Hailing from The Netherlands, Enzio Etchaberri is a Berlin-based DJ and producer whose aesthetics is generously nurtured by disco in all its shapes and colors, feeding on the gems of its early analogue days and just as much on cutting-edge groove-enhanced effect-filtered electro; sometimes strange in sound to a layperson, but always graced with a fantastic narrative at its core.

It is his manifest love for arpeggiated synths, syncopated rhythms and far-out cosmic ornamentation that sets his music favorably apart from anything in the field and helps reduce the pull of gravity on the dance floor, lifting people up in the air to see them, weightless, free-floating all around, as it were.

Over the years, he has tested this formula in various contexts and settings, playing warm-up, peak time and closing sets; at venues such as Sisyphos, KaterBlau, Ballroom Blitz and festivals such as Melt and Fusion. It works wonders.

Hailing from Spain, Hugo Capablanca is a hip Berlin-based DJ and producer whose name reverberates with many notable patterns in the domain of underground music and club culture. Suffice it to mention in passing his residence in Berlin's legendary and long-extinct Rio Club in the early 2000s, as evidenced by "Ich war im Rio" forever-tattooed into his wrist; his full-on involvement with the Berlin Broken Hearts Club, a "raucous fairy tale" of sonic extravagance, artistic havoc and behavioral decadence; and, of course, his glam-wild TausendDisco weekly series at Till Harter's infamous Bar Tausend where the maestro has honed his very peculiar style.

Stimmhalt has come a long way from his native Tbilisi to places as remote as Burning Man, Decibel, Showbox Seattle, Echowaves, Lost Paradise, Peace & Love... His tracks have been released on Damian Lazarus' Crosstown Rebels/Rebellion, Get Physical/Kindisch, Bar25 Music, Akbal, Seven Villas, L'enfant Terrible, Underyourskin, Exotic Refreshment... You may have heard his sets on Ibiza Sonica Radio, Gardens of Babylon, Deeper Sounds... In other words, we're in good hands. This night just can't pass in vain.

If you were to ask, Dada Disco wouldn't name a single specific source of their inspiration. These two French gourmands take in and digest pretty much everything, from hard rocks and heavy metals to synthetics and ambience... That means you can expect anything from Denis and Guillaume but cliché. Design, art, cinema and fashion are just as important to them as music. And it all comes through in their sets.

These gents are very much the products of the "promiscuous and omnivorous" disco mayhem, forever imprinted in the collective memory of club culture as Bar25. It was through this jolly demonic mill, fumes and flames, thick and thin, that the combo blazed their way onto Berlin's raucous music scene. Veritable performers, their epic endless sets were somewhat of a cross between music and circus.

When it closed for good, Dada Disco went global from place to place, spreading their retro-futuristic sound along with their overtly surrealist attitude. "Dada" in their name refers, of course, to a movement that in the mid-20th century famously repudiated and mocked all sorts of artistic conventions while emphasizing the illogical and absurd. Dada Disco keeps experimenting with genres and influences to discover and deliver their own unique blend of sexy electronica, always favoring spontaneity over etiquette. The name sticks on all of these counts.

What else? Saturday night is a chance to dream outside the city limits and chase that dream to the seashore, to atmospheric sun-drenched and sweet-scented Batumi where Noble Savage holds its weekly music residency at Iveria Beach. Saturday 2nd of July, starting 10PM.

So what is it that we often refer to as savage disco in a verbal attempt to give one a foretaste for experiences at Noble Savage? The easiest of answers: it is, for instance, the purple sonic mantle that Berny is garbed in as the head honcho of In Dark We Trust clandestine disco cult. Having been born in that outfit to become an eminent DJ and prolific music producer, it is only natural that he would sport it on Friday, when maestro Berny will preside over the dance floor from behind the decks.

Boisterous in the range of 115-125 beats per minute, his disco has an uplifting and as much dreamy quality to it, for it is produced in a minor key in parts – what makes it positively somewhat dark and thus more cerebral and dramatic. The dainty bit of inspiring darkness obtains when musical phrases in a composition, some of them if not all, culminate with a note that registers lower in pitch than the previous one, which is atypical of classic disco. It was through this conclusive pitch-down notal arrangement that Depeche Mode worked their way up to the pinnacle of renown and near-universal admiration.

