Search Results | "zouk bass"

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Tarraxa ma mi (No 1) – Monthly Tarraxinha/Kizomba/Zouk Bass/Ghetto Zouk Round Up

Posted on 23 January 2014 by Jelka


With Zouk Bass dominating the whole field of Tropical Bass in 2013, we not only saw a lot of new and well known producers jumping on that bandwagon, you could also notice a heightened interest in the origins of that sound: Tarraxinha, Kizomba and Ghetto Zouk. We always tried to represent all aspects of this movement, meaning producers and DJs from the past and present and all those genres involved, and talked in length about appropriation, genealogy and other related topics (check out the related posts section to immerse yourself deeper in that discourse).

Nevertheless, our new monthly “Tarraxa ma mi Round Up” will tackle a different aspect – the special demands DANCERS have!

Dancing Kizomba and Tarraxinha is great fun, and if you have tried it you will never want to stop again. Having fun in the club for you means shaking your bootie (or in this case your bunda)? Try Kizomba! You thought Social Dancing is not for you because you need that heavy bassline? Try Kizomba! I can recommend it to everyone, and as it is a craze in the international dancing world right now, you should find a place to learn and practice almost in every bigger city, at least in Europe, the US and Africa.

As you will find many banging tunes that will shake a bass-heavy club environment as much as a Kizomba-dancing crowd, but not every Zouk Bass tune is danceable, it totally makes sense for us to start with this monthly round up of the best new stuff from the world of Tarraxinha, Kizomba, Ghetto Zouk and Zouk Bass for dancers. It will be from a dancer’s perspective but always with an eye on the club – so hopefully many people will find themselves in this totally subjective selection. This perspective also means the selection is very open for sounds from other genres or genre-hybrids. As long as you it is suitable for dancing Kizomba and/or Tarraxa on it, you will find it here (great example: many Baile Trap/Twerk productions will burn down any Kizomba crowd in an instant).

DJ Bison – The Wave of Tarraxinha EP
DJ Bison is definitely one of the most interesting young, up and coming producers of Tarraxinha and Zouk Bass. This EP was just released on Generation Bass and is a sure shot – stripped down to the essentials with a quite dark flavor.

Not from the EP, but brand-new:

Aaliyah – Are you that somebody (J.B. Kizomba/Tarraxinha Remix)
I love me some Aaliyah anytime. This is a perfect and on point remix chopping up the iconic Aaliyah/Timbaland combo “Are you that somebody”.

Second tune is a a Tarraxinha rework of one of the best TLC tunes ever, “Silly Ho”.

Os Intocáveis – Não Balança
Nice vibing club tune by “the Untouchables”.

MC Ti Pocki – Quero Bunda (Comrade Baile Twerk Remix)
Yes, Comrade. Yes, Twerk-Rasterinha-Rework. Yes, works.

Vybz Kartel – Ever Blessed (DJ Paparazzi Remix)
Well, you can even dance Kizomba on Vybz Kartel. Dark-vibed remix by prolific DJ Paparazzi from London. Definitely check out his free “Booty Pack Volume 2” for more great stuff.

Saaphy – Game Over
Superfresh Kizomba tune by french artist Saaphy, just released today! Produced by Elji Beatzkilla, a US-based rapper and producer with Cape Verdian roots who is also responsible for Stony’s huge “Dança Kizomba”.

Fantastic Vibes – La La La (Naughty Boy/DJ Rams Remix)
A little bit older already but still going very strong. DJ Rams is a specialist for very clever constructed instrumentals and a favorite among technical dancers.

Mika Mendes – Magico (DJ Estraga Remix)
“Magico” was a big hit in 2013, this remix gives it a quite ambient and spheric vibe.

Twenty Fingers – Estou a desconfiar
Those guys are my favorite artists from Mocambique actually. Also check their ubertunes from 2013, “Jet Aime” and “Agarra”.

Nelly Furtado – Say it right (Remixed by Malcolm)
Easy going remix that makes Nelly Furtado listenable again.

DJ Express – Dirty Kizomba (Part 2) Mixtape
Everyone who puts that Jersey Club squeeking on Kizomba tunes has to be featured. Check this minimix with a couple of DJ Express remixes, who is btw the production collaborator of Elji.

