Taken from Visionist's "I'm Fine" EP out now.

PURCHASE: http://boomkat.com/downloads/793468-visionist-i-m-fine

NYLON track of the week http://www.nylonmag.com/?section=article&parid=9871

"South London producer Visionist is one of a new wave of young artists engaging with the ever-mutating sound of grime and taking it to new places. He’s been bobbing about since 2011, putting out highly-strung instrumentals on a handful of 12”s, and now comes his debut EP on Lit City, I’m Fine (out September 3), which features a collaboration with New York producer Fatima Al Qadiri.
Al Qadiri's synth-line warning signs are both alluring and insidious, like the wink of a star that’s long since burned out, while Visionist twists handfuls of bass into a shadowy second melody. It’s as if the two producers are dancing around one another, sizing one another up; intrigued yet not without suspicion."
- Pitchfork

"Two of the underground’s most exciting prospects from both sides of the Atlantic have joined forces. Brixton’s Visionist and New-Yorker-by-way-of-Kuwait teamed up for The Call, which features both artists trademarks in spades, Fatima’s ghostly church hall melodies and Visionist’s icy minimalism. Proper pairing"
- Abeano

"Late last year, we spoke to Fatima al Qadiri about her enduring love for grime, which she described as “icy cold” and “full of threats.” Both qualifiers feel well-suited to “The Call,” a track she co-recorded with London producer Visionist for the latter’s upcoming I’m Fine LP, and which suspends ethereal synth sounds and a game-ready bassline in a tension-filled, unresolved limbo. Fans of al Qadiri’s Desert Strike EP will recognize some of the same eerie choir sounds, but for the most part, “The Call” is remarkable for its sense of space—especially considering that there are two cooks in the kitchen."
- The FADER


"Recently, we got word that the Teklife-affiliated Lit City Trax would release two records from burgeoning London producer Visionist. The anticipation we had for his first release, the I'm Fine EP, was palpable and now we have our first taste. "The Call" is a collaboration with fellow innovator Fatima Al Qadiri, and it's a doozy. Instead of assaulting listeners with heavy kicks and snare hits, the two create a storm of bass lines and vocal-styled synth pads. "The Call" sounds like the quiet before a desert battle, with equal measures of dread and anticipation waiting behind each resonating note."
- Ad Hoc

"Conceptual New York-based artist Fatima Al Qadiri features on the new EP from South London-based grime shapeshifter Visionist in the form of this icy new track The Call. Underscored by a warped bass line and punctuated by Al Qadiri's familiar robotically angelic vocal samples and synth jabs, the overall effect is one of caution and paranoia, leaving us with chills but far from cold."
- Dummy Mag

http://twitter.com/LouisVISIONIST || http://www.facebook.com/LouisVISIONIST

Visionist & Fatima Al Qadiri - The Call

BUY NOW: http://boomkat.com/downloads/793468-visionist-i-m-fine

"Last week, we posted a snaky, collaborative cut from Visionist, aka the UK’s Louis Carnell, and Fatima al Qadiri. “Lost” is a second track from Visionist’s forthcoming EP, I’m Fine, which is pointedly grime-inspired and has the thematic premise of mapping out the five stages of grief (do you know them by heart?). Similarly to “The Call,” it sees the London producer making beautiful use of space as a compositional tool, although it’s built almost entirely from sounds that tread that ever-engrossing and affecting continuum between man and machine."
-The FADER

"Lost is the second track to be revealed from grime-bending producer Visionist's upcoming 'I'm Fine' EP for Lit City Trax; the first was the skeptical and slow-burning embers of his Fatima Al Qadiri collaboration The Call. With a kickdrum thump and what sounds like a Destiny's Child sample, the new track has more urgency from the offset, inciting the listener to dance even in spite of sinister overtones and themes of loneliness (the whole EP is themed around the five stages of grief, and this track asks repeatedly "where are you now?"). Once the pieces are all put together, 'I'm Fine' looks to be one of the most outstanding debut releases of the year."
-Dummy

"After the icy collaboration with Fatima Al Qadiri last week, Visionist is back, with EP I’m Fine out next month (3 September). New tune Lost is a spookily arranged and unnerving, spectral vocals and sparse percussions occasionally broken by a quiet and maligned bass line."
-Abeano

http://twitter.com/LouisVISIONIST || http://www.facebook.com/LouisVISIONIST

Visionist - Lost

Blow Your Whistle VIP
Traxman's 'Teklife Vol. 3: The Architek' is out September 17th on digital. Vinyl release date TBC

Traxman - Blow Your Whistle (The Out Of Here remix)

An exclusive cut from the TEKLIFE Vol.3 shortlist for your listening pleasure.

