Axwell

There is so much great house music coming out of Sweden at the moment and right at the forefront of it is Axwell. This young Swedish producer needs no introduction to the house crowd after delivering a string of very successful records over the last couple of years. These include the 3 massive Mambana tracks on Soulfuric, Jetlag "So Right" (Soulfuric) and of course 2 of his solo releases thus far "Lead Guitar" (Stoney Boy) & "Wait A Minute" feat Nevada (Device).

Axwell's latest solo offering is arguably his biggest record to date. "Feel The Vibe" has all the hallmarks of an Axwell track the tight production, the funky bassline and most of all that "Feel Good Vibe". The track was released on Swedish label Nero Recordings at the end of last summer and soon picked up support from a host of big name DJ's including Roger Sanchez, Judge Jules and Pete Tong. A new full vocal version has recently been completed and renamed "(Can You) Feel the Vibe" and a video is currently being shot in preparation for a full single release across the globe in the next couple of months.

Axwell has also lent his considerable talents to other artists by crafting remixes for the likes of Usher "Burn" (BMG) & Room 5 "Make Luv" (Positiva) - both UK #1 Records - Clipse ft Faith Evans "Ma, I Dont Love

Her" (RCA), N*E*R*D "Maybe" (Virgin), Stonebridge "Put 'Em High" (Hed Kandi) & Soulsearcher "Feelin Love" (Soulfuric).

The next few months promise even more gems from our favourite Scandinavian he's just finished a remix for Sabor's "Coracao" (Nero Recordings) and is currently working on a remix for Roger Sanchez's new track "Turn Up The Music" (Stealth). Other recent mixes have included C-Mos "2 Million Ways" (Manifesto), Rasmus Faber "Get Over Here" (Farplane), DJ Flex "Love For You" (Nereo) & Average White Band "Lets Go Round Again" (JVC).

On the production front Axwell has just completed the first release for his new label Axtone Records - the collaboration with fellow swede Sebastian Ingrosso is aptly title "Together" and has already received support from Pete Tong, Eric Prydz and Steve Angello. Out on Axtone in May. The second release for the label is called "The Guitar Track" and features the fantastic vocals of the UK's Steve Edwards, driving latin beats and an insatiable flamenco guitar lick - Summer anthem alert!

Next month will also see the release of Axwell's first Mix CD House Power Vol 2 will be Mixed and compiled by Axwell and released on Swedish label S Records at the end of April 2005.
Source : thedjlist.com

Paul Oakenfold

Paul Oakenfold's musical career started from admirably humble beginnings, playing soul and rare groove cuts in a Covent Garden wine bar in the late 'seventies with mate Trevor Fung. By the early 'eighties, having decided that NYC was the place, Paul decamped there armed only with the chutzpah to blag his way into a courier's job in West Harlem. At that time, more than any other, New York was bursting with musical invention: hip-hop was the freshest street sound around, and Larry Levan - arguably the first ever superstar DJ, inspiring a frenzy in the crowd that some guy playing records had never inspired before - was packing out the Paradise Garage every week with the revolutionary, hypnotic mixing style that would become the acid house DJ's stock in trade.

Returning to London, Paul became one of the UK's leading authorities on hip-hop. During his stint as an A&R man for Champion he signed the as-then unknowns Jazzy Jeff and the Fresh Prince, and Salt N'Pepa. Oh yeah, and he appeared on Blue Peter with a breakdancing crew who he was looking after at the time.

In 1985 young Paul spent the summer on a beautiful Balearic island called Ibiza. Ever heard of it? Oakey is as much responsible as anyone for making it the clubber's paradise it is today, as two years after that first trip he, alongside mates Trevor Fung, Nicky Holloway, Ian St Paul, Danny Rampling and Johnny Walker, went there for a week to celebrate his birthday. If the first visit had been good, this one changed their lives forever. Dancing in the warm night air beneath stars at the then open-air Amnesia to the oddest mix of music any of them had ever heard, courtesy of island legend Alfredo, Paul's urge to import this incredible experience - and the Balearic sound - back to England became too great to resist.

Prior to his Ibiza trip, Paul had been running a successful soul/jazz night at The Project in Streatham. On his return from the white island he persuaded the owner to let him run an after-hours 'Ibiza reunion' party. An attempt at a Balearic music policy had failed Paul one year earlier: the crowd just hadn't been ready to hear so many musical styles mixed together in one night, let alone in one DJ's set, but by 1987, and coupled with Paul's sheer enthusiasm and showman's talent for setting a musical mood, attitudes were changing. The night was a complete success, and led to what was to be - alongside Danny Rampling's Shoom - one of London's, and England's, first major acid house nights: Spectrum at Heaven in Charing Cross.

Spectrum grew out of Future, a night held in The Sanctuary, which annexed the much bigger Heaven club. Many never thought Spectrum (suitably subtitled 'Theatre Of Madness') would succeed: a 1500+ capacity club on a Monday night? Forget about it. And at first they looked to be right. For the first few weeks, attendance was low, leaving Paul and co-promoter Ian St Paul in dire financial straits. Then, suddenly, the vibe was out and the queues were literally going around the block. And a new phase in club culture had begun.

Spectrum continued for a couple of years, changing its name along the way to Land Of Oz. New initiates to the scene (as almost everybody was) marvelled at the full-on atmosphere of the place: hands reaching up into the sweat hazed air, laser lights pulsing and washing over the smiling crowd. Alex Paterson (later of The Orb) DJed in the VIP chillout area (the White Room), while Paul created his now trademark fervour in the cavernous main room.

Alongside running a seminal club night, Paul's production career had also begun by 1988 under the name Electra, working with long-time collaborator Steve Osborne. By 1990, with his work on The Happy Mondays' frugadelic Wrote For Luck and then Hallelujah (on the Madchester Rave On EP), Paul had created two of the cornerstone records of the indie-dance scene, a hybrid that demystified acid house for kids who'd been raised on a musical diet of guitar, bass, and drums. Paul was one of the guest DJs at The Stone Roses' legendary Spike Island gig, and his work with Osborne on The Happy Mondays' classic Pills, Thrills And Bellyaches LP (NME's 1990 Album Of The Year) won the pair the 1991 Brit Award for Best Producer.

Remix galore followed, for Mondays labelmates New Order; Massive Attack; The Shamen, and Arrested Development among others, as Paul and Steve began trading under the name Perfecto. If the name was little known at first that soon changed with the 1992 Perfecto mix of U2's Even Better Than The Real Thing. The track, with delicious irony, attained a higher chart position on release than the original song, thus signalling a watershed in the history and growth of dance music.

1993 saw Paul hired to provide the warm-up sonics on U2's Zoo TV world tour, and as a result the de facto arrival of the superstar DJ. The past decade has seen Paul rack up a dizzying blur of firsts and foremosts, including, not least, his being voted the number one DJ in the world by the readers of DJ magazine, and has heard the name "Oakey!" yelled hoarsely from clubs, fields (including an epoch-making set on the main stage at Glastonbury Festival, no less) and arenas in every corner of the globe.

