TRONIC, KD RAW, TRANSMIT, WAVEFORM, TRAPEZ, MKT, GEM RECORDS, NIGHT LIGHT, LOOSE, M!SF!T, DYNAMO RECORDINGS, KMS RECORDS

www.instagram.com/fractious.music

BOOKING or REMIX REQUESTS: fractious.ni[AT]gmail.com

UK based Fractious (Stephen Garrett) has firmly fitted himself into the international techno community over the last few years, providing his own unique blend of groove based techno.  Having caught the attention of Christian Smith, he immediately signed him to his powerhouse label Tronic and a few months after selected for the annual Tronic Allstars VA.  Kevin Saunderson followed suit signing Fractious to his KMS Records, Victor Calderone for his Matter label, DJ Boris for his Transmit Recordings and lately Kaiserdisco for their KD RAW label.  

The success of these signings can be seen by the support from Ramon Tapia, Karotte, Slam, Paco Osuna, Markantonio, Mr. C, Pan-Pot, Just Be, Axel Karakasis, Kaiserdisco, Paco Osuna and Richie Hawtin having played his collaboration with Irregular Synth at the Enter closing party in Space and for a continued 6 months.  Next came Stacey Pullen charting a Fractious remix rocketing it into the Beatport Techno Top 100 and more regular plays from Richie Hawtin, from all over the globe, not only of his Fractious productions but also artists signed to his label Dynamo Recordings (co-owned with Ronan Teague - Decoy, Naked Lunch, Binary404). One track as such from Dynamo was used in an Official Minus Tour Video and was the first track in Richie Hawtin's BBC Radio One Essential Mix recorded live from Enter @ Space, Ibiza.

Fractious can be regularly found on other well-established labels such as Trapez, Waveform Recordings, Matter, MKT, Funk'n Deep, Loose Records, Gem Records, Pornographic, Night Light to name a few.

Fractious is in high demand when it comes to being remixed, with people such as Mr. C, Secret Cinema, ROD, Luigi Madonna, Frankyeffe, Steve Mulder, Richie Santana, Danilo Vigorito, Remy Unger, Petter B, Mars Bill, Matt Minimal, Dani Sbert, The Yellowheads, Alen Milivojevic, M. Fukuda, Peter Bailey, Etai Terazi all jumping at remix requests and always being approached by big labels and podcast sites.

Fractious is kept busy in the studio and as a testament to this his gig calendar is rarely empty with bookings around the globe, having just returned from a tour of Norway, Las Vegas and with his new formed close relationship with London based MiSFiT promoters, you can find him playing regularly in London's top underground clubs and releasing on their fresh new record label M!SF!T!!

ABE DUQUE IS IN THE MOOD FOR LOVE.

The surname is pronounced “Du-kay”. He jokingly describes himself as one of the "few producers still licenced to use the 303". But with a career that started in the early days of house at New York's notorious Limelight, Abe Duque has been at the head of the acid-house and underground-techno table since his earliest releases way back in 1993.

His first tracks were influenced by the madness of the Limelight's club-kid audience, later publicised by films and books like Party Monster and Clubland Confidential. But despite jokey titles like "Fantastico!!!", "Truckers Choice" and "Vodka, you sweet companion," his early tracks had the sophistication of his serious keyboard skills and a get-in-and-do-it-yourself aesthetic learned as a kid growing up in the suburbs in Hollis in Queens, New York.

From muscular and melodic techno to cocktail jazz and ambient interludes, his early tracks on his own labels Tension and Hollis Haus, his releases under pseudonyms like Kirilan, Super Secret Symphony and his releases on others' labels like Disko B, Rapture!, Morbid, and Tresor captured a particular period of clubbing history bought to a sudden halt when the Limelight was closed down by the cops.

It was, Duque says, a great time for musical experimentation. Each month bought radical new types of music kit - much of which Duque still keeps in use in his underground studio "the Cave" - alongside an amazement of now classic tracks and new acts.

And as techno was almost exclusively made by working musicians, a lot of it was performed live. At Duque’s night at the Limelight night, Abuse Industries, he was part of regular performances with the live techno "chillout supergroup" the Rancho Relaxo Allstars, freeform jams which included now famous techno producers like Duque himself, John Selway and Deitrich Shoenemann. For a short spell, Duque was also the keyboard player for Program2, a techno band signed to Warners for an advance Duque still describes as “insane”.

Abuse Industries itself, meanwhile, was Abe's collaboration with the artist Andy Orel, a night so strikingly visual and challenging that its visuals were exhibited in European museums, given page after page in Germany's Raveline magazine, and used in shows by Helmut Lang.

