▒▒█▓▓▓███████ ▒▓▓▓▓███████ ▓▓█████████▒▒ ███████████▒ ▒████████░░ ▒▒████████░ ▓▓██████ ▓███████ ▓▓██████ ░ ▓█████▒▒ ▓▓██████ ▒▒▓████▒ ░████ ▓█████░░ ▒█████ ████████ ▓███████████▒███████████ ███████▒ ██████ ████████████ ▒▒█████▓ ▒██░░ ███████▒ ▓████████ ▓███████▓ ▒█████ ▒███░▒▒██████▒▒ ░░█████▓░░███░░████████▓ ░████████▒█████████ ░█████ ░██ ░████████▓▓ ░░█████▓████ ██████████▓ ░███████▓██████████ ░█████ ███ █████████▓▓ █████████░░██████████░ ██████████████████ █████████░░░█████████░░ ▓███████░░░ ░▒▒▒░ █████████▒ ██████ ████████░░ ▒▒▒▒░ ▒████████████▓░░ ▓███████▒ ▓█████ ███████████████ ▒█████████████████░ ████████ ▓████▓ ██████████████████ █████ ▒▒██████ ░███████ ▓████▓ ███████ ▒█████▒▒ █████████░░ ▒█████░░ ██████▓ ▓████▒ ██████████░ ███████░ ███████████ ░▓▓████████▒███████████ █████▒ ███████████ ░░▓████████▒▒ ░ ░▒▒▒███▒ ▓██████████▓███████████ ░░█████▒ ░░ ░▒▒████▒ ▓▓█████████▓▓ ▒▒▒ k n u c k l e s ░░░▒▒█ ▓▓█████▓ ▒▒ ████████▒▒ ░░▒█████ · ···──────[ proudly presents...]──┐ ███████████████████████████████████████████████████████████████████████████│ █┌───────────────────────────────────────────────────────────────────────┐█│ █│ Anegls Of Love Tom Stephan & Satoshi Tomiie-Live At Metropolis 09-14 │█│ █│·─────────────────────────────────────────────────────────────────────·│█│ █│ Artist...: Anegls Of Love Tom Stephan & Satoshi Tomiie │█│ █│ Title....: Live At Metropolis 09-14 │█│ █│ Label....: n/a │█│ █│ Genre....: House │█│ █│ Str.date.: Nov-21-2003 │█│ █│ Rip.date.: 000-00-0000 │█│ █│ Source...: Live Session │█│ █│ Quality..: 192kbps / 44,1Hz / Full Stereo │█│ █│ Encoder..: LAME │█│ █│ Supplier.: TEAM knk │█│ █│ Ripper...: Team knk - EL\Gringo │█│ █│ Tracks...: 03 │█│ █│ Size.....: 256,1 MB │█│ █│·─────────────────────────────────────────────────────────────────────·│█│ █└───────────────────────────────────────────────────────────────────────┘█│ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀│ │ ┌────────────────────────────────────────────────────────────────·· · │ │█▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█████████████████████████████┘ │█ · ···───[ t r a c k ─ l i s t ]───────··· · ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█ │█┌───────────────────────────────────────────────────────────────────────┐█ │█│ │█ │█│ NR. │ TrackName │ Time │█ │█│ · ···─────────────────────────────────────────────────────────────·· ·│█ │█│ │ │ │█ │█│ 01 │ Live At Metropolis 09-14-Live-2003 Part 1 │56:26 │█ │█│ 02 │ Live At Metropolis 09-14-Live-2003 Part 2 │70:00 │█ │█│ 03 │ Live At Metropolis 09-14-Live-2003 Part 3 │60:00 │█ │█│ │ │ │█ │█│ · ···─────────────────────────────────────────────────────────────·· ·│█ │█│ │ │█ │█│ │ TOTAL TiME 186:26 min │█ │█│ │█ │█│·─────────────────────────────────────────────────────────────────────·│█ │█└───────────────────────────────────────────────────────────────────────┘█ │▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ │ │ · ···───┐ │█▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█████████████████████████████│ │█ · ···───[ r e l e a s e ─ i n f o ]───··· · ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█│ │█┌───────────────────────────────────────────────────────────────────────┐█│ │█│ At first, always support artists!! Remember it!! │█│ │█│·─────────────────────────────────────────────────────────────────────·│█│ │█│ │█│ │█│ Tom Stephan's transatlantic, twisted sound is an inimitable, │█│ │█│ seamless blend of deep tribal and funky beats, a journey into the │█│ │█│ darker side of electronica. He became enamoured with music at a │█│ │█│ young age, both through his own interest, and through having it │█│ │█│ "rammed down his throat" by his father, a musician. │█│ │█│ │█│ │█│ "He gave me a drum set for my first birthday, keyboards for my │█│ │█│ second, a guitar for my third, and so it went on. Last time I │█│ │█│ went home and listened to him he was playing AC/DC tracks in a │█│ │█│ rock band at a pub. " │█│ │█│ │█│ │█│ Calling it a day after two weeks of forced piano lessons, Tom │█│ │█│ taught himself to produce and play what he wanted on his own │█│ │█│ terms through picking up whatever was lying around the house, │█│ │█│ especially his dad's synthesizers. │█│ │█│ │█│ │█│ Growing up in Olean, upstate New York, he got into electronic │█│ │█│ music, listening to Nitzer Ebb and Depeche Mode. │█│ │█│ │█│ │█│ "I never really liked the idea of house music. I thought it was │█│ │█│ all like Black Box - pianos and screaming divas." │█│ │█│ │█│ │█│ Then a friend persuaded him to go to the Sound Factory, where he │█│ │█│ was seduced by the dirty sounds of Junior Vasquez playing X-Press │█│ │█│ 2 tracks. After doing courses in everything from electrical │█│ │█│ engineering to sound engineering, a friend started to rave to Tom │█│ │█│ about London, so that's where he decided to go. He started at the │█│ │█│ London International Film School, though he became more │█│ │█│ interested in making the music for the films than the actual │█│ │█│ pictures themselves. Going home regularly to visit the Sound │█│ │█│ Factory, Tom would bring another of his keyboards back every │█│ │█│ time, and before long he was knocking out productions for │█│ │█│ everybody else's films too. │█│ │█│ │█│ │█│ Determined to pick up the art of mixing, he practised on a │█│ │█│ friend's decks before investing in his own. He started taking his │█│ │█│ mix tapes down to Substation where promoter Wayne Shires was │█│ │█│ putting on nights. │█│ │█│ │█│ │█│ "I'd go there every Saturday, and probably every Tuesday too, │█│ │█│ because I loved the music, but Wayne didn't think my stuff was │█│ │█│ suitable for that crowd at the time. Then he started to put on │█│ │█│ parties at Ministry of Sound once a month. An American guy I │█│ │█│ hadn't really heard of called Tenaglia was coming over to play, │█│ │█│ so Wayne asked me to do the warm up set. I played 11 ætil 1, but │█│ │█│ they don't open the main room at Ministry until the club's full. │█│ │█│ They finally opened it half an hour before Danny came on, and I │█│ │█│ tried to cram my entire set into 30 minutes, from my first record │█│ │█│ to the big finish..." │█│ │█│ │█│ │█│ Danny was over with Rob Di Stefano, owner of the legendary Tribal │█│ │█│ and then Twisted Records, and so started an enduring friendship │█│ │█│ that saw Tom signed to the newly revived Twisted label in 2001, │█│ │█│ with Revolution as the first release. │█│ │█│ │█│ │█│ On graduating from film school Tom wanted to stay and needed a │█│ │█│ work permit. An advance from his first production, Filthy Hetero, │█│ │█│ under the moniker Tracy & Sharon, lasted about two weeks. Tom │█│ │█│ jokes that he had few options, and could either be "a rent boy, a │█│ │█│ drug dealer or a DJ" - though as he says, "I had few options │█│ │█│ because I had to do cash in hand jobs, as opposed to few options │█│ │█│ in life generally..." │█│ │█│ │█│ │█│ A five-year residency at Substation followed, giving Tom the │█│ │█│ experience and opportunity to build up a following. He released │█│ │█│ Get This, his debut single as Superchumbo. Indicative of his │█│ │█│ sense of humour, (drier than the Sahara), Tom dropped Tracy & │█│ │█│ Sharon in favour of Superchumbo, Portugese for ôsuper- leadedö. │█│ │█│ His fans followed suit, calling themselves Leadheads. │█│ │█│ │█│ │█│ Wayne Shires subsequently set up Crash, a gay club in Vauxhall │█│ │█│ reminiscent of the best New York's meat packing district had to │█│ │█│ offer, and took Tom with him as resident. Then Danny Newman, │█│ │█│ promoter of London's highly acclaimed club, Turnmills, was passed │█│ │█│ a copy of one of Tom's DJ mixes. Less