For the non-montrealers Pascale Project might just be a producer on their radar, but for those living in this city and involved one way or another with the scene she is this wild, poised and enthusiastic force that simply can not go unnoticed. Whether unleashing 140 bpm rave joints with a punk attitude or crafting her extremely singular brand of lush and enticing house tracks (songs?), she just pushes forward, not second guessing her impulses towards dancefloor ecstasy in all its form.

Teaming up with La Rama -another essential force keeping Montreal dancefloors alive- Pascale is releasing a new EP, “Where’s The Party?”, where she finds herself asserting her will to dance and make you dance more than ever. We asked her a few questions about the new EP and her work. She was nice enough to let us know more about her process and to record a new entry in our Mixed-By series.

INTERVIEW

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From the beginning of your solo career to where it is now, quite a few things have evolved in your sound. One thing seem to remain though is a strong Chicago sound (Larry Heard especially). Is this deliberate or does it just comes to you naturally?
First of all, that’s a very flattering reference. I guess it’s a little bit of both; I’m obviously inspired by everything I listened to, but also I don’t have the intention or desire to make a specific genre of music. By that, I just mean that I don’t like categorizing the music I make or even the music I listen to. I don’t like it when people ask me “what kind of music do you make?”, I always say “it’s music that you would probably dance to…” or “listen to it and see how you feel about it”. Genres in music are not that important to me; I like something or I don’t like it, it’s that simple. I get the whole idea of defining styles in music and I relate to that but I don’t like getting too deep into it.

I really can’t think of anything I’ve ever heard that sounds like the way you mix vocals with instruments. It’s very front and center while retaining an absolute dance focus energy. I imagine it isn’t an easy balance to achieve. Did you have any reference point on that?
That’s such a nice compliment. I actually hear that quite often and it makes me feel very good and confident about what I make. It’s hard doing everything yourself… I’m not gonna lie; I don’t have a lot of experience with mixing in general, even less with recording and mixing vocals. So for me it’s been a huge deal to do all the work. I would usually work with someone else for the recording and mixing part, which is fun cause it’s always good to have a second opinion. But for this record I just needed to accomplish something and prove to myself that I could do it. I think my main reference for mixing is “Everything but the girl”. Tracey Thorn has become a big inspiration for me in the last few years. I just love how her vocals are mixed in and she has such a unique voice.

There seems to be a bit more of a Euro dance feel to your latest releases. Also a lot more Acid sounds. What music has been floating around during the writing and producing of “Where’s The Party?”
It was really fun to write those tracks but also so strange; it was the beginning of the pandemic (early 2020). Right before that all started, I was DJing a lot and partying pretty hard. I listened to a lot of techno and late 90s/early 2000s tech-house. It’s funny cause the music I make is far from being techno. I think “Where’s the Party?” is the interpretation of everything I feel when I go out and play/party. It’s all the excitement and joy I feel that I turn into music. I always loved being at parties and taking a moment to take notes in my phone and writing down everything that goes through my mind. Most of the time it’s really funny stuff, but it also can get really sad sometimes.

You sing on all of your tracks except the remixes, do you see yourself as a songwriter primarily? Could you describe your creative process?
I actually never really thought about that… I don’t consider myself a good writer that’s for sure, but I do like the aspect of vocals and electronic music together. It can often create a sound that’s a lot more unique. I will always write the music first, make some loops and try to come up with some vocal melody, sometimes it works sometimes it doesn’t… I also don’t use any external gear, I make everything with Ableton Live and I just crack a lot of VSTs. But when I started making electronic music (around age 15 I think), I was dedicated to making instrumental music only. I was never a singer, I played drums for 10 years and in high school I really got into Kraftwerk and The Postal Service (haha). All that to say that at some point, I gave a shot at singing, and it first sounded terrible, but I guess I did figure it out in the end!

What themes are you touching on lyrically with that new EP?
With lyrics you never have to look too far to find inspiration. I think it’s important to laugh and to not take yourself too seriously; that doesn’t mean you don’t care about stuff, it’s just adopting a more modest attitude towards music. I remember my ex bought a bunch of random graphic t-shirts on Mont-Royal and one had writing all over it that said “tonight my dance is all about you”. I immediately wanted to make a track out of it, haha! And when I think about “Go Home”, I remember I was kind of struggling emotionally and I was talking to my friend who was also going through stuff, and I told him “we don’t have the time to be sad anymore; all we have to do is make music all night long”. That night I went to the studio and recorded all of the vocals for that song; I was so hyped. So I guess you could say I am inspired by stuff that happens to me… it’s not that complicated in the end.