DJ Ly-COox – Ta Doer
Last one for the Tarraxa heads ;).

The super-convenient “Tarrxa ma mi (No 1)”-Soundcloud-Playlist:

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Zouk Bass Vol I

Posted on 02 July 2013 by Caballo


New amazing compilation which may be considered “the best of” this new approach called Zouk Bass.

GRAB IT HERE n alternative DL HERE

As most of you know, since those epic 15 mins of Buraka Som Sistema´s Boiler Room set, the word “Zouk Bass” spread fast over the internet. As a collateral effect, ZB helped to put hears on other subgenres of Zouk,
such as Tarraxinha, Tarraxo or Kizomba. Extensive posts in many blogs tried succesfully to highlight the difference between “slowed down” moombahton and Zouk Bass too.
This compilation is nothing more than the most significative tracks that came out since then.

Amazing artists like Buraka Som Sistema, DZC, Paparazzi, Mestah, Riot, Marfox, JSTJR, Hataah, Two Sev, Banginclude, KJs, Fellow and many more gave their countribution to the movement and their works speak for themselves.
Now, if you have heard those, we’ve added some unreleased material from Stas & JSTJR, Banginclude, Toxig Bungula, Furmiga Dub, DJ Marfox and Actif & Lazey which are instant ZB classic.

Generation Bass, Zouk Bass TV and Latino Resiste have been at the forefront of this fast new moving scene and have come together to put together this 2 volume compilation, which features over 30 of the most significant tracks that have come out since February 2013.

As we mention up there there is also a number of unreleased works on these compilations from the likes of Stas & JSTJR, Banginclude, Toxic Bungula, DJ Marfox and some others.

The 2 compilations drop this week during the 2nd Zouk Bass week, which was initially created by Generation Bass. Now GB are joined by Zouk Bass TV and Latino Resiste to make the party even bigger and bolder.


More info on Zouk Bass

Compiled by Generation Bass, ZoukBass Tv & Latino Resiste.

Sequenced by UMB – Generation Bass
Artwork by Caballo – Latino Resiste
Text by Filip Ribeiro – ZoukBass TV
Mastered by JSTJR

Thank You to all the Artists for the great music.

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Marflix – Riddims Tropicale #33: Zouk vs Zouk Bass

Posted on 11 June 2013 by Marflix

Marflix Riddims Tropicale 33

There’s been some debate about the Zouk Bass hype – TropicalBass was talking about it in the past.

Anyway, for a show that pushes musical limits like Riddims Tropicale it was a small step to mix Zouk Bass back and forth with Zouk, Kompa and Kizomba. Slow, sexy and cheesy vs slow, sexy and deep.

We think it fits way better than expected, but decide yourself: tune into the latest edition of Riddims Tropicale Zouk vs Zouk Bass and holla back in the comments section or on Marflix facebook.

[audio:|titles=Riddims Tropicale #33 Zouk vs Zouk Bass|artists=Marflix]

Download: direct (right-click)hulkshare

Download (right-click)

or as always as iTunes podcast

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Ckrono & Slesh X Milangeles- David Guetta (Caballo ZOUK BASS rmx)

Posted on 08 May 2013 by Caballo


Zouk Bass tune from upcoming release.. from Mal Dicen and also part of Ckrono, slesh X Milangeles remix package!!


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banginclude – Bubbah Meck ( Zouk Bass Attempt )

Posted on 18 March 2013 by Caballo


Jumping on the train, our good friend Banginclude with his first attempt of zouk bass!
Nice one and FREE! Expect this one to be dropped a lot soon!


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ZoukBass Vol 3

Posted on 25 December 2013 by Caballo


Here at Tropicalbass we have supported Zouk Bass since ‘its inception’ as much as supporting Tarraxo, Kizomba and lots of African Genres!
So it is more than appropriate we are also covering the impressive ZOUKBASS vol 3, which has been curated by Generation Bass, Zouk Bass TV, and Latino Resiste, with a lot of musicians from their Catalog and also many new guests.

No music Preview, as we do not want to give priority to anyone. 20 BOMBS.


So to know more about the actual release here it is the whole PR:

It’s been less than a year since that infamous Boiler Room session last February 2013 when Mc Kalaf of Buraka Som Sistema uttered those now almost legendary words “Zouk Bass”.

It’s now one of the strongest and fastest-growing scenes of the ever expanding global bass Diaspora. Tarraxinha is also remaining intact within the sound as Zouk Bass moves forward with Western producers treading with respect and also very carefully with their interpretations. Some are also digging deep into the history of the roots versed in this Angolan creation.

Generation Bass, Zouk Bass TV & Latino Resiste once again join their forces to gather some of the most impressive ZB producers and the freshest tracks for the end of 2013, showcasing what is likely to be in store for 2014.

The compilation covers a wide spectrum of the Kizomba/Tarraxo influenced genre with pioneers like DZC Crew and Riot of Buraka Som Sistema. We have also discovered new found and exciting talents like Bison and Mala Noche who we feel are likely to play a key role in future developments.

We have the best of the new lot who have migrated to Zouk Bass from genres like Moombahton, Trap, Twerk or Dubstep. There’s the UK trio KJs who are fast becoming masters in a deep, sensual sound. The Middle East’s vastly underrated but always impressive SaBBo who released the first official Zouk Bass EP and Russia’s most exciting new producer Insane Fennel whose cinematic sound paints some of the finest film noire moments for the scene.

The compilation also showcases the point where Zouk Bass has started to create a hybrid sound with Twerk & Trap with the likes of rising star – JSTJR, another of America’s finest Zouk Bass trailblazers – Banginclude, Munchi’s prodigy – Morrison, another of Russia’s finest – Chuck Upbeat remixing DR’s young buck – Happy Colors, Argentina’s -Reptilian Commander and the newly formed MikeLuma (aka Banginclude) x TomPhonic representing.

There’s also a bunch of new names joining the ranks like Gingee, Rhythmstar, Chong X, Sauvage FM, Oktored, Squareffekt and Jameston Thieves who have all surprised us with their take on the scene.

This new volume, the 3rd in the series is a testament to how exciting and unique this new movement is and also shows how it is likely to continue to grow and evolve as time goes on.

Download it for FREE courtesy of each one of the producers & Crew who kindly submitted their songs; as well as the great work of artists & bloggers who belong to the Zouk Bass TV, Generation Bass & LR catalogue.


1. DZC Deejays – Suspense
2. Chong X – Phalawatas
3. Bison & Squareffekt – Ghetto Tarraxo
4. SaBBo – Slow Hello
5. OktoRed – Brains and Crystals
6. Gingee – Jangala
7. Happy Colors & Chuck Upbeat – Maldita Puta
8. Sauvage FM – Gnawaxinha
9. JSTJR – Monadnock
10. Missy Elliot – Get Your Zouk On (Riot Bootleg)
11. Banginclude – Apeshit
12. Reptilian Commander – Kiritimati
13. Jameston Thieves – Dagga
14. Morrison – Kaliber
15.MikeLuma X TomPhonic – Landlord
16. Mala Noche – Maconha
17. William Araujo – Ta Male (Dj Express Remix)
18. KJs – Tempest
19. Rhythmstar – Dark Artz
20. Insane Fennel – Carol of the Bells

Mastering by JSTJR

Art was inspired and grabbed from MGITE

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TB goes Zoukbass

Posted on 30 May 2013 by Caballo


If you are reading this, I want first; to advise, that this article mostly wants to give a fast understanding about the zoukbass scene. Its main intention is to engage people to discover and search for old and new artists from the zouk, pre-zoukbass, tarraxhina, kizomba scenes.

Second, to let you know in advance that you should dedicate some minutes to read and perhaps click several music videos or music streams, (at least several seconds so you can make an idea of the music genre and its sound) by saying that, I mean this post may be worth a bookmark if your free time runs out.

Third, because since the Antilles got African slaves, until the digital era, several billion important things have happened; many names will be omitted, perhaps forgotten in the history depending who is reading the article.

The more you know about the ‘real zouk and kizomba scene’ the more names you may know, and subsequently the more vague this article will be.

