DJ Akeem

Born in St Louis, Akeem's passion for music began at an early age. At 15 he discovered DJ Rectangle and had his mind blown. Exploring the worlds that that genre of music opened for him he found an outlet to focus that passion into. Shortly after that, he was given his first CD decks and a mixer by his family. Akeem then spent countless hours pounding music into the night and honing his craft. He started looking up to and studying the talents and skills of many DJ's at the time, including: DJ Qbert, DJ Jazzy Jeff, DJ Enferno, DJ Charlie Chan Soprano, DJ AM ‘R.I.P’, DJ Sir Thurl, and DJ Master D.
Akeem was first recognized in 2005 by DJ Thurl (The Music Choice's Mixtape Channel for 2009 and mixer on KATZ 100.3 The Beat in St. Louis for 10 years.) and was taken under his wing. After being exposed to the glitz and glam of the local music scene he realized he was going to have to step up his game. Akeem then purchased his first pair of 1200’s and became completely obsessed with and dived right into turntablism. He trained for a couple of years under Sir Thurl along with his collection of skilled and seasoned DJ artists.

In 2007, Akeem branched out on his own to discover his own sound and then penetrated the local club set. After a few short months of getting his feet wet he started up his own promotion company with a business partner and called it "Best Damn College Parties". "BDCP" became one of the premier promotion groups in STL for hosting exactly that. Soon after the rest of the Midwest took notice and started tapping his group for events all over the map. 

After a whirlwind of shows, events, and public outings, Akeem captured the attention of the world famous DJ Charlie Chan Soprano (Run DMC’a tour DJ)in 2008. They soon became close friends and started working together to improve Akeem's already elite skills into something much much more. It was then quickly realized that his turntable skills were incredible. After years of training, developing his creativity, preparing his showmanship, and persevering adversity, Akeem's turntablism skills became a primary focus for his passion. Making the decks appear to be an extension of his own body and bending tracks to his will, crowds cheered him on as night after night he filled dance floors with a fury of energetic dancers and party goers. His routines consisted of various sets including Mash-ups, Top 40, Hip-Hop, R&B, Rock, House, Electro, Reggae and Dubstep.

With the talent Akeem possessed, the successful background he had taken a part in, and his endless enthusiasm for music in general, he was quickly recognized nationally as a rising star in his field and was tapped to play with national top shelf acts. He has performed along side major artists such as; Black Eyed Peas, Corey Gunz (Young Money Ent.), Rosci & Terrance (106 & Park Host), Day 26 and many more.
In 2011 Akeem met up with St Louis's Elements of Bass. After kicking in the studio and some small work with the group he did a quick stint in Vegas before coming back and linking back up with EOB and settling right in. Eventually he did a guest DJ at STLs famous "Bass and Bliss" monthly and a stunning mix on www.dnbradio.com. His stock has been skyrocketing ever since.
Akeem's ultimate goal is, "To travel around the world and express my love for music through the turntables." And he has been living up to that goal quite nicely.

Mista 93

The uniq sound of jazzyness, mixed with raw beats over some madd azz samplez, gives you the pure pleasure of Boom Bap.

Genre: Acid Jazz / Jazzy Boom Bap / Trip Hop / Rap

Label: Dusted Wax Kingdom

Official Releases:

1. Da Boom Baptizum ( LP ) - http://dustedwax.org/dwk120.html
2. Mystic Renaissance ( LP ) - http://dustedwax.org/dwk124.html
3. Phat-Ish-Izm ( LP ) - http://dustedwax.org/dwk135.html
4. Demonic ( LP ) - http://dustedwax.org/dwk153.html
5. Hypnotic Boom Bap ( LP ) - http://dustedwax.org/dwk205.html
6. Temple of Supremacy ( LP ) - http://dustedwax.org/dwk223.html
7. Refreshin' the Golden Era (LP) - ( scroll down )

All the " Jazzy Boom Bap " LP's can be downloaded from the site of " Dusted Wax Kingdom ".
The 7th LP is a project with remixes of the blasting boom bap rap tracks from various artists from the golden age of the rap music. This is the link for download the full LP. To download the folder please press the yellow field under the track list.