On the production front Paul began to release his own tracks as well as continuing to turn in remixes, while Perfecto expanded into a fully-fledged label. Its offshoot, Perfecto Fluoro, became the label of choice in the mid-'nineties for the harder, trippier Goa trance sound. Today Perfecto boasts artists as diverse as Arthur Baker, Harry 'Choo Choo' Romero, and Timo Maas on its roster, and has gone from strength to strength by refusing to pander to only one style of dance music. Alongside the building of the Perfecto brand, Paul released a string of superlative mix CD's, amongst them his awesome New York set for Global Underground - still the series' biggest seller to date. And who else would have been commissioned to write the theme for what was certain to be the biggest TV show of all time? How did you guess? Paul wrote and produced the Big Brother theme, as Element 4, with Andy Gray.

On the club front, well, time for a deep breath...Ready? OK, here we go: Paul undertook a legendary two-year residence at Liverpool's Cream that took residencies in general to another level, from the personally designed DJ booth to die-hard fans (dubbed 'the Oakenfolk' in the press) who would travel the length and breadth of the country week in, week out to hear him whip up a magical musical storm, that would still be ringing in the ears and exciting the mind in the office or the lecture hall on Monday morning. Ever keen to push himself further and harder, Paul decamped in 1999 to become Director of Music at home, the multi-million pound superclub built defiantly - and, as it turned out, problematically - in Leicester Square, the heart of London's West End. That club's immediate downturn in popularity after Paul's departure goes to show the extent of his impact and following. There are but a handful of DJ's in the world who attract the fervour and create the excitement that he is capable of provoking in a crowd. You only have to be there when he plays to feel the electric charge in the atmosphere, more akin to the devotional than the merely appreciative.

Leaving home was a difficult decision for Paul, but he risked his UK and European profile, not to mention turning down the certainty of serious amounts of cash, to decamp to America, one of the few places in the world - ironically, given that it all started there - where dance music is yet to be championed and grasped in the way in which it is elsewhere around the globe. But this was a move typical of the man: where others would sit on their laurels and bathe in their hard-won glory, he has always taken the tougher option, sustained by his belief that greater effort means greater rewards. It's this attitude that saw him leave a huge fanbase in Britain to start all over again in the U.S.; that has seen him play to crowds in the low hundreds in isolated Alaska; and that led him to take a pair of Technics with him when he went on holiday to Cuba, and organise a free, unpromoted and not strictly legal party, purely to spread the word of great, life-affirming music and good, good times. This man lives, breathes and eats his art.

So what now for a man at the pinnacle of his profession, the world's premiere DJ? Why, upward, ever upward of course. 2001 has seen Paul score the Joel Silver-produced and John Travolta-starring Swordfish, remix the theme to Tim Burton's Planet Of The Apes, DJ on Moby's Arena:One U.S. tour, and make a triumphal return to his home shores with a free gig that left tens of thousands sweat-soaked and grinning like Cheshire Cats on London's Clapham Common. October sees a club tour of the UK, and the New Year? Well, like we said before, the best is yet to come, so stay tuned and prepare to be amazed
Source : thedjlist.com

Benny Bennasi

Benny Benassi was born in Milan on 13 July 1967 under the sign of Cancer. He is 35 but claims to look 25. He lives in Reggio Emilia, a fine Italian town about 100km south of Milan, where the food is great and the Dance music is even better. He works as a producer in collaboration with his cousin Alle Benassi, who has been a musician and arranger at Off Limits, the internationally successful production unit run by Larry Pignagnoli. After producing KMC feat Dhany (N� 1 club charts UK) last year, the Benassi cousins started work on the BENNY BENASSI presents THE BIZ project, a ground-breaking mixtured of electro, techno and house dosed with minimalist flair. The first single SATISFACTION has made its presence felt in the main charts all over Europe.

The album HYPNOTICA is still in the top 20 in the Official Album Sales Chart in FRANCE after over a month, having reached the TOP 5. The single SATISFACTION is currently back n� 1 spot in the Official Dance Chart in FRANCE again!!!!

Benny Benassi's crucial remixes include Tomcraft's "Loneliness" and the latest Sonique track. Also look out for the Benny Benassi remix of the new Electric Six single, Dance Commander, and the new Outkast single, Ghetto Musik.

Benny and Alle have recently produced Benassi Bros, a project designed to shine the spotlight on the two Biz vocalists, Paul French and Violeta�.. and the product features on the playlists of various French Dj's. Benassi Bros. feat. Sandy "Illusion" now in the Top 20 Official Dance Chart in France�. In Germany ABLE TO LOVE has just been released went straight into the Official Dance Chart at number 2! Benny is currently touring around Europe, in particular France, Germany and Ibiza, with his inimitable dj sets. Benny has toured extensively round France this summer, with dates in Germany and Ibiza, too. He made his UK debut at The Gallery in Turnmills alongside Tall Paul in September and has Queen in Paris lined up alongside Crobar in Miami and other hot stuff this autumn�

His dj style is easy to describe... it's kinda electro, sort of house-tec, dirty and cool, sweaty and smooth.
Source : thedjlist.com

Above And Beyond

ABOVE AND BEYOND are producers Jono Grant, Tony McGuinness and Paavo Sijamki. Collectively they have been responsible for some of the world's biggest club tracks over the last few years and now rank among the most respected trance producers globally, with a number of successful projects including OCEANLAB, FREESTATE, TRANQUILITY BASE, POS, NITROMETHANE and DIRT DEVILS.

After building a strong reputation through remix work for acts like Adamski and Dario G, Above and Beyond's major breakthrough came when their spec mix of Madonna's single "What It Feels Like For A Girl" was accepted. In fact, Madge was so impressed with their version that she decided to shoot a video to the Above & Beyond mix instead of the album version! The infamous video was directed by husband Guy Ritchie.

Since then the guys have been busy dishing out the remix treatment to high profile acts like DELERIUM, THREE DRIVES and Japanese superstar AYUMI HAMASAKI, whose last album sold 5 million copies in Japan alone. The buzz around Above & Beyond also reached the US, where a remix of ARMIN VAN BUUREN's 'The Sound of Goodbye' enjoyed major radio play and hit No.1 in the Billboard Dance Chart late In 2002.

"Far From In Love" represented the first solo offering under the Above & Beyond name. Heavily supported by Dave Pearce/Judge Jules on Radio 1 and Armin Van Buuren on ID&T, the track has attained anthem status among the group's many fans and has been licensed to the likes of Media Records and ID+T internationally. Far From In Love unites an emotive vocal with Above & Beyond's trademark angelic strings and melodies, the band are currently working on a follow up.

Other classic tracks to emerge from the Above and Beyond collective include OCEANLAB's "Clear Blue Water" and "Sky Falls Down", TRANQUILITY BASE "Razorfish" and DIRT DEVILS "The Drill", one of clubland's biggest anthems in 2002. Amid the busy production schedule, the boys have also found time to establish and run two successful record labels, with Anjunabeats and Hard On Recordings both enjoying a solid following from the world's most influential DJs.

As DJ's Above and Beyond are beginning to carve quite a name for themselves following high profile sets at the likes of PASSION, MINISTRY OF SOUND, ROOM AT THE TOP and international super-clubs like VELFARRE in Japan. With a host of domestic and international gigs already planned over the next few months, expect to hear a lot more from Above and Beyond in 2003.

Source : thedjlist.com

John Digweed

The word "bedrock" holds two connotations. Literally, it is a solid mass of rock that lies underneath layers of loose, unconsolidated soil. Figuratively speaking, it refers to a basic principle, an irrefutable, fundamental idea upon which other thoughts and movements are derived. Whichever definition you apply, British DJ-producer John Digweed and his 10 year-old Bedrock club event have lived up to its implications.

