HELL YEAH! I am SO excited this remix to be out!! Today i’m proud to tell you my remix of Joelito « Sick Head » is out on HUUUUUUGE label MAD DECENT!
For those who don’t know, Mad Decentis Diplo’s label, one of the most exciting labels at the moment.
Sick Head is Joelito‘s original tune. Joelito is a talented producer from Sweden, specialist of Tropical Bass (when the weather is bad like in Sweden i think you need the music to be HOT!). His tune « Sick Head » is a maaad tune with loads of cumbia elements in it. I had the honnor to make a remix of it and i’ve done something REALLY savage :)
I did something a little bit different… i got inspired by a new movement from Mexico called 3ball, which is getting really famous through bands like 3ball MTY. And in the more underground scene through guys like Munchi.
And you’re lucky, cos the release is free in 192ko before a proper release on Beatport.
Have a listen, download and please spread the word!
Part 2 of my inspiration serie with Daniel Haaksman, head of Man Recording.
My story with this label started few years back, with me buying one of my first Baile Funk compilation, « Favela Booty Beats » in Brighton. I knew this style before but it was a bit tough to find good stuff to dj with, the ones you could find online were more kind of 128ko MP3 files…
I love Baile Funk. I’ve booked DJ Sandrinho in Paris on 2007 and he did an amazing set, using his MPC as a guitar, in an absolutely unique style. But it was a bit tough for me to play this kind of music cos at the time, all the Global Bass thing was not popular at all. So it was a selfish pleasure ;)
Then, i discovered productions from Ku Bo, Daniel, and i finally had what i wanted: proper tunes i could dj with, which were at the same time dance-able & forward-thinking. I also really enjoyed the researches around the label, their covers & colourfull vinyls, & also the way they run their blog. With all this Daniel Haaksman has really helped creating a worldwide community.
And that’s why i wanted to interview him :)
In case some people don’t know you, can u tell us who you are, where you live and how long you’ve been in music.
My name is daniel haaksman, i live in berlin, i run Man Recordings and I´m a dj and producer. I´ve been professionally in music since the mid 1990s
What’s your musical background ? do you play music yourself ?
My musical background is hip hop by and large, but I always listened to many different music styles from heavy metal to dub. i played bass in a doom rock
band when i was a kid (i was a big black sabbath and melvins fan) but then got into djing and ever since never played much music live.
Is there one artist you want to mention who has inspired you ?
I think marcel duchamp is probably the artist that has inspired me the most as he made clear being an artist is all about what you define as being art.
Before music have you worked on other things than music ?
Until recently i used to be a music journalist writing for various german music magazines and daylies, and for a few years i used to work as a curator
and co-ran a gallery.
How did the idea of running a label came ? is there any labels you got inspired by ?
I started Man Recordings after releasing my compilation « Rio baile funk favela booty beats » on my old label essay recordings in 2004. Essay recordings i ran
with gyspy Don Shantel from 1999-2005. I quit essay recordings when i saw how well the baile funk compilation was selling and what feedback it created i decided to give this sound its own platform and thus started Man Recordings on my own in 2005. With Edu K i found my first artist and then i created the Funk Mundial and Baile Funk Masters series which became quiet popular with releases by artists such as Crookers, Count & Sinden, Feadz, Jesse Rose and many others, those two series gave the label a big boost in popularity.
Recently, i´ve been putting out more artist related stuff, meaning i now concentrate on a few artists such as João Brasil, Bert on Beats, Schlachthofbronx, Ku Bo and Isa gt. And of course i release now more my own stuff as a producer and it´s a great luxury to have a label where i can really release what i make myself, so it gives me great freedom, especially artistically.
there are many labels i was inspired by, Warp Records, Rhythm n´Sound, Dance Mania, Wild Pitch but also 1990s labels like Mo´Wax or Major Force where you could really buy every release and you knew it was amazing, fresh new music.
What were the main things that helped your label to grow?
