Hunee pretty much operates on his own terms, in his own world. Since a first release in 2009 he has been in no rush to make it big, but instead has slowly seeped out into the world his choice cuts of rhythmically playful and super-soul infused house music on labels like Rush Hour, Future Times and W.T. As a DJ, too, he is tireless and visibly enthusiastic at every gig. His selections are made with a palpable passion and cover a cultured cross section of essentials from house and disco to afro and techno. The music he serves up comes from a place of love and knowledge in equal measure - there are no cheap thrills with Hunee, just pure musical joy.
Multi-instrumentalist, self confessed synth-freak and italo-style icon, Michael Di Francesco is Touch Sensitive - the original Pizza Guy. Touch Sensitive's debut single 'Body Stop' was one of the first tracks released on Future Classic, all the way back in 2004. Cloaked in anonymity it's cosmic vibes and Italo authenticity made it a cult favourite among discerning DJ circles from East London to Brooklyn.
Fast-forward to 2012 and his third track 'Real Talk', in collaboration with Anna Lunoe, saw Touch Sensitive spend five months at the top of the Beatport indie-dance charts with what was universally recognised as one of the underground hits of the year.
2013 saw the worldwide explosion of synth-house monster ‘Pizza Guy’ – with the blog lauded title track racking up millions of Soundcloud spins, Youtube views of its star-studded video clip as well as being the #3 most played track of 2013 on Australia’s No.1 radio station, Triple J. That same year, Mikey took his impressive solo live performance to audiences across Australia, becoming a must-see highlight at some of the country’s most celebrated festivals including Harbourlife, Listen Out, Valley Fiesta, The Plot, Falls Festival and Southbound Festival. This local success was matched by a succession of bookings across North America and Canada, most notably alongside Future Classic labelmate and Aussie boy-wonder Flume, and topped off by a NYC Boiler Room set alongside masters of funk, Chromeo.
Touch Sensitive kicked off 2014 with ‘Slowments’, a typically slick homage to the seminal ‘Moments In Love’ by Art of Noise, and finished it as the talisman of Future Classic, featuring on their year-end compilation with the titular ‘Teen Idols’. On the live side, he had support slots alongside Disclosure and Cut Copy and a massive sunset slot at Splendour In The Grass.
In 2015, the co-writer and co-founding member of Van She takes the Touch Sensitive live show on the road with Flight Facilities through North America on a 16-date tour.
The music of Mark E is overwhelmingly deliberate, and in that sense it’s quintessential house—unswerving, mechanistic, intoxicatingly simple. And life imitates art: the Wolverhampton-reared, Birmingham-based DJ/producer has had a slow, steady ascension to his status as one of the genre’s most natural talents.
Mark E’s love affair with electronic dance music began began early, as an adolescent, when Manchester was Madchester and the irreverent attitude of rave culture swept through England. His first record? Bizarre Inc’s exuberant, piano-loaded “Playing With Knives,” a fortuitous introduction to the hypnotizing powers of house. As Mark got older, he dove headfirst into the surprisingly fertile Wolverhampton scene, tasting house at the hands of legends like John Kelly and Frankie Knuckles before a move to Birmingham for University also installed him in a larger club scene.
Mark’s first forays into production were, naturally, edits—warm, understated, and interestingly mellow, with tempos hovering somewhere between 105 and 115 BPM. (Or thereabouts.) Once “Scared,” a ten-minute rework of Womack & Womack’s “Baby, I’m Scared Of You,” found the ears of influential selector (and, more importantly, BBC radio DJ) Giles Peterson, it was on, and a solid string of memorable, vinyl-only releases introduced the world at large to this humble, devoted househead. Slowly (again), Mark went beyond edits and into original production, starting his own label, MERC, and honing a sound that was uniquely blue collar and utilitarian—classic, almost industrial house, with a tinge of disco warmth.
If you’ve hit the town in the past 12 months, there’s a high chance you’ve had a boogie to one of Adi’s DJ sets, or you may have benefited from her work behind the scenes with party planners Picnic Touring and Events. Or perhaps you’ve caught her surfing the airwaves at independent music haven FBi Radio in the coveted Saturday Sunset slot. In the past year she’s been called on to play at some of Sydney’s best venues, including Goodgod Small Club, The Imperial Hotel (R.I.P.), SLYFOX, Freda’s, Harpoon Harry and some of the country’s top festivals including Splendour In The Grass, OutsideIn, Return To Rio and an upcoming appearance at Falls Lorne. Armed with a hefty bag of wax spanning the history of house music and its roots in disco, funk and soul, collected from digging expeditions all over the world, she knows how to get feet tapping both on- and off-air.
Fed up with crowded house parties, disused basements, lock outs, long distance travel to festivals, Lovebomb's sought to mix up the Sydney party landscape with a string of events in some of Sydney's most unique locations. Collaborating with good friends Cake Wines, Lovebomb's have built a cult following over many years, exploring the romantic side of boogie, funk, house, disco and beyond, their sound accessible as much as it is for "the heads". Eclectic, loose, but always on-point...Lovebombs will set you free. Fall in love, lose your shit!