Electrosexual & Nicky Miller - 'Like That' Release Party (Video Screening, LIVE Show, DJ Sets)

Who they are

• 

  Electrosexual

  Toulouse, France · 11 bookings since Oct 2025

  “Activism, feminism, queerness and electronic music!”

  their own biography

  the whole biography

  Activism, feminism, queerness and electronic music! This is the combination of ELECTROSEXUAL, brainchild of Romain Frequency, the Berlin-based music producer and DJ — as well as a vehicle for them to explore gender, art, technology, and alternative sexualities through auditory signals. With past collaborations alongside Peaches, David Carretta, Hard Ton, Hanin Elias (of Atari Teenage Riot) & Kiko, ELECTROSEXUAL stands as one of the key figures of the French Electroclash sound, alongside Miss Kittin & The Hacker and Vitalic as recently highlighted by The Guardian ELECTROSEXUAL’s sonic universe boldly explores themes of gender identity, art, alternative sexualities, and our intimate relationships with technology. These themes pulse through standout tracks like "Automatic People feat. Hanin Elias", "I’m your Machine feat. Hard Ton" and "Fetish [ASFR]" a deep dive into the world of Alternative Sex-Fetish Robots. Their latest release, “We Dance Together, We Fight Together”, is both a dancefloor anthem and a rallying cry celebrating unity, resilience, and the ongoing fight against all forms of discrimination. In his Berlin-based bunker, armed with his analogue synth's - "sometimes reaching fetishism", says Ann Shenton of Large Number and Add N to (X) and with a DIY approach, Electrosexual creates the sound of the astonishing meeting between Joy Division and Giorgio Moroder. ELECTROSEXUAL CHEMISTRY : The method and the formula behind the sonic experiments of Romain Frequency, ******** interview by Paul Davies for Four Culture Music Mag. Art Support Machine, an album which bubbles over with a mechanical yet unorthodox froth of forgotten sounds. More Global Hypercolour than High Definition, the thirteen songs recall a time when there was still much to discover within electronic music with now-established genres still in their infancy. With refreshingly imperfect rhythms and arpeggios Art Support Machine successfully challenges the over-produced sonic landscape our ears are accustomed to yet still retains a familiarity. With such an emphasis on nostalgia, it seems natural that the album should have been recorded in a bunker in Berlin, a city rich in musical and cultural history, and a key influence on a lot of the important electronic albums of the 70s and 80s. The topic of the studio is where we begin to get more of an insight into the world of Romain Frequency, the man behind Electrosexual... First of all, thank you for spending the time to talk to us in what has already been a busy year. Please talk us through your studio set up. My studio is focusing on the connection between the synthesizers, effects units and the final recorder. I mainly use audio as opposed to midi. When I produce music I need every machine to be plugged in ready to be used. Even though I always have a sound idea in mind, I never know what I’ll start with and I let the instrument dictate the direction. Then starts the cooking! The studio is a wonderful place. It is a blank canvas and I am always excited translating emotions into music. I have been moving a lot over the past months, and my studio is following me. It is a mobile studio. The album Art Support Machine lists a large and enviable number of synths and hardware. Have they travelled with you? Do you own them all? Yes I own most of the equipment used on the album, although a couple of synths, like the Oberheim Matrix 6 and Elka Rhapsody belong to my friend and label partner François Abberline who co-produced the song “Out of Place”. I could not live without my synths, so they travel with me. This requires a lot of discipline and organisation. I am not mentioning that the family is growing all the time! It is funny that you mention family. Like a parent with several children you probably cannot pick a favourite, but you must have a favourite synth surely? My favourite synth is the Korg MS20 mainly because it is a sound factory that has a lot of energy and can be very experimental. For me, it is not a synthesizer, more like a magic box for emotion. Many of its sounds are really evocative and inspiring. It is very organic. The variety of sounds seems infinite. You can create drum sounds, soundscapes, noises, pads, or simply try to imitate sounds of traditional instruments like flute, oboe or guitar. Like Roland’s TB303 was supposed to replace a bass, the MS20 was supposed to recreate any existing instrument sounds! And is there a particular synth, past or present, you wish you owned? For a long time I wanted to own a MOOG Liberation especially for my gigs. It is a wonderful and powerful Keytar synthesizer (made famous by Herbie Hancock) but when I got the chance to try one, I actually realized it was far too heavy for stage use, despite the fantastic sound quality. You have released several songs and remixes before this year. Why did you wait before focusing on an album? What is a typical process when you are creating songs? New music always sets the tone of where my head is at. With a single song, the time between the creation and the release is usually quite fast which means it can easily follow the stream of my mood, feeding the track with a specific idea close to what I am experiencing at the present moment in my life. Working on a full length album is a different process. It is longer and more organised in the sense of a complete concept. You have to visualise the whole concept at once. A lot of the creative part and spontaneous work is being done beforehand, and then when the main demos are crafted it’s more a question of production, arrangement and then mixing and so on. You have guest vocalists on