Actually, i think there´s a few factors that made Man Recordings became known. Probably the most important thing was that Man Recordings right from the beginning stood for a very special sound. When i started to release the first Edu K singles, and then the Baile Funk Masters and Funk Mundial singles, there was absolutely no one else outside of brasil that would release this kind of music.
So Man Rec had a unique selling point as you say in marketing language. Another important thing was that i released tracks and / or remixes by artists such as Diplo, Crookers, Sinden or Switch at a time when they were either completely unknown (Crookers first international release was in fact on man recordings) or were just known to a few people, as the whole global bass /ghetto scene around 2005, 2006 was very small. So it was really easy back then to get access to these people or even give them a first proper platform and as i felt that those people were very talented, i also received a lot of quality tracks and contributions.
So basically what made Man Recordings is a unique sound, a good timing, a good selection of artists, and quality releases that made my label grew and become known. Blogs were not so important as i only recently started to promote my releases through blogs, gigs really only started to kick in last year, but of course djs have been an important point as well as many top-dog djs played Man Rec stuff. i had a bit of press here and there but it´s really one of the lesser factors, especially in germany, where music journalists are still completely asleep about global bass.
How many people are working at the office of Man Recordings ? how does the everyday life of running a label is ?
Actually i run the label pretty much on my own. Since one and half years i have occasional interns who get introduced to the art of running a label (lol). I´m in the office two and half days a week. Most of the time at the office is spent on communicating with artists and organising the various aspects of running a label, i.e. taking care of the mastering, the graphic design, distribution, press, and of course the administration side, accounting, calculating, legal things etc. is eating up a lot of time but it´s just the normal part of running a label. It looks glamourous from the outside, but running a label means also doing a lot of dull stuff, but in the end the outcome is always ten times better than for example working in some ad agency .
Your label is the global bass specialist (it covers other genres, but i think this term is good, do you agree ?)
in terms of sales or gigs for u & your artists, is it global too? :)
In terms of sales yes, i sell all over the world, particularly in Japan, Australia, USA, Uk, France and Germany and a bit in brasil.
In terms of gigs i think the last year was a big step for playing more internationally and this year promises to be even better with tours of some of my artists in Asia, USA, etc.
If you’re reading this post, i advice you to have a look to Man Recordings blog cos it is really good. The thing i like the most are the videos & more artistic contents cos it gives a good way to understand the whole process, it gives a context to the music. You can watch documentaries about Baile Funk parties, this kind of things. It’s not just a tool to promote the label :)
Daniel, do you consider yourself as a blogger ?
Well i consider myself a blogger, yes, but the Man Recordings blog / website is really very much about the label and the label´s artists and what we like, what we experience when travelling, etc. , rather rarely we are posting tracks or stuff from other labels as we always think that there´s so much music blogs around that just post stuff that people send them, and we really try to filter it hard to publish only what´s related to the label, our sound and the artists.
Is this blog just a solution not to have a proper website, or is it really something you are into ?
Actually it is a proper website as we have the whole discography and links to other platforms on the site. But as regular websites are very static and boring and we experience and see and hear so much stuff every day, it´s important to publish the best stuff in a blog format.
I think blogs were hugely important in making this style popular.
I agree. As the whole global bass sound is really a sound of the internet age it´s the blogs who pushed it.
But i can see in my everyday life this is really a niche. What would make this music more popular you think ?
I think it need more artists that cross over to a bigger audience. It has already reached a considerable critical mass with blogs, artists, djs and labels which i´ve never thought of 5 years ago, so it´s already a fantastic situation that it became so big and international. But i´m sure it´ll grow bigger and bigger as for me there isn´t much else that´s really new in music, besides dub step. All other music i find on blogs these days is either really boring, nostalgic, or repeating what has been done musically for decades.