While lesser DJs bow to the whims of clubland fad and fashion, Digweed continues to stand as a reliable, steadfast pillar of dance floor excellence. He brings the same douse of driving enthusiasm and inspiring innovation to his two-and-a-half year old residency at Manhattan superclub Twilo (where he reigns with Sasha) as he did to his first Bedrock events in Hastings more than 10-years ago, where he emerged as a fresh, young talent who mesmerized faithful audiences with his soul-stirring progressive dance tunes.

His resume of accomplishments makes his proteges swoon and his contemporaries nervous. He served as a resident at the northern club Renaissance during its early-to-mid nineties heyday. He was the first U.K. DJ (with Sasha) to hold a club residency in the U.S. He's consistently voted one of the top 10 international DJs in prestigious club culture publications such as DJ Magazine and Muzik. He's a talent whose appearances in locales such as Australia, Africa, and Asia are met with the same fervor and excitement they receive in Europe and America. And this DJ superstar continues to stay on the rise.

It's perfection he takes to his Bedrock club event, which celebrated one year of holding court at London's famed club Heaven in October 1999. It, like Digweed himself, has stood time's grueling test, graduating from its role as a humble hangout for punters looking for an excuse to party on a weekday night to become a globally-revered, outrageously respected club event whose rotation of world-class DJ talents and back-to-basics mentality prompted Muzik to list it in the top 10 of its "21 Clubs For The 21st Century." Of Bedrock's 1998 premier at Heaven, Time Out magazine said, "There haven't been too many things to salivate over in London club land recently, but the prospect of (Bedrock), the new John Digweed monthly residency at Heaven, has left the cognoscente positively drooling." One year later, the sentiment remains true, as Bedrock has seen the talents of Sasha, Carl Cox, Paul van Dyk, Basement Jaxx, Grooverider, Adam Freeland, Hybrid, The Light, Slacker, and countless other walk through its doors and bring the most enthralling dance sounds to appreciative crowds every other Thursday evening for a measly 5 pounds a head.

It's the same strive towards excellence he brings to his work as a musician. His tracks, recorded with partner Nick Muir under, you guessed it, the moniker Bedrock, are bona fide classics, meshing the deep, luxurious hues of house with the atmospheric rush of trance in Digweed's characteristic style. 1993's "For What You Dream Of," the quintessential Bedrock tune, found its way from the Renaissance dance floor into the film adaptation of Irvine Welsh's Trainspotting in 1996. "Heaven Scent," the latest opus, has been embraced by every important DJ with a clue. And his most recent reconfigurations of cuts by Satoshi Tomiie featuring Kelly Ali from Sneaker Pimps, Danny Tenaglia, and DJs Heller and Farley, plus others have made him one of the most respected and in-demand remixers of the year.

And it's the same distinctive flair and unrelenting passion with which he has delivered the first Bedrock mix CD, released in the U.S. on Ultra Records. Following on the heels of his and Sasha's groundbreaking Northern Exposure DJ mix series -- the third volume, Expeditions, was released in the spring of 1999 to overwhelmingly positive response on both continents, Bedrock is a two-disc set that truly captures John Digweed at his best, and represents his unique signature style that's driven with his sexy and dark-funky twisted house to his relentless, hypnotic progressive trance. A journey that highlights talents from both sides of the pond, including tracks by up-and-coming U.S. producers -- POB & Taylor, Sandra Collins, Tiny Trendies, BPT Feat. Danny Morales, Morel and others -- as well as the latest Bedrock smash. A course that demonstrates the global character of club culture as it moves into the next millennium by creating an artistic bridge that between East and West, London and New York, trance and house. An offering that, like none other before it, reflects Digweed's tri-fold personae as visionary club promoter, forward-thinking producer and exalted DJ.

A strong, steadfast foundation on which the ever-expanding global club culture continues to lean. A standard by which all other promoters, producers and DJs can be measured. With the talent and ambition that has a way of separating the diamonds from the rough, John Digweed's Bedrock is set to move you in more ways than you can imagine.

Source : thedjlist.com

David Guetta

David Guetta the pioneer of French house with Up & Way, a garage-style track with vocals by Robert Owens released in 1992 really made a name for himself in the mid-90s as one of the key catalysts of Parisian nightlife by promoting evenings at such renowned Paris hot spots as Folies Pigalle, Queen, Bataclan, Palace and Les Bains, where he invited DJ legends like Little Louie Vega, David Morales, DJ Pierre and Roger Sanchez to join him on the turntables. In 2001, however, he went back to his first love: making music.

Launched by the single Just A Little More Love, an electro-funk-house cocktail featuring Chris Willis of the band Nashville on vocals, David Guettas first album was released by Virgin in June 2002 and went on to sell 250,000 copies. This resounding success carried through in the albums second, even more devastating single, Love Don't Let Me Go, a track reminiscent of Moroders techno-disco style crossed with Depeche Modes new-wave sound.

Like fellow Frenchman Laurent Garnier, David started off his career in the gay clubs around Paris Les Halles district in the mid-80s, going on to make a name for himself in acid-house and hip-hop. His first album heralded the beginning of a new DJ career this time on a global level. Named after the parties he hosts on Ibiza, the fabled isle of techno, Davids F*** ME I'M FAMOUS: IBIZA DJ MIX, which featured his remix of David Bowies Heroes, went gold: no small feat for a compilation CD. For the last three years, David has been invited to mix throughout Europe on a regular basis and, more and more often, in the United States, Australia, Japan, Singapore and Israel as well. He is also resident DJ at The Cross in London, Barcelona s Discoteca and the Lausanne club Mad.

Propelled by the rock guitars of the single Money, Davids second album, GUETTA BLASTER, is even gutsier. David and Joachim Garraud (the first albums co-composer and co-producer) applied themselves to creating real songs modeled on electro-pop classics of the 80s by such masters as Depeche Mode, Yazoo, Dead Or Alive and New Order, to name the most prominent influences. All the tracks on this second album are original compositions. The gospel sounds of Chris Willis and the stylings of guest vocalists JD Davis (lead singer of Sinema), James Perry (alias Jimmy Polo, renowned singer/producer on the Chicago scene) and Britains Stereo MCs give the tracks a unique luster, while the production skills of Guetta and Garraud lift the album to new and always spectacular heights.

From GUETTA BLASTERs opening salvos, Money and Stay, we get beats that are cranked up a notch beyond the hard-dance formula of Just A Little More Love. Without an ounce of hesitation, the album launches itself at the experimental roots of house music and cold-wave, displaying an unexpected stylistic versatility, then oscillates between powerful mixtures of hot & cold and black & white. The result is 100% addictive.

Used To Be The One, with vocals by Willis, owes a debt to both Yazoos Don't Go and garage music. Similarly, the counterpoint of Time evokes Eurythmics Sweet Dreams, blending the best of English pop and dance culture something David has mastered like no one else. Open Your Eyes, a track tailor-made for the Stereo MCs, is built on a rubbery break beat and an acid sequence, with a rap that brings their classic Connected to mind. The abrasive AC/DC, clearly a future hit on the underground/rave circuit, is like the missing link between Jeff Mills and Ministry Of Sound.

