Doing things by the book has never been Danton's forte. That might be the reason why the London-based Frenchman's 
path is so atypical, it's probably why he has never committed to a specific style or musical family either, when pretty much    
everyone else seems to be in a rush to "belong". Mind you, if he had, he would certainly have bored you to tears a long 
time ago, and his releases would not be welcomed with a distinctive sense of "what has he done this time". 
From the start it was clear Danton was in for a jolly good laugh, and trend-setters got it spot on when they started to 
embrace his deviant but addictive music, from "Confessions Of An English Opium Eater", to "Face Control", or the wicked 
in the true sense of the word "Give Me Pain". He was a man on a mission, and a mission he took really seriously at that: 
giving all he had, sweat, blood, beats and screaming synths, whenever he set foot in the main clubs of pretty much all the 
countries who have a knack for electronic music. And the word spread fast, so fast he had already toured left right and 
centre by the time his debut LP "Yes Is More" came out. But Danton saw this as an excellent opportunity to cover his tracks 
and shuffle the cards again - Just when you thought you had got to grips with his style. 
The frontman is also a man in the background on various projects, his years as a studio engineer paying off and allowing 
him to overtake the producer desk and make good artists better, turn OK tunes into full-on old school hits. In a world of 
music taylorism he likes to add uniqueness, and install a playful feeling to the music he produces. That's right, if he was to 
be put in a category, it wouldn't be pop, electronica or house - it would be "playful". And yes, he does the same thing with 
photography, with the way he dresses up for his performances, erecting the way he sees music to an art de vivre. 2012 is 
the year of living playfully, to the soundtrack of his upcoming LP "All Dressed Up And Nowhere To Go". Ready to go there 
with him? He'll be more than happy to take you for a ride.

Experience everything at www.x28project.com

Play the game: https://www.x28project.com/fro-quest/

"Shadows of Darkness" Music Video https://youtu.be/virdlkUtBXk

Who, or should it be said, what is X28 Project? The moniker has changed with the minds of the holding proprietors so many times throughout the years that the meaning is quite obscured. As of now, the mystery is magnified by the control of the ensuing days to which the existence is dependent. Once known as a conduit for progression, while still maintaining that philosophy, the humble resonance now seems to be an afterthought of something under the bored need for an exit. It should be noted that as of now the control prevails mainly within one governing entity. By the determination to construct, since 2006 there has been a steady release of instrumentation designed to combat the silence that once was harbored in the preceding minds. Intentions only to reverberate within one location and within one moment. This was unacceptable to the new direction that was necessary for the formulation of continuous angles of relief. Each outlet created has led to more tears of the consistency of that which is disenchanted. Disinterest seems to be molded in the wasted time. While unconcerned for plenty, there is a compulsion for furthering and augmenting the embrace. Inquiry is challenged day to day, yet it's something overwhelmingly vital. The delight in continuance should be cherished in the face of persistent lethargy. To this extent, the ensemble is present to absolve the anguish that is intimate to reasoning...

Houston we have a problem cause this rocket’s finally ready to take off and change the atmosphere…which is exactly what she does every time she opens her mouth to pour out her heart through song. Either she’ll win you over with her natural southern charm or her undeniable talent and infectious energy.

“One morning I woke up bored and tired of living a purposeless life. I walked into my boss’s office while working for NASA and told him to fire me. I laid my CD on his desk and told him to listen to it, and if he felt like I sucked I’d return to work the next day with a smile on my face…that evening I received my notice…the next day I was asked to tour with Janet Jackson.” But that’s not where her story begins.

At the tender age of 10 she was a member of “Girls Tyme”, a prepubescent group of girls who later became Destiny’s Child. Her first single reached to number 5 on the Billboard Dance Charts in 2006 and she’s had several songs featured in major films.

Erin has been blessed with many gifts including a sultry voice, electric dance moves, producing and songwriting, and the ability to deliver breathtaking performances with her feisty personality. This has led her to starring in her own right opening for or background singing for Justin Timberlake, Pharrell Williams, Duran Duran, Nicki Minaj, John Legend, Jennifer Lopez, Janet Jackson, Ciara, Rihanna, Camilla Cabello, Charlie Puth ,…to humbly name a few.

​Some have even dubbed her the hardest working undiscovered star, but undiscovered she’ll be no more.  While rehearsing and touring for other mega talents by day, Erin was brewing her own storm by night.

