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One of the coolest things in life is going along to a place where Sydney DJ/producer Typhonic is playing, and about half an hour in, turning around and observing the look on the face of your fellow dancers on the floor. Whether they be new to his ways, or seasoned fans of this most amazing beat manipulator, those experiencing his performance all kind of look the same. Hips shaking, shoulders bopping, heads nodding, but their jaws are somewhere near the floor in awe of his turntable skills, mad tracks, and his all-over-the-mixer-style creativity,
Ben Redzic started DJing at 14 and through hard work, supportive and willing audiences buoying him onwards, over a decade later had racked as many notches in his belt as those who witnessed the youngster hoped, nay, *knew* he would achieve. His amazing prowess as a turntablist helped him scratch and juggle his way to 2nd place in the 2008 NSW heats of the Australian leg of the DMC championships, narrowly missing out on a finals berth. The difference? Ben isn’t a technical hip hop DJ. He’s a bass loaded party rocker. From breaks to dubstep, ghetto tech to drum and bass, Typhonic has integrated turntablism tricks and flashery to music few ever attempt, and even fewer get close to pulling off as well as this young man. His sets are diverse, entertaining and barnstorming, never ever dull.
As well as having played multiple sets on radio stations such as Triple J and FBI, Typhonic has garnered support slots with pretty much every touring international that would be appropriate for him to support. From breaks dons like the The Crystal Method, Plump DJ’s, Deekline, Freestylers and Krafty Kuts, to playing with Drum and Bass legends like High Contrast, Roni Size, DJ Craze, Krust & Die and more recently, dubstep doyens like Starkey and Vex’d.
A three time Top 5 place getter in the inthemix.com.au top 50 DJ’s poll from the ACT, he was also one of 40 selected from around the world to participate in the Red Bull Music Academy in Sao Paulo, Brazil in 2002. This taught him some production skills to add to his mastery and manipulation of others songs pressed to vinyl, culminating in 2009 becoming the first Australian to be signed to legendary Detroit Ghetto Tech and Booty label Databass (home to some of the pioneers of the genre such as DJ Godfather, DJ Omega, Starski and Clutch).
The best is yet to come, and the killer bit about this is that all audiences in the future, being those experiencing him for the first time, or those that have been wowed by him since seeing him for the first time over a decade ago, will still be doing that dance – hips shaking, feet stomping, head nodding and jaw somewhere around the floor with amazement.
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