- http://frekvencii.com/novosti/id/1906/mista-93-refreshin-the-golden-era.html - (Refreshin' The Golden Era)

Basically the music I create has no boundaries. I try to bring some weird sound FX and samples with which I aim to create atmospheric vibration in the mix. I am not that kind of producer who tries just to put the sample in the loop. I always search for something little more. My hard work in the field of choosing rare samples is because I want to have original style of producing completed projects. Mista doesn't search the fame and the money. I do my music because of the love. I don't need to be commercialized or put in competitive position with no other producers because of many reasons. I dedicated the last 10 years of my life strictly to the music I love, and that is the Jazzy Boom Bap (rap) production. To all the people out there reading this, I would like to tell them that sky's the limit. Don't ever give up on your dreams. Because many people will try to bring you down because no one wants another one to progress just because he is devoted on the idea and the first one knows that he can't do the same. Devote your self on the thing you love and the product will soon be made just the way you loved it to be.

I would like to thank to Violent Public Disorderaz, the man behind the label  " Dusted Wax Kingdom " . That is the guy who invited me to the family so I can stand shoulder to shoulder next to the most underrated and very quality producers from the planet earth. I feel honored to be in this family. That is why I gave you the full 6 LP's.
Honestly, my sound of production is not so good but I don't care. Because I do my music on FL 7 for years. I did my music these 6 years on laptop HP 530. I am little lazy and I don't really want to give my projects another kats to work on them so I will have better sound quality. I always smoke fat and sticky icky blunts while I do mu music. I love weed. The weed is the main source of the ideas I bring to the tracks. The sound quality is not everything. The story behind the music is the main thing on which I put the accent. I see many tracks that I create for example don't have good high fq's but who cares because you have EQ on every player so you can pump it and you will hear it nice ;). So ... this is it. This is the whole story behind the name. The whole story behind the style I create. 

musicbits is an outlet for new music that wouldn't otherwise be performed or listened to. It is focused on uncovering, exploring, developing and sharing composer crumbs - pieces forgotten on hard drives and notepads, ideas and material untouched or unpurposed, and snippets that never made it into something deemed complete.

Made with sample libraries, real instruments and field recordings; musicbits are ambient soundtracks, chill vaporfunk, progressive folk tunes, jazzy synth-pop beats and everything in between.

Aran Browning [b. 1994] is a composer based in Glasgow, UK. He is influenced by personal experiences, everyday life and pop culture. He strives to create more relatable, accessible and inclusive work, often in collaboration with others.

For links to his work, including concert music, see below.

The Blue Sputnik's sound takes audiences through a kaleidoscope of fantasy with an electrical streak adventure.

It is without a doubt The Blue Sputnik tapped into something quite extraordinary.  Their fusion of suspenseful, playful, adventurous, electronic wonder manifested itself into something never heard before.  

The Blue Sputnik is a husband and wife duo that took their union into the musical field around 10 years ago.  They write event filled dramatic lyrical short stories that tease the brain and thrills every sensory in the human body.  The style of music didn’t exist before, but for The Blue Sputnik it has categorized itself as retro trip electronic thrillers.  

The Blue Sputnik has released their debut CD titled “Blue” with their lead single “Porter” blowing the roof off of anything out on the airwaves to date.  Perhaps in more of a movie/bond’ish style theatrical composition, you might have heard something come a little close, but nothing like this song. 

Their single “Porter” will take you on that wild adventure that will thrill you through every note.  This single carries its own life force such as the suspenseful melody and that electronically distorted vocal sensation all along kept in line with that back rhythm.  The song is reminiscent of past era’s – perhaps back to the 1960’s style exotica that might have felt a bit taboo at times. It is similar to Psycho/James Bond type musical compositions The Blue Sputnik brings it back in full force.  It is an exceptional song that will imbed itself into your brain forever.

