Friday, November 16, 2007

A man vibrates the way his environment is vibrating

This text is about artist Hanna Preuss, because her project Soniferus and shine of sound, which is like some kind of 'sonic expo', like sound exhibition. Part of it is also sound installation in dark room, where you can lay down on comfortable and soft sofa and you left your self to deep sound vibrations, which frequencies are scrolling all your body, and your eyes are resting on rare light sensations in the room, which is sunken in deep black. These days still many of sound installations and experiments are produced, mostly they are investigating sound and noise, and there is much less the ones that are looking for relations between sound and human ad our psycho physical state of being. Hanna Preuss in her projects is digging in roots of that kind of sound.
Hanna Preuss as sound director devoted to sound in more than 120 movies in different languages. At age of four she started to play piano, she trained in Chopin music academy, Warsaw for sound directing in movie section and after as master of arts she became sound director in movie school in Lodge. "With sound we can change the expression on face on already shoot scene, time of scene duration, rhythm, emotion. Great sound in movies is the one that we don not notice it and we cant analyze it, it must be discreet and is forming viewers emotional field."

In last times scientists are giving a lot attention in exploring of elementary substances as water and sound, and their relations to human. Do you use those facts in yours work as well?
I don't like to talk about it, because someone can easily think that I'm some kind of new age holistic worker, it is like an etiquette would stick to you. But it is fact that some frequencies are having high effect on parts of our body and brains are having high effective value of it or they are disturbed by them. Nerve cells in our brain are constantly generating electrical impulses, and those are forming in some kind of frequency samples, which frequency longitude we can measure and they directly effect our tough, emotions and body functions so they can stimulate or disturb our brain waves. These are alfa, beta, delta and theta wave. Beta is the fastest wave , which is our awake state, daily activities, stress, tension,state of sickness. Alfa is slower wave, for which is typical sensing the arts, relaxation, satisfaction. Theta is even slower wave, and it appears in state of extreme concentration and in sleep when we dream. Delta, the slowest wave, is in state of deep sleep and deep meditation.
Those fact are scientific proven for long time period. It is completely clear that on wave can affect on other. If we are exposed to very strong sound wave, that is disturbing our brain wave, occur certain dis functions , that can be measured.

How sound affects on human psychophysical state? How frequencies of sound affect us?
Human vibrates the way his environment is vibrating. The beauty and danger of that is that those vibrations have no limits. Because of such amount of affect of sound on human body, it can completely harmonize or unharmonized, we give now days more and more attention. We are constantly in waves, every human body cell has a membrane that vibrates the same as membrane of microphone or speaker. It is pity that in this civilization we are exposed to huge amount of vibrations, which we do not hear, but we sense them and they are highly powerful affecting our psychophysical state. I'm deeply convinced, that the growth of civilization diseases, such as cancer, is related to with fact that we can not protect our uncontrolled thoughts and negative vibrations.

We live in sound and mind production, contaminated with negative frequencies and waves...
And all those can be measured. One of most famous machines to measure our mind processes is Lie detector. IF a man is attached to lie detector and affected of stress , are those stress waves written down. Those are our brain waves. The easiest way to measure sound is with decibels. But this is the sound we can hear. There exist a plenty of vibrations we can not hear, but body accept and experience them. Because we give no attention to it, and we don't sense this physical response we ignore it. Those vibrations can be effective or disturbing. In effective ones, we could say that slower is wave, deeper we can relax, more the body harmonizes and balances the function of both sides of brain, the faster the healing process in body are.

If negative impulses unharmonized us so certain positive impulses can harmonized us?
The body is not tuned as piano or violin. We tune up an instrument , so it sounds clear again and it is possible to tune up body too, that is exactly what Soniferus is doing, I call his doing tuning up a body. With sound we can affect our brain wave samples and we harmonize them.
We all know that certain sounds, music affect on us positive and other negative. there are known researches how different kind of music affect on human, for example Mozart, Bach and Beethoven or metal music. Personally I did those researches, because I saw emotional reactions of people on my music compositions so I started to think why and how. On international seminars there was high response of people that got opportunities to tune them selves- not only to hear, but to also physical experience sound of their name , sound of body and thought. About physical listening I started to think very early. Most important is that that we don't focus on sound with our ears, but we experience and listen it with whole our body. I have this experience from my childhood, i play an instruments since i was four, I finished music academy and I lived in isolated world of philharmony till I was nineteen. What is Phylharmony, a sanctuary of vibrations. When a man steps into this space, when he experience amazing concert, he do not think or analyze, but he lets his body by the flow of music. Anyone can swim in sound, only that sound needs to be pure.

