If Sylvester Martinez and Johnson Peterson, aka Yolanda Be Cool, were in the Carpenters, they would be singing “We’ve only just begun.”

With their first original, Afro Nuts being licensed to Fabric 49, mixed by Buraka Som Sistema, Wax On, mixed by Fake Blood, MASHED, mixed by Miami Horror and Beni as well as Neon Essential Vol 2 mixed by Grant Smillie, Don Diablo and Ruby Rose, Yolanda Be Cool has quickly become a familiar name.

In AND out of the studio, for these two cats that have more experience than their time as YBC would suggest, juxtaposition is everything. Bow ties and converse. Hip hop and techno. Animal noises and nightclubs. Pretty girls and tattoos. Unused hotel rooms. Or in their words, “party tech.”

And it is to their greatest satisfaction that their peers, such as Solo, Renaissance Man, Round Table Knights and Radioclit, Drop the Lime, Brodinski and Malente (to name but a few!) have been the ones most willing to first lay props on their tunes, not to mention radio support from Kissy Sellout and Sinden!

DJ Spen is without doubt one of the most influential DJs and producers of his generation. A true advocate of spiritual house music, Spen’s extensive discography of original productions, killer remixes and distinctive DJ sets have been grooving the dance floors since the early Nineties.

Spen was initially inspired by hip-hop, and from an early age began producing mix-shows for regional radio stations before releasing his first production as part of Numarx. It was, however, through his partnership with Teddy Douglas and Jay Stienhour as The Basement Boys, and their unique fusion of gospel, jazz, disco and house that cemented the foundations of his illustrious career.

In 1994, the trio set up the now seminal Basement Boys Records and Spen formed Jasper Street Company. Spen achieved considerable dance-floor and commercial success through The Basement Boys and Jasper Street Company with releases such as ‘A Feelin’’ and ‘Solid Ground’ and he went onto form further collaborations with the likes of Teddy Douglas, Thommy Davis and Karizma. Throughout his time with The Basement Boys, Spen also put his remix touch to the likes of Diana Ross, Everything But The Girl, Anne Nesby and Shawn Escoffery.

After leaving The Basement Boys, Spen launched his own Code Red imprint and has continued to enjoy further success in partnership with Gary Hudgins, Gary Deane & Irvin Madden as the MuthaFunkaz. With Code Red now approaching its 50th release and the MuthaFunkaz providing the driving force behind the label, Spen has developed his sound for the modern dance floor whilst retaining a unique spiritually in his productions. Through Code Red Spen has worked with the likes of Ultra Nate, Marc Evans Anne Nesby, Michelle Weeks, Sybil, Lisa Millet, Thommy Davis, Yass Klemet Bonelli and Knee Deep, and released a number of club anthems such as ‘Gabryelle’ (DJ Spen pres. DJ Technics) and ‘4 The Love’ (Karizma feat. DJ Spen).

DJ Spen has recently been working on the first MuthaFunkaz album and also new material in collaboration with Karizma as The Deepah Ones. The ‘Muthlode LP’ – a 15 track full-length album, quintessentially focuses on the Muthafunkaz as a dance project while the latest collaboration with Karizma heralds a return to the more classic sound associated with Spen. He has also recently worked with Robert Owens (‘Greater Love’) for MN2S and remixed the likes of Toni Braxton, Hanna Hais, The Jinks and Roy Davis Jr., Barbara Tucker and Ralf Gum. He has also launched a brand new compilation series (‘DJ Spen pres. For The Love Of House’).

As a DJ, Spen is well renowned through the world and commands an avid following as he performs on the World’s foremost dance floors. He frequently tours throughout the U.S. and Europe as well as the the Far East and Australia and maintains regular appearances for Defected at their flagship residencies at Ministry of Sound (London) and Pacha (Ibiza). As a producer and a DJ, Spen is an artist with one of the finest pedigrees and, is also, one with the vision, desire and ambition to keep on pushing the boundaries.

Anybody can be a good DJ; the fact is DJ Spen is one of the best!!

For bookings or further information, please contact Dave Alcock

Imagine a band who fuse three part harmonies with scalding post-punk guitars; floor-filling bass lines with syncopated rhythms and lyrics about everything from high-school massacres to R&B lotharios musing on their lot in a post-apocalyptic wilderness.