But when the Limelight closed, that roughly marked the end of New York as a clubbing mecca. New mayor Rudolph Guiliani was determined to drive the freaks, the gays and the wasted out of his town, and he mostly succeeded.

Duque by then had a thriving European and worldwide touring schedule, and musicially he still had roots in the underground. Abandoning the glossy, high-fashion style of Tension and Abuse Industries, Duque’s next sets of releases were on anonymous, vinyl only stamped with catalogue numbers like "ADR40" [Abe Duque Records 40] and etched on one side at the pressing plant with strange, hand-drawn messages from the man himself.

In some ways Duque was turning his back on the New York style, and on his previous successes. As he describes it, "I wanted to prove that my music spoke for itself". It did. Despite the secrecy about who had actually written the ADR releases, this second part of Duque's career was a run of increasingly massive 12" hits like Champagne Days, Cocaine Nights; Acid, Disco Nights, and in 2004 his monster smash with Blake Baxter, "What Happened?", the track that launched Duque and Baxter out of the underground and into the spotlight. That track's call for a turn away from safe, unchallenging clubbing sold 25,000 copies on vinyl alone and in 2009, it was the focus of a rare remix competition on ResidentAdvisor - despite Duque and Baxter's refusal to market the track by signing it to any the 100s of compilations on offer.

Having been dragged out of the underground, Duque found himself feted by the mainstream, delivering hugely successful remixes of acts like the Chemical Brothers and Pet Shop Boys while continuing to work right across the techno world. There, his brutally funky basslines and acid influence were – and still are - hugely in demand for remixes of acts such as Miss Kittin, Remute, Chloe, Savas Pascalidis, Knart IV and Daniel Meteo – as well as DJ Hell, with Duque becoming a regular on Hell's Gigolos label. The two had met having moving in the same German and NY electronic circles since the Abuse Industries days, and so Duque was asked to produce Hell's infamous album NY Muscle in 2003 and in 2006 to helm the well-recieved "American Gigolos II" compilation.

The highlight of this period, though, was Duque's first album under his own name, "So Underground It Hurts". The title was yet another example of Duque's ambivalence about succcess and its trappings, but the album was undeniably a techno event. Reviewed in the fashion press as influenced by Gigolos' German electroclash style, but the album was understood by the music press as something quite separate and self-contained.

Duque was again striking out along his own path. Part wild acid, part dark house and all leavened with Duque's dry, quiet stoner humour, the album also provided a launchpad for Duque's return to wild live performances – a whiskey bottle in one hand and a 303, drum machine, two PCs and a microphone operated by the other.

It was the start of Duque’s second, endless round of watching the world through the windows of a hotel and moving restlessly between a temporary flat in Berlin and his spiritual home in Queens. Several years on the road with his stable of vocalists – Blake Baxter, Tijiana T, Acid Maria, Virginia, and occasional appearances by Abuse collaborator Andy Orel as “Sin” – meant that Abe released only intermittently on his own label, Abe Duque Records. There, new tracks like the darkly funny It Moved Me, Whose Got the Flave, and a singles collection on CD When the Fever Breaks added to Duque’s reputation as the producers’ producer.

Eventually, though, Duque had had enough of continual touring. By 2008 he said he had been doing live sets for so long that he "was thinking about DJing again for a change, just as everyone else was going live”. Returning to the studio, he wrote the album Don’t Be So Mean, its title an oblique reference to the Iraq war and US foreign policy.

The cover? Duque on the front brandishing a machine gun - and the same machine gun pointing straight at Duque inside. Released in 2009, the album offered optimism about Obama (“Tonight is your answer”), let Blake Baxter loose on the dance scene in a response to What Happened? called Let’s Take It Back, and also marked Duque’s return to leftfield electronics with tracks like OFMA and Salute the Dawn, which threw together Debussy with lyrics by 1800s American revolutionary and moralist Thoreau.

Don’t Be So Mean was also the stepping stone to Abe’s three new projects in 2010. The first, due May 2010, will be a compilation LIVE AND ON ACID: two CDs, one of his live show, and one a wrap-up of Limelight acid-house classics. The second, under the broad church of Abuse Industries, is the return of the Abuse Industries night, and a series of sinner-themed Abuse 12”s in collaboration with Andy Orel – see abuseindustries.net for more.

And finally, Duque's third new project is a secret performance project that leaves the dancefloor world entirely.

Last year, Abe Duque was in the mood for love, and he said "Don’t Be So Mean". But as he enters the third part of his long, strange musical career, that’s all going to change…

Justo Burgues is a seasoned producer and purveyor of nighttime psychedelic music, known for his projects ShaperZ and DJ Justin Chaos. Since 2011, Justo has played a pivotal role in the world-renowned *Ozora Festival*, curating its international lineup and helping shape the festival’s iconic nighttime sound, making it one of the best places to experience cutting-edge psychedelic music.

