Sven Väth is Germany's most enduring and accomplished DJ/producer. Since he began DJ'ing at the famous Dorian Gray club at the age of 18, Sven has created ripples through the world of electronic music in many ways: As co-founder of the trendsetting labels Eye Q Records, Harthouse and Cocoon Recordings; as owner of the clubs OMEN and Cocoon Club; and perhaps most importantly, as the godfather of Germany's trance and techno scene since its inception in the early 90s. Sven, like no other person in electronic dance music, has the ability to expose underground sounds to the mass population. His 14+ hour sets are the stuff of legend, and he will be DJ'ing parties until he his unable to physically operate a turntable – and even then he will be doing something innovative to propel electronic music into the new era.

It's the late nineties. DJs are the new rock stars and Fatboy Slim's unique musical blend of vaudeville and vodka has the sweat dripping from the ceiling of Brighton's infamous Boutique. A grinning Fatboy Slim drops the needle on 'Santa Cruz', the record that had kick started the acclaimed Skint record label, and takes a bow before the crowd. The drumfest of the big beat revolution is in full swing and he is most definitely leading from the front.

Fast forward ten years and Fatboy Slim (aka Norman Cook) has successfully helped take dance music from the clubs, into the living room and to the top of the charts – earning him a unique place in the nation's heart along the way. Across four acclaimed albums – 'Better Living Through Chemistry', 'You've Come A Long Way Baby', 'Halfway Between The Gutter And The Stars' and 'Palookaville'. Recently Norman released his Greatest Hits.

To date Fatboy has sold over 8 million albums and his music has defined a genre, giving him the platform to become the world's biggest DJ.

Carl Craig is described as a creative visionary, an electronic music icon, an esteemed Grammy-nominated composer, a world-class DJ and an ambassador for his native Detroit. Yet the common thread that runs through Craig's broad musical canon and creative projects is a resounding fascination with futurism. The 41-year old producer has cultivated a unique path as an artist, entrepreneur and civic leader, guided by his tendency toward forward thinking.

Looking back now to Craig's early releases from 1989-1992, one can see how much the wild variety found in his early music set the groundwork for his diverse career. He's fortunate to serve as an inspiration and influence to countless artists in the underground electronic music scene as well as crossover acts like Underworld, Hot Chip and LCD Soundsystem. His 1992 Innerzone Orchestra cut "Bug in the Bassbin" was credited as the spark that inspired the evolution of drum'n'bass. In typical Craig fashion, "Bug..." continued to develop, morphing into a live jazz composition in 1996. In turn, those experiments laid the ground for Craig to incorporate Jazz elements onto his 1999 I.O. album "Programmed." Then in the 00s Craig explored jazz further still as producer on the albums "The Detroit Experiment" and "Rebirth" (2009) for legendary Detroit Jazz collective Tribe. This is but one example of Craig's continually evolving exploration of sound.

Two-time Grammy Award Nominee FELIX DA HOUSECAT brought electro to the masses with his groundbreaking album 'Kittenz & Thee Glitz' which included the UK top 40 pop chart crossover hit 'Silver Screen (Shower Scene)'. From his collaborations with P. Diddy, James Murphy (LCD Soundsytem), and Miss Kittin, to his remixes for Madonna, Marylin Manson, and Nina Simone, Felix continues to shape the sound of music today. His 'GU34 Milan' compilation is out now on Global Underground and his 'He Was King' artist album is out summer 2009 on Nettwerk Productions.

Adam Beyer's music is synonymous with all that is exciting about techno. Having emerged as the figurehead of the hugely prolific Swedish techno scene, Beyer's focused and considered approach to his craft has worked to confirm his position as a globally recognized DJ and producer who headlines the worlds cutting edge clubs and festivals week-in-week-out. However life in music began for Beyer down in the grassroots; making the most of Stockholm's blossoming techno scene and working in the city's renowned Planet Rhythm record store. It was here that Adam hooked up with the triumvirate of Cari Lekebusch, Joel Mull and Jesper Dahlback; sharing a passion for dynamic and diverse techno which inevitably led to the beginnings of production experimentation and musical exploration which has maintained to the present day.

Rewind back to the start of the last decade when a teenage Loco Dice was a rapper and a Hip Hop Dj, playing support slots to Usher, Ice Cube, Jamiroquai, Snoop Dog and R. Kelly. The Tunisian Born Loco Dice soon became a very well known figure in his native German Hip Hop scene and as the scene exploded (becoming Germany's biggest musical genre, as it did right across the world) he did what any self respecting underground artist would: He switched to house music. But not any old house music: very sexy and very crowd pleasing House Music. Loco Dice is now signed to 420 Recordings in the UK, Superstar Records in Germany.


His tribal, sweetly funky, bassline driven, dance floor friendly skills have given him a residency at last year's coolest club DC-10 and Germany's favorite venue, Dusseldorf's Tribehouse. He regularly tours America, both North and South, having played all the Spundae's, all the Crobars, Creamfields and Pacha.His first release on 420 "Phat Dope Shit" has gone stellar, his remixes of Timo Maas's "Help Me" had a worldwide release.

