QUIVVER / SEAMAN, DAVE / MAGIT CACOON / HANNES BIEGER / PARRY, STEVE - [V2] SELADOR DECADE VOL 2

Quivver is producer, vocalist and songwriter John Graham. He also uses the aliases Skanna, Stoneproof and Space Manoeuvres - Skanna for drum and bass, Stoneproof for house and Space Manoeuvres for trance. He is a former member of 90's production team Tilt and has previously worked with Hybrid, notably as a guest vocalist on the "I Choose Noise" album. In 2005 he takes part for the Planet Funk album as vocal member. In 2006, Graham appeared on progressive house/breaks act Hybrid third LP, I Choose Noise as a vocalist. Graham has also toured with the group as a semipermanent vocalist, along with Charlotte James. In 2008, Graham's album under the Quivver name, Dirty Nails & Vapour Trails was released on Critical Rhythms. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

MOST DJs fall into club-life by accident due to their love of music. Not Dave Seaman. He decided he wanted to become a DJ when he was eight years old – and Played his first gig at 12. All his DJ dreams have long since come true, but he’s never lost his enthusiasm or his creative drive. Seaman has headlined clubs on every continent – he is one of the UK’s most travelled, most creative, and most celebrated DJs in the world. In Japan he was photocopied in a life-sized Xerox for a Levi’s advert; in Australia he presented an episode of the BBC’s Choice World Clubbing programme and was later profiled for Channel 4’s 4DJ series. His Global Underground mix albums have come from Melbourne, Cape Town and Buenos Aires. Greatest dj of all time. He’s DJed for a Stella McCartney birthday party, got drunk with Robbie Williams, and lived in New York. As half of Brothers In Rhythm, he produced for Kylie Minogue & the Pet Shop Boys, remixed U2, Michael Jackson and Dido. He was the defining first editor of Mixmag and a resident DJ at Shelley’s, the legendary acid house club that launched the career of Sasha. He was there at the beginning of the British dance music revolution and he’s still one of its leading proponents today, his contagious enthusiasm unabated despite this glittering career. Today Dave Seaman is more energized than ever - because he recognizes that British dance music, having gone back to its underground roots after a period of upheaval, is entering a renaissance. Outside of the mainstream, away from the UK’s transient pop-culture fashions, cool new scenes are forming in cities all over the UK. “We’re entering a new phase. Dance music in the UK needed to implode - the great acid house detox,” Seaman says. “We shed all the dead wood and hangers on. I feel like I’m starting again almost. It’s very exciting.” Consequently Dave has spent the last year in a creative whirlwind. He’s about to release the second volume of his Audio Therapy mix series, with Luke Chable, for Renaissance. His Group Therapy production alias with studio legend Chad Jackson has produced barnstorming remixes for the Scissor Sisters, Tears For Fears and Starsailor. Group Therapy aren’t just about remixes, either. Their singles ‘My Own Worst Enemy’ and upcoming release ‘Something To Believe In’ pitch singer Natalie Leonard’s hypnotizing vocals over sleekly funky melodies and pumping club beats. Group Therapy’s high-octane fusion of vocals and strong-arm licks with pumping dance beats neatly updates Brothers In Rhythm’s club-anthem sound. “We've been working with a lot of vocals - and that live rocky sound. Lots of guitars, but quite bleepy as well,” says Dave. “The idea is to make it accessible to More than just the underground. If you can give things mass appeal, but with more depth when you look beneath the surface, then there’s more substance.” Born and bred in Leeds, Dave famously won his first career break in a competition. He was a member of the groundbreaking DJ organization DMC when he won a trip to the New Music Seminar – then the world’s leading music conference, held in New York. DMC bosses were unsuccessfully queuing at the door for Nell’s - at the time NYC’s hottest club – when the cheeky Leeds teenager, who’d befriended a bouncer, popped out to lead them past a throng of irate clubbers, industry big-wigs, and hot-shots into the venue. They were impressed enough to offer him a job as editor of their in-house magazine, Mixmag. Dave’s early work helped establish the magazine as the world’s leading dance music title - a role it still occupies today. And he used the magazine as a springboard to his DJing career. So when Mixmag photographer Gary McLarnen opened a club