The usual reaction when hearing about a DJ that has been producing for only one year and djing for two is one of contempt and derision! Pah! What does this guy know? But wait! Isn’t there such a thing as natural talent? An ear that you’re born with? That over used phrase, ‘the x factor?’ Beethoven had it. Jimmi Hendrix too. Now I know what you’re thinking! ‘Are we being introduced to a musical genius here?’ Maybe and maybe not but there is one thing! Phil Astall has got the ear! An ear that is highly tuned when it comes to dance music; a natural ability to get anyone to dance, sway and go completely mental for his tunes. I know. I’ve been fortunate enough to check out the tunes he has written first-hand in his bedroom, yes! Bedroom studio! I have also had the experience of seeing and hearing him out on many occasions at one of the many places where he has played. PACHA - London (his most recent monthly residency), the famous Sankeys where he played for no other than In Bed With Space, Area 51 and 2Kinky to name but a few. And there is a theme that runs through all his nights whether he is in front of a large or small crowed, you will never forget the experience and energy you receive after listening to him play. 

After a positive initial release of Solaris through Vinyl Pusher - Australia, Phil is on the dawn of what is now his second release, the three tracks that Stranamente Music in Italy recently signed; One You, The Front Line and Lip Lovin’ he is surprisingly cool. So cool that when asked how do you feel right now after only doing this for a year and being a released artist? His answer was simply; I just hope people will like them. I can truly say that Phil is not a man who is in it for the position, power or money. He truly just wants to make people move along to his melodic madness, which is a rare quality in this contemporary society of the ‘what’s in it for me?’ crowed. So what’s in it for you Phil? ‘I just want people to dance.’ He answers calmly and without hesitation.

‘One you’, his second main release, has the scope to become an Ibiza classic in its own right with its progressive rhythm and laidback style, just hearing it once takes you back to that sunny isle where you dream a dream of sun, sand and sea breezes that caress and relieve the fuzzy mind of the discerning clubber from that unforgettable night before only to bring you out of it and onto the dance floor once again ready for that beat to kick in again after the delivery of smooth melodies and well thought out lyrics by Kalvin Campbell. Remixed by Phil Caine aka PJC Project who's catalogue of tracks and support range far and wide through to the man himself Carl Cox with PJC's most recently released track ‘The Long Train’ on Cr2 Records. 

Phil's not only persuing his career under his own name but has now joined forces to create an ultimate combination of solid production with some room destroying tracks under the name of Tekneek. This is the collaboration between Phil and Gavin Hackman aka. Complex Motion - An already successful producer and great friend... Having heard their most recent e.p. The Jackal! Boy, are we in for a treat!


Kiki Sire is a Singer/Songwriter, Musician, Composer and graduate of the Matanzas School of Musica in Cuba where he studied alongside many great Cuban musicians by day and performing salsa music in the festivals and clubs of Havana, Varadero and Mantanzas by night.

El Cantautor Cubano Kiki Sire nos presenta su debut Rutina. Gilberto Sire Hoyos, conocido en el mundo musical como Kiki Sire, nació en Matanzas (Cuba) y esta radicado desde el 2003 en Inglaterra. Rutina, álbum en el estuvieron involucrados el trombonista Johnny Enright (Grupo X) y el cantante venezolano Lino Rocha -ex de Salsa Celtica-, contiene cortes escritos por el mismo Sire. El matancero que se inicio en la música desde los 12 anos por la influencia de su abuelo y su padre, empezó en Adala, un ensamble de niños que se presento en radio y televisión. Rutina destaca al trombonista Johnny Enright en el solo, Versalles, es un numero dedicado al barrio matancero donde Gilberto paso sus años de infancia. Mentirosa es un cha cha cha mientras que Si Te Dijera tiende puentes con el bolero. Tell Me Why es un interesante numero vocalizado en ingles con pegajosos coros en español, sin duda alguna, el mas interesante del proyecto Rutina.

Kiki Sire is a Singer/Songwriter, Musician, Composer and graduate of the Matanzas School of Musica in Cuba where he studied alongside many great Cuban musicians by day and performing salsa music in the festivals and clubs of Havana, Varadero and Mantanzas by night. Kiki who has performed with many great musicians, has made regular appearances on TV and Radio and won many awards and talent contests for his singing. “Rutina” is a salsa album composed, performed and produced by Kiki Sire containing 8 original compositions.

Kiki Sire is undoubtedly well versed in the art of musical conversation, as he is rarely without a topic of exploration in his new album “Rutina”. And like most salsa singers his music is synonymous with passion, feeling, catchy sound, smart lyrics and commitment to the musical genre itself.

