Sergio Hernando A.K.A DJ Soak at the early age of 24 years old has become a top reference in spanish scene electrónic and turntablism. Credentials, of course, is not lacking: in 2003, with only 12 years old, opened an enviable achievements in becoming runner-up Spain in DMC. Since then it has not ceased to be a landmark in the national and international competitions for DMC and ITF, now known as I.D.A.
“A young prodigy from scratch” would be one of the most successful definitions to discuss Soak, and that is that this kid wants to bite the world.
DJ Soak shows an innate talent, which has managed to shape practicing very hard since he barely lifted was a child and used to sneak the dishes of his brother Dj Elko. Soak has grown and grown into one of the new covering of urban culture of our country.
Valencian, but with good hands who could have been forged in the crib from scratch, at it’ s Soak bet the electric rhythms.
It plays in each of them to perfection by mixing electronic, freestyle, hip hop, and requires more than an unbeliever to turn his head toward the cockpit to check that this wonder is scratching vinyl meat and bone, ultimately free music that skips the rules without giving up the party.
The best thing is that the reign of Soak just starting and we can only expect good things very good things, this guy in constant exploration of ways and innovation that transform and magically erase the dividing lines between musical genders.
TITLES AND AWARDS:
*Vize-Champion of Spain DMC 2003
*3º in the championship of Spain of the I.T.F 2005
*4º in the championship of Spain of the DMC 2005
*Champion of the Community Valenciana of DMC 2006
*3º in the championship of Spain the DMC 2006
*Champion of Spain I.T.F / I.D.A 2006
*Vize-champion of World/Euro I.T.F / I.D.A 2006
*Vize-Champion of Spain DMC 2007
*4º in the World I.D.A/I.T.F 2007
*Champion of Spain DMC 2008
*5º in the championship of World DMC 2008
*Champion of Spain DMC 2009
*Red Bull Thre3Style Champion of the Community Valenciana
‘MY2‘ – or Murder You 2 – is a remarkable introduction to an incredibly special new artist: TS Graye. At just seventeen years old, the Bristol singer-songwriter packs an almighty punch with her first release; powerful, smoky vocals glide atop smooth beats and neat production touches, with dark yet humorous lyricism inspired by her love of horror movies (fact: if she wasn’t a musician, she’d be pursuing a career as a makeup artist for horror shows).
Produced by Louis Mattrs, who she met online, ‘MY2’ is the first track from an EP due in October. In TS Graye’s words, “I wrote MY2 after finding out that someone I loved had broken my trust. It reflects the different and conflicting emotions I felt in the aftermath of that situation. At first, I play it off and try to fool myself that I’m cool with what has happened, but, in reality, I’m angry and hurting, hence the aggressive switch in the lyrics and production. I think you have to acknowledge and work through those feelings to accept the shit that happens and leave it in the past.“
Growing up in the West Country, TS Graye’s influences never strayed far from home; trip hop and the sounds of neighbouring Bristol (e.g. Massive Attack, Tricky, Portishead) play out heavily in her music, but true to her generation she discovered most of the music she loves online (she references Lana Del Rey, Banks, Post Malone and Drake and her sound invokes likeness to greats Rihanna, SZA, Alicia Keysand Jorja Smith). Self-taught, TS Graye learned how to produce and play piano from her bedroom and has been writing two songs a week since she was thirteen.
Despite spanning genres, exploring multiple perspectives, and experimenting with different vocal styles, ‘MY2′ works; it is natural, smooth and believable, showcasing a sophistication that belies her age. TS Graye’s intricate lyricism must also not be overlooked. With this single, she engages wordplay and double entendre – the line “guess I have to murder you 2” has multiple meanings, as does “f*ck with your beauty“.
Living in a small town encouraged TS Graye to explore the bounds of her creativity, and nowadays her passions outside of music include experimenting with make-up and working on a zine, which she has put into print ready to distribute alongside the release of her first pieces of original material.
The debut single ‘MY2‘ (“This ain’t just a heartbreak, this ain’t just a heartache…”) will be closely followed by next release ‘Rich Or Poor’ (“I don’t care about the past no more, just tell me that you love me…”). Sincere, evocative, relevant and inspired: TS Graye is an artist full of promise.
