Tropicalbass keeping an eye on what is going on at the bass scene and its key players, has made an interesting interview with Brice aka Walmer Convenience.

We ask him how his perception of blogging, djing and now originator of content has changed since the beginning.

Why the profanity at his blog, and a lot of questions about the actual state of Moombahton.

So have a look and enjoy this interview with one of the coolest cats in the bass scene.

Q & A with Walmer Convenience from caballo on Vimeo.

Boddhi Satva just released his single “Ngnari Konon” featuring Mali’s superstar Oumou Sangaré along with a massive package of remixes by Louie Vega, Josh Milan, Manoo and Boddhi himself.

Producer & DJ Boddhi Satva and Grammy-award-winning songstress Oumou Sangaré recorded the track already a while back for his album “Invocation”. Boddhi returned to Mali last year, just about when the conflict in Northern Mali escalated completely, to meet Oumou again and shoot a video in Bamako and Kirina. At that time there was already a ban on music in the northern parts of the country under islamist rule, but fortunately this hadn’t reached the capital Bamako.

We were lucky enough to get the opportunity to do an interview with this globetrotting artist. Hope you enjoy it as much as we did.

First of all, thank you for taking the time to do this interview, I know you have a very busy schedule and travelled a lot these days: Belgium, Qatar and now Central African Republic, right?
How did the audience in Qatar receive you and what are your plans for your stay in CAR?

The Audience in Qatar was very very receptive to my set and quite fun to perform for. I must say that the W in Doha is the only [venue] where you’ll be able to listen to quality music served by it’s resident dj’s Bruno Rochart & Steve Paris. They are pushing the boundaries and it works.
I unfortunately was not able to make it to Central African Republic due to the recent matters that occurred there. It wasn’t safe enough but all is about to get stabilized now, so I’m re-scheduling the return for as soon as possible.

You just released a massive pack of remixes of your single Ngnari Konon featuring Oumou Sangaré on BBE. I was surprised to read that this was the first ever venture into “electronical” music for Oumou Sangaré although she’s such a super star with international acclaim and I’m sure you weren’t the first foreign producer who approached her – how did you convince her to record a song for your album?

Well I’ve met Oumou back in 2007 and at the time I had just done an edit of her hit song “Ah Ndiyah” which to my surprise she absolutely loved. She then decided to shoot a video for it and from that point on we built a friendship and mutual respect that allowed me to humble approach her during the making of “Invocation” for a collaboration. She said yes. No need to say I almost jumped to the roof.

Do you know how the tense current political situation affects musicians in general in Mali?

It definitely fuels their inspiration and desire to continue creating music that unites their country. Malian music is way too powerful and will remain as such. It’s one of the strongest element of the cement keeping this nation together.

I heard Oumou Sangaré organised a music festival in Bamako in spite of the ban of music in wide parts of the rest of the country and the closure of clubs even in the capital…

Oumou is known to not let anyone dictate her what she will or won’t do. And certainly the only or one of the few woman of Mali able to stand strong and bring some sort of peace in such times.

Oumou Sangaré is well-known for her deep and social-critical lyrics. What does “Ngnari Konon” mean, what is the message of the song?

The message speaks about the the Bird of Peace or White Bird (Ngnari = White, Konon = Bird). It’s a call for unity, a call to celebrate life.

The cover image of the remix release as well as a scene of the Ngnari Konon video shows you during a traditional Malian tea ceremony. Can you tell us a little bit about it? It seems to be a key moment of your journey to Mali for the video shot.

That moment was indeed quite special (thank you to Wren Miller for capturing this moment). Oumou is a very busy woman and barely gets a minute to relax properly. Therefore being able to have her take 1 hour of her time for a tea was quite exceptional and special. Most definitely one of my favorite moments throughout this journey in Bamako and Kirina.

Thanks a lot for this insightful interview, Boddhi, and for bringing us such beautiful sounds!

Boddhi Satva website

Tropicalbass goes straight to the source as the moombahton forever is getting stronger. So we talk to one of the guys who is driving the moombah force: Valentino Khan!

TB: So lets begin with RUKUS!! it has received support from Diplo, Steve Aoki, Dillon Francis, Flux Pavillion, among many more, Do you think that song made you “an instant moombahton household name”?

Valentino Khan:Well that track was definitely a breakthrough for me within the genre and probably within the EDM scene as a whole. Definitely had fun making that with Will Bailey. I’d say a large part of the success was getting support on that tune from guys like Diplo, Dillon, Nadastrom, Flux and Felix Cartal, etc.

