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Episode 233 of Circoloco Radio with Tomas Station:

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Circoloco Radio 233 - Tomas Station

After roughly 16 months finally a new DJ mix. Inspired by the recent set at Heideglühen Berlin. All featured music was played at the club during the >3hr set. Upon re-recording I once more realised how rare it has become to be able to play such a set and how grateful and humble such great music leaves you.

The Heide Session (House Selection)

Also on youtube: https://youtu.be/g-bIqoogMek
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Yoyaku Instore Session with E.LINA

This vinyl-only set was recorded 26/07/2025 at Club der Visionäre Berlin by Buzé

Buzé @ Club der Visionäre 26/07/2025

D'Julz Yoyaku instore session  03 06 2025

Snad (live) - Live From Dimensions '25

Apollonia with Shonky feat. Otis - 28 October 2025

Apartment 808 is a music collective practicing bi-monthly beat cyphers.

How it works: 
❶ Each session is curated with sample(s) from one of our tenants. 
❷ All tenants have one week to complete a song. 
❸ The song is minimum 90 seconds. Full tracks encouraged.

🗝️ 🗝️ 🗝️

Featuring: 
@milio0
@baachmusic
@good-question1
@tendo-tracks 
@atrisco 



Sample Curated by Milo

atrisco - Maasai

ZIRIGUIDUM

Afrotrumpet (Short Play)

Buy on bandcamp

Dj Gaston - Afrotrumpet (Short Play)

sleepless rainy may mornings
cosmic trips with the occasional injection of love
brought to you by the bee and irie nation @tomasstation
in the music box of @thelotradio

thanks to Paul & Barbie for the invite
thanks to Orazio and Maksim for joining the ride

once again, wibrations.

Love Injection at Lot Radio w/ O.BEE & Tomas Station

Paris, early ‘90s. The city was a schizophrenic beast—half-glamour, half-decay—where raves exploded like molotov cocktails in abandoned warehouses and smoke-filled basements. It was beautiful chaos. Somewhere in the thick of it was Julien Veniel, better known as D’Julz, spinning records with the focus of a surgeon and the cool detachment of someone who had seen it all.
Then came New York, 1993. A city that didn’t sleep but didn’t really dream either, at least not back then. Veniel—young, hungry, and too talented to ignore—found himself in the depths of sweaty dancefloors, perfecting his craft like a prizefighter working the heavy bag. The kicks were tighter, the grooves deeper, and his sound—dub-infused, stripped-down, relentless—started to carve its way into the foundations of house and techno.
But Paris called him back. By 1997, he was behind the decks at the Rex Club, launching Bass Culture, a night that would quietly and ruthlessly become one of the most enduring parties in dance music. You could feel it in the air, heavy with smoke and sweat: something was happening. And week after week, D’Julz delivered. The music wasn’t just played; it was installed into your brain, a groove so potent it hijacked your nervous system.
The production side came next. 20:20 Vision, Ovum ,Circus Company. Robsoul. ,Rekids. Big labels, underground credibility. Tracks and remixes that hit like slow-burning dynamite—deceptively simple, brutally effective. DJs hoarded his records like they were holding nuclear launch codes.
Then there was Circoloco—DC10 . Ibiza’s sacred asylum for the beautifully deranged. D’Julz became a fixture for 7 years, a reliable madman behind the decks, controlling both the main room and the red terrace like a general marching his troops to the brink of delirium. His sets were measured doses of euphoria and dread, dubby basslines colliding with pulsing techno rhythms, all delivered with a sly grin and the calm of someone who knew.
By 2009, Bass Culture Records was born. A label as lean and unforgiving as its founder—no fluff, no filler, just raw, stripped-back house and techno that knew where it came from and where it was going. Over 70 releases later, it’s clear: D’Julz doesn’t miss.
Now, decades into this strange and relentless trip, D’Julz is still at it. The tour schedule is insane—Bali, Berlin, New York, and back again. Clubs and cities blend together, but the mission never changes: find the groove, ride it hard, and don’t let up until the lights come on.
D’Julz doesn’t care about trends. He doesn’t care about fame. He’s a purist, a craftsman, a man obsessed with the sound—the deep, pulsing, unstoppable sound. Three decades in and he’s still there, calm and unflinching, dropping records that hit like a gunshot in the dark.
If you want to understand D’Julz, don’t bother asking questions. Just listen. The truth is buried somewhere in the basslines.