Day One
Surprisingly enough my career started in 1985 at my local boozer, The John Lyon in Harrow west London – it was a great pub, everyone went there. My friends and I used to buy a lot of funk and soul (the sound at the time) and one night the DJ there didn’t show, so me and my then DJ partner Ali Jobe asked the governor if we could bring the records down and do it. We were so good that he fired the DJ. In fact it got so popular that they started charging an entrance fee.
And then acid house took off and I started DJing properly. It was 1988, and at a night called ZigZag at Broadway Boulevard in Ealing, London. We used to spend our Sundays at Queens in Colnbrook which became such a success that Dean Thatcher (best known as a founder member of techno/house act The Aloof) and I started up our own Sunday night, Haven Stables - well, it was more of an afternoon evening really. The place used to go off big time and was packed to the rafters until it came to an end in 1991.
Our adventures in clubland got so successful that we hooked up with Charlie Chester (now famed for DC10 at Circo Loco in Ibiza, Charlie also founded legendary record store Flying Records in Dean Street, London) to promote a Tuesday night at Queens, which is out near Heathrow Airport. You’ve gotta excuse the pun, but this is where my career really took off; my profile was raised and I was able to grab guests spots around London.
Going Mad On Ibiza
1990 was also the year I first went to Ibiza with the small record label that I was
working for. I loved it so the following summer I packed three or four bags of records, £500 cash and a small bag of clothes with the full intention of staying there for as long as I could. And that’s just what I did. Fast forward to 2001 and me and my frequent DJ partner Alex P seem to be as much a part of the Balearic scenery as Pikes, Manumission and the puke in the streets of San An!
The first time we met in Ibiza Alex was really drunk. He threw beer all over me and rolled around on the floor. And then he got arrested and we met up the next day and the rest is pretty much history. Two years later I met up with Peeze again and he invited me to play at the Space Terrace, which he had built himself. For the next five years we were residents at the Sunday Session, a place that confirmed the Terrace's reputation as one of the most special places in clubland.
Over the past ten years I have seen Ibiza transform from a secret party island somewhere in the Med to one of the craziest places on earth. It has grown so big now that you can easily have the best night of your life every day of the week. Every year I look forward to a summer of what life should be like all year round – absolute madness.
More clubs than Tiger Woods
I’ve been lucky enough to have had my fair share of wicked residencies over the years like Up Yer Ronson in Leeds, FUBAR at the Milk Bar in London (which I co-promoted with Lisa Loud), Club For Life and Malibu Stacey (both in the capital) and Scream in Plymouth. Nowadays I play regularly at the Ministry of Sound, Turnmills, Miss Moneypenny’s, Golden, Republica, Progress, Karanga, Colours, Clockwork Orange and Kelly’s. I’m sure there’s loads of other places which you’ve probably been to and see me larking about on the decks – I’ve been all over Europe, my international tour of carnage has stopped off in Hong Kong, Singapore, Thailand, Australia, the US (I love the Ra Club in Las Vegas) and all points in between. Israel’s a good one – I’m a regular at Allenby 58 in Tel Aviv and C Bar in Eilat.
Records, radio – I do them all
But it’s not all DJing and partying. Production-wise, I’ve had three singles released as Blockster, which I made with the M&S boys of Salsoul Nugget fame – Something Goin’ On, Grooveline and You Should Be Dancing, all out on Ministry – and a collaboration with DJ Gee last year called Zeus’ Dance out on London/Systematic. Tall Paul and I did a record as The Grifters which was out on Duty Free and there's new projects on the boil as we speak. I could go on, but for my full discography, click here...
Those who live in London also have had the pleasure, since October of '97 I became a fully fledged radio presenter, presenting a show on Kiss 100 alongside Ibiza’s other legend and my oldest mate Alex P. Peeze and Blocko's House goes out every Saturday evening from 5-7pm – catch us if you can!
At the end of the day
My favourite thing about DJing is seeing crowds go mental. It’s fantastic. It makes your job worth doing – it’s everything you work for. It just makes it so good to see the happy faces, enjoying themselves… everyone’s in there, waving their arms in the air. It’s a DJ’s dream.
DJ Hype began producing in 1989, engineering and co-producing tracks (including "Exorcist" and "The Bee") for Kickin', Strictly Underground and Suburban Base - where the latter label released his track "Shot in the Dark" that made the UK Singles Chart in 1993.[2]
His Ganja Records label gained popularity primarily through dance floor fillers such as "You Must Think First", "Tiger Style" and DJ Zinc's "Super Sharp Shooter". Their popularity peaked in 1996 with the release of their first album, Still Smokin' , a label compilation released jointly by Ganja and Pascal's Frontline imprint. Re-released in 1997, its success also led to a major label deal with BMG's Parousia sub-label and the establishment of True Playaz, a Hype led DJ and production unit also including DJ Zinc, Pascal and Rude Bwoy Monty. His 1997 Parousia EP, New Frontiers, with Ganja Kru, reached #56 in the UK Albums Chart.[2]
DJ Hype is known for his jump-up DJ sets, including appearances at the Playaz night at Fabric.
