and successive offerings for Ultra and Big Fish Recordings, their ability to bring new noise to prolific imprints has had the bass-savvy masses gasping for air from day one. Treating their productions as a relentless yet intimate science that opts for innovation over repetition, their middle-finger stance has earned them some serious industry credentials along the way. With a nod of approval as dignified as The Prodigy behind them, this antidote to electronic dance saturation looks to be turning all the right heads.  

Such a versatile sound was always going to wreck havoc on the club floor. Connecting crowds with a focus on upfront energy over meaningless pyrotechnics, South Central remains the center of every one of their adrenaline-fuelled performances. Count tour duties alongside The Prodigy, pendulum, DJ Fresh and Jaguar Skills, plus supporting slots for the likes of Rage Against The Machine and Vitalic and their live capability remains a vital modern dance crossbreed to the industry’s ever-expanding floodgates.

These remorseless antics are showing no signs of slowing on the approach to 2014. Between a remix package for their infamous Hollywood EP, a welcome return to Dim Mak with the Run Hide Survive EP and a peak in attention towards their own Mad Music imprint, the next twelve months look to remain as loud, proud and provocative as we have come to expect from this cutting edge duo set to defile dance music’s safe zones beyond repair. 

Akien began his musical journey into the global dance music scene when he unleashed his 1st single “Maybe Tomorrow” on a UK major label Renaissance which quickly received rave reviews and support from the big players such as John Digweed, Hernan Cattaneo, Pete Tong, Nic Fanciulli and Dave Seaman, to name but a few. Following the first wave of success, Akien released his 2nd single “Dig This” on UK tribal /tech house label Distraekt. This big room number gets massive stamps of approval all over from Carl Cox, Hernan Cattaneo, Tom Stephan, D-Formation and many others. Shortly after, a string of remix offers landed and Akien continues to shine with his re-rubs for Stereo Productions and Afroboogie Records. An unreleased track titled “ONE” has also been featured on CR2’s “United Nations of House” compilation which is distributed worldwide. Taking a step further, Akien took part and won the Heineken Thirst Studio Contest. The victory propelled him into the big league as his Thirst Studio Single “Now Rock”, co-produced with world renowned DJ/Producer BT hits the stores worldwide.

On the following year, Akien was crowned ambassador and winner of Motorola Streetstyle Awards in the music category. Akien then got busy with remix work, which included Spanish Tribal Head Jesse Garcia, and Singapore’s leading rock band Electrico. The massive electro rerub of the latter was championed by global dance music icon Pete Tong countless times on his BBC radio show, and went on to make major waves with a full 12” single release on Italian imprint Cosmonote Blue. Numerous music projects followed such as EP on onewithmusic label entitled “A Night At Zouk” and various Remixes which are getting support from a broad spectrum of djs - from Dubfire, Hernan Catteneo,Stephan Hinz to Hector Romero. With other original productions in the pipeline plus projects for Spanish leading label Beatfreak; massive German imprint Great Stuff and USA's System Recordings; Akien is definitely heading the right direction!


"eXaDiCt is not just another Bass obsessed EDM House DJ, he is an experience.

He is a state of mind.

He is the gatekeeper of minds and souls to a fantastic frantic oasis that, while leaving you knackered, oddly also leaves you feeling re-invigorated.

At 6ft tall and broad-shouldered, with his trademark left dimple, a chunky ostentatious earing shining brightly, and a rugged GQ dress sense (if it's not cotton, it won't go anywhere near him) he makes an imposing figure who commands respect.

His confident persona is matched by his magician like control of anything digital. Before each set he always plays out previous track and leads the packed dance floor in a show of appreciation for the out-going DJ, before kick-starting his performance into a blaze of steadily increasing vibrations which seem to extract every quality beat of every one of eXaDiCt's tracks as he begins his show.

To watch eXaDiCt DJ is part of the whole "reason why there is life on earth" experience. Cocky? Perhaps, but definetly not arrogant, eXaDiCt is now in in the driver's seat of the minds and bodies of his audience. A very precise and confident body language gives a visually intoxicating scene of what a dancing DJ is supposed to look like.