This is a though i have for a year or 2… It’s getting really hype to play « world music » today
Well it may be hype but in the end very few people actually play « world music » in clubs, it´s mostly still very much house oriented music. I rarely meet or see djs who play e.g. Omar Souleyman or who dare to play a 10 min die-hard batucada track in their sets or who play a round of soca tracks (well, Schlachthofbronx do that).
but extreme right parties are growing all over europe… It’s a bit paradoxal don’t you think?
Well those extremists are representing the fears of change. They want the old world in which they grew up to remain but don´t understand why this is not happening as the world is fundamentally changing. Yes, a few people are playing music from very remote countries and trying to present a more global view on culture, yet the majority is very conservative.
If society would be able to change as quickly as music, well then we already would have world peace, wouldn´t we?
You used to make colourful vinyls, and now you’ve stopped. We all know that it’s getting really hard to sell music nowadays, especially vinyls. But there are other styles which still sell a correct amount of vinyl, like dubstep of course. How would u explain this ?
Well as global bass is really a sound that is nurtured and spread through the internet, there isnt any use to release it on vinyl. Vinyl is a great format with great sound, i still buy vinyl when available but as a label its very expensive to make, and it is very slow and there´s always problems in the manufacturing and distribution. We made vinyls when there was still a market, when distribution was still working and when online sales were still in their infancy years. Nowadays, when a track is hot on the internet it spreads like wildfire within days and gets played immediately. With vinyl it takes at least a month to release it, ship it around the world and put it in the shops, and if you´re unlucky and produced too many vinyls, they come back to you and you have to throw them away, although you paid for them. And then with vinyl it´s mostly only one or two tracks to play but still you pay 10,- € for the whole release.
So actually it´s a pretty luxurious product.
I think for disco and house vinyl is still a great format as this is nostalgic music, so people can really collect it and put it in their shelves, plus these are styles where sound and loud volume of a track is very important. also in dubstep the sound is the most important thing. Whereas with global bass, especially with tracks that you get from places like Rio de Janeiro, Luanda, Belem or Monterrey, the sound is many times very bad, lo-res mp3s. But still the music is very exciting, so people still play it. So sound is only 2nd important in global bass, it´s more the music that´s priortiy.
And on top of that, the kids aged 15-25 that play global bass today, they absolutely don´t have any emotional relationship to vinyl, yet know how to dj with record players. My last intern didnt knew how to mix on a technics 1210 and said the possibilites with this device were just too limited for him. Which in a way is true coz with cdjs you can do so much more pitching and efxing that a record player looks like a handicapped device.
How do you see the future of music ? would u be happy if your kid’d like to make music as a living ? :)
Well as it is getting increasingly difficult to make a living out of underground club music, i would recommend that my son is doing some other things than music, but then you never know how the situation will be in 15, 20 years. nevertheless, i think it´s the best time ever for music at the moment, music hasnt been so free and so easy to distribute like today. It´s a bad time for the industry and for the artists if they want to make money, but there´s so much amazing music out there today, it´s frustrating to only be able to listen to 5% of it all.
Your good resolutions for 2011 :)
Keep on releasing good and exciting music. and i´m excited about releasing my debut album!!
Ok, you must think i’ve got some kind of obsession about Generation Bass :D
But, it’s just that it’s difficult to find people who inspire you, so when you have the chance to meet some, you are, first, happy. And then u want to share the reason why with others. That’s the theme of this new serie i’m about to launch :)
UMB, and all the Generation Bass family, are one of these persons to me.
I’ve first heard from Generation Bass through my friend SdC from Le-Gouter. He adviced me to get in touch with Vince from Sonido del Principe about « The Test », the first single taken from RAW. And it was definitly a good idea cos through Vince, i found a whole crew of supporters on Generation Bass :)
BUT i have to say i don’t admire them cos they support my music of course! I’m a huge fan of Generation Bass cos they embrace the blog world in the way i like it to be. And that’s what i wanted to chat with UMB about….
Hello Umb! Can u please tell us who you are, where you live and how long you’ve been in music. Can u also tell us few words about your partners on GenerationBass ?