Salsa music seems to inspire an instant reaction in Latin music lovers everywhere. It is the rhythm, the dance, the musical excitement that sends millions of people to the dance floor—Latino or not. Hence what Kiki Sire brings to the table already has a beckoning audience.

‘Salsa’ literally means sauce, a hot and spicy concoction common in the Latin world. Today the word has come to represent a genre of exciting music and dance emanating from the Spanish speaking Caribbean that developed along with son, danzon, guaracha and others in Cuba under the influence of Afro-Caribbean and European music.

Kiki Sire retains all of the genre’s heat and spice during the 8 tracks on “Rutina” with an often salsa romantica twist. And in true salsa style Kiki’s music delivers all the exotic percussion and horns into the mix.

But over and above the exciting rhythms, the album is predominantly about Kiki Sire’s art of singing the salsa. The album has great song writing, instrumentation, lyrics and of course, that uniquely wonderful Kiki Sire voice and soulful salsa expression.

26 year old Entrepreneur. Held from Labadieville, Louisiana also known as "Labadie". Known as TMF Bka Tha Muthafuckin Fool for his foolish decisions in life and always being a person of Character and advanced at a early age with everything he decided to do. TMF started rapping very Young. I would say about 10, or 11 after watching his older cousin by the name of "Zu Life" tapes performing in malls and getting a great reaction. He looked up to his older cousin and wanted some of the attention he was getting. So he played around on tape recorders with the music in the background until he got better and better. His rhymes always had humor in them. After he spit a few bars for the people, they would laugh and say "Boy? You a fool! You a Fool for that!". Then would begin screaming "Tha Muthafuckin Fool!" every time he would come round. It was just funny to him at first, but when he got older he ran with it. He started a group in Middle School by the name of Triple M "Murda Mic Mafia" consist of him and 6 of his first cousins. After High School they were no longer interested in rap, so he was on his own. Being versatile he had so many different styles of his own he decided to be his own group which he called TMFG "Tha Mullfuckin Fool Gang" which consist of him until he linked up with a old friend from school by the name of "Young Gizzle". They linked up and recorded multiple records and tapes together alone side the 3rd member which is TMF's little cousin who goes by "NickeyT Da Assassin", then "Zega Da Loser" Who's also TMF's first cousin. After dealing with a lot of trails and tribulations he kept faith and headed to the top by any means now. Not taking no for a answer. He's 25 years old. Born November 4th, 1990. Born and raised in Louisiana. 6 siblings. grew up on Violet Street Labadieville, La tough neighborhood. Raised by his grandmother. Back and forward with his parents as well through out his childhood. For booking/Features TMFGANG@yahoo.com SnapChat @Tmfthomas

     Anatomy  
                       Of Writing and Recording  
                                  ‘On That Day‘ 
                   Interview with NorthernBandit  
                                   January 2014 
                              By: Burt K. Arthur
*This interview was concocted solely in the mind of the writer…any similarity to interviews by other well know artists is completely inconsequential.

BKA: Let me start off by saying I have listen to your new track and I find it reminiscent to sounds I remember from my younger days, we seem to coming from the same age of Rock music that was shall I say ‘ground braking’ taking Blues and infusing it with a heavier element…what was your take on the idea?
NB: Well thanks for the correlation to my favorite era of Rock, yes I agree completely, I haven’t been able to let go of those days. Some might say I am stuck in a rut and then so be it, I learned a long time ago, if you forget the past you’ll will not understand your future, perhaps that is why I return there…there is no hidden meaning here just a reference to where I come from.
BKA: Interesting I must say, but what about this new song…can you start off by giving the reader some basis for the reasons behind recording such a aged idea in such a modern time?
NB: Yes definitely, some might know that 2013 was a sad year for a lot of us. So many great Performers and Songwriters passed on leaving the music world with a greater sense of how much each of them impacted our lives and because of their energy what some of us might consider to do to continue on. For me one individual in a Blue Rock Group that I will never forget was John Lord, Keyboard Wizard, and leader of the Hard Rock Band ‘DEEP PURPLE’.
BKA:  I agree with you, absolutely!
NB: So back to your question…I have never been one to sit still for very long and some just might say that I’m a little over excited when it comes to my Soul Hobby, and I mean Soul because music has always affected me so severely. John Lord’s style along with the other members of DP connected with me therefore the reason I produced this song. 
BKA: Can you lead us through a snippet of what you were thinking as you began this process?


