Alta California, the new bilingual album by The Soft White Sixties, finds the Los Angeles 5-piece expanding upon their contemporary concoction of rock ‘n’ roll and soul while also exploring some of their most relevant lyrical content to date (in both English and Spanish).

Produced by Elijah Thomson (Father John Misty, Delta Spirit, Richard Swift), Alta California was written and recorded at New Monkey Studio, a room formerly owned by Elliott Smith, over the course of several sessions that began on Election Night 2016.  Lead singer Octavio Genera — a first generation Mexican-American who grew up in a bilingual Spanish/English family – always wondered what it would be like to sing in Spanish, it just didn’t occur to him to try it professionally, and he wasn’t sure there was space for it within the band. “Speaking and singing in a language are two different things,” says Genera. “There was a feeling of joy and passion when I sang these songs in Spanish that I wasn’t expecting. And then hearing the songs back — it was right.”

The sweaty, gyrating energy of their live show has garnered praise from Rolling Stone, Paste Magazine, and LA Weekly over the years and landed them on club and festival bills like Outside Lands, BottleRock, and SXSW, sharing the stage with the likes of The Hives, Rival Sons, The Flaming Lips, and Paul McCartney.  But this time around, it all glimmers with a subtle lysergic sheen, thanks in part to Thomson’s influence.  “Eli was a big proponent of making the studio feel like 2am on a Saturday night at all hours of the day,” multi-instrumentalist Aaron Eisenberg explains.  “Certain songs called for certain states of mind and sobriety generally didn’t factor into the equation.”

The band felt it would be irresponsible to develop lyrical content that ignored the inescapable global climate developing literally while the tape was rolling.  New territory was explored, as observations on the despair of the American Dream ('Reaganomixxx'), immigration ('Brick by Brick'), gentrification ('I Still Love You, San Francisco'), paradigm shifts ('Teen Wolves'), generational and ideological gaps and what happens when one generation begins to the feel the inevitable changing of the guard crept its way onto the record.

Packed with deep, thunderous grooves from the rhythm section of Joey Bustos and Ryan Noble, squealing fuzz guitars and roaring analog synths courtesy of multi-instrumentalists Aaron Eisenberg and Rob Fidel, and the signature soulful rasp of lead vocalist Octavio Genera, Alta California is an honest snapshot of a modern rock band in their prime.

John Mark McMillan is something of an anomaly: an artist and Platinum-selling songwriter bending genres and defying categorization by carving out his own unique and independent path. With an ear for melody and a poet’s eye for metaphor, no topic has been off-limits. While each of his albums over the past decade have continued to explore new territory, it’s McMillan’s ability to give lyric and language to the human experience that many consider his greatest gift.

Through the heavy curtains that are drill and trap music, some Chicago musicians are trying to peak through with a new light. The boys of Nu World are aiming to do just that — bring that new Nu to a music scene thirsting for a deeper meaning. Today their debut project G.O.T.U.S. helps make their mark in hip hop.
 
While the Windy City rap scene is not an easy one to break, six young men from the Chi were determined to make it happen by any means necessary. Nu World’s six members — D. Roe, Bel-Air, Elijah LeFore, Simmy Automatic, AstronautFlood and Kayo — all began solo music careers a number of years ago, dreaming of taking Chicago’s biggest stages. They began as brothers, friends and lovers of music, but quickly realized they had a starting lineup of hot talent to take on the game.
 
Scraping by to create beats and recording in the basement of the crib, the Nu World gang pours sweat, blood and tears into their craft. A sense of conscience and awareness of the world and how it affects young lives greatly shape Nu World’s message. The mix of six sultry members provides a great balance, giving the listener a fresh set of sounds to dive into without force or fierceness.
 