Two velvet-smooth cuts neatly crown the album: In Love With Myself, a track that could hold its own against Moroder & Oakeys Electric Dreams any day, is followed by Higher, on which Chris Willis pays homage to the style of phrasing and embellishment popularized by Stevie Wonder, an approach that has proliferated in both R&B and garage/house music la New Jersey duo Blaze. GUETTA BLASTER drives its point home with the metronomic Movement Girl, featuring James Perry, and the killer Get Up, on which macho riffs, the hysterical falsetto of Chris Willis and screaming guitars swirl around a punchy beat.

On GUETTA BLASTER, David Guetta has not only successfully avoided the pitfalls of second albums he has truly launched himself into a new dimension.

Source : thedjlist.com

Deep Dish

Grammy award winning DJ duo Deep Dish are two of the most well-known and respected artists/producers in electronic dance music today. Recently honored as Rolling Stone magazine's #2 pick for the year's "Best Dance/DJ Artist", Deep Dish is poised to continue where they left off following an exciting 2001. Ali 'Dubfire' Shirazinia and Sharam Tayebi, the Washington, DC-based DJs known collectively as Deep Dish, first rose to prominence following the 1998 release of their groundbreaking debut album, Junk Science. Since then, the two have spent the bulk of their time trotting around the globe at the request of the world's most famous clubs. Characterized by diverse and unexpected grooves, Deep Dish continues to enjoy mainstream success and underground respect. In addition, DEEP DISH ranked #10 in DJ Magazine's (U.K.) Top 100 DJ's readers poll for 2001--a direct result of constant touring and well-attended residencies from 1015 in San Francisco to Buzz in D.C. to The End in London and beyond. This month, they set off on the second leg of a DJ tour in support of Global Underground.

Just as active in the studio as the DJ booth, Deep Dish has been called upon to employ their innovative remix style to hits by top artists such as The Rolling Stones, Michael Jackson & Janet Jackson, Dido The Pet Shop Boys, and N-Sync. So it came as no surprise when Madonna decided to get in on the act by choosing the guys to remix the debut single from her latest album Music (Maverick). Resulting in an infectious dance floor hit, the reworked track won dozens of accolades, including a Grammy award nomination for "Best Remixer of the Year." Madonna was so pleased with their remix, she invited Deep Dish to warm up the crowd for her one-off North America live show at New York's Roseland Ballroom. <p>

In recent months, Deep Dish has continued the fevered pace that has made them two of the hardest working guys in dance music. They provided music for a number of Versace fashion shows in Paris, Rome, and Milan. In the ensuing months, they released Yoshiesque 2, and embarked on a global tour that included Tokyo, Ibiza, Norway, Moscow, and major cities within the US. The appearance in Russia inspired the most-recent installment of the much-lauded Global Underground series, featuring the guys at Moscow's renowned Club XIII. Finally, Deep Dish won their first Grammy for "Best Remixed Recording" for their take on Dido's "Thank You!"

Source : thedjlist.com

Ferry Corsten

The Dutch harbor city Rotterdam was Ferry Corsten's (27) playground when growing up and the city still is his current base of operations. Being a full-time producer since 1991 Ferry has developed into a true prodigy of the international dance scene.

After initially producing some hardcore gabba tracks Ferry became more interested in clubhouse and trance. In 1996 Ferry achieved a position in the U.K. single chart at #46 with 'Don't be Afraid' by Moonman, his first major and European breakthrough as a solo dance Artist, producer & composer.

In 1997 Ferry and his partner Robert Smit established the Tsunami dance label together with the Dutch based dance company Purple Eye Entertainment b.v.

This collaboration would prove to be an almost instant success and eventually resulted in the creation of one of the most influential dance labels around today. These three parties have set up in the meantime another label entitled Polar State.

In February 1999 Ferry's second solo project, system F, was released on the Tsunami imprint. The title 'Out Of The Blue' is a melodic and powerful twister and turned out to be one of the biggest trance track of 1999, achieved a top twenty position in the U.K. single chart and put Ferry on the world-wide dance map permanently. The follow up single "Cry" (produced together with Robert Smit) was again an UK top 20 single hit.

Other projects of Ferry Corsten are: " I'm In Love" by Starparty (produced together with Robert Smit), "Carte Blanche" by Veracocha (produced together with Vincent de Moor) and in May 1999 the title "Gouryella" by the act Gouryella was released, an Artist-project Ferry produces together with the famous Dutch DJ Tiësto. The first single "Gouryella" entered the U.K. Singles Top 75 at #15 and achieved various hit positions throughout the world. The follow up single of "Gouryella", entitled "Walhalla" entered the UK single chart at #27 and was successfully released world-wide aswell. In September 2000 the 3rd Gouryella single entitled "Tenshi" was released world-wide. Ferry also remixed William Orbit's "Adagio for Strings" as well as "New Yearsday" for U2.

Next to his producing activities Ferry is a renowned international DJ, spinning in front of record crowds at the hotest locations in the world. The Ministry of Sound dance compilation series entitled Trance Nation mixed by Ferry Corsten / system F is one of the best selling dance compilations in the UK and has been awarded the platinum status and Trance Nation 4 is already in the planning. The 2nd half of the year 2000 will be marked by the release of his 3rd system F album.

In October of 1999 Ferry Corsten has been elected as 'Producer of the Year' during the Ericsson Muzik award in London, leaving fellow-nominees like Puff Daddy and Rodney Jerkins behind. In Mai 2000 he was awarded 'Best Remix' for "Barber's Adagio For Strings"' at the Dancestar 2000 awards. In Holland he received the prestigious 'Silver Harp' award due to his contributions to the Dutch dance music.

Source : thedjlist.com

Sasha

When an ordinary person is recognised at a young age for doing extraordinary things, it is easy to be misunderstood. Sasha, a musician in every sense of the word, may have fallen into that media led trap in the past, but now at 30 years young he forges ahead with projects that will finally allow people to understand who the man behind the myth really is.

The best DJs know that Djing is first about being able to read people and then about being able to tap into that human experience and take it on a journey. Sasha has always been noted for being a master at this, and although his style is described as "Progressive Trance" with a good presence of House and break beat elements; his music has always reached beyond those record store titles, thus separating him from his contemporaries. Sasha creates and plays music that gives emotion a chance to speak. It is this universal appeal that he has tapped into that has established his strong fanbase around the globe.

This ability to capture sounds on a universal level was most recently called upon when he was asked to write all the music for Sony Playstation¹s biggest game release of 1999, "Wipeout 3". Sasha wrote 5 original tracks to soundscape the game. "Wipeout 3" won not only the best racing game award, but best game of the whole show.

His special touch has also recently been called upon by The Chemical Brothers, who singled him out as the only artist asked to remix a track ("Out Of Control") from their new album. "I just dubbed it out to a style like I would play, the elements and sounds that the Chems used were so good that I didn't want to change them at all", Sasha reports on making the mix. Sasha's resume of chart topping remixes also earned him a request from Madonna in 1998 when he was asked to remix "Ray Of Light" and "Substitute For Love/ Drowned World".

Do not be mistaken, this kind of recognition does not happen overnight. Born and raised in a small town in Wales, Sasha was exposed to Motown records when he was just a baby and it was in the home that his talent for playing the piano was developed. His first exposure to house music was at Manchester's Hacienda; just as dance music exploded into the summer of love. This impact encouraged his move from Wales to Manchester. His first exploration into Djing was when a DJ in a local pub announced he was looking for people to play club dates. Sasha volunteered and now says that he "had about 30 records and basically just blagged it".

