Adrian Sherwood (born 1958 in London) is an English record producer best known for his work with dub music as well as for remixing a number of popular acts such as Coldcut, Depeche Mode, The Woodentops, Primal Scream, Pop Will Eat Itself, Sinéad O'Connor, and Skinny Puppy.

He is co-founder of Carib Gems and Pressure Sounds, and founder of Hitrun Records as well as Green Tea Records and Soundboy Records. His most well-known label is On-U Sound Records. He is also the fourth member of industrial hip-hop outfit Tackhead, credited as "mixologist."

In 1986 he began working Jamaican dub producer and singer Lee Perry. They produced the classic album "Time Boom X De Devil Dead" and Sherwood's support helped relaunch Perry's career.
He made contributions to the industrial genre in his remix of Einstürzende Neubauten's song Yü Gung, on the album Halber Mensch, as well as his production work with Ministry, Cabaret Voltaire, KMFDM, Terminal Power Company and Nine Inch Nails. Adrian has also contributed to the blues, with his Little Axe project with Skip McDonald, producing his album on Real World Records Champagne and Grits in 2006.

In 2003, Adrian Sherwood released his first album as a solo artist, Never Trust a Hippie? which featured collaborations with various artists such as Sly & Robbie, Steven "Lenky" Marsden, Carlton "Bubblers" Ogilvie and Jazzwad.
In 2006 he released his second album Becoming A Cliché that again featuring numerous artists such as Lee "Scratch" Perry, the late Bim Sherman, Dennis Bovell, Little Roy, Lee 'LSK' Kenny, Samia Farah, Raiz and Mark Stewart. A limited 2-disc version was released simultaneously with the second disc titled "Dub Cliché".

On beginning a solo career, Sherwood stated, "I wanted to do some of my own writing and make something that was challenging for me...As a producer, it's my job to satisfy the artist foremost. I wanted to make something that was a little more aggressive and modern. I wanted to paint a picture that was contemporary, one that specifically showed where my brain was at. I've got to the point in my life where it's time for me to call all of the shots."

www.onusoundrecords.com

Formerly a fine art student part-time at Sheffield University, Scruff decided to explore his strange passion both in rounded line drawings and music. An electro-ska-hip-hop kid and bedroom bod from what hip hop fellas call time, Carthy started making tapes in 1983 using the very finest in pause button technology. His passion for hearing music that he couldn't hear out anywhere else led him into the world of DJing - first of all as a kid with one deck - then hearing electro albums and being determined to mix. The result was that by 1994 he was out DJing in clubs.

Despite DJing being his first and foremost love, Scruff had always messed about with the recording process; age 8 he started making up tapes of pretend radio shows (oh where are those tapes now?) and then faffing about on drum machines; by the age of 13 he was having a laugh with mates being in silly bands with silly names. The very end result of all this was a good few vinyl outings on Rob's Records and Pleasure, including the now-legendary track, Chicken In A Box - simple maybe, but simply bloody barmy-good. ‚"A happy accident," he claims. ‚"Well, more like an educated guess..." Whilst his total love of DJing informs his music-making ability, he doesn't consciously try to make something that will work on the dancefloor; he's more likely to want to know ‚"Do you like it? Does it make you go wibbly. Does it frimble?" Questions we should all be asking ourselves.

Since his first vinyl excursion he has recorded for over 25 labels including Warp, Sirkus, Disorient, Blood & Fire, Cup Of Tea and, of course, Ninja Tune. He has remixed Nightmares On Wax and Bim Sherman and refused to remix Nigel Kennedy. He's worked with Mark Rae and Grand Central. He has DJed all over the bloody shop, turning down more gigs than he takes on. If they won't let him have a long spot, he doesn't bother; a 'take-the-money-and-run' merchant he certainly is not. He has dug in crates and found obscure records with references to marine fauna. He's done bloody loads, basically, all of it with more than a vague hint of humour. France Telecom (the French equivalent of BT) were suitably impressed and used his single Get A Move On as part of their national TV advertising campaign, as did Volvo in N. America - the Scruffy one didn't see it as something to get excited about. And he's got more fans. Most notably, Madonna recently said in Mixmag of music she was playing at home, "And Mr Scruff I love, that weird little album (Keep It Unreal) that's got so much personality". Mr Scruff was characteristically unimpressed.

