BEDOUIN

Bedouin is a Brooklyn-based production & DJ partnership between nomads Rami Abousabe and Tamer Malki who are creating their own idiosyncratic spell of melodies and rhythms. Together they share an eclectic sonic vision that pulls from diverse influences owing to their Middle Eastern heritage, Western upbringing, and world travels. Their combined musical backgrounds and ever-evolving taste captures the sensibility of imagination and constantly explores the connection between themselves and the future.

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YOKOO

After becoming a strong player in Kollektiv Turmstrasse's imprint Musik Gewinnt Freunde in 2010, YokoO was picked by Matthew Dekay and Lee Burridge to be one of the core artists of their imprint All Day I Dream. Besides, YokoO has also completed releases and remixes for well-established labels such as Get Physical (DE), Kindisch (DE), Moodmusic (DE), Plastic City (DE), and Kina Music (IT) to name but a few. 

Originally from Mulhouse, France and Australian resident from 2006 to 2014, YokoO was involved as a resident DJ in most of Brisbane’s Underground house music events and clubs while playing at the legendary SPICE After Hours in Sydney on a regular basis.

From early 2010 to 2012, YokoO was working at Sydney’s Reckless Republic HQ as one of the main touring, marketing and events coordinator. With the opening of Reckless Republic’ underground venue “The Spice Cellar”, he was implicated in the events promotion & organisation as well as the entertainment itself.

Having taken a step back from the office work, YokoO is focusing on his artist career by producing his own music, DJing as well as teaching others its process, traveling around the globe, networking and performing.

YokoO is no stranger to house music in all its deepest forms. A studio head in the true sense of the word, he spends much of his time pondering basslines and warm synth riffs that heat up dancefloors the world over. With releases on highly regarded labels such as All Day I Dream, Musik Gewinnt Freunde, Kindisch, Get Physical, Moodmusic and Plastic City, YokoO has marked out a spot for himself in the global house music scene with talent being sought after from every corner of the world.

His musical intuition drives his production and his full groove based approach to seductive house music turns heads of many a label boss from Kollektiv Turmstrasse, Matthew Dekay and Lee Burridge no less. As well racking up plays from industry reference artists, YokoO’s music has proven time and time again it can reach the record bags of the DJing elite in every continent.

As a DJ, YokoO embraces the dancefloor with a dynamic and honest approach sparking it up with forward thinking music every time. When you see him play, you can see a genuine love for what he is doing and that naturally feeds back to his audience, fuelling energy and the fever of the dancefloor. The warm melodies work with the heavy basslines to create a unique sound that is deep but still pumping enough to get a party started . . .and going way passed sunrise.

With a prolific and impressive discography, YokoO has made his mark on noteworthy labels to date with both original releases and a back catalogue of strong remixes. His latest batch of unreleased productions is an intense gathering of melodies, working with a defined sense of groove and depth designed for the dancefloor and beyond.

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RA


LUM

Leave the dance floor and dance under the stars. Live the Jungle.
Become your own Medicine. 

LUM is above all a spiritual encounter, a ritual séance for the acquisition of one’s essence, a ceremony. In a way, it's also a therapy alleviating personal sorrows and, well, by extension, mitigating the civilizational predicaments. To a certain degree, it's a course in tribal culturology. Fundamentally, it is LUM's dream.

LUM actually lived those spiritualities. More specifically, Sebastian Gandine has been for years observing how music is integrated into native cultures, identifying its social functions, acquainting himself with its principles, learning instruments, recording sounds, participating in various rites -- in the range from passage to burial -- and reinterpreting his multiple findings in the paradigm of digital technologies.

There is much more to it what makes LUM an act so extraordinary and so stupendous. We learn his music originates in his near-death experience dating back to his late adolescence. LUM surprises us by asserting that this experience has been his most astounding, enlightening and liberating trip ever taken, its traumatology notwithstanding. He recalls himself abandoning his body and dissolving into a pure free-flowing consciousness, released from mundane practical concerns, unplugged from the time-space-causality matrix. With the chronometry no longer intrinsically applicable, the ineffable durée could have lasted a nanosecond or millions of years. He remembers the displeasure of recombination and awkwardness of reconnection with his body, his short-circuiting with its basic needs, conditioned reflexes, crude cravings and "robotic" functions.

He astonishes us even further by confessing that his strive as a musician is motivated in great measure toward reaching the heights of pleasure he once accidentally reached by falling down and injuring himself. His playlists, too, are compiled of pieces that remind him of his beautiful death-like adventure beyond his subjectivity.

Which takes us to the question of Ego -- what role it plays in his creativity. Far from an episodic role and it's negative. This explains why every morning starts for the musician with a meditation, in the course of which Sebastian prepares himself for immersion with the world withdrawing himself in contemplation from his false identity which inevitably builds up in social contexts -- in order to preserve his essence; obliterating at the outset a would-be narcissistic search for being loved, validated, appreciated.

To expound on it: as a norm, one's presence on stage in the spotlight evokes all sorts of energies in the crowd -- sexual energies, sympathy, adoration, commitment, but also envy, jealousy, resentment, disapproval... It's vital to abstract oneself from them all, felt favorable or otherwise, so there is nothing in between the musician and his music.

Years down the road from the point of his starting as a producer and performer, LUM would have been by now a household name across the continents -- but for his resolve to remain true to his essence. Sebastian's soul searching for authenticity prompts personal and professional decisions far more radical than cancelation of his Ego under the scrutiny of the Ego-driven audiences and complete self-abstraction away into his music. On the path of maintaining his true being and discovering more of it, Gandine goes so far as to abrogate much of his audience, the size of which is responsible in the equal measure for one's popularity. This he achieves through near absolute refusal to play in clubs entertaining the impersonal masses and in their terms, not especially lofty ones. His generative milieu are small gatherings -- usually in the open -- the audience consisting of friends and their tight circles. A more drastic move in this direction would be to play his music to himself. Which Sebastian most of the time does, anyway, composing it in his studio.

Tulum where LUM currently resides in the self-imposed exile on the run from his native Argentina, to the social scene of which he could not fully connect, not a bit, is fundamentally two things: the jungle and the beach -- the rest is history. It's from the former that LUM extracts much of his élan vital. The beach is just a lot of hot sand, sterile substance; while history -- any history -- is an artificiality, a linguistic construct with little relevance to one's Existenz (the state of a person being himself or herself or both). Where LUM finds real nourishment and empowerment for his genius is in plants. He is very deep into the jungle, conducting his botanical research the same way he has been researching into indigenous music. And very much at the same locations. Plants are always present as decoration for his stance on stage and the stage itself, as elements that comprise the shrine that is usually found next to the mixer -- whether as such, liquefied, dried, as smoke, as smell or already consumed and cognized through their wholesome effects on one's mind and body.