Interview // Grum0
Posted In Electro/Bass
Electronic, Disco, French Pop or just damn right good music, 24 year old Graeme ‘Grum’ Shepard has got a busy year ahead lined up to be playing Creamfields festival as well as promoting his recently released debut album Heartbeats. Already with a handful of sucessful remixes under his belt, his production work has been spinning audiences on the dance floor with his own rendition of that ‘old school’ disco vibe mashed with influences of pop and electro culture. Proper Serious investigates the world of Grum…
“I’m totally proud of being pop. I have fun with the structure and sounds within that pop framework, but I never worry about whether I’m being sufficiently ‘cool’ or underground.”
The whole disco house/electro pop movement seems to be making a come back at the moment, why do you think that is?
Dance music is very trend driven and often goes round in circles so styles will often come into fashion, go out, then come back again. This is probably a reaction to people getting bored of what was the ‘electro’ scene going very dark and hard with dutch techno influences etc coming in.
I read somewhere you started off producing house music, shifted to techno then drum and bass, will you be sticking with your current style or are you tempted to experiment with other types of music?
I think with what I’m doing now I’ve really found my own niche, and feel comfortable developing my own sound further. There may be more influences which will come into what I’m doing but I think my overall style is now established.
What software are you using to produce your music?
I currently just use Logic Pro 9, plus a few synth and processor plugins…the most used external synth being Novation V Station. On the whole, the plugins built into Logic are great so I don’t find myself needing to use others that often. I really like to keep everything just on my laptop, to make it easy to work on music and remixes when traveling.
Which track of yours are you the most proud of?
There are several album tracks where I think I have really developed my songwriting and production skills, my favorites being ‘Someday We’ll Be Together’ and ‘Turn it Up’. These really show off more of a pop side to my music. I guess also ‘Heartbeats’ was my big breakthrough track so its always going to be special to me even when I’ve heard it 232525 times.
What does your parents think of your recent success?
They are really proud of me and find the whole thing fascinating! I wouldn’t say we are really a musical family, so its all come out of the blue a bit, I guess.
You’ve got a mammoth tour date coming up, what locations are you looking forward to playing the most?
I just finished touring the US with the Twelves, which was amazing. Every single date was awesome, including several sold out shows. Coming up after that I’m really looking forward to the big Moda night in London, and then Rockness and Creamfields should be great festival dates. I’m also back in Barcelona and in France (Biarritz) again so its always nice to be somewhere sunny.
Lets talk about that innovating artwork design (2-D barcode) by David Ross (brains behind Mylo’s ‘Destroy Rock N Roll’ artwork), why was that developed and how did you ‘get there first’?
Well, fortunately Kevin at my label (Heartbeats) is good friends with David and he agreed to work with us on this concept, so we’ve been really lucky that he decided to use it on this project. David came up with the idea and I was very keen. I think its really cool to combine art and technology.
You’ve remixed Lady Gaga’s ‘Bad Romance’ and Goldfrapp’s ‘Rocket’ to name a few, any other artists on the card for remixing?
If I can find some time I’m meant to be remixing Marina & the Diamonds’ new single. Others coming up include one for Swedish House Mafia, and a new group called Human Life.
What clothing brands do you wear?
Honestly I’m not massively into brands. If it looks nice, I’ll buy it. In saying that, I do like some of the more tasteful stuff from Urban Outfitters, like the Lee shirts (cliché?).
Favourite all time track?
M83 – We Own the Sky
And lastly, will you be jetting off on holiday this Summer?
I’m hoping to fit a holiday around my Ibiza gig this year so we shall see. Hoping to see some of the nicer parts of the island 
Preview // Suicide Dub Label0
Posted In Dubstep/Grime
The mischievous High Rankin relaunches his Suicide Dub label in a few days, kicking things off with a bevy of heavy hitters including Portsmouth’s DJ Sekklow. Brighton based Will Rankin, has been knocking up string of nasty dubstep tunage recently, most notably producing an awareness video about the side effects to taking street drug Meow Meow and T-shirts emblazoned with the phrase MEOW IS FOR PUSSIES.
Catch Sekklow playing at 10Ton vs JubJub this Friday at The Wedgewood Rooms alongside SDM, Mistajam and DJ Zinc.
