Revival: c0p interview for dubstep.ro - 2007

Back in 2007 and 2008, way before BASICS popped up, I used to handle editorial affairs for dubstep.ro, as some of you may already know. Around that period of time Toma Soare (Tomasan), Silviu Costinescu (Alien Pimp) and myself managed to sort out a couple of interviews with people that at the time being were deeply involved in the Dubstep / current Bass Music scene.

Late 2007, one specific interview had Hotflush Records' ex-A&R in the spotlight. A certain gentleman that goes by the name of c0p and has laid a solid foundation for the Dubstep, Techno and Bass Music scenes in Hungary and the whole Europe as a DJ on Sub FM, as a promoter, as a talent scout back when Hotflush was just another label on the market and as a graphic designer for most relevant events in Budapest and for a couple of well known labels from the UK.

Since dubstep.ro took a dive and we are in possesion of what we like to call "timeless material" we took the liberty to re-publish a short novel that even 4 years after it first hit the web, still tells an undeniable truth. A great "early day vs. present thoughts" comparison that could easily spark memories for everyone involved with music or the past and current scenes. A great open discourse (or even monologue at times) reaching issues like: Stereotyp, Dubstep's early days in Hungary, the dubplate culture, Basic Channel, minimalism, Drum & Bass, crowds, the launch of Hessle Audio, El-Sid, predicting the future or simply being busy.

Interviewing affairs handled by Toma Soare.

c0p says it all!

c0p? Instead for me to make an introduction to this interview, c0p does it himself…so easy, you can see I didn’t even ask questions, as a rhetorical view, he does it himself again. We could say c0p talks to him with me in the background…so just go through it…Enjoy!



1. Hey c0p, how are you doing?

A bit busy. Okay, lets say freakin’ busy. Luckily I have to execute loads of projects at the moment. Hopefully you will see and hear the issues in 2008. I think I have to learn living without sleeping as looking back in the past years' boredom is an unknown word in my vocabulary. I’m always working on different tasks in different fields which is basically good. So to cut the long story short, I’m fine thanks.

2. Where does c0p come from? We might get scared, are you a policeman?

Well, I have to draw old memories when my life could have been described by 8 bits. I got my first experience by a Hungarian computer named Primo (pure quality at that time with 1kb memory and 2 colors) and a few years later I hooked up with commodore plus4 and c64. My life was permanently determined by computers. Well, not as much as nowadays but it was enough to jump into the demoscene in the late 80s. There I began using “cop” what was easy to remember, unique (who wanna call himself a cop?), cool to draw because of all the rounded letters and at last short enough to put onto classic 3-bit high score tables. And if you hate cops you’d better think of Robocop hahaha. I still use this nick to all of my activities and at the dawn of the h4ck3r typing I began using zero around 1997. Well, I still use both but zero equalize the word better in typography. So I don’t have anything in common with the police, even my father isn’t a cop as a rumor catched my ears back in the days.

3. When did you start Dj-ing and what did you play that time and who are the artists who influenced you over the time?

My most favorite question as I can start a never-ending tale and everyone gets bored before the end. I’m trying to sacrifice my storyteller side and cut the long story short. I’m trying to live open-minded so I hardly can state that there is just a number of influences reached me during the past decades. I should begin with Kraftwerk's “Boing Boom Tschak”, Herbie Hancock’s “Rockit”, Paul Hardcastle's “19″, Hot Streak’s “Bodywork” or Malcom McLaren’s “Buffalo Gals” just to show what were my grounding hits. Alongside these I melted into the Hip-Hop/B-Boy era with all classic stuff. Honestly I think I’m still on the same aesthetic vibe in a disguise, as only the elements changed during the time. On the other hand I can tell that my very first fave was Boney M, hahaha! Risking of ruining the evolved vision of a progressive c0p I can add Pet Shop Boys to my early 80s influences. I always tell that Rock and me are two different stories but I was listening to EMF, RHCP, Nirvana, Bodycount, Faith No More, Pink Floyd, at least one of their albums. But seriously, I realized that I can’t deny my raw and overwhelming desire of crispy, delicious beats, endless flow of wise minimalism or everlasting flow of bassline driven moods. Maybe that's why I’ve never sticked to any styles too long and ended up as a basshead who just wanna join his forces with others to shape the future.

I can continue counting the influences of my musical background after the late 80s but we wouldn’t finish this. So I just mention that I started asking mixtapes from my German, Dutch and Swiss friends I hooked up with on the Commodore64 demoscene (I used to be on the team Faces). That's how I found all the classic UK Hardcore bits, the very first mayday compilation, the Acid House fever, the Ambient space and even the Jungle fever just before 1993. In 1995 I got my first request to play in a freshly opened club and after a few months we started to organize our first monthly club night what went awesome for a year. That's how it all started and since then I played with several of my former icons (Rhythm & Sound, LTJ Bukem, Kevin Saunderson, etc. …) and we also invited a few heroes and upcoming talents to Pecs (Monolake, Jojo Mayer, Seba & Robert Manos, Doc Scott, Lawgiverz, ASC, Aquasky, Search & Destroy, Hotflush gang, etc. …). Looking back to very early 90s I’ll be always thankful for artists like the Basic Channel camp, the Warp stable, Steve Reich, FSOL, Plastikman, Orbital, Speedy J, Burnt Friedman (& Drome), The Orb, SND, Amon Tobin, Alec Empire or Biochip C. Sooo many names worth to mention. I should stop here haha. I think all the musical eras gave me a lot of inspiration and a pack of names but I’m always in search of new elements, fusions and impressions (maybe because I used to compose tunes?) though the aesthetic and philosophy are the same every time. I never cared what style I play until there are connections between them. That’s why I loved playing 8-9 hours sets covering everything from Dub, Minimal, Nu-Jazz, Dubstep to Broken Beat, Breaks, Electro, Drumfunk or Drum & Bass. Nowadays I prefer playing Dubstep (avoiding wobbler overdose and focusing on new directions), quality Minimal (not the well hyped reshaped Prog-House but the stuff influenced by Basic Channel, Profan, Mosaic, etc. …) and top notch Drum & Bass (mostly deep, spaced out vibes with clever drums) but I still play several other styles…