Traxman's 'TEKLIFE Vol.3 -The Architek' is out September 17th on Lit City Trax.

Traxman - We Had A Sick Night

Taken from "I'm Fine" out now.

http://www.factmag.com/2013/09/02/todays-fact-mixer-visionist-drops-escape-from-new-lit-city-ep-im-fine/

BUY NOW: http://boomkat.com/downloads/793468-visionist-i-m-fine

http://twitter.com/LouisVISIONIST || http://www.facebook.com/LouisVISIONIST

Visionist - Escape

DJ MARFOX - TERRA BATIDA

DJ MARFOX - BEAT AND BREAK

6. DJ MARFOX - BANDA 52

TAKEN FROM THE DONT WATCH THAT RADIO SHOW ON NTS RADIO, LONDON

LARGE UP D DOUBLE E AND PRINCE RAPID FOR REACHIN MIC.
HOLD TIGHT TO THE WHOLE DONT WATCH THAT FAMILY FOR HAVING ME ON THE SHOW, ESPECIALLY TIM & BARRY & AKINOLA!

OUT TO THE LUMPY LEFT DECK - WE HELD IT DOWN SOMEHOW.

1.   FOOTSIE - ARNIE
2.   YOUNGSTAR - BARGE RIDDIM pt 2 [DUBPLATE]
3.   DRIPPIN - KYOTO [FORTHCOMING LIT CITY TRAX]
4.   MssingNo - 124TH
5.   WILEY - ESKIMO 2
6.   DANNY WEED - HARDCORE [DUBPLATE]
7.   DJ ODDZ - BLADE RUNNER
8.   DIZZEE RASCAL - GO
9.   VIRUS - RUDESTING
10. GEENEUS - AQUARIUS REMIX
11. JAMMER - MYSTIC
12. JME - STEP SEQUENCER
13. P JAM - MERK
14. PLATINUM 45 - OI!
15. NATHAN LOCKETT - LAST MAN STANDING
16. DR VENOM - TENACIOUS
17. FOOTSIE - MERKED AGAIN
18. DIZZEE RASCAL - STOP DAT
19. DJ MONDIE - STRAIGHT
20. RAPID - CHEQUE
21. MR CHALLIS - 15 MINUTE RIDDIM
22. RAPID - COME ON 2 (REMIX) [FORTHCOMING LIT CITY TRAX]
23. DREAD.D - INVASION
24. DRIPPIN - AIR JORDANS [FORTHCOMING LIT CITY TRAX]
25. MIKEY J - MIC CHECK (REMIX)
26. WILEY - FLAME GRILLED WHOPPER [DUBPLATE]
27. SPOOKY - BOUNCE HOE [BOOTLEG]
28. RAPID - AND TING
29. LIL SCRAPPY - HELICOPTER
30. STIRLING - WAVE RUNNER [DUBPLATE]
31. DIZZEE RASCAL - STREETFIGHTER
32. DJ ODDZ - STRUNG UP VIP
33. RAPID - UNDERGROUND VIP [DUBPLATE]
34. YOUNGSTAR - HOT GUITAR [FORTHCOMING LIT CITY TRAX]
35. INKKE - SIMMER [FORTHCOMING LIT CITY TRAX]
36. SAGA - FLIGHT RISK [FORTHCOMING LIT CITY TRAX]
37. WILEY - YOU'RE NOT REAL
38. NGUZUNGUZU - SKY CELL
39. TRICK DADDY - SHUT UP
40. FATIMA AL QADIRI - WAR GAMES

J-CUSH WITH D DOUBLE E (Newham Generals) & PRINCE RAPID (Ruff Sqwad) | MARCH 3RD 2014 @ NTS

London-born Visionist, (Louis Carnell,) has rapidly ascended the ranks of producers and DJs at the forefront of modern club music. Quickly categorized as one of the leaders of the international new school of Grime, However, Visionist looks beyond Grime and into the unknown, crafting a heavenly opus continuing on from his critically acclaimed "I'm Fine" on Lit City Trax. The outcome is his utterly original take on this comprehensive club music spectrum of the past two decades -- hyper-minimal and brooding while remaining ethereal. Visionist's tracks on I’m Fine sound vast, as if mapping vivid, emotional landscapes. His approach to production is introspective, with an eye for detail and an ear for tension, focused on opening up space rather than cluttering it.

