Martin Buttrich is famously as fluent behind a mixing console as in front of a virtual drum kit. That technical prowess, combined with a fascination for music of every shape, has resulted in outstanding releases on influential labels such as Planet E, Four:Twenty, Cocoon, Poker Flat, Nervous and Desolat. He's also put his sonic thumbprint on many big ticket artists, notably receiving a Grammy nomination for a Tori Amos remix in 2003 and more recently remixing Tracey Thorne to wide acclaim. Such diverse musical horizons are rare.
While other prolific artists may have slowly watered down their music, Buttrich's star has risen in diametric opposition. His vision has become more and more condensed, more and more crystallized. Flipping and puncturing grooves in a live setting is a snap for him, and he's entranced audiences at festivals like Time Warp and Creamfields and at temples of boom such as Fabric (London), Womb (Tokyo), Cocoon (Frankfurt), Panorama Bar (Berlin) and Amnesia (Ibiza).
When people say "Buttrich's music sounds amazing," they're not just talking about the catchiness of his compositions or the way he manipulates beats into unique tapestries. His skills with a sonic scalpel – that esoteric ability to navigate the spectrum of audible (and inaudible) frequencies – have given him cachet among sound engineers. An incredible work ethic combined with a flexible, curious, and humorous approach have made him truly great at what he does.
Buttrich's journey into electronic music began in clubs in Berlin and Hannover at the dawn of the ‘90s, when post-Summer of Love-Europe began to swing to its own hypnotic, machine-like groove. At 18 years old he began experimenting with production as X-Rotation (with Daniel Bross), which led to the projects Rhythm Assault, Sounds of Life and Phunk Diggazs (with engineer Andy Bolleshon). Buttrich began a notorious collaboration with his then co-worker at Peppermint Jam distribution, Timo Maas, in the mid-‘90s (they worked the telephones together). After setting up his first studio in the basement of the Peppermint Park studio building, the partnership led to over 100 co-productions and remixes that included Madonna, Muse, Fatboy Slim, Josh Wink and Green Velvet. Buttrich has produced funk legend Bootsy Collins, while switching the patterns for artists including Tom Jones, Kelis, Moloko, Depeche Mode, Placebo, Yello, War and Roger Sanchez. His Azzido Da Bass "Dooms Night" remix with Timo Maas hit the UK top ten charts.
All the while he created an impressive library of beats and collected an arsenal of music production equipment for his studio in Timetools, a studio complex founded in 1997 in Hannover with a group of musicians. Buttrich is happy with the subtle crunch of an SP-12 sampler and the ‘smoky' vibe of his analog mixing desk – adding a bass guitar or other instrument when necessary. But he's not above having fun with a laptop either: approaching music programs as if they were video games. He doesn't rely on any one machine or music composition technique, and his array of outboard gear is mouth-wateringly state of the art.
But he never loses touch with the gritty, human side of music, and the environments that it is played in. Another key musical partnership, with Loco Dice, begun in 2002, undoubtedly inspired Buttrich to delve deeper into the musical histories that first lured him towards after-dark melodies. In a short space of time they'd built up a deep discography creating an era-defining sound in the process. They spent more than half a year living in New York in 2006/2007, with half of Buttrich's studio set up in a rickety hideaway in Brooklyn that looked out over Manhattan's vistas. Between late night production sessions and snowstorms, their Desolat label came to life.
In 2010, Martin Buttrich released his debut solo album Crash Test: a project fusing wild imagination with solid musical architecture, cherry-picked inspiration with true perfection of his musical craft. Built the old-fashioned way – through dedication, driven by passion.
Producing and performing live for over ten years, Noah Pred emerged from the Canadian underground as a sought-after techno DJ with a sophisticated sound and unique style. Devoted to authentic and soulful strains of techno in all its permutations, Noah's sound continues to evolve while remaining firmly driven by the dance floor.
Since his first records were released, his productions have received international support, garnering critical acclaim while moving bodies across the globe. As a DJ and live act, he's toured throughout Europe and North America, performing alongside such diverse artists as Josh Wink, Mathew Jonson, and James Holden. After a three-year stint in Montreal working for Consigned Recordings while holding a residency at Stereobar, Noah relocated to the West Coast to produce his field recording based techno full-length, 'Ecocosm', which was initially released on New Kanada.
Exploring his compositional versatility, Pred launched the Shen project in 2004. Geared towards digital downtempo, electronic dub and emotive IDM, Shen provided a creative outlet for productions that roam beyond the borders of clubland. Noah's debut Shen full-length, 'Outlines', was released on Native State Records in late 2006. With Shen currently on indefinite hiatus, Noah recently launched Solvoid - a new project geared towards his unique take on future bass music.
Based in Toronto since 2007, Pred has developed a loyal and devoted following for his potent DJ sets while running the digital imprint Thoughtless Music from his studio headquarters. Following his recent full-length on Thoughtless and performances at the MUTEK and Decibel festivals, Noah's poised for exciting things in the year ahead - with his debut mix-CD for Thoughtless, ERA ONE, and his new EP for Cynosure, Lesser Lights, gathering rave reviews and widespread support.
Rooz is a DJ, promoter, and major advocate of underground electronic music in San Francisco. Known as one of SF’s premier and well respected DJs, specializing in underground house, techno and tech-house. With regular residencies and appearances at San Francisco’s top nightclubs since 1999, Rooz has established himself as a fixture in the underground electronic music scene. After a decade of success behind the decks, Rooz had spun with almost every big name DJ in the world in all genres of underground electronic dance; from Sasha to Tiesto, from
Derrick Carter to Felix Da Housecat, from Deep Dish to Steve Lawler, from Francois K to Tiga.
In 2009 Rooz was voted #4 DJ in SF on NiteVibe’s DJ Dream Team pole (djdreamteam.com). A short list of SF’s dance music pioneers like Mark Farina, Miguel Migs, Kaskade and Bassnectar. In a city where you will find world famous DJs and producers in every corner, Rooz has managed to break the top 10 in the last two years. You can catch Rooz’s set along with the biggest names in the International DJ circuit at SF’s top nightclubs such as Mighty, Vessel, 1015 Folsom, EndUp, supperclub, Mezzanine and Ruby Skye. Rooz is also well known for his late night after-hours sets at underground warehouse parties across SF. Holding a residencies at RubySkye, Mighty, Vessel, 1015 Folsom and 2ndSunday, for SF’s hottest and most talked big DJ events. Not to mention over 10 opening sets
at Global Underground CD Release parties. With highlights like being invited to play between Derrick Carter and Ferry Corsten/Tiesto set at RubySkye’s 2008 Anniversary party.
Rooz’s skills behind the decks is unprecedented, constantly mixing 3 tracks at the same time for over 3 minutes, remixing tracks live with vocals and instruments. Taking the dance music lovers to another dimension by spontaneously remixing their favorite tracks to create music they havn’t experience before. In 2007 Rooz defended his title of the SF’s “Iron DJ” in Xessential’s Iron DJ competition. Taking a Bob Marley track and remixing it live with a banging German Electro beat and blowing the crowd away.