My Latest show on [Friday Jam]

My Latest show on
13-3-15 [Friday Jam]

Catch Dj Lolly ‘Friday Jam’ show each and every Friday on (4-6pm gmt).Playing House,Garage Old and New with some classics thrown in.Also catch some guest mixes from djs and producers.its the perfect start to the weekend…Enjoy ;)

Studio Text number +44 238 0008010
@dj-lolly | |

Tropicall I Just Can’t Stop Tree Sixty One (TSO009)

Summer chasers with one foot in Brazil and the other in Barcelona, the Tree Sixty One label is pleased to present a new EP and highlight a couple of shifts. The artwork on the cover is a fresh look for them and the sounds contained within likewise incorporate a new style for Brazilian duo Tropicall, comprised of Ariel Haller and Fabio PSK who each have over two decades of production experience. Hoping to glorify the old and new school essence of disco, funk, and house music, the label’s aim is to provide a mix of classic and traditional soulful house blended with the most modern deep and garage takes on the sound. So far feedback has been solid, gaining support and play from house legends like Kerri Chandler, Danny Krivit, Tyree Cooper, and more. The I Just Can’t Stop EP with Tropicall featuring singers Bárbara Nay and Sabrina C is also sure to hit the mark.

The title track contains instantly familiar vocals and piano stabs that harken back to the good ol’ days while the rubbery bass line is in tune with the most forward sounds of today. In much the same ivory light, Bárbara Nay’s diva vocals on “Nightlife” are accompanied by classic pianos and a show-stealing bass display with responsive layered chords that share its slightly old school edge. “Sambahouse” is a serious percussive workout, as to be expected, making full use of Brazilian rhythms and once again giving way to a hybrid low end that also serves as a lead. Taking a darker turn, “Getaway” makes use of some rougher stylistic elements often found in the grimier corners of the UK. Sabrina C’s vocals are embellished and would not sound out of place in a pop song, but — make no mistakes about it — this one is headed straight for the underground clubs. Overall the release looks to the past while making forward progress, a tug of war in which the DJs and clubgoers will both win.

Label and Artist Links:


Various Artists Impossible EP #3 Rebus Records (RR06) –

RR06_PACKSHOTThe Impossible series of EPs is a place for artists and producers in the Proceed Records family to stretch out a bit and try some new sounds. If a track doesn’t quite sonically fit on an artist’s EP on Proceed but still has the quality and dance floor appeal that demands to be heard then this is the place for it. Thus the third in a series, the Impossible EP #3, gathers five tracks from some of Proceed’s shining Italian producers, this time showcasing them on the Rebus Records sub-label.

Proceed’s proprietor, DJ / producer Haldo, who has also released cuts through Transport Recordings, Conya, and Adaptation Music, is represented by his pure and joyous house Deepfunkmix of “Rebus’funk.” A sure-shot bass line is guided by wonderfully atmospheric pads, key stabs, and synth accents with reverberating disco strings cutting through the layers. Haldo’s touch can also be heard in his additional keyboards on the EP’s contribution from Fabio Mazzei, a talented new deep house producer from Catanzaro. “Just Me Again Down Here” is a hypnotic trip with growling bass and a vocal drop that asks the listener, “what is your sound?.” Having participated on the second edition of the Impossible EP projects, Fuscobeat & Magrini are welcomed back with “Green Afrika.” The track is a tribal floor-filler with flavorful, deep chords by Haldo once again. Tuscany-based Tony Barbato first started DJ’ing throughout Italy in the late ’90s enjoying production success and gigs at venues like the Parisian Djoon club. His work on “Love Is Endless” gives retro inspirations from past decades new life in a modern, big room context. Finally, Odo Makes A Smile compliments the package with his vision, commanding deep house vibes out of otherwise minimal techno elements in “Not Too Bad.” – See more at: