I think it's fair to assume there's never been a specific dance music subgenre that suffered more mutations than UK Garage over the course of the years. Starting off with the progressiveness of US Garage and carrying on through the percussive brilliance of classic UK imports, the posh R&B mixture introduced to the mass audiences by Luck & Neat and Artful Dodger, through Dark Garage, Horsepower, Gurley, Bias and the foundation of Dubstep, through 2-Step and 4/4, through Whistla, Sub FM, L2S and the whole coining process for the term Future Garage, even through Control-S and Hed Kandi, through Blackdown and Keysound, up to date along with Jacques Greene's, Mosca's or DJ Q's revamps and the huge amount of inspiration provided for various Bass Music producers out there - it has been through it all.
So, figured our fourteenth issue should reflect some of the past, current and future forms a chopped, bubbled riddim can take, and to do so we turned to one of the trusted true-school Garage / 2-Step / early-day Dubstep / Broken / Bass Music heads around: WRK.
WRK has been involved literally for ages, pushing all sorts of shuffled and bass-heavy sounds in his home town - Targu Mures, among all sorts of other places. If you were around in 2008 he played a brilliant warm-up set - which we can still remember almost entirely - for Whistla's first visit in Bucharest. If you missed it back then, we shared a couple of line-ups since and it's safe to say he's yet to disappoint!
His contribution for BASICS is a staggering 135+ bpm collection of eighteen carefully selected, properly (!!!) mixed Future Garage, Dubstep and Bass Music tracks. Whether you're looking forward to hear the classics - Kode9, Zed Bias or Goth Trad - at work, whether you're more likely to respond to new blood such as Vessel, Mock The Zuma or Throwing Snow, whether you're in for the hype associated with Distal or Damu - it's all there and the mixtape will deliver!
In our own words, we're talking about shuffled chopstick madness with sizeable amounts of bass on the side here. Punchy enough to make you wiggle your chair, smooth enough for some after-work decompression at home and definitely something we'd take along for a laidback nite drive on snowy roads. Believe us, you're in for such a treat this time!
Tracklist:
01. King Midas Sound - Meltdown (Kode9 & The Spaceape Rework) [Hyperdub] 02. Luska - Autobiography (Original Mix) [Dub Fetish Records] 03. Pale - Why'd You Even Say (Original Mix) [Fat! Records] 04. Cauto - 35 [Disboot] 05. Fontaine - No Cure [Gradient Audio] 06. Vessel - Ton [Left Blank] 07. Goth Trad - Sublimation [Deep Medi] 08. Distal - Space Graffiti [Tube10 Recordings] 09. Damu - Ridin' The Hype (feat. Trim) [Keysound Recordings] 10. Acre - Ghatt [Embassy Recordings] 11. Mock The Zuma - Black Puddle [Fullfridge Music] 12. Enigma Dubz - Between Me And You [Four40 Records] 13. Zed Bias feat. FaltyDL - Lucid Dreams [Tru Thoughts] 14. LPZ - Problems (Ave Blaste & Tom Central Remix) [Keep Up!] 15. Aeon - Different Quotes [Area Recordings] 16. Throwing Snow - Pyre [Local Action] 17. Funk Ethics & Lucid Directions - Together (Original Mix) [Boka Records] 18. Aphex Twin - Tha (Stavrogin Remix) [Free Download]
Much awaited return for Hessle Audio - the label everyone's been talking about. It's been a dreary 9 months since Ben Ufo, Ramadanman and Pangaea, last managed to squeeze some record pressing in their overcrowded schedules; 9 months which translated in just enough time to pour the foundation and build up the hype for HES019 - Objekt's contribution.
If you live in a cave or you just can't get your head around using the internet properly, you most certainly have no idea who Objekt is. A fella who lives in Germany, DJs in the UK, has remixed SBTRKT's Wildfire, builds tunes somewhere inbetween Techno and Bass Music (yes, we intentionally avoided the use of the term Dubstep) and loves to put them out on limited hand-stamped white labels (which apparently serve a purpose both as records and hipster food plates as well...so we've heard). Anyway, no diss involved. We've identified him as a meticulous and inspired producer ever since Tinderbox got a release out of nowhere; and apparently so did Hessle's A&R.
The two tracks that hit the virtual friday shipping shelves on Feb. 6th however, despite sharing more boldness and freshness than everything on the H.A. catalogue (except for Untold's Anaconda and Joe's Claptrap) and despite being A-class productions, as a whole just don't seem to be raising up to the expectations.
For the past couple of months I've made a mission out of understanding the hype surrounding Cactus. No result. I tried accepting it and giving it some credit for what it's got: an unbelievably well structured spaced-out percussion, some serious tweaking effort behind the lo-range wobble bass concerto and on-point / on-target breakdowns and drops. All of this even though I'm not really vibing to it.
To be honest, I realised it's all a matter of quality. On its own Cactus is a decent track. Well build, has the potential to be a club banger if dropped at the right time, in the right place and for the right people. It's surprising enough, it comes from one of UK's finest labels, it gets air time on Rinse from the likes of Ben Ufo or Oneman, it's broken enough, it's bassy enough and it's made by a guy who owns a weird haircut.
To be brutally honest, I also realised it's nothing more than a matter of vibe and how and when you were introduced to this particular sound. If you just came in through the front door (and the front door has James Blake's and Blawan's names written all over it) Cactus will probably deliver a full-on revelation. And it deserves to be appreciated for that. However, if you were buying Pinch's records on Planet Mu and Tempa in 2008-2009 or you've heard Spiders on Brainmath...not so much. Simple as that.
The flipside manages to save some (most of the) interest. Porcupine tends to forget about pleasing broken-beats munching, Brainfeeder listening fellas out there and delivers a far more interesting approach to Techno (?!) and the sort-of Drexcyian aquatic Electro derivations that turned the whole Bass Music world upside down last year. Lots of acid synths usage and a punching linear drumline topped by a fully oxigenated Echospaced breakdown that would make Appleblim and the lot shove two fingers in their mouths and whistle their lungs out.
A good DJ tool that acts like a riddim transfusion in pretty much any circumstance one could possibly think of.
Even though it's part of a sound we've kept hearing for the past 12 months, the track resonates quite well with the direction Hessle adventured in by putting out Pangaea's Inna Daze and Pev's Dance Till The Police Comes last year. Something that sits much closer to Hessle's brand new, post-Joe self-imposed quality standard.
