DJ Hell (or simply Hell) has balanced Detroit minimalism and Chicago acid-house as well as more
spacious German trance and hardcore. Beginning his mixing career while still a teenager, Hell moved
through punk and new wave to electro, house and hip-hop by the mid-’80s. His DJing gradually led to
the start of his production career, and one of his first singles “My Definition of House Music” became
a large club hit when reissued by Belgium’s R&S Records in 1992. He moved to Berlin to work with
Hardwax Records during 1993-94, and also spent time in New York before moving back to his native
Munich. Besides releasing his album debut Geteert und Gefedert on Disko B in 1994, DJ Hell recorded
a volume in the Studio !K7 mix series X-Mix. His second full-length, Munich Machine, also appeared
on Disko B — though credited simply to Hell. Besides continuing to DJ around the world, he also ran
the International Deejay Gigolos label, which released tracks by Jeff Mills, Christopher Just and David
Carretta, among others. John Bush, Rovi

http://www.myspace.com/djhell/photos

Real name /

Ali and Basti Schwarz – brothers and music lovers, created Tiefschwarz out of a passion garnered since 1990 from
their first experiences as DJs at the now legendary clubs that Ali ran in Stuttgart “ON -U” (1990 – 1993) and “Red
Dog” (1993 – 1997). These experiences and their obsession with the music they were hearing from within and across
the German border, encouraged them to make the step from DJ to producer.

In 1996 Tiefschwarz was created and they began working together with acclaimed producer Peter Hoff in Stuttgart.
After a few remixes, their first single “Music” was released in 1998 on Benztown and “Wave Music” NY. The success
of the single motivated Tiefschwarz to record their debut album “Ral 9005″ which came out on Four Music in
2000. “Ral 9005″ was then seized upon by Derrick Carter & Luke Solomon for their Classic Recordings label in the
UK in 2002. The album and the subsequent 4 singles (Thru a Little Window, Hello Again, Never, Nix) were received
enthusiastically by both the English and international press, not to mention a growing fan base of music aficionados.

In 2002 Classic also released Ali & Basti’s mix album “A Little Help For Your Friends” and their DJing career reached
new heights with tours in Australia, the USA as well as gigs as far afield as Brazil and Russia

2003 saw the brothers up sticks and move to the creative capital of Berlin where they set up a new studio along with
new producer & friend, Jochen Schmalbach. Continuing their burgeoning career as remixers (with previous greats
such as their reworks of Masters at Work, Ultra Naté, Boogie Solitaire, Freaks, Isolee, Groove Armada) Ali and Basti
went on to remix the likes of The Rapture, Cassius, Spektrum, Micatone, Lost & Alive, Lopazz, Osunlade, Minimal
Compact, Trüby Trio, DJ Hell, Kelis, and Missy Elliott.

Their last single on Classic; “Nix” was the grand finale to a very special relationship and from there they joined and
helped create ‘Fine Records’ in London (a division of Four Music, their former label in Germany). The first single
was ‘Ghost Track’ accompanied by a Black Strobe remix followed by their fantastic ‘Misch Masch’ album which not
only showcased their talent as DJs but also their remixing prowess on a double CD release.

The majority of 2004 and 2005 was spent juggling a high profile DJing career, whilst writing and producing their
second and long awaited album ‘Eat Books’. The first single from the album ‘Isst was released in 2005 and was voted
one of the best singles of the year by Trax and DJ magazine. After that came ‘Wait and See’ with vocals by Chikinki,
Morning Siren’ with vocals by Matt B.Safer from the Rapture followed by ‘Fly’ with a Steve Bug remix and
then ‘Damage’ with Tracey Thorn and accompanied by a brilliant Mandy remix.

2006 was a big year for remixes, amongst other things. Three high profile mixes of Depeche Mode ‘John The
Revelator’, Madonna’s ‘Get Together’, Roxy Music’s ‘Rain Rain Rain’ and Booka Shade’s ‘Darko’. Additionally, they
released 2 mix albums – one for the outstanding Fabric series and the other in conjunction with the Time Warp
festival in Germany.

