Literally a one man band, Samer manages to run the Pangea, Pangea UK, and 1Shot labels, as well as their digital counterparts, all while producing under the Evrydaydowners guise, DJing, and also holding a day job.

It all started for Samer in 1996 at Club Simon’s, located in Gainesville, Florida. There, he became exposed to the best dance music acts in the world at the age of 17. His discovery of electronic music made him realize that it was his destiny to be involved in the dance scene in some sort of way. Late night house parties and a passion for the music gave him a drive to learn to DJ and to begin collecting records.

After some hard work and allot of practice, things started to come together for Samer. He left Gainesville for Tampa to finish his education, but took his love for the music and his records with him. His growing collection of House, Progressive, and Trance began to form a style that became known in the local club scene in Ybor City, the center of Tampa’s nightlife. There, his deep yet high-energy style began to catch the ears of club goers and he slowly started making a name for himself. Samer remembers: “It was tough making a name for myself where Florida Break-beat was the choice of music at the time. I thank all the DJs that gave me a chance.”

Samer later met his former producing partner, Bill Vines a.k.a “The Maji”, at Chakra Records, a small records shop in Ybor City, where they both ended up working. Bill took Samer under his wing and taught him the basics of producing and more advanced mixing concepts. After spinning records together at various venues in Tampa and producing their first track, they became known as the “Evrydaydowners.” Pangea Recordings was then born. From there, Evrydaydowners made their first impression on the international dance with their first EP, “A New Beginning.. “Quality wise this was a first production, but I remember receiving a compliment from Brother Brown at the WMC. Being that he was one of my heroes, that’s when I knew we were heading in the right direction,” Samer says.

After a couple of years in Tampa, Samer became impressed with the scene and way of life in California after a brief visit. In January of 2002, he decied to pack his bags and moved to San Diego to pursue careers in both music and law. The scene in San Diego was tough to penetrate for someone new, but he slowly became known from his productions along with his DJing. Samer managed to grab opening slots for well-known international DJs such as Pete Tong, Chris Fortier, DJ Dara, and Spesh. Evrydaydowners was also making a name production wise. Samer recalls at WMC 2003, at around 11:00 am at Club Space, hearing Sasha play “This World,” Evrydaydowners’ latest production, and Pangea Recordings first record to be distributed worldwide. Another treat was hearing Sasha play Chris Lake’s remix of Joshua Collins “Project 3″ during the Ultra Music Festival during the same WMC, which was signed to be Pangea Recordings second release. This was another sign for Samer that his work was finally going somewhere and he was destined not just to be part of the scene, but to help mold it as well.

With the success of Pangea Recordings, Samer decided to expand Pangea by creating sister labels Pangea UK, 1Shot Recordings, and digital spawns for them as well. “The San Diego scene was pretty chill compared to LA and San Francisco, which allowed me to get a lot of work done and allowed me to release more records.” Samer says. “Also, i got so many great demos it was tough to stay focused on just progressive music. I needed another outlet to release other types of tunes, and that’s why we formed the sister labels.”

Samer’s productions and DJ sets have earned him respect in the scene amongst dance music lovers, high profile DJs, and the most sought after producers in the world. Recently, however, Samer and The Maji have split for personal reasons, making Samer the sole member of Evrydaydowners. This has not stopped him though, as he is still producing tracks for the label, under both his and the Evrydaydowners name, as well as for other worldwide labels and artists. Samer’s productions and achievements led him to one of the highlights of his career, which was DJing at the Love Parade 2005 held in San Francisco, California. This was one of only two Love Parades held in San Francisco rather than in Berlin, Germany. Samer also played his first international gig in February of 2006 at the legendary RiffRaff party in Middlesbrough, UK.

Samer’s success has made him a staple at America’s largest dance music festivals. He played at the Ultra Music Festival in 2007 during the Winter Music Conference with such acts as The Cure, Sasha and John Digweed, Rabbit in the Moon, and others. Also, Samer was again confirmed for Love Fest 2007 in San Francisco along side Sasha, Chris Fortier, Lee Burridge, and DJ Three. 2008 has also started off very brightly. Again, Samer was confirmed for the Ultra Music Festival Decade Edition, and he has already traveled to the UK again in February for 3 dates in the United Kingdom. He has also been signed to several well- known labels for original and remix productions. It is safe to say that Samer is one of America’s most upcoming DJs and producers and that he has a bright future ahead of him with his label, his mixes, and his productions.