several songs on the album. How much do they contribute to the songs? I like the idea of collaboration on a song, because of its dynamic. Generally, I start with the idea of the song, providing the music, title and theme direction, then the collaboration starts, turning the original project into a far more developed one or turning into a totally new idea. Everyone will interpret the themes of your album in their own way but what were you trying to achieve? I am fascinated about the mythology surrounding music and machines. I needed to explore this theme to be able to go further in the future. It was important for me to consider the machine as a persona independently from the human, with its own fear, emotion and sensitivity. Did anything in particular inspire you to be fascinated by the theme of machines? A novel, film or other music perhaps? There is a lot to mention: from the robots of Kraftwerk; the replicants of the movie Blade Runner; the synthetic artificial music performers from Norman Spinrad’s 1987 novel Rock Machine (aka Little Heroes) which I named my Record Label after. Do you think you will continue to explore this theme of music and machines....like a follow-up or sequel? Or have you already got other plans for your next releases? I still have a lot of ideas around Machines that I want to express in the next single releases out of Art Support Machine. The concept will develop on future videos from the album. The new single “Automatic People” featuring vocals from Hanin Elias deals with the automatic life of the everyday routine and how and why you should get over it. Future projects will focus on different themes obviously. While the music is very important, tell us how important visuals are for Electrosexual either as promotional video or in a live setting. Ever since the beginning, visuals have been part of the project: I developed a specific visual for each song or release. For the live show, the visuals are used of course for their aestheticism and complement the music, but also to deepen the meaning of instrumental tracks (for example some visuals show definitions of specific terms as A.S.F.R. (alternative sex robot fetishes) on the song Fetish, or even political statements.) With Art Support Machine, the concept is different - I teamed with two visual artists living in Berlin that inspire me a lot. They are Lukas Julius Keijser, who is working on this project exclusively with the silk-screening process and Philip Marshall who is the resident designer of the ZTT re-editions. I use the different formats of the release as a canvas. Every format for the album (Vinyl Picture Disc, Digital and CD) shows a variation of the main visual. Every single from the album will also have a dedicated artwork as they are a part of this concept. At the end of the project, the ensemble will show all the prints created. Like in an art gallery. What else can the audience expect at one of your live shows? Each show is a performance. I use screens to project videos. As I am alone on stage, most of the tracks are adapted and remixed for the show so that I can perform live as much music and vocals as possible. Depending on where I am playing, I have a couple of synths or more on stage, as well as a drum/sample pad and effect controller and of course a microphone. In the end I want the audience to experience the performance as if there was a full band playing in front of them. Who are your main influences? Who inspired you to try electronic music? I always have been inspired by electronic musicians. As far as I can remember, Jean Michel Jarre was my first introduction to the genre. As a kid, I really got into synth pop and New Wave with bands like Depeche Mode, Soft Cell or Talk Talk as well as early 80‘s electronic funk, the exciting pop of Trevor Horn & ZTT and the production of William Orbit. When Techno and Acid house came to my ears I started to imagine creating music myself, but it wasn’t until I moved to Montreal in 2002 that I actually did! I bought my first synth from Xavier Paradis of the band Automelodi (Echo Kitty at the time) and used my exile as stimulation. I realised I could do anything with the sound and it became an exciting story. I could describe your music as techno or disco. You have just mentioned acid house and synth pop influences. Do genres mean anything in electronic music anymore? Are they important? Would you say that 'electrosexual' itself is a movement that you have created? I like blending genres together and I couldn’t stick to one single direction. It is again about the emotion diktat, not about the style. Unfortunately, you have to put a name on your music. That’s why I like sometimes to invent new terms. I created Electrosexual in reference to surrealistic non "(human) sexuality". It started as a statement, considering machines and synthesizers as genitors, having their own kind of sexuality. This concept follows a movement inspired by artists including David Cronenberg, H.R. Giger, Psychic TV, Add N to (X) and Chris&Cosey/Throbbing Gristle. In the world of electronic music, the pioneers often end up falling behind. Do you hope to keep your music sounding fresh and if so how? A song, when finished, is like a tattoo...it stays forever. My music is always very personal and singular, so in this way will always remain unique. I like to play with references and be inspired by my music background. I don’t use any up to date piece of equipment so I don’t have the feeling to write fresh music. I always try to keep the creative process as exciting as possible. I am not worried about the freshness of my sound, I am more worried of not having enough time to release all the music I have in my mind for the world to hear...and this is a wonderful motivation!
  SoundCloud ↗Bandcamp ↗Discography ↗
  Their RA profile lists Eskimo Recordings, Mobilee, Space Factory, Black Montanas and 6 more.

