Needwant

Sean Brosnan Q&A

© Photography by Rob Jones (www.instagram.com/hirobjones)

Welcome back to Magazine Sixty, Sean. Let’s begin with the styles of music which initially inspired you growing up and how they shaped what you are about today?

There was always something about dance music that struck a chord for me, even from about 9 or 10 years old. I just connected to it and it was a golden era for popular dance music too with lots of tracks in the charts from the likes of The Farm, Blackbox, Adamski, Massive Attack – it was that era that grabbed me first and its never really let go.

Then at about 12 or 13 I discovered hardcore and I was an obsessive collector of the flyers and tape packs. Then I started buying 12 inches and I would travel all over the south to towns and city centre record shops (pre internet) Reading, Southampton, Basingstoke and sometimes London buying hardcore and what was to become drum and bass. Then by 15/16 I was getting into House and Uk Garage. The love for Disco came after, once I discovered all the records that I loved were actually remakes or sampled from disco records. Then it was like wow, there’s a whole other universe of amazing music.

I also just loved the culture of dance music, not just the music itself, but what it represents. I love the idea that anyone from anywhere and any background was into the music and sharing that passion. It didn’t matter if you were male or female, black or white, rich or poor – it was this unity over the music and there were opportunities to be a producer, create a party or start a magazine or label. I found that quite liberating and interesting.

Especially recently I try and remind myself of that passion and innocence. A lot can be discussed and debated about success in music, but if I take myself back to when I was in a record shop aged 13; I would drop the needle on a record or you would hear a snippet play and you knew after 1minute if it was special (or you had to gamble because they would sell out). I try and keep that excitement, that need for great records at the centre of what I do.

Your next Future Disco compilation: Dance Club features some nineteen tracks, most of which are vocal based. What is about the human voice and melody that stands the test of time?

I compiled this one in lockdown so it’s ironically called Dance Club. I wanted it to be a feel good party album, hence lots of vocals and an uplifting vibe. I wanted it to be the remedy to a year without dancefloors, to isolation and so it’s fitting that it drops just before we are allowed out in force the UK. I love the name Dance Club is just feels positive – a place where you can be free.

I’ve always loved vocals and songs too. Great songs live on through generations and while I’m a fan of a dub mix for sure, Disco is so much about great vocals and emotion, so I’m pleased to put together an album pointing in this direction.

Future Disco – Dance Club is out now via the Future Disco label.

We last spoke back at the beginning of 2014. What highlights and personal achievements are you most proud of over the last several years?

I started Future Disco in 2009 so that’s twelve years of albums. parties and records. I think the biggest achievement of the past few years has been moving Future Disco from purely compilations into releasing singles and soon artist albums. It’s a natural transition but to make that successful is an achievement.

As a label and along with the other labels I run, we’ve grown the team and the number of releases and I think the quality of what we do to.

Dance Club, is set to welcome back dancing again into the collective consciousness. While dancing together in a space full of people is undoubtedly a communal act do you think it is more about personal liberation, or does Disco/ House still have the ability to transform society? Seth Troxler made a recent observation of some European dance music being more cerebral than tuned to the body, do you think that’s true?

I think there’s always a balance and everyone responds differently to different music depending on their tastes or the time and place. There are some tracks that can move nearly everyone at anytime, that are so special. For me Disco is dancing. That’s what was so strange about lock down. Disco or even house music didn’t have the context anymore.

I’m not judgemental in terms of what makes different people move, as a DJ you are always trying to judge the crowd and what’s right in one environment won’t be right in another. Some of the best moments I’ve had DJing are at 5/6am and it’s a totally different mind set and a deeper musical output that’s required at that time.

In terms of transforming society, I’m not sure any music genre can do that now just because of social media and musical landscape. Saying that there’s no doubt that dancers have and can be a force for good and can make change. Like the points above I feel like dance music has changed society for the better with more acceptance and more creativity. If you think about many topics we discuss today Disco and Acid House were very progressive and I think a whole new generation will find their own way to be even more progressive, maybe in a more digital way too in the future.

Tell us about the album’s funky cover art?

About three years ago I worked with a very talented designer Simon Moore and we went on a journey to create a new look and feel. It felt like time for a refresh. We commissioned a photographer called Emily Cole. I think I found an image of glitter on the tongue and we thought why not give it a try. The day of the photo shoot it was about 40 degrees in this studio in Tottenham and the model couldn’t swallow for about 10 minutes. Top marks for dedication for the shot as I think it looks great and suits the uplifting party vibe to the album.