As one of the first pioneers to introduce house & dance music to his native South Florida, this veteran has been DJ’ing, producing, & releasing techno projects since 1992. Since then, Penton has produced various releases that have fueled the best talents in the world. Penton’s productions have been supported for over a decade by Sasha, John Digweed, Judge Jules, Paul Oakenfold, and countless others. Today, he has released over 100 various projects on some of the industries highest respected dance labels, including Perfecto, Armada, System Rec., In Charge, Beatfreak, Stereo Productions, Sutil, Baroque & more. For-more his many past & present productions are featured on numerous compilations from some of the industries largest selling dance labels, such as Euphoria, Gatecrasher, Bedrock, and Perfecto. His style has crossed all borders, from producing a wide range of progressive, tribal, and now electro house releases. His productions have received acclaim press from some of the industries largest dance magazines and online publications.

Penton also heads his own label, Electric Candy Recordings. Running since 2006, the label allows him to focus on a mixture of electro, house & progressive styled projects, with many releases scheduled throughout 2008. The label has feature numerous international artists such as: Thomas Gold, Jerome Isma-Ae, Alex Armes, Sam Stizer (aka Sergio Armes), John C, Kotoswitch, Chris Reece, Tyler Michaud, Gabriel Batz, D6, Nick Galea, David Michael, Peter Presta, Tronso, Martin H., Hernan Serrao, Scott Anselmo, Damien Heck, Santiago Nino, Audio Junkies, Cecil McCarthy and many more. Most projects are out now and receiving massive support worldwide.

Thomas has also been the featured artist at numerous publications & retailers, including www.Beatport.com. And at the beginning of 2007, his release, ‘Jacks Funk’ topped the sales chart at www.Beatport.com for several weeks. Releases from his label ECR are available now exclusively at www.Beatport.com.

His studio productions also include sample library cds for production studios & artists titled, Essential Drums & Percussion Vol. I. and, Essential Loops & Sound Effects; which has been featured in Future Music Magazine. These two special projects are available exclusively at www.Resonantvibes.com.

Attention all passengers: Prepare for a wild landing.

You’re about to enter the Bermudez triangle.

This is where the melody hits your chest like a crashing wave, where the pulsing bass rocks your head like a hurricane, and where – get ready!- you’ll be lost forever in the sea of the dance floor.

Joe Bermudez is your guide on this head-trip, and he knows just where to take you. The Boston based international DJ has emerged as one of the hottest talents on the global club scene, a sonic triple threat that brings the goods: the sound, the look, and the (lack of) attitude.

Whether he’s spinning live at clubs, remixing for the biggest names in music (Britney, Justin, Janet and just about anyone else you know by first name alone), or just sitting back and looking damn pretty, Bermudez has amassed a worldwide following for his seamless sets, pitch perfect productions, and willingness to play to the crowd: not his ego.

“By starting in radio, I learned how to program music for the masses,” explains Bermudez. At just 18 years old, on his own and without a paycheck, he was ballsy enough to walk into a local radio station and demand they hire him.

Lucky for the rest of us, they listened.

And while he hasn’t left radio behind, today Joe is the one being pursued; he’s got a weekly, national show on XM satellite radio, for starters.

But most importantly, his introduction to the music world set his expectations high and his ear planted firmly to the floor.

By having a bigger audience from the start, I quickly learned how to keep a lot of people happy with what I play. Even in my underground mixes, there’s an element of pop that attracts people who normally wouldn’t listen to the genre.

A refreshing lack of pretense, and his willingness to cross genre boundaries has been hugely influential in Bermudez’ meteoric rise throughout the ranks of international DJs. Most recently, he released Mass Movement, his first artist compilation album for Nervous Records. The album spotlighted his boundary-defying skills and diversity in electro, house, and synthesized his ear for complex club jams with radio-friendly dance. The result was a smash album that earned Bermudez a 2007 International Dance Music Award (IDMA) nomination alongside Tiesto and Paul Van Dyk.

Indeed, 2007 was a major year for Joe: He was named one of the Top 20 DJs in the country by DJ Times (besting even legendary names like Junior Vasquez, Roger Sanchez and Felix da Housecat), and nominated for a second IDMA for Best Radio Mix Show DJ alongside Pete Tong. He’s also continued to churn out remixed and productions for major industry names, adding name upon name to his list of heavy-hitting clients.

And then, of course, there are those baby brown eyes.

Besides his killer club music, Bermudez’ look and personality are also a big part of the attraction. Like the music he spins, the DJ is warm and approachable, high energy and always ready for a good time. Of course, it doesn’t hurt that flocks of female fans (and hey, more than a few guys) swoon over Bermudez’ physical attributes. Even a simple Google search turns up more than a few remarks of the “what a hottie!” “soooo cute” and “OMG I LIKE TOTALLY LUV HIM LOL” variety.

Still, whether it’s his victories in the DJ booth or success with the ladies, Bermudez takes it all in stride.

It’s all about the music for me,” says Bermudez. “I love being able to see the world by spinning at clubs all over the globe. But all I need is a crowd that loves what I’m doing. To keep them moving all night long, that’s the greatest perk of all.

Perk up, baby. The audience is listening.

Watch out Autophase are coming!!
(IDJ Magazine April 2008 Edition)

Hailing from the depths of North Yorkshire, Tom Collingburn and Peter Kipling have recently progressed to become one of the hottest prospects in the underground electronic music scene.

In January 2007, Dj Mag announced Autophase to be their ‘Pick and Mix’ Top pick:

[Their own tunes] are all excellent, glitchy, house music, dirty, funky, and deep this duo will surely go far.”

In the short period of time following the glowing Dj Mag review, the duo’s debut production – Tin Foil was signed by the omnipresent Global Underground label for use on their Afterhours Ibiza compilation. By February they had their first EP, The Alloy EP signed by New York based Digiprana Records. (www.digiprana.com)

Summer 2007, Autophase were dubbed “Ones to watch” by IDJ Magazine. Shortly after, underground royalty, King Unique snapped up their second EP (Bubble wrap EP) for their own label – Curfew Records (www.kingunique.co.uk), and exposed Autophase to a wider audience, including a recent appearance on Sky TV, showcasing their production skills and discussing their rise to fame.

Even with their production work getting so much attention, the twosome have managed to play at some of the North’s premier club nights; including Bleep (Manchester) alongside Claude Vonstroke. Playing alongside Above & Beyond at Middlesborough’s super club – The Empire next month and at Tribal Sessions with Plump DJ’s in Sankeys (Manchester), they are getting booked up left right and centre.

With an upcoming releases on Curfew, remix work for some of the biggest multinational labels and artists, along with a diary that is quickly amassing some massive appearances, it is fair to say that in the words of I-DJ Mag, Autophase are definitely coming!

Overcast is the production alias for Birmingham-based duo Ben Salter and David May. Formed in 2006, the project is a creative outlet for their work in the House, Techno and Breakbeat genres. Both have been heavily involved with dance music via production, performance and event promotion for well over a decade, and are now in a position to showcase their rolling, progressive style. Although Overcast was formed in 2006, things have really started moving as the pair have now built a joint studio in Birmingham, and have a number of releases lined up with US-based labels Polytechnic Recordings and Nightrain Music.

Trafik, signed to the world’s foremost independent dance music label Global Underground have just released their second studio album, ‘Club Trafikana’.

This new album has been specifically created and produced to be taken on a worldwide club tour and was recently described in the dance music press as a “fresh take on the standard dance album concept” and “a great way to reinvigorate the fragmented nature of download culture”. The unique live show utilises a mixture of decks, efx, synths mixing desks and controllers, and is followed by a rocking DJ set which work seamlessly together, leading to recent sell out gigs for ‘Trafik Live’ in Dubai, Singapore, Dublin and Spain.

Trafik’s first album ‘Bullet’ released in 2004, successfully achieved cult status with a blend of genres and styles that was likened to Orbital and Hybrid. Their music has gained respect from the likes of Paul Oakenfold, Sasha, Nick Warren, The Plump DJs and Deep Dish. Their experience has been revered by Nick Warren, using productions from the duo on 3 of his 4 Global Underground albums. Added to that, the likes of Dave Seaman (Kylie Minogue’s producer on ‘Confide In Me’), UNKLE and Tilt have all commissioned monster Trafik remixes in recent years.

With music appearing on two of the world’s most watched TV shows ‘CSI:Miami’ and ‘CSI:NY’ and on a selection of the latest Sony Playstation games, the sound of Trafik can undoubtedly be heard in all four corners of the world.

Trafik have also mixed some of the most seminal compilations in dance music history, collectively amassing well over 1 million sales in total to date. With 19 mix albums so far released, these include the new ‘GUMIXED’ and ‘GUMIXED 2′ albums, and the recently huge ‘GU10′ album quoted as “Possible the best album GU has ever released” by iDJ Magazine, and the ‘Afterhours’ Series (1-4) including ‘Afterhours 2′ which Pete Tong made his “Essential CD of the week”. Added to this, Jive Magazine labelled Trafik’s now renowned ‘Electric Calm’ series, as “the best chill out CDs ever”, and the last ‘Electric Calm V.3′ was an instant hit on iTunes reaching #1 in Canada, #2 in the UK and #3 in the US download charts.

