Coloursound Coloursound

Serge Santiago and Tom Neville first worked together on a re-edit of Kano’s ‘It’s A War’ in 2004, which received stand-up attention in all the right places. This random hook-up led to the idea for an album project, with the intention to create a modern day take on Italo Disco…

Germany’s Frank Heinrich aka Reboot is known to lay down tracks that are so visceral they’re positively orgasmic. His approach to performance and production is based around what he calls ‘complex polyrhythmic architecture’ – not forgetting a musical heritage that spans house, techno, world music and jazz. With proven releases on such labels as Below, Cadenza and Cocoon, an explosive live show and a DJ career that’s more versatile than many imagine, Reboot has earned every inch of his reputation as a speaker-freaker. In fact, he now spearheads what others are calling the new sound of Frankfurt, alongside friends like Chris Tietjen, Robert Dietz and Markus Fix.

Aachen-born Frank moved to the Frankfurt-Offenbach area when he was just six years old. Here, he received a classical music education and picked up a range of instruments. These ranged from the melodica and accordion to organs and keyboards. However, a lifelong love affair with electronic music commenced and flourished after he first made contact through radio.

Aged 13, he began DJing and by 14 he was producing his own tracks using kit that he’d bought with pocket money. Officially, he was too young to go clubbing but that didn’t stop him. After all, it was the early-90s and the techno radiating from this region was more than the talk of the town. Later, a friend smuggled him into Sven Väth’s seminal Omen club and boom – his electronic ambition was cemented. He also, as they say, ‘forgot to go home’… In 1992 Frank and Marco Delle Donne formed Delle & Heinrich: a longstanding production and performance partnership that was never about going pro but more about having fun. Together they explored the scene and had a couple of releases (on Combi Int. and i220) before finally parting in 2006. During this period Frank also continued to work solo, experimenting with warmer sounds outside the increasingly tough techno of the clubs. To this end, he would also play in lounges and bars, mixing all kinds of music, whether he was simply DJing or jamming live, fusing his knowledge into a compelling show that went way beyond a laptop/midi controller. Naturally, such intrinsic ‘world’ flavours as African and Latin rhythms continue to infuse his sound to this day. Seemingly hard-wired for success from the get-go, Frank’s Reboot moniker came to life in 2005. This was the perfect platform for his DJing, evolving live shows and productions that he wrote, engineered – the whole shebang – using traditional analogue machines as well as a laptop.

In 2007, the hypnotic, melodic ‘Charlotte’, his first production as Reboot, was released by his friends at Below. It shone a light on his skills and saw his profile soar like never before. He then realised another ambition when he made his debut on Cadenza with ‘Be Tougher’, a much darker offspring that Luciano adopted on his Fabric 41 mix. Another massive hit for Reboot was the mind-warp of ‘Vandong’, which blew up as part of his Sidekick EP. All the time, Frank carried on pushing the possibilities of DJing and live performance as Reboot. And thus his barrage of booty-shaking beats spread rapidly around the globe, from Robert-Johnson and Cocoon Club in Germany, to Womb in Japan, D-Edge in Brazil and Fabric in the UK. Using mostly his own material, he also locked a groove on Cocoon’s 2008 Disco Invaders mix compilation, alongside compadres Johnny D and Chris Tietjen.

Frank continues his sensory assault into 2009 with an abundance of productions and live/DJ sets. He has furthermore joined Luciano’s dynamic Æther project, which is like a Cadenza live electronic band, complete with visuals. So enjoy the ride, because the Reboot recipe for a good time is (and always has been) about melding the cerebral with the visceral to detonate our gut reactions to dance, to connect and to get in-sync.

Huxley, born Michael Dodman, is a name you're sure to continue to hear more and more off after firmly cementing his place in the UK house scene this past two years. Raised on a diet of UK & US Garage, House and early rave music- Huxley has moulded his music into what is his can be called his own distinctive mark on house music.

First appearing on the scene with sometime collaborator, Ethyl, on their critically acclaimed 2009, Sassanids EP on Nick Curly's “Cecille Numbers”- as a duo they went on to release the 'Beatport Deep House 2010' nominated, Mother Tongue, on UK superpower- Tsuba. It was this that really put the duo on the map. Since this time Huxley has gone on to carve out his own solo career with releases on Tsuba, Morris Audio, Fear Of Flying and Suara, and remixes on labels such as Noir, Cecille, OFF.

