New song, "Under The Lights" available on iTunes now! 
http://smarturl.it/CMUnderTheLights

RSVP for shows in your city:
https://drop.cobrand.com/d/MC4D/tour

MGMT: ethan@rydermgmt.com // jon@seminalmusicgroup.com
Bookings: gperkiel@independentartistgroup.com
contact: mc4dmusic@gmail.com
Follow our IG for updates on all music

Tropkillaz is 808 BASS MUSIC 
provided by DJ Zegon & Andre Laudz 
SOUNDCLOUD:
DJ Zegon http://www.soundcloud.com/djzegon
Andre Laudz http://www.soundcloud.com/laudzcwb

Tropkillaz is a duo formed by Brazilian producers, from the old school (DJ Zegon) and new school (Laudz).

Dj Zegon is one of Brazil’s most respected DJ/Producers – with a career spanning over 20 years, and having worked in over 100 records,including collaborations with Kanye West, M.I.A, David Byrne(Talking Heads), George Clinton,a few Wu Tang Members (RZA,Method Man,Ol’Dirty Bastard) amongst others. Former member of the group N.A.S.A, he toured the world with their debut album “The Spirit of Apollo” and performed in festivals such as Coachella.

Laudz is a new cat in the game, however even with only 5 years in the business he’s worked with the likes of like Snoop Dogg,Dr Dre, as well as Brazil’s top hip hop MCs.  The two have also scored movies,comercials and tracks for videogames .

Together, the two have created an intense collection of club bangers,that blends Trap and Bass music with Electro,Hip Hop, and Latin Samples in a unique style.

They first got worldwide attention with their underground hit “Mambo”, a sure shot in any dance-floor, and their recent collab  ”Assets” with Yellow Claw (released by Mad Decent) propelled them even further, placing Tropkillaz’s footprint in the Trap Movement.

Being recently featured on Run The Trap’s Top 10 Trap Duos (tastemaker blog in the scene – run by Complex Music), having their remix of N.A.S.A’s “Hide” on the Top 10 iTunes Electronic Charts (US & UK), official remixes for Major Lazer, and with recent support from superstar DJs like Diplo, Flosstradamus,DJ Snake,Steve Aoki, to name a few, Tropkillaz have proved to be heavy-weight contenders.

With over 50 original tracks and remixes ready, and having performed sold out shows in venues ranging from Brazil to Russia, Tropkillaz is currently finishing a mixtape entitled “Tropical Bass Killers”, as well as their debut EP.  Watch this space.

BOOKING//PROMO//COLLABS//ETC// email: tropkillaz@gmail.com

average kid still looking for the right sound. if i have a track you guys enjoy unavailable for download, please let me know, i will fix that!

Often described as one of Canada’s best up-and-coming acts, Hey Ocean is a young band with a remarkable talent for blending various musical styles into a brand of infectious Pop that is uniquely their own.

http://LeaveYourAutograf.com

Press:
hunter [at] thealtvision [dot] com

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

Lance Mikaelson is following