  Last at Void Hall in Oct · often with Mashyno, Dj handbag, Posture, none of them here that night

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  Sherø

  Berlin · 13 bookings since Aug 2025

  “After more than 25 years of spinning and producing under pseudonyms Stephanie, D’Stephanie, and later on D’Steph, with releases on renowned labels such as Sonar Kollektiv, Chez, Jalapeno, Hed Kandi, PUMA… a change was necessary to break down old habits and reinvent oneself.”

  their own biography

  the whole biography

  After more than 25 years of spinning and producing under pseudonyms Stephanie, D’Stephanie, and later on D’Steph, with releases on renowned labels such as Sonar Kollektiv, Chez, Jalapeno, Hed Kandi, PUMA… a change was necessary to break down old habits and reinvent oneself. This resulted in a short move to London in the summer of 2015 and a more consistent one to Berlin 2 months later. It's In Berlin where she revived her passion for real underground house music in its most honest way and resuscitated her inner nineties kid that just discovered house by bringing back the essence of house music without genre limitations… The kind of house music that was about your mind, your body, and your soul. The ultimate seduction for rebels, artists, anarchists, people of all nations, colors, genders, sexualities, and most of all an open-minded, non-commercialized or marketed community. To put this feeling into action, a new pseudonym was inevitable and Sherø was born. Eversince Sherø became a regular at Berlin´s best party scene with a residency at Brenn. and sets at Hor, Buttons, Gegen, Cocktail d’Amore, RSO, Horse meat disco, Watergate, About Blank, KAKE, Renate, Golosa, Whole festival, the Garbicz festival… Around 2018 an old childhood dream resurfaced and resulted in a a few years of brainstorming and preparations to start her own record label. In 2020, right at the start of the pandemic she launched her own imprint KlubKid Records, a queer record label with a cute small roster of quality artists from the electronic music scene: Karma She, Electrosexual, Sherø, Joy Wellboy, Kirill Shapovalov, with his Haute Dance project, Pepper Levain, and Dornika. What has she been up to in the past? It's been quite a ride for Stephanie. Starting at the tender age of 15 years old at Radio Centraal, a local radio station frequented by some of the early stars of fashion and art students, Stephanie moved on quickly to the playgrounds of some of the best clubs in Belgium. From 1993 thru 2005, Stephanie held various well-respected club residencies, serving a mix of house, deep house, Techno, tech house, and other new electronic music genres. 