SEKKLOW – BE ALRIGHT
WHERE: PEMBREY COUNTRY PARK, SOUTH WALES
WHEN: June 14-18
COST: £89
LINE UP: Calvin Harris, Plan B, Chase and Status, Ellie Goulding, The Futureheads, Example, New Young Pony Club, Dan Le Sac vs Scroobius Pip, Daisy Dares You, Beardy Man, Doll & The Kicks, Gentlemens Dub Club, Dub Mafia, Annie Mac, High Contrast, Subfocus, Fake Blood, Scratch Perverts, Zinc, Jack Beats, Jaymo & Andy George, Vampire Weekend, 2 Many DJs, Nero, Plastician, Breakage + more.
All students rejoice! Term is finally over. Okay so it’s a bit premature, but…come June (and hopefully the weather will be blazing) it’ll be the start of the festival season! Yippieeeee. A massive line up of bands and deejays take to the Welsh shores for Beach Break Live from the 14th. Having originally started off the event in Cornwall, they’ve moved their bags and unpacked close to the silky dunes for a mega gathering closely associated with students in mind. And what’s even better, this festival is mud free!
“We’ve been able to scour the UK’s coast line to find the perfect permanent home for the event,” says Ian Forshew, the event organiser. “Students asked for an event ‘As close to a beach as possible’, with ‘beautiful surroundings’, ‘hidden areas’, ‘stages on the sand’ and ‘good sound levels’. At Pembrey Country Park we can give them all that.”
Now in it’s third year, an expected 17,500 student bodies will travel to the coast for the ultimate experience in sun, sea, sand, surf and music. Voted Best Small Festival and Best Promoter, the BBL team also offer an array of activities, including a 130m floodlit dry ski slope offering Snowboarding or Ski lessons as well as one of the biggest toboggan runs in Europe. Various tents will be making an appearance which proved popular last year, including the Bass Busting Dance Tent, the Camped Up Camp Fire and the infamous Moustache Bar 
Whether you’re a DJ, Snowboarder, musician, stand up comic, eco warrior or general madman, Beach Break live is bursting with all manner of nonsense and random fun to get involved with! Shake a leg at the Forties to Noughties, the opening night extravaganza which will take you on a merry musical jaunt through time from Lindy hop to acid house, to dubstep and back again, check out the Beauty Boudoir or take a dip in the BBL hot tubs! Marvelous!
Back in 2007, BBL founders Celia Norowzian and Ian Forshew, approached The Dragons’ Den programme in November after the success of their first festival. After presenting their plans and projections for the UK’s first student-only festival they won over all four Dragons but declined Peter Jones’ offer in favour of Outgoing Ltd, the student event and travel specialist best known for staging the infamous Snowbombing Festival in Mayhofen.
Outgoing will also be putting on 3 weeks of party mayhem in June for it’s Summer Break festival (6-10, 13-17 and 20-24) in Newquay. Confirmed acts to include Tinie Tempah, Sub Focus, Chipmunk, Example, Zinc, Caspa, Mistajam and Club de Fromage. Expect mass debauchery with fancy dressers, BBQs and whacky tent entertainments with pricing only £64pp for camping and £94pp for a caravan in the exclusive Summer Break holiday park. Also in Newquay, at the end of June, Under The Rader festival (27 June-1 July) will be hosting Djs and acts with the likes of Pendulum (dj set), Donaeo, Boy Better Know, Wideboys, Bar 9, Urban Nerd plus more.
Having smashed the biggest clubs across the UK, including the legendary Ministry of Sound and Matter, Under The Radar is now proud to present its biggest party yet. 5 days and 4 nights of beaches and bass!
From a humbling 1000 students in their first year, Beach Break Live has morphed into a success story purely based on delivering the best in music has to offer with live acts and raves on an affordable budget.
Think BBQs, sand castles, sun bathing, cocktail sipping and general beach side festival tomfoolery.
Just don’t forget your sun block!
Interview // Ian Void0
Posted In Techno
One of the biggest names in Djing and producing in the UK techno scene gets set to return with his night Geushky at The Wedgewood Rooms on the bank holiday weekend this month. Fresh from playing Punchfunk at The Kraken Wakes on Saturday, Ian Void has a natter with Proper Serious…
Ian Void! What first inspired you to take up Djing?
It was basically a reaction to my environment, I was listening to lots of electronic music from 1988 -1993 and I had decided that I wanted to hear all my favourite tunes, in 1 place, in a row and loud. So I started buying vinyl and did exactly that – badly for the most part but it did pay off in the end.
