Ethyl & Flori
Matt Edwards aka Radio Slave currently holds residencies at Berlin's Panorama Bar and Paris' Rex Club with the Rekids label nights, and can be found most weekends headlining the world's top clubs such as Fabric (London), Rex Club (Paris), Womb (Tokyo), Space (Ibiza), Sub Club (Glasgow) and Robert Johnson (Frankfurt). Earlier this year, Matt cemented his position as one of Britain's heavyweight DJ's with an appearance alongside Carl Craig at the '20 years of Planet E' party in London.
Due to his unique production style, Matt has managed to carve out his own distinct Radio Slave sound which many often try to emulate, and which makes him a highly sought after remixer. DJ Mag listed him as one of the greatest remixers ever, and also awarded him 'Best British Producer' in the 'Best Of British' awards.
Mark Henning's sound sits somewhere between house and techno, with a healthy dose of groove, funk, swing, deepness and wierdness - all the required ingredients to make people freak out and bust crazy moves on the dancefloor. He has established his artist career not just through his productions - on labels such as Soma, Frankie, Clink, Cynosure, Hypercolour, Trapez, Freude am Tanzen and Einmaleins - but also through his worldwide performances (having been booked at clubs such as Fabric, Watergate, Privilege, Bar 25, The Egg, Panorama Bar, Space, The Arches and Harry Klein to name just a few).
ETHYL & FLORI
Tim Hopgood AKA Ethyl’s skills have seen him win slots at the Capital's underground hotspots, across the UK and at Ibiza's most prestigious venues. This synergy with the dance floor soon began to find its way from the decks to the studio. His productions are maintained by a deep groove, with nods to early 90s US house & garage and effortless glimmers of Detroit.
Flori shows his willingness to test the boundaries of his chosen genre. He translate his soul, jazz and funk influences into forward thinking House music for the new decade. It's difficult to sum up in short Flori's sound but the fact that he enjoys Bluey's horn arrangements, Kerri's basslines, Agnés's beats, the way Kenny uses samples and when Cole's tracks switch from 2-step to 4/4, should give you a rough idea.