2006 was also the year that Tiefschwarz began their own label – SOUVENIR. The project that Ali & Basti had
excitedly planned for years with old friend Arthur Velasquez, finally came to fruition. The first release of course was a
Tiefschwarz track called ‘Hey’, under a different moniker of ‘Ichundu’ which prompted fellow DJs and the press to
conclude that Tiefschwarz were once again at the top of their league. The label has also carved itself a definitive
position in the dance record industry of today by offering a continuous release of stand out tracks from artists such as
Phonique, Riton, Tom Mangan, Ziggy Kinder, Ruede Hagelstein and The Psychonauts.

2007 2008 2009
besides traveling the world as djs again tiefschwarz moved the studio and took philipp maier aka sante´on board as
their new studio and label partner..
so the story continues

Ali (Alexander) and Basti (Sebastian) Schwarz

At the age of 14, when he first put needle to record, Thomas Schumacher unknowingly lay the
foundation for what would become his life-long passion for music.

Thomas was an early fan of the Neue Deutsche Welle (German Punk and New Wave) artists
like D.A.F, Andreas Dorau and Palais Schaumburg and synth-pop innovators like Depeche
Mode and New Order; however it was the first time he heard a DJ beat-mix the then-new
sounds of acid house in his hometown of Bremen, Germany, in 1987 that he immediately knew
that he wanted to be a become a part of dance music culture. With this decision made, Thomas
began buying 12” records and set about putting together a studio in his tiny bedroom, starting
with an Atari computer which still has an honorary place in his studio in Berlin today.

Early 90s techno from Detroit, Belgium and Germany, and the soulful deep grooves of US
House were the sounds that Thomas related to the most.
A school trip to London cemented Thomas’ love for electronic music, particularly a visit to the
legendary Blackmarket Records store in Soho, where he quickly spent his entire allowance on
techno and drum & bass white labels.
Back in Bremen, Thomas and his friends entrenched themselves in the burgeoning German
techno movement, buying records and traveling all over Germany to attend raves and clubs like
The Techno Club night at the famed Dorian Gray, inside Terminal 1 of Frankfurt Airport, and
Club Unit on Hamburg’s Reeperbahn.
During this period Thomas saved up whatever money he could to spend at his local electronics
store, experimenting with a variety of drum machines, synthesisers, and spending hours honing
his self-taught production skills.
He soon became a regular punter at Bremen’s first techno club, Crash, and after organizing his
own underground parties, he took a step closer to his dreams in 1990 by becoming the club’s
resident DJ.

The mid-90s were an exciting & inspirational time for Thomas as a DJ and producer, once he
realised that he could make a career from what had become an all-consuming hobby. After
making his recorded debut in 1992 he signed to Confused Recordings in 1995 with his
Elektrochemie project, and the following year as a solo act with legendary techno label Bush
Records, who released his international breakthrough “When I Rock” in 1998; a sound unique at
the time for fusing techno with a distinctive hip hop sample.
In the same year Thomas was commissioned to compose the music for a staging of
Shakespeare’s Hamlet at the Schauspiel Haus in Bonn, a challenge that he enthusiastically
sunk his teeth into, and which earned him rave reviews from critics and audiences alike.
At the end of 1998 Thomas released his first solo artist album Electric Ballroom on Bush
Records, a mature and assured debut of multi-faceted techno, which incorporated all the
influences of his musical development. Mixmag hailed it “Techno’s funk packed answer to (Daft
Punk’s) Homework.”