When I think of you, I always see you as part of seemingly loose crew consisting of Lis Dalton, Regular Fantasy, the n10.as family, Priori, etc. You guys seem very tight knit, are you just friends or do you see this more as an entity/collective?
Oh we are definitely friends! We just all happen to be part of this same community/scene… I think it’s so awesome that I get to be surrounded by all these talented people; that’s definitely something that keeps me going.

Berlin? Quebec City? Montreal? Could you tell us what each of these cities brought you both artistically and personally?
I am gonna start with Quebec City since this is where I was born and that’s where I started making music. It was pretty interesting to start playing shows so young; Quebec City was thriving back then, people would go out to shows all the time. I felt the need to leave at some point just cause I needed to experience something different. I can’t imagine what would have happened to me if I had stayed there… I moved to Montreal in 2011 and met all the friends I have now and I’m so grateful for it. It brought me so much love and open-mindedness… great parties too, haha! It’s funny cause at some point I really wanted to move to Berlin and I was kind of tired of being in Montreal. I ended up just going there every year for 3 months (longest time you could be there without a visa). So it was honestly the perfect balance. I had my “real” life and long-term friends in Montreal but also was able to party in Berlin and play shows. It sort of started feeling like home at some point; I just felt genuinely comfortable there. I really miss it and cannot wait to go back to dance for 24 hours straight.

Could you tell us more about joining forces with La Rama for this EP; is this a ‘one off’ (for now) or do you already have more releases planned in the series?
In the first place I was going to release the EP on my own label “Your Approval Isn’t Needed” in a digital format only. In the back of my head I still really wanted to release it on vinyl but obviously had absolutely no money, haha. I talked to Jeanne (Gene Tellem) and she told me I should talk to Kris. He was really into the tracks and just offered me to release the whole thing. I feel super lucky to be working with a local label/record store that I respect so much. Hopefully this isn’t the last one I’m putting out with them!

How did you approach the mix accompanying this interview?
I literally just picked a bunch of tracks and records that I hadn’t had the chance to play yet. I wanted to make a really upbeat mix. I always have a lot of fun doing that; it makes me feel hopeful and excited for the parties that are coming in the future…

Can you tell us what comes next for you in the future?
Hopefully a lot of gigs, haha! But who knows what will happen; everything is so uncertain. I try to live day by day; I wait and see what will happen the next day and I go from there. It’s pretty stressful being unemployed and trying to make music. I’ve been going through a hard time lately, I don’t feel very creative… But I know that it will come back at some point. A lot of friends around me are going through the same thing and it’s always good to know you’re not alone in your struggle. I really want to start working on new stuff in the fall, it’s usually a good time for me to write music.

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Interview by OJPB aka Bowly

Cet article MIXED BY/ Pascale Project est apparu en premier sur Bolting Bits.

“As we continue our ever long winded hiatus from the dancefloor, we are happy to welcome a new group of producers to the label in the form of 00:AM’s fourth various artist’s compilation. Certainly not the only way we expected to come together this year, but we’re grateful to be able to cultivate another 12” to share with the world. Across the A Side, we are joined by three artists who we’ve had the pleasure of hosting and playing with in Montreal over the past couple years. Alfredo92 of the Axces crew in Copenhagen presents ‘Tente Hjul’ which gets the remix treatment from Mr. ACTION SHADOW himself, Fett Burger. The result is something distinctly mechanical but not without a human pulse and a tear jerking conclusion. Fantastic Man then puts his own psychedelic twist on the hardcore continuum, taking the beautiful palette of his recent LP on Mule Musiq to the brink of insanity with ‘On The Run’.

On the B side we find two new friends to 00:AM. We have a mandatory “minimum of 1 ESB tune gets played a night” policy round these parts, and so its truly a pleasure to release his ‘Sequential Dub’. Nothing less than a future classic, it’s dubby and understated, but a little quicker than you think. And finally, it’s a pleasure to introduce 2wo2imes, who delivers ‘Immune’ a deep and driving excursion into the wormhole.

It’s a weird world, we miss you all, but we’ll keep doing what we know best, releasing and enjoying the music that moves us – no matter the time or place.”

Pre-order.

text has been provided by the label.

