A Motor City, Berlin, London hybrid, Ryan Crosson is a complex artistic creature. Equal parts energetic, down to earth Detroit native and ultra-refined, musical aesthete, Ryan has one ear to the club and one ear far, far beyond. Known the world over for shape shifting, shoulder shaking tracks on groundbreaking labels including M_nus, Supplement Facts, Spectral, Wagon Repair, and his own Visionquest, Ryan’s production and sampling practices depart from the worlds of house or techno by referencing musique concrète, Downtown New York funk, and East African jazz. Born and raised on a steady diet of post-apocalyptic landscapes, dark warehouses, and the sounds of Plastikman, Matthew Dear, Magda, and Villalobos, Ryan’s DJ sets aim to expand the horizon of possibility without sacrificing dance music’s core element of sweaty, hedonistic fun. His unique musical vocabulary and tireless dedication insure him a place in the dynasty of forward-thinking techno transplants.

Alongside Lee Curtiss and Shaun Reeves, Ryan is responsible for the day-to-day running of Visionquest, one of dance music’s most cherished and eclectic imprints. Ryan and his partners in Visionquest have honed a whole new landscape of lush, organic techno and esoteric leftfield electronica. In 2014, Ryan oversaw the construction of Visionquest’s newest venture—their digital arm and sub-label Brachtune. Full of off-kilter, loopy and positively circus vibes, the tracks showcased on Brachtune will remind long-time friends and fans of Ryan’s early morning sets in the notorious “Tesh Club” basement.

In addition to his work with Visionquest, 2014 was Ryan’s most prolific production career yet, with a staggering number of releases on labels such as Darkroom Dubs, Mobilee, and . Highlights include Bricolage, Ryan’s hotly anticipated first EP for Visionquest, especially the labyrinthine, twisted “Club Chimes,” a heady collaboration with long-time friend and fellow Visionquest artist Cesar Merveille. The year also saw Don’t Be Left Out, a mix CD with another fellow traveler Matt Tolfrey, which has been described as “deep, diverse, and exciting all the way through.”

As a teenager Terence :Terry: spent much of his time doing some skateboard and hanging out in the first raves to be held in Paris, in a warehouse on the outskirts of the city. There, he discovered a menagerie of dance genres and he quickly developed a passion for diverse sounds that would inspire him to take to the decks, and influence him throughout the rest of his music career.  Feeding his desire for original, rare cuts, Terence became a fixture at Paris’ famous flea-market Puces of Clignancourt, dealing in second-hand warehouse vinyl he found on trips to London. But, always on the hunt something new to excite him, he would often sneak away from his shop in search of jazz, soul, hip-hop and funk records to expand his ever-growing music collection. 

Steadily building his name as a DJ/producer on the underground scene in Paris, Terence secured a number of residencies including ‘Afterparty Is Not A Crime’ at Nouveau Casino, one of the most hyped after parties around in 2003/4, and later in 2009, ‘Oui Now’ at Djoon where he hosted alongside the likes of Tania Vulcano, Seth Troxler and Clive Henry. His close alliance with the famous Freak n’Chic label saw him spinning at the Batofar and Rex Club whilst, further afield, his DJing took him from DC10 Ibiza, to Panoramabar and Watergate in Berlin, Goa Madrid and Fabric London.  

Branching out and wanting to immerse himself in a new scene, Terence moved away from Paris for a few wild years in London, where he was embraced by the city’s underground and regularly appeared at seminal parties such as T-bar, Kubicle and Mulletover. This was not only a crucial time for Terence himself but also for the London scene, giving rise to a new generation of artists who have helped shape the progression of the city’s electronic music scene since the mid-2000s up to now. Being involved in such a fertile movement had a huge influence on Terence’s outlook, inspiring him to return to Paris with a fresh new take on his career.  

So, in 2012, Terence felt it was time to launch his own label La Vie En Rose, quite simply to have a platform to develop and release a sound that could encompass a whole range of genres, taking influence from his very first experiences in the Paris rave scene. Since its inception La Vie En Rose has been responsible for several ubiquitous releases, including the killer ‘Living Lies’ by John Dimas, ‘Distraction Way’ by Terence and Hanfry Martinez (which included Dyed Soundorom’s exquisite remix of ‘Sunday Gathering’), Carlos Sanchez with ‘Timeless’ (including New York legend Jovonn on remix duties) and Terence and Hanfry’s second superlative link up, ‘Cornelius Is Gaye’. The label continues to maintain a high level of musical output, representing the very best in avant-garde sounds from a selection of young talents from around Europe celebrating their #37 release from the hands of Louie Fresco + a remix of Mateo Dufour)

Recently the Lil'brother of La Vie En Rose was born called: Epice Magique Records, more a hypnotic & advanced side (futuristic)
From his vibrant studio in Madrid, Terence is passionately conducting a masterclass on sound theories, intricate mixing techniques, and personalized artistic coaching under the banner of Prodige Studio Lab. Remarkably, they've recently celebrated their 50th course, dedicated to nurturing and guiding rising talents in their journey of development and career advancement

Jay Haze/Fuckpony 
+his labels Contexterrior and Tuningspork aka Cntxts

Management - David Oyston d@outofthestorm.net

John Dimas is a truly versatile artist.

Influenced by the underground clubs of Thessaloniki, where he started DJing as a teenager after moving from Albania, it was only a matter of a few natural steps, guided by his unique way of mixing different musical influences to be playing for big, music savvy crowds inside hotspots like DC10, Amnesia, Watergate, Rex Club and Fabric.

Dimas has established himself as a highly respected selector and producer known for his deep knowledge of music. His sets always include obscure cuts that even the most avid music fans have yet to discover. “I like the art of telling a story, and giving lots of different dynamics to keep things interesting,” he says. “I don’t like to be predictable with the records I play and love to surprise the crowd.”

On a release front, he’s maintained a steady output since his 2010 debut, pushing a futuristic fusion of techno and house that is clever, energetic and infectious. Based in Berlin since 2012, his eclectic taste in music is evident when we look at his productions released on established labels such as DJ Hell’s International Deejay Gigolo, Raresh’s Metereze and most recently on Francesco Del Garda’s Timeless imprint. Dimas also runs Elephant Moon, a record label with which he aims to support new talent. The label does not accept demos, instead Dimas searches for young, emerging artists himself and mentors them throughout the process. Here he also released his 14-track LP “One Against Time” in 2018, a well executed and varied album showcasing his full artistic range.

In 2020, he launched a second imprint SYNQ as well as Intermission Records with Voigtmann to release their debut album “Internal Transmission” for their collaboration VOIGT.MAS. 2020 also saw the revival of Dimas’ other pseudonym, Secret Universe, a cross-genre electronica project formed in 2016 for the release of his first album, an ambient expedition also titled Secret Universe.

kin arlac is following