SlothBoogie is one of London’s most respected underground electronic music crews, encompassing a record label, radio show & special party series. As an ensemble, the crew have been curating the finest underground electronic music on their acclaimed platform for well over a decade. As a result, they’ve become a trusted voice and influential driving force in the discovery of new talent, as well as continued supporters of the best artists in the underground scene.

Get in touch : https://slothboogie.com
SB Bookings : patrick@slothboogie.com

http://mutualdreaming.com
US/Americas : marlena@liaisonartists.com
EU/World : lisa@ekipa.agency

DJ, broadcaster, curator 

Tribqu founder - Tribqu on Skylab Radio every third Saturday of each month.

Oceania bookings: yang@kastagency.com

Chicago's own Jamie 3:26 - Professional DJ and Editor...Specializing in Good Times and Good Music....

Producer, DJ, Middle Name Records, Balamii Monthly Show
 
Sam Poggioli, aka Sampology, is a DJ, producer, recording engineer, visual artist and former Worldwide FM host from Brisbane/Meanjin. Over the last fifteen years, Sam has been a key player in the rise of Australia’s burgeoning hip-hop, deep house, future jazz and broken beat scenes. Since 2017, he’s released records through Soul Has No Tempo, his own Middle Name Records label, and crafted uptempo remixes for Quantic, Kerbside Collection, Winston Surfshirt and Myele Manzanza.

In the early days of his career, Sam made his mark by performing acclaimed audiovisual DJ sets at festivals and nightclubs throughout Australia, New Zealand, South Asia, Europe and North America. In more recent years, however, he’s balanced his considered skills in the DJ booth with his personal evolution as a composer, producer and recording engineer. Revelling in lush, atmospheric soundscapes which draw from the grandiose splendour of the natural landscape that surrounds his hometown, Sam’s music embraces ornate melodic beauty, blending with syncopated rhythms, low-end theory and lush vocals.

Before he took his audiovisual DJ sets to the world, Sam sharpened his musical knowledge and skills while working at the iconic Butter Beats record store and spinning a mixture of hip-hop, breaks and drum and bass at nightclubs across Brisbane. The road he walked to that point began in his mid-teens after he was exposed to New York’s Native Tongues collective and The Avalanches from Melbourne/Naarm. 

Fascinated by the sampledelic production techniques that helped take hip-hop to new levels in the 90s, Sam learned the basics of computer music production from his cousins, who were already performing nationally in a live electronica group. However, for the first act of his career, DJing was where Sam really shined. Soon enough, he was gracing stages alongside underground US and UK hip-hop stars like Blackalicious and Roots Manuva.

After proving himself nationally and overseas, Sam felt compelled to reconnect with Brisbane’s musical community and focus on his own growth as a producer and composer. This time around, as opposed to DJs and beatmakers, he was hanging out with a generation of trained instrumentalists and singers like Laneous and Noah Slee, who were reshaping the sounds of neo-soul, RnB, broken beat and jazz in the city. After learning more about recording equipment, he began collaborating with them on the material that made up his debut EP, Natural Selections (Soul Has No Tempo, 2016).

Sam also began to spend more time in the grandiose natural landscape that surrounds Brisbane and found himself reflecting on the formative musical experiences of his childhood, like being exposed to string music ensembles by his father and aunt, who’ve both spent decades as members of the Queensland Symphony Orchestra. Sam also thought back to his early teens when he sang in a cathedral choir. As he began to carve out his own composition and production sound, choral music, harmony, and string textures became a crucial counterpoint to the rhythmic sensibilities he’d learned from DJing hip-hop and dance music to audiences across the globe.

By 2018, Sam was recording local choirs and string sections and had built a strong community of like-minded musicians around himself. That year, he established his own independent label and recording studio, Middle Name Records. He inaugurated it with the release of his soulful deep house EP Mt Glorious featuring Dudley Perkins, Georgia Anne Muldrow and Jordan Rakei, and Middle Name Dance Tracks Vol 1, a collection of broken beat, disco and house tracks he’d recorded with friends as Middle Name Dance Band.

In 2019, the tastemaker Gilles Peterson invited Sam to host a monthly online radio show on Worldwide FM, giving him a platform to share his ever-expanding musical taste with a global audience. Through his shows, emerging soul, jazz, RnB, hip-hop, and club music from Australia and New Zealand stood shoulder to shoulder with the freshest new cuts and reissues from the global underground.

Two years later, Sam released his debut album, Regrowth, through Middle Name Records. Featuring collaborations with Laneous, Allysha Joy (30/70 Collective), Silent Jay, Seven Davis Jr (US) and James Chatburn, the album showed off his hard-won growth as a composer and producer with inimitable style. Through a heady mixture of live instrumentation, synthesisers, machine beats and soaring voices, Regrowth charted a course through hip-hop, dance, ambient and jazz-funk, earning him comparisons to Bonobo, Jamie XX, Kaytranada and Jon Hopkins along the way.