In November 2017 Erin released her debut album entitled "Naked" and in 2018 her first single "Hangin" made the top 10 on the UK charts and charted on the soul charts in the United States. Due to the demand to hear more she released another single in 2019... "MAKE IT LAST FOREVER"  (which charted on the digital radio charts and indie radio charts)...and in 2020 she released her chart topping rendition of "Never Too Much".  She effortlessly fuses a retro 80’s/90's r&b sound, with current melodies, and infectious hooks.  Erin's music is guaranteed to soar straight to your heart and infect your soul with a new EP titled "CoverGurl Uncovered"...slated to be released mid 2021.

“I just want to sing, sing about something that matters, and have fun while doing it.  Here goes everything"…Erin xoxo

BOMBAY // Show Your Teeth

Dutch indie rock trio Bombay return with long-awaited sophomore LP Show Your Teeth. 

The album’s title couldn't be a more fitting description of Bombay's next musical chapter. After two years of restless experimenting with lo-fi equipment and nineties rock influences, the group experienced a sense of disharmony, and a musical transformation had to take place. As a result Linda van Leeuwen has passed the torch to Lisa Ann Jonker.
Multi-instrumentalist Mathias Janmaat remains the group's driving creative force. Naturally, his writing became influenced by these circumstances: Show Your Teeth feels more introspective than acclaimed predecessor Vulture / Provider, adding an expanding sonic palette and emotional depth to their sound.  
Bittersweet opener Dolly Doesn't Want To Face The Facts shimmers like some kind of hazy dystopian sunset, recalling fellow pop dissidents MGMT, Phoenix and Gorillaz. Centre-piece Slow Motion unleashes lust for life energy through its rave-like floor tom beats and jarring post-punk guitars. The ramshackle nineties grunge track Bored obtusely touches base with writer's block and apathy.  

Even if there appears to be more of a weightiness to Bombay's music, it never meddles with the band's ability to come up with instantly appealing pop hooks. Gold Rush's suspenseful gloom and Bleach's uncanny space boogie still bring this undeniable immediacy. Bombay's newfangled songwriting smarts reach their peak with double-dealing closer Lighten The Low. Languid, detached guitar lines and devil-may-care vocals become frenetically at odds with the simmering, majestic chorus.  
Following the release of their eclectic garage pop debut, their explosive live shows gained notoriety across the globe, captivating audiences in small clubs and larger venues alike. The band's wanderlust has been rewarded with slots at Best Kept Secret (Netherlands), Dour (Belgium), Reeperbahn (Germany), La Vieilles Charrues (France), SXSW (US), and The Great Escape (UK).

Rejuvenated and ready to show their teeth, Bombay have become a more dynamic stage spectacle than ever before. 

Bombay is:
Mathias Janmaat - vocals, guitars
Gijs Loots - bassguitar
Lisa Ann Jonker - drums 

I'm Almost outta Mins So Follow Me here https://soundcloud.com/kingfaxsgore
Heya Welcome here is my Team (AKA THE DREAM TEAM)
Gaster Master https://soundcloud.com/triggeredtea https://soundcloud.com/6gaster6master6
Eric Undertale https://soundcloud.com/erictwo https://soundcloud.com/Ericundertale3
Q&A 
1
Q: Are You A MegaloSans Or MegaloChara
A: Well I Dont Think MegaloVaina is Chara's Theme I Think Megalo Strikes backs Fits More With Chara So megalo is Sans Theme
2
Q: How Old Are You *Lenny Face* 
A:I Usually Lie That im 15 But Im No Saying my real age you Perverts
3
Q: Your Music Suks And U Suck
A: And You And You're Music Swallow 
4
Q: Wow This Is Awesome Do You Take Request
A: Wow im Flattered But No I Dont usually Do Request BUT If im bored And Dont Know What To Make I would Ask people for request for music

 Listen to my 'CRIB RADIO' :
For some straight up DISCO-SOUL JAMS!!!!!!
http://www.crossfaderstudios.com/prochatrooms/index.php?roomID=1
I-phones & Devices:
http://tunein.com/radio/Crib-Radio-with-Jay-Negron-s229167/

 
You can Download the shows here:
 http://ajskidiscomix.blogspot.com/

BIO:
* What is your full name?
Juan Jay Negron 

* Where and when were you born?
July 1956 in TheBronx, NY, USA

* When did you get bitten by the Disco bug?
I always liked fast music with a beat. That started when I was a youngster. I started collecting records at the age of 6. No slow songs, They were all fast with a beat.
(Chubby Checker, DeeDee Sharp, Joey Dee & The
Starliters)
When Disco came out, I was already in.

