If you want to see me perform in your city text 'live' to 708-734-6086

MGMT- dan@goodluckhavefun.media

I´m Ramstar, a Dj & Producer who tries to make the difference. Here you´ll be able to find my own electronic music creations and download them for free. Their commercial use is forbidden. Peace! 
Contact : cdjram@gmail.com
Gratefulness to : 
- BreakingCopyright : https://soundcloud.com/breakingcopyright
- iCrashCopyright : https://soundcloud.com/icrashcopyright
- NightCoreFC : https://soundcloud.com/nightcorefcp
- xKitoMusic : https://soundcloud.com/xkitomusic
- KillTheCopyright : https://soundcloud.com/kill-the-copyright
- KyraPromotions : https://soundcloud.com/kyra-promotions
- YaFueCopyright : https://soundcloud.com/yafuecopyright

www.facebook.com/jrabbitmusic
www.twitter.com/jrabbitmusic
snapchat/IG: jrabbitmusic

contact: info@thrivemusic.com
booking: alex@warpathgroup.com


JRabbit first came into the scene in 2009, with his remix for B.Rich on Party Like Us Records. Shortly after he began working with Reidspeed and her label, Play Me Records, first with the ep I'm so Happy. Then again in 2010 with the Mustardayonnaise EP done with contributing artist Tremourz. He worked with Tremourz again in 2010, with his break through single, Sexy Party. The song gained lots of support from acts like Bassnectar, Excision, Skrillex and many more.
In 2011, JRabbit finished a bootleg of Benny Benassi's classic song, Satisfaction. The song gained lots support from acts such as Diplo,Laidback Luke,Benny Benassi and many more. The song's popularity lead to it's eventual, official release on Ministry of Sound's The Sound of Dubstep Vol. 3.
In later 2011, JRabbit joined Skrillex on his Mothership Tour. Playing alongside 12th Planet, Nadastrom, Dillon Francis, Knife Party and more. The tour covered the United States and Canada and was described by many "unforgettable" and "ground breaking".
In 2012, JRabbit started to blend genres, starting with his Ninja Step EP on Play Me Records. He had other successes with EPs and remixes in 2012 and a single on OWSLA but his next two breakthrough tunes, were his moombahcore bootlegs of Fresh Prince of Bel Air and Del the Funky Homosapien's Mistadobalina. Which gained lots of dj support and attention.
Also in 2012 he toured with Flux Pavilion and Brown and Gammon, on Flux's Standing on a Hill Tour and with Sluggo and Helicopter Showdown on the No Hostages Tour.
Later that year, JRabbit remixed Korn's Narcissistic Cannibal, which was a collaboration with Skrillex, Kill the Noise. The remix was later featured on UKF.
In early 2013, he tour with Big Chocolate on their American Hustle Tour.
he began to blend genres even more with releases on Buygore and Dim Mak. Also with remixes for Ali Love, Flinch, Helicopter Showdown and more. In the summer he released a bootleg of Tequila which gained huge support and popularity both online and at festivals. Now with over 4.5 million views on youtube it has not only become a jrabbit classic, but a staple in trap remixes.
In 2014, JRabbit toured with Terravita on their "Rituals Tour". Shortly after tour, JRabbit released an EP with Slow Roast Records, "Peyote Soda EP".
Now in 2015, after a brief hiatus, due to personal matters, JRabbit has teamed up with Thrive Records and is wrapping up his debut house album. "Give it to Me", the first single from the album, has been scheduled for release 6/30/15.

@siximpala

2023 DRUM KIT https://scriptmusic.bandcamp.com/album/script-drum-kit-2023

scriptmusic.bandcamp.com


script.impala@gmail.com

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

I'm an electronic music artist from the USA! I like to use Vocaloid and other virtual synthesizers for stuff. 
Email: circus @ vocacircus . com

Bang The House - You've just found your new Home! 

Demo Submission: https://daimoon.market/submit/1714049525/bangthehouse


Have some cool vibes with Bang The House

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