Me siento extraña ♡ is a FLINTA* collective, based in Barcelona.  We like soft raving, we love perreo and also kisses.

ପ(๑•ᴗ•๑)ଓ 

UPCOMING:
All Mondays  — at Candy Darling (BCN)

2024
20.12.24  — MSE: Surf 2 Glory
22.11.24  — MSE & Casa Montjuic: Martyna Basta & Verushka
16.11.24  — MSE, MUSA & Isla666: Dana Montana, Hello Sasy & Verushka
28.09.24  — MSE BDAY: Vera Moro, Ch3lo, Verushka & Karaoke
16.08.24  — MSE & In A Mood (BERLIN)
27.07.24  — MSE & Casa Montjuic: James K & Verushka
12.07.24 — MSE | World Tour XII: Dalila, Verushka, Kmila, Coolkid 2000, Aliceyuki, Muna Khaled & Soft Karaoke
08.06.24 — MSE | Hoxton: Bambi, Tiyumii, Verushka
27.04.24 — MSE | World Tour XI: Anaco, MDSM, Verushka, La Rage & Soft Karaoke
23.02.24 — HUMAN presents: MSE | Shanti Celeste B2B Peach, Acidnena B2B Verushka
22.02.24 — MSE | CCCB <3Or tresor
0.02.24 — MSE | World Tour X: Hello Sasy, Sofy Suars, Verushka, Coolkid 2000, Soft Karaoke & Nea Onnim
09.02.24 — Barbi(e)turix Eu.topia (PARIS)
02.02.24 — MSE | for LLUM BCN

2023
16.12.23 — MSE | Baraka, Meritxell de Soto, Tiyumii, Verushka
24.09.23 — MSE | Verushka, Clara Cortés & oqbqbo(BAM)
08.09.23 — MSE | 2do Aniversario (Upload)
15.07.23 — MSE | (Human Razz)
09.06.23 — MSE | (Sala Vol)
29.04.23 — MSE | (Sala Upload)
27.01.23 — MSE | Sala Vol

2022
09.12.22 — MSE | (Sala Vol)
11.10.22 — MSE | (Sala Vol) Selectya Glossy & LaSol
17.09.22 — MSE | (Meteoro) 1st Aniversario w: Clara Cortés
25.06.22 — MSE | Pride Float w: Bimborras & Dj Äadrik(BCN)

︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶︶꒦꒷♡꒷꒦︶
FOUNDER / @djunderarrest  ˙𓆩♪⛧₊˚🎧 ﾟ₊⛧♪ 𓆪˙
master: @dnza @tufi @imaabs @undrwght @regis

𝒯𝒽𝑒 🤠 𝒞𝒰𝒩𝒯𝒴 ｡⋆
𝒯𝒽𝑒 🤠 𝒞🍩𝒰𝒩𝒯𝑅𝒴｡⋆
𝒯𝒽𝑒 🤠 𝒞𝐿𝒰𝐵   ｡⋆

Run by @reycolino
Brussels - Amsterdam
info@kalaharioystercult.com
Distributed by @oneyewitness
Bookings & label showcases: peter@FMLY.agency // +44 (0) 7742 600894

EG: Where Music Matters

Visit us at www.electronicgroove.com

Premiere Request > https://bit.ly/2P2PTYU

Founded with a mission to push the electronic music scene forward and away from traditional standards, EG holds the modern mold of dance music culture up to the fire to spark insight and discussion across the board. We are an amplifier and platform for new music, news, interviews, and special features in a credible, objective, and compelling approach.

For over 15 years, EG has been at the forefront, supporting artists, labels, brands, and festivals in a dedicated and bespoke manner, understanding and caring for the artistic product. We've always valued those who take the time to create and have been there at every step of the road.

EG’s constant growth has seen the brand expand into the Spanish-speaking territory with the launch of Electronic Groove en Español, a full online media platform that focuses on bolstering the region’s cultural development. With established headquarters in Miami and supporting offices across the globe, we strive to deliver quality content to our worldwide audience.

Rave en CDMX y Los Ángeles. De, por y para #jotxs y #CuerpaDiversa

Residentes

@kodemul
@perfect-lovers
@esquivelmusica

Bookings: contact@sonikar.net
Contact: contactalibilalmusic@gmail.com

Elizabeth Shaw/Dj Putilla/Fernando Callicó

Based between México and Berlin

www.residentadvisor.net/dj/kinda-ar

Madrid-based DJ and producer KINDA.
Founder and Resident DJ of SUDAR

GOA PARTY MUSIC FROM 1984 TO 1993.
ANYONE INTERESTED IN MUSIC FROM THIS ERA PLEASE FEEL FREE TO DOWNLOAD.
A LOT OF THESE TRACKS WERE PLAYED BY DJ LAURENT AT THE PARTY'S DURING THIS PERIOD.

