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DJ SNOW
www.facebook.com/djsnowofficial
MC AGENT
www.facebook.com/mcagentofficial

DJ SNOW is one of the most respected and loved djs in Romania, due to his excellent mixing skills and his powerful, vivid style. He is one of Romania’s drum&bass pioneers and in his over 13 years of activity he played alongside names like Pendulum, Chase & Status, Noisia, Sub Focus, Friction, Netsky, Ed Rush, TC, Bad Company, Cyantific, Fresh, Commix, Dieselboy, Teebee, Black Sun Empire, Loxy, Chris.SU, Storm, Marcus Intalex, Zinc, Bailey, Klute, Drumsound & Bassline Smith, Trolley Snatcha, Bare Noize, Subscape and many
others.
MC AGENT has been active in the Romanian electronic music scene since 2003.He now focuses on MC-ing , but also promoting shows with the Unusual Suspects kru in Cluj-Napoca, Romania and production are also part of his daily activities. He hosted sets for artists like Noisia, Camo&Crooked, Dillinja, Erb N Dub, Original Sin, Ed Rush, Audio, Ink, Mindscape, Chris.SU, played alongside Funsta MC, Navigator,and opened for many of the scene's frontline names.
He has had over 100 shows in Romania , Germany, Spain and Hungary.
He takes on the mic with full energy , the lyrical message being unity, positive thinking and respect but also approaches subjects like the current political and social situation.
In conclusion, SNOW & AGENT have a continous activity consisting of playing weekly in Romania and abroad, recording mixes and promoting events.The drum&bass selection is wide but always energetic and dynamic.
Putting the two artists together on stage is a guaranteed recipee for an explosive show in any club or festival.
* In 2011-2013 DJ SNOW & MC AGENT have played (together or separately) in
the following events/venues: Bar:Rage London, Shogun Night Budapest, Sziget Festival Budapest, Broken Balkanz Bulgaria, Balaton Sound, A38 Budapest,Corvinteto Budapest, Peninsula Festival,B’est, Fest, Arena Dnb Summer Fest, Summer Break Fest, Unusual Suspects 8 Years, Get Out Fest, Fabrica Bucharest, Zodiar Galati , Zona Iasi, and many more, receiving a massive crowd response every time!

Daniel Cross was born in Seville (Spain) in 1976, in his youth he was in contact with different musical genres, until  the age of 17 he entered the band Pop / Rock “Próxima Parada” as a keyboardist. Daniel Cross at this stage approaches the world of live concerts and takes note for future projects. The experience made him​​ at age 19 start a path  to analyzing and investigating different tendencies especially interested in the rhythm of a very young Drum and Bass that 90's starting to sound the major clubs in London and Bristol.
It is in 2008 when inspired by veterans like Aphrodite, Grooverider, Goldie, Photek, Zinc, Andy C, DJ Hype, Roni Size, Ed Rush, J Majik and Hospital Records artists of, he decided to record his first master copy entitled "See Me now "cataloged as Ambient Drum and Bass and by others as minimal bass and new Liquidfunk, contributing to the spectrum of dnb a new concept on the lounge stage.
"Premier" is the set of this work. A demo with 10 tracks inspired by a "universe lounge" where premium over all retro electronic acoustic minimalism and simple forms facing a frenzied, powerful and positive rhythm.
The year 2009 was decisive when he presented to the international contest for young talents that organized looperman "All genre competition"  presenting two tracks that would finalists in the categories of "House" and "Industrial Music" counting these with great reviews from the public.
That year marked a before and after, absorbed by his desire to meet other genres and suit them to his style, he begins his most electronic phase and in 2013 he released his album "The Game" full of electrodance sounds, EDM, progressive, dubstep and Complextro until then less treated by Daniel Cross but more vibrant and powerful.
"The Game" is a game in which his friends have participated. It has an exclusive remix of CarlJ known DJ and producer in the New York scene.


For Booking : julienganesh@gmail.com


GANESH ON YOUTUBE
https://m.youtube.com/channel/UC6mwgtvLJpE6SmPiNZv3Wjw

FACEBOOK
https://www.facebook.com/GaneshParamysticalRecords


BIO 

Originally from France, DJ Ganesh is a global dancefloor phenomenon, electrifying crowds at the world's biggest festivals. Renowned for his unstoppable energy, he previously served as the ambassador for Catalyst Records in France, Europe, and Asia, captivating audiences on the most iconic stages.

Now a key member of the Paramystical Records label's casting, Ganesh continues to push boundaries with his intense and immersive sound. His passion for creating vibrant, positive atmospheres fuels his performances, seamlessly transitioning between day and night sets with a versatile and bold track selection. Each performance is a unique journey, transporting listeners to elevated dimensions and creating an unforgettable experience of pure connection and energy.