What were your musical interests as a kid?
The first LP I ever bought was Adam and the Ants ‘Prince Charming’ but I was young then. It did set the preference for more alternative styles though I guess. Through my early teens until about 15 I was into metal and went to lot of gigs. This led to heavy indie stuff like Mudhoney and Nirvana and that was the gateway to Indie dance and in turn Rap and House music. I guess the fave bands of my youth were Metallica, N.W.A, The Pixies, De La Soul amongst lots of obscure indie and electronic bands.
What can you remember about your first proper DJ gig?
The first ever DJ gig was at a house party when I started with the theme tune from ‘The Muppet Show’ and ended with a speech from the 2 old muppets in the theatre box, so that was memorable. I also have fond memories of my first set at the pier for Hypnotic State – that was the first (what I call techno) set the city had ever heard. Soon after that gig I partnered up with Hypnotic State and created Geushky!
First record bought …
Not including early purchases such as Animal Kwackers and The Munch bunch albums – I remember when I properly started buying techno vinyl, the first 2 records I bought as a serious collector were – Planetary Assault Systems ‘Planetary Funk vol 1.’ on Peacefrog Records and Cyrus ‘Enforcement’ on Basic Channel. I am still proud of these purchases as both records are now hailed as classics, so I now know I had good taste from the start.
What’s been your favourite set you’ve played?
There are loads but the ones that stick in my memory are Summer of love 2000 and 2001 in Czech Republic. It was an outdoor stage with 25,000 in attendance. I played sunset in year one and was asked back to do sunrise a year later – awesome feeling especially playing after people like Green Velvet, Surgeon, Luke Slater, Space DJ’s, Billy nasty and Scan X on the same bill.
What tune are you loving right now?
James Ruskin and Mark Broom – Hostage
What style of music do you like to play the most?
I enjoy playing different things at different times but I am in my element went playing up-tempo, atmospheric dark and egdy techno. Jamming with my mates is one of my fave things too so that I get the chance to delve into all different styles.
Tell us about the club nights you’re involved in Portsmouth with…
Geushky was the legendary techno night that I ran and we ceased regular parties in 2003 with a massive bang as we hosted Mauro Picotto at the pier before he went uninteresting. I am now 3 weeks from the second annual Geushky Reunion and I am looking forward to that loads. Last years party was amazing and many people commented that it was the best party all year so that makes you feel quite proud. Geushky was like a monthly family get together with an amazing soundtrack. I am now doing a few parties here and there and Punchfunk on May 15th @ Kraken Wakes is the next local gig and I will be playing for Tribal Medicine on 12th June @ the Barn.
What’s the hardest part of being a DJ?
None of it is that hard because you get all the music, play to great crowds, meet cool people and visit cool countries but delayed flights and unreliable promoters can really take the shine off any DJ experience.
What artists do you find yourself listening to the most?
All sorts of stuff. I get over 200 new tunes every month so it swings about all the time but I am loving everything that the Ostgut Ton label is releasing right now. I always have time for Jeff Mills.
As you can imagine, running a record label is not always as fun as it would seem and a lot of hard work, time and energy is needed to succeed. A task which should not be taken lightly if you wish to be as successful as Techment. So let’s find out more about the Head-Honcho himself, Vortechtral and what it takes to run a label.
When was your label founded and what was the philosophy behind starting it?
The label was originally setup in 2004 focusing on releasing four local artists via a CD album ‘The Beginning’ and a 12” VA release. The CD was launched with an event in Portsmouth, but the 12” was abandoned until the re-launch in 2006 with Vortechtral – The Funk EP on vinyl and supporting remixes from Cave, and Olivier Giacomotto. The release did very well in sales and was massively well supported, hitting Radio 1, and many DJs hammering it worldwide, including John Acquaviva and Eddie Halliwell. The philosophy behind the label was primarily to push local Techno in Portsmouth, but with the Techno scene being an international industry, I decided to focus on the bigger picture and re-launch the label with tracks from artists from round the globe. The sound was to be Funky Techno with the aim to be memorable, each track to be played for a reason and not to be one of the many percussive loop based labels on the scene, each track to have a melodic or bass heavy element that can be distinguished whenever played, but still aiming at the peak time dance floor, and yet always happy to fuse electro, tribal, and house influences in when they really worked well for the style of the label.
