Sash & Stunt - Raindrops (Fonzerelli Remix)

"Northern Ireland based Aaron McClelland, the production genius behind Fonzerelli smashed onto the scene and quickly rose to prominence becoming one of the most established and hottest production talents in the world with his first release “Moonlight Party” in 2005 which became # 1 Download Of The Year on DJ Download and shot his own Mena Music label to # 1 Label Of The Year on DJ Download becoming a hit in Australia and Holland and more importantly a beacon to Aaron’s talent.
Every major and many minor labels around the world were lining up requesting Fonzerelli remixes and it was just as well that Aaron is insatiably creative and super prolific as he was asked a lot and he fulfilled pretty much every request often making 2 or 3 original tracks in a day notching up hundreds of productions under his belt including mixes of several Top 5 acts such as Fedde Le Grand, J Magik & Wickerman, Chanel, Sash, Mauro Picotto, Beatfreakz and Tiesto ft Maxi Jazz as well as original material for his own Mena Music label and Big In Ibiza.

Not content to just incorporate 80s instruments and sounds into his productions like many of his contemporaries Aaron actually plays all the instruments and prefers to use original real synths as opposed to computer emulations and is often found buying up racks of old second hand synths and Casio keyboards to get that unique and original feel and sound that his records are known for.
Spending half his time producing under his various aliases including Yer Man, Brazen (#1 Beatport) & Digital Glitter among others, Aaron spends the other half indulging in his new found hobby of renovating classic 70s cars including his current project a VW Campervan! Funnily enough Aaron was nicknamed Fonzerelli by friends in Ballymena following an early sideline to music production of buying and selling vintage clothes on eBay (I guess there was plenty of 50’s gear in there). So Fonzerelli, the vintage clothes seller from Ballymena became one of the hottest producers on the planet!
As the masked crusader for ‘real’ dance music, Fonzerelli’s studio layer is where he creates his weapon of choice – synth driven, retro, pop-club anthems – used in his mission to battle the darkside of dance music – ‘boring tracks where nothing much happens’. His new single “Dreamin’ (Of A Hot Summers Night)”, taken from his forthcoming San Franz Disco album is aimed at stripping away the underground elements of club records, replacing them with catchy vocals, hooks and melodies that set his music completely apart from the rest.  

Fonzerelli is one dance producer who, despite his huge global success over the last few years has remained one of these mysterious entities, where the music remains the most important aspect of who he is. He’s had Top 40 hits in countries across the world and he’s worked with a host of Top 5 UK acts, remixing for every major record label and the majority of independents, including being the only other producer to appear on Basshunter’s debut #1 platinum selling album. His pivotal influence in the 80s pop revival that is currently seen in the UK charts week in week out is wildly understated with his 80s-infused, synth-filled club smashes having graced dancefloors over the world for years before the rest.

Despite his desire to first and foremost remain a musician, to prove he is capable of being the superstar DJ, Fonzerelli occasionally selects a moment to appear. This includes following a personal request by Tiësto for him to play at his sell-out event in the world’s biggest club, Privilege Ibiza.

San Franz Disco

Fonzerelli (Aaron McClelland) has been working on his debut album for the last 8 months utilising his trademark electronic 80’s synth and drum machine soundscape, juxtaposed with insanely simple pop vocals. However, the album explores the song far more than Fonzerelli has before, due to the straight jacket of the remix and club cut format in his earlier work being removed. Now he has brought to the foreground the melodic and textured elements that previously were the high points of the 6 minute extended mixes he made. Now its 3 minute songs where the club chaff has been stripped out leaving what Aaron “Fonzerelli” McClelland believes to be the best bits (something strange for a succesful club producer in this day and age). Fonzerelli uses vintage equipment as well as cutting edge computer technology giving him his own more distinctive style which has set him appart from the “me too” crowd. This is even more evident in his song productions as he his not pandering to any dancefloor only his own musical and commercial passions. Fonzerelli’s “San Franz Disco” album will be released in 2010." Article source: www.fonzerelli.info.