“Blue” contains a menagerie of sounds and textures that is meant to thrill and delight each audience member in so many different ways.  Every song assuredly carries its on energy and adventure.  It is up to the listener to decipher for themselves or surrender to the glory of these unique songs.  Whether written in a jazzy or haunting melodic structure or in a joyful jaunt through the clouds, having the honor of experiencing this music is something audiences will be grateful for.

“The Blue Sputnik” is an experience and can be listened to and/or purchased by logging onto the following websites:

www.reverbnation.com/thebluesputnik
www.purevolume.com/thebluesputnik
www.promofmmusic.com (Search:  The Blue Sputnik)
http://www.myspace.com/599269523




Balthazar Getty has been making music in various capacities for the past 25 years including producing the highly acclaimed Ringside project as well as various hip hop and electronic albums. It was extremely liberating," says Getty, describing a manic three weeks in which he holed up in his pool house-cum-home studio, self-producing an album using a Pro Tools rig that his wife and close friend Joaquin Phoenix together bought him, roped in a slew of his talented musician friends for impromptu recording sessions, and walked away three weeks later with an organically created debut album under the moniker of his new project, SOLARDRIVE.

"It was one of those things," he says, still seemingly dumbfounded that an album was the end-result of an almost obsessive, self-taught three-week crash course in new-age production. "I just sat there for a week and taught myself by trial and error. And I ended up making what I thought is a very interesting progressive album."

SOLARDRIVE is a nine-track LP, and one that Getty describes as a "serendipitous" affair, made on the fly with whomever happened to temporarily take up residence at his LA digs. "Whoever was at my house at the time," he recalls, "I'd be like, 'Hey man, you know how to sing right? Well, you want to jump on this thing?' The right group of people kept showing up at my house and I pulled them into the studio."

What emerged is a cohesive collection of songs, veering from new-age funk to blues and electronica that Getty says draws elements from many of the albums that shaped his adolescence; specifically, artists such as Massive Attack, Tricky and Portishead stand out in his mind. "It's a throwback record to the records that I grew up loving," he says, reflecting on the sessions. "It’s a very moody kind of album that you can kick back and chill to and you can put on from beginning to end."

SOLARDRIVE’s highly versatile debut, which Getty says "captures a moment in time," is speckled with guest appearances from several of his longtime friends, many of whom also happen to be fixtures on the LA music scene. There's Ozomatli multi-instrumentalist/lead vocalist Asdru Sierra showing up on the Prince-echoing, Eighties-style ballad "Go Away"; Mother Tongue bassist David Gould rolls through and lays down a world-weary, blues-drenched vocal over 4-bit keyboards on "Desperate"; Rain Phoenix, Joaquin's sister and a supremely talented vocalist delivers an achingly beatific jazzy turn on the minimal "Monster." Phoenix's guest appearance, much like the album, Getty says emerged from a set of beautifully coincidental circumstances. 

"It was a total fluke," he says. "I had done this beat and I was with Joaquin and he had this a cappella from his sister. And we ended up dragging in Rain's a cappella for this song she'd already written. I literally just placed it right over the top of ["Monster"] and, like a freak of nature, it linked up almost perfectly. The fact that it was in key and in time was like a one in a million."

Key to the album's tight aesthetic, Getty adds, was his ability to exercise restraint: even when feeling the impulse to add, subtract or alter the ten tracks that now comprise Solardrive, he ultimately felt it best to leave them in their originally created form. The album "was almost like it was a painting,” he says. “And I didn't want to go back and start adding new colors and different shapes on top of something that I feel really encapsulated that time and those three weeks. I just left it alone as a testament to the space we were in then."

The forthcoming release also marks another milestone for Getty: SOLARDRIVE is the first album to be issued on his new record label, Purplehaus. Getty views this new business venture and creative undertaking as something made possible by today's ever-evolving music-industry. "These days, if you have the focus and a little bit of funding you can create something substantial," he explains. "[The Internet] leveled the playing field. For so long the labels and the publishers had all the power.

