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About Max Graham
Canadian DJ Max Graham started as a cut and scratch DJ before he switched to the genre of trance and progressive house. Starting at the turntables in 1986 at 15, Graham went from cut and scratch to house, at a time when house music was going through a renaissance period. Around 1992, when progressive house was at its beginning stages, Graham was exposed to the sounds of BT and Underworld. He was inspired by the selections of DJs like Paul Oakenfold and Sasha and decided to turn his music attention to spreading their sound throughout Canada. Though trance was spreading in Europe, only a few DJs were playing it in Canada. Though it took a few years, Canada caught on and made Graham one of its busiest progressive DJs. Kinetic Records took notice of Graham, giving him the helm for volume four of their Tranceport series, released in May of 2001. A bit prior to the mix album's release, Graham started producing in a small studio, with three of four of the tracks appearing on dance music charts in the U.K. and Europe. In 2003 Graham started hosting a monthly show on the internet-only Proton Radio and released the mix-CD Shine a year later on System. ~ Diana Potts, All Music Guide
Compilations Featuring Max Graham (20)
| Armada Pres. Ibiza Trance Tunes 2008 | Armada Music B.V. |
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| Roger Sanchez Presents Release Yourself | Stealth Reco... |
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| The Gallery Live Sessions: Tall Paul & B... | Duty Free Re... |
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| Godskitchen Global Gathering | Virgin Recor... |
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| Nubreed Satoshi Tomiie | Global Under... |
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Shazamers Who iD'd Max Graham
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Kids MGMT |
| With 2005's "Time To Pretend" MGMT created a musical moment that would resonate for the next three years, putting it amongst the creme de la creme of new millennium indie anthems. With latest single, "Kids", MGMT fail to scale the heights they did with their first single, but still deliver a track that has met with strong approval from such critical sources as Pitchfork media, Zane Lowe and, surprisingly, dance music bible Mixmag who cited it as one of their "tunes of the year". Sporting an overridingly childlike melody that shimmers due to the interesting use of a distorted stylophone, the track washes over the listener thanks to the great use of a Gary Numan-esque synth line. This is all brought to the fore on the new remix by Belgian dance maestros Soulwax, who turn the muted indie cool of the original into an irrepressible club monster. If any evidence is needed, here is a clip of Erol Alkan playing the track at the recent Pukkelpop festival. Quite simply, amazing! | |
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