Sunday, May 6, 2007

Fame as fen omen of artist, resistance and freedom

Legendary Russian cellist died few days ago in Moscow hospital. He suffered from cancer. He was the teller of musical life and his most sophisticated maker.
Mstislav Rostropovich was fighting with his disease till end. He got sick with cancer last summer. When he canceled all his concerts , and then he managed enough powers to make a homage in begin of fall. It was hundred years after birth of Russian composer, mentor and friend Dimitry Shostakovitch. So the made beautiful concert in Moscow for that occasion. Then he escaped in sanatorium for Russian elite Barviha in sub of Moscow. Russian president Vladimir Putin honored Rostropovichwith Russian state medal for merits and his contribution in development of music in global point of view, and for long years of artistic creativity.
Rostropovich had charisma, which is owned by few instrumental soloist: where was Rostropovich there was his world, his music, his spiritual power, honesty and ray of genius musician, his fluid, spontaneity, maybe little of clumsiness in movements, awkwardness of simpatico , but heavy laugh which with his humbleness and took over anyone close. He suffered to much, he was humiliated so many times and in other hand he received the highest honers and in his person only artistic miracle. Which is total contrast. Fame , an he was irrational artistic being on one side, in other side he was man with amazing courage, self confident, intensive devotion and secure in his artistic power and his civil responsibilities. Practically all Russian presidents had been engage with him. From Stalin to Putin, all musical birocracy, but place in his heart was only for real people, artist, intellectuals, scientists and of course for all that he played with and for musicians whom wit he was creating music.
We can be happy that he liked to play for us, as soloist cellist, as director of other orchestra (it is unforgettable when he gave concerts together with Washington national orchestra, bud they were not allowed to play in east) or as soloist with many of different orchestra for background.
Rostropovichis staying in time mostly wet from globalization and loose artistic values. He is ray of light in artistic values, humble goals. He is equal to very rare politicians which acted the history of 20 century.


Sunday, April 29, 2007

"narco corrido music"

While surfing I found term "narco corrido music". Got interest what it is and i found out some interesting stuff. If you know some more about this kind of music, you know to comment it is easy...
"Narco corrido music" is the contemporary Mexican corrido. The corrido is one of the most popular music styles in the Latino market, both in the US and points south. While the Anglo media pretends that the boom in Latin music sales is driven by salsa (a style that is wonderful, but currently not very popular in the Latino community), most US Latin sales are of Mexican music, and a large proportion of these are drug trafficking ballads, played in polka or waltz rhythms by accordion combos or full brass bands. Many of these ballads are in the classic Medieval style, and they are an anachronistic link between the earliest European poetic traditions and the world of crack cocaine and gangsta rap.
I found reports on radio stations banning narco-corridos. Like August 19, 2002 Baja California radio stations. They banned those popular songs on Mexican radio that celebrate drug runners -- and sometimes the murder of Mexican police. So that means that radio stations must been earning and gaining on that kind of music, otherwise they would never put it on air or never moved away from peoples ears...
Los Tigres del Norte may be the most well-known band to play narcocorridos, but they're also prevalent in northern Mexico, urban California, and in low-budget recordings sold at flea markets and other various non-mainstream venues. A longtime writer of roots and world beat music, Wald offers a travel narrative of narcocorrido sources, traveling from Sinaloa, Mexico, to Los Angeles and parts in between, searching out musicians and other insiders for their personal histories and insight. Wald's enthusiasm for the subject is clear. Still, Narcocorrido is missing something. While comparisons to gangsta rap aren't surprising, the discussion is thin. Also, why not interview drug dealers -- some who reportedly commissioned corridos to document their deeds -- or narcocorrido fans for a rounded view of the subject?
Great book on subject; Narcocorrido: A Journey into the Music of Drugs, Guns, and Guerrillas(2002 Latino Book Award winner as "Best Arts Book")
If you would like to get more familiar with briefly covered narcocorridos you can get a list of those few artist produce pressed, professional CDs, which limits what you might be able to find.
A history of the Mexican drug song

Sunday, April 22, 2007

Nasty Nastic

Marko Nastic was born in Belgrade.
His homepage

Ever since his early days he was fascinated with synthesizers and rhythm machines, and showed interest for the electronic sound. He resided for
the first time in Belgrade's clubs Industria and Omen where he met Dejan Milicevic with whom he creates the TTP project.

