They say you can’t keep a good man down. Similarly you can’t keep a talented producer down, nor can you keep him in a box. A figurative box that is. Italian producer an DJ Santos astounds year after year with his diverse and consistently inspiring productions, showing that if you’ve got the raw talent, you can indeed be a jack of all trades and master of all of them too. He’s one of those people whose creativity seems to know no bounds and needs to be indulged constantly. His quirky 2000 breakthrough track Camels remains an unforgettable and unique classic, and in the years that have passed since then he’s released three acclaimed solo artist albums and the huge anthem Hold Home in 2009. To date?, he’s released some 400 under a myriad of aliases (such as Maskio, Class 71, Smoke Maschine, Peter Katafalk, Bellone and Sohante), and he is executive producer for the likes of Timo Maas, Mutant Clan and Los Veteranos plus co-producer for the likes of Alex Dolby, Giorgio Roma and Trouble Soup (with Madox - now better known as Riva Starr). He’s graced the legendary Annie Nightingale’s show on Radio 1, played at Japan’s massive Fuji Rock Festival straight after the legendary Chemical Brothers, picked up remix credits for the likes of Fatboy Slim and Armand Van Helden. All this plus a co-production for a little lady called Madonna in 2008 (on a new version of her classic Like A Prayer on her Sweet & Sticky Tour). And that’s just scraping the surface. Continually evolving and refusing to stick to genre expectations and regulations, you can never predict where he’s going to crop up next - or indeed how he’s going to sound. Recent times have seen him focus once again on the house and techno formats, but creating something fresh therein on each occasion. He’s graced the likes of Nic Fanciulli’s Saved, John Digweed’s Bedrock, Matthias Tanzmann’s Moon Harbour (santos " hold home" timeless track), Get Physical, Figures, VIVa, Crosstown Rebels, Germany’s Great Stuff and many more, bringing nothing but straight heat each time to these timeless and cutting-edge labels. It’s undeniable: you play one of his records in a club, you see the reaction. He’s an expert technician of innovative dancefloor bombs. “Pictures come into my mind” he says of how he starts his creative process. “Sometimes it's the crowd on the dancefloor and sometimes it’s a personal trip, and my mission is soundtracking these pictures and emotions.” Working on several different tracks at once in order to find the right sounds and to keep his mind as fresh and open as possible, his quest to find the perfect aural accompaniment to match up to his subconscious thoughts is a wild, complex and unbounded one. With current loves including everything from alternative rock to chiptune to psychedelia to industrial music, his ears and brain form a dense musical sponge which always welcomes new ideas and tastes.You won’t find my producers who keep themselves relevant over the years in such a dynamic and exciting way, as oppose to simply following the crowd and jumping on the latest musical bandwagon. The list of supporting DJs is quite frankly ridiculous – Ricardo Villalobos, Honey Dijon,Ame,Luciano, Locodice, Raresh,Sven Väth, Carl Cox, Carl Craig, Ellen Allien, Danny Tenaglia, Jamie Jones,The Martinez Brothers,Seth Troxler,Deetron, Slam, Bushwacka!, Karotte and Till Von Sein to name just a few. What’s the secret to his myriad successes and ever-young sound then? It’s quite simple: “ignore the trends and do the opposite of what the market says”. Spoken like a true innovator..In october 2018 Santos starts a own label : Let Me Understand records,immediatly well supported from a huge names and type of djs.

There were plenty of reasons for Londoner James Mathé to simply keep course after the release of his well received debut album, Chemical Campfires in 2008 on Fence Records: a flourishing reputation as one of Britain's most exciting acoustic troubadours, a prominent spot in Johnny Flynn and Jose Gonzales' backing bands, the roar of applause from the audience at a sold-out show at New York's Bowery Ballroom still ringing in his ears. But Mathé had other ideas. “I loved the acoustic scene, but knew it was not all I was about,” he remembers. “So I dug out all my old Casiotone keyboards, drum machines and analogue synths and just started writing.”

Bloodlines, then, is a compelling reinvention and sees Mathé’s emotive missives from young adulthood rewired into elegiac electronic anthems, dusted with huge spectral gasps of reverb and soul-wrenching organ melodies. Unusually for such an electronic album, it was recorded on vintage analogue gear and straight to tape.  “I really fancied getting back to basics,” says Mathé “I was tired of trying to iron out all the mistakes in modern production. I wanted to record live to tape, keeping all the mistakes in, warts and all.”   

