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Rockethead

Rockethead is stirring up the electro-scene since 2008 with a blend of vintage sounds & modern technology. 2012 saw the release of "At the Busstop" on Red Robot Records / UK &
"Crazy People" on Chocolat Soul Records / Spain Some remixes of Rockethead-tracks can already be found throughout the Internet and propell their way further into the terran cyberspace. He's the guy for a night full of colorful music, always walking on the thin line between science-fiction & the swinging charm of the twenties.

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Take

(For the Korean boy band, see 테이크.) There is more than one artist under this name: 1. Based in Los Angeles, Take (Sweatson Klank) is a composer who continues to push the boundaries of instrumental hip-hop music into new directions. After multiple successful EP's under his belt, Take finally unleashed his debut full length player in 2007, Earthtones and Concrete. This music is nothing short of an epic journey with continuously evolving collages that lead the listener down a dust covered road of bit-crushed melodies and molested jazz samples.

Read more about Take on Last.fm.

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Floex

Tomáš Dvořák (*78) aka Floex - clarinetist, composer, producer and multimedia artist from Prague (Czech Republic). While Tomáš solo works are released under his Floex moniker, the soundtracks are released under his own name Tomáš Dvořák. From childhood he has been learning clarinet which later becomes the key instrument for his music - not only as "instrumental signature" but also as way of his compositional approach.

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Mario Biondi

Mario Biondi is an Italian singer. Born in Catania, son of a popular song singer, still young sings in various small choruses. Years after he follows Califano, di capri, Bongusto, Fiorello and others in their tours. After a long series of participations with Italian and international artists and a small production of disco music, during 2006 he hits the success with the Schema Records album "Handful of Soul". His deep and warm voice recalls the great interpreters and music.

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N'Dambi

The daughter of strict Baptist ministers in Dallas, Texas - only two kinds of music were allowed in N’dambi’s house – gospel and country. Church was the center of the family‟s life in every way and there was no middle ground. Secular music was forbidden, but its irresistible allure eventually trickled into her life and began impacting the maturing young singer. Blessed with a deep contralto, N’dambi became especially enamored with the male singers from the „70s and „80s she‟d heard and identified with while hanging out with cousins and friends.

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