1993 - 1998: At the renowned Café d’Anvers she spun at the groundbreaking Gap Club, Positive Educations, and Nu Skool Friday nights. Meanwhile, Antwerp crowds also witnessed her do her thing at Excursions in Dance on Saturday Nights while on Thursdays she rocked Brussels' very hi-tech Cyber Theatre. Meanwhile, she was a frequent guest DJ at various clubs and Festivals like I love techno, 10 days off festival, Fuse club, and many more. Come 1999, Stephanie was one of the quintessential factors that made Fill Collins club the hippest in Antwerp and beyond. Two years later, she maintained her momentum when she moved to Club Geluk for another 3-year residency at Antwerp’s newest hotspot. In this period she got signed at Holland’s Barkers bookings agency, and scored a 3 monthly residency at Chemistry in Amsterdam, while frequently playing Now & Wow in Rotterdam and Decadence in Ghent. On top of all that, for 4 years, she blessed one of the biggest male lifestyle magazines Ché with often controversial record reviews. After 2005 the club scene in Belgium changed into a more pop up party orientated nightlife so she decided to break free from club residencies and focus on one-off gigs and touring with vocalists who featured on her own productions on labels such as Sonar Kollektiv (Berlin), Jalapeno Records (London), Chez (New York), Hed Kandi (UK), Puma (USA), Black Vinyl (London), Broadcite (London), Wally’s groove world (Antwerp) and many more. Throughout 2011 Stephanie featured vocalists from around the globe: Wunmi (New York/London), Angelique Brown (Detroit), JNM (Amsterdam), Philippo & Melissa (Antwerp). From 2012 until the present day, Stephanie went back to basics and started playing solo again as an underground house dj. Rock the spot: Berlin Gegen, Brenn., Buttons, Cocktail d’Amore, Golosa, Horse meat disco, Queerport festival, Farbfernseher, Watergate, About Blank, RSO, Sounds, Transmission festival, Kake, Fiese Remiese, Whole Festival, Schwuz, Krista Kupfner, ziegrastrasse, Trashera,… International Warm at the Medicine bar (London), Mood-lounge (Karlsruhe), AKA (The End London), Lopsided at Rubylo (London), Babushka (London), Unknown FM (London), La Maison (Rome), Akab (Rome), Brumana (Latina), Ex ess (Naples), Shagadelic (Amsterdam film studios), Spybar (the Gambia) Club Japan (Barcelona), Club BED (New York), Club Hefner (Barcelona), Bar Benidorm (Barcelona), What’s up (Paris), Chemistry (Amsterdam), Now & Wow (Rotterdam), Kwaku Festival (Amsterdam), Gay pride (Amsterdam), Paradiso (Amsterdam), Club eenheid (Nijmegen), 042 (Nijmegen), London Calling (London), Corsica Studios (London), Heineken Dance Parade (Rotterdam), Stalker (Haarlem), Girlesque (Amsterdam), 3FM (Amsterdam), House FM (London), Broadcite parties (London), Coalesce (London.. Belgium Café d’Anvers, Fuse, Decadence, Kissinger, Antwerp fashion academy parties, I love techno, Ten days off, Pukkelpop, Botox, Stockholm S, Izzy Maze, Piaf, Petrol, Stubru, FM Brussels, VZW Emma, Lokerse feesten, Couleur café, Surplus, Komilfoo, Club Midi, Pacific, Central Station Antwerp, Syndrome, Vooruit, Club Io, café Capital, Club Bardot, Cybertheatre, Cruises to pleasure, Who’s who’s land, Magasin 4, Cirque d’Anvers, le bozo, Le Sud, Storm, Tour de l’est, Ockxfest, Café au lait Street party, Club geluk, Muhka, Launch, Fuzz Club, Culture club, Club Pure, Tijuana, Red & Blue, Fill Collins club, Montuno’s, Kaaiman, Stereo sushi, Le tavernier, Milk club, Darkawa, Alter