It’s been a while since I wrote my last blog post. Things have been crazy over here at RV…we’re working on some good stuff   …more on all that later; for now, I want to mention an event that some of our blog readers may already know about….Paul van Dyk is going to be rocking it at Hudson River Park’s Pier 54 in New York City on August 16th! I don’t ordinarily blog about non-RV events, but I have a few reasons for writing this post…

First, I just want to give props to the Made Events crew. I can’t really remember when those guys started putting on big electronic music events, but they’re running the show now! Seriously, a lot of the hottest parties that I hear about these days are being put on by Made Events, and I’d say this is just another feather in their cap.

…now I can already hear a few rumblings amongst my fellow die-hard electronic music lovers out there…."but Eddie B, why are you blogging about PVD; that cat’s anything but underground…" In response to this comment, I’d first of all have to point out that Paul van Dyk has done more for electronic music than 1,000 of the average people who talk about how commercial he may be. I’d also have to say that I have a personal connection to the idea of catching Paul van Dyk in New York City. I remember hearing him play at Twilo in NYC back in the day…and let me assure you those were some EPIC nights!

Some of you may know that Paul has a ritual of playing in NYC in the summertime. He’s traditionally played in Central Park. A few years ago, I happened to be in NYC, and I went to the event to promote Resonant Vibes. For some reason, I had decided that it wasn’t worth buying a ticket because I wasn’t sure if my girlfriend was going to be into it, and she was with me. However, when we got to the event, I realized very quickly how big of a mistake I had made. I was outside the area where he was performing, but I could hear the tunes and hear the crowd responding. The NYC summer air was feeling right, and there was an electricity in the atmosphere…I really started kicking myself for not getting tickets…and then I started talking to scalpers, but they were charging more than I could afford to pay. That’s one event that I definitely regret missing.

Bottom Line: There’s something special about catching Paul van Dyk in New York City. I just wanted to write this post to let our blog readers know about his upcoming event

Eddie B

Tags: Paul van Dyk, Electronic Music DJ, Made Events

General | 1 Comment »

Are you in it for the money or the love of the music - and why this is a BS question.

Are you a wedding DJ that spins a preset playlist, a mainstream club DJ that plays the top 40 in the same order, week after week, or on the opposite end of the spectrum, an underground DJ that plays the most obscure tracks that only “educated” club people can truly appreciate? Do you DJ for the love of money, or the love of music?

On the surface this question is innocent enough and most newbies would quickly answer “of course, I do it for the love not the money.” But dig just a bit deeper and you will find a much more complex set of issues.

For the most part, everyone that gets into DJing does it because they love music. Sure there are some that are frustrated actors, comedians, karaoke flunkies, and others that are are drawn to the technology behind it and the idea of using programs like Ableton to put 5 or 10 different loops together to create a new track. But generally, the driving force behind most people’s decision to start DJing is a love for music and wanting to use that love to move a crowd.

Often it is a world class DJ like Josh Wink, or John Digweed, or Paul Van Dyk – that lights the first spark, sending us off to find the music they play, so we can learn to do what they do. This in itself isn’t a bad thing, as whatever you inspiration; it is the initial stimulation that matters. You also would be hard pressed to find better DJs to model yourself after. But herein lies the problem.

In this instant gratification society, it often comes down to wanting the ends before the means. In wanting to fight like Chuck Liddell or Tito Ortiz, without putting in the years of hard work in the gym. In wanting to cook like Gordon Ramsey or Todd English, without understanding they started at 16 washing dishes and chopping vegetables. The best DJs in the world, like the best of any profession – didn’t start on top. They learned their craft over years of painstaking trial and error, and on the front lines working with a mentor, and acting as an apprentice. They carried someone else’s records, did the lights for them, helped them hand out flyers etc…anything to get into the DJ booth, so they could observe what was going on in a real club run by a professional DJ.

Carl Cox started off doing mobile disco parties and school dances – where he learned how to DJ properly by playing songs that people wanted, and he often hated. He became comfortable with the idea of programming and reading the crowd, and creating the right vibe, all skills that were invaluable as he transitioned to more underground music.