* How come you started DJ'ing? Was it something you wanted to do, or did
it just "happen"?
It sorta just happened thru my love of music. Let me explain.
When I was a kid (ages 6-13) I used to study radio.
I used to study the DJs; Dan Ingram & Frankie Crocker were my favorite Radio DJs.
At college (1973) I was a Radio DJ at the Lehman College radio station WHLC 590 AM.
I was 16 yrs old and even playing hookey from class to do my show.
It was an uptempo R&B/Funk/Rock show. (Motown/Philly Sound/Rare Earth/Santana)
Eventually I was dropped from school for non-attendance, and the show died with it.

During the next year I met a neighborhood guy named Paul Solari, who was actually a club DJ.
He passed the corner where I was playing my latest cassette featuring some home made edits
of some current hits. ("Masterpiece" by The Temptations, "Jungle Fever", "Living For The City", "Mighty Love")
He liked the edits. He invited me to come to the club and I jumped at the invitation.
Soon he was showing me his craft--beat mixing---Gerrard turntables with no speed control.
He taught me everything, BPM, mixing during the intros & not the vocals, segue, double-copies,
self made extended versions using two 45s. He taught, I listened and got real good at it.
Paul became my mentor. We would spend 18 out of 24 hours together rapping about, disecting, listning to, debating
about MUSIC.

* Who was the first DJ you heard?
The first Club DJ I heard was at a place on W.81 st & Central Park West in 1971.
I was 15 years old and snuck in the club with a false ID. I paid $5 and they gave me a ticket to get a drink--->in the bar next door!!!
The club didn't serve liquor.
It had all kind of different color lights, strobe, and people dancing wall-to-wall.
I immedietly was excited.
He was playing "Funky Nassau"---and that's the first thing I noticed.
I said to myself, I have that record home.
Then he played "Get On The Good Foot" by James Brown.
I said, WOW, I have that too.
I wound up having over 75% of the music he played and that was a boss feeling.
I said to myself, I could do this too.
So I spent the rest of the night watching him go from song to song, using a toggle switch.
No mixing---no cueing---No headphones.
Crowd was screaming to his selection all night.
At the end of the night, I thought, I've got to do this again.
I got bitten by the bug.

* Did you have any DJ "mentor(s)" or someone who influenced you? Some
comments on them?

My mentor/teacher was the man previously mentioned, Paul Solari. I was so young 16 & 1/2 years old so he had to teach me everything:

How to act, how to behave with bosses, who to respect at the club, who to keep away from, etc.

In addition what songs do the club like & don't like.

My taste at the time was very soul, pop & funk orientated.
I didn't know about the 'underground hustle music'.

He taught me that also.

* Could you name some of your personal favorite DJ's of the Disco era?

My absolute favorite was Walter Gibbons.

We used to go to Galaxy 21 after work to listen to him spin. Our clubs closed at 4am---Walter would be getting warmed up around that time. He would go until 11am sometimes. He had his own 'home made' remixes that he would play. He also worked on a 'tri-amp' system in which he would have separate volume controls for the bass, treble, & midrange.

He would work the controls in & out to make a different sound everytime he played the song.

It was incredible. He once played the break from "10%" and "Disco Party" back & forth, changing the bass, horns, & highs in & out, song to song; the place went nuts!!!!

Another DJ I loved was Francois Kervorkian.

He would take chances and be very progressive with his music. At 5am with the crowd screaming on he switched genres and went from "Super Freak" to "Bedsitter" to "Cake" to "Start Me Up" and back to
'D' Train. The crowd screamed even more. And he has remixes no one had. "Bedsitter" & "Cake" were a couple of them--->took me 2 months to find. (imports)

* What do you think made you a top DJ? Any specific skills, special
technics or...?

I didn't invent the wheel or anything. I like to spin with momentum. I don't like to keep it on the same plane. I like to be progressing to an emotional upswing. It has to keep going up or it has to change.

If I see people on the dance floor getting bored even a little, I will change the music completely and start over. I want them hooping & hollering; havin' fun.

Another thing that made me a lil different is that I liked to have my own versions of the top songs. I made lots of plates at Sunshine Sound and even more on reel-to-reel or cassette.