After honing his deck technique, Sasha's first big break came when he was offered a residency at Stokes legendary club Shelly¹s. When all the other DJ's were playing US House, Sasha's style was much more uplifting, and he encapsulated clubbers with his mixture of piano led Italian House whilst playing acapella tracks over the top. This combination alongside a wide variety of anthems kept dancefloors full and elevated Sasha to hero status.

Shelly¹s was the launch pad for the residency at Renaissance, where Sasha created his niche and helped forge a new style in UK house music. At Renaissance two major things happened; Sasha mixed the first ever UK DJ mix album and he met John Digweed which cemented the partnership known as "Northern Exposure". Over the past couple of years, Sasha and John have played together on five continents, have mixed 3 "Northern Exposure" albums which have sold to over 1 million people worldwide.

This special brother like relationship that Sasha and Digweed have on the decks, is what landed them the monthly residency at New York¹s "Twilo", following in the footsteps of Vasquez and Tenaglia. This residency has reached cult status in New York, and after going strong for over two years, it will continue well in to the millennium.

Although Sasha has clearly reached a celebrity status, it¹s his generous personality, his love for his peers and of course his completely candid humour that has enabled him to maintain such a likeable high profile in the often-fickle world of club culture. Always one to share what comes his way, Sasha invited long time friend and collaborator BT to take part in what he called "one of the most amazing musical experiences in my life". He is referring to his experience out at Peter Gabrielle¹s Real World studio in 1998 where Sasha explains in a mixer article, "we were in there for a week and were just going to do one track (during Real World¹s annual recording week where artists from all over the world are invited to Bath to record at the famous studios). "There were so many talented musicians around and the vibe down there was incredible. People were walking in, hitting things, strumming things, and slapping their goats! There were mad African people everywhere. We ended up recording five tracks and finishing four".

Since then of course, Sasha has gone from DJ to superstar status in America, where "Sarsha" is a household name for many teenagers and his and John's residency has continued to provide the launchpad for British dance music into New York and beyond. The sound of Twilo: deep, pumping late night .h.o.u.s.e. is encapsulated on 'Communicate', Sasha and John's joint mix album for INCredible. Modern club anthems like Trancesetters 'Roaches' and Trisco's Muzak all blended in the late night, early morning way that New York's clubbers have come know and love.

Earlier this year, a gruelling three month tour has taken their sound further out into deepest America, preaching a gospel of repetitive beats and imaginative mixing from coast to coast, and right through the mid western heartland of the States. A punishing gig-a-night schedule that must make nights like the opening of Space in Ibiza in June seem like a holiday by comparison. This summer has also seen Sasha move back into releasing his own music, collaborating with the former Underworld mainstay, DJ Darren Emerson on 'Scorchio'. A fast, deep pulsing tech-house track with a cheeky hint of Latin summer carnival, 'Scorchio' sums up everything that's best in Sasha's music: deep, intelligent music that still retains a sense of fun and works best out in the middle of the sweaty dancefloor.

For Sasha, music is his first love, and what gives him a buzz is being able to share his music with others. From his presence at those all too talked about after hour parties where his special impromptu sets are heard, to his signature always present child like antics that leave people wondering if he has modelled his life after Peter Pan, to his DJ sets at clubs around the world, all lined with the backdrop of his own productions, Sasha leaves trails of memories, melodies and stories wherever he goes. These are the things that have been, and will continue to be remembered and passed on for years. And that is what legends are made of.

Source : thedjlist.com

Carl Cox

So much has been said about one of the greatest DJs in the world. Carl Cox has excelled as a producer, artist, remixer, radio DJ, businessman, and ambassador for dance music. In the UK he is a full-blown 'Pop Star'. As anyone who has met him will attest, Carl Cox is the living embodiment of the perfect gentlemen, the DJ diplomat and progressive music pioneer.

Carl Cox began 1996 with the launch of his own record label, Worldwide Ultimatum, releasing his debut self-produced album 'At The End Of The Cliche'. This album was a culmination of influences gained from 18 years of the experience. It took over two years to complete ans stormed up the UK charts attaining a position of #22. In addition, he began his own management company, Ultimate Music Management, which has blossomed under his watchful eye and boasts a roster which includes such well-known DJ's as Josh Wink, Laurent Garnier and Judge Rules.

Carl Cox's achievements do not stop there. He has appeared on Top of the Pops and in 1996 was awarded the International Dance Award "Dj Of The Year" for the second year in a row. Muzik Magazine crowned him "DJ Of The Year" in their readers poll and he received "Best DJ Of The Year" accolades in Scotland, Ireland, France and Germany. He has graced the covers of England's biggest music magazines including Mixmag, Muzik, DJ and Wax. Cox also joined the prestigious team at London's Kiss FM radio station with his own "Ultimate Mix" show on Saturday nights and was awarded the "DJ Mixer Of The Year" by its listeners.

Carl Cox has rocked dance floors the world over and has conquered corners of the globe previously left untouched. Maintaining a constant tour schedule, playing throughout the UK and Europe, he recently mesmerized thousands in Israel, South Africa, Japan and Australia. Cox appeared at the legendary Love Parade (one of the world's largest raves) in Berlin playing to over 80,000 people. He is the featured DJ this year at T In The Park, and continues to play the UK's biggest clubs including Slam, Cream, Lakota and Minstry Of Sound.

Signing an exclusive deal with Moonshine Music here in the United States, this is the first time any of Carl's work has been available domestically. F.A.C.T. 2 is the follow-up to his highly successful F.A.C.T. which sold over 70,000 copies in the UK alone.

Source : thedjlist.com

ATB

As both songwriter and producer, Andre Tanneberger has been living in two worlds for quite some time. One is the world of electronic music, where he has created extraordinary, melodious club tracks and played countless DJ sets all over the globe. Worldwide fame came courtesy of numerous top ten hits such as "9 PM (Till I Come)", "Don't Stop", "Killer", "Let U Go" and "Ecstasy". The other world is an atmospheric domain - smoother songs to lose yourself in, where you can begin to dream.

On this, his seventh album ATB has succeeded in combining the two worlds, without intermingling them unnecessarily. "Trilogy" provides the electronic and melodious ATB sound blended with a unique rock and pop crossover flavour on the first CD. The second CD, on the other hand, offers the listener 14 super smooth tracks. "Every album should have its own soul and a golden thread leading through all the songs. However, you only really feel the soul if you listen to all the songs together. If you mix up the faster and slower songs, that isn't going to work," explains Andre.

The golden thread he is referring to has been a feature of ATB's career to date. Punctual as ever, he delivered an album for his fans every year. "Seven years", released in 2005, was a mixture of new songs and a retrospective "Best Of" collection. This album formed a link between the past and future of his music. In doing so, ATB was also able to break with old habits. "Bringing a new album out every year wasn't a deliberate plan as such, it simply happened." Last year was the first in a long time in which I did not release a new ATB longplayer. After having played gigs all over the world in 2005 and 2006 I needed a break. I had to come to terms with new influences and jettison the old sounds."

