Made In Dade
For remix request or any other Inquiries, Contact: KrummPromo@gmail.com 
or just send a message!!

SOULEANCE is the result of the partnership between the talented
producer Fulgeance and DJ Soulist of What The Funk.
Fulgeance is one of the artist belonging to the French label "Musique Large". Leading and managing several projects (Claude or Fulgeance solo...), this talented producer and remixer is well known for his devastating beats and his stunning live performances. Focused on hypnotic and electronic Hip Hop, Fulgeance subtletly mixes his different influences in order to extracte a "Low Club" groove, anthem and hit track of his last EP at Musique Large.
SOULIST our « démagogue » French funky president, is known in paris for electic sets and is the creator and resident Dj of the Paris' night events What the Funk, which sixth anniversary has just been celebrated. Disco, Soul, Funk, Hip Hop, latin music as an obsession, his mixes have met numerous artists and reknown DJs, such as Cut Chemist, Keb Darge, Dj Vadim, Quantic, DJ Numark, Dudley Perkins, Madlib, Pilooski .
Soulist and Fulgeance met in 2006 while performing and have decided from then to work together on a new project called « Souleance ».... This project is the mixture of Soulist's organic influences and Fulgeance producer 's know how and malice.
An uncomplex project mostly inspired by Black Music which sums up several energies, rythms and beats such as hip hop, tropical, breaks or funky 80’s-boogie- disco style.
Playlisted by Gilles Peterson, Laurent Garnier, LeftO with their Eps "Le Monde" & "Soupape" or "Le Plaisir 7inch" signed on UK label First Word Records their music and explosive live shows have travelled around the world these last two years : Zouk in Singapore, GP's Worldwide Festival in Sète, Nuits Sonores in Lyon, Lodz Kaliska in Krakow, Jazz Café in London, Satta Outside-Lithuania...
They also shared stages with Quantic, Gilles Peterson, General Elektrik, Kentaro, Amp Fiddler, Breakestra, Dj Cam, Benga and more...
Souleance's albums « La Belle Vie » & « La Beat Tape » also released on First Word Records were really welcome by french and worldwide press (Nova, XLR8R, Bonafide, Clash, ...)
Check also the new turn into their special-funk-music with EPs « Brotha », still inspired by soul and black music roots with a spice of bass music & a fuzzy electronic mixture or the afro-discoïde « Tartare » EP (including Débruit & Uffe Remixes).
Last imprint is « Bamboule » EP is a truly eclectic collection, comprised of afro grooves, tropical vibes, b-boy rhymes, head-nodding shakers and intensely hype floor-fillers & a 7" called François, acclaimed by Huey Morgan, Gilles Peterson & more ! This one announces French Cassette, forthcoming tape in 2019.

MANAGEMENT : 
quentin@purposeprod.com
info@the-magician.be

EUROPE, ASIA BOOKING :
themagician@allaroundagency.fr
Info@the-magician.be

AMERICA BOOKING :
quentin@purposeprod.com
info@the-magician.be

NEWS : https://linktr.ee/themagician

Management: sean@mammothmusicgroup.com jason@mammothmusicgroup.com phil@mammothmusicgroup.com 

____________________

Flamingosis (the name comes from a free- style Frisbee move that his father invented) is a New Jersey-based electronic music producer and beatboxer. Drawing on influences from other producers such as Flying Lotus and J Dilla as well as vintage funk and disco music, Flamingosis creates engaging and souful tracks and puts on an infectiously energetic live show.

Soave: a direction to play a piece of music tenderly, gently, smooth and sweet. Soave Radio is the chiller side of @soaverecords. 

Submit your demo via https://www.soaverecords.com/submissions

Intentional Music for Inspired Wellbeing
Acoustic | Pop | Ambient | Electronic

Email Theo for custom productions:
entheomusic@gmail.com

Follow Entheo on Spotify: https://spoti.fi/3aFRiQX

HONEYMOON LP - http://smarturl.it/KrrumHoneymoon

MGMT - matthew@transmissionmgmt.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.

Tuck & Soph

https://sofitukker.komi.io
+ catch us on tour: https://sofitukker.com/tour

MAILING LIST: https://smarturl.it/SOFITUKKERSignUp
TEXT US: 617-249-7556

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