4. For how long Dubstep and what is your opinion about Dubstep's development as a genre over the last 10 years?

I think like several DJs I also started out with Stereotyp’s Yahman and his album on G-Stone besides the first Tempa plates. Stereotyp is more tagged as part of Vienna sound, there is an awesome 2-Step, Dub, Nu-Jazz, Dancehall mash-up style. One of his earliest was Yahman which was an unique dark Dancehall minimalism. But that wasn’t enough to see the whole movement which has a very limited scene. I’m a journalist at the Hungarian mag “FREEE” since 2000 and they asked me to do a 2-Step / Garage article back in 2003. I was digging deep and I hooked up with the “early” Dubstep movement. My guides were the Garage Pressure pages from Australia alongside Kode9's Hyperdub archives that I visited earlier a few times. Then I realized there is something more going underground and I got involved pretty much. Since 1999 Dubstep has gone far further though it’s still underground. From the early new dark swing and sub low (around the millennium) to the forming Dubstep and its angry bro Breakstep (we can even add Grime) (2003-04), the evolving Halfstep (2005) it has become international and much more diverse. Today it’s subtle with inspirations taken from the Basic Channel minimal Techno, influences by Electronica and all other styles (just like originally). Such a colorful spectrum of sound and I’m afraid what would happen if it keeps on evolving because it won’t stop for sure! On one hand I’m scared positively as Dubstep today is awesome and I don’t know how far can we go. It’s already magnetizing Drum & Bass, Electro-Breaks, Breakcore, Dub, Hip-Hop and even Mainstream acts so it could turn up something very big. Or it can blow up just before reaching its age. It is still in an experiencing phase with just a few elements grounded heavy to the compositions and people don’t like experiments. They don’t want to do the math on the floors. In 2006-07 Dubstep have been noticed worldwide and it is divided to popular, more dance compatible and more complex sides. I just hope everyone will be listening to all aspects just like a few years ago when it was smaller. You were able to hear all angles in an hour from deep meditating minimalism to floorfiller breaksbombs or tectonic wobblers. It’s all good to have ammo for the mind and the feet but look what happened with Drum & Bass when they got rid of the complexity and let Clownstep spread. I hardly find sets where you feel grooves and change of moods. Maybe it’s just a selfish need as for me style doesn’t matter and I always wanna make vibrating, diverse and add deeper cuts too. Maybe I’m wrong when I think we have to feed the heads (and not with E) too. I get easily bored with testosterone-filled wobblers all night long. Don’t give the people what they want, give the people what they need. It’s all about education and balance.

There is another, maybe even more important riddle for the future. What will happen with the vinyl plats and how long a dubplate culture can exist? Dubplates are very good for quality control but if the dub players are just a small part of the scene they could control the whole movement only in limited directions excluding several other aspects. How long can we go? Where is the balance? Who is trusted? At the digital age the dubs are sometimes leaking out faster than ever what makes the inner circle even smaller. Several artists or labels don’t send out tunes above 128-192 kbit and a lot of DJs outside have to wait to get a proper version released. But dubs are played sometimes years before street date so common DJs have a massive drawback. What will street date mean when mp3 releases will overwhelm the vinyl sells? We are living in a cataclysm when the society’s customing and listening habits are changing a lot so it’s hard to predict anything for real. I’m sure and I hope dubplate culture will stay alongside vinyls but I’m not sure what will happen next. One thing is sure: we have to keep on pushing the right vibes in the right mixture and make our best adding a bit to the scene. And we should never forget the original open minded approach what drove us into. If we stick to our original purposes it will progress ’till the end.

5. Who are your favorite Dubstep DJs and producers? How’s the Dubstep movement in Hungary?

There are way too many to mention. A lot of peeps just don’t get why the others like Dubstep tunes as these are driven by lazy ass, sleepy Trip Hop beats with lame production and boring build up. As a start I think they either don’t catch the word Dub’s meaning or they haven’t heard too much of Dubstep. There are several styles waving outside waiting to get explored especially in 2007. As a guy devoted to minimalism and feeling passion of thrilling beat cuts, energic and tricky, even offbeat rhythms I found Dubstep the most interesting phenomena in years. I can’t roll any electronic music style today that bridges the gap between 70-150 bpm so easily and consistent. I can’t name any other style that is going to make you freak without pace dictating beats in your face and giving the solution with pure bass. This case is similar to the early 90s era when most of us haven’t understood bogus Jungle grooves. Now we don’t understand the “beatless” freedom of surfing on sinewaves. Hah, sorry I turn off the low end theorist. This year I loved the bass driven deep Bristol cuts (labels like Tectonic, Punch Drunk, Mode, Immerse, Inprint, Compound One) who tend to inject a massive dose of the Berlin-based Basic Channel’s legacy to their soundscape. New breed of producers leaked into the scene from Holland (Martyn, 2562), USA (Intex Systems, Vaccine, Roommate, Djunya) who made a huge impact. TRG also produces better and better tunes without any solid identity which is unique I think. The Z Audio crew does it well, Argon rocks the floors, Skull Disco is on fire, Ranking has one of the best starts this year, Hessle Audio, Subway launched well… I have my all time favs every time like Elemental, Scuba, Boxcutter, Reso, 23Hz & Numaestro, Slaughter Mob, Search & Destroy, Hench Crew, Toasty, L-Wiz, Benga, D1… Okay I’ll stop it. There are a lot of good producers so let’s see the DJs… Thinking and his new partner Kidkut are flawless and guys like Scuba, Ben UFO, Plastician and several others doing the rounds too (how sad El Sid - Hotflush left the scene). Hard to pick just a few names as there are dozens of them.