Ellen Murphy know as the music artist Lenii is a singer, songwriter, music producer and multi-instrumentalist from Cork, Ireland. Her musical journey started with classical violin at age 4 but, since discovering the endless possibilities in producing electronic music, she developed a love for fusing different genres and styles. At 15 years old she moved to New York to further her skills in music production, and subsequently spent years involved in the underground electronic music scene.
Her first single release of 2018 is ‘Human’, a subject of 80’s synth-pop influences and a forward-thinking approach to the underground electronic music scene. Having originally composed ballads and instrumentals from as young as 7, her musical style now showcases the melodic songwriting from her roots, mixed with electronic production reminiscent of the 80’s synth-pop era.
Her music is centred around her ethereal vocals and moving lyrics that focus on social and emotional subjects. Sent awash by reverb-drenched anthemic beats and twinkling synthesizers that shine bright matching a starlit night, her delivery of effervescent vocal qualities and reflective lyricism shows her clear pop qualities on full display.
Commenting more on the single, Lenii states “Today’s world is so divided and when it comes down to it we’re all human, we all feel the same emotions and deal with the same things.”
Singer songwriter Tamtam grew up in Saudi Arabia from her birth until she was 13 years old. Throughout her teenage years, she was relocated to California for school because her parents believed seeing the world through a different lens was important. Having discovered her love of singing at the age of 11, Tamtam took the opportunity to move and channeled all her learning experience into her biggest venture, music.
She got her start in music on YouTube with her first ever single “Little Girl.” At the advice of friends and family, she blurred out the video so you couldn’t see her face for fear of backlash from people who knew her in Saudi. This inspired her second single “Gender Game.” The EP Gender Game was released in October 2014, and it wasn’t long before the title single gained recognition. Contacted by Geena Davis to support at three of her non-profit events, along with An Upworthy article with over 80k shares from March 2015, it was clear Tamtam had made her first big mark on her path in the music industry.
From there, Tamtam was able to truly launch herself into the world of music. She released her single “We’ve Got Wings” in late 2015 to help promote a Saudi breast cancer awareness organization founded by Princess Reema bint Bandar, and has been promoting it ever since.
Tamtam uses her message of love and acceptance to promote gender equality along with other humanitarian and egalitarian efforts all over the world, especially in her home country of Saudi Arabia where movement towards gender equality is beginning to take off. She is dedicated to using her music to promote these positive messages to young women and men around the world while sharing her own experiences through her art.
“My new single, “Blue” is about heartbreak and feeling haunted at the end of a dissolved romance, while the other person seems so cool. I drew on nature’s everchanging blues (water, the sky) for inspiration – their vastness, unpredictability, and power to set a melancholy tone”.
“Thank you Substreamfor the kind premiere, and thank you for listening”.
Ashlinn Gray began to write her first songs at the age of 16 and released her self-titled debut EP, along with first single #Battleships, which made iTunes top 40 and dominated the airwaves, charting on then top stations across the country. Gray’s pop single #Nineteen charted on 5FM and Jacaranda, two of South Africa’s largest national radio stations. Her latest collaboration with Clark Cables, #WorkForMe, recently got over 300k views on youtube.
When everyday thoughts become genuine songs about being 20 years old and growing up in a society that is forever changing, you find Ashlinn Gray, South African born singer-songwriter. The edgy artist plays with the light and dark sides of her struggle for truth and authenticity. With unique, powerful vocals and her quirky, deep seated lyrics, she challenges the tired preconceptions and conventions this generation has inherited.
2018 will see more lyrical stories from Ashlinn Gray, in the form of a sophomore EP, as well as working internationally and in her beloved country, South Africa.
“I hope to navigate the complexities of being young in today’s world and playfully challenge the cycle in which we are made to be something that we are not.”
The best songs have the power to either heal or hurt you. When independent singer-songwriter Matt Woods is looking for a great poem or lyric, he has one main criteria: “I just want someone to break my heart in the shortest amount of time possible.” It’s the reason he carries around books by Charles Bukowski and Rupi Kaur, whose succinct words can pierce the reader right to the core — and it’s also a model for his raw and direct songwriting. With a raspy and world-weary vocal, Matt Woods writes about the darkest realities of love, loss, and depression in futuristic soul songs that cut to the bone.
