Aguila is mad about vinyl. Over 1000 black covers are arranged in the best possible way in his private studio. He bought his first Technics at the age of 17 and hasn’t stopped to treat vinyls as rare oyster pearls.

As a boy of the late seventies, he is much influenced by disco, italo and wave. His mum however danced her ass off at the PopCorn so soulful gems are highly familiar to him. Add this to him being discotheque-born at the end of New Beat and start of House and Acid and you have a mixture of retro and new, from Aretha Franklin over The Hacienda to Inflagranti.

Currently playing in bars and basements, from private parties to events in metro stations.

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Bright Entity will make you dance and dream on their analog voyage. Be ready to get carried away, to wrap yourself in a warm blanket of dreamy songs. Together with Micheal Langeder's visuals, they will trigger your energy to keep you going all night long.

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He loves music. He hates writing about himself.

Raised in Culture Club at the very early start so many years ago, he is today at the forefront of discovering new and old - but quality - music. You don't need iTunes, he's a library and his playlists are more than worthwhile.

He doesn't want to call himself a dj. That implies all those technical skills he's not bothered learning. We decided to call him a freak. See him in action with his 33 rpm and 12 inch vinyls.

Obsessed with all things deer and music, let this Brussels based graphic designer and dreamer-extraordinaire take you on a hike into his digital forest full of intriguing music switching swiftly between Swedish electronics, lavish and dreamy indie-pop and some glittering dance remixes that will make you move, even against your will! But most of all it will make you happy posing on the beats of The Knife or slow-dancing on Twin Shadow!

Catch him in between the trees making haunting mixtapes, campy graphic design, dancing and ever-blogging...sharing his collection of ear/eye/mindcandy with the world.

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Den Haan is the end product of the collaboration between producer/songwriter Matthew Aldworth (aka Crème De Menthe) and DJ/Songwriter Andrew Gardiner. The band formed in summer 2006 after discovering a mutual love of Italo and Hi NRG.

After getting together for a one off party, they soon realised the endless possibilities of their creative partnership and since then have developed their own unique approach to experimental songwriting and audio/visual production.

As their popularity grows the group aspire to evolve into a multi member rhythmic love rumble but for the time being the cosmic foot tapping twosome are regularly exposing themselves as the prime evil dance formula ‘Gods From Outer Space’.

When you put us on it’s time to dance and you forget everything else. Escape from everything – JOIN US!

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Since the beginning of their record label Codek Records, Alex (graphic designer, fucker-arounder, nightlife stalker, crate digger, the "weird guy" in the corner) and Sasha (the DJ, beatmaker, dubmaster, former Organic Grooves band leader, former seamster (is that a word?), and a chill human) aim to explore the cosmic background in every possible way by creating and putting together different elements of art/graphic design and styles of music in to a seamless flow, which ultimately leeds them to create "In Flagranti", an act that would reflect all that, and continue to explore the endless possibilities of a 'cut and paste' aesthetic.

Their DIY attitude, which came in many forms like "Organic Grooves" Sasha's long running weekly party and "SMYLONYLON" tapes, Alex's by now legendary mix tapes, gained them a lot of street credibility in New York and abroad.

In addition the CODEK sleeve design is a big part of the whole aesthetics, especially some of the early hand silk screened sleeves, which the Wire magazine calls "the best in the business". In Flagranti pushes the envelope further by adding video clips that accompanies each song showing the visual influence. Woman-Glamour-Trash-Chic is the identity which brings out the new punk attitude.

From the electronic disco sound of Gorgio Moroder, Patric Cowley to punkfunk of Liquid Liquid, A Certain Ratio and more contemporary sounds of todays dance music, In Flagranti is an erotic funny collage of all the above.

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Matt Waites (aka Nightmoves) has already received widespread recognition for his ability to deliver the kind of set that makes those who love great dance music sit up and take notice (and hit the dancefloor). When most other DJs are bludgeoning the crowd with the same over-played bangers, Matt makes it his mission to weave together a melodic, danceable and, above all, fresh tapestry of rare disco, underground house and electro that has made him one of the rising stars of the scene.

Matt got his first break at Nottingham's legendary Liars Club night and quickly secured a fortnightly residency there. This paved the way for further sets at Bugged Out!, The End and Plastic People among others, as well as the opportunity to remix a then little-known band called Klaxons. The mix was quickly snapped up by Kitsune, providing Matt with his first 12" release, and was subsequently hammered by everyone from Erol Alkan to Simian Mobile Disco, earning recognition as one of Mixmag's top remixes of the year in 2006.

More remixes have since followed, for major label artists including Robbie Williams, Roisin Murphy, Ok Go, Friendly Fires, The Infadels, Alphabeat, Freeform Five, Metronomy & Late of the Pier. These remixes have been played and supported all over the world by DJs from Adam Freeland to Erol Alkan and some of Matt's all-time favourites, the Unabombers, In Flagranti, Tim Sweeney and the Glimmers.

Matt's DJ schedule has since taken him to international venues including Tape Club in Berlin, Distortion Festival in Copenhagen, Razzmatazz in Barcelona, and others in Moscow, California, Portugal & Australia. Back in the UK, Matt has played regular slots at Bugged Out! at The End, Fabric, Death Disco at The Arches, and Wax:On in Newcastle, Leeds and Brighton. Recent career highlights have included touring with Simian Mobile Disco as their support DJ and sets at Cocadisco, Glastonbury 2008 and the opening night of Matter, Fabric's new super club in The O2. Matt also recently joined the likes of James Murphy, Juan Maclean, and the whole DFA crew in recording a mix for Tim Sweeney's legendary NYC radio show, 'Beatsinspace'.