Pecs had its own musical taste and we represent deeper sound. For example some key players in Budapest states that Pecs could have been the capital of Minimal or we are stronger in atmospheric and tricky Drum & Bass. Perhaps the relatively smaller scene allowed us building it up but that's another story. In Hungary we have an evolving Dubstep scene scene though only Budapest and Pecs have regular nights. Budapest has more of the London style wobble fueled anthems while Pecs is like Bristol a bit in Dubstep too. This is maybe because I play deeper or drumwise stuff besides the wobbling basslines and also some UK DJs had the same impression after visiting our parties and city. The Hungarian scene is still very young though we were between the first countries in Europe in 2005 with inviting UK Dubstep DJs. As far as I remember they were only in Spain and Belgium before Hungary. After the award winning Hotflush Records appearance in Pecs things started slowly. DST had been running his 3 weekly show on Tilos Radio, then Chi Recordings brought Pinch to Budapest, Search & Destroy came back alongside Hotflush, Scuba and Dubstep arrived to the enormous Sziget Festival in 2006. Although we could expect a growing scene in fact it's still an underground movement with small achievements. In 2007 the illustrious Bladerunnaz organized Boxcutter, Pinch and Mike Paradinas (Planet Mu Night) and Caspa (alongside the Dub Phase crew). DST, Gumilap & Kebab launched their first weekly club night (Dub Phase) with a pack of regulars what grew slowly and had an impact at the last period of the year after 2000 people witnessed to Benga, Skream & Crazy D (Tempa) on Sziget Festival'07. They have Izc, BunZero (Sub FM), Chef (Rinse) and Tes La Rok (Argon, Noppa) gigs behind. Also Palotai & Cadik are key supporters since 2006 in their radio shows and on the best'n'oldest Hungarian weekly night “Rewind” (last time they booked Martyn - 3024, Revolve:R). I think 2008 will be massive for the scene but I fear we won’t reach the level of a bigger country. We run dubstep.hu, there are a handful radio shows spraying the sound and more new or experienced DJs join the game but we need to build and grow. University and college gigs are inviting key players like Benga or DMZ in the UK, and in Helsinki there are more Dubstep nights than Drum & Bass so we still have a lot to achieve. Thing is that I’m not sure it’s good earning a big mass at the moment as I mentioned earlier… I hope at least other cities will also have regular nights (maybe Szeged will be the next) what would be far enough. Music wise a guy named Boc launched a net label, DST (Digital Distortions, Crater), Ekaros (Combat, DubKraft) and Sollabong (DubKraft) has releases but you’d better watch Madd, Metro etc.

6. What is your connection to Dubstep?

I’m not sure. I still play several styles besides Dubstep and I can’t imagine myself leaving the others behind to become a pure dubstepper. Some DJs are confused because I play different styles, some even more narrow-minded and play just one specific section of a genre. I like mixing the things up if it is possible. For example it’s fun playing some deep Minimal or Dub in Dubstep sets and I play every course in a Dubstep set. It’s very important not to stick anything but aesthetics or philosophy so we can implant as much diversity into our sets as possible. The whole Dubstep and even electronic music meant to be a playground where everything goes. Stealing elements from here melting them with those… If we stick to a strict sound or composition that would end the story. Keepin’ the sound moving, mutating equals living that's how life works isn’t it? So in every style including Dubstep I go for new impulses and stick to old quality pieces. Strange anyway as Dubstep still divides people. This is just another sound what has something more than the actual trends. We saw the situation several times and we can see where Drum & Bass, Breakbeat, Nu-Jazz or Garage are today. I just hope Dubstep won’t end up in a plain scheme and stays innovative and colorful. I’ll give my tiny knowledge to the movement as DJ on air or in clubs, as a writer in articles and reviews and I still have two more connections… I was asked to help Hotflush as international A&R in 2005 and I still help finding new talents and help talents find their home at other labels. Luckily I have a good relationship with several key figures and lots of artists are sending me their unsigned or unfinished tunes as well. I feel really lucky that I was asked to write in 2000 to a magazine because it helped a lot to build relations with all the scenes. One other thing I’m involved is graphics. I was asked to create designs to several Dubstep labels and clubnights. It’s good I can add my bits to last vinyls a bit longer. With the digital sellings personality disappears, you have a bunch of unsorted files in a folder and you lose all material beauties. I think mind and matter are equally important, maybe that's why I studied architecture and do graphics. I wouldn’t be able to live just in digital and forget books, sleeves, hi-q printed graphics, folding tricks, different papers, the smell of it. There is no flash animation or any digital trick that could replace several thousand years of handwork knowledge. Basically I also try to plant and reproduce manual methods in digital. So I was very glad to accept requests from several labels like Runtime (Elemental - London), Argon (Nick - San Francisco), DubKraft (Alien Pimp - Bucharest), Hotflush (Scuba - Berlin, lately), Immerse (Kidkut - Bristol) or even from Renegade Hardware and Santorin (Germany) and there are much more to come… What shocked me is that all happened just in 2 months. I’m not sure if my nomination on Dubstep Awards in the Artwork of the year category helped in reaching out. I was in the top 5 after posting two event flyers. We’ll see what 2008 holds to all of us…

7. Did you enjoy SummerBreak 07? You played after me and Sinkronize.

Hope you guys liked what you heard. Yeah it was very nice though the whole trip was almost a nightmare. There was a massive traffic so we ended up driving about 11 hours instead of 7-8 and I missed my time around 23:00 as Brains missed theirs too. So the organizers postponed my set 1-2 hours and then another… As a result I haven’t slept a second and jumped (moved slowly) behind the deck around 8 in the morning. I was happy I was still able to mix and concentrate on selection for almost two hours. Then I instantly drove back and hit the bed around 19:00 in Pecs. Wished to stay since we had a nice chat with TRG, Kubiks and several guys. I felt like I’m at home with such hospitality. It’s always good to play out in Romania (props to Dudu, Roli Breaker, Seba, BAU & Timisoara massive!) and many thanks goes to Hazee solving the problems!

8. If it were to give a shout to us… ?

I’ve already written a novel so I just wanna give some strict advices by tracks. “Don’t Believe The Hype”, “Shape The Future” and “Watch Your Bassbins I’m Tellin Ya”! Seriously these are important things. Keep the spirit alive and never stick to any formula, build your own scene that's the most important.

More about c0p here: http://c0pland.blogspot.com/

BASICS Podcast 003 - Tomasan

House flavours with a spice of Jack. Totul atent selectionat, asa cum ii sade bine lui Tomasan. L-am invitat sa ne spuna o poveste four to the floor cu ocazia editiei a 3-a de podcast. O poveste cu mult suspans si cu un final epic!

BASICS Podcast 003 ia forma unei incursiuni House under-130 bpm cu vechi si noi, mai funky sau mai jackin', pentru capetele oldschool sau pentru noul val, pentru living room sau pentru club in egala masura. Nu avem de gand sa spunem prea multe de data asta. Let the rollin' beats talk.



Mai jos gasiti mixul la stream via Mixcloud, download via Sendspace si evident un Q&A cu Tomasan.