A solid schedule of touring followed the release of Electric Ballroom, with Thomas being booked
for clubs and festivals throughout Europe, Asia, and North and South America. With hundreds
of gigs under his belt there were more than a few memorable times.
In 1998 Thomas was on the bill for Mexico City’s Love Parade, organised by the Goethe
Institute. Taking it’s inspiration from Berlin’s famous Love Parade and culminating in an 80,000-
strong crowd descending on Placa de la Revolucione, Thomas was greatly affected by what he
could see from behind the decks: entire families and communities, children and grandparents,
picnickers and ravers all coming together to celebrate and enjoy the music.
At the other end of the spectrum, another favourite memory of his is playing in a tiny basement
club in Senda, Japan in 1999, which overcame it’s lack of ventilation by offering punters oxygen
masks at the bar. Thomas recalls it as a memorable gig for the music-loving crowd, the
excellent vibe and the natural high of pure oxygen from the mask & tank the club provided for
him – “It was like the best drug I’ve ever had!”

A temporary relocation to Tokyo in 2000 saw Thomas lay down the foundations for his second
solo album Electric Avenue, which was released on his own label Spiel-Zeug, which he had
established to allow himself complete artistic control over his music.
Electric Avenue received brilliant reviews at home and abroad and was a great success for
Thomas, in particular the surprise hit cover version of Inner City’s classic “Good Life“, which
made it’s way into DJ sets by the likes of Gilles Peterson and Mr Inner City himself Kevin
Saunderson.

2000 was also the year that Thomas’ original breakthrough hit “When I Rock” received a major
label re-release. This led to a memorable incident where Thomas was contacted by the creators
of the sample used for “When I Rock”, Philadelphia hip hop band The Roots. Initial fears about
lawsuits for the use of the sample were soon allayed as they soon bonded over a mutual
respect for and interest in hip hop and sampling culture. The band were so impressed by
Thomas’ interpretation of their song with “When I Rock” that they asked his permission to
include it as a secret track on their album Phrenology. Thomas agreed and “When I Rock” –
renamed “Thirsty” by the band! – was soon in the hands of the thousands of hip hop fans who
bought the album.

The years leading up to 2005 were extremely busy for Thomas with a non-stop schedule of
productions, remixes, mix CDs and international DJ commitments. After a short hiatus at the
end of the year to recharge the batteries and rediscover his musical inspirations he relocated to
Berlin in 2006. Within 2 months Thomas had completed Home, his long-awaited 3rd studio
album.
Home showcased Thomas’ deep love for and understanding of contemporary electronic music,
as well as his amazing ability to reinvent himself. The album and it’s singles quickly became
sales hits, and de:Bug magazine rated it “…a bloody deep masterpiece”.

Soon after the release of Home Thomas signed with Get Physical Music.
Since then he has developed a close relationship with the label that has seen him release EPs
(under his Elektrochemie moniker with Australian vocallist Caitlin), collaborations with a number
of their key artists, as well as tracks on their new digital-only offshoot Get Digital.
The affiliation with Get Physical is set to continue in 2010 when Thomas releases his new
album for the label in April.

Thomas Schumacher has always been – and continues to be – an eclectic DJ and producer,
with a strong foundation in Detroit techno and House music.
Nowadays Thomas is a proud family man, and while he still spends alot of his time in the
arrivals and departure lounges of airports all over the world, he is honoured to travel to every
corner of the globe to do his thing, and showcase the diversity that has become his trademark.

Terence Fixmer is one of France’s most illustrated characters of the techno scene, of which he has been at the
forefront for over 10 successful years. Bringing his dark, atmospheric sound to prestigious dance floors that range
from Berlin’s mecca of techno to Paris ‘ Rex club
Equally at ease in the club or at a pure techno festival, Terence reached this respected level, without ever
succumbing to excessive promotion or subscribing to the mainstream.
Terence Fixmer’s sound, which deftly avoids repetition by developing soundscapes that appeals to the club crowd,
whilst still maintaining musical depth and integrity.
Sombre, defined by surging rhythmical structures, Terence’s music appeals as much to dancing feet, as it does to the
searching soul.
he above all preserves an original style, an increasingly experimental, simultaneously ruthless and unrelenting
interpretation of modern Techno, instantly recognizable.

