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Tag Archives: picnic social

Derrick May (Detroit) 5 Hr Set (Sun 18th) + Derrick May on BBC 6 Mixes playing everything from Jazz, Soul & House

April 15, 2010 by SOUL OF SYDNEY

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Picnic Presents:

Derrick May (Detroit)

5 Hour Set

Sun 18th April

Supported By Simon Caldwell

In The Newly Incredible Sounding Basement @ 202 Broadway

Tickets $30 THROUGH RESIDENTADVISOR.NET

___________________

DERRICK MAY BIO
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If one name crops up again and again in discussions of techno, it is that of Derrick “Mayday” May. Alongside Atkins, Juan, Craig, Carl and Saunderson, Kevin, May is regarded as one of the kings of the Detroit sound. Inspired by Yello and Kraftwerk, he began to make electronic music with Atkins and Saunderson while studying with them at Belleville High, Detroit. Recording either as Mayday or Rhythim Is Rhythim (occasionally in conjunction with Carl Craig) and generally on his own Transmat Records label, he went on to carve out a new vein in dance music that synthesized the advances of the electro movement with the more challenging end of the House movement – a music that defined “techno”. Early cuts such as “Nude Photo” (co-written with Thomas Barnett) and “The Dance”, both on Transmat, were inspirational to many. However, it was the release of “Strings Of Life” in 1987 (co-written with Michael James) with its wide appeal to the house music fans of the 80s & 90s, simultaneously brought May his deserved acclaim and Detroit techno to European club-goers.

May went on to cut three tracks on System 7’s debut album, before Network released Innovator: Soundtrack For The Tenth Planet in 1991, a six-track EP that comprised some of May’s definitive moments to date. In the same year, May was responsible for what Carl Craig has called the finest remix ever, Sueo Latino’s “Sueo Latino”, itself a reworking of Manuel Goettsching’s epic “E2-E4”. It was followed in 1992 by Relics, a double album of Transmat’s finest moments, heavily featuring Rhythim Is Rhythim, which coincided with a re-release of “Strings Of Life” on the Belgium label Buzz, this time in a drumless version reminiscent of May’s “Sueo Latino” remix. More recently, Transmat has been revived following its signing to Sony. This has resulted in the long-awaited release of Rhythim Is Rhythim’s 1991 recordings, “Kao-tic Harmony” and “Icon”, and the Japanese (and subsequent American) release of a comprehensive Derrick May retrospective, Innovator, which contains all May’s work for the Transmat label including remixes and tracks released for the first time.

Detroit Techno landlord and head of the internationally respected Transmat Records, Derrick May continues to move dancefloors with his no-nonsense Techno grooves. One third of the Belleville Three, this electronic legend arranges classic Detroit tracks in a timeless fashion: frantically beat-heavy yet soulfully warm. Nervous beats and breaks pound away at curvy synths and digital melodies that stand in the background of these vibesome grooves like an electric scalloped fence surrounding a celebrity’s home. Confident rhythms charge at your chest through an invisible spiderweb of string samples holding your consciousness captive on the dancefloor.

Derrick May is one of the founding fathers of Detroit techno, a precursor of its many variants and particularly of acid house. His eastethic, skeletal, melancholy style gained him the nickname of “the Miles Davis of techno”. He introduced both a psychological element and a futuristic vision in dance music. Along with his high school mates Juan Atkins and Kevin Saunderson, May began early in life to explore electronic music May sponsored the single Let’s Go by X-Ray, that introduced the hypnotic, repetitive electronic figures of techno, and then recorded Nude Photo (co-written by Thomas Barnett) (Transmat, 1987), credited to Rhythim Is Rhythim, one of the records that started the techno revolution world-wide.

Inspired by the legendary Detroit disco DJ, Ken Collier, May, along with High School friend Juan Atkins, formed Deep Space, a DJ and party outfit in the early eighties. Playing what they termed as ‘conceptual disco’ to the high school party scene that was very much alive in Detroit at the time, the duo set themselves apart from the other DJ and party collectives at the time. Atkins had already been very influential in shaping the emerging techno sound with his recordings as Cybotron, but May’s time was soon to come.