Trafik are Andrew Archer and John Elliott. Andrew found fame as one part of the Forth achieving huge notoriety re-mixing the top 40 hit BT – ‘Loving You More’. Andrew, with the aid of DJ partner Scott Dawson then developed the Forth as an all conquering DJ outfit that would see them travel to the four corners of the globe. One memorable moment was Andrew’s DJ show on the Great Wall of China, which was the first live performance there by a western DJ in China; contrary to a claim made by a certain Mr Oakenfold. Then came the release of the Forth’s debut EP ‘Reality Detached’, described by DJ Hyper as his favourite track of all time. Also featuring on this EP was a destructive club track ‘Solavox’ which featured vocals from a certain John Elliott.

Previous to this first meeting of the minds for the Trafik boys, John had been living the life of a rock band member, and since leaving school at the tender age of 16 he toured with the widely loved British indie band ‘Solavox’. John experienced the highs and lows of the music industry ranging from being the youngest songwriter on Polygram’s books in a £250,000 deal, to the cold and lonely road home after rock and roll excess were laid waste by other members of the band that at the time had been labelled by Melody Maker, “even better than the real U2″. With no regrets though, time on the road gave John an education in the world of live music, where he learnt to not only sing live but play guitar both axe and bass, keyboards and ‘a bit of drums!’; raw and crucial experience that cannot be taught anywhere else.

Trafik’s unique sound was thus created, combining the DJing and programming skills of Andrew and the live ability and production skills of John. With plans in the making for a new third album, more licenses and remixes, alongside sync music for TV shows, advertisements, film and computer game soundtracks, and more ‘Trafik Live’ world tour dates coming up, expect to hear much more from the duo…

I am constantly in awe of the ability that music has to move me. I like the idea that music, like art in general, doesn’t have to be about anything specific; it just has to make you feel a certain way. I think that may be what first attracted me to electronic music. So much of it is about mood and context rather than a specific subject. The first few records that I bought as a kid were film soundtracks, and for some reason I really connected with the instrumental scores more so than the pop tunes. I was too young to realize how or why it got to me, but it did. I was a strange kid.

Born and raised in Ohio, where he was nursed on a steady diet of R&B and soul records by his parents, Terry Grant developed a passion for all things rhythmic and funky. At the age of fifteen he began to play guitar, and four short years later he was earning a living touring the east coast and teaching guitar in a local music store.

At twenty-two he moved to Nashville, Tennessee to continue his career as a musician. In between stints in various rock, country, and R&B bands (and the occasional session date) he found time to learn to play the drums and bass, and to dabble at the keys. He also bought his first turntable around this time, and it would prove to be a watershed moment in his life:

Well, actually buying the thing wasn’t any big deal (laughs), but it did allow me to discover a whole new world of music that I wasn’t finding through normal means. I thought that I’d buy a turntable and a mixer so that I could learn to scratch, and so that I could sample old records and be cool like Pete Rock. What happened is that I started buying all sorts of new records and playing them for my friends. A lot of the tunes that I was buying were the kind of stuff that you might play in a dance club. House, drum ‘n’ bass, hip hop, etc. That’s how I got started. Or should I say, that’s how I got hooked.

The year 2000 would see him embark on a new career path as a DJ. Although a fan of electronic music since childhood, he was relatively new to house and club based dance at the time. He would soon grow to not only understand and appreciate it, but also embrace it as a DJ and producer.

In 2005 he released the debut single “I’ll Kill You” on Bedrock Records. With remixes from John Debo, Luke Chable, and Terry himself, the song quickly became a dance floor sensation, garnering critical acclaim from all corners of the world. He followed it up with the beautiful “Be My Guide” on Deep Recordings, a release that included remixes by Derek Howell and the 16 Bit Lolitas. Other notable releases include the electro flavored “Komputers Are The Devil” for Bedrock, the dark and haunting “Beautiful Dirty” on Fiberline Audio; who have licensed the track to several mix comps throughout the world, and most recently the deep and brooding “The Tie That Binds” on Baroque Limited.

In between original productions, Terry has found time to remix songs by artists such as Morgan Page, Blue Room Project and Darkarma, and for labels like Nettwerk, Blueprint Recordings, Progressive Global, and Fiberline Audio, as well as turning out the odd bootleg or two.

A strong desire to push the boundaries of what he is capable of will keep Terry moving forward into the millennium, creating and refining his art in new and exciting ways, and enjoying the journey down life’s cosmic path.

I’m going to continue on as a DJ, a producer, and a musician, and see what the future holds. I hope to release many more records in the next few years, maybe score a film, and then marry a supermodel. Or maybe I’ll marry a model and then score a film, I don’t know.

