2024 part II

Stream now 'Jusqu'ici tout va bien' : https://okvsho.fanlink.to/jusquicitoutvabien

The two brothers from the Okvsho Duo grew up in the city of Zurich with influences from oldschool classical beatmaking to the Modern Jazz Scene, Funk and Neosoul. Their Balkan origins and their Brazilian percussion experiences truly inspired their music. The Orange Wine EP, their first release on the label record Hip Dozer, seems like a logical new step for the duo. Jusqu'ici Tout Va Bien' is a smooth and groovy jazz beat adorned with live saxophone recordings, tropical drums and a beautiful round bass giving the song an undeniable groove.

Orange Wine

Jusqu'ici tout va bien

Stream

OKVSHO - Jusqu'ici tout va bien

BK Swing

The Color of Sound

Kareem Ali - Rise Up

Taken from 'Ten Fold', released 10 May 2024 on Big Dada: https://yaya-bey.lnk.to/ten-foldSo

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sir princess bad bitch

Beyonce - Texas Hold Em - Geo Mcd Remix

La Motocicletta

Days

Beyoncé & Miley Cyrus - II Most Wanted (Edson Pride Circuit Remix)

How could you picture summer without dublon ?  He's back with his new single 'Alsace'. The Norwegian producer kicked off 2024 in style, garnering massive support from streaming platforms and doubling his audience on TikTok. Seen as one of the rising stars of the electro-jazz scene, he's set to cement his status with this new track, blending house rhythms with piano notes worthy of the finest wine bars.


Alsace

dublon - alsace

After much demand from my supporters on TikTok Lmao!! I decided to my my Edit to "RIIVERDANCE" from the Grammy Award winning "Cowboy Carter"

Beyoncé - RIIVERDANCE [Ricky Belfort Edit]

After days of sleeping less than 4 hours and juggling work and this project, I finally finished it. IF YOU REPOST, PLEASE GIVE PROPER CREDIT.


Edited audio with no intention of profiting from the artist's work. All rights reserved to her, and full credit goes to her. I created this remake not for profit, but as a hobby and a form of escape during life’s exhausting moments.

BEYONCÉ - AMERICA HAS A PROBLEM & SPAGHETTII (COWBOY CARTER TOUR | INSTRUMENTAL VERSION)

Beyoncé - BODYGUARD / CUFF IT / HEATED / Before I Let Go (Cowboy Carter Tour Studio Versions)

I was seventeen when I first heard the disco music.
Not with my ears—with my ribs. It came through the floorboards of the abandoned pier, a heartbeat stolen from the sea, and it said, Hello, you.
I had come to forget.
My brother had died the week before—motorcycle, rain, a curve that didn’t forgive. I carried his last text like a shard under the skin: “Look up tonight; I’m borrowing the stars.” I couldn’t look up. The sky was a mirror, and I hated what I saw.
So I walked until the town ended and the pier began, where the boards were soft with rot and the air tasted of rusted love letters. That’s when the bass found me. Boom-boom-boom. Not loud—low, like the earth clearing its throat. A single bulb flickered in the rafters of the old dance hall, swinging in a wind no one else felt.
Inside, they were already dancing.
Shadows, maybe. Or memories of wearing other people’s faces. A girl in a silver jacket moved as if her spine had been replaced by light; every step rewrote gravity. She saw me, smiled without curiosity, and extended a hand that hummed like a live wire.
I took it.
Instantly the grief inside me was rearranged into 4/4 time. My feet learned a language older than sorrow. We didn’t speak—why ruin perfection with nouns?—but her eyes said, Even if life is hurting, things that happen don’t mean a thing. A thing? Nothing. And somehow that was comfort enough.
Hour after hour we chased the stars across the warped parquet. The bulb above us burned hotter, shortening its life so we could lengthen ours. Each time the DJ—faceless, ageless, probably dead—lifted the needle, the room inhaled. Each drop was a resurrection. Louder, louder, louder, get us higher and higher.
I remembered my brother teaching me to tie my shoes while he hummed a tune he’d stolen from somewhere neither of us had been. “When the music’s loud enough,” he’d said, “the dead can dance without feet.” I’d laughed. I wasn’t laughing now; I was sweating stardust.
At 4:47 a.m. the bulb popped. Darkness swallowed the hall in one gulp. The music didn’t stop—it simply moved inside us. I felt her heartbeat through our joined palms, a second tiny bass drum. She leaned close enough for her breath to become my bloodstream.
“Hello, you,” she whispered. “Time to go.”
I understood. Every waltz with the past has a last step. We walked to the edge of the pier where the water below was busy forgetting the shape of the moon. She kissed my forehead—electric, summer-breeze goodbye—and stepped backward into air. No splash. Just the echo of hello rippling outward forever.
I never found the dance hall again. By daylight the pier was a skeleton, condemned, humming only with gulls. But on certain nights when the hurt grows teeth, I return in the dark. I lay my hand on the splintered railing. The bass answers, faint but faithful.
And somewhere between the thumps I hear him—my brother—laughing in the language of vinyl and vinyl-spinning stars. “Look up,” he says. I do. The sky is no longer a mirror; it’s a dance floor.
And I move.
Not much—just a sway, enough to keep the chain of love from kinking. Chain. Chain. Chain. I whisper into the black, Hello, you, wherever you are.
The stars, bless them, blink back in perfect 4/4.


I’m watching the stars above me,
I am dancing now and at least,
Even if the life is hurting,
Things that happen don’t mean a thing.
A thing? Nothing.

Look at what we did with the wrong.
When we sing a song like that song,
That it gets us feeling better, better.
I can see the hope in your eyes.

In the hush of the summer skies,
Scenes of the past, friends of old times.
Hey! See your life flashing before the lights,
When they make the music louder.

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#brightbrassstabs #uplifting #euphoric #steady #4_4beat

Hello, You! (Feeling Good)

Artemio — A Funebra™ Chapter
Guitar meets theory. Emotion meets math.
One source, many faces.

A trilogy in motion.

happy holidays (Housel)

Buy now: http://smarturl.it/6rxjym

Last year Julien ‘Redeyes’ Salvi showed off his versatility on his Blueprints EP. He now takes it one step further with the release of “Broken Soul”, his first full length project for The North Quarter. Through twelve sincere tracks, the Toulouse-based artist showcases an action-packed storyline co-starring some of the most sought-after vocalists in the game. Not only do Manchester legends DRS and Tyler Daley make appearances, but there are also features by fresh NQ signee Abnormal Sleepz, HMD, KinKai and Juga-Naut as well as NY underground Hip Hop phenomenon Milano Constantine. Rap, Soul and dusty Jazz flavour is woven through diverse tracks in both tempo and intensity. The Redeyes signature shines bright however, effortlessly capturing current aesthetics and eclecticism. This album shows a veteran artist comfortable in his craft and is not just at home on Lenzman's imprint, it possibly signifies the quintessence of The North Quarter philosophy.

sir princess bad bitch

yaya bey

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