Ashley Burchett, better known as Ø [Phase], is a minimal techno producer, mastering engineer, and artwork designer from South West London. His stark, driving tracks are concerned with themes of time and space, and fit squarely into the lineage of warehouse-ready British techno artists such as Surgeon and Luke Slater. Burchett began cutting records for major rock and pop musicians at Sony's London studios in the late '90s, working on his own techno tracks in his spare time. His debut 12" as Ø [Phase], Module Overload, was released by Steve Bicknell's Cosmic Records in 2000. Burchett briefly switched to the moniker Epoch for a single 12" in 2001 before returning to the name Ø [Phase], releasing additional 12"s on Inceptive and Ingoma. Within a few years, Burchett's tracks attracted attention from Jeff Mills, Derrick May, Danny Tenaglia, and several other major DJs, and he began racking up a busy touring schedule, spinning at techno festivals and clubs across the globe. Ø [Phase] was one of the first artists signed to Belgian label Token (also home to releases by producers like Inigo Kennedy and Oscar Mulero), beginning with his 2007 EP Mass, and all of his subsequent releases have been on the label. He made his full-length debut in 2013 with the release of his album Frames of Reference; his second, Alone in Time?, followed in 2015...

CrisMa, el juego de silabas de Cristóbal y Max, tiene su primer encuentro como b2b en e año 2017. Desde entonces han tenido la posibilidad de pinchar en diversos escenarios y estudiar juntos producción en Cs como alumnos fundadores. Su mas reicente release es un ep en Casa Sampler en formato digital llamado "variant Situation".
El estilo de su set busca acercar a la gente a la pista y compartir con ellos un ambiente fluido e ininterrumpido de baile, con una base purista de minimal, que juega con los sonidos del house y techno

UK dj/producer developing abstract and dark minimal with texture and ambience.

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Before I got into this music I wanted to be an originator ; I wanted to be original".
Founding member of the legendary group Underground Resistance as a 'Minister Of Information' with ‘Mad’ Mike Banks & Jeff Mills, his seminal works on Jeff Mill's Axis and his very own M-Plant imprint paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno's path throughout the late Nineties.
Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. 

"Growing up in Detroit, I grew up with Motown in the house - a lot of Motown and Philadelphia soul, artists like Marvin Gaye of course and Curtis Mayfield. I remember Isaac Hayes, the soundtrack from ‘Shaft’ had come out. My father was a jazz musician; he played piano, trumpet and drums. My mother was in an R’n’B group.
We listened to a lot of Motown - in fact, my grandfather’s first cousin is Berry Gordy.
"I was influenced by my father - I wanted to play trumpet like he did."
Robert's father tragically died when he was just 6. The photo of Robert siting down holding a trumpet is his fathers.
"I had to beg my grandmother to let me borrow the trumpet to take a picture with it"

In the early 90's he began to concentrate on his own production 'Vision EP', the 'Riot EP' and X-102 were big stepping-stones for him as they were the first releases he worked 100% on his own. The X-101 to X-102, were Waveform Transmission projects with Mills for Tresor. He slowly progressed to work more and more on his own, but collaberated on some of the first Axis releases with label owner Jeff Mills as H&M (Hood & Mills) with ‘Tranquilizer EP’ and ‘Drama’.

He soon decided it was time for him to start his own label to focus on what was in his soul musically. M-Plant started in ’94. I had developed this “grey area” sound - what I mean by that is that in Detroit, even when the sun is out, there’s something in the atmosphere. I don’t know if its pollution or whatever, but the sky has that grey haze over it. It’s got to be something from the industrial factories there. I’d never really heard a sound like that before and it came from a Roland Juno - it was a chord sound that really went along with my depiction of what Detroit was at that time. A lot of buildings were abandoned and there was a lot of lifelessness in the city, especially downtown. The M-Plant, in minimalism, kind of reflected that. I remember thinking of Detroit like a museum. You know, like a work of art standing still, suspended in time. There wasn’t a whole lot of activity going on.

Releasing singles such as "Internal Empire,", “The Protein Valve” "Music Data," and "Moveable Parts", "The Pace", more recently "Range", "Alpha" and that isn't even touching his other monikers Floorplan, Monobox, The Vision, etc.
"M-Plant is what I've always wanted to hear: the basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. “It's a heart-felt rhythmic techno sound. M-Plant is just M. minimal. “

Although his desire to remain underground has been replaced by an urge to reach a wider audience, mainly via his housier, disco, gospel moniker Floorplan with his daughter Lyric Hood,   Hood remains fiercely critical of artistic and economic movements destructive to inner-city communities and has combined his musical enterprises with outreach and social activist ends. 



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