Mathías Tabassi is a musician and producer born in Montevideo, Uruguay, in 1984.

Thanks to the artistic and to a twenty-year experience of the men of “Bad Mood” appears from the darkness of the static nature of the modern sound the “BAD MOOD TRAX”.

This project arises from the desire to instill feeling  and values which had been lost in the musical scenarios.

The label mixes exotic and urban sound in order to set free feelings regardless of ethnicity, of creed and of the color of the world.

Dealing two historic kinds of music like deep house that evokes the sound and the jazz, the soul.. The music of the soul  and like the tech underground who wrote some pages of the history.

The Bad Mood Trax aims to attack the musical universe through a new course, a methodical and maniacal research of a refined sound, out of the conventional standards.

ONLY FOR UNDERGROUNG PEOPLE.

Artistic yet Brutish, these Children of Dreams Engulfed in Fragile Galactic Happenstances are Involved with Juxtaposed Knawings of Labyrinthine Melodies Nourished from Omnipotent Probabilities, while Quietly Ruminating in Sheds and Trailers their Unified Viewpoints have Xeroxed Your Zeal.--------- --- -- ----- - - - -- - - --  As we continue running the great relay race in the sky, we gain traction of mind and lose the footing of Self.  Mystified monkeys muscling and mastering the mechanics of Man.
Human siblings raised in a small police town on the outskirts of a farming police-county in the eastern side of a police-state, with backgrounds in atom-splicing, blues, maniacal laughter, UFO sound systems, and disrespecting police officers.
Creating electronic beat-songs with the muttering intensity of crazed homeless men. These non-lyrical sing-a-longs have been featured in your DNA* and in Home and Garden Magazine. 
Inwardly spinning like fractal circlacles down a one-way street of our collective soul-hole, the music guides us(you) along thorough ways and alleys towards the interstate of sound. Our only promise is to never promise you anything.....
As the cosmos come to the never-ending head, our spiraled mirror-gazing has led to no realization except that "This" is nothing but a beautifully sad fucking joke. Our mission will be to remind you of this truth. One day, we can look back on this universe that we've all helped create and we will laugh at our divine stupidity until finally, the monotony of the Youniverse gives way to new possibilities and we bang it all over again....this time even bigger.
*Free Slice of pizza with every download

€ɭəcɫ☈☮ῆi∁  ᗰႮᎼᎥᏟ  РяʘđՍ꒟⼗༏๏Ҋ   ℉ⱤѲᗰ  ᏱṫụↁᎥᎤ  ЅօᎠⒶ☭

Created in the summer of 2009 and is currently paralel with educational organization SODA (School of Digital Audio). Both of these organizations was founded by Libor Ocásek (BEG, Sunakashi, The Sicoman) and serve not only for private music production, but also as "Support Center" for producers, musicians, sound engineers and DJ's.

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Hardvare Equipment:

MacBook Pro3,1 (ATA HD- WD7500BPKT)
PC HP Pavilion
DELL 24' LCD
IIYAMA 24' LCD
5 x HD/External

TC Electronic Konnekt 8
2 x Stanton ATM.6 Studio Monitors (Produced under KRK/Rokit Serie)
1" Neodymium Soft Dome Tweeter with Ferro Fluid / 6" Glass Aramid Composite Woofer / Hi quality MDF cabinet reduces resonance and improves imaging / Bi-Amplified monitoring system (HF - 18 watts . LF - 50 watt / XLR, 1/4" TRS, and RCA inputs guarantee connectivity with any dj mixer.

Acces Virus/TI SNOW
Novation K-Station
Arturia Analog Laboratory 49
M-Audio AXIOM 49
KORG Poly-800
KORG Electribe EMX 1
NI Maschine
NI Kontrol S4
NI X1
AKAI APC-40
AKAI MPK25
EvolutionMK-425C
MAYA 44 USB
Digitech Vocalist Workstation EX
M-Audio Producer USB microphone (Condenser)
M-Audio - Microtrack II - Professional 2-Channel Mobile Digital Recorder
Audix OM2S (Hypercardioid/Dynamic/Capsule Technology VLM Type B
M-Audio Studiophile Q40 Headphones
Beats by Dr Dre Pro Detox Headphones




Softvare Equipment - DAW and Samplers:

Ableton Suite 8 
NI Maschine
MOTU MACH FIVE
MOTU Digital Performer


Softvare Equipment – VST/AU and others:

NI Komplete 7
Arturia Analog Laboratory
Traktor
TC Electronic Plugins
WAVES  Plugins
Sylenth
Sample Robot and others.....