In the historic club Industria he quickly arrived to the position of the program art director, and he fortified his collaboration with Gordan Paunovic and other most important Belgrade's electronic music DJ's and promoters.

His international carrier started quickly after he met with Umek and Valentino Kanzyani, who both played a key role in his beginnings as a producer and in his promotion on the international scene. From the moment he became a part of the Berlin's agency KNE'DEEP roster his carrier continued to advance.

Apart from Umek and Valentino Kanzyani, Marko Nastic always underlines an extraordinary support from DJ Rush.

He performed with all big names of the techno scene, and in almost all European cities. His first non-European tour was in 2002 in Brazil.

His favourite rhythm machine is Roland 909, and synthesiser Juno 106.

Marko publishes his music exclusively for the Recycled Loops record company, for which he already issued two EP's-"Devil in My Pants" and "Let's Get High", with which he achieved his first international success as a producer. New mixed CD for Recycled Loops is already out in Slovenia, and on June 16 it will have its World premier. He also did a remix for Martin Hare and the label Dark House Music.

In the mean time he started his own record label RECON WARRIORS; this label will include names such as Dejan Milicevic, Leon, Kobaja, but also Umek, Valentino Kanzyani and, of course, Marko himself.

His favourite clubs are M47 in Hungary, U60 in Frankfurt, Sala del Sel in Gerona and Techno Flash in Valadolid.

Friday, April 20, 2007

eating candies while mixing, Dj. Umek

While Berlin and Cologne are regarded as the hot pot for all things minimal techno, few might be aware of the slew of emerging artists from countries like Slovenia and Serbia pushing the harder, tribal, party end of the sound.

Indeed the dissolution of Yugoslavia has given birth to a number of techno DJs and producers including Valentino Kanzyani, Marko Nastic and of course Slovenia's first superstar DJ, Umek.

Entering the Top 100 DJs Poll for the first time in 2003 at No.45, it was a track under his Mumps moniker that first saw Umek thrown into the international spotlight when it was released on Billy Nasty's Tortured label. Further releases as Mumps and Zeta Reticula, on Tortured's sister label Electrix soon followed as well as remix work and original tracks on other labels including Primate, Primevil, Wet Musik, Tiesto's Magik Musik and Black Hole Recordings and more recently Carl Cox's Intec imprint.

Part owner of the Recycled Loops label with fellow Slovenian rising star, Valentino Kanzyani, Umek has well and truly illustrated he has an ear for a good tune and established himself as a respected DJ with compilations on Monoid, Tortured and TimeWarp and a steady stream of international bookings.

Despite having recently broken two ribs in a minor accident, Umek is still hard at work in the studio, finishing off a new EP forthcoming on Intec next year and laying down funky techno in DJ booths around the world.

RA recently caught up with Umek before his set at The Forum in Ireland to find out a little more about the Slovenian DJ and producer.

So have you had a busy schedule DJ-wise lately?Where have you just traveled from?

Yes I have been on the road for the last five years actually, every Friday and Saturday. It's totally crazy travelling all around the world. I haven't played in Africa but have played on all the other continents. It's amazing so I cant complain.

Yesterday I played in London at the Gallery at Turnmills. Actually I've played there 3 or 4 times before but last night was the best night. I played an early set from 12 till 2 so I could build up really nice and slowly and there was an amazing reaction from the crowd - just unbelieveable.

Where have your gigs taken you recently?

Mainly Europe because I really hate flying. I get offers for all around the world but I dont always want to go there. I have been to Japan for the second time this year although I have had so many invitations. But I only want to do it every few years. Also I haven't been to Australia for ages and I dont know when I will be going there next. I love Australia but it's so far, far away and there's always a lot of turbulence on the plane which I really, really hate.

If you were to look back on your early musical influences, who or what would you say got you first interested in electronic sounds?

It's funny because in Slovenia when I started to listen to this kind of music it was impossible to buy any CDs because it was a Communist country but I had some friends who were listening to this music so we exchanged tapes or we got it via satellite.

I listened to a radio station called Green Apple and Dance Nation was a satellite radio show where they played techno and all kinds of electronica every weekend from Friday till Sunday. That's where I got a lot of influence at the beginning of my career and then I started to DJ professionally in '93 when the scene was just starting up, progressing and building.

I was playing all sorts of stuff from trance to acid, some Detroit stuff and of course, techno but in '95 we were totally blessed with Surgeon's records on Downwards and Tresor. Those were unbelievable and completely changed my view of things. I had played stuff on Tresor before but Surgeon was doing totally different stuff at that time. It was fresh. In 2000 I changed to funkier stuff with more percussion.