From rapping as a personal passion to taking stages and sharing the music with the masses, Nu World is Grinding Over Time Until Success. Check out GOTUS below:

Often called 'Mighty' or 'Legendary' TILT have been a huge part of Clubland for 20 years now. They have gone on to DJ and perform in all of the Worlds top clubs and venues, from Ibiza to South America, North America to Australia. The guys have DJ and performed on huge tours supporting Paul Oakenfold, Simply Red and MTV. DJing in super clubs such as Twilo (NYC), Pacha (Ibiza/South America), Space (Ibiza), Amnesia (Ibiza), Womb (Japan), Crobar (Miami), Vinyl (Danny Tenaglia, NYC), Ministry of Sound World tours, Smirnoff Vodka World tours and all the major Festivals such as Creamfields, Homelands and Global Gathering along the way. Mick Park's DJ partnership 'Parks and Wilson' also produced two widely successful Essential Mixes for the Pete Tong show on Radio One (one of which was voted second best of all time behind Sasha & Digweed).


TILT were signed by Paul Oakenfold to Perfecto/Warner Music label, and in 1996 they had their first UK top 40 hit with 'I Dream', more big tracks followed including 'My Spirit' and 'Places'. In 1998 they moved record label to Red Jerry's brilliant Hooj Choons and more hit singles followed. 'Invisible' (featuring the vocal talents of Dom Atkins AKA Grace) was a top twenty hit, and 'Rendezvous' and 'The Seduction Of Orpheus' (a favorite of Danny Tenaglia) were massively influential tracks which moved the progressive/trance-dominated house scene into previously uncharted, darker territory. TILT had become a major force in the international dance music revolution – with their tribal drums, booming bass-lines and unforgettable melodies, they blurred the boundaries between house and trance and supplied millions of dance music lovers worldwide with the soundtrack to their weekend. To date TILT has had seven UK hit singles, and are now registered to the official Chart Encyclopedia in the UK.  Combined together TILT's production & remix portfolio is second to non - U2, Dido, Kasabian, Arctic Monkeys, Paul Van Dyk, Tiesto, DJ Pierre, Laurent Garnier, Inner City, Kevin Saunderson, 'Mad' Mike Banks, Boy George, Paul Oakenfold, Jeff Waynes 'War Of the Worlds', Way Out West, Bedrock, Quivver, Apollo 440, Cosmos. They also collaborated with the late great Malcolm McClaren, Manager of 'The Sex Pistols' on "Lacme - The Bell Song". In 2005 TILT released their debut album 'Explorer' which featured the massive clubland hits 'The World Doesn't Know' and 'Twelve'. Another side project was the New York underground anthem 'West On 27th' by Killahurtz, released on Hooj Choons, it has just been remixed by TILT.
 
In 2011 they produced "No Other Day" which featured Maria Nayler, and re-released the classic "The World Doesn't Know" for Lost Language's 100th release.  If that wasn't enough, 2012 saw the boys hit the ground running with their huge remix of Cosmos "Take Me With You' which was supported by Pete Tong on Radio 1 and Steve Smart on Kiss FM. The band are currently hard at work in the studio, writing and collaborating with various guest artists and finishing off their second untitled album. Its looking really good for the come back kids *men* with DJ support from the legendary Carl Cox, Hernan Cattaneo, Nick Warren, Pete Tong, Armin Van Buuren and Paul Oakenfold plus many other of the Worlds top DJ's. 

TILT have recently played 2 sell-out Live shows at Cream, Liverpool in 2011/12. In 2012 the boys will release brand new material on Blackhole Recordings, Mesmeric Records and Lost Language and have also launched their very own Radio Show 'TILT TV' (Total Volume) on Proton Radio. As well as this they have also started their own imprint club night 'REZ' which they Performed live/DJ at in July 2012 and once again rocked their spiritual home of Liverpool!

Culture Bearer of Oaxacan - Zapotec ( Mixteco) descent, born and raised on Tongva territory, now known as Los Angeles. Encouraging mantras will have you speaking sacred prayers/ words in different languages. (languages: *Mixtec/ *Nahuatl/ Spanish// English).  


* Mixteco : dialect indigenous to people in a region of Oaxaca. Nahuatl translation: "Nuu Saví" . (i.e. Trique, Zapotec, etc.)

*Nahuatl: dialect language indigenous to all of MesoAmerica (ie. mesoamerica: Mexico through Belize, Guatemala, El Salvador, Honduras, Nicaragua, and northern Costa Rica, and within this region pre-Columbian societies flourished before the Spanish colonization of the Americas when European diseases caused the deaths of upwards of 90% of the indigenous people.