Practice:

17 years practice in music production, sound architecture and instrument playing (Piano/keys, Contra bass, Violin, Flute, Drums, Quitar, Percussions....)
Many music projects with music bands, remixing and arranging. 
Cooperation with DISK.cz, Kytary.cz, KORG, Deccart.cz.....
Experience in lecturing.


The equipment used In the past (HW, SW): 

Yamaha RM1X
Yamaha TX80Z
Yamaha DX-11
Roland MC-505
Roland Synths in General
Waldorf Synths
KORG MS2000BR
Technics turntables
FastTracker, DigiTracker, Reason, Fruity Loops, SF ACID, Cubase, WAVE LAB....


Coming of age in the San Fernando Valley at the turn of the 90’s, music producer Sammy Chand was as equally influenced by the midnight releases at Tower Records, as he was by the sounds of India, his ancestral homeland. And while the cross- pollination of genre, sound and cultural elements is now the order of the day, Sammy embraced this fusion of experiences long before it was fashionable or even understood.
Working as a producer and a session musician in studios throughout Los Angeles is how Sammy spent much of his late teen years, often working for major labels and major artists. His thriving spirit to be independent coupled with his reflection of the Indian music scene in England, led him to start the first South Asian based record label in the North America called Rukus Avenue.
With his budding reputation as a multicultural music producer, he found himself on a panel at Georgetown University alongside music producer Bally Sagoo and filmmaker Nisha Ganatra. He would end up playing what would become the title track for his label’s first compilation, Passage to India for Gitesh Pandya, who would place it in the film cult classic American Desi.
American Desi was the launch pad for several prominent South Asian actors, including Kal Penn, but also as a springboard for Sammy’s emerging musicl. He would secure a string of major film placements for his young company, which would give momentum for the release of the ground breaking Passage to India project, a demonstration of the breadth of his capabilities as a producer, and the introduction for his cross-cultural hip hop group Karmacy. Sammy would essentially not only start the genre of South Asian hip hop, but his work would ignite the business of worldwide.
Karmacy’s, multi-lingual lyricism and production balanced the two cultural centers of South Asia & Urban America, and kicked off a wave of South Asian hip hop worldwide. Their debut, The Movement was an exciting record for both culturally oriented college professors, social academics and music aficionados alike. His work has been the subject of several books exploring the influence of hip hop on the burgeoning South Asian identity in North America.
Sammy was later cast alongside Russell Peters, Lisa Ray & Maulik Pancholy in 2006’s showtime network movie Quarter- Life Crisis. His acting debut also contained music that Sammy made, finding its way onto Universal Music’s album called Urban Fusion.
Through his reputed knowledge of Qawwali music, Sammy was paired with Rahat Fateh Ali Khan, the nephew of the late Nusrat Fateh Ali Khan, and current #1 Bollywood singer to record an exclusive catalog of songs. The two would collaborate on a 104 song music library that will be paired with writings about each song by noted South Asian writers.
After receiving some welcome attention from The New York Times, WNYC, , Hot 97FM in New York City, MTV asked Sammy to host several shows for their new ventures. The newfound profile led Sammy to embark on the Indian subcontinent and take his music to abroad.
This evolving audience was captivated by the new Americanized Indian sound, which landed Sammy’s efforts on the front page of Time Out Mumbai, and Times of India. His music was also selected for an animated series for PETA India and work for MTV’s Global AIDS Awareness campaigns. Through his work in music, Sammy, as part of Karmacy, would be voted as the entertainer of the year by the South Asian Student Association.
Sammy continued his Rukus Avenue projects by producing artists like MTV’s Rasika Mathur which was chosen as Amoeba Music’s Homegrown artist of the month. Sammy’s work as Producer and Executive Producer helped establish Rukus Avenue brand as home to some of the brightest music stars in the South Asian diaspora. Artists like; Sandeep, Hoodini, Kanwar Gill, Jason Joseph, Elephants with Guns, C.J., and more made their way through the Rukus Avenue doors.
Sammy’s solo debut, Tale of a Crown, is a music supervisors dream come true. Commissioned by music licensing powerhouse Sonoton Musik and APM music in Los Angeles, Sammy was asked to compose an album that would articulate this growing world wide hip hop fusion scene that he once helped seed.
Music from Tale of a Crown would made its way to the Oprah Winfrey show, America’s Most Wanted, CBS News, PBS Newshour, No Reservations with Anthony Bourdain, Bizarre Foods of the Travel Channel, So You Think you Can Dance?, the PBS kids show Fetch! with Ruffman Ruff, Storm Riders, and in over 50 television shows worldwide.
Selections from the album accompanied the newly married Aishwarya Rai and Abhishek Bachchan during their visit to the Oprah show, Anthony Bourdain on a food excursion to India on his No Reservations program, and host of other film and television programs from all over the world, including several concurrent episodes of America’s Most Wanted.
Tale of a Crown’s success, and the growth of the South Asian community opened the doors of the Staples Center to Sammy, who would team up with the LA Clippers to produce the first India Republic Day celebration in franchise history.
In anticipation of his next project, Sammy released Dil Mungdi (She Wants My Heart), a song that would be accurately described as being the first legitimate effort to create American Bollywood music. The music video, featuring a charming story of a high school Sadie Hawkins dance, quickly amassed over 185k organic views on YouTube.
Currently, Sammy is working with executive producer Emma Thompson, Oscar and Emmy award winning director Jeffery D. Brown & producer Jane Charles on the score of the film adaptation of Patricia McCormick’s Sold, a heart wrenching story of human trafficking starring David Arquette and Gillian Anderson.
THE SINGLE ‘HANDS UP’ FEATURING CAPPADONNA WILL RELEASE WORLDWIDE 4/9/13. IT FEATURES CAPPADONNA FROM THE WU-TANG CLAN AND IS PRODUCED BY SAMMY CHAND.