Visionist maintains his own record label, Lost Codes, which while rooted in Grime, is centered around the genre-breaking imagination and inventiveness of his artists (SD Laika, Acre, Saga, FIlter Dread, Bloom). Avoiding looking back in time to recreate the past, now he's helping to usher in the new vanguard. Like Visionist, these artists are creating an identity true to themselves.

On I'm Fine, Part II -- the final EP in a twofold installment on Lit City Trax -- Visionist explores each of the stages of grief; denial, anger, bargaining, depression and acceptance -- coming to terms with loss and suffering by deconstructing and rebuilding the past into a myriad of pensive musical styles. 

I'm Fine, Part II attempts to offer resolution for the grief stricken listener, and closure to some of the problems explored on I'm Fine. The opening track "Eye Try" opens the flood gates. An extended intro, coupled with reverb-dripping vocal chops, a heart stopping reese-bass drops into the tune, eventually unravelling into a plaintive female chant.

"More Pain" remains skeletal and hyper-minimal like it's predecessor "Pain" -- the songs call back and forth to each other. Resourceful as ever, Visionist recycles the same vocal to create a moving, skeletal and largely beatless composition. The songs stays in motion,  propelled forward by a divine choir-like lead and bass stabs trailed by sparse, haunting percussion.

"The Way" starts stark and drops into complex, pulsing bass, tied in with heartbreaking cries of "Without You". While not a Grime track, the melodies coupled with the tough bass, are reminiscent of the forward thinking ethic of producers from the days before Grime's inception.

In quick contrast, "First Love" is a direct ode to the Grime of Visionist's youth. This most percussion heavy track on the whole record yet the emphasis somehow remains on an overwhelming, chopped vocal melody. The syncopated beat and bass drop and urge you to move. This is soon followed by two sharply contrasting bass leads, bringing this constantly evolving track to its peak.

Playing off a UK Funky groove, "Acceptance" once again is a forward thinking take on this undeniably British sound. Immediately the kick drum leads you into more complex polyrhythms between the shakers, low end and kicks. Another concise track, Visionist gets directly to the point. "Acceptance" is a unique club banger, using his own distinct palette.

I'm Fine, Part II closes with "Something Old, Something New", which was Visionist's earliest foray in this manner. Beginning with a spacious pulse, what has become his signature vocal chops, swiftly begin to unravel into progressive, ethereal harmonies. The track culminates with the most direct vocal. "Make me float" rings out, concluding the EP and suggesting a resolution to the grief portrayed throughout the "I'm Fine" series -- a new beginning.

With I'm Fine, Part II, Visionist creates something far greater than the sum of its parts. The record is jarring and undeniably British.  I'm Fine Part II explores heavy vocal manipulation, appropriating samples into powerful melodic tools. The record is an ode to Visionist’s dark musical past and a love note to his bright future.

Whither is fled the visionary gleam?
Where is it now, the glory and the dream?
       -Wordsworth

Visionist - First Love

DJ Marfox rinsing a whole bunch of dubs from the label and some gems from the vaults for Faze Miyake's Woofer Music Show on Rinse FM on Thursday, April 10th 2014.

TRACK LIST

1.   DJ MARFOX - ZUMBIDOS
2.   DJ MARFOX - RADIO OXIGÉNIO AM
3.   DJ MARFOX - MÃE GORDA
4.   DJ MARFOX - ALIVE
5.   DJ MARFOX - MITOLOGIA
6.   DJ N.K - AFRICAN ZURIK
7.   DJ MARFOX - LUCKY PUNCH
8.   DJ MARFOX - LUCKY PUNCH
9.   DJ MARFOX - EU SEI QUEM SOU
10. DJ MARFOX - VOODOO SOUND AFRICA
11. DJ PESADO - ?
12. DJ MARFOX - BIT (BINARY DIGITAL)
13. DJ MARFOX - TERRA BATIDA
14. DJ MARFOX - PENSAMENTOS
15. DJ MARFOX - BEAT AND BREAK
16. DJ MARFOX - FULL SPEAD
17. CRISTIAN AMBY, SUBTRONIKZ ft JTS & TRAP - BASS SLUT (DZC DEEJAYS ELECTRO KUDURO MASHUP 2013)
18. DJ MARFOX - SUBLIMINAR

