Armin Van Buuren

[Armada Music, Netherlands]
www.arminvanbuuren.com
www.myspace.com/arminvanbuuren

Future Entertainment is proud to announce the return of Armin Van Buuren in a 4hr plus extravaganza. Armin was voted as the ‘Best International DJ’ in the annual OZ inthemix DJ pole 2007.And it seems the rest of the world agrees again as Armin also takes the top spot for the second year in a row in the DJ Mag Top 100 2008 poll last year. Other awards in 2008 included the most prestigious award in Dutch music, the Buma Cultuur Pop Award, and at the International Dance Music Awards (IDMAs) in Miami, he took out Best Mix Show DJ and Best CD Compilation The success of his A State Of Trance radio show has led to a signing with The Radio Department (home to Carl Cox and John Digweed), who have distributed the show internationally.

Armand Van Helden

[Southern Fried Records, USA]
www.myspace.com/armandvanhelden

* New York City based Grammy Award nominated DJ/Producer/Remixer
* Produced multiple top 40 hits on the UK pop charts including ‘U Don’t Know Me’ (UK pop charts #1), ‘Koochy’ (UK pop charts #4), ‘My My My’ (UK pop charts #12), ‘I Want You Soul’, ‘NYC Beat’, ‘Flowerz’, ‘Hear My Name’, ‘Why Can’t You Free Some Time?’, ‘Ultrafunkala’, ‘Witch Doctor’, and ‘Funk Phenomena’.
* Produced full length artist albums ‘Enter The Meatmarket’, ‘2 Future 4 U’, ‘Killing Puritans’, Gandhi Khan’, and ‘Nympho’
* Mixed compilations ‘Live From Ya Mutha’s House’, ‘Get Up’, ‘Repro’, and ‘New York: A Mix Odyssey’
* Remixed platinum artists including Rolling Stones, P. Diddy, Janet Jackson, Britney Spears, and Tori Amos (UK pop charts #1)
* Headlined clubs, festivals, and special events around the world as a DJ
* Armand Van Helden ‘Ghettoblaster’ artist album out now on Southern Fried Records
* Armand Van Helden ‘New York: A Mix Odyssey Volume 2’ compilation album out now on Southern Fried Records

You know Armand Van Helden, right? The self-styled ‘bad boy’ of house, the man with a mountain-size ego, the six-pack framed poser with his joke of an Ali G-like pencil beard, the money-hunger remixer who famously cleared the dancefloor at Space, who really wants to make hip-hop, but can’t.

You know Armand Van Helden, right? The same Armand Van Helden that doesn’t own a flat, or a car, who chooses to walk around his adopted home of New York, rather than chug about in a chrome-plated SUV. The homeboy who was championing the raw, energetic, fun sound of hip-house long before it became a fashion accessory. The straight-talking, no-nonsense trainspotter who still spends hours thumbing through thrift stores in search of tunes to sample, the music fan that owns thousands of rock records. You what?

“I love classic rock,” says the 33-year old producer. “I love digging in the crates. If you’re going to make music then you’ve got to know music. But I won’t pay more than a dollar for the classics. That’s my whole thing. It’s about the digging aspect, the challenge - the fun of it. The Steve Millar Band, Led Zeppelin, Blondie… I could go on about my favourite rock music all day long. If you’re a house head, true at heart, and you don’t like the White Stripes then you’re out of your head. The groove, the bass..it is house music. Now rock’s fun again and it’s making the club scene fun. I think we’re going to find a balance between house and rock.”

Yes, Armand’s been less than complimentary about dance music in the past. Yes, he’s sometimes indulged in his own fantasies and come up short with underwhelming house and hip-hop ‘concept’ albums. Yes, he pissed off several hundred European clubbers in Ibiza. And, yes, he has been as he admits “cheap” at times.

“I can be blunt and aggressive,” he concedes. “I don’t have a lot of sarcasm in my conversation. I’m not all ‘Mr Funny’. In fact, I’m always dead to the point. But that’s because I have a deep love of what I do and I’m not playing games.”

And yet beyond the misconceptions rest the tunes themselves, a lasting legacy of house music master strokes that are so brazen they virtually slap you in the chops and command you to swing your hips and shuffle your feet.

And they stretch back virtually as far as his career itself.