2)You started in the hip hop scene, and you have producer a great number of tracks in that genre, what made you to move to the moombahton vibe?

VK: Probably just the fact that it was really danceable. With house music the crowd generally will just jump up and down because of the faster tempo. When you slow it down, they’re more inclined to actually dance with each other. And that’s what the club was made for right?

TB: Seeing your wiz khalifa tune & with the obvious revival of south rap aka trap are you going to flirt with that style as it is your forte, or you will keep the approach to the genre you did with your Jay Z remixed album?
VK:I definitely will be putting out some trap music very soon, but I’ve been patient in even attempting to make it. Given that I’ve produced “trap” style hip hop for guys like TI, 2 Chainz and BoB, I wanted to make sure that my take on it was unique and didn’t fall into the trend of what everyone else was doing. I’m very picky with the trap I listen to and play in my sets.

I wouldn’t say trap, moombahton, house or any other genre is or will be my “forte.” If I ever limited myself to producing one genre that’s when it will stop being fun for me.

TB: If you had to choose to remix let’s say Lady Gaga, would you go European EDM or American trap/brostep or more dutch-latin moombah?
It would entirely depend on what the original song sounded like and where I’d want to take it. For example, when I remixed “Go Hard” for Kreayshawn, I wanted to make the track more club-ready. So I significantly sped up her vocals and turned it into this mid-tempo bass music song that had a number of influences from New Orleans bounce music to hard techno.
You don’t always have to make such a drastic flip of the song when remixing it, but it can definitely be more interesting when you change it into something completely different.

TB:Which of the following genres do you really think have the whole potential to become “the next thing”? Bhangra, Juke, Tuki, 3Ball, seapunk, Footwork.
VK: Of those you listed, I think Juke has the most potential. It’s probably the most club ready of those.

TB: Do you think Moombahton just needs one “major artist” to give it a shot and then it is gonna be everywhere?
VK: I think there just needs to be consistent effort among producers to put out quality within the genre for there to be sustainability. If a major artist were to use a moombahton track, it would be cool for a few months then everyone would forget about it. It’s all about routinely being able to hear good music within a genre for it to survive.

TB: To finish this interview I’d like to make a long question as I really want to know your personal opinion, as you may know; Old school Reggeaton (Panamanian plena) and its roots are still not an active part of the big Moombahton tracks, do you think it is because the people who support moombah, major acts like Diplo, Dillon Francis, Flux Pavillion, Congorock, Toddla T, Bart B More, Will Bailey, Torro Torro are not latinos, and the active Latinos, Munchi, Nada, Sabo, Orion, Sazon Booya, aren’t living in a latin country. So it is like their/your perception of what latino may sound like, or it is just a process that simply happens and sounds “Latino” without even trying.
VK: Particularly for me, I think through living in America you can’t avoid being exposed to the music of other cultures. Maybe you hear it from a friend, hear it on the radio or find it on the internet. All of us have been exposed to Latin music at some point in our lives.
So I think it just takes a good producer’s ear and proper inspiration in terms of incorporating that into a dance music structure. Whether it’s intentional of not, a lot of people have heard dem bow riddim if they’ve listened to reggaeton. What’s cool is being able to take traditional Latin elements and modify/add to them in an electronic format. The fun is in your own approach to it.

Tropicalbass unveils a project from Montreal/Singapore that teams a very talented duo who had been behind the beats for a long time in a new tropical mood!

TB: Bubbleheads is a “new” project with some names that have been around behind for a while. If you can tell us briefly who you guys have ghost produced, either the label or name.. that may give a clue to ppl about
your real skills!

Youri Pete: Indeed I’ve worked with various label and artists as a ghost producer. I can’t mention any names because it wouldn’t be professional of me to do so. But the last time when I was a ghost producer, it was because the dude I was working with jacked the track, named it as his own then he
released it on a reputable label.

Perk: Don’t look at me, it wasn’t me.

TB: how a guy from Montreal and a guy from Singapore complement each other? How did this happen?

Perk: It’s amazing how we were able to link up despite the fact that I am from Singapore and Youri Pete is from Montreal, Canada. When I started producing I was already listening to Youri Pete’s old tracks under his old moniker, Fantohm and I liked them very much. We were then connected through the internet in 2011. I got in touch with him and realized that he was actually Fantohm (back then). Obviously after that, I told him that I want to collaborate with him on something fresh. So after spamming his mail box relentlessly(hahaha), he finally gave in and collaborated with me. After a couple of months, we decided go ahead and form the duo BubbleHeads because we’ve got a cool project going on. Besides that, it was also a refreshing experience to be able to work together, especially with someone of his caliber.