www.mrscruff.com

In abstract, WHY? is the process of adapting to the somehow simple business of existing. WHY? is the searching for something clearly unreachable, with hopes of finding small significance along the way. The attempt to understand what's really going on by observing, neither by telescope nor microscope, but by naked eye, the intimate details in the most mundane of life's happenings. The attempt to describe the gist of the feeling of the tiniest modicum of The Great Universal Unutterable Joke we are all always not laughing at-except when we are. WHY? is living out the set-up of that old gag over and over, until we finally reach a punch-line. Or we die and we don't.

WHY? is, most often, a trio of handsome Midwestern men with a shared past, present and future. Today, they fiddle around with skins, strings and bells through microphones attached to tape, presenting their ‚"findings" to the waiting world. In an earlier decade they were all born in Cincinnati. Their wildest dreams were achieved when they relocated to the West to make pop-inflected psychedelic folk-hop.

Yoni was the first to make the move. For four years, two EPs and one color-drenched album (2003's Oaklandazulasylum), WHY? was his alone. He honed his trademark delivery‚ -that sickly sweet, half-rapped, singsong-suicide style-shined up his wry, picturesque poetry on life, love and self, and developed a clip-and-collage composition aesthetic using keyboards, toys, guitars, samplers and anything worth banging on. When Doug and Josiah joined Yoni in Oakland, they brought a hoard of instruments and the ability to wail on every last one of them. By chops and imagination, WHY? grew into a thing of flesh, bones and fully fledged songs. In 2005, the band released Elephant Eyelash, and suddenly that once tenuous future seemed solid. Critics swooned; ladies lauded; WHY? did not rest. They toured (with Silver Jews, Yo La Tengo, and Islands). They collaborated (with Danielson, Department of Eagles, and Subtle; Yoni made Hymie's Basement with Fog's Andrew Broder). They put out yet more music (the Rubber Traits EP and ‚"Dumb Hummer" 7-inch).

Thus, the release of WHY?'s latest, brightest, darkest smile-twisted opus, Alopecia, isn't so much a return as it is an affirmation of something already in the air. In February of 2007, the trio temporarily relocated to Minneapolis and became five, officially inducting Andrew Broder and Mark Erickson of good-art friendlies Fog into the band, then recording their new work live. As can be expected, Alopecia is a fantastic offering of raw sweat and dreams inspired by nothing more or less than the infinite erring bits of daily existence.

www.anticon.com

Brodinski has his right hand on the hardened minimalist edge and his left hand on the electro party scene. He's part of the fluokids phenomenon. His sets are clean but the tracks are dirty, and the "mix tapes" he offers on his blog never fail to disappoint. Coming from Reims, he started music at 15 and just never stopped hitting the dancefloor harder and harder…

His friendship with Yuksek helped him to begin the production of music of mass destruction: "Bad runner" is a must play for any DJ dealing with bloghouse and maximalist techno sets! "Brodi" is now resident for Panik parties in Paris… Boom Chick Boom Ah !

http://smokemashine.Blogspot.com/

Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of Western rock and roll, the Brian Jonestown Massacre formed in San Francisco, California in 1990. Some 40 different members passed through the group"s ranks over the next half of the decade, but throughout their focal point remained singer/guitarist Anton Newcombe, who along with bassist Matt Hollywood, guitarist Dean Taylor, organist Mara Keagal, accordionist Dawn Thomas, drummer Brian Glaze and Spokesman for the Revolution Joel Gion recorded the Massacre"s 1995 shoegazer-influenced debut LP Methodrone.