French below :

Originaire de France, DJ Ganesh est un phénomène mondial du dancefloor, électrisant les foules dans les plus grands festivals du monde. Réputé pour son énergie inébranlable, il a auparavant été ambassadeur de Catalyst Records Mexico en France, en Europe et en Asie, captivant le public sur les scènes les plus emblématiques. 

Désormais membre clé du label Paramystical Records (Brésil), Ganesh continue de repousser les limites avec son son intense et immersif. Sa passion pour la création d'atmosphères vibrantes et positives alimente ses performances, passant sans problème des sets de jour aux sets de nuit avec une sélection de morceaux polyvalents et audacieux. Chaque performance est un voyage unique, transportant les auditeurs vers des dimensions élevées et créant une expérience inoubliable de pure connexion et d'énergie.


Some last Booking

2011

11-13.10 Dj set@ SHANTI JATRA ORGANIC FESTIVAL - KATHMANDU - NEPAL
16-18.10 Dj set@SUNSHINE ECO FESTIVAL - POKHARA - NEPAL
04.11 Dj set@FUNKY BUDDHA - KATHMANDU - NEPAL

2012

14.01 Dj set@Bex - Switzerland (18)
20.04 Dj set@FUNKY BUDDHA - KATHMANDU - NEPAL 
21-23.04 Dj set@UNIVERSAL RELIGION FESTIVAL ( MONTAIN MADNESS 3) - NEPAL
09.05 Dj set@SHIVA CAFE - POKHARA - NEPAL

Verified by Facebook © 
...Official Profile 2010...
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DRUM N BASS.

In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to a new electronic music style called rave music, which, much like hip-hop, combined sampled syncopated beats or breakbeats, other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes. But rave music tended to feature stronger bass sounds and a faster tempo (127 to over 140) beats per minute (BPM) than that of early house music. This subgenre was known as "hardcore" rave but from as early as 1992, some musical tracks made up of these high-tempo break beats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle techno" and later just "jungle", which became recognised as a separate musical genre popular at raves and on pirate radio in Britain. It is important to note when discussing the history of Drum n Bass that prior to Jungle, rave music was getting faster and more experimental. Professional DJ & producer C.K. states, "There was a progression as far as the speed of music is concerned. Anyone buying vinyl every week from 1989 to 1992 noticed this."
By 1994 jungle had begun to gain mainstream popularity and fans of the music (often referred to as junglists) became a more recognisable part of British youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, Jungle also inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London. Whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.
As the genre became generally more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance (circa 1995–1997). It also began to split into recognizable subgenres such as jump-up and Hardstep. As a lighter and often jazz-influenced style of drum and bass gained mainstream appeal, additional subgenres emerged including techstep (circa 1996–1997) which drew greater influence from techno music and the soundscapes of science fiction and anime films.
The popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the UK including big beat and hard house. But towards the turn of the millennium its popularity was deemed to have dwindled as the UK garage style known as speed garage yielded several hit singles. Speed garage shared high tempos and heavy basslines with drum and bass but otherwise followed the established conventions of "house music", with this and its freshness giving it an advantage commercially. London DJ/producer C.K. says, "It is often forgotten by my students that a type of music called "Garage House" existed in the late 1980s alongside Hip House, Acid House and other forms of House music." He continues, "This new Garage of the mid 90s was not a form of House or a progression of Garage House. The beats and tempo that define House are entirely different. This did cause further confusion in the presence of new House music of the mid 1990s being played alongside what was now being called Garage." Despite this, the emergence of further subgenres and related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre. To this day drum and bass makes frequent appearances in mainstream media and popular culture including in television, as well as being a major reference point for subsequent genres such as grime and dubstep and successful artists including Chase & Status and Australia's Pendulum.

Musical features.

Opinions vary on what constitutes "real" drum and bass as it incorporates a number of scenes and styles, from the highly electronic, industrial sounds of techstep through to the use of conventional, acoustic instrumentation that characterise the more jazz-influenced end of the spectrum. The sounds of drum and bass are extremely varied due to the range of influences behind the music.
Drum and bass could at one time be defined as a strictly electronic musical genre with the only "live" element being the DJ's selection and mixing of records during a set. "Live" drum and bass using electric, electronic and acoustic instruments played by musicians on stage would emerge in the ensuing years of the genre's development.

Influences.

