Originalmente descubierto por la revista Muzik a través de su famoso concurso Bedroom Bedlam ,Yousef ha estado destrozando pistas desde ese momento.

Yousef pronto se hizo un Dj regular tanto en los viernes del Ministry Of Sound en Move como en los sabados de Rulin probando a todos su versatilidad de estilo .Tambien se hizo un regular de Renaissance en Media y al comienzo del 2000 ganó la muy preciada residencia en el anexo de Cream proveyendo un antidoto al house lírico americano-inglés.

Desde ese momento Yousef ha ganado el premio Best Bedroom Bedlam DJ en los premios de la revista Muzic de 1999, ha pinchado frente a 20.000 personas en Creamfields Inglaterra, arrasado Space y Pacha en Ibiza. Fue coronado como una de las estrellas en la serie Hot Mixes para Pete Tong en el año 2000, de solo cuatro Djs que participaron en los compilatorios. Pincho en Creamflieds Irlanda y el Gatecrasher Soundsystem 2001, en la terraza de Amnesia para Cream en Ibiza y luego del éxito de su set en vivo en Radio One desde Southport, se le solicito participar en el show de los sábados por la noche de Seb Fontaine lo cual hizo con gran éxito.

Mientras tanto su primer compilatorio en cd fue lanzado con excelentes criticas, y fantásticamente encontró el tiempo para ingresar en el estudio aliado con el residente de Back to Basics Paul Woolford produciendo musica bajo el alias de 10.000 BC y con su primer remix entrando en el show de Danny Rampling. Desde su formacion el dúo ha lanzado remixes para Aphrohead, Meeker, Stella Brown, Chocolate Puma, Hubert Hudson y Rainstar,sin mencionar su trabajo en el nuevo single de Felix da Housecat,aun sin editar y planes para el lanzamiento del primer ep de 10.000 BC con Steve Mac de Rhythm Masters. Yousef tambien ha grabado bajo el alias "Drum Bums".

La mas reciente edición al currículum de Yousef es su triunfo como mejor Dj revelación en los Muzic Awards del 2001. Fue en esta ceremonia donde la Radio One anunció oficialmente que Yousef sería su residente para el 2002.

UNER is one of the most important names of the new generation of Spanish electronic music producers. His musical training allowed him to develop at a very early age a different dance music concept, based on the pleasure for harmony and the search for a unique, personal sound.
This has lead him to edit for labels like Diynamic (where he's an active member and has edited his most celebrated works to date, "Raw Sweat" and "Bassboot"), 2020 Vision, Get Physical, Defected or CR2 to mention a few. UNER has earned the respect of the music industry with talent and work: names like Laurent Garnier, Carl Cox or Luciano play his music on a regular basis; clubs like Berlin's Watergate or Space Ibiza book him oftenly and his number of fans increases by the day; all of this because of what he does best, his music.
Apart from traveling around the world as a Dj, in 201 1 UNER presented his live gigs, an audiovisual concept in which he uses state-of-the-art software and hardware (from iPads to mini midi keyboards) to explore his most solid, personal side. The artistic expansion of the Catalonian producer will go on during the following months with the creation of several artist albums where he'll express his way of understanding electronic music from a musical point of view and from the center of the dancefloor. UNER's bound to reach higher tops with the only limit of his music. . . so there's still loads to see, listen and dance.
www.unermusic.com

Edu Imbernon is without doubt one of the most promising talented artists in electronic music right now.

At just 21 years of age the native Valenciano from Spain has torn up dancefloors all over the planet with his hit "El Baile Alemán" (produced alongside fellow partner Coyu) released under German label Liebe*Detail and heavily supported by artists like Ricardo Villalobos, Marco Carola, Sebastien Leger, Agoria and many more. He also has the claim to rights of being one of the youngest artists ever to reach number one in the TOP 100 Beatport. At the same time his ‘Mayenco’ EP release was the second largest vinyl seller on decks.de. "El Baile Alemán" was ultimately the most sold track in 2009, was featured in Resident Advisor's Top 100 most charted tracks of 2009 and was eventually awarded the ‘Best Underground Track’ of 2009 by Beatport alongside Edu being named ‘Rising Star’ for 2010 in the company of Nick Curly, Ben Klock, Julian Chaptal, Stimming and a few select others. His current productions just keep on flying higher and higher with a multitude of critical acclaim.

