Author: Psychic Pollution

Stro Elliot – Review

L.A. beat maker STRO ELLIOT impresses with debut full length LP

by Mikey Casey

Live performance of Stro Elliot from the Soulection Live Sessions.

Aside from seeing the name on social media, I had no knowledge of Stro Elliot other than his association with L.A. and the beat scene, but after hearing his self titled LP released at the tail end of 2016 on Street Corner Music I was intrigued and wanted to know more.

His ability to flip a sample and make it into something special is something harder to get excited about when artists like James Brown or Kool and the Gang have been sampled so many times throughout hip hop history. Many of the casual listeners of hip hop out there have probably heard Kool and the Gang’s Summer Madness reworked or recognize a James Brown sample when it is used, but Stro never leans to heavily on the source material and only uses a sample sparingly and to useful effect.


Stro Elliot Cover art / Street Corner Music 2016

Soul II Stro is such a dope flip of Soul II Soul’s Back to Life sample and a good example of how he uses what he needs from his source without relying on it. He uses enough in the beginning so you know instantly who it is but then launches into his own thing utilizing just a couple vocal snippets (“However do you…”) by blending them to sweet effect into his boom-bap structure.

You hear more of this efficiency on James Baby where he flips Browns’ I Got that Feelin’ into a funky cacophonous racket that will sound so dope on a big soundsystem with the right deejay cutting it into a mix. You recognize the sample from the jump being used in its original recording until the “Baby, Baby, Baby” part propels the track into Stro territory and the sampled elements are woven into something else entirely and sounds like a B-Boys breakbeat dream. The drums are the first to enter and instantly you can hear that the tight/slick funk of Brown’s original is gone and replaced with something that reminds me of Magic Drum Orchestra’s reworking of Drop It Like It’s Hot. The drums almost sound like a marching band (all skins; no cymbals) and there is so much hollow sounding space in between the notes that when the other elements, specifically the horns, make their appearance all the instruments blend together to create a really interesting break.

Drama 4 Kathy may have been sourced from 50-60’s jazz but the source of the sample, although it is familiar, escapes me. The first seven seconds gives a small taste of the original source and you can tell its follows a meandering course in the jazz-sense of stretching out time and messing with rhythm but the samples are reworked into a contemporary rhythm, no longer meandering and straightened out to follow a more direct course that is signified by the cadence of the snare hit. If I didn’t know better I would think that this was an unreleased cut from the Madlib Shades of Blue sessions.

The one anomaly on the full length is the sole vocal cut called Virginia Wolf. A nice addition that is unexpected on the instrumentally grounded record but the vocal flow, cadence, and delivery sit well on the crest of the bass/drum interplay (Note: I would give props to the performer but finding a credible confirmation as to who it is is eluding me). Based on this example I look forward to more productions with an MC as a collaborator.

This is a solid beat record that deejay’s will have a lot of fun with. The tracks are short and barely go beyond the 4 minute length. These tracks can really take on a life of their own in the very capable hands of a JRocc or Lefto and records like this are meant to be heard in a mix where their impact can be utilized to the fullest extent.


Yussef Kamaal – Black Focus

Astral Jazz from the UK

Impressive debut from cosmically conscious jazz funkateers Yussef Kamaal

written by Mikey Casey

20160913-Yusef-Kamaal.jpgYussef Dayes (drummer) and Kamaal Williams (keys/aka Henry Wu) of Yussef Kamaal

Once again you can rely on the always consistent tastes of Gilles Peterson to be at the forefront of what is essential in his neck of the woods. His jurisdiction is the globe and thru the years he has leveraged his influence into new ventures such as his influential radio show, Worldwide FM (, and his latest label Brownswood Recordings.

With the release of the album Black Focus by the group Yussef Kamaal the people working over at Brownswood have themselves quite a formidable record to reckon with. If you are into the ongoing dialogue regarding the resurgence of jazz in Los Angeles and London recently are likely aware of all the jazz-centric projects that have been dropping in the last year. Recent releases from Badbadnotgood (IV, Innovative Leisure), Kamasi Washington (The Epic/Brainfeeder), Josef Leimberg (Astral Progressions/World Galaxy Records), GoGo Penguin (Man Made Object/Decca Records) are a few of the notables I can recall and all are exceptional records in their own right. Black Focus is no different and deserves to be shelved right up there with the rest of your Jazz Fusion records. 