than half way through the │█│ │█│ CDR Danny was convinced, and in August 2001, ChumboMundo was │█│ │█│ launched in Turnmills back room. For the first time in his life │█│ │█│ Tom had his own room. Packed to the rafters from the word go, │█│ │█│ ChumboMundo gave London's real househeads a home. It grew so big │█│ │█│ that Danny offered him his own night, and so hatched Roach, the │█│ │█│ infamous London night that ran every last Saturday of the month │█│ │█│ until Jan 2003, when Tom stopped the night to concentrate on his │█│ │█│ forthcoming artist album and his international gig commitments. │█│ │█│ │█│ │█│ In keeping with his love of making music, Superchumbo's The │█│ │█│ Revolution (released to an international fanfare in 2001) brought │█│ │█│ Tom to the forefront of the dance scene. The scramble to champion │█│ │█│ it saw Pete Tong declare The Revolution the best tune of the │█│ │█│ year, before signing it to London Records. In the meantime, Tom │█│ │█│ remixed Missy Elliot's track 'Get Yr Freak On', saying "I just │█│ │█│ think the song is genius, and she's amazing, so I did it just to │█│ │█│ play for myself." │█│ │█│ │█│ │█│ But Missy E loved it, and Tong played it back to back with The │█│ │█│ Revolution as number one and two in his Cool Cuts countdown. │█│ │█│ Further remixes for Kylie (Can't Get You Out Of My Head), Simon's │█│ │█│ 'Free At Last', and Basement Jaxx's 'Get Me Off' (cunningly │█│ │█│ entitled 'Supergetoff') followed. The latter remix impressed the │█│ │█│ Jaxx boys so much that they incorporated Tom's original into a │█│ │█│ reworked version for release as their next single. Add to this │█│ │█│ his Essential Mix for Radio One and suddenly everyone wanted a │█│ │█│ piece of the Superchumbo magic. │█│ │█│ │█│ │█│ Despite the flood of remix offers, Tom's main priority is │█│ │█│ producing: │█│ │█│ │█│ │█│ "I can see the appeal of remixing - people offer you loads of │█│ │█│ money - but it's important for me not to lose sight of my own │█│ │█│ production.ö │█│ │█│ │█│ │█│ The defining high of djing for Tom remains playing live. Weekends │█│ │█│ at Tribal Sessions with an up for it crowd plastered in war paint │█│ │█│ and feather head-dresses, or his own London nights (Roach at │█│ │█│ Turnmills and Tank at Crash) give him the opportunity to play up │█│ │█│ to five hours of twisted house, bringing a taste of his own │█│ │█│ experiences at the Sound Factory. │█│ │█│ │█│ │█│ "If I'm really into a DJ I sometimes find I'm afraid to leave the │█│ │█│ dancefloor for fear of what I might miss! I try to create the │█│ │█│ same sense of unity within my set, I want it to be like a │█│ │█│ gripping film that you can't stop watching. A longer set allows │█│ │█│ you to develop the story." │█│ │█│ │█│ │█│ The obvious extension of this was his highly acclaimed artist/mix │█│ │█│ album, æLeadhead û The Sound Of SuperchumboÆ, released on │█│ │█│ Twisted/Loaded, and his Kiss radio show that airs every Wednesday │█│ │█│ from 11pm-1am, on Kiss 100 FM. │█│ │█│ │█│ │█│ "That album summed up exactly what I do. The tracks were all │█│ │█│ mine, and I mixed it, so it's really representative of me." │█│ │█│ │█│ │█│ 2003 has seen Stephan taking monthly trips to the US and Canada, │█│ │█│ and feeding the insatiable appetite of a growing band of │█│ │█│ followers over the pond. But it doesnÆt stop with his │█│ │█│ transatlantic touring, as heÆs about to head off on another Asian │█│ │█│ tour taking in the likes of Tokyo and Singapore. Add to this his │█│ │█│ extensive UK dates at the likes of Underwater and Tribal Sessions │█│ │█│ and itÆs a wonder this boy has any time to work on his first │█│ │█│ artist album! Leadheads can rest easy, however, as his new │█│ │█│ single, æThis Beat IsÆ, is set for release on 22nd September │█│ │█│ (23rd in the USA), and the album