My intention, is to give my own perspective as a foreign about this Zouk Bass hype.

So let’s begin:

It is not new the fact wicked sounds have been slowly getting more attention from not only listeners but also from fellow music blogs.

Zouk Bass like the early stage of Moombahton, is stirring controversy -in a good way-; generating discussions that go from either ZB is a new “branding” of an existing genre or in fact a new sub-genre in the always expanding global bass scene; it also stirs polemic in terms of cultural appropriation, while for some , ZoukBass is merely a genuine musical expansion.

No matter how you see it, it has a good outcome musically speaking: a fresh and sexy new sound that is killing it in the dancefloors.

But how on earth is this new?

Well. Like those movies in where you start from the end, we need to reconstruct the whole script so we can go full circle.

I hope you had seen Amores Perros as we will have at least few parallel stories and we may need to go back and forth.

It is well known that when people from a country immigrate to another, somehow a big part of their culture comes with them. In that sense, the world is always in constant motion, blending cultures with common elements and adding their own and perhaps actual influences.
Since slavery times, Antilles have always been a great source of raw rhythms and also since then; a great exchange of creative ideas existed between Africans & Antillean not only in their native countries, but also wherever they decided to establish in.

Music recordings suggest the idea, alongside some open immigration protocols in France, that lots of Cape Verde artists established and made a cultural connection in the Afro-french communities and at the same time they began to have deeper contact with immigrants artists from the Caribbean and specifically with Zouk music -which is from Antillean origin- in the early 40’s and 50’s.
This process like any other “roots” music scene kept steady and did not have any major change for decades except riding and flirting with the charts (mostly R&B) until zouk artists started exploring new horizons in 80’s and 90’s.

But while this was steady in Europe, in Cape Verde , they slowed down original Zouk, originating Cabo-love, Zouk -Love ( with elements of R&B and pop aesthetics) Although Cape-Verdeans were not the only ones; in Angola they did the same and call it Kizomba.

All those styles are based on a specific dance that have the same name as the music.

We need to make a pause in here as there are too many names to have as a reference point, from pioneers Kassav to Edith Lefel, bands like SOS, Afro Sond Star or dj vibe to dj Znobia, many names like jean michel rotin, zouk love, ludo among literally thousands more names came to me in the research.

Although I think it is safe to drop something more “updated” one, and show Kaysha as he seems to be one of the acts that pushed the genre to a new level/market and spread it thru the continent.

But lets get back to the 80’s in Angola.

Angolan producers took all this zouk and added their native sounds like Semba and merengue for example Eduaro Paim
and they created Kizomba.
For Paim, Kizomba was a unique thing, he claims he was not neccesarily aiming to fusion Zouk with Semba, but instead Kizomba is an Angolan original creation.

Irmaos Verdades could be a great example of kizomba. ( Again they are not necessarily the pioneers, but for sure an outstanding example)

Labels and audience never got the memo, back then, before ZOUK BASS, kizomba was called zouk, and like zoukbass, this brand new 80’s kizomba had a hard time showing to audiences it was not simply an Angolan zouk but a whole new thing.

It took a lot of releases for people to call Angolan Zouk with Angolan Rhytms like Semba, Angolan Merengue, Kilapanda, early Ku Duro, KIZOMBA. In my understanding the dance had a lot to do in that. Artists and genres became less the point of interest while dancing, one was dancing to kizomba.

The outcome, as new technologies started showing up, new approaches started showing up.

Tarraxinha makes the entry, as a new form of Kizomba, they ‘hijacked’ the instrumentals of Kizomba and made it more minimal and less pop-radio friendly.

The change may not be perceived drastically until one understands the lyrics, which became much more explicit.

Everyone points as one of the fathers (OR THE FATHER) of this style to Angolan Dj Znobia who we have feat several times:

TARRACHINA Proibida from Dj Znobia

Dj Madabaya (Mauro Madaleno)

Now, I think we all agree that this is not new for many of us who have been into the undergrounds scenes, several blogs have featured these sounds, thousands of tracks and compilations were already out. We are talking about 2004-2010 or so.