"Now you do a song on your Pro Tools rig, you upload it onto YouTube and for whatever reason it connects with the public. 24 hours you've got 100,000 people that are listening to your song. Nothing's stopping anybody from chasing their dreams."

And SOLARDRIVE is only the beginning of what promises to be a jam-packed year for Getty: the multi-talent also plans to release the debut album from his hip-hop duo, The Wow, alongside rapper KO The Legend, in addition to another Ringside album. 

"In some way I feel the most at home there," he says. "There's nothing like the instant gratification that you get from going in the studio and leaving in a couple hours with something you can listen to. It can be an addictive feeling!"

Brian Wheat, Charleston, SC songwriter and Buffalo, NY native has taken his time developing his unique compound of jazzy Americana that draws comparisons to timeless greats like Willie Nelson and Cake, as well as contemporaries such as Bahamas and M.Ward.    
Brian's third album will be released in early 2017.  "Way Down Below" combines the simpler, traditional-style writing and instrumentation of his first album “Where You Have Been” with pop arrangements of 2011’s “Looking Alive” and a delivery that reflect depth and maturity beyond that of classic Americana.  “Way Down Below” was recorded, while Wheat was living in Minneapolis, MN, at Stone House Recording, Grand Rapids, MI by Peter Fox (Patrick Watson, Field Report, The Head and the Heart, Frontier Ruckus) and Northland Records, Minneapolis, MN by Chad Weis (Trampled by Turtles, Mason Jennings, Caroline Smith) and Bryan Steenerson.  Additional recording was done in Buffalo, NY, Tucson, AZ, and Nashville, TN.  The album features a variety of musicians as well as horn arrangements provided by members of Calexico, which add a noticeable Southwestern thread throughout.  The theme of the album’s title track was inspired by Tom Robbins’ book “Villa Incognito”.  Also included is a cover of “Farm in New Hampshire”, written by one of Brian's early influences, Bellingham, WA's Robert Sarazin Blake.  
Wheat’s breezy melodies, thoughtful lyrics, and tasty lead guitar playing are fueled by being raised on 50's pop, classic rock and country that played as the soundtrack for a thousand family road trips.  Since 2005 he has self-produced and published three albums under his own label, Half Little Hold Records, and performed everywhere from Fijian villages and Australian hostels to East coast and Midwest tours.  His songwriting patiently explores human connect and disconnect with tales of unbounded love and the pain of forever searching for it.    Wheat conveys a Willie Nelson-style honesty and straightforwardness in his performances.  ‘Lounge’ is redeemed in a no-nonsense Rufus Wainright fashion through the rose filter of an 80’s era Austin City Limits session atop Cake-style rhythms.  His songs are delivered with a wryness that is not so much funny, but more simply joyous, playful even.

I'm an aspiring artist. I like the oldies, mainly jazzy stuff, fusion, jazz-rock, and prog. I try to add complexity to my music, and mainly just try to be ingenuitive. Complication, as well as new music that challenges and defines the quote unquote 'standard boundaries' of music. I love philosophy, and am an artist in life as well as in music. I love exploring the field that is music, and I hope you enjoy!

Gael was starting as a DJ when he was 15 years old, represents the finest in dark and jazzy broken beat & bass.
Since bursting onto the scene back in 2000 with Chamade Beat.
He continued to develop his own unique style and sound, releasing some singles & tracks (poussezmusic!, futuristica music, Bagpak, Mam, Swank)...
& collaborate with steve spacek, Mpho Skeef, King Britt & Opolopo, French rapper Grems...)
and as well as numerous broken beat remix (Deborah Jordan, The re-brok edits series, Low bugdet Soul, Richard E...)
and establishing themselves as one of leader in the field. With his good DJ skills and good inspirational vibes.


Meta Junction is a community of London-based electronic musicians and progressive experimentalists working with with classic hardware and innovative software.

The community’s output mixes a wide range of styles uninhibited by arbitrary labeling, marrying digital communication and new technology with analogue music production methods. Meta nurtures innovation and the characters of Meta Junction are a broad pallet - an inclusive mix of music makers and talents to enhance the electronic spectrum.  