myspace.com/thenapoleoncomplex
facebook.com/napcom

Since July 4th 2002, The Napoleon Complex has been working hard to mold their unique sound. As with any musical endeavor, there have been many obstacles to overcome. With some member replacements in the bands beginning and long distances separating them more recently, TNC has reached a new level of maturity in their music, one that will keep them at the top of their game for a long time to come.

The Napoleon Complex is comprised of Rodrigo Espinosa, 24 (lead guitar/ vocals), Dan Damchen, 25 (rhythm guitar/keyboards) Tony Distefano, 25 (drums) and Carlos Carrillo, 24 (bass). One can definitely note TNC’s musical and lyrical progression from their first release in 2004, a three song EP titled “Can’t Even Talk English Good Anyway,” to their full length fifteen track album “How Does Salt Water Mix With Tea?” released in spring of 2008 and finally, their latest 4 track release “Baby Town,” in March of this year.

Over the years the band’s commitment to intellectual dialogue and education have slightly delayed their musical progression, but it has also cemented a solid base from which to draw inspiration from, making passion the essential ingredient in their music.
Their involvement in local and national politics as well as their relationship with world-renowned intellectuals has made it impossible for the band to ignore simplicity or apathy. Led by Espinosa, The Napoleon Complex plans to “wake up the bewildered in hopes that every sheep favors independent thought over indoctrination.”

Their sound can now be compared to the experimental progressiveness of The Flaming Lips, the chord progressions of Radiohead, the vocal melodies of the Beatles, all butting heads with the sonic bedlam of the New York Hardcore band Glassjaw. With little musical experience overall, The Napoleon Complex pride themselves on their song writing skills and their minimalist sound. Espinosa’s high melodies, joined with the bands aggressiveness, hard hitting drums, and maniacal progressions give the band a sound all their own.

"Talented in solitude or together, the (Napoleon) complex reigns in an original melodic spontaneity all their own," Jose Reyes (theatomrack.net)

The Napoleon Complex has played with bands such as, Kinky, Men Women and Children, Veritas, Grand Ole Party, Buddy Akai, Get Back Loretta, Scarlet Symphony
Barcelona, and El Ten Eleven, all whom have national or international notoriety. TNC has also received a great deal of radio play from stations such as, 91X San Diego, 94.9 San Diego, 96.9 SD, 102.1, SD and 90.7 Berkeley.