Tracklist:

01. San Soda - Doorsnee [We Play House]
02. Delano Smith - Direct Drive [Mixmode]
03. Story - Feel About [Story]
04. Motor City Drum Ensemble - Raw Cuts #3 [MCDE]
05. West Norwood Casette Library - Blonde On Blonde [Teal Recordings]
06. Kaspar - So Right (Gerd's Old School Remix) [Clone Club Series]
07. Ripperton - 1976 (Sebo K Remix) [Perspectiv]
08. FaltyDL - Discant [Planet Mu]
09. Julio Bashmore - Battle For Middle You [PMR]
10. Cosmin TRG - Liebe Suende [Rush Hour]
11. Cajmere feat. Dajae - Brighter Days (Underground Goodies Mix) [Cajual US]
12. Doc Daneeka - Electric Sandwich Rhythm [PTN]
13. Sailor Mood - Headless Scream [Apparel Music]
14. St. Germain - Rose Rouge [Blue Note Records]

DOWNLOAD (via Sendspace - disponibil 30 de zile)

Knowing Tomasan:

BASICS: Salutari. What’s cooking today? La propriu, la figurat dar in special in materie de muzica.

Tomasan: Salutare! Mai devreme Penne Integrale cu Hering filet si sos de branza dulce, busuioc, piper mozaic, sare si ciuperci proaspete cu castraveti murati langa, iar in materie de muzica, v-am pregatit un mix. Techy, housey!



B: Stim sigur ca discutia asta are un soundtrack de ambele parti. La noi curge FACT Mix 220 – Rolando. We’re on a Techno spree. La tine?

T: De cateva zile sunt blocat pe Koelnbeben.de's Finest care nu ma mai lasa sa ascult Rinse FM seara.

B: Inchide laptop-ul si da play la un CD sau disc din apropierea ta. Fara sa te ridici de pe scaun. Cu ce ne incanti?

T: Fara sa ma ridic de pe scaun, as da play la un disc cu Egberto Gismonti.

B: Ok, lucruri mai factuale. Mai are sens sa te prezentam? Toata lumea stie in esenta cine e Tomasan. Spune-ne tu ceva ce nu stim despre tine.

T: Ati vrea voi.
Din ce stiti deja despre mine, pun muzica. Dar asta parca stiti deja.

B: Tomasan mixeaza de vreo 5-6 ani buni si a trecut prin multe genuri muzicale in timpul asta. Fiecare party-goer te cunoaste dintr-o perioada sau alta. Unii isi aduc aminte seturile alaturi de Loefah & MC Sgt. Pokes sau Benga, altii petrecerile din Other Side, altii sunt ceva mai melancolici si prefera sa isi aduca aminte de tine din perioada Tech-Funk sau Casa Tralala. Ca sa inlaturam orice dubiu, pentru ascultatorul de azi, ce zona muzicala e reprezentativa pentru tine in perioada actuala? Ce e cel mai probabil sa se auda cand esti tu la butoane?

T: Intr-adevar am avut o perioada de tranzitie sau mai degraba jocuri de fuziune cu un gen sau altul. Initial, puneam aproape numai Breakbeat si faceam insert-uri de Broken Beat si 2-Step, acum am renuntat aproape complet la Breakbeat si prefer sa mixez House, Broken Beat, Garage si poate putin Techno.
Perioada in care am mixat Dubstep a fost misto, imi cumparam multe discuri, ieseau release-uri memorabile si regret ca nu se mai face atat de mult Dubstep cum imi placea odata, in schimb in ultima vreme au scos capul cateva release-uri fantastice din care ma gandeam intr-o zi ca poate fac un mix; pe de alta parte gasesc mult din ce-mi place in esenta la Dubstep in release-uri Techno.

B: Faptul ca ai bifat cam tot intr-un range destul de mare de bpm ne sugereaza faptul ca ai un criteriu propriu – damn efficient, we might add - de selectie a muzicii pe care o dai mai departe. Ce inseamna un track bun pentru tine? Ce cauta Tomasan cand face digging?

T: Un track bun e un track bun. Asta nu inseamna ca imi si place. La cele care imi plac, e destul de simplu: Imi plac. Asta nu inseamna ca vor place si oamenilor.
E complicat sa fii subiectiv cand vorbesti oamenilor cu muzica pe care o invarti, cum e la fel de greu sa ramai obiectiv cand trebuie sa pui piese care iti plac in primul rand tie.
Cand caut muzica, caut atmosfera. De dancefloor, de cafenea, de sufragerie, de citit sau de obicei de starea in care sunt.
Cateodata sap dupa piese Wonky, Hip-Hop, Dub sau Drum&Bass sau cumpar CD-uri si viniluri second hand de orice fel.
In orice caz, un track bun pentru mine ca DJ inseamna sa reusesti sa ii faci pe ceilalti sa-l placa. Sa zicem asa.

B: We got intel. Esti un fan inrait al plasticului si stim ca ai facut chiar si drumuri in Budapesta pentru record shop digging. Spune-ne cate ceva despre colectia ta de discuri. De ce inca plastic intr-o lume digitala, cu CD playere, USB, Serato, Torq, Ableton Live si asa mai departe?

T: Colectia mea de discuri e mult spus dar da, m-am dus si pana la Budapesta sa-mi cumpar si de oriunde am fost in Europa, m-am intors cu discuri acasa, that's for sure; ma mai duc si prin piete second hand in provincie si gasesc multe surprize.
Discurile mele de muzica electronica sunt din diverse genuri: 2-Step, multe Tempa si Hessle Audio si in general goodies Dubstep, primele white-uri de la Roska Kicks & Snares, UK Funky vechi si in general discuri atent selectionate. Mai am o colectie de cateva sute de discuri Jazz si muzica anilor 80, precum si muzica clasica si discuri de gramofon.
Cat despre scule, imi voi cumpara in curand Serato, tocmai ca sa am acel vinyl touch mereu, dar si pentru ca punand numai de pe Serato, mai poti cara si discuri dupa tine la party. De CD-uri sincer m-am saturat si as vrea sa renunt la ele complet, iar punand direct din soft sau de pe USB, nu ma vad.

B: Pe langa faptul ca ai mixat alaturi de un numar mare de headlineri din tot soiul de zone ale muzicii electronice si pentru crowd-uri diferite, ai cochetat si cu promoting-ul in cateva cazuri. Sa presupunem ca ai buget la discretie pentru un eveniment relevant pentru intreaga scena de muzica electronica din Romania. Ce line-up faci si de ce?

T: Buget de discretie inseamna pentru mine intre 500 si 2000 de Euro, bani cu care ai putea chiar sa faci un clubnight destul de OK. Nu ai putea sa aduci un headliner mare, dar ai putea cu siguranta sa atragi atentia unora dintre iubitorii unui gen.
Abia astept sa-l vedem pe Ben Ufo (n.r. Lubb Dubb 01 cu Ikonika, Ben Ufo, Aeromaschine & Toné pe 25.02 la Palatul Universul, Bucuresti), ma gandesc ca la fel de usor am putea sa ii vedem si pe Pangaea, Ramadanman, Untold, pe cineva din crew-ul Rinse FM sau Swamp81, MJ Cole, Zed Bias sau Elgato si lista e lunga... Shout to promoters, of course.

