PASE ROCK (DIM MAK / LA ) 

 

Pase Rock is a founding member of the hip hop group Five Deez and has performed with Spank Rock since 2005. Pase Rock has arrived on the scene to devastate all assumptions about the collaboration between hip-hop, electro, and disco. He wants to school you in the ways of the new hybrid, which breathes a new joint union of styles.

Pase proclaims, “All the time party rockin, never stoppin. Pase, P-Pase, (picky -picky) Pase Rock. Given name Patrick Vaughn, rhymes with magic wand.You want the scoop? Here’s the scoop… It’s a new day. We global, son. You want my bio? Here’s my bio… I’m alive sucka!”

 

“Get Monkey Kids” is a hip-hop gem, that uses electronic beats and succulent horn lines to complement the signature “get money” vocal lines. “So Fucking Disco”, hence the name, has a disco dance beat with smooth coruses and great percussion. Both songs have become club favorites in the electro / indie dance scene in Los Angeles. A New Yorker with a flair for musical styles from around the world, Pase is destined to teach America in the ways of party music!

 

Two Fun Facts about Pase (& Two Blatant Lies too)

1. Pase Rock is the fullest and most complete realization of artist that God has yet created.

2. Pase Rock has been DJing since the age of nine, rocking recess with the freshest Schoolhouse Rock beats.

3. Pase Rock was conceived during an episode of The Love Boat (just as Isaac asked a bar patron, “What’s your pleasure?”).

4. Pase Rock has DJ’ed private parties for various famed personalities & corporate clients including Snoop Dogg, Black Eyed Peas, Justin Timberlake, Playboy, Oakley, Heineken, & more.

 

 

 

deepchild is a heavyweight of the global deep-house/minimal-tech DJ scene (top biller alongside the likes of Richie Hawtin, Jeff Mills and Green Velvet), prodigious producer (Om Records, Dieb, Freerange Records) and superstar remixer (Booka Shade). A former stalwart of the Australian underground, deepchild has forged an international reputation and now splits his time between Bondi Beach and Berlin. 

 

Since 2007, deepchild has DJ’d and played live in London, Berlin, Prague, Cologne, Manchester, Leeds, Serbia, Kuala Lumpur and all over Australia. 2009 sees deepchild play the New Forms Festival in Seattle, top ‘n’ tailed with gigs in Canada and the US, and his first highly successful foray into Japan (Redbox, Tokyo). 

 

From 'big-label' original releases for labels like US Om Records, remix work for legendary producers Booka Shade (Get Physical), deeper cuts for Freerange Records (UK) and Future Classic, and serious tech-weapons for BEEF, Dieb and Detroit's own MDEX Records, a steady stream of bouncy, jackin' minimal sounds have ensured deepchild remains one of Australia's most in-demand producers. Hipp-e, Robert Babicz, Tigerstripes, Jimpster and Luomo have all leant their remix credits to deepchild 12"s. 

 

The journey has been a long and sonically expansive one. Recent DJ support from the likes of Justin Martin, Mattias Tanzman and Hipp-e sits solidly against the proclamations of respected music journal, The Wire, who went as far as to proclaim that this sound was "as sexy and addictive as new-dub electronica gets". From quirky, stripped-back techno to deep dub explorations, deepchild has proven a robust producer and highly respected DJ and liveperformer. 

 

When Stereo-Heaven (the biggest DJ store in Essen, Germany) found that their biggest selling tech-house record was in fact written in a small studio in Sydney's Inner-West (deepchild's "No Disgrace", on Future Classic), they took the time to make special mention of what is indicative of deepchild's head-turning appeal: "Over here in my hometown in Germany, we really love ‘No Disgrace’!! It's also by far the best selling record in our new local shop, too... from deep or tech house to minimal DJs, hip-hop and electronica fans – everybody is into that 3-tracker... Really an amazing 12" you've created!" 

 

Freerange Record's 'tech-house institution', Milton Jackson, phrased is rather more succinctly, "Oh My God. I think you are my new hero".

 

 

 

Everybody knows that Australia is equally synonymous with stereotypes about shrimps as it is with high-quality electronic music. Jamie Stevens, from dual ARIA winning band Infusion, is just one such shrimp with such talent and flair behind the turntables who is fast becoming the main course with a bag of aural delights. 

 

As a producer Jamie has an immense discography which has got him work with not just under the Infusion name, but co-producing with other artists, concocting some devastating bootlegs as well as writing a movie score or two in-between. Jamie’s ability to produce imaginative yet cohesive music has also seen him land remix duties for Booka Shade, John DIgweed, D.Ramirez, Deepchild and Chris Fortier amongst others whilst labels such as Anthony Pappa's and Darren Emerson's tracked Stevens down to bring his sound to their fold. Praise for these solo remixes have come from the contemporary stalwarts of the electronic music scene such as Adam Beyer, Danny Howells, Thomas Schumacher and Laurent Garnier.

 

In 2008 Jamie co-founded a new record label for upfront and original music; the result was ‘Dieb Audio.’ Jamie managed to get the label straight into the limelight with Keep Her Space (also remixed by Christian Smith & John Selway), a deceptive slow burning tune which ultimately ignites. The success saw it feature in all the highest ranks of the DJ hierarchy as well as appearing on John Digweed’s, Anthony Pappa’s, Carl Cox’s and Dave Seaman’s mix compilations. The label has since released tracks from such artists as Dave DK, Tiger Stripes, Gregor Tresher, King Roc, Umek, Florian Kruse, DJ Yellow and Perc amongst a host of others.