Club and Label references  

Soda club Bonn(resident),
Rheinauee Bonn,
Beatconvention1 mit Frank Lorber,
Beatconvention2 mit Roland Casper,
Club B8,
Club dock 8,
Backflash Sause Königswinter 2000-2002(resident) ,
The Club Sause Königswinter 2000 2002/resident) ,
Tollhouse Siegburg ,
Overload-Club-Schranzmassaker .
Overload-Club-Total Tekkno ,
420 bpm.de ,
Waldparty / Willich
Night train / Bonn
Ruhr in love 2007(Floor Overload-Club+floor Rheinpiraten) ,
Em Kotten/Solingen ,
Ruhr in love 2008(Floor Rheinpiraten) 
Stückgut /Solingen(Ruhr in love aftershowparty) ,
Parkhouse Düsseldorf,
Nova-Club-Bonn,
Club lamour-Hennef,
BPM-Club Zwickau,
Gamma M7 /Königswinter,
Club-Help/Betzdorf,
Kilimanjaro/Krefeld,
Nachtleben/Düsseldorf,
Bungalowclub/Dortmund
Farbfrequenz@Mauerwerk - Mönchengladbach
Projekt 42 / Mönchengladbach/Druckfabrik
Projekt 42 / Mönchengladbach/Disaster Area
Raum 35 / Siegburg
Cuebase-fm.com
Halle Luja , Tönisvorst /Clubtronica
Halle Luja , Tönisvorst /Beatblaster 
Halle Luja , Tönisvorst /Tekkno Rocker
Klangfabrik / Viersen 
Butan / Wuppertal
Treibgut / Düsseldorf
Rheingold / Orange Club Düsseldorf
We are underground / Dortmund
Rheingold Düsseldorf / Mainfloor
Dortmunds absoluter Club
Backstage / Bonn
Royal Bambi / Dortmund
Lustwandel / Düsseldorf
minimalstation.fm
Elektroküche / Köln 
Klangkeller / Düsseldorf 
Aratta / Moers
Sektor 7 / Düsseldorf
Kunstpark / Köln
E-Feld/ Köln
Domhof / Köln
Kammer /Düsseldorf
Mikroport / Krefeld
Black Lotus Lounge / Wuppertal
Ich liebe techno Events
U60311/Frankfurt
E-Feld/ Köln
Karlson /Frankfurt
Velvet Club / Frankfurt
Schwarzer Adler / Tannheim
Räuber & Rebellen / Recklinghausen
Club Gathe 50 / Wuppertal
Trytichon /Münster
Loca 71 /Essen
Hades/Moers
Hans Buntel Areal / Freiburg
Kili /  Berlin 


Releases/ booking Agentur ect.:
 Black Beats Records
 Beast Factory recordings
 Ausnahmezustand
 Wicked Wave recordings
 Hardwandler records
 Klangrecords
 Teksession Records
 Oxytech Records
 Vilena Records
 Abteil 23
 Basssport Music
 Error rec
 Remoshee Trax
Toxic recordings
FEIND records
DCR Recordings

