Mobitex - Master in chillgresive  music - what is  chillgresive music? well it is a combination of chillout psy and trance music heading from 90 - 120 bpm some people Calls it - Psybient..... I prefer caling it Chillgresive..... 
Mobitex is a cool dude from Israel the capital of psytrance music making beats professionally from 2016.....invite you to an  expression of emotion and  psychedelic on down - tempo music .... N-JOY

Earl Gateshead began DJing in 1979 when he played Reggae records between punk bands in Brixton......... Today Earl tours the world, always playing original, first press, vinyl, which he maintains has the best sound. He spreads the original positive message of love, from Jamaica’s golden era of Reggae music. Earl has a unique voice on the microphone, his 'Yeah Yeah" Catchphrase has spread right through Reggae music.

Earl's career began in the late 70s, when he built his own Sound System, one of the first built by a European, and installed it at the world famous Dive Bar, in Soho, London, where he established a respected reputation throughout the U.K. Earl had a 23 year residency at The Dive Bar, sadly brought to an end in 2002 when the venue was closed, after the lease ran out. Throughout the later part of his Dive Bar years Earl became the Saturday night resident at clubs such as the internationally acclaimed Blue Note and later Fabric, where he became their resident Roots Reggae specialist.

In 2000 Earl began to organise and perform at a series of events called “Reggae Nights” at seminal London club "Plastic People." This legendary series of concerts received world wide attention, with performances from international legends such as; Alton Ellis, Dennis Alcapone, Sugar Minott, Cutty Ranks, Adrian Sherwood and Saxon Sound System. This run of great success gave Earl a huge boost in profile, leading him to be one of the most sought after DJs in the world. In high demand from international Reggae artists. He went on to tour Europe and Australasia with Big Youth, Dr Alimantado and Cutty Ranks amongst others.

Earl was the first Reggae DJ to play at Fabric, The Ministry Of Sound and Space in Ibiza. Probably the world's three greatest nightclubs.

World renowned graffiti artist Banksy asked Earl to D.J at the first three exhibitions of his work. Earl is still the only D.J that Banksy has ever worked with.

With such a distinguished career and fantastic attitude, Earl has become a figurehead in UK Reggae. He was invited to lecture at the prestigious Red Bull Music Academy in Sao Paulo. Earl gave a comprehensive lecture on Reggae DJing and recorded a radio show for Red Bull....... In April this year Red Bull invited Earl to play with Red Bull Culture Clash winners Rebel Sound on the London leg of their U.K tour.


Channel One Sound System are one of the world's best known dub reggae sound systems.  Running for over 40 years, Channel One built up their reputation as one of the main sound systems at Notting Hill Carnival, now they play out every weekend all over the UK and Europe.

Channel One is made up of selector Mikey Dread playing roots reggae and consious steppas, the sound is completed by MC Ras Kayleb.

2010 Channel One Sound System won the Red Bull Culture Clash against Skream + Benga, Goldie's Metalheadz and Souljazz records.

2011 Channel One are about to go on a national tour, funded by the Arts Council, Dub to Jungle..  playing with Congo Natty and Tenor Fly.  Showing the lineage from reggae to jungle.

For bookings please contact Rachel Bevan 07764-996610 rachelchannelone@gmail.com

The party boss general
For Bookings / DJ Services : DM (647) 914-4477
IG @djrahaman_ent

Check my socials for updates/
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https://youtu.be/2lvqYRIFpkk

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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.


About Chromanova
[*1993-†2025]
has a long history now. founded in 1993 in berlin/germany by Nesjaja and Irmi Exo ,it developed from various projects at the edge of the psytrance scene to a wellknown radiostation. At the beginning there was the love to party, dance and having fun, since 1999 its more serious because chromanova started with the radiostation. The radio presents you dj-mixes and liveacts around the world within internet 24 hours 7 days a week nonstop. The main concern lies into streaming good mixes from djs and liveacts, sometimes we stream live from partys, mostly indoor. The basic principle is still the same as it was at the beginning: we play what we like! with the time the crew grow bigger, and we are proud to name djs and liveacts as our chromanova resident team, which play all over the world.


Chromanova.fm | Chillout & Lounge Radio
Free Tibet ; free your mind and fly with us

††† broadcast stops in 2025,april because of the death of the founder, maker & dj nesjaja †††

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