I’m DJ UMB, bullshitter extraordinaire. I’m based in Birmingham, UK. People (usually my dear mum) say I am one of the greatest living dj’s in the world today (lol) but somebody else told me not to believe in this ugly rumour started by somebody who I paid $10,000 to.
I’ve been into music since I was 6/7 years of age and so I guess you could call me a musicophile, I remember buying my first records back then. I’m one of the guys who runs Generation Bass, Vincent Koreman, who is based in Tilburg, Netherlands, is the other.
What’s your musical background ? do you play music yourself ?
I play a few chords on guitar and was in a crap rock band in my teens! I can also play the triangle, tambourine and the spoons too and if I’m feelin’ really frisky, I’ve been known to get the washboard out too (yeah a f***in’ washboard in this day & age lol)
I never had the patience to make music on a serious basis and opted instead to listen and give people ideas too. I love mixing music though as a dj but don’t fancy being a producer. I’m more of an ideas man. I don’t wanna be famous (just respected) and am reluctant to sell myself like a whore..lol.. I just want people to listen!
Is there one artist/label you want to mention who has inspired you (on the musical side)?
Without doubt, too many to mention but my earliest influences would have to be Elvis, Beatles and of course the greatest band ever, Led Zeppelin. Makes me sound old but it was not my generation I was just a young boy into older sounds. I was listening to Jazz in my early teens too and classical music. I then got into lots and lots of different stuff, Tom Waits, Radiohead, John Coltrane etc etc.. and also into Global music like Ofra Haza, Fairuz and Oum Kalthoum in my late teens. I think I had listened to most things by the age of 15!
I have to say I love your blog. I love it not only cos you support my stuff (lol), but also cos you can feel it’s not just a « marketing » tool. You can feel persons behind the screen, who are really passionated by music or artists from other countries. How has this blog started and what was its goal at the first point ? how do you now share the job with the other reviewers ?
Thanks, I love our blog too..lol..
It is all about passion and about people pushing music they love and also occasionally plugging some of their own releases too. However, the latter is secondary as our love and appreciation for all music is the paramount aim.
I’m happy that the passion and love seems to be shining through. We are honest and straightforward and we seem to be getting a lot of appreciation for it. People describe us as being the blog who is upfront and less inclined to bullshit or play the media game. However, with the start of the Generation Bass label, I’m very reluctantly having to play the media game now with a lot of people. As I said above, I’m one of the guys who runs Generation Bass, Vincent Koreman is the other. He founded the blog back in Feb 2009. I did not even know what blogs were until around the start of 2009. I stumbled across Gen Bass in Feb 2009 and joined a few months after he had started it. I’ve been pretty much in the driving seat of it for the past 1+ years whilst he takes care of all the Live Events.
It started as a means to share great music in the Global Bass scene which had just started to emerge to greater prominence during that period. Vince is also a Cumbia artist, Sonido Del Principe, and also one of the founders of a great festival in Holland called Incubate. So it was also his way of promoting his own Cumbia productions and the Incubate Festival. Of course, he also blogged all the stuff he was digging, which just happened to be the sort of stuff I was digging too. I had been doing lots of music related stuff, being involved with some established worldwide music brand names and also doing compilations for a few labels based in the UK. I was feeling really restricted and suffocated by the inflexibility of the sort of stuff I could stick on compilations and also sick to death of this scene being called world music.
I needed an outlet for the more club based stuff I was into and so the newly discovered blog culture seemed to be a great outlet for me to share my musical tastes and mixes.
At first it was a lil’ embarrassing because in all honesty, I was completely unsure about myself, thinking people might think I’m a right tosser..lol (I probably am but I don’t care about that anymore). So I put on this Ghetto Boy persona, which was hilarious (to me) for a while. Then I get bored of that and just became myself and it just seems some people really respect my musical tastes/opinion. It really surprised me how much it has caught on.