No matter how much buzz was in the under, it still was a very ghetto thing for many European listeners, and somehow perceived as mere African music, whether made in Angola, Portugal, Senegal, etc etc.

Hit videos and tracks hardly reached more than a couple million hits, which was nothing compared to other music genres topping the charts same years. It was BIG for them. Not for the rest of the planet.

Tarraxhina only reached equally Mainstream and street levels in 2012, thanks mainly to the world cup when Portugal’s soccer team got this as an unofficial anthem

So it had many consequences, for example: made it easier to dance for people who secretly liked the music, but weren’t keen to say openly they had a crush on ‘black music’ neither their dance.

Charts and youtube soared. People indeed knew about tarraxhina.

Also it didnt take too long for more people to realize all this huge selection of tarraxhina that was already available, at the same time it opened a window to lots of dudes who , back then, had started producing a “more urban”-less romantic version of tarraxhina, which became known as tarraxo.

Usually dropping kuduro influences. Either musically or just the MC.

Tarraxo is the pre-zoukbass at least in terms of attitude.

Keeping the Amores Perros style and going back again to the emigration/immigrants subject from 80’s, 90’s BUT NOW going to the 00’s, now we can focus in Europe and somehow in North America (specifically Canada) as new generations began to develop new forms of Tarraxinha.

Second and third generations, who kept strong ties to their parents or grandparents roots were the ones that started creating and expanding these sounds.

Notable example is Nelson Freitas, from the Netherlands ( again, too many names, but feel free to search for more)

But something different was happening in Portugal , it got more intense; the second and 3rd generation started to produce an impressive amount of tracks and creating crews.

Enchufada and Buraka’s Kalaf Angelo gives a good point of view about this subject and the inception behind Buraka Som Sistema HERE

A heavy collab between Portuguese, Africans and other nationalities start to become a whole new identity in where crews like Principe Discos, Mãe Produções/Pequenos DJ’s di Guetto, Filho único, Casa da Mãe Produções, Lx Monkey Beatz, Enchufada, Circus Maximus and more began exploring not only musical expansion, but also started having production lessons with old producers and find space in Lisbon clubs, thanks in part to Buraka and the Kuduro early hype.

This is the most significant compilation of those days, made in 2006, mostly with 192kbs tracks and re-released in 2013 via digital. Several Key players are in that compilation.

This whole new generation (immigrant) also started to do a darker Tarraxo.

Less melodic, more hypnotic, progressive,dark..maybe a reflection of those days which were not easy for any immigrant.
DJ N.k. – Não Chora Mais

This approach seemed to have a direct impact in France as they also adopt this raw version of Kizomba.

Mestah – Contra Voce

ALL OF THIS seems to be the BOILING pot for >
Kuimba ´s Tarraxo na Parede!

And beautifully contextualized in UMB’s Deep in Zouk Space mixtape

No need to mention, all the great new releases labeled as ZB.

So now we are full circle.. and we didnt really needed to show BSS’ boiler room setlist,
because most of new articles and blogs point Buraka Som Sistema and their members as the guys who spread the genre, which is true.
But somehow unfair.

I decided to ask Principe Discos’ Pedro Gomes and Filho Unico‘s Andre Ferreira to see how was their perception about zouk bass being these two labels the “cradle” of the scene.

How is your perception of this whole new revival:

Principe Discos: Zouk Bass is pretty much just a new “branding” (as they say nowadays) for tarraxinha, which has been going around for a long time now – and everybody in that respect is indebted to DJ Znobia, who invented it.
Locally – in what regards Lisbon – we’re aware that the first few examples of it started around 2006, hence part of the reason (and only part) of why we thought it’d be relevant to digitally reissue the ‘DJ’s do Guetto Vol. 1’ compilation. Tarraxinha was at the time and still is “just” one aspect of the kuduro, batida and afro-portuguese dance music which has been going around for almost a decade here, in a more independent manner and style – not just influenced by Angolan/capeverdian structures, but developing in a manner which is exclusive to Lisbon, in all manners natural and conceivable. A lot of music being done at the time when ‘DJ’s do Guetto Vol. 1’ was released 7 years ago, and to this day is pretty much on its own and has so many variables and progressions that don’t actually have a name – and in our opinion it’s best that it remains like that. Tarraxinha, or zouk bass as people are trying to call it now (in post-modern neo-colonialist fashion), is just one of the styles that have been very much alive in the periphery of Lisbon, in mainly african communities, and again obviously in Angola.