Mission accomplished - the new album presents an array of innovative styles, making use of stronger instrumentation and tools:

"In the field of dance music the ratio or influence of electronic sounds to "handmade" drums, piano and guitars is around 90/10. We wanted to break open the whole thing and go for a 60/40 split, or even 50/50. We placed great emphasis on songwriting and spent a lot of time sitting in the studio playing drums or guitar, looking for new song ideas."

His productions have always been international in character. "I have never thought about territories as such, or composed a song that for a certain region or country. That never worked for me. I think people are the same all over the world. Club music is a worldwide phenomenon.

People in Brazil dance to the same songs as people in Tokyo, London or South Africa. Dance music is a brilliant way to connect people all over the world".

More than ten years of making electronic music and being a DJ have changed Andre, broadening his horizons. "My productions have become more adult. "Nevertheless his heart is still in electronic music, as well as being open to pop music. "You grow up and your taste in music grows with you." Andre thinks the same is equally true for his fans. Having grown older with him, this is exactly why they can still identify with his songs.

The title of the new album shows that ATB has not broken completely with past conventions, but still has an eye on his past. Two songs on earlier albums were named "Trilogy". The third version on the current album is not only the eponymous song, but also the concluding link of the chain. There is also a welcome return for a world famous international artist with whom Andre has collaborated in days gone by - the new song with Heather Nova turned out so well, that it has been chosen as the first single of the new album.

ATB also worked with Jennifer Karr, Jan Loechel, Jeppe Riddervold and Karen Ires on new album tracks. You can sense the creativity that has emerged from a concentrated phase in the studio. The many nights he spent with his team and best friend "Rhudee", designated co-producer, proved truly inspiring. Andre points out: "We had so many songs left that we could have filled another album as well." Having patently enjoyed his time in the studio, Andre is similarly looking forward to presenting the result to his fans. An eight gig Germany tour will be followed by shows in America, Asia, across Europe and Australia.
Source : thedjlist.com

Paul Van Dyk

Born December 16th, 1971 in Eisenhuettenstadt, East Germany, Paul grew up in communist East Berlin. Prior to Germany's reunification, he at least had an early window to the capitalist world via the cross-border airwaves.

"We were able to see Westside - TV and listen to western radio stations. We recorded the music and replayed it at our parties, because in the east we didn't have something like a club culture. In those days I listened to the radio show of Monika Dietl. I was really captivated by the music of 'The Smiths' and 'New Order'. It (the music) was very strong and emotional...

Then in 1989, as the wall finally came down, a broad Club culture sprung up throughout all of Berlin. "Mainly they played that hard Detroit - Techno. I liked this energetic spirit, but something was missing. I (was looking out) for something else."

That search would never leave him. Stemming from two crusty old turntables, the first remix tapes of his musical ideas were created. And only a bit later, in March 1991, his unique style of dance music was played for the very first time to the public at the embryonic Berlin club "Tresor".

Around this same period, Paul also started making his own original compositions. His first production "Perfect Day", put together with Cosmic Baby as "Visions of Shiva", was released in 1992. "I was pleased like a little child, holding my own very first record in my hands!,... Paul remembers. "Perfect Day" was published by the Berlin underground label 'MFS', and launched a promising career, which aimed without pause or hesitation for the top !

In 1993 Paul created the club hit of the year with his remix of Humate's "Love Stimulation". The following year, his first album "45 RPM" was recorded, while he was also regularly spinning sets at the legendary club 'E - Werk'.

Over the next few years Paul garnered further respect by remixing tracks of many renowned artists such as Inspiral Carpets, Sven Väth, Curve and New Order. This was of course until the release of his second album, "Seven Ways", which firmly established him as one of the world's truly great electronic artists.

'Seven Ways' unleashed a frenzy of national and international interviews, and many globe-roaming DJ - sets as well, as Paul was catapulted into the Top 100 - Salecharts. Even the English music media, typically protective of their own homespun DJ artists, unanimously praised the record. Readers of "DJ Magazine voted 'Seven Ways' as the Number 1 album of the year. Bellowing singles such as "Beautiful Place", "Forbidden Fruit" and "Words", featuring remixes of Salt Tank, Quattara and Curve, fully secured him a place as a major player in the British and European dancecharts.

Before the club closed, Paul became an institution at Berlin's 'E - Werk', regularly spinning new musical magic, with guest appearances by fellow superstar DJ's Nick Warren, BT, Dave Seaman and Sasha.

In 1998 his first album "45 RPM" was released in the UK, and the new remix of the single "For an Angel" attacked the worldwide dancefloors. The album buzzed for two weeks at number 1 in England and four weeks at number 1 in the German dancecharts, and also achieved major postings in the American, Australian, Dutch, Belgian and Scandinavian dancecharts.

However, Paul's core sentiments are not as a producer, to be shuttered away in some stealthy studio, but as a performing DJ very willing to be seen, and with a deep desire to have contact with his audience, whether it be 500 people or 1.5 million...

"As I began my career as a DJ I discovered that there is a really deep communication between DJ and people. I learned to observe the different vibrations, learned how to move the crowd, and how to create atmosphere." Paul remembers, "because while spinning, an interaction takes place between the people and me. I never come into a club and spin just a ready set. It is also a very new experience for me every time, and nobody knows in advance how it will end."

Now he creates that experience regularly, as resident - DJ in New York's "Twilo" club, at the acclaimed "Gatecrasher" in Sheffield, and in his hometown of Berlin.

In 1999 Paul was divorced from his former label 'MFS' and started up, together with his team, the new label "Vandit" Records. This label presents both Paul's releases, as well as other new and innovative dance/DJ artists.

In England, 'Deviant' - Records are taking care of Paul's creative output, whose brainstorm was the 1998 Triple - CD "Vorsprung Dyk Technik". Combining 33 tracks, it is the most exhaustive collection of Paul's remixes to date, containing classics like Humate's "Love Stimulation" and Joe T. Vanelli's "Playing with the Voice in Germany" as well as Binary Finary's clubhit "1998" and Paul's own chart single "For an Angel". A year after its release in Nov 1999, "Vorsprung Dyk Technik" was officially declared "Silver" with over 60,000 UK sales, a very rare feat indeed for a Triple - CD.

Today Paul's touring diary is incredibly hectic with regular globetrotting stops at major venues in London, Tel Aviv, Mexico, New York and Singapore. Between all that, Berlin is always there and waiting -- if not for the interviews and local club dates, then for looking after his own label, recording studio and radio show (not to mention his friends and family as well!).

"It isn't the success or which place I take in the salecharts that is important for me. (What's) most important are the people, the family, friends, ..and everyone, (especially) where I've changed something. I am really pleased when someone tells me: "Hey, by hearing your song something changed in my life!" Paul says, "I've never made music for being trendy or making the fat money. I make music for myself, it (the music) comes directly from my stomach, my music springs from an intense feeling. And every track has its own little story..."

We are all wishing you lots of pleasure while listening or dancing to Paul's music, and you'll definitely be hearing more from him on this website in the near future !

Just listen, enjoy and be inspired !

Source : thedjlist.com

Armin Van Buuren

Armin van Buuren is a happy man, and with good reason. Holding firm at Number 3 in the prestigious public-voted DJ Top 100, he’s making the transition from talented young upstart to leading light in the echelons of trance �" and beyond. 2005 has brought two new significant awards (Best Radio Show, and Best Compilation for A State of Trance 2004 at the Miami Winter Music Conference Awards), and a stunning new artist album, Shivers, showcasing his debut as a songwriter.

