Edits: https://patreon.com/Djjask
Thaisoul Sessions archived on mixcloud page: https://mixcloud.com/djjask and Thaisoul Sessions downloads will be available on my hearthis page:  https://hearthis.at/jask

Natura Viva, Box of Cats, S&S, Typ3, Shodan, Adverso, Vantablak, Exit Reality, Del Sol, Ondska, La Mishka, Late Night Munchies, Electrified Mindz, Crescent, Khaotic

Brad Smith (projects include: AZARUZ, DJ Brad Smith, Brad Smith, Mr. Smith, Sleven, Praying Mantis, Spit 'n' Blood, Taste Like Chicken, and Mantis (house).
Techno, Tech House and House DJ/Producer. Started DJing 1992. Started producing 1993. First release 1996. Owner Crescent Records. Former aliases: Mr. Smith, Praying Mantis, Sleven, Spit 'n' Blood.
Bookings: bradsmithdj@gmail.com

Brad Smith Beatport Chartings:

Progressive House Top 100 Releases
#18 Vila Roel - Survive This World (DJ Brad Smith Remix) 2013

Progressive House Top 100 Tracks
#18 DJ Brad Smith - "I See The Light" (06 Remix Drumapella) 2006
#23 DJ Brad Smith - "My Body" 2007
#79 DJ Brad Smith - "Praise You" 2006

Electro House Top 100 Releases
#23 Electro House releases - Vila Roel - Survive This World (DJ Brad Smith Remix) 2013

Electro House Top 100 Tracks
#66 DJ Brad Smith - "Change" 2006

House Top 100 Tracks
#25 DJ Brad Smith - "Twisted Love" 2006
#34 DJ Brad Smith - "My Body" (Drumapella) 2007
#39 DJ Brad Smith - "Yo Quiero" 2006
#44 DJ Brad Smith - "Change" (Drumapella) 2006
#44 DJ Brad Smith - "I See The Light" (06 Remix) 2006
#46 DJ Brad Smith - "Dance 2 The Music" 2006
#59 DJ Brad Smith - "If You Feel It" 2006
#80 DJ Brad Smith - "Love Me" 2006
#93 DJ Brad Smith - "Inca Gold" 2008

DNB Top 100 Tracks
#06 DJ Brad Smith - "Eb and Flow" (Praying Mantis Remix) 2006
#09 DJ Brad Smith - "Imagine" (Praying Mantis Remix) 2006
#19 Praying Mantis - "Let The Games Begin" 2007
#29 DJ Brad Smith - "The Bad Man" (Praying Mantis Remix) 2006 
#31 DJ Brad Smith - "Cuban Cigar" (Praying Mantis Remix) 2006 
#42 DJ Brad Smith - "Para Mi Almar" 2006
#47 Praying Mantis - "Back Of Your Mind" 2007
#52 DJ Brad Smith - "Follow" (Praying Mantis Remix) 2006 
#53 Praying Mantis - "Meltdown" 2008
#78 DJ Brad Smith and DJ Dread - "Victims" 2006

Dubstep Top 100 Tracks
#35 Spit 'n' Blood - "Fall Back" 2011

Breakbeat Top 100 Tracks
#40 DJ Brad Smith - "Bounds Of Reality" 2006
#49 DJ Brad Smith - "Don't Fall Asleep" (Nu Skool Remix) 2006
#62 DJ Brad Smith - "What A Bitter Place 2 Start" 2006

Psy-Trance Top 100 Tracks
#37 Osiris - Far From Earth 2006

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BIOGRAPHY:

Brad Smith is one of the pioneers of Electronic Dance Music in Florida in the early 90’s. Brad started his career in the underground Acid House and Happy Hardcore scene at WBUL in Tampa. In 1992, Brad began his club DJing career at the infamous "Rave-O-Ween" in Tampa, Florida. 
His roots go back to Rave/Techno spinning tracks such as Eon - Spice, Human Resource - Dominator and KLF – 3am Eternal. Several years later, Brad was involved in the establishment of the sub-genre: Florida Breaks. His name is synonymous with Anthems, whether he is crafting them in the studio or catapulting a crowd into a frenzy. Brad stormed into the DJ arena 1992 and has never slowed down! Brad has also kept the same furious pace in the studio with more than 450 tracks and remixes released. From his early years as Mr. Smith (Breaks) and Praying Mantis (DnB and co-founder of Stateside collective) to his more recent works as Sleven (Tech House/Techno), PlayLoud (Electro House, Progressive House, Big Room House) and Spit 'n' Blood (Dubstep). Brad has had 33 Beatport Top 100 hits in Progressive House, Electro House, House, DnB, Dubstep, Breakbeat, Glitch Hop and Psy-Trance. Brad has remixed such notables as Capital Cities (of “Safe and Sound” fame), Interglaxtix (bass player from Heart’s own band), pop sensation Right Said Fred (of "I'm Too Sexy" fame) and Salme Dahlstrom - "C'mon Yall" which can be heard on Suave TV commercials. In addition, Brad’s own track “Something You Can’t Believe” will be featured in 2015 and 2016 on the TV shows “Keeping Up With The Kardashians” and MTV’s “Catfish”. Brad owns and runs the underground label, Crescent Records; established in 1996.

Tampa Bay native and a DJ since the 90’s, Brian Busto has worked for the last 30 years to keep the flames of the underground alive for the most Serious of Souls in the Tampa Bay area. Since he fell in love with dance music on one fateful night at SIMONS over three decades ago, Brian has never looked back. Busto first started DJing in 1994 with his first residency coming a year later at Beanjuice. A queer run late night haven for the house heads, ravers and weirdos of the Tampa Bay area. From Beanjuice, Busto went on to earn his first residency at The Castle courtyard in 1996 along with starting his second afterhours in 1997, Silver Meteor. From there Brian Busto went on to curate legendary nights in revered Tampa venues such as Rain Lounge, Malios, Bahassa, Ceviche, Hyde Park Cafe, Iberian Rooster, and The Castle. Wherever the location, Busto remains on the front lines, pushing cutting edge new music, ignoring trends, and always staying true to his roots. 

Brian Busto is a genre-defying DJ that loves to dig. You’re always going to get something unique, from tough cutz loaded with swagger to hypnotic rhythms that lift you right off the floor. Sounds from stateside meccas Detroit and Chicago as well as overseas Italo and Balearic flavors provide pleasant twists and turns throughout his sets. Uniting it all, in his own words - “I always play deep.” 

You can find Brian's productions on these labels below...
SERIOUS SOUL | ORIGINAL LABEL | RED ANT | UNITING SOULS | CHILLIN MUSIC | BULLETDODGE | WARM WALLS | UGLY BUG | SLIGHTLY OFF | ELECTRIK SOUL | SAGOL | HALLUCIENDA | MODMOTIF | VFTR | EVASIVE | DEL SOL | BOMBIS RECORDS

North America bookings: brent@madison-house.com

aKa Soul Speech 1/2 Star B/ Starr Traxx/ Hyperloop / Genghis Clan/ 
@snatchrecords 

Bookings: andy.raeside@entityma.com

Management: info@plus5mgmt.com

http://linktree.com/rivastarr

DEMOs for SNATCH! 
demos@snatchrecords.com
management@snatchrecords.com

THX!

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.

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