After a stellar 2009, in which he featured regularly in countless DJ charts and vinyl stores ‘Top Sellers’ list with his productions he also became the main resident for the world renowned Barraca Club (Valencia, Spain) whilst at the same time playing the best clubs around Europe. Edu is currently enjoying an even bigger 2010. Already winner of ‘Best Producer’ and ‘Best Track’ from the influential Spanish national dance music awards Edu has taken this year by storm, starting off early with tours of the USA, Brazil, South America, Asia, a residency for Space Ibiza at Kehakuma and various dates at Privilege Ibiza during the summer.

Edu is the owner of Eklektisch, his own record label which reached with its second release “Tarantula” the number one in the TOP 100 Beatport and stayed there for six whole weeks whilst currently being the most sold track in 2010. Probably 2010 summer track. As an artist himself he has released on labels Get Physical, Diynamic, Liebe*Detail, Trapez, Noir Music, Bla Bla, Barraca Music, Cr2 and Great Stuff. Edu has also recently remixed The XX track “Crystalised”, due for release in late 2010 XL recordings. With production work to come for more high profile labels, Edu Imbernon is destined to make himself a household name and star of electronic music.


RELEASES:
Edu Imbernon & Coyu - El Baile Aleman [LIEBE*DETAIL]
Edu Imbernon & Coyu - Burn Myself [GREAT STUFF]
Edu Imbernon - Mayenco (Amir & Piemont rmx)
[SUCHTREFLEX] Edu Imbernon & Coyu - Morena [DIYNAMIC]
Edu Imbernon & Samuel Knob - Cascoporro (Uner & Coyu rmx) [TRAPEZ LTD]
Edu Imbernon & Coyu - La Coincidencia (John Selway rmx) [TRONIC]
Edu Imbernon & Uner & Coyu - Tres es Three [GET PHYSICAL]
Edu Imbernon & Coyu - Heart Never Lies [BLA BLA]
Edu Imbernon & Coyu - Beautiful Story (Affkt & Uner rmx) [SUARA]
Edu Imbernon & Los Suruba - Pisco Sour [NOIR MUSIC]
Edu Imbernon & Triumph - Our Roots (Daniel Sanchez & Mulder + David Labeij rmx) [EKLEKTISCH]

Danny Leblack nace en Madrid en 1980. Joven dj y productor de la escena musical madrileña,con tan solo 28 años lleva ya mas de 10 dedicados al mundo de la música,ya que es su gran pasión.Desde sus comienzos ha recorrido diferentes estilos y siempre intentando adaptarse a las nuevas tendencias y corrientes musicales del momento. En su faceta como deejay durante todo este tiempo ha pasado por infinidad de las salas y fiestas mas importantes dentro del panorama nacional y ha tenido algunas actuaciones tambien de ámbito internacional. En cabina se define divertido, alegre cercano a la gente y siempre con los ojos mirando a la pista de baile.

Después de muchos años trabajando en la escena dance española en 2007 decide explorar otros estilos musicales decantándose por el house, progressive-house, tech house y techno como nuevo camino a seguir en su carrera como artista. En esa nueva faceta él y su compañero hasta entonces deciden formar la formación "SUBMISSION DJS", que tras un duro trabajo en tan solo el primer año de existencia se convierte en la pareja de djs & productores revelación del momento en todo el país gracias a éxitos cosechados con temas como "polar","superway" las remezclas del ultra nate-free y I'm alive..etc y gracias también a todas las sesiones que van desarrollando a lo largo de la geografia española. Todo esto se ve recompensado en ese primer año en la gran cantidad de nominaciones que reciben para los premios anuales de las dos revistas más prestigiosas del país (deejay magazine & dj1).

