DEETRON / BUG, STEVE / OSBORN, TODD / JONSON, MATHEW - [V2] ACID SAMPLER

The man behind Deetron is Sam Geiser (1978) born and still living in Bern. He first got into contact with music during his early childhood, for his father is a Jazz musician. His big youth passion, however, was HipHop. He was fascinated by the likes of Gang Starr, A Tribe Called Quest, Prince Paul but also by Todd Terry?s early HipHouse tunes or Detroit techno originators Juan Atkins and Kevin Saunderson. After having bought two turntables and a mixer, he began deejayin? Hip Hop in 1992. The deejay culture of the Hip Hop movement was his link to electronic music. He started deejaying at different clubs all around Switzerland and became resident at the world famous Club Trax @ Rohstofflager in Zürich and got well known for his 3-deck mixing skills and sets blurring the lines between Techno, House- and Detroit-classics. He made his first sound experiments with a sampler in 1994 and from then on continuously built up his own studio because of his avid interest in electronic sounds. An introduction to Stefan Riesen from Phont Music in 1997 led to his first release as Soul Mate on Phont Music. He then travelled to Japan for deejaying in 1999 and recorded the ?Double Exposure Vol. 1? EP with DJ Shufflemaster in Tokyo, again for Phont Music. In the year 2000 he was contacted for an EP by In-tec records where he released the very successful ?Alien Entertainment EP? which was hammered by the likes of Jay Denham, Claude Young, Jeff Mills and Laurent Garnier and attracted attention from press and listeners worldwide. In 2001 ?Dolls for a diva? was released on the highly acclaimed Music Man label in January, the start of a strong relationship with this label from Belgium. New EP?s followed on Dave Angel?s Rotation (Vertigo EP), Jay Denham?s Black Nation/Sector 616 (Dancing manual EP), Steve Bicknell?s Cosmic (as Karakter), Ongaku (Lorraine EP) and Phont Music (Cut Back EP). Sam remixed Samuel L. Session, Ben Sims, Damon Wild, Steve Bicknell (as Karakter), K-Alexy Shelby, Orlando Voorn, Paul Mac and others. His energetic DJ- sets reached clubs in Holland, Belgium, England, Germany, Austria and a promotional DJ-tour in Australia took place in July 2001. After the Outerworld EP on Music Man and several remixes in early 2002 the highly acclaimed debut Mix-Compilation by Deetron has been released in June by Music Man, which gained a lot of praise from press worldwide and gave his worldwide DJ-Schedule a boost by making it as hectic as never before. He travelled to Spain, Croatia, France, Belgium, Holland, Australia, Singapore, Japan, China, Czech Republic, Poland, Macedonia and more places all around the globe. The anticipated cooperation with Samuel L. Session released in July on SLS, remixes for Ben Sims, Damon Wild and Gary Martin amongst others highlighted his production work. Deetron will start the new year with a brand new single coming out on Music Man in February, including the tracks ?Body Language? and ?Uncutfunk?. Furthermore he is preparing his Debut Album for Music Man to be released in 2003 and remixes for Vince Watson and Mark Broom. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

Germany’s minimal dance connoisseur, Steve Bug, started his DJ-career in a small after-hour bar near Ibiza’s Space back in 1991 - soon becoming resident DJ in the best club in his hometown Bremen and booked to major German events such as the Love Parade. In 1993 he released his first productions on Hamburg-based Superstition Recordings (which were immediately licensed by Risin’ High- UK) and in 1996 he founded his own label Raw Elements, followed by a 12“ for Felix Da Housecat’s Radical Fear imprint. After “Volksworld”, his first LP on Raw Elements, together with the mix compilations “Da Minimal Funk Part 1 & 2” Steve put the label to sleep in order to set up two brand-new platforms for vinyl releases – Dessous and Poker Flat. Always crossing the bridges between house and techno with relaxed dignity, showing consequently that less can often be more, Steve Bug is soon to be acclaimed minimal tech-house master and one of the few gems of the innovative German electronic house scene. Poker Flat establishes itself as the number one source for stripped down futuristic house music with amazing musical diversity and it’s name spreads like wildfire with Steve’s eternal minimal clubhit “Loverboy” in 1999 - the opener to his album “The Other Day” and the very first release on Poker Flat. For his second label– the deep house oriented Dessous - Steve shows his passion for late night unhurried house and teams up with Vincenzo for the project “Discowboys”. A new mix compilation “Steve Bug presents The Flow“ was released on Cocoon Records in 2001 and Steve remixes Robotman, ADNY a.k.a. Alexi Delano, Antonelli Electr. feat. Miss Kittin and others on labels such as Raum...musik, Italic, Turbo Records and his own imprint Poker Flat Recordings. Steve Bug releases his third album “Sensual“ in late 2002 and teams up studiowise with Richie Hawtin for “Low Blow” on Minus as well as with Common Factor for a 12“ on Tactile. The 3rd Da Minimal Funk compilation and remixes for Funk D’Void, Jeff Samuel and Freaks follow. Steve Bug’s continues playing with seductive and laid-back funk, dirty retro basslines and random bleeps, incorporates techno electro and basic funk into bare house grooves creating moody minimal and seductive music. Further new Releases like „Future Retro 101, Traffic Signs (1, 3 ,4 and 5) and Tanzbug with Mathias Tanzmann follow showing Steve‘s love for the dancefloor and prove that he has an over abundance of funk and minimal melody coursing through his veins. For his third label, Audiomatique, founded as a playground for modern styles of Techno and House, on only the 4th release Trentemøller‘s Physical Fraction already scored a big success. This massive Clubhit was the breakthrough for Danish shooting star Anders Trentemøller. The next hit dropped with Martinez‘ „Schadow Boxing“. The new Steve Bug Single „The Smackman EP“ came out on Poker Flat in early 2006, followed by the second edition of “Bugnology” in late spring 2006. Apart from his work for Poker Flat and Audiomatique, he still has his hands on Dessous as well and compiled one CD of the double-CD “Skin Is In” compilation in summer 2006. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

Todd Osborn, also known as Soundmurderer ran the first Drum & Bass record store in the Detroit area, as the ex-owner of the legendary Dubplate Pressure shop. His obsession with drum and bass led to him setting up his own label, Rewind Records. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

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 and bass into minimal clubs, and loading up his B-sides with tracks that do what they damned well please. 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 hiphop 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 DJ'ing 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. 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. 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. 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. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.