Contageous; Merriam-Webster defines the word as catching, transmittable, and communicable, which clarifies Patrick Durandisse, aka Contageous’ use of it as his moniker.   His style of rap speaks in the same vein of the word. His road to music is unique as well, beginning at the age of three, when his mother placed a radio in his crib to keep him company and quiet his soul.  He is a self-taught keyboardist who loves all facets of music; from strings to horns; from classical to old skool R&B; Barry White to Bach – all of which has a heavy influence on his passionate relationship and connection with music, as a rapper, publisher, and enterpreneur.
Contageous was born and raisd in Nyack, NY, a village in the towns of Orangetown and Clarkstown in Rockland County.  He grew up like most young men whose inspiration and connection originated from his uncle’s band, and neighborhood friends who were doing their own thing in the realm of rap and spinning, and utilized his early taste of rhythm and lyrics to direct his destiny, and temporarily that of his buddies into a fast paced and compelling journey through the craft and creativity, style and substance of verbal authencity.  It could be said that Contageous was destined to be an artist; poised to break through and leave his footprint on an industry ripe with talent telling their own story; yet none as distinctly unique as his own.
Through his initial introduction to music via the radio as a baby, he memorized the percussion and beats and he was truly inspired. At the age of eight he started rhyming, and by 11, he was deejaying, and he was so good that at thirteen he was spinning at parties for eighteen year olds. But that still wasn’t enough – he wanted to make his own beats.  By the time he was sixteen he  combined his lyrics to beats he made on the keyboard.
Family played an important role in his artistic development; most notably was his grandfather, whom he spent a significant amout of time with while his parents worked during the day.  It could be said that his grandfather unwittingly laid the groundwork and foundation for honing and finessing his interest in music.  He purchased the equipment and supported his dreams, through unyielding encouragement and nurturing; yet was a firm disciplinarian when necessary, maintaining confidences and offering invaluable solutions to anything - always.  


THE IDEOLOGY OF MUTTAHIDA QUAMI MOVEMENT (MQM)
 
Muttahida Quami Movement (MQM) believes in Realism and Practicalism. Acceptance of reality with an open heart is Realism, a concept based upon the philosophy of its Founder and Leader Mr. Altaf Hussain. Based on Realism positive achievement made through ideologically supported pragmatic programs is called Practicalism.

The short history of Pakistan will show that the country has been ruled throughout by feudal lords, waderas and bureaucrats belonging to the two percent privileged population of the country. This class dominates the country’s political life, the administrative services, the military establishments, the economy and the general decision making process, while the 98 percent under-privileged population is denied its rightful share in the exercise of political and economic power in running the affairs of the state. Being politically disadvantaged and economically handicapped this sector of the society is unable to find a place in the assemblies and the corridors of power in the country. As a consequence, it remains perpetually deprived and alienated. It just plays second fiddle to the ruling class. It is obliged to vote for them, make up the crowd in their political gatherings and processions, raise slogans and resort to appreciative clapping to their soulless and hackneyed speeches, containing promises which are never meant to be fulfilled.

According to the Constitution of Pakistan, every citizen has the right to participate in elections and represent the people in the assemblies. However the two percent privileged class has made the entry of the remaining population to the assemblies well nigh impossible. Lavish expenditures on political campaigning have rendered elections as a rich man’s game in which the less fortunate class cannot compete. All major political parties routinely voice sympathy and concern for the poor but refuse to accommodate them in the assemblies and national power structure. Thus the poor workers despite sincere work and sacrifices remain perpetual bystanders.

In the above circumstances, therefore, real democratic culture could not be established in Pakistan. Real democracy means the rule of the majority or in other words Government of the people, by the people, for the people. But strangely in Pakistan even in the name of democracy, the same two percent privileged class manages to induct its members into the assemblies and other positions of power, while the 98 percent of the lower and middle class population is totally deprived of its genuine representation.