On 30 March 2009, Hype released a new double album mix compilation on Rhino Records, entitled DJ Hype presents Drum and Bass Essentials.
Danny Rampling's name is synonymous with dance music, from pioneering and been an integral part of dance culture, to a successful radio and producing career to constant DJ appearances at top nights around the globe, Danny Rampling is not a name we can easily forget.
He loves what he does. Musically he is a perfectionist always putting in a huge amount of energy and care. He says the music is in extension of his character and personality, an extension of his spirit that goes out to the people when he plays and is so inherent in the elevated vibe on the dance floor during one of Danny's sets.
Danny has recently taken on 2 monthly residencies in the UK, which have been nothing short of fantastic. The first Saturday of the month is London Calling @ Turnmills in London, where Danny plays host to various guests from across the world. The last Saturday of the month is at Bed in Sheffield, which is growing to be one of the top nights in the north of England.
Jules began playing in 1987, launching the career that has easily notched up hundreds of thousands of miles, millions of spins of the decks and countless gigs in far-flung destinations, as well as the odd dirty warehouse thrown in for good measure. Jules’ DJ sets are the epitome of what DJing is about - passion, amazing tunes and a set of hands capable of the most nimble of mixing.
Jules embraces dance music across the spectrum and you’re just as likely to find him spinning trance to 10,000 at a festival, as playing a rocking house set in a 500-capacity venue.
Jules’ voice can also be heard on airwaves across the globe, through his ‘Global Warm Up’ show, which is syndicated to several stations around the world including Sirius Radio, a satellite station available across America..
Jules leads a very active life juggling the ever-growing list of facets to his career that has made him not only the man he is today, but also the emissary to the world dance music industry both at home and abroad.
Layo & Bushwacka! are one of electronic music’s most esteemed duos. Comprising of Matthew ‘Bushwacka’ B, a percussionist in the London School Symphony Orchestra who was converted into a member of the infamous Rat Pack after a warehouse party in ’88, and Layo Paskin, a North Londoner immersed in the acid house scene who met Mr C at one of the legendary Clink Street parties in 1988, before together setting up their world renowned night club, The End. It was via their mutual friend Mr C that Layo & Bushwacka! first met, whilst Matthew was working at his studio, and by the mid 90s the two had started writing music together. Over a decade later, the partnership has yielded three artist albums, three mix albums, internationally renowned club residencies and a superb record label.
Three artist albums have proven them remarkably talented producers, capable of mixing styles, tempos and genres to create enduring and engaging electronic music. Their trio of mix albums and international club residencies have shown they are masters of the turntables, sonic connoisseurs who can guide a dance floor on an epic journey through the many facets of their sound. Their label Olmeto meanwhile has become a bastion for quality, a label that, much like its figureheads, has become a rubber stamped seal of class.
Mr.C went into the studio to record his 1st house track with Eddie Richards as Myster-E which was released in August 1987. This inspired Mr.C to become a DJ to learn more about his beloved House & Techno music so in September 1987 Richard took to the decks. Mr.C has since organized, promoted & been resident DJ at: Fantasy ('88), Base (Dungeons '89), Release (91), Harmony (92), Drop (93), Cyclone (94), Vapourspace (94 & 95), Flavour (The End 95 & 96), Subterrain (The End 95 - 2002), Superfreq (Worldwide 2002 - Present), Super Disco Freq (LA 2010 - present). Mr.C was also resident DJ every weekend (Friday & Saturday nights) at the legendary RIP parties at Clink Street in London throughout 1988. It was here that Rave Culture as we know it was truly born, inspiring all London raves that were to follow in 88, 89 & 90.
Ignited by an internal combustion engine fueled by raw emotion, Nicole Moudaber is at the forefront of her own movement. The sought after DJ and Producer presides over an empire that includes MOOD; her highly influential record label and global party brand, as well as a hugely popular radio show, a back catalogue of incendiary techno releases and a range of philanthropic endeavors. Nicole’s unique appeal has won her a legion of like-minded fans all over the world; no bullshit, upfront honesty, integrity, vulnerability, anger, passion, love, kindness, loyalty and a unflinching determination to keep pushing forward make her a force to be reckoned with. An unstoppable soul who stands in a class of her own, Nicole Moudaber is one of the techno world’s most iconic contemporary artists…
The incessant fire in her belly has catapulted Nicole into the upper echelons of the electronic music world, where she occupies her own space as head of the Mood empire. The global reach of this brand has led to Nicole curating MoodZONE festival stages at the world’s biggest events: Electric Daisy Carnival (New York, Las Vegas & Orlando), California's Escape, and BPM Festival (Mexico & Portugal) joined by friends such as Carl Cox, Sasha, Danny Tenaglia, Chris Liebing, Paco Osuna, Pan-Pot and Dubfire. Aside from her own events, Nicole’s relentless touring schedule never ends, delivering her dark, emotive and lascivious blend of techno to clubbing institutions worldwide including Paradise at DC-10 in Ibiza, London superclub fabric, New York's Output, and a range of events hosted by the Ultra family, where Nicole is a regular face on the Resistance stage, headlining across multiple continents including North America, South America, Europe and Asia.
Nicole Moudaber is a speaker of truth, a campaigner for social justice, a lover, warrior, woman - a human being with the darkness and light we all carry within us. Beyond the artist you see on stage, Nicole is instigating change; a leader whose legacy is centred on empowerment, education and social progress…
World's No 1 DJ in the World not once but twice...three times Grammy Award Winner, DJ, producer, remixer and label head Paul Oakenfold is inarguably one of the most important figures in the history of dance music.
Paul has contributed more to popularise the genre over the last 3 decades than anyone else. He was responsible for breaking house music to British clubbers and then took the genre above ground, masterminding dance-minded productions and remixes by rock and pop stars such as Happy Mondays, Madonna and U2. Paul has also founded the highly successful dancelabel 'Perfecto Records' and held celebrated residencies at two of the biggest UK. superclubs of all time, Ministry of Sound & Cream.
Paul will be performing & personally curating the closing night of Human Traffic Live! It truly doesn’t get much better than this and will be an a very special night for the closing of the Human Traffic 2020 series. Paul will be playing & personally curating the closing night of Human Traffic.Live
His musical output is prolific and including no less than seven esteemed live albums, Live Jam tracks, EPs and 12” singles released on his own Cubism imprint as well labels such as Awesome Soundwave (Carl Cox’s new home for live artists) KMS, Superfreq, Liebe*Detail, Soma, Motech, Bedrock, fabric (London Club), My Favorite Robot Records, Wiggle, Monique Musique, Golden Gate Club Records, My Favourite Freaks and many more.
Saytek's trademark improvised live recorded tracks are the weapons of choice for the most current, respected and in-demand DJs of the scene including Carl Cox (Saytek has become one of his most played artists), Laurent Garnier, Maceo Plex, Kevin Saunderson, Derrick May, Steve Lawler, Pan-Pot - among many other leading players.
He was nominated for Best Live Act by DJ Mag for their 2013 Awards; while Mixmag awarded Album Of The Month the same year.
In an industry of smoke & mirrors, ghostwriters and fake DJs, integrity goes a long way and Saytek is what many consider a true electronic musician, sticking strongly to his beliefs and core values.
Initially known as Brother International, the band began as an instrumental acid-jazz group in 1985, changing their name to Brand New Heavies after gaining their first record contract. The band were quick to gain a cult following, finding many fans in the burgeoning London club scene. Initially formed of Jan Kincaid (drums/keyboards), Simon Bartholomew (guitars) and Andrew Levy (bass/keyboards), the band soon added a brass section as well as vocalist Jay Ella Ruth.
The band signed with indie label, Acid Jazz, for their self-titled debut album, which garnered widespread critical acclaim upon its release. The band also gained a US distribution deal with Delicious Vinyl, with whom they re-recorded their debut for a US release. Jay Ella Ruth also left the group at this time, with N’dea Davenport brought in instead. Brand New Heavies found hits in the UK with “Dream Come True” and “Stay This Way,” but it was with “Never Stop” that the Heavies broke the US market, becoming the first group to break into the American R&B Chart since Soul II Soul’s success.
After collaborating with Q-Tip and MC Sech, the Brand New Heavies were inspired to incorporate more hip hop influences into their music, evident in their next album, “Heavy Rhyme Experience, Vol. 1.” The album brought in Main Source, Gang Starr, Grand Puba and The Pharcyde to feature on the 1992 recording, which peaked at 38 in the UK and 139 in the US.
Success continued for the Heavies with 1994’s “Brother Sister,” which went Platinum in the UK. Davenport left the group to pursue a solo career, with singer Siedah Garrett taking over vocal responsibilities, with her first feature with the band being on 1997’s “Shelter.”
After two successful greatest hits albums, released on both sides of the atlantic, Davenport decided to reunite with the group, joining them early in 2006. “Get Used To It” arrived a year later, after which they embarked on an extensive tour across the UK and Europe. The band returned to their instrumental roots with 2011’s “Dunk Your Trunk,” before once again uniting with N’Dea Davenport, as well as new vocalist Dawn Joseph, for 2013’s “Forward.” Joseph became the group’s sole vocalist on their 2014 release, “Sweet Freaks,” their first for Earmusic.
Fast-forward to 1997 and he found himself working at the famous UKG label Ice Cream Records. During the year he worked with them he witnessed their growth from a small unknown specialist label to one that saw major chart success with hit after hit. This was a real eye opener, Friendships were forged here that would become valuable further down the line.