in Stoke-On-Trent called Shelley’s, Dave found himself warming up for Sasha. Shelley’s quickly became legendary in early 90s clubland – and Dave’s DJing career was up and running. Seaman is unique among leading DJs for his versatility: his ability to work within different genres without compromising his distinct musical identity. He is world-renowned as an underground dance DJ, yet as half of Brothers In Rhythm with production genius Steve Anderson he worked with some of the biggest names in mainstream pop. In the early 90s Brothers In Rhythm created classic club anthems like ‘Such A Good Feeling’ and ‘Peace And Harmony’ – not to mention an unforgettable remix of Sabrina Johnston’s ‘Peace In The Valley’ - that soldered euphoric soul vocals to blistering house beats. These were tracks that helped define a golden age for British dance music, and which quickly brought Brothers In Rhythm to the attention of the Pet Shop Boys. ‘Such A Good Feeling’ was Chris Lowe’s favourite record of 1990: Brothers In Rhythm suddenly found themselves chucked in at the deep end, producing ‘Go West’, ‘Was It Worth It’ and ‘DJ Culture’ with the Pet Shop Boys at some of London’s plushest studios. Brothers In Rhythm worked on Kylie Minogue’s ‘Impossible Princess’ and ‘Kylie Minogue’ albums, writing tracks like ‘Did It Again’ and the beguiling, atmospheric ‘Confide In Me’. “Probably the song we’ve made I’m most proud of,” Dave says now. They were in the middle of the fan frenzy that surrounded Take That!, one of the 90s biggest pop bands, producing the ‘Nobody Else’ album and tracks like ‘Never Forget’ and ‘Sure’ while fans tried to scale studio walls and Dave enjoyed wild nights out with one of the band’s most charismatic members: Robbie Williams. In the early 90s, so-called ‘progressive house’ emerged: the UK’s first distinctively British, house music style. At DMC, Dave and his former Mixmag Deputy Editor Nick Gordon Brown started Stress Records, releasing early productions from Sasha, Andy Cato from Groove Armada, and John Digweed. Brothers In Rhythm embraced the new genre’s fusing of American grooves, British dub and European techno sensibilities, producing progressive house classics like ‘The Mighty Ming’ as Brothers Love Dubs and ‘Nasty Rhythm’ as Creative Thieves. They went on to remix David Bowie, Placebo, U2 , Alanis Morrisette, New Order, Blur and Sting. It’s fair to say that no other British dance production team has made such an impact on mainstream pop and rock acts. In 1998 Dave moved to New York’s East Village for a while. Back in the UK in 1999 he started Audio Therapy with a gang of like-minded music lovers – and the company has since become home to an A-list team of DJs and producers. Dave’s links with Melbourne’s vibrant club scene has brought in key talent like the innovative DJs and producers Phil K and Luke Chable and hotly-rated live electronic act Infusion, alongside leading UK names like Lexicon Avenue, Jonathan Lisle and Pete Gooding. The company has also worked with international DJs like James Holden, Timo Maas and Anthony Pappa as well as groups like Slacker, Evolution and The Light. Audio Therapy is also a leading independent label – home to Dave’s Group Therapy project, as well as a roster of diverse talent that covers all bases from progressive through to breakbeat and the funkier styles of French house. It’s an imprint that’s kick-started the recording careers of Infusion, Habersham, Ernest Saint Laurent and Stel. With a set up like this behind him, it’s no surprise that Dave is now tailoring back his international DJ commitments to focus more attention on his recording career. But he remains a star DJ with an enviable, international reputation, and his disarming Northern humour means this never goes to his head. On his website, he presents a cheeky snapshot of himself with a more famous namesake: former England goalkeeper Dave Seaman. It’s typical of an approach to music and business that have kept DJ Dave Seaman’s feet on the ground and his audience’s hands in the air. “It’s about having fun, but understanding that the music has got depth as an art form. Finding that balance. I try to put that ethos into the records that we make and into the DJing that I do,” he says, “trying to give dance music an identity beyond the underground.” This instinctive understanding of what clubbing is really about means Dave Seaman is perfectly placed to enjoy dance music’s creative revival. “Acid house is dead,” he enthuses, “long live acid house. Here we go again! From biography at http://www.djdaveseaman.com Read more on Last.fm. 