Not easy, is it? But then Everything Everything (Jonathan: guitar/vocals, Jeremy: bass, Mike: drums, Alex: guitar) aren’t here to make life easy. They’re here to challenge every knee-jerk convention of indie rock and dance on the grave of pointless retrogression.

“We’ve never been comfortable with the indie tag” explains Jeremy.

“If it’s Girls Aloud or Slint, it doesn’t matter – if we like it we’ll listen to it and work out what makes it good. There are hundreds of years of amazing music to draw on. Why place restrictions on yourself?”

“My childhood began with the fall of the Berlin Wall” explains Jonathan. “It ended when I was sixteen when 9/11 happened. I grew up a tiny little village in rural Northumberland so I was very isolated during that period. I didn’t have a television until I was seventeen, so I listened to the radio a lot. I was making music all the time in my bedroom – my one rule was not to sound like anyone else. I’d go out of my way to avoid playing any obviously recognisable chord sequence.”

Having recruited his band-mates on the basis of shared orchestral backgrounds and divergent tastes ranging from post-rock to funk and jazz, the band set about avoiding cliché at all costs.

“It’s all to do with how you present yourselves” explains Jeremy. “An R&B cliche can sound great when it’s played by four skinny white men.”

Lyrically, influences range from Naomi Klein to Edward Lear and all stops inbetween.

“We belong to a generation that was too young to buy into Britpop fully, so we’ve had no significant pop cultural movement to throw our lot in with” explains Jonathan. “So there’s no defined viewpoint. Lyrically, for me, it’s as much about the sound, rhythm and tone of a word as the meaning.”

Unsurprisingly, the band’s debut gig at Manchester’s Night & Day on Bonfire Night 2007 caused a few scratched heads.

“I think people found us a bit baffling” laughs Jonathan.
“But the sound man liked us. We took that as sign of good taste.”

Debut single ‘Suffragette Suffragette’ (Salvia XL, released December 2008) combined math-rock rhythms and molten riffs. Follow up ‘Photoshop Handsome’ (Another Music Another Kitchen, released May 2009) was a withering summation of Heat culture boasting the couplet “Chest pumped elegantly elephantine/Southern Hemisphere by Calvin Klein” , while sublime third single ‘MY KZ, UR BF’ (Young and Lost, October 2009) crossed ABC and R Kelly while being sung from the paranoid perspective of a post-traumatic R&B lothario during an air-raid. For most discerning observers, needless to say, it was the single of 2009.

En route, they’ve acquired fans ranging from Zane Lowe to 6Music’s Marc Riley, played two UK tours- including performances at Reading and Leeds -and notched up a top spot on MTV2’s My Space Chart. Which brings us to the band’s relentlessly inventive videos. Not for EE the formulaic promos spawned by lazyitus bands and overpaid ‘creative’ directors. Instead, they write and choreograph their video clips themselves.

“The videos and artwork are very song specific” says Jonathan. “A lot of the songs we’re going to put on the album have got a strong visual element, it seems to come naturally to us. We haven’t got the budget for space shuttles taking off, but we try our best.”

Having recently signed to Geffen Records, the band are currently in the studio with producer David Kosten. If the tracks recorded so far – notably ‘NASA Is On Your Side’- are anything to go by, it seems set to be the debut of 2010.
“We’ve lived with some of these songs for two years and we’ve only really started to think they’re going to become a record” muses Jonathan.

“But there will be signature and a feel running through it. Sound, performance and unity.”

Sometimes, it seems, you really can have everything (everything).

King by name, King by nature; King Britt is a truly pioneering musician who is widely recognized a member of the royal elite of the Dance Music world. Based in Philadelphia, King Britt has been breaking the traditional boundaries and forging a uniquie path as a producer, musician, DJ, label boss and media revolutionary for over 20 years.

Taking influence from a wide spectrum of musical genres, as well a number of seminal producers such as Trevor Horn, Quincy Jones and Arif Marden, King has always found a way to escape the strictures of any single category of music by working across genres such deep house, hip-hop, broken beat, nu-jazz, funk and afro-tech. Releasing his first record (E-Culture – ‘Tribal Confusion’) through Strictly Rhythm in 1990, King went onto tour worldwide with Digable Planets – the Grammy award winning hip-hop fusion band – whilst continuing to develop his love of Dance Music culture and laying the foundations for his prodigal solo career.

