Afro House is a sub-genre of house music that originated in South Africa and incorporates African elements and rhythms into the electronic dance music framework. Sub-genres: Afro Tech, Afro Deep, Afro Soulful, Afro Tribal, Afro Funk, Afro Latin, Kwaito, Gqom, Amapiano.

Afro House

Amapiano

Bass House is a sub-genre of house music that emphasizes heavy basslines and hard-hitting beats. Here's a list of some of these styles: UK Bass House, Future House, Wobble House, Garage House, Breaks-infused Bass House, Dark Bass House.111

Bass House / Future House

Rhythmic, beat-driven electronic music with syncopated patterns.	Sub-genres: Big Beat, Nu Skool Breaks, Progressive Breaks, Florida Breaks, Atmospheric Breaks.

Breaks / Breakbeat

Dance / Pop

A soulful, melodic variant of house music with smooth chords. Sub-Genres: Tribal Deep House, Afro Deep House, Deep Tech House.

Deep House

Tracks or elements designed for DJs to use in live performances. Acapellas, Loops, Samples, DJ Intros/Outros.

DJ Tools

Fast-paced electronic music with breakbeats and heavy basslines. Liquid, Neurofunk, Jump Up, Jungle, Techstep, Darkstep, Drumfunk, Atmospheric DnB, Dancefloor DnB.

Drum and Bass

Electronic music with heavy basslines, and syncopated rhythms. Sub-genres: Brostep, Riddim, Chillstep, Melodic Dubstep, Wonky, Deathstep, Glitchstep, Deep Dubstep.

Dubstep / Bass / Grime

An early form of electronic dance music with futuristic themes. Detroit Techno, Electro Funk, Electro Breaks, Electroclash.

Electro (Classic / Detroit)

Energetic, hard-hitting dance music with heavy basslines. Sub-Genres: Progressive Electro House, Complextro, Dutch House, Fidget House, Dirty Dutch, Melbourne Bounce.

Electro House / Big Room

Diverse, experimental electronic music with various influences: IDM, Ambient, Downtempo, Glitch, Trip Hop, Breakcore, Experimental, Soundscapes.

Electronica

Upbeat house music with disco, funk, and soul elements. Sub-Genres: Disco House, French House, Filter House, Glitch House, Chicago House.

Funky / Jackin' House

High-energy electronic music with aggressive beats and tempo. Happy Hardcore, Gabber, Hardstyle, UK Hardcore, J-core, Powerstomp, Speedcore, Terrorcore, Breakcore.

Hardcore / Hard Dance

Intense techno variant with faster tempos and heavier beats. Sub-Genres: Schranz, Industrial Techno, Dark Techno, Power Noise.

Hard Techno

Electronic dance music with 4/4 beats and repetitive rhythms. Classic House, Acid House, Vocal House, Chicago House, New York House, Swing House.

House

Electronic music with indie, alternative, and disco influences. Sub-Genres: Synthwave, Italo Disco, Coldwave, Dark Wave, New Wave, EBM.

Indie Dance / Dark Disco

Experimental, unconventional electronic music. Sub-Genres: Leftfield Bass, Leftfield House & Techno, Avant-garde, Musique Concrète, Drone Music.

Leftfield

Relaxing, downtempo electronic music for casual listening. Ambient House, Trip Hop, Downtempo, Balearic, Lo-fi, Nu Jazz.

Lounge / Chill Out

A blend of house and techno with strong melodies and harmonies.	Sub-Genres: Progressive Melodic House, Deep Melodic Techno, Uplifting Melodic Techno.

Melodic House / Techno

Minimalist house music with intricate, glitchy sounds. Minimal Techno, RoMinimal, Clicks & Cuts, Glitch House, Intelligent Dance Music (IDM)

Microhouse

Sparse, stripped-down electronic music with repetitive patterns. Sub-Genres: Minimal House, Microhouse, RoMinimal, Glitch, Ambient Techno

Minimal / Deep Tech

Modern disco and funk-inspired electronic music. Disco House, Funky House, Re-edits, Modern Funk, Boogie, Future Funk, Electro Funk.

Nu-Disco / Soul / Funk

House music with natural, organic sounds and world music elements. Downtempo, Ethnic House, World Electronica, Afro House, Tribal House

Organic House / Downtempo

Evolving, melodic house music with long builds and breakdowns. Sub-Genres: Dream Progressive House, Dark Progressive House, Progressive Trance, Progressive Breaks.