A very obvious and strong influence on junglefever and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music. This influence has lessened with time but is still evident with many tracks containing ragga vocals.
As a musical style built around funk or syncopated rock & roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis and even Michael Jackson, are funky influences on the music. One of the most influential tracks in drum and bass history was Amen Brother by The Winstons, containing a drum solo which went on to be known as the "Amen break", which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.
By the late 1980s and early 1990s the tradition of break-beat use in hip-hop production had influenced the sound of breakbeat hardcore which in turn lead to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats. Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. Grandmaster Flash, Afrika Bambaata, Run DMC, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.
Miles Davis has also been named as a possible influence, and blues artists like Leadbelly, Robert Johnson, Charlie Patton, Muddy Waters & B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention.
Clearly drum and bass has been influenced by other music genres, though influences from sources external to the electronic dance music scene perhaps lessened following the shifts from jungle to drum and bass, and through to so-called "intelligent drum and bass" and techstep. It still remains a fusion music style.
Many tracks belonging to other genres are 'remixed' into drum and bass versions. The quality of these remixes varies from the simple and primitive adding of broken beats to a vocal track or to complete reworkings that may exceed the original in quality and effort put into them. Original artists will often ask for drum and bass remixes of their tracks to be made in order to spark further interest in their tracks (for example, Aphrodite's remix of Jungle Brothers' "Jungle Brother").
Some tracks are illegally remixed and released on white label (technically bootleg), often to acclaim. For example, DJ Zinc's remix of The Fugees' "Ready or Not", also known as "Fugee Or Not", was eventually released with the Fugees' permission after talk of legal action, though coincidentally the Fugees' version infringed Enya's copyright to an earlier song. White labels along with dubplates play an important part in drum and bass musical culture.

Other notable influences

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s which were hugely influential in drum and bass terms. One of his more infamous basslines (Reese - "Just Want Another Chance", Incognito Records, 1988) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991/1992. Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up (increased speed) as far as their Technics record decks would go.
Both the New York breakbeat and the Miami Bass scenes were strongly influenced by the 'freestyle' sound of New York, Chicago and Miami in the 1980s which incorporated electro, disco and Latin flavours, and which was in turn a key influence on the UK's acid house/hardcore/rave scene.

Drum and bass (elements).

The genre places great importance on the "bass line", a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9.
Of equal importance is the "808" kick drum, an artificially pitch-downed or elongated bass drum sound sampled from Roland's classic TR-808 drum machine, and a sound which has been subject to an enormous amount of experimentation over the years.
The complex syncopation of the drum tracks' breakbeat, is another facet of production on which producers can spend a very large amount of time. The Amen break is generally acknowledged to have been the most-used (and often considered the most powerful) break in drum and bass.
The Amen break was synonymous with early drum and bass productions but other samples have had a significant impact, including the Apache, Funky Drummer, "Soul Pride", "Scorpio" and "Think (About It)" breaks.
Many drum and bass tracks have featured more than one sampled breakbeat in them and a technique of switching between two breaks after each bar developed. Examples of this can be heard on mid-90s releases such as J Majik's "Your Sound". A more recent commonly used break is the Tramen, which combines the Amen break, a James Brown funk breakbeat ("Tighten Up" or "Samurai" break) and an Alex Reece drum and bass breakbeat.
The relatively fast drum beat forms a canvas on which a producer can create tracks to appeal to almost any taste and often will form only a background to the other elements of the music. Syncopated breakbeats remain the most distinctive element as without these a high-tempo 4/4 dance track could be classified as techno or gabber.

Tempo.

Drum and bass is usually between 160–180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently some producers have started to once again produce tracks with slower tempos (that is, in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.
A track combining the same elements (broken beat, bass, production techniques) as a drum and bass track, but with a slower tempo (say 140 BPM), might not be drum and bass but a drum and bass-influenced breakbeat track.

Context.

Drum and bass exhibits a full frequency response which can only be appreciated on sound systems which can handle very low frequencies. As befits its name, the bass element of the music is particularly pronounced, with the comparatively sparse arrangements of drum and bass tracks allowing room for basslines that are deeper than most other forms of dance music. Consequently, drum and bass parties are often advertised as featuring uncommonly loud and bass-heavy sound systems.
There are however many albums specifically designed for personal listening. The mix CD is a particularly popular form of release, with a big name DJ/producer mixing live, or on a computer, a variety of tracks for personal listening. Additionally, there are many albums containing unmixed tracks, suited for home or car listening.