So, to draw up a couple of conclusions:
- Decent debut outside the white label world for Objekt. - Decent release for Hessle. Not great. Not outstanding. Decent. - If you're a DJ and you're not 16; keep supporting the label. Buy the whole record. Spin just one half (the one that doesn't have Cactus on it). - I'm probably gonna end up spinning Porcupine out there myself. - And please nod and agree that Hessle needs a new Joe release.
Not much chit-chat needed. Wrapping up 2011 on 10th of December this year. A night out where we intend to play whatever it is we played most out there for the past 12 months or so. And also where we would like to see most of you fellas following our activity online.
Same old venue: BASE Cafe(Str. Sepcari 22, centrul istoric). We're starting at 22 sharp and since it's a one-off, there will be no admission fee.
Spinning:
✦ BLACKTEE ✦ (Hsuan Records, No Stranger To Danger)
For the past four or five years we’ve been given the chance to witness a rather large number of intelligently engineered independent labels spawn all over the world, most of them having the sole purpose of pushing electronic sounds to a whole different level.
One of these labels in particular has caught our attention and it is, alongside its two freshly crafted sisters and their owner, the subject of our 10th edition in the podcast series – cover story and Q&A included.
Well Rounded Records has been around for a couple of years now. It is an open-minded label based in Brighton, UK, focused mainly on putting out state-of-the-art productions on acetate support and has been responsible, among other doings, for Deadboy’s discovery and part of his debut on the world stage, for the heavily anticipated Cash Antics EPs and for housing brilliant, both upcoming & established producers at critical stages in their development process as artists, such as Hackman, Doc Daneeka, C.R.S.T., Submerse, Littlefoot or Kidkut, to name just a few.
Having 10 releases spread across its whole existence so far and a weird-you-out logo, Well Rounded established itself as one of the important experimentalists on the ever-growing UK Bass scene, specializing in House, Techno, Dubstep, R&B and Bass Music fusions and, in almost every single case, packing the results up for the dancefloors. From Deadboy’s heavily rinsed U Cheated, the rare appearance of the House / Funky infused project – Ultrasound and the brilliant Donga & Blake – Grown Ups EP (including a staggering Geiom Remix), to the Future / UK Garage takes of Littlefoot, Submerse or C.R.S.T. and Kidkut’s bangers, this is one label that is not afraid to make a number one priority out of reaching its own maximum potential diversity.
And as if its horizons weren’t broad enough, there are now two more personas of it in the game: Well Rounded Individuals – which has seen two Juke and Post-Dubstep-ish releases from talented young producers like Wheez-ie or Graphics getting pressed – and Well Rounded Housing Project, mainly focused on putting out classic House takes from the likes of James Fox or Outboxx.
To top it all, add up these three labels’ ages, multiply that number by 10 and the result should tell you the approximate amount of time their owner, Donga, has been around for, spinning and building tunes and getting involved with clubnights, record stores, bands and whatever music-related thing you can possibly think of.
We managed to steal some of his time for a smart and personal mix and a rather consistent Q&A that should give you a more in-depth perception of the philosophy behind Well Rounded and its subsidiaries and get you up to date with Donga’s take on music in general, amongst other good-to-know facts.
The mixtape itself is a true masterpiece. A complex journey through what Donga’s influences and current musical preferences look like and through what Well Rounded means from a sound showcase point of view.
It’s a pleasure, it’s very very clever and we highly recommend it!
Tracklist:
01. The Haxan Cloak – Hounfour (Temple) [Aurora Borealis] 02. 2000 and One – Crystal [100% Pure] 03. Deadboy - Heartbreaker (Julio Bashmore 2010 Remix) [forthcoming Well Rounded Housing Project] 04. Alex Jones – Romania Pika [Hypercolour] 05. Dom – Blakelock (Donga & Blake Dub) [877] 06. Donaeo – Party Hard (Instr.) [White] 07. Urfali Babi - Disko Kebap [Nublu] 08. Malik Alston – Dance Jazz [Soiree] 09. Arkist & Kidkut – One Year Later [Hotflush] 10. Hackman – Your Face Pulling My Hair [Greco-Roman] 11. Kris Wadsworth – Mainline [Hypercolour] 12. Dubkasm – There's A Dub (RSD Remix) [Sufferah's Choice] 13. West Norwood Cassette Library – Get Lifted [WNCL] 14. Presk – Mold [4th Wave] 15. Kowton – Show Me [Naked Lunch] 16. Skinnz – Get It On [forthcoming Well Rounded] 17. E-Dancer – World Of Deep [KMS] 18. Ex-Pylon – Hammerfest [Studio Barnhus] 19. Monolake – Melting [Imbalance Computer Music] 20. Graphics – Adjectival E [Well Rounded Individuals]
BASICS:You’ve been in bands, you’re a DJ, you’re a producer, you own three labels, you’re putting nights on, you have a job, a beard and you have a thing for owls?! Anything else we should know about you?
Donga: Yes, I’m utterly mad.
B:Before getting into more current stuff, I’d like to talk about your history as a musician, producer and DJ. I know there is quite a number of projects you’ve been involved with. You’re a veteran. What are your roots? What did you use to build or spin back in the days and more important, what stayed with you after all these years and what faded away with time?
D: Well my father was a mobile DJ. As a child I used to go with him when he played at the more family orientated functions and he would leave me in charge when he needed a break. I learnt to cue and crossfade aged about 5 I’d say. I’ve stayed on vinyl and turntables to this day - to date I haven’t played any MP3s or CDRs in clubs ever.
Production wise I released my first electronic production in 1993. I have released countless records under a large amount of guises. When I started, myself and 2 friends pooled our equipment together and created a basic home studio. We had an Atari computer sequencing our MIDI equipment and a sync-box to keep our analogue sequencers in time. We had a very labour-intensive Casio sampler, guitar FX pedals etc. In fact I made some of my own earliest released material with only a drum machine, one analogue synth and a four track. I think it’s true that if you are keen to express yourself you can do it with very little. The desire, passion and inspiration needs to be there. The equipment is not so important.
Anyway, so this is all hardware gear being fed into a physical mixing board which was the most rewarding stage for me. Doing live takes to digital tape, fading things in and out, muting and un-muting, adding live FX. Sometimes random mistakes would provide the highlight of the version - things you couldn’t design or predict in advance.