Progressive House

Psy-Trance

House music with a strong soul, gospel, and jazz influences. Sub-Genres: Gospel House, Vocal Soulful House, Jazzy House, Latin House.

Soulful House

Electronic-infused soul, R&B, and hip-hop tracks. Neo-Soul, Future R&B, Instrumental Hip-Hop, Alternative R&B, Trap, Trip Hop, and Grime.

Soul / R&B / Hip-Hop

A fusion of house and techno with an emphasis on percussion. Sub-Genres: Tribal Tech House, Deep Tech House, Minimal Tech House, Acid Tech House, Dub Tech House.

Tech House

Energetic techno with driving beats and strong rhythmic elements. Hard Techno, Detroit Techno, Minimal Techno, Acid Techno, Rave Techno.

Techno (Peak Time)

More stripped-down, atmospheric, and dub-influenced techno. Sub-Genres: Dub Techno, Hypnotic Techno, Ambient Techno, Deep Techno, Experimental Techno.

Techno (Raw, Deep, Dub)

Melodic, uplifting electronic dance music with a fast tempo. Progressive Trance, Uplifting Trance, Psytrance, Vocal Trance, Hard Trance, Tech Trance, Goa Trance.

Trance

A fusion of house, R&B, and jungle, characterized by syncopated beats. Sub-Genres: 2-Step, Speed Garage, Grime, UK Funky, Future Garage, Bassline, Breakstep.

UK Garage / 2-Step

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Kamar

A leader in  global dance music, Louie Vega has painted an award-winning career from a palette mixed with everything from house, salsa and afro-beat, to jazz, hip hop, gospel and soul.

What distinguishes the Grammy winner and 7-time nominee as one of the best living house music deejays is his ability to evolve alongside the times, distill the current musical landscape through his unique taste and put his own timeless spin on his musical creations.

In 2020, his production team Masters At Work with Kenny Dope Gonzalez will revamp their label Maw Records, and will be releasing their full catalog worldwide via digital and streaming outlets. New Masters At Work Remixes for Dua Lipa (Via The Black Madonna’s Mix Tape), DJ Krust (on Crosstown Rebels), and new productions for the Maw Imprint by The Masters At Work.

Louie Vega has also teamed with The Martinez Brothers for a second single entitled “Let It Go” with Marc Bassy released July 10, 2020 on the titan record label Defected.

In NYC, Vegas' weekly residency night has inspired him to record an album for Nervous Records release coming early 2021 featuring his friends : Robyn, Honey Dijon, Bernard Fowler, Moodymann, Kerri Chandler, Anané, Lisa Fischer, Joe Claussell, Tony Momrelle, Karen Harding, & the super band Unlimited Touch.

Breaking down musical barriers and bringing people together through a love of music has always been Vega’s aim; his contributions continue to positively influence global dance music.


Louie Vega

Their name says it all – Masters At Work. For over a decade, "Little Louie” Vega and Kenny "Dope" Gonzalez have shepherded dance music down new paths with their inventive production style and imaginative feel for different musical forms. The two native New Yorkers have amassed an overwhelming body of work in that time, one that includes hundreds of original productions, remixes and side projects, redefining the way we think of music in clubs. Vega and Gonzalez defiantly mix everything they can find – house, hip-hop, funk, disco, Latin, African and jazz – into a universal groove. And in doing so, MAW has become a cultural mélange unto itself, emblematic of the multicultural society in which we live.

Our Time Is Coming is the group's third official album, second under the MAW moniker, and first for Tommy Boy Records. Comprised of wonderful new compositions and a handful of their most popular singles from recent years, it is indicative of the ambitiously eclectic MAW sound: a vibrant dance groove culled from a mesh of Latin rhythms, jazz and soul. Vega and Gonzalez composed, produced and arranged the album's ten songs, using crafty studio work and live instrumentation and help from some regular collaborators (India, Roy Ayers) and a few special guests (Patti Austin, James Ingram, Stephanie Mills).

The Beginnings

"Little Louie” Vega and Kenny "Dope" Gonzalez officially started their union as Masters At Work in 1990. Vega, a prodigious DJ around New York, met Gonzalez, a producer, through burgeoning house DJ Todd Terry. Gonzalez’s song "Salsa House" was a favorite of Vega, who fell for its Latin-influenced, everything-goes flavor. Desiring to remix the song, Vega asked Terry for an introduction, and almost instantly the two bonded over their insatiable appetite for music of all kinds.