From the sultry ache of opener Bloodline – a nod to Massive Attack's Unfinished Sympathy “about not picking up the bad habits of the generation before you”, says Mathé – to the Pharrell Williams-inspired urban crunch of ‘Turbine’, all the way to ‘The Load’, written when Mathé was indulging in his love of Jurassic 5 era 90s hip hop, Bloodlines is a brilliantly varied listen that pulls and paws at your heartstrings.    If there's a gloriously loose, tenebrous feel to songs like the blue-eyed electro-soul ‘Pagliacco’, it might have something to do with the Londoner's organic approach to song writing. “I just sit down with my dictaphone and make sense of what comes out afterwards. The best stuff usually comes when I’m hungover or not really thinking. The minute I try to be clever with words, it just sounds shit,” Mathé laughs.  Instead, the album's lyrics burn with a simple, poignant immediacy and Mathé sings them with touching, soulful grace. 

Recently signed to iconic London label Memphis Industries (Field Music, POLIÇA, The Go! Team, Dutch Uncles), Mathé is influenced by everything from soul men Stevie Wonder, D'Angelo and Levon Helm to Dirty Projectors and Sufjan Stevens but points to one inspiration in particular for the overall mood of Bloodlines – Vincent Gallo’s cult '90s film Buffalo 66, a twisted romance about a tap dancer who falls for her convict kidnapper – “the end scene which features Yes's Heart of the Sunrise and the scene with Cristina Ricci dancing to King Crimson’s Moonshine at a bowling hall especially,” he notes. 

Tender yet triumphant, Bloodlines marks Mathé as one of Britain's most versatile and adventurous artists.


A little over a year and a half ago, songwriter/composer Keegan DeWitt and multi-instrumentalist Jeremy Bullock stripped down a small Nashville row house to build a custom studio. In this space, and together with friend and drummer/producer Dabney Morris, they would record and eventually form a five-piece band around their debut album Youth. Initially shared digitally a little over a year ago, the album will now see a wide release through Mom+Pop on December 10th, 2013 as infectious debut single “Thunder Clatter” sits in rotation on SiriusXM’s AltNation.
Their vision was simple: to share songs akin to fleeting, auditory memories.  A collection of 13 captured moments, much like a found box of letters and photographs, Youth serves as a loose examination of how life refines us as we move through it, how the choices made along the way shape us in potentially unexpected ways. Mixing programmed sounds and live performances – and recorded in less than two months – each song was run through a TASCAM 4-track cassette tape recorder to maintain an intimate, diary-like feel. The lyrics scatter and focus, abstract and refine, encapsulating the elusive feelings of small moments cast aside, such as late night drives, the limitlessness of falling in love, and the freedom of finding a true friend or co-conspirator in an immense and sometimes empty world. The album transitions seamlessly between infectious electro-pop, tropical rhythms, and quiet washes of cinematic new wave reflection. It’s this evocative, cinematic quality that characterizes Wild Cub’s songs, influenced heavily by DeWitt’s extensive work in composing film scores (including 2013’s Academy Award-winning short documentary Inocente; 2013’s Sundance Audience Award for Best of NEXT winner This Is Martin Bonner; and 2010’s Cold Weather).
Since its initial small release, press and touring around Youth has mounted steadily and surely. Paste, Consequence Of Sound, MTV Hive, and The Wall Street Journal’s Speakeasy blog (’12 Acts to Watch at the 2012 CMJ Music Marathon’) all shortly took notice. Things began to take on a break-neck pace of their own in early 2013, with Wild Cub performing at designer Rebecca Minkoff’s Fall ’13 NY Fashion Week show, snagging NylonMag.com’s ‘Band Crush’ stamp and major support from influential station KEXP (“…[Wild Cub’s] brand of darkly-tinged new wave recalls elements of the youthful abandon of John Hughes soundtracks, the baleful allure of Greg Dulli, and the clockwork electronics of New Order’s middle period”), while “Thunder Clatter” was highlighted in Entertainment Weekly’s ‘Singles Swap’ feature. Youth gained notable UK press attention at this time from Clash Music, The Guardian, The Line Of Best Fit, and Top Shop, as Wild Cub’s tracks, remixes, and visually arresting videos continued to premiere in the States on sites including InterviewMagazine.com, RollingStone.com, Noisey, and SPIN.com, among others. The band completed its first two US tours and hit festivals like SXSW (playing eight shows), Hangout Fest, and Lollapalooza (including a sold-out afterparty with UK stand-outs Palma Violets), while Alt Nation began championing Wild Cub as DJ Jeff Regan independently added “Thunder Clatter” to heavy rotation. Roughly 18 months since recording the first rough sketches of Youth in that row house in Nashville, Wild Cub headlined a brimming crowd at New York’s Bowery Ballroom after selling out both the Mercury Lounge and Glasslands a few months prior.
In addition to fall festival dates that include a stop at Austin City Limits, Wild Cub will travel to the UK for two debut London shows in November, where “Thunder Clatter” has made waves on the Spotify Viral and iTunes Top Singles charts after soundtracking a Bose ad. Youth’s wide release through Mom+Pop will also include two bonus tracks, “Blacktide” and “Lies.”
Wild Cub is: Keegan DeWitt (vocals/guitar), Jeremy Bullock (guitar/synths), Dabney Morris (drums), Harry West (bass), and Eric Wilson (keys/synths).