Tras 2 años de contínuo éxito en 2009 Danny decide tomar nuevos caminos en solitario y dejar la formación en lo más alto de la escena house y tras ser nominado ese mismo año también en varias categorías en la revista Deejay Magazine como mejor dj progressive house, mejor dj del año y mejor tema “maringa” para afrontar nuevas experiencias y proyectos dentro de la escena electrónica y llevar a cabo todo su nuevo proyecto como son DANNY LEBLACK su nuevo nombre artístico y SKYBLACK MUSIC su nuevo sello discográfico y su propia agencia de management que contará con muchos de los artistas mas representativos del país.

Actualmente es residente en Space of Sound en sus fiestas Too Much Revolution, y pronto será residente los domingos en la sesión Queens, sita en una sala que será toda una sorpresa en la apertura, que tendrá lugar el mes de enero de 2010.

Dancefloor experimentalist and top Detroit techno producer Carl Craig has few equals in terms of the artistry, influence, and diversity of his recordings. Few others have recorded so much quality music in such a variety of styles than Craig, who jammed distorted beat-box samples into lo-fi electro riggings, crafted epic house tracks like his remix of Tori Amos' "God," and recorded the most sublime Detroit techno since godfathers Juan Atkins and Derrick May were at their peak. After an apprenticeship during the late '80s with Derrick May, Craig began releasing his own recordings in 1989, first on May's Transmat imprint and later on his own label, Planet E Communications.

During the following decade, Craig spread his work between solo aliases -- Paperclip People, Innerzone Orchestra, 69 -- and his own name. With each new project and each change of musical direction though, he distinguished himself as one of the few artists to consistently hit the mark with productions whose subtleties in the living room more than matched their infectious energy on the dancefloor. When he was growing up and attending Detroit's Cooley High, Craig was turned on to a diverse musical diet ranging from Prince to Led Zeppelin to the Smiths. He often practiced on his guitar, but later became interested in club music as well through his cousin, who worked lighting for various parties around the Detroit area.

The first wave of Detroit techno had already set sail by the mid-'80s, and Craig began listening to tracks courtesy of Derrick May's radio show on WJLB. He began experimenting with recording techniques using dual-deck cassette players, and later convinced his parents to buy him a synthesizer and sequencer. Craig also studied electronic music, including the work of Morton Subotnick, Wendy Carlos and Pauline Oliveros. While taking an electronics course, he met a mutual friend of May and passed on a tape including some of his home productions. May loved what he heard and brought him into the studio to re-record one track, "Neurotic Behavior." Completely beatless in its original mix (since Craig didn't own a drum machine), the track was just as sublime and visionary as Juan Atkins' blueprint for cosmic techno-funk yet called on emotions previously found only on Derrick May's material.

The British fascination with Detroit techno was just beginning to take hold by 1989, and Carl Craig was invited to witness the phenomenon first-hand by touring with May's Rhythim Is Rhythim project (which supported Kevin Saunderson's Inner City on several English dates). The trip became an extended working holiday, as Craig helped out on production for a re-recording of May's classic "Strings of Life" and the new Rhythim Is Rhythim single, "The Beginning." He also found time to record several tracks of his own at R&S Studios in Belgium. On his return to the U.S., Craig released several R&S tracks on the Crackdown EP, recorded as Psyche for May's Transmat Records.

Craig then founded Retroactive Records with Damon Booker, and despite working days at a copy shop, continued recording in his parents' basement. Carl Craig released six singles for Retroactive during 1990-91 (as BFC, Paperclip People and Carl Craig) but the label was dissolved in 1991 due to disputes with Booker.

That same year, Craig formed the solo concern Planet E Communications for the release of his new EP 4 Jazz Funk Classics (recorded as 69). Deliberately lo-fi and gritty with the implementation of funky beat-box samples, tracks like "If Mojo Was AM" presented a new leap forward after the compulsive sheen of Retroactive singles like "Galaxy" and "From Beyond." Besides the distortion of 4 Jazz Funk Classics, his other Planet E work during 1991 contained off-the-cuff nods to such disparate moods as hip-hop and hardcore techno.