A criticism of House-Disco is that is feels stuck in a time warp repeating the same sounds, words and arrangements? How do you see it?

I’m not sure why we instantly fall in love with those 808 sounds, certain drum breaks, old strings or certain arrangements. There’s just something about an era of music that created certain sounds and then they become part of the fabric and a reference point for dancers. There are times, especially when going through demos you do think ‘give me something new’ but I think dance music is much like digital culture. You are taking the inspiration from the past and adding and morphing it with some new technology that’s available to you. But also paying homage to the past.

I think it’s harder with the internet for things to incubate. Dubstep and Grime, maybe the last big musical emergence and that was just before the internet and social media were big. But maybe we haven’t yet seen what the future holds for music, maybe in a purely digital environment it could get really experimental. I have a feeling that in the future, the next generation is seamlessly moving between online and offline worlds so I feel like there could be some mind bending trends coming from this in the next decade.

What changes, if any, would you like in club culture as a result of the fracture caused by Covid-19?

I would love to see everything less headliner driven. The obsession with one big DJ or act is a relatively new thing in dance music, fuelled by the EDM boom. There is nothing wrong with it as many people deserve to be huge. Yet sometimes it feels like it gets in the way of the party, the line ups become a bit similar and it’s harder for up and coming talent to break through.

I would love to see more local talent emerge. People to party in their communities more and build up a more local network around dance clubs. Big isn’t always better and I guess that’s one thing I hope may change. Also everyone just generally being positive and kind to each other. Thankful for what we do have and how lucky we are to dance again on the other side.

Likewise how would you like to see the industry reset in terms of how artists and labels generate income. How do you see the future in that regard?

The big talk is of NFT’s, hard to tell if that’s to stay or not, but that feels like a bit of a gold rush. I think it will remain fundamentally the same, so streaming and ticket sales. There are always new models and conversations but they tend to favour big artists with big fanbases so they have more options. If you are an unknown artist in particular, a label plays an important part in getting you out there.

I do really like bandcamp though, and I think the last year has shown anyone can sell direct if you have an idea, talent and the energy.

Outside of music which artists, writers, painters etc have inspired you most?

I’m definitely inspired by art, but more just immersing myself in it, rather than specific painters. I often feel like art is everywhere if you look for it. I have quite a lot of art in my office and house to keep me inspired.

Actually, it’s travel and places that most inspire me. I’m like a yin and yang, I like the city and countryside in equal measure taking inspiration from both. You can find me zipping round London but same time I love walking by the sea.

And finally. What are you looking forward to most for the remainder of 2021?

Travelling and seeing new places. Dancing and having a good time. Actually if 2020 has taught me anything just seeing some friends and hearing some music in situ will be great. 2022 mind you, I’m really looking forward to going to Ibiza, I’ve spent a lot of time there and I’ve definitely missed visiting this year.

buy https://ada.lnk.to/FutureDisco
https://futuredisco.net/future-disco-dance-club

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Kim Brown (Needwant) Q&A

KIM.BROWN.2.FZ.009Your great new single: Batteries Not Included features three tracks. Can you talk us through how you produced one of them?

With “Other People’s Space” it was an odd process. We had the tracks for the B-Side of the EP, but were lacking a proper A-Side. We never really liked sitting down, saying „Let’s make an A-Side hit“. It either happens or doesn’t. But as deadlines kept coming closer, we needed a solution. We had a track lying around for a while which had some elements we really liked, but couldn’t really make the whole thing work. So we kicked 90% out, put the focus on the bassline, added some nice chords and strings and pretty much finished the whole thing in a few hours. Maybe it wasn’t quite as easy as described, but we like to think it was.

Are there any plans to follow up on your debut album: Somewhere Else It’s Going To Be Good. If so, what can we expect to hear on it?

We would love to release a new album next year. But there are no specific plans. At the moment we’d like to collect ideas, improve our live set, see how the current releases work and so on. So we don’t really know what’s going to happen.

You have already released music on number of labels including Just Another Beat, Permanent Vacation and Freerange. How do you find the process of getting your music heard and then signed by labels in the digital age?