Now I am not suggesting that in order to become a good House or Breaks DJ, you need to perform with your Uncle CJ the DJ at his next Bar Mitzvah. But I am saying that because digital tools and modern gear make mixing easier, it gives a false sense of security to young DJs who think that because their software blends perfectly, they are ready to go out and DJ for real. Old school gear was a lot more difficult to deal with, and it took years to actually understand how to properly mix, blend, and EQ. It was frustrating, but in retrospect, those years spent learning the technical aspects of the job, were also years spent listening to music, finding out what makes people move etc. These days anyone with the Beatport or Resonantvibes.com Top 50 and a laptop thinks they are a DJ. And from a technical stand point, they probably can sound ok with their digital tools. But the biggest part of being a good DJ is experience, and knowing what to play and when to play it. All things that cant be automated or learned over night.

So Paul, what the hell does this have to do with your initial question, “Art or Business”? Hang in there, as here is the part where I tie it all together.

Off the top of your head, tell me how many things are cheaper in 2008 than they were in 1990? You might come up with some cheap, mass produced items like “socks from Walmart”, or “things from the Wendy’s dollar menu”, but generally speaking – prices increase over time. It is simple economics.

OK, well explain this one to me then. How come the average club DJ in your city or town actually GETS PAID LESS in 2008, than a DJ in the same club 8 years ago?

Supply and demand is the simple answer, but just like those 800# calls that are answered in India, or your clothing that is now made in China, it is the glut of cheap, inferior labor that is the real problem. People are so desperate to call themselves a “DJ”, that they are willing to play for short money, or in many cases FOR FREE. Take this and add it to the fact that most club owners are complete morons – who have no idea what the value of having a talented person running their entertainment means to the success of their venue, and you have a recipe for disaster.

Good Club DJs used to make $250 or $300 a night - 10 or 15 year ago…now, you are lucky to make $150 or $200, because every kid with a lap top and Itunes thinks he is a DJ.

Wow. You sound bitter man!

You know, I used to be – but now I actually want to try and uplift the entire industry, by teaching inexperienced DJs how to do things better, easier, but more importantly the right way. I have been a featured speaker at WMC, ADE, the DJ Times Expo, and am speaking this year at the Forecastle Festival in Louisville. I established the first DJ school in New England, have been an educator and writer for numerous industry trade publications over the past 15 years, and still teach a free monthly DJ class for middle school and high school kids at a local inner city community center. At some point in the future, I will be passing off my headphones to the next generation – but I hope to impart some wisdom along the way.

The bottom line is that DJing like anything in life takes time and patience. I know you want to get out there and play music. I know you want to throw events and rock crowds, even though you don’t know the first thing about promoting or reading the vibe in a room. I understand you “love the music” so much that you would consider doing it for free. But in the long run, you are not only hurting yourself – your are hurting your industry and your chances for future success.

That’s why the whole I do it for the love of the music and the love of the underground argument is pure BS.

Do you seriously think that in a room where the owner, manager, bartenders, bar backs, dishwashers, door men etc – are all getting paid, that the DJ should be playing for free?

It isn’t a love of anything or a desire to keep it underground, it is a lack of confidence in your skills and a lack of respect for the art of DJing and those that have worked hard to lay the groundwork before you. The real underground warriors are the DJs that actually work, and have been working every weekend for years, lugging their gear and music from gig to gig. So when someone says I am not “keeping it real” because I refuse to play for less than I made 20 years ago, I don’t call it being money hungry. I call having some self respect.

I have been spinning records for nearly 30 years. I have lugged my gear and music to more than 75 cities in 9 different countries over the years – often breaking even at the end of those trips. I have lost girlfriends, gotten into fist fights with club owners, crashed cars on icy roads, and chased promoters around the parking lot to get $20 dollars for gas money. And those experiences are not unique to me, they are the same stories you will hear from every DJ that has been around the block.

I submit, if that aint doing it “for the love of the music”, I don’t know what is.

General | 3 Comments »

Let me begin by introducing myself and speaking for a minute about Eddie, Sam and Resonantvibes.com.

I don’t remember exactly how long ago it was, 4 maybe 5 years ago, I got an email from this cat named Eddie. He said he found me online and after reading my bio and several interviews with me, and listening to a number of mixes on my site, – he decided to contact me to talk a bit about electronic music and this project that was early on in the conceptual stages.

Interestingly, unlike most people in the “scene” he wasn’t a DJ, he wasn’t a producer, he wasn’t a promoter or an agent, in fact he was just a fan. What he also was (and is), is an articulate, brilliant, Ivy League educated attorney, ready to conquer the corporate world. Unfortunately (or fortunately, depending on how you look at it), he also had this burning desire that the law simply wasn’t satisfying. He told me about his idea for Resonant Vibes download store and of quitting his job to start his own company.