Many mixing points begin or end with the "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dancefloor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance.
DJ support (that is playing a track) in a club atmosphere or on radio is critical in track success, even if the track producer is well known.[36] To this end, DJs will receive dubplates a long time before a general release of a track, sometimes many months before, in order to spark interest in it as well as benefit the DJ (exclusive and early access to tracks is a hallmark of DJ success, for example, the case of Andy C).
DJs are often accompanied by one or more MCs, drawing on the genre's roots in hip hop and reggae/ragga.
MCs do not generally receive the same level of recognition as producer/DJs and some events are specifically marketed as being MC free. There are relatively few well-known drum and bass MCs, Stevie Hyper D (deceased R.I.P.), MC GQ, Dynamite MC, MC Fats, MC Conrad, Shabba D, MC Navigator,Fat Man Dee, MC Robbie Dee, Trigga, Skibadee, Bassman, MC Stamina, MC Fun, Evil B, Trigga, Harry Shotta MC Foxy and MC Infinity as examples.

Live drum and bass

Aphrodite at 2009 Moscow action of the Pirate Station: Immortal. World's largest drum and bass festival.
Many music groups and musicians have taken drum and bass to live performances, which features an acoustic drum kit, synthesizers, bass (upright or electric), and other instruments. Samplers have also been taken live by playing samples on drum pads or synthesizers, assigning samples to a specific drum pad or key. MCs are frequently featured in live performances. Acts to take note of on the live drum and bass scene include Dirtyphonics, Modestep, Roni Size, Salmonella Dub, Shapeshifter, Pendulum, La Phaze and Chase & Status, who perform their tracks live. The DnB scene is still thriving in many urban areas, with a particularly strong showing in LA among such dedicated clubs as The Dragonfly. This has given both of these bands a way to access the mainstream, giving drum and bass a more commercial edge. Some bands have even taken the term somewhat literally, such as Lightning Bolt, The White Mice, Comparative Anatomy (band) and Death From Above 1979.

Subgenres.

Smaller scenes within the drum and bass community have developed and the scene as a whole has become much more fractured into specific sub-genres, including:
Hardstep (A harder style of Dubstep and Drum 'n' Bass which uses hard basslines and heavy yet simple electronic melodies for example, The Panacea)
Jump-Up,
Liquid funk (or simply "Liquid" - drawing heavily on harmonic grooves and samples from Funk, Jazz, Soul, R&B, House, Disco, and Synthpop)
Sambass (or "Brazilian Drum and Bass")
Techstep (or "Tech" Drum 'n' bass)
Neurofunk (or "Neuro" is the progression from Techstep)
Drumstep (Half time Drum & Bass, heavily influenced by Dubstep

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Miho's dynamic approach to the keyboard sets her apart from the others! Her playing is refreshing and her crossover style is magnificent -- she plays it all. Miho's new CD has been well worth waiting for. ー Bernard Purdie

Miho Nobuzane ... wonderful songwriter and talented pianist ... beautiful and melodic improvisations and a Brazilian swing in the heart ... A great pleasure to play with Miho ... Filó Machado


---------------------------------------

Mainly performing in New York, a versatile jazz pianist, composer, and vocalist Miho Nobuzane was born in Osaka, Japan, where she majored in classical piano during college. In 1996, she moved to New York, and began to distinguish herself immediately in the Brazilian music scene. Subsequently expanding to various music genres where she performed with such well-known great musicians as; Bernard "pretty" Purdie, Filo Machado, Sergio Brandao, Nilson Matta, Lincoln Goines, David Finck, Cafe, Portinho, Victor Jones, Hendrik Meurkens, Carla Cook, Ron Affif, Bakithi Kumalo, Lorraine Klaasen, Francis Mbappe, Martha Reeves & Vandellas, Elisabeth Withers, and many others.


Her first album “Make YOU Happy” (Brazilian Jazz) has broadcasted worldwide including the biggest jazz FM radio station in New York “WBGO”, FM radio stations in Brazil, and was ranked No.3 in the Brazilian Jazz category of the year 2007 by Saul Zavarce, the on-air host and producer of “Fiesta Jazz” PBS FM 106.7 in Australia. She was also featured on "La Guagua" radiomix 89.1FM in Buenos Aires, Argentina.


Jazz Improv magazine wrote:

ー“MAKE YOU HAPPY” is an impressive release, in which Nobuzane deftly demonstrates well-honed skills as a pianist, composer, and arranger. No doubt she would be a powerful contributor as soloist and accompanist in almost any situation.ー

In addition, her silky husky voice is showed off in her second album "SIMPLE WORDS ~Jazz loves BRAZIL” has just released in January 2014, more activity as a singer in the future is also expected.


Currently, Miho has been a regular pianist of “Bernard Purdie & Friends” led by the world’s most recorded legendary drummer Bernard “pretty” Purdie for performances and recordings since 2009. Miho also has performed with her own band at major New York City venues such as Blue Note New York, Kitano NY, Flushing Town Hall, BB King, Iridium, Jazz at Lincoln Center, Joe's Pub, SOB's, Zinc Bar- as well as touring the world.