* When did you start DJ'ing? Which was your first gig and how did you get it?

Paul Solari, my teacher/mentor gave me my first gig.

It was at 'The Last Laugh'--it was latin night - Thursday night and I had to play in between The Joe Cuba Sextette, a very popular salsa band from the late 60s. I was young & nervous and Paul would not be there--I was on my own and I did well.
I remember playing "Love's Theme" for the 1st time that night and people asking me "what is that song?".

I knew I was there to stay.

The first 2 places I worked at (Last Laugh & The Playhouse) was very Mob orientated places. I was young & naive to this fact. An older gentleman asked me to play Frank Sinatra; I then told him that I didn't have any and we don't play that here anyway. (I told him with the boldest face that a scrawney 17 year old could muster up)---The boss was there 10 minutes later looking in the closet for an old dusty Sinatra LP that he had stashed just in case; he was very very nervous as he pleaded/ordered me to play it. I naively asked him why? The people will stop dancing. This was at the height of the night. He was shaking at this point and said "Just do it NOW!"


* Have you ever worked with something else - Or is DJ'ing your life?

I've had different great jobs in my life.

I was a bus driver for the New York City Transit Authority for 10 years.(self-explanitory)

and I was a case manager/court liason for NYC T.A.S.C. {Treatment Alternatives for Street Crime}

I assessed defendants in prison for admission into various residential drug treatment programs.

That went on for 10 years.

I had my own problems with addiction.

With the help of Narcotics Anonymous I finally delt with my own demons. One day at a time!!!!!!

* Which clubs (and years) have you played?

The Last Laugh was my first in 1974.(3 months)

The Playhouse was 1975-1976.. (18 months)

Act III was 1976. (4 months)

Tropicalia was 1976-1980 (3 & 1/2 years)

Pegasus was 1980-1982 (18 months)

The Roof Top was 1984. I played there for 3 weekends until I was fired for partying in the booth. (I won't get into it here)

Any favorite club of those?

Obviously Tropicalia 'cause it was the most famous & beautiful club. The Playhouse because I was so young and could play ANYTHING there and they loved it!

* Would you say there Was a different crowd in each of the clubs? Were
there songs that were floorfillers in one club that didn't work in another
club?

Absolutely---In the Bronx, I was well known. People would come to hear me play & to hear NEW music. That was easy. Once I went into Tropicalia in Manhattan, an established club, they didn't care for what I used to play in the Bronx and wanted to be entertained in a different way. They were like 6 months behind in the music, and I had to adjust BIG TIME!!!

When I got to Tropicalia they were into "MIDNIGHT LOVE AFFAIR", "LADY BUMP", & "TRY ME" and in the Bronx we were over those songs already. So I had to get the crowds favor by playing their favorites while training them to like newer music at the same time.

I worked there 5-6 nights a week so it was easy but still a task. Took me the better part of a year to do this. Ask Louis Pegno, who was the doorman. He would see the frustration in me from time to time.

* Can you name some special "anthems" for some of these clubs?

The Playhouse: "ZING WENT THE STRINGS", "DATE WITH THE RAIN", "LA LA PEACE SONG", "WHEN THE FUEL RUNS OUT", "LOOK ME UP", "HONEY BEE"

Tropicalia: "DISCO PARTY", "TEN PERCENT", "DEVIL'S GUN", LOVE & KISSES, "THIS TIME BABY", "MAGIC BIRD OF FIRE", "I FEEL LOVE", "B-2"

Pegasus: "JUST A TOUCH OF LOVE", "JUST A LITTLE BIT OF JAZZ", "I'LL DO ANYTHING FOR YOU", "I'M IN LOVE", "AND THE BEAT GOES ON", "LOVE IS THE MESSAGE", "HEARTBEAT", "GIVE ME", "NIGHTS, FEEL LIKE GETTIN DOWN"

* Any comments or special memories from these clubs?

So many memories!!

Like the time Peter Martins the owner of Tropicalia threw George McCrae out of the DJ booth & club because he wasn't dressed properly (he had a jeans suit on)--Peter thought he was one of my friends from around the way. George was bringing me his latest 12" "LOVE IN MOTION / GIVIN BACK THE FEELIN"

At The Playhouse we booked The Trammps to play live on a saturday night in '75. We thought it would be 4 dudes lip-singing to their hits like American Bandstand or Soul Train. I mean they only has 4 singles out--no album yet--they were pretty cheap to get--only $1100 total for 2 sets.