B:That brings us up to date with three names you’ve been associated with lately: Donga, Chirm and Ultrasound. I know two of them – Ultrasound and Chirm – are collab projects and the third one is subject to that as well (Donga & Blake). A short background check on each of these? Any other active moniker I’ve missed out on?
D: Ok, Ultrasound is a vehicle for myself, my cousin Chaos and friend Richter. Myself and Chaos have collaborated since the 90s so we have quite an innate understanding of each other’s strengths and weaknesses. Richter brings in ideas that are more likely to push us into different creative possibilities beyond our established language.
I think that within collaborations, although the physical input can vary from track to track and person to person, what is invaluable is people’s personalities as catalysts. Everyone approaches an instrument in their own way. And sometimes it needs a person other than yourself to see potential in something you may dismiss.
Chirm is just myself and Richter. We live in the same town so we get a chance to meet more easily and often than Ultrasound which does lead to some tracks being made.
I produce with Blake quite frequently and this has worked well because we met through DJing where we realised we had a lot of musical taste in common. When we got in the studio we discovered we could combine his ear for texture, production and the technological side of the equation with my ‘give me a midi-keyboard and not a mouse’ approach.
B:It’s not easy to narrow your productions down to a certain style, genre or even bpm and I think it’s fair to say your tunes are often quite different from one another. There’s Housey stuff at around 120 bpm, there’s UK Garage / Funky influenced faster stuff, there’s slo-mo, 100 bpm, dubby material – Ultrasound – New Direction on Clandestine Cultivations – and so on. How would you describe what Donga, the producer, actually means in terms of sound?
D: No-one has ever asked me a question like this! Basically, I try to avoid definitions in life. You can’t always tell a book by it’s cover and it’s ignorant of people to think they can. I can’t pinpoint what my aim is with sound - it’s led by instinct and the mood of the moment. I believe it should be reflexive, evolving, open and free. Being over-concerned with style or form as a pre-text to being creative leads me into blind alleys. It’s just electronically realised music.
B: Obviously some of the stuff you’ve been building found a home on your own main label – Well Rounded Records. Tell us a bit about how this label was born and why?
D: Deadboy has been a long-term friend. He was occasionally sending me his tunes just for some thoughts and feedback. I had the tracks that became the ‘U Cheated’ EP for quite some time. I had no intention of starting a label, but these tunes had started playing in my brain. Eventually I realised that I thought they deserved to be pressed on vinyl and might sell. I contacted Martin & Jackmaster at Rubadub to get their advice and opinions. They were very excited and supportive. So the label began….
B: Let’s talk about the material Well Rounded Records has released so far. Diversity seems to be one of the leitmotifs for this label. What are its borders in terms of styles? Where do you think it stands on the scene at the moment?
D: This is tricky. I don’t really like borders but I think there are limits to how diverse you can be with just one label. So I started another 2 haha!
I guess Well Rounded is more for cross-fertilisations and hybrids of House, Funky, Garage, R&B and Broken. I would consider releasing any combination within that range that works for me. I guess the releases are mostly around the 130 bpm area.
As for where we stand, I find this almost impossible to pinpoint as we kind of exist in a bubble. I don’t necessarily feel too much of a kinship with any one scene or label hence the need to start a broad-minded outlet of our own. Although not an influence, Planet Mu is perhaps the best example I can think of a label where I sometimes have no idea what style the release will be until I put the needle on the record, yet I buy and enjoy a high percentage of what they put out. So props to them.
B:When it comes to a varied catalogue, I always believed there’s a thin line between catching people’s attention and alienating them. You’ve managed to keep things well on the bright side so far and gained serious support from both DJs and listeners out there. How are the tracks picked and how is the release calendar put together? Is it a natural progression of things or is it something planned well ahead? Like a matter of putting the right record out at the right time.
D: I discover people in all sorts of ways, sometimes I approach them and sometimes they send things to me. It’s difficult because I now receive so many demos I don’t really have enough spare time to check and respond to them all. I try not to over-think the picking of the material, similar to how I select records to buy in a shop. I pick things based on whether I have a strong emotional or physical reaction to a track. In the best cases I will have both responses. I try not to let the market or current trends taint my outlook on what we should release.
Sadly with the production of vinyl there can be difficulties and delays. This means things can take a long-time to come out. I just have to hope that whatever feeling caused me to select the material endures until it’s released. Once I have committed to a release it joins a queue. We are scheduled quite a long way into the future.
I hope people appreciate the extra effort of us releasing on vinyl and are prepared to wait a while longer to get it on the sexiest format available.
B:Cash Antics. A couple of words on the concept behind this EP series, its name and the artist / track choices so far? Are there plans for a 3rd installment?
D: Right, Deadboy had amassed a few tracks based around R&B acapellas and we picked 3 to put out as a cheeky EP - a really fun project. The vocals were either by Cassie or Ashanti so we combined the names to come up with Cash Antics. It also played into a fantasy of us being playas or high rollers.
For the second one we knew we wanted to put out ‘Fireworks’ and that our friends Gongon & Bad Autopsy had ‘Mag’ that was a big favourite with us both. So we took the concept further and decided to make it Various Artists EP this time around. Skinnz got in touch with ‘Turn U On’ and Doc Daneeka reminded me of his re-edit of Gatto Viola’s ‘Backstabbin’ Angie’. It’s a pretty sick EP I reckon.
We certainly do have plans for a 3rd but we are subverting the formula. We need to extend the concept but take it into a new area. I don’t wanna say too much at this point. It should be out before the end of the year.
B: Well Rounded Individuals is something I’d like to talk about in extent. You started it back in March to provide for even fresher(!) sounds and artists. Why weren’t Wheez-ie’s or Graphics’ sounds suitable for the main label in your opinion? Is the Individuals name something that states the fact that each record / release is self-sustained, unconnected to past or future stuff on the label?
D: You’re correct, as well as saying these producers are talented Individuals who have their own unique sound, I was also hoping people would view each release as a stand-alone statement that may not link to subsequent projects.
I heard Wheez-ie’s Juke material and thought it offered a fresh and exciting take on the style. I fell in love with one track in particular, ‘Leave Her Alone’, which I couldn’t resist asking to release and we started to compile an EP together. I think it’s a quite brilliant selection.
However, I felt that putting out something in such a notably different style might be a step too far on Well Rounded so started to conceptualise another outlet for things that didn’t fit on the parent label.