His unique style is all about vibes and energy, perfect for rave or club. He can be credited as being the first DJ to use the mic himself in raves, almost like a Jungle version of David Rodigan. His love for this music is undeniable and Interacting with the crowd comes as second nature, Educating the ravers & spinning stories – An Uncle Dugs set is a highlight of any event he plays. Regular bookings outside the UK now mean that in places such as Japan, Australia, New Zealand the name Uncle Dugs carries the same weight it does here.
In 2013 he won the ‘Best Jungle DJ’ crown at the OldSkool Awards at Koko in Camden. This really confirmed his place at the very top of the DJ tree. He was in fact the only DJ to be named in both DJ categories at these awards, A massive achievement and something he rightly feels very proud of.
With his band Bassomatic, Orbit toured throughout Europe and the UK, performing at venues such as The Hacienda in Manchester, Roskilde Festival in Denmark, Heaven in London and also deejayed using his extensive vinyl collection.
In 2013 William worked with Britney Spears and Will.i.am on her album ‘Britney Jean’, with fellow songwriters Ana Diaz and Dan Traynor with whom he wrote and produced the track ‘Alien’. He was a writer and producer on the Chris Brown song “Don’t Wake Me Up” which was recorded at Record Plant in LA and for which he received an ASCAP award in 2014. The song has had 165 Million views on YouTube. This was followed by a production of the Queen track, ‘There Must Be More to Life Than This’, which featured archive vocals by Freddie Mercury and Michael Jackson. Orbit went on to produce another Queen song, ‘Let Me In Your Heart Again’. In 2015 his composition ‘The Name of the Wave’ was used in the Oscar winning documentary ‘Amy’, directed by Asif Kapadia.
He has recently performed in Almaty, Kazakhstan, and at a gala at Banqueting House in London’s Whitehall for the charity ‘Together For Short Lives’, a group that sponsors and supports children with terminal illness and their families.
He occasionally holds songwriting retreats during the New Years week at Studio at The Palms, a recording studio located within Palms Casino in Las Vegas.
He is a member of an improvisational drama group in London with his friend Professor Noreena Hertz.
William alternatively resides in Soho and by the beach south of Los Angeles. He is a longstanding member of The Groucho Club in Soho and hosts freestyle social events and dinners in the neighborhood for circle.
He is writing a book and painting with oils on canvas.
In 2000, Flür published his autobiography, Ich war ein Roboter (English version: I Was a Robot).[3] The book covers his youth, early career as a musician, and some of his activity within Kraftwerk. Hütter and Schneider filed a lawsuit against Flür, causing a temporary halt of the publication and revision of parts that included disputed accounts of his time with the band.
Recently, Flür has been seen DJing in clubs, playing tech house and electro. He has also played electronic percussion with the German synthpop band Dyko in live shows and on their 2009 cover of Kraftwerk's "Autobahn". He has also performed under the moniker "Musik Soldat".
Japanese singer Maki Nomiya's 2005 album Party People included the song "Yamate Line," with songwriting and co-production credited to Flür/Yamo.
On 16 October 2015, Flür released his first solo album under his own name, entitled Eloquence.
Such is their swashbuckling sense of adventure, it’s hard to believe that X-Press 2 have been at the vanguard of British electronic music for two decades now. Whether it’s as musicians, DJs or remixers, the London duo share the same sense of musical discovery that first united them on the acid-house dance floors of Shoom and Spectrum and the Balearic playgrounds of Ibiza. A pioneering spirit that fuelled early Nineties underground anthems such as the percussive, US-influenced Muzik Express and London X Press. And why not? Chutzpah that helped them create languid deep house classics like Lazy and Give It with vocalists as unlikely - yet inspired - as David Byrne of Talking Heads and Kurt Wagner of Lambchop. A DJ bravado that led to them thinking, two decks are for wimps. Why not six or seven? Why not twelve?
The Three Musketeers have recently become two, with the departure of Ashley Beedle, but its full steam ahead for remaining members Rocky and Diesel. We shouldn’t read anything into Beedle's absence beyond the pressures of combining his solo and production work with X-Press 2, insists Rocky. It just got to the stage where Ash was trying to do too much. He’s the kind of guy who, if he could please everyone, he would, but it just wasn’t conducive to producing good music on either side. It’s absolutely cool between us - we're still good mates and the door is always open if he ever wants to get involved again.
So, now X-Press 2 are two, what does the future hold? In short - loads. Obviously, with Ashley leaving, the dynamic has changed, says Diesel. But we are carrying on the X-Press 2 sound and developing it. The key is that the pair are as excited about music as they were when they first met in Hayes, Middlesex in the mid Eighties. In their DJ sets - now on a relatively restrained four decks and CDJs they steer away from the Lazy era and chart a new course through 21st century house of every hue, from the lush and stately to the sparse and jacking. We are just overwhelmed by how much great stuff there is, smiles Diesel. We just can’t get everything in.