In 1994, alongside Josh Wink he launched Ovum Recordings and also formed Sylk130 – a collective of Philadelphia’s finest musical talent including Lady Alma, Alison Crockette and Ursula Rucker. He produced Sylk130’s first album (‘When The Funk Hits The Fan’) and licensed it to Sony through his own Ovum label. ‘When The Funk Hits The Fan’ went onto sell over 500,000 copies and essentially provided the blueprint for the Philly Neo-Soul resurgence. King also produced Sylk130 second album (‘Re-Members Only’) – which featured the likes of Alison Moyet (Yazoo), Martin Fry (ABC), Grover Washington Jr., De La Soul and Kathy Sledge – and also the ‘Lets Make A Record’ LP for Sister Gertrude Morgan.

In addition to these achievements, King is one of the world’s most respected remixers. He has added his unique touch to hugely diverse range of artists such from Miles Davis, The O’Jays and Curtis Mayfield through to Macy Gray, Solange, Femi Kuti and Everything But The Girl. King Britt’s remix of ‘Contemplation’ (Josh One) was nominated for the Dancestar Remix Of The Year Award and maintains its killer status upon the most discerning dance floors. King has also scored and underscored music for films, TV series and commercials (Miami Vice, Rolex, Mini, and True Blood) while in 2007 he became the first DJ to be awarded The Pew Fellowship – one of the most prestigious grants for creative arts in U.S. King is also a Creative Cultural Ambassador for his hometown of Philadelphia.

As a DJ, King Britt is hugely versatile – a chameleon behind the decks. Taking inspirations from the likes of David Mancuso, Frankie Knuckles, David Morales and Francois K, King plays right across a broad range of genres, using his experience and creativity to fit the demands of any dance floor. He has toured extensively across throughout Europe, the U.S. and the Far East as well as rocking premier night spots throughout the world.

Most recently King Britt has released the ‘Intricate Beauty’ LP – a solo artist album for Nervous Records – and is also collaborating with Rucyl Mills on the Saturn Never Sleeps project which incorporates, primarlily, a unique live show fusing audio and visuals into a thought provoking world of sight and sound and an independent record label. Britt has also recently produced the new Bedouin Soundclash LP, a track for the new King Sunny Ade album and a number of remixes for the likes of Preservation Hall Jazz Ensemble feat. Mos Def, Glitch Mobb, Jay Haze and Dilouya.

For bookings or further information please contact Dave Alcock

Experiencing Mr. V’s (AKA Victor Font) DJ sets, original productions, or remixes is like taking a trip back in time to Dance Music’s golden age. Before superstar DJs took over the spotlight, Dance Music was a cultural phenomenon that did what no other form of music could do – bring people together. It didn’t matter what race or sexual orientation you came from because Dance Music was all about embracing our differences and creating a homogeneous vibe. The music was built heavily on traditional song structures and lots of heart and soul. DJs played whatever it took to get the party going and the music was never predictable. It is with this classic spirit and enthusiasm that New York City’s Mr. V targets today’s Dance Music world. Mr. V is a throwback in the purest sense.

Growing up in the 1980’s the open-minded Mr. V was heavily influenced by House, Hip-Hop, Latin, Garage and Disco classics, Rhythm & Blues and Jazz. Mr. V was enamored by the role a DJ commanded over a crowd and was taken by the talents of his friend Lord G., who had a weekly Thursday night party in New York City. Despite wanting to be a professional DJ, it wasn’t until he met the legendary Louie Vega that he found his calling. “Louie used to have his party called “Underground Network,” and that’s where I discovered a deeper taste for house music. I always wanted to be a DJ, but Louie’s type of music – that whole soulful sound – is what I wanted to play,” says Mr. V.

Louie Vega saw the drive and potential in Mr. V and hired the young Nuyorican DJ / producer as his assistant at the world famous Masters At Work label. In this position Mr. V was given a rare glimpse into the global dance scene and before long was taking to the decks alongside his mentor. Currently, Mr. V is one of the fastest rising names on the circuit. Stylistically, Mr. V has a wildly eclectic sound that brings spontaneity back to the art of DJing. “Sometimes I just pull stuff [out of the DJ bag] out of the blue. I like to keep people guessing. I play things that I don’t think other people are playing – I’ll play a house-rock record or some classic stuff. It’s always different and depends on the vibe,” he says.