The following year's "Bug in the Bassbin" unveiled another Carl Craig alias, Innerzone Orchestra, and added elements of jazz to his beatbox frenzy. In the process, Craig became an uncommon influence on the early progression of the British drum'n'bass movement -- DJs and producers often pitched up "Bug in the Bassbin" from 33 to 45-rpm for a do-it-yourself jungle breakbeat. The release of Paperclip People's "Throw" added disco and funk to Craig's growing list of active inspirations; his natural progression into remixes during 1994 provided the dance world with versions of Maurizio, Inner City and La Funk Mob tracks plus a stunning reworking of the Tori Amos song "God," that lasted almost ten minutes. Thanks in large part to the Tori Amos remix, Craig soon signed his first contract with major-label exposure, to the Blanco y Negro division of Europe's Mute Records.

His first full-length, 1995's Landcruising, opened up the Carl Craig sound and gave it an epic feel closer in spirit to his earlier recordings, while the thematic tug of a journey around metro Detroit mirrored Juan Atkins' Model 500 tracks like "Night Drive." Landcruising opened up the market for Craig's material and several months later, R&S Records released 69's Sound of Music, a compilation of two EPs released the previous year for the Belgian label.

In 1996, the high-profile British house label Ministry of Sound released a new Paperclip People single called "The Floor," composed of hard, clipped techno beats but an elastic bassline and prevalent disco sample that earned it much airplay in house venues. Though he was already one of the most noted names in the world of techno, Craig's reputation began growing in the more general category of mainstream/global dance, and he soon became less tied to the mantle of Detroit techno than many of his contemporaries. Craig helmed one in the series of DJ Kicks albums released by Studio !K7 and spent several months based in London.

He returned to Detroit later in 1996 to focus on Planet E, which released a Paperclip People album titled The Secret Tapes of Dr. Eich (mostly collecting previous singles) and a Psyche/BFC retrospective titled Elements 1989-1990. The new year brought the second proper Carl Craig LP, More Songs About Food & Revolutionary Art. He spent much of 1998 touring the world as Innerzone Orchestra with a jazzy trio. The project also released an LP, Programmed, expanding Craig's full-length output to seven -- though only three had appeared under his own name.

Two collections appeared during 1999-2000, including the Planet E mix album House Party 013 and the remix compilation Designer Music. The mix collection, Onsumothasheeat, was issued in early 2001. Carl Craig Dancefloor experimentalist and top Detroit techno producer Carl Craig has few equals in terms of the artistry, influence, and diversity of his recordings. Few others have recorded so much quality music in such a variety of styles than Craig, who jammed distorted beat-box samples into lo-fi electro riggings, crafted epic house tracks like his remix of Tori Amos' "God," and recorded the most sublime Detroit techno since godfathers Juan Atkins and Derrick May were at their peak. After an apprenticeship during the late '80s with Derrick May, Craig began releasing his own recordings in 1989, first on May's Transmat imprint and later on his own label, Planet E Communications. During the following decade, Craig spread his work between solo aliases -- Paperclip People, Innerzone Orchestra, 69 -- and his own name.

With each new project and each change of musical direction though, he distinguished himself as one of the few artists to consistently hit the mark with productions whose subtleties in the living room more than matched their infectious energy on the dancefloor. When he was growing up and attending Detroit's Cooley High, Craig was turned on to a diverse musical diet ranging from Prince to Led Zeppelin to the Smiths. He often practiced on his guitar, but later became interested in club music as well through his cousin, who worked lighting for various parties around the Detroit area. The first wave of Detroit techno had already set sail by the mid-'80s, and Craig began listening to tracks courtesy of Derrick May's radio show on WJLB. He began experimenting with recording techniques using dual-deck cassette players, and later convinced his parents to buy him a synthesizer and sequencer. Craig also studied electronic music, including the work of Morton Subotnick, Wendy Carlos and Pauline Oliveros.