They came with a 14 piece band--2 vans full, complete with a baby grand piano--they did ALL the Philly Sound hits to perfection: "LOVE TRAIN", "TIME", "BACK STABBERS", "THE LOVE I LOST", "SATISFACTION GUARANTEED", and their 4 singles:

"ZING......", "WHERE DO WE GO FROM HERE / SHOUT", "LOVE EPIDEMIC", & "TRUSTING HEART".

They even did "SEXY" (MFSB's hit at the time).

I was pleasantly shocked!!!!! (for days)


* How did you land your first residency? Which Club was that?

The Playhouse was the first where I was the house DJ.

Paul Solari got US the job; we were partners.

He was like my agent, he did all the talking, all the negotiating, all the scheduling.

The other clubs I got on my own, thru the owner visiting where I was working (Tropicalia) or auditioning (Pegasus).


* Can you tell more about the Tropicalia? The Club, interior, DJ booth, location, bars and so on...

Tropicalia was beautiful. Mirrored walls. Silver shiny dance floor. Very elegant. DJ booth was not huge (one huge step up from the dance floor), but I could fit 3 crates of records in the shelves so it was ample. When you walked in the bar was to the left, tables to the right, bright colors all around, very elegant. Then the back room was huge & dark--flashing lights bouncing off the mirrors & dance floor--it was very hard to see.

* What about Pegasus, where were it located? What did you do when the
building were sold, did you quit DJ'ing, or?

Pegasus was on 2nd Avenue between 63 & 64 street.

I had to earn respect there. I was the only white person in a black club, so on appearence I didn't have much credibility at first. Only the backing of the floor manager who hired me. It took a few nights but I settled in nicely. I knew I was in when the bartender, a LL fan and Paradise Garage member, gave me the thumbs up!!!

When Pegasus was closed I didn't look for a DJ gig right away. The music was changing and the atmosphere was changing. I knew I just couldn't go to ANY club and play what I played to any crowd. Disco was split up to different factions in 1982.

Freestyle & HiNRG clubs abounded where "Funkytown" & "It's Raining Men" & "So Many Men" were must plays and I didn't want to do that.

The clubs that I could play freely were few & far between; and they were taken up already by new & hungrier DJs. Like I was when I was 17-20 years old.

Now I had a full time job (bus driver, paying me well with medical benefits) and I was happy doing private parties once in a while. That's when my problem with addiction went into full bloom. (I missed alot of songs between '84-'90)

* Since you're one of the classic "Disco-DJ's" - have you got
any comments on how the DJ was regarded in the beginning and how it has changed during the years?
Also, any comments on the techniques, equipment and stuff like that?

In the beginning the DJ was the guy who broke the music. In The Playhouse the crowd EXPECTED me to play all the BRAND NEW HOT music at the height of the night--1am. They went there for that. Up to 1980 the DJs ruled. After that Radio ruled. The dancing crowd listened to Disco Radio that would play the same 20 songs and would start expecting the DJs to do the same----and a lot of DJs did. There were many DJs that got good gigs being human juke boxes and that ruined it for many.
Many club owners concerned with business only would hire a DJ that would cater to the radio crowd.

If a DJ balked, he would be 'out' and the owner would hire someone that would.

There were clubs that played 'progressive' but were few and far between.

* Which music is the easiest to mix?

I guess the newer music is because the breaks are prevalent and the beats are constant, but if you are not careful what you program, 'like sounding beats' can get pretty boring. You can be technically the best mixer and have a pretty boring set. It's not always about the mix. It's about the atmosphere & the music you play.

* Easier or harder to mix back in the Disco days compared to today?

Easier to mix today, but harder to judge a dance floor.


* How
would you describe your playing style? Any "trademarks"?

Like noted above, momentum, drama, emotion, & happy music.

* Do you remember/can you tell which was your best gig ever?

Tropicalia & Pegasus are tied.

I could play the new mixed in with the classics at any given time.

* Do you or did you know many of the other great DJ's of the Disco era?

I seen most of them at the record pool (99 Prince St.)
I generally kept with myself & my friends Paul Solari & David C.

David had 2 nights at Ipanema, and then a residency at Coatails Disco.

*Have you got any comments/memories/info about them?

No we did not keep in touch. I have reunited with Paul thru this site. We are in touch now constantly; trading music & reminiscing

* Many Disco DJ's went into remixing as well - have you ever been
remixing?
Only private remixes. Nothing released.

