MANAGEMENT AND REMIX ENQUIRIES - info@justinrobertson.co.uk
 
DJ BOOKINGS - caroline@klsbookings.com

Song-writer, creator of cosmic disco dub, Balearic love and bespoke techno.

Roaming Manchester’s then infinite number of record shops is where Dave Muirhead (originally from Scotland) and Kirk Shiels first met over 10 years ago. 

They joined forces in the studio in late 2008 where their drive & desire to produce music has progressed them to the level they're at today, with their own distinctive sound and style which has proven to be a big hit on dance floors the world over. 

2009 was a milestone year for the pair that saw the ThreeSixty name grow with numerous chart entries and some amazing remix opportunities which gained widespread acclaim such as the No. 1 Beatport smash 'You Might Hear Nothing' by Slovenian Techno legend Umek and ‘Vibrations’ by Toolroom Records’ own Chris Special.

They boast their own impressive list of artists who have remixed them such as RAMON TAPIA, MATTEO DI MARR, QUIVVER, SONNY WHARTON, BEN CODA, JASON TAYLOR, VLADA ASANIN, JACEO and Brazilian DJ/Producers RODRIGO CARREIRA & KOOTECH.

2010 saw the duo have various releases on TOOLROOM RECORDS, FUNK FARM, DEFECTED, 303LOVERS, MAR 186, DATAWORX, STEREO PRODUCTIONS, WHARTONE RECORDS, SOULMAN MUSIC, BINARY 404, INTOXICATE DIGITAL, SOLARSCAPE MUSIC, KOMPRESSOR, FORENSIC, HAREM, BAROQUE & BLU MUSIC. Their forthcoming tracks include releases on TOOLROOM RECORDS, DEFINITIVE RECORDS, HOTFINGERS, INCORRECT MUSIC and Funkagenda’s new FUNK FARM imprint that started off with a remix of his own long awaited dance floor monster ‘Astana’, which has caused a storm around the globe.   

In September 2010 they set up their own imprint Maquina Music along side fellow production partners Dirty Harris & Jason Taylor. The quality and consistency of each track released has gained the label huge support from who’s who in the industry. For those who like their Tech House a little deeper they’ve catered for that too with sub-label Maquina Deep.

The aforementioned Toolroom Knight DJ/Producer Funkagenda recently named ThreeSixty amongst his 'Ones to Watch' in Britain's Next Generation of Dance Stars on Beatportal and Ministry Of Sound interviews. He showed further support by licensing their tracks ‘Kore’ & ‘Cruise Control’ to his 'Toolroom Knights' Compilation. ‘Cruise Control’ also made an appearance on Ministry of Sound’s ‘The Underground 2010’ mixed by Afrojack & Bass Kleph as well their remix being on a Defected compilation.

As well as a license to Fedde Le Grand & Funkerman's highly successful 'Flamingo Nights Volume One', they've written exclusive track ‘Invader’ for Toolroom Records featuring rising star Chris Special and ‘Access’ collaborated on with Hauswerks for Sonny Wharton’s 'Exploring…UK' compilation, released by Baroque Records.

With 2 successful Brazil tours and sell out shows at Sankey's in Manchester (DJ Mag's recently named 'Best Club in the World') under their belt, and with forthcoming gigs in Ibiza, Germany, USA. India, Asia, Israel and the UK already in the pipeline over the coming months, ThreeSixty are firmly in demand for 2011 and are not to be missed as one of the fastest rising artists on the scene today.


MANAGEMENT- nick@machine-music.com
DJ BOOKINGS- martje@decked-out.co.uk

THE DEADSTOCK 33'S
  ‘A kind of rural backwater psychedelia’ is how the Deadstock 33 describe themselves. From the restless and productive mind of Justin Robertson, it’s as good an entry point as any to a world both bewitching and new.
  A year in the making, Deadstock 33’s debut album takes a real breadth of sounds and influences weaving them together into a live sound that sees  Justin heading off into uncharted sonic waters.
   Justin Robertson is no stranger to live music having played tours and festival with his band Lionrock and pop art renegades Thee Earls. With Deadstock 33 however he’s turned  the club elements that he’s best known for into a dynamic sound steeped in a stranger, timeless vibe - like Arthur Russell producing the fractured fragility of third album Big Star.
  Over ten tracks the result is a record of hopped-up murder ballads with a slightly Balearic feel that crosses swords with slow motion grooves that forge a link between the acid of both San Francisco’s Haight-Ashbury and Chicago’s Trax. 
  “I’ve met a lot of people over the years touring with bands,” explains Justin. “And I’ve been making music long enough to put aside any notion of genre or fashion. The Deadstock 33's has been in my head for a long time but only ever in the abstract until now. Working on this album has transformed the way I write and given me the opportunity to head off into jaunty Balearic pop as well some darker musical spaces. I’m really pleased with whats been achieved so far.”
  Lyrically the Deadstock 33's explores a similarly unique territory. From tales of the to MPs frolicking on Hampstead Heath,to a church going couple who spend  their sunday's despatching parishioners in the woods, it’s the dark stuff make no mistake,but There are also chinks of light in the dark; with life affirming psychedelic pop and good time acid disco stirred into the blend.  What unites all the songs however is an urge to get under the skin of society and shine a flashlight on what is found, turning the evidence back into a remarkable musical document that mirrors our weird wide world.
  

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