Stacey Pullen is the latest DJ to contribute to 2020Vision’s eponymously titled compilation series.

The Detroit DJ will follow in the footsteps of 2020 owner Ralph Lawson and edit king Greg Wilson, compiling his personal favourites from the label onto a single mixed CD. Pullen actually goes back quite far with the label, who are celebrating fifteen years on the scene this year. As Ralph Lawson explains, “Stacey was one of the first DJs to send us a fax to say he liked one of our tracks (”Raptures of the Deep”). When you are starting out, to receive praise from someone of his standing really
motivates you – it was a big moment for us. We got in touch with Stacey and asked him to remix the track which he did, and to have him on the label really cemented our reputation.”

Let’s face it: the idea of Misstress Barbara switching from lipstick fembot techno dominatrix to bona fide synth-pop chanteuse is a ridiculous one. From her early ’90s beginnings—first on the inchoative Montreal rave scene, then on the international level via circuit parties and Ibiza orgies—Barbara was always associated with the relentless side of techno. This magnetic aura is precisely what attracted her, according to early interviews, to the genre in the first place. That said, the Barcelona and Don’t Leave EPs, both released in 2007, showcased an aesthetic shift hinted at by her Come With Me mixed CD, a compilation that featured the likes of Sebo K, Trentemøller, Nahan Fake and Dominik Eulberg.

Fast forward to early 2009, and Misstress Barbara’s comeback single is starting to float around. Weirdly enough, it sounds like “Barcelona” with awkward vocals on top. Even more troubling: It’s a Leonard Cohen cover. That said, “Dance Me to the End of Love” is not as terrible as the idea sounds. (It’s definitely not as painful as Miss Kittin & The Hacker’s current take on “Suspicious Minds.”) But Barbara’s voice is, unsurprisingly, a bit flat, a fact that is unfortunately backed up by the banality of the lyrical content of I’m No Human, her first official album as a singer. The title track and “J’étais une fleur” are especially worth mentioning for their cringe-inducing powers (especially if you understand French).

Respected and acknowledged around the World as one of the three Detroit Techno innovators, Kevin Saunderson is a legend in his own right, who helped to reshape the future of Dance music as we know it today! To celebrate his mammoth 20 years worth musical genius, KMS & Fabric Recordings join forces and unleash a retrospective of Kevin’s work with a brand new compilation ‘History Elevate’ featuring a heavyweight selection of KS classics. This hefty package includes

remixes from the maestro with tracks from Cerrone, Pet Shop Boys and Octave One and his first ever remix for Wee Papa Girl Rappers ‘Heat It Up’ (1988), among many other jewels. This journey through Kevin’s incredible musical history also features some of his own penned hits, including some Inner City gems, all remixed by top producers including Luciano, Carl Craig, Simian Mobile Disco, Claude VonStroke and many more.. ‘History Elevate’ is a must have retrospective collection for any proclaimed Kevin Saunderson and dance music fan alike!

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