* I know you did the "Hollywood Dub" acetate, did you do other
mixes/remixes as well?

I've done many on acetate (Paul has them all) and on Reel & cassette. The story about the Hollywood Dub is on Disco Patrick's website.

http://www.discopatrick.com/home/14-jay-hollywood.html


* Can you tell how you worked when creating these remixes? And what drove
you to do them?

Mostly Me & Paul were inspired by Tom Moulton & Walter Gibbons. They didn't change the music. They just wanted to get the best part of the song longer & better suited for the dance floor. And that's what I did.

* What about Record Pools- Which did you belong to and when (how long)?
Did you recieve much records from them? Most records you got in a
day/week?

First before the Record Pools, Me & Paul used to go to the record companies to get product. Each company had mostly the same DJs getting music. Then Billy Smith the promo guy of 20th Century Records circulated his list that most of the companies adopted to be "the list"---if you was not on the list, you wasn't getting any music.

I was a charter member of the first record pool called "The Record Pool" at 99 Prince St. It was run by David Mancuso, David Rodriguez, & Steve D'Aquisto.

After politics was going to tear the pool apart many DJs went with Judy Weinstein's "For The Record" run by Eddie Rivera, the 'Cork & Bottle' DJ.

I went to LI Disco DJs run by Jackie McCloy. I knew him and I knew he ran a tight ship. None of his DJs were bogus. The most records I got in a week was around 50 with an average weekly pick up of 35. Only a few were good---lots of BS music being pushed on us at the time.

* Which other DJ's was members of the same Record Pool, any one of them
you were good friends with?

I wasn't "good friends" with any, but I used to pal around with Bacho (everyone did)

* Have you still got your DJ record collection? Or have you sold it off?

I still have most of my records---I used to give at least 100-200 discs away each year ('77-'00)---I figured if I didn't play them, I didn't need them. I was foolish. Wish I had some of 'em back!!--I still have about 2,000 discs behind my couch.

*You must have got a HUGE (and GREAT) collection if you've kept all your
records
during the years.

I kept the cream of the crop.

* Could you name some of your favorite Disco songs? Like some kind of Top
Ten or likewise...

That's always hard! ok, today it's:

"DISCO PARTY"--"10%"--"MY LOVE IS FREE"--"HIT & RUN"--"DOCTOR LOVE"--"DREAMING A DREAM"--"THAT'S WHERE THE HAPPY PEOPLE GO"--"BAD LUCK"--"MAKE IT FUNKY"--"HEARTBEAT"

Did I tell you that I love the Philly Sound??


* Did you like Disco music during that era, or was it just a job? (Since
you were a DJ I guess you liked it !)

It started going bad for me when real commercial bubble gum songs (to me) started being real big hits: "FUNKYTOWN", "IT'S RAINING MEN", "SO MANY MEN", Viola Wills, all the freestyle sounding the same drove me away for awhile. When HOUSE, which I see as a direct decendant of Disco, came on I got interested again. Artists like Ten City, Jamiroquai, C&C, & Incognito brought it back for me.

* If you could choose one Disco track that would describe you, which track
would it be?

"DISCO PARTY" The Trammps.

"you only go around once in life, and it's about time you have some spice; all work & no play makes a very dull day, yea,yea, yo, yaaaaaaaaaaaaaaaaaaaaaoh!!!"

* What kind of music do you personally preffer?

Music that moves me---mostly Disco/House/Funk with momentum.

That narrow it down for you??

I just LOVE music.


* Since you DJ's helped launching many fine artists during the years...
Any special ones you wanna mention?

The Trammps, I told the story above.

* Do you still know or have contact with any other of the old Disco
acts/divas/DJ's from the late 70's early 80's?

None;
Barry White used to hang in Tropicalia every Tues & Weds; He used to have his own table in the corner and would hate when he heard his songs played.

Ashford & Simpson lived across the street from Pegasus and would bring me their latest projects when they would be ready to release them.

Phyliss Hyman used to come to Pegasus all the time.

I am in touch at least every week with Bobby Vitteritti, Lary Sanders, Danny Pooch, and of course my main man Paul Solari; we have become 'best friends' again after all these years!!!