Make no mistake – this is a Fusion record and the combinations being put together here are rooted in 70’s Jazz Fusion and Funk while extracting elements from contemporary genres like broken beat, drum n’ bass, and the instrumental beat scene. Sonically it is like Weather Report and early era Jamiroquai had a baby that only produces groove laden instrumentals. 

While each is rooted in a foundation of bass and drums (typical of jazz), the interplay between the musicians is how character and personality come to the fore. Tracks like Remembrance, Black Focus, and Joint 17  allow space for the lead instruments (synth/rhodes, horn section, guitar) to noodle. It takes an 8-note trumpet sequence to get Black Focus moving and the pace of the groove (not too fast; not too slow) is a nice opener for what is to come on the follow up track Strings of Light, the standout track on the album by far. Impressively executed, it is the bass playing that really propels Strings of Light forward and through the stratosphere with conversational jabs in between the rolling rhythm of the snare and rim shot combos. About a 1/3 of the way through the track the bass drifts into a melodically languid series of chords heralding the arrival of the trumpet with its heavy reverb-laden screech to take the listener way out on the fringes. The interplay between bass and trumpet in this section is a high point and example of what is great about this record.

Thankfully their are moments to catch your breath with Yo Chavez and Joint 17 that are centered around the rhodes piano to which this music is so well suited. Thinking of kindred spirits, these tracks would not sound out of place on a Hiatus Kaiyote record at all. Just check Rainbow Rhodes and Sphinx  Gate from their Tawk Tomahawk record as a small example of kindred connectivity between the two groups.

If you are a fan of Flying Lotus, 4Hero, Hiatus Kaiyote, & Badbadnotgood then this is a record you should be checking out!

The Glistening Sound


The Glistening Guitar Sound of Modern Rock

by Mikey Casey

Time to bring back to life this long neglected blog that I have failed to maintain. Life can get a little strange at times but more and more I realize I need this outlet to talk about the music I love. Spotify allows embedding of playlists so I thought it would be a fun way to start adding content again so if you are not connected to Spotify then my apologies in advance but I provide the playlist in case you want to compile your own.

I compiled this list because it felt to me like there has been a lack of guitar driven music coming into my orbit as of late. I blame the lack on my pre-occupation with seeking out the more dj friendly styles from the beat driven clusters of the sonic galaxy. The stylistic theme here is somewhat anchored by a Johnny Marr guitar style (Sunflower Bean) on one end and a post-shoegaze vibe (DIIV, Deerhunter, Tamaryn) on the other. The list continues to expand into Psych territory with Mild High Club and Swim Mountain bringing that Down-Under Psychedelia to the fold and I am sure more will continue to be added.

Not all these are going to be brand new tracks, but then again “new” is a relative term for me when it comes to music.  The oldest track on here is Firestarter by Blouse from their 2011 self-titled album and the remaining tracks came out after but all capture a type of sound and style that shimmers like an aurora borealis in the night sky.

Follow me on Spotify to keep up with my Public Playlists and send your recommendations or comments as well!

Check out the playlist or listen to the videos below:


Altered Impressions: Empire of the Sun Under the Coachella Stars

It was a few years back when I first heard Empire of the Sun and was immediately drawn to their  genre-traversing folk-tinged electro sound. Soon

Luke Steele in the Emperors Clothes

after hearing ‘Walking on a Dream’ I tracked down the album and remember thinking how goofy Luke Steele and Nick Littlemore looked on their cover. If I hadn’t heard their music first and only saw their album cover I would have thought it was a soundtrack to a Sci-Fi film about an intergalactic empire. Although the cover is a little silly, the music is infectious as alot of music out of Australia seems to be these days with the output from Modular’s camp and other guys like Captn K of Picnic Records (who I particularly dig and have written about in previous posts). The obvious highlights are the first half of the album which includes “Standing on the Shore”, “Walking on a Dream”, “Half Mast”, “We Are the People”, and “Delta Bay” because they all share an obvious connection to each other whereas a few tunes further in almost derail the album due to  the pacing of it that slows down and just throws me off my groove. After chugging through the first half, I always find I need more patience to embrace tracks like “The World” because of how mellow it is in relation to what precedes it, not necessarily because its a bad song so I usually move forward to “Swordfish Hotkiss Night” and “Tiger By My Side” to bring that upbeat vibe back.

