To this point Max has risen from top-40 DJ in a teen club to a residency in a busy Ottawa underground club to gigs across Canada to the title of "Canada's progressive house ambassador" to North American recognition. Three years ago he signed with UK based Hope Recordings, and has since played out with the likes of label-mate Timo Maas, Van Dyk, and Oakenfold... He started producing independently, and quickly released singles like Airtight and Shoreline, which and been featured on compilations from Oakenfold and Tiesto among others... He signed on to Kinetic Records in New York in the last year, which released his Transport 4 double CD compilation... He's been playing everywhere - Asia, Israel, England, Australia, Ibiza, all over North America - with residencies at Circus in LA, Nikita in San Francisco, Sona in Montreal, Gatecrasher in Sheffield… He played for crowds of 40 000+ at Gatecrasher's summersoundsystem, and is signed on to play both US Creamfields... He's caught the interest of MTV, Mixer, Mixmag and other dance media luminaries…He's got a full touring and production schedule through 2001... and by all accounts, he's just warming up.

BIOGRAPHY & DISCOGRAPHY

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Paul Oakenfold

Style(s): Progressive House, Trance.
Label: Arista, Global Underground, Kinetic Records, Perfecto Records

Paul Oakenfold is the UK’s number one DJ. This simple statement, however, doesn’t even begin to properly acknowledge Oakenfold’s stellar contribution to our musical landscape. His signature can be seen in everything from the early rise of hip-hop and the re-invention of British dance culture to the Balearic explosion and the birth of ‘Madchester’.

BIOGRAPHY

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John Digweed

Style(s): Progressive House.
Label: Bedrock, Global Underground, INCredible

If you’re not an avid follower of dance music but are tuned into popular culture at all you’ve likely experienced music touched by the hands of John Digweed. Originally hailing from England but having clearly arrived on the global scene nearly a decade ago, John has long since cemented his name in the pages of dance music history. His list of achievements is groundbreaking to say the least.

BIOGRAPHY

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 GEORGE ACOSTA : At MIAMI Music Festival on March 22

When you think Miami Winter Music conference the first thing that comes to mind is, of course, the parties. And each year the Ultra the team provide the big one. This, the fifth installment of the Ultra Music Festival, is to feature a line-up that is bigger and better than ever before and will be second to none over the course of the conference. Last years crowd numbers reached over 30,000 and it will be interesting to see if they can pull it off again.

The latest big announcement has been the addition of Underworld’s live show to the absolutely massive line-up, alongside Sasha and Digweed, Tiesto, Paul Oakenfold and many more. Underworld has recently been touring the world; bringing crowds to their knees with their absolutely epic performances, which showcase both their timeless classics and unique new works. A selection of the jaw-dropping 100 plus total artists that are already confirmed for this year’s event is listed below.
Ultra 2003 Confirmed Line-up
Underworld, Paul Oakenfold, Sasha, John Digweed, Paul Van Dyk, Tiesto, Hybrid [live], Timo Maas, Erick Morillo, Goldie, Josh Wink, Mauro Picotto, Seb Fontaine, Roni Size, Junkie XL [live], Steve Lawler, Bad Boy Bill, Sander Kleinenberg, Craze / Adam F, Max Graham, Sandra Collins, Uberzone[live], Dj Dan, Storm, Donald Glaude, Kevens [live], Dieselboy, Hyper, Dave Seaman, Christopher Lawrence, Lee Burridge, George Acosta, John Creamer, Steve Porter, Ed Rush / Optical, MC Rymetyme, MC Dynamite Jimmy Van M, Andy C / Bad Company, Total Science, Sean Cusick, Chris Fortier and many more.
The Ultra festival will feature 14 hours (11:00am - 1:00am) of quality music across 10 different arenas. With video jockeys Vello V and OVT together with some of the worlds finest technology in terms of lasers and lighting the event is guaranteed to be a satisfying one. This edition of the Ultra Music series and it is no doubt going to mark itself as one of the most memorable events for the tens of thousands that will be enjoying the festival in Miami on March 22.