In addition to his busy DJ schedule – Mr. V has displayed his turntable talents at many popular nightclubs across the globe – he is also making quite a name for himself as a producer. In 2001, along with partner Alix Alvarez, Mr. V launched his own label Sole Channel Music as a way to release music with complete control and artistic freedom. To date, he has released four singles on the label including his most famous track, “Something (Wit’ Jazz).” Mr. V has also released original productions and remixes for other labels including Vega Records (featuring the massive tracks “Jus’ Dance”, Louie Vega feat Mr. V “V Gets Jazzy” and “Put Your Drink Down”), Ricanstruction Label, Underground Collective Recordings, King Street Sounds, Hustle Music, City Deep Music, Large Music and Defected Records. 2007 was a big year for Mr. V as it we saw the release of his much anticipated debut album, Welcome Home. Combining his multifaceted skills as a DJ / producer / remixer, and with an ear towards Dance Music’s roots, Mr. V is a name to watch out for!

For bookings please contact Dave Alcock

Full Intention are the master production and remix duo of Michael Gray and Jon Pearn. Together as Full Intention, they have been a pioneering force on the global house scene for over 10 years.

Their purpose-built, soundproofed studio in Michael’s house on the outskirts of London was where the duo first experimented in the early 90s, crafting disco cut-ups long before it was trendy. The pair’s first remix of Duke’s 1994 hit ‘So In Love With You’ rocketed into the Top 20 charts and launched the pair into the spotlight. A string of remix offers was to follow and after 10 years they are still flooding in.

‘It (the studio) started working for us when we organized ourselves even down to roughly where we sit – talk about routine!’, explains Michael. ‘It helps us be objective and doesn’t stem the flow of ideas. We both engineer, but we have different roles in the studio.’

Full Intention have worked with the biggest names in the industry. Drawing inspiration from Jazz ‘n’ Groove, Knee Deep and David Morales, Michael and Jon have remixed the work of Shena, Dina Vass, Mood 2 Swing, Junior Jack, Brandy, Sugababes, Ultra Nate, Jennifer Lopez, Jamiroquai and Frankie Knuckles. Their cuts have received widespread play from leading DJs including Pete Tong, Danny Rampling, Roger Sanchez and Erick Morillo.

So in demand is their remix expertise that the pair admit to turning down 9 out of 10 remix offers. ‘We will only accept a mix if it has a strong vocal hook to work around,’ Michael says. ‘Some of the tracks we are offered don’t need remixing or they’re too close to our style to warrant the treatment.’

Nominated for a Grammy award for their Club Mix of George Michael’s ‘Amazing’, Full Intention remain the undisputed masters of the remix. Recent mixes of Bob Sinclar’s ‘Love Generation’ on Defected and the Freemasons’ ‘Love On My Mind’ on Loaded have showcased the ever-innovative style of the pair. Additional remixes of Bon Garcon’s ‘Freek U’ on Eye Industries and their own ‘What Do You Want’ release on Essence and ‘I Believe In You’ on Eye Industries have ensured they remain at the top of their game.

2006 will see Michael and Jon release a triple CD album on Defected; the first two discs will be mixed and contain their best remixes & productions as voted by their fans, while the 3rd disc will contain some exclusive 12″ mixes of previously unavailable tracks. The boys will also embark on an extensive 10 year anniversary club tour where they will play some of their classic mixes as well as banging new material.

Quentin Harris burst onto the international scene in 2002. Long before that however, he was making a name for himself as a technically brilliant resident DJ at seminal New York club The Shelter. More recently, Quentin has dived head-first into production, releasing a collection of high-quality 12” cuts on labels including Space Kat Records, 157 Shelter and NRK.

Growing up in Detroit before moving to New York, Quentin listened to Prince, Michael Jackson and Quincy Jones as a boy and was classically trained in piano and a slew of other instruments by the time he was 12 years old. Quentin was introduced to his craft by DJs like Mike Huckaby and Ken Collier when he was frequenting Detroit clubs like Heavens and New York institutions like Sound Factory and Shelter throughout the mid 1990s. He soon picked up his first gigs and has since played at some of the finest clubs in the world including at Stereo in Montreal, Balux and Home in Athens, Cheers in Paris, Roxy Blue in Toronto, Ministry of Sound in the UK, The End Up in San Francisco and, of course, at Shelter and Cielo in New York.