2009/2010 :

With his distinct music style and personality, Terence caught the attention of label owner Speedy J at a very early
stage of the label.
His first EP on Electric Deluxe ‘Machine’ (with Speedy J remix) was released in the beginning of 2009, followed
by ‘Electric City’ (with Function & Speedy J remixes) in 2010.
‘Comedy of Menace’ is Terence new Album on Jochem Paap ( Speedy j) Electric deLuxe (sept 2010) .
Comedy of Menace’ is Fixmers fourth Album. He already released two solo albums on DJ Hell’s Gigolo, the
seminal “Muscle Machine” helped creat a masterful fusion between old style industrial/EBM music and techno
( “Techno Body Music”) As many will know Fixmer to this day has a side project Douglas McCarthy the legendary
voice of seminal EBM band Nitzer Ebb (The Between The Devil album is a great chunk of dark aggressive techno
tinged industrial). Terences third album, “Fiction Fiction” released on his own ‘Planete Rouge’ imprint in 2009 and
veered far more towards deep ambience, emotive and cinematic by turns.

With ‘Comedy Of Menace’ Terence Fixmer created a true techno album, with an instantly recognizable pure sound,
a deep and dark atmosphere throughout. The Album is in many ways hypnotizing and mental, yet keeps the energy
and a effectiveness for the dancefloor.
As Fixmer explains: “I wanted that people can feel a soul, a story, and the sound of every track to open up the
imagination of the listener, creating images in their minds… Its an art and a passion, my heart is bumping for
electronic sounds. I love when the music is really coming from the heart of the machine, when the sound is pure and
raw. Comedy of Menace suggests that although they are funny, they are also frightening or menacing in a vague and
undefined way. Even as they laugh, the audience are unsettled, ill at ease and uncomfortable.”

Besides the Album release in September, the EP ‘Comedy Of Menace pt1.’ will be released with a Planetary Assault
System mix. New remixes done for Niederflur, for Traversable Wormhole on Chris Liebing’s CLR and Echologist aka
Brendon Moeller will appear in the coming months.
On Top, his EP on Tiga’s Turbo will hit in november ,+ a remix done for SEI A, and some music collaboration with
Prologue artist to be revealed soon.

1998/2008:

In summary: Two solo albums on Gigolo, DJ Hell’s mythical Munich-based label; the seminal “Muscle Machine”
(1999) that single-handedly spearheaded a new style, “techno body music” (a unique combination of modern techno
and EBM of the founding fathers from Nitzer Ebb to Front 242); copious maxis on prestigious labels, such as Gigolo,
Novamute, Datapunk, Different, Music Man; and remixes for various techno gods, from Sven Väth to Dave Clarke, DJ
Hell, Radio Slave…
Releases as well on Dave Clarkes s label White Noise rec.

In addition to his solo productions, Terence also founded the duo, “Fixmer / McCarthy” in 2003, along with Nitzer
Ebb’s legendary vocalist, Douglas McCarthy. The result of this partnership is two albums that unite the brutality of
techno body music and the sensuality of pop. The duo have performed their energetic live sets at renowned clubs
and festivals all accross the globe

