(UK) Producer,   DJ DIDI  ,
These are my dark creations and beats. My style of music has been Breakbeat, Speed"Garage and House and Drum and Bass...
I first got into DJ'ing as a kid in 1995,  And been buzzing off it ever since... Then when i was 18 i starting out doing pirate radio stations around the city, Playing events and bars and clubs around Sheffield & Nottingham for many years spinning tunes on the technics 1210 turntables before the digital days took over,  and still rinsing things up at clubs and festivals now in 2020, 
These are all unreleased tracks as i've not tried to put them out there before.. Hopefully one day...Just gonna keep whipping up the beats and see where they end up....? Listen up everybody... Heres the rhythms i came up with,   Nice1....  
DIDSTA PRODUCTIONZ....!

Digital Speed Garage label 'URBAN SPRAWL's mission statement is to supply and promote new Speed Garage to the masses through digital media, radio and select top flight DJ's. 

The label has a very strong and selective mailing list in which to get our artists maximum exposure, whilst being perfectly positioned to push and promote new Speed Garage through Digital and Social Networks. 

These factors, combined with URBAN SPRAWLS relentless enthusiasm for the Speed Garage sound cannot fail to provide a notable increase in sales for our artists when compared to going it alone.

If you have music you'd like to sell through URBAN SPRAWL what are you waiting for? Get in touch through the links above and see what we have to offer.

With having a cheeky, cheerful and lively personality; Paul Manners is a British multi-talented singer, songwriter, musician, performer, actor, DJ and Quiz host; best known for his party anthem “Hold You In My Arms” performed by him on Britain’s got talent. Getting the crowd hyped and overtaking Eastenders in viewer numbers with 11.9 million viewers, that timeless escapade is just a small taste of what he can do.

Brasstooth has been in the music industry for a good few years. He started off playing bass for a band called 'Kuro' which was made up of a group of school friends. The band was approached by Colin Barlow, of Polygram Music, who offered them a publishing deal.  At the same time 'Kuro' were also demoing records at Island Records with the A&R scout Darcus Bees, who invited Brasstooth and his band into the studio.
Around this time Brasstooth was dumped by his band.  Polygram Music was only interested in the rest of the band and the singer, and this is where Brasstooth's solo career began.
At this point in Brasstooth's career, hearing that the prince’s trust could give you a grant of £500 if you met the criteria, Brasstooth applied. He was over the moon when Croydon Council / The Princes Trust accepted his application and gave him a grant. This enabled him to buy an Atari computer, which at the time was the industry standard computer to make music at the time.
Brasstooth met, and started working with, Darius Keeler (Now of 'Archive') of 'Generside 2', who is credited for making the first ever jungle record, 'Narra-Minds', on which Brasstooth played keyboard. This led to Brasstooth releasing a record on HUMM records with Darius.
Interest was being shown by Benny Medina at Warner Music US.  Advances were paid for an album, but due to financial disputes, Benny refused to deal with HUM Records. After parting company with HUM Records, Brasstooth met Steve Mac, of Passion Music, and recorded lead vocals (rap) for Steve Mac’s group 'Gem for Gem'. This was also around the time that warehouse parties were springing up all over the country.  After going to a lot of these types of parties/ raves, Brasstooth found himself exposed to American underground house and garage music.
The year is now 1995 and Brasstooth is going to the Sunday scene, morning house breakfast clubs like 'The Frog and Nightgown', which subsequently had a major influence on his musical creativity. 
He went back to college and studied a BTEC in 'Popular Music', which was passed with Distinction. It was here that the name 'Brasstooth' was born, and the first 'Brasstooth' production created. 
The track was called 'I Cant Quite Understand'. Every record label he approached turned down 'I Cant Quite Understand'. With no other option, Brasstooth set up Well Built Records, and in a short space of time had learned how to master, manufacture and distribute his own records. 
The record went on to become a garage classic, and sold in excess of 18,000 copies. 

Brasstooth continued to release his own records, whilst studying at Westminster University on their fledgling Commercial Music Degree. It was at university that Brasstooth met the singer of his most successful track to date, 'Celebrate Life'.
The song was originally recorded as a project for an assignment. After pressing the record and selling it via an underground network of shops, Andy Ward at Choice FM in Birmingham started supporting the record. 
It was here in Birmingham that the record gained massive support, leading to the 'Dreem Team' seeing the appeal and supporting the track, which was to become a massive UK Garage Anthem, selling in excess of 30,000. 
The majority of records were sold by Brasstooth himself from the back of his car, direct to shops in Greater London, Birmingham, Manchester, Brighton, and the south coast. While 'Celebrate Life' was becoming a massive anthem, Brasstooth recorded his first version of 'Pleasure'. 
Pleasure' blew up straight away with sales of 25,000 units. This led to a deal being signed with Warner Music. Just as the first release for Warner Music was being arranged, a change of senior management led to a review whereby all urban artists (Brasstooth included) were released from their contracts.
At this point Brasstooth started dj-ing at First Leisure, Brannigan’s, and Laminar's mainstream nights.  He did this for about 5 years, with residencies up and down the country.  During this period Brasstooth noticed that music was changing, and that his taste in music was also changing.  Being exposed to the big main room sound had a massive influence again on his sound.  
It was at this point that Brasstooth took a back seat from music, trying to create and perfect his new sound. After years of refining, the passion he once had has returned with a vengeance.  He has started to throw himself into music productions again after finding the unique sound he was looking for. This has led him to revisiting his record 'Pleasure'.
For Brasstooth’s new sound to work, he has Re-vocalized Pleasure with a new singer.
Pushing the boundaries once again, Brasstooth has found the balance that is uniquely Brasstooth.  
His sound is very familiar; something like you have heard before, but at the same time, very unique.
There are a plethora of music productions that will be released in the very near future.
The passion is back, the love has returned and the music will speak for itself.
Pleasure 2014 (Original)



La influencia del trance llego tarde a mi vida, pero no así la música electrónica, grupos techno como Kraftwerk,  o del synthpop como Nik kershaw, marcaron mi mente allá por los 80s, pero definitivamente, el Goa Trance de Astral Projection, y sobre todo los compilados de Trancemaster, volaron mi cabeza, y a esos artistas, trato humildemente de emular, pero con mi estilo y música nacida de la pasión, por el estado hipnótico de su majestad, "El Trance".   



The influence of trance I'm late for my life, but not electronic music, techno groups like Kraftwerk, or synthpop like Nik kershaw, marked my mind back in the 80s, but definitely, the Goa Trance Astral Projection, and especially the compiled Trancemaster, blew my head, and those artists, try to emulate humbly, but with my style and music born from passion, hypnotic state of his majesty, "the Trance"

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