Drawing inspiration from producers including Martin Solveig, Charles Webster, Alix Alvarez, Dennis F and Carl Craig, Quentin embarked on a production jaunt in 2002. His first release was a joint effort with Tyrone Francis called ‘Sincere/Too Hott 2002’ and it was the debut release from UK-based label Space Kat Records. The cut received praise from Danny Krivit, Joe Claussell and Francois K among others and gave Quentin great encouragement to continue with his production. He followed up with remixes for Lathun and India Arie’s ‘When Love Came In’ and Kenny Carvajal’s ‘My Words’ before his remix of Donnie’s ‘Cloud 9’ was played 12 times by Timmy Regisford one night at Shelter, signaling the arrival of Quentin Harris the producer.

He has since worked tirelessly in the studio, releasing several dozen productions and remixes. He teamed up again with Tyrone Francis to release ‘Sincere’ on Space Kat in 2004 and then signed ‘The Episodes EP’ on 157 Shelter Recordings. ‘Travelling’, ‘Happiness’ and the Robert Owens collaboration ‘Always’ followed later in the year, as did remixes for Junior Vasquez, Jill Scott and Patti LaBelle.

2005 was Quentin’s busiest year yet. He released ‘The Shelter Anthem’ on Restricted Access in January, ‘Got 2 Love’ on Space Kat in June and ‘Let’s Be Young’ on Unrestricted Access in July; Quentin then compiled and mixed disc 3 of the ‘Southport Weekender Volume 3’ compilation alongside Dimitri From Paris and Jazzie B. From August onwards Quentin released ‘The Unreleased Mixes’ alongside Cordell McClary, signed two remix EPs of ‘Let’s Be Young’ to NRK in October and November and teamed up with Timmy Regisford and Rokia Triore to release ‘Mirama’ on Unrestricted Access. Quentin capped off an unbelievable year when ‘Travelling’ was named ‘Song Of The Year’ in the 4^th Annual Choice Awards.

2010 will see Quentin juggle his hectic release schedule while DJing extensively at Cielo and Shelter. While these days he considers himself first and foremost a producer, he adds that ‘being a DJ helps you to understand music even more’.

For bookings or further information, please contact dave.alcock@mn2s.com

Miguel Migs stands at the forefront of electronic music’s soulful realm. Whether tackling his original productions or remixes, he achieves an organic-soulful sound by combining the best of both the electronic music world and live instrumentation.

For many years, Miguel’s productions have been included on countless compilations and his records have slid into the crates of top DJs across the globe. His music has also landed on numerous TV Shows, including Six Feet Under, Sex in the City, and MTV’s Road Rules and Real World.

Contrary to many of his club-centric DJ/producer peers, Miguel is not always concerned with the potential dance floor appeal of his soulful tracks. “It’s music you can enjoy and listen to at home, in the club, or anywhere. Not necessarily just to rock the dance floor.” explains the Northern California native, who grew up with a true love of reggae, soul, classic rock, jazz, hip-hop and just about everything else.

His impressive discography includes more than 100 original productions and remixes on seminal independent labels such as Salted Music, Naked Music, Astrelwerks, Yoshitoshi, NRK, Black Vinyl, Large, Chez, Transport recordings, Om Records, Defected Records and many others. His recordings have consistently made waves in the underground circuit and have landed on DJ hype charts internationally. He goes highly regarded when it comes to remixes, having worked with major label artists such as Macy Gray, Lionel Ritchie and Britney Spears. Miguel additionally has released numerous mix CD compilations on labels including Defected, Naked Music, Southport Weekender and NRK.

Never one to sit still, Migs started his own label Salted Music in 2004. Having been associated with an extensive number of labels throughout his career, he came to realize a desire to have his own base, a vehicle for building his own catalogue of quality material. Salted Music is a foundation for Migs to choose and release music that inspires him, as well as release his own productions and compilations.

A musician at heart, Miguel’s professional career started at age 18 as songwriter and lead guitarist for Santa Cruz local dub band Zion Sounds, whose Jamaican and African rhythms earned them gigs with globally known reggae outfits Culture and Burning Spear among others. After the disbanding of Zion Sounds in the mid 1990’s, rather than form a new band, Miguel put his focus and creative energy into experimenting with the production of electronic music.

As a producer, Miguel realizes a strong connection between his electronic music productions and live musical background. He writes his own lyrics and plays his own instruments, be it guitar, bass, percussion or keyboard.