However, pursuing the impressions left behind in my noggin after their Saturday night set at Coachella, I am forced to re-assess my overall view of Empire of the Sun and explain how they have evolved (for me) in the aftermath of a weekend in the Desert.

Let me start of by saying that I wasn’t so sure what their live set would entail since what I heard/read of their performances in Los Angeles late in 2010 were not very positive, but maybe it is the vibe in the desert that suits them. Either way, what they brought to the stage on Saturday night  was an intoxicating dose of musical theatricality and fantasy that I truly did not expect to witness. For example, the Sci-Fi Futurism of the cover is brought to life on stage with Luke Steele fully in character as the Emperor of his imaginary Empire. Other characters populate the stage during different songs, some of which look like a cross between Parliament Funkadelic costumes and Emperor Palpatine ‘s Royal Guards in Return of the Jedi that you can see during their performance of “We Are the People.” During “Walking On a Dream,” the scene is less militaristic and the geisha-like dancers evoke a dreamy vibe that had all the revelers in the crowd fully immersed, at times almost seeming to bridge the gap between performer and the crowd as everyone one appeared to be swept up during the chorus of the song when Luke’s beautiful falsetto emerges after the pre-chorus, singing about the rapturous feeling of human connection:

We are always running for the thrill of it, thrill of it
always pushing up the hill, searching for the thrill of it
on and on and on we walk calling out, out again
never looking down I’m just in awe in what’s in front of me

Is it real now
when two people become one
I can feel it
when two people become one

It’s a simple enough hook but in the context of the performance, it was the perfect combination of words for the people who made that connection with the performers onstage.

The Emperor's Pink Guards...So fierce right?!

As standout tracks go, “We Are the People” is a particularly powerful track and has always been a favorite of mine, but it’s their live performance of it that has transformed me deeply. There is always one reaction I get with special music that starts in the middle of my chest, moves to my throat, chokes me up, fills my eyes with tears, while the original chill expands from the chest throughout my whole body leaving me speechless. I can close my eyes now anytime I listen to that song and remember where I was when I experienced the deep impact of that transformative moment while sitting poolside with my closest friends a few miles from Coachella watching the show projected on a large screen via the webcast. The convergence of visual choreography (costumes and dance moves included) in conjunction with their dreamy dance music in a place under the stars as beautiful as the Empire Polo Fields is the ideal setting for EOTS intergalactic dreamscape to unfold. Just watch the opening number “Standing on the Shore” and check out how they set the tone for everybody to become apart of their world.

Everything about this band seemed somehow disjointed as I mentioned above prior to seeing their live performance but I’m happy to revisit my views especially since with everything I thought about their album clearly exposes my failure  to fully grasp their vision since it is clear now that the

Dancers from Empire of the Suns performance

visual component is as intrinsic to the band as what you hear on record.With the union of these two elements, the fantasy component provides an escape from the chaos in the real world, and perhaps we need detours into imagined realms  such as this to remind us of the importance of human connection and during their performance it seemed that connection is exactly what the band had set out to accomplish. As I stood watching the set from the webcast, I definitely felt a profound connection from the live performance dramatically enhanced by the visual elements that, along with their music, transported me from my poolside oasis to the Empire of the Sun — can’t wait to go back!

Thinking Back to ’97: DJ’s and the Art of the Mixtape

An assortment of mixtapes soon to be uploaded!

Another long hiatus away from this blog can only be blamed on school. The continuous grind of reading, analyzing, and writing about of literature were instrumental to my hiatus but I have finally found a subject that I felt was worthy of an update.

Since a huge part of my life at the moment happens to be DJing I have been thinking a lot about the mixtapes that got me into playing records in the first place. The tapes my brothers and I amassed in the late 90’s inspired me to learn how to mix records which is something I never thought I would have had an interest in prior to getting into mixtapes and everything that followed. Now looking back I can say my perception of DJing was to conflate the use of turntables with two things: (1) strictly with hip hop and (2) the DJ who rocked all the middle and high school dances I’d attended.

Highly influential Desert Breaks CD's released by John Kelley of Moontribe circa '96-'97

However, it all changed in ’97 when the mixtapes I was introduced to altered my feelings about dance music culture and a phase of my life began where searching out parties in the shadiest of locations for the sake of seeing a DJ play a set would become as important as seeing my favorite band play. Stylistically it was the allure of desert breaks and jungle’s (aka Drum and Bass) low frequency basslines that sucked me, but later it was finding the parties and watching the DJ create the vibe of a mixtape in a live setting. DJ’s like Daniel, John Kelley, Brian, and Trevor from the MOONTRIBE Collective; UFO!, Abstract and Sage from the PHUNCKATECK Crew; and DJ Graeme of FUNKY TEKNO TRIBE; and DJ JUN from LA made up the creative force behind my favorite tapes of the period.