NB: You bet…I love to play guitar, Bass guitar is what I started with back in 1973, Since then  I’ve learned to play by ear and by endeavor producing all of these things record… the Drums, Harmonica, Synthesizer, I could go on here for quite awhile but I more recently acquired an older Roland D5 Muli-voice Keyboard and that gave me the desire to create this idea though I have to admit I actually started out with the Les Paul.
BKA: What makes playing a guitar, draw you to the keyboard?
NB: Funny thing about that is it just didn’t go from guitar to keyboard…you’ll have to remember I said earlier I love to play guitar so in most cases that’s what happens, I just start jamming away which leads to other things…in this case it lead to the Bass at which in this point and time I started recognizing the undercurrent of emotion and a Heaviness to what I was jamming on which literally made me go get a pen and paper and strike the lyric.
BKA: I am starting to get a feel for where you were headed…obviously this takes some time…Months could go by I’m presuming, in this process, what was your time schedule?
NB: It might seem strange to some that you would ask that question but a good one to address…The total time in days from beginning to end was about three weeks, now I didn’t or could not have buried myself in this process continually…I don’t know if I mentioned this but I took the advice of my parents many years ago and “Kept my Day Job” so I have a regular job five days a week and my Family. With everything fitted in with no drama (laughs) at most I spent maybe three hours at any given point and as little as an hour over that three weeks in this process.
BKA: Wow, I was thinking there was lot more time involved?
NB: Really?…I suppose there is if you take in to account the hours I spend in my own head working out the details, being consumed but thoughts like ‘how is the song going to start…full on rockin or is it going to build slow like a simmering pot of mush? Mostly it comes down to reaction and my experience with the sounds I love. 
   So getting back to the Keyboard…I was reading and also listen to a great interview by “YES” Keyboard man Rick Wakeman with John Lord and one of the cool things I found out was that in those early days…he would have trouble hearing and being heard when they played live. Richie Blackmore always played threw a couple of Marshall stacks and that was the problem, he was always louder then everything else ( Ian Gillian many times would profess too )…so John had this brilliant idea to get his Tech to wire up his Hammond B3 to the new Marshall Amps that he got, things changed dramatically and for the better for him, the sound and the reputation of Deep Purple.

BKA: I guess then what you are saying is that you were influenced by his Hammond sound?
NB: Most assuredly, so after messing around a few nights playing the Roland found the Leslie sound that I was looking for and in turn ran the keyboard threw my guitar amp with a Marshall Amp Sample sound to get the tone and texture I wanted.
BKA: This all seems quite complicated…how do you keep it all straight?
NB: …It all comes in bits and pieces I guess…I usually see and hear the whole sound…I’m fated that way and maybe it’s not a good thing for all creations in music, they used to say…”Close enough for Rock and Roll” so I’ll leave it at that, my problem is that I wouldn’t make a very good Jazz Musician…my mind doesn’t think or feel that flowing attribute but I can lock on to a beat and a rhythm with determination…
BKA: It has been said that Deep Purple was a Jam Band even though they produced some really great songs, this track is a little over three minutes long and most of their tracks are from five to seven minutes in length…that’s a big difference? 
NB: I understand what you are saying and yes you are correct…for my purposes in recording this song in a shorter time frame was mostly due to time management…what DP could afford was to elaborate the window of opportunity by reaching into solo’s for each of the members…me on the other hand need to be conservative due to the nature of the writing process….when you listened to the song, speaking of the last measure and ending, did you get a sense that the song could or would continue? I did that on purpose because the way the verses and the bridge changes it leaves an open end to continuing or stopping, fading out or with a finale. I think it would be a Great live song to perform!
BKA: Ian Paice, the world renowned Drummer for DP…this brings up the question of drive, the energy of the song…The Power. Seemed like there could have been more percussion…tell us about what you were attempting.
NB:…I will let you in on a little secret, I don’t own a Drum Kit…I have to improvise with things so in saying that I’m going to leave it at that. Percussion is one of the great thing in a Rock song…in remembering Ian all you have to do is remember Keith Moon, Tommy Aldridge, Ringo Starr. all a vital component in the history of a great song.
…I can’t say that what I do is great but it does excite me to create and produce original ideas that I hope others might like and if they don’t I am ok with that too!




BKA: I know you have other things to attend to but before you go I’d like to ask one final question.
NB: no problem, fire away…
BKA: If you had the chance to do what you do all over again and I don’t necessarily mean record this song but be where you are at in you musical life, would you want it any different?
NB: Wow…heavy though but easy to answer. My answer is no. My Karma has me going in the right direct, sometime I’m envious of what others have done and what toy’s they get to play with but you know it’s not about having the most of anything and in the end bragging about it…it’s about using what you have resourcefully and sharing what you can give to others. I can only hope that that is what I have done.