I think I began by telling him he was crazy for giving up his fledgling career and heading down as difficult a road as he was choosing. Soon, however I came to understand the passion and love behind his decision, and that this was not a rash decision but more a conclusion he came to after painstakingly pondering the pros and cons over a long period of time. At that point, I knew needed to support him fully and offered my opinion and advice on everything I had learned about the electronic music scene over the past 25. Over the next few years, we spoke on the phone and online for 30, 50, maybe even 100 hours or more, all the while becoming good friends without ever having met.

In 2006, I traveled to Louisville to play at an event – and finally got to meet Eddie. He was as engaging and gracious in person as he was on the phone / online. I also had the chance to meet his partner in crime, Sam Gracie – who is an equally charming and passionate person. After several other meet ups at WMC in nights full of events that shall remain unspoken, our friendships have been cemented. I continue to speak with Eddie and Sam on a regular basis and they have Resonantvibes.com up and running like a top. I couldn’t be happier for both of them.

That brings us to July 2008. Thanks to the hard work of Sam, the Forecastle Festival in Louisville has added an electronic music stage, on the roof top at the Gault House Hotel – adjacent to the festival grounds. On Saturday July 26th, I am heading back to Kentucky to play alongside Phil K, Habersham, Sam, Hac Le and many others. Hope to see some of your from the Midwest out at the festival in a couple of weeks.

I have a nice long and somewhat controversial article about what I see as a major impediment to the future of dance music and Club DJing in general, that I will be posting up later this week. I will also be providing a link to my latest mix, for those that are interested. In the meantime, hope you are well and hope you come back to the blog soon.

Paul

General | 2 Comments »

Well, it’s time to introduce the next DJ in the RV DJ blogger series…but before I do that, I want to extend a sincere thank you to Deviant, our RV DJ Blogger for June. Last month he gave us a straight-from-the-gut piece about staying true to your roots, and he also announced the resurrection of HeadRush Music. Great stuff!

And now on with the introduction for the July RV DJ Blogger…(drum roll please)…this month we’re handing the keys to the blog to Paul Dailey!

Paul is based in Boston, and he’s been pushing the electronic music scene forward for years. He’s played numerous gigs locally and internationally (in Chicago, Detroit, Las Vegas, Miami, Toronto, Brisbane, Amman, London, Santo Domingo, and other cities worldwide). …and Paul’s sweet spot is Detroit-style bangin’ techno. He’s also written articles for industry publications like DJ Times, Kick Magazine, and Upfront, and he hosts an XM Radio show called "Hardwired," which is broadcast throughout North America on Channel 080, "The Move."

I had some good reasons for choosing Paul as the RV DJ blogger for the month of July, but I’m not gonna share those reasons here…as the month progresses, I’m sure Paul will tell you.

…so let’s all sit back and see what Paul has to say…this should be interesting

Eddie B

Tags: Paul Dailey, Electronic Music DJ, RV DJ Blogger

General | No Comments »

Just a quick post to let the RV-heads know that HeadRush Music, one of the two labels that I run along with Toes in the Sand, is back after a long break with its first release of 2008 by one of my favorites, The Stain — straight out of Budapest, one of the illest cities for progressive right now.

The official release date is July 10, but I’m putting it out on Resonant Vibes two weeks early, starting today (June 26), as a small token of appreciation for all the true progressive fans who have consistently supported our releases on RV over the years. And for the Toes fans, don’t worry — new releases are also coming soon!

Peep the Dawn EP from The Stain here.

Peace! Keep it deep,

Deviant

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I’m listening to some really interesting promo material right now…It’s a mix album called Exodus from Alex Moulton.

I got this promo on my recent trip to NYC, and I’ve been listening to a good deal since getting back home. Before I talk about the actual music, I want to say that the packaging for this release is worthy of discussion. The image above comes from the front cover, and I got the inside scoop on the thinking behind it…it’s meant to be an almost hyperbolic, fantastical scene….some strange blend of sci-fi and fantasy. I think the inside scoop is that the artwork was created by the same artist who drew for the The Might Thor (for Marvel Comics). For some reason, when you have the actual CD the imagery really makes an impression on you.