A musical role model of mine, little known outside of the psytrance scene, is Laurent, the French DJ who introduced electronic music to the beaches of Goa, India and played there regularly during the years of 1983-1993.

Part of the hippie traveler wave that flocked to Goa beginning in the 60s and 70s, Laurent took the early sounds of electronic dance music and, through a combination of clever track selection and customized digital tape edits, turned it into a futuristic form of sixties psychedelia. The extended edit wasn't a new thing (it had been done back in the days of disco), but he realized that by cutting out vocals and extending passages with nothing but synthesizers and drum machines you could create a ritualistic atmosphere, one especially suited to the Goa environment. An environment that was awash with acid and chillums, shot through with mystical trappings, and set outdoors in beautiful nature. As well as his editing skills, his collection and knowledge of music was beyond extensive, tapping a global network of friends for music that came from everywhere and every style. He drew from rock, dub, electrofunk, disco, new wave, industrial, house, experimental art-pop, and American techno from Chicago and Detroit. He would also incorporate European forms of techno like trance, the genre he helped create and in doing so, he eventually became part of a feedback loop going from Goa DJs to studio musicians and back again.

By the beginning of the nineties, artists were traveling to Goa, hearing Laurent and DJs influenced by Laurent, coming home, and making music based on what they had heard. Trance, and what would become psytrance, owe much to his expansive attitude. He was a pioneer of the 'party as a journey' concept... dark, inward,focused music at night would fuck with the dancers' heads, and at sunrise, dreamlike reveries would bring them gently back to Earth. For those who dropped acid, this seems especially appropriate.
By his own estimate, Laurent played around 10,000 different tracks during his years in Goa. It's not entirely clear why, by 1994, he had quit DJing. The changing nature of the music may have contributed to it: Goa had coalesced into its own musical style by then, one that had been streamlined into a fast techno/trance hybrid. Full moon parties, trance dances, or just Goa parties were the terms before then, but now artists were making "Goa Trance" with its own particular motifs and aesthetic. This was incredible music, it brought much-needed colour, nuance and experimentation to a techno that too often limited itself to dystopian gray or was content to pound its listeners into submission. Still, Goa Trance (later called psychedelic trance or just psytrance) was too uniform for some old-schoolers, who missed the days of even wilder experimentalism. LSD was still the drug of choice, but some complained that you just couldn't dance all night to 140 BPM.
Perhaps, though, Laurent had simply done everything he had wanted to do as a DJ and decided that it was time to move on. He remains an enigmatic figure, posting on the occasional forum when it strikes his fancy. In a massive infodump, posted on discogs.com, he revealed 1,000 of the tracks he had used; all commercial releases, ranging from the extremely obscure to the very well known. I learned so, so much from that tracklist: it gave me many happy weeks on Youtube, swelled my record collection, and led to a tribute mix.
Looking at the list, I'm struck by how counter intuitive much of it seems. I picture juxtapositions of the most bizarre kinds... The B-52s and Front 242; Blancmange and Afrika Bambaataa; Thomas Dolby and Italo disco. Laurent's genius, I think, was to identify the shared transcendental impulse behind much contemporary music, and to put that under a sonic magnifying glass for all to hear.
By the late nineties, Goa was a fading scene. I started with the post-Goa psytrance movement, that had its epicenter in Israel and the UK.
in the deserts outside Tel Aviv and the nightclubs of swinging London, not a beach in southern India. From there I worked my way backward to learn the music's history and why India was so damn important, anyway.
Very important, as it turns out. The story of Indians from Goa, some of whom grew up with this music and later became producers of it, is another tale waiting to be told; from what I've heard, Goa is rife with both wonderful examples of coexistence and cross-pollination and less-wonderful examples of conflict and exploitation. But in its heyday, Goa was a case of First World spiritual seekers and party animals living in symbiosis with a newly independent Indian state. It was hot, dusty, and rough, and it created a new musical culture.
The early Goa scene took the artificially imposed distinction between 'head' electronic music and 'body' electronic dance music and took a sledgehammer to it, flattening it out into an open experiential field. It showed that EDM could be as trans formative, complex, and confrontational as a psychedelic trip; that it could provide, not just an escape from reality, but whole new ways of engaging with it.


kinda is following