T.A.T.U. - Not Gonna Get Us (Club Mix)

"Fierce brunette Julia Volkova and sprightly redhead Lena Katina are Eastern Europe's most popular musical exports. In the age of 24/7 televised entertainment, you've likely caught a glimpse (or quite more) of these Russian pop-sensations and full-time mess-with-your-expectations media mavens. During t.A.T.u.'s short five years together, the two diminutive, talented beauties have caused one hell of a worldwide ruckus, routinely playing to audiences of 50,000 fans and selling more than 5 million copies of their debut album, 200 km/h in the Wrong Lane. Infamously, they refused to perform at the World Music Awards unless provided with real guns. Explains Lena, "We wanted real machine-guns, but they didn't give us, so we wouldn't perform, that simple."

 Brazenly, after promising not to kiss on the Tonight Show, they engaged in a long, passionate wet one-- much to the alarm of anxious network censors, (and well before Britney and Madonna's little stunt, ahem). And yet, when expected to do the same on Jimmy Kimmel, they deliberately offered not so much as a sweet peck on the cheek. Why? Explains Julia, "Basically, because we like to do what we want. A lot of people are, like, 'you shouldn't do this, you shouldn't do that, you shouldn't behave in this way.' But you know what? Actually for us, we are the way that we are, and we don't really live in fear of anybody. So, if we behave in a certain way, then that's just actually the way we are." 

 LENA'S BIO

Lena Katina was born in Moscow on October 04th, 1984 in the family of the famous musician - Sergey Katin - who collaborated with "Dyuna", Marina Khlebnikova and other representatives of Russian show-business. Starting from being 4 years old, Lena began, on her father's initiative, to attend various sport and music clubs for the purpose of fostering plastic arts and artistic talents. When she was seven, Lena entered an ordinary school and within a year she entered music school, piano class. When she was ten, she became a soloist of the famous children group "Avenue" where she sang for 3 years. When she was 13, Lena became a member of vocal and instrumental group "Neposedy" (Naughty Children) where she met Julia Volkova with whom she became friends. At the casting, she sang a song in Spanish and the jury were astonished by the quality of her voice. Soon Lena left the group due to her age - children sing in "Neposedy" up to 14 years old. At the age of 15 she successfully passed the casting for the musical project which was later named "Tatu". Later on, another girl joined the project - Julia Volkova who turned out to be at the second position according to the casting results, right after Lena.

JULIA'S BIO

Julia Volkova was born in the family of a successful businessman in Moscow on February 20th, 1985. At the age of 7, parallel to the ordinary school, Julia entered a music school, piano class. When she was 9, Julia became a member of the famous children vocal and instrumental group "Neposedy" (Naughty Children). At the casting Julia sang Russian folk song "Oy, to ne vecher". In a year, Lena Katina became a member of "Neposedy" as well, and soon Julia and Lena became best friends. When she was 11, Julia switched the ordinary school where she studied for the school fostering artistic talents. Three years later she leaves "Neposedy" to pass the casting and join musical project Tatu in which Lena Katina had already been in. At the age of 15, Julia enters vocal department of Gnessin's State Musical College and simultaneously becomes famous as a soloist of Tatu duo. In 2004 she had a baby. Now she is 20." Article source: www.tatugirls.com.

September - Until I Die (Dave Ramone Remix)

"Four years after her big breakthrough with the smash hit ”Satellites” September continues to rule the international charts. ”Cry for you” went top 10 in more than 15 countries and kept the #1 position at Billboard Dance Radio Airplay for three weeks. In the UK the single sold 250 000 copies, worldwide close to 1.5 million. Ever since her debut single “La la la (Never give it up)” in 2003, Swedish singer and dancing queen Petra Marklund has worked together with songwriter and producer Jonas van der Burg and the two songwriters Niclas van der Burg and Anoo Bhagavan. Together they have continued to follow-up one hit with another without repeating themselves and without losing their audience. September has become a reliable provider of the catchiest pop and dance tunes you can imagine.