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FELIX DA HOUSECAT : Definitely money well spent, which will motivate you to dust off those icicles and head to your nearest dancefloor.

Name: Felix Stallings Jnr
Style(s): House.
Label: City Rockers, Obsessive Recordings, PIAS.

Being a clubber and having never ventured to sounds, I somewhat felt like an anomaly trudging slowly in the line to enter my first Sounds on Sunday event ever. The weather was not the best, fairly overcast and humid with a sky grey enough to guarantee rain. Upon entry I got chatting to one of the promoters of the event who informed me he was going to turn away a considerable amount of punters despite the financial gain that was to be had by letting them in. He said there was no point making the extra bucks when people will end up having a horrible day in the rain, it was nice to meet a business man who respects his clients’ comfort more than their money.

After sussing out the Greenwood Hotel’s transformation to Sounds on Sunday it was decided the place to be was the Courtyard, hosting Ben Korbel, Ajax and then Felix. There was plenty of cover provided in case the heavens were to open up (which they only ever did for a short period of time.) When speaking to punters on the day some felt the courtyard was a little too packed, but I thought it was no less comfortable than a busy club night, perhaps they were comparing to previous Sounds events.

Ben Korbel’s set was certainly an appropriate way to warm the crowd into Electro territory. Ben’s progressive roots could still certainly be felt during his set – plenty of wavy synths and flowing textures over tougher electro basslines and stabbing kicks seemed to juxtapose well and keep and deeper feel while people warmed into their day of dance. Ben’s set seemed to grow in intensity rather nicely, always building well from each breakdown, although sometime seeming a little stop-start. Never the less, it certainly worked well for the massive dancefloor who were truly up for it by the time Ajax stepped up to the decks.

Although a review should be kept fairly objective, I feel it must be said that Ajax really played the set of the day. Recently I have witnessed sets of his at other parties around town and found his sets to be a bit more “crossover” and less innovative than the Ajax I have come to love and cherish. Boy did he revive my belief that he is Sydney’s premier electro DJ. His set consisted of a few slightly older records, but really seemed to show off the best tunes of the last 2 or 3 years of electro. The bass heavy “Fears”, plenty of DFA remixes, classic City Rockers tracks and some fresh neo-rock sounds really helping shape his excellent set. With the usual finesse, Ajax also injected his innovative use of accapellas exploiting the now pop vocals of Bad Cabbage’s “Get Fucked” as well as Daft Punk’s “Harder, faster, better, stronger.” By the end of his set the crowd were captivated and ready for Felix’s follow through.

With the clouds setting a fairly dark and grey mood, Felix’s set seemed very appropriate. Intrusive electro-chords, harsh synth stabs and undulating basslines pummelled out of the impressive sound system for the next 90 minutes. Felix’s signature tracks were not ommited from his enjoyable set. “Silver shower screen”, “Control Freaq”, “Blue Monday” and plenty of other synthesised sleazy, dirty electro tracks pumped the crowd rather nicely. Felix’s mixing was somewhat elementary unfortunately - really let tracks play out and never doing anything interesting or risky behind the decks. Having said that it was miles ahead of his efforts at Field Day 2003. This only became a downfall when he entered the realms of filtered, cheesy breakdowns. It seemed to be an effort to slow down his set and chill the crowd but I can’t help but feel people would have preferred his set to keep banging away as it’s what most of Sydney have come to know Felix to do.

After about 90 minutes Felix hit the breaks. His set totally changed with a drop-mix into 120bpm “Neo-punk-I’m-reinventing-my-persona-through-valium-rock-n-roll”. It was cool, ultra sleazy rock-cum-electro that rarely is heard. Personally, I thought it was rather cool, but at the same time was too much of a downer after the previous part of his set. The crowd seemed to be patient enough and somewhat flattered as Felix played an extra hour than anticipated even if they weren’t totally familiar with the sound he was pushing.