The democratic system has not developed strong roots in Pakistan, as the two percent privileged class now ruling the country has neither any concern for the masses nor any genuine love for the democratic institutions. Their primary objective is to remain in power and protect their interests at all costs. Naturally, therefore, people belonging to such a mindset neither resist undemocratic and unconstitutional activities in the country nor feel any compunction in readily accepting and recognising illegal governments, so long as their personal interests are protected and they are also allowed a share in the booty.

If we look at the record of the various governments of Pakistan since its inception, we will easily notice that be it a democratic government or martial regime, it has always been monopolised by the same two percent privileged class of the country. As a clever move, this class has inducted its members into all major political parties of the country. This ensures their permanent link with the power irrespective of which party is in the government at a given time. This monopolistic plan of the two percent privileged class is the main cause of the instability in the democratic institutions of the country. The two- percent ruling class mainly comprises of the feudal lords, While the remaining 98 percent population consists of the poor, oppressed and deprived ones. It is now for the people of Pakistan to judge and decide as to how this small self-centred two- percent ruling class could solve the problems faced by the 98 percent. Isolated and insulated from the masses, this class is totally unaware of the sufferings, agonies, anxieties as well as the aspiration and hopes of the poor and oppressed people. The living standards and the life style of the privileged class are poles apart from the way of life of the less fortunate and alienated people. In fact there is hardly any meeting point between the two of them.

The members of this privileged class spend millions of rupees to get elected to the national and provincial assemblies. Hence, their first priority on coming to power is to recover their capital spent on the election campaign, of course, along with compound interest and dividends. They have little time and energy for resolving the problems of their constituencies. For them, power and privileges are the main objective in coming into politics, they do not hesitate to compromise our principles and ideologies and willingly indulge in all kinds of undemocratic practices in order to maintain their hold on the establishment.

As the elected people from the elite class on reaching the corridors of power work only for the interest of the two- percent population, the masses who elected them find their problems unresolved. They are consequently becoming more rich. They are accumulating wealth with both hands. New land holdings are being acquired, prestigious bungalows, villas are being purchased within the country and abroad, and factories are being established with dubiously acquired capital. MQM, therefore, feels strongly that Pakistan can never prosper unless the prevailing corrupt political, economic and social system is brought to an end. It is certain that under the existing set up, the people of Pakistan cannot move ahead towards prosperity nor can there be any stability in the democratic system. It is possible only when the 98 percent poor and middle class people get united and adequately represented in the assemblies and places of power through qualified, honest and committed people belonging to their own class.

The under privileged majority in the country should therefore realise that if they want deliverance from the clutches of the exploiting class and also wish to see the country stable and prosperous then they should elect representatives from their own ranks. Prima facie, it is a difficult task as without wealth any success in elections is next to impossible. But this is really not true. MQM has shown the way.

In the political history of Pakistan, MQM has demolished this antiquated system of thinking. Accepting the facts and realities as they exist in the country, MQM adopted the path of Practicalism and finally made a breakthrough. It succeeded in sending a large number of lower and middle class educated members to the provincial and national assemblies from Karachi, Hyderabad and other urban centres of Sindh without any monetary burden on the part of the incumbents. MQM feels that having shown the way the poor and middle class individuals in other regions of the country should also try to reach the assemblies. But to achieve this, it is necessary that the lower and middle classes of the country should adopt the MQM philosophy of Realism and Practicalism. They should be ready to make a concerted struggle and be prepared for sacrifices. Once the lower and middle class dominates the assemblies, we shall be able to bring about true democracy in the country and solve the problems of the oppressed masses.

WHAT DOES MQM WANT? 
Ideologically speaking, MQM is not a proponent of Socialism, Communism or unbridled Capitalism. It only believes in Realism and Practicalism. By adopting this philosophy it desires to establish an economic system based on free market economy in accordance with the spirit of democracy. MQM seeks drastic reforms in all sectors including agriculture, industry, commerce, education, health, defence, finance and judiciary. These are considered essential for the solidarity, security, progress and prosperity of the country as well as for the welfare of the common man. MQM wants to see total elimination of corruption, bribery, injustices, tyranny, exploitation, illiteracy, unemployment, poverty, drug trafficking and other such social evils. It aims to introduce a comprehensive program to make Pakistan prosperous and stable, and create a just society in which opportunity to progress and prosper is available to all, without discrimination.