B: Ca sa incheiem intr-o nota ceva mai realista, spune-ne ceva si despre mixul de fata. Ce, cum, de ce, pentru cine?

T: Fiind pentru BASICS, am inclus cateva din piesele pe care le-am pus la editia la care am fost invitat, cateva piese mai vechi pe care unii poate le-au auzit la BASE Cafe sau in Other Side. Sunt si release-uri noi, dar si doua surprize vechi. Multe din piesele din mix fac parte ori dintr-o subcategorie House, ori sunt Broken Beat, ori un Garage mai lent. In mare: House... pentru ca nu stim cum sa le spunem altfel.
E facut pentru cei care pot asculta un House funky si acasa la o gateala sau la un joc de carti.

B: Iti zicem un mare „multumesc” pentru ca ai acceptat invitatiile noastre si o zi cat mai faina!

T: Big-up!

Mai multe audio goodies de la Tomasan pe Soundcloud. DJ set il puteti auzi pe 17.02 la Tralala Club in capitala si pe 05.03 la Sala A.S.A. in Targu Mures.

Hello, 2011!

And Hello BASICS on the net.

Ne aflam in categoria de muzica noua, muzica experimentala, fusion, broken beats si mult shuffle. Piese preferate, top-uri de la DJ, istorioare, muzica buna.

Urmatorul top BASICS poate va fi altfel, poate un top 10, poate un top de vanzari, top labels, poate o recenzie sau un clip fresh de pe Soundcloud, va propun sa ramaneti curiosi...Parca se zicea ca traiesti mai mult?

De ce fac eu primul top? Mi-a zis Toné ca ii place muzica pe care o pun si mie imi place a lui. M-a prins de la inceput (si eu pe el), iar preferintele noastre se potrivesc cu conceptul muzical de party BASICS.

So...Acesta nu e neaparat un top, cat o referinta despre gusturile si preferintele mele, in ton cu BASICS si in general muzica buna de ascultat oricand, pentru orice iubitor de muzica electronica.



Roots

Mi-am facut vreme de vreo 2 ani veacul in Breakbeat. Tech-Funk, in special. Pentru ca era mai sec, mai deep, mai experimental si cu percutii mai taioase. In timp ce Nu-Skool Breaks-ul isi mentinea cursa si aparea un Electro Breaks wobble-uit si pe alocuri 4/4-izat, Tech-Funk-ul cu care ne-au obisnuit label-uri ca Lot49, 10Kilo, Botchit Breaks, Functional, Streetwise, Boom Box sau Finger Lickin (care in 2010 a oprit productia de viniluri) parca nu a mai prins.

Cu release-uri de la artisti ca Meat Katie, Dylan Rhymes, Move Ya! & Steve Lavers, Plump DJs, Simply Jeff, Soul Of Man, Force Mass Motion, Lee Coombs sau mai obscurii Uberzone si Habersham (numai cateva exemple), Tech-Funk-ul s-a cam sters de pe harta sau mai apare din cand in cand ca un experiment sau o amintire. In plus, multi dintre producatori nu mai fac muzica, unii fac muzica diferita, altii produc sub alte alias-uri sau stau infundati in munca de studio.

Pentru un DJ care iubea Tech-Funk-ul, abundenta era atat de mare incat iti mareai saptamanal colectia de viniluri, mai ales ca cele mai multe track-uri ieseau initial pe 12'' si abia mai tarziu in format mp3.

Cateodata mai intru pe Chemical-Records, iau toate release-urile de “Breakz” in ordine inversa a datei lansarii si le ascult.

Pierzand treptat ritmul, am inceput sa-mi caut ritmurile sparte in Dubstep - facand slalom downhill Alberto-Tombian printre wobble-bass-uri - preferand partea mai tehnoida, combinand producatorii inca preferati de Breakbeat (Plump DJs, Stanton Warriors, Drumattic Twins, Peo De Pitte) cu piese de la producatori de Breakstep (Bassbin Twins, Gella, Baobinga, I.D.) sau Dubstep (Benga, Milanese, TRG, Ramadanman, Martyn, 2562, Scuba, Peverelist, Pinch). Aproximativ in acelasi timp Dubstep-ul lua amploare si banda rulanta de release-uri prindea viteza.

De referinta sunt albume ca Burial – Untrue (Burial despre care se spunea – pana sa-si posteze o poza de profil pe Myspace – ca este un alias de productie al lui Fatboy Slim sau Armand Van Helden), Kode9 & The Spaceape – Memories Of The Future, ambele publicate pe legendarul label Hyperdub; El-B – The Roots Of El-B sau primul release 12'' de pe Tempa – Horsepower Productions – Let's Dance / When You Hold Me, ori release-uri de pe label-uri ca Hessle Audio sau Apple Pips, productii Ramadanman, TRG cu Hessle Audio 001 – Broken Heart / Put You Down si remixurile esentiale ale lui Ramadanman la Put You Down si Martyn's DCM Remix la Broken Heart (considerata poate cea mai influenta piesa de Dubstep produsa vreodata) pe Hessle Audio 002 si in general cam tot ce scot label-urile astea pe piata.

Soul Jazz, Naked Lunch, Berkane Sol, Punch Drunk, Hemlock, Planet Mu, 2nd Drop, This Is Music, Unique Uncut sau 7even completeau paleta de experimente tehnoide in timp ce in paralel, label-urile de Dubstep intunecat ca Immerse, Hotflush, Dub Police, Deep Medi, DMZ, Chestplate etc. promovau sound-ul deep, dark and wobbly.

Bridge

Cand vine vorba de Fusion, Bridge si Experimental dance music, prima piesa care imi vine in minte este Sven Vath – Fusion. Jazz, muzica clasica, Funk, Swing, presarate cu un bleep acid-uit in partea a doua si avand repetivitatea caracteristica muzicii electronice, in general. Daca va imaginati un beat de orice fel, fie 4/4, Breakbeat, 2-Step sau Dubstep peste ce auziti, you'll get the title. Daca ar fi avut o parte sincopata in masuri de trei patrimi peste care sa se potriveasca un beat de Drum&Bass, ca sa dansezi si vals si samba in acelasi timp prin casa, ar fi fost poate perfecta.

Primii producatori care imi vin in minte pentru ce a insemnat pentru mine Fusion-ul preferintelor mele in materie de muzica electronica sunt 2562, Martyn si Ramadanman; continuand incursiunea temporala, voi mentiona din ce in ce mai multi producatori, insa cei trei sus numiti reprezinta pentru mine cel mai tare conceptul.

Dupa primul sau album Aerial de pe label-ul Tectonic (in totalitate Dubstep, accelerat, foarte divers in percutie cu mult dub influence si efecte reverberate si ecou, aglomerat pe alocuri si cu toate astea simplist), 2562 si-a creat mai tarziu propriul label A Made Up Sound, creand in acelasi timp un alias de producator si lansand un CD-release experimental, intitulat Shortcuts. In acelasi timp semna productii si remixuri Techno la alte label-uri ca Delsin, Clone Basement Series si mai nou Monkeytown.



Pe Twitter, Cosmin TRG a definit directia noua a lui Dave Huismans asa: “Gangsta Techno”. Word.

Martyn inseamna 3024 si invers. The 3024 World.

La inceput, producator de Drum&Bass pentru label-urile Play:Musik sau Revolve:R-ul lui Marcus Intalex, Martyn a intors paleta si a inceput sa produca Dubstep...Techno?
Cu piese mai vechi ca Velvet, Twenty Four, All I Have Is Memories sau Vancouver, dadea o noua directie sound-ului, iar odata cu lansarea albumului Great Lengths de pe propriul label 3024, edifica Techno-ul in ritmuri 140 bpm, amprenteaza influenta dubby in Is This Insanity in colaborare cu The Spaceape (cu un remix semnat Ben Klock) sau se asezeaza alaturi de dBridge sa compuna These Words, intr-un moment in care si dBridge incepuse sa produca Dubstep. Un pionier.

Nu in ultimul rand Ramadanman. Percutia face tot si tocmai cand nu te astepti. E un deliciu sa asculti pentru ca trebuie sa fii atent - aproape nimic nu este linear.



Infiintand impreuna cu Ben Ufo label-ul Hessle Audio, promovand artisti ca TRG, Pangaea, Martyn, Joe, James Blake sau Untold si producand pentru Tempa, Soul Jazz sau 2nd Drop, Ramadanman a inceput si el sa experimenteze. Techno, House. Dupa release-urile la Apple Pips (Humber si Justify) cu remixuri de la Sven Rumber si Will Saul & Mike Monday, a venit mai intai the remix-bomb a lui Untold la Revenue si un disc la label-ul lui Untold (Hemlock) iar de la colaborarea cu Midland si recentul Ramadanman EP, producatorul londonez cu sound inconfundabil promitea prin munca lui ca va ramane la fel de divers si in 2011.

Printre alti producatori ca Untold, Shed, Geiom, Brackles & Shortstuff, Baobinga, Mickey Pearce, DVA, Cosmin TRG, Moderat, Modeselektor, Siriusmo, Bok Bok, L-Vis 1990 sau Mosca si altii, acestia au fost printre primii care sa deschida era fuziunii intre Dubstep si 4/4, creand si aparand pe noi label-uri pentru a promova artistii si muzica across the board si aducand noi genuri neoficiale in vocabularul revistelor online ca FACT, XLR8R, Resident Advisor sau Knowledge Mag: Post-Dubstep, Bass Music, Freestyle 4/4, you name it.

2-Step, Garage, Broken Beat

Jazzy, funky, ritmuri sincopate / sparte. Influente ale genurilor sus numite au inceput sa rasara din diverse studio-uri precum cel al lui Kenny Dope sau cel al lui Fatboy Slim. Altii spun ca influentele merg mult mai departe la formatii precum Kool & The Gang care au lansat experimente in care se combinau Funk, Soul, Jazz sau Rhythm & Blues. Pioneer sound.

In UK Garage, cel mai profund m-au lovit MJ Cole si Zed Bias aka Maddslinky aka Phuturistix, care au inceput cu cate un pas in care sa calce mai tarziu multi artisti, consolidand genul.

Label-uri ca Prolific, XL, Sick Trumpet, Compost, Brownsound sau Sidestepper, 2nd Drop, DPR sau fresh-ul L2S dau ritm release-urilor, consolideaza artisti consacrati si lanseaza talente noi, mentinand 2-Step-ul, Garage-ul si Broken Beat-ul in fruntea listei de genuri consacrate sau creand subgenuri noi precum Future Garage.

Tempa

The Label. Al meu preferat, nu pentru ca mi-ar placea tot, ci pentru ca are de toate pentru toti si in plus o selectie de artisti si un film muzical pe care putine label-uri le au. Dubstep, 2-Step, Garage, fattest Wobbles, Techno!



Inca de la primele release-uri ale Dubstep don-ilor Benny Ill, Dinesh, Lev Jr. si Nasis aka Horsepower Productions din 2000 (conducerea gruparii fiind preluata de Benny Ill si Jay King de aproximativ jumatate de deceniu), albumul lui Benga – Diary Of An Afro Warrior, Skreamizm Vol. 1 si continuarile, promovarea unor artisti ca Headhunter, TRG (Cosmin TRG), D1, Modeselektor, Dub-U, 2562, re-release-ul sub o forma mai speciala (un dublu 12'' si un CD-release) al The Roots Of El-B sau antem-ul Night produs de Benga si Coki, Tempa parca le avea pe toate.

Ritmul accelerat de release-uri a fost incetinit de nimeni altul decat Cosmin TRG cu EP-ul Now You Know, EP despre care s-a spus ca este primul release House (daca se pot caracteriza piesele in vreun fel) pe label-ul Tempa, cu 6 track-uri cu muzica noua.

Asa cum a inceput in 2000, Horsepower Productions incheie anul 2010 pentru Tempa cu release-ul Quest For The Sonic Bounty. Daca va era dor de Dubstep from the Roots, cu fat Wobble, fastest beats and tightest claps, Water o sa va curga in playere mult timp de acum incolo.

Monkeytown

Modeselektor. Apparat. Pfadfinderei. Moderat. 50 Weapons. Monkeytown.

Acestea sunt cuvintele cheie pentru ce avea sa devina noul sound mondial de muzica cu mult bas, muzica experimentala, House, Techno, Bass Music, Dubstep, Glitch.

All-in-one si all-inclusive.

Colaborarile dintre artisti, diversitatea muzicala si alaturarea unor nume din scena mondiala care altfel poate nu s-ar fi intalnit, este de-a dreptul cu-gura-cascat-lasatoare.