 ”The four of us have stuck to the formula, which makes it easier for the audience to understand what September is about. We love to work with each other. Of course there are conflicts sometimes, but in the end we are still a team”, she explains.
Today September is one of Sweden’s biggest musical exports. Earlier this year she was nominated for the government’s music export prize together with Björn and Benny (ABBA). The international success means that Petra spends a lot of time in airports, usually far away from home. It is a lifestyle that does not fit everyone, but for her it is the only life she knows – and she loves it. When other artists move to the country to have some rest in-between shows and recordings Petra will spend the following year in London. With all the travelling it is more convenient to live in the UK, but that is not the only reason she is packing her bags.

She says that meeting new audiences and travelling the world has helped her grow as an artist. ”When I started doing shows abroad I was allowed to do my thing full on. Back home in Sweden people would probably be shocked by my live show,” she laughs. Putting on a memorable live show is important to this 24-year-old who loves touring as much as she enjoys singing and dancing. She also designs the clothes she wears on stage and likes to be involved in every step of the process. ”I was meant to do this”, she says. And seeing her touring and conquering Russia, Canada, Australia, Britain and USA we have to believe her.

Already at the age of ten Petra (yes, she was born in September) started planning her career. She took dancing lessons, sang all kinds of music and did all she could to prepare herself for a life on stage. There was never an alternative, never any doubts. She was determined to become a popstar – and a few years later she became one. At the age of 20 she received a Grammy in Sweden for Best Club/Dance-album of 2005 with “In orbit”. The same year platinum selling “Satellites” was the most played song on national radio in Sweden. It also reached #1 in the Spanish charts and was given a prize for Hit of The Year at the ESKA Music Awards in Poland. She even found herself at a higher position than long-time favourite Kylie Minogue  as “Cry for you” landed a spot at the Billboard hot 100.

Now, after all the success she has experienced, the 24-year-old singer no longer needs to prove anything to anyone.She was meant to do this." Article source: www.septembermusic.se.

Alessia - Boro Na Sou Po (DJ Stanca Remix)

5.1 vs. 71. Wich is best?

"Both options have advantages and disadvantages, depending on what source components you are using and what your personal preferences are. 

5.1 Channel Home Theater Receiver Overview

  5.1 channel home theater receivers have been the standard for two decades. They provide a perfectly good listening experience, especially in small to average-sized rooms. A 5.1 channel system consists of:

1. A Center Channel to provide an anchor stage for dialog or music vocal.

2. Left and Right Front channels to provide the main soundtrack information, or for stereo music reproduction.

3. Left and Right surround channels for side and front to rear motion effects from movie soundtracks and ambient sounds from music recordings.

4. The Subwoofer channel, which provides the extreme low frequency effects, such as explosions or bass response in music performances. 

7.1 Channel Home Theater Receiver Overview

However, when trying to decide if a 5.1 or 7.1 channel home theater receiver is right for you, there are several practical features of a 7.1 channel receiver that could be of benefit that you may not have considered.

1. A 7.1 channel system incorporates all the elements of a 5.1 channel system, but instead of combining both surround and rear channel effects into two channels, a 7.1 system splits the surround and rear channel information into four channels. In other words, side sound effects and ambience are directed to left and right surround channels, and the rear sound effects and ambience are directed to two rear or back channels. In this set-up the surround speakers are set to the side of the listening position and the rear or back channels are placed behind the listener.

For a visual look at the difference between a 5.1 channel speaker layout and 7.1 channel speakers layout, check out an excellent diagram provided by Dolby Labs.

The 7.1 channel listening environment can add more depth the surround sound experience, provide more a specific, directed, and immersive soundfield, especially for larger rooms. 

2. Although most Blu-ray soundtracks are 5.1, there are an increasing amount of Blu-ray soundtracks that contain 7.1 channel information - whether it be 7.1 channel uncompressed PCM, Dolby TrueHD, or DTS-HD Master Audio. If you have a 7.1 channel receiver with audio input and processing capability via HDMI connections (not pass-through only connections), you can take advantage of some, or all, of these audio capabilities. Check the specifications, or user manual, for each 7.1 channel receiver you may be considering for more specifics on its HDMI capabilities.