Matt Woods grew up in the coastal town of Newquay, where he was always a keen observer of people and relationships. “It’s so mellow and laid back, it definitely sparked something in me,” he remembers. “I’m much more observational — I’m quite happy sitting in silence and watching things.” With an ex-West End actress and singer for a mum, Matt Woods was exposed to musical theatre and classical compositions from a young age, playing the violin and singing in a cathedral choir. That was his world until his mid teens, when he became entranced by the hard-edged folk music of Ray LaMontagne, and the iconic voices of Nina Simone and Otis Redding.
Breaking away from his choir roots, Matt Woods began teaching himself to play guitar, and nurturing the distinctive vocal he has today — a gritty, soulful instrument. “I want to just get as much emotion out of it as possible. I love the idea of getting to a point where it doesn’t matter if you don’t understand what I’m singing, you feel it anyway. I’m trying to sing from that place, rather than make the most pure and clean sound.” At 18, he wrote his first song: a painfully real ballad about unrequited love that seemed to fall out of him fully formed.
After studying maths at university, he spent a summer in Newquay playing songs in a beach bar. As punters bought him drinks to keep him playing for hours, he realised he might have something special, and not long afterwards set off travelling around Europe with a guitar and tiny amount of money in his pocket. Busking in Belgium, Austria, the Netherlands and elsewhere, and earning enough to keep going, helped Matt Woods realise that music was what he wanted to do with his life.
Returning to London, he turned his attention to writing those songs that could break listeners’ hearts. A chance encounter while flyering led to Matt Woods signing to his management, and soon after, releasing the triumphant, gospel-inspired ballad “Impression” in 2015. With that song, he remembers, “I discovered the difference between writing a song using your brain and writing a song trying to just use your subconscious. It’s sad and sexy at the same time: that’s ideally how I want my music to feel.” On his 2016 EP Ain’t No Use, he teased out the same melancholy-yet-sultry vibe, with even more anthemic choruses and looser, funkier production.
On his upcoming EP Re:Connection, Matt Woods’s songwriting is more reflective and nuanced than ever. On the lead single “Nervous,” he sings tentatively of rekindling an old flame over the glistening push and pull of MathsTimeJoy’s production. Matt Woods reflects: “It’s about that beautiful thing: when the person that makes you feel most calm in the world makes you feel nervous.”
The rest of the EP explores the highs and lows of that rekindled romance, cohering together to create a deeply intimate narrative. One, a smooth soul jam titled “Tongues,” picks apart the unique dynamic of dating someone from a different cultural background, or with a different first language. “What you lack in being able to communicate verbally, maybe you end up communicating physically,” says Matt Woods. “You end up having a deep connection physically, and in silence, because you’re saying all the things you’re struggling to say with words. At the time [of writing], we were three months into Trump in America, and the whole story of the song — it being a love song for people from different cultures — meant a lot to me in that moment.”
Elsewhere, on “Stop,” warm and church-like synths provide the backdrop to a brutally honest song about battling to get over someone, and to keep hold of your own mental health. “I was
really fighting with depression,” says Matt Woods. “I had to cancel a release. I was supposed to be going on a European tour, and I couldn’t do any of it. The song is both coming to terms with the idea that I’m never gonna be properly able to get over this person, but then there’s a parallel with depression — it might never go away, you just have the ability to make it smaller, and live with it.” He describes depression as “like this thing coming at you. You want to close off your body, to make yourself small. That’s what makes you then feel like you can’t overcome it; some days you can’t get out of bed, or you just feel useless. But if you stand there and open your arms wide and face it, and acknowledge it and attack it head-on, it becomes smaller
immediately, and then you can sort of control it.” Initially, Matt Woods didn’t want to release the song, which felt too painful to share; but its lack of filter is what makes it so real. “I just found a way to fall in love with it, and appreciate the way the song healed me.”
I Am Hill Wrote, produced, recorded, and performed Give It A Rest entirety by herself. Give it a Rest is an expression of sarcastic frustration with capitalist patriarchy. It was performed on an Oberheim analog synthesizer, with the beat created using Native Instrument’s Maschine. Most of the verse vocals were recorded on Apple earbuds. Most of this was done between the hours of 2 and 5am.”
