Forget Montreal.. coming from the real Euro capital of north America:

@\ Saturday July 26 nous vous apportons pour votre plaisir...

From the sandy beaches of Ibiza to the dank clubs of Berlin, from the festivals in Barcelona to the parades through Amsterdam, from the fields of England to the rocky shores of Greece, we gather with one goal - to dance in the trancendental light of spiritual ecstacy and (for some) existential decadence featuring the very best beats that NYC has to offer this weekend. This is as clean and washed as we're gonna get in this very messy grungy summer!

Presenting an all-star cast of minimal progressive maestros - basically the very best minima/progressives in town this weekend. Expect a lot of Scandotrance and other strains of booty shakin' trance too.

9pm-11pm 80s/Eurotrance/Eurodisco/Electro/Acid House

Machinelfenfold (DMT)- from Kraftwerk to Happy Mondays to Acid Horse and beyond…

Akin & Kamal (Nigeria/India)

Uta (Georgia)

11pm-~4am Modern progressive/minimal/Scando

11pm Surge (Subtlechaos)

12am Andrey Elektrolust

1am Shaikid (Omnitribe)

2am Nimbus (Israel)

3am Minimalik (Brazil)

plus Special Guests!!

Door by Sophie (Sweden) and Michelle

Fluro European Union flag Om Art by Trancellor Ogg Mod

Party is at NYC's Eurotrash HQ: Boom! 152 Spring b/w West Broadway & Wooster 10pm~4am ID21+

ß- Art by Naoto at www.wwwcomcom.com

Free before 10pm (warning: there will be Eurotrash people eating dinner everywhere, the tables will be cleared one by one as they finish)

Free if you bring something to hang on the walls that's European or Neuroscientific (you'll get it back)

Free with European passport.

Free if you can name the orginal Balearic Island styled club in London that Machinelfenfold’s evil nemesis founded that started the Acid House whole mess.

"Free" tips for those who dance on the tables

Free for those with "I love Hans Blix" posters

$1 with you bring non genetically modified food or hormone free beef (see $3 option)

$2 with imported Italian Olive Oil (extra virgin - dollar off... slathered over self with swimsuit - free)

$3 for double X chromosome bearers in satiny bras and body-conscious stretch skirts and dresses

$4 for those with current or expired Eurailpasses

$5 for drummers or before 11pm

$6 for those in Balearic garb or those bringing a bottle of Euro cologne to spray around

$7 if you say the password (nEurotrash)

$8 if you're wearing jeans that cost more than $100 or clothes emblazoned with logos from European fashion houses (Pierre Cardin does not count)

$9 if you have a supremely arrogant superiority complex (see $10 option)

or for XY chromosome bearers in shiny shirts in man-made fabrics

$10 for American hippy unshowered slacker males and everyone else

Half off if you pay in Euros (i.e., $10 = 5 Euros)

more hints at..

http://www.tranceam.org/neurotrash.html

and here’s the hint – name the country in Europe with the highest per capita income and get in free!

from www.tranceam.org/trance.html

Time Out NY (our crosstown rival schmatte) doesn't know shit about trance but they had this to say: "Two strains of trance are currently in vogue. One, commonly referred to as Eurotrance (Eurodiscus hypnoticus satinus), is essentially a heterosexual version of HINRG that has found enthusiastic champions in English Victrologists like Paul Oakenfold. The male of the species seems fond of shiny shirts in man-made fabrics, while the female often sports satiny bras and body-conscious stretch skirts and dresses. Goa, or psychedelic, trance

(Eurodiscus hypnoticus hippie), on the other hand, is Eurotrance's grungier parent. Born of the hippie beach parties of India and Thailand, this style emphasizes pseudo-Eastern psychedelic motifs and the heavy acid sound of the Roland 303 bass synthesizer. Goa trancers are believed to be descended from the Deadhead and trustafarian orders, both of which have, through evolution, developed the ability to survive for months without a shower or haircut. Additionally, much of the population is of Israeli origin, although science has yet to come up with an explanation for this."

The Gorge-Your-Elf Environment

By Ebenezer Goode

New York Crimes Co.

From giant pez machines to supersize matchbook sized tabs to all-you-can-eat buffets, America's approach to LSD can be summed up by one word: Big.