3. Also, even with playback of standard DVDs, if your DVD soundtrack only contains Dolby Digital or DTS 5.1 or, in some cases, DTS-ES 6.1 or Dolby Surround EX 6.1 soundtracks, by using the Dolby Pro Logic IIx extension or other available 7.1 DSP surround modes that may be available on your receiver, you can still extract a 7.1 channel surround field from both 2 or 5.1 channel source material.

4. Other surround sound extensions that can utilize 7.1 channels are Dolby Pro Logic IIz and Audyssey DSX. However, instead of adding two surround back speakers, Dolby Pro Logic IIz and Audyssey DSX allow the addition of two front height speakers. This provides additional speaker setup flexibility.

5. In addition, if you prefer 5.1 channels for your main room, most 7.1 channel receivers have the ability to use the extra two channels to provide a 2-channel speaker operation in a second location. What this means is that, in many cases, while you are listening and watching your DVDs in 5.1 channel surround sound in your main room, someone else could be listening to a CD (provided you have a separate CD player connected to your receiver) in another room, without having a separate CD player and receiver in the other room - just the speakers.

6. Another option that is becoming more common on 7.1 channel receivers is the use of Bi-amping. How this works is that if you have front channel Speakers that have separate speaker connections for the midrange/tweeters and the woofers (I am not referring to the subwoofer, but the woofers in your front speakers), you can reassign the amplifiers running the 6th and 7th channels to your front channels. Then enables you to retain a full 5.1 channel setup, but still add two additional channels of amplification to your front left and right speakers.

Using the separate speakers connections for the 6th and 7th channel on your bi-ampable speakers, you can double the power delivered to your front left and right channels. Your front mid-range/tweeters end up running off of the main L/R channels and your front speakers woofers running off your 6th and 7th channel Bi-amp connections. 

The procedure for this type of setup is explained and illustrated in the user manuals for many 7.1 channel receivers. However, as I mentioned earlier, although this is becoming a more common feature, but is not included in all 7.1 channel receivers.

Final Take

To put it all into perspective, a good 5.1 channel receiver is a perfectly fine option, especially for a small or average room in most apartments and homes.

However, once you get into the $500 range and up, there is an increasing emphasis by manufacturers with 7.1 channel equipped receivers. These receivers can provide very flexible setup options as you expand your system's needs, or have a large home theater room.

On the other hand, even if you don't need to use the full 7.1 channel capability in your home theater setup, 7.1 channel receivers can easily be used in a 5.1 channel-only system. This frees up the remaining two channels on some receivers for Bi-amping use, or to run a two-channel stereo 2nd Zone system." Article source: www.hometheater.about.com.

Fio - Like An Angel (Niels Van Gogh & Dave Ramone Remix)

Booming Car Stereos Can Be Dangerous

"Careful with the volume button: loud music decreases a driver's ability to react to sudden movements and make decisions, according to the latest research.

The study, by scientists in Canada, found that reaction times diminished by up to 20 per cent when a person was subjected to loud volume, a potentially fatal delay for a motorist driving at even moderate speeds.
The finding has prompted concern among driving organisations that young men who drive with music booming from their powerful in-car hi-fi systems could be causing an increasing number of accidents.
Edmund King, the executive director of the RAC Foundation, the motoring organisation, said that the findings confirmed many drivers' suspicions. "This research suggests that loud music is not good for the driver or other road users, and is actually a real risk on Britain's roads.
"We get a lot of complaints about loud cars and their annoying drivers and this research seems to explain why," he said. The study, conducted at Memorial University, Newfoundland, Canada, examined the reactions of 10 people who were asked to complete tasks each day for a month while being subjected to different noise levels. The lowest sound level used in the experiments was 53 decibels - the equivalent to an office - and the noisiest was 95 decibels - the equivalent to standing near a fast moving lorry. By measuring physical and mental abilities over hour-long periods, researchers found that the time it took to complete tasks that required decision-making increased by an average of 20 per cent at 95 decibels. At office levels, it was five per cent.

The typical car stereo has a maximum volume of about 110 decibels, although the loudest can reach more than 170 decibels. Duane Button, the scientist who conducted the experiments, said that the time periods involved were just fractions of a second, but could make a significant difference while driving. "Drivers have people and vehicles and pedestrians coming at them all the time. If they lose 0.35 seconds because of their loud music, it is the difference between an accident or safety," said Mr Button. Damian Green, the shadow transport secretary, said that the Government should commission its own study of the impact of high volume levels on safety. He also called for curbs on the maximum volume permitted in cars. "The Government needs to take the issue of volume levels and car safety by the scruff of the neck and deal with it," he said. A spokesman for the Department of Transport said that officials would examine the Canadian report when it was published.

 

Drivers with booming car stereos dismissed the findings yesterday. Richard Bladon, 20, from Wolverhampton, West Midlands, regularly plays dance music at 148 decibels - the equivalent of standing 10 yards from a landing jet - from his car.

The computer programmer admitted to turning up his £4,000 stereo "pretty loud" and to being thrilled when other drivers looked around from their cars.

"I have stopped at traffic lights and watched people in the next car turn around as they wonder why their dashboards are vibrating," he said.

Mr Bladon insisted that there were worse habits on the road than playing loud music. "People should not play their music so loud that it disturbs people going about their daily business. But playing music a little louder than normal is not as bad as drinking before, or telephoning while driving a car," he said.

There are more than 7,000 registered car stereo enthusiasts in Britain according to TalkAudio, a website that serves young men who are prepared to spend thousands of pounds on amplifiers, speakers and cable leads.

Loud music has previously been blamed for contributing to fatal car accidents. Ronald Myers, a coroner in Wigan, Lancashire, said that loud music played by Nicola Rothwell, 18, contributed to a 1997 crash that killed her and two companions. "I do hope that parents will take heed and hand out a warning to youngsters of the possible dangers too loud a volume of music in a car can be," he said.

 Sony, the electronics giant, was accused this year of encouraging anti-social behaviour in its advertisements for car stereos.

One Sony magazine promotion was banned by the Advertising Standards Authority for selling amplifiers with the slogan: "Maybe you like your music relaxing. Or maybe you like to shatter greenhouses and set off car alarms." Kevin Clinton, the head of road safety at the Royal Society for the Prevention of Accidents, said that the study confirmed suspicions that loud noise could increase the likelihood of an accident. "Most research that has shown how using a mobile phone while driving can be a distraction has indicated that listening to the radio is not a problem. "However, listening to very loud music can be distracting. If the noise in a car is too loud, it may stop you hearing other things such as traffic approaching."". Article source: www.telegraph.co.uk.

Fabal - Fuego (Wawa Electro Latin Mix)

"WAWA are Polish duo Vic and Bojan. As soon as house music arrived in Warsaw they knew they had found their calling in life. Over the past six years WAWA have built a solid reputation as top notch DJs and producers.

Production:

While on a record buying trip to Amsterdam in 2000 the boys left some of their work at the Rhythm Imports shop. Rhythm Imports loved it and invited them back to record more. The first release was No Problem on the Fresh Fruit label. Defected sub-label Fluential licensed the track and released it as the No Problem EP. That promptly broke into the British dance charts and was played out by the likes of Carl Cox, Pete Tong and Roger Sanchez. Fluential and Rhythm Import are still repressing it three years after its release. Next came the GK EP, also on Fluential, which features guitars by Gerald from Banda Sonora and drew airtime on BBC Radio 1. 2004 brought the release of The After Party with vocals by none other than Eddie Amador. Since then their reputation has been building at a rapid rate in the dance World with Brian Tappert (Soulfuric), Stonebridge, Warren Clarke, & ATFC all being avid supporters of WAWA.

WAWAs remix work has also brought success. Their mix of Gaston & Phillips track Isolacion was supported by Pete Tong on his Essential Selection, while their remix of Morris Ts Let Me Be hit number one in the DMC charts. Defected Records were so impressed with WAWAs reworking of the club anthem E Samba by Junior Jack that they gave it a special release under the title E WAWA & went on to be a 1 selling dance record. Judge Jules (Radio One) was heavily supported their remix of Francesco Diaz & Young Rebels Ibiza, playing it no less than 3 times on his show!