Yet, he is not dancing; this is something far more intense and emotional. Imagine watching a porno star having hot, rough, yet passionate but dominating sex to a sexy, breathless, moaning lover which, in this case, comes in the shape of a pair of digital dj turntables breasts and a laptop face. Forceful, dominant, aggressive yet incredibly tender and caring. The audio impact allows your body to further immerse itself in the ecstasy eXaDiCt is subjecting you to; your ears alone cannot possibly absorb everything that he is throwing at you.

As for his sound, imagine every track as a partially completed work of art. Through the use of effects on the turntables, eXaDiCt adds his own colour, texture and feel as he maximises every sound of every track to create the unique eXaDiCt sound. His precision mixing at incalculable speeds is part of his show; as each track mixes in you can absolutely feel the dance-floor vibe going up a notch to keep up with the frantic and energetic DJ that has them all by the balls.

eXaDiCt's blend of vocal uplifting bouncy house and filthy dirty electro with dubstep is like him: deliciously hard yet very accessible. And when eXaDiCt makes eye contact with you, even if just for a moment, you get to experience the ultimate one of a kind sensation of him yearning for your seal of approval. In that instant you have transcended being a mere mortal member of his audience, into being part of what will most certainly be the most electrifying EDM set of the night. The sheer euphoria you feel is impossible to put into words. And then at the end, breathless, skin tingling and with a shit eating grin on your face from ear to ear, you feel as though every ounce of energy has been drained right out of you, just like those few seconds after one of the best orgasms of your whole life.

Accompanying eXaDiCt to a gig is quite an experience. He is literally mobbed upon his arrival and departure from each gig, with fans eager have their photograph taken with him. Mobile phone-cum-digital cameras are designed for such occasions as his devotees put one arm around him and pose with their hero as the other arm acts as a remote-controlled tri-pod for the self-portrait.

“With 16 years in the game Dj.Mystique is not just a hard Hip-Hop & R & B DJ, but he is an experience.
He is a state of mind.
He is the transporter of minds and souls to an amazing frantic paradise that, while leaving you knackered, strangely also leaves you feeling re-invigorated.
At 5ft 6inches tall and broad-shouldered, with his trademark dreads, a Slip-N- Slide Dj’s chain around his neck, huge championship belt over his shoulder and immaculate dress sense he makes to be an imposing figure who commands respect.


His confident appearance is matched by his masterful control of a good mixing desk. Before each set he always powers down the previous track and leads the packed dance floor in a show of appreciation for the out-going DJ, before kick-starting his performance into a blaze of visuals, an orchestra of special effects which extracts every quality beat of each track as he begins his show.
To watch Mystique DJ is part of the Champ experience. Cocky? Perhaps, but certainly not arrogant, Mystique is now in control of the minds and bodies of his audience. A very precise and confident body language gives a visual indication to what he is playing as he acts out each track.
Yet, he is not dancing; this is something far more emotional. Imagine watching a porn star having hot, rough, yet passionate but dominating sex to a breathless, wailing lover which, in this case, comes in the shape of a mixing desk. Forceful, dominant, aggressive yet somehow tender and caring. The visual impact allows your body to further immerse itself in the ecstasy he is submitting you to; your ears alone cannot possibly absorb everything that he is throwing at you.
As for his sound, imagine every track as a partially completed canvas. Through the use of effects on the mixing desk, Mystique adds his own color, texture and feel as he maximizes every beat of every track to create the unique Mystique sound. His precision mixing at incalculable speeds is part of the show; as each track mixes in you can positively feel the dance-floor going up a notch to keep up with the frantic and energetic DJ that has forced them to Turn Up. And for the time he is performing, the space right in front of the DJ decks is hotly contested floor space.  

Mystique’s blend of hard mood changing Hip-Hop blended with soft seductive R & B is like him: deliciously hard yet very accessible. And when Mystique makes eye contact with you, even if only be for a second, you get to experience the ultimate unique sensation of him seeking your seal of approval. In that moment you have transcended being a mere audience member, into being part of what will almost certainly be the set of the night. The sheer euphoria you feel is exceptional. And then at the end, breathless, skin tingling and with a grin on your face from ear to ear, you feel as though every drop of energy has been sucked right out of you, just like those few moments after one of the best orgasms of your life.