A b-boy at heart, Armand’s move toward house was geared by both an open admiration for Todd Terry’s aggressive cut-and-paste dynamics and a passion for the late 80s hip-house of the Jungle Brothers, Tyree and Fast Eddie.

“One of the good aspects of hip-house was that it was lyrical,” he says now. “It had a great impact on people. Those records are still memorable now.”

After spending his childhood at army bases in Europe before settling in Boston, it was hip-house’s mix and match ethos that provided the basis for the tough, sample-heavy cuts with the city’s X-Mix Productions outfit that first drew attention his way. By 1992 he had become both promoter and DJ for the after-hours Loft club and made his solo debut – ‘Stay On My Mind/The Anthem’ – for New York’s Nervous records.

It wasn’t long before the call came from the then-dominant Strictly Rhythm stable, via whom Armand soon built up a rock-solid fan base with both English and American DJs, thanks to a stream of tuff club cuts – including 1994’s ‘Witchdoktor’ EP - that amplified tribal house’s template and sounded devastating on the dancefloor of the best club in world, the Sound Factory.

Then came the Armand basslines. You know, the ones that fused jungle’s colossal sub-bass with razor-edged, steel-rimmed beats and virtually commanded your arse to kindly make its way to the dancefloor: Tory Amos’ ‘Professional Widow’ (a UK number 1 back in 1996), Sneaker Pimps’ Spin Spin Sugar’, CJ Bolland’s ‘Sugar Is Sweeter’ and Nu Yorican Soul’s ‘It’s Alright, I Feel It!’

“I have attention deficit syndrome,” he laughs by way of explanation. “I get bored quick.”

In a sea of ‘faceless’ artists, Armand floated adrift by a mile, and the UK’s dance music media promoted him as a superstar. FFRR signed him up thinking they’d found a new wallet lining. Expectations were raised. But while Armand embraced the attention behind the scenes he continued to do what he’d always done, “make beats”.

In 1999 one of them ‘You Don’t Know Me’ – reached number 1 in the British pop charts. A top-drawer house album – ‘2 Future 4 U’ – followed with Armand continuing to mix–up styles. He continued to dent the UK charts too, with club crossover hits like ‘Flowerz’, ‘Koochy’ (a top 5 hit in 2000) and ‘Why Can’t You Free Some Time?’ While as a remixer, Armand turned tricks for a string of platinum-selling artists, including Puffy, Janet and the Stones.

Just when it looked like house music’s star had fallen from grace, one of the world’s most sought-after DJs returned in 2004 with a bang. A two year hiatus was over. His mix album, ‘New York: A Mix Odyssey’ on Southern Fried was the first outburst. Fusing Armand’s passion for the rock and house scene of downtown New York, its cut-and-paste party dynamic received a rave reaction. Two huge singles, Hear My Name and My My My followed and left dancefloors and radio stations quivering in their wake.

In 2005, Armand Van Helden releases a new album. The natural next step. Incredibly Nympho is Armand’s first proper artist album for five years. It’s been worth the wait. Times may have changed, but it seems Armand’s instinctual knack for soaking up various musical influences and spitting them out again in the form of an undeniably gut-wrenching killer track hasn’t. One listen to this new album, the undeniable feeling is still the same. The same as it ever was. Armand’s music is the sound of someone having FUN. Answering their calling. Enjoying what they do best.

“Before I go make a song I listen to some old records,” he says. “Sometimes I don’t even know who the artist is. Sometimes the cover just looks good y’know, with the dudes with the skinny leather ties – you just know that gotta’ be some good ‘80s shit.”

So this is the sound of Armand Van Helden in 2007, “Ghettoblaster”, an infectious mixture of old school charm and 20 years of dancefloor nous coming together in one joyous whole. It’s a sound that is instantly recognisable and yet alarmingly different. A sound that is playful and fun. A sound that only a true pioneer could succeed in grasping.
Armand – a true original.

James Zabiela

[Renaissance, United Kingdom]
www.jameszabiela.com
www.myspace.com/jameszabiela

Knowing what a great track should sound like - and the place it can be taken by warping and twisting it - is James Zabiela’s forte. Layering different sounds with the aid of two Pioneer CDJ-1000s, a Pioneer EFX-1000, Korg Kaossilator, MIDI controller and a laptop, his hands and ears don’t let up for a second, leaving any punters feet a-moving and mouth a-gap. Zabiela’s demands for such a kit wherever he spins is a reminder that he’s one of the scant few DJs who’s pushing things forward in ‘09.

