Free up the music.

Net Label Fochttp : CAMOMILLE MUSIC


Its been too long since I featured any net labels, and with the coming of autumn I went searching for one that would really suit the vibe of the season. I came upon Camomille and downloaded some of the releases and was feeling them from the start. Coming from a more ambient and mood-ish sound, Camomille knows how to keep things chill. Label creator Vincent Fugère took some time to answer a few questions about Camomille and such. Check out the label for yourself, and kick back for a very mellow autumn.


Who are you? Vincent Fugère

Age? 24

Where is Camomille based?
Montreal, Quebec, Canada

How many releases have you put out to date?
We’re currently at release #95, and we have 3 ‘ other releases ‘ including 2 very old module music disks by Kaneel and Vizion and a liveset by Makunouchi Bento.

How many artists are on your label?
63 in all !

Is there a Camomille sound?
Well camomille does not have a ‘ niche sound ‘ in my opinion. I try to stay versatile in the styles that I release; I’m much more interested in exploring the characters behind the tracks through their music and experiments. I have released harsh noise, idm, ambient, rock, pop, and exp stuff, but these days I’m leaning more towards the stuff that I’m currently listening to, the best example would be the Demeter Weeps compilation and the Pocka album.

How did Camomille get started?

It’s been somewhat of a personal and therapeutic start for me. It all started when I was 18 or 19 and was diagnosed with acute anxiety and prescribed anti-depressants. I was on that, ( and I must say, most of you reading this are artists and are prone to depression and the sort, really, don’t come near them ;) ) and feeling number than ever so I asked my doctor for alternatives to chemical treatment and he told me to meditate and drink camomille! The whole idea came when I was drinking camomille and constantly listening to Chimera’s A Long Way From Heaven ; the premise was to offer emotional ambient music to those in need. Of course the formula changed and evolved over the years. And I couldn’t have done that without the great artists and friends that had enough confidence in me and my project to supply amazing music, like blisaed, surasshu, shiftless and xerxes.

How has the experience of running a net label been?
It’s been absolutely great, I’ve realized how great a tool the internet is and made a lot of great, great friends that eventually became personal friends and business relationships. And it helped me discover so much beautiful art and helped me grow as an artist.

Do you know other people who run net labels? Are there any that stand out to you?
I’m good friends with Nik Racine ( kahvi ), Huw Roberts ( Serein ), Xavier Dang ( hellven ) and Erik Skodvin ( miasmah ), and it so happens they are some of my favorite netlabels. I’m really amazed by what Serein and Miasmah have been putting out lately, it has such depth and strength of character. I don’t have much time but try to keep up with Zymogen, Tokyo Dawn ( although seemingly dead right now ), and Robotopera to name a few.

Who does the design for the label? I think the look really suits the music.
I do, under the name of my multimedia company Genshi Media ( shameless publicity : ). When I did this design version, I always kept in mind to keep it simple, somewhat minimal and very calming to the eye. I like it and I don’t think I’ll be changing it soon ( I’m the kind of webdesigner always redesigning hehe )

I get sleepy when I drink Camomille tea. Which of your releases would go perfectly with a cup on a Sunday afternoon?
Shiftless’ Implosion ep ( rel#40 ), especially the track Triumph, is an absolute when it comes to relaxing and dozing off, as I’ve done it often myself. Others are David Kristian’s Live from the rainy season show ( rel#87 ), and our latest compilation, Demeter Weeps ( rel #92 ) are definitely going to accompany perfectly your camomille tea.

I know that the Camomille folks love their ambient music. In your opinion, what are five essential ambient albums?

In the netlabel world :
Migloje – Ayesteeyah ( kahvi )
Chimera – A long way from heaven ( hellven )
VA – Lighted Apartment ( miasmah )
VA – Wein, weib & gesang ( kikapu )
Darkhalo – Heaven’s fury ( self released )

And in the professional labels ( this is really hard but I’ll put the ones that touched me the most ) :
Dead Texan – Dead Texan ( Kranky )
Stars of the lid – The tired sounds of.. ( Kranky )
Eluvium – Talk amongst the trees ( Temporary residence )
Pan American – Quiet City ( Kranky )
Julien Neto – Le fumeur de ciel ( Type Records )

Other than music, what other elements do you feel have an influence on Camomille?

Pretty much all art, mostly literature and graphic art, but it is also influenced by what’s around us, either politically and sociologically, and maybe that’s why these last few months, camomille releases have been nostalgic but somber.

Time for the shout outs to your people…
My people ! The #musou peeps ! Kaneel, Troupe, Planet Boelex, Shiftless, Mike Shusta, Transient, Mv, Blisaed and the rest of Efnet people. Jules, Erik, Huw, Nik. The Apegenine Family, The Ronin Crew ! HOLLAH.

