Life Clubbing

Mozart has remained an influence in popular contemporary music in varying genres ranging from Jazz to modern Rock and even as far afield as death metal or techno, even if some critics have a bad opinion about this.But remixes like this one demonstrates that trance music with classical influences sounds very pleasant.

The night I laid my eyes on you
I felt everything around me move
Got nervous when you looked my way
But you knew all the words to say

And your love slowly moved right in
All this time, oh my love, where you been

** Please
I'm moaning don't you know
My love I want you so
Sugar
You make my soul complete
Rapture tastes so sweet

I'm mesmerised in every way
You keep in a state of daze
Your kisses make my skin feel weak
Always nothing in your heat

Lift our souls like a bird in the wind
Oh I glide like I'm flying through heaven

Marco V, born Marco Verkuylen, is a modern Dutch DJ. He currently ranks as number 16 on the 2006 DJ Magazine Top 100 DJs List.

Generally considered a tech trance DJ, Marco V was the resident DJ of the "danssalon" in Eindhoven in the Netherlands. After several years of residency, he began to focus on production. Headlining Innercity in Amsterdam 2000 and mixing the Innercity CD of that year was his first breakthrough.

In 2005 he released the critically acclaimed follow-up to his debut "con:fusion" . "200V" (V also to be read as the Roman 5) is a record for every mood.

Marco V is currently working on the follow up of Benjamin Bates' debut album (N.E.V.E.R.L.E.T.A.N.Y.T.H.I.N.G.K.I.L.L.T.H.E.P.L.E.A.S.U.R.E.) which (title: RECYCLOMANIA)was released on May 14, 2007. His Combi:nations III was released on May 22nd and he is currently working on his own new album.

Electric Cafe is a music album by the group Kraftwerk. It is mildly infamous for taking the band almost half a decade to produce: work is said to have begun on the album as early as 1982 (with the working titles of Technicolor and then Techno Pop), but the project was delayed due to band member Ralf Hütter suffering a near-fatal cycling accident, and then due to concerns within the band that the production quality of the album was not sufficiently cutting-edge, necessitating much re-work. The album, mastered by Bob Ludwig, finally saw release in 1986.

The album was initially released in English, German and Spanish language versions. It was the first Kraftwerk LP to be created using predominantly digital equipment. The song named "Der Telefonanruf" ("The Telephone Call") was the first and only Kraftwerk song to feature Karl Bartos on lead vocals.

Audiences generally appeared to find the music somewhat more sterile and less engaging than that of its conceptually more cohesive predecessor, Computer World. Compared to the band's four preceding albums, some critics have pointed to the lack of a strong and sufficiently intriguing theme to tie the Electric Café material together. Furthermore the near half-decade hiatus in the band's record releases and performance activity lost them crucial momentum in their career. Whatever the possible influence of these factors, Electric Café did not meet with any great commercial success.

Two singles were released from the album, "Musique Non-Stop" and "The Telephone Call". Both were accompanied by promotional videos. "Musique Non-Stop" showcased a computer animated representation of the band. The animation, which was complex for its time, was created by Rebecca Allen, using state-of-the-art facial animation software developed by the Institute of Technology in New York. Though both singles went on Billboard dance chart in 1987, neither of the singles performed well in the charts. However, "Musique Non-Stop" has been the closing piece of Kraftwerk's concerts ever since.

In the proposed remastered album collection The Catalogue, the Electric Cafe album has been renamed Techno Pop.

Source : http://en.wikipedia.org

Azzido Da Bass (born Ingo Martens in 1971 is a DJ and music producer based in Hamburg, Germany.

Over the years, Ingo Martens has been influenced by a wide range of music genres. As a youth, Ingo first became interested in hip-hop and break dance. By the mid-1980s, Ingo began collecting electronica and synth pop albums from the groups such as Depeche Mode, Kraftwerk and Nitzer Ebb. A few years later, it was acid house and hardcore groups.

In the early 1990s, a friend by the name of Carl Cox gave Ingo a cassette tape of various remixes. The music had a substantial impact of Ingo's view on music, paving the way for his future career.

Further inspired by the performances of local and international DJs on tour, Ingo Martens began his own DJ career in 1996 under the name Azzido Da Bass. One year later he would secure his first professional job in Hamburg, Germany. The performance was a success, opening the door to additional jobs in northern Germany performing in clubs, competitive events and private parties.

Within four years, Ingo Martens was a significant player within the German techno music scene, with tours both domestically and internationally.

Ingo Martens aspired to create his own original music after several years as a DJ. After meeting producer/songwriter Stevo Wilcken in 1998, Ingo Martens eventually made the transition to producer. The duo co-wrote their first original song, Dooms Night, which was released in 2000 at the Love Parade in Berlin.

Although the song did well in Germany, it languished on British charts until a remix of the song was released by two English DJs. The remix's popularity catapulted the song to a 8 position on British charts.

Soon after, the song made major appearances around the world, including a headline of the MTV Music Awards in 2000, several American and European commercials, and in the movie soundtrack to "Angeled".

Ingo Martens and Stevo Wilcken continued to produce a mixture of original songs and remixes thereafter, including a remix of the song House of God by D.H.S. and their next hit Speed (Can You Feel It?) in 2002.

In 2005, Ingo Martens founded the independent music label Luscious Sound. His goal was to allow music artists to create their material with a minimal amount of interference from above. This goal was in part due to Ingo's view that music has become generic and without quality.

Source : http://en.wikipedia.org