Cet article 2wo2imes – immune [00:AM] est apparu en premier sur Bolting Bits.

A common passion for the diasporic reverberation of African music and culture is what pushed Huilly Huile and Philippe Néméh-Nombré to start Échantillons on n10.as webradio. Their show highlights current musical waves coming in from the Continent, as well as recontextualising the impacts of the genre’s historical progressions.

INTERVIEW

How did Échantillons start?
J: I think it started with conversations about african aesthetics in music. And anti-colonialism. We wanted to turn those conversations into something productive. Because before that, we were hearing more and more Afro, Caribbean & Afrolatin music in the clubs… but no one was dedicated to contextualizing the stuff.

P: Or at least very few people were doing it in the scene we’re in, whether in promoting afro-focused parties or even just using specific and very distinct traditional sounds, sampled instruments and vocals in edits or mixes, you know.

What’s the mandate/mission of your project?
P: I would say Échantillons is open-ended and hard to define. A tool, maybe? An experiment? I don’t know. There’s a show we did almost a year ago that’s pretty representative of what we want to do I think. We went from playing hyped-up Kologo jams, to discussing a tragic death that happened that week as yet another example of state-sanctioned violence towards black lives. In the same show, we called out an all-white line-up opening for Awesome Tapes From Africa performing in Montreal.

J: Yeah. In one hour, we probably introduced traditional Ghanaian music to a few people, we drew attention (again) to anti-black racism, and to the important work of antiracist activists in Montreal. And that call-out actually led the organizers to change the absurd bill of openers for a more representative line-up.

P: So yeah, we try to curate panafrican and diasporic black music, and disrupt the way we listen to it and experience it in white settler societies.

How is your work trying to draw a different kind of attention to pan-african and diasporic black aesthetics and cultures?
J: Phil and I are both diaspora peoples. His parents are Burkinabe & Egyptian, my father’s side of the family hails from Rwanda. I think it’s important to us to contextualize african aesthetics, because so many of the cultures and histories have been silenced or denied. Naming the artists & labels, diving into the traditions & politics of the music is a way for us to engage with these cultures in a way that’s meaningful to us.  

P: I’m happy to see Djs spin rare Afro-groove, or hiphop finally being recognized in Quebec. Really, I am… But I think it’s still the same fucked up pattern that we see over and over again: African and Black cultures considered as commodity and product.

It’s nothing new, but I feel like it’s becoming more and more subtle, thanks to “colour blindness” and other such bullshit. Even with good intentions, we risk erasing precisely what makes these cultural expressions a necessity – especially when we suppress everything but their entertainment and market value for consumption by non-black/non-POC folks or consumption without black / POC folks. So don’t get me wrong, of course I am not trying to reduce music to politics. But I think it’s seriously damaging to strip panafrican and black diasporic sounds from their political, social, healing and liberating potentials. So yeah, I think part of what we’re trying to do with Échantillons is to help bridge this gap. But we also joke around and poke fun at each other!

Do you see yourselves as radio hosts, podcasters or DJ’s?
P:  I’m more of a “selector”, and I need to think and imagine through music. You can catch me behind the decks sometimes, to drop a few tracks, but Justin’s the DJ around here. Like, I keep a USB on me at all times, but that’s it! Oh, and what’s the difference between a radio host and a podcaster again?

J: A podcaster just shoots the shit with whoever she/he invites. The audience tunes in ‘cause they like their curation or their take on things. A radio host will present tracks or news in a more formal way, I think. We try to do both. Phil’s an academic, so he always brings a strong critical lens to the stuff we talk about. But I think we’re starting to rub off on eachother. His DJ game definitely leveled up, and I like to think that I’m more articulate than when we started the show…?

Why do you guys feel this kind of work is necessary/useful in Montreal?
P: One of the specific things about Montreal, Quebec and Canada that makes this kind of work useful but also difficult, is that it contradicts the ways this society sees itself. People really see Canada as a safe haven and Montreal as a culturally diverse, open-minded and welcoming city…So it’s hard to directly address the ugly past and ongoing, growing racism and colonialism here. Échantillons is a space where we feel comfortable addressing these things.

J: Yeah, whether it’s the two of us, or with other Montrealers. We’ve had K-Iri, Julien Stout, Melissa Gaju Fundira & DJ Empress join us on the show and it’s become a positive platform I think.

