SWEATSHOP VOLUMES 25/11/23

Some niche this, call it Swedish orchestral garage.

Free Download

HHD (UKG) [FREE DOWNLOAD]

Phonetix - I Find My Way  (Extended Mix)

I had to filter the Vocal to get around the copyright but, the Free download has it in all its glory as part of the original mix!
Great for a club DJ set.
https://hypeddit.com/getset/spinningaroundgetsetedit

Spinning Around (Filtered Vocal Mix)

CALL ME BEEP ME (SHITTY UKG EDIT)

Check One

warmup set // kirakira

FETTGEBÄCK VOL II

Hi again!

This is the second part of my Fettgebäck series. 
Jumping a bit from genre to genre here but fck it, it still hits quite hard. 

Have fun raving!

Hit me up on Instagram: www.instagram.com/holyguacamoly.wav/

Or E-Mail:
holy.guacamoly.exclamation@gmail.com

You can find my music here:
https://open.spotify.com/intl-de/artist/6LHLkpTmG0H9zPXOYkiMTY
https://music.apple.com/de/artist/holy-guacamoly/1561507111

Thanks and cheers
xoxo Ben

Tracklist
Client_03 - Panic Multiplier
Volruptus & Jensen Interceptor - Alien Realm
Third Son x Baldo - Highways For Daze
Volruptus - Psychotic Robotics
young muscle - Club Apparitions
CYBERHACKSYSTEM - T35T4R0554
Longeez & DJ Cosworth - Hip House Groove Tool (Vox Mix)
DJ HEARTSTRING & NARCISS - Heartbreak Repair System
Ben Bux - Shadows & Dust (extended mix)
Scuba - Zap! (Digital Underground)
Jedi & Stormtrooper - Old Skool Flava (Remix)
Special Request - Sliver (feat. Novelist)
Altern 8 - E-Vapor 8 (Pete Cannon Remix)
SAMURAI BREAKS - Vanilla Flutes
High Contrast - If We Ever
Bend Back - Ripcord

Fettgebäck Vol. II - rave mix (idm/breaks/bass/techno/rave/dnb)

Bit of a groovy garage track with this one. Figured the sun showing up in the UK for the first time in a while was enough reason to put this one up

Half Stepper

DJ Axonal & his take on the The amazing Alison Limerick Where Love Lives & incorporating the John Lewis Christmas advert https://www.johnlewis.com/content/my-john-lewis-bts-exclusive

https://hypeddit.com/djaxonal/alisonlimerickwherelovelives
please check out her website https://alisonlimerick.com/
https://linktr.ee/Axonal_Music
"Where Love Lives (Come On In)" is a song by British singer-songwriter and former dancer Alison Limerick, released first time in November 1990 by Arista Records as her solo-debut.[1] It was written and produced by Swedish producer Lati Kronlund, and received favorable reviews from music critics, becoming a massive club hit in the early 1990s in both the United Kingdom and United States. In 1991, the single peaked at number 27 on the UK Singles Chart and number three on the US Billboard Hot Dance Club Play chart. It was also voted Dance Track of 1991 by Billboard magazine.[6] In 1992, it was included on Limerick's debut album, And Still I Rise. In 1996, it was released in a new remix by Dancing Divaz, peaking at number nine in the UK and number four on the US dance chart. The song is famous for the funked-up piano intro and remains the singer's most successful release. It is now widely regarded as one of the biggest club anthems of all time, and has been remixed and re-released several times. In 2022 and 2025, Rolling Stone and Billboard included "Where Love Lives" in their lists of the greatest dance songs of all time.
Alison Limerick began her career as a dancer, before shifting her focus onto singing. She performed in the musical Labelled with Love and as a backing vocalist in the mid-80s after attending the London Contemporary School of Dance. Her first major gig was backing vocals on Style Council's Shout to the Top! in 1984. She appeared in musicals including Andrew Lloyd Webber’s Starlight Express and Simon Callow’s The Pajama Game. And in 1989 she made a brief appearance as an African sorceress in Bob Rafelson's film Mountains of the Moon.
Upon its first release in November 1990, "Where Loves Lives" failed to make an impact on the UK Singles Chart when it peaked at number 87 in its first week, on 11 November. The following week, the single dropped out before re-entering at number 99 in its last week that year, on 25 November. However, after becoming a successful club hit, a re-release some months later in 1991 ensured the song entering the UK Top 30, when it peaked at number 27. This year, it first entered at number 44 on 24 March, before climbing to 39 and 29, and then peaking at 27 on 14 April. After this, in the following weeks, the single dropped to number 31, 39, 52 and 75, on 12 May 1991. On the UK Dance Singles chart in Music Week, it reached number two on 6 April.