Some others hate me and do think I’m a tosser, including a journalist or 2 in this particular scene. I’m gonna out them one day soon. It all boils down to jealousy, my good looks and my big muscles and the fact that I have a bigger personal (u thought I was going to say something else then,. didn’t you) following than them…lol…ahahahahaaa!. Well, what else could it be?
I think we now have over 10 contributors, I’ve lost count! However, Vince and I have been the nucleus from the start and got the blog to the sort of attention levels we’re now used to. I’m still involved in doing a majority of the posts, mostly 1 per day and sometimes more. I have to give a special mention to Caballo too because I brought him on board in late 2009 and he’s been one of the most reliable, consistent and dependable members of the team/family. He is of Colombian origins but is living in Canada. He has helped us to communicate with a lot of the young South American kids who maybe can’t speak English.
Other contributors include high profile artists in the scene such as Munchi, Process Rebel, FLeCK & Fish Finger, Zuzuka & Galliano and others are passionate music lovers/dj’s like me. They are more casual contributors, usually posting perhaps once per week or less. The team is growing all of the time and I like that. It’s like a big family and I like big families.
I think blogs were hugely important in making this Global Bass thing popular. But i can see in my everyday life this is really a niche, my friends know some tunes, but not it as a genre. What would make this music more popular you think?
I don’t know, in all honesty.
As a blog that’s what we have tried to do, to make the music more popular and make it be appreciated on the same level as say house/techno etc. With the likes of Mad Decent and Man Recordings doing the same and being some of the originators in the scene, it helps. But you’re right, it would be foolish to say it is big or even hugely successful scene. Depends on how you define success. I define success as inspiring people to get into something and so I think we’re very successful.
However, the commercial reality is different. It can be a struggle to get people through the doors in the UK on Tropical Bass nights to listen to the kind of “club” stuff you’re into. I know Man Recordings have had the same problem in Germany and maybe Mad Decent too in the USA, when Diplo is not playing. However I think that will change, it is just a matter of time. There’s just too many young producers gravitating towards it now and abandoning House/Techno etc in favour of say Moombahton and Dubstep and so I think it’s gonna happen, just more time needed.
Your blog is the global bass specialist (it covers other genres, but i think this term is good, do you agree ?), in terms of visits on your site, or sales/gigs for u & your artists, is it global too? Where do most of your followers come from ?
Our blog specialises in Transnational Club music. Most of our followers come from Timbuktu, we’re huge over there with our throat singing ladyboy performances..lol…. No, seriously, you know this is surprising. I never checked our stats for where visitors were coming from until you asked me. As long as they were coming I couldn’t careless where it was from and so never bothered to find out where they came from.
I was a lil’ surprised cause I though it would be made up of a lot of South American territories cause of the strong bias we have towards Latin American music atm but it wasn’t, here’s the top 10:
USA (A large majority)
With further visitors coming from over 210 different countries!!!!!
This is the lowest number of visitors per territory: BOTTOM 201-210
SIERRA LEONE – 2
VANATUA? (Never heard of it..lol) - 2
TURKS & CAICOS ISLANDS – 1
CHRISTMAS ISLAND -1
TIMOR LES – 1
NAURU – 1
SAINT PIERRE & MIQUELON – 1
MAYOTTE – 1
KIRIBATTI – 1
ERITREA – 1
Surprising ain’t it, I always knew we’d eventually conquer the States..lol….
How did the idea of running a label came ? is there any labels you got inspired by, on the technical side ?
It came naturally from the success of the blog and after continually discovering all these young/unknown producers. We were not inspired by any labels to start it. Of course I respect labels like Mad Decent, Man Recordings Hyperdub and Planet Mu but we did not set out to try to emulate them. They inspired us to get into some music genres/sub-genres but not to set up a label. The label just had to happen, too many talented people out there who might not otherwise get a release!