Justin, you’ll be in East Africa during the next few months. What are your plans? Phil, what are you up to these days?Any clues on the futures of Échantillons?
P: I’m working on a few projects that bring together my academic research (on Indigenous-Black relations, and cultural expression as politics) with what we do on Échantillons.

J: I’ll be in Nairobi and Kampala for the next three months with the Femme Electronic DJ’s, an all female DJ collective. I became friends with a few of them last year, and I had to go back…‘Cause they dope. And they aim to put the East African sound on the map. So look out for that. And…What else can I plug here?

P: Palma Disco.

J: Oh yeah, in Montreal, we’ve got a night called Palma Disco, it’s a Pan-African ting we do at Club Pelicano. We DJ there every second saturday with our homie DJ Empress, and sometimes we have guests join us. Dancehall, Afrobeat, Afropop, Afrohouse.

Tracklist:

1. Labdi Ommes – Not Searching (Prod. @abstrakt_ginino) @labdiommes
2. Brenda Fassie – Qula
3. C.K. Jazz Band – Rapar Wuon Osimbo (Jaakko Eino Kalevi edit)
4. Oumou Sangare – Ah Ndiya (K&F Edit)
5. Sam & Yacouba – Kiradodora
6. Mugwisa International Xylophone Group – Jinja Pearls (SJ Construct) @santuri-safari
7. Kakai Kilonzo – Mama Sofi (Umoja edit)
8. Untshebe – Amanga Abelungu
9. Kabaka – LAdieu (BNJ Vinyl Edit)
10. Cervo – Banku
11. Esa – Rift Valley (Ft. Abakisimba) @abakisimbatroupe10
12. Unknown – Habaia
13. Chateau Flight – Kolingo (Love) ft. Diblo Dibala
14. Gigi – Tew Maneh
15. Dj Rachael & Kastimo – Conga Jinka ft. Mama C (Scraych Mix) @djRachael4Raynsom

Interviewed by DJ Asma

Cet article MIXED BY/ Échantillons est apparu en premier sur Bolting Bits.

We sat down with Kinjo Music and Editorial Records head honcho and all around nice guy, Dave Allison, to discuss his roots in Montreal’s dance scene, his evolution as a producer and DJ, and to find out about all the musical goodies we can expect from him in the future. We’re also including, as a very generous gift from Dave himself, a four track sampler of his which can be downloaded for free at your pleasure!

[soundcloud url=”https://soundcloud.com/boltingbits/mixedby-dave-allison” /]

INTERVIEW

Can you describe your musical background and some of your early influences? Are there any figures in particular that inspired you to get into DJing and producing?
One of my first favourites was listening to rap in the late 80’s. A friend in grade four had some cassette tapes from his older brother that I borrowed. Shortly after that, I went to visit my grandparents in LA and they took me to Tower Records. Without my dad there to wave the finger at anything with the “parental advisory explicit lyrics” logo, I snapped up N.W.A. – Straight Outta Compton, 2 live Crew – As Nasty As They Wanna Be, Public Enemy – It Takes A Nation Of Millions To Hold Us Back, and Ice T’s Power and The Iceberg.
When I got in the car my grandma said “Shall we listen to what you got?” To which I replied, “Uhhh I don’t think you will like it Grandma. It’s not really your style.” Fast forward to the age of 17 in the mid 90’s – I attended my first rave and was blown away by the culture and instantly fell in love with funky breaks. Electroliners, Simply Jeff, and Bassbin Twins were some of my favourites at that time.

There was a common theme of sampling disco drums and funk breaks that ran through both, though I didn’t really make that connection then. Seeing DJ Slim over at a friend’s house before an event, probably in ’96, doing some crazy scratching over funky breaks had me so hooked that I needed to get into it and try for myself!

The first two records I bought at the local record shop after deciding I wanted to learn to mix was Endtroducing by DJ Shadow and Atomic Moog 2000 by Coldcut. Probably the single most influential mix tape I ever listened to was Journeys By DJ by Coldcut. I must have listen to it a few hundred times… Blending the reggae sounds of Junior Reid and Ninja Tune jungle breaks, mixing in half time, and seamlessly changing bpms was totally genius.

By the late 90’s, I was also finding a closer and closer connection to funky house. I spent numerous nights at Stereo Afterhours listening to Derrick Carter, Joeski , Onions, and Mark Farina. The United DJs of America compilations from Derrick and Mark were totally in my wheelhouse. Every track was fantastic and the mixing impeccable. Sebastien Leger, DJ Deep, Jedi Knights, Stacy Kidd, Inland Knights – they had me goin’ on that funky deep. And the disco loops..!