Whilst DJing with Atkins, May spent time visiting his mother in Chicago, where he was exposed to the emerging house music scene that was being championed by the likes of Frankie Knuckles and Farley Jackmaster Funk. His experiences in Chicago opened his eyes wider to the growing possibilities of electronic music and the euphoria and spiritualty it was capable of creating.

In 1986 May set up his now legendary Transmat label, taking the name from the early Atkins track ‘Time Space Transmat’ on his Metroplex label. May cut his production teeth with the label’s first release ‘Let’s Go’, developin his craft from the guiding hand of Atkins. His next release, under the guise of Rhytim is Rhythim entitled ‘Nude Photo’ (co-written by Thomas Barnett), with it’s bending synths, melodic staccato bass and deep bass drums would come to define the emerging techno sound.May then continued to develop his sound for Transmat. Utilising the familiar bass sounds with ever more complex beats, flange effects, twisting chords and deep strings, May produced a catalogue of music that pushed the boundaries of what could be accomplished with electronic sound ever further apart. To many, the techno of Detroit is very much ingrained within the character and history of the City itself. A City that was isolated from the rest of America, with a downtown area in financial and architectural ruin, a deteriating motor industry and the reputation of it being the ‘murder capital’ of America, Detroit, on the outset, seemed a desolate and empty place. In reality there was a spirit and soul there that lived on in the City’s urban communities from its glory days and its great musical heritage. This mixture of coldness and warmth, desolation and soul, was perfectly represented by May’s Techno experiments. The classic tracks that include ‘Beyond the Dance’, ‘The Beginning’, ‘Icon’ and his most famous release ‘Strings of Life’ all emphasise Techno’s most crucial componant, that this is the music of machines, cold and soulless machines, but May injected and extracted so much hope, spirituality and soul from them that the result was truly inspirational.

Inspiration is certainly one thing that all techno artists that came out in the wake of May’s recordings owe to him. An ambassador for Detroit and techno, May spent much time in the UK and Europe promoting the music at a time when America was not ready to wake up. At a time where the ‘Summer of Love’ was at its peak, May’s recordings, especially the seminal ‘Strings of life’ helped heighten and give further fuel to the movement. As well as his original production work, May’s ‘Mayday’ remix projects are also legendary. His re-workings turn average tracks into unique masterpieces, nowhere more evident than on his classic remix of pop band Dee-Lite’s ‘Wild Times’. This tune would also become a favorite of UK DJs at huge raves across the country, with its mixture of pounding hard basslines and tear rendering piano melodies, all combined with May’s trademark intricate and effect laden techno beats.

May spends most of his time touring the world as a DJ, continuing in the tradition of the likes of Ken Collier and Larry Levan, a tradition he started with his Deep Space parties all those years ago. He also still runs his Transmat label from Detroit, which has been given a new lease of life in recent years with the introduction of many artists that have helped kick start Detroit’s ‘third wave’ of dominence over techno.

Derrick May Mixes

Pioneering Detroit Techno DJ and producer Derrick May was recently invited to do a special edition of the BBC Radio 6 Mix, featuring three new exclusive mixes which showcase his musical make up, expect everything from Jazz, Soul,Ambient Electronica,Chicago House & of course Techno & Hi-Tech Soul. He also talks about his work as a producer and DJ throughout the mix. Enjoy!

#1 Derrick May on BBC 6 30th June 09

download

  1. Reggie Dokes — Paradise
  2. Fingers Inc. — Can You Feel It
  3. Erp — Alsoran
  4. Lil’Louis & The World — Aahhhh!
  5. Herbie Hancock — Nobu
  6. AntibalasAfrobeat Orchestra — Filibuster X
  7. Double Helix —Omura
  8. Jimbo —Untitled
  9. Moodymanc — Thumbs Up Continue reading →
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Posted in derrick may, detroit, download, Herbie Hancock, miles davis, Picnic, picnic social, sydney, techno, Theo Parrish, underground resistance, UR | Tagged derrick may, detroit, download, miles davis, picnic social, sydney, techno, Theo Parrish, underground resistance, UR | 1 Comment |