Affronted by the cheesy tag that dogged it for a brief time real trance has continued to grow unabated, and the WMC awards reflect Armin’s success in producing and playing quality tunes that both excite existing fans and bring new people to the scene. “I think trance is becoming a broader term for a lot of different genres; it’s no longer a specific kind of music within the dance scene,” says Armin, widely credited with creating the blueprint track for the genre, Blue Fear, at the tender age of 19,. “Trance has elements of all different types of music. I play a lot of tracks that are labelled as progressive, tribal progressive, techno, trance, euphoric trance, vocal trance, melodic progressive… These days it’s really hard to label a specific sound. Styles are mutating and evolving into this all-over new sound, which is basically dance music going back to its roots. There’s so much good music out there and I don’t want to limit myself to just one style.”

Born in Leiden, Holland (on December 25, 1976) to a musical family �" his dad had a serious penchant for a diverse range of genres including punk and electronica “to get rid of the stress of everyday life”, while his brother is a prodigious guitar player �" Armin indulged his passion for music from a young age, blowing all the money from his paper round on records. His mum won a computer when he was 10, “So as a little nerdy kid I was writing my own Basic programmes, and learnt about the technology from there.” He progressed from making the usual tapes for his friends, put together on a cheap set of decks that he wore out learning to mix, after discovering his uncle experimenting with different sequences on his computer. “I was so amazed at what he was doing, since that moment I’ve been addicted to creating music!”

In the early 90s, Holland’s upfront dance scene meant that although Armin was too young to go clubbing, he knew the music inside out from listening to the radio. “I loved dance music immediately �" this great rebellious sound that was so different to the ‘beautiful’ songs of the 80s”. Citing electronic pioneer Jean Michel Jarre as a major influence (famed for his awesome visuals as well as his groundbreaking synth sounds), as well as Dutch producer Ben Liebrand, who later mentored him in his mixing and producing, Armin was soon cracking out consistently stand-out tunes that graced compilations across the globe, and his DJ bookings were looking pretty healthy to boot. But despite his music career taking off at such an early age, Armin thought it was wise to have something extra in case the DJing didn’t work out, and studied for a law degree. He actually got a job offer with a law firm but says it’s not really his thing, though he does acknowledge he'd look good in a suit…

The final year of his course was inevitably stretched as he juggled his studies with his increasingly hectic schedule; his meteoric rise to fame included a slew of acclaimed productions and remixes, as well as playing out to packed clubs every weekend resonating with the vibe of thousands of happy party people. He took three years to graduate, but with typical determination saw it out to the end.

Armin's Blue Fear, a Sasha and Digweed staple, previewed his signature style: divine layering of sounds, lush chords and a continuous driving beat with that intangible added extra, the unique essence that sets quality tunes apart when you hear them in a set. His subsequent productions and remixes (too numerous to list here �" chuck him into a google search if you’ve got a day to read the resulting titles…), include Communication, Sound Of Goodbye, Burned With Desire, Touch Me, Free, Wamdue Project’s King Of My Castle, Solid Sessions’ Janeiro, and Solar Stone’s 7 Cities, as well as high profile collaborations with his peers.

While the remix offers now flood in, Armin only takes on tunes that he really loves, and that “I wish I’d made myself!” His compilations strive to follow that precedent, always comprising the cream of his current favourite tracks and mixes. It’s what keeps him one step ahead. His desire to showcase more of the wealth of good music out there, along with the number of people sending him tracks they wanted to release, led to the obvious step of starting his own label, Armada, in 2003.

"Maykel Piron was head of A&R for Warner Music, and we always said we'd start a label together, though there was always an element of bragging! I took him to Ibiza for a weekend, and during the trip we sat on the terrace and started talking. He felt like he wanted a new challenge, and so did I". They teamed up with a third partner, David Lewis, who'd previously managed Armin, and the venture flourished. "What we wanted was a company that could offer everything for an artist: representation, a booking agency, and a record company. Artists can choose full management, or to just release a record or play out at gigs. Armada lets the artists choose what they want without telling them what to do".

Freedom is something that Armin fully appreciates as an artist, and all the tracks on his compilations are tried and tested. "Production gives you more freedom 'cos you can experiment more, it can be less obvious than DJing. Whatever - it's the best life there is! It has to do with taste. I don't often get to hear other DJs' sets, but I like that I'm not particularly influenced by anyone else. Some of my sets have influences of house or breaks, but I still have a certain sound that’s my own”. He honed his sound on debut artist album, 76, for which he scored a prestigious Dancestar Award 2004 nomination (Best New Artist Album). “I’d always wanted to do an album, but there’d never been the time or the money. Scoring the number five position in DJ’s Top 100 poll the previous year helped to get labels interested, and I finally got to go into the studio. Basically everything I’d learned in the past 10 years fiddling around in my bedroom with equipment culminated in this album.”

Undaunted by the stir that his first offering caused, Armin has pushed himself further with his much anticipated second artist album, Shivers (out summer 2005). The title track has already dented the charts, and the second single is the anthem for massive Dutch party Sensation White. Armin jetted round the world for collaborations with the likes of Gabriel and Dresden, with whom he recorded in San Francisco and the honey-voiced Nadia Ali of iio: “We recorded a track in New York, and I’m really really proud of it! I wanted to take things a little bit further with the album �" my definition of an artist album is something you can put on at home or in the car and really listen to �" so it’s 10 brand new tracks that are very diverse, probably the most diverse things I’ve ever done. As a DJ you always have to take the crowd into account, but as an artist you have the freedom to make whatever you like, and I find that much more exciting creatively than being bound to that four to the floor or break beat or whatever. Shivers will appeal to a much bigger audience than 76, because it has a lot of rock and pop influences in addition to trance influences. 76 was almost like a ‘best of’ compilation because a lot of my earlier works were on there - it was sort of ending an era. Shivers is the work I’ve done in the last two years. It was also a real luxury as I had about 20 tracks by the time I needed to finish it, and I only selected 10 �" as I worked the album just got better and better, so it was like drawing a line and saying ‘that’s it’. It’s really hard to let go to be honest, to stop the creative process!”

In fact, finishing Shivers has had the opposite effect and seems more of a start than an end. Clearly on form for a third album, (“I’m already working on it” admits Armin) the experience of making this one has opened a world of possibilities. “It was particularly interesting for me as I’ve really raised the bar this time in terms of song writing rather than purely thinking technically. I think technically, I know everything about trance and dance - I know how to make it, I know a lot about software and computers, but what I hadn’t had time to invest in enough was actual song writing, song structure, arranging, composing, that’s something a little bit new for me. Fortunately I’ve found the right people to work with �" I know about dance music and they know about song writing - so it’s been a perfect amalgamation of the two.”

After four years of fronting his own weekly radio show, A State Of Trance, Armin signed a deal with The Radio Department (also home to John Digweed and Carl Cox's shows) to distribute it internationally. Now online and on fm stations, his website details who is already broadcasting it �" and the list is still growing. “There’s more new listeners because more people can access it now. I think trance is a universal experience; it’s one of the first musical genres that really showed its power through the internet, and I wouldn’t be where I am now if it wasn’t for downloads!”