We have been in the fortunate position of not having to send out any demos so far. Just Another Beat is run by a co-worker and friend of Ji-Hun and so one thing led to another. All the other labels asked us for remixes or collaborations.
There are definitely a few labels we would like to be approached by, but we are probably somewhere in between shy, spoiled and a bit lazy to send them something.
And as you mention “the digital age”, of course it’s a lot easier to send someone a track these days and get a quick response.

How would you describe the Dance scene in Berlin at the moment? Any positive & negatives you would like to mention?

During the last five years, the club scene in Berlin became a financial and also a political factor in Berlin. The famous clubs became as important as typical touristic landmarks and as Berlin is lacking other economical sectors like banks or industries, clubs are nowadays accepted by the government. Tourists from all over the world are coming to enjoy the club scene, so a couple of things changed. When you play in a club you meet people from Italy, UK, Australia, Hong Kong and Japan at the same evening, which is definitely a cool thing. But there are also many people arguing about the loss of credibility and the lack of a proper native scene. For us, Berlin made many things possible. Most of the labels we worked with are run by friends of ours, so there still is a scene and wonderful network with great musicians and inspiring people.

KIM.BROWN.2.FZCan you tell us about who your main influences are, either in dance music or outside of it?

At an early stage we discovered our shared admiration for Metro Area and John Tejada for their sense of harmonies and arrangements. Outside of dance music both of us have a bit different musical backgrounds. Ji-Hun has more of an Indie/Folk background, whereas Julian has been more into Hip Hop back in the 90s. Both of us always listen to all kinds of music. Except for a few genres, where we share a disfavour.

Where are you looking forward to playing Live/ Dj’ing this summer?

Playing during summer means not to play necessarily in a dark, smoky club at night. We are looking forward to playing on a Sunday afternoon at the About Blank garden or on a boat but also open airs and smaller festivals. So it’s the summer in general we are looking forward to. And for that kind of thing, Berlin still is one of the most vibrant places.

https://www.facebook.com/kimbrownhousemusic
http://www.needwant.co.uk

https://soundcloud.com/kim-brown

 

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Sean Brosnan (Future Disco/Needwant) Q&A

SeanBrosnan12What is the concept behind Future Disco?

To bring together the best upfront House music that is inspired by Disco sounds.

The latest compilation is: Future Disco Vol 7: Till The Lights Come Up. How do you go about choosing which tracks are included? And how important is it to you to include a selection of styles and moods?

I start with quite a vast set of tracks and I tend to compile as I go adding or taking out tracks that I put aside for the compilations, I listen to tracks hundreds of times just to make sure they stand the test of time. If I get bored with them I take them out.

I think it is important to have a theme and that’s why we have a subtitle each time, so it gives the album some grounding and concept to work towards. It’s much more interesting that way.

You also run the Future Disco Radio show – which is still a remarkably successful medium. How do you feel radio fits in to today’s digital world?

Radio I believe is more successful than ever and I think that’s due to people using radio both in real time and catch up. We follow the same principles with our show going out on broadcast stations across the world and then streamed also on our soundcloud page every Thursday. It allows us to pick tracks between albums and also talk about what we are up to.

https://soundcloud.com/future-disco/fdr33

Who influenced you to become a Dj and what inspired you to set up your own label?

I remember my friend buying some turntables and a mixer from a Tandy store and they didn’t even have pitch control ! So impossible to mix. But from that day I knew I wanted to have turntables too, there’s something about collecting music and playing it that’s really good fun. My own label was just natural progression from that. When you DJ for a while you like the idea of a label and how you can craft a sound and work with artists.

Which artists have been the most important to you over the years, either within or outside of Dance music?

Sticking close to home I would say Mario Basanov as we work together closely so I’ve listened to so much of his music over the past few years. Then I like a lot of different music outside Dance mainly downbeat electronica.

How would you describe the health of House music in 2014 in terms of its retro influences and the art of song writing? What do you see happening next?

I think it’s healthier than ever and evolving in a nice way, most people understand investing in the creative side is what keeps you and the scene fresh. For the future maybe more live instrumentation in the performance and I see more countries scenes getting stronger.

SeanBrosnan21What are the future plans for the label and can you tell about some the events you have planned for 2014?

We plan to do a lot more albums in 2014 – both compilations and artist albums. We are also doing parties in London on 8th March for an album launch, Unknown festival in Croatia and of course Ibiza (watch this space).