Ego festival, Foolhouse, Club Natural, Youthopia, Clubbing on Ice, Musiccafé Leuven Silo, Mirano, Culture club, Zappa, Girlesque, Cactus Club, H20, Leuven Expo, Ghent Expo, Kozzmozz, House Torhout, Never Say Never, Rumba, Laundry DAy, Virgin Megastore opening, Raf Simons party, Funky City, L’emotion, Bankwok, Stuurboord, Antwerp is burning, From disco to disco, yellow fever, Bar midi, Het Kanaal,… Stop the press: Kaltblut magazine, DJ magazine (Uk), Jockey Slut (UK), Echoes (UK), ID magazine (UK), Blues & Soul (UK), IDJ magazine (UK), High Rollers (NL), ID&T Slam magazine (NL), Channel 4 (UK), The Paris Stuttgart (FR), Nieuwe Revue (NL), Street Sounds (USA), Paris Match (FR), Stubru, Radio 21, De Morgen Het laatste Nieuws, Humo, Standaard, FM Brussels, Urgent FM, Weekend Knack, Out Soon, TMF, Jim TV, VRT, Canvas, Radio Campus, Teek, Flair, GVA, Multipop, ATV, TV Brussels, MCM, Plastiks, Move X, Ché, Radio Donna, Fun Radio, Groovy, 6 AM,… @ the side of: Amelie Lens, Kiril Shapovaliv, Nina Kraviz, Jocelyn Brown, Daft Punk, Carl Craig, Jazzanova, Felix da housecat, Mateo & Matos, Darren Emmerson, Tom Middleton, Bob Sinclar, Dj Food, Faze action, Kenny Dope, Idjut Boys, A guy called Gerald, LTJ Bukem, Aqua Bassino, King Britt, Norma Jean Bell, Jesse Saunderson, Kevin Saunderson, Derrick May, Farley Jackmaster Funk, Howie B, Adam F, Slam, Dave Angel, Wax Doctor, Stacey Pullen, Ballistic brothers, Dj Disciple, Kenny Hawkes, Gilb’r, Dr. Rockit, Glimmer twins, Patrick Pulsinger, Green velvet, Gemini, Orlando Voorn, Bandulu, James Lavelle, Mark Broom, Kenny Larkin, Coldcut, James Lavelle, Truby Trio, Locked Groove, Dimitri From Paris, Dream team, Daz-I-Kue, Ninja Tune DJ’s, Renaat (R&S), Ken Ishi, Blake Baxter, Squarepusher, Ballistic Brothers, Dimitri, Autechre, Jim Masters, Xpress 2,… MANAGEMENT Worldwide klubkidrecords@gmail.com
  SoundCloud ↗Bandcamp ↗
  Their RA profile lists Jalapeno Records, Sonar Kollektiv, Hed Kandi Records, Broadcite and 1 more.

  Recently at KitKatClub, KREUZWERK, M01 · often with Dj handbag, 131bpm, OPH, none of them here that night

• 

  DJ KILLING

  Berlin · 35 bookings since Aug 2025

  “Born and Raised in Berlin.”

  their own biography

  the whole biography

  Born and Raised in Berlin. With Austrian and Afro- American roots. At various Berlin Youth events he built a reputation with young creative individuals flocking his sets. Through early club impressions and a penchant for nostalgia, his sound has consolidated over time. Its eclectic selection surprises in genres where many seem to know there is nothing new. Many genres are served, from Acid House, Techno, Ballroom to East German Schranz. It's all in the mix. This is where its craving for rhythm lingers, staying consistently in tune no matter what the BPM.
  SoundCloud ↗

  Recently at Bierhaus Urban, ZK/U (Zentrum für Kunst und Urbanistik), OXI · often with travaspango, Eric D. Clark, Dmitra, none of them here that night

• Nicky Miller

  2 bookings since Nov 2025

  often with Posture, Mashyno, Immy, none of them here that night