Post-album, Armin says he’ll be “taking it easy for a bit”. Taking it easy Armin-style includes touring America (where he has a huge following) with Paul Oakenfold, who will then join Armin at his Armada night in Ibiza, a tour to promote Shivers, a huge event at the end of 2005 in Holland, and of course, the radio show, as well as focusing on new songs “when I get the time.”

"This is just what I want," says Armin. "It’s not love for music, it’s a passion, and it goes beyond liking, and beyond a hobby, it’s about a way of living. Music is essential for my life”.
Source : thedjlist.com

DJ Tiesto

Tiesto's career is punctuated by landmark achievements ' the first DJ in the world to sell out a solo stadium event for over 25,000 people, he scored a number one hit with his single Traffic, the first instrumental track to reach the top spot in his homeland of Holland in 23 years. His remix of Delerium featuring Sarah McLachlan's Silence was the first house track ever broadcast on daytime radio in North America, (it became an international dancefloor anthem and also spent eight weeks in the UK top 10 chart). He played live in front of billions of people during the Parade Of The Athletes at the official opening ceremony of the Olympic Games in Athens. But despite his meteoric success, Tiesto remains grounded about his achievements and clearly loves making and playing music above the accolades it brings.

On Black Hole Tiesto has released the Magik and In Search Of Sunrise mixcompilation series, and most recent Nyana. His remix of 'Delerium featuring Sarah McLachlan - Silence' was the first house track ever broadcasted on daytime radio in North America and was eight weeks in the U.K. top 10 chart.

Born in Holland, Tiesto became a DJ because he 'liked to share music with other people. When I was younger, I'd listen to a radio show called the Soul Show, and to Ben Liebrand's mix show, where he would remix and cut up different tracks, and I just thought - I wanna do this!' Starting out with a mobile show around the country, he progressed to student parties, and then to three nights a week in a club, learning and perfecting his craft. 'music was always my first love but back then I didn't know it was possible to make a living out of being a DJ... If I wasn't a DJ now though I'd be a chef. I love cooking ' it must be because of the mixing element!' The productions came later, in 1995. 'I really wanted to produce music that I could play in my sets, because it brings much more fulfilment to the process. I bought some samplers, some computer programs, and just started working on it.' He makes it sound easy ' indeed, he makes it look easy as 10 years down the line his productions consistently bother the charts and frequently reach number one around Europe.

In 1997 Tiesto, along with Arny Bink, formed Black Hole Recordings, the label that launched the hugely acclaimed Magik. In Search Of Sunrise, and Nyana mix compilations. The label grew to such proportions that in 2001 Tiesto started a sub-label, Magik Muzik. 'It's the home of records of mine, or of people whose work I really believe in,' he enthuses. 'Everything on Magik Muzik is what you'll find in my sets, which makes it more of my own little project.' Some of the gems from Magik Muzik include 2001 anthem Flight 643, his artist album In My Memory, and tracks from Umek, Mark Norman and Mojado.

Though known primarily for his pioneering contributions to the trance scene, Tiesto's style is now a mix of everything: 'trance, house, techno - it's the best of all that the dance world has to offer. In 1998, I was really a trance DJ, but now I've travelled round the world so much, different influences have seeped in and I play a bit of everything. I think the only way forward for DJs now is to play a diverse mix of sounds.' Indeed, his brand of trance was always pushing at the constraints of the genre anyway, featuring soaring vocals from the likes of Sarah McLachlan and Kirsty Hawkshaw, spine-tingling breakdowns, and euphoric melodies at every end of the spectrum. His productions, sets, and releases range from peak time club heaven to the sort of perfect chill out that could reduce a grown man to tears, and have at times owed as much influence to classical music as to dance.

The many high profile gigs and shows have now taken Tiesto away from exclusively playing clubs, and propelled him to become more of a mainstream artist. 'Often at my shows now, half of the people are die-hard clubbers, but the other half are people who know me from the radio, or from more mainstream gigs,' he says. 'It's more like they're going to a concert, so now I get a great mix of both worlds.'

In addition to this huge event, the album 'Parade of the athletes' is released worldwide in October 2004, which contains the music from Tiesto's set at the Opening Ceremony. Simultaneously, the title song of his 'Just Be' artist album is climbing the lists and is heard on dancefloors everywhere.

Describing the last few years as 'a journey of defining moments,' (as well as the usual club successes, his shelves are groaning under the weight of numerous awards ' TMF-Awards, MTV, Dutch DJ - and gold discs...) his favourites include the second night of the Tiesto In Concert show in Holland in 2004: 'I was really aware of what was going on, the music was just right ' a mix of all my big tunes and new tunes, everything just felt perfect that night. I played for nine hours straight, and it was my favourite gig ever.' And, of course, being voted by the readers as the number one DJ in the world for the third time. 'The first time it happened it was so amazing, I was overjoyed. The second and the third time were great as well of course, but the first time you're on the cover of that magazine that is so respected by other DJs ' it's like winning an Oscar!'

Continuing to explore fresh avenues, Tiesto is currently experimenting with new sounds in the studio, and writing more vocals himself. 'I'm not looking for any big collaborations right now, I'm more interested in a burgeoning talent ' someone whose voice is good, and that really touches you. A voice should sound like an instrument to me. I've had a spell away from the studio, relaxing and travelling, but now I'm really enthused about getting back in there. I'm more open to doing remixes again. I like to hear a track and right away know what I want to do with it, what I can make different, and whether it'll work for me in my sets ' all my remixes have to be tried and tested.'
The future for Tiesto promises yet further success, both as the solo artist he's become and the DJ we know him to be. 'Another album, more remixes, definitely,' he agrees, 'but it's hard to look too far into the future. Every couple of months it seems that something new, unexpected and exciting is happening!'

Sally Learmouth

Awards Overview

Awards 2005

* 3 FM Award Best Dance Artist

* Release Dance Award Best Trance/Progressive artist

* Release Dance Award Best International DJ

* TMF Belgium Best International DJ

* Dance Music Award Germany Best Trance Artist

* WMC Awards Miami Best Producer

* WMC Awards Miami Best Hi-NRG / Euro track

* WMC Awards Miami The Ortofon Best European DJ 2004

* WMC Awards Miami Best Producer 2004

* TMF Award Holland Best Dance National

* TMF Award Holland Radio 538 single of the year

* TMF Award Holland Lifetime Achievement

* Edison Music Award Best dance album ' Just Be

Awards 2004

* ID&T Dutch DJ Award Best Dutch DJ by audience

* Buma/Stemra Sound of Silence Award

* TMF Award Belgium Best International DJ

* World Music Award World's best selling Dutch artist

* Ibiza DJ Award Best International DJ Trance

* TMF Award Holland Best National DJ

* TMF Award Holland Best Dance Act National

* DJ Mag Top 100 Number 1 Position

* WMC Awards Miami Best International DJ

Awards 2003

* World Dancestar Award U.S.A. Best International DJ

* ID&T Dutch DJ Award Best Dutch DJ by professional jury

* ID&T Dutch DJ Award Best Dutch DJ by audience

* Radio 538 Dance Award Radio 538 Dutch Audience Edison

* TMF Award Holland Best Dance Act National

* TMF Award Holland Best National DJ

* TMF Award Belgium Best Dance International

* MTV Europe Music Award Best Dutch Act

* BG Magazine Award Best Club/Trance/Hardhouse DJ

* DJ Mag Top 100 Number 1 Position

* Mixmag Award Best Resident Ibiza

Source : thedjlist.com