“Writing GIAR (Give it a Rest) was really a weird experience. I was feeling some crazy burnout after the last tour, I didn’t know if I’d ever write a song again. I was working nights, so I was getting home at like 4am after long hours in a loud, high intensity night club. So I’d usually be buzzing when I got home from work and need to come down”.
“One night I was driving home and blasting tunes and I got this beat in my head… when I got home I frantically plugged in my setup so I could “catch” the song. I made GIAR from top to bottom that same night, and tracked scratch vocals on my earbuds, which I ended up keeping for the verses. It had this ‘fuck it’ vibe that I couldn’t throw away. I didn’t even know what the song was about until like 48 hours later. It just came out”.
Give It a Rest, is scheduled for release in 2018. You’ll also be able to hear title track in exclusive rotation on KCRW as well as now at IX Daily”.
Unsigned Jan Hammele, 26, and Andreas Huber, 25, are two ambitious and experienced producers, multi-instrumentalists, DJs and live-acts who have been making music together for six years.
The two perfectionists first got to know each other during their studies in Audio Design at the School Of Popular Arts Berlin (hdpk) and have been involved in several collaborative projects since then. They quickly discovered a similar taste and working process which brought them together on a professional level.
Jan‘s musical approach has been influenced by his early involvement in a punk/grunge band where he was front singer and played both the guitar and the piano.
Andreas is an equally educated musician who began his musical career in numerous metal bands before he shifted his focus on other genres.
Drawn towards the zeitgeist of Berlin‘s electronic music scene, they developed an enthusiasm for the sheer endless opportunities within the genre. Formerly operating under their stage name Egokind & Ozean they started making music in 2010 and released their debut album „Transition. During this period they toured around European clubs as a DJ duo and live-act and played gigs in Belgium, Canada, Estonia, France, Germany, Hungary, the Netherlands, Switzerland, Turkey, the UK and the US.
They have produced for numerous artists such as Alle Farben, Yasha, Lovra, L Devine and many more. For the multi-national selling single „She Moves“ by german EDM artist Alle Farben they received a golden record in 2015.
With their new artist project BLYNE the two Berlin based producers decided to shift their focus and devotion in order to developed a unique interpretation of contemporary pop music transcending traditional and national genres. By collaborating with different English native-speaking artists for each song, they create a varied but very recognisable sound which meanders between pop, r‘n‘b, hip-hop and electronic music.
Unsigned Natalie Major translates raw emotion and relatable experiences into anthemic and ambitious pop punctuated by down-tempo beats, skyscraper-size vocals, and unabashed and cathartic honesty. After moving to L.A. to pursue a lifelong musical dream back in 2014, the artist bubbled up with a series of high-profile songwriting placements and vocal spots. Among those, Natalie penned and featured on Bobby Puma’s “Someone Somewhere,” and Tiësto included the track’s “Tiësto Edit” on the fourth installment of his popular Club Life series: Club Life, Vol. 4 – New York City. “Someone Somewhere” peaked in the Top 5 of Beatport’s Top 100 and landed onSpotify’s Global Viral Top 50. Next, the songstress teamed up with Dutch sensation Showtek and Brooks for “On Our Own,” which clocked over 11.2 million Spotify streams in under six months. By 2017, her cumulative streams would exceed 20 million and counting. However, audiences get to finally experience her vision in 2018.
Natalie kicks off the new year with “Waves.“ Receiving a feature in the Freeformseries premiere ofgrown-ish, the single ebbs and flows between breathy verses and a seismic and soaring chorus that’s as empowering as it is entrancing. Now is her moment. With music and touring planned throughout 2018, she stands poised to connect like never before. – Rick Florino, Written On Time Inc.
Another Whisky For Bukowski describes Hot Collars as “damn addictive” and Euphoriazine proclaims ‘Tongue Tied’ is “irresistibly upbeat and uninhibited.” KCRW included the “Tongue Tied” remix in their Music for Your Weekend saying, “their ridiculously catchy single “Tongue Tied” more than speaks for itself. Secret Scout praises their new single saying, “Swinging hooks, joyous hand claps, reverberating harmonies and rouge wooing make this an interesting and irresistible debut single.” Indie Shuffle can’t get enough of ‘Tongue Tied’ exclaiming, “Holy crap, this is catchy!” They have received attention from numerous tastemakers such as Alfitude, Niche Music, Savage Thrills, and many more.