Album launch party: http://www.futuredisco.net/events/album-launch-party/
Pre-order: http://shop.futuredisco.net/products/522828-future-disco-vol-7-til-the-lights-come-up

http://soundcloud.com/future-disco/fd7-mm

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reviews:92

Art Of Tones
Elephants & Flies
Lazy Days Recordings

270481_10152972909750257_1205986177_nLudovic Llorca aka Art Of Tones first release on the label comprises three originals plus one dub version. And it’s all too easy for me to say that title track Elephants is a simply outstanding slice of music that cuts the atmosphere it generates with a knife. I’d be intrigued to know what the Elephant reference is, but in the meantime this captivating exploration of tones sees punchy keys and swirling notes feel cinematic and thoughtful against a backdrop of shuffling rhythms and stinking sounds. The Dub tweaks the elements providing something altogether more dancefloor orientated, although doesn’t capture quite the same emotions. Next Myself, My Body has bluesy voices over tougher beats, bass and accompanying strings, while The Right Movement’s intense, jazzy inflections provide yet another reason to pay attention.

https://www.facebook.com/fredeverything.lazydays

https://twitter.com/fredeverything

 

Darius Syrossian
Anything Weird EP
Lost Records

LR001-Darius Syrossian-Anything Weird EpAnother Darius Syrossian production, time for another killer bassline. I’ll Do Anything does anything but disappoint with its funky Detroit flavoured bass offset by soulful vocals and abrasive yet seductive drums. Straightforward and straight to the point, how could you not like this? The remix is from label heads Leftwing & Kody and they give it a fresh sheen with snare rolls and infectious House riffs complimenting the original perfectly. Second track I’m Not Weird, You’re Just Normal says all that needs to be said as jazzy keys get lost in another slammin’ succession of big time beats completing a great debut for this brand new label.

release: July 22

https://www.facebook.com/LostRecordsUK

 

Bonar Bradberry
3two5
Needwant

Don’t know why, but I wasn’t expecting Bonar Bradberry’s vocal to be quite so appealing in such an infectious way, but it is. The title tracks deep, shuffling rhythms underpin it all as the voice intones with a uniquely English quality which provides such a refreshing change here, that of course and that the music’s so hot too. Mario Basanov provides the remix with trademark eighties influences sounding tastefully funky as always, and indeed gives the vocal that extra something. Rollerball doesn’t have the same charm but is none the less is an atmospheric journey through the landscape of European electronics.

release: July 22

twitter.com/bonarbradberry

www.facebook.com/bonar.bradberry?fref=ts

https://soundcloud.com/seanneedwant/sets/needw029-bonar-bradberry-3two5

 

Disclosure
F For You
PMR Records

Overground/ Underground? Never mind all that. I’d much rather this deeper, funky number in the charts then most of the rest of it. Lifted from their album and with remixes forthcoming their latest single sees Howard Lawrence on vocals sounding rather fine. Judge it all for yourself….

release: August 18

 

First Choice
Hold Your Horses – Expanded Edition
BBR

You know that expression: beg, borrow or steal? Well, this is exactly what they were referring to. Time to get very excited!! The history bit reads a little something like this: After scoring major dance classics such as Let No Man Put Asunder in 1977 the group went on to record their second album also in part produced by Norman Harris, but now with the additional magic of Tom Moulton and Thor Baldursson was released in 1979. Not only does it include Let Me Down Easy but also the seminal Love Thang with that ‘gets you every time’ vocal delivery from the trio, and Double Cross which both appear here via various remixes including Larry Levan, Tee Scott and Bobby DJ Guttadaro. Once again there a superlative sleeve notes care off Christian John Wikane whose invaluable reading of history is essential.

Buy: http://www.cherryred.co.uk/bigbreak-exd.asp?id=4195

https://www.facebook.com/BigBreakRecords

https://twitter.com/search?q=big break records


 

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Mario Basanov interview

Your excellent new album ‘Journey’ features a range of styles but can you tell us about the creative process involved in writing the opening song ‘Just Think About’?

I always like to try out different styles so my music can evolve. Talking specifically about this track, I thought about the inspiration and mood. The inspiration came from Disco style and the mood I guess came from traveling and visiting many beautiful beaches, you can hear it in the rhythm. And not much to say about the creative process because usually I don’t spend days or weeks or months on a track, if it comes it comes like a ray of light – quick and sharp.

How did your relationship with Needwant come about?