James’ style is trippy, bleepy and deeply - nay, downright - groovy. Oh, and watch out for a few gnarly basslines along the way, those nasty, dirty sounds are a part of JZ’s signature now. Scratches, loops, and fluttering chord changes are all par for the course in a Zabiela set.

No wonder childhood idols Depeche Mode remain his heroes - like fellow tech-house don Mathew Bushwacka!, they all understand that the best electronic music moves both heart and feet. And if the magic’s there, the spirit will fly as well. “Entertainment and education are the key,” nods James sagely. “It’s all about finding the balance. People have paid good money to have a party but you still need a balance.” Which is why his effects unit is so crucial to his performance. “Anyone can mix two records to a degree,” he grins, while still admitting to the odd bout of nervousness during radio interviews if not behind the decks. “But I’m a hundred times more confident than I used to be.

DJing has definitely helped my confidence as a person.” Watching him play, it’s easy to forget that making things look easy takes time to perfect. Zabiela’s crossed a few bridges - and a few national boundaries - along the way. “I haven’t worked it all out yet,” he adds. “But I do wish I could grow an extra arm sometimes!”

James’ career so far has been stratospheric to say the least. Swiftly snapped up by Sasha’s Excession agency, he spent the next year taking on Eastern Europe, Australia, South America and the US of A, while still finding time to record well-received CDs for Renaissance and unleash a string of fine remixes along the way. Royksopp, Ladytron and progressive artists Spooky have all been under the Zabiela scalpel - and more are on their way.

Pushing the envelope while still learning to cope with a real-life fan base and life on the other side of the record counter, it’s unlikely that James Zabiela will be taking a breather anytime soon. There are further late niteries like Tribal Sessions and Matter to entertain and regular slots in Romania and Budapest to attend to.

On a recent trip to Argentina he played a five-hour set in front of 6,500 screaming punters at Moonpark in Buenos Aires. No wonder Sasha refers to James as the guv’nor, This is just the beginning.

Chris Lake

[Rising Music, New York, USA]
www.chris-lake.com
www.myspace.com/chrislake1

Globally recognised as one of the most exciting, forward thinking and cutting edge producers on the scene, Chris Lake’s rare ability to create tracks that fuse elements of house, electro and techno has not been lost on his fellow peers. His innovative productions continue to receive wave after wave of support from such luminaries that include Sasha, Danny Howells, Justin Robertson, Sander Kleinenberg and Carl Cox, whilst Pete Tong leads the way in championing the unique sound that has established Chris as one of the world’s elite.

An avid producer since 2001, Chris’s breakthrough came in 2005. His tracks ‘One Too Many’ and ‘Release’ caught the attention of the world’s press and A&R bosses, but it was the release of his smash hit ‘Changes’ that catapulted his name into the record boxes of DJs across the planet. ‘Changes’ became Radio 1’s ‘Essential New Tune’ twice, reaching number 27 in the national charts and picking up column inches in tabloid papers and magazines; turning the once underground buzzer into a worldwide hit.

Chris’s DJ schedule duly sky rocketed and over the past 2 years, he has travelled to all four corners of the globe taking in Asia, South America, USA, Australia and Africa. He has graced some of the biggest clubs on the planet that include Ministry Of Sound, Space, Warung, Spybar and Amnesia together with countless festivals – Global Gathering, Creamfields and the Extrema festival in Holland.

In 2006, Chris set up Rising Music as an outlet for his new productions. Rising swiftly became the benchmark for pure underground house – releases that included ‘One Too Many’, ‘Fantasy’ and ‘Release’ have set the standard, whilst Chris has also shown that his A&R head is amongst the best in the business by signing artists that include Sebastien Leger, Micky Slim and Deadmau5.

Chris’s success continued in 2007 with his track ‘Carry Me Away’ hitting the coveted number one spot on the USA Billboard Dance Chart, thus etching his name into the dance history books and propelling his US profile into the stratosphere.

Further collaborations in 2007 with Deadmau5 on ‘I thought inside out’ and Sebastien Leger ‘Word/Ghost’ once again proved Chris’s versatility in the studio, and with both productions hitting the Beatport Top spot, Chris continued to cement his status as one of the world’s finest producers.