 Last year saw WAWAs profile raised even further thanks to their excellent remix of Stonebridges SOS (Apollo / Universal) which was championed by everyone from Steve Smart (Kiss) & Andi Durrant (Galaxy) and later went on to not only be a 1 club record in the UK, but the 1 club record of 2007 in the main Music Week club chart! Further club chart & dance radio success came soon after thanks to their remix for top American artist, JoJo (Mercury), (another top 3 club chart hit and a huge favourite with listeners of Radio Ones top Floorfillers show), Hilary Duffs Stranger, which was dropped peak-time at the opening party of the holy-grail of superclubs, Space in Ibiza and awarded Tune of the Week in their weekly podcast! (Stranger went on to top the U.S. Billboard Club chart, as well as hit 2 in the UK club chart), and their remix of hot Positiva signing, CheNelles I Fell In Love With A DJ was another top 10 club chart smash.

It was the boys remix of huge bassline smash, Heartbroken by T2, that ascended the demand for WAWA even further. Their rework was not only supported by all the biggest jocks but also played well over 10 times on Radio Ones Floorfillers, with the shows DJs commenting on air how much they loved them!

 

 2008 only got bigger and better for WAWA. The Worlds 1 DJ, Armin Van Buuren recentely honored their new mix of Chicanes Spirit as Tune of the Week, as voted for by listeners of his Kiss show, while remixes for Cahill (£ Beat Blue), Rikki Lee (Hed Kandi), Alphabeat (Virgin), and one of the biggest dance records of the year, The Outsiders ‘Keep This Fire Burning’ all topped the UK club charts and remained in the boxes of the Worlds biggest players all year. WAWA also launched the first release on their new label, ‘WAWA Traxx’. ‘Traxx:1’, featuring the enormous club anthems, Sitar Track, Time, and the vocal monster ‘Forever; (featuring Rita Campbell) topped club charts everywhere and remained in Xpressbeats top 3 best sellers chart for nearly 2 months! The boys also got to remix legendary girl band, Sugababes, and had their version of the track cut to the video for the music channels.

2009 came even bigger remix projects for Sugababes, MSTRKRFT & John Legend, Ladyhawke, and on of the biggest remixes of the year, Empire Of The Sun’s ‘We Are The People’, which was another UK club chart 1, as well being dropped all over the World, with Tiesto being one of the biggest International supporters!

2010 has already got off to amazing start as WAWA have been behind some of the biggest crossover remixes of the year, Beyonce & Lady Gaga’s ‘Videophone’, and Kylie’s ‘All The Lovers’. They are also releasing their first single in two years, ‘Pai’, a club slammer that the boys return to their more underground roots, yet gives a cheeky wink to the mainstream!

With more remixes in the pipeline and new productions on the label already underway, 2010 can only get bigger & better for two of the nicest – and talented – guys in dance music! 

DJ:

Polish clubbers know that anytime WAWA are playing its going to be a great party. The boys love playing to Polish crowds and the crowds love WAWA. From the early days of the dance scene Vic and Bojan have proved that nobody reads a crowd like they do. At countless parties in Warsaw the imported big name DJ has stepped off the decks only to see WAWA come on and pump the crowd up even higher. Residents at MTV Polkas birthday parties, they play all over Poland and rock the crowd where ever they go. WAWA are much in demand around Europe. Among the highlights of their travels was a New Years Eve performance at Club 287 in Paris and the Impulz Festival in Holland where they played with Lottie and Tim Deluxe. Other memorable guest spots include sets at The Escape and Sinners in Heaven in Amsterdam, the D! Club in Lausanne and Papagayo in St. Tropez. Critical acclaim came in the form of the award for Best Polish DJ from NWE magazine in 2003, 2004 saw them win that title again." Article source: Wawa on MySpace.

Andreea Balan - Trippin (Dj Yaang Remix)

"Andreea Balan has released, together with www.monden.info and www.andreeabalan.ro, Trippin, her new single. The song marks a new change of style and image for the singer dancer and soon, to illustrate the her new image, Andreea will shoot a video for this single.