As a DJ, Miguel maintains the same approach to his sets as to his productions, combining a variety of influences and styles fused together. The result is funky, deep, soulful, bumping house music. “I like to mix it up and keep it moving smoothly, taking the dance floor through a very spontaneous mix into the realms of quality, deep house music depending on the mood in the room”, says Migs. “But, whether it’s vocal, tracky, dubby, moody, percussive or broken beat, the sound always remains soulful and funky.

March 2007 saw the release of ‘THOSE THINGS’, Miguel’s sophomore album released on his very own Salted Music imprint. “Those Things represents an open-minded musical spectrum that can have multi-meaning and definition combining forward thinking electronic music elements with live instrumentation inspired by old soul, funk, reggae, jazz, rock and hip-hop,” states San Francisco-based Migs about his follow-up to his 2002 debut album ‘Colorful You’ (Astralwerks/Naked Music). ). The album received massive acclaim and support worldwide and features Sadat X from ‘Brand Nubian’, Lisa Shaw, LT, Fred Ross from the legendary ‘Family Stone’, reggae heavy weight Junior Reid, and Tim Fuller.

2007 also saw Miguel launch his eight piece live band “Petalpusher” which fuses electronic inspirations with organic musical elements. The band consists of eight top notch musicians, who have worked with the likes of Prince, Spearhead, and Tower of Power. Lisa Shaw and Tim Fuller are on lead vocals. It is a unique and diverse blend of old school funk, soul and current dance rhythms that result into a unique and intoxicating live experience. With an arsenal of material to choose from, the band has been focusing on performing new and old songs from Miguel and Lisa’s extensive catalogue. The band played the Virgin Festival in Baltimore in 2007, the San Jose Jazz Festival as well as all the major cities in North America with resounding success. A work still in progress with much more in store so look out.

Miguel can be found regularly traveling the globe as one of the industries top-leading DJs, as well as at home in the studio writing and creating music, which is his main love and passion. “It’s all about the balance between the touring and traveling, studio work and everything else in life.” Miguel says, ” Music has no boundaries and I get inspired by everything around me.” Migs certainly draws no limits to his artistry.

For bookings or further information, please contact dave.alcock@mn2s.com

MC Eric is Eric Martin; an artist with a legendary status at the heart of dance floor culture.  Eric is an innovative, multi-talented musician and producer with a career intrinsically linked with the development of the worldwide house phenomenon.

From fusing hip-hop and house as part Technotronic to being short-listed for a Mercury Music Prize as a solo artist (Me-One), Eric Martin is also an established DJ and is now – under his MC Eric pseudonym – currently taking his ground-breaking DJ show on the road.

As part of Technotronic, alongside Jo Bogaert and Manuela Kamosi (Ya Kid K), Eric Martin first enjoyed chart success with ‘Pump Up The Jam’ – a track that took the world by storm and is now considered a seminal house classic. After a period of sustained success with the group that included a string of hit singles (‘Get Up! (Before The Night Is Over)’, ‘This Beat Is Technotronic’ and ‘Move This’) and over 14,000,000 album sales, Eric released 2 acclaimed albums as Me-One (‘As Far As I’m Concerned’ and ‘Less Is More’) and wrote alongside the likes of The Roots, Guru, Jeff Beck, Maxi Priest and Capleton. He also establishing his own Frenemy record label.

Taking influence from a wide range of electronic performers, Eric’s latest DJ show looks to merge the generations of his illustrious and diverse music career by fusing the classic house sound and modern production techniques. By using a bespoke combination of software, keyboards and MIDI controllers, Eric maintains a live element to his DJ performances and creates an environment where he can manipulate and remix tracks on the fly. With the help of Native Instruments, Ableton Live and ‘The Finger’, his creativity can come to the fore in the mix as he seamlessly loops, edits and updates a series of the seminal house classics to work on the contemporary dance floor. In addition to this, Eric also maintains an occasional dialogue with his audience via a microphone and FX system to bring a hip-hop party sensibility to his innovative performances.

In addition to performing and touring with Technotronic – who have recently celebrated the 20^th anniversary of the stratospheric success of ‘Pump Up The Jam’ with series of tour dates around the world – he regularly rocks dance floors with his unique DJ performances. Having recently travelled all over Europe to destinations such as Croatia, Portugal, Belgium and France, as well as touring throughout the U.K., MC Eric will soon be heading on tour to South America.

