@012twelve • Source Artists • @delsinrecords

maria@sourceartists.net

An emblematic artist of the Palestinian underground scene, SAMA’ is one of the first DJs and electronic music producers to emerge from the region. Her sound, an original punchy kind of techno, is dry and musical all at once and has quickly made its way across Europe and beyond.
 
SAMA, meaning ‘sky’ in Arabic, started mixing in 2006 in parties around Ramallah, Palestine. Several years later she started producing her own music and expanding her interest in synthesis in 2010, with a focus on techno, house, and other deeper sub-genres of electronic music.
 
The artist graduated from the United Kingdom with a BSc in Audio Engineering and Music Production, then moved to Cairo where she worked as a sound designer for film, became a music producer and then instructor. SAMA’ now runs her own Audio Engineering & Sound Design company working across films and documentaries in the Middle East. In 2017, she was selected as a Laureate by the French Institute, and during that time attended a residency at the International City of Arts in Paris. SAMA’ also runs a publishing company called Awyav, representing independent artists from the Arab world.
 
In late 2018, SAMA’s Boiler Room performance and the associated documentary about the scene in Palestine went viral and more and more people are seeing that music has no boundaries. SAMA’ was recently listed in SheSaid.So’s Alternative Power 100 List, and plays a high-profile set at Ibiza’s World Heritage Site of Dalt Vila for the International Music Summit in late May. She is currently working on a studio album.

https://soundcloud.com/greyreport - PoleGroup - Semantica - Modularz - Stroboscopic Artefacts - BPitch - Mord - Mistress - 30D

Bookings (worldwide): jeroen@sourceartists.net

The Colombian artist, currently based in Barcelona, brings over 20 years of unwavering dedication to electronic music and club culture. She remains a recognized standard-bearer, celebrated not only for her productions but also for her DJ sets, where she unfolds her broad, rich, and comprehensive vision of techno with vivacity, never conforming to any conventional sound.

Known for her raw, hypnotic and driving techno, Adriana has released on labels known to nurture this sound, such as Spanish labels PoleGroup and Semantica, as well as Stroboscopic Artefacts, Modularz, and her label, Grey Report.

Starting her career in the late 90’s in her home country of Colombia, she later moved to Barcelona in 2003, establishing a global presence with performances at top clubs and festivals, such as Berghain and Tresor (Berlin), fabric (London), Concrete and Rex (Paris), Elysia (Basel), Lux (Lisbon), Khidi (Tbilisi), Basement (New York), Vent (Tokyo), Faust and Vurt (Seoul), Awakenings (Hilvarenbeek), Stone Techno (Essen), XRDS (Brussels), DGTL (Barcelona, Madrid), Rainbow Serpent (Lexton) and many more.

"Bogotá-born, Barcelona-based techno purist and skill icon, Adriana Lopez, has been a scene-wide inspiration for over two decades now and creates an exceptional, atmospheric momentum with every performance..." - Stone Techno Festival, 2023.

"With such a strong commitment and determination to her artistic vision and an outright refusal to conform to any trends, Adriana Lopez stands as a pillar for strength and authenticity. With flawless technical prowess, she captivates audiences with her signature blend of physical and dark techno and her sound resonates with us on a profound level, striking the perfect balance between power and subtlety but avoiding over-the-top antics and overwhelming textures." - Basilar Festival 2023.

Verknipt is an event organization known for its wild techno events for over a decade! As Verknipt focuses on (hard) techno, industrial techno and other hard dance rave music, with multiple events throughout the year at various locations, booking well known artists and introducing our visitors to new rising stars! Together with a crazy light and lasershow and freaky visuals: we have the perfect mix to get you to rave! With roughly 155.000 visitors a year and now expanding to roughly 300.000 visitors in 2024, we have greatly expanded our Verknipt community. Do you also live to rave? Join the Verknipt Family!

Verknipt was founded in 2012 and up until 2022 they organized events in the Netherlands. Within a short period of time Verknipt gained a well-known name in the Netherlands  and conquered the hearts of many techno fans. As of today they are the leading organization in the hard techno scene. Currently they are establishing a name internationally to build their brand and to also become the leading in the techno scene worldwide. In addition to hosting other major events such as Wonderland, Verknipt has made her mark across the country and increased its audience reach from different countries.

www.dasharush.org
www.fullpanda.com
bookings: daniela@triangleagency.com
www.traingleagency.com

New Album Out Now - This Is What We Do

Leftfield have been at the cutting edge of dance music since the 1990s, releasing albums that have become some of the most influential electronic records of all time around the world with their debut LP Leftism being widely regarded as one of the most boundary-pushing electronic LPs ever released.

Originally comprised of Neil Barnes and Paul Daley, in 2010 Barnes reignited the Leftfield name, and went on to release an acclaimed new album (Alternative Light Source) touring the world with the full live band, with a string of sold out shows.

Neil has also been cementing his reputation as a top-tier DJ and record collector unleashing modern dance floor weapons, selling out clubs / venues, headlining festivals and creating some amazing nights with his sets. Leftfield is a name synonymous with quality and Leftfield DJ Sets are exactly that, allowing Neil the chance to show the depth of his musical knowledge and select the best tracks to take you on a journey.

Mathew Jonson really is one of a kind.  
 
He's developed one of the most distinctive voices in electronic dance music: when you hear one of Jonson's tracks, you almost immediately know it's his. And yet there's no mistaking any given track for another. 
 
His music offers a rare fusion of populist intensities and nuanced musicality. With a keen understanding for the needs of the dancefloor and the universal laws of house and techno, he's thrown out the rule book time and time again, sneaking tricks learned from electro and even drum'n'bass into minimal clubs, and loading up his B-sides with tracks that do what they damned well please. (No kick drum? No problem.)
 