  Realised by seasoned producer Phelan Kane, the Meta sound was born from an obsession with vintage analogue Moog, ARP & Oberheim synthesizers, modular systems, classic effects units, dub production techniques and a big arse Calrec mixing desk that takes the output way out of the box – with a nod to the classic sounds of the electronic trail blazers and confirmation that the computer is only one part of the production mix. 

Phelan Kane

From an early age Phelan Kane has been a purveyor of electronic music. Visiting the legendary BlueBird records long before UNKLE’s James Lavelle, Phelan soaked up the latest hip hop and Go Go releases in the mid '80s that led to ardent following of the likes of DJ Froggy and Pete Tong in Blues & Soul magazine. 

In 1987 Phelan was introduced to the Chicago & Detroit sound and the legendary Tony Humphries KISS FM radio show on a trip to New York, while back in the UK the emerging underground sound ushered in likes of Jazzy M’s Jacking Zone on LWR Radio, KISS FM, Centreforce, Phantasy and the legendary parties held by MFI, Sunrise and Genesis. 

Ever a devotee, this obsession continued through the next twenty years or so of rave culture and all its associated web of genres and styles, from the birth of Drum & Bass, the invention of Tech House & the early DMZ Dubstep parties.

By the late '90s, after graduating from Islington Music Workshop, the same engineering school that gave the world Grammy winner producer Paul Epworth, Kane was engineering and programming professionally and over the next decade clocked up a formibale roster including Placebo (Pure Morning, Every Me Every You, 20 Years), Witness (Before the Calm), Dido (Here With Me remix), Amanda Ghost (Ghost Stories), Snow Patrol (Starfighter Pilot), Elastica (Mad Dog), Aziz Ibrahim (Our Fold), Alabama 3 (Too Sick to Pray), Deus (Ideal Crash remix), Fangoria (El Extraño Viaje), Das Pop (I Love, The Human Thing) & Lalalover (Heliotropic). 

In 2001 Phelan worked closely with pioneering synth Mute recording artist, the late great Fad Gadget a.k.a. Frank Tovey. playing an instrumental part in Fad Gadget's support on Depeche Mode’s 2001 ‘Exciter’ tour and as part of the Fad Gadget band, performing at Euro Rock in Benelux and Wembley Arena.

Around this time Kane also began teaching his cutting-edge production techniques at Tech Music School, London where, in 2001, he taught Radiohead members Ed O'Brien and Phil Selway and in 2006 he completed a Masters degree in Audio Technology. He also became one of the first wave of Ableton Certified Trainers in 2007 and Kane has recently embarked on the path of Digital Audio DSP with study for a second Masters in Digital Music Processing.

Phelan Kane's sound is a seamless mix of analogue and digital thump, a collage of modular synth, outboard effects, plug-ins, mixing desk and computer - a mix of FX and sounds cut on the fly. This is the audio soundtrack to a psychedelic biomechanical future. 

Mole Vanity

By consistently misusing electronic musical hardware, Mole Vanity aims to put the experimental back into electronic music, under pinned by a robotic groove. Mole Vanity is propaganda for a state of mind.

Lag

Born out of an obsession with pushing the boundaries of electronic music beyond the 21st Century, Lag delivers an analogue and digital meld of weaving melodic contours and intricate rhythmic content.  An unfolding future shock of audio evolution, Lag re-defines the electronic blueprint.

Inpuht

Ripping up the blueprint for the so called future techno sound, Inpuht takes soaring squelch lines and marries them with melodic overtones, warm bass and shuffling beats. Welcome to the next era of Techno, where the music wears its heart on its sleeve, has a grin on its face and preconceptions are left away from the dance floor.

