Poisonous serpent with libidinous nocturnal habits. Fast and fatal pounce. Eletronic temple of experimentation.


audacious gang of performative snakes from são paulo's underground.

Active in São Paulo's underground scene since may 2013, was born offering a obscure and hard type of atmosphere, and by the confrontation between eletronic and acoustic, minimal  organic and percussive, techno with african and Brazilian rhythms. Consolidated as a live production space, with dj sets, live jams, psychedelia, maracatu and post-tropicalisms with eletronic beats. 

Mamba Negra is a deep aestethic experience surrounded by an multi-language enviroment, wrapped on a mesh of hand-made work, such as cenography elements, graphic material, live vjiyng, ready made serygraphic t-shirts, trash tattoo, performatic outfit  and urban intervention.

te·to·pre·to /
live jam eletrônico-orgânica; 
gatilho de escurecer a visão; 
estado físico que precede o desmaio

bookings tiago@mambanegra.org

A banda se apresenta com a formação base: 
Savio (durmmachines) + Zopelar (synths) + 
Angela Carneosso (voz) + Bica (percussão + trombone) + Loic Koutana (performance)

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.

Dirty Hands

Upcoming shows: dirtyhands.se/shows
Bookings & contact: jw@constellatetalent.com

Electronic music is in our DNA, and we cover the full musical spectrum ranging from disco to house, from intelligent dance music to techno, and everything in between. At DGTL, we differentiate with balanced programming. By giving talent a platform, we can develop our own headliners and form long-lasting relationships with artists from early on.

DGTL builds bridges between music styles and genres, aiming to blend different audiences and cultures. Our line-ups are a combination of the power of our global DGTL brand, and all the beauty that local cultures hold. We want to be inclusive for every gender, sexual orientation, origin, color and country. Everyone always should be and feel welcome at DGTL.

With DGTL Records we build on our festival’s musical theme of an evocative cross section of the sounds and styles; showcasing forward thinking, cutting edge artists. Besides this, the label also functions as a platform for newcomers. This results in the creation of a coherent selection of music with a true family vibe; we want artists to feel connected to the label, the people behind it and to the other artists. 

Our in-house label DGTL Records emerged from the DGTL festival brand and has a single focus on music and community. It combines both upcoming talents together with established artists, bringing unique music and cross-over sounds that both add to the electronic music spectrum.

Award winning producer and DJ from Germany.
Releasing on labels like Cocoon, Defected, Diynamic, Innervisions and part of the Scenarios crew.

[Management John Flicks]
management@emanuelsatie.com

[Booking]
Worldwide: benni@cocoon.net
NA/LATAM: soann@strangetalent.com

SOUND SYSTEM SESSION is following