After Felix, Shamus appeared behind the decks. Although Mark Dynamix had been billed to follow through, Shamus seemed to lighten things up a bit and move his cult followers into the last hours of their day out. It was at this stage I departed very happy with my first Sounds experience.

The moment I first listened , Felix da Housecat was added to my "must see list". The compilation "Excursions" is Felix Stallings'' second compilation under his Housecat alias. The first being critically acclaimed compilation "Kitten and Thee Glitz" won Muzik Magazine''s best album award.

Felix takes you on his Excursion and begins at the cinema with Ladytron''s "He Took her to a Movies." A delicate appetiser before he launches into an 80s inspired dirty electronic house that really gets you out of your seat.

Usually when reviewing a CD I listen to it a few times and then write what I think. But with this, I have played it countless times. I took it to work and was getting asked by every second customer what CD it was.

The first seven tracks are as spectacular as the next. We In Music''s "Now That The Love is Gone", Daniel , and Dot Allison''s "Substance" being some standout that were hard to choose.

By Track 8, the Excursion begins to traverse into the deeper regions of house. It hits its depth at Jeff Mills'' "Ticket to Thrillville". On the way back up from the deeper genre, we meet Aphrohead''s Thee Underground Made Me Do It".Felix''s takes you out of the depths with his own creation "What Does It Feel Like" which takes you to the stars and Zoot Woman''s "It''s Automatic", which is what you get right when you need something funked up. All in all the benchmark is set at nine just in case someone can do better. Definitely money well spent, which will motivate you to dust off those icicles and head to your nearest dancefloor.....

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DEEP DISH : Deep Dish have become well famous for much of their work as a progressive house duo.

From: Iran

Style: Progressive House

Indisputably, it was "Junk Science"' that brought Washington D.C.'s Deep Dish into the glare of the world's spotlight. The ground breaking 1998 album saw music critics in virtual meltdown while they struggled for superlatives. Helped along by the success of shimmeringly sublime singles like" The Future Of The Future (Stay Gold)"' (vocals courtesy of the lovely Tracey Thorn) and "Stranded", the album - a blistering mix of deep lush house, Chicago techno, jazz-tinged soul, soaring strings and moody atmospherics - was so diverse and unexpected that reviewers and record buyers alike were left gasping. Ingenious and bold, "Junk Science" was the surprise Album Of The Year. Although Deep Dish sprang from the flourishing deep house scene, with "Junk Science"' they managed to transcend genres, finding favor with music lovers of every like. The impact it had was instantly obvious, and Deep Dish's success at making records that sound as good on the radio or home stereo as they do on the dance floor has led many artists to follow them down the road of deeper musical innovation.

In the ensuing post-Junk media fall-out Deep Dish's Midas touch continued with a spate of classic remixes - including Brother Brown, Gabrielle, Amber, Morel and Beth Orton - and Ali "Dubfire" Shirazinia and Sharam Tayebi immediately became two of the most sought-after producers/remixers/DJs in the world. As the offers came pouring in, Ali and Sharam took great care to select choice projects, which reflected their taste for diversity and experimentation. Ever prolific, the pair now spend their valuable time as producers, remixers, DJs and recording artists, as well as finding time to run two record labels.

It was a 1991 chance meeting at a party where they were both on deck duty that led the duo to set up Deep Dish records. By 1992 their production and DJing skills had already attracted the attention of Tribal records (for whom they appeared on the "Penetrate Deeper" compilation) and their DJ hero Danny Tenaglia. By 1995, and with an anthemic remix of De'Lacy's "Hideaway"' under their belt, the pair were riding on the crest of a deep house wave which was all set to make a huge splash across Europe. Following remixes for the likes of Carl Craig and collaborations with old school friend Brian "BT" Transeau, the name Deep Dish became synonymous with the flourishing deep house scene. It was in 1996 that they first began to lay down tracks for "Junk Science" the album which would turn them, almost overnight, into dance music superstars. "Stranded" became a worldwide dance floor hit and "The Future Of The Future (Stay Gold)" even made it onto daytime radio and flirted with Europe's pop charts.

