deejay Mani spécialiste en techhouse afrohouse deep minimal de puis 2007 j'ai joué dans plain d'endroits entre l'Afrique et l'Europe 
vous pouvez me suivre sur #facebook #instagram #tiktok #SoundCloud ou #youtube 

https://youtube.com/@deejaymanitn?si=bWV8KrTjGoFET8eq

https://www.facebook.com/profile.php?id=100063595831574

tiktok: mahranmani3

https://www.instagram.com/mahran.deejay.mani?igsh=MWUyMzd2c3EyNHdnNQ==

🔥🔥🔥🇹🇳🇹🇳👋👋👋👋❤️❤️❤️❤️


Paris, early ‘90s. The city was a schizophrenic beast—half-glamour, half-decay—where raves exploded like molotov cocktails in abandoned warehouses and smoke-filled basements. It was beautiful chaos. Somewhere in the thick of it was Julien Veniel, better known as D’Julz, spinning records with the focus of a surgeon and the cool detachment of someone who had seen it all.
Then came New York, 1993. A city that didn’t sleep but didn’t really dream either, at least not back then. Veniel—young, hungry, and too talented to ignore—found himself in the depths of sweaty dancefloors, perfecting his craft like a prizefighter working the heavy bag. The kicks were tighter, the grooves deeper, and his sound—dub-infused, stripped-down, relentless—started to carve its way into the foundations of house and techno.
But Paris called him back. By 1997, he was behind the decks at the Rex Club, launching Bass Culture, a night that would quietly and ruthlessly become one of the most enduring parties in dance music. You could feel it in the air, heavy with smoke and sweat: something was happening. And week after week, D’Julz delivered. The music wasn’t just played; it was installed into your brain, a groove so potent it hijacked your nervous system.
The production side came next. 20:20 Vision, Ovum ,Circus Company. Robsoul. ,Rekids. Big labels, underground credibility. Tracks and remixes that hit like slow-burning dynamite—deceptively simple, brutally effective. DJs hoarded his records like they were holding nuclear launch codes.
Then there was Circoloco—DC10 . Ibiza’s sacred asylum for the beautifully deranged. D’Julz became a fixture for 7 years, a reliable madman behind the decks, controlling both the main room and the red terrace like a general marching his troops to the brink of delirium. His sets were measured doses of euphoria and dread, dubby basslines colliding with pulsing techno rhythms, all delivered with a sly grin and the calm of someone who knew.
By 2009, Bass Culture Records was born. A label as lean and unforgiving as its founder—no fluff, no filler, just raw, stripped-back house and techno that knew where it came from and where it was going. Over 70 releases later, it’s clear: D’Julz doesn’t miss.
Now, decades into this strange and relentless trip, D’Julz is still at it. The tour schedule is insane—Bali, Berlin, New York, and back again. Clubs and cities blend together, but the mission never changes: find the groove, ride it hard, and don’t let up until the lights come on.
D’Julz doesn’t care about trends. He doesn’t care about fame. He’s a purist, a craftsman, a man obsessed with the sound—the deep, pulsing, unstoppable sound. Three decades in and he’s still there, calm and unflinching, dropping records that hit like a gunshot in the dark.
If you want to understand D’Julz, don’t bother asking questions. Just listen. The truth is buried somewhere in the basslines.

Management:
mgmt[at]bonentendeur.com

Say hello :
hello[at]bonentendeur.com

Bookings :
guillaume(at)allofloride.eu

Premier Album "Aller-Retour":
https://bonentendeur.lnk.to/AllerRetourDeluxeID  ☀️

BE Records: https://soundcloud.com/bon-entendeur-records

KM074 is out now
https://ffm.to/km074

Keinemusik is a network with the label as the pulse pumping centre. Driven particularly by the spirit that moves the collective behind the imprint. The spirit to find your own agenda and let nobody get in the way. The spirit of refining House and Techno off the beaten path. Be it within their own tracks, within productions of other sorts or DJ-sets. The spirit of recall value within record- and flyer-artworks and everything intermediate in word and image surrounding releases and parties. And the spirit of diversification – Rampa’s effect-gadget-venture TEILE being one example. Keinemusik’s own booking department ‘Worldwide Dancing Club’, established in 2018, being another.

Keinemusik has been around since 2009. It has been naming an existing friendship and linked interests of the four members – &ME, Adam Port, Rampa and Reznik. A more or less constant count of five releases per year have been released ever since, solely laid down by members of the crew. And a considerable count of label-parties went down, not only in Berlin, but around all international focal points for electronic music. And surely, there’s plenty more where those came from. So see you soon in a record store or on a dancefloor in your area!

Electronic mutiny based in Paris
@Polocorp + @djpeterpan
http://www.poloandpanmusic.com

Follow us on Instagram : https://www.instagram.com/poloandpan/
Follow us on Spotify : https://open.spotify.com/artist/45yEuthJ9yq1rNXAOpBnqM
Follow us on Discord : https://discord.gg/FbxDg9kj
Follow us on Facebook : https://www.facebook.com/polopan.music
Follow us on Deezer : http://www.deezer.com/artist/5400149

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FRANCE - AEG PRESENTS
Geraldine Cayrou 

EUROPE (FR. Excl.) - WME Agency
James Simmons (live)
Matt Smith (dj sets)

US/CAN/MEX - UTA
Christian Bernhardt
Parker Glenn

BOOKING LATIN AMERICA - UTA
Carlos Abreu

I’M PLAY & PRAY FOR PEACE IN UKRAINE !  ✊🇺🇦


For over 10 years, I’ve been crafting musical stories that blend old-school house, modern electronic, and psychedelic influences. 

My musical journey began in Ukraine | Odessa, and the legendary CLOSER  club in Kyiv became the place where I developed my musical ear, inspired by artists like Dr. Spy.Der and many others, learning to appreciate the depth of sound.

Kazantip Z21 ( Ukraine )  was a turning point, revealing to me music as a powerful tool for inspiration and connection. Today, I don’t limit myself to genres — to me, “good music” is that which makes you think and carries a deep message. In my sets, I aim to convey exactly these emotions.

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