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As one of Europe’s most in-demand mixing engineers Hannes Bieger has built an untouchable reputation, with an exhaustive client list that includes some of the biggest names in contemporary house and techno. Over the course of 11 years he has been consistently in-demand, providing his expertise and intuition to friends and associates from Âme to Ellen Allien, Steve Bug and everyone in between. Now Hannes is stepping back into the foreground, out from the shadowy depths of his high-spec studio to resume his own solo endeavour. Emboldened by years of experience, a renewed zest for production and a lifelong romance with electronic music, Hannes Bieger is a mixing powerhouse who has been inspired to imbue his wealth of knowledge into this exciting new chapter in his life… Hannes’ new journey began with the purchase of the coveted Moog modular synth in 2016, which gave him a huge creative boost. His move into the world of mixing began 11 years ago when he was a reputed producer in his own right, releasing a series of well received EPs and two albums via Mole Listening Pearls. Once the mixing took over, he took a hiatus from making his own music. But after years of encouragement from his vast roster of clients, his purchase of the modular Moog led to his decision to finally step back into the limelight and release music of his own, using his real name – and releasing techno – for the first time. With an endless stream of case studies passing through his operating table, Hannes has been privy to an exclusive look at what works and what doesn’t when it comes to premier dance floor material. Learning key lessons from some of the most talented producers in the game, Hannes has accumulated a huge store of knowledge and skills resulting in a ‘less is more’ approach. He places great importance on this reductive method, never overcooking his productions and allowing the various elements to have their own space yet work symbiotically and effortlessly. In the very early days Hannes was experimenting with UK music like trip hop and broken beat, producing and mixing in tandem – unaware that the latter was usually handled by someone else. He then picked up a job at Berlin’s premier mastering company, Calyx, where he was mentored by Bo Kondren. After a couple of years Hannes set himself up as an independent mixing engineer, soon becoming the go-to mixer for a long list of popular electronic artists. He continues to work on projects with Calyx as well, maintaining a long running relationship with one of the best-known mastering outfits in Europe. Parallel to refining his expertise in the studio, Hannes was investing his earnings in a mouthwatering collection of synths, all of which take pride of place in his impressive lair. Getting to know his prized collection inside out means the production process always takes place outside the box, and always involves a spirited, physical approach. This technique allows Hannes to have fun while making music, to embrace the physicality of his sounds and immerse himself in the production process, resulting in music that comes straight from his heart and soul. Over a decade, and thousands of mixing jobs, since he first began his journey Hannes is primed to embark on his own solo career with his debut EP landing on Steve Bug’s influential Poker Flat label. The music is emotive, driving and embodies a distinctly classic sound. Already lauded by Mixmag, who gave it 8 out of 10, the two-track EP is the perfect introduction to Hannes’ sound. ‘Strato’ is a brooding, synth-driven cut with simmering energy and a dark, mysterious underbelly that slowly creeps out from behind its shadowy curtain. On the flip ‘Rhyolite’ has an infectious riff supported by an insistent rhythm and a spine-tingling breakdown which is the centrepiece of the whole track, bound to send dance floors into complete uproar. This move back into production is an important moment for Hannes, though he remains modest about his achievements and full of curious excitement as to where he will go next. His story so far has laid the foundations for a bright future and it’s only just starting to unfold… Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