"LUCKY PUNCH" EP ON LIT CITY TRAX OUT MAY 27TH

DJ MARFOX @ RINSE FM | FAZE MIYAKE | APRIL 10TH 2014

“Makina”, at first glance, is a straightforward march between Jersey and Baltimore kick patterns, menacing rides, and Dembow inspired gated sirens. However, on a deeper level, it is the introduction to the question “Pero, que makina?” (But, what/which machine?) that False Witness asks of all club goers reveling in ecstasy—chemical or otherwise. What political machines of oppression are you buying into? Which societal mechanisms do you have to destroy? 

Free download: http://litcitytrax.com/makina

False Witness - Makina (Original Mix)

False Witness offers a final interpretation of “Makina” on the DURO mix (“duro” literally translates as “hard”). This version is a return to his Hardstyle and Hardcore influences that were the hallmark of his first experiments with restructuring urban music. This version creates a new soundscape of anxious “Amen” breaks, distortion kicks, and pressurized engine exhaust over the original mix’s sample bank.

Free download: http://litcitytrax.com/makina

False Witness - Makina (DURO Mix)

Drippin - Waterfall

Drippin - Kyoto

Saga - Flight Risk

Saga - Crest

Saga - Whistle Grip

Silver Cloak

Drippin - Air Jordans

J-Cush B2B DJ Oneman @ RINSEFM, November 11th, with Newham Generals' own D Double E, Boy Better Know's Jammer and Ruff Sqwad's Rapid, Roachee & Fuda Guy around mic

J-CUSH b2b DJ ONEMAN @ RINSEFM w/ D DOUBLE E, JAMMER, PRINCE RAPID, ROACHEE & FUDA GUY Nov 11th 2014

DJ MANNY & J-CUSH 'MAKE ME FEEL'

Blay Vision couldn’t care less about the flashing lights, the glitz or the glamour. With ‘These Guys’, it’s clear that Blay does not watch the herd but instead, Blay dances to the tune of his own drum. Blay Vision is only in competition with himself. With his recent work, he has set out to refine and constantly out-do his own original sound, even if that means having to create the beats he vocals himself. 

Having been stockpiling an immense arsenal of his own productions, the Tottenham, London raised, MC & producer has long-since proved himself as on of London’s leading beatmakers. With ‘These Guys’, Blay Vision follows in the formula of legends before him, taking control of the reigns, to produce and vocal his own beats. Just like Dizzee Rascal, Wiley, Skepta and JME before him, Blay is continuing the tradition of sourcing the rawest, most unique beats to vocal by producing them for himself. 

Now, Blay Vision is ready to fire out banger after banger. On ‘These Guys’, the most recent single taken from Blay Vision’s forthcoming debut vocal album ‘Turner Ave’, releasing May 26th, 2017 on J-Cush’s Lit City Trax imprint, Blay Vision takes his destiny into his own hands and ignores the herd that follows instead of setting trends. 

"I make grime, I ain’t in no scene 
Man know my circle, that’s my team 
If you ain’t them, more time you can fuck off 
Man don’t care about a next man’s dream 
I’m gonna do this thing ’til I’m old, ’til I surpass a 100,000 sold 
Told my manager, fuck this job, I’m gonna take my chance on the road" 

On ‘These Guys’ it is beyond clear that Blay Vision has decided that he is going to do music his own way - yes he may make Grime music in the broad sense but he makes his own grime sound. His music stands on it’s own. Blay doesn’t care for anyone outside his immediate circle - if you’re not on the team, he’s not concerned. 

"I see MCs talking about getting through the door 
Their ain’t no door, there ain’t no cue, there ain’t no line 
Man need to shut up and start this grind 
Tell me I’m lying, tell me I’m chatting" 

Blay Vision hasn’t changed from the beginning, he’s just upped his ante. It’s obvious Blay does not give a toss to follow anyone else’s path but his own. ‘These Guys’ is far from your A-typical grime song. Although clearly Grime, it’s obvious that he chooses to do his own thing and set his own trends through building his own sound. 

