THAM [ta:m] // DRILLER 

Booking:  fabio@hyper-dreams.com

FROM THE ROUGH SIDE OF BERLIN

https://driller-berlin.bandcamp.com

__________________________________________________________________ DRILLER  | SACRED COURT | INNERGATE

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As we all know, there really is no shortage of artists in the vast field of electronic music, especially in the German capitol of Techno that is Berlin. 
They come and go with trends and seasons, build their hypes, and eventually vanish into the social medial void our postmodern times have created.
However, there are those ones which stand out, which stay stuck in the eyes and ears of the public, which play and produce themselves in the collective memory of our community. Tham is one of those. As resident and face of underground public favourites like SYNOID, Griessmuehle, and Lebendig, in just a few years the young artist has proven that he’s one to stay, to watch and to listen to. Growing up on the dancefloors of Berlin – figuratively speaking – Tham’s artistic vision hails from and is always directed back to that very place which represents the crux of the matter of our entire subculture. His interpretation of Techno, his musical vision, lives on his drive to set people in motion. Pounding bass drums, complex grooves, and aggressive synth lines lashing through the crowd, taking their hypnotic effect. This is what Tham provides. Music ex machina, coming out of nowhere, binding the eyes, ears, and bodies of his audience to the floor, to the very present, sticking to their brains, billowing through their minds for hours, long after they’ve left the club.
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Music Producer/DJ

Sweez is sure to deliver a plethora of funky basslines with party-rockin hip-hop hooks! He aims to inspire positivity and fun, featuring Glitch Hop, Dubstep, Midtempo, House, Funky Bass and Funky Breaks. He presents an impressive track record with releases in the Glitch Hop Community (Perambulate, FunkyTime) and is supported by ThisSongSlaps and DailyDoseOfBass and has played Kosmic Kingdom. Sweez boasts nearly 10 years in the radio industry, featuring music on a national Classic Hip-Hop platform. contact him at  sweeezydj@gmail.com for bookings!

Highway Prayers, the latest album from Billy Strings, is out now on Reprise records and CDs.

Recorded in Los Angeles and Nashville, the album features Strings and his longtime band—Billy Failing (banjo, vocals), Royal Masat (bass, vocals), Jarrod Walker (mandolin, vocals) and Alex Hargraves (fiddle)—as well as additional contributions from Jon Brion (bass, drums, percussion), Matt Chamberlain (drums), Jerry Douglas (dobro), Jason Carter (fiddle), Lindsay Lou (backing vocals), Nathaniel Smith (cello), Taneka Samone (backing vocals), Cory Henry (piano), Peter “Madcat” Ruth (harmonica, jaw harp) and Victor Furtado (clawhammer banjo).

Including fan favorites like “Seven Weeks In County,” “Cabin Song,” and “Leadfoot.” Plus treasures in the making “Stratosphere Blues / I Believe in You,” “Gild the Lily,” “Don't Be Calling Me (at 4AM),” and many more.

Twenty songs total! Get your copy today.

Produced by Billy Strings & Jon Brion.

In the more than 15 years since the last Clipse album hit the shelves of record stores, the music world has been upended several times over. “You see great rappers all the time,” Pusha-T says, before contrasting he and his older brother Malice with those who are not truly of the culture. “But there's something a little off about it.” Let God Sort ‘Em Out has no such problems. Over 13 taut, kinetic beats from longtime collaborator Pharrell, Pusha and Malice exorcise demons and catalog areas of personal growth—without ever sacrificing the menace and minimalism that made them legends of the genre. It is a master class in maturing without abandoning one’s core identity, but rather deepening it, making it more three-dimensional. “The fact that it has remained viable for so long has allowed me to say, ‘Hey, this must be meant to be,’” Malice says. Let God Sort ‘Em Out is an instantly unforgettable contribution to the duo’s catalog, and to hip-hop writ large, filled with the type of razor-toothed exercises that made Clipse icons in the first place. Take the taunting “Inglorious Bastards” or “Marie Kondo,” which scoffs at “60-day stars and 20-year thousandaires.” The beats, which Pusha describes as “polarizing,” are urgent, technicolor, and hold plenty of space for the vocal to become the track’s most important instrument. The need to be authentic is paramount, but it’s also natural to these two. Perhaps Malice puts it most clearly: “Nothing else works for us.”

~ Music Maker | Sound Sculptor ~ 

A lot of new material is coming soon... so do follow & connect online to get all the latest updates if you liked my work.

multiple meanings with existence born in 2012.

Bon Iver is an art project based in Wisconsin.

10 weeks, 10 songs, 10 cities
https://linktr.ee/Fredagain

L$xG is following