Tujamo & Kelvyn Colt - Taking You Home (OUT NOW)
http://umg.lnk.to/TakingYouHome


Spotify: bit.ly/SP-TUJ
Apple Music: bit.ly/AM-TUJ

TUJAMO is light years ahead of the crowd. His timeless collaborations with the likes of Steve Aoki, Dimitri Vegas & Like Mike, Kid Ink, Taio Cruz, Salvatore Ganacci & Laidback Luke amongst others have given him a global sound that inspires hundreds of producers around the world. He has racked up 500+ million streams on Spotify and 4.1+ million listeners per month, has reached the Beatport #1 spot 14 times, scored 33 Beatport Top10 tracks, and gained the #1 spot of Beatstats’ “Top Electro House Artists” all-time chart. TUJAMO has remixed Justin Bieber, David Guetta, Tiesto, Major Lazer, Skrillex & Diplo, Nicki Minaj, Robin Schulz, Lil Wayne, Hugel and has created some of the most memorable tracks in dance music like Boneless with Steve Aoki and Chris Lake (with 500,000 sales that mammoth track reached Gold in the US and Australia, and Gold and Platinum in Canada), Drop That Low (When I Dip), Booty Bounce, Who and Riverside (Reloaded). When he’s not releasing anthems, you’ll find TUJAMO touring the planet behind the decks of the world’s premier clubs and festivals including Tomorrowland, Ushuaia Ibiza, Green Valley Brazil, Pasha Ibiza, Untold Festival, Webster Hall New York, Lollapalooza, Cavo Paradiso Mykonos, Zouk Singapore, Bootshaus Cologne and many many more. Playing so many gigs a year, TUJAMO has cultivated a ubiquitous sound, edging his way higher and higher into the DJ Mag Top 100 DJs list (up 3 spots to #43 in 2019). With 200+ days on tour, more than 10,000 minutes on stage, and 6 and a half circumnavigations of the globe a year TUJAMO has manifested his own unique signature sound, gaining an ever growing fan base all around the world.

Hello this is the new Profil for Audiodoc..  The show must go on!!!
So i will continue my journey towards the stars by making music for the free people as a freelance producer...

The genre will be some kind of
Future Progressive Vocal Psytrance
Tempo around 140-144 Bpm

I Always make music in 432Hz 
Musics which resonates with the universe much better and which we have much better from listening to..
Enjoy the ride!!
Audiodoc

My new Album 'SEROTONIN' is out now: https://armada.lnk.to/Serotonin

✉️ mgmt / row: weska@rodaartists.com
🌐 bookings na: eve@analog-a.com
🗓 bookings eu: alex@miraclemgmt.com

https://weska.komi.io

Follow my official playlist: https://c.alokmusic.com/spotplaylist/thisisalok

Shows:
Brazil - contact@alokmusic.com
Europe - Tom Schroeder tom.schroeder@teamwass.com / Nick Matthews nick.matthews@teamwass.com
North & South America - Rob Markus:  rmarkus@wmeagency.com / Jonas Schumann: JSchumann@wmeagency.com
Asia: Samuel Wald: SSW@wmeagency.com

Always one step ahead, Bart Skils stands as a defining force in the global techno movement. Celebrated for his dynamic, driving DJ sets, he crafts seamless journeys of rhythm and energy—each performance marked by his unmistakable rolling groove and intuitive connection with the crowd.

A cornerstone of Adam Beyer’s Drumcode Records, Bart has produced some of the most iconic releases. Tracks like “Your Mind,” “Roll the Dice,” and “Universal Nation” have become modern techno anthems and staples of the genre cementing his reputation as one of the scene’s most consistent and forward-thinking producers.

His remix work for electronic pioneers including Underworld, Moby and Sven Väth showcases his versatility and deep understanding of the dance floor and essence of electronic music.

From underground basements to the world’s biggest festival stages, Bart Skils continues to push boundaries and evolve his sound. With an ever-expanding tour schedule and a catalogue of impactful releases, he remains at the forefront of shaping the future of techno worldwide.

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.

MGMT: aaron@crisp-music.co.uk / kieran@crisp-music.co.uk

Bookings: 
UK & ROW: michael.harvey-bray@teamwass.com
North America: bshprits@teamwass.com

Leeds/London.
1997.
prospauk@yahoo.co.uk

vickstar21 is following