I figure that some people may find that mixtapes of the ‘rave’ music variety are difficult to listen to since their length (usually 45 minutes per side), lack of  recognizable “hits”, and mostly instrumental tracks demand a listener to pay attention to the interaction of sounds (either the analog or digital instruments that comprise the track) being generated as opposed to how the emotional content of lyrics can convey a sense of mood. With that in mind, I tend to think of a mix like a movie that is broken down into separate acts with introductions, reversals, action, moments of elation, and climaxes that, in a musical sense, is more akin to a symphony with the DJ acting as both the composer (by the act of selecting tracks) and the conductor (by the weaving of the selection into a mix).  At the end of it all (usually 90 minutes in tape format), the mix itself is a unique act of creation and not just a collection of songs compiled and called a mix…at least a good one should be more than that.

Today’s offering (the first of many) is Spacebass II by Daniel. It was in 1997 when I first heard it and rave culture was starting to come into my radar. Amongst the multitude of sub genres of rave music I was heavily into Jungle/Drum & Bass because of the  combination of hip hop, dub, punk, funk, and electronic (probably missing a few others) styles with the cinematic influence of Sci-Fi movies that combine to emit a dark and moody vibe. Daniel’s mix exhibits all of the aforementioned traits while creating a soundscape similar to a movie but solely through the use of sounds. Check it out in the mixtape archive and try and spot each transition from track to track.



Hercules and Love Affair, the new lineup performing at the Echoplex. Photo courtesy of Liz Caruso (

It’s been about two years since Los Angeles has played host to the amazing disco-house revivalists known as Hercules & Love Affair who came out here in promotion of their fantastic self-titled debut album back in 2008. The album, if you haven’t heard it, is mind-blowing, but the live show managed to elevate the listening experience to a different level, one that made me feel like I was witnessing something special happen. A feeling I hadn’t had since seeing Roni Size and Reprazant in ’98 debunk the notion that electronic music (especially in those rave days) had no soul and was the work of non-musical computer geeks, but with a full band in tow ended up sonically decimating the space and blowing minds in the process. Hercules & Love Affair managed to do the same, but whereas Roni Size brought to the stage the frenetic sound of Drum & Bass, Hercules revitalized Disco in a new way that groups like LCD Soundsystem, The Rapture, & !!! had only managed to toy with.

Don’t make the mistake of being fooled by the Disco tag and assume that this Disco is in the same vein as Abba, Donna Summer, or any other overplayed acts you may have heard at a wedding because this isn’t music to dance to and forget about. The lyrics are serious, the vocals are emotive, and the music is euphoric, not formulaic and gaudy like popular disco became at the end of the seventies. In H&LA the bass lines are bouncy, the high hats poppin’ (the perfect foundation for a disco act), and vocal duties are taken up by whoever fits the mood of the groove.