Cuvintele sunt de prisos, sa lasam muzica sa vorbeasca: Monkeytown Records pe web.

Top BASICS: Producers, Tracks, Labels.

Mosca



Odata cu aparitia VA – Elevator Music Vol. 1 pe label-ul Fabric si piesa Gold Bricks, I See You, sound-ul a luat-o spre alt nivel. Cu release-ul Square One / Nike pe Night Slugs si remixuri de la L-Vis 1990, Roska, Bok Bok, Greena si Julio Bashmore, nu era de mirare ca Mosca avea sa continue la fel de select. Remixul la Heartbeat a lui T. Williams e, pentru mine, cea mai complexa lui lucrare de pana acum. Top.

T. Williams feat. Terri Walker - Heartbeat (Mosca Remix) [Local Action]

T. Williams feat. Terri Walker - Heartbeat (Mosca Remix) by Mosca

James Fox

In special dupa release-ul Put It Back cu remix de la Ramadanman, James Fox este un producer demn de urmarit. De curand a aparut un experiment de-al lui pe Soundcloud cu un vocal care mi-a amintit de copilarie, Hip-Hop, R&B si Basketball si care de prima oara de cand am mixat-o, a starnit zambete, headbangere si bootyshakere pe dancefloor. E vorba sample-ul vocal din Something For The People - My Love Is The Shhh! Check it out.

James Fox - New Jack Swing [Unreleased]

James Fox - New Jack Swing by James Fox

Sebo K

Numarandu-se printre primii (daca nu primul) DJ care sa aduca sound-ul UK in Berlin si ulterior si pe cel US (in special din zona Detroit si Chicago), despre Sebo K nu trebuie sa spunem multe, la fel cum nu ii poti pune o amprenta muzicala, influentele fiind atat de numeroase incat va las pe voi sa definiti, preferatele mele fiind doua re-take-uri de-ale lui, la doua piese de la doi producatori la fel de importanti. Electronic music for jazz lovers.

Ripperton – 1976 (Sebo K Remix) [Perspectiv]

Ripperton - 1976 (Sebo K Remix) by Ripperton

Martyn – Elden St. (Sebo K Watergate Edit) [Watergate]

Martyn - Elden St. (Sebo K Watergate Edit) by Watergate Records

3024

Dupa cum am mentionat si in introducere, albumul Great Lengths este edificator cand vine vorba de influente muzicale si fuziune intre genuri.



Cu propriul sau label 3024, Martyn a dat amploare experimentelor futuristice, dovada fiind ultimul release din Noiembrie 2010.

Martyn - Left Hander / Shook Up [3024]

Martyn - Left Hander by 3024

Martyn - Shook Up by 3024

Cosmin TRG

Inca de la release-ul aniversar Digital Distorsionz 1st Birthday Extravaganza care se downloadeaza gratis de pe pagina lor de internet, Cosmin Nicolae – cu moniker-ul de atunci, Deffanition – aducea un sound aparte Dubstep-ului. Urmau release-uri ca Your Friends Like Techno si EP-ul Missed Calls, ambele la Subway, release-uri ce aveau sa-l aduca in atentia scenei mondiale de Dubstep. Release-ul la Tempa (Decisions, Harajuku with Dub-U si Back In The Days), primul Hessle Audio 001 (Broken Heart / Put You Down cu remixurile de pe Hessle Audio 002 semnate Ramadanman si Martyn), precum si bangerele Oi Killa! si Everything We Stand For de pe label-ul exclusivist infiintat de Tayo (Cool & Deadly), ori dancefloor smasher-ul Baobinga feat. DJ Nasty – State Of Ghetto Jackin' (TRG's Brooklyn2Bucharest Remix), aveau sa-l pozitioneze in fruntea producatorilor de Dubstep, la nivel mondial.

TRG nu numai ca facea scandal pe ringurile de dans new-york-eze sau londoneze, ci era inclus pe compilatii ca Tempa Allstars sau FabricLive-ul mixat de Freq Nasty sau avea sa semneze primul remix de pe album sampler-ul Greymatter – Believe In Something.

De aici incolo, Cosmin a ales sa se alature unei elite putin diferite a sound-ului experimental sau mai degraba avea sa calce in aceeasi pasi cu artisti ca sus numitii Martyn, Ramadanman sau 2562 / A Made Up Sound, abordand nu neaparat aceeasi directie, cat aceeasi indrazneala de a crea mai departe.



Si-a schimbat moniker-ul in Cosmin TRG si a inceput sa compuna piese 4/4, Bass Music, House, Techno. Primele piese noi au fost auzite in seturile DJ-ilor Rinse FM sau emisiunile Dusk & Blackdown, printre piese unreleased ca See Want Get Now, track-uri precum Now You Know, Tribal Flex sau Since Last Night se faceau cunoscute pe BBC Radio 1, in seturile lui Benji B sau Mary Anne Hobbs. Deasemenea, XLR8R punea la free download piesa Love 2 Hide, din care iti puteai face cat de cat o idee in ce directie o ia sound-ul sau, iar la scurt timp dupa, a venit release-ul atat de asteptat: Now You Know. Un double 12'' – 4 track-uri noi noute ca sound – Purple Lights (considerata de critici bijuteria EP-ului), banger-ul Twilight Riddim rasmixata de DJs de Bass Music, piesa Funky Discotek (inclusa cu mult inainte de release de MJ Cole in FACT Mix-ul sau) sau – Since Last Night, in heavy rotation pe BBC Radio 1 si 2 piese mai degraba Techno 140 bpm decat Dubstep – Siberian Poker si Strobe Lick.

Tribal Flex avea sa fie pusa la download in exclusivitate pe Beatport, iar Now You Know, piesa care a dat titlul EP-ului, a fost share-uita gratis de Cosmin pe site-ul oficial Tempa. Daca le-ati pierdut la momentul respectiv e bine de stiut ca piesele sunt inca disponibile in shop-ul Tempa.

Cosmin isi continua incursiunea in Techno cu un release experimental pe label-ul Hemlock al lui Untold (Tower Block si Béton Brut). Cine stie piesa unreleased Just Me din perioada lui de Dubstep, avea sa recunoasca elemente, squeeks & bleeps folosite ulterior pentru piesa Tower Block.

In acelasi timp ne transmitea ca nu a uitat sa dea cu basi grasi si beat-urile taioase, dovada fiind colaborarea cu Baobinga la I Get Ruff, pe label-ul Build.