A collection of early recordings, Spacegirl and Other Favorites, followed on the band"s own Tangible label in early 1996, and was the first of four Brian Jonestown Massacre LPs to appear that year; next up was the brilliant Their Satanic Majesties" Second Request, a full-blown homage to the Stones" glorious psychedelic-era excesses. Recorded live in the studio, the grittier Take It From the Man! found the band exploring even broader territory; finally, the year ended with the release of Thank God for Mental Illness, a showcase for strong country and blues leanings. In 1997, the BJM -- now consisting of Newcombe, Hollywood, Gion, Taylor, guitarists Jeff Davies and Peter Hayes, and drummer Brad Artley -- resurfaced with Give It Back! Upon signing to TVT, they released Strung Out in Heaven the following year, but the band and Newcombe"s eccentricities kept them from staying on the label.

After a few scattered EPs, they resurfaced in 2001 with Bravery Repetition and Noise, distributed by Bomp. And This Is Our Music followed in 2003. Despite a continued lack of major distribution, the Brian Jonestown Massacre earned the largest profile of its career in 2004, when it became the unlikely focus of an award-winning documentary, DIG!, which charted the trials of Newcombe and those of his rival, Courtney Taylor, leader of the Dandy Warhols. We Are the Radio: The Mini Album followed in August 2005.

www.brianjonestownmassacre.com

He was born in Frankfurt am Main in 1968. After growing up in Frankfurt, he went to Paris to study graphic design. In 1991 he opened a club called Lissania Essay in the Frankfurt red light district.

As the dance music scene continues to contract, many DJs are moving into the world music arena, looking for fresh sounds to take to the dancefloor. DJ Shantel is one such example. He cut his DJing teeth in Germany's techno scene but, noting how Gypsy brass orchestras Fanfare Ciocărlia and Boban Marković Orkestar could turn an audience into a wild, heaving mass, he believed that with a little electronic tweaking he could blend Balkan Gypsy tunes into his DJ set. Calling his Frankfurt DJ nights Bucovina Club, he attracted an audience well up for raving to heaving tubas and scalding trumpets. Some of the tunes were so naturally funky Shantel didn't need to add anything. Others he remixed, adding electronic beats and layering the horns on top.

Word got around about his Bucovina Club nights and the remix album of the same name Shantel issued on his Essay Recordings label. Then Crammed Discs employed him (and several other DJs) to remix their Taraf de Haïdouks and Kocani Orkestar recordings as Electric Gypsyland. The resulting album was intermittently successful but it helped promote Shantel's musical vision internationally.

www.bucovina.de

With his cool-headed SoCal demeanor and everyman charisma, Blu was championed at the onset of his recording career when he collaborated with Emanon DJ/producer Exile for the highly acclaimed LP Below the Heavens (2007). Born Johnson Barnes in Inglewood, CA, Blu, whose stepfather was a pastor, was very influenced by gospel and Christian rap when he was developing his MC skills in middle and high school. His musical turning point came when he first heard the Common classic "I Used to Love H.E.R." (1994), as well as the Chicago MC's third album, One Day It'll All Make Sense (1997). From then onward, Blu abandoned his schoolyard freestyle frame of mind and dedicated his abilities to crafting well-written songs. As he started doing live performances, he paid his dues working as a hype man for several underground rap and soul artists, including Slum Village, Steve Spacek, Platinum Pied Pipers, and, of course, Emanon. His relationship with Exile and newfound mindset in making music pointed him toward signing with L.A. independent Sound in Color in 2004, which for the young MC meant brushing off interest from Interscope and Death Row. Subsequently, he cut a few records for Exile's Sound in Color album, Dirty Science (2006), recorded features for other L.A. artists, and self-pressed his Lifted EP in 2006. When Below the Heavens first hit shelves in August 2007, Blu and Exile were virtual unknowns in underground hip-hop, but Blu's deft songwriting and Exile's soul-drenched, Jay Dee-influenced production quickly amassed them a national audience. Below the Heavens ended up on many critics' year-end lists and, particularly, launched Blu into the public hip-hop eye. Remaining independent, Blu later turned to Sound in Color labelmate and L.A.-via-Detroit MC/producer Ta'Raach (formerly known as Lacks) for the collaborative project C.R.A.C. Knuckles.