We are getting Wheez-ie back on the label. I really rate him. We also have an EP from Distal who produces music in all sorts of directions but often with a vibe that’s really unusual. Check his recent Tectonic and Fortified Audio releases for evidence of that. His EP for us, which includes a track produced with Chicago’s DJ Rashad, is an absolute banger I promise. We also have an EP in the pipeline from a young man called Spare based in Notts, UK. I won’t attempt to categorise his music but there’s a quality to it that’s strange and exhilarating.
B:Well Rounded Housing Project is the youngest of the three labels under your protective wing and, quite frankly, it has put out two releases that I personally find as being absolutely brilliant. James Fox – New Jack Swing is an amazing take on extensive R&B samples use, while Outboxx are taking on boogied down House and Jazzy influenced stuff like there’s no tomorrow. This label is more limited in terms of what it releases and it has quite a simple philosophy behind it, right? You give it a properly built House track, with lots of groove and a strong personal input from the producer and it basically puts itself out.
D: I feel very at home with House. I had an epiphany when I was younger. I thought dance music should be hard, aggressive and fucked-up. Then one night as an impressionable teenager, I took some acid and ended up at an illegal party where a bunch of guys that looked like football hooligans (the smartly dressed kind) were freaking out to this slower 4/4 music with soulful vocals and messages. It blew my mind. I suddenly saw all these links back to Soul music and Disco. I realised I could finally openly enjoy this music that my peer group often sneered at. I left them to listen to whatever nosebleed nonsense they were into and started buying US imports. I guess the music on Housing Project reflects all the diverse forms I believe House can take, as people will discover across the releases. I am very excited by all the different approaches we have curated to put out on this label. I believe spreading the word of House music should be like a crusade. When a House track hits the spot it is righteous and will last all time.
B: There’s common ground between Well Rounded and its sublabels. They all are digital labels as well, but they have acetate at their core. The name itself suggests it. Please expand on that a little bit. How does putting stuff out on wax reflect for a label in 2011? How about the three vinyl only releases so far – Cash Antics Vol.1, Vol.2 and WRHP001? Is it a white label thing or?
D: The vinyl-only projects are for when we feel we are unable to do a high-profile or full release of material based around extensive sample use. To sell digitals of these would take the piss whereas we have to sell a certain amount of vinyl to recover our production costs.
The name of the label does have a double-meaning relating to both the physical shape of records as well as when something is said to be ‘well rounded’ which, by my understanding, means having a healthy balance of different qualities. My position is that if we are unable to continue to justify releasing all our material on vinyl then I will close. Digital as the only format does not embody enough achievement for me to bother. I know a lot of my views are unfashionable and our world seems to value convenience over most things but I want something that I can feel - both musically and physically.
B: Separate topic now for future plans and releases you’d like to mention. There must be something in store for each of these installments. How about some Donga material? Is any of your stuff getting a release soon?
D: I’ve mentioned quite a few things above but the next 2 or 3 things are Skinnz’s ‘Put It On’ EP on Well Rounded, I like to think of this as colourful bruk-Garage. You need to hear it perhaps to understand what I’m trying to express there. That will hit the streets in September. This will be followed by an EP by xxxy who I’m a big admirer of. When we last discussed material he was considering a track he made with us in mind that had big hands in the air potential and brought a massive smile to my face. It’s gonna be wonderful.
Next over on the Housing Project we have a 12” of both of Julio Bashmore’s remixes of ’Heartbreaker’ by Deadboy. I’m really proud to have Matt come across to do something with us, I’ve DJed alongside him a couple of times and I’ve been really impressed. I’ve been playing out the white label of this and it’s going down brilliantly! This will also be out in September.
I’m gonna drop at least one EP of productions that I have had a hand in before the end of the year. This will include a Donga & Blake re-edit and an Ultrasound original tune on it for sure and possibly a 3rd from another related project. We’re still tinkering with that.
B:Let’s talk about Donga – the DJ for a bit. What are your favourite sounds at the moment? You play out quite a lot and you’re a DJ that knows how to connect deep / smart sounds and dancefloor material in a set. What does your usual club selection consist of, if you have one?
D: If you start playing out regularly you can’t avoid playing some of the same tunes for periods of time but it’s important to me to always mix things up from past to present. I deliberately drop energy down to build things back up and mix across styles and so on because otherwise I don’t feel challenged and that‘s what brings out the inspired stuff in me.
I think this can have varying results for crowds if I’m honest depending on what they expect from a night out. There are always plenty of people who are gonna step up and play all the bangers you know and love, or impress with a set of completely unreleased dubs by them and their artist friends, so if that’s what you want, don’t bother checking me. I feel in our mad quest to know what the next hype is we are overlooking so much good material in the present. Our culture is too disposable. I think it’s quite healthy to alternate between the familiar and the challenging. Contrast is where it’s at for me.
B:You’re also a huge vinyl enthusiast / vinyl exclusive DJ. How large is your collection and what are some of your most priced possesions?
D: My collection is into the thousands, some at my mother’s home and some at my current flat. People have suggested the floor might collapse which actually made me think! However, I respect people that maintain a tight reign on quality over quantity. Having this many records can make things difficult, I sometimes go through hundreds of records before a gig without finding certain things because I have no filing system in place. I don’t look at market values for records, some things that you can find for pennies are the best records I’ve ever heard. My most prized possessions would probably be records I can imagine I might still want to hear at retirement age, say something like Miles Davis’ ‘In A Silent Way’.
B: In relation to that, tell us a couple of words about the mixtape you put together for BASICS. Selection, how it was recorded, etc. And last but not least, why the Noizy Tables thing?
D: Noizy Tables is a reference to my badly set-up Technics. There’s all sorts of rumble and stuff. I look at records that I’ve been feeling recently and without practising put them in an order that I imagine may work. Then press record. If I end up over-rehearsing or thinking out mixes they become a drag to make. I feel as a DJ I’m in a transition at the moment, I sense something around the corner. Maybe this mix reflects my current somewhat confused and unresolved state. Either way, I did my best to make it an entertaining journey through different moods and atmospheres somewhere between dancing and listening material.
B:It’s been a pleasure and sincere thanks for taking quite a large amount of your time to do this! Highly appreciated! Cheers and best of luck with whatever the future may hold for you and Well Rounded!
D: Thanks very much for asking. The interest means a lot and it’s really great to reveal more of the thinking behind what we do. Peace. :)
Thus being said, make sure you get your news feed from Donga, Well Rounded Records and its sister labels via Donga's SoundCloud, WR SoundCloud or on Facebook.