And of course there is the small matter of Chris remixing some of the biggest names in the music scene. Robbie Williams, Kylie Minogue, Mark Ronson, Lily Allen, Deadmau5 and the Rogue Traders are amongst some of the names to have received sublime workouts from Chris, and support has been immense; not only from Radio 1, but every major radio station around the world.

Radio 1 has also allowed Chris to show his unrivalled ability in the art of DJ’ing. His Essential Mix in August 2007 was yet another defining step in his career as he unveiled two hours of sublime techno, electro and tech house to keep a worldwide audience of millions captivated. His mix was voted as one of the best since the inception of the Essential Mix series, and reminded everyone why Chris is at the top of his trade.

2008 has seen Chris’s profile grow even bigger with his global DJ tours, top quality releases, and an eye for the new media world via his new Podcast series – the latter of which has made i-Tunes’ ‘new and notable’
for the last three months. Meanwhile his stunning track ‘Only One’ taken from his One E.P has held its place in Beatport’s Top 5 for more than two weeks, and is currently climbing the US and Australian dance charts faster than ever.

His latest track doing the rounds is ‘If you knew’, a track Pete Tong reckons is “sounding like a cross between ‘Changes’ and the song ‘Pjanoo’ never had - conventional but huge….and we haven’t had a song like this for a while.”

Chris shows no signs of slowing down, and with demand for his sound even higher than ever, you can be sure to see his name up in lights for many years to come.

Kissy Sell Out

[San City High, London, U.K]
www.myspace.com/kissysellout

Kissy Sell Out is an electro-pop prodigy. Initially the new DJ kid on the block, he became the remixer du jour for everyone from Groove Armada and Chromeo to Gwen Stefani. Now he’s about to unleash a debut album that will surprise everybody and take him to a whole new level. Heading up his band, not only does he write, produce and arrange all his own material, he also sings and performs on both guitar and keytar. Oh- and he has his own show on Radio 1…

Kissy Sell Out wasn’t your average kid. His manic musical eclecticism derives from the twists and turns of his youth. Kissy was born 23 years ago and spent his early years in Cambridge where he developed a precocious interest in Nirvana. He tells a funny story about his first encounter with Kurt Cobain’s outfit: “At primary school a friend told me that his brother had received a Nirvana video for his birthday. I knowingly said, ‘Oh, yeah,’ because I thought it sounded so mysterious; I actually thought it was porn…”

It wasn’t long before this misunderstanding was cleared up and by the time he moved to Colchester in Essex a few years later, he was a fully fledged junior grunger. This, however, was not the thing to be in Essex… Speed garage ruled and, while he secretly listened to Smashing Pumpkins, Kissy outwardly transformed himself into brash Tommy B who DJed speed garage and prog house at his mates’ parties.

Then he headed for London to attend St Martins, the famous Art College, where he accidentally became a nouveau East Londoner without even realising it. He did graphic design for the ultra-cool POP magazine, created his own tee-shirts featuring a typically offbeat collection of his influences (eg. Japanese techno experimentalist Susumo Yokota and folk artist John Martyn). He painted, grew a mullet and turned his attentions to music.

New albums by Mylo and Felix Da Housecat hinted at a place where his interest in grunge dynamics could co-exist with his DJ/club sounds. He knew his way round a computer and, in 2006, created the stomping electro-rave anthem ‘Her’ along with the persona of Kissy Sell Out. Packaged in a self-designed sleeve on his own San City High imprint, he persuaded Rough Trade to take 100 copies and, since it contained just the right combination of raw sweaty energy and snappy electro pizzazz, it soon started a clubland buzz.

Word spread and, before long, Kissy was DJing all over the globe and remixing a mass of artists (Calvin Harris, Human League, All Saints, Mark Ronson, Sugababes, GoodBooks, etc, etc). He became known for having a new attitude to partying; raving behind the decks on a diet of chocolate and his own endless gusto rather than the powders and pills of an older jaded generation. Towards the end of 2007 he decided to devote himself to his own music and has upped his musicality, playing all sorts of instruments and learning about singing techniques and live recording.

This festival season has borne witness to Kissy Sell Out as a band that has taken revellers’ breath away. Inspired by Spank Rock’s show and the performance example of Mark Ronson, it became clear that Kissy could take a ringmaster role, playing guitar and keyboards, hyping the crowd and leading a show that would rock the crowd.

“When I started talking about a band,” says Kissy, “lots of people were throwing around words like Groove Armada and Basement Jaxx but they’re much more pure dancey than we’re going to be. It won’t be rock or indie, though, definitely not.”