Combining his visionary talent with an array of modern equipment and the seminal productions from his repertoire, MC Eric has brought together the very best elements of live performance together with the artistry of DJing to create a breathtakingly dynamic DJ show which simply cannot be ignored!!

Andy Bell has been one of Britain’s best loved pop icons for 25 years. His powerful voice, bittersweet lyrics and flamboyant stage manner have earned him millions of fans around the world. As a performer, re-mixer, collaborator, solo artist and DJ, Andy is a byword for great music and feel-good attitude. Even in the face of personal and political adversity, he lights up the toughest of times with sunshine, passion and romantic optimism.

Born and raised in Peterborough, Andy is best known as the singer and co-songwriter of chart-topping duo Erasure, former BRIT award winners for Best British Band who have sold 25 million albums and scored dozens of Top 20 hits during their long and glorious career. One of the most enduring partnerships in British pop, Andy and Vince Clarke are loved around the world for their irresistible melodies, outlandish costumes and spectacular live shows.

Andy is rightly famous for being one of pop’s most dynamic, energetic performers. With Erasure he has been privileged to play sold-out shows at some of pop’s most legendary venues including Madison Square Garden, Radio City Music Hall, the Los Angeles Forum, the Hollywood Bowl, the historic Fillmore in San Francisco, and the Ryman Auditorium in Nashville – home of the Grand Ole Opry. At home in Britain, he and Vince also entertained 60,000 people at the gigantic Milton Keynes Bowl, and packed out London’s prestigious Royal Albert Hall at the climax of their 2007 tour.

Right from Erasure’s early years, Andy has also been involved in numerous outside projects including musical collaborations, charity events, TV and film work. In recent years he has established himself as a solo artist and DJ, tapping into his lifelong love of classic electro. “Doing stuff on my own is important to me because I really love Dance Music,” Andy says. “I always love doing Erasure but also I like going off and doing gigs by myself. Vince isn’t always around anyway, he’s got his family in Maine. My heart’s really in club music. I’m still waiting to make that big club record.”

Andy sang the role of Montresor in Peter Hammill’s opera ‘The Fall of the House of Usher’, first released in 1991, then remixed and re-issued in 1999. Andy guested with KD Lang on her 1994 single ‘Lifted by Love’, and with Ant & Dec on ‘Shout’ in 1997. He has also remixed several Erasure singles as well as Sandra Bernhard’s 1994 cover of the Sylvester disco classic ‘You Make Me Feel (Mighty Real)’, Goldfrapp’s ‘Ooh La La’ in 2005, and the 2008 re-issue of Yazoo’s ‘Nobody’s Diary’.

Andy has also been involved with numerous charity projects, including the Ferry Aid single ‘Let It Be’ in 1987. He performed with Level 42, Sir George Martin and the City of Birmingham Symphony Orchestra at the all-star Prince’s Trust Gala at the Birmingham NEC in 1989, where he was introduced to Prince Charles and Lady Diana. He and Vince covered Cole Porter’s ‘Too Darn Hot’ for the 1990 album ‘Red Hot + Blue’ in support of AIDS and HIV research, and collaborated with Lene Lovich on ‘Rage’ for a 1991 PETA benefit album.

In 1995 Andy performed a selection of traditional folk songs with a group of Bosnian musicians at a Manchester Free Trade Hall concert hosted by UNICEF ambassador Vanessa Redgrave. The first San Francisco mayor to ride in the city’s Gay Freedom Day Parade, Art Agnos, also presented Andy with a key to the city in 1988.

Andy has sung at countless AIDS benefit shows and twice on the True Colors tour, with Erasure in 2007 and solo in 2008. Designed to raise awareness for the LGBT lobbying group Human Rights Campaign, these tours featured an all-star bill including Cyndi Lauper, Debbie Harry, Rufus Wainwright, The B52’s, Joan Jett and The Gossip.

Projects like Red Hot + Blue and True Colors confirm Andy’s trailblazing role in promoting equality and fighting prejudice. As one of the first openly gay front-men in pop, he first became famous during the intensely homophobic Thatcher years. But in 2009, to celebrate LGBT History Month, he was invited to Number 10 Downing Street to meet Prime Minister Gordon Brown. Andy has helped make history with his courageously open approach to sexuality and human rights.