Dj.Mystique is the standard that so many more strive for. There are a plethora of CD compilations that he has mixed but listening to one of these is like trying to view a fine piece of art in a darkened room. You need to see him live to really appreciate the full and overwhelming experience that is The Mr. Turn It up of Hip-Hop & R & B. 



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Marco Santilli Rossi is a musician who has experimented with many genres, blending them, playing with timbres, words and flavours. For this new venture, he is channelling his artistic energy as a singer-songwriter, leaning towards pop yet retaining substantial musical content, making fun of himself and perhaps also the state of light music today:  “Scantinati scandinavi” (Scandinavian basements) and “Non so cantar” (I can't sing) are the first songs to be released as singles, available from various online sources. The album will be called "TEMPI PASSATI" (Past Times) and will obviously include other tracks.  Pop music highlights the need for a recognizable melody, almost autonomous (one you can whistle right away...): Santilli Rossi, a clarinet player who can play anything, adapting to the most contrasting musical styles, doesn't deny this trait of being attached to the melody that pervades the songs he sings. We imagine his audience is no longer adolescent, but has a mature ear, adult but still young, European and not just Italian speaking, maybe they've seen him on television and they've certainly heard him on radio. The songs were co-produced/arranged by Urs Wiesendanger at the legendary Powerplaystudio in Maur (Zurich), where Europe, Chris De Burgh, Yello, Trio and many other famous artists have recorded. Urs Wiesendanger, himself from Zurich but with international experience, (considered by many to be the best pop producer in Switzerland), has worked, among others, with Lenny Kravitz, Gianna Nannini, Michael Sembello, Nubya, MusicStar, DJ Bobo... Marco has just finished the tracks that will complete the album. We met to discuss his most recent artistic period. Here we are on the day after recording.

MARCO: 7:00, 7:05… I'm really late! I press the espresso button twice; it has to be strong and black. And never bread without honey. Water comes out of the shower head but no steam. A cold shower so I'm ready for anything. I'm cycling to the studio, since I wanted to have a bike... My cell rings, brake! The producer is excited about the recording: 
"It's radiophonic!" he says. "It's televisual” I say. A bit further on and I'm safely there. In haste, I slowly go over the chamber piece for the matinée. 10:30 the soprano and pianist are at loggerheads except during the concert itself. I'm in the middle, with my clarinet, trying to keep the peace. The focaccia's great! 14:07: I'm playing for "Il Trovatore", hoping I won't get lost and that my friends were able to get in with comps. Three hours later I escape from the opera house to perform some tried and tested standards at a jam session and if the drummer doesn't tone it down, I'll sack him. Other musicians who don't sing or blow can eat and drink as they like. My vocal chords are already stressed from the smoke in the place. I manage by a whisker to get on the last tram and Arturo calls me...

DANIELE: And then Teddy Reno calls you and invites you to Canale Italia in front of an audience of millions. You, a guy from Ticino, who works in a range of musical settings in Switzerland, on that scale. How's that? What's it like?

MARCO: I was very curious and excited because, despite both places being culturally Italian, the taste of the audiences could have been different. When you think that I've been living in Zurich for years, in touch with various cultures, this has probably created a certain blend of musical tastes in me. In addition, you're going to sing one of your songs somewhere with an enviable musical tradition, not just quantitatively... It was a real challenge, given that the Italian audience is important to me.

DANIELE: "I can't sing" Self-mockery? Was this number well received? Why do you think people like a number like this? What was the thinking behind it?