Kissy Sell Out is a guy whose favourite band is ‘80s New York avant-noise outfit SWANS, but who’s happy dissecting the latest cuts from Sinden or High Contrast. He loves dance music but isn’t ruled by it.His oddball obsessions fly by – from Capri Sun drinks to beef jerky - but a hardy perennial is the cult 1989 film ‘Bill And Ted’s Excellent Adventure’. He’s even put the tribal ‘80s pop of Big Pig’s ‘Breakaway’, featured heavily in the movie, on his new Australian Ministry Of Sound mix CD.

“Keanu Reeves was at his best as Ted - young Keanu Reeves is my ideal,” Kissy laughs, “Not ‘Matrix’ Keanu but ‘River’s Edge’ Keanu, ‘Bill And Ted’ Keanu – a grungey guy who never grew up. All he wants to do is play music and have fun – that’s my ideal.”
And when Kissy has fun he wants everyone else to have fun too.

His DJ spots are notorious for his use of airhorn, his 2 Unlimited mash-ups and his crowd interaction. Now he’s taking this to an exhilarating new level with his band, it seems likely a whole lot more people are going to be embracing Kissy’s idea of fun.

Altern 8

[London, U.K]
www.myspace.com/mrnex

Altern-8 was formed in Stafford in 1990, as a side project to the already successful Nexus 21 (a name chosen because of its “technoey” sound), when both members were 21. From the outset the band’s objective was to develop their style which was heavily influenced by the musical elements of the Detroit techno artists Derrick May, Juan Atkins and Kevin Saunderson, as well as the Chicago sound of Phuture and early electronic heroes Kraftwerk.

Altern-8 tunes changed the world of dance music, influencing many artists, with their mixture of the sounds of the Roland TB-303, 808 and 909 with breakbeats and familiar samples. At the time in the UK, outdoor rave events were legal, and Altern-8 had a reputation for turning up to play at major unofficial events. They helped to define trends and anthems in hardcore techno with music that became faster, relying more heavily on bass and volume. The use of more bass and eclectic noises gradually evolved Altern-8’s music away from the earlier house music style. The duo, dressed in chemical warfare suits and dancing “like electrified monkeys”, took part in a large number of live performances.

Notable Altern-8 tracks include “Activ-8″, “E-vapor-8″, “Frequency”, “Brutal-8-E”, “Armageddon”, “Move my body”, “Hypnotic St-8″ and “Infiltrate 202″. The band produced an album on the Network Records label in 1992 called Full On… Mask Hysteria. After disbanding in 1993 they later regrouped for a comeback tour on which they were rumoured to have played a midnight rave set in the middle of a country farm.

In 1992, Peat entered as a candidate for the Stafford constituency in the General Election representing the Hardcore (Altern8-ive) party. He polled 158 votes and finished in fourth place. In 1993, Archer began producing as Slo Moshun with Danny Taurus, responsible for Bells of N.Y., and Xen Mantra. Full On… Mask Hysteria by Altern-8.

Altern-8’s somewhat surreal image made for dramatic photographs and videos, but the same PR that helped to sell their music was eventually used against the rave movement, as the UK tabloid press published stories about the dangers of ecstasy, illegal raves and their impact on the countryside, resulting in the Criminal Justice and Public Order Act 1994.

Rozalla

[London, U.K]
www.myspace.com/rozallamiller

Rozalla first came on the scene in the 1980s in Zimbabwe, the country she had moved to from her birth country. Her singles charted well in the area and an English record producer took her to London in 1988. Rozalla’s career took off when dance anthem “Everybody’s Free (To Feel Good)” reached number 6 in the UK Singles Chart in 1991. The track soon crossed over to international charts and reached the Top 10 in many European countries. It also reached number 37 on the Billboard Hot 100 the following year.

In 1996 Rozalla released a remix of “Everybody’s Free”, which was to become her last UK Top 40 hit to date.

For the next ten years Rozalla would only sporadically release new recordings and her success was limited to various club charts. Her ‘new’ output would primarily consist of remixes and re-recordings of her old hits.

In 2002 she enjoyed a hit single with a remix of “Everybody’s Free” in Germany. She re-emerged in 2003 alongside Plastic Boy on the vocal Trance hit single “Live Another Life” which peaked at #55 in the UK and her track “All Or Nothing” was a sizable club hit in 2005.