“I can’t take credit for all of that,” Andy says, “because it doesn’t mean what it did any more. It mattered to me then, and you think it’s going to matter for life. But then things start happening: the age of consent comes down, gay people getting married, all that stuff that you fought for. In general, we’re in a much better place.”

In 1993, Andy and Melissa Etheridge co-hosted the festive TV variety show ‘Camp Christmas’ on Channel Four in the UK. Their all-star guest list included Quentin Crisp, Derek Jarman, Ian McKellen, cult Parisian artists Pierre et Gilles, and Paul O’Grady in his Lily Savage guise.

In 1994, Andy appeared in Doric Wilson’s stage play ‘The Night We Buried Judy Garland’, a historical drama about the gay rights struggle, at London’s Shaw Theatre. One of several guest stars who played Garland during the play’s run, the part included seven show-stopping musical numbers. Andy made his screen acting debut four years later playing a porn-film director in Len Richmond’s comedy ‘Merchants of Venus’, starring Michael York and Brian Cox. He also acted in the short films ‘I Hate Christmas’ and ‘Victoria Hotel’.

In 2005, Andy released his debut solo album ‘Electric Blue’. Showcasing a wide variety of musical styles, the self-penned album featured 14 brand new tracks, including duets with Claudia Brucken (of Propaganda and Act) and Jake Shears (of Scissor Sisters). It also featured beats by Manhattan Clique, and generally took more muscular and club-friendly direction than Erasure’s recent work. The first single from the album, ‘Crazy’, featured a dazzling sci-fi video created and directed by the genius of Al and Al.

“His zest for living and enjoyment comes over very strongly throughout,” gushed the BBC website, “and his enthusiasm for pop music is as strong now as it ever was.” Pop Matters described ‘Electric Blue’ as “lyric-heavy dance synth-pop that overachieves and succeeds in its mingling of emotion and sexuality” while All Music Guide branded it “triumphant” and “downright blissful.”

Andy followed ‘Electric Blue’ with a fresh round of Erasure commitments, co-writing the lush gospel-pop confessionals on the duo’s acclaimed 2007 album ‘Light At The End of the World’. Then came the mighty career-spanning retrospective ‘Total Pop! 40 hits’, released to rave reviews in February 2009.

“I decided I really needed a year and a half off from Erasure,” Andy says. “Just to get my head together and work out who I am outside this Erasure thing. I’ve spoken to Debbie Harry and she always refers to Blondie in the third person. I could never understand that before, but now I do. You don’t get bored but you just become consumed by it, you are no longer your own person.”

A second solo album ‘MimóNonStop’ – recorded with producer Pascal Gabriel (Kylie Minogue, Ladyhawke, Miss Kittin, Little Boots among many others) – sees Andy steer his solo career in an altogether darker direction than on ‘Electric Blue’ and will be released in April 26^th, 2010 under the name Mimó.  ’MimóNonStop’ combines Andy’s long-standing love of electro with contemporary club beats and the kind of irresistible pop hooks that have already seen media tastemakers – including Radio 1 and Kiss – embrace the album’s first single ’Will You Be There?’ long before its February 8th 2010 commercial release date.

As if Mimó isn’t going to be enough to occupy Andy in 2010 he and Vince have already written fourteen new songs for Erasure’s fourteenth studio album which they plan to record over the first half of the year and release in Autumn 2010, followed swiftly by a world tour.

Besides recording and performing with Erasure and as a solo artist, Andy is also building his profile as a DJ playing hard-edged electro and classic 1980s dance-pop. This marks a natural return to the singer’s teenage roots as a “soft punk” infatuated by New Wave icons like Japan, Siouxsie, Lene Lovich and Nina Hagen.

“I was doing electro anyway before I met Vince,” Andy nods. “I was in a band called The Void, writing with Pierre Cope and producer Pete Gage, doing the usual demo-tape hiking around the record companies. That was the reason I moved to London in the first place. What I really love is electro has always been underground since that big splurge in the ‘80s. Once you’ve been to a club like Nag Nag Nag and heard those tracks on a bass amp, they sound really incredible. The bass goes right through your bones.”

Whether on stage or screen, in the studio or behind the decks, Andy remains an icon of party-friendly positivity. Even when times are tough, he provides passion, sunshine and romance – plus lashings of operatic drama, of course. Everybody needs a bit of Andy Bell in their lives.