After several years of contributing to the festival’s success, Justo shifted his focus to music production, though he still maintains an advisory role at Ozora. His DJ sets are what truly set him apart, keeping him in high demand and touring across the globe. Rarely at home in his chosen city of Buenos Aires, Justo often spends time in Goa at the start of each year, playing at venues like Shiva Valley.

An integral member of the Zero One Music and Bom Shanka Music families, Justo plays a key role as label coordinator and manager, working tirelessly with the artists and helping grow both labels into internationally recognised forces within the psychedelic scene.

From practicing in their family shed as teenagers in rural Australia, to touring the world with Fleetwood Mac, Black Rebel Motorcycle Club, King Tuff, and King Gizzard, it’s been a strange trip for the four Findlay sisters. As Stonefield, they’ve got three albums and thousands of miles under their belts, plus plenty of perspective on what it’s like to fight to make a place for themselves, and tell their own story.

Written largely on the road in America earlier this year, the songs on BENT are filled with reference and reflection--the kind that comes from months spent far from home, living on four wheels. The surreal isolation of trudging through white-out snow and snaking down deserted highways served as the perfect backdrop for the band to look inward, taking stock of the journey they’ve taken thus far as musicians, and as people. “It’s a culmination of experiences, emotions, and stories collected over time,” explains lead singer and drummer Amy Findlay, “A growth of honest, raw, energy that has been burning within us and waiting for its moment.”

Recorded in just five days with Joe Walker and Stu Mackenzie from King Gizzard at their studio in Melbourne, the album is almost 100% live. Besides being an impressive feat and the flexing of a confident band operating at the height of their powers, that immediacy lends the album a distinct, crackling energy--thunder, lightning, and muscle-bound horsepower. “Sleep” opens the album with guitars covered in five inches of sludge and distortion and something that sounds like a far-off siren, or the high-pitched howling of the wind. It serves as a warning, a call to arms, kicking things off with a next-level version of the massive, unholy racket the band has become known for over the course of their last three albums. 

The sonic inspiration taken from listening to Black Sabbath, Beak, Deep Purple, The Alan Parsons Project, and Mike Oldfield inject BENT with its sternum-shaking heaviness and ever-present swagger, but also its exploratory fearlessness--letting the songs loose to twist and turn, sticking to no one’s rules but their own. Take the proggy, keyboard-soaked intro at the top of “People,” or the cheeky combination of tinnitus-inducing hard rock and hip-shaking boogie at the core of “Dead Alive.” “Don’t make me think I’ve lost control / I know exactly what you said / Don’t make me think it’s in my head,” Amy sings during the latter, keeping the lyrics as defiant as the music.

“The album is about our own experiences and stories,” explains Amy, “Songs about the fear of walking home alone at night, stories of what it’s like being an all-female band and the power of supporting one another." With that being the lyrical subject, the music that came out is definitely our heaviest.” It’s clear that darker thoughts were on the Findlay sisters’ mind-- “Route 29,” with its suspenseful synth intro was inspired by the creepy The Route 29 Stalker podcast the band was listening to as they drove the namesake road on their way to a gig with King Tuff, and the cascading synth line and slinky restraint of the hi-hat on “If I Die” can only distract so much from the song’s terror-stricken lyrics.

BENT has all the chills and spills you would expect from an album that mines inspiration from some of the darker experiences of being misrepresented, belittled, and underestimated. By taking control of the narrative, and pumping it up with stack-blowing, guitar hero riffs and razor-edged vocals, it becomes an album of power, control, and confidence--projected in the face of a world that too often forces the opposite.

Parvati Records 
Purple Hexagon Records
Trimurti Records
Street Ritual
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60 min Noctilus Liveset
60 min Nocti Luca Liveset
60 min Nocti Luca Chillout Liveset
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Nocti Luca & Noctilus are projects formed by Georg Bauer who is living in Berlin, Germany.
Born in an artist family, he early came into contact with music, attended a music high school, where he was teached in playing piano, music theory and music history. Beside he was playing bass guitar in several bands.

2001 he started to visit Psy Trance Events...
So, after studying music (bass guitar-jazz / doublebass-classic) in Rostock, northern Germany, he started to produce electronic dance music, specially kinds of Psy Trance and Downbeat in 2005.
2008 he began organizing Psy Trance Events in Berlin (Sternenwald - series) and performing LiveSets at Parties and Festivals in and around Berlin and northern germany. Now playing all over Europe...

