Check out my latest updates: https://tokimonsta.komi.io/

Worldwide Bookings: tokimonsta@wmeagency.com
For all other inquiries: lewis@2plus2.net

^__^ 
.... 
♛
Radio - Reppin' emerging art/artists worldwide.
Radio fro linz
(￣^￣)ゞ
I'll continue with b2b mixes without moderation!
looking forward to 2021.

DJ Support for.
DJ Spooky
Kaytranada
Steve Spacek
Onra
Boiler Room (Berlin)
DBridge & Kabuki
Hudson Mohawke,
Mike SLott
Airhead
James Blake
Gas Lamp Killer
Shigeto
Stwo
Jose James
Gil Scott Heron,
Spacek
Miguel,
Up Hgyh 
Ras G 
Sweatson Klank
KRTS
Comfort Fit
Portformat
Julien Dyne
&  Many more....

The fluid movements in a sea of fusion is the heart of Subaqueous music.  By blending future past and eclectic rhythms Subaqueous moves the listeners through a sonic epic.  

The Debut album, Waterscapes, is a playful splash that stayed on the top Midtempo charts. It was #1 on Bandcamp.com for 3 months straight. Subaqueous Second album which released in 2012, Immerge, which moved audiences into the divine. It quickly gained traction and made his work international. Subaqueous' love of music extends beyond just music, his commitment is to music that raises consciousness; for this reason in the Fall 2012 he worked with the nonprofit Critical Beats to fundraiser money to save the Amazon. Together they created the EP, “Threshold of Night.”  Critical Beats is a not for profit that uses any resources from music sales to help with important projects with the Amazon. In this way the music not only help a message of self discovery and contemplation, but also a deeply physical message of helping stop the destruction of the amazon.

In the summer of 2013 Subaqueous last album was a culmination of all his connections and years of dedication. The Album, ReVision, featured remixes by fellow musicians with the same deep love of ecstatic dance and lush music. It featured artist such as Govinda, eO, Erothyme, futexture, and others. 

Links:
http://subaqueous.bandcamp.com/

https://soundcloud.com/subaqueousmusic
http://www.subaqueousmusic.com/

Drone guitar based experiments. I also create all the art/illustrations on here for my tracks.



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Beardology Records was created in May of 2006 by two beardologists: Daniel Sanford and David Peck. We at Beardology know that a man's beard is the source of his power. Our music is the audible result of experiments we have conducted with beards in order to better understand their mystery. The goal of Beardology Records is to share our findings so the world may know of the wonders a beard has to offer.



Currently Looking for 'Lolicore' Producers and DJ's for a ongoing 'Lolicore' Rave in Toronto. If you are interested please contact me.

PROTEUS

Creator and Founder of 'Altered Beats' World's First 'Open Source' Rapper ~ Emcee But not the kind of Emcee you think. Weird Rap-Style Spoken word Vocals for Lolicore, Modern Breakcore, Underground I.D.M. And Experimental Electronic Music. Cyber Monster From An Imaginary World. Currently Looking for 'Lolicore' Producers & DJ's For a ongoing 'Lolicore' Rave in Toronto

http://www.alteredbeats.ca/ 
http://www.aaroncampbell.org/
http://www.mcproteus.com/
https://linktr.ee/PROTEUS4000
https://mcproteus.bandcamp.com/
https://soundcloud.com/mcproteus
https://proteus4000.bandcamp.com/
https://soundcloud.com/proteus4000
https://www.twitch.tv/proteus4000
https://discord.gg/yjneYBY



The open-source MC BY Chris Bilton December 16, 2008 13:12 In the world of hip-hop, sometimes the price tag on a pimped-out Escalade or a pair of custom Skytops is as important as a clever internal rhyme or a chorus hook. And in a genre where bling reigns supreme, the most unlikely rapper would be one that’s doing it for free. But that’s precisely how Proteus (a.k.a. Aaron Campbell) is making his mark: as the self-proclaimed world’s first open-source MC. Of course, Campbell is working on the outer edges of hip-hop — far from the temptations of slick production and Auto-Tune trendiness. His raps are intended for sub-subgenres like underground IDM and modern breakcore. But despite working some relatively obscure genres, there appears to be a wealth of artists eager to take him up on his open-source offer. In the three years he’s been making his stuff available, he’s accumulated over 300 songs worth of collaborations. After Campbell ended his successful stint as the DJ behind local dance night Altered Beats, he wanted to start making the kind of music he was spinning. With the help of a team of cyber-junkies — most of whom started coming to his shows to find out just who was this Proteus character playing their flavour of glitchy dance tunes — the Altered Beats website was assembled for Campbell to begin uploading raps that he recorded. Basically, he just posts .ftp files of vocal tracks to be downloaded by anyone interested in pairing them with their own productions. In return for using his voice, he asks only that people send him a copy of the finished product so he can post them on the site as well. As a method of collaboration, this open-source approach is essentially the polar opposite of hip-hop’s high-profile duets, which often demand the diplomatic talents of publicists, managers and lawyers more than any actual musical ability. And when it comes to intellectual property rights and illegal downloading paranoia, Proteus is sort of like the anti-Metallica. Plus, I can think of at least one post-modern musical entity who would do well to get acquainted with Campbell’s licence-free output. For any budding MCs concerned with sloughing off their prime material without monetary compensation, keep in mind that his sharing service has landed Proteus on tracks created by artists throughout the world. Some of his notable online collaborators even include Rotterdam’s FFF, Skerror from Oregon, Berlin’s LFO Demon and Montreal’s Blackjwell. When I asked Campbell if anyone was using his work in any kind of commercial venture, like in commercials, he said he wasn’t aware of any. “I would be surprised,” he added, saying that he considers the music to be too weird to be the soundtrack for any kind of money-making enterprise. After all, it’s not like Campbell is rushing to turn the collaborations into a product for his own profit. For now, the project remains the kind of venture that would make Milo Hoffman proud. Email us at: LETTERS@EYEWEEKLY.COM or send your questions to EYEWEEKLY.COM 625 Church St,

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