Vega was born in the Bronx in 1965 and raised in an environment rich with Latin music. His father was an accomplished saxophone player and his uncle was renowned salsa singer Hector Lavoe (of Fania All Stars fame). While Vega embraced the music of his Puerto Rican heritage, it was his pair of club-hopping sisters – regulars at David Mancuso's famous late-'70s Loft parties and at Paradise Garage – who introduced him to the vitality of dance music. Already taken with roller-disco and hip-hop, Vega attended Paradise Garage for the first time in 1980. There he witnessed the magic of DJ Larry Levan, whose ability to blend music from seemingly every genre and era into a seamless groove would foreshadow the spirit of Masters At Work. Through the mid-'80s, Vega began to make a name for himself as an up-and-coming DJ, playing house and freestyle in Bronx and Manhattan hotspots like Devil's Nest, Roseland and Studio 54. He was also doing remixes and original rhythm tracks, including one of his early breaks remixing Information Society's "Running" for Tommy Boy.

Gonzalez was born in Brooklyn in 1970. As a kid, he initially shunned Latin music, falling in love with the rebellious party beats of hip-hop. He worked as a buyer in a local record store while a teenager, mastering his skills as a DJ playing on the side. In the late-'80s, Gonzalez and a friend began organizing popular neighborhood block parties under the guise Masters At Work. Gonzalez met Todd Terry through these parties and lent Terry the fresh MAW moniker for two eventual club hits – "Alright, Alright" and "Dum Dum Cry." In return, Terry let Gonzalez borrow his drum machine and recording equipment, on which the blossoming producer recorded several tracks for the influential Nu Groove Records, including "Salsa House."

The MAW Union

The first collaboration between Vega and Gonzalez came in 1990 when Vega produced the debut album for singer Marc Anthony, an underground club prodigy at the time. Writing with India and other collaborators, and arranging the album himself, Vega brought in Latin masters Tito Puente and Eddie Palmieri to record the album, and turned to Gonzalez for some beats. Credited as “Masters At Work featuring Tito Puente and Eddie Palmieri,” the recording of the album set the conceptual framework for future MAW productions: combining live instruments with sampled beats, and veteran masters with new innovators. Soon others were seeking the MAW sound, and Vega and Gonzalez began remixing artists ranging from Debbie Gibson to Saint Etienne. They also began making their own original tracks, like "Blood Vibes," a hip-hop/reggae blend that marked their first original production, and "Our Mute Horn," a Miles Davis tribute track that gave a nod to their jazz influences.

As the Masters At Work sound became more pervasive in clubs, they became more sought after by artists and labels, eventually remixing Bjork, Deee-Lite, Neneh Cherry, Soul II Soul, Donna Summer, Janet Jackson, Daft Punk, Incognito, Brand New Heavies, Stephanie Mills and many, many more. Sometimes a MAW remix is literally a re-mixing of the original, like adding a bass line and some minimal keys (Daft Punk's "Around the World") other times, their remixes are total re-imaginations of the songs, as was the case with Saint Etienne's "Only Love Can Break Your Heart".

MAW also began producing for their own coterie of artists, like Barbara Tucker and salsa singer India, as well as for artists like Luther Vandross, BeBe Winans and George Benson. These were artists who had no foothold in the dance world but, based on their collaborations with MAW, were given instant respect. In addition to their own solo departures – e.g., Gonzalez’s hip-hop influenced guise The Bucketheads and Vega's DJ residencies at Sound Factory Bar – the group collected some of their own original tracks and released The Album in 1993. Alternating between hard, head-nodding hip-hop and more inspired house tracks, it was their first album released under the Masters At Work name.

Nuyorican Soul

MAW alter-ego Nuyorican Soul was born in 1993, a play on their heritage (Puerto Rican), residence (New York City) and style of music (soul). They debuted the guise on "The Nervous Track" (Nervous Records), giving us a glimpse of the Nuyorican concept – a groove that wasn't just thumping beats but musically sophisticated and engaging as well. A subsequent track, the hot club hit "You Can Do It (Baby)!" featuring George Benson, helped the project gain critical mass with fans, and after being signed by influential music maestro Gilles Peterson, Vega and Gonzalez recorded the first Nuyorican Soul album.

Released in 1997, the self-titled album was a mix of exemplary salsa, jazz and soul musicians (Roy Ayers, Eddie Palmieri, Jocelyn Brown). There was a discernable Latin jazz influence on songs like "Runaway" (a Salsoul Orchestra cover), a classic soul feel on the Rotary Connection gem "I Am The Black Gold Of The Sun," and a nod to hip-hop with a cover of Bob James' oft-sampled classic "Nautilus (Mawtilus)". Yet while the album's cover songs gave a nod to their influences, nobody could have imagined the timelessness of the Nuyorican sound.