Thanks so much for taking the time to chat. All the best.

Thanks to you ! it’s been fun to indulge in shameless self-promotion. I’d like to remind your readers that camomille is doing a remix compilation for our special 100th birthday and that they can submit tracks to us !
Long life to the Netlabel scene!

Website Focus: ON THE WIRE


In 2002-2003 I was living in Beijing, studying Chinese and enjoying life in the city. Certainly one of the more interesting aspects of the city was its burgeoning music
scene and nightlife. It was at one such nightlife event that I had the pleasure of meeting Steve Barker (The Wire, On the Wire), who was playing dub records at a local club. It was the same evening that I met Christian Virant from fm3. Steve was immediately friendly and we met again on other occasions. Most memorable was playing music at a local club, along with my friend Doug (Lord Dubious) who was visiting Beijing. It was dead in the heart of the SARS outbreak scare, so there was a strange vibe, but it was a good night nonetheless.

Steve knows his reggae. But he also seems to be up on a lot of other kinds of music, and when you talk to him you can tell he has a love for it. He was kind enough to answer some questions for me. His radio show, On the Wire is now fully online, and contains hours upon hours of high quality music. The dub alone makes the site crucial.

In honor of On the Wire, Lord Dubious and myself recorded a mix that is available at the bottom of Steve’s interview. The mix was done back-to-back style on a Saturday afternoon with the under lying theme of the mix being “dread”. The mix features much bass flavor.

Big up Steve for the interview, the writings and the music.


So Steve, could you tell us a bit about the history around the On the Wire radio show? When did it all get started?

A. On the Wire’s first edition was 16th September 1984, with Adrian Sherwood and Keith LeBlanc as guests in the studio. The show was born out of a previous programme called Spinoff (bad name!) that had run for about four years. Before that I worked as a reviewer – the first album I reviewed was Abyssinians “Forward to Zion” back in about 1978. OTW went out on a Sunday afternoon between 2 and 5, a perfect time for a radio show back then as the airwaves were truly a sonic desert..

Who all is involved in the show?

A. Lots of people. Jim Ingham now takes care of the show in UK whilst I am in China. He engineers, produces and does some presentation and selection. Also Fenny, who has worked with me for about 20 years now, as have Pete ‘Big Man’ Haigh and Andy ‘MadHatter’ Holmes who run a regular Funkology section, the Baked Goods boys from Manchester have been contributing for a couple of years now - they are longtime big friends and have a really neat distribution company out of Manchester and an online shop ( There’s also lots of others passed through, but especially great previous engineers Jethro (known to On U fans as ‘Culf) and Mikey Martin (the i-riginal sparksman!)

Is there a theme or philosophy behind the show?

A. The philosophy of the show has tended to mutate over the years but has always been a blend of different, but not competing, aims. Firstly, it was just great to have a radio show and play what you damn well please, also not to bow to any pressure at all – other than to sacrifice the freedom to use bad language without needless and extended contextualization. Also, when we started it was all about access, there was no reggae on radio, no hip hop, no avant garde weird shit, then no house/techno etc etc, no one playing old doo wop, rockabilly, gospel, country blues, especially no one playing all this shit within the confines of one show. Radio was bland, now it’s all corporate ghettoisation into demographically packaged meaninglessness – with the exception of great stations like WMFU in New Jersey. I like to think On the Wire was a kind of miniature freeform radio before WMFU – although without the whacky DJs! So, in the beginning it was all about access; but now anyone can access anything thanks to the web – so the emphasis is back on selection, especially as we only have 2 hours a week now whereas we used to have three hours live chaos.

I imagine there have been some pretty great moments on the show. Who are some of your favorite guests who you have had on?

A. This could be a long answer ….. To name but a few: by 1984 I had stopped going out on the road interviewing totally bored by interminable soundchecks, so most guests were in the studio. Perhaps the most recalled On the Wire’s shows were those that we did with Scratch, two three hour live shows, I don’t think anyone else has done that before or since ….? On the first show in December 1984 I had just met Lee and he seemed very old but must not have been fifty then, my mate Roger Eagle had loads of old Perry tunes and he shuffled through them ticking those he remembered with a blue biro!, but amazingly there were great tunes there he had forgotten making! – he’s much younger now! Just when we were thinking he was out of it the show started and he changed, and grew in confidence as we went on. He asked for the microphone during a dub version of Junior Murvin’s ‘Police & Thieves’ and delivered an impromptu rap of such wit and clarity, it amazed us – along the lines of “This is a message from the Earth’s Rightful Ruler ….” (still got that on tape!) The second time he was on the show it was with Sherwood; Adrian spent most of his time distracted watching football on TV. More recently Jah Wobble has been a regular guest, he’s a joy; I feel like handing him the mic and going home to listen, he has so many great stories – it’s a pity most of them are not repeatable on radio. I remember bringing Freddie McGregor on the show, a great gentleman and totally underrated (his recently reissued ‘Bobby Babylon’ cut for Studio One is a stone classic. Also, a few years ago we ran some acoustic studio sessions, in amongst them was one from Kelly Joe Phelps, I think it was after his first album for Rykodisc, a stunning performance. And not forgetting Mark E Smith who has been on the show a few times, its like riding blindfold sometimes!, in fact we had the Fall perform a live (free) concert for us, 2,500 people turned up and there was one policeman….