Ollie Torr

Ollie Torr is a musician, music producer and DJ from Prague. He is currently supported by the likes of RedBull, Puma and Jagermeister, as well as being a core member of the Bass Drop crew that is currently holding down the scene in Prague, a part of the infamous Life is Porno crew, and works with the PVP music label. His production and electrifying stage performance has got him sharing line ups with world class artists such as Foreign Beggars, Borgore, Baauer, Kendrick Lamar, Noisia, De La Soul, Fatboy Slim, Bloody Beetroots, Cyberpunkers, Cooh, Balkansky, to name but a few. He has appeared in many czech press articles, and has had a hit in Slovakia collaborating with legendary musician Miro Zbirka. Ollie often features on czech FM radios such as Expres radio (where he is a regular of bass music show Rezonator), Dance radio and Spin radio, and has also had his own show on MTV cz (Party Zone by Ollie). He has created sound and music work for companies such as Pepsi, Hugo Boss, Nydrle and countless others.

-Calc-

Accessible yet elusive, -Calc-‘s music is a blended fusion of analogue and digital; throwing at the listener sonic challenges without them even realizing it. A bouncy sensibility gilded with menacing grit charges his sound with a dynamic and invigorating temper, nodding heavily to the past but winking cheekily to the future. 

Phink

Rumoured to be the in-vitro love child of Miles Davis, Phillip Glass and John McCririck, the child Phink was monstrous and eventually adopted by Amish parents at the age of 43. As a teenager he developed an addiction to gobstoppers and finally found his voice after an embarrassing accident. The young Phink was saved by a revolutionary plastic surgeon, who performed a unique combination of skin grafts and analogue hardware. Phink's face was saved but he still has to live with a cumbersome 15 oscillator synth in his neck in place of his voice box.

Noole

Multi-instrumentalist from Guernsey via London, Noole has been involved in the electronic music scene since the late 90s as a producer, programmer and DJ. A self-confessed editing fanatic and all round gear head, Noole mixes abrasive glitchy rhythms with playful melodies and field recordings to create ambient noise pollution. 2014 is the year he shares this pollution with the world.

Flexagon

The term eclectic is oft over used, but where Flexagon is concerned it’s an accurate statement: since the mid 90s Flexagon has been playing music from ambient straight through dubby US garage and into Goa. With an ear to setting a positive mood and turning people on to new and interesting music, Flexagon’s trademark is starting out easy with an eye to directing people straight to the floor. Within the Guernsey-based producer / DJ’s prolific output you are always guaranteed to hear something new.

The sound of the community is influenced by the likes of:

Kompakt, Matthew Jonson, Robert Hood, UR, Matthew Dear, UK M25 Orbital Parties 1989, Drexciya, Traum Schallplatten, Phuture, BPitch, Juan Atkins, Derrick May, Kevin Saunderson, The Congos, Jeff Mills, Rhythm & Sound, LTJ Bookem, Booka Shade, Gui Borrato, Drumcode, Hyperdub, Richie Hawtin, DMZ, Punks Jump Up, Robert Ownes, Harmonia, Cornell Campbell, Jazzy M's Jacking Zone on LWR 1988, Cluster, The Orange Club @ Camden and the Rocket 1990, Johnny Clarke, DJ Rolando, Raindance @ Jenkins Lane 1989, Ron Hardy, Ian O'Brien, Horace Andy, Steve Reich, NEU, George Clinton, Kraftwerk, CenterForce 88.3FM 1989, Robert Rich, Tony Humpries on KISS FM NY 1986, Joey Beltram, Steve Roach, Phillip Glass, Marshall Jefferson, Ian Pooley, Ian Boddy, Carl Craig, Apple, Ableton, Moog, ARP, Oberheim, Roland, Waldorf, Kyma, Meta Synth, London, Berlin, Detroit, Koln, New York & the late great (& dearly missed) Fad Gadget.

For Remixes, Live performances or DJ bookings email:

info@metajunctionrecordings.com

http://www.metajunctionrecordings.com/

https://soundcloud.com/metajunction

https://www.facebook.com/MetaJunction

http://www.mixcloud.com/MetaJunctionRecordings/

http://www.youtube.com/user/MetaJunction

https://twitter.com/Meta_Junction

Keep it locked for forthcoming releases...

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