2011 has seen dates at illustrious venues such as Fabric, Privilage & Le Batofar as well as dates in Ibiza, Italy, Germany of course throughout the UK. With forthcoming music on Hypercolour, Leftroom, Rebirth and his home label, Tsuba, there is a lot in store across the board of the house spectrums.

In a land that has no ego and a table that has no head, Round Table Knights are constantly pushing their talents as DJs and Producers to the limits and evolving with the output. Hailing from Bern, Switzerland Round Table Knights were originally a four man scratch DJ collective with a penchant for hip-hop, rock, electro and jazz.

“We fell in love with House Music because it’s a very wide and open kind of music, you can put whatever influences in there. If you do it with your own style and with taste it’s a very good thing"

Following a stellar EP on Deadfish, 2010 saw their first EP for Made to Play get signed on the spot by Jesse Rose and go on to become one of the catchiest outputs to date, with support from everyone from Luciano to Annie Mac in her Glastonbury set. The resulting avalanche of productivity and popularity snowballed further with ‘Cut To The Top’ featuring the legendary Swiss garage-rock legend Reverend Beat-Man on vocals and combining elements of garage, blues and of course their irrefutable house beats.

Never delivering an output that could be considered ’typical’ their kudos as remixers was also duly noted with projects on Gomma and Defected turning some serious heads and their remix of Tensnake’s Coma Cat going on to become Pete Tong’s Essential New Tune. Upcoming projects include a remix of Jesse Rose’s ‘Non-Stop’ on Made to Play and remixes for Modular and Loungin’ Recordings plus the release of their debut artist album ‘Say What?!’ on Made to Play in Feb 2011.

“The album is like when you listen to a Round Table Knights DJ Mix, there are always some songs from different genres that you wouldn’t expect in an average House DJ Mix, we like these little surprising moments of finding out that something you would never expect fits together very well.”

After a ten year journey, the Swiss Beardies have less ‘Cut To The Top’ than mixed, scratched and grafted their way up there and with a member who already gets mistaken as Claude VonStroke it seems the sky is the limit for the bearded masters of forward thinking, surprising house music.

Stacey Pullen is an innovator from the second wave of Detroit techno; he grew up under the mentorship of Detroit's legendary three: Derrick May, Juan Atkins and Kevin Saunderson. Still continuing to produce his characteristic atmosphere laden electronic sound, Stacey Pullen compounds his reputation as a producer with that of being one of the world's most in demand DJs. Above all, from his earliest attempts to the current day Stacey Pullen has stayed true to his one goal: to become and to always be an Innovator.

In the early days, through legenday Detroit club “The Music Institute”, Stacey quickly got to know the leading lights of Detroit's underground: Alton Miller, Chez Damier, Derrick May, and Jay Denham who influenced and taught him strongly.

A couple of years later, in 1992, Derrick suggested that a good way to develop his skills would be for Stacey to do some remix work with Kevin Saunderson. Stacey began to work on remixes including one for Karen White ‐'The Way I Feel About You', for Prodigy and KMS – just to name a few. Thus Stacey truly became part of the Transmat / Metroplex / KMS team.
After touring Europe with Derrick May all of 1993, Stacey moved back to Detroit, ready to establish himself and start his own label. Throughout 1994 he commuted between Europe and the USA, finishing the Silent Phase album on R & S. Releases like 'The Sphinx' as Bango and the first Silent Phase album on Transmat followed as well as a couple of releases on Plink Plonk by the alias 'Kosmik Messenger' and 'Eye to Eye and 'Flash' ‐ both released in 1995.

In 1998 Stacey was invited to produce his very first major label release on Virgin Records, and at the same time opened the label he had wanted to start for about three years, 'BlackFlag'.

Its debut release, Black Odyssey‘s „Sweat“, was considered a future classic. The pseudonym under which Stacey recorded also dropped the labels second release „Stand“. Both found great success and went on to be licensed to a number of compilation albums, including Stacey‘s „Fabric 14“ mix compilation.

Around that time, Stacey took a break from recording and spent the next years concentrating mainly on furthering his own musical education and Djing.

2011 sees Stacey still on the road, bringing his signature eclecticism to some lucky parts of the planet. As a result, every set becomes more personalized, more unique, a window into Stacey's musical passions. With Black Flag resurrected, 2010’s hit "Alive" is now followed up by "Get Up" in April 2011.

„I wanted to create a clean palette of ‚beats‘ music. Programming it to deliver a serious groove that would keep on coming, progressing and leaving you wanting more.“ Yes, please."