First of all I was just sending Sean my tracks and he released an EP. Through that we started talking, which led to working together and collaborating and now we are kind of like partners.

You have obviously had a wide range of influences to inspire you in the making of your album. Can you tell us about some of them?

That is very hard to put into words, because inspiration comes along in a lot of forms and signs, it is like trying to explain what is love – we all want it, we all think we feel it and sometimes even think we know what that is, but in the end we have no clue. Or sometimes all I need to do is come to my studio, choose some sounds and rhythms and with that the inspiration kicks in.

When did you begin to DJ and who inspired you to do so?

I started DJing around five years ago, I guess. Actually the idea of me DJing came from Vidis, so I thought why not and started practicing at home. It was not too hard for me, because I was already working with music and producing music for more that fifteen years, and as all these things are connected it just felt right.

How would you define your style of Dj’ing? What do you like to play on?

It all depends on the situation: the place, the gig, the crowd, the mood and vibe, even the weather. But in this period of time I prefer playing good Deep House. There was a time I was just hooked on Disco, but now I am inspired and like to play stuff that sounds like for example Ame, Dixon, etc..

Do you have any particular favorite pieces of software/ hardware that you like to use in creating music?

I prefer mostly hardware. My favorites are Buchla and Arp 2600. There are more, but these are the best for me at the moment.

Your song ‘Changed’ (with Vidis featuring Ernesto) has reached over an amazing one million plays on YouTube. Can you tell us about the making of the striking video?

To be honest I did not really take a big part in the making of the video, for me it is all about music so it was given to professional team who are making videos and with great trust they did it as they felt, and thank God, the result is perfect and it is proved with all the love of fans and that million you mentioned.

What is the Dance Music scene like in Lithuania – what are your favorite clubs etc?

Lithuanian scene is very colorful music wise, we have a lot different artists who work a lot and represent Lithuania in different music scenes. I could favorite Downtown Party Network, Few Nolder and Darius Vaikas for example. And my favorite club in Lithuania is definitely club Opium.

What plans do you have for the new year 2013?

Work a lot, move forward and keep on touring around the world.

http://www.beatport.com/release/journey/995467

http://mariobasanov.com

https://www.facebook.com/Mariobasanovmusic

https://twitter.com/mariobazz

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reviews:69

Pete Dafeet
Family Affair
Lost My Dog

The third in the series of compilations from Lost My Dog’s catalogue of Deep House, and other imaginings, sees one of the label heads Pete Dafeet mix together a smooth blend of moods into one altogether very satisfying experience. As with previous editions this features old and new music from the imprint, although this time is the preserve of Pete’s own productions, along with the added twist of some hot remixes such as Giom’s excellent take on Beneath The Fold and Moodymanc’s likewise Dub of Stutter. Got to say my favourite track has to be Hit Em Up, which appears both as the uplifting intensity of the Original version along with the stab nirvana of Pezzner’s remix. Generously an unmixed selection is also available so you can unpick all those favourites for yourselves.

release: November 19

http://soundcloud.com/lost-my-dog/sets/pete-dafeet-family-affair/

http://www.lostmydog.net

https://www.facebook.com/lostmydog

 

Hot Coins
Geek Emotions EP
Sonar Kollektiv

If you’re looking for a viable alternative to the current vogue of 90’s inspired House then try Danny Berman’s innovative interpretation of the Post-Punk/ No-Wave sound. It’s got all the elements right down to a T from the enviable, deadpan cool vocal of City Hayes to the chopped-funk guitar by Crazy P’s Chris Todd, which you will find draws you into the after-dark world of late seventies/ early eighties New York. Trans-Media-Lab artist Jacob Korn provides a stunning remix with a more contemporary electronic twist featuring lush pads and probing bass. Freestyle Lover then sees Berman’s own vocal delivery cut across ‘Fripp’ guitar and an assortment of caustic percussion. But, perhaps looking at the cover alone will reveal all you need to know about this, and more!

release: November 12

listen/ buy http://www.sonarkollektiv.com/releases/SK249/

 

Mario Basanov
Journey
Needwant

Mario Basanov’s debut album for Needwant is little short of stunning. Not only does it sound perfectly polished but the breadth of styles it indulges in is equally as impressive. From down-tempo ambience to dancefloor madness just about everything you can imagine is touched upon here, including at times even Pop sensibilities. From invigorating instrumentals like Skywalker to classy songs such as the deliciously soulful Something About featuring Edwin Williamson it’s all about the quality. The title, Journey is certainly an apt one running to some sixteen tracks in all. And when experiencing the cosmic-funk of music like Damn Girl you can only really refer to this as highly accomplished.