The Supermen Lovers (TSL) invites listeners into a timeless wave of sound, blending synths, samples, and live instruments. Launched into global fame with Starlight — a #1 hit in 20 countries and the most-played French track of 2001/2002 — TSL became a key figure in shaping the Nu Disco movement.

A graduate of the Paris Conservatory, he founded Lafessé Records in 1999, released early solo work under Stan de Mareuil, and later introduced The Supermen Lovers with the EP Underground Disco. He’s since been remixed by legends like New Order and Kylie Minogue and has toured the world’s clubs with his hypnotic, genre-blending sound.

His third album Between The Ages, featuring disco icon Rick Bailey (Delegation), dove deeper into analog synths, vocoders, and pianos. After composing for film, he returned with Body Double (2022), produced between Paris and Kyiv — a love letter to both cities and their musical scenes.

Now in 2025, a new chapter begins: a fifth album is on the way, and before that, Starlight returns… with a fresh, explosive interpolation. From whom? Stay tuned.

His aim, bringing the luxury of a killer bassline to every country he goes to.

For a band named Unspoken, Chad Mattson, Mike Gomez, Jon Lowry, and Ariel Munoz have been making a lot of noise. With two straight Top 5 singles (Who You Are and Lift My Life Up) and successful tours with bands like Sanctus Real and Big Daddy Weave, Unspoken has built steady momentum through their last two EPs, even as they’ve grown as a band. Lead singer Chad Mattson reflected on this season of growth. “The more you work on something and devote yourself to a craft, I think the better you become at it, especially as you are surrounding yourself with people who are good at it.”

The timing is therefore perfect for the band’s first full-length album with Centricity Music, “Unspoken.” Mattson and the band jumped at the chance to release a complete, full-length album with all the elements in place. “We got to complete the pieces of what a record could and should have. We have a couple of acoustic drop-down pieces that we love, we have upbeat stuff, we have a radio mix. That’s exciting to me, how diverse the record is.” It’s a diverse record befitting a diverse band, which features members from Maine, Puerto Rico, and the Dominican Republic. The mix lends subtle flavors to the music beneath strong pop sensibilities.

DJ/Producer/Vinyl Freek. Mixing disco, house and more with wild abandon. And a whole lot of soul.
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New release: Casbah 73 // In The Dark // 12" forthcoming June on Lovemonk Records 
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New release: Casbah 73 // Love Saves The Day // 12" single out now on Glitterbox Records 
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New release: Casbah 73 // Sweet Maybe // 7" single out now on Lovemonk Records 
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 I appreciate all your support!

I moved to beautiful Rutland in 2017. I include some recordings from my new band - Smooth Tunes, featuring the voice of Claire Colton with Roger Hudson on piano and Chris Newman on bass. Martin Fennemore and Pat Martin on bass and drums also feature on many of the tracks.. Tell me what you think!
Jon Allen (guitar)


I have also added some hypnosis recordings (reflecting my former career as an anaesthetist and clinical hypnotherapistj). They are designed to aid sleep and induce calmness.

The Woodside Swing Band was a fixture in the Norfolk jazz scene for many years, latterly at the Watlington Bowls Club - a warm and welcoming jazz venue, about half-way between Kings Lynn and Downham Market in the English county of Norfolk. 

Peter Tulett drummed and led the band for many years until his  sad death. The drum chair then went to Colin Mason, whose silken skills are so distinctive. Jack Tynan's tenor and George King's alto saxophones were then the dominant melodic force in the band for many years. Chris Kirk and Gareth Jones on trumpet and trombone added spice to the front line up. Ryan McCaffrey - a young man with an exciting multiinstrumental talent - took on the piano duties with a rare combination of touch and subtlety.  Ivan Garford  then joined us when Ryan went on a world tour. Ivan seems to blend intelligent modernity with effortless swing. Young professionals, including Nik Carter and Amy Bone, would always guest with us on their trips home to Norfolk. Mike Smith injects a lyrical bass technique which underpins the rhythm section and always suprises with imaginative solos. Jon Allen plays jazz guitar and acts as sound recordist. He is responsible for these recordings.