Indeed, in X-Press 2’s world of limitless possibilities, only one thing is certain. We will never make a song that says; Take me higher, insists Diesel. That’s just never gonna happen. Rest assured - Rocky and Diesel are as restless and averse to predictability as ever. Long may the adventure continue…
Such is their swashbuckling sense of adventure, it’s hard to believe that X-Press 2 have been at the vanguard of British electronic music for two decades now. Whether it’s as musicians, DJs or remixers, the London duo share the same sense of musical discovery that first united them on the acid-house dance floors of Shoom and Spectrum and the Balearic playgrounds of Ibiza. A pioneering spirit that fuelled early Nineties underground anthems such as the percussive, US-influenced Muzik Express and London X Press. And why not? Chutzpah that helped them create languid deep house classics like Lazy and Give It with vocalists as unlikely - yet inspired - as David Byrne of Talking Heads and Kurt Wagner of Lambchop. A DJ bravado that led to them thinking, two decks are for wimps. Why not six or seven? Why not twelve?
The Three Musketeers have recently become two, with the departure of Ashley Beedle, but its full steam ahead for remaining members Rocky and Diesel. We shouldn’t read anything into Beedle's absence beyond the pressures of combining his solo and production work with X-Press 2, insists Rocky. It just got to the stage where Ash was trying to do too much. He’s the kind of guy who, if he could please everyone, he would, but it just wasn’t conducive to producing good music on either side. It’s absolutely cool between us - we're still good mates and the door is always open if he ever wants to get involved again.
So, now X-Press 2 are two, what does the future hold? In short - loads. Obviously, with Ashley leaving, the dynamic has changed, says Diesel. But we are carrying on the X-Press 2 sound and developing it. The key is that the pair are as excited about music as they were when they first met in Hayes, Middlesex in the mid Eighties. In their DJ sets - now on a relatively restrained four decks and CDJs they steer away from the Lazy era and chart a new course through 21st century house of every hue, from the lush and stately to the sparse and jacking. We are just overwhelmed by how much great stuff there is, smiles Diesel. We just can’t get everything in.
Indeed, in X-Press 2’s world of limitless possibilities, only one thing is certain. We will never make a song that says; Take me higher, insists Diesel. That’s just never gonna happen. Rest assured - Rocky and Diesel are as restless and averse to predictability as ever. Long may the adventure continue…
In 2000, Flür published his autobiography, Ich war ein Roboter (English version: I Was a Robot).[3] The book covers his youth, early career as a musician, and some of his activity within Kraftwerk. Hütter and Schneider filed a lawsuit against Flür, causing a temporary halt of the publication and revision of parts that included disputed accounts of his time with the band.
Recently, Flür has been seen DJing in clubs, playing tech house and electro. He has also played electronic percussion with the German synthpop band Dyko in live shows and on their 2009 cover of Kraftwerk's "Autobahn". He has also performed under the moniker "Musik Soldat".
Japanese singer Maki Nomiya's 2005 album Party People included the song "Yamate Line," with songwriting and co-production credited to Flür/Yamo.
On 16 October 2015, Flür released his first solo album under his own name, entitled Eloquence.
With his band Bassomatic, Orbit toured throughout Europe and the UK, performing at venues such as The Hacienda in Manchester, Roskilde Festival in Denmark, Heaven in London and also deejayed using his extensive vinyl collection.
In 2013 William worked with Britney Spears and Will.i.am on her album ‘Britney Jean’, with fellow songwriters Ana Diaz and Dan Traynor with whom he wrote and produced the track ‘Alien’. He was a writer and producer on the Chris Brown song “Don’t Wake Me Up” which was recorded at Record Plant in LA and for which he received an ASCAP award in 2014. The song has had 165 Million views on YouTube. This was followed by a production of the Queen track, ‘There Must Be More to Life Than This’, which featured archive vocals by Freddie Mercury and Michael Jackson. Orbit went on to produce another Queen song, ‘Let Me In Your Heart Again’. In 2015 his composition ‘The Name of the Wave’ was used in the Oscar winning documentary ‘Amy’, directed by Asif Kapadia.
He has recently performed in Almaty, Kazakhstan, and at a gala at Banqueting House in London’s Whitehall for the charity ‘Together For Short Lives’, a group that sponsors and supports children with terminal illness and their families.
He occasionally holds songwriting retreats during the New Years week at Studio at The Palms, a recording studio located within Palms Casino in Las Vegas.
He is a member of an improvisational drama group in London with his friend Professor Noreena Hertz.
William alternatively resides in Soho and by the beach south of Los Angeles. He is a longstanding member of The Groucho Club in Soho and hosts freestyle social events and dinners in the neighborhood for circle.
He is writing a book and painting with oils on canvas.
Fast-forward to 1997 and he found himself working at the famous UKG label Ice Cream Records. During the year he worked with them he witnessed their growth from a small unknown specialist label to one that saw major chart success with hit after hit. This was a real eye opener, Friendships were forged here that would become valuable further down the line.
His unique style is all about vibes and energy, perfect for rave or club. He can be credited as being the first DJ to use the mic himself in raves, almost like a Jungle version of David Rodigan. His love for this music is undeniable and Interacting with the crowd comes as second nature, Educating the ravers & spinning stories – An Uncle Dugs set is a highlight of any event he plays. Regular bookings outside the UK now mean that in places such as Japan, Australia, New Zealand the name Uncle Dugs carries the same weight it does here.