My job is to forge a unique identity for Generation Bass and whilst our paths might at times collide with some of the exceptional labels above, we want to create our own unique personality and be respected for that.
Generation Bass has in the past year or so started to inspire the likes of Mad Decent and Man Recordings who have started to emulate some of things we’re doing or sign some of the artists we’re breaking. Now, that’s quite an unexpected turn around and so we must be doing something right.
Of course we still have a long way to go before we can stand side by side with the likes of Mad Decent and Man Recordings. I really respect the fact that they have kept on going and kept their passion alive.
How would you define the music you release ?
It is Transnational. It will be about artists who we believe in regardless of fashion or what’s hot atm.
Of course, we wanna release stuff that’s HOTT atm too and so it’s a combination of stuff that will hopefully live far into the future and also stuff that depicts current innovations in the Transnational Club scene.
On a less sexy side of it, how are you running it ? how do you articulate the promotion around your label ? of course your followers, but do you work with PR, radios ? have u done like a business plan or at least think about how to make it grow ?
Promotion as a new digital label is very, very tough. It is not easy. In the current climate as there’s been a proliferation of blogs that have now emerged as digital labels and it’s very, very, very competitive.
To be honest, I really think the market is reaching saturation point! There’s just too many!
It is very hard to penetrate some of the established media institutions like radio and established physical and on-line magazines and blogs who are run by established journalists. I think journalists look down at us because we’re accused of writing like shit, not doing any research and not following any of the established journalistic rules.
What they don’t understand though is that we are not journalists and we don’t want to be either. I am just a taste-maker/music lover. I don’t want to write about music in technical terms, I just want to share stuff I’m feeling. I don’t want to write deep about it, I see that as their job. I see my role as being the first in the chain, to find it and present it. It’s then their job to pick up on it and to present it to the wider world in more articulate and descriptive terms.
We can’t afford PR etc. It’s not a business for us but a passion/love. If you start a label for the purposes of making money then I think you ought to reconsider because you won’t make money, unless you’re lucky to break it big time. Labels are just glorified promotional tools now for artists and nothing more.
It’s not about being big or making it grow, that will happen by itself if people dig it, just like the blog. You can’t force things or expect HYPE to win you an audience. It has to happen genuinely and truthfully imho. That way you get a truer audience too who is there because they believe in what you are doing. So it’s an honest exchange and I like that!
Hype is just that, here one day, gone the next! We ain’t no hype and the audience’s appetite for what we do will determine our success or failure as a label, simple as that my friend!
This is an idea i got for a year or 2… It’s getting really hype to play « world music » today, but extrem right never been as popular as they are today in Europe. What do you think ?
I think that is why it is even more important to play Transnational Club music or Global Roots music. I really dislike that term “World Music”, it’s a demeaning and nonsensical term. The far right are obviously a demented bunch of people but they are also now made up of usually decent, respectable, middle class and intelligent people. That makes it even more frightening as they are no longer so easy to detect.
Obviously, they’re still all pea-brained because they have brought into this idea that Islam is a terrorist religion. Just like the commies were a few decades ago and the Irish were the scurge of the earth in Britain. I think M.I.A. might be right, it might be Ginger people next in the firing line!
If you give in to the far right or to a demented ideology then we have lost but I am a firm believer that humanity will prevail but that there will always be casualties along the way as there is ample proof of that with our history. We have always lived in a dangerous, xenophobic, racist, piss-pot of a world, it hasn’t changed! However, that does not mean we ought to lie back and accept it, we should not! We should continue fighting for peace and tolerance and a hope for global brother/sister/hood. The world belongs to all of us, get that right. I mean, I don’t have to tell you that, you should know it. You (meaning everybody) need to look back into your history and look at what your peoples did to other peoples and cultures and question it!
I’m a product of colonization. My family are from Kashmir and they arrived in the UK in the 60’s. That of course has had huge benefits for me and I appreciate it but I do so at the expense of somebody else in the world who could have had my life but didn’t! Let’s not forget, in most parts of the world we have all benefited somehow/way on the back of theft by an Empire(s). I have enjoyed my life on the spoils of State Crime and so have you!