Bartz’ roots strike back into the early 90s. Counting sweet 14 years, he
climbed the toilet window and sneaked into the now-legendary “Ultraworld” parties, hiding all
night long behind the bass speakers. The German techno scene was just about to emerge and
Richard absorbed every little beep he could get. Until he got caught by party organizer Upstart
- who promptly took him under his wings. In the following years, accompanied by Upstart and
his friend DJ Hell, he rapidly grew to a live act and producer of international top ranking. In
the process, he became one of the founders of “Munich techno” – a powerful, groovy, and
highly influential variant of what was then called “funky techno” and is nowadays established
as “minimal”. Having had amazing success with his first releases on Disko B under his
pseudonym “Acid Scout”, Richard Bartz founded his own record label “Kurbel Records” in 1996.
On Kurbel Records he started by releasing many of his own tracks which are now considered
classics like “Style Wars”, “Ghettoblaster” and “The Traveller”. Pretty soon, Richard’s label
became the romping place for red-hot artists like DJ Hell (“Take A Shot/Break The Rulez”),
and Heiko Laux (“Souldancer”), as well as the just emerging Christian Morgenstern, Savas
Pascalidis, and Lars Sommerfeld. While still producing and remixing, from 2000 on, Richard
Bartz mainly concentrated on his live performances. In 2002, his tremendeous success got
bookmarked with the release of his “Live at Coocoon Club Ibiza” CD on Sven Väth’s label
Coocoon. In the following years, Richard took the step beyond electronic mainstream and
released his neo-disco-tech album “Midnight Man” (2004) and the completely analogous
produced album “Big”(2005). Both albums have met incredibly positive reception. Richard
Bartz’ live performances are pure energy. Bringing 15 years of experience, he never dared to
rest on his laurels. Reinventing his sound over and over again he matches the desires of his
audience and leaves the crowd screaming for more. His very recent record releases, “Speicher
61” on Kompakt, “Midnight Man’s Revenge” on International DJ Gigolos, and “Subway 2” on
Kanzleramt mark the end of an outstandingly fruitful year 2008 for the Bavarian artist. And his
releases for 2009 are already on their way. Watch out! …… ……….

.. .. .. .. …… .. …… Richard

http://www.myspace.com/munichtechno

It sounds like a fairy tale. In 2005 29-year old OLIVER KOLETZKI presses 500 copies of his underground hit “Der
Mückenschwarm”. One of those white labels lands in Sven Väth’s record bag and whenever he plays the track, the
people go wild. Shortly after techno-king Väth signs the track on his techno empire Cocoon. “Der Mückenschwarm”,
already considered as a techno classic – becomes the best sold techno record of 2005, the best ever selling record
on Cocoon and OLIVER KOLETZKI gets voted best newcomer of the year in prestigious Groove magazine.
But one would be fooled to think that this was the start of Oliver’s musical career. Since he was 12 years old, OLIVER
KOLETZKI has been deeply infected with the production of music. He starts out by programming Hip-Hop beats on
the C64, but quickly falls in love with more electronic sounds like breakdance and synthie-pop that he produces on
the first Amiga computers. When he turns 18, he also starts to DJ in his hometown of Braunschweig and quickly
becomes a regular DJ in the local clubs. In 2000 he decides to move to Berlin to study music – and the excessive
Berlin nightlife. He promptly lands himself DJ gigs in smaller clubs and bars, but with the release of his first record,
things change for the better. In the summer of 2005 he starts to play festivals, gets booked into the most prestigious
clubs all over the world and gets asked to remix the likes of Rockers Hi-Fi, Client or Cassius. However, while
superstardom is lurking around every corner, Oliver stays down to earth: “I have been making music for nearly twenty
years now. That provides me with a stable base for not going nuts. Basically, I am still doing the same that I have
been doing for years now: making music during the week and playing out on the weekends, even if it is on a slightly
different level now.”
In October 2005, while still riding on the success of his debut single, Oliver directly realises one of his dreams: to
have his own label. He founds Stil vor Talent, a label dedicated to pushing new artists and creating a platform for a
huge variation of quality electronic dance music – from minimal techno to squeaky house to pop music. “From the
beginning I wanted to give people the same chance that I’ve had and offer them a platform to release their music.
However: the quality of the music is above everything else. Firstly, I have to like it”, Oliver comments on the
philosophy of his label. And he is a workaholic. He still spends hours and hours listening to demo tracks and goes out
to see people play live in small clubs. Up until now, Stil vor Talent can look back on over 40 releases that include
Oliver’s first artist album “Get Wasted”, the über-hit “3 Tage Wach” or Oliver’s latest masterpiece: his electronically
influenced pop album “Großstadtmärchen”.
OLIVER KOLETZKI seems to have a nose for commercial success out of the underground, which Lützenkirchens
ironic afterhour manifest “3 Tage Wach” is the best example for: the track becomes the best-sold techno track of
2008. In 2009 Oliver continues this success story with the release of his album “Großstadtmärchen” – an electro-pop
album featuring national and international big names such as Mieze Katz (MIA), Axel Bosse or Die Raketen as well
as many newcomers such as singers Juli Holz, Pyur and Fran. With “Großstadtmärchen” Oliver has managed to
achieve what only few techno producers manage can do: to produce a pop album with club credibility. The
singles “Hypnotized” and “U-Bahn” get nationwide airplay on the radio and when Oliver plays them in the club people
sing along to the lyrics.
But he wouldn’t be OLIVER KOLETZKI if he didn’t want to perform the album live on stage as well. In the summer
2009 he founds his band The Koletzkis with many of his old friends and the singer Fran. They have already played
live at Bar 25, Watergate and Lido in Berlin as well as in Leipzig, Bern, Hamburg, Vienna and many other cities. For
2009 they have big plans: in the summer they will play the big festivals and will put Oliver’s music out there – from the
clubs into the concerts halls, from the beach raves to the open-airs.
Label manager, producer, DJ, bandleader: above all this, Oliver still manages to fill the clubs around the world and
make people smile to his energetic DJ sets. Be in the best clubs of Europe such as London’s Fabric, Berlin’s
Berghain or around the rest of the world: Oliver knows how to perform and connect with his audience. In March 2010
Oliver will do another Australia tour, he will tour South America again and play the infamous Thai Break festival.
While rehearsing with The Koletzkis and signing new hot artists for his label Stil vor Talent, OLIVER KOLETZKI is
already working on his next album. There is really no stopping him in 2010!