www.blublu.org

Sooner or later, every musician or DJ has to decide whether he is going to devote his career, short or long, to stirring up the same stimulants for the same scenarios - it could seem boring on the one hand, but exactly what you are looking for on the other. In the world of experts and purists, every click and bleep has its rightful place - could be just the thing, if thats what you are into. Others go for the multi-dimensional approach - without abiding by the cast-iron rule of the dealers' guild: Don't get high on your own supply! No, there's no reason to show restraint. There's enough to go around.

Since the pair of them, lying on a distant beach, made a pact at the end of the last century to make music together their motto has been "As We Like It " - what counts is the music, nothing more, nothing less. Sounds simple enough, but behind the slogan lies a highly complex process of selection, which comes down to one basic principle: Personal taste and personal satisfaction rule, the style police are powerless. No holds barred. Wildstyle and MOONBOOTICA go together like New School and Old School when New School was Old School and Old School was new.

And their dexterity takes care of the rest...
Basic principles these may be, but the DJ experience could not be more different to the MOONBOOTICA album sound. On the decks, opposites gel as the music flows. On the albums, opposites polarise. Breaks are maximized to full effect as energy levels rise. MOONBOOTICA unify elements which are seldom found together. Beautiful music, intelligent, playful, brutal, seductive. MOONBOOTICA guarantee high drama, hitting the button to catapult us out of this world into the firmament!

www.moonbootica.de

The quiet kill off the country road, the time before the time when everything went wrong and the last 16 hours of that great love affair are the seminal beginnings of OXBOW. Designed to be the last aural will and testament of failed humanity, OXBOW actually garnered listeners from among the ranks of the fucked, with their 1990 release FUCKFEST (cfy/pathological). Followed by KING OF THE JEWS (cfy), THE BALLS IN THE GREAT MEAT GRINDER COLLECTION (pathological), LET ME BE A WOMAN (brinkman/crippled dick hot wax) recorded by the estimable STEVE ALBINI, SERENADE IN RED (SST/CDHW) also recorded by ALBINI and GIBBS CHAPMAN (FAITH NO MORE, RED HOUSE PAINTERS), AN EVIL HEAT (neurot) by GIBBS CHAPMAN, LOVE THAT'S LAST (Hydrahead) by OXBOW and the soon-to-be released THE NARCOTIC STORY (Hydrahead) by JOE CHICCARELLI (AGENT ORANGE, BECK, AMERICAN MUSIC CLUB), as well as various singles and dance remixes, OXBOW has met with increasing critical acclaim and popular support.

The OXBOW core membership -- DAN ADAMS/bass, GREG DAVIS/drums, EUGENE ROBINSON/voice, and NIKO WENNER/guitars -- has been supplemented by the subtle stylings of LYDIA LUNCH, KLAUS FLOURIDE, MARIANNE FAITHFULL, RICHARD KERN (SONIC YOUTH et al), JON RASKIN from the ROVA SAX QUARTET, and a string section that would make Barry White wince. Though claiming San Francisco as their hometown, OXBOW played in England in 1990 and toured Europe and the U.S. in 1995, 1996, 1998, 1999, 2002, and 2003. OXBOW has also performed in Japan, London, Berlin, New York, Vienna, Prague, Portland, Paris, Copenhagen, Amsterdam, Los Angeles, Seattle, San Francisco, Gent, and almost every other place people will pay them to hear them play.

www.theoxbow.com