The first time I saw a sequencer, my programmer roommate was using Fast Tracker, which is far from intuitive but, after trying it out and getting the basic idea, I started with Acid Pro 1.0 software, and many, many late nights staring at a screen began!

You got your start DJing in Montreal in the 90’s. What was the city’s dance scene like back then, and how would you say that it has changed?


Hmm, it’s undoubtedly different. I think anyone who grew up in the mid to late 90’s here would tell you it was kind of a golden era for this music, as it had forged ahead to a larger base, growing significantly from the extreme underground of the early raves in 92-93.

There were quality clubs that emerged, bringing in world class talent. Angel’s, Jai Bar, and amazing afterhours like Sona and Stereo. The music was getting bigger but still very far removed from everyday life and culture like it is now. There is certainly no going back though.

Your predominant musical style seems to have evolved over the years from a jacking Chicago house sound to one that is slower in tempo and based more on classic boogie, funk and disco. Was this a conscious decision and, if so, what were your reasons for changing direction?
This was something that evolved very organically. I started a residency at Salon Daomé in 2007, about a year after starting Kinjo Music, which was a monthly Friday night that ran for 3 years. I was very much dialed into a funky house sound then, and there were more than a few epic nights there with guests such as Miles Maeda, Raoul Belmans, etc. When I did not have a guest, I would play a 5 hour plus set. At first it was ok for me playing a more deep house sound at the beginning of the night, but I felt the bpm range was too rigid and sounded too boxed in, being in a range of about 121-128. I began to explore the more dubby bass guitar and echoey drum stuff of Chicken Lips, as well as boogie influences such as Spirit Catcher, plus stuff by Ray Mang, Sessions Recordings, and Instruments of Rapture. And I also gravitated to starting the night slower and slower to build the night up over a wider range of style and sound.

In 2009, I started Editorial records as I was now creating more edits for this earlier part of the night sets .It seemed to be the right vibe at the right time and the label just kind of took off from there, and the worldwide response to the output was sort of an encouragement to continue.

I joke that it’s because I was getting into my 30’s that I started to like slower music, but it was also, to a degree, house music growing up a bit too, I think. There are many timeless deep house tracks made in the 90’s and the early 2000’s that were created at 127 bpm or so. They still sound fantastic, but also better at 119 bpm now in my opinion.

Slo-mo disco, for me, is just somehow the perfect blend of my roots of liking an old school hiphop tempo and having a house music sensibility. A head nodding, chunky 105-115 bpm rhythm works real nice for a pool side vibe or cocktail lounge, and can also be a little more accessible for those not into “house music” per se.

You run two successful labels, Kinjo and Editorial. What is the focus of each label, and what are some of the standout releases you’ve put out over the years that come to mind?

The very first sampler on Kinjo back in 2006, which was well received and supported by the people that influenced me the most in house to begin with was amazing! Derrick and Mark and Heather and Diz playing it out was a positive start, and it hit the ground running. Kinjo has always been rooted in deep and funky house music, with downtempo jazzy beats on the menu as well.   

Editorial started with firm roots in disco , slo-mo, and midtempo in mind. It can also be labeled as beat down, nu disco, or something with a slower house feel too. I’m really happy to have been able to release music from YSE Saint Laurant on two separate 12” releases – his unique sound and exotic twists on disco really speak to what the label is about. Having Italy’s Riccio for a 12” was a great record, and he was one of my first influences in the slo-mo edit sound.

In general, having the opportunity to release great music by dozens of really talented producers around the world including Matt Hughes,  Junktion,  Toomy Disco,  JT Donaldson,  Hector Moralez ,  JKriv,  Luvless,  Dr Packer,  Random Soul, Joshua Heath,  Rahaan,  DJ Steef,  LTJ,  DJ Butcher,  Tomas Malo, 78 edits. To name a few.

We seem to live in an age when a strong social media presence is just as important, if not more important, than artistic merit when it comes to being successful in dance music, a fact that was recently lamented by deep house DJ/producer Brett Johnson in an essay he wrote for XLR8R. As an artist with an astounding number of releases and a large social media following (16.6K on Soundcloud to be precise), you seem to be very adept at balancing the creative side of things with the hard work that goes into “playing the game.” Have you found this split to be challenging, or do both come naturally to you?