 Jack's choice of material has always been sometimes obscure, sometimes terrifying but always satisfying. This is a collection of recordings made over the past few years with many guest artists. I hope to credit all of them.

Jon

There's not many in today's scene whose music you can instantly recognize, but Jay Vegas has quickly become one of them, having developed his own unique twisted disco sound.

Jay started his career in the early 90’s as a session keyboardist, he’d come up with catchy hooks for local producers. Most noteble was his killer piano riff on K-Klass’s remix of Bobby Brown – Two Can Play That Game.

Towards the end of the 90’s Jay teamed up with ex Mr Peach (Olympic Records) member James Ryan. They worked under the various aliases including: Soundscapers and Nu Graduates. Their productions and remixes appeared on labels such as Subliminal, Ministry of Sound, Cream, Fantasia & Cleveland City. Jay and James were one of the first UK artist to appear on Erick Morillo’s iconic label Subliminal. Their remix of Kaya – My God is Real was Pete Tong’s ‘Essential New Tune’ on BBC Radio 1. 

In 1999 Jay released ‘Tribal Chant’ on London based label Kingpin. This was the conception of his solo alias Jay Vegas. 

In 2011 Jay joined San Francisco’s Guesthouse Music, settling in amongst a roster of hugely talented artists such as: DJ Sneak, Gramophonedzie, Sonny Fodera, Gene Farris, DJ Dan and DJ Mes. 

Since conception Jay’s funky style has been well received, gaining support from some of the industry's biggest names including: David Morales, Mark Knight, Erick Morillo, Mousse T, Norman Cook, Junior Vasquez, Danny Rampling and Grant Nelson. Grant Nelson in particular helped push his sound by regularly featuring Jay's tracks on his Housecall Radio Show.

Jay has remixed for an array of artists: Todd Terry, DJ Chus, Harry Romero, Gene Farris & Joeski. His music has appeared on all the major compilations including: Ministry of Sound & Hed Kandi.

As well as holding down a busy DJ schedule, Jay also runs his own imprint Hot Stuff Records. It's already become a firm favourite with DJ's, having released a string of Traxsource #1's with his own tracks: Say To Ya, Luv Drug, Come Soon & Body & Soul.  

Jay's musical taste knows no boundaries and is not restricted by genre - his "If it's good, I'll play it" mentality has took him around the world playing at some of the best clubs; from Ibiza to as far as Australia.

If you like your music funky, energetic and exciting check out Jay Vegas!

INFO BOOKING: booking@ibizaglobalartists.com


HOPE RECORDINGS / Cream Couture / Chilli Mint / Spirit Soul / Stranjjur / Sleazy Deep /
/ Blue Dye

josemariaramon

*Winner as best Radio Show in Spain on VICIOUS MUSIC AWARDS 2011 
*Winner as Best Radio Show in Spain on DJ Mag España Awards 2011
*Winner as Best Radio Show in Spain on Electronic & Roll Awards 2012
*Nominated as Best Foreign Dj Set In Romania on Nights.Ro

Dj & Music Director on
Ibiza Global Radio 


Born in Ibiza in 1972. A deeply resonant paradise. A bridge for music. His first contact with radio was at 13 when he dismantled his grandmother’s old radio set in order to fit a double deck inside to play his music on. 

His curiosity for the radio leads him to form part of almost all Ibiza radio stations in the last 25 years.
Ibiza Global Radio was born in 2004 and with it came the chance to listen to high quality electronic music 24 hours a day.

Jose Maria Ramon is Dj & Music Director of the station and is the head of 3 famous radio shows `Morning Sounds´ with 3 National awards as best electronic Radio Show in Spain, Vicious Music Awards 2011, DjMag Awards 2011 and Electronica & Roll Awards 2012, ‘Melodías para tu sofá’ his downtempo show and `LG2dClub´specialised in the new way of deep house.

In 25 years working with the Music he has played in numerous places around the island, highlights being in Ushuaia, Space Ibiza (Resident Dj for 5 years), Pacha Ibiza, Café Del Mar etc...and the opening and closing of the biggest clubs in Ibiza, as well as in the most important European Clubs and cities such as Dubai, Algiers, Berlin, Hannover, Munich, Zurich, Bucharest, Budapest, Paris, Rome, Milan or Copenhagen to name some, and with a really big succes in Germany and in Romania with more than 40 parties in 2 years.

Now he is focus in music production with his partners William Medagli and Thallulah and just signed with Cream Couture, Stranjjur, Celestial Recordings, Blue Dye Records...

Lots of new productions and collaborations with big artists are coming soon...

Made Radha is following