Mar 15

Get Lost Miami – Juan Atkins

With a complete and locked in lineup for this years Get Lost, it takes someone special to stir the waters and have us return to the drawing board.

But it is with great honor that we add one of the true legends and originators of Techno.

From Detroit – The one and only Juan Atkins

Mar 12

Get Lost Miami – Last Pre-sale Tickets

We are in the final week before GET LOST MIAMI 2016. As we gear up for the 11th Session of our yearly 24-hour marathon we would like to thank everyone for the overwhelming response we have received this year.

We are getting close to finishing up the pre sale tickets so we advice everyone to get organised sooner rather than later.

All the information that you need to know will be released this week, so watch this space.

Tickets :

Event :


Photo Credit : Khris Cowley for Here & Now

Jan 15

Damian Lazarus’ Day Zero in Mexico Could Go Down in Party History

As the first parties at the lascivious house and techno beach festival BPM got underway on Friday, an hour south on the Yucatan peninsula — deep in a thick Mayan jungle — visionary house DJ/producer Damian Lazarus brought his infamous Day Zero party concept back to Tulum.

With Felix Da Housecat, Acid Pauli, Bedouin, Venezuelan duo Fur Coat, a handful more ethnocentric alt-underground DJs, and hundreds of indigenous performers marshaled by the Cirque Du Soleil founder and entrepreneur Guy Laliberté, Lazarus realized a vision that has been years in the making and raised the bar significantly on the boutique festival and pop-up party experience.

Read the full article here on Billboard ->

Nov 08

Machine Love: Mathew Jonson

Spacious drum machine pulses, full-bodied and insistent bass, peculiar but endlessly funky melodic progressions: you know a Mathew Jonson record as soon as it hits the system. Rooted in classic techno and electro but accented by jazz-like musicality, his productions first appeared in the early 2000s on Perlon, Minus and his own labels, Wagon Repair and Itiswhatitis Recordings. Even his early cuts have endured a decade-and-a-half’s worth of stylistic shifts. You’re as likely to hear a 2003 Mathew Jonson cut today as you are one that was recently released—a testament to the power of finding your own voice in a scene where the tracks can all too easily blend together.

I’d heard from other producers in Berlin that Jonson’s studio was one of the most enviable in the city, so I was quick to accept the invitation to see where his inimitable sound comes together. After heeding his no-shoes policy and making my way to the center of the cozy space, I could see what his peers were talking about. Arranged in a V-shape extending out from a mixing desk, Jonson has just about every canonical synth and drum machine you could think of, from the Roland classics and Yamaha polys through to a varied modular system and some choice obscurities. Jonson was keen to discuss his gear and the stories behind some of these pieces, but he also stressed that creativity and musicianship are more important than owning rare hardware. Still, it’s nice to have it if you can, and with one of the more grueling touring schedules in the business—see his excellent fabric 84 for evidence of why his live set is in high demand—Jonson has truly earned himself this ultimate synth cave.

Read the full feature on Resident Advisor here ->

Nov 04

The Road to Vermillion Film

There were some amazing moments during the recording of the ‘Message From The Other Side’ album, fortunately we captured some of them for you. Here is a trailer to the forthcoming short film, The Road to Vermillion….

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