Also, their eleventh release on the mother-label comes from Skinnz and is now available for pre-order at Redeye Records and all the other good vinyl stores. Cop it!
Our fellow future-thinking beats pushers down at Future Electronic Music did it again. And this time it's serious. Setting aside their Facebook activism and podcast series for a while, they started a new project called FEM Recordings. Producers were sought after, connections were made, tracks went back and forth and finally on the 20th of August they managed to come up with a definitive form for their first attempt in putting some tracks up for world recognition: FEM001 - FEM Picks, which they modestly describe as being "a collection of 13 tracks from unheard talented artists".
We're gonna expand a bit on that and add "across the board" in that sentence. We're talking about 13 tracks coming from such a different range of producers, from all over Europe / the world, juggling with different styles in a wide bpm area! Different influences are shown, different production techniques are showcased and different results are to be seen / heard.
From Gacha's Nu-Disco takes to Leibniz's german Juke engineering, from Palace's Future Garage beats to Blacktee's mental House / Techno, TRG-ish approach, from Zoltan's Funky riddims to VRT's bass roller, this compilation has it all and all is something hard to get nowadays. We only mentioned a couple of our favourites but there's more to choose from on the compilation. Whether you are a House, Post-Dubstep, Dubstep, Wonky head and so on, something will suit you!
That + the fact that this is one of the few attempts of pushing fresh blood orchestrated from Bucharest, should be enough an awareness-raiser for you to go check it out, download it and play it out if you're specializing in that.
You can get the whole 320 pack from FEM Recordings' Bandcamp for free. Everything sounds good, it's properly mastered and ready for your listening pleasure. Previews are available on FEM's SoundCloud.
PS: We don't like to name names but there's definitely something about Palace - Down With You that got us all goosebump-y.
PPS: Three Romania-based producers there: VRT, Zoltan & Blacktee (like you didn't know...). Show support!
PPPS: We won't disclose any crucial information yet but there's a launch event coming soon for this and we're gonna be there as well, showcasing our regular BASICS selection! Watch this space!
Daca ultimele doua-trei editii s-au invartit in zona ceva mai low-bpm, Disco sau House a muzicilor electronice de dans care conteaza in 2011, de la editia a 6-a - asa cum v-am avertizat - facem un mic switch de directie spre zona in care ne simtim cel mai confortabil: peste 128 bpm, fara granite din punct de vedere al genurilor abordate.
Din motive pe care speram ca nu mai e cazul sa le explicam articolul va fi de aceasta data publicat aproape integral in limba engleza.
So, we're now proud to say our sixth installment for the series wears the signature of one of the most prolific and active producers Romania ever saw: Alien Pimp representing DubKraft and False Flag Operation.
For the young ones, Alien Pimp builds tracks for well over fifteen years now and currently owns two labels: DubKraft - which is best known for succesfully experimenting, over the last four-five years, with a rather large palette of dance sounds ranging from House and Techno to Dubstep and Drum&Bass and for discovering amazing fresh talents such as Asusu, Furreshu or HxdB to name just a few of our favourites - and its newly born sister: False Flag Operation - which is also set to stir some big waves in the open-minded circles out there. You'll see what we mean by that.
The mix you're about to hear acts both as a label showcase for these two music factories and as a producer showcase featuring some (seriously good) unreleased Alien Pimp material. Also there are a couple of unsigned / unlabeled inserts which we like to think of as some of his big favourites as a DJ at the moment plus a very interesting track surfacing from a very interesting producer. See if you can spot it.
To sum it up, probably one of the most complex recordings we're ever gonna host. You're in for some serious style juggling this time.
Also there's a rather large, highly recommended and self-explanatory interview with Silviu that can be read lower on this page!
Even though this time we could easily write a novel, we will stop here because we truly believe that both the audio and lecture materials speak for themselves. Get to know!
Tracklist:
01. Edoc - Losing My Emotion [False Flag Operation] 02. Alien Pimp + Terry Artovsky - Schoe [False Flag Operation] 03. Vlad Onu - Patterns [forthc. DubKraft] 04. Adam Kroll - Days At Night [forthc. DubKraft] 05. Kelle - Siberia [DubKraft] 06. Alien Pimp - Dynautics [N/A] 07. Alien Pimp - Destroit [N/A] 08. Datacode - Upstream [DubKraft] 09. Hector Villanueva - Estamos Bien (Latino-Glitch Treatment by SubJazz) [DubKraft] 10. Robot Koch vs. Graciela Maria - Brujeria [N/A] 11. HxdB & Self Evident - Hoof Hearted [forthc. Palms Out Sound] 12. Alien Pimp - Can't Push A Wave (Can Only Surf It) [forthc. Gradient Audio] 13. Volatil - Parallel Worlds [DubKraft] 14. Alien Pimp - Another Sunny Day In Barcelona [Subdepth]
BASICS:First of all cheers and thanks for taking some of your very little available time to do this whole thing! We know you’ve been busy as hell. How are you holding up?
Alien Pimp: Cheers! Not easily, this world makes huge efforts to marginalize anyone more concerned with mental and spiritual (in a non-religious sense) development than with profitability.
B:It’s useless to try and paint your portrait as an artist / producer / label owner etc. again. Anyone fairly in touch with the contemporary Bass Music scene knows who you are and what you do. So, our favorite intro question: what is it that Alien Pimp doesn’t do?
A.P.: Ha! I don't do a lot of nice things I wish I did but I don't have the time or the resources for. Provided those, I'd be happy to contribute the world more beauty and quality entertainment. And maybe some reason too; that's missing more than anything.
B:Ok, let’s get serious. It’s a rough time for labels at the moment with the economy collapsing all over, with issues like piracy and with huge amounts of music (some good, most of it awful) in stores everywhere. Still, DubKraft seems to be rolling smoothly out there and you’ve just launched a subsidiary to it: False Flag Operation. Tell us a bit about the concepts of / differences between these two. How do they manage to stay on the market independently from one another? Is FFO actually DubKraft under a false flag or does it have anything to do with secret military operations?
A.P.: I actually took things seriously from the beginning of this.
It's simple: DubKraft never had a standard label approach, but it still fits some standards and requirements of the market, obeys some rules, we basically put on a suit to get the job and some acceptance so we can spread a message of change and evolution from inside. And things changed these first five years, that approach became standard business attitude for many other labels, it became an establishment in itself, and we're comfortable there, we don't need a fix now.