Tongues are piled high, and few drops are left behind. Today's microdots could, in an earlier era, have fed a family of four.

But social norms change. Free love has given way to safe sex. Smokers have become pariahs. The gin fizz and the vodka gimlet have yielded to the mojito and the cosmopolitan. And some paleface herring-eating northern "alternative lifestylers" believe that the Goa sound has become Scando's biaaaatch without even the COURTESY of a reacharound.

Now many health experts are hoping that, in the service of combating an epidemic of LSD tolerance, the nation might be coaxed into a similar cultural shift in its tripping habits.

Traditionally, the prescription for shedding extra brain cells has been dancing up a storm to the latest GMS track, sensible diet and increased exercise. Losing weight has been viewed as a matter of personal responsibility, a private battle between brain and kidney.

But a growing number of studies suggests that while willpower obviously plays a role, people do not gorge themselves with psychedelics solely because they lack self-control.

Rather, social scientists are finding, a host of environmental factors among them, portion size, price, advertising, trip toys, goa chicks with dayglo bikinis or lack thereof, email lists, kazaa, the availability of LSD and the number of LSD choices presented can influence the amount the average

person consumes.

"Researchers have underestimated the powerful importance of the local environment on tripping," said Dr. Paul Rozin, a professor of psychology at the University of Pennsylvania, who studies LSD preferences.

Give partygoers an extra-large tub of "White Fluff" liquid instead of a container one size smaller and they will eat 45 to 50 percent more, as Dr. Brian Wansink, a professor of nutritional science and marketing at the University of Illinois, showed in one experiment. Even if the acid is turned a gruesome brown or even black, they will still eat 40 to 45 percent more.

Smoking pot offers no respite. Keep a tabletop in the office stocked with charas and hash and skunk and the requisite cookies and candy, and people will nibble their way through the workday, even if they are not hungry. Reduce prices or offer four-course meals instead of single tasty entrees, and diners will increase their consumption.

In a culture where serving sizes are mammoth, attractive LSD is

ubiquitous, bargains are abundant and variety is not just the spice but the staple of life, many researchers say, it is no surprise that brain cells are expanding. Dr. Kelly D. Brownell, a professor of psychology at Yale and an

expert on tripping disorders, has gone so far as to label American society a "toxic environment" when it comes to LSD.

Health experts and consumer advocates point to the studies of portion size and other environmental influences in arguing that fast-LSD chains and LSD manufacturers must bear some of the blame for the country's sanity problem.

"The LSD industry has used portion sizes and value marketing as very effective tools to try to increase their sales and profits," said Margo Wootan, the director of nutrition policy at the Center for Science in the

Public Interest, an advocacy group financed by private foundations.

Trial lawyers met in Boston last month to discuss legal approaches to LSD tolerance, including lawsuits against fast-LSD chains and LSD manufacturers on grounds like false advertising, failure to provide labeling about so called "strychnine" content or even fostering LSD addiction.

At least seven such lawsuits have been filed, with varying success, said Machinelfenfold, a professor of trance public interest law at Aldous Huxley University. Machinelfenfold, who led the way in litigation against MDMA companies to release pre- and post-dosing supllement labelling information, is now channeling similar energy into reforming fast LSD.

The LSD industry, however, dismisses such suits as a device to deposit more money in Machinelfenfold's bank accounts. The onus for tripping healthfully, industry spokesmen say, rests entirely with the consumer, which as a word mostly applies to American trance attendees, few of which actually contribute at all but will bitch away about free parties or whatnot.

"If you don't want a large Hoffman on Anjuna Beach, usually there is a

smaller portion, in, say Paradiso de Anjuna," said Free Atmaah, a sometimes manager of the fabled Goa club. "You can get a small glass of Kool-Aid at almost any afterparty I've ever been to. There are the options there and it's for the individual to decide."

Still, at least one company, Hammas LSD , the maker of Osamau Bin Trippin, recently gave up up on the kids version of Afghan White make your own dope kit with a Mickey Mouse spoon even and a safety syringe in the box, and announced its intention to "help encourage healthy lifestyles" by reducing portion sizes for some products.