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Pete Randy used to play in a garage rock band (remember The Strokes?), but the pleasures of working alone changed his songwriting. Simple things make him happy so he guesses he makes simple pop music too. Solo, hyper-melodic pop.

Pete Randy is a lover not a fighter. His music isn't gonna BLOW your mind but his music will be honest and from the heart.

He refers to diverse influences, from Kylie Minogue to The B52s to New Order over Army Of Lovers and The Strokes. Check out his diamond in the rough voice on Paris or his more breakable side on My Winter Song.

hi! i'm the michael. i'm a silly rabbit. this is a random sentence. jd twitch is the coolest dj i've spun with. i played in noise and punk bands when i was a teenager, so james murphy gave me thumbs up to dj in my twenties. which is awesome.

italo disco house edits electropop wave are some basic words possibly applicable. awesome horny joy bliss drunk are others. i kept it short, but i wear it long and hard, i swear. wave at me i'll wave back, we'll have a moment together, it'll be grand.

Tim Sweeney, DJ of legendary BeatsInSpace radio show in New York. He’s also worked with legendary Steinski, RVNG INTL and DFA. He launched BIS Records. Tim is also a regular DJ with DFA on their tours.

Tim is much in demand thanks to his unique style, bringing together all sorts of things from old school hip hop to techno classics with ample quantities of disco, a lot of rarities, re-edits and remixes including a selection of all the coolest new tunes around.

Since moving BeatsInSpace over to the FM frequency and transmitting online via streams and podcasts, Sweeney has attracted a strong international following for the diverse range of artists and styles portrayed on the program. Over the course of a decade, Sweeney has built Beats in Space into an iconic brand. In return, BIS has launched Sweeney's career as one of New York's most sought-after DJs.

It's hard to believe that, ten years ago, Sweeney was an 18-year-old student at New York University, helming a little-known radio show on WNYU's AM dial. The show started small, airing on an obscure frequency during the wee hours of the night. However, Sweeney understood the huge potential for a dance-music radio show broadcast from the heart of New York City. He envisioned a genre-breaking format, showcasing the best dance music—whether disco, new wave, Chicago house, minimal techno, Krautrock, funk and soul, or post-punk—found anywhere in the world, anytime in history. He took cues from groundbreaking disc jockeys like Detroit's Electrifying Mojo, who thought nothing of following up Prince with a Kraftwerk or Depeche Mode record. Armed with this vision, Sweeney began pulling in heavy-hitting guest DJs on BIS, prompting WNYU's producers to move him to the FM dial with increasingly prime time slots. Sweeney quickly attracted a strong international following for the diverse range of artists and styles on his playlists. The list of guest artists is impressive.

Says Sweeney, "Since I need to do something different for each show, I'm forced to go out and discover new music every week. It can be recently released or unreleased records, or older songs that people haven't heard before. I try to find the best music from all different genres, and then make them fit together in ways that appeal to people who might not have liked, say, disco or techno, before now. For me it's always fun finding tracks that people don't know about, but that sound amazing."

Since launching BIS, Sweeney has dug deep into New York music circles. In the early days of BIS, he worked in the studio of hip-hop legend Steinski (of Double Dee & Steinski's Lessons fame), absorbing as much as possible from the producer's vast record collection. Later, Sweeney came aboard DFA Records, touring with James Murphy of LCD Soundsystem and pairing up with Tim Goldsworthy as the DJ duo T&T. His work with DFA led him to play the saxophone on the DFA remix of Radio 4's "Dance to the Underground," and to mix a DFA set for a 2003 Muzik magazine promo CD. He has released DFA Records' Compilation # 2 (2004), the DFA Holiday Mix 2005, and A DFA Compilation for the Chanel Mobile Art New York Party (2008). Sweeney also collaborates with the Philadelphia-based RVNG label, recording the CD mix Purple Pills for Sleepless Nights in 2008. Until 2006, Sweeney worked as a soundtrack supervisor for Rockstar Games, scoring music for such mega-hit games as Grand Theft Auto: San Andreas.

In recent years, Sweeney has become an accomplished producer in his own right. He self-released the 7-inch "Sing a Little Song" in 2001, which was co-produced with Alex Epton, aka XXXChange (best known for his work with Spank Rock). He co-wrote and scratched on two tracks for the Rammellzee album, Bi-Conicals of the Rammellzee, on Gomma Records (2004), and scratched on the Hercules & Love Affair b-side "I'm Telling You" (2008). Most recently, Sweeney worked under the moniker the Flying Squad to release "Trip 1" (a re-edit of Munich Machine's "Get on the Funk Train") and "Trip 2" (a re-edit of Boney M's "Nightflight to Venus") on RVNG.

2009 marked the launch of a brand-new label, Beats in Space Records. Like the radio show, BIS Records represents an opportunity for Sweeney to showcase artists who're pushing the boundaries of dance music. The label's first release is a 12-inch by an artist whose work has blown up past BIS playlists, the much-hyped German house producer Tensnake.

Today, tens of thousands of listeners tune in to the Beats in Space broadcast in the Tri-State area, with thousands more all over the world listening in via live online streams. Fans download 175,000 archived shows from the BIS website every month. Beats in Space remains the only dance-music radio show of its kind in New York, and one of the most instantly recognized in the world. And though Sweeney finds himself on an international flight nearly every weekend, he hasn't lost sight of his initial passion. "Week in and week out, I’m still back in New York on Tuesday to record the show," says Sweeney. "I wouldn't miss it for the world."

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