Our Time Is Coming

Our Time Is Coming combines six new compositions with four popular MAW singles from recent years, all co-written, produced, arranged and mixed by Vega and Gonzalez, who recruited a number of friends and influences to add to the sessions.

The title track boasts the inimitable influence of Roy Ayers on vibes and background vocals. "Like A Butterfly (You Send Me)," the opening selection, features the lovely Patti Austin on vocals with lyrics co-written by Blaze and background vocals arranged by Austin. The legendary James Ingram appears on "Lean On Me." Elsewhere on Our Time Is Coming, the diversity of Vega and Gonzalez rears its head with the Latin-jazz-influenced "Pienso En Ti," featuring guitarist and vocalist Luis Salinas, and the deep-house funk of Billie’s "Every Now And Then." And it's nearly impossible to throw on the Soca-influenced "Work," (featuring Puppah Nas-T with vocals by Denise) and casually bob your head – this is a full-body experience.

It was a dream of Vega and Gonzalez’s to record with Afrobeat king Fela Kuti.  Unfortunately, their hopes were dashed when Fela passed away in August 1997. So instead, “MAW Expensive (A Tribute To Fela)” reworks Fela’s signature "Expensive Shit," maintaining its dedicated tribal flavor.

Our Time Is Coming is Masters At Work at their finest, a wonderful accomplishment especially given the scope of Masters At Work's robust discography. It's rare to see artists push their creative impulses so consistently and with such acceptance, and even more rare to see it sustained for so long. But as this album reveals, Vega and Gonzalez continue to do so with unequaled ability. If anything, the album's title is too appropriate, for as much as the artists have done in the last eleven years, there is certainly more that lies ahead.

Masters At Work

Seamus Haji

Scott Diaz

Along with Masters at Work partner "Little" Louie Vega, Kenny "Dope" Gonzalez was one of the biggest figures in house music, and one of the prime connections between the underground and the mainstream. Together, Gonzalez and Vega produced and remixed an endless list of tracks that made an indelible impact upon dance music. With salsa, disco, and house acting as the primary common specialties the two shared, Gonzalez brought his immersion in rap music to the table, while Vega came from a freestyle angle. The duo helmed full-length albums, including some under the Masters at Work name, in addition to one with their ambitious Nuyorican Soul project. Apart from MAW, Gonzalez scored a huge crossover hit with the 1995 single "The Bomb! (These Sounds Fall Into My Mind)," released under his disco-house alias the Bucketheads. He's released numerous 12"s of breakbeats and rhythm tracks, as well as compilations and mix CDs dedicated to all of his myriad influences, particularly hip-hop (1998's Hip Hop Forever), disco (1992's Disco Heat), and '80s boogie (Roller Boogie 80's, 2004).

Like Vega, the Brooklyn-born Gonzalez was prolific on his own before and during the partnership, and started out as a DJ. In the '80s, Gonzalez founded the Dope Wax label while doing production for several New York dance labels, including Big Beat, Cutting, Nervous, and Strictly Rhythm (home to his releases as the Untouchables). Masters at Work actually began around this time, originating as a partnership between Gonzalez and Mike Delgado; the two organized parties under the name. A few years after Gonzalez aligned himself with Vega, he established the Bucketheads, a studio project that released a string of extremely successful singles and a full-length. Both "The Bomb" and "Got Myself Together" topped Billboard's U.S. club chart, and appeared on 1995's All in the Mind full-length.

Gonzalez released several solo productions under his own name throughout the early 2000s, through the Tu Chicks, Freeze, and TNT labels. His skills as a DJ were demonstrated with a pair of impressive releases for the U.K.'s BBE label, too: 1998's Hip Hop Forever was a triple-disc set, including an early-'90s-centric mix on one disc and the selections in full on the other two. The similarly formatted Disco Heat came four years later, and focused on underground disco and house classics from the late '70s. Throughout the remainder of the decade, he was a go-to DJ for quality mix albums. His highlights included Roller Boogie 80's (Traffic, 2004), Life:Styles (Harmless, 2004), Randy Muller's Best (Plaza, 2005), Choice: A Collection of Classics (Azuli, 2006), and Mixes P&P Records (P&P, 2007).