Rozalla released a new album entitled Brand New Version on February 2, 2009. It featured a much more mellow, jazz/soul sound, with 8 new tracks, as well as covers of Paul Weller’s “Broken Stone” and Pete Doherty’s “For Lovers”, as well as a bonus-track jazz-influenced remake of “Everybody’s Free”.

In the same week a Global Deejays remix of “Everybody’s Free” entered the Top 40 of the Australian charts. It has so far climbed to number 7, making it Rozalla’s highest charting and first Top 10 single in Australia.

[Jack Union Records, USA]
www.myspace.com/hijackhouse

HiJack is known for making and playing bouncy, funk-fueled grooves with chunky beats and quirky hooks. His original sound fuses jacking house and techno, with samples from all musical eras and genres. Influences span from James Brown to the Neptunes, and include house pioneers Dave Taylor, Derrick Carter, and Jacob London.

Jon Chant began creating tracks and remixes as HiJack in 2006, for his DJ sets and mix tapes. He has since produced around 40 official HiJack tracks and remixes, whilst running self-helmed label Jack Union Records, and releasing projects under his alias Vukasin.

In the past three years HiJack has become an established name in the UK’s underground house music scene. He has produced five original EPs for Potty Mouth Music, Jack Union Records, and On The Brink Recordings, and a long list of remix projects, with reworks of the likes of Magik Johnson, Lee Mortimer, and DJ Dan, for labels including Underwater Recordings and Brickhouse Records.

His productions have regularly gained support from influential artists and DJs, from Moby to the Crookers, and have received frequent airplay from BBC Radio One DJs Annie Mac, Dave Spoon, and Kissy Sellout.

HiJack’s DJ sets are known for being packed with unreleased tracks and re-edits, and have generated a large following for his online podcasts and mixes. In 2009 HiJack mixed the first in an official compilation series for Potty Mouth Music.

Over the past year HiJack has performed at venues and festivals across the UK and Europe, for some of the world’s biggest dance brands including Ministry Of Sound, the Gatecrasher festival, and Dutch Gathering. He is currently touring the USA, with a string of shows in cities including Chicago, New York, Miami, and Los Angeles.

In the coming months HiJack will be performing in territories across Europe and beyond, and will be releasing more music than ever, with new original EPs and remixes of the likes of Adam Freeland and Ursula 1000.

[Kitsune Records, California, USA]
http://www.myspace.com/

Danger

[Ekleroshock, France]
http://www.myspace.com/2emedanger

The Danger phenomenon can’t be missed: over a million plays on myspace, a vinyl sold out in 3 weeks and chosen as Itunes USA single of the week, over 15,000 tracks digitally sold, a hundred amazing live shows in Paris, New York or even Tokyo, as well as many catchy remixes including Estelle featuring Kanye West, Sébastien Tellier, Midnight Juggernauts and Empire Of The Sun.

Two years ago, Danger aka Franck Rivoire, was merely a young and unknown producer. Thanks to his first EP, 09/14/2007, he quickly became a key figure of the new French electro scene. So why stop there? A year and a half after the release of his first EP, he returns with a new one.

True to his initial concept (all his tracks are defined by hours, which are, according to him, as evocative as feelings) and flavored by varied emotions, this new EP embodies the best of Danger’s productions – dynamism, surprising structures, sought textures – and displays a wider sound palette. His personal artwork is omnipresent throughout his work, just as his videos are interlocked to his productions.

More than mere music, Danger, who was strongly influenced by videogames as a teenager, creates a full-fledged universe where these elements interact and complement each other. He admits that the “Danger sound” has evolved : calmer and more melodic, less
saturated and compressed.

His EP opens on « 88:88 », an original atmospheric and epic waltz, « 07:46 », eyes a thriller soundtrack and is coupled with breaks and bleeps worthy of a descendant of Aphex Twin during the “Window Licker” era. Going back to his first love, the production of hip-hop tracks, he invites the American rapper Vyle for a gripping featuring.

As for the remixes, they begin with a Danger self-remix, ideal for dancefloors and the blogosphere; the second one is signed EAT, a duo from Berlin close to Luciano and Villalobos, hosted by the label Diamond and Pearls; the last one comes from Japan, and was concocted by the buzzing Japanese trio 80kidz.

What’s next? A third EP and an album out this year! Rest assured, the best is yet to come.