My musical fascination began at an early age - I remember my Dad buying me a copy of Helen Shapiro's "Walking Back to Happiness" in the very early 60s (I was born in 1958, which makes me an old fart, I know); I was snared definitively by Cilla Black's "Anyone Who Had A Heart" and I remember singing Frank Ifield's "I Remember You" for the school dinner ladies when I was about five of six (a lapse in taste I blame on my mother but I did get 6d, equalling 2.5p)... David Bowie dominated my adolescence (so exotic! so inspiring! and he still influences my "fashion" sense). In my teens/20s, I went through a phase as a bassist/singer for a variety of bands all based around the disco/punk axis from the "can't play, won't learn" and "I'll make a prat of myself in public if I want to" schools. I lived in San Francisco in the late 80s to a bizarre soundtrack of indie/Prince, and then returned to Blighty where the sounds of house seemed so much fresher and alive. All this is fed into the music I make now... I believe in the power of songs such as those by Bacharach - i.e.. a beginning, middle and end and progress in a point of view, a sense of narrative; I believe in the power of pure emotion (anger, pain, sorrow, despair, joy) to inspire despite the lack of any technical skills; I hope I can induce some reciprocal emotion in the listener - even if it is loathing. As a sort of guide to what I want to achieve, here are my top five faves ever (in no particular order): "Symphony of Sorrowful Songs" - Gorecki; "John I'm Only Dancing" - David Bowie; "Hardtrance Acperience" - Hardfloor; "Butterfly" - Talvin Singh; "154" - Wire.

Background: Started producing dance music around about 2000. I’m from Derby originally but I live in Ealing, West London. Career Milestones: Extensive remix work for Newvision.com (online production agency) Two tracks “Plug In” and “Front End” signed by Branded Records and exhibited at MIDEM music conference January 2003 “Plug In” and “Front End” released on vinyl - shown on the Radio 1 Onemusic website (Sept 03 – Feb 04) My website www.biasfilth.co.uk went online March 2004. Signed with Complicit June 2004. Genre and Influences: I have always been committed to more progressive genres of electronic music. I got hooked on house music when I was about 17 - listening to Dave Seamam and John Digweed mix tape bootlegs, usually recorded live and with rough looking photocopied covers! I also remember going the first few nights of Progress in Derby - which I believe were some of the best house nights I have ever been to. I used to play keyboards in various bands with little success so after I finished at university I started building up a studio and knocking out demos. I like my work to have a sense of development within each track, and sounds are very important to me. I work mainly with synths and samples but my sound is heavily reliant on audio processing from plug-ins and VST fx. Chasing trends and what is fashionable in music is a waste of time. Being original is more rewarding because you have to make a stand, and by showing determination and having a clear picture of what you want to achieve gets more respect. At the moment I am listening to, Futureshock, A1 People, Luke Chable, Layo & Bushwacka, X-Press 2, Underworld, Orbital, Plump DJ’s, Luke Slater, Koma & Bones and DJ’s such as Guy Ornadel, Sander Kleinenberg and Dave Seaman. Cool Labels: Audiotherapy, 20 20 Vision, Bedrock, Automatic, Sondos, Future Groove Credence, Mute, Junior, Boarder Community, Feed me, Subversive, Baroque, Alternative Route, Plastic Fantastic, Skint, Complicit and loads more. All Time Favorite top 5: Out There Somewhere – Orbital Nothing (93 Returning Mix) - Holden & Thompson Purely - Luke Slater Cowgirl – Underworld Digeridoo – Aphex Twin At work in the Studio: I’ll nearly always start with a kick track - though its not often the first one that will end up on the final cut. I’ll work out a fill pattern to sit with it and this I’ll usually spend quite a bit of time on. I like things to swing and tick over nicely. The groove of the track is usually what keeps me interested enough to keep working it up and finish it off. I’ll then get busy with the cut and paste. Chopping out bits of vocal, guitar, synth anything really. I work with Cubase, importing samples and recording from the Korg Ms2000 and AKAI samplers. Most of the creative work takes place in Cubase but I’ll use Re-Birth for basslines and drum patterns are all programmed in a cool program called Tuareg. Normally I’ll compress the hell out of just about everything I record and I do all that in Soundforge with more plug - in units. What I am trying to achieve in the final mix is a flowing, rolling sound that introduces and develops electronic sounds across tech - house basslines and tough beats. Interesting Fact: I’m an interior designer during daylight hours, and an absolute demon on AutoCAD!

Tchorta was born in Rio de Janeiro, Brazil and shortly after moved with his family to São Paulo. Graduated in publicity, Tchorta has always liked to travel and has visited about fourty countries, gaining some understanding of varias cultures from various countries. Tchorta’s story with music began when he was sixteen years old, when he moved to Montellier in France, buying varying styles of music on vinyl and learning how to mix. This led to him making a living renting music equipment for parties and playing “New Order”, “Depeche Mode”, “Section 25”, “Cabaret Voltarie” and any thing else of interest. After some time he decided to move to London where would stay for two years and increase his musical knowledge. When Tchorta returned to Brazil in 1987, he brought with him an electronic drum set, which was a completely unknown at that time in Brazil. At the same time his brother, Guilherme Boratto who is also a musician and producer, had formed a hard rock band. Tchorta now with all his knowledge from his time overseas asked Guilherme to form another band, based on the “New Order” style and all lyric to be sung in English, Guilherme of course accepted. They then bought various keyboards and started to write and compose the songs for their new band “Sect”. Apart from his work with “Sect”, Tchorta began working in the world of “jingles” and produced them for varios products, such as Parque da Mônica, VW, Scânia and Mercedes Benz. In 1995 Tchorta invited Patricia Coelho to sing together with him in “Sect” and the result was so positive that the band had a big hit with the track “Crazy for You” along with other successes such as “I Can’t Stop Loving You”, “Get Away”, “Westing My Life” and “Walk Away”. Their poularity made it possible for “Sect” to play in some of the best clubs in the country at that time. After the end of “Sect”, due to internal problems, Tchorta began working with studio music production and creation, but always anonymously. By working in this manner he managed to put a number of his tracks on the same compilation with out causing the problem of having the same writer signing more than one track. A number of these tracks were also included in the sound tracks of “novelas”, Brazilian soap operas, which are watched by millions on people every week. In 1999 Tchorta moved to San Francisco to try and enter into the North American market. The project “Crossover” and the single “Music will never stop” gave him the start he was looking for and as well as the US this track was released in Europe by ZYX and RKG Records in France. In 2001 he had a brief stint at Mosh Studios, considered one of the best recording studios in Latin America. In 2002 he founded the record company, Mega Music Brasil along with brother Guilherme, Ramilson Maia and Kerry Phillips. Tchorta has great experience as a producer and has already worked with names such as , Manu Chao, Pato Banton, Leilah Moreno, Desiree, Gabrielle to mention but a few. One of the first releases from Mega Music was the band Kaleidoscópio – successful throughout Brazil with the hits, “Tem Que Valer”, “Meu Sonho” and “Chuva”. The track “Você Me Apareceu” reached number 3 in the Italian charts during the summer of 2004 and was released on all the important sumer compilations in Italy. The album is also doing well in Portugal and will be released throughout Europe and Japan in 2005. This album counts with the participation of Tchorta on all tracks excluding the re-recordings as both compositor and producer along with Ramilson Maia and Guilherme Boratto. Apart from his sideline project, “File 69”, Tchorta and Mega Music have released Leilah Moreno and in 2005 will release Helen Cristina.

Essentially a progressive / tech trance DJ and producer, with my roots in the German NU-NRG sound that was pioneered by Blu Peter at clubs like Garage at Heaven and FF at Turnmills in the early nineties. I love the darker more eerie sounds – sounds with depth and emotion. That said my DJ-ing career started at a small club in London’s Chelsea – playing party house to pissed up Sloanes - a bit of a shame, but I was playing records for a living! Over time I picked up more and more work playing the records I liked to people who wanted to hear them, taking in residencies at The Soundshaft, The Chunnel Club, Substation South and Turnmills. In 1995 I started a pirate radio station in London, which for 6 fantastic months consumed my life and brought together the Hardbag / Trance / Techno sound of a lot of London’s more underground clubs and broadcast them all over the Greater London area (We had a ridiculously overpowered transmitter!) Complicit Recordings was started in 2000, releasing its first records in 2003 and I'm now enjoying DJ-ing with residencies at Hush and regular guest slots at clubs like Frequency, playing the records I love to people who want to hear them

Ocean Blue are a Brighton-based duo, Neill Cain and Kevin O'Brien, who have been working together for over 5 years. Their single 'Sweet Sweet Baby' was released on Complicit Recordings last year. They have just completed an album project 'Beyond The Blue', which is a mixture of positive ambience and dance grooves. The collection of tracks feature native and tribal vocals with a big injection of emotion and ethnic overtones from around the world over a mixture of deep trance and beach house vibes. Having already been compared to the tranquil sounds of Deep Forest and Enigma with a splash of Ibiza madness thrown in, this is one for all mood swings and has the intention to take you further than your own living room.

From initial conception Parke&Rhyde wanted to create great groove laden peak time club tracks. Spawning out of a friendship developed at school and a love of music, we have been involved in DJ'ing, playing music in bands & clubs, laser lighting displays and throwing the occasional party's. Some of the early music that blew us away were Josh Wink and his use of the 303, the early acid house sounds, the atmospherics of Agnelli & Nelson and the drive of the tribal techno scene. We constantly work on developing our dirty warping sound and have tried to sculpt our own style of analogue electronic techno funk.

Have been writing electronic music ever since my parents bought me a keyboard when I was 14 (a long time ago!). When I moved to Brighton in '93 a hobby turned to a profession when I was signed to Aura Surround Sounds to release "Gotta Get" under the guise of MUST. With the success of that record went on the release over 30 single and remixes for Chug'n'Bump / Boom Records and Aura Surround Sounds, EPIK "Driver" being my favourite. Had a 3 years break from music from '97 to '01 then started writing with Kevin O'Brien under the guise of Ocean Blue (mellow vibes), and on my own as Plutonic (driving trance) with Complicit Recordings