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Born in 1978, Bjoern Stolpmann, who moved from Hamburg to the south German city Stuttgart during his childhood, mingles early with the electronic music scene. In the very early 1990s he discovers his admiration towards machine music and the universe of synthetic sounds – the tracks of Future Sound Of London or KLF are only two of many examples as he is deeply interested into all the different new and fast growing branches of the tree of this very young music at that time. When the time came and Germany was hit by the wave of raves, Bjoern was gripped and started to absorb everything he could get. Bands like Euromasters or Neophyte make him want to hear rather solid electronic beats, but he nevertheless never denied his love to melodic sounds and tunes. In 1994 his spectrum widens, Bjoern starts listening a lot to TripHop and bands such as Massive Attack or Portishead, but on the other side the powerful and dynamic techno tracks of Swedish Producers hit on him hard. Of course Bjoern attends all the big events like Rave City, Time Warp, or the Masters Tribe in Stuttgart, on the one hand to simply have fun, on the other hand to get inspiration to satisfy his bigger and bigger getting wish to become a DJ. Being 18 he invests the money planned to be for his driver’s license into two Technics and a mixer – priorities are priorities. Bjoern practices and plays wherever he cans, every party is welcome. At the same time he does his first steps in producing own tracks. Using diverse tracker programs or later propellerheads’ groundbreaking music software “ReBirth” he attempts to develop his first own creations. His change of direction sound wise comes after the purchase of his first minimal techno and dubhouse records, which end his “first stagnation phase in producing” as he calls it himself. The records have a lasting effect on him and he shifts from technoid power loops to rather sophisticated compositions. Being pushed by the never ending fascination of his own productions, he laid the foundation for his own studio by buying a couple of synthies and other equipment. Then he starts looking more and more profound into the subject. The results of his work attract interest by the label Onitor based in Stuttgart and Cologne, and after several meetings with Joerg Koch, the label director in Stuttgart, the mini-LP “Feels like you are passing me by” (2001) was released and very much praised by the music press. The singles “Draw away from the attempt” and “Aberration of Intention” are following in 2002 and 2003. They are still dominated by dubhouse styles, but already with much more punch and power. Bjoern creates a remix of the track “Catalyst” (onitor 2004) for Eric Estornel (Maetrik) and Bernhard Pucher (Brian Aneurysm) and continues the year by releasing his 12" “Disappointments require expectations” (2004), which couldn’t be more diversified. Including a cool remix by misc, this fourtracker becomes a wild ride over rough and smooth. The journey takes you to a frantic adventure of sequencers, cologne-style minimal techno, to the darkblue dips of the dubby deep see. In recent times he worked on remixes for Joerg Koch aka “Solovyev” and “Loopschrauber”, whose track was dismantled by Bjoern for the remix compilation “Kalte Fuesse”. In the beginning of 2006 Bjoern released his “242”-EP on the French label Kailash and the 12" “Blood Embrace” on the Suisse label Tongut which gave his sound a new exciting drive. After that, a Stolpmann-remix of Antilp has been released on the second “Kalte Fsse” Compilation. The next releases will be on onitor, tongut and karateklub. fasten seat belt.