In 2013 he won the ‘Best Jungle DJ’ crown at the OldSkool Awards at Koko in Camden. This really confirmed his place at the very top of the DJ tree. He was in fact the only DJ to be named in both DJ categories at these awards, A massive achievement and something he rightly feels very proud of.
Initially known as Brother International, the band began as an instrumental acid-jazz group in 1985, changing their name to Brand New Heavies after gaining their first record contract. The band were quick to gain a cult following, finding many fans in the burgeoning London club scene. Initially formed of Jan Kincaid (drums/keyboards), Simon Bartholomew (guitars) and Andrew Levy (bass/keyboards), the band soon added a brass section as well as vocalist Jay Ella Ruth.
The band signed with indie label, Acid Jazz, for their self-titled debut album, which garnered widespread critical acclaim upon its release. The band also gained a US distribution deal with Delicious Vinyl, with whom they re-recorded their debut for a US release. Jay Ella Ruth also left the group at this time, with N’dea Davenport brought in instead. Brand New Heavies found hits in the UK with “Dream Come True” and “Stay This Way,” but it was with “Never Stop” that the Heavies broke the US market, becoming the first group to break into the American R&B Chart since Soul II Soul’s success.
After collaborating with Q-Tip and MC Sech, the Brand New Heavies were inspired to incorporate more hip hop influences into their music, evident in their next album, “Heavy Rhyme Experience, Vol. 1.” The album brought in Main Source, Gang Starr, Grand Puba and The Pharcyde to feature on the 1992 recording, which peaked at 38 in the UK and 139 in the US.
Success continued for the Heavies with 1994’s “Brother Sister,” which went Platinum in the UK. Davenport left the group to pursue a solo career, with singer Siedah Garrett taking over vocal responsibilities, with her first feature with the band being on 1997’s “Shelter.”
After two successful greatest hits albums, released on both sides of the atlantic, Davenport decided to reunite with the group, joining them early in 2006. “Get Used To It” arrived a year later, after which they embarked on an extensive tour across the UK and Europe. The band returned to their instrumental roots with 2011’s “Dunk Your Trunk,” before once again uniting with N’Dea Davenport, as well as new vocalist Dawn Joseph, for 2013’s “Forward.” Joseph became the group’s sole vocalist on their 2014 release, “Sweet Freaks,” their first for Earmusic.
His musical output is prolific and including no less than seven esteemed live albums, Live Jam tracks, EPs and 12” singles released on his own Cubism imprint as well labels such as Awesome Soundwave (Carl Cox’s new home for live artists) KMS, Superfreq, Liebe*Detail, Soma, Motech, Bedrock, fabric (London Club), My Favorite Robot Records, Wiggle, Monique Musique, Golden Gate Club Records, My Favourite Freaks and many more.
Saytek's trademark improvised live recorded tracks are the weapons of choice for the most current, respected and in-demand DJs of the scene including Carl Cox (Saytek has become one of his most played artists), Laurent Garnier, Maceo Plex, Kevin Saunderson, Derrick May, Steve Lawler, Pan-Pot - among many other leading players.
He was nominated for Best Live Act by DJ Mag for their 2013 Awards; while Mixmag awarded Album Of The Month the same year.
In an industry of smoke & mirrors, ghostwriters and fake DJs, integrity goes a long way and Saytek is what many consider a true electronic musician, sticking strongly to his beliefs and core values.
World's No 1 DJ in the World not once but twice...three times Grammy Award Winner, DJ, producer, remixer and label head Paul Oakenfold is inarguably one of the most important figures in the history of dance music.
Paul has contributed more to popularise the genre over the last 3 decades than anyone else. He was responsible for breaking house music to British clubbers and then took the genre above ground, masterminding dance-minded productions and remixes by rock and pop stars such as Happy Mondays, Madonna and U2. Paul has also founded the highly successful dancelabel 'Perfecto Records' and held celebrated residencies at two of the biggest UK. superclubs of all time, Ministry of Sound & Cream.