Horse Meat Disco, Greg Wilson & Golden Bug. Sun 14th March + Mix-tapes

March 9, 2010 by SOUL OF SYDNEY

Picnic Social & Dan De Caires Presents:

Horse Meat Disco

Greg Wilson

Golden Bug

Sun 14th March

12pm – 12am @ 202 Broadway

Info/links:

Check out Facebook event or Resident Advisor for ticket details & more information

Mixes:

  1. Greg Wilson Essential Mix (Download)
  2. Luke Howard Falling In Love with Love (Download)
  3. Horse Meat Disco  (Download)

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Posted in disco & funk, download, Electro Funk Roots, golden bug, greg wilson, horse meat disco, mixes, mixtape, picnic social, simon caldwell, stephen allkins, sydney | Tagged download, golden bug, horse meat disco, mixes, picnic social, simon caldwell, sydney | Leave a comment |

Picnic Social Warehouse party feat: LOVEFINGERS (NYC) Sat, 9th Jan + Lovefingers Australian Promo Mix tape & Interview

January 3, 2010 by SOUL OF SYDNEY

Picnic Social Warehouse party feat LOVEFINGERS (nyc)

Saturday, 09 January 2010

St Peters Sydney

Info/links: Check out Facebook event or Resident Advisor for ticket details & more information

Mixtape: LoveFingers Australian Promo (Download)

LOVEFINGERS (NYC)

psychedelic. warehouse. disco. party. could four words be any sweeter? after the Sydney festival first night blow-out, picnic’s here to save you with some serious fun times in our inner city warehouse, just 10 minutes away from martin place.

special guest LOVEFINGERS (blackdisco/ny) – hipster hero and crate digger, party rocker and all round awesome bro – has flown over especially and is doing a 3hr set for us. he’s the lock of the week for picnic – solid jams on blackdisco, just signed to modular and is a favourite of dj harvey and rub n tug and garth and metro area and loads of others.

he also runs that little website: lovefingers.org. it’s a bit special.

getting down to business are our local jocks, THE LOIN BROTHERS, alongside everyone’s favourite PERFECT SNATCH, STEELE BONUS and picnic head honchos/all round party animals KALI and VIVI, and your host MC GAFF E.

tickets are $15 presale and no more than $20 on the door.

full picnic turbosound system installed on the night!

—

Andrew Hogge aka Lovefingers needs little introduction amongst the global disco elite, his world famous lovefingers.org has had a undeniable impact, on the burgeoning eclectic dance scene of today and has enabled him to bring his eccentric taste and unique DJ style on tours throughout the US, Europe, Asia, and Australia.

A Los Angeles native, Andrew and collaborator Nitedog have been hosting the standalone monthly event Blackdisco Social Club since 2001 which have included guests like LCD Soundsystem, Prins Thomas, Rub’n’Tug and many more before heading off to New York where he resides today. Lovefingers and Nitedog, also founded the top notch disco re-edit label Blackdisco well know for its discerning tastes, Black Disco releases have found there way into the bags of top jocks like Harvey, James Murphy and their debut 12″ was recognized as #2 in Phonica’s Top 10 Disco of 2008 as well as Tim Sweeney’s Best of 2008 Beats in Space.

Lovefingers’ left-field sensibilities have also led him into the art world including performances at PS1 MoMA’s Summer Warm-Up, Doug Aitken’s Sleepwalkers exhibition at the Museum of Modern Art, sculptor Eduardo Sarabia’s Salon Aleman installation at the 2008 Whitney Biennial, avant-garde designer Henrik Vibskov and fashion icon Diane Pernet. Keep an eye and ear out for new projects dropping this year, The Stallions a production duo with long time cohort and DJ partner Lee Douglas and singer Findlay Brown and the kick off of Loverfingers own original imprint ESP Inst.