Through our releases, soundcloud activity and in our monthly Príncipe nights at the Lisbon downtown club Musicbox, we’ve had these styles and identities miscigenate with contemporary central Lisbon nightlife, and other new developments have occurred just from the fact that actual ghetto music is now finally and for the first time being celebrated in what were (before we started) predominantly caucasian-frequented clubs. That has broken a number of cultural apartheids on both sides, in a way which is much more consequential than any Benetton-unite-all-races cosmetic operation. It’s actually happening in a true communal, positive, constructive manner – the feedback from all sides concerned in this equation has been phenomenal, and once a month everybody is partying together in what is one of the hottest monthly nights in town – the club is always packed. It has made the music even better, it has motivated a lot of DJs who didn’t have an outlet to play their own productions in a club setting, and has brought back a number of producers who maybe thought there wasn’t any room for them in a more cosmopolitan setting, because it gave all these people concrete evidence that the city loves this music. And the central Lisbon crowd has been dropping their jaws every month at the music they never knew existed, much less that it existed a mere 20 minutes worth of a bus ride away from where they live.

Do you feel colonialism or appropriation now north American and global bass producers are starting to produce more and more zouk bass inspired tracks?

PD: Angolan people started doing tarraxinha – which is what now is called zouk bass, so i think the question should be a put in the opposite way.

What do Angolan people feel about people in Portugal doing tarraxinha? After asking that, you can ask what they think about tarraxinhas, batidas, kuduros that people in Portugal have been doing?

That way we’d actually have a constructive dialogue going on, because we’d be talking in a way which is truthful to the chronology of this music, and would be more focused on what matters – which is the incredible music being done both in Angola and in Lisbon; at least the ones which are contemporary ROOTS music (ie. it’s part of a continuum, of a lineage), and not the watered down post-colonial ghettotech that has circulated more outside of Portugal and Angola.

The only thing Príncipe Discos ever started was a label dedicated to 100% local, real dance music that didn’t have the proper platform to present itself to central Lisbon and Portugal’s main cities, as well as to the rest of the world. We’ve tried to encourage, invest in and defend the incredible music being done here, without ever compromising its core artistic and human characteristics. This music has the power to affirm itself just the way it is – it doesn’t have to concede to any fads or more superficial stylizations. Because it has a history and an enormously rich present and future. This is our investment.

So there you go. Antillean zouk, became African Zouk, which diversified in so many zouk-inspired genres in Africa, Europe and North America to the point all of them started having so many external and contextual influences they ended all been labeled the same.

It took Kizomba a lot of tracks to be recognized as a different thing from zouk, and tarraxhina, and tarraxo had also a hard time finding a stable audience.

So, it is more than normal than this “new” zouk bass, made mostly by people who have very basic to zero knowledge of the roots, cultural origins, pioneers, and processes behind the music does not get the recognition it may deserve.

Who invented zoukbass?
No one invented zoukbass, it was an inevitable evolution. It was a silent collective agreement. but for sure it all aims to be a point that the whole dezima crew, and more like them were approaching in different directions.

When did it started? It seems to have this particular approach in 2006, but I am sure someone will get somewhere, somehow, a perfect example perhaps decades before.

So I personally also find irrelevant to know the exact date.

But is this 2013 Zoukbass a new thing?

I think it is. for many. Not just audience but also Music producers.

It certainly is not, for pioneers, world music connoisseurs and most of Angolan, Capo-Verdean and Portuguese audiences who had been exposed to the music and have witnessed the evolution.

But again, what really matters either you want to dance, produce, distribute, blog, or just share Zoukbass is to realize that the genre has a history, and one should respect the foundation and inform oneself before jumping on a hype train, without really engaging with the community who started, the one who dances, the one who struggles to make themselves visible to the audiences we reach and somehow right now, we can make a positive change for that HUGE community.