‘These Guys’ is the anthem for those who seek-out their own dreams and realise their own paths to make their destiny a reality. Blay Vision is intent on doing things his way. He has set and broken his own rules time and time again, freeing himself from the confines and restrictions imposed. Blay Vision has broken from the formulas of the past. ‘These Guys’ is Blay Vision’s statement of independence. As Blay signs out on the tune, the “Power’s in the people”.

Check the music video via Link Up TV: https://www.youtube.com/watch?v=F3Wa1htxZmY

Turner Ave.

These Guys

Blay Vision - These Guys (Produced By Blay Vision)

Producing and DJing under a nom-de-plume, Chilean born, @Paul-Marmota, makes truly global club music. He started producing at 17, using FruityLoops to build his first beats, whilst living on the rural outskirts of suburban Santiago with his grandparents.

For Paul Marmota, music and family are one in the same. Having constantly grown up around music, an impression was left on a young Paul in major ways. Marmota attributes this largely to his grandparents’ influence; his grandfather had a large collection of science fiction novels and jazz and soul records on cassette, exposing a young Paul Marmota to so many varied and worldly influences whilst his grandmother was an art professor who would make beautiful collages that decorated their home. Her approach, to collage a mixture of different and eclectic images, influenced Paul in his style of production wherein he mixes a diverse array of ideas.

Paul Marmota’s music is an impressive amalgamation of Latin and Western electronic sounds refracted through a science-fiction lens, seemingly drawing from the past, present, and future simultaneously which makes it impossible to tie down in any one period of time.

Paul Marmota’s DJ sets weave his influences intricately together with his productions and home-made edits, creating a global patchwork that would be guaranteed to raise the body temperature of any dancefloor.

Often opting for a more minimalist approach, Marmota’s music is characterised by vivid melodies peppered with impeccably precise percussion - ‘Adaptacion’ works in an album context whilst remaining super functional in the club, built with a DJs perspective in mind.

Not tied to a single approach, the album can not be easily pigeonholed into any one genre as Marmota’s music consistently reappropriates traditional Latin sounds and samples to fit into a global club context.

Tracks like ‘sS’ and ‘Gio’ re-use and recycle elements from Dembow, including the percussive sound palette, whilst altering it’s context to fit modern dance floors. Some of the other songs on ‘Adaptacion’ such as ‘Maleanteo’, ‘Resonancia’, ‘Hum’, ‘Duro’ and ‘Signal’ were produced on affordable, second-hand hardware purchased in the middle of Mexico City - including a Yamaha dX7, a Roland xp-80 keyboard and drum machines such as the Yamaha Rm1x, Boss DR-660 and a Korg Electribe. The strength in these tracks lies in the principle that limitation is your best friend in creation, using 1980s consumer electronics in ways they have not been used before.

Since relocating from Santiago, Chile to Mexico City in 2010, Paul Marmota has been heavily cross-pollinating club sounds. ‘Adaptacion’ is a collection of some of his recent works, delving into many diverse corners of the club music spectrum. Drawing from a variety of Latin musical influences such as Dembow, Tribal Prehispanico, Musica Andina, Flamenco and other worldly sounds such as Algerian Rai and Afrobeats, Paul mixes these disparate styles together with elements of Industrial music, Bubbling, Techno, and Rap resulting in a remarkably reinvigorating reaction to modern-electronic-club music.

Paul Marmota is one of the most-visible and highly-regarded producers in Mexico’s underground music scene, all this whilst having been an essential member of Mexico’s renowned NAAFI DJ collective come record label, up until his recent departure from the group. Additionally, Paul Marmota is known for his productions for the the likes of many incredible Latino artists including; Tomasa Del Real, Badgyal, Mc Bin Laden, Yogafire & Fantasy, MC Buseta, Khaled, Kaidy Cain, Yung Beef, El Mini, Fute Billete, James Manuel, Audrinix and Zonora Point.

‘Adapatacion’ from Paul Marmota bridges the gap between modern-club-music and Latin America’s rich, indigenous musical heritage with ease, whilst playfully washing the collective dance canvas clean.