Another interesting thing is that the actual CD for this release looks like a little record. It’s black, and it has the grooves just like vinyl…it’s really cool. The attention these guys paid to packaging details makes me muse about how much we’ve lost in these download days…where there much less of a tactile element to music consumption…but I won’t digress on that topic…

Anyway, so on to the music…

If you read my post about Pink Floyd’s Dark Side of the Moon, you’ll appreciate this next remark….namely, that Exodus was constructed as a throwback to some of the "concept" rock albums that were coming out in the 70s, except Exodus is an electronic-disco-housey-ambient sort of work. It’s really cool how unified this mix is…to a much greater degree than most albums, Exodus really unfolds like a cohesive musical novel…neat stuff.

The first track is the "Overture," which sets the stage…lifting you up into a blissed out sci-fi-like audio realm…it gets your ears/mind ready for the rest of the album. The second track "Out of Phase" is rock solid…the beat picks up a little, but the blissed-out-sci-fi vibe is preserved. Track three, "Flaming Swords," ratchets the tempo down and bleeds seamlessly into "The Prophecy," a subtle, melodious piece…definitely ear-pleasing stuff…and honestly, you can barely perceive the transition made into the fifth track "Meridians." From there the energy picks back up, and the mix almost gets dancey before falling back into another melodious/thematic stretch.

After progressing through an interesting track called "The Sacrifice," which features a sort of drum solo, the mix falls into a nice groove with "Paradise." This track has a disco-ey feel, with a little bit of funk to boot, that’ll definitely get people’s feet moving. The energy continues with the next track "Vicious," which is straight up dancefloor material — in fact, my head’s bobbin’ as I listen to it and write this In track ten, "Together Again," we’re re-introduced to the album’s main musical theme, which serves as a sort of connective tissue as it moves into track eleven, "Pandemonium," another drum-based piece. Track twelve, "Exodus," is an interesting piece that starts on an electro-like note and definitely has some punch. The penultimate track, "Ad Astra," is another delicate, melodious tracks that starts to wind things down and melts into "L’Arc En Ciel," an uplifting track that ends things on an epic note.

In sum, I’d have to say that Alex Moulton’s Exodus is definitely worth checking out! It’s a very unique and interesting piece, true artistry rather than a mere recorded sequence of tracks.

To watch out for the release, you can check out Alex Moulton’s MySpace page at www.myspace.com/alexmoulton.

Enjoy!

Eddie B

Tags: Alex Moulton, Exodus, Electronoic Music Album Review

Reviews | No Comments »

If you’ve been reading our blog for a while, then you might remember a post that I did a while back…it was an "RV Customer Mix" post for a mix I received from a great RV supporter named Goran Blazic. Goran is a cool cat. I’ve gotten to know him in the past couple years…he’s sent me some good tunes and some pics of hot parties in his part of the world (Slovenia). They usually leave me wanting to jump on a plane to visit…

Anyway, ever the RV supporter, Goran recently sent me a mix that he created and named "Resonate the Vibe" as a tribute to RV…so clearly I had to write a post here to give him a shout out and let the RV community check out the mix. It’s a good mix, definitely keeps the energy going and progresses through some interesting sequencing.

Just click the play icon below to check out the tunes. Enjoy!

…and for those interested, I’ve given the tracklist below…

Cookee and Ricsta - Chainsaw Breakfast (Original Mix)

Lank - Being Defenceless (Dub Mix)

Monte Laa Productions - Get in to My head (Original Mix)

Embliss - All That Was Faded (Style Clash Remix)

Sancho and E-Lation vs Second Sky - We Lie (Original Mix)

Michael Badal - I Love Miami (Original Mix)

Steve Angello - Sansation (Dennis Roseth and Matthew Orloff Remix)

Style Clash - Eden (Original Mix)

Clubbervision - Contrast (Original Mix)

Steve Mill - Lovely Light (Original Mix)

Retroid - Snowdrop (FeralCode Remix)

Da Funksters - Rock Your Body (Dub Mix)

DJ Babalu and Rheitor - Rocking the Bass (Fauvrelle’s Tubular Mix)

Illinton and Giez - Swedish Steamed Rollercoaster (Original Mix)

Sweeney and Stowasser - A New Hope (4/4 Mix)

Splashfunk feat Joyce Mercedes - Kemikal Love (Splashfunk’s Joyfunk Remix)

Louis Osbourne - Maia (Ramon Zenker Remix)

Eric Marquez - I Like This Beat (Angel F Remix)

Eddie B

Tags: Electronic Music Mix, Goran Blasic, Resonate the Vibe

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Mixes | No Comments »

It’s rare that I’ll write a review for a release, but Lobotomy’s Methodical Funk merits a post…Before you read this post, click HERE to load the tracks as a playlist in our media player….I think you’ll get more out of this post if you’re listening to the tunes while you read.

