Where do I begin with this set...a outpouring from my heart...the transmutation of a massive facing the demons and shadows and opening week. Demons are good, when we let them be :) I'm sweating thinking about it! It all started with 1542, the second song. I was deep in some heart cave shit and turned on that song and it took me there. I came out of it with Echoes of Dance, so of course, that also had to be here. Oh yeah, and I just had a funeral for my old self so everything is new and fresh and so delicious. Pretty fucking stoked about this set.

Track List:

Flores del Mal  (Dengue Dengue Dengue Remix)	Lila Tirando a Violeta
1542	Xique-Xique
Silhouette (Original Mix)	Cafe De Anatolia, Shadi Kario
Point & Kill	Little Simz/Obongjayar
Mamakumba (Original Mix)	Mikongo, Vitu Valera
Apaga La Luz (Pablo Fierro Raw Mix)	Tony Touch
Magalenha (Extended Mix)	Joshwa
Queimar Dos (Original Mix)	OVEOUS, QVLN
Amor (Original Mix)	San Pacho
Other Side (Extended)	Azzecca
Take Me (Extended Mix)	Martin Ikin, Joshwa
Julia (Deep Diving)	Fred again..
Echoes Of Dance (Original Mix)    *	Junior Sanchez, OVEOUS
Lose My Mind (Extended Mix)	Jamie Jones
Is This Love (remix)	Matisyahu/COFRESI
Hold My Hand	Jess Glynne
Madres	Sofia Kourtesis
In My Heart (Resound NYC Version) (feat. Gregory Porter) | HiphopMood.com	Moby
Taro (Sanio & Zarth Rework)	Alt-J
Wena Wedwa (Music Craftman Remix)	Thee Legacy
American Dream	Rainbow Girls
AGT	Mountain Man

Mix 10: Surprise

KNOCKIN was a soulful deep house track released on the Nickodemus “Soul & Science” album this Summer & is back with an even more KNOCKIN beat from upcoming Hip Hop, House DJ/Producer DJ EMII & an electro-funk Balearic house remix by Underground System’s producer Peter Matson. Coming out strong for the November/ December dance floors.

Knockin' (Peter Matson Remix)

Untold is the soundtrack to a psychedelic blaxploitation film that was too crazy to release. If there is a discernible style here, it is the limitless, post-genre exploration of the restless musical adventurer, whose range is so broad as to encompass itself as it crosses the world repeatedly in a single track. Each song has a core idea - a solid groove and an overarching vibe - but beyond that, the only constant is change – of instrument, mood and era. Having produced film soundtracks for most of his professional career, Fixed Error aka James Orr brings a narrative approach to arrangement, in each track and across the album as a whole. We get the sense that we are hearing a story unfold, with each scene having its own sonic arc.

Kicking off with the funked-up slap-bass car-chase of Out We Go, we are immediately thrown into a world of familiar sounds which are blended and mismatched in the most deliciously unpredictable way. An Asiatic twanging leads into a bombardment of bold brass, soaring strings, DJ scratching and coruscating synth stabs. As the pace subsides, the heavy rhythm gives way to melodic, wistful moments, before plunging us back onto the tarmac with a screech of horns and thud of pumping bass.

After this swaggering, high-octane introduction, we enter the sultry world of Ugandan soul singer MoRoots, crooning a lament to her lost love: Rain On My Skin. As the song develops, an offbeat piano stab and lazy horns turn this into a blunted jazzy Dub tune, as if Shirley Bassey had wandered into a Reggae bar. From track to track, we move into alternative musical universes, from the up-tempo, banging Funk breaks of Wax Lyrical, Flute Fight and Waiting For Time, to the screwed-down, blissful bass vibrations of Flowerchild and Ride The Line, to the psychedelic Disco that is Busted Chops, to the Dub-wise sound system vibes of Salutations. Just as we think we are getting a handle on the flavour of the moment, an incongruous instrument interrupts our reverie (check the rogue accordion on White Label), or Kagayi Ngobi when he captivates us on They Do Not Listen by vividly portraying the impoverished residents of the slums, illustrating their growing frustration with politicians who make empty promises and neglect the marginalized inhabitants of the ghettos.

Fixed Error gathered the material for this album over years, from a bewildering array of samples and live takes from his long career as a professional studio engineer. This is not to say that the overall effect is scattershot or random; Untold is a tightly-formed, polished album whose coherence lies in a deep understanding of how all the diverse elements work and how they can complement each other in new and unexpected ways. Densely-layered, each composition has orchestral levels of complexity, balancing and interweaving a myriad of instruments.

An album that you can get lost in for weeks, Untold is a high-concept, precision-cut musical odyssey that is packed in equal measure with original ideas and funky dancefloor energy.