About her new song, Andreea says:

"All the years I’ve been on the stage and on the dance floor thought me that’s not enough to act as a consequence of your former success. I want to reinvent myself, to bring a new, fresh sound. Trippin underlines that I’m a mature artist. With its fresh, cool and new sound, this songs it’s prefer for the hot summer days”.

"Trippin" it’s a song that reflects this feeling and it complets the “Dance Lesson” (www.lectiadedans.ro), the most complex show of a Romanian artist." Article source: www.eng.catmusic.ro.

Orjan Nilsen & Tarah - Be As One (Anjunaboy Vocal Re-work Mix)

"Orjan Nilsen AKA DJ Governor, born the 14th of June 1982 in a place called Kirkenes in Norway, started his interest in music at a VERY early age. He started banging on drum sets at the age of 1 and was thoroughly instructed by his father and brother for the first 9 years of his life.
At the age of 7, Orjan got his first keyboard, and started to practice on it every single day for the next couple of years, but started to think this little keyboard lacked what he was looking for... And then it began...

 Melodies and rhythm were increasengly becoming a more important part of Orjan's life as he was reaching for the teen years. And one style in particular caught his attention more then anything else... TRANCE
After listening to various Trance compilations from Holland, he now started to be more and more mesmerized by this unique sound wich merged beautiful melodies and rhythmic patterns so beautifully. Orjan wanted to make this as well, but with the lack of funds and the knowledge how to, stopped him from it for a couple of years. At the age of 16, Orjan got his first very own synthesizer, with onboard sequencer and drum machine, and from now on, things were evolving quite rapidly.
He learned how to set up drums, basslines, melodies, strings and chords on his synth and then also how making music really worked.

After a year, he learned how making music on a pc worked, and what magic that was contained in a small grey box... Evolving in his productions year after year, Orjan now decided to take things a step further and bought more equipment to make his tunes reach another level. At the end of 2004, Orjan had made several unofficial remixes and a couple of own productions, that got the attention of trance minded people

in the trance.nu community. His tunes were now played in radio stations and clubs all over the world, but nothing was, as of yet, signed by any label. It was in the summer of 2005 things started to take a new turn, when his remix of 'Virunga - Simbabwe (Dj Governor's Progmix)' was played on Playground by Danjo & Styles and then a bit later Yanave on his show 'Retinal Insight'! People now started to show more and more interest in the works of Orjan, wondering on 'who is this guy?'

This gave Orjan more and more confidence, and gave him inspiration to keep working on his own tunes! Then, in September 2005, Orjan made 'Red Woods', which blew away the minds of his friends and fellow producers, and now, finally, it seemed like Orjans breakthrough, and indeed it was...

Since then Orjan has released a big amount of dancefloor smartbombs like f.ex Arctic Globe which went straight into the number one spot at the Dutch Dance Charts. His tunes are played all over the world both live and broadcasted by the worlds biggest DJs such as Armin van Buuren, Tiesto, Paul van Dyk, Ferry Corsten and so on and so on.

Orjan is currently taking gigs all over the world and his music career is developing rapidly, all though the DJ Governor moniker is at rest." Article source:www.orjannilsen.com.

Eagles - Hotel California (DJ Nil Remix)

"The main mission of DJ Nil consists of style house propagation in its most various displays: jazz, funk, Latino, dub, disco, pump, and electro. Nil is the honorable trailblazer and guide of the Russian clubbers in speed garage and big beat styles.
Nil is the indisputable champion among domestic masters of the music deck, whose name is known to each modern dance music fan with self-esteem. By autumn 2004, Nil had been performing as a DJ for almost 20 years! Within this period of time Nil has released 15 albums with his own mixes, has toured all around Russia and the CIS countries: Astana, Kiev, Kharkov, Riga, Simferopol, Novosibirsk, Pskov, Novgorod, Petrozavodsk, Helsinki, Omsk (among other places); has participated in such well-known international festivals as Ministry of Sound, Каzаntip, DJ Parade, Eastern Impact, Assembly Point (Ukraine), just to name a few. He performed on stage with the American House DJ Marshal Jefferson, the English DJ Justin Robertson, the famous Dutch Alex van Ostrum, the well-known Dr. Kucho, Steve Murano, Narkotic Thrust, Globals DJ’s, it is impossible to mention them all.