Paul will be performing & personally curating the closing night of Human Traffic Live! It truly doesn’t get much better than this and will be an a very special night for the closing of the Human Traffic 2020 series. Paul will be playing & personally curating the closing night of Human Traffic.Live
Ignited by an internal combustion engine fueled by raw emotion, Nicole Moudaber is at the forefront of her own movement. The sought after DJ and Producer presides over an empire that includes MOOD; her highly influential record label and global party brand, as well as a hugely popular radio show, a back catalogue of incendiary techno releases and a range of philanthropic endeavors. Nicole’s unique appeal has won her a legion of like-minded fans all over the world; no bullshit, upfront honesty, integrity, vulnerability, anger, passion, love, kindness, loyalty and a unflinching determination to keep pushing forward make her a force to be reckoned with. An unstoppable soul who stands in a class of her own, Nicole Moudaber is one of the techno world’s most iconic contemporary artists…
The incessant fire in her belly has catapulted Nicole into the upper echelons of the electronic music world, where she occupies her own space as head of the Mood empire. The global reach of this brand has led to Nicole curating MoodZONE festival stages at the world’s biggest events: Electric Daisy Carnival (New York, Las Vegas & Orlando), California's Escape, and BPM Festival (Mexico & Portugal) joined by friends such as Carl Cox, Sasha, Danny Tenaglia, Chris Liebing, Paco Osuna, Pan-Pot and Dubfire. Aside from her own events, Nicole’s relentless touring schedule never ends, delivering her dark, emotive and lascivious blend of techno to clubbing institutions worldwide including Paradise at DC-10 in Ibiza, London superclub fabric, New York's Output, and a range of events hosted by the Ultra family, where Nicole is a regular face on the Resistance stage, headlining across multiple continents including North America, South America, Europe and Asia.
Nicole Moudaber is a speaker of truth, a campaigner for social justice, a lover, warrior, woman - a human being with the darkness and light we all carry within us. Beyond the artist you see on stage, Nicole is instigating change; a leader whose legacy is centred on empowerment, education and social progress…
Mr.C went into the studio to record his 1st house track with Eddie Richards as Myster-E which was released in August 1987. This inspired Mr.C to become a DJ to learn more about his beloved House & Techno music so in September 1987 Richard took to the decks. Mr.C has since organized, promoted & been resident DJ at: Fantasy ('88), Base (Dungeons '89), Release (91), Harmony (92), Drop (93), Cyclone (94), Vapourspace (94 & 95), Flavour (The End 95 & 96), Subterrain (The End 95 - 2002), Superfreq (Worldwide 2002 - Present), Super Disco Freq (LA 2010 - present). Mr.C was also resident DJ every weekend (Friday & Saturday nights) at the legendary RIP parties at Clink Street in London throughout 1988. It was here that Rave Culture as we know it was truly born, inspiring all London raves that were to follow in 88, 89 & 90.
Layo & Bushwacka! are one of electronic music’s most esteemed duos. Comprising of Matthew ‘Bushwacka’ B, a percussionist in the London School Symphony Orchestra who was converted into a member of the infamous Rat Pack after a warehouse party in ’88, and Layo Paskin, a North Londoner immersed in the acid house scene who met Mr C at one of the legendary Clink Street parties in 1988, before together setting up their world renowned night club, The End. It was via their mutual friend Mr C that Layo & Bushwacka! first met, whilst Matthew was working at his studio, and by the mid 90s the two had started writing music together. Over a decade later, the partnership has yielded three artist albums, three mix albums, internationally renowned club residencies and a superb record label.
Three artist albums have proven them remarkably talented producers, capable of mixing styles, tempos and genres to create enduring and engaging electronic music. Their trio of mix albums and international club residencies have shown they are masters of the turntables, sonic connoisseurs who can guide a dance floor on an epic journey through the many facets of their sound. Their label Olmeto meanwhile has become a bastion for quality, a label that, much like its figureheads, has become a rubber stamped seal of class.
Jules began playing in 1987, launching the career that has easily notched up hundreds of thousands of miles, millions of spins of the decks and countless gigs in far-flung destinations, as well as the odd dirty warehouse thrown in for good measure. Jules’ DJ sets are the epitome of what DJing is about - passion, amazing tunes and a set of hands capable of the most nimble of mixing.
Jules embraces dance music across the spectrum and you’re just as likely to find him spinning trance to 10,000 at a festival, as playing a rocking house set in a 500-capacity venue.
Jules’ voice can also be heard on airwaves across the globe, through his ‘Global Warm Up’ show, which is syndicated to several stations around the world including Sirius Radio, a satellite station available across America..
Jules leads a very active life juggling the ever-growing list of facets to his career that has made him not only the man he is today, but also the emissary to the world dance music industry both at home and abroad.
Danny Rampling's name is synonymous with dance music, from pioneering and been an integral part of dance culture, to a successful radio and producing career to constant DJ appearances at top nights around the globe, Danny Rampling is not a name we can easily forget.
He loves what he does. Musically he is a perfectionist always putting in a huge amount of energy and care. He says the music is in extension of his character and personality, an extension of his spirit that goes out to the people when he plays and is so inherent in the elevated vibe on the dance floor during one of Danny's sets.
Danny has recently taken on 2 monthly residencies in the UK, which have been nothing short of fantastic. The first Saturday of the month is London Calling @ Turnmills in London, where Danny plays host to various guests from across the world. The last Saturday of the month is at Bed in Sheffield, which is growing to be one of the top nights in the north of England.