Either by trying to bring back the pioneers to the stages, to start collabs with many forgotten names, to add new labels and sounds to our blogs and so on.

So if you made it to this part of the post, I really thank you for reading it.

And I hope you add zoukbass, Kizomba, Tarraxhina, Tarraxo, Semba, Zouk, Calypso, and many more things to your vocab. and embrace this music with open arms.

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Berlin: Bamboo Bass with Uproot Andy (free tickets)

Posted on 16 July 2015 by Marflix


With a very special from New York the Bamboo Bass family gonna celebrate another night full of fresh Global Bass sounds that will make you smile, wine & shake to a colorful mix of styles – from Cumbia, to Afrobeats, Dancehall, Trap or Soca.

We are proud to present UPROOT ANDY, resident of New York’s best Global Bass party Que Bajo, and part of the Dutty Artz crew live in Berlin on Sat, 25. of July.

Uproot Andy

Mixing traditional music from Latin America, Africa or the Caribbean with sounds of the modern Dancefloor UPROOT ANDY is one of the pioneers of the Global electronic music movement.
He recently dropped his brandnew EP “Barrioteca“ which contains elements of Reggaeton, Dembow, Mambo de Calle, Dancehall, Hip-Hop, Juke, Trap, EDM, and Moombahton.

From Fusion Festival to RedBull Culture Clash – UPROOT ANDY is guaranteed to mash up every crowd with his infectious Worldwide Dembow sounds. We are glad that he is dropping one of his notorious sets for the 3rd time at BAMBOO BASS. Everybody that witnessed the madness of the first two parties knows they shouldn’t miss this night!

Support comes from Berlin’s Dancehall & Tropical Bass export Dj Silent Pressure & Berlin’s DJ with the biggest library of bubbling Afro-Caribbean sounds and founder of Marflix. The event will be hosted by our Homie DJ High Towa.

Resident of the well-known Dancehall party Bass Dive, Dj Silent Pressure is notorious for his fast and technical advanced style of playing tunes as well as his versatile sets covering the lastest in Dancehall, Trap, Tropical, Afrobeats and Soca.

Long term Bamboo Bass DJ Marflix is gonna give your waistline the proper treatment with one of his fresh sets including the best in Zouk Bass, Afrobeats, Soca and Tropical Bass.

Win a 2 x 2 free tickets to Bamboo Bass – like or share this link on facebook and you might be in for free!

✔ Saturday 25.07.2015 | Event on Facebook
Bi Nuu Club | U-Bhf Schlesisches Tor | Kreuzberg Berlin

Presented by

Grab the latest mixes by Bamboo Bass host DJ Silent Pressure, still hot as Caribbean chili peppers:

Back-to-back live mixing session with Uproot Andy, Silent Pressure and Uproot Andy a while back:

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Bamboo Bass mixtape Vol. 7

Posted on 24 February 2015 by Marflix

Berlin’s DJ Silent Pressure is no stranger here on With Bamboo Bass he hosts one of the very few tropical nights in Germany’s capital city with it’s special mixture of clubby sounds and Caribbean music.
Usually you hear a lot of Twerk, Zouk Bass and Moombahton together with Dancehall, Soca, Kompa or Afrobeats. Also Bamboo Bass brought some fine guest DJs of the tropical movement to Berlin: Uproot Andy, Murlo and many more.


To let non-Berliners take part in the fun there’s a mixtape series which gained some attention due to DJ Silent Pressure’s bad ass mixing skills. Just now a new mixtape arrived with the latest hits and anthems you also hear in the club.

Next Bamboo Bass party will be early Spring, and more good stuff is in the making, so keep on eye on this! Beside this we featured DJ Silent Pressure on our latest edition of Riddims Tropicale radioshow.

DJ Silent Pressure on soundcloud | facebook.

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Subtropics – Tropical Bass made in Belgium (Free Downloads)

Posted on 21 January 2015 by Leub


Subtropics is a side project by 2/3rd of belgium based world champion dj’s The Mixfitz. Their sound is strongly influenced by dancehall, moombahton, trap, zouk bass and various other tropical bass related styles. Grab the following four tunes for free:

Facebook: Subtropics

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