Looking back at the early scene in Slovenia were there opportunities available to play at club nights? Was it difficult in those early days?

There was nothing. Actually there were only a few club nights where the DJs played CDs. There were bands like Brugasia and people playing EBM; all sorts of electronic music but I couldn't say proper techno.

How did you make the progression from DJ to producer and was there anyone who influenced you in that respect?

The thing is when I started to play music, I wanted to know how this music was done and I met some friends who were already into this kind of thing in Slovenia. Back then they showed me a lot of things. I didn't have a clue at the start and I wondered whether it was a live band or if they used machines. It was funny, so funny.

You had some earlier releases on Planet Rhythm, CLR and Missile before signings to bigger labels. How did the move from being a DJ/producer in Slovenia to getting releases signed for Tortured and Primate come about?

In the beginning I was sending around at least 100 demo-tapes a month to different labels. They didnt like it but then I got my first deal and bought better equipment with the money and then the bigger labels got interested and so on.

Your Mumps releases on Tortured gained you recognition particularly in this part of the world but you also released your "Voices of Africa" series along with other releases on Primate and also some electro releases under your Zeta Reticula moniker on Tortured's sister label Electrix in addition to your many other remixes. Your sound has changed as you've taken on different projects. Is that important to you as a producer?

I have been DJing professionally for more than 10 years. I think it's 12 now, actually. I'm sure a lot of people are changing and I will always change when i feel the need because some music doesn't give me what it used to give me.

It seems like you are looking to diversify your sound with each new project. Is it difficult to keep coming up with the next thing or next sound as a producer?

No, not at all because I'm always trying different things in the studio. This is the thing. I can do quite good house. I can do some crazy electronica stuff and I can do proper techno records. So yes, I am always trying new stuff.

Your DJ sets of late seem to have moved on from the more tribal sounding records that were for example on your Monoid mix cd in '99. Are you exploring different sounds at the moment?

I have done 3 official mix cds which sound, in my opinion, very similar - Monoid, Tortured and Timewarp. This is from when I started to play funky techno with percussion and this kind of thing. Now, it depends. I'm doing kind of minimal, electro, more downtempo techno which I play at a night in Slovenia which has gone on for a year and a half and is an amazing success. So I'm sure I'm going to do different things as well.

You work of course with fellow Slovenian Valentino Kanzyani on the Recycled Loops label. How did this collaboration first come about?

The collaboration started because we were both residents in a club called the Mesodicavioli. Valentino was just starting to produce and he didn't have much experience. The guys from the club wanted to start a label so we got some interested acts that promised they would do a record but then we left that club.

So Valentino came to my studio and we did some stuff together and this is it how it became Recycled Loops as a project on Primevil number 13, I think. From that release we started the label, calling it Recycled Loops.

The labels' tracks represent a funkier techno sound and have been championed by Justin Robertson, Slam, Adam Beyer, Carl Cox and Deetron to name but a few. Was the concept originally to release funkier material?

We were, at that time, recycling a lot of sample CDs and we got all these loops and were making new beats from that so this is where the name came from. Then of course we just started to released our stuff but then we signed Marko Nastic, Hertz and all of those kind of artists. Our music is changing these days but still not changing a lot if you look at the progression in the music.

Your work rate as a producer has been fairly prolific. Which other labels are you currently involved with?

I am going to have a release on Intec, a proper EP, finally and a new thing on Recycled Loops. For the last year I've been trying a lot of new things. They are not ready yet but I want them to sound fresh and be the bomb.

Do you intend to keep DJing just as much or do you see a time when you will concentrate more on studio work?

I love to DJ but I would love to have more time to spend in the studio as well because I'm n the studio from Monday to Thursday and then I go to a club, come back, then go to a club and then back home. I would really love, in the future, just to play two weeks in one month which means 4 gigs a month and then spend more time in the studio. Definitely!

Apart from your Neuro album on Tehnika in 2002 have you made any other attempts to record an artist album?

Actually this is a funny story. I made a similar styled album to Neuro but I had so many singles out, so many remixes, that I still have it at home. I didn't release it but now it's gonna be a kind of 'The Best of 10 Years of Umek' available as an mp3 file or CD, where there will also be all these new tracks along with the ones from the EPs I made.

Most DJs find it hard to make the transition to a recording artist. Have you had any difficulties or has this allowed you to experiment with sounds away from the usual dancefloor oriented stuff?