Thank you internet, you are indeed my best friend.

TB: this is a well known approach to Tropical Bass, it is something planned or more an spontaneous approach of exploration.

Perk & Youri Pete: Yes, it was totally deliberate, we love everything from moombah, kuduro, baile funk to dem bows riddims, plus we both have that electro synth backround in our past productions so we just did what we felt was good. We wanted to exploit some wild club grooves by bringing refreshing exotic flavors to it and this is just how we love our music! Bringing back that ‘’easy life’’ feel was important too, just like how we all have that one night spent with a bunch of friends club hopping and having real genuine fun.

TB: one of you is a 6 times DJ battle champ, do you think scratch is still relevant in EDM?

Perk: Interesting question. There are different views on this one, some people think they don’t work well together, while some prefer that hands on vibe during live dj sets. For me, I think it is still relevant and will always be like how it have always been. I always do abit of scratching in my live sets because it’s what I do. Once I tried keeping my hands away and not scratch, but it didn’t work out. I’m done with battling already though, I’ve only battled for 2 years, which was when I was 15 to 16. Had crazy fun but I’m moving in another direction now.

TB:tell us bout this ep!!

Perk& Youri Pete: This is our opening card, nothing too crazy and done with as much balance as possible. These are our foundations and we will build on them. People don’t always get to hear a great variety of synth sounds so we wanted to change that. We think this EP is typically setting the pace for us to show how different we can be and a quick glimpse of how our sound and style will be, which is some fun pitch jumps, tropical like percussions and a steady rhythm.

Big up to our remixers Adam Bozzetto, Ahllex, Zee Reach, Andy Jam& Voodoo Rebel though. They were of top quality and we are really really proud to have them in this project.

This year is going to be special because we have a couple of other EPs coming up and a compilation project that features artists from around the world. We spent the whole of last year preparing for all these, and now it’s time to have some fun with them.

SO LETS HAVE THIS EXCLUSIVE FREE TUNE!!!

Tonight the famous Moombahton Massive will be in Berlin for the first time, with a massive line-up from Nadastrom to Sabo to good peeps like Zuzuka Poderosa and Schlachthofbronx.
If you are in the city, this is definitely something not to miss! Moombahton godfather Dave Nada is giving us some exclusive insights before it all goes down tonight. Stay tuned for more interviews and don’t miss the fun tonight!
01.12.20112 | MOOMBAHTON MASSIVE BERLIN | WORLDTRONICS FESTIVAL | HAUS DER KULTUREN DER WELT | JOHN-FOSTER-DULLES-ALLEE 10 | 10557 BERLIN
STARTS AT 8PM!!

Hey Dave, we are very excited to have Moombahton Massive here in Berlin. The night is going to be part of the Worldtronics festival, which every year brings musicians from all over the world to Haus der Kulturen. What is your impression so far?
Very excited about Worldtronics! This isn’t only the first time for Nadastrom in Berlin, but the first ever official Moombahton Massive event.

So how did this event come about? How does the Moombahton Massive end up at Worldtronics?
The good people at Worldtronics reached out to me about doing a Moombahton night at their Worldtronics festival. I thought it would be great to do a proper Moombahton Massive like how we do in the States: Nadastrom & Sabo plus special guests involving artists from around the world related to the Moombahton sound.

You’ve got such a strong lineup of the usual suspects, yourself, Sabo, but you’ve broadened it to include The Very Best, Schlachthofbronx, Boyfriend, Zuzuka Poderosa and Disgraceland. How do they fit in?
Everyone on the lineup has a love for Moombahton and play it at their sets! They are also good friends and rep Moombahton worldwide. Boyfriend and Disgraceland bring the deeper, techier approach to Moombahton. Jen Lasher & Zuzuka Poderosa bring their fire vocal work to Tropical Bass. Schlachthofbronx murders the bass game on all angles from Moombahton to Bounce to Cumbia to Kuduro. And then you have The Very Best to round out the night with their amazing take on African Pop meets Bass Music. It’s all relative!

Despite being global, the European presence has been been limited thus far. As well as being a huge party is this a chance to win over new fans? And how do you hope the sound will go down?
I think it’s a great opportunity to show Berlin and other world region representatives how Moombahton music really throws down!