How long has the show been online?

A. The show is online thanks to two people – Jim Ingham and Alex Fenton (Fenny’s son). They have done all the work for no pay, incredible. We have no budget for a website but we have been running one on goodwill, tin cans and pieces of string for about five or six years now, although I forget, time is blurring everything …….

Do you find being online has changed the show at all?

A. Not consciously in terms of selection, only how it’s accessed. Nowadays we get feedback from all over the globe but even in the 80’s cassette tapes of On the Wire’s dub and reggae shows found their way around the world. There is a sort of ‘amateur hour’ feeling about the whole thing because basically we are all just punters let loose in the studio and it does get a bit shambolic at times, so having a website is an appropriate contradiction for us!

You are living in Beijing now. How do you do the show these days? Is it hard to live there and still do the Wire reviews and the show?

A. Yeah, its tough living in Beijing, eating at all these great restaurants, going for foot massages with your mates, not getting the usual barrage of media detritus that litters most TV and radio these days etc etc. As I say I rely on Jim in the UK and in China I have a good friend, Christiaan Virant of fm3 (ref: Buddha Machine fame) and we record at the BBC Bureau here, also play a few little dub and dubstep (!) gigs now and then. We are looking forward to Kode9 visiting in November - and hopefully Scratch and Sherwood too after they play a Tokyo gig. The Wire reviews can be done from anywhere, people are starting to send me tunes to China!

Can you talk a little about your impressions so far living in China?

A. Having been in Beijing now for 4 years I find I am a stranger in a strange land wherever I go – if that doesn’t sound a little too theatrical – even when I go back to UK now I find it difficult to settle. Of course, most people outside of China have no idea what it’s like a have an ‘imagined China’ in their head. When you are actually here if you are unable to deal with the country’s many contradictions then you get pissed off quite soon. Otherwise it’s a wildly exciting, frustrating, beautiful, polluted place.

How have you enjoyed learning about the Chinese music scene?

A. Not really, it’s part of the frustrations. I love a lot of the minority musics here and a small number of new young musicians – but all this is against the tide. Minorities are seen more of a quaint curiosity by most and the underground music scene is either very small or housed within the same confines of academia. So that means it needs support. If it weren’t for people like Yan Jun in Beijing and Lawrence Li in Shenzhen/Guangzhou supporting and promoting China within a wider global context as well as internally it would be a pretty sad picture. On another level there are lots of new punk and post punk bands and also an apeing of the No Wave scene from NYC in the 80s – so it will be fascinating to check where that curve leads.

It seems like Reggae is pretty popular right now. I hear it out a lot, and the whole Dancehall and Reggaeton thing is more and more on popular radio. What are your thoughts on the state of Reggae nowadays?

A. Fairly depressing, its all done and gone let’s face it. Reggaeton might have a bunch of great jump-up tunes, ass shaking it may be but earth-shaking it ain’t. The dancehall and hiphop connect keeps the DJs in the light, but the real legacies of sonic innovation lay elsewhere these days …

I know you are a Dubstep fan….

A. Not just the music, also the attitude. I like the way the so-called genre can encompass so many individual sub-strains. Also the guys doing this (there are no girls yet) are mostly very young and so all sound sources seem fresh to them and they treat them as such. Every week there’s a critical new tune with whomping sub-bass the only common factor. Burial’s album is definitely the one of the year, it’s like the approach that created the Detroit techno landscapes twenty years ago are reborn afresh inna South London. Only yesterday I was playing great tunes from CDRs from people out of nowhere. If it all ends tomorrow, then will be the legacy of some top hardcore tunes.

I know I am always looking for new Reggae and it is sometime daunting with the amount that is out there. What are five records you think everyone should have, but probably don’t?

A. It’s difficult to answer this one without being a total trainspotter! You have framed the question so that I can only answer by giving you some of some of my favourite 45s that impossible to get other than collectors markets, like:

‘Musical Air Raid’ by I Roy on Chanan Jah
‘African Root’ by Roy Dobson on Black Pearl (version to ‘Our Roots are in Africa’)
‘Inflation Version’ by Drumbago & the Rebel Group on London (version to ‘Inflation’