BUT that doesn't mean there is no next next level (repetition intended). And the new sublabel will be taking care of that. It's like with any serious company: it has its own secretive lab where it cooks the future. Everything we do is a seed but very very few people know how our mature plants will look like. We're capitalizing on the trust we've gained so far to plant these seeds.
I can disclose the final target though: self-sustainable total creative freedom for the artists at affordable costs for the impoverished masses. Provided support from a bit more audience than we already have now, I know now we definitely can get there, even in the current context. It's just we need a bit more love than a label of our type gets usually and we gonna earn it!
B: DubKraft just released the second volume of Adult Bass Music, a compilation which I personally find to be damn interesting from many points of view. It also got ridiculously good feedback from many guys considered to be living legends on the scene. Let’s talk about the artist choices for this compilation and the split between bpm ranges, into up and midtempo. Who and respectively why? Why the name? And last but not least, where’s the downtempo edition?
A.P.: The label/release strategy is like a very flexible and adaptive grid with serious criteria. If a track fits in and pushes things the right direction - it gets in. I don't care who the artist is and his pedigree, I only care about the music and the development. After 5 years of growth, DubKraft is now a pedigree in itself.
The split between the bpm ranges is a marketing thing mixed up with my view that genres are irrelevant today, and the tracks should be described only by mood plus bpm plus the predominance of some sounds/techniques (techy, dubby, organic, breakbeat, straight beat etc...). I don't think there's gonna be much downtempo stuff on DubKraft though, for reasons I won't get into because that would mean another page of text. But there will be enough of it on FFO, there are almost no restrictions there.
Ah, about the name: it caught your attention, didn't it? Now tell me you're not one of those who forgot the original meaning of the word and you don't read only XXX when "adult" is printed on the paper (n.r. we at BASICS do not acknowledge the existence of porn). Because if you do, and then you listen and you still don't hear "grown up" instead of XXX, then you're not ready for us, sorry. We have to be very selective, a lot of bad audience might feed us more but it's ballast for the good developments. We're very democratic in some ways, but history proved progress came from the best and regress from the rest. Cope with that, I didn't make that rule!
And I know It might sound self-contradictory: we need love but we don't take it from everyone. What most people don't realize is that some love can be toxic, people often die from love. I prefer a slower but healthier growth if that's what it takes.
B:DubKraft also started out as a Dubstep label and it slowly became what it is today: a house to all great music, no matter the genre and bpm. Also Alien Pimp (and I’m talking about this moniker only and about the after-2000 era) used to produce mostly Drum&Bass and Dubstep and lately has put out some brilliant Techno and House-ish beats on FFO, DubKraft, Micropuncto or Subdepth. Were these transitions something natural, that came along with experimenting, or a logical step in the general scene direction of 2010-2011?
A.P.: A bit of a correction: DubKraft has some limitations, it puts out anything good, but stuff that's bassy enough and DJ-able for those who play in the ranges of 120-145 bpm and 170+ bpm. That's it. We made occasional but rare exceptions.
As for the transitions: I'm just making tracks like I need to listen at the moment or just trying a new idea. And I have moods, or I get bored with some things for a while, then maybe I come back to them... I just follow the inspiration and the energy of the moment... What comes out afterwards, how people split them into genres and all; that is another story, not the most interesting for me. Today it appears I'm on a Techno spree, but I write everything. Just worked with guys in Indie Rock (The Mono Jacks) or Nu-Jazz (Alain de Laniere). Many of these tracks you hear today were started 2-3-10 years ago and came out today because that was their fate. Due to the market conditions, my work is not exactly synced with the releases and my public perception. Good thing I have these labels, otherwise some of my best and most successful tracks would've never seen the shelves and people would've had an even more distorted image about what I do. Sometimes I think my best material got the most rejections from other labels. Their loss...
B:Since we are in the labels area, I have a last curiosity and I hope it doesn’t push the wrong buttons or anything: What ever happened to SoundKraft? It had some brilliant releases. Did it get assimilated into DubKraft or...?
A.P.: There's no secret, I've explained that in some interviews before, I think, but if you don't know that means more people don't.
SoundKraft's main objective was promoting the new wave of Eastern-European Drum&Bass. (n.r. if you don’t know what we’re talking about please Google: „Eastern Sound Architects”) It took very few years before our artists (Sunchase, Cooh, Dissident, Prode to mention but a few) stepped up to a level of biz SoundKraft couldn't provide and Eastern Europe became acknowledged for what it is: one of the main providers of fresh blood (wink at Hospital) for the worldwide scene. Basically the big labels picked up on that pretty fast and made SoundKraft pointless. Then I tried to find a new place for SoundKraft by opening its gates to everyone, but that coincided with those few years when standardization almost killed Drum&Bass and the ideas I had (some of them successfully revamped in Marginal production many years after) found no place and not much support at the moment, so I simply shut it down. But it's all good now and I'm proud to say some of the SoundKraft tunes are for me among the best in Drum&Bass ever, regardless recognition.
B:As a producer you have an impressive history behind. You’ve also been involved in a lot of projects and had more than one moniker. I for one did not expect to see those two tracks under WeAreNotSure and Sonic Tonic getting reissues on FFO. What triggered the need to bring them back to life, especially since the original releases were on Bucharest Chills & Thrills – one of the best and most original compilations Romania ever saw?
A.P.: They are timeless and very few people know them outside Romania (and even inside). There will be more things coming out from the vault, proving that one day you get some hype, next day it might fade, but eventually that is nothing to worry about when you focus on writing good music, not trendy music, good people will recognize good quality. Those tunes got more appreciation today than back then.
B:Even though you’ve relocated to BCN, you’re still one of the main promoters of young and talented producers. After Dudawles and Archer, both signed on DubKraft, what Romanian names should we look up to in your opinion?
A.P.: These two guys you mentioned, Ion (n.r. the one signed by Local Records as well, not the Dubstep DJ), and a couple more that I will unveil pretty soon but not now. Talking about the new wave only. And I'm sure there's gotta be a few more guys I ignored.
B:Let’s juggle the topics a little more. You seem to be a bit concerned with social and political issues and generally with the big things happening all over the world. How does that energy get transposed into your work as an artist, into your tunes and into your label concepts? Or are they completely separate things?