Is this kind of event the best way to showcase the sound? Is it a big sound that works well at festivals?
We’ve been here all week to experience the festival in its entirety and, I have to say, this has got to be one of the most appropriate events to showcase Moombahton music. The sound is very diverse and flexible with the ability to rock basements to stadiums. I’ve experienced both and seen it pop off!

How does it feel to be in Berlin? It’s a place that has contributed loads to music history, from Bowie in the seventies to the Berghain – does that affect how you approach the gig?
It feels great to be in Berlin. There’s a strong sense of musical knowledge and taste here. And most importantly, people here seem very eager to party and have a good time. It’s everything I’ve imagined and more. Soaking up the city this past week definitely gives me some perspective on how I wanna approach our set for tonight for sure.

Has that legacy had any influence on you as artists?
Moombahton has and continues to be an inspiration for me as an artist and a person. It’s quite personal and I’m always thinking of new ways to approach the music!

Are you planning to check out the rest of Worldtronics? Maybe soak up some Berlin vibes?
I’ve been here all week and been blown away from all the nights and performances. Loved the Tecno Brega night repping Brasil, Sinotronics reppin awesome Post Noise Techno from Beijing, and the irresistible deep sounds of House Nation South Africa. I’m like a sponge over here [laughs]!

We have posted pretty much every Jeffree’s release and compilation; so it was logical that the next step for us was to learn how this sublabel soared to the top of the game in less than a year!

Tropicalbass invites you to join us for a very interesting interview with Paul Devro.
The guy behind Mad decent label, and also Mad Decent’s jeffree.

In the interview, you will see how Jeffree’s has been a logical response to the growth of Mad Decent label, as Diplo, Devro, Benzona & combo want to keep releasing unique and underground acts for free.

Devro gives us an insight of his opinion about appropiation/colonialism perception that sometimes MD is blamed for. He also tell us how important is to engage with artists during and after the process of releasing an EP. Plus some revealing details about the music industry from one of the guys behind the wheel of Mad Decent as a label.

Acts like Flostradamus, Baauer, UZI, Crookers, among many others are part of the new emerging generation leading the trap scene, and all of those were released by Jeffrees; So Devro shares some of his opinions about trap, tuki, cumbia, 3ball and more.

Let’s hope you enjoy the interview!

Q&A Mad Decent’s Jeffree head honcho: Paul Devro from caballo on Vimeo.

FOR THE WHOLE JEFFRESS DISCOGRAPHY ( which is set for FREE and Buy depending on YOUR preference) CLICK HERE

Tropicalbass.com makes a 10 min interview with one of the guys behind CUMBA MELA project, NY-SWEDISH producer, THORNATO who told us about his upcoming projects, his relationship with dancehall, and how their trip to Colombia changed the way he saw and created music!

By the way MTV IGGY is in the voting process to get their artist of the week!!

SO VOTE FOR HIM HERE!!!

Now.. this is the interview!!!

Interview with Thornato from caballo on Vimeo.

So.. from his DANCEHALL side we have this one!!
Gappy Ranks – Stinkin Rich (thornato remix) by thornato

CUMBA MELA in the house!!
Ca Ca Ye – (Thornato & 2melo Remix) by thornato

This is Copia’s Remix!!!
A BOMB!!
Copia Doble Systema – Boom Boom feat Pepita and Shivani (Thornato Remix) by thornato

¿Quién Quiere Tuki? Who wants Tuki? That’s the question a freshly dropped documentary about Venezuela’s unique form of Ghetto Bass asks. The comprehensive short doc is digging deep in a relatively unknown scene that just recently came to some attention in the Tropical scene with the portrayal of some of it’s most important protagonists, producers and dancers alike.
Tropicalbass.com talked to one of the heads behind involved Abstractor collective, producer Pacheko, already a while ago. The release of his and partner Pocz Tuki-influenced “Tuki Love” back in 2011 on Enchufada was one of the first tracks that made the global Bass community notice this unique sound. In the interview he not only talks about his own work and history as a musician, but also gives some interesting additional insights in the Tuki movement.