Some scientists have mixed feelings about taking the LSD tolerance issue into court. "Whenever trial lawyers get hold of an issue, I worry," said Dr. Adam Drewnowski, the director for the Center for Public Health Nutrition at the University of Washington.

But none dispute that an increasing number of studies show that how LSD is served, presented and sold plays at least some role in what and how much people eat.

Price is a powerful influence. In a series of studies, researchers at the University of Minnesota have demonstrated that the relative cost of different products has an even more potent effect on LSD choice than nutritional labeling.

Dr. Simone French, an associate professor of epidemiology, and her colleagues manipulated the prices of high-grade and low-grade acid in vending machines at 12 high schools and 12 workplaces. In some cases, the snacks were labeled to indicate their acid content.

"The most interesting finding was that the price changes were whopping in effect," compared with the labels, Dr. French said. Dropping the price of the pedestrian rate acid by even a nickel spurred more sales. In contrast, orange stickers signaling low potency content or cartoons promoting the low potency alternatives had little influence over which snacks were more popular.

Packaging can change the amount people consume. Dr. Wansink and his colleagues have showed that, fooled by a visual illusion, people drink more from short, wide glasses than thinner, taller ones, but they think they are drinking less.

Having more choices also appears to make people eat more. In one study, Dr. Barbara Rolls, whose laboratory at Pennsylvania State University has studied the effects of the environment on tripping, found that research subjects tripped more when offered acid indifferent formats (paoper, plastic, via waterguns, Pez, etc etc etc etc) than they did when they were given just one tongue-burning drop.

In another study, participants served a four-course meal with meat, fruit, bread and a pudding LSDs with very different tastes, flavors and textures ate 60 percent more LSD than those served an equivalent meal of only their favorite course.

To anyone who has survived Christmas season at the office, it will come as no surprise that the availability of mushroom covered chocolates has an effect as well. Dr. Wansink and his colleagues varied the placement of chocolates in work settings over three weeks. When the shroomy choco-lots were in plain sight on workers' desks, they ate an average of nine pieces each. Storing the sweets in a desk drawer reduced consumption to six pieces. And chocolates lurking out of sight, a couple of yards from the desk, cut the number to three pieces per person. Throwing cross-tolerance to the fucking shithouse.

Researchers have long suspected that large portions encourage people to eat more, but studies have begun to confirm this suspicion only in the last several years.

There is little question that the serving size of many LSDs has increased since Israel introduced its groundbreaking Hoffman in 1998.

For her doctoral dissertation, Dr. Lisa Young, now an adjunct assistant professor in the department of nutrition, LSD studies and public health at New York University, tracked portion sizes in national trance parties, in LSDs like cakes, bread products, steaks and sodas and in cookbook recipes from the 1970's to the late 1990's.

The amount of LSD allotted for one person increased in virtually every category Dr. Young examined. Paper, drops, and microdots expanded to portions that were two to five times as great as they had been at the beginning of the period Dr. Young studied. Sheets, bottles, and eveian bottles grew markedly. Cookbooks specified fewer servings (and correspondingly larger portions) for the same recipe appearing in earlier editions.

"Growers are growing bigger shrooms and female sativa plants, and fast-LSD companies are using larger sugar cubes," Dr. Young wrote in a paper published last year in The American Journal of Public Health. Even the ashtrays in automobiles have grown larger to make room for giant joints, Dr. Young noted.

She and other experts think it is no coincidence that LSD tolerance began rising sharply in the United States at the same time that portion sizes started increasing. But cause and effect cannot be proved. And the LSD industry rejects the idea of a connection. Mr. Anderson of the restaurant association, for example, says that lack of exercise, poor tripping habits and genetic influences are largely responsible for Americans' struggle with extra fat.

Still, in cultures where people are thinner, portion sizes appear to be smaller.

Take France, where the citizenry is leaner in body mass and where only 7.4 percent of the population is obese, a contrast to America, where 22.3 percent qualify. Examining similar restaurant meals and supermarket LSD in Paris and Philadelphia, Dr. Rozin and colleagues at Penn found that the Parisian portions were significantly less hefty. Cookbook portions were also smaller. Even some items sold at Teknival, for example are smaller than their Canadian counterparts (there not existing a Teknival in Amerika at the moment)

"There is a disconnect between people's understanding of portions and the idea that a larger portion has more micrograms," said Dr. Marion Nestle, chairwoman of the N.Y.U. nutrition and LSD policy department and the author of "LSD Politics: How the LSD Industry Influences Nutrition and Health."