At their show at the Echoplex, much of the sound that characterized the first album was thankfully still evident after a year of change to the group’s personnel and live show that ended with the departures of everyone but two original members, Andrew Butler (songwriter) & vocal stalwart Kim Ann Foxman to man the Hercules juggernaut through to their next phase. The touring band that originally consisted of a horn section, a bass player, keyboards, and a drummer has been replaced with a trinity of vocalists (Kim Ann with newcomers Aerea Negrot and Shaun Wright) and an array of electronic gizmo’s (drum machines & sequencers) under the guidance of Andrew Butler and DJ Mark Pistel (formerly of Meat Beat Manifesto).  With all of the sound elements being controlled at the back of the stage, it left a lot of room upfront for the vocalists to move about and get loose. Early in the show it was apparent that the vocalists needed a few verses to get comfortable in the mix as the kinks in their mic levels were worked out, but once that was accomplished the room quickly became a sweaty hot box of bodies in motion all chugging to the rhythm of Hercules & Love Affair. The setlist consisted of upbeat new material that will be featured on their second album, Blue Songs as well as a few carried over from the last album (Anthene, Blind), with the only notable difference being the sound of the new voices while the essence of H&LA’s music is still intact putting to rest my worries that the departures in the last year would mess with the quality of the groups output. Listening to the instrumentation and what I can discern of the lyrics, nothing about their sound seems to be lost, but I’ll only be sure about this once the album finally drops in January ’11. Moreover, the group seems to have gained something with their stripped down setup by making the sound more conducive to a club experience manipulated by only two as opposed to eight. The exclusion of competing personalities in the rhythm section opens the floor up to the vocalists to engage the audience with their presence and the emotive allure of the lyrics, which Aerea Negrot was especially able to do solely on the range and power of her voice. Although I do miss the glamour and vocals of former vocalist Nomi Ruiz, Aerea Negrot (like a cross between Ricky from My So-Called Life and pop-singer Pink, but more muscular) has a vocal power and range that seems even more suited to the transcendent quality of the new songs. For the duration of the set, the music was mostly non-stop except for an intermission for band introductions, but aside from that one stop the girls kept the energy up by saying things like “What time is it? It’s time to jump” and other uplifting phrases that resulted in hands in the air and constant movement from my area in the front and as far back as I could see. It was a solid performance that made me feel elated afterward, mostly because I danced my ass off the whole time in that hot room, but also because I felt blissfully content afterward. Good shows can have that effect! It ended up being so hot in that room that it compelled Kim Ann to say that it was “hotter than a bag of dicks” (however hot that might be?!?) after a version of “Blind” in which both Aerea and Shaun traded verses.

After their solid performance, H&LA manages to be more than just another dance group pounding out the 4/4 bangers. Their songs are well crafted with captivating lyrics rampant with themes of love, longing, and regret that ride well on top of the physical groove promulgated by the rhythm sections instrumentation. Contextually, their music is ripe for the physicality of the dancefloor or for a personal headphone journey because the songs are not looped into oblivion (like typical dance music releases) and have solid arrangements that leave the listener wanting to hear more. The new songs that were on display tonight at the Echoplex seem to only solidify that Andrew Butler’s group is a force to be reckoned with and that the new album will only serve to enhance his reputation amongst the fans and DJ’s who crave dance music of this quality.

Going places, the impressive front man, Andrew Aged of Teen Inc. Photo courtesy of Liz Caruso

Aside from Hercules & Love Affair’s headlining set, openers Teen Inc. set the stage for the evening with a ridiculously impressive set that made me feel like I was watching Prince at First Avenue circa ’84, but instead it was L.A. in 2010. These guys first came to my attention a week prior when I reviewed them (for this site) when they opened for Ariel Pink’s Haunted Graffiti and Puro Instinct and they intrigued me then, but I mentioned there live act would have been enhanced with a live drummer, as opposed to the drum machine they played too. For their show with H&LA, the drum machine was gone and a live drummer took its place and it seemed to imbue the band with a stronger edge, allowing their musicianship to really shine. Although the band reminds me of Prince, so much is going on with their sound that all I can say is it has to be experienced to be fully explained. They manage to encapsulate the future funk leanings of Dam-Funk and the dreamy haze of Washed Out, but strive beyond either of those comparisons because their songs are far more complex in arrangement. I can only hope a full length is forthcoming sooner rather than later to supplement their only release to date that can be purchased via iTunes or on a 7” inch via their site ( A version of the Sheila E./Prince collaboration “A Love Bizarre” was a highlight and awesome inclusion in a set that got the crowd properly warmed up for the main act. If the chance arises to catch the Teen Inc. experience, don’t miss it because they are an act you don’t want to pass up!

The Force Funk Sound

Went up to Hollywood the other day, my destination was Amoeba Records. I decided to go up there with a plan, a budget, a genre focus, and a couple titles in mind. As soon as I walked in the plan almost went all to hell until I took a moment to center myself . . . for those who have never been to Amoeba the effect it has on record shoppers may be lost on you, but  it can be a little overwhelming to be confronted with an ocean of music in every flavor imaginable. It’s CRAZY! For real!

Anyway, I found my way to the Electronica section and started to plow through it all and came across some goodies, but my favorite of the bunch is this 6 track gem by Arizona producer Zackey Force Funk & Kutmah. I’ve come across ZFF on a Dublab EP earlier in the year that I meant to post and lagged on, but I’m glad I waited because these tracks together are a nice representation of a twisted amalgamation of electro-funk from ZFF. The common linkage throughout the sextet would be the filtered falsetto of Mr. Force Funk’s vocals that anchor the listener through the Force Funk journey.

