Leider haben wir nur eine englische Biographie For Patrick it all started with his C64 in Bad Nauheim, from which he was not the only one to emerge, for with him did Heiko Laux, Johannes Heil, Pascal F.E.O.S. and Anthony Rother as well. Lindsey even went to school together with Rother, and both shared a fascination for the new sounds that could be elicited from home computers. Actually Lindsey's first record release was the very first Kanzleramt catalogue number.
Shortly afterwards he presented his demo to the Frankfurt cult label Harthouse, which made some of his friends laugh at him since they didn’t think his music would stand a chance. But the crew around Sven Vaeth was easily convinced and signed a few tracks of which the most popular were "Male Phonk" on the legendary ‘Harthouse 100’ compilation and those on his ‘Phat Jive’ EP. While he launched Voodooamt for his Techno productions, he took a trip to more commercial dance fields with his project Mel 'O' Ween, from which the 12" EP ‘The King’ became his top selling record so far. Furthermore Lindsey made a name for himself as a skilful re-mixer (for tracks by Hardfloor, DJ Rush, Paul Johnson and many more).
During the 1996 'Street Parade' in Switzerland, Monika Kruse got introduced to Lindsey. They became very good friends and started producing together from the late 90s onwards. The Monika Kruse@Voodooamt releases are classics of innovative German electronic music even today. The results of this fruitful collaboration include a series of 12" EPs and the collective LPs ‘Panorama & Passengers’. After Harthouse had passed away Lindsey launched his own two labels - School Records and Trackland. Besides, he released numerous productions on Monika Kruse's label Terminal M and some Voodooamt records on Klaus Loeschner's Frisbee Tracks label.
For Stanny it all started around the age of 16 when he played his first party, mixing mainly acid techno sounds from influential imprints such as UR and +8. Infected by the electronic music virus he began thinking about making music for himself. After a period of experimenting with his equipment he sent out a number of demo tapes to record companies. Big Time International, a record firm in Ghent, expressed great interest. The project ‘Propionic’ on Reload was born.
Stanny invested in more equipment, driven by a desire to make tracks independently. He was greatly encouraged by the response his music was now receiving, which lead to a new alliance with KK. Under the GF moniker Stanny unleashed two full albums - ‘Electronic Lesson 1’ & ‘Electronic Lesson 2’ - both receiving critical acclaim both in the international dance press and among his colleagues. Sven Väth took greatly to Stanny’s work: ‘Electronic Lesson 1’ even made the number one spot in Sven Väth’s chart.
After such high exposure many others soon picked up on his unique skills. Labels such as Primate, Zenit, Zync, Conform, Terminal M and many others were interested in signing up this Belgian guy. Naturally, Stanny started thinking about a label project of his own. In August 1999 plans were drawn out for GENETIC RECORDS together with Prime Distribution.
Despite such a productive release schedule Stanny still finds time to accept some of the numerous remix requests he receives. Henrik B, Samuel L Session, Monika Kruse and Misstress Barbara are among the numerous distinguished producers who have come knocking at his door.
Stanny got in touch with Patrick for re-mixing duties in the year 2000. He had to re-mix a track (warez) for one of Patrick’s projects - Monika Kruse@voodooamt. Afterwards they saw eachother when they were traveling together in Germany on a Terminal M tour with Monika Kruse. This was in Chemnitz in December 2001. It had become clear that Patrick and Stanny were thinking the same on many levels. They both love partying and making fun so why not start a project with these elements? It all had to be about no limitations, laughing a lot and making people dance.
They started to work on this new project and figured out it would have to be something different, something unprecedented. When they presented the tracks to Monika they felt a bit uneasy because the tracks didn't fit in with anything else that was released on the Terminal M label, but Monika had faith in the project and she signed it. The first release 'give it' came out in November 2002. Surprised by so many good reactions and such big sales, Patrick and Stanny started to think of a follow-up and of even expanding their 'we don't give a fuck' attitude for this project. They saw that people loved it because at that time it was something else and you couldn't put a label on their style, which is exactly what they wanted - just making music with a different twist which keeps people on the dance floor.
This all led to a second and even more funky EP full of sampled lyrics from one of the godfathers of Funk. Getting support from Dave Clarke, Ken Ishi, Stacey Pullen and many others they got encouraged to do even stranger stuff and explore the ‘old skool flavor’ to even greater depths. The third release 'Don't Touch That Stereo' came out in the summer of 2005 when the Bad Pimps did their first live gig at Nature One, receiving positive reactions from all over the place. It led them to believe that there was more to be done with their project.
Get ready to watch their recorded live set at Nature One 2005 and see for yourself that this is not just another attempt to get on the stage. It's all about ‘old skool flavor’ and we don't give a fuck – we just like to get people to dance!