DJ Nil is capable to steam up the widest audience. He performs both within the limits of nightclubs and on broadcasting open spaces with equal success.

DJ Nil reacts to all new things, but he never forgets about the old ones; his dance sets quite often create mad furor among inveterate night clubbies. He is capable of driving the public to extreme ecstasy, skillfully adding gold tracks of 80’s and 90’s to ultramodern rhythms.

DJ Nil is the creator of the hit Animals, which conquered the country and became a super-hit in clubs. At Soyuz label in summer of 2005, his album DJ Nil and X-Mode, remixes and his own compositions was released. It became one of the sales leaders in the country. In 2005 Nil was awarded the premium "Energy Mega Dance" and the nominee of “MTV 2005 Premiums.” In 2006, he was the winner of “MusTV 06 Premium.” DJ Nil in September 2006, together with DJ Antonio, created the project Monster DJs, their single Joe Dassen Rules was broadcast by all leading radio stations in the country. In 2008 he is planning to release his author's Monsters album. DJ Nil’s well-known remixes, such as Night Rendezvous, Star Summer, Departed Forever, continue the victorious parade on the dancing grounds of the country.

DJ Nil is considered one of the top DJs in all Russia." Article source: www.djnil.ru.

Kirsty Hawkshaw - Reasons To Forgive (Blizzard Remix)

""Kirsty Hawkshaw has well over 50 collaborations to her name. It's possible that the actual number is twice that. Her voice is unmistakable to anyone who has obsessed over even two songs she's worked on. Outside of vocals, she has created an ambient release called "The Ice Castle" and created a now legendary persona on the virtual environment Second Life. " - Lamat Kan.

Kirsty Hawkshaw is a female Dance/Electronica/House/Ambient/Drum and Bass/ Artist, photographer and songwriter who is known for her signature atmospheric vocals.

Hawkshaw was born in London, England in March 1969 and is the daughter of British Disco producer Alan Hawkshaw (of Love De-Luxe with Hawkshaw’s Discophonia fame; they had a #1 disco hit on the Billboard Hot Dance Music/Club Play chart in 1979 with “Here Comes That Sound Again”. He later went on to compose the famous theme music for the British television game show Countdown, and also wrote the original Grange Hill theme tune Chicken Man). It was through her father and her German Grandmother who was an Opera singer and stage performer and her love for dance music that would inspire Kirsty to pursue a career in music.

Kirsty started recording sounds and her own vocal recordings at the age of 3 years old after her Father gave her a tape recorder. 

Kirsty is also venturing into the sublime world of liquid Drum and Bass and in 2010 plans to release some collaborative releases with the only Ambient Drum and Bass producer currently in existence 'Paradox' aka Alaska on stunning White Vinyl. She also had a release in Feb 2010 with Sweden's Seba with 'The Joy', and Devotions, and they are currently working on a follow up single to 'The Joy'. But while her voice continues to soar in many dance hits around the world, Kirsty has been creating a different kind of music in her home studio. Her style is ambient electronica with no or minimalist vocals, that is serene, innocent and sublime.

The ambient side of Kirsty started with "Pulusha," a collaboration with Global Communication's Mark Pritchard in the 1990's. Her extraordinary talent has evolved further over the years, enhanced by live performances, recording sessions, and solo studio excursions. 

2010 will no doubt be an exciting year, she has a track on BT's new album 'Million Stars' on 'These Hopeful Machines and she will also be touring with Chapterhouse and Ulrich Schnauss in Japan and the States,. Kirsty and Ulrich plan to release their album sometime in the late Autumn. The album has been 3 years in the making and they have not in a rush to finish the album and have been working on it independently and off their own backs." Article source: www.kirstyhawkshaw.co.uk