Savage disco is disco in the sense of being an "omnivorous and promiscuous" form, so characterized for its propensity to absorb all kinds of sounds. All this wonderful mess is however always supported by a solid and well pronounced beat structure that is made even more firm and dominant by robust bass lines. This powerful low-frequency combo is called groove and, in the case of savage disco, this groove is groovier than elsewhere in the field of dance music, broad as it is. Savage disco is primarily all about that – the mind blowing groove where everything else is ornamentation, from strings through acapellas to cowbells.

"What I figured out was... if you had a disco beat (which is the right relationship of the bass to the drums), the weirder the stuff you put it over, the more it would sustain repeated listening."— Michael Zilkha, as quoted in The Last Party: Studio 54, Disco, and the Culture of the Night.

Savage disco thrives on that seismic beat and, among other things, on deep and often roaring glissando drones, hypnotically monotonous staccato arpeggiation in the low and middle frequencies, somewhat minimal and therefore instantly agreeable melodic ingredients, ample syncopation, invariant synth pads running an extra-mile, reciting in indecipherable language instead of singing to convey some meta-narative gist of it all, vocoding instead of naturally euphonic voce, quirky instrumentation in textures, adaptations from the most distant genres, at some points bordering on what sounds like a hyper electronic rendering of rock'n'roll … Berny is a master of all that.

Hugo Capablanca is a charismatic and equally quirky character – a prolific producer/DJ who over the past decade or so has been steadily building a reputation for turning his playful dilettantism into a veritable aesthetic manifesto.

Before David Benjamin came to light as Noema, he was studying classical guitar and then piano in music school starting at the age of 6, performing regularly with school bands, and later in university he was focusing on music theory. He was first introduced to DJing at a break-dance workshop he attended as a teenager. He loved the idea of playing music that people could dance to, so in late 1997 he started DJing himself. He cites his academic background as one of the major factors in how he listens to and creates music. By his own admission, one of the most important takeaways from that time was a certain attitude towards art, that even the smallest detail is important and has a value.

This Friday we are madly in love with Levi Love Disco and Nadine who is joining our tribe from Berlin.

Feel the groove? Can you dance? The bodily responses to these questions most thoroughly qualify Nadine's deep and rousing sound. The answer is one and it is an emphatic yes. Her passion for electronic music has its roots in her earlier fascination with '90s acid house, and at times it is perfectly obvious. The artist has a fine taste in musical matters ranging from almost forgotten and rare classics to the latest authentic gems sourced from underground labels. Whether it's a digital file or a vinyl record, Nadine sure knows how to handle both neatly, elegantly and to maximum effect on the dancefloor.

Gil Kory A.K.A Sheimus K, is an integral part of the Techno and House scene in Israel. He is the founder & owner of "TERRA Open Air", a production of outdoors parties who evolved to be a major community in today's underground scene in Israel, an active DJ performing at Israel's foremost clubs and a key figure in Tel Aviv's bubbling scene.

His DJ sets blend a variety of styles such as Techno, House, Leftfield, Breakbeat, Acid and Electro, with a strong emphasis on the raw sounds of synthesizers and drum machines typical to electronic music at its beginning in the late 70s. Always aiming to carry the crowd to unexpected music heights and to create an unpredictable atmosphere on the dance floor. Bombastic, sometimes outright ridiculous but rarely anything less than explosive, a club set from Sheimus K is no warm-up affair.

As you might have noticed watching the clip, our visual language is getting ever more metaphorical. Here, as you may guess, it is to suggest that this time you should to be prepared to be blown away, perhaps even physically – all in an intensely pleasant way, of course. And how could this be otherwise with Hugo Capablanca and Daniel Berhane behind the decks? No way ordinary. Friday 13th of May | From 11PM.

Hailing from Spain, Hugo Capablanca is a hip Berlin-based DJ and producer whose name reverberates with many notable patterns in the domain of underground music and club culture. Suffice it to mention here in passing his residence in Berlin's legendary and long-extinct Rio Club in the early 2000s, as evidenced by "Ich war im Rio" forever-tattooed into his wrist; his full-on involvement with the Berlin Broken Hearts Club, a "raucous fairy tale" of sonic extravagance, artistic havoc and behavioral decadence; and, of course, his glam-wild TausendDisco weekly series at Till Harter's infamous Bar Tausend where maestro – aside from working in a fancy boutique of stolen valuables and contraband luxuries by day – has honed by night his very peculiar style which in very general (and thus not especially illuminating) terms can be described as electro-disco. Hugo is also the head honcho of two outré music imprints of his own making, both as prolific as unprofitable – Bananamania Recs and Discos Capablanca...