It depends how long you spend in the studio. Some artists do one album a year and are in the studio for 2 or 3 months and they can take their time. I'm in the studio almost every day when I'm at home so this is just a natural thing for me. I just go there and make music. I dont know if this is the proper way or not. Everyone has their own idea on how to make music.

Lately the growth and rise of techno has been more evident in Eastern European countries and particularly your own Slovenia. Can you see any particular reason for it being received so well at home?

Honestly there aren't many producers or acts who are exported from Slovenia. There's just Laibach, me and Valentino so this is probably why we have huge support. The young crowds realise that if you're a DJ from Slovenia you can make it and go all around the world.

Do you think techno has helped unify its followers or bring cultural diversity to a region torn apart by past conflict?

In Yugoslavia there were 7 republics. Slovenia had, if you can say it, a war. There were a few people killed but it only lasted 10 days in comparison to the other republics so I don't see that happening as much but if you ask someone from Bosnia i think they will tell you a totally different story. Slovenia is the only republic in the European Union which makes a big, big difference.

What have been the positive elements that this scene has given Slovenia?

Before there was nothing; no electronic parties. Now we have a big amount of people, mostly a techno crowd, a small house crowd and an even smaller trance scene. Techno is really number one.

So do you have any plans musicwise for the future or do you anticipate changes within the techno scene on the horizon?

Right now it's changing rapidly. In Germany there's really hard techno like Schranz and the minimal sound. It's going to change and has already already changed a lot of DJs perspectives on music. I've seen it.

Has the advent of digital mixing had an effect your DJ performance and has the growth of CD mixing affected the potential sales of your vinyl releases?

You can't work against it and you need to adjust. It's always about the music. I mean people are gonna download music legally or illegally. Actually I don't mind.
As long as we have crowds in the club and people want to hear you then there's no problem. For the last 10 years we haven't earned that much money from records. Maybe people like Joey Beltram and all those big guys who were making hits like 12 years ago made money because vinyl was selling at that time. When I started to sell on vinyl we made some money but it wasn't a big amount. So for me it's more important to see that the crowds at gigs are up for it and having fun and if the clubs are full. I'm happy then

What would you say have been your personal career highlights to date?

It's funny. For example, Gatex, a track I did which nobody expected to do well. I can't pinpoint one thing. It's everything - the production, the gigs, the festivals I've done. It's impossible to just pick one.

Has there been any one person in particular who has had the single biggest influence on your life, your music?

Yeah...of course,of course...but it's changed from time to time.There have been different guys over the years but the last one who really changed my view, music production-wise, was Surgeon in '95. Other than that my influences would be the club scene and club music itself.

Is there any country you would like to DJ in that you havent been to yet?

South Africa or somewhere in Africa.

Finally, where are you off to next?

I don't have a clue. My agents are taking care of everything and every Wednesday or Thursday I get my email. I get all the emails months in advance but I always erase them so I always only know on the Wednesday or Thursday where I'm gonna play that week.

Sunday, April 15, 2007

biggest passion music, but he likes madona too

Tiesto likes the work of Madonna because her music shows that she likes to dance.
Tiesto web site, shit, not working.
he maight done some real god work in music, but seems like that is all.
Trance is the name applied to a type of House music that tends to be faster than normal, rarely features vocals and is built around layers of shimmering, intertwining synthesizer riffs.Music has always been the biggest passion in Tiesto's life and he felt the need to share that passion with other people. Between 1985 and 1993 he performed as resident in several clubs in Holland and in these years he developed an important foundation:

With a massive following in Europe, club culture has propelled itself into the mainstream, thereby bringing its players a higher profile. This is the birth of a new, fresh generation of performers, artists and producers. Tijs Verwest, a.k.a. DJ Tiesto, is coming to North America and aficianados of progressive electronic dance music had better take note. A mainstay in his native Holland, DJ Tiesto has long had a passion for sharing music and first played records at drive-in disco shows early in his career. He soon moved to the clubs where his sound focused on club and popular music from the Dutch chart parade. Eventually he narrowed his scope mainly to house music, a simple hybrid of beats laden over a bass-heavy groove, and started to create his own distinctive style. This recipe makes for an exciting time as Nettwerk Records presents to you DJ Tiesto: Summer Breeze, a hand-picked selection of anthems that will make your head sway. The opening track is "Dido", a beautiful progressive trance track with vocal samples derived from a Henry Purcell opera and remixed by Armin Van Buuren (DJ Tiesto's collaborator on projects such as Major League and Alibi) to give us a taste of the future. Also featured is Oliver Lieb's dark treatment of the Kamaya Painters (DJ Tiesto and M.B. de Goeij) track "Far From Over." John Johnson, master of deep progressive trance, gives us his reconstruction of Dawnseekers' "Gothic Dream", and one of DJ Tiesto's own productions is a massive tune entitled "Sparkles" (a chart topper earlier this year played by all the top progressive DJs overseas - Euro diva Sonique had this one in her charts for weeks). Representing North America's premier electronic dance acts are Nettwerk artists BT (Libra's mix of "Dreaming") and Delerium featuring Sarah McLachlan (DJ Tiesto does an epic mix of "Silence"). DJ Tiesto's producer skills are highlighted as well, namely on his Magikal Remake of Yahel's gorgeous "Going Up;" on Jaimy & Kenny D's pumping club anthem "Caught Me Running;" and with Major League, which gives us the frantic frenzy of "Wonder?" in its true original form. While many DJs tend to follow the alluring trend of playing only massive tunes with minimal appeal, DJ Tiesto sets himself apart from the pack by hand-picking tunes that will linger with people hours after the club has closed. With this seamlessly mixed spectrum of songs, DJ Tiesto wants you - whether you're an avid club jester or just someone who yearns to be swept away - to take Summer Breeze as a testimony to his passion for sharing music.

Thursday, April 12, 2007

Old School of Carl Cox

Dj Carl Coxs profile

By 10 I had well and truly caught the bug and was spending every bit of my pocket money on soul and funk records. I got my first pair of decks (just the 2!) by the age of 15 and I started to play as many parties as I could, discovering that I could buzz off a crowd whilst funding my habit at the same time. As the 70's became the 80's I followed the musical trend from soul to disco to hip-hop but it wasn't really until I moved to Brighton in 1986 that I discovered, along with so many others, the pure thrill of acid house.

I can't remember a time without the strains of soul music drifting through our house. With both parents coming from Barbados I was brought up very much in tune with a natural party ethos that went hand in hand with a love of good music. My earliest musical memories are of Booker T and the MGs, Aretha Franklin and, of course the great Elvis, and I used to hijack my parents collection of 70's soul 45's and get the whole family grooving round the lounge! I guess the early signs were there - my passion for music combined with an over-whelming desire to entertain as many people as possible.

So much has been said about one of the greatest DJs in the world. Carl Cox has excelled as a producer, artist, remixer, radio DJ, businessman, and ambassador for dance music. In the UK he is a full-blown 'Pop Star'. As anyone who has met him will attest, Carl Cox is the living embodiment of the perfect gentlemen, the DJ diplomat and progressive music pioneer.

Carl Cox began 1996 with the launch of his own record label, Worldwide Ultimatum, releasing his debut self-produced album 'At The End Of The Cliche'. This album was a culmination of influences gained from 18 years of the experience. It took over two years to complete ans stormed up the UK charts attaining a position of #22. In addition, he began his own management company, Ultimate Music Management, which has blossomed under his watchful eye and boasts a roster which includes such well-known DJ's as Josh Wink, Laurent Garnier and Judge Rules.

Carl Cox's achievements do not stop there. He has appeared on Top of the Pops and in 1996 was awarded the International Dance Award "Dj Of The Year" for the second year in a row. Muzik Magazine crowned him "DJ Of The Year" in their readers poll and he received "Best DJ Of The Year" accolades in Scotland, Ireland, France and Germany. He has graced the covers of England's biggest music magazines including Mixmag, Muzik, DJ and Wax. Cox also joined the prestigious team at London's Kiss FM radio station with his own "Ultimate Mix" show on Saturday nights and was awarded the "DJ Mixer Of The Year" by its listeners.

Carl Cox has rocked dance floors the world over and has conquered corners of the globe previously left untouched. Maintaining a constant tour schedule, playing throughout the UK and Europe, he recently mesmerized thousands in Israel, South Africa, Japan and Australia. Cox appeared at the legendary Love Parade (one of the world's largest raves) in Berlin playing to over 80,000 people. He is the featured DJ this year at T In The Park, and continues to play the UK's biggest clubs including Slam, Cream, Lakota and Minstry Of Sound.

Signing an exclusive deal with Moonshine Music here in the United States, this is the first time any of Carl's work has been available domestically. F.A.C.T. 2 is the follow-up to his highly successful F.A.C.T. which sold over 70,000 copies in the UK alone.