While the MQM primarily espouses the cause of the 98 percent poor and middle classes, it does also recognise the two- percent elite class as useful citizens of the country. It has no intention to take away their legally acquired wealth. Its objective is to evolve on the principle of Realism and Practicalism a just system in which all classes of the country should feel themselves fully secured. Without taking any thing away from the men of status, the poor and middle class people should have the opportunity to come out of the quagmire of poverty through merit and hard work. Additionally, the system should be free from exploitation, hatred and injustices. Furthermore, adherence to any particular cast, creed, language, ethnicity, sex, sect and religion, should in no way prejudice any one’s fundamental or human rights.
 

Junge Junge is the DJ-production project of Michael Noack and Rochus Grolle. Both enjoyed their own respective successes as solo artists before the collaboration began: Grolle has been DJing and producing music since the early 2000s, while Noack has been DJing ever since he debuted on George Morell’s Groove On Records in 2012. Having crossed paths on various occasions the road—“We were always bumping into each other at random events,” they say—the duo decided to spend some time in the studio together in late 2012, only to discover a shared language and intention: “to excite people” with their music. Soon they began touring as Grolle & Noack before releasing 2013’s “Why” as part of the Schneeweiss II compilation on Oliver Koletzki’s Stil vor Talent imprint—albeit as Grolle & Noack rather than Junge Junge. 
The first official Junge Junge release landed in April 2015. Titled “Beautiful Girl,” and stemming from a spontaneous jam session at 2014’s Helene Beach Festival, the single landed on Get Physical Music. Pairing a feel-good bassline with the smooth vocals of Australian Kyle Pearce, the track served as a perfect example of the deeply melodic, pop- orientated sound. “Our songs automatically become melancholic, harmonic, and somehow ‘poppy,’” they say, describing their style as “pop with other influences.” 
Having heard “Beautiful Girl” played in a local beach bar on holiday in Ibiza, the Managing Director of Universal Music Sweden offered the duo a record deal on the spot. The first product of this arrangement was 2016’s “Run Run Run” single, followed soon thereafter with the Beautiful Girl EP which featured three original productions alongside the licensed title track. “Run Run Run” went double platinum in Sweden and has over 35 million streams on Spotify; while “Beautiful” went gold in the same territory. Earlier this year, the duo returned to the label with the “Postcard” single. Away from original productions, Rochus and Michael are also regular remixers—and can count Glashaus, Charlie Puth, James Arthur, Kyle Pierce, and Avicii as artists they’ve reworked. 
As DJs, the duo also continue to impress—although their tech-house sound is distanced somewhat from much of their studio output. “If we’re DJing we’ll play only tech-house or techno,” they say. “This is what has inspired both of us to play out music as DJs.” Following a busy few years of touring—during which they played Pacha Ibiza, Germany’s Magnetic Festival, HYTE on New Years Eve in Berlin, WET Open Air, to name just a few—the duo’s tour schedule continues only to grow. 2017 will see them combine bookings at large-scale festivals with smaller, more intimate club performances. 
Up next is the duo’s highly anticipated debut LP, scheduled for Spring 2018 release on Universal.

Florida based artist, Chasing Jonah is the Alternative Indie/Pop project and stage name for vocalist & composer, Ashley Dudukovich. Known for her haunting vocals and cinematic compositions, Chasing Jonah has also been musically compared to artists such as Florence and the Machine, Of Monsters and Men, as well as Lana Del Rey. Chasing Jonah released her debut album “Prelude” in 2014. This collaborative and fully-orchestrated project produced by Brock Berryhill & Evan Coffman (Twenty One Pilots, Tyler Ward, Warner/Chappell Nashville) brought with it a critically acclaimed music video and launched an unexpected, whirlwind tour. Through continued touring, Dudukovich accumulated the necessary support to release new material such as her most recent singles, Paycheck, War Paint, as well as The Sentence. War Paint has been well received and featured on the popular FOX series, Lucifer (Season 2) as well as Nickelodeon’s Mysticons (Episode 1).

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