If you’ve been reading our blog for a while, you may recall that I wrote previously about the above artwork getting good to me. I won’t recap my previous musings, but it suffices to say that the image of a brain wearing headphones on the verge of committing suicide is some funny stuff As entertained as I am by the Methodical Funk artwork, I’m even more entertained by the tunes!

Every track on this release is strong. The original sets the stage with a raw groove that gets your head noddin’ right away. It’s definitely got that vintage creative sound that you’d expect from a Lobotomy track…it doesn’t fall neatly into any pre-established mental category you might have, but it’s also not so out there that it’ll leave you behind. And of course, the Pig and Dan remix is Blazin’ Hot They pick up the beat a little beat and provide and dance floor pounder. You can definitely drop this track on an unsuspecting crowd - dark room with thumpin’ subs - in the late hours of the night, just to mash some brains up and keep everybody sweatin’. On to the remix from The One With Many Faces…definitely an interesting track…unconventional and creative. In my opinion, this is the kinda track you play when you’re just hanging with your peeps…just chillin’ out, and everybody’s in the right frame of mind to bug out….Next we have the Jason Short mix, very hot stuff. It’s got some hop to it, and it definitely has originality. I really dig that rising sound in the background and the overall deep feel. Rounding things out, we have Rob Dowell’s remix. I don’t know this guy, but damn he put a solid track together! In the midst of the generally techiness, he’s got this subtle, light electro riff and ufo-like sounds in the background…real brain-baking material.

The more I get to know Lobotomy and the more my musical tastes evolve, the more I’m into what they’re doing. No pretense, no crowd followin, just a string of good ol’ fashioned mind-mangling tunes

Enjoy!

Eddie B

Tags: Lobotomy Records, Methodical Funk

Music Picks | No Comments »

Greetings to the Resonant Vibes community, and thanks to the cool kids at RV for asking me to share my thoughts with you. I hope that I can contribute positively!

As some of you may already know, I run a couple of progressive labels: Toes in the Sand Recordings and HeadRush Music.

Toes in the Sand was my first label, though HeadRush Music was already in existence for several years, but as an events promotion business (back when staying up until dawn was still desirable and/or physically possible). Toes was born on the beaches of Miami during the Winter Music Conference when my wife Amy and I – inspired by Michael Lanning’s unsigned “Bound for Ascension,” which was played out by our friend Chris Eberhart at one of our Cleveland parties – made the insane decision to start our own label, which in the days of vinyl was actually a significant, expensive, scary, risky, senseless undertaking.

Unfortunately, we had the bad timing to launch Toes shortly before vinyl began its surprisingly rapid and thorough demise, so we only managed to squeeze off a few releases on wax (as we geezers call it) before we were forced to go purely digital. It also didn’t help that remixers were charging absurd amounts of money that seem almost unfathomable today.

Somehow, we navigated through our early financial setbacks and kept Toes afloat. Somewhere along the way, we retrofitted HeadRush Music into another label for the weirder, darker stuff that didn’t quite fit on the more melodic Toes. (Really, we just got tired of spending every night handing out flyers for parties.)

Through it all, I’ve tried to adhere to two simple guiding principles in running the labels – a manifesto, if you will:

1. Don’t release tracks just because they will sell. If your label doesn’t stand for anything, then it stands for nothing. I didn’t start a label just to mirror the flavor of the month, like some index fund of trendy music. Similarly…

2. Don’t turn your back on the DJs and fans who supported your label from Day One. When a label switches styles in hopes of generating more sales, it basically implies that it no longer cares about the DJs and fans who formed the foundation of the label’s original success (assuming that the label actually had some original success). They were expendable, and now the label is looking for cooler friends with nicer cars and better drugs.

On a more basic level, DJs, as consumers of music, want to know that they can expect consistent product from a label – it makes shopping a hell of a lot easier, as anyone who navigates 100 pages of (mostly awful) new weekly releases on that other store can attest to.