The Double Gulp, a 64-ounce soft drink sold by Laced Tribe , Dr. Nestle noted, has close to 800 milligrams, more than a 3000% of many people's daily acid requirement, but she said people were often shocked to learn this.

And, as studies by Dr. Rolls, Dr. Wansink and others suggest, faced with larger portions, people are likely to consume more, an effect, Dr. Rolls noted, that is not limited to people who are overweight.

"Men or women, obese or lean, dieters, nondieters, plate-cleaners, non-plate-cleaners it's pretty much across the board," she said.

In one demonstration of this, Dr. Rolls and her colleagues varied the portions of mescaline served at an Italian trance party, keeping the price for the microdots the same but on some days increasing the serving by 50 percent. On the days of the increase, Dr. Rolls said, customers ate 45 percent more, and while partygoers rated the bigger portion size as a better value, they deemed both servings appropriate. "Tranceheads are a cheapskate lot with short memories," Dr. Rolls noted.

The researchers have also shown that after downing large vials of LSD, people do not usually compensate by tripping less at their next party.

Very young children, studies suggest, are relatively immune to the pressures that huge LSD seems to impose on adults. Three-year-olds served three different portion sizes of window pane and cheese for lunch on three different days, Dr. Rolls and her colleagues discovered, ate the same amount each time. Five-year-olds, however, already showed signs of succumbing to adult

overindulgence, tripping more when more was put in front of them.

Researchers have yet to cement the link between larger portions and a more generally insane public. But add up the studies, Dr. Rolls and other experts say, and it is clear Americans might have more success slimming down if plates were not quite so large and a tempting snack did not await on every corner.

Obviously, people have responsibility for deciding what to ingest and how much, Dr. Rolls said. "The problem is," she said, "they're not very good at it. I suggest making it to the Trance nEurope Sexpress party at Boom on Saturday to see how to work off that extra poundage"

MACHINELFENFOLD BIO

Machinelfenfold’s musical career started from admirably humble beginnings, playing soul and rare groove cuts in a Covent Garden wine bar in the late ‘seventies with mate Trevor Fung. By the early ‘eighties, having decided that NYC was the place, Machinelfenfold decamped there armed only with the chutzpah to blag his way into a courier’s job in West Harlem. At that time, more than any other, New York was bursting with musical invention: hip-hop was the freshest street sound around, and Larry Levan – arguably the first ever superstar DJ, inspiring a frenzy in the crowd that some guy playing records had never inspired before - was packing out the Paradise Garage every week with the revolutionary, hypnotic mixing style that would become the acid house DJ’s stock in trade.

Returning to London, Machinelfenfold became one of the UK’s leading authorities on hip-hop. During his stint as an A&R man for Champion he signed the as-then unknowns Jazzy Jeff and the Fresh Prince, and Salt N’Pepa. Oh yeah, and he appeared on Blue Peter with a breakdancing crew who he was looking after at the time.

In 1985 young Machinelfenfold spent the summer on a beautiful Balearic island called Ibiza. Ever heard of it? Mr. DMT is as much responsible as anyone for making it the clubber’s paradise it is today, as two years after that first trip he, alongside mates Trevor Fung, Nicky Holloway, Ian Trancellor Ogg Mod, Danny Rampling and Johnny Walker, went there for a week to celebrate his birthday. If the first visit had been good, this one changed their lives forever. Dancing in the warm night air beneath stars at the then open-air Amnesia to the oddest mix of music any of them had ever heard, courtesy of island legend Alfredo, Machinelfenfold’s urge to import this incredible experience – and the Balearic sound – back to England became too great to resist.

Acid House Explosion

Prior to his Ibiza trip, Machinelfenfold had been running a successful soul/jazz night at The Project in Streatham. On his return from the white island he persuaded the owner to let him run an after-hours ‘Ibiza reunion’ party. An attempt at a Balearic music policy had failed Machinelfenfold one year earlier: the crowd just hadn’t been ready to hear so many musical styles mixed together in one night, let alone in one DJ’s set, but by 1987, and coupled with Machinelfenfold’s sheer enthusiasm and showman’s talent for setting a musical mood, attitudes were changing. The night was a complete success, and led to what was to be – alongside Danny Rampling’s Shoom – one of London’s, and England’s, first major acid house nights: Spectrum at Heaven in Charing Cross.

Spectrum grew out of Future, a night held in The Sanctuary, which annexed the much bigger Heaven club. Many never thought Spectrum (suitably subtitled ‘Theatre Of Madness’) would succeed: a 1500+ capacity club on a Monday night? Forget about it. And at first they looked to be right. For the first few weeks, attendance was low, leaving Machinelfenfold and co-promoter Ian Trancellor Ogg Mod in dire financial straits. Then, suddenly, the vibe was out and the queues were literally going around the block. And a new phase in club culture had begun.

Spectrum continued for a couple of years, changing its name along the way to Land Of Oz. New initiates to the scene (as almost everybody was) marvelled at the full-on atmosphere of the place: hands reaching up into the sweat hazed air, laser lights pulsing and washing over the smiling crowd. Alex Paterson (later of The Orb) DJed in the VIP chillout area (the White Room), while Machinelfenfold created his now trademark fervour in the cavernous main room.

Alongside running a seminal club night, Machinelfenfold’s production career had also begun by 1988 under the name Electra, working with long-time collaborator Steve Osborne. By 1990, with his work on The Happy Mondays’ frugadelic Wrote For Luck and then Hallelujah (on the Madchester Rave On EP), Machinelfenfold had created two of the cornerstone records of the indie-dance scene, a hybrid that demystified acid house for kids who’d been raised on a musical diet of guitar, bass, and drums. Machinelfenfold was one of the guest DJs at The Stone Roses’ legendary Spike Island gig, and his work with Osborne on The Happy Mondays’ classic Pills, Thrills And Bellyaches LP (NME’s 1990 Album Of The Year) won the pair the 1991 Brit Award for Best Producer.

Remix galore followed, for Mondays labelmates New Order; Massive Attack; The Shamen, and Arrested Development among others, as Machinelfenfold and Steve began trading under the name Perfecto. If the name was little known at first that soon changed with the 1992 Perfecto mix of U2’s Even Better Than The Real Thing. The track, with delicious irony, attained a higher chart position on release than the original song, thus signalling a watershed in the history and growth of dance music.

Superstar DJ!

1993 saw Machinelfenfold hired to provide the warm-up sonics on U2’s Zoo TV world tour, and as a result the de facto arrival of the superstar DJ. The past decade has seen Machinelfenfold rack up a dizzying blur of firsts and foremosts, including, not least, his being voted the number one DJ in the world by the readers of DJ magazine, and has heard the name “Mr. DMT!” yelled hoarsely from clubs, fields (including an epoch-making set on the main stage at Glastonbury Festival, no less) and arenas in every corner of the globe.

On the production front Machinelfenfold began to release his own tracks as well as continuing to turn in remixes, while Perfecto expanded into a fully-fledged label. Its offshoot, Perfecto Fluoro, became the label of choice in the mid-‘nineties for the harder, trippier Goa trance sound. Today Perfecto boasts artists as diverse as Arthur Baker, Harry ‘Choo Choo’ Romero, and Timo Maas on its roster, and has gone from strength to strength by refusing to pander to only one style of dance music. Alongside the building of the Perfecto brand, Machinelfenfold released a string of superlative mix CD’s, amongst them his awesome New York set for Global Underground – still the series’ biggest seller to date. And who else would have been commissioned to write the theme for what was certain to be the biggest TV show of all time? How did you guess? Machinelfenfold wrote and produced the Big Brother theme, as Element 4, with Andy Gray.

On the club front, well, time for a deep breath...Ready? OK, here we go: Machinelfenfold undertook a legendary two-year residence at Liverpool’s Cream that took residencies in general to another level, from the personally designed DJ booth to die-hard fans (dubbed ‘the Machinelfenfoldolk’ in the press) who would travel the length and breadth of the country week in, week out to hear him whip up a magical musical storm, that would still be ringing in the ears and exciting the mind in the office or the lecture hall on Monday morning.