Bookings; (Chris James) kai@jackmode.de

(Coat Of Arms) (Chris James & Eats Everything) joe90@futureboogie.com

Remix Requests; (Chris James) crowtherc1@aol.com

(Coat Of Arms) ed@edkarney.com

Chris James is a DJ and Producer based in Birmingham, UK.

Emerging from obscurity in early 2005, Chris hit the UK club scene after several years successfully pioneering popular regional radio shows; his skill as DJ and selector quickly earned him residencies at some of Birmingham's most important House nights. 
With his recognition swiftly snowballing, it wasn't long before Chris was hitting the decks around the nation, and even as far afield as Ibiza and Australia. His exploits have earned him sets at clubs such as Ministry of Sound, Turnmills, Empire and Monastery to name but a few.

Having been a hobby producer for some time, Chris began to focus seriously on his production in early 2008, and his tracks can now be found in the CD wallets of DJs such as Claude VonStroke, Jesse Rose, Derrick Carter, Justin Martin, Jamie Anderson, Riva Starr, Renaissance Man, Mark Knight, Laidback Luke, Tom Flynn, Round Table Knights, Worthy, Saeed Younan, Nic Fanciulli, Catz N Dogz, Jet Project, Daniel Haaksman, Brodinski, Wolfgang Gartner, Camel, Solo, Hannah Holland and many, many more.

With releases on labels including; Potty Mouth Music, Anabatic, Artform, and Dubnoir (his own imprint), Chris James is proving to be a heavy hitter in the realm of the up and coming DJ/Producer, and is propped by many to be one to watch.

With so many contacts made along the swift route Chris took to becoming a known name in the House circuit, he found no trouble collecting contributors for his own brand; DubNoir Music.

The label has been gaining considerable steam over the last few years, and with support from aforementioned names above aswell as the likes of Annie Mac (Radio 1), Kissy Sellout (Radio 1), Dj Zinc, Oliver $, Sinden and releases from artists such as Tom Flynn & Edu K, it certainly is an imprint set to be a powerful player in the scene.

Chris has recently joined forces with Bristol heavy-weight Eats Everything and their new ‘Coat Of Arms’ side project has already gained widespread praise with ‘Is This Something’ signed to Jamie Jones’ new fabric mix compilation from Bristol’s fledgling Futureboogie label.

Chris James is set to have a busy 2011; with several residencies under his belt, playing with the likes of Jesse Rose, Justin Martin, Zombie Disco Squad, Mary Anne Hobbs, Roska, Ramadanman, Burnski and others, increasing his demand both nationally as well as across the globe, and with DubNoir showing no signs of slowing it's assault of celebrated output, it is time to take note.

Born in Bogota, Colombia and raised in Queens, New York. Victor Escobar grew up with many different styles of music: ranging from salsa, live percussion, house, soul and R&B. At the early age of 14 yrs old he started to gain interest in Electronic Music and began following local artists like Danny Tenaglia, Peter Rauhofer, and Victor Calderone. At the same time Victor began listening to labels such as Twisted America,Defected Records, Strictly Rhythm and many more.

In the year 1999 he started to get gigs in small house parties in Queens and Brooklyn. In the year 2000 he moved to Orlando, Florida where he built a good relationship with locals DJs Carlos Mendoza, Elias R and Sander Mendez. Not long after Victor started to play at local venues like Alpha Bar, Zinc Bar, Lux and Suite B Lounge. Nearly 3 years later he started to get interested in music production and purchased his first DAW software -Reason 1.0. From the year 2003 to 2007 he dedicated alot of time to learning the theory behind electronic music and all the things that come along with producing it.

In the year 2009 he collaborated with Elias R ( a well known Colombian House Producer) and produced a single called “Amanecer “ which was released by Le Club Records in Italy (a label owned and managed by Veerus and Maxie) Devine) Amanecer was also later released on various compilations like Le Club Records Miami and Le Club Records Classics. Amanecer would be described as a progressive house track that combined both ethnic vocal elements and tribal percussion, deep breakdowns and powerful build ups. Amanecer, “had a great response” from artists such as Tiesto (Played on the Tiesto Club Life episode 149 Part 2), Dave Seaman, Timo Mass Popof, Erick Morillio Kyau & Albert,Judge Jules and many more. Today Victor continues to work on new original material and has collaborations coming soon. For more information visit Victor Escobar’s Official fan page.

https://www.facebook.com/victorescobarofficial

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