His standards for sound and presentation are exacting. Both on stage and in the studio, Jonson's fealty to analog equipment and real-time play—as opposed to mere playback—serves as a standardbearer for a kind of electronic music that goes way beyond the drag 'n' drop world of digital composition. Jonson has always been eager to get his hands dirty, and the music reflects that in gnarled bass sequences and long, intuitive lines. His sounds have serious teeth.
 
And despite his quick ascent through the ranks of the techno elite, Jonson hasn't just stayed personally grounded. He's devoted much of his energy to supporting his own close musical family, both in the groups Cobblestone Jazz and the Modern Deep Left Quartet, and with his Wagon Repair label, which he cofounded with Jesse Fisk, Graham and Adam Boothby, Frank Meyerhofer and Konrad Black.
 
He studied classical piano as a kid, plus jazz drumming, and played drums in a marching band —thus laying both the melodic and the rhythmic cornerstones of his music today. (Plenty of musicians claim to be "classically trained," of course, rendering the phrase all but meaningless. But here's something you might not have known about Mathew: he's actually begun studying piano again, which suggests a musical seriousness that's rare in the world of auto-didact button-pushers.
 
Thanks to his father's work with sound technology, he also got his hands on synthesizers at the age of 9. By the time he discovered hip-hop as a young teen, he was recreating its electro-based beats on his own rudimentary setup at home.
 
It was in Victoria, when he was 19, that Jonson met up with the crew that would help guide his musical trajectory: Tyger Dhula, Danuel Tate and Colin de la Plante, who were playing and DJing parties around the area. The four started playing in clubs together, an early version of the group that exists today as Cobblestone Jazz and the Modern Deep Left Quartet. (The Modern Deep Left Quartet was the original name for the foursome; after de la Plante moved to Montreal, the remaining trio carried on as Cobblestone Jazz.)
 
"It was all improvised," says Jonson of the group's early days. "We never really worked in the studio, we would just meet at the nightclub and jam. That's how it started. We did that for quite a while, and then it morphed into a residency at a club, once every two weeks." To keep it interesting, they would invite other musicians—on trumpet, violin, bass, sax, and rhythm sections—to join them.
 
After de la Plante left town, Cobblestone Jazz began focusing its efforts more squarely on the dancefloor, moving away from purely improvised sets to include composed and rehearsed passages. And Jonson gradually began honing in on his own sound, both in his productions and his DJ sets, inspired by a deeper, weirder sound that had begun filtering into the city's techno parties.
 
His first record, in 2001, was the first release on the B.C. label Itiswhatitis, appropritately titled "New Identity." Another followed in 2002, and in 2003. That year, he also made his first appearance on Perlon, "Alpine Rocket"—a track he recorded alongside Luciano during his first trip to Europe. And then, suddenly, Jonson was everywhere: Itiswhatitis, Sub Static, Arbutus, Kompakt, M_nus—and every track an anthem.
 
"I had all that music kind of saved up," says Jonson, "and then, just by chance, released it all at the same time. People criticized me for it, said that it wasn't a good idea. But it worked out for me. All the tracks did well. I wasn't saturating the market with bad music." He's right there.
 
In 2005, Jonson co-founded Wagon Repair, and it's been a blur since, a nonstop series of tours and recordings, solo and with his bandmates. Crucially, he moved to Berlin. Here, he and de la Plante—who moved over at the same time—have set up Cobblestone Jazz' European headquarters, providing not only the launch pad for European tours but, more importantly, the control center for the group's recorded activities. The studio is jawdropping, frankly: a semi-circle full of gear, from old workhorses like the 808 and 909 and SH-101 to unique beasts like their Cwejman and Roland System 100m modular system. Tate's Rhodes piano anchors one corner of the horseshoe, and everything feeds into a massive desk where tracks are mixed and recorded in real-time. Jonson makes his own music essentially the same way—only with two hands instead of eight.
 
Those two hands have come up with some remarkable material. Having perfected his brand of earthshaking epic with tracks like "Marionette," "Return of the Zombie Bikers" and "Symphony for the Apocalypse," Jonson has increasingly turned his efforts towards more personal, introspective music. He hasn't left the clubs behind—his new album, Agents of Time, features a number of tracks that are as hip-windingy wily as anything he's produced yet, full-on tracks like "Girls Got Rhythm" and "Thieves in Digital Land." But he's also taken advantage of the longplayer format to stretch out and indulge darker moods and slower tempos.
 
"I like to have phrases that sound like they're major, but then they go minor when they turn around," explains Jonson. "You think that you're in a happy place, but suddenly you're not. I like playing with that tension. When I look at the music I've made, the best music is always music that can stimulate any kind of emotion. It's more like a key, towards opening up whatever is inside of you -a gateway"
 
You can expect him to be unlocking even more emotions soon—ones you may not have even known you had—when he ramps up with Midnight Operator, a collaboration with his brother Nathan Jonson, aka Hrdvsion. With Nathan also based in Berlin, the two are finding common musical ground, expanding upon the platform they established with their lone, 2007 EP for Wagon Repair as they begin work on an album.
 
"Obviously, you can look at what I do with my label and the bands I have, to see what's important to me," says Jonson of keeping it in the family, so to speak. "I'm lucky because I have so many friends who are strong musicians. We can all feed off of each other.  You know, when you're doing music, it's such a personal thing. To have an outlet with the labels to be able to release our music, and be able to all stay together, I think there's a lot of strength in that. Everybody is stronger as a group." – Philip Sherburne


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