Looking for a repost? Submit your tune now:
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Melodic Sounds Network: 
@melodic-sounds
@house-of-vibes
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@the-lighthouse-records

DOPE Musique is part of Melodic Sounds Network, a collective of music channels, music blogs and record labels working together to promote new artists and expose the best of electronic music.

All material on this channel is posted with the explicit consent of the artist/labels and no copyrights are violated in any way whatsoever.

Track submissions:
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Currently redirected to http://www.liveforyourselfconsulting.com/theliveforyourselfpodcast/

Please subscribe on iTunes, other podcasting sites/apps, or go directly to the website. Thank you.

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booking: booking@ben-mono.de
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Resident DJ and host of the Berlin UKG night: OPERATE.
https://web.facebook.com/OperateUKG
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Producer / Singer / Songwriter

Management: Rishi@theundscvrd.com

CONTACT: rob@robosonic.cc
BOOKING : Ben King | Radius Agency
Tel:  +44 (0) 208 5499735
E:    ben@radiusartists.com
W:   www.radiusartists.com

AUSTRALIA : mike@thickasthieves.com.au

mixed & mastered music welcome here : promo@robosonic.cc

OUTTAKES Records: rob@robosonic.cc

CORD LABUHN [Robosonic | Outtakes | Punchi] 

Cartoon life - At six years old, CORD LABUHN had his first real career aspiration : becoming an ‘inventor’. Or space traveller. At least working in some kind of laboratory. Hence he became a producer of beats, tunes, records, imagery & merch - and toured the whole planet to play music for the most spaced out...
Earlier, when the ghost of Jimi Hendrix jumped out of his parents record collection and passionately promoted the guitar as the weapon of choice for a leftist punk, folk, if not eurodance infected teenager of the 90s, the piano and his sister’s drumset would have to step back for a while. 

A few years later when TV was still the thing and gaming consoles like PS1 were battling N64, Cord the Beatmaker was rather staring at tiny AKAI S2000, MPC and CRT displays, head-nodding, turning the jogwheels, dreaming of a second turntable to complete his DJ setup - the true school, golden age hiphop way. Next mission - still as a school kid - was a self-released vinyl record with international distribution through a self-founded label – learning everything from scratch, only a few years before DJing went 99,9% digital, crazy fast and globalised anyway. 
Arriving in Berlin and founding the mashup label „BROKEN BOOTLEGS“ (with Exploited’s Shir Khan and Andy Szankay) was good sparring for more delinquent ventures in professional sampling culture. Musical diversion had found an anarchic playground, genre-bending seemed to be a welcome concept for a radical open mind.

To date, his longest running project is ROBOSONIC, which was originally formed as a DJ-producer duo together with Sacha Robotti more than 10 years ago. Over the course of time it became Cords solo moniker in the dance music game, since his former partner had emigrated to the US for a fresh personal start. 
A while after the unconventional, free-spirited debut album „Sturm und Drang“ (2007) Robosonic took the world by storm with a string of popular tunes and remixes that went into the crates of tens of thousands of DJs worldwide and made it to top spots in the infamous Beatport charts (“Worst Love”, “The Edge” 2012, “La Fique” 2013, “House Music” 2015, “Rise” 2016). With releases on labels like Defected, Toolroom, Get Physical, Diynamic, Stil vor Talent, Deep Dish’s Yoshitoshi, Nervous, Crew Love, Kittball or Mother Recordings, ROBOSONIC became an authentic figurehead for something dubbed “Golden Era House” (Juice Magazine). Not only because Cord was convincing real rap icons like Masta Ace, Jeru the Damaja and KRS-One to collaborate on house tracks, but also because ROBOSONIC remixed true legends like Todd Terry, Arthur Baker, Kerri Chandler and Eddie Amador.
The house & techno driven sets and records under the R°° flag are internationally recognised and performances in 45+ countries (and counting) reflect the universal appeal of a trademark sound Robosonic unleashed into the world. North & South America, most European countries, South East Asia, China and Russia, Egypt down to South Africa, Dubai to Australia, Lebanon and Israel. Cord Labuhn has seen and pleased hundreds of stages, clubs and crowds over the last years. And with the string of new Robosonic releases through Defected, Kittball, Mother Recordings and more it becomes clear that he won’t stop shedding club sweat and tears.

ShoogieboogieDJs, 3Degrees SF.   House, Tech House, Bass House, Breaks, Techno, Disco, Rap, Old School.   Follow me on IG @aaronhinde and @shoogieboogiedjs or shoogieboogiedjs.com for live performances

Moscow based producer, singer, songwriter & DJ with previous releases on Atlantic, Sony Music, Warner, Hed Kandi, STMPD RCRDS

Booking & Management
amal@harddopemusic.com

“oOo (that’s my type)” and “omg” out now

MGMT: 
af@loyaltmgmt.com

BOOKING:
N/S America, Asia, Australia: 
mmarquis@paradigmagency.com
max@amonly.com 

UK/Europe:
nick@codaagency.com 

Act One, the debut full-length from songwriting duo Marian Hill, was written and produced in its entirety by Jeremy Lloyd (music/lyrics/production) and Samantha Gongol (music/lyrics/vocals). The multi-talented duo, who have been collaborating in one form or another since high school, have shifted the classic paradigm of a woman on a stage and a man with a piano to a woman on a mic and a man with a laptop -- and the results are seductive and vivid. Tempting paradox with a blend of blues and bass, acoustic and digital, classic and modern, Marian Hill have arrived.

Two years ago Sam and Jeremy wrote and recorded “Whisky” over spring break in Jeremy’s parents’ basement. When they released it for free on Soundcloud later that summer it was the only song they’d written for the project, and in a little over a year’s time they had recorded their first EP in a bedroom, amassed millions of plays on various platforms, sold out shows across the country and featured in high profile commercials. They signed to Republic Records in early 2015, released the Sway EP, and settled in to write and record their debut album over the course of the following year with a plan to push their unique sound to its fullest potential.

For the first 50 seconds of “Down” you might think you’re at a supper club in the 1920s, but when the bass drops out of nowhere you couldn’t be anywhere but 2016. Act One then takes you on a journey through the complexities of modern relationships, with each song inhabiting a specific and charged relationship lyrically, melodically, and sonically. “I Know Why” constantly transforms and reinvents itself as the vocals grapple with a secret while “Mistaken” is the hardest of sax trap with a classic songwriting backbone. “Same Thing” is the saddest part of the album, a haunting ballad depicting serene resignation of a doomed relationship, but castanets rise from the ashes as “I Want You” closes out the night in a pure moment of optimistic electricity, a glance across a crowded room that changes everything.

Marian Hill’s one of a kind sound is present throughout — blues harmonies blend with sparse hip hop drums, horns blast under classic vocal melodies, and soloistic vocal chops sit side by side with clear, intimate lyrics. You’ve never heard this before, yet it’s surprisingly familiar. And it’s only the beginning.

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