You need to look at how our countries got rich, it was not merely by the process of Industrialization, FFS! When Europe and the States really start needing China., India and Brazil, which will be soon, you watch how all those neo-facist nazi bastards will disappear!
How do you see the future of music ? would u be happy if your kid’d like to make music as a living ? :)
Not for a living cause he’d probably end up broke if today’s climate is anything to go by.
Music will just continue to evolve, it will continue to take from the past whilst living in the present and trying to create the future. Genres will come and go, will die and then be born again, and so it will continue.
DOPE TUNES ALERT: if you like Global beats, this one is for you!
Middle Eastern born, producer of many trades – SABBO – is responsible for the next release from the award winning Generation Bass camp. He has worked with Mad Decent, Soulico, dancehall stars like Turbulence and Lisa Dainjah and has also been producing many charted productions in various genres in his own country.
This EP draws heavily on the Chicago Foot Work sound, giving it an extra boost in top notch production and bass but also sees Sabbo leaning more towards a UK angle in the Juke/FootWork history. He blends the genre into a mix of hyperactive dancefloor filler and bass heavy globalism. From Chi town via the unlikely detour of Tel Aviv, Israel and relying on classic sampling techniques and the trusted 808 boom, this EP is a Foot Work classic in the making.
Once again Generation Bass holds true to its slogan, « cool music from whereever »…
Sorry, i’m gonna write in french, this is promotion for a gig in Paris ;)
J’ai une bonne nouvelle à vous annoncer: Grand-Mere est de retour!
Pour ceux qui ne connaisse pas, j’ai co-organisé pendant plus d’un an une soirée mensuelle au Batofar intitulée « Voulez-vous … Grand-Mere? » aux cotés de Prosper & Dub4. Je garde un excellent souvenir de cette résidence ou nous avons quand même invité du très beau monde, comme the Nextmen, les Dub Pistols, Herbaliser et beaucoup d’autres. Et je crois que nous pouvions nous féliciter d’avoir toujours réussi à gagner des sous, ce qui est extrèmement rare quand tu organises un évènement à Paris :)
Cela fait donc 2 ans que nous avons arrêté, mais le Batofar a eu la charmante idée de nous inviter à l’occasion de Noel.
Voici plus d’infos:
MErcredi 22 decembre 2010
VOULEZ-VOUS BOOSTER GRAND-MERE? @ Batofar (Paris)
Hip-hop – Electro – Dirty House – Drum&Bass – Funky Breaks
Club : 23h00 a l’aube / Gratuit
- DJ N’ZENG (Le Peuple de l’Herbe / Code : Sabotage – Supa Dope)
- FLORE (Botchit & Scarper)
- SWEED aka EATDUST (Bingo – Club De La Mixtape)
- PROSPER (Expressillon / Bombstrikes)
Et je répète: l’entrée est GRATUITE.
Donc vous n’avez aucune excuse, on se voit le 22. A la semaine prochaine!
On the 20th of december, K.Gol‘s « Shell Game » will be available on every good digital platforms. I LOVE this track. K Gol sent it to me long time ago and i though it was wicked. I liked it so much that when Sean Graham (boss of Fly Beat Music) told me he wanted to release i said i wanted to remix it.
It took some time (i had my album to finish & K Gol had some computer problems to fix) but we finally did it :)
I’m very proud of the whole package, it’s, i think, something you can’t compare to anything else. We got loads of feedbacks, some really enthousiastic, some really bad. All this contradiction for me is definitly a good sign. It means we did something different.
Here’s the video:
It has been already playlisted and supported by DJ ZINC, LAURENT GARNIER, DANIEL HAAKSMAN, STEREO MCS, DJ ICEY, SCHLACHTHOFBRONX, AQUASKY to name a few…