Along with Terry Hunter, Gonzalez formed Mass Destruction; their eponymous 2009 full-length included guest vocals by Byron Stingily and Lidell Townsell. 2010 compilation House Masters compiled two discs' worth of production and remix highlights from throughout Gonzalez's career. In 2011, he produced rapper Rasheed Chappell's album Future Before Nostalgia, released by Kay-Dee Records, the label Gonzalez co-founded with fellow cratedigger Keb Darge. The label also released Wild Style Breakbeats, a 2014 set consisting of Gonzalez' edits of breakbeats featured in the classic old-school hip-hop film Wild Style, spread across seven 7" singles. The producer continued releasing house singles on his own Dope Wax imprint, and returned to Strictly Rhythm with 2017 single "Talk Dirty," featuring vocalist Roland Clark. ~ Andy Kellman

Kenny Dope

The Sharp Boys

Josh Butler

A DJ, producer and label boss firmly in the ascendency, Chris Stussy emerged onto the scene double quick time with a string of head turning house tracks, but what is important is that he has continued to back up that early promise years later. Now very much a key part of today’s house scene with a sound that is all his own, Stussy’s rise has taken him firmly into the spotlight as one of the scene’s most exciting names, and the Dutch wonderkid is only just getting started…

A long-standing love of early house music, but also raw production aesthetics and an understanding of jazz, disco and Chicago styles feed into his own unique take on the genre. As such, his sublime late-night cuts via the likes of Djebali, Moscow, Eastenderz, LOCUS, and PIV, where he is also charged with spotting new talent as the in-house A&R, often come with bumping drums and a bassline that is superbly slick and supple, whilst remixes for artists including the one and only Kerri Chandler welcome smart vocal samples and lush synth colours which add to the allure of his most seductive and warm house grooves.

As a DJ, Stussy is just as widely informed and draws on styles to suit the many different settings in which he plays. Main stages at Awakenings through to cult underground clubs such as Watergate (Berlin), fabric (London), Fuse (Brussels) and Elrow (Barcelona) all come under his spell in equally memorable ways, with tours of Australia, New Zealand, Asia and South America already in the books, plus regular appearances across Amsterdam’s finest venues. From long, slow, deep and tension building mixes to more high impact, quick chops and high energy cuts, he is a versatile selector who is always on the move.

And yet, after countless #1’s Stussy still continues to serve up heat at an alarming rate. Add to the mix the highly-anticipated launch of his own label ‘Up The Stuss’ - a vinyl-driven outlet for both Stussy and close friends and colleagues to release forward thinking, timeless club-driven productions from across the electronic sphere - and you begin to gain an understanding of just how well-rounded he is not only as an artist, but also as an A&R and a label owner. Yet despite being so prolific, the quality levels remain high, and while each new production shows a subtle evolution, they continue to feed into the singular Stussy sound that DJs and dancers have come to know and love.

Chris Stussy

Dario D'Attis

Harry had the privilege of being raised in a musical family. His mother soaked the air with the Latin rhythms of merengue and cumbia, while his father, a former opera tenor, practiced his scales and listened to Beethoven. These early influences drive Harry to constantly look to expand musically... and he has.Run-DMC, along with the Latin-freestyle movement in the 80s, inspired Choo-Choo (the train conductor's cap he's worn since childhood may have something to do with the nickname). Choo-Choo jump-started his career as a DJ with a high-voltage performance at a New Jersey dance club. From there, he was taken under the wing of Millennium Music, a management company and production team. Harry worked with their label, Gossip Records (distributed by Strictly Rhythm), creating demos and gathering some useful industry-related knowledge.His first record, Soulfuric "Urban Turban" was clearly ahead of its time, weaving Arabic scatting with house grooves. Strictly Rhythm grabbed the record for release in 1995, and asked him to release a follow-up Soulfuric record, called "Sea Of Passion" which captured more Latin elements. Both records were licensed extensively, catapulting Harry's name and music out into the world.A number of releases followed for labels like Emotive, Sex Mania, Power Music, and Gossip Records. One of Harry's major breaks resulted from C&C Music Factory's Robert Clivilles' interest in one of Harry's creations named "Il Futuro", a house track with an Italian vocal from "World" EP.Robert asked Harry to write, produce, and arrange a song, "Saturday Night" for his 1996 LP "Robi-Rob's Club World". As expected, lots of work followed for Harry.Collaborations with his labelmates and others have been extremely important for Harry as he continues to develop his name and his body of work. Constipated Monkeys, Harry's acclaimed partnership with Jose Nunez, has produced several percussive, funky tracks including "Cro-Magnon" and "Erectus" (Subliminal Records). The success of these tracks has launched the team into another wave of production - their 12" "Sunshine" was released this summer. In addition, Constipated Monkeys' worldwide reputation as producers and DJs has earned them residencies at both The Ministry of Sound in London and Pacha in Ibiza, Spain.To top off Harry's stream of new solo releases, a much- anticipated follow-up track with the stunning vocalist Inaya Day will succeed last year's tremendous Subliminal release "Just Can't Get Enough". Harry describes this record as "chalk-full of 80s rock n' roll and Latin roots."He is an impressive young man with an honest and zealous dedication to improving and honing his talents. He recognizes Dave Darlington, an engineer he has worked closely with, for inspiring him to sharpen his technical skills, and he credits the many great musicians and vocalists he's worked with for reminding him that it's all about the music.

