Sorry, no biography for RONSKI SPEED at this time.

You can tell when Nick Warren’s on the decks. The music emanating from the man is that perfect club mix of driving percussion and soaring musicality, bursting out of the speakers, soaking everyone in melody, drenching them in sound. On the floor, where it really matters, his crowd experience all the peaks and troughs that make his music so unique. Locking on early, you’ll hear his deeper take on house which morphs, as the club mood changes, into harder territory, music for sweating and losing yourself to.

That’s why Nick Warren is so respected, because he knows how to truly work a club, to take a crowd high, then higher again. That’s what comes with vision and, just as importantly, experience. Nick, a music obsessive who grew up on punk, reggae and pop was, like so many DJs turned onto the power of house music in the late 80s. Living in Bristol, he’d been playing tunes for a few years before, running his own club night, Wiggle. In 1990, a new house club, Vision took the city by storm and in a perfect bit of timing, he was offered the chance to play in the upstairs room, spinning weird downbeat Balearic records and mixing house with music by The Clash and Frank Sinatra. Catching the attention of a group of guys who had their own band, he was roped in to tour with them as their DJ when they went to play America. The group was Massive Attack.

As their official DJ, he began working on music of his own, even joining the Massive remixing team at one stage. At the same time, people were beginning to notice this quietly-spoken DJ from Bristol, the way that he really understood what made people dance, yet never compromised his vision of what good music should be. Here was someone, the dance music magazines said, who could rock it with the best of them, yet who also stood out as a person with their own unique style, mixing straight up house with trancier material, throwing in breakbeats to keep the flow going, playing the most up to the minute music that somehow also reflected a rich musical heritage. Joining up with another Bristol producer, Jody Wisternoff in 1994 to form Way Out West, they recorded the seminal ‘Ajare’ single together, a huge progressive house club hit.

Then came ‘The Gift’, sending Nick and Jody onto Top Of The Pops and catapulting Nick into the league of the superstar DJ. Their album, ‘Blue’ took every single one of the pair’s influences and shaped them into a groundbreaking collection of tracks that stayed in the CD players of the UK and beyond for a long, long time. Nick was now travelling the world as a DJ. Liverpool superclub, Cream offered him a residency in recognition of his talent and in 1999 he recorded his first mix, Prague, for the highly respected Global Underground mix CD series, followed by Brazil, Budapest, Amsterdam, Reykjavik, Shanghai and Paris. At present he is touring the world, working on a new Way Out West album with Jody and working as the director of A&R at Hope Recordings.

Perhaps it is our well-documented mutual antipathy, or maybe it is our well-documented ignorance, but Britain’s perception of French music is plain wrong. On the surface, it is indeed the land that listens to Europap and still loves to jive badly to La Bamba ’ but scratch beneath the surface and you’ll find a wealth of talent gasping for air. It has a long and noble tradition of fine singers, musicians and producers, from y y to Guy Cuevas, from Jacques Dutronc to the Saintly Serge Gainsbourg and Jean-Claude Vannier; from Ze Records to Africanism! and from Cerrone to, yes, Martin Solveig.Martin Solveig has been involved in music since he was knee-high. As a boy, he studied classical music. By age 13 he had acquired his pair of decks and began DJing, although it wasn’t until 1992 that he discovered electronic music. His schooling came courtesy of a sales job at the vaunted Parisian record store Champs Disques on Champs Elyses. Martin’s big break, at the tender age of 18 and thanks to the encouragement and support of mentor Claude Monnet, came when he landed the residency at prestigious Parisian nightspot Le Palace. A move to Les Bains Douches, a legendary club in the city, and then Solveig’s own Pure parties at Queen cemented his growing reputation as one to watch. But simply being a DJ has never been enough for Martin Solveig and his production ideas soon began to filter out on to vinyl, as he always knew they would. If Heart Of Africa, on his own Mixture label, drew admiring glances, it was his contribution to the Africanism series (with Bob Sinclar and DJ Gregory), the stunning Edony, which turned heads. Originally intended purely as a club track, Edony shot to the top of club charts and from there launched itself into mainstream arenas. Martin’s debut album, Sur La Terre, was the work of a young man bursting with ideas, styles, and experiments. Over the next few years Solveig hit hard with one killer cut after another, abetted by some frankly brilliant mixes by the likes of Pete Heller and Mousse T. Rocking Music, with its echoes of Prince and Michael Jackson, was an instant anthem wherever it was played and transferred from underground floors to Radio 1 playlists with consummate ease. The follow-up, I’m A Good Man, voiced by legendary growler Lee Fields, was a plaintive cry from a wronged man and in Mousse T’s Breakbeat Mix brought a taste of Noo Orleans funk to modern electronic dancefloors. ‘The new album probably has a slight flavour of the ’60s and ’70s, which have always embodied a certain freedom for me, being a child of the 80s, the economic crisis, the condom generation?! Then I’m into wine, parties and low necklines, so I feel quite in tune with the title.’ So says Martin of his latest album, Hedonism, which amply showed the maturation of his productions, moving effortlessly from the familiar terrain of four-to-the-floor rhythms, to take in the sub-R&B of Black Voices or the audacious modern reading of Requiem Pour Un Con. ‘Serge Gainsbourg is a master and I wanted to pay humble tribute,’ says Martin. ‘The song provides a little break in the album’s progress, as well as a French touch that I’m attached to. I think the best songs are made to last and be covered. New versions always have something new to add, even if they never achieve the magic of the original. ‘This cover version, defiantly electronic, compared to the sparse and organic original, ably demonstrates the Solveig modus operandi, producing music that is simultaneously synthetic and natural, warm and glacial. ’I use both electronics and live musicians, sometimes with classical instruments like keyboards, horns and any piano instruments,’ explains Solveig. ‘Most of my drums are programmed, but what I really love is using classical instruments with an electronic device. For example I used a big B3 Hammond organ, recorded a whole session with a musician and then took bits from it and made it sound almost like an electronic sample. You still have the good quality of the instrument, but with the ability to make it a bit faster or more repetitive or whatever. That’s what I like ’ to get inside an organic sound and make it electronic.’ Martin Solveig is not prolific, but everything he makes is worth waiting for. He has always eschewed the remix treadmill, not because he disapproves of it, but it is simply not his path. Solveig’s destiny lies elsewhere. His life is good. Fulfilled. ‘Even if I sometimes grumble a bit from tiredness, I’m a child blessed by fortune and very happy in his everyday life,’ chuckles Martin. ‘I should quote Karl Lagerfeld: ’Holidays are for people who work’.’ And all work and no play would make Martin a very dull boy indeed.

Even through modesty is not in his vocabulary, others lack superlatives to describe him. In the press he is being called “The World’s best Jumper”, “Jump-Guru”, “Jump-King of Holland”, “Top-Jumper”, etc. Fact is that 20 year old Patrick Mantizz from the southern Dutch town of Eindhoven gained immense popularity in no time with his hobby: Internet videos on You Tube and Google Video. His Jump-Tutorials taught a whole generation how to Jump, his Jump style is commonly accepted as the standard and with his large following Patrick Jumpen is seen as one of the co-creators of reality responsible for the explosive growth Jump has experienced in little over six months.

With his debut single “Holiday”(03-‘07), Patrick managed to reach the Dutch singles charts top 10 without any outside marketing and support by radio or TV . When the single was debuted on Dutch radio, it was already high and dry in the top 5: purely on its own strength, exposed only through the Internet. As undisputed authority when it comes to Jump-Tutorials, a DVD was the obvious next step: ” Jumpen Doe Je Zo!” (“Jump: How-To!”) sold over 50,000 copies in the Netherlands within the first three weeks, reaching a gold status. Now also available in French (“Jump, ca se fait comme ca!”) it sold over 100,000 copies altogether. Patrick Jumpen’s second single, “The Secret” reached a 13 position in the singles charts!

Main artist website
Myspace
Clubdivision Radioshow
Patrick Jumpen myspace

Sorry, no biography for THE CHEMICAL BROTHERS at this time.