Prezente la Techno Parade in Paris, la Unsound in New York si Polonia (unde avea sa prezinte primul live set in premiera back2back FaltyDL) sau la Sonar (pe langa numeroasele prestatii in cluburi in orase ca Tel Aviv sau Copenhaga, printe multe altele), nu erau decat o urmare fireasca a muncii sale de studio.

Si nu avea sa se opreasca aici. Cosmin goes soulful, deep, experimental. Release-urile de la celebrul label Rush Hour (declarat label-ului anului 2010 de catre Resident Advisor) – See Other People si Groove Control, precum si remix 12"-ul FaltyDL – St. Marks (Cosmin TRG Remix) / Cosmin TRG – See Other People (FaltyDL Remix), i-au deschis orizontul lui Cosmin catre o arie larga de beat-uri experimentale din gama House, Techno, Experimental dance music.

Va invit sa ascultati release-urile lui, in special cele recente de pe label-ul Rush Hour, remixul la Nosestep-ul lui Aardvarck de pe acelasi label, variantele Original si Extended la Space Station Love Affair de pe noul Monkeytown, precum si mixurile lui live postate de promoteri pe Soundcloud, podcast-urile de la Rinse FM sau Fabric Live Promo Mix.

Cosmin TRG - Sores Of Attraction / Liebe Suende [Rush Hour]

Cosmin TRG - Liebe Suende by CosminTRG

Cosmin TRG - Sores Of Attraction by CosminTRG

Cosmin TRG – Space Station Love Affair [Monkeytown]

Cosmin TRG - Space Station Love Affair by Modeselektor

FaltyDL

L-am lasat la urma pentru ca FaltyDL aka Drew Lustman, este producer-ul meu preferat la ora actuala. O sa sune cheesy, dar ascultam si nu-mi venea sa cred ca parca fiecare sunet era anticipat in mintea mea inainte sa iasa din boxe. Am I Lucky...

"The reason why I produce anything at all called Garage, technically, is because of where the kick drum and snare is. Stuff like that." Am inceput sa caut si sa citesc. De unde vine? Cum s-a apucat de muzica? Ce a facut inainte? Am descoperit ca face Sushi acasa, ca s-a apucat de muzica la varsta de 5 ani, ca a fost saxofonist si basist, a cantat la pian, ca initial facea Jungle, ca a trimis un pachet de 50 de piese la label-ul preferat (Planet Mu) si n-a primit feedback niciun cuvant si ca trebuie sa fii insistent si enervant ca sa reusesti.



Cu track-ul Human Meadow a dat startul unei avalanse de piese si remixuri, piesa mentionata fiind anthem-ul de pe albumul Love Is A Liability release-uit, tocmai pe legendarul label new-york-ez Planet Mu, la care alta data semnau artisti consacrati ca Luke Vibert, Venetian Snares, Vex'd, Virus Syndicate, Benga, Pinch, Marry Anne Hobbs sau Boxcutter.

Au urmat numeroase release-uri, printre care un 12" cu trei piese – Phreqaflex, Because You si My Friends Will Always Say, cu vocaluri magnifice si un beat puternic care aminteste de 2-Step-ul lui El-B, Xylofoanele lui Martyn sau synth-urile si percutiile imprevizibile ale lui Dave Huisman (2562 aka A Made Up Sound).

"UK has Dubstep and Jungle. New York has Hip-Hop and Jazz. They both share them […] Garage comes from New York. House comes from Chicago; before UK. But UK made it better."

Urmatoarele release-uri au urmat la Rush Hour, 50 Weapons sau Monkeytown, le gasiti mai jos.

Falty DL – St. Marks [Rush Hour]

Anthony 'Shake' Shakir - Assimilated (FaltyDL Remix) [Rush Hour]

FaltyDL - Large Flash [50 Weapons]

Falty DL - Large Flash by Modeselektor

Falty DL – I'm Gonna Show You Somethin' [Monkeytown]

FaltyDL - I'm Gonna Show You Somethin' by Modeselektor

In incheiere, va amintesc ca am mentionat mai devreme cuvantul Bridge, atat de folosit in ultima vreme, tocmai datorita fuziunilor si experimentelor muzicale din ultima perioada.
Si cum nimic nu poate defini personal muzica mai bine decat propriile timpane, va recomand o piesa surprinzatoare.

De la Pinch (owner-ul Tectonic) recunoscut ca fiind printre primii promotori ai sound-ului Dubstep, cu release-uri la Tempa, Punch Drunk, Planet Mu sau Ninja Tune si figurand pe coloana sonora Children Of Men, alaturi de Kode9, Random Trio, Pressure si Digital Mystikz, va sugerez o piesa cu un sound cat se poate de interesant.



Pinch reuneste in titlu doua elemente care aparent se resping: Croydon (orasul de provenienta al Dubstep-ului) si House. Croydon House. Release-ul figureaza pe label-ul Swamp81 infiintat de Don Loefah, care inca din 2004 experimenta la randul sau influente care se pot infiltra in Dubstep, lansand un disc cu 4 piese Dubstep pentru label-ul Big Apple, cu influente pe care le puteti identifica singuri din titluri: Jungle Infiltrator, Jazz Lick, Indian Dub (si Life Dub).

Piesa lui Pinch, cu un intro parca din tenebre si o atmosfera cat se poate de DMZ-iana, seamana cu productiile lui Peverelist, Scuba sau mai batranul Aphex Twin, are beat 4/4, percutii cat se poate de sparte in background, compresii si reverb-uri care creeaza un spatiu cat un Warehouse si aduc sunetul de departe, plus eternul clap care aterizeaza insistent, la fel ca in majoritatea productiilor Dubstep.

Pinch - Croydon House [Swamp81]

Este de fiecare data o ocazie imbucuratoare sa scriu despre muzica, I love it so much. Celor care nu asculta muzica sau declara ca nu le place muzica, le recomand un psihiatru.

Textul de mai sus nu e decat o faramita din cat as fi vrut sa va povestesc, promit ca revin cu alte recomandari, poate urmatorul text va fi unul dedicat in exclusivitate Tech-Funk-ului, ori noilor artisti si label-uri care la inceput faceau ce se numea UK Funky si continua sa produca muzica greu de definit, pentru ca suna de fiecare data altfel si nou, sau poate va spun ce ascultam pana la Electronica.

I hope this will be a beautiful Bridge to the New Year!

Autor: Toma Soare aka Tomasan