A.P.: The same way they transpose in everyone's lives and work, I'm just more aware of it than the majority and that makes it more apparent in my work. And if you get attention from people, you have a good message and you don't use the opportunities to make things better and increase awareness, then you deserve your fate. I like to deserve good things before I ask for them. For my self-esteem, deserving is even more important than obtaining, it's the distinction between merit and recognition, recognition is an external thing I can't fully control, but merits are 100% up to me.
Bottom line: the key to a smile and a good sleep is being frustrated with the others not with the self. Cause you can't escape frustration in this world. So I'm doing my part as good as I can and it feels good, I recommend it to everyone.
B:You’re also a DJ. Let’s not forget that. How does a DJ set look and feel when you’re at the decks? Is it Techno? Dubstep? Drum&Bass? Across the board? Is it a label showcase? Is it a journey through your influences?
A.P.: Oh, there is no straight answer to that because each time is different. Most of the times is just about looking at the audience and going with the flow in the most spontaneous way, but sometimes I need to make a point or promote something in particular and then it's more prepared in advance. I can go from 110 bpm to 175 in 2 hours if I have the proper audience for it. Genres matter only for some promoters, I respect the profile of an event I'm booked for, but "Style Is A Cage". (n.r. http://bit.ly/gXjDxN)
B: You’ve spent enough time on both BCN and Bucharest electronic music scenes. Each will probably think that the other is better in some way. Is the truth somewhere in the middle? What are the differences in your opinion?
A.P.: The main difference I found is the ratio good audience/talents. The situation is almost inverse it the two places, seems like the audience in Bucharest is really big, but on the creative side there's a huge hole that needs to fill up. Barcelona is the other way around, but the creative force here is very much "imported" from other countries or cities, and as Spain is fucked up economically some of these forces are starting to leave. Future developments will be very interesting, hopefully an equilibrium will be reached.
B:Can we get 5 all-time favourite tracks of yours? No age limit. No genre borders.
A.P.: Hardly, I always have issues with these charts, because I've listened to everything, from Debussy to Cradle of Filth, Autechre or Pixies. And loads of these stayed with me even if I forget most titles.
So no chart, just some of the classic tracks for me that I never get bored of:
Sisters Of Mercy - Black Planet Pixies - Where Is My Mind Goldie - Inner City Life Joy Division - ... (you fill in the blanks) The Orb - Little Fluffy Clouds
It's frustrating to put these above all the other tracks I love!
B:You are put in the situation of explaining a young teenager, or someone round that perceived age, who Alien Pimp is and most important, what your music is. You can only do this by playing him just one of your tracks. Which is it? And why?
A.P.: I released many dozens of tunes to be reduced to just one? Impossible... Give me the attention I worked for or leave me alone!
B:Finally, tell us a couple of words about the mix you’ve put together for BASICS.
A.P.: Adult bass.
B:And a huge „thank you” once again! Hopefully we’ll hear more and more about you, DubKraft and FFO in the immediate future! Cheers!
A.P.: Thanks for the love you and my supporters provide! I'm doing my best to return it twofolded.
And as I'm a limited human being with limited resources, no love for the politicians of any sort, for money-focused people, for religions, and for the ignorants by will, you are the dark side!
Ok, sa fim sinceri, nu credem ca mai exista in momentul de fata vreun ascultator ahtiat dupa fuziuni 120-140 care sa nu fi dat peste release-urile in cauza, ale caror link-uri de Soundcloud circula de ceva vreme cam pe toate site-urile, blog-urile sau forumurile specializate.
Ne asumam insa riscul redundantei, pentru ca cele doua noi schimbari de directie aprobate de Martyn pentru label-ul sau coincid cu doua miscari esentiale spre sound-ul forward-thinking in muzica de dans si in acelasi timp poarta semnaturile a doi dintre cei mai apreciati producatori din ultimele 6 luni, poate din ultimul an.
Asadar, 808-influenced - House / UK Funky fusions pe primul dintre discurile in cauza, marca Julio Bashmore, care arunca (in sfarsit!) in circuit Batty Knee Dance si Ribble To Amazon - doua rollere superbe pline de clap-uri, chop-uri vocale si bass punch-uri eficiente in club, triplate de un digital exclusive: Grand National, nu atat de spectaculos dar al naibii de interesant. O incercare la 118 bpm directionata, credem noi, catre cei care nu se pot desprinde inca de sound-urile Disco sau Chicago House.
Nu are sens sa incercam sa catalogam release-ul. Martyn a facut-o pentru noi: Sexystep. And it is!
Discul se afla deja in record shop-uri iar de Luni (4 Aprilie) se poate cumpara si in format digital.
3024012, programat pentru prima saptamana din luna Mai, se intoarce in zona 135-140 bpm insa daca va asteptati la Dubstep deep rollers sau Garage takes...forget it.
Release-ul vine de la nimeni altul decat bijuteria coroanei Swamp81: Addison Groove (Tony Williams, Headhunter), care livreaza in stilul ghetto-esque cu care ne-a obisnuit deja. Side A lasa loc pentru It's Got Me. Daca va mai aduceti aminte de mini-mix-ul realizat de Tony pentru Mary Anne Hobbs candva in primavara 2010...e vorba de prima piesa. 808, Chicago Juke incetinit si englezificat si ceea ce inseamna probabil cea mai inspirata utilizare a unui sample din Bob James - Nautilus din istorie. Side B se duce intr-o zona ceva mai obisnuita pentru 3024, cu Minutes Of Funk, construita in jurul unui beat four to the floor ceva mai cuminte si mai putin intricat decat de obicei. O piesa care ii va gadila pe cei care au cumparat SWAMP009 pentru Work Them mai mult decat pentru Sexual.
Un release foarte bun care arata o fata ceva mai conformista a noului moniker al lui Headhunter, dar sub nici-o forma de trecut cu vederea.
Figura frumoasa facuta de 3024, care prin release-urile de fata, la care se adauga Left Hander / Shook It, demonstreaza in 2011 ca este un label care poate tine in frau aproape orice directie ar lua sound-ul de dans al epocii contemporane.
Un scurt reminder pentru maine seara (Sambata) cand reluam seria BASICS si ne intalnim cu ACQZUEL la BASE Cafe pentru multe muzici cu Bass din spectrul deja obisnuit. Intrarea este libera.
In supportul party-ului Acqzuel - Aero EP la FREE DOWNLOAD prin bunavointa HD Music.