Links & More Info:

  • Event at Facebook & Resident Advisor
  • Picnic Social on Facebook & Web
  • Lovefingers (NYC) Australian Tour Download
  • Love Fingers Interview (blackmail.com.au)

Love Fingers Interview

blackmail.com.au

Chances are you already know about the Lovefingers website, quite possibly the best site at the moment for downloading rare unearthed music from the past 30-40 years. What you probably don’t know is that the man behind the site, Andrew Hogge, is one of the most friendly and laid back guys going around. A native Californian who currently resides in Brooklyn, he’ll probably tell you himself that he’s lazy. However he still manages to hold down a full time job and at the same time run two record labels, update his website with daily ‘fingertracks’ and mixes, work on his own music as one half of production duo The Stallions, party with the energy of an 18 year old, and tour the world djing. Recently he even became a father. Steele Bonus caught up with Lovefingers a month outside of his second trip down under.

Steele Bonus: Tell us about your origins in music. How did you come about collecting records and djing?

Andrew Lovefingers: I grew up in a musical home, mum was a music teacher and we played and sang together from as far back as I can remember. I started playing drums when I was seven or eight. It was pretty cool, after I first set up the kit my mum jumped on and dropped some beats, I couldn’t believe it! As for records, the first was a huge box of my dad’s 45s, mostly Beatles and Beach Boys. My first purchased records were probably Run DMC and Zeppelin. I got into metal, punk and hardcore later and started compulsively collecting 7″s which led to everything else.

SB: Did you ever play in bands? Do you miss jamming with a band?

AL: Yeah a handful of punk bands in high school, and later some stoner rock bands, no need to name any of them… but I guess the last band I played in was Ariel Pink’s Haunted Graffiti. Yeah I haven’t had a drum kit for a while, I need one badly!

SB: So you’ve been working on a bunch of tracks lately with Lee Douglas. You guys also travel and dj together a fair bit. How did this partnership come about?Lovefingers

AL: We actually grew up in the same area and hung around the same punk kids, and have always had a lot of mutual friends. Funny now we also live a block from each other. I dunno, we just started hanging out a lot and listening to records all the time. So it was just inevitable that we started laying down tracks. I was asked by Findlay Brown to remix a song for his new album, so it was our first real project after a lot of talk. Then Findlay was really happy with the remix and his label asked us to produce some original material for him in the studio, and it ended up being a super great collaboration. Now we’re remixing a handful more artists and working on an album together. And since it seemed like we had to make up a name we are calling ourselves The Stallions.

SB: You made the move from LA to NYC a couple of years back. Did the music scene in NYC influence this decision? Do you think the music/club scene in NYC is all it’s cracked up to be? Are there any djs, bands or producers in NYC that you think the rest of the world needs to know about?

AL: I’ve always loved NYC but moving there had nothing to do with music. It was more work related really. But I’m a million times happier with the music scene in NYC than LA. I grew up in LA and it was just time for a change. Not to talk bad on LA, it’s a great place, and full of great people (despite the reputation). The music scene in NYC has always been amazing, but it’s by no means some disco-laden wonderland. There is a small pool of djs and record freaks and we all go to each other’s parties. It’s actually a super tough place to play in right now, money is low and people are jaded, but we still have fun. Underground parties are always where it’s at. I can’t really think of anything new in New York that people need to know about, TBD is the jam and also my buddy Speculator has a new label called Willy T… his release for Hunee is dope.
SB: Djing has taken you to play gigs at plenty of different locations around the globe. Any of them stand out as being the most memorable? Any crazy stories you feel like sharing?Lovefingers

AL: I love Turkey. I went to this little beach town in southern Turkey this summer and it was just amazing. Girls dancing in the knee high water under a full moon til the sun rose. Yeah of course when you are out all night weird things and people are involved but no real standouts. It’s all a blur. Just really awesome to meet such cool people and real music freaks all over the place! Stallions just played a fantastic gig last night in Stockholm and we’re on to Berlin tomorrow. Later in the week we’re over to Serbia to play in Belgrade, that’s really got me excited!