"The Discos Capablanca label was never intended to follow a business model. This is possibly one of the reasons why it has passed largely unnoticed for many until relatively recently... I tend to like music that is hard to define, and I tend to avoid releasing records that sound much like something else already in the catalog..."

Life goes on, ladies and gents. Regular shall be the tempo of its progression until this Friday. That is when – around midnight – it will accelerate far beyond its normal pace reaching toward its absolute crescendo; heated up in part by the gracious flames of tribal fire in our Eden. From behind the decks, these moments will be sonically bejewelled by two remarkable figures whose names are inextricably linked to the electronic music scenes and underground club cultures of their home countries. Distinct in some respects, come to experience what actually unites these two spheres (and all spheres) on the molecular level and so well. With Barış K (Gizli Bahçe | Istanbul) and Lasha Guruli (SRL Radio | Tbilisi).

And, by way of update: Here is another reason against abstinence tonight:

Dj Homeless back-to-back with Dj Unemployed. In their fine company, we simply can't go astray en route to the bankruptcy court :)

Flower by flower a garden grows… A perfect one, however, never springs into being by itself. It takes effort, all of which would be rendered tedious and futile without peace and love as the sources of basic inspiration for it and the outcome. In our symbolic universe, gardens hold much greater truths than deserts. They are vivid and uplifting metaphors for our own growth in the pursuit of inner and outer perfection, for harmony within and among us. This is the bedrock of our philosophy. Under no circumstances will it ever dry up.

Please join us this Friday around midnight for the much-anticipated revival of Noble Savage, or as we might put it in this allegorical light, the "Garden Watering" ceremony.

In the galaxy of electronic sound, as we know it today, there aren't many artists who can lay claim to a legacy quite like that of DJ T. In the course of three decades, Thomas Koch has injected every corpuscle of his being into music in that paradigm – both as a prolific producer, eminent DJ, editor-in-chief of the Groove magazine, cofounder of the seminal Get Physical imprint and in many other capacities. Through his program series that he curates in clubs around the world, Thomas is also responsible for establishing some of the most accommodative and fecund pads for new talent in the field, from which he has launched a number of the brightest stars in that sonic galaxy.

Over the years, DJ T. has traveled the length and breadth of the planet spreading his gospel. This Friday, he is bringing it to Tbilisi. Do not miss! The Revival of Noble Savage.

Mafia is so not what it used to be. More powerful than ever, it's crystal mafia whose means are creative impulses and unhampered fantasies aimed at re-imagining the world beyond the ordinary.

A message from Kieran Behan who is on a double mission here: "Dear Tbilisi. I am coming to you with Sina Coquina and Stefanie Reinhard. We are shooting a surreal film on 16mm. Looking for inspired hair & makeup artists, avant-garde designers, weirdo abandoned locations and anything else".

Please get in touch with any suggestions: www.crystalmafia.com

"It's never quite right, he said: the way people look, the way the music sounds, the way the words are written. It's never quite right, he said: all the things we are taught, all the loves we chase, all the deaths we die, all the lives we live. They are never quite right. They are hardly right at all." — Kieran Behan on Charles Bukowski.

Sammy D has been in music for decades, as a livewire DJ, fireball organizer, busy bee booker and whiz host in his native San Francisco. To the rest of the world he is best known as a vocal part of Pillow Talk. Implicating also Mikey Tello and Ryan Williams, the combo was formed in 2011 to amalgamate a good dozen genres, in some cases incongruous, testing and pushing the limits of each outwards.

"We grew up listening to what our parents listened to. But then you rebel trying to find your own identity and move to entertain whatever alginates your parents. So we went from classic rock, soul, funk, jazz, disco into hip­-hop and punk rock; and further into new wave, industrial, acid house and techno..."

Paging through interviews, one may figure their loose Pillow Talk method has been well hammered up by the wisdom of nihilism which demands the negation of all existing values and destruction of old paradigms. However, this nihilism is clearly of a generative kind, which does not succumb to the nothingness that ensues. It annihilates blueprints and formulae in order to make space for new practices, meaning and appreciation. Wipe the slate clean and lay down your own interpretations: "We approach music from a non-genre perspective. If there is even a hint of genre we would destroy it. DAG which stands for "Destroy All Genres" is our motto..."

Reggae, dub, boogie, disco, house, pop… In the Pillow Talk signature production or in the mixes which Sammy D is dropping in clubs, one discovers references to all of that. They are employed interchangeably to break the continuity of any particular genre that tends to take precedence in the sets.

Music is not the only source from which Sammy D draws his inspiration: places, travels, everyday encounters, world affairs, different climes, various social environments, interpersonal relationships, sometimes no less favorably from the lack thereof…

Come be his muse.

Notorious French disco producer Guillaume Atlan aka The Supermen Lovers has been turning heads since the turn of the millennium with his expert crafting of rhodes, synths, drum machines, and funk samples. From setting up his own label Lafessé Records, which was home to his 2001 hit ‘Starlight’, to putting out five albums and a lengthy series of EP’s, this French talent has earned his stripes in the most convincing way possible.

Resident DJ at Gate and Botanico, Bene has made the name for himself through his early, unique and extensive contributions to the development of the club and electronic music culture in his native Batumi.

As a producer he is globally known for a number of quality EP releases on international imprints such as Groove Baby/UK and Midwest Hustle/US, his music output for compilations and a series of remixes for other notable artists; while Bene's DJ sets confirm that he is one of the most resourceful and adventurous figures on the scene – now with his base in Tbilisi.

According Tristan Tzara, one of the central figures in the Dada movement, to create a poem – the kind of poem that resembles you: 1) Take a newspaper and scissors; 2) Choose a piece of an article; 3) Cut out each of the words; 4) Put them all in a bag and shake; 5) Then pull each one out blindly; 6) Arrange the words in the order they leave the bag.

Now, if you repeat this very procedure with a bagful of danceable tracks as your basic compositional units, you get your dada disco. There are other personification methods applicable to music and not so easily explicable. Let's see how they play out this Saturday. Can't go wrong with Dada Disco and Michael Peters behind the decks.

Go ask them. Dada Disco will not tell you a single specific source of their creative nourishment. Denis and Guillaume, two French gourmands, take in and digest pretty much everything – from hard rocks and heavy metals to pop-synthetic substances and gaseous ambiances. Subsisting on such a miscellaneous sonic diet, you don't expect these fine promiscuous omnivores* to ever spew back a cliché. Moreover, they assert that design, art, cinema and fashion are as important in their menu as anything that sounds as music – to remain and evolve who they are appearing each time in terms of expectations positively as vague as a blind guess.

The protagonists of their own story are very much the products of that confetti-strewn disco chaos registered in the porous memory of rampant good times on the block as Bar 25. "If you remember, you weren't quite there." It's through the grinding wheels of this fabulously ramshackle den of intemperance and non-stop debauchery that the French combo has found its way into Berlin's bustling club scene as its permanent residents – making their habitat even more hilariously feverish, before going global.

Dada in their name perfectly sums up all the madness and extravagance of their formative context, for one thing, and it sticks well, for another, as Denis and Guillaume continue deftly juggling the genres and jumbling the ingredients to deliver their unique blend of sexy sounds, manifesting their penchant for unhindered spontaneity as against robotic guide-lines leading to unheroic dead-lines.

Dada doute de tout. Tout est Dada. Méfiez-vous de Dada!

* To borrow the epithet from Alice Echols who writes in her book Hot Stuff: "Promiscuous and omnivorous, disco absorbed sounds and styles from all over, and in the process accelerated the transnational flow of musical ideas and idioms..."

A thinker, activist, writer, teacher, music producer, disc jockey… Born, bred and based in Tbilisi, Ash Scholem has been since a while ago playing across Europe alongside the associates of such highly vaunted entities as Berlin's Ostgut Ton and London's Whities; and dropping his mixes at places as revered as Panorama Bar/Berghain.

Before hitting the long open road, Ash was for years honing his skills playing parties in his mid-range neighborhood electrifying the scene with "a whole mix of different stuff" drawing energy from the vast subterranean reservoirs of French house, dub-step, drum'n'bass and, reportedly – for all pragmatic purposes when it comes to cultivation of artistic identity – wisely abstaining from minimal techno which was in full swing back in the days and, on this very account, was not exactly his thing.

Since the mid-2010's, the night-world in Tbilisi has been vigorously flourishing – a few setbacks notwithstanding. This blooming development is due to many factors, including the diapason of vision, the level of commitment and the amount of enthusiasm emitted by certain individuals in that world.