Untold

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Out We Go

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For “Humildade É Isso Aqui” (This is Humility), Brazil native Isadoser wanted to bring country music references, that reflect the place where she lives, but in a psychedelic and introspective atmosphere. Fortunato presented an acid approach to the track, with a heavy bass and techno beat, bringing to the comtemporary dancefloor the regionalism.

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Isadoser Y Fortunato - Humildade

"Africanismo" is a deep, Inside The Dance EP, a trip to the Motherland of traditional meets electronic grooves from disco "Dakar" to afrobeat "Ubiquity", organic & synth driven "Ritual" to steady guitar driven "Try Mali." Ayala (IT) captures the vibe with the right amount of patience, build & steadiness that's meant to gradually set dance-floors in motion. Expect 1 or 2 of these songs to reach vinyl in an upcoming Turntables on the Hudson compilation.

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Ayala (IT) - Rituel

SoulValentinesDay

Step into a unique disco journey that's all about the vibe, not the hype. This set blends modern sounds with the disco soul, keeping things light, happy, and danceable without the usual club intensity. 

No predictable bangers here; just a smooth trip from chill to euphoric, through tracks that showcase the diverse and sophisticated side of disco.

Chasing Elephants

"Primavera" by Beamy is a lounge chillout EP that captures the essence of spring with its uplifting and relaxing mood. Featuring the melodious strumming of Spanish guitars, this collection of tracks transports listeners to a serene, sunlit place where tranquility reigns.

Primavera

Beamy - Balearic Bliss [M-Sol Records]

Produced by Earthtones
Vocals by Verito Asprilla
Written by Verito Asprilla, Serge Bandura
Additional Production by Oliwa
Mixed by Andres Oddone
Mastered by Sebastian Cordoves
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Earthtones - Quiero Que Mami (ft. Verito Asprilla)

A Dj Edit on my favourite Amparo Sanchez track "La Parrandita De Las Santas" featuring Omara Portuondo member of the amazing "Buena Vista Social Club"

Press "buy" for free Download ;)

Amparo Sanchez - La Parrandita De Las Santas (Larry SKG DJ Edit)

ZZK Records Presents: Cruzloma’s Plegaria

Plegaria (Prayer) is the first single from Cruzloma's EP "Mitos y Ritos" (Myths and Rituals). This song creates a bridge between "bambuco," a traditional music genre from the province of Esmeraldas, located on the northern coast of Ecuador and electronic music, specifically Latin club.

The single is presented as a timeless collaboration, perhaps imagined, with a singer who would have already passed away by the time Plegaria was created. Inspired by Catalina Quintero's singing, both by her melodies and her lyrics, the track was built around an acapella sample of her voice. The original song can be found under the name 'Amigo - MI Amigo' (Friend - My Friend), on the album 'Marimba Magia' by Papá Roncón and Katanga. Bambuco has a strong presence in this album, inspiring the connection that Cruzloma expands upon, bringing their own interpretation of the genre into the equation through a blend of its rhythmic elements with those of dembow.

In Plegaria, Quintero's voice, processed with autotune, sings a poem to her beloved friend, who is represented in the video by the love and religious devotion characteristic of the Catholic faith. The track alludes to the relationship between rituals and prayers, where prayers are presented both as petitions and promises.

Cruzloma represents a quest for reconciliation with local musical languages from their position as Ecuadorian producers influenced by genres such as reggae and electronic music, and in the case of Plegaria, by dembow and club. This reconciliation appears during the creation of this track through not only a rhythmic focus on bambuco but also an instrumental one. The bambuco, as a musical genre, presents different variations throughout Colombia, Ecuador, and Peru. Bambuco in its Afro-Esmeraldean version is what influences the rhythms in Plegaria. Diego Zurita, an Afro-Ecuadorian percussionist specialized in the rhythms of the region, appears on the track having recorded instruments native to the Andean Pacific coast. On one side, there is the cununo, a conical drum made of wood with a membrane on the wider end, played with both hands. This is complemented by the guasá, a shaker made of bamboo or guadua cane, filled with seeds of achira and maize.
By blending these sounds with bass frequencies characteristic of electronic club music, a fusion of folk and contemporary elements is created, characterizing the sound of this EP. Plegaria takes us to a place of nostalgia that later lifts us up with a dynamic flute melody, which opposes and, in that way, complements the melancholic mood of the vocals. With these folkloric and contemporary elements, with this deep nostalgia that nonetheless encourages us to dance with its energetic rhythm, Plegaria presents itself as an emotional club track, shedding light on the "Bambow," an original fusion of bambuco and dembow.

Chasing Elephants

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