 

Jamie’s story began nearly two decades ago; his natural affinity with exciting and emotive music was fuelled when he attended a Depeche Mode concert with fellow Infusion member Manny Sharrad. From that moment things would never be the same. As part of Infusion, Jamie has left his mark all around the globe, headlining some of the biggest clubs and festivals he has played alongside most of the world’s biggest DJs and electronic bands, including the likes of Kraftwerk, Depeche Mode, The Prodigy and countless others. 

 

Until now, his plate had always been too full to pursue a DJ career, though the gate has finally opened. Not only has he becomes a resident in the local scene; but he has also been getting his share attention from beyond the Australian shores. Jamie Stevens, who is seen more often than not rocking down in the crowd, is sticking on the DJ prefix. Jamie’s acid house and progressive roots see his sets infused with a flavour of harmony, atmosphere and oblique techno and tribal rhythms; music that grabs and holds on to the floor. 

 

 

Jamie Stevens isn’t your average package: a DJ, producer, performer, entertainer, composer - none of these come close to describing the truth at heart. A passionate fan of music, Jamie has more than just good music to boot. The energy Jamie brings to the stage as a DJ is second to none, coupled with his own set of bootlegs, red-edits and unreleased material - he proves time and time again that his value isn’t just behind the computer. 

 

 

PhDJ is a disc jockey, business guy, music producer, and an all round party dude. His real name is Martin Novosel and not only is he founder and owner of independent record label, club & event promotion company Boundary Sounds (www.boundarysounds.com) but he is also one of Australia’s highest profile indie party DJs, and a pioneer for a generation of left-of-centre party-goers and music lovers. 

 

After living in London for three years, overstaying his visa and getting fired from a string of day jobs for DJing and partying too much, PhDJ moved back to Sydney to avoid extradition. A few mishap attempts at regular jobs later he established Boundary Sounds – a company responsible for releasing Sparkadia’s debut record, managing Philadelphia Grand Jury, establishing Sydney’s longest running indie club, as well as Australia’s most recognizable indie club brand Purple Sneakers, and also a slew of other records, clubs and events. 

 

In music business terms press have compared PhDJ as being a spiritual younger brother of people Steve Aoki, James Lavelle and Busy P. Having been featured in a list of Australia’s Top 30 most influential people under the age of 30 PhDJ is what press would call an organically rising star. 

 

So much does his reputation precede him that prior to LA-based DJ AM's last trip to Australia AM's people called PhDJ's people to ask him to throw a party for the superstar DJ. And he did. It was off the hook! Likewise Converse recently chose to showcase PhDJ in their 100 years of Converse ‘Icons’ campaign as a representative of a generation of up and coming creatives alongside local and international superstars including M.I.A., Sid Vicious, Karen O, Billy Joe Armstrong, Common, Joan Jett, James Dean and others. 

 

Side note 1: Whilst DJing at Splendour in the Grass the Arctic Monkey’s Alex Turner told PhDJ that he was one of the best DJs that he’d seen. 

 

Side note 2: It's still not 100% certain whether PhDJ was responsible for Jake Stone's broken leg or whether it was Jake's own drunken frivolity. The footage is out there somewhere on Youtube. 

 

As a DJ PhDJ’s mashed up versatility behind the decks is huge. He is just as comfortable touring internationally, playing big-room clubs and playing at festivals to thousands as he is playing in the front room of a mate's house party. And like any good house party DJ he'll thrash whatever genre happens to get sucked onto the decks, doesn't matter if it's hip hop, rock, booty, punk, funk, indie, disco, soul or whatever it takes to get a room bursting at the seams. 

 

As one of Australia’s highest profile indie party DJs he’s toured the UK, US and Australia many times. Highlights include supporting Santogold, Bloc Party, The Presets, Le Tigre, Chk Chk Chk, The Kills, Ratatat, Alan Braxe, VHS or Beta, DJ AM, Good Charlotte, Lily Allen, Ian Brown, Chicks on Speed, Midnight Juggernauts, Princess Superstar etc etc… And playing the main room of the world’s biggest indie club - London’s Club NME (twice). In the past year or two PhDJ has also played just about every Australian festival of note including Splendour in Grass, Good Vibrations, Falls Festival, Parklife, Playground Weekender, Field Day and Big Day Out. 

 

Never one to remain idle, with his business securely established, 2008 has seen PhDJ have time to get stuck into remixing, music production work and even some film making. For the latter of these check out the bLuejuice tour video PhDJ filmed when he went on tour with the band a few months ago. If you look very hard around the 1:27 mark you may even see the moment PhDJ broke Jake Stone. 

 

On the music production front PhDJ recently formed a music production partnership with Sydney producer Black Anthony to create production duo Dept. (pronounced ‘department’), which has seen PhDJ up the ante in the busy stakes. Dept. have in their infancy already reworked tracks for US dance acts Walter Meego and Yacht, as well as re-rubbing tracks for The Grates, Pop Levi, Wolf & Cub, Sneaky Sound System, Dukes of Windsor, Sparkadia, Bluejuice and The Dirty Secrets. The duo's portfolio is beginning to take some serious shape.