* Anything else you can think of that you wanna tell me about? All
information is very welcome, some fun happenings....
My life is wonderful now. I have a sweetheart (My Patty-Ann) that shares my life & love for this music (not as crazy as I am) and I have my CRIBS RADIO Show with hundreds of listeners where I share my music & my thoughts with on a weekly basis.

WHO GOT IT BETTER THAN ME??????!!

 

Greatings

I'm Giovanni mendoza a young Electronic Music Producer and a big dreamer.
I hope you listen my music and have a good time.

I used to have the same description since 2013, so yeah i'm lazy hf. But I'm rebranding everything now...

Jamie Webb aka 'Weblet' began his romance with electronic music in 2006, experimenting on Fruity Loops with beeps, bops and bass. It was love at first kick, and he feverishly transitioned to Sonar to challenge himself to create 145bpm full on dance floor stompers. But over the years the onslaught of psytrance producers and getting a little bored with the lack of directions in which to take it in, he now focuses on a more playful 130bpm groove, giving him a fresh take on music and a greater spectrum of sounds to play with. Armed with this new style - a unique genre bending blend of electro, breaks, dubstep and a garnishing of psychedelic - he becomes a puppet master, ordering punters to wiggle their extremities in all sorts of directions. In the six years he's been performing he has had the honour of playing alongside Australia's most compelling IDM music producers. Inspired by this multitude of talent, he has made it his incessant quest to create mind melting sounds and bowel rumbling bass, so he can (and has) increase the prestige of the collective Australian electronic music scene.


Bookings / remix requests : 
weblet86@gmail.com

UP COMING RELEASES:

Colour - government advice (weblet rmx) 
sequential sounds - Sydney

Weblet - Another kick in the face 
sequential sounds - Sydney

RELEASES:

Weblet - Random input E.P
http://www.beatport.com/release/random-input/972562

Titanoz – kdabra (weblet rmx)
VA – Burn up Vol 1. (burn up records)
http://www.beatport.com/track/kdabra-weblet-remix/3493170

Weblet - People Juice eater 
VA - Breakfast of champions (Morning Monsters Records) 
http://beatspace-morningmonster.bandcamp.com/album/breakfast-of-champions-v-a-morning-monster-records

Weblet - Cynicism 
VA - Up & Atom (up records) 
http://uprecords.bandcamp.com/album/free-v-a-up-atom

Weblet - Wake and Bake 
VA - Regeneration (regen records) 
http://beatspaceregen.bandcamp.com/album/regeneration-v-a-regen-records

Weblet – The pants alternative 
VA - Shamanic Icaro (random recs) 
http://en.equaldreams.com/randomrecords#album1065249

Weblet – Blood spatter 
VA – Serendipity (Soundkraft rec) 
http://www.beatport.com/release/serendipity/819323

PREVIOUS GIGS: (2011-2012)
Fungus among us (Seq) 
Southern oracle (Seq) 
2 x Deep space parties (Seq) 
Botanical mechanical (Coffs harbor) 
Rabbits Eat lettuce (Coffs harbor) 
Bushed As (Sydney) 
Royal doof (Seq) 
Warped psymensions (nnsw) 
WIGGLE-WHOMPA (coffs harbor) 
Seq earth dance (seq) 
Spring-Loaded (seq) 
Epic Concoption (Melbourne) 
Snafu (Sydney) 
Wattle We Do (seq) 
Elementree (seq) 
Two-words 10/12 (nnsw) 
Peats ridge music festival (Sydney)
Yez Please
Rabbits Eat lettuce
Progressions of freedom
winter solstice
Electrick Plants - June
SUBSONIC SOUND - July
CHARITY DOOF - August
TWISTED ENERGY - September
MECHANICAL BOTANICAL 2 - September 
MANIFEST QLD - September
TRIBAL DAZE - October
bump in the night - October
LOST THE PLOT - October 
electric boogaloo - 15th dec

UPCOMING GIGS: 
rabbits eat lettuce (coffs)
forest vision (newcastle)
subsonic sound 2 (nnsw)
psyfari (sydney)
lost the plot (melbourne)

LABELS:

Social Security Records
http://www.facebook.com/ssrecs

Twisted Lotus Records
http://www.facebook.com/TwiztedLotusRecords

Another Psyde Records 
http://www.facebook.com/pages/Another-Psyde-Records/135328736485730

Sequential Sounds
http://www.facebook.com/SequentialSounds

arkona-creation
http://www.facebook.com/ArkonaCreation?fref=ts


Monroe Kenton is following