After the release of Regrowth, Sam realised he’d spent the first half of his career chasing the cutting-edge underground sounds of North America and Europe. When he looked around him, he saw that in the wake of Melbourne/Naarm jazz-funk band Hiatus Kaiyote’s international success, the world was looking at Australia. Since then, he’s been working to document the sound of Brisbane’s underground through Middle Name Records. Sam hopes that in the future, the label’s discography may inspire a new generation of music lovers. Maybe in a decade, someone going through the bins in a record store in London or Manchester will become fascinated by the 2020s Brisbane sound.

artist | dj | djcapitalgains
bookings/enquiries: yang@kastagency.com | mgmt@ayebatonye.com
send music/shower thoughts: houseofayebatonye@gmail.com

Listen to 'The Party is Over' radio - curated by the Keinemusik crue - on Spotify. Updated weekly: goo.gl/MbTbcY

When one could assume, &ME entered the House and Techno world somewhat out of the blue, it is due to his sublime modesty that’s already captured in his alias. His way to become one of today’s most praised and sought after DJ/producers is based on a solid foundation. A foundation comprised of solo-releases, remixes, projects and collaborations that numerous, we’d rather refer to his discography than weary you with namedropping. Besides, all those references would just distract from what truly matters – the music this guy is delivering. Not to underestimate the importance of a project such as Terranova for &ME’s current path, but still the alignment has been made – to focus consistently on his solo-work. And it shows.

There are not many artists around turning in such a slew of globally praised floormaterial like &ME did over the last years. Just think of his last offerings on Keinemusik, a collective of Berlin based DJs and producers, including Rampa, Adam Port, Reznik & artist Monja Gentschow, he helped founding in 2009, namely “After Dark” and “Woods” or his “Vermillion”-remix for Damian Lazarus – all serious bangers, played by every renowned DJ worldwide. Everything is falling into place for the fella. His DIY-approach to handle things, his easy going attitude, his reputation as a gifted producer and DJ extraordinaire, his ability to link innovative production with consensual reception, making him one of the most unique and original figures in the game.

DJ Bookings > ali@warmagency.com

Initially established in 2003 at The Eagle in London’s Vauxhall, Horse Meat Disco has evolved into a powerful force in queer and club culture as a whole, while staying local to its original home, each and every Sunday. Co-founded by James Hillard and Jim Stanton, and encompassing residents Severino and Luke Howard, the crew continue to maintain not only the weekly Sunday party, but a number of residencies in cities across the world, alongside a kaleidoscope of club appearances, festival dates and specially curated mixes.

Taking inspiration from a diverse, counter-cultural history of clubs and DJs, as well as from the sprawling, ever-expanding musical collections of it's resident crew, the sound of HMD is impossible to place. Nonetheless their style is undeniable, as is a popper-scented air of sheer authenticity. Rooted in hedonism, rhythm, freedom and emotion, a Horse Meat Disco set reinforces everything invigorating about disco, as comfortable as shattering old-school mirror ball cliches as basking in their light.

A typical HMD set blends classics, italo disco, house, oddities and punk funk, to conjure their initial spirit of “a queer party for everyone”, including, but not limited to, “Homos and Heteros, club kids, bears, fashionistas, naturists, guerilla drag queens and ladies who munch.” They have made appearances on every notable club scene in the modern world, as well as those beyond, and have long been a key fixture at festivals including Glastonbury, Bestival and Festival No.6.

Outside of the club, the Horse Meat Disco train rolls across the airwaves on Rinse FM, where the crew hold down a weekly residency every Sunday afternoon, serving as a pre and post-club Sunday lunch accompaniment, often delving into the more soulful shades of their sublime taste, often encompassing rave groove, gospel and whatever they can’t get away with on the dancefloor (which, as the years have proven, isn’t much). A series of expertly curated and acclaimed compilations for reissue label Strut helped further cement HMD’s formidable but communal reputation as disco masterminds, spreading their sound and many enviable obscurities into front rooms and record bags across the world. Their latest, ‘Meat Me Down the Disco’, was released on Z Records in 2017.

After decades of crate digging, globetrotting and partying, the HMD story continues apace. 2017 also saw the crew record their long-awaited contribution to BBC Radio 1’s ‘Essential Mix’, as well as their first joint foray into production, ‘Waiting For You To Call’, featuring Roy Inc., and released on their own, self-titled imprint. They are currently working on new music to be released with Glitterbox, with the new single ‘Let’s Go Dancing’ released in December 2018.

Frans Koomen is following