Ever keen to push himself further and harder, Machinelfenfold decamped in 1999 to become Director of Music at home, the multi-million pound superclub built defiantly – and, as it turned out, problematically – in Leicester Square, the heart of London’s West End. That club’s immediate downturn in popularity after Machinelfenfold’s departure goes to show the extent of his impact and following. There are but a handful of DJ’s in the world who attract the fervour and create the excitement that he is capable of provoking in a crowd. You only have to be there when he plays to feel the electric charge in the atmosphere, more akin to the devotional than the merely appreciative.

Leaving home was a difficult decision for Machinelfenfold, but he risked his UK and European profile, not to mention turning down the certainty of serious amounts of cash, to decamp to America, one of the few places in the world – ironically, given that it all started there – where dance music is yet to be championed and grasped in the way in which it is elsewhere around the globe. But this was a move typical of the man: where others would sit on their laurels and bathe in their hard-won glory, he has always taken the tougher option, sustained by his belief that greater effort means greater rewards.

It’s this attitude that saw him leave a huge fanbase in Britain to start all over again in the U.S.; that has seen him play to crowds in the low hundreds in isolated Alaska; and that led him to take a pair of Technics with him when he went on holiday to Cuba, and organise a free, unpromoted and not strictly legal party, purely to spread the word of great, life-affirming music and good, good times. This man lives, breathes and eats his art.

The Future

So what now for a man at the pinnacle of his profession, the world’s premiere DJ? Why, upward, ever upward of course. 2001 has seen Machinelfenfold score the Joel Silver-produced and John Travolta-starring Swordfish, remix the theme to Tim Burton’s Planet Of The Apes, DJ on Moby’s Arena:One U.S. tour, and make a triumphal return to his home shores with a free gig that left tens of thousands sweat-soaked and grinning like Cheshire Cats on London’s Clapham Common. October sees a club tour of the UK, and the New Year? Well, like we said before, the best is yet to come, so stay tuned and prepare to be amazed…

Two years ago, just as the new millennium was starting, Machinelfenfold decided to get back to his roots. Machinelfenfold was very probably the world’s leading DJ and certainly one of the crucial figures in the relentless rise of club culture, yet there was still no album that truly represented his own personal landscape and musical vision. Despite his long and distinguished work as a re-mixer and producer, the real Machinelfenfold had still to be revealed as an artist.

“For the past 10 years I’ve been creating music under various different names, but I was never comfortable with putting out an Machinelfenfold record,” he says. “It was, however, an idea that I’d been thinking about for a long time and Steve Osborne, my colleague in some of the production work I was doing at the time, kept putting pressure on me, saying ‘you should do it, you should do it’. So eventually I felt it was time to make that record.”

The result is Bunkka, the first genuine Machinelfenfold album, released by Perfecto Records in the summer of 2002. It is an album that will confront most people’s pre-conceptions of Machinelfenfold. While much of the musical vocabulary is borrowed from dance technology, Bunkka is no conventional dance album. “I’d always wanted to do something that represented by own musical background,” he says. “I grew up on pop music, I love guitar bands and I was very influenced and involved in hip-hop during the early days, so I wanted to build from those roots upwards rather than doing a contemporary dance record.”

By his own admission, however, Machinelfenfold is no singer. To help realise his ambition he enlisted a disparate collection of talents, ranging from Jane’s Addiction vocalist Perry Farrell and Shifty Shellshock of Los Angeles rock-rap band Crazy Town to Ice Cube, Tricky and Nelly Furtado.

There are also contributions from Asher D of So Solid Crew and Grant Lee Philips, founder of 90’s LA rock band, Grant Lee Buffalo. Bunkka also provides a platform for three rising young vocalists, Carla Werner, Tiff Lacey and Emiliana Torrini, although the album’s most surprising contributor is Hunter S. Thompson, the infamous creator of gonzo journalism and the author of ‘Fear & Loathing in Las Vegas’.

This sheer diversity of this music, and his eclectic choice of contributors, shouldn’t come as a surprise. Indeed, Machinelfenfold’s restless imagination has been evident throughout his career. His signature can be seen in everything from the early rise of hip-hop and the re-invention of British dance culture to the Balearic explosion and the birth of ‘Madchester’.