Harry Romero

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Sembra che il titolo del track includa un numero della versione mix. Spostarlo nel campo appropriato?

Nome

Poi vai nella sezione playlist e crea una nuova playlist. Inizia dando un titolo alla tua playlist. Può essere il titolo finale o solo uno provvisorio. Poi clicca su "Crea Playlist."

Quando la tua playlist è pronta, vai su "Le mie Playlist." Qui puoi caricare una cover, rinominare la tua chart e aggiungere una descrizione su di te, sul tuo sound o sulle vibrazioni che vuoi trasmettere. Puoi anche riordinare le track.

Metti in pausa {title}

Riproduci {title}

Titolo playlist

Pronto a condividere? Clicca sui tre puntini accanto alla tua playlist e seleziona "Pubblica come Chart", inserisci una descrizione accattivante, seleziona la cover e voilà - la tua classifica è pubblica!

Notifiche di vendita (per i fornitori di contenuti)

Seleziona il nome dell'artista o il titolo della label da mostrare nel campo autore del chart

Mostra titolo track

Inizia a digitare il titolo di un chart o track, oppure il nome di un artista o label per vedere i risultati.

Inizia a digitare il nome di un paese per vedere i risultati

Inizia a digitare un titolo di genere per vedere i risultati

Inizia a digitare il titolo di un track o album, oppure il nome di un artista o label per vedere i risultati.

Interrompi {title}

L'album {title} è stato eliminato

Le prime 24 ore dopo che il tuo track esce sono assolutamente cruciali: è il momento in cui l'algoritmo osserva. Che sia Volumo, YouTube o Instagram, quel primo picco di ascolti, salvataggi, condivisioni e interazioni dice alla piattaforma: ‘Ehi, questo merita di essere spinto.' Se riesci a coinvolgere subito fan, amici e rete, hai più possibilità di finire in playlist algoritmiche o ottenere maggiore visibilità. Quindi, non limitarti a caricare e rilassarti: preparati con contenuti da pubblicare, contatta la tua mailing list e sii attivo nei commenti. Quel primo giorno dà il tono a tutto il ciclo della tua release.

Il titolo contiene il nome dell'artista. Non è necessario aggiungere il nome dell'artista al titolo, verrà aggiunto automaticamente

Titolo

Le 3 cose che i DJ pro odiano di più nei siti di musica? Vediamole una per una. "Text Overlay": Le tre grandi frustrazioni

Titolo del track

Track {title}

Il track {trackTitle} può essere acquistato solo come parte dell'album {albumTitle}.

Track {trackTitle} rimosso dalla playlist {playlistName}

Ritira l'album {title}? Dopo, l'album dovrà essere nuovamente moderato prima della pubblicazione.

Senza titolo

Usare “Volumo” nei titoli può portare a risultati di ricerca irrilevanti.

Noi di Volumo siamo i responsabili dei tuoi dati personali, utilizziamo cookie per personalizzare contenuti e annunci, per offrire funzionalità social e per analizzare il nostro traffico. Condividiamo inoltre informazioni sul tuo utilizzo del nostro sito web con i nostri partner social, pubblicitari e di analisi, che potrebbero combinarle con altre informazioni che hai fornito loro o che hanno raccolto dal tuo utilizzo dei loro servizi.

Non è necessario numerare i track nel titolo, vengono numerati automaticamente

è possibile presentare un reclamo all'organismo di regolamentazione, ma contattaci prima a {address}, faremo del nostro meglio per aiutare a risolvere il problema.

Kamar

Panoramica

Top track

Ultime release

Crate Digging

Pretty Little Thing

Kerri Chandler Remixed

Generi

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