DJ Hype began producing in 1989, engineering and co-producing tracks (including "Exorcist" and "The Bee") for Kickin', Strictly Underground and Suburban Base - where the latter label released his track "Shot in the Dark" that made the UK Singles Chart in 1993.[2]
His Ganja Records label gained popularity primarily through dance floor fillers such as "You Must Think First", "Tiger Style" and DJ Zinc's "Super Sharp Shooter". Their popularity peaked in 1996 with the release of their first album, Still Smokin' , a label compilation released jointly by Ganja and Pascal's Frontline imprint. Re-released in 1997, its success also led to a major label deal with BMG's Parousia sub-label and the establishment of True Playaz, a Hype led DJ and production unit also including DJ Zinc, Pascal and Rude Bwoy Monty. His 1997 Parousia EP, New Frontiers, with Ganja Kru, reached #56 in the UK Albums Chart.[2]
DJ Hype is known for his jump-up DJ sets, including appearances at the Playaz night at Fabric.
On 30 March 2009, Hype released a new double album mix compilation on Rhino Records, entitled DJ Hype presents Drum and Bass Essentials.
Day One
Surprisingly enough my career started in 1985 at my local boozer, The John Lyon in Harrow west London – it was a great pub, everyone went there. My friends and I used to buy a lot of funk and soul (the sound at the time) and one night the DJ there didn’t show, so me and my then DJ partner Ali Jobe asked the governor if we could bring the records down and do it. We were so good that he fired the DJ. In fact it got so popular that they started charging an entrance fee.
And then acid house took off and I started DJing properly. It was 1988, and at a night called ZigZag at Broadway Boulevard in Ealing, London. We used to spend our Sundays at Queens in Colnbrook which became such a success that Dean Thatcher (best known as a founder member of techno/house act The Aloof) and I started up our own Sunday night, Haven Stables - well, it was more of an afternoon evening really. The place used to go off big time and was packed to the rafters until it came to an end in 1991.
Our adventures in clubland got so successful that we hooked up with Charlie Chester (now famed for DC10 at Circo Loco in Ibiza, Charlie also founded legendary record store Flying Records in Dean Street, London) to promote a Tuesday night at Queens, which is out near Heathrow Airport. You’ve gotta excuse the pun, but this is where my career really took off; my profile was raised and I was able to grab guests spots around London.
Going Mad On Ibiza
1990 was also the year I first went to Ibiza with the small record label that I was
working for. I loved it so the following summer I packed three or four bags of records, £500 cash and a small bag of clothes with the full intention of staying there for as long as I could. And that’s just what I did. Fast forward to 2001 and me and my frequent DJ partner Alex P seem to be as much a part of the Balearic scenery as Pikes, Manumission and the puke in the streets of San An!
The first time we met in Ibiza Alex was really drunk. He threw beer all over me and rolled around on the floor. And then he got arrested and we met up the next day and the rest is pretty much history. Two years later I met up with Peeze again and he invited me to play at the Space Terrace, which he had built himself. For the next five years we were residents at the Sunday Session, a place that confirmed the Terrace's reputation as one of the most special places in clubland.
Over the past ten years I have seen Ibiza transform from a secret party island somewhere in the Med to one of the craziest places on earth. It has grown so big now that you can easily have the best night of your life every day of the week. Every year I look forward to a summer of what life should be like all year round – absolute madness.
More clubs than Tiger Woods
I’ve been lucky enough to have had my fair share of wicked residencies over the years like Up Yer Ronson in Leeds, FUBAR at the Milk Bar in London (which I co-promoted with Lisa Loud), Club For Life and Malibu Stacey (both in the capital) and Scream in Plymouth. Nowadays I play regularly at the Ministry of Sound, Turnmills, Miss Moneypenny’s, Golden, Republica, Progress, Karanga, Colours, Clockwork Orange and Kelly’s. I’m sure there’s loads of other places which you’ve probably been to and see me larking about on the decks – I’ve been all over Europe, my international tour of carnage has stopped off in Hong Kong, Singapore, Thailand, Australia, the US (I love the Ra Club in Las Vegas) and all points in between. Israel’s a good one – I’m a regular at Allenby 58 in Tel Aviv and C Bar in Eilat.
Records, radio – I do them all
But it’s not all DJing and partying. Production-wise, I’ve had three singles released as Blockster, which I made with the M&S boys of Salsoul Nugget fame – Something Goin’ On, Grooveline and You Should Be Dancing, all out on Ministry – and a collaboration with DJ Gee last year called Zeus’ Dance out on London/Systematic. Tall Paul and I did a record as The Grifters which was out on Duty Free and there's new projects on the boil as we speak. I could go on, but for my full discography, click here...
Those who live in London also have had the pleasure, since October of '97 I became a fully fledged radio presenter, presenting a show on Kiss 100 alongside Ibiza’s other legend and my oldest mate Alex P. Peeze and Blocko's House goes out every Saturday evening from 5-7pm – catch us if you can!
At the end of the day
My favourite thing about DJing is seeing crowds go mental. It’s fantastic. It makes your job worth doing – it’s everything you work for. It just makes it so good to see the happy faces, enjoying themselves… everyone’s in there, waving their arms in the air. It’s a DJ’s dream.