Credits

All tracks written, produced & mixed by Paul Marmota
All tracks mastered by J-Cush
Artwork by Hector LLanquín

Adaptacion

Paul Marmota - Signal

Paul Marmota - Maleanteo

Paul Marmota - 0619

Paul Marmota - sS

Paul Marmota - Resonancia

Paul Marmota - Gio

Paul Marmota - Xon

Paul Marmota - Tierra Incognita

Producing and DJing under a nom-de-plume, Chilean born, Paul Marmota, makes truly global club music. He started producing at 17, using FruityLoops to build his first beats, whilst living on the rural outskirts of suburban Santiago with his grandparents.

For Paul Marmota, music and family are one in the same. Having constantly grown up around music, an impression was left on a young Paul in major ways. Marmota attributes this largely to his grandparents’ influence; his grandfather had a large collection of science fiction novels and jazz and soul records on cassette, exposing a young Paul Marmota to so many varied and worldly influences whilst his grandmother was an art professor who would make beautiful collages that decorated their home. Her approach, to collage a mixture of different and eclectic images, influenced Paul in his style of production wherein he mixes a diverse array of ideas.

Paul Marmota’s music is an impressive amalgamation of Latin and Western electronic sounds refracted through a science-fiction lens, seemingly drawing from the past, present, and future simultaneously which makes it impossible to tie down in any one period of time.

Paul Marmota’s DJ sets weave his influences intricately together with his productions and home-made edits, creating a global patchwork that would be guaranteed to raise the body temperature of any dancefloor.

Often opting for a more minimalist approach, Marmota’s music is characterised by vivid melodies peppered with impeccably precise percussion - ‘Adaptacion’ works in an album context whilst remaining super functional in the club, built with a DJs perspective in mind.

Not tied to a single approach, the album can not be easily pigeonholed into any one genre as Marmota’s music consistently reappropriates traditional Latin sounds and samples to fit into a global club context.

Tracks like ‘sS’ and ‘Gio’ re-use and recycle elements from Dembow, including the percussive sound palette, whilst altering it’s context to fit modern dance floors. Some of the other songs on ‘Adaptacion’ such as ‘Maleanteo’, ‘Resonancia’, ‘Hum’, ‘Duro’ and ‘Signal’ were produced on affordable, second-hand hardware purchased in the middle of Mexico City - including a Yamaha dX7, a Roland xp-80 keyboard and drum machines such as the Yamaha Rm1x, Boss DR-660 and a Korg Electribe. The strength in these tracks lies in the principle that limitation is your best friend in creation, using 1980s consumer electronics in ways they have not been used before.

Since relocating from Santiago, Chile to Mexico City in 2010, Paul Marmota has been heavily cross-pollinating club sounds. ‘Adaptacion’ is a collection of some of his recent works, delving into many diverse corners of the club music spectrum. Drawing from a variety of Latin musical influences such as Dembow, Tribal Prehispanico, Musica Andina, Flamenco and other worldly sounds such as Algerian Rai and Afrobeats, Paul mixes these disparate styles together with elements of Industrial music, Bubbling, Techno, and Rap resulting in a remarkably reinvigorating reaction to modern-electronic-club music.

Paul Marmota is one of the most-visible and highly-regarded producers in Mexico’s underground music scene, all this whilst having been an essential member of Mexico’s renowned NAAFI DJ collective come record label, up until his recent departure from the group. Additionally, Paul Marmota is known for his productions for the the likes of many incredible Latino artists including; Tomasa Del Real, Badgyal, Mc Bin Laden, Yogafire & Fantasy, MC Buseta, Khaled, Kaidy Cain, Yung Beef, El Mini, Fute Billete, James Manuel, Audrinix and Zonora Point.

‘Adapatacion’ from Paul Marmota bridges the gap between modern-club-music and Latin America’s rich, indigenous musical heritage with ease, whilst playfully washing the collective dance canvas clean.

Credits

All tracks written, produced & mixed by Paul Marmota
All tracks mastered by J-Cush
Artwork by Hector LLanquín

Paul Marmota - Hum

Paul Marmota - Duro

A previously unreleased track offered as an exclusive download from Lit City Trax via Dazed Digital to promote the release of DJ Rashad's 'TEKLIFE Vol.1: Welcome to the Chi'. Download is limited. Move quickly. Download link: http://www.sendspace.com/file/h3pebo Purchase Teklife Vol. 1 below: 
http://boomkat.com/downloads/537333-dj-rashad-teklife-vol-1-welcome-to-the-chi

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