The Nam Shub Of Enki and kiki.ILL are pseudonyms taken on by PhILL Thomson, long respected producer, performer and DJ in the Australian underground dance scene. He is also a member of Brisbane electro cabaret super group MONSTER ZOKU ONSOMB! Who have been tearing apart crowds of every denomination for 5 or so years. More info at The Nam Shub Of Enki's official web-site.
Australian-based scholar in the (increasingly passé) art of strictly analogue vinyl DJing.
Ex-member of Nasenbluten.
Overseer of the now deceased Bloody Fist Records.
Capitalist. Collector. Cantankerous old man.
Info from DJ Mark N
When “one of the biggest talents in Drum’n’Bass” (according to Grooverider), Vienna based Reinhard Rietsch aka CAMO and up- and coming producer Markus Wagner aka KROOKED, who both started producing in 2002, teamed up in 2007 nobody could have guessed what impact their collaboration will have on the scene!
Since then they have written and produced some of the hottest and devastating dancefloor anthems Drum’n’Bass has heard for a long time! Be it the more soulful sound of the massive “Tonight” or the raw power of smashers like “Dakota” (both released on MAINFRAME Rec.
1) Mashcore/noise producer from Sydney, Australia has been releasing since 2001.
2) Power Violence band formed in Leicester UK in December 2008
3) Australian Metal/Thrash band formed in 2000 by guitarist Mark Woolley Melbourne Australia . Woolley was the long time guitarist for Hobbs Angel of Death. Following the demise of his own project Hatred, Woolley formed Toecutter : http://www.myspace.com/toecuttermetal and released the 'Lost Culture' album. Band reformed in 2009, to work on new material and a return to live gigging.
Breakcore producer based in Sydney, Australia. Formerly part of the now-defunct System:Corrupt collective. His hardcore influenced breakcore is known for exceeding speeds of 250bpm, a breakcore record. His work samples extensively from pop songs, ska and other electroacoustic genres. However unlike other artists who employ the popmash, he combines songs at breakneck speeds and with little concern for royalties owed to the artists he samples from. Some of his tracks can employ as many as 90 copyright protected songs over a five minute period.