Editia a 2-a de podcast migreaza via Cluj-Napoca si vine ca un warm-up ideal pentru BASICS 013 care se intampla Sambata, pe 5 Februarie in BASE Cafe.
BASICS Podcast 002 e conceput sa dea bine pe dancefloor si vine de la Acqzuel, care reuseste sa puna cap la cap in aproape 50 de minute mult bass, killer four to the floor beats & lots and lots of groove. Pentru o intelegere cat mai deplina recomandam sa porniti sub-urile si sa ridicati fara grija volumul.
Ca de obicei (daca il putem numi obicei la doar a doua editie) mai jos gasiti mixul la stream via Mixcloud si la download via Sendspace. De asemenea, un scurt Q&A cu Acqzuel se poate citi mai jos.
Tracklist:
01. Andreya Triana - A Town Called Obsolete (Mount Kimbie Remix) [Ninja Tune] 02. Vaghe Stelle - Emiciclo 1 [Monkeytown Records] 03. Shed - With Bag and Baggage [Monkeytown Records] 04. Kevlar - Feelings Are Weapons (KiNK's Psyche Dub Mix) [Nervous Records] 05. Hipo, Livio & Roby - Stapanu' Intergalactic [Desolat] 06. Ernesto - Wise (Motorcitysoul Remix) [Rakkaus Records] 07. Motor City Drum Ensemble - Raw Cuts #1 [Faces Records] 08. dOP - Walk The Line [Children of Tomorrow] 09. Hermanez - Do You [KNM] 10. Megablast - Jupita (Stereotyp Remix) [La Rosiere Records] 11. Varsoslav feat. dOP - Inside Ways [Supplement Facts] 12. Maya Jane Coles - Don't Tell [Real Tone Records] 13. Amadou & Mariam - Sabali (Uproot Andy Remix) 14. Robyn - Indestructible (A-Trak Remix) [Konichiwa Records] 15. ROS - Ear Rings [Scarcity Records CDR] 16. Ruby Goe - Beat Breakin' Boy (Stanton Warriors Remix) [Punks] 17. Mesmer - Fearless [Scarcity Records CDR]
BASICS:Salutari din BASICS HQ in primul rand si multam de accept pentru podcast si Q&A. Cum merge? Cum e vremea?
Acqzuel: Salut, mersi de invitatie. Momentan sunt pe autobuz, ma intorc din Targu Mures, e frig, e ceata, vreme perfecta de stat acasa.
B: Noi te cunoastem de mult, majoritatea publicului din .ro te cunoaste din perioada in care invarteai discuri in warm-up pentru nume grele din Dubstep ca Tes La Rok sau Coki sau de la festivaluri ca TMBase, Summer Break sau Get Out. Cine este Acqzuel pentru cine nu te cunoaste inca? Cu ce se ocupa?
A: Pe scurt: Ma numesc Alex (aka Acqzuel, Acuarel, etc.), am 25 ani, sunt din Targu Mures dar locuiesc in Cluj. In timpul zilei sunt designer grafic, si de Craciun si Pasti mai fac o piesa un beat ceva.
B: Esti un DJ complex care mixeaza intr-o arie larga de bpm si pe scene diferite. De la Hip-Hop, la House sau Techno, pana la Garage, Dubstep si Drum&Bass. Warm-up, main sau afterhours. Cum ti-ai caracteriza tu sound-ul? Ce mai mixeaza Acqzuel azi? Dar ce asculta acasa si in casti?
A: Sunt anumite locatii in care ma simt liber sa jonglez cu bpm-ul. De la chestii care suna a Hip-Hop pana la ritmuri rupte si pline de bass trecand prin Techno, House si alte sound-uri asemanatoare. In rest ascult multe genuri de muzica, depinde de stare. (de ex: in timp ce scriu asta, ascult Tokimonsta.)
B:Pentru ca tot am mentionat deja controversatul capitol Dubstep, sa nu ignoram elefantul din mijlocul sufrageriei. Scurt si la obiect: What got you in? What got you out?
A: Prima piesa care am auzit-o a fost Anti War Dub a celor de la Digital Mystikz, a urmat Loefah, Skream si altii. Am fost fascinat de sound si de faptul ca nu existau limite, orice putea sa fie Dubstep nu conta bpm-ul sau anumite formule, tinea mai mult de vibe. Din pacate in scurt timp lumea a inceput sa perceapa Dubstep-ul ca fiind total altceva, nu are rost sa intram in detalii.
B: Pentru ca vorbim de 2 perioade diferite, sa concretizam: Cateva track-uri din topul preferintelor tale din 2008-2009 versus cateva din topul de azi?
Acum: - Justin Martin – Get Low (J. Philip Remix) - Skinnz – Keep It Gutta - Gesaffelstein – Atmosphere etc.
B:Capitolul de presupuneri prin absurd: Detii controlul asupra tuturor frecventelor AM-FM. Ai o ora si ceva, maxim doua la dispozitie pana ajung la usa ta o armata de mascati si te decizi sa lasi un mix sa curga in timpul asta. Stii ca ai o audienta de cateva miliarde de oameni. Dai play la?
A: Doua dintre mixurile care mi-au rupt boxele si castile mult timp au fost: Untold – XLR8R Podcast 103 si Dubase – Where’s My Ghetto.
B:Revenim pe pamant, in 2011. Pe langa DJ-ing, stim deja ca produci si o faci destul de bine. Piesele tale sunt o prezenta constanta in tracklist-urile BASICS. Software? Hardware? Sound? Ce release-uri ai, ce release-uri si planuri urmeaza?
A: Din pacate nu prea mai apuc sa lucrez la piese pe cat de des as vrea dar pana acum in mare am folosit Reason. Pe viitor sper sa trec pe Ableton. Am doua piese la HD Music si urmeaza o a treia la Scarcity Records.
B:Ok, in incheiere, spune-ne pe scurt povestea din spatele mixului pentru BASICS. Ne intalnim si pe 5 Februarie la BASICS 013. La ce sa ne asteptam?
A: Podcastul e un intro pentru BASICS 013. Va fi o seara plina de groove, dirty snares si crazy synths.
B:Danke si te asteptam peste 4 zile in Bucuresti!
A: Mersi si eu, si ne vedem Sambata.
Cu Acqzuel va intalniti Sambata, 5 Februarie la BASE Cafe cu ocazia BASICS 013 iar mai multe materiale audio de la el (piese si mixuri) gasiti pe Soundcloud sau Mixcloud.