How many releases are on the label and do you have any favourites?
There are 36 releases at present, via vinyl, CD, and digital formats, plus 5 upcoming scheduled releases. With over 80 artists featured on releases, with only 7 from the UK! Yes a few, TMR001 Vortechtral – The Funk EP as it was the first release, mine, and received global support. Also the last vinyl release ‘Situation Rockstar’ as it features Reaky and Bryant Baker, 2 of my favourite artists from Slovenia and USA, and the massively legendary techno and electronic producer Eric Sneo on remix duties. The next vinyl release is set to be a big one too!
Has there been a development in the type of music that the label has released since the beginning?
The aim has always been to achieve high octane funky synth and bass lead tracks. At times the label offers flipsides and exclusive EPs featuring more Tribal Techno sounds, and some more House and Electro output, but keeping the core Funky Techno. The label is respected for the signature releases and style, I aim to keep that going amongst the mass turn toward Minimal and Tech House taking over the Techno scene in the last couple of years. The difference now is not so much the sound but the artists on the label, most have moved into other genres, a lot moving with trends to Minimal, so now we work with more the newer generation of producers, of which there are some amazing productions being made, alongside some of the older crew still releasing too. There has been a side catalogue setup, they are the VS series offering an exclusive label vs label head to head release output, and SP releases which offer and more specialist sounding EP, there are only a few tracks out with these at present, they tend to offer a more diverse sound from the core on the label. Upcoming will be the 1st exclusive down tempo release on the label on CD, which is my new album ‘Vortechtral AM – Verticle’ going on jointly on Techment as a LTD release, as well as my down tempo electronic label In Deep Recordings.
VORTECHTRAL – THE DEALER
Tell us about the process of finding and selecting artists and tracks for a release. Do you receive alot of demos, or is it more a personal network process?
A&R is always a key process in label management, for the most of it I have done all the demo research and work, for the vinyl releases. I have mainly approached the key artists in the scene, and the ones who support the label, requesting tracks for the EPs and then approached remixers who are likely to increase sales. For the digital releases, as these have no manufacturing costs and overheads, I am able to release the upcoming artists involved in the scene, a lot of these have large followings, and their tracks can be outstanding, but due to the recent fall in vinyl sales in the music industry it is hard to justify a release featuring just these. As for these artists I am a lot more open to the roster, although always aiming for quality over quantity, there is more flexibility in choosing the tracks.
I receive a lot of demos a week and aim to reply to all, sometimes there are just far too many to be able to download and listen. Tracks do often come from artists I have previously worked with, and there will always be favourites who we have worked together with in the past within our networks. I do still get some demos that aren’t techno or even electronic music! I did have Dastin who has released on the label, offering me some fantastic support in the Demos and A&R area for a while, we knew the sound we were aiming for and pulled some great new artists onto the roster in that time.
To what extent do you guide the artists and their releases from beginning to end?
The artists we work with can be completely new to the scene, but in most cases they have been involved in at least a few releases and know the score with the processes involved. If we start with the demo track or request for a track, then we can work on getting the master sounding right, arrange a contract, then compiling the release with other tracks and remixes, developing artwork, press releases, photos, biographies, and promotions, send upcoming promos for the EP to the DJs and support network pre release, manufacturing and distribution get the release on the shelves and stores worldwide, then promoting the release as available, reviews and news updates, compiling the sales, and accounting. That’s the general journey from start to finish but we can be flexible in our approaches depending on the artists views.
Do you work on a project-to-project basis or do you try and nurture long-term relationships and build a solid group of artists.
Bit of both, I receive the sales for physical and digital sales each quarter, from this I can determine the key artists that are currently selling, and develop additional releases either around the similar sounds or the artists themselves, in some cases its done on more of a friendship base with the artists involved, and in other cases the aim is to put the new talent out, focusing on pushing artists with quality tracks that haven’t yet had much of a chance, which is again where digital has a good involvement.
With cheap music production equipment and more and more amateur musicians writing tunes, is it getting easier or more difficult to find the good artists?
It is easier for artists to make good music that’s a fact, it can be harder for labels to find that good music, but as the label increases in popularity and size, the artists will come flooding to the label, Techment has always been involved in releasing physical product (vinyl / CD). A lot the the upcoming artists will always aim to want to release on vinyl, and so the demos get sent in regularly. The use of web based communities, digital mediums (mp3s), and the internet getting faster has played a massive role in the development of the music scene as a whole, and the way the processes have changed, the world becomes readily available from the inside of your house, and global networking has never been any better. Right now I think labels and artists have got such a massive choice and both have bigger and better opportunities to approach each other every day.
VORTECHTRAL AM – FRACTALISE
What are the most important ways of promotion for your artists and the labels catalogue?
Times have changed with the development of the world wide web, it used to be about sending CDs and vinyls to DJs who would support the release, and radio stations, magazines, etc, then getting the reviews into the mags. Sending out white labels, getting dub plates cut, giving your tunes to djs and promoters when you play gigs, and getting the hype going before it hit the record shops in cities. Now with the internet coming into play and more djs playing cds and mp3s, promotion has become very web based, sending emails with mp3 digital demos out, uploading releases to promo pools, radio stations, web based magazines, and reviewers for papers / mags, following up with a large online campaign, heavily utilizing the online community sites such as facebook, myspace, the forums online, and even knocking up videos for youtube, the ability to link in with an artist’s online network can massively help promote directly to their fan base. With the www there are so many options and opportunities to help push the releases now, only for exactly that reason there are so many labels, and so many other people doing it, it is hard to stand out at first, especially for labels starting out as digital.
How has your own music been affected (if at all) from releasing your own label?
That’s a big answer. Prior to running the label I have been involved in production since I was 12, I used to make chillout and ambient music, had a string of smaller releases and successes over my childhood, with tracks receiving global recognition on then the old mp3.com, and used in soundtracks for films and pc games, I setup a live PA based on my favourite artists at the time (The Orb, Chemical Brothers, Sphongle, Air, Aphex Twin, Orbital, etc), this allowed me to play live with some of those legends and events around the UK. As my musical tastes have always been diverse my productions developed a harder sound to them, whilst still creating down tempo tracks, and with a new taste for jazz another direction came to my sound, I decided to create the aliases, Vortechtral AM for the ambient tracks, Vortechtral and Marco Santonio for the more dance music styles, Benni Blanco for the jazzier sounds. The Vortechtral sound was getting interest in the techno scene, offering opportunities for myself to DJ, and my productions to get picked up on smaller labels, in this time I was awarded a funding grant to setup a local community and free label promoting local electronic music in Portsmouth, over this time I was able to build a large network in the city, and learned a lot about promotions, record labels, releases, and the development of the internet for music, which led to a few years of running events, DJing and playing live hardware based PAs, whilst constantly creating new music in the studio.
I rapidly came to a conclusion with the network I had built in the UK, I wanted to try and recreate what I had learnt looking at the bigger picture, I left the Portsmouth scene, and focused on the techno scene, which had offerings all over the world, I got my tightest tracks together, created a label proposal, and a business plan and approached some distributors, I was taken on by Primate / Proactive in London, Primate being one of the biggest Techno labels in the world, and they offered international physical distribution (now with Electronik), I also signed up with EPM in Holland 18 months later who offered digital distribution to all the major stores, this allowed me to get Techment into the global scene, and with the success of the first couple of releases, massive DJ and radio support, it was much easier to access the industry with the ability to approach all the major players in the scene, and work with them on Techment material, or for me to work on their labels as Vortechtral, and with this DJing opportunities increased. I worked a lot in this time with Ian Void (Geushky) who was just returning to the scene, he setup his new label Intravenous Cuts, we were able to work together and bounce ideas between us. We were both signed up to MOSP agency in Cezch, currently hosting one the best selections of club techno DJs available, this massively opened up opportunities for European bookings, and allowed regular decent gigs offering a chance for me to personally spread the Techment sound, and expand my own network.
One of the key developments of running the label was the opportunity to not only release my own output, but to work with and release some of the industry’s biggest producers, which opened up massive network opportunities, allowing me to get involved with many other labels, and received upcoming promos pre release to lay down DJ sets. These labels were then first points of contact for my new productions, and tracks and remix requests were getting signed regularly. This also came with the offer from the hugely respected radio station DI.FM – Digitally Imported, to run a regular radio show on one of their channels, so the Technologic Sessions was born presented by myself to push the sound of the artists and the labels I worked with.
Techment became a respected label on the scene, receiving some fantastic promo feedback, magazine reviews, dj and radio support, and chart positions, from some of the music industries major players and stations, as the label grew my opportunities as an artist grew with it. With the label management experience I had gained from Techment, I found it easy to get new distribution deals, and set up 2 new labels one of which In Deep Recordings I still run now, this is the output for all the down tempo and chill out based sounds. Many requests for licensing came over this period, offering many tracks to be put onto compilation CDs across the globe, including an exclusive Techment & Friends 2xCD album in Russia. Techment also developed merchandise in the forms on hoodies, bags, t shirts, and slip mats!
Another major opportunity which came from the network that had been built from the label, was the instant contact with artists across the globe via msn / facebook / myspace / email, this allowed for new options each day for partnership working, release opportunities, and others, specifically 3 of these came into play when I was asked to engineer and master for some artists and labels, after working some good results with them, I then offered this via the label and have since been engineering and mastering tracks for many labels and producers worldwide, and taken on some new labels underneath the Techment distribution network. The other was the development of artwork for music releases, having always designed the labels logo and artistic style myself, it opened up many requests for the design of many other labels artwork and logos.
I have also been fortunate enough to been able to develop a music project for young offenders in Portsmouth, teaching them accreditations in music production and DJing, and been asked to speak as a guest speaker at music business seminars, as well as offered private tuition in music production, and work with a whole selection of studios and labels in the UK. New stuff comes along every day, I’m definitely busier then I have ever been, as a label manager, artist, engineer, and through other opportunities, which at times can definitely be hard work and takes a lot of discipline and sacrifice, but very much worth it.
I always said from the age of 12 that one of my main aims in life was not to be famous but make some kind of impact on the music world, at 26 I felt I could look back and recognize that I had achieved that, although i believe it is wrong to be content, and I will always strive to learn more and gain new experiences, for the 1st time in my musical career I was able to appreciate a bit of a thumbs up! Techment played a massive role in this, and has in turn has opened up so many new opportunities.
VORTECHTRAL – PROPAGANDA
Some labels were for a long time hesitant to embrace the digital download revolution; how has your label reacted to the MP3 and download opportunities? Are vinyl’s still important for Techment?
Vinyl is definitely important for me, the digital revolution as I spoke about, created massive amounts of opportunities, but artists still want a physical product in a lot a cases. Digital music is great for so many reasons, but there is an element of disposal music, which has no shelf life. One thing I have always expressed, is that in my vinyl collection I know what every record is, where it came from, and have a good idea of who i would pass it onto if I got rid of it. With digital music it has a tendency to go on hard drive of data and audio files that gets more filled by the day, and gets lost very quickly, however if on the right label digital releases can be devastating due to their accessibility. Techment was in play when the scene crossed over, physical sales are a lot less than they were when they started, but with the weight of the label and the option for physical release, we have been able to work with all the major players, and can still approach new ones now with good responses, keeping the sales solid. There is also something to be said for quality control, although not it all cases but generally a lot of people take the view that if its getting financial backing to be manufactured its worth listening too, rather than being one of the many many labels that release on digital only, where there is no need necessarily for quality control, artists feel their music will not see the full support it should, and are sometime reluctant to offer tracks – not that in some cases this makes a difference, as there as so many good labels that do release quality, and have come into play due to the ease of a digital setup.
Do you have any special further plans for the label.
After having a brief 6 month break from running the label, to produce and DJ Drum and Bass and Breaks under the new Vortech alias, and also finish the upcoming Vortechtral AM – Verticle CD album release, I am rolling back heavily with Techment, we have just put out a huge 12” with the legendary Eric Sneo featured, the next vinyl is also looking very heavyweight at present! My new album will be linked to be a Techment vs In Deep release, offering some new sounds to the catalogue. I am always keen on new mediums, and constantly looking at the current market for USB, flash, and new laser based options. One plan for the year is get more involved with licensing opportunities coming in from the increase in web based sites and organisations. Also plan to integrate and develop my own new productions into the release schedule, increase the mastering and distribution network we are building up more each month, offering some really exciting new opportunities for some more of the Portsmouth based music scene. The Techment Sessions will be taking over from the Technologic Sessions on DI.FM, offering more guests and label showcases, and we will be hooking up once more with Ian Void again for more event fun. Lastly an increase in people involved with the label management will come as a massive warm welcome to assist in the ways of promotions and A&R in the label.
Lowenna May
Supporting