That’s a great question!

Well, first I’ll say this – by nature I’m a very social and friendly person so it has never felt like a burden or a stretch to promote online. I get excited about things I like and, in turn, like to share that with others – such as great food, humour, and of course music.

The evolution of digital media and the ways to get your music “out there” have always been changing. That’s exciting in itself. From the days of Myspace to early Facebook, to Twitter and Soundcloud – and Pay with a Tweet and Hypedit – the landscape is always changing and  I think it’s just kind of fun to see what’s next and try it out.

As someone who’s managed to play all over the world, do you have any favourite places to play? If so, what was it about those gigs that made them memorable?
Bali was an incredible experience, a great place to spin. At Ku De Ta for sunset in Seminyak, playing slo-mo disco made me feel like that’s where the slo-mo sound is totally at home..

Tunis, in part, because you can see how there is a vibrancy going on there now – after years of oppression and control, people are enjoying their new found freedoms and being able to discover music they were not allowed access to until recently – also because I could converse with locals in their language  and because Le Carpe Diem was a great club.

Santanera Afterhours club in Playa del Carmen has got a great sound system, and a really responsive crowd. Disco is on fire there now, too, and having people scream for more when the lights come on is always a nice take away .

Stereo, right here at home – long since the days of 98-99 when it was in its infancy and was regarded as possibly the best sound system in the world. I’ve had a chance to play there a few times now and always enjoyed it. The first being my 30^th birthday, which I’ll never forget.

Piknic Électronik – again, another local fav. Having traveled around makes me appreciate how fun this place is. It’s a Montreal classic in the summer. The first time I played there was labour day 2013, and at 7pm the Guru stage was so packed. They asked me to keep playing until it was almost dark. A fantastic time!

Lastly, what’s on the horizon in terms of DJ gigs and production work? What can we look forward to from you in the future?
I’m looking forward to returning to Mexico to play a full moon party in Playa del Carmen in September. Sooner than later, a couple gigs in NYC to be confirmed.

And a return trip to Bali is likely before long, as they expressed interest for a return.

For production: Hed Kandi has licensed a downtempo track off the last Kinjo 12”, Twilight Groove, to be used on the Serve Chilled comp due out in a couple weeks. I will have a track on a Whiskey Disco 12” this fall, a track on the new Paper Recordings “Trash the Wax” digi comp, a 12” on new Serbian label, Hellcat, a track on a Labour of Love 12”, and an Ed Wizard & Disco Double Dee 9 track LP will be out in November. Stay tuned!

Erik Faulkner 

Cet article MIXED BY/ Dave Allison est apparu en premier sur Bolting Bits.

Buck Smith est un oiseau de nuit habitant la scène montréalaise depuis plusieurs années. Inspirée par un amour de la musique en tant qu’avoir commun, elle dévoile un profond univers sonore alliant curiosité, partage et sincérité. Après le Piknic Electronik précédent et l’Igloofest de cette année, elle a plus récemment eu l’occasion de jouer aux côtés de Untold, Ben Pearce , Tessela, Lone.

Pour cette MIXED BY, elle nous revient plus en forme que jamais avec une tracklist qui sens bon le soleil et qui distille avec pertinence et justesse sa house teintée de sonorités 80. Sons synthétiques, envoûtants, qui poussent à l’oisiveté et la contemplation, cette mixtape est un excellent moyen de décompresser après une dure journée ou de se mettre en conditions pour une folle soirée. Une MIXED BY  à consommer sans modération et un premier extrait de ce qui vous attend le 05 juin puisque Buck nous fera le plaisir d’être de la partie.  Lien vers l’événement : http://on.fb.me/1Gcd5fY

[soundcloud url=”https://soundcloud.com/boltingbits/mixedby-bucksmith” /]

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Buck Smith

TRACKLIST

Erstwurf Zweiter – Cab Drivers

Snap Off – Pittsburgh Track Authority

A Face In The Crowd – Dj Assassin

Domokun Mad – Alex Israel

Morning Light – Dj Steaw

Love Ride – Sygaire

Plane Waves – Havantepe

Mistral – Fresh & Low

7:38 – Toka Project

Callisto – Need Ur Love

I Go Mad – Prosumer, Murat Tepeli

Morning Light – Dj Steaw

Love Ride – Sygaire

Design by Manola – le-manola.com

Cet article MIXED BY/ Buck Smith est apparu en premier sur Bolting Bits.