One such to name is Ash Scholem in his capacity as a booking agent for Mtkvarze, one of the trend-setting nightclubs in the city. Brought up listening to post-punk all the way to Rinse FM embracing the versatility of innovative genres, he is one of those responsible for broadening the scope of music played here in clubs, with the ultimate aim of finding within this scope the niche of authenticity, the sound of Tbilisi sui generis: "I want to branch out from Berlin style."

He takes the task further to dispel the "next Berlin" hype altogether. "How can you compare?! Berghain gets millions from the city while Bassiani gets raided by riot police. Sure, the scenes share some narrative. But mind you, people go to clubs here because they don't know what awaits them tomorrow… Clubs aren't just for fun. They are also spaces of empowerment. In Georgia, they are the only trusted institutions we have."

A predecessor and successor of the highly acclaimed and popular Pardon Moi duo act of his own making, Thomas Freudenthal keeps producing memorable dance-floor hits seamlessly blending ultramodern electronics with the classic New Wave vibe. It is the kind of output that sounds both luxurious and decadent, warm and refreshing, somewhat dark while also intensely glowing, retrospective and a step ahead of its time. His style is simultaneously so familiar and so strange.

In his own definition, it's a retro futuristic dance music that thrives on nostalgia while never triggering fatigue making the audience feel past their prime. On the contrary, it holds qualities which extract the listeners from the frame of temporal references and catapult them beyond their space-time continuum altogether. Noble Savage wants to know more about the person behind the form so full of paradoxes.

Read More: THE MICROCOSM OF THOMAS FREUDENTHAL

As a self-respecting, reputable and independently minded DJ, Elliver would not let any genre (which is essentially a marketing concept) capture, command and control her intuition. Bending to the latest trends and kneeling down to the most popular expectations are not her postures, either. Yet, in her upright unwavering and unyielding stance, she somehow manages to convince us, general audience, that her aesthetic choices are actually our best options, for our own sake, and to the highest cultural advantage as well. So true.

It was not in the nursery for crawling wee angels where Elliver made her first foray into music. No certificate from the University of Berghain to adorn a wall. Her parents taught her the basics of music and bought her drums – a foundation solid enough to buttress one's aspiration through life.

Elliver grew up in a town where the only music was goa trance and heavy metal – the kind of atmosphere which left her no choice but to escape from being cloned into it. She fled to Hamburg and found refuge at Click, some phantom club entity with an unregistered address, its activities virtually undocumented and the current status unclear. Admitted as a resident DJ, the inpatient received her intensive rehabilitation in music and all the blessings in the world for her further moves along the swerving path of an artist.

Quite naturally, this twisted path led Elliver straight to Berlin where, guided locally by her suitably hedonistic impulses, she fell soft-landing in the welcoming arms of Bachstelzen, a famed art collective directly responsible for such paradigmatic projects as Fusion and Garbicz festivals and, to a large extent, the evolution of Berlin club culture as a whole, as we know it.

The caretakers scooched a couch over to the DJ desk to maximize the comfort level of new residency, ensconced a friend on the couch next to Elliver to attenuate her solitude in the spotlight, and in the end all genuinely rejoiced at the effect obtained by mixing electronique-psychédélique of Dusty Kid with grumpy anti-establishment punk rock of Goldenen Zitronen.

That was back then. 15 years down her winding path, Elliver brackets all the twists out and swings today strictly in between what sounds as techno and house, playing it deep, of course, and never scrimping on juicy colors. A real character, an original and notable music maker, she is a co-founder of Quality Time agency, scouting international talent, booking artists, organizing events and empowering women in the field.

Hailing from Batumi, Nicole has emerged on the scene first – at the age of 18 – as a co-founder of Body Thrills, an experimental two-piece minimalist combo set out on a grand mission to explore the possibilities or, rather, the outer limits of music reduced to what in parts may sound to the uninitiated a lot like dry drifting noise warped with glitches, permeated with clicks, and transpierced with drones; and then, since a few years ago, as a talent in her own right steadily pushing all the way into the paradigm of very concrete high-energy dance music. Following her gig for Boiler Room at Bassiani during the rave-riots in Georgia in 2018, Nicole is now recognized on the local club circuit as one of the most salient female djs and producers.

Nicole Popkhadze holds a residency at Cafe Gallery where, besides her duties behind the decks, she enjoys her role as a promoter and talent scout.