Spirited Americana singer/songwriter, recording artist and multi-instrumentalist Joe Farren composes warmly-layered tunes about heartbreak, first love, sacrifices, memories, joy and other realities of humankind. His narrative lyrics and sincere performances reveal life’s extraordinary moments and his own vivid, personal adventures. His creative mission is clear:  “When I’m driving late at night with a thousand concerns going through my head, and a song like ‘The Dance’ or ‘Bridge Over Troubled Water’ comes on the radio, everything just disappears. I strive to write that perfect song that makes the hair on your neck stand up, the goose bumps appear, the tears come out of nowhere – that love song that makes you stop for a minute and brings you back to the beginning. It’s all I’ve ever really wanted to do. It’s a constant calling and a pressure, but I wouldn’t trade it for anything.” Farren grew up in Portland, Maine in a home that vibrated with the harmonious grooves of country, folk, pop and R&B greats like Roy Orbison, Jerry Lee Lewis, Hank Williams, Jr., Elton John, Steve Winwood and Bruce Springsteen. His instinctually-impeccable musical ear allowed him to accurately identify singers on the radio at a young age. Once his fingers began to explore the keyboard and the guitar, he found those 50s rock blues riffs with ease and began to emulate his favorite players. His enthusiasm was also fueled by some unexpected mentors:  “The first song I ever learned on guitar was The Eagles’ ‘Peaceful, Easy Feeling.’ My mother had hired a painter to work on our house when I was about 13. He taught me that song and showed me how to properly tune the guitar I had stolen from my older brother. He also passionately explained to me that music is something no one can take away from you. He told me not to hold back – to just ‘strum that guitar and sing.’” Farren tested the limits of the piano and guitar until his love for rhythm and tone pulled him towards the gravity of percussion. With encouragement from his band teacher, he bought a $40 second-hand drum kit and started lessons, learning quickly to coordinate his different limbs until he was a fast, proficient jazz and rock drummer regularly playing drums, keyboards and guitar in bands throughout New England. During his senior year in high school and for several years afterwards, he played keyboards in the rock group Shufflin’ Tremble, which performed at shows, fairs and clubs and opened for renowned bands including the Mighty Mighty Bosstones, God Smack, Veruca Salt and the Rustic Overtones. The power of exposed, emotional lyrics overtook Farren the first time his heart broke. He started to put his own feelings into poetry and melodies as he soaked up expressive songs by bands like Counting Crows and the Dave Matthews Band. While studying music at the University of Maine, he never fully connected to the classical- and jazz-centric curriculum. So, he continued to learn as much as possible about blues, folk and rock music and taught himself the intricacies of digital recording by capturing recitals, concerts and demos for local musicians and by hanging out in the university’s recording facilities after closing so he could write and record his own material into the wee hours. After his band parted ways, he decided to participate in an exchange program in New Orleans. He sang in the college gospel choir, played on the streets for beer money and sat in with some local bands while soaking in shows by jazz greats like Ellis Marsalis. Farren’s discovery of the thriving local band scene in Portland as well as of alt-country dynamos like Ryan Adams and The Jayhawks and contemporary country artists like Phil Vassar and Keith Urban finally inspired him to believe fully in his own ability to tell relatable stories through beautifully-rendered Americana music:  “When I discovered contemporary country music, I fell in love. I remember the song that did it:  Jason White’s ‘Red Ragtop,’ as recorded by Tim McGraw. I like a lot of the New Folk music artists like Ellis Paul, Patty Griffin, Mark Erelli, etc. But I mostly listen to country music in search of those inspiring, perfectly-crafted songs.” He met Maine-based songwriter Tom Acousti while attending Acousti’s local songwriting workshop in Portland. The two collaborated on Farren’s solo debut album ‘Til the Day in 2007. He toured up and down the East Coast in support of the release, with dates at colleges like University of Massachusetts, Amherst and Bates College, as well as at bars, clubs, coffee shops, and the State Theater in Maine. He was also featured on the Maine Songwriter’s Association songwriter stage at the annual Old Port Festival and received spins on national college radio stations as well as on Portland’s 98.9 WCLZ and on 102.9 WBLM. Since moving to Florida in 2011 Farren has maintained a rigorous gigging schedule, playing at venues including the Ritz in Ybor City, The Hideaway Café, The Vinoy, the Don Vicente and many others while feverishly writing fresh material. He first traveled to Nashville in 2011 in order to get closer to the energetic, expert songwriting in Music City and on return trips has played at Bluebird Café and Douglas Corner Café. It was during that first trip to Nashville that he met hit songwriter Steve Seskin, who motivated him to put together his sophomore album, Open Skies, produced by guitarist Jason Roller (Kelly Pickler, Winona Judd). Acousti along with bass player Lance Hoppen (Orleans) and a slew of talented Nashville studio players also contributed to the recording process. “A good, natural-sounding acoustic guitar, a cup of coffee and a notepad is the way I write best.  I was able to focus more as just a singer and writer on Open Skies than I had on Til the Day, in part because I didn’t have to focus on playing all the instruments as well. Working with these guys in Nashville allowed me the freedom to just strum my guitar, play the piano and sing the songs. They had my back at every corner.” Open Skies offers an animated, imaginative soundtrack to Farren’s spiritual and physical travels during the past several years:  “These songs are universal stories and experiences. ‘Who’s that Standing in my Shoes,’ for example, is about anybody’s first love. I stumbled across my first flame’s wedding pictures on Facebook, and that’s what planted the seed. Through the beauty of the songwriting process, I went from someone just looking at a computer screen from the outside, to a character invited to the wedding.” Open Skies plays like a musical book of character-driven short stories that range from serious, to humorous and wild, to sweet. It provides evidence that Farren has matured into a master at the songwriting craft and a man who freely lives in the moment.

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