Born in New York and raised in Santiago, Nicolas Jaar began his production life at the very tender age of 14. Now 20, Jaar has caused a sensation in house music with his cascading piano lines, folk leaning melodies, cool vocals and deep house undertow. Turned on by equal parts afro-beat, Satie and Villalobos, Jaar’s tracks have appeared on Wolf + Lamb, Circus Company and his own label, Clown and Sunset. His latest releases include the EPs, “A Time For Us” and “Russian Dolls”.

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Smooth, deep, and brimming with funk, the leftfield house music of San Francisco’s Dave Aju is designed to get feet moving. But Aju also has personality to spare and a soulful, blunt voice, making him that rare producer whose distinctive sound is instantly recognizable the second he opens his mouth. The release of his debut album “Open Wide”, composed completely of mouth samples, was considered by many one of the most impressive full-lengths of 2008.

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Making a grand musical entrance into the world of electronic music in 2007, Amsterdam house producer San Proper is first and foremost a deft multi-instrumentalist, a fact reflected in the spontaneity and groove of his work, which regularly incorporate his hand-jammed percussion, vintage synths, and other self-fashioned instruments. Ricardo Villalobos invited the Dutch newcomer to remix his track “Electronic Water”, and the results were impressive enough to garner Proper his own Perlon single, 2009’s “Keep It Raw/December 10^th”.

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Long under-recognized for his contributions to the French house scene, the undeniably talented Pépé Bradock appeared on the scene in the mid- to late-90’s, at a time when fellow French-house producers like Philippe Zdar, Etienne de Crecy, and Thomas Bangalter were beginning to make international waves. On record, he is apt to explore deep house, breakbeats, filter disco, or other sub-genres at a dizzying pace that is difficult to categorize. In 2009, the BBE label released a career-spanning compilation of Pépé Bradock’s remixes, a two-disc affair entitled “Confiote de Bits”.

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Dominic Martin (aka Snork) began his musical journey in the early 90s, but it was in the early 2000’s that he adopted the Snork and Kataleptic psuedonyms for his electronic-oriented music, which initially included ambient, IDM, and even hardcore.  These days, Snork is all about techno and breakbeats, as rendered through the minimla framework.  In 2009, he joined the Noerg production crew.

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Xavier Lebuis began making music in the electro-acoustic realm in 2003. In 2004 and 2005, he worked under the pseudonym Timbral Fresco alongside Alexandre Bélair. But ever since he began Djing in 2005, his sound has shifted into minimal house, which in his hands always retains aspects of musique concrète and bits of jazz. The results are at once digital and organic, cerebral yet propulsive.

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Charles Fortier (aka Kressel) first got into electrinic music in the 90s.  Drawn in by the minimal and tech-house scenes, his style, which is at once “techy”, “transcendent”, and “deep”, renders his live performances multi-dimensional and always surprising.  Fortier is also co-founder of the Eresys production team and recording label, which organizes events in Montreal and releases music by Fortier and other local artists.  Since 2009, Kressel has signed his tracks to labels such as Doot Recordings, Aenaria, Power Underground, Move the Masses, Wide Angle, Radioactiva and his own Eresys Recordings.

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Spooloops is a live electronic music project of Ian James Newton, an artist whose creative output encompasses music and contemporary art. Ian has coordinated legendary social interventions and interactive gatherings since 2000, mainly in his studio ‘Zero to One’, a multi-disciplinary art venue in Kitchener, Ontario. The music of Spooloops is an unexpected combination of booty shakin’ dance floor pleasure and deep space techno pop. He transports listeners through a kaleidoscopic journey, with zero gravity bass lines where Detroit meets the Jetsons. His potent live sets are crafted using older mid-quality hardware: Roland MC505, Yamaha SU700, KorgESX-1. Embracing the innate awkwardness and specific quirks of this gear adds a beautiful controlled looseness to the sound.

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