Maybe you can just give us a short introduction about yourself. Who are you, what are you doing?
My name is Francisco, I make music as Pacheko. I come from Venezuela, South America and I’ve been making Electronic Music for about seven years, since around 2005 maybe. I used to play in bands before with a bit of electronic elements and Dub influences in it. Then, after about two or three years making Dubstep I decided to try new things and started experimenting with more tropical type of influences, like Soca, African Kuduro or Brazilian Baile Funk, and more recently Changa Tuki, which comes from the Venezuelan ghettos. It’s been an amazing past year for me because I finally met the guys that created that Changa Tuki sound and meeting them inspired me a lot to give a more Venezuelan identity to my music. Now I moved to Spain and I’m starting to get all these new influences from living in Europe and we’ll see where my music goes now.

Can you tell us more about the Tuki scene. It would be cool to have some deeper insights (as I really think it is one of the next big “buzzes” coming up).
I hope so! It is a local scene from Venezuela, which has producers, dancers, DJs, dance-battles and came out of the Venezuelan barrios (which are similar to the favelas in Brazil). They are like isolated communities, really poor people live there, it is quite dangerous and they are really disconnected from other parts of the society like middle class and upper class. Even the media in Venezuela is not aware of what’s really going on.
It all started with dance battles, between 2005 and 2008. These dance battles were filmed and uploaded to Youtube, so they got kind of viral in a way and some of the Tuki battle videos have more than a million views now. It’s crazy! Pretty much every Venezuelan would know that Tuki music is sort of something going on in the ghettos, or in the barrios, but no one could point you out to one producer or one DJ.
Further, because of that disconnection of the barrios and the media, for the middle and upper classes the word “Tuki” has become quite a synonym for something poor, or cheap, or ghetto-style, but in a really depreciative way. Middle class kids or upper class kids would refer to Tuki as something really ghetto; if something is cheap and ghetto-style, they will say: “Oh, that’s tuki”. But: they don’t know that there is a scene with producers and DJs combining influences from Dutch House, Ghetto House, Post-Acid and Tropical sounds. People don’t know that at all. I think it is our mission to spread that as much as possible and it has been wonderful to connect with the people that make this music. Because by the time we met them, they were not doing it anymore. I met Yirvin and Baba, which are the two main producers, last year, and they hadn’t been doing Tuki music for at least two years.

What are they doing now?
Reggaeton and Techno, House, really commercial stuff in the direction of David Guetta. Because they felt what they were doing before was not going anywhere, and the tuki-word got such a bad reputation. They quit! And all those hundreds of dancers are so hungry for music, because this sound is so particular, but these guys were not doing it anymore. That’s why the Abstractor nights started to invite f.e. Yirvine to play his older tracks, the dancers started coming to the parties, and those parties were becoming this one place where rich people and poor people would meet up and it would go wild with dancers from the barrios, dancing with fancy girls from upper class and everyone having a blast. This all happened within the last year, and still there is so much going on that is really hard to digest. And I hope within this year we can release more Tuki music, further there is a documentary coming out and a free downloadable compilation that should be a really nice introduction to the Tuki sound.
There is another Tuki compilation coming out on a Swiss label on vinyl hopefully, and we have a Pocz & Pacheko album on Enchufada with Tuki sound. So hopefully this year will be a good year to tell the world what’s going on in Venezuela. The most wonderful thing for me is that it is the first Electronic Music scene originated in Caracas. It has a really authentic identity in my point of view, so for me it’s beautiful. But you can not compare it to Kuduro or Baile Funk or other scenes that are really big and have albums and a lot of DJs and a lot of nights going on because the Tuki scene is so isolated and so deeply hidden in the barrios.

Maybe it’s just a matter of time…
Hopefully! My dream is to inspire more kids to do it because I think the raw ideas from a kid in the barrio are so interesting. Venezuela is a country that has musical influences from the US (a lot), but also from Salsa, from Reggaeton, from African drumming and from Reggae and whatever. So it’s a combination of everything – when you see Venezuela in a map it’s part of the Caribbean but also of South America, close to the States, and we have a huge European heritage. So it’s a combination of all these interesting influences and I think that gives the kids ideas to do crazy Electronic Music. I want people in the barrios to know that there is nothing bad with having an identity and if everyone thinks Tuki is ghetto, then f*ck them. You know, yes, then I’m Tuki! And the dancers know that, they are actually more confident saying that they are Tuki than the producers. In a way right now the production is not so “productive”, there are not many kids doing it, but I really hope that this changes.