should follow next summer. æThis │█│ │█│ Beat IsÆ is another zeitgeist shattering slab of pure │█│ │█│ Superchumbo, but weÆre not giving anything else away. YouÆll know │█│ │█│ it if youÆve heard Tom play recently, and itÆs safe to say it │█│ │█│ should be rocking a club near you very soonà │█│ │█│ │█│ │█│ So, youÆd better fill up that tank, the next journey is about to │█│ │█│ begin... │█│ │█│ │█│ │█│ ----------------------------------------------------------------- │█│ │█│ │█│ │█│ Satoshi's music career began at an early age when his parents │█│ │█│ encouraged him to study the │█│ │█│ piano. He trained for an admirable ten years, developing a │█│ │█│ distinct passion for jazz. In school │█│ │█│ he played in various bands. Soon after, the sound of Hip Hop │█│ │█│ provoked him to not only form his │█│ │█│ own band but also to start his foray into DJ'ing and production. │█│ │█│ Then came house, as he became │█│ │█│ fascinated by the early Chicago mix-tapes he was hearing. │█│ │█│ │█│ │█│ A Japanese cosmetic company asked Satoshi to produce a track for │█│ │█│ their forthcoming promo │█│ │█│ parties where legendary DJ Frankie Knuckles was performing. │█│ │█│ Knuckles saw the potential in │█│ │█│ Satoshi's music and asked if he was interested in collaborating. │█│ │█│ The final result of their │█│ │█│ partnership was "Tears", a defining moment in vocal house and a │█│ │█│ song now commonly regarded │█│ │█│ as an all time classic. Satoshi soon took the leap and moved to │█│ │█│ New York. Since his seminal hit │█│ │█│ "Tears" with Frankie Knuckles back in 1989, he has gone on to │█│ │█│ become a major part of the │█│ │█│ acclaimed Def Mix crew. Tomiie has remixed and worked with the │█│ │█│ likes of Photek, Kosheen, │█│ │█│ Simply Red, David Bowie, U2, Mariah Carey, Misia (Japan's #1 R&B │█│ │█│ artist), just to name a │█│ │█│ few. │█│ │█│ │█│ │█│ In 2000 Satoshi wrote and produced his debut album for Sony │█│ │█│ entitled "Full Lick" featuring │█│ │█│ performances by Kelli Ali, former front woman for the Sneaker │█│ │█│ Pimps, Diane Charlemagne, │█│ │█│ Robert Owens and others. The album has been met with critical │█│ │█│ acclaim by his fans and the │█│ │█│ press with each single enjoying top ten dance chart success. "Up │█│ │█│ in Flames", one of the singles │█│ │█│ from the album, included mixes from John Digweed and became a │█│ │█│ number one dance hit in the │█│ │█│ UK. It is also featured on a number of mix cd's including Global │█│ │█│ Underground mixed by Steve │█│ │█│ Lawler. In the US, "Up in Flames" and "Darkness" established │█│ │█│ Satoshi's presence in the │█│ │█│ alternative music scene as well as the dance music scene. The │█│ │█│ Global Underground compilation │█│ │█│ mixed by John Digweed also featured "Love in Traffic" the most │█│ │█│ recognizable single from "Full │█│ │█│ Lick" in addition to three other "Satoshi" productions/ remixes. │█│ │█│ │█│ │█│ In 2001, Satoshi Tomiie launched his own label "SAW.RECORDINGS". │█│ │█│ It was Satoshi's desire to │█│ │█│ create a platform from which he would be able to showcase ideas │█│ │█│ and creativity that are more │█│ │█│ experimental and underground. His first single entitled │█│ │█│ "Paranoize" by Bipath has caused major │█│ │█│ excitement from DJ's worldwide. Follow up singles, Madam │█│ │█│ "Penetration" and Tomiie's "Virus" │█│ │█│ gave SAW world recognition. │█│ │█│ │█│ │█│ 2002 will bring forth singles and EP's from the likes of Akadoma, │█│ │█│ Jerry Bonham and Tigerhook │█│ │█│ as well as other forward thinking collaborations from Tomiie and │█│ │█│ his label. │█│ │█│ His ongoing philosophy to push the envelope and expose new │█│ │█│ talents has assisted in the launch of │█│ │█│ such new talents as Trendroids, Lexicon Avenue, and . │█│ │█│ │█│ │█│ SAW.RECORDINGS is an example of the direction that Satoshi is │█│ │█│ heading in, acknowledging the │█│ │█│ changes in the dance music scene, thus shifting what House music │█│ │█│ is. House music never stops │█│ │█│ evolving and expanding its borders and Satoshi Tomiie is in the │█│ │█│ forefront of this movement. │█│ │█│ │█│ │█│ Satoshi is the first American based DJ to be asked to record a │█│ │█│ NuBreed album (#6). With a │█│ │█│ world tour under way Tomiie is starting the North American leg │█│ │█│ with a Spundae party in San │█│ │█│ Francisco on May 31st. The Summer and Fall will find Satoshi in │█│ │█│ Spain at Pacha, Ibiza, Portugal │█│ │█│ at Locamia, and throughout Italy and the UK. │█│ │█│ │█│ │█│·─────────────────────────────────────────────────────────────────────·│█│ │█└───────────────────────────────────────────────────────────────────────┘█│ │▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀│ └─────────────────────────────────────────────────────────────────·· · │ │ │ █▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█████████████████████████████│ █ · ···───[ g r o u p ─ i n f o ]───────··· · ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█│ █┌───────────────────────────────────────────────────────────────────────┐█│ █│" │█│ █│ In the beginning, there was Jack. And Jack had a groove. │█│ █│ And from this groove came the groove of all grooves. │█│ █│ And while one day viciously throwing down on his box, Jack boldly │█│ █│ declared,Let there be House! And House music was born. │█│ █│ I am, you see. I am the creator. And this is my House. │█│ █│ And in my House there is only House music. │█│ █│ But I am not so selfish, because once you've entered my House, │█│ █│ it then becomes our House, and our House music. And you see, │█│ █│ no one man owns House, because house music is a universal language │█│ █│ spoke and understood by all. You see, House is a feeling, that no one │█│ █│ can understand really, unless you're deep into the vibe of House. │█│ █│ House is an uncontrollable desire to Jack your body. And as I told │█│ █│ ya before, this is our house, and our House music. And in every house │█│ █│ you understand,there is a keeper. And in this house the keeper is │█│ █│ Jack. Now some of you might wonder, │█│ █│ who is Jack and what is it that Jack does? │█│ █│ Jack is the one who gives you the power to Jack your body. │█│ █│ Jack is the one who gives you the power to do the snake. │█│ █│ Jack is the one who gives you the key to the wiggly world. │█│ █│ Jack is the one who learns you how to walk your body. │█│ █│ Jack is the one that can bring nations and nations of all Jackers │█│ █│ together under one house. │█│ █│ You may be black, you may be white, you may be Jew, or Gentile. │█│ █│ It don't make a difference in our house. And this is fresh!!! │█│ █│ " │█│ █│·─────────────────────────────────────────────────────────────────────·│█│ █│ │█│ █│ knk was meant to be a house music group. but even if house music is │█│ █│ our only reason to exist as a group, we start now to release every │█│ █│ kind of electro-vocal-lounge liveset, mixcd, compilation or full cd. │█│ █│ We know livesets are considered worst than shit in the scene. │█│ █│ But we keep betting on them because we KNOW that normal people │█│ █│ love them. We got high feedbacks about many and many livesets we │█│ █│ released over the last year. We want to continue with .. │█│ █│ │█│ █│ We would like to thank the following groups for the good music │█│ █│ they release │█│ █│ │█│ █│ BWA - 1REAL - BPM - dh - tronik - XDS │█│ █│ │█│ █│·─────────────────────────────────────────────────────────────────────·│█│ █└───────────────────────────────────────────────────────────────────────┘█│ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀│ · ···──────────────[last update 11-11-03]─────────────────────────────┘