Brian Stillwater’s seamless blend of deep, tribal, progressive, tech house and techno has been experienced in various European countries in addition to numerous cities on his home continent of America, where he currently resides in Baltimore, MD. His itinerary has included areas such as the UK, Czech Republic, Slovenia, San Fransciso, Los Angeles, Florida, and Washington DC just to name a few. Headlining events ranging from hundreds to thousands, Brian’s versatility as a DJ has won him recognition in both national & international areas. In addition to his accomplishments as a DJ, his rising status as a world renown producer / remixer is sure to declare Brian as one of the USA’s most in demand DJ’s for the nubreed era.

2001 has proven to be a busy year for Brian. Starting with the UK licensing and worldwide release of his remix of Lunn & Latham’s “Starkiller” on Dorigen Music UK, which has also been licensed to Triple XXX UK for their upcoming Ibiza CD compilation. Since then Brian has signed with one of the most prolific labels in Europe, Undercurrent Music UK- the newest installment to the Amato distribution family. With Amato being one of the worlds largest distributors of Progressive dance music (exclusively handling labels such as Bedrock, Polyester, Fluid, & Rhythm Syndicate… to name a few) Brian should have no problem gaining attention from notable DJ’s and Progressive music fans around the globe.

Brian’s first release on Undercurrent is a deep dark tribal number with eerie ethnic chant entitled “Thirteen”. Currently in rounds as a limited test press and CD-r before its official release, It has already caught the attention of DJ’s such as Danny Howells, Steve Lawler, Chris Fortier, Jerry Bonham, John Debo, and Scott Stubbs just to name a few. “Thirteen” was also aired on Kiss FM’s “The John Digweed show” in a mix by USA trance ambassador Chris Fortier. It will also be included on the latest Spundae double CD compilation “Interpretations II” mixed by Jerry Bonham. Out of the 24 tracks included on the 2x CD it will be 1 of 4 chosen for the limited double pack 12″. Both the CD & 12″ will be handled in the USA thru Mute (US label home to Depeche Mode & Paul Van Dyke).

Also Brian’s 1999 classic – Innercourse “Waypoint 1″ (a collaboration between Brian Stillwater & Bliss) which was supported by the likes of John Digweed, Nick Warren, & Andy Jarrod. Will finally get a global release by Triple XXX Recordings UK. Also expect a new remix or two by some heavy hitters TBA. As if that wasn’t enough Brian has still been locked in the studio with various remix commitments. He recently has finished mixes for Undivided Space (a collaboration between Thomas Penton & Sean Graddy) for Stellar Records and Spanish techno prodigy Cio (aka Leandro Gamez) which will be released on Brian’s new tech-house label Built Recordings founded with partner Bliss. Additional mixes in the works for labels such as Undercurrent UK, Triple XXX UK, Built USA, and many more to come…

Formerly of Soundsation and Lunn and Latham during the 90s, Simon’s works have found their way onto turntables of renowned DJs such as Pete Tong, Sasha, Digweed, Seamen, Judge Jules and many others. These days his music pushes boundaries of genre and steps out to be noticed under a sea of musical bombardment. Long and short, take a listen!!

It was a weird and savage time, and we worked in primal and sadistic ways. To encounter such an phenomenon as this was a brutal reality. Sound had turned into music, and it began melting our brains, entranced and hypnotic, we could feel every vertebrae twitching in anticipation to the rhythm and melody of some far out alien language that had possessed its self deep with in the sound of the computer, and we could do nothing but smile at the heartless scum. We have never really been here, it was before, then it was after, until the time is now.

Expressions in Sound is a collective of production projects currently featuring Android Cartel and Proper Villains.

The concept for Expressions in Sound came to be in August of 2006, and features the talents of Reagan Denius and Chris Mohn. The love of electronic music, art, and untalented posers making their way into the DJ circuit prompted these two into a creative fury that has since found them quickly pushing their way into the world of electronic dance music.

Android Cartel saw their first release "Silent & Violent/Sleepwalker" on Chris Fortier’s label Fade Records in October of 2007, which quickly rose the charts in the Balance Record Pool and ended up at number eight for the week of November 6, 2007.

Proper Villains saw their first release "Passion is for Losers EP" on Red Circle Music on December 5, 2007, featuring five original tracks and an Android Cartel remix, followed by the "Expressions in Sound EP" released on Proton Music the next day, featuring both original music from both projects.

In 2008, Android Cartel will see another release on Fade Records and a release on Polytechnic Recordings. Proper Villains currently has 2 scheduled releases with Polytechnic as well.