http://www.facebook.com/Mariobasanovmusic

https://twitter.com/mariobazz

https://www.mariobasanov.com

 

George Duke
A Brazilian Love Affair
SoulMusic Records

George Duke’s Brazilian celebration cumulates in the title track of this reissue album by redefining the possibilities of Jazz/ Funk at that time (in 1979). Recorded with a handful of Brazilian musicians you can hear their influence along with the sounds of sun and the sea throughout. You’re also left in little doubt as to the dexterity of the players involved, although at times it can feel a touch muso, however lighter relief is always on hand via the hot Latin melodies experienced on the likes of Cravo E Canela. Generally regarded as a classic in its field it is probably fair to say that they don’t actually make them like this anymore.

http://www.soulmusic.com/index.asp?S=1&T=38&ART=2646

 

 

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reviews:62

Mitchbal & Larry Williams
Jack The House
Still Music Chicago

Seem to remember a quote along the lines of: You can’t move forwards for looking backwards – or at least words to that effect. But in music it seems you can only move forward by looking back. After all if it wasn’t for records like this then where would we be? If you haven’t already checked out Still Music’s essential 122BPM: The Birth Of House Music compilation then you’re missing out, in which case this previously unreleased gem, also from the vaults of Mitchbal and Chicago Connection Records, may well move you in the right direction. Jack The House pretty much speaks for itself and ticks all the boxes either as the Original. or more especially, Frankie Knuckles more Club orientated Remix which combines all the classic sounds from the era with a knowing arrangement primed for the dancefloor.

release: October

http://www.itstillmusic.com/

https://www.facebook.com/jerome.derradji

 

Shall Ocin
Tribute To Summertime EP
Leftroom

Having barely recovered from hearing Matt Tolfrey’s excellent debut album for Leftroom this now hits squarely aimed at the previous seasons memories – assuming they are hot ones of course. This is Nicolas Abalos aka Shall Ocin’s second release for the label and is based around George Gershwin’s 1935 classic ‘Summertime’ though of course sounds markedly different with electronic beats and the rest giving you reason enough to reply the timely refrain all over again. It also made ‘ESSENTIAL NEW TUNE’ on Jamie Jones & Seth Troxler’s standin for Pete Tong recently too. Having said that I much prefer Feel The Same with its delicious spacey vocals and sassy, syncopated rhythms feeling altogether contemporary and typical of the label. I Know, finishes with a love of ‘real’ instrumentation played in a slightly unnerving fashion, and feeling all the more inventive and effective for it.

release: October 8

http://soundcloud.com/leftroom/sets/shall-ocin-tribute-to/

http://www.leftroom.com/

 

Marvin Zeyss
Hotsauce EP
IHW-ONE

First release on Martijn’s brand new sister/ brother label to the excellent Deep Edition Records is this stunner from Marvin Zeyss. Although you’ll need to move at light speed to get your hands on one of these very limited ‘vinyl only’ pressings as they have been numbered to 100. Three numbers beginning with Hotsauce whose bass punctuated groove is little short of addictive. Power, follows with funkier percussion and deep tones rewarding your senses with a breath of perfectly pitched ambience. While, Downtown finishes with more invigorating sounds, although is also possibly third in line for your attention.

http://www.juno.co.uk/ppps/products/465197-01.htm?highlight=HOTSAUCE+EP

https://www.facebook.com/inhauswax

 

EJECA
Horizon EP
Needwant

Having recently reviewed Ejeca’s release for Extended Play we now find Garry McCartney’s inescapable grooves on the notable Needwant imprint. You could say that its title track Horizon is about looking back, or you could say it’s where we’re heading, but either way its self-propelling energy is hard to resist. Driven by blazing 90’s stabs and rough-edged beats this is a combination that simply works. Dazed, feels easier with deeper, pulsating notes creating atmosphere as funky vocal edits complete the combination neatly. See Through You, ends with broken beats and an intensely soulful attitude that places Ejeca a step above the rest.

release: Oct 1

http://soundcloud.com/ejeca

http://www.needwant.co.uk/

 

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