While taking an electronics course, he met a mutual friend of May and passed on a tape including some of his home productions. May loved what he heard and brought him into the studio to re-record one track, "Neurotic Behavior." Completely beatless in its original mix (since Craig didn't own a drum machine), the track was just as sublime and visionary as Juan Atkins' blueprint for cosmic techno-funk yet called on emotions previously found only on Derrick May's material. The British fascination with Detroit techno was just beginning to take hold by 1989, and Carl Craig was invited to witness the phenomenon first-hand by touring with May's Rhythim Is Rhythim project (which supported Kevin Saunderson's Inner City on several English dates). The trip became an extended working holiday, as Craig helped out on production for a re-recording of May's classic "Strings of Life" and the new Rhythim Is Rhythim single, "The Beginning." He also found time to record several tracks of his own at R&S Studios in Belgium. On his return to the U.S., Craig released several R&S tracks on the Crackdown EP, recorded as Psyche for May's Transmat Records. Craig then founded Retroactive Records with Damon Booker, and despite working days at a copy shop, continued recording in his parents' basement.

Carl Craig released six singles for Retroactive during 1990-91 (as BFC, Paperclip People and Carl Craig) but the label was dissolved in 1991 due to disputes with Booker. That same year, Craig formed the solo concern Planet E Communications for the release of his new EP 4 Jazz Funk Classics (recorded as 69). Deliberately lo-fi and gritty with the implementation of funky beat-box samples, tracks like "If Mojo Was AM" presented a new leap forward after the compulsive sheen of Retroactive singles like "Galaxy" and "From Beyond." Besides the distortion of 4 Jazz Funk Classics, his other Planet E work during 1991 contained off-the-cuff nods to such disparate moods as hip-hop and hardcore techno.

The following year's "Bug in the Bassbin" unveiled another Carl Craig alias, Innerzone Orchestra, and added elements of jazz to his beatbox frenzy. In the process, Craig became an uncommon influence on the early progression of the British drum'n'bass movement -- DJs and producers often pitched up "Bug in the Bassbin" from 33 to 45-rpm for a do-it-yourself jungle breakbeat. The release of Paperclip People's "Throw" added disco and funk to Craig's growing list of active inspirations; his natural progression into remixes during 1994 provided the dance world with versions of Maurizio, Inner City and La Funk Mob tracks plus a stunning reworking of the Tori Amos song "God," that lasted almost ten minutes. Thanks in large part to the Tori Amos remix, Craig soon signed his first contract with major-label exposure, to the Blanco y Negro division of Europe's Mute Records.

His first full-length, 1995's Landcruising, opened up the Carl Craig sound and gave it an epic feel closer in spirit to his earlier recordings, while the thematic tug of a journey around metro Detroit mirrored Juan Atkins' Model 500 tracks like "Night Drive." Landcruising opened up the market for Craig's material and several months later, R&S Records released 69's Sound of Music, a compilation of two EPs released the previous year for the Belgian label. In 1996, the high-profile British house label Ministry of Sound released a new Paperclip People single called "The Floor," composed of hard, clipped techno beats but an elastic bassline and prevalent disco sample that earned it much airplay in house venues. Though he was already one of the most noted names in the world of techno, Craig's reputation began growing in the more general category of mainstream/global dance, and he soon became less tied to the mantle of Detroit techno than many of his contemporaries. Craig helmed one in the series of DJ Kicks albums released by Studio !K7 and spent several months based in London. He returned to Detroit later in 1996 to focus on Planet E, which released a Paperclip People album titled The Secret Tapes of Dr. Eich (mostly collecting previous singles) and a Psyche/BFC retrospective titled Elements 1989-1990.

The new year brought the second proper Carl Craig LP, More Songs About Food & Revolutionary Art. He spent much of 1998 touring the world as Innerzone Orchestra with a jazzy trio. The project also released an LP, Programmed, expanding Craig's full-length output to seven -- though only three had appeared under his own name. Two collections appeared during 1999-2000, including the Planet E mix album House Party 013 and the remix compilation Designer Music. The mix collection, Onsumothasheeat, was issued in early 2001.

Brandon has also made numerous other TV appearances including celebrity fear factor and celebrity extreme detox, also more recently, in addition to his DJ work. Brandon has launched his own specialist International travel DJ bag. The Blox box and has recently co-produced a record (don’t you feel like love) with one of the UK’s hottest house music acts). The Hoxton whores, add this all together and it is easy to see why Brandon Block is a true celebrated dance music icon and has clearly no plans to rest on his laurels.