You mentioned Abstractor. Maybe you could explain it a bit: you throw parties in Caracas, you run a blog, and a label too?
Before Abstractor I used to make nights. There were few to zero nights in the country and those were mostly about just making money, and getting people to buy drinks. I wanted to make a night that focus on the music, so I made a night for Dubstep for about two years, pretty much by myself. And I got artist like Mala and DJ Rupture and even Kid606 to play. But after a while I found myself collaborating with a lot of people, from graphic designers to other musicians and DJs, and as we were all collaborating, after chats and chats and drinks and drinks we figured out we should make this collaborations a bit more productive for all. And instead of collaborating for each other’s projects separately we decided to do a site or a project where people could find out about all of us.

Sounds like a platform for like-minded people, no matter from what kind of artistical background they are coming…
Exactly! As long as we all kind of agree that we want someone to participate. There is no formal process for incorporating people, it’s just if the feeling is there in all of us then we work together. It’s very hippie in a way [laughs]. That’s part of the magic, it’s not formal. It’s amazing to work with people that are thinking differently and I think that’s the magic of Abstractor. It’s not really a label, it’s not really a blog – it’s a bit of everything. We have a radioshow now in Venezuela in FM radio, every week. We used to have a monthly night which is still going on in Caracas, and – as the Venezuelan situation is so much fucked up right now – most of us are living now out of the country. KLVO is in Melbourne, Mpeach is in New York, Incklear, who does all the graphics, is in Zagreb, Croatia, I’m in Barcelona along with Cardopusher. Abstractor keeps us connected in a way, and I love it. I think we keep on doing that project, but the nicest thing is that it doesn’t limit us to only do that, we can do whatever we want with our own careers. So it’s like my family. I hope it keeps growing.

What would you say in which direction is your production work going at the moment? You moved to Europe – what are the differences, or are there any differences?
Well, it’s an interesting question. I’ve been here for six month now [in April 2012], Europe is an amazing place, it’s so connected, all the countries are so close to each other and the information is flowing so fast that you have everything going on: You have Techno, you have House, you have Moombahton, you have Kuduro, you have all types of music and all types of people doing all types of things. That said you really have to go where your heart tells you. I’m definitely going for a deeper side of music now – of course I like dance music, that’s what I do, I deejay and I like to see people dance. But I want a deeper sound, not so much in your face anymore. But I’m so involved with the Tuki thing right now, I haven’t been able to let that off, it’s within my system. And I have a delivery date for a Tuki EP here and another Tuki thing there so I’m really trying to finish this the best way possible, and give it a little bit of depth at the final stages of production. But as much as I love Tuki, in the future I definitely want to do different things. As a producer, when you stuck to one idea over and over, you have nothing else to say. I definitely want to try new things and my mind is so full right now I can’t even digest all that I’m seeing.
I have no idea how my music is going to sound in six month, but at the moment it’s Tuki-inspired and since I’m in Europe it’s definitely deeper and the sounds have more space.

Before we finish: Would you regard your music as Tropical?
I would say yes but I dont like that tag so much anymore. There is a lot of shit coming out these days being tagged as ¨Tropical¨, and because there is so many music and so little curation & selection and whatever, there is a lot of shit to go through before actually reaching the good stuff. There is good and bad music in every genre of course, so thats the thing as long as the music is good and you connect with it and it feels right then the tag is not that important anymore.

Pacheko already released on Enchufada, Senseless, Iberian and more. He is doing production work solo and as Pocz & Pacheko. Pocz & Pacheko are due to release their brand new EP Changa Tuki on Enchufada on November 19th, featuring guest appearences by Dj Yirvin and Buraka Som Sistema. Also scheduled on Mental Groove Records: the mentioned compilation ¨Changa Tuki Classicos¨.
For an excellent piece about Changa Tuki also check out Dave Quam for Cluster Mag.

TropicalBass.com went to Montreal to talk to one of few MC leading the whole Latino Global Bass scene: Boogat!
He told us a bit of his upcoming projects, plus a bit of his collaborations with Poirier, ATCR, ZZK and Javier Estrada!

5 minutes of pure latin flavor!

Interview with Boogat from caballo on Vimeo.

This is his New Collab with ATCR! FREE!

He also is dropping a sick flow on Poirier’s new EP.

Tropicalbass spent 10 mins talking to Brazil/US producer Maga Bo!
Get to know how Quilombo do Futuro was conceived, created, funded and finally received by international and brazilian media.

Interview with Maga Bo from caballo on Vimeo.

Maga Bo also explains his view about Brazilian inner culture, and his relationship with cumbia and african percussion inspired genres.
Petrona Martinez & Maga Bo- El Critica by rebelsounds.org

His video with B-negao