SB: Lets talk about your site. I have heard that you are going to stop once you reach 1000 tracks. It’s currently up there in the nine hundreds right? There mustn’t be long to go. What will happen when you hit 1000?

AL: Yeah maybe 30 something more to go. Not sure what will happen at 1000 but I’ve been trying to figure out a way to make it a radio station. Not sure. It’s really a long mix, and a lot of tracks are totally specific to the time they were posted, but if you listen to the catalogue in its entirety it’s the best, so I might just make it stream. I wish there was a way to package the 1000 song mix but it would end up being a ridiculously large box set.

SB: I think lots of people are going to miss the updates. Especially after recently similar ‘track of the day’ type sites Bumrocks and Dream Chimney have shut down. Do you think it is a bit of an end of an era?Lovefingers

AL: Let’s just say that these specific sites you mentioned are the cream. I feel like Bumrocks, Dream Chimney and my site have accomplished something pretty cool, but honestly they’re kinda the only ones I pay attention to. The point is to promote great music and artists and get their music out there, but not to replace the actual records. That’s why the files are not high bit rate, its just to sample and then you need to go out to the record store, or at least the online record store. There is too much at your fingertips these days and it’s really overwhelming. So easy to get lost in the computer and its much better to get in, get out and get on with your day.

SB: Any plans to follow on with a different project? Or are you just looking forward to a break?

AL: Yes my new project is my new son Jaspar! I can’t think of anything more rewarding than listening and playing music with him. He’s got his favourites already, and he’s only a month old!

SB: There’s been a lot of hype, mostly taking place on the internet, about a resurgence in ‘cosmic disco’ music. Have you noticed much of a change in the popularity for this kind of music over the last few years in regards to the interest in your djing and your site?

AL: Meh, buzz words I guess. I mean the sub-genre thing is quite boring to me. It’s like when people put mixed styles of music together it’s all of a sudden “cosmic”. That’s not at all what I think of as cosmic. It’s a vibe not a genre. Unless I guess you’re referring to Baldelli’s classic jams from that era, which I really love, but mixing it all up is the way I like it and I’d never consider anything I do cosmic.

SB: So you are coming down under for the new year and some of January right? It’s been a long time coming and almost didn’t happen. Are you excited?  Where are you playing?Lovefingers

AL: Yeah man I’m super stoked! Playing at The Toff on New Years Eve and at the Picnic party in Sydney the next week… a handful of other parties as well, I’ll post ‘em all on my site soon. Will be super cool to hang out with all you guys again, and especially to get a second shot at summer!

SB: What sort of stuff can audiences here expect to hear you play?

AL: Disco, house, sleazy rock jams, maybe some chanting monks and snake charming music? I got a bunch of new things too.

SB: So tell us about this new label you are starting up, the ESP Institute. What sort of stuff are you going to be putting out? Did you start it with a certain kind of music or certain acts in mind to release? How will it be different from your other label Blackdisco?

AL: Blackdisco is just about servicing djs and the dancefloor, it’s all edits and rework of songs for that specific use. ESP Institute is new music. Totally open minded beautiful sounds. Lots of great things from friends in Japan as well. My wife and I have also started a children’s clothing label under the ESP Institute called ESPno.1… Other things will follow and hopefully a boutique one day.

SB: Run us through some of the releases you’ve got coming up on the two labels.Lovefingers

AL: For Blackdisco, I will do another edit 12″ at some point but things that are for sure are a 12″ from Thriftcotheque (Eddie Ruscha of Laughing Light Of Plenty) and a 12″ from Justin Vandervolgen (TBD, Try and Find Me). The debut release from ESP Institute is Journey To The Centre Of The Sun by Sombrero Galaxy (which is two good buddies Tako and Jonny Nash) with a remix on the b-side by The Stallions. It’s out end of January. After that is a release by Chee Shimizu of Discosession. A super deep promo mix CD will be out first and probably free with the first shipped 12″s. The rest will be sold and the profits will all go to benefit music programs for children. The artwork for ESP is also going to be great, Mario Hugo is doing the whole package and he’s an amazing NYC artist.