Celebrity scissor has hands for children in need. Also trust me I’m a holiday Rep. Brandon is infamous for his party spirit but in equal measure his ability to capture that spirit in his DJ sets. Though Brandon has become more discerning over the years. The raw energy his DJ sets bring to a dance-floor remains. Musically Brandon has a wealth of experience and is a staunch champion of the funkier end of house. His continued success means Brandon block is still one of the UK’s most sought after DJ with his diary generally full up to 6 months in advance.

His Djing has also encompassed, being one of the first DJ’s in Dubai, from 99” until now has been 3 times every year ever since, holding residencies at Chi (formerly the Lodge), zinc, diamonds, Atlantis the original at hardrock. Also various clubs is Marbella, BCM Mallorca, various trips to Hong Kong, a yearly excursion to Koh Samui in Thailand, playing at black moon, full moon and various clubs.

As well as starting various clubs in the early 90’s including flying with Dean Thatcher and Charlie Chester, haven stables with Dean Thatcher, Fubar with Lisa loud, up yer Ronson, Leeds, also various other monthly residencies, including, God’s kitchen UK/Ibiza, Gatecrasher, passion. Coalville, gardening club, colours Glasgow, and various one nighters, including the Empire, to the minor born, various weekenders including Kaos, Caister soul weekenders, the big reunions at Butlins, Skegness.

2010 has certainly been the year that 23 year old Maya Jane Coles announced herself as one of the most talented up and coming artists in electronic music.
In the years preceding a steady output of techy cuts on labels such as Dogmatik and 1trax simmered away catching the attention of cluded up heads and savy A&R people alike. It was her debut EP on Franck Roger’s Real Tone though that ignited the fire of hype and boosted her profile on the global stage receiving heavy support from the house & techno elite. Aside from being hammered repeatedly on the worlds most happening dance floors ‘What They Say’ reached the number 1 spot on across the board; Beatport Deep House Chart No. 1, Tarxsource top download & Resident Advisors most charted tracks for October. It’s safe to say the release won the hearts and heads of fans and critics a like and a landmark year was topped off with a nomination for Best Breakthrough Producer nomination in the DJ Mag Best of British awards.

Not one to fall victim to the pitfalls of being one of the scenes ‘buzz names’, Maya has built on her flourishing reputation with a slew of gigs across Europe holding her own alongside world renounced DJs. So much so her schedule for 2011 is already jam packed with dates across Europe; London’s Fabric, Batofar, Watergate, not to mention iconic Glastonbury Festival, just a few of the destinations.

Maya’s productions take’s influence from a diverse range of musical styles and British – Japanese heritage. Her talents are by no means confided to realms of house and techno. Under the guise of her live dub/electronica outfit, ‘She Is Danger (alongside the multi-instrumentalist/singer Lena Cullen) she has remixed the likes of Massive Attack and Gorillaz and fans of her Dubstep Product under the name Noctural Sunshine include key tastemakers, Joy Orbison and Sucba to name a few.

As well as her trademark bass heavy approach Maya’s diversity as a producer also shines through in productions under her own name as well. Climbing high in Beatport’s ‘Chillout’ top 100 tracks from her stunning ‘Humming Bird’ EP on Hypercolour showcase her blissful vocals and ability to create songs and not just music for the dance floor. Forthcoming EPs on Anja Schneider’s Mobilee Records and for a number highly anticipated exclusives will no doubt elevate her status even further.

A bright talent with more than a couple of strings to her bow Maya Jane Coles is only just getting started.

Nic Fanciulli is a DJ, producer and label owner who has remained one of the UK’s finest exports in electronic music throughout the last decade. A Grammy nominated producer, Nic has worked with artists as diverse as Underworld, Kylie Minogue, U.N.K.L.E, Loco Dice, Josh Wink and Tracey Thorn in addition to producing a plethora of solo club focused tracks that have achieved both critical and commercial acclaim. Now releasing on the likes of Rejected and Souvenir, Nic is responsible for a high output of a sleek, intelligent yet driving strain of house and techno.

