bleepz

contact: detectionaudio@gmail.com

wordz: http://detectionaudio.com

Please ensure to send all music inside a private Soundcloud playlist

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.

Only music plays a role.

Runned by: @bronxymusic

If you want send demo to us:

— minimum 3 full tracks shared privately (download links only)
— we do not accept previews

Demo submission: ouvertmusic[at]gmail.com (we answer to you if your track for us, thank you for understanding)

Label showcase inquiries: gregoire@houseum.fr

Our shops: 
- https://houseum-store.com
- https://houseumrecords.bandcamp.com

Our website: https://houseum.fr

For any contact, Premiere or host on the channel: houseum.yt@gmail.com

The label does not accept demo.

A young musician from Russia Vera Romanova discovered the dark side and called the project Zuula. Under this nickname, she began to write music quite recently, but this does not stop her playing live in the best clubs in Russia. A cheeky and confident serve is her business card. He prefers broken rhythms and a groovy sound and her voice instead of someone else's vocals.

curated by https://soundcloud.com/jos-productions

For Info: eyarecords017@gmail.com

Email, Mailing List & General Enquiries: alienrecordings1997@gmail.com

Out of a love of music and djing Alien Recordings was born in the late 80’s. Set up by myself, Andy Panayi, and Alec Stone, we released a number of EP’s with tracks by artists such as, ourselves, A², Stopouts (Rob Collman + Andy Panayi) and Terry Francis, but up until now hadn’t bridged the gap to digital. Where has vinyl gone! We also used to run a night, in various locations, in and around London called Alienation, playing a mix of House, Electro, Breakbeat and Techno. After a long lay off, starting families etc, we’re back and although it now takes a special effort to get together we’ve managed to get some tracks up for your listening pleasure. Hope you enjoy.

*vinyl music label run with passion and love*
We don't accept demos at the moment.

Meander releases carefully selected deep techno and adventurous house music on vinyl. A platform to create something curious and to give love and care into each release. These records aim to last for a while and are underlined by a characteristic artwork. Meander presents you modern dance music with a unique sound design. Individually touching and with an ever affecting power.

Worldwide distribution by WordAndSound:
http://www.wordandsound.de/labels/details/Meander

Write us an email if you want to get in touch. 
info @ meander-music.com

Curated by Marcolino and GNMR
timeless.radiomix@gmail.com

contact: kbf.label@gmail.com
 crew//  @apua _ @bende _ @conz_tee _ @mandoiu

KbF001  | Bendejo - Blanché EP
soundcloud.com/kopfbeifuss/kbf001

KbF002 | Apua & Philipp Boss - Palmenhouze EP
soundcloud.com/kopfbeifuss/kbf002

American born, Palestinian Dj Maher Daniel is no stranger to the international dance circuit. 

Starting his early humbling years as a resident at the infamous Stereo Montreal, his growth rapidly took off with a slew of heavy releases which set him up as well respected artist in the industry. 

After moving to Barcelona, Maher was able to continue his growth, with the launch of his record label The Other Side, allowing him to build his repertoire even more. 

The output created allowed him to work with some of the most prolific artist in the minimal house circuit, eventually leading him to work with the likes of (a:rpia:r) sound system Ricardo Villalobos to name a few. 

With an ever growing catalogue of music and label showcases hosted world wide, Maher continues to push his career to higher grounds.

OUVERT is following