So where were we when the lights went up? Right, moonbootica, the Hamburg
boys with the big cochones and cowboy walk. Two tall posers with dark
shades, big gobs and the throttled charm of Porsche owners. Shoe size?
Or are they? Is Clark Kent really Superman? Was Bertha Butt’s butt really
bigger than George Clinton’s mothership? Did King Kong ever get lovesick?
And what if he didn’t, she wasn’t, they weren’t? Was the whole thing a
devious trick designed to spread fun and games?moonbootica just wanna have fun, first off. No
wonder they do their best to
cover up their good education, slipping effortlessly into the role of party
animals, Manowar of the dancefloor, propagating ecstatic panic in the
disco. Like Caligula must have felt back in the days when he re-wrote the
book on partying hard right on thru to da next level. moonbootica may not
be living Gods but their fun can be our fun too.Their disdain for the elevation of their own
intellectual heights and the
obligatory mindfuck thus implied, resisting the symphonic rush and
meticulous beat mode, koweSix and tobitob prefer to juggle with apparent
trifles such as an in-yer-face bass drum. CHACK-BOOM-CHACK-BOOM. Let’s face
it, at the end of the day, when night casts its shadow over the
battlefields of pleasure, intelligent theories and descriptive talons are
no more than propagandist lies begging to be smashed by deliberate
polarisation and proletarisation.moonbootica allow themselves the freedom to do just whatever
they want to
do. Without bothering to ask for permission. As they ascend their own
personal escalator to the stars, they are, simultaneously, their own
protectors of their powers. As you like it. Or to be more exact, as they
like it. Far removed from the servitude of cavernous discotheques for the
hoi polloi, they remain progressive to the mark. Ye beg to differ? Well
take a closer look at the past six years of their development and you will
recognise the intensity of their hunger, the undying urge to burst open the
gates to euphoria.Whether as DJs or musicians, moonbootica’s basic principle is to get the
most out of ultimate simplicity. This can be seen less in their choice of
blunt weapons as in the clarity – you might say crystal – of their method.
The crowd gets it instinctively. Doesn’t matter where they are or from
whence they came, it works in russian mafia clubs, it works in
overpoweringly aromatic mediterranean gin palaces.Their stylistic playfulness can be attributed
to the duo’s biologically
determined fatalism: “When you’re six foot six, you just can’t fit into any
pigeon holes.” Ah, what cultured self-mockery. And a nice little aside to
the projected delusions of grandeur one may be confronted with when meeting
the charm-schoolers for the first time. For anyone who still fails to see
that moonbootica are more than the sum of their provocations, a double dose
of the mix album “DJ Sounds Good” (’04) and the eponymous studio album “MOONBOOTICA”
(’05) should do the trick. Putting the fun into funambulists.