Perhaps most significantly, Nic’s own Saved Records has become an important purveyor of international, underground house and techno. Having helped develop the imprint into a recognisable label since 2005, Nic and his clutch of impressive Saved artists have travelled the globe with the brand, spreading their musical manifesto far and wide. Always with a keen eye on bringing new talent through, Nic has used Saved as a platform to break new and exciting young producers as well as maintaining a desire to put out quality releases from other stalwarts of the scene. At only five years old, Saved is continuing to expand the legacy of Nic Fanciulli.

Chris Coco is a tastemaker, DJ, broadcaster, producer, music curator, musician and journalist.

His radio show, Melodica, is growing from it’s online home on Mixcloud and radio base on Ibiza Sonica to include broadcasts in cities from Sydney to Istanbul to Chicago. In 2010 Melodica was shortlisted for a BT Digital Music award for best radio show or podcast. The Guardian called it “the hazy, lazy sound of the summer”.

Listen to the latest episode every week at www.mixcloud.com/chriscoco/

He is working on a new Chris Coco album; with production partner Steve Miller as The Normalites; with his band City Reverb; and with various other collaborators including DJs Pete Gooding and Jim Breese on club music.

With regular gigs at cool venues like Player and Star of Bethnal Green in London, Big Chill Bar in Bristol and international shows, Chris is a busy live DJ too.

Check www.chriscoco.com for the latest updates and Chris’s controversial blog posts.

Current projects and recent successes:

Melodica: Weekly radio show, broadcast on Ibiza Sonica and various other FM stations from Sydney to Istanbul. Listen to the latest online at www.mixcloud.com/chriscoco/

Feel Free Live Good: Chris Coco album project, released on The Big Chill Label (the label of the festival) in the UK in August 2010.

http://soundcloud.com/chris-coco/sets/feel-free-live-good

Normalites: collaboration with chillout don Steve Miller aka Afterlife. Lead tune Pink Skyscraper is on Hotel Costes, the biggest selling chillout compilation in the world. Cover of Beloved’s Sun Rising released on Defected Records. New single Street Corner Classics out now.

http://www.myspace.com/thenormalites

From ‘Autumn Days’ to tides of change, spring 2011 marks a season of renewal for Burnski. This exciting young man from the north-east coast of England has come a long way since he first stepped into the spotlight, and the coming months look set to bring another round of developments.

With one of the biggest selling releases in the history of 2020 Vision, Burnski was hailed as a prodigy upon first surfacing in the mid 00's. Since then, he has cemented a solid reputation as an artist erring on the deeper side of the dancefloor, releasing consistently excellent music on labels such as Poker Flat, Morris/Audio, Trapez, Dessous and Hot Creations – his release ‘Malibu’ for the latter being one of the standout tunes of 2010’s Ibiza season, finding its way into Mixmag’s end of year Top 100 tracks, Soul Clap’s ‘Social Experiment’ compilation for Number 19 Music, and Heidi’s Radio 1 show. A three week DJ tour in South America was the catalyst for changes both musical and personal in 2011. Inspired by new landscapes and sounds, Burnski has found a new energy and put it to good use in the studio, with a slew of new music on the way. ‘Sometimes Takes Longer’ is a 3-track EP which is scheduled for May release, courtesy of his old friends at Dessous. Prior to this he also adds a new association to his discography with the arrival of ‘Tropical Nights’, via the hotly tipped Real Tone label.

Furthermore, two compelling remixes round off act one this year – one for nu-school Detroit artist Kris Wadsworth, on the emerging One Records; and secondly for the legendary Robert Owens, courtesy of Back to Basics, the musical arm of the much-loved Leeds club night, where he holds a DJ residency.

A steadfast vinyl advocate and always armed with a bag of fresh music, Burnski’s DJ sets are intuitive and versatile, swinging between disco, deep house and Detroit tipped techno, his sets fulfil both the hedonistic and more focused minds in any crowd, and recently won him a nomiation in the ‘Best Breakthrough DJ’ category in DJ Mag’s recent round of awards.

His style is now familiar at some of the most established clubs in Europe such as Fabric in London, Watergate in Berlin and The Loft in Barcelona, as well as further afield on the rooftops of Beirut, beaches of Melbourne and warehouses of New York and San Francisco – these just some of the places to benefit from his deep and groove led style.