There are at least two artists with the name Steve Parry. 1. A US base Americana Singer/Songwriter & Performer 2. A Welsh Jazz musician and Drummer 1. Steve Parry hails from Minnesota, the land of John Gorka, Bob Dylan and Greg Brown. Having traveled the earth he finally staked his claim in Stillwater, MN. His travels have led him to live in some of our country’s iconic music cities like Seattle, Chicago, New Orleans. Using a pinch of spice from each of these locales, to flavor his songs, allows Steve to create a banquet of musical delight. Texas musicians have had an especially major influence on his song style. Here’s a recent quote by a national music industry professional about Steve’s music: “I very much enjoyed hearing this material. You have a wonderfully evocative voice, and I love the fact that these performances sound so relaxed and expressive. In terms of style, it sounds like your music has just blown in off the midwestern plains. There’s a stark nature to the arrangements that recalls in my mind windswept fields, weather beaten barns, and Depression era America. Very evocative.” Steve’s music tends to make audiences feel they are living his stories first-hand. He crafts his art with pen and guitar rather than canvas or clay. Some of Steve’s favorite fellow storytellers are John Prine, Slaid Cleaves, Michael O’Connor, Verlon Thompson, Guy Clark, Jonathan Byrd and Steve Earle to name just a few. He’s happiest when he can spark a memory with a melody from the past, or create a new one with a brand new song. When he sees his listeners smiling and tapping their toes a he knows a connection has been made. Steve has had the honor of opening for a number of nationally known artists such as: Billy McLaughlin, Seth Glier and Jonathan Byrd. His music has been featured on FM radio in the US, Europe and Australia as well as a number of internet bases stations. 2. Since turning professional at the age of 17, Steve has been involved in many musical situations - the main one being the West End show The Official Tribute to the Blues Brothers produced by David Pugh. Steve joined the show in January 1997 as trumpet player and became musical director in June of that year. Since then he has appeared in the West End and toured the UK and Europe extensively with the show on trumpet, drums, occasionally keyboards and one memorable Friday matinée in Hull on bass..! In between tours with Blues Brothers, Steve plays with various jazz, latin, pop and function bands finding himself in many different places including the Royal Festival Hall, Royal Albert Hall, Ronnie Scott’s and a trip to Namibia under his own name headlining the first Cheetah National Arts Festival in Otjiwarongo (2004). Also, the end of 2009 saw Steve’s big-screen debut(!) playing the Mercury Orchestra’s trumpet player in the feature film ‘Me And Orson Welles’ directed by Richard Linklater. Steve has appeared on the same bill as The Real Thing, The Drifters, Rod Stewart and Dionne Warwick; has worked with many great performers such as John Hurt, Liam Neeson, Richard E. Grant, Richard Griffiths, Kenneth Branagh and Roger Moore; and also collaborated with Andrew Lloyd-Webber and Tim Rice. He has performed in such diverse situations as the Commonwealth Games in Manchester, the millennium celebrations at the Millennium Dome (now the O2 Arena) and the cricket World Cup final at Lords. Steve has played in the band of Corinne Bailey Rae on gigs such as the V-Festival, Glastonbury and Live Earth 2007 at Wembley Stadium with Corinne and John Legend. In 2010 he was asked to be part of a new show; Sgt Pepper’s Lonely Hearts Club Show, in which he plays keyboards, trumpets, horn, clarinet, saxophone, percussion and backing vocals. Steve is also the musical director for up-and-coming girl band Angels in White. Steve’s latest project, and one he is most proud of, is Simply Big Band; a show consisting of a 26-piece orchestra, 3 singers and 6 dancers. Steve is the arranger, musical director, co-writer and co-director for the show. Whilst being active as a player, Steve is equally active as a writer, composing music for West End/Broadway award-winning shows as well as bands like the Trinity College Big Band, NYJO and his own Steve Parry and the Big Band From Hell. Many of his compositions/arrangements are available here. And to add to that, he also has had jingles used on British national radio, including the well-loved ‘Beat The Busby’ theme as featured on Chris Evans’ Drivetime show on BBC Radio 2. With regards to recordings, Steve is a busy session musician playing on numerous albums and TV commercials. He also has released a single (It All Starts Here) and an album (The Organ Quintet Recordings) of his own material. Follow the links to to preview/download/purchase, also more recordings can be heard at Steve’s myspace page. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.