Real name                Patrick Bodmer and Philipp Jung

There is an air of mystery shrouding the true meaning behind the acronym of M.A.N.D.Y., an alias which embodies
the mutual talents of childhood friends Philipp Jung and Patrick Bodmer. The pair readily indulge this curiosity by
toying with various clever possibilities, including Me AND You, but the truth is likely a giggle under each of their
talented breaths. P and P have carved a unique niche in electronic music by consistently selecting productions that
induce their audience into a somatic frenzy. On the platform of their aptly titled Get Physical label, M.A.N.D.Y. has
achieved massive success in colluding to create music that simply makes bodies move. Their foot stamping, hair
flying passion is the ultimate expression of a dance music phenomenon for many years.

When M.A.N.D.Y. and Booka Shade joined as musical soul mates with DJ T., first in Frankfurt, then in Berlin,
Get Physical produced a caliber of electricity that rippled throughout the EDM community and into the relative
mainstream. Philipp’s charm and savvy, Patrick’s allusive artistry, DJ T.’s killer entrepreneurial sense and Booka
Shade’s collaborative genius combined to form a masterpiece of intelligent design that reflects romantic sensibility
and technical virtuosity. Together, they push the boundaries of dance music to compile an enviable arsenal of
electro kissing house while caressing disco and flirting with techno. Body Language was the ubiquitous hit of 2005
and M.A.N.D.Y.’s Fabric Series three years later cemented their reputation as two of the most captivating selectors
on the planet. One of their most recent prestige was a complication for Renaissance in 2009 which was met with
tremendous accolades and described by Resident Advisor as “maturity, smarts, and cohesion…that is rare these
days.”

Philipp and Patrick know exactly which buttons to press to make that bass jiggle up your spine and seduce your
body free. Alongside many lives compadres Booka Shade, M.A.N.D.Y. has taken some time from their hectic global
tour schedule to devise new elaborations, culminating in the release of Body Language Vol. 10 in April 2011. In
addition to a single release that will be the first Booka Shade vs. M.A.N.D.Y. cooperation to be heard in years, the
boys have closed on a revolutionary touring show that utilizes infrared technology and a new mapping technique to
project inverted video effects onto their Physical form as they perform. It is no doubt that their plans for this never
before seen live visual component will conjure the kind of visceral excitement that only this duo can. In the feat of the
imagination, M.A.N.D.Y. powers on through a perpetual rebirth into pulsating beats and pretty lights.

Patrick Bodmer and Philipp Jung

The German DJ team Lexy & K-Paul began working together in 1999. K-Paul focuses on the production of their
singles, while Lexy tries out their work in the clubs. Singles such as “Freak,” “Loud,” “Electric Kingdom,” and the
number one club record and Top 20 pop hit “The Greatest DJ” made the duo one of the most popular club acts in
Germany. At the end of 2000, Lexy & K-Paul signed to the U.K. imprint Ministry of Sound, who released The Greatest
DJ worldwide. ~ Heather Phares, All Music Guide