SB: On your Blackdisco label you recently put out an edit by a guy from Brisbane – Julien Love. Julien is a very talented guy, but is still relatively unknown around these parts. How did it come about that you ended up putting out his music?

AL: A friend of mine played me his edit of The Jacksons and I just had to contact him to let it come out on Blackdisco. He’s sent me heaps of super fantastic edits and hopefully we’ll do another 12″ soon. He’s a great dude and everyone should fly him over for parties. Also check his music videos on Youtube, total dopeness.

SB: Thanks man, one more question, now that you have the responsibility of being a dad do you think you’ll slow down on going out partying till the wee hours of the morning?
Lovefingers
AL: Everything is OK in moderation.

Lovefingers plays at Melbourne’s the Toff In Town on December 31 amongst other shows.

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Posted in 2008, Andrew Hogge, article, avant garde, Baldelli, basment jam, Beach Boys, Beatles, beats in space, Belgrade, Berlin, blackdisco, Blackdisco Social Club, blackmail.com.au, Brisbane, Brooklyn, Bumrocks, Chee Shimizu, cosmic disco, Diane Pernet, disco, disco & funk, Discosession, dj harvey, Doug Aitken, Dream Chimney, Eddie Ruscha, edit, Eduardo Sarabia, electro funk, ESP Institute, exhibition, Findlay Brown, first night, funk, garth, Harvey, Henrik Vibskov, house, hriftcotheque, Hunee, interview, James Murphy, japan, Jonny Nash, Journey To The Centre Of The Sun, Julien Love, Justin Vandervolgen, Kali, Laughing Light Of Plenty, LCD Soundsystem, Lee Douglas, lion brothers, Los Angeles, Mario Hugo, MC GAFF E, metro area, mixtape, modular, Museum of Modern Art, music, Nitedog, nyc, PERFECT SNATCH, picnic social, picnic social warehouse party, plays at Melbourne, Prins Thomas, PS1 MoMA, re-edit, records, reedit, remix, Rub N' Tug, Rub'n'Tug, Run DMC, Salon Aleman, sculptor, Serbia, Sleepwalkers, Sombrero Galaxy, soul, soul of sydney, Speculator, Stallions, STEELE BONUS, summer, Summer Warm-Up, sydney, sydney festival, Tako, TBD, The Jacksons, THE LOIN BROTHERS, The Stallions, The Toff, Tim Sweeney, Toff In Town, Try & Find Me, Turkey, VIVI, warehouse party, Whitney Biennial, Willy T, Zeppelin | Tagged beats in space, Brooklyn, disco, edit, funk, house, interview, japan, nyc, picnic social, re-edit, remix, Run DMC, soul, soul of sydney, sydney, sydney festival, warehouse party | Leave a comment |

Darshan Jesrani (Metro Area) NYC, Fri 11 Dec

December 1, 2009 by SOUL OF SYDNEY

Picnic Social Presents:

DARSHAN JESRANI (METRO AREA) DJ SET – NYC 3HR+ SET


Goodgod Small Club, behind La Campana , (Liverpool St Sydney)

Friday 11th Dec

Darshan Jesrani,Julien Love, Long John, Kali, Spruce Lee,Vi Vi X 2 (Metro Area)

Info/links: Check out Resident Advisor or Facebook event for ticket details & more information &

Mixtape: Darshan playing on Beats In Space #473, download here or stream & check out the track listing ………..

After a year of delivering blue ribbon standard good times with guests like Horse Meat Disco, Mike Simonetti, Rub N Tug, The Revenge and Pete Herbert amongst some seriously slammin’ djs, we’re decking the halls with disco bells in preparation for our Picnic Christmas Dance-a-thon with a very special guest from the home of the danceteria…

DARSHAN JESRANI (METRO AREA, NYC)!

Metro Area - Caught Up

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Posted in beats in space, deep house, detroit techno, disco, electro funk, funk, house, metro area, picnic social, picnic social warehouse party | Tagged deep house, disco, picnic social | 1 Comment |

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