Another release of the track, remixed by Dancing Divas (an alias of UK music producer Ian Bland) charted in 1996. This version was even more successful, peaking at its first week on the UK Singles Chart at number nine, on 30 June, becoming Limerick's highest-charting hit to date. It also topped the UK Dance Singles Chart and Music Week's RM Club Chart. The following weeks on the singles chart, it dropped to number 15, 27, 39, 49 and 65 on 4 August 1996. In 2003, a new remix of "Where Love Lives" by UK dance producer duo Northstarz peaked and debuted at number 44 on 15 March. The following week it dropped to number 70, before leaving the UK Singles Chart.

The song was also a huge dance/club hit in the United States, peaking at number three on the Billboard Hot Dance Club Play chart in 1991. In 1996, the Dancing Divaz remix peaked at number four and in 2003, the Northstarz remix peaked on number 16.
https://linktr.ee/Axonal_Music
https://hypeddit.com/djaxonal/alisonlimerickwherelovelives
https://alisonlimerick.com/

Alison Limerick Where Love Lives DJ Axonal Dubplate ((John Lewis Advert))

Street Kings and God is not just an album — it is a declaration, a resurrection, and a sonic coronation. Brent James Schöning steps forward from the alleys, highways, and neon-lit nights of Melbourne and Los Angeles with a record that fuses dirt-under-the-nails realism with cosmic vision. This album is the roar of a man forged by fire, sharpened by survival, and lifted by a force deeper than music — the unstoppable instinct to rise, to lead, to create, and to transform pain into prophecy.

The sound is a razor-edged blend of West Coast swagger and Aussie rawness: booming G-Funk basslines, palm-tree synth whistles, smoky underground hip-hop drums, and cinematic Schön-style chords that shimmer like electric halos. Every beat hits like the echo of a story lived, not imagined. Brent’s delivery carries the authority of someone who has walked through storms, been broken and rebuilt, and now speaks with a voice that vibrates the walls of whatever room it enters.

The core theme is ascension through struggle — the truth that street mythology and spiritual fire can coexist in one man. Brent stands as both witness and warrior, navigating the chaos of real life while carrying an inner kingdom that no institution could cage. His lyrics explore identity, destiny, injustice, power, loyalty, betrayal, resurrection, freedom, and the unshakeable bond between a man and his mission.

Within these tracks lies the duality that defines Brent:
the street king and the spiritual force,
the fighter and the visionary,
the man scarred by the world and the creator building one of his own.

Songs burn with the glow of midnight epiphanies — moments when everything collapses and everything is revealed. There is a sense of cosmic orchestration: divine timing hidden beneath the grit of alleyways, the roar of engines, the hum of city lights, and the pulse of a man who refuses to go down.

The production is full-spectrum and immaculate — studio-mastered, enhanced, layered with luminous textures. Synths swirl like galaxies behind Brent’s grounded, unmistakably human voice. G-funk leads glide over basslines that rumble like underground trains. EDM elements explode into moments of transcendence, pulling the listener upward just as the lyrics pull them deep into lived truth.

The title Street Kings and God reflects Brent’s artistic mythos: the idea that a man raised in the real, harsh world can still tap into extraordinary purpose. The album does not preach — it reveals. It does not ask for belief — it demands recognition of resilience, strength, and infinite creative potential. The “God” in the title is not a claim to divinity, but a testament to the divine spark he channels through music, art, rhythm, and the relentless will to rise.

This record is for the ones who have been knocked down and stood up again. For the outcasts, the fighters, the dreamers, the misfits with lion hearts. For those who know the street and those who know the spirit — or those who walk with one foot in each world. Brent brings them together in a single universe: a place where the broken become prophets, the forgotten become kings, and music becomes a map to survival.

The album closes with a message carved into the soul of every track:
Greatness is born in silence, grown in darkness, revealed in fire, and crowned in truth.
This is Brent’s truth.
This is his world.
This is Street Kings and God.

Supernova (17)

18

dump account. 
unmixed and unmastered tunes, IDs, flips, edits, and more garbage

CALL ME BEEP ME (SHITTY UKG EDIT)

lacktoast

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