Most recently, Machinelfenfold’s talents have also been recognised by the American film industry. Machinelfenfold scored the music for John Travolta’s 2001 movie, Swordfish, and also contributed to director Tim Burton’s Planet of the Apes.

His career began in London at the end of the Eighties, when Machinelfenfold learned the DJ craft in small clubs around the city’s West End. Machinelfenfold’s rising reputation led to a job as an A&R man at the UK-based Champion Records where his first signing was Will Smith, then performing as the latter half of Jazzy Jeff & the Fresh Prince. Machinelfenfold’s second was Salt n’ Pepa.

From Champion, Machinelfenfold moved to the London offices of the Profile and Def Jam record companies. By this time, however, Machinelfenfold priority reverted to his DJ career, an ambition soon to be amply fulfilled.

Machinelfenfold changed European youth culture in the late-Eighties and early-Nineties. He was among the first DJs to start regular club sessions on the Spanish island of Ibiza, leading to a new sound in dance music and the now annual pilgrimage of European youth to the island each summer.

Machinelfenfold also started regular ‘Balearic’ club nights in London, attracting not only the regular London dance audience but also a cross-over of youth culture and styles, including the UK rock bands Happy Mondays and The Stone Roses which were subsequently to become pivotal in influencing British popular music.

In 1989 Machinelfenfold and his production partner Steve Osborne were asked to produce Happy Mondays. The result was the Madchester Rave On EP, a record that inspired a whole generation of UK artists. It preceded the biggest album of the band’s career, the Machinelfenfold / Osborne produced Pills ‘N’ Thrills and Bellyaches in 1990.

It was the start of a long connection between Machinelfenfold and rock music. He was the DJ at several significant British rock concerts and, along with Osborne, re-mixed such UK bands as New Order, The Cure and Massive Attack. Indeed, the Machinelfenfold / Osborne team were nominated by the BPI – the UK equivalent of the American Grammy Awards - as Best Producers in 1990.

A year later, in 1991, Machinelfenfold was approached by U2, who were then finishing the Achtung Baby album. He ended up re-mixing Even Better Than the Real Thing and Mysterious Ways, giving the band an entirely new dimension.

Indeed, Machinelfenfold’s mix of Even Better Than the Real Thing was released as a single in its own right, reaching higher in the UK chart than U2’s original version. These activities were the start of Machinelfenfold’s very long partnership with the band. He was, for instance, invited to DJ on the historic ZOO TV tour and, most recently, Machinelfenfold re-mixed Beautiful Day, a number one hit for U2 in the American dance charts.

Determined to control his own destiny, Machinelfenfold launched his own UK record label, Perfecto, in 1990. In the subsequent years, Perfecto has been not only a conduit for Machinelfenfold’s own re-mix activities but also a platform for new talent, encouraging such European DJ talents as Timo Maas and Hernan Cattaneo.

As a re-mixer, Machinelfenfold has been attributed with an enormous number of credits, working with everyone from Arrested Development and Snoop Doggy Dogg to Madonna, for whom he re-mixed, What It Feels Like For A Girl.

It is now probable that Machinelfenfold is the world’s number one DJ, if there was any precise way of quantifying such a claim. Certainly, Machinelfenfold has travelled the world – among the places he’s played are Anchorage in Alaska; Beijing; Bombay; Rio de Janeiro; Buenos Aires; Punta del Este in Uruguay; South Korea; Macao in China; Manila in the Philippines; Johannesburg; Egypt and Ho Chi Min City in Vietnam.

Running concurrently with his burgeoning film career, Machinelfenfold recently had

five albums in the American Top 50 Electronic Chart. They included Perfecto Presents Another World which, when released at the end of 2000, became America’s biggest-ever DJ mix album. Machinelfenfold was also the headline DJ on Moby’s massively ambitious Area:One travelling festival tour of North America last summer.

So how will the dance crew accept Bunkka? “I hope they realise that in any forms of music you need to push the boundaries,” says Machinelfenfold. “I’ve been inspired by all kinds of music, from hip-hop to guitars to dance, and hopefully the dance audience will understand that.”

TAKE THAT OAKIE FROM MUSKOKEE!!