To me, completely changing the core sound of your label to boost sales is not evolution or progress – it’s profiteering.

As a DJ, I became disillusioned a few years back when nearly all of my favorite progressive labels, who I had supported with much of my hard-earned wages, decided to chase the hottest sound of the moment and become pretty much the same as every other label. I could no longer depend on a label’s name as representing anything that it once did. (Indeed, the same could be said for a great many of the progressive DJs and producers that I once worshipped – which makes me wonder if they were just playing or writing progressive because they perceived it as the cash cow of the time.)

When Amy and I started our labels, we learned from this disillusionment and committed ourselves to never letting down those who have been loyal to us and to the music that we represent. Our releases are a reflection of us personally, just like a great DJ’s set is a reflection of his or her true passions. When a DJ plays only what he thinks others want to hear, then all semblance of art is lost – the DJ is not too far removed from a jukebox, at that point. (Or an iPod, for those younger readers who don’t know what a jukebox is.)

In fairness, I don’t depend on my labels to put food on the table, so perhaps I have had the luxury to operate completely free of the profit motive. Maybe some of these labels had no choice but to ride the wave in order to stay in business. But in these days of digital, with thousands of cost-free labels flooding the market with genericism that would never see the business end of a stylus in the vinyl era, does anyone really depend on a label to provide a living? So what’s the excuse, then? Were day jobs the answer all along?

To quote the emcee O.C., “I’d rather be broke and have a whole lot of respect.” Okay, well, I don’t really want to be broke – but you get the idea. No sell out or we get the hell out!

Agree? Disagree? Think that I’m a jaded old man? Can’t get enough of those forward-thinking farty synths? Holla at your boy.

Love,

Deviant

General | 1 Comment »

Some of our customers may feel like the Resonant Vibes progressive catalogue fell off a bit in the early part of 2008. …and you know what…this is a blog, and Eddie B will shoot you straight…our progressive catalogue did fall off for a while (…although I should point out that our techno catalogue has grown stronger than ever). HOWEVER, let me be clear in saying that those days of slacking on the progressive catalogue are over. As you can see from the track recommendations below, we’re back baby

As usual, you can click HERE to load all of these track recommendations as a playlist in our media player.

1. Just Another Memory (Python Remix) - SATeN [Swordtail Records] <– This release from Swordtail Records is seriously on point. Nice, melodious, gelatinous prog from SATen, who certainly has a reputation for getting the job done.

2. Step Into the Light (Dark Mix) - His Boy Elroy [Proton Music] <– We went a while without having Proton’s tunes on our site, and I’m really glad they’re back. Great track here!

3. Hangdown Sorrow (Original Mix) - Logiztik Sounds [Proton Music] <– See previous comment …this track has a nice driving sound…it definitely takes you where you wanna go.

4. No Identity (Original Mix) - Bs As Deep [Progressive Grooves Records] <– More killer progressive sounds…this time from Progressive Grooves Records…this track fits right in the sweet spot for the progressive crowd.

5. Blue Room (Original Mix) - Chris Drifter [Plastic Fantastic] <– Plastic Fantastic seems to never miss the mark. This is a solid track from Chris Drifter.

6. Fast Life (Christian Fischer Remix) - Christian Fischer [Definition Records] <– This track is old, but it’s a MONSTER …you’ve got the Nancy Sinatra vocals from that song in the Kill Bill soundtrack…I think this would destroy a dance floor if you dropped it at the right time.

7. Twang (Groovy South Remix) - Hugo Cipres and Lucas Vidal [Tapas Recordings] <– This one starts out kinda tame and works its way into a veritable jam.

8. Elite (Original Mix) - Claudia Cazacu [Couture] <– I like the driving feel of this track. It’s got a good feel to it.

9. A Day That Fades (Inpetto Instrumental Edit) - Cosmic Gate feat Roxanne Emery [Black Hole Recordings] <– I’m super pleased to have Black Hole Recordings on our site. They continue to put out solid trance releases.

10. Outside the City (Dave Dk Remix) - Morgan Page [Sugarcane Recordings] <– I don’t know Dave Dk, but this is an impressive remix of Morgan Page’s "Outside the City."

Enjoy!

Eddie B

Tags: Electronic Music, Upload Highlights

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