Having grown up in nature and always have been fascinated by the music and lifestyle of the indigenous peoples, he is inspired by these things and created a style with which he focused on percussion, tribal drums, world music, ethnic and natural sounds and animal noises, mixed up with mystic mood...
Moving between 140 - 152 bpm, he is producing a rather punchy rolling beat!
Just "Tribal Trance" …

2011 he released his first EP “Tribal Atmospheres” containing the three tracks “Born”, “Burimana Tribe” and “Global Flyer” on Tribal Trance Records. 2012 the second EP "Energy of Rotation" was released on Purple Hexagon Records. Followed by "Plavala Guna" a track on the free Gaggalacka Festival VA "A Purple Playground" (Purple Hexagon Rec). In december 2014 the track "Last Forest Standing" was released on the "Freaks in Love" compilation "Converting the Illusion".

Nocti Luca is also producing downbeat – tracks following the same stylistic path.
"Follow the Signs" was released on the Trimurti compilation ´Art of Balance`, in January 2015 the track "Hang around in Eden" was released on "Global Glitch" by Streetritual and "Gonda" is gonna be released soon on a free VA by Purple Hexagon Rec/Trimurti Rec

“Noctilus” is a  project with wich he is creating a more psychedelic style around 150 bpm, but still keeping to have Natur and animal sounds within. "Far Flung Dance" on ´The Legend of Amaya Chapter 1´ (Amaya Productions), "Everglade Lifeforms" on ´Memetic Ideosphere´(Purple Hexagon Records), a Remix of the Mubali track "63 hours power trip" with wich he has won the 1. Parvati Records Remix Contest and "Muscogee Creek" on Digital Masala III with wich he joint Parvati Records in November ´14 are the first releases. 

In September 2016 the first season of his Noctilus EP series "Forest Tales" was released on Parvati Records. It contains three tracks: two solo tracks ("Sick Loose Animals" and "The Fountain") and a collaboration with Mubali ("Noctali").

Now he is already working on the second season, scheduled for late 2017!

British electronic composer, producer, vocalist, keyboard player and DJ, Thomas Gandey has gained an international cult status having released an abundance of electro futurisms, electronic tales of musical bliss, vintage synth-led cosmic voyages and his trademark blue eyed electronic soul.

With latest releases on Innervisions, Kompakt & Decca, his output has scored loyal supporters the world over, having all the while enjoyed a triumphant career as an international DJ and Live Artist, holding residencies at Space Ibiza, Barcelona’s Razzmatazz and Womb in Tokyo, to mention a few, amassing over a thousand shows the world over. First discovered under his Cagedbaby guise, his debut album ‘Will See you Now’ was released by ‘Southern Fried Records’ to critical acclaim.

Originally from Brighton, Gandey is an ardent and knowledgeable purveyor of synthesisers and drums machines spanning six decades. Thanks to his classically trained musical background, Thomas is one of the very few producers in dance music who can maximise the sonic potential of these increasingly rare treasures, and weave them in amongst the sounds of today’s electronic scene, for both himself and the many artists he produces.

Known for his ability to adapt to the soundscape of any dancefloor, Steve earned the respect of his peers by touring the country playing for an eclectic selection of promoters pushing the music he loves. 

House? Techno? Prog? Breaks? It's all in there, and more. Steve loves nothing more than being let loose over an extended period where he has freedom to move between genres.

High profile support on releases last year saw Steve garner further attention before a break to go travelling halted proceedings but word on the grapevine is things are moving in the right direction again so keep your ears open.

🔲Trance & Techno DJ from Preston, UK 

🔲On my Soundcloud page you will find streamable downloadable content from my monthly Techno Prisoners episodes and plenty of Producer/Label Showcases…….which are also very popular with you guys!!! 

🔲You will also catch me at my residency up in Glasgow for Element!! 

🔲Also played many a gig up and down the country for brands Journey, Trancecoda, Synergy, Passion, Godskitchen & at the back end of the year Rong in Manchester 👏🏼

Enjoy the sets guys & thanks for the support 😃🖤

Dabbling in niche bangers since 2000.

Fedor Stepanenko aka Nphonix aka @Lowres_music (with @voltanov) aka NxF (with @fiskyoioioi) aka Benway is a multi-genre electronic music artist from Moscow, Russia.

Fedor first made his mark on the electronic world via a slew of quality dancefloor-oriented drum&bass tunes from 2006 onwards, released on some of the genres preeminent labels. But the last 10+ years has seen Nphonix switch focus away from drum&bass towards a more diverse, polyrhythmic electronic palette, as bass / beats / techno and house all started to colour newer work.

Released on @r-srecords / @Hyperboloid / @gnd-records and more.

Part of @Hyperboloid records family since 2014.

Booking: ssaburov@gmail.com

Surya Sanjay is following