*Burt K. Arthur has a long time affiliation with NorthernBandit…dating back to their beginning in 1953, in 1964 things changed dramatically for both as a result of the influence of the British invasion and ‘THE BEATLES’ who played a positive and everlasting effect in their lives. You can listen to and check out all of NorthernBandits songs by visiting http://www.facebook.com/burtk.arthur    , and http://www.reverbnation.com/NorthernBandit
 


27 year old Entrepreneur. Held from Labadieville, Louisiana also known as "Labadie". Known as TMF Bka Tha Muthafuckin Fool for his foolish decisions in life and always being a person of Character and advanced at a early age with everything he decided to do. TMF started rapping very Young. I would say about 10, or 11 after watching his older cousin by the name of "Zu Life" tapes performing in malls and getting a great reaction. He looked up to his older cousin and wanted some of the attention he was getting. So he played around on tape recorders with the music in the background until he got better and better. His rhymes always had humor in them. After he spit a few bars for the people, they would laugh and say "Boy? You a fool! You a Fool for that!". Then would begin screaming "Tha Muthafuckin Fool!" every time he would come round. It was just funny to him at first, but when he got older he ran with it. He started a group in Middle School by the name of Triple M "Murda Mic Mafia" consist of him and 6 of his first cousins. After High School they were no longer interested in rap, so he was on his own. Being versatile he had so many different styles of his own he decided to be his own group which he called TMFG "Tha Mullfuckin Fool Gang" which consist of him until he linked up with a old friend from school by the name of "Young Gizzle". They linked up and recorded multiple records and tapes together alone side the 3rd member which is TMF's little cousin who goes by "NickeyT Da Assassin", then "Zega Da Loser" Who's also TMF's first cousin. After dealing with a lot of trails and tribulations he kept faith and headed to the top by any means now. Not taking no for a answer. He's 26 years old. Born November 4th, 1990. Born and raised in Louisiana. 6 siblings. grew up on Violet Street Labadieville, La tough neighborhood. Raised by his grandmother. Back and forward with his parents as well through out his childhood. For booking/Features TMFGANG@yahoo.com SnapChat @Tmfthomas

EM + STAV 

Rinse/ SWU - EM + STAV
https://www.rinse.fm/shows/em-stav/

unknown untitled:
https://kassiansound.bandcamp.com/track/em-stav-with-you-b2

JoyLift:
https://em-stav.bandcamp.com/album/endless

Earful Wavs:
https://earfulofwax.bandcamp.com/track/warp

Afterglow EP [INTGRD006]
Vinyl and Digital-
Buy/download/stream here: smarturl.it/INTGRD006

Gottwax - Driver
https://gottwax.bandcamp.com/track/driver

contact: emstavmusic@gmail.com

Texcha was (re)born in the mind of mutimedia artist Polar Vibez sometime in the year of 2009. Polar Vibez is a hip-hop refugee, an eventual consequence of dying a culture. He found life elsewhere. But the ghostly desolence of the world he left behind haunted his mind. He couldn't shake the voices. Zombies and ghost on the radio. The echoes of the South Bronx growing fainter with every new ringtone download. Enter Texcha. Born of this desolence.Created out of a need. The need to heal a culture and present the truth that was bordering on extintion. Texcha. Arkatexcha. A new building based on classic forms. Texcha is the reaction to a reaction. Texcha is an answer. Texcha is boom and Texcha is bap. Texcha is both past and future. Texcha is the present reimagined. Texcha is bigger than your backpack and camoflauge and hoodies. Texcha is the heart. 
Texcha is hip hop, in it's rawest, purest, most bullshitless form.


My work is my autobiography.  My work plays and questions abstraction and permanence.  The pieces reflect my education in Bauhaus architecture, my explorations of line and content, and my reaction to life in locations discovered through my continued quest for knowledge.

Studying architecture at the Illinois Institute of Technology in Chicago, created the basis for the paintings and drawings.  Architecture and structure form the logic behind the way a painting is built and a drawing is constructed.  How do the tools used affect the making of a line or series of lines?  Each work is an answer to a question exploring how marks and gestures can be created to form a complete composition.

Understanding my place in foreign cultures plays a huge part in the development and choices made for the work created there.  Finding the balance of act and consequence within the parameters of an unknown land add the next facet of information and visual expansion.

Abstraction is not a style, but a state of mind…a balance of subtlety and boldness, confidence and risk, the known and that what needs to be found.


User 680974205 is following