MARCO: I would say there's a little mockery but it's generalised. It's a track about various ways of making a living from music; a passion looked at from different angles. From wanting to be a musician at all costs, but lacking the ability, to the idea of wanting only to perform as a singer, from the need for space and time to create, to the awareness that encourages you to listen to your heart without caring about those who don't understand you. I sang for the first time on that show and I was surprised by the broad approval from fellow musicians, the managers and the audience of all ages. The text resonated with many people (the theme is valid not just for musicians: others need space and time, too..., in short, there's something for everyone!) Some found it amusing, some innovative, ironic, profound. I love it when everyone finds something different, even things I hadn't thought of myself. The whole tune is instantly catchy; for me it's the strong thread of the piece. After listening to the chorus a couple of times, many people were humming it. Or, for instance, as someone said about the verse, "those chords you don't expect, notes that seem out of tune but aren't". Others like the bridge in French. It's maybe a little exotic in Italy, not being in English. Maybe this is an advantage of Swiss multilingualism? (Ha! Ha!)

DANIELE: Okay, let's recap. You're Marco Santilli Rossi, a musician with solid experience in a range of musical settings. In addition to your classical training at the conservatory, you've followed the jazz route; you've performed with various artists and are demonstrating your talent, not just as a clarinettist but elsewhere, too. You write your own songs and sing. Now, why this leaning towards pop? For more exposure?

MARCO: Exposure isn't an end in itself but it's simply indispensable if you want to make a living from music. Actually, it's thanks to the pop songs that (in addition to singing) I manage to let my creativity loose without restriction on composing (music, texts and arrangements). The only limitation, which I like, is that you have to condense your ideas into just 3-4 minutes without leaving loose ends, developing a theme that results in a meaningful chorus.

DANIELE: Break a leg...
MARCO: Cheers!

*Daniele Dell'Agnola, author, graduated in Italian Literature and Musicology at Fribourg University, Switzerland. He studies the accordion with Paolo Vignani (Pesaro Conservatory). He has written novels, theatrical texts and composes musical ideas.

English Translation by Sarah Hyde



Marco Santilli Rossi è un musicista italico, perché ha il sangue del Sud, è nato nella Svizzera italiana ed è maturato confrontandosi con la scena musicale Svizzera, mantenendo il suo carattere italiano, pur avendo sperimentato molti generi, miscelando, giocando con timbri, parole, gusti. Marco è innanzitutto un musicista, un arrangiatore che, in questa nuova proposta, investe energie artistiche per lavorare come cantautore, avvicinandosi ad un POP dai sostanziosi contenuti musicali e giocando con le parole, ironizzando su di sé e forse anche sulla salute della musica leggera prodotta oggi in Italia: Scantinati scandinavi e Non so cantar sono le prime canzoni uscite in un Single e in rotazione su alcune radio. L’opera s’intitolerà TEMPI PASSATI.

Since 2000, The Pop Machine has hosted recording sessions for music legends and emerging artists including "Visual Love"​ from the 2013 Grammy-nominated Best R&B Album "Better"​ by Chrisette Michele (Motown Records), "ErrryThang"​ by Ace Hood featuring Yo Gotti from the Billboard #1 R&B/Hip-Hop; Billboard #1 Rap Album; Billboard 200 Top-10 album "Blood, Sweat & Tears"​ (Island Def Jam/We The Best Music Group), and "Bruised 'N Tattooed"​ by American Bombshell (EMP Label Group). 

The Pop Machine was designed and built by co-founder Terry L. Monday and his Monday Designworks firm and features stunning acoustical spaces, a Solid State Logic AWS 924 Delta SuperAnalogue recording console, Avid Pro Tools and Logic Pro X digital audio workstations, and classic analog gear with a curated collection of vintage musical instruments supported by a team of the highest caliber producers, engineers, and musicians. 

​Principals Eric Klee Johnson and Marc Johnson are producers, mixers, songwriters, and recording artists who have worked with The Airborne Toxic Event, American Bombshell, The Avett Brothers, Chrisette Michele ("Better"​; GRAMMY nomination for Best R&B Album Grammy, 2013), The Dandy Warhols, Eric Dill, Jane Jensen, John Waite, Jurassic 5, Machine Guns & Motorcycles, The Madeira, Mat Kearney, MONOFICTION, The Neighbourhood, Pat Dinizio, Rita Ora, Son Volt, Supergrass, Tiffany, Tokyo Police Club, and Wonderdrug.

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