In 2000 Ali and Sharam could quite easily claim to be the most industrious men in dance music. They've spent their time since "Junk Science" on a number of high profile projects, not least their own Djing events and residencies around the globe. Enthused and invigorated by what they'd been hearing on these DJing excursions abroad, they had already founded the Yoshitoshi imprint in 1994. Set up as a subsidiary of the larger Deep Dish label, Yoshitoshi was initially intended as a side-project, which would enable them to release their friends' recordings. However, licensing tracks from smaller labels around the world, as well as finding new artists from demo tapes and bringing their projects to fruition, has been a labor of love for the duo in recent years. A labor that has paid enormous dividends; only a few years since its inception and Yoshitoshi is a breeding ground for talent, giving a home to artists who otherwise may never be heard by the club-going masses.

With a roster building into one of the finest in the country, Yoshitoshi is firmly established as supplier of some of the best beats from around the world. Yoshitoshi has provided a welcome outlet for the likes of Brother Brown, Morel, Miguel Migs, Kings Of Tomorrow, YMC, Chiapet and Eddie Amador. With the release last year of their "Yoshiesque" compilation - a stunning mix of deep house, garage, tech house and techno - Deep Dish continue to readjust and re-tweak the parameters of contemporary dance music whilst never losing sight of the dance floor. "Yoshiesque" is partly a retrospective look at the label's releases to date and partly an example of the Deep Dish clubbing experience. Deep, dark and delicious, "Yoshiesque" is a perfect example of what to expect should you be lucky enough to attend one of the Deep Dish DJ residencies around the globe. Infusing their trademark eclectic sound with down-tempo, hard techno, trance, house and drum & bass, the album is a lovingly constructed dance floor experience. A melting pot of styles and genres, "Yoshiesque"' manages to capture the classy groove of the perfect Deep Dish set.

Refreshingly diverse and reassuringly unique, Deep Dish continue to fly in the face of the purists who believe in the one-sound-suits-all theory of DJing. Deep Dish know that good music is good music and - like Tenaglia before them - they have no snobbery when it comes to making people dance. Says Ali:"We like playing tracks that people may not have heard before, styles that they may not think they're into. Keeping it diverse keeps us excited and we're there dancing right along with the people on the dance floor." The pair were recently holed up in their studio working on a new Renaissance mix which will be followed by another "Yoshiesque"' compilation later in the year. Yoshitoshi continues to drop superior quality tunes on a very regular basis - recent successes include: Eddie Amador's "Rise", "Bases Loaded" by 2 Smokin' Barrels (actually San Francisco's Tony Hewitt and London's Terry Francis), Luzon's "The Baguio Track" and a debut release from Oliver Lieb's Smoked titled "Metropolis". Keep your eyes peeled for more releases from Brother Brown - whose "Under The Water" was a standout tune on the first "Yoshiesque".

Somehow Ali and Sharam still manage to find the time to jet around the world with their record boxes stuffed full of priceless pieces of plastic. Their residencies continue at Twilo in NYC, Renaissance in Nottingham UK, 1015 in San Francisco and The End in London. You can also find them causing dance floor euphoria in Ibiza this year as they sign on for a Renaissance residency for the summer. Currently locked away in their DC studio, the in-demand duo are putting the finishing touches to a Madonnaremix. And for those of us who are chomping at the bit for some more original Deep Dish material, rest assured because it's on its way.

Homepage: www.deepdish.com
Deep Dish have become well famous for much of their work as a progressive house duo. Both their production and live sets are impressive to say the least and their site features all that you could ask for, and more. The site also features links to Yoshitoshi, their record label.

 

 

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