Richard (Richie) Hawtin (born June 4, 1970, Banbury, Oxfordshire, England) is a English-Canadian electronic musician and internationally-touring DJ who was an influential part of Detroit techno's second wave of artists in the early 1990s. Hawtin is best known for his haunting, minimal works under the alias Plastikman, moniker he continued to use into the mid 2000s.

Hawtin is also known for DJing intelligent, minimal techno sets making use of high-tech electronics such as drum machines and digital mixing equipment. With fellow second-waver John Acquaviva he founded and still runs the Plus 8 record label in May 1990, and in 1998 he launched Minus, primarily for his own projects.

Visionquest are... Seth Troxler, Ryan Crosson, Shaun Reeves and Lee Curtiss, the most innovative and exciting new breed of DJ/producers to come out of the city of Detroit in a generation. Last year their remix of Kiki's 'Good Voodoo' on BPitch Control was one of the summer's biggest underground hits and together they have released tracks on leading labels like Crosstown Rebels, Spectral Sound, Get Physical, Circus Company, Supplement Facts, Wolf+Lamb, Wagon Repair and Minus. Both individually and together they play regularly at clubs the world over like Fabric (London), Watergate (Berlin), Cityfox (Zurich), Tenax (Florence), Fiesta Privada (Rome), Cocoon (Frankfurt) and Circoloco@Dc10 (Ibiza) as well as holding their weekly 'Soulshower' residency at Club Der Visonaere in Berlin. Their Visionquest party at the Old Miami at this year's Detroit Electronic Music Festival brought together many of the scene's freshest talent in a spirit of friendship, fun and radical progression, much needed in a scene so easy to stagnate.

Skrillex is the pseudonym used by Sonny Moore to differentiate his dance music from his band music. In 2008, Moore began DJing under the alias Skrillex at clubs in the Los Angeles area.



In the summer of 2010, Moore provided programming and vocals for English metalcore band Bring Me the Horizon on their third studio album There Is a Hell, Believe Me I've Seen It. There Is a Heaven, Let's Keep It a Secret. Later in the year, Sonny began a nationwide tour with Deadmau5 after being signed to mau5trap recordings and released his second EP, Scary Monsters and Nice Sprites.



Currently, a CGI music video is in the works for the title track, and Moore has begun to talk about an upcoming full length.

It all began in 1991 at a club night called Rage at Heaven. The rave scene had emerged from acid house and was building its own identity, with pioneer Djs such as Fabio and Grooverider mixing cutting edge sounds with vintage funk and reggae and playing tracks like Carl Craig's seminal 'Bugs In The Attic' at 45rpm instead of 33. The vibe was explosive, the adrenalin was pumping.

This is where well-travelled Walsall born B boy Goldie – a name he got while customising gold teeth – ended up when just from a few years in New York and Miami, taken by his new girlfriend Kemistry and her flatmate, known as DJ Storm.

Rage puzzled him the first time, blew his mind the second and there was no turning back: Goldie the UK B Boy who was hanging out with Nellee Hooper and 3 D pre Massive Attack, gold teeth maker, respected breakdancer and renowned Grafitti artist (his first brush with fame was taking part in 'Bombin', the definite documentary about the 80s grafitti scene) had found his purpose in life. He was going to make music, and his music was going to be played at clubs like Rage.

Even though reality shows have been trying to prove otherwise, a successful career as a musician, even as a pop star, cannot be forced with a pre-packaged crash course. As of 2010, Paul Kalkbrenner has tallied up more than 15 years of experience as a producer and live act, all the while learning what it means to go purposefully from one step to the next. When the Berlin Wall fell, he was 12. The soundtrack of his youth, and of the majority of his generation, was still in its infancy, awaiting its breakthrough: techno music. The fall of the wall meant reunification, but above all, a sense of no holds barred. The eastern part of the city became the anarchic, creative playground for a euphoric youth, now freed from bureaucracy.

Ruff, rugged and raw. Mentioning Marcel Dettmann as well as his feeling for and vision of electronic music, his way of dealing with it, is impossible without these attributes. Whether you take his DJ sets (Marcel has been made a resident DJ at the old Ostgut and also at Berghain from the very start), Dettmann's productions for the self-conducted MDR label, his remixes for the likes of Fever Ray, Junior Boys, Modeselektor as well as Scuba, or if nothing else his debut long player for Ostgut Ton into account, all the various contrasts and distinctions that come with it are manifested in these qualities.

Techno as Marcel Dettmann defines it, is neither a movement without history nor wistful nostalgia. In the hands of the Berliner, the well-known game of hi-hats, bass lines and kick drums draws its tension and momentum from a historically grown tradition and the conscious decision to break the rules.

Berlin born DJ, producer and label owner Ben Klock is without a doubt one of the most significant characters in techno's recent history. A resident at Berghain since its opening in 2004, he has been able to leave his mark on the club's unique sound, in turn the special space influenced Klock's approach as a DJ and producer as well.

His music is free of crippling nostalgia and rather wins you over with consistency, tension, and dynamics and time and time again with a sensibility, one would usually expect from house music. In this vein, Klock pursues an unexacting fusion of quantum jumps and tradition – including effortless melodies or hook lines. Being able to harmonize this method of industrial austerity, natural musicality and an impressive physicality is Ben Klock's great art and skill.