After listening to this dose of Zackey Force Funk I regret putting back the other release that I saw, but that’s the way it goes at Amoeba Records. A place where a budget is a record shoppers worst enemy.

Zackey Force Funk (download)

Future Funk in Paris

Future funk from Onra’s new album Long Distance! Soooo good!

Check out “High Hopes” featuring the vocals of Reggie B. When listening to the album, I can’t help but think of Onra as a mix between Dam-Funk and Washed Out, as well as other soul/funk producers like Jay Scarlett and Robin Hannibal (Quadron, Boom Clap Bachelors, Owusu & Hannibal) . The soul/funk music coming out on the fringes of popular radio that guys like Garth Trinidad tend to rep are some of the most exciting sounds I’ve been hearing in awhile. Throw some female vocals over a moody beat and that’s always enough to perk my interest as a listener.

A great compilation that promotes the soul/funk of the future is Circulations and Jay Scarlett Present New Worlds which was released in Japan in late ’08 that is fourteen tracks of quality from as many producers. If you are interested then hit me up or post a comment and I’ll get it to you!

Onra – “High Hopes”


Greetings from the Void: New Solicitations

Here are a few tunes that I have come across that have been really doing it for me lately. Full on sonic satisfaction lies therein.

Tame Impala is from Perth, Australia — one of the many interesting acts emerging from the scene out there who seem to love there fuzzy guitars and hippie harmonies, which every rocker tends to toy with, but I like there style. Links below for a couple tracks to digest.

Tame Impala – Desire Be Desire Go

Tame Impala – Alter Ego

This group, The Electric Chairs, is an old punk band that used to play in England back in the late 70’s, this track is from an old 7 inch release that came out before they broke up and is a nice slice of post-punk dance music. Really wish I can track this down on wax.

The Electric Chairs – So Many Ways 

The instrumental beat producer known as Take just put out his album “Only Mountain” and it is an absolute beauty of lush rippling sounds and propulsive beats. The track ‘Crystallia’ with its cascading synth effects just speak to my dark moody musical aesthetic of other moody cinematic producers that permeate the electronic music genres.

Take – Crystallia

Nobody is another L.A. beatmaker and super talented all around musician who is following up 2008’s Blank Blue project with another album of tangenital inspiration, launching this time into a new world of inspiration using the auto tune vocal modulation  as a main component of the album. Like Blank Blue’s recreation of the atmosphere of Hendrix’s sci-fi epic, ‘1983…A Merman I Should Turn to Be,’ Dj Nobody’s latest project delves into new inspirational territory probably motivated in part by Kanye’s auto tune driven effort. Usually, I can’t stand the voice effect, but in the track ‘Harmony’ it seems to work perfectly along side the dirty hip hop beats and industrial noise like a ray of light through the L.A. haze. If you get a chance, check out this guy’s DJ sets! Amazing!

Nobody – Harmony

All this talk about Nobody and his prowess as a musician made me think it would be good to include a track off of his Blank Blue project. The album as a whole is solid, but I really love ‘Sea Roars Lead’ because the whole live capability of this band comes together in this track. The combo of Nikki Randa’s vocals, the aqua sound of the bass, and psychedelic jangle of the guitars hint at how good this band sounds live and if you get a chance to catch this group in action then do so.

Blank Blue – Sea Roars Lead 

***Next update is tentative. Will happen as I find the goodies! Click the ‘dl’ link to be transported to the download page.

NEW DJ MIX “Electric Muses”

Hey Listeners,

I have a new mix available for the taking. I improvised my way through it last week, a mix of old and new track, so check it out and I hope you enjoy.


Electric  Muses” Setlist

Michael Jackson –  Can’t Help It (TangoTerje Edit)
Floating Points – Love Me Like This (Nonsense Dub)
Jo Jo – Mindgames
Nitedog & Lovefingers – Mexico  (Barrio Edit)
Toby Tobias – The Feeling (I:Cube remix)
Chamboche – On the Streets (Friends Edit)
Eddie C – My Woman (PBR Streetgang Remix)
Ilija Rudman – Dance Disorder
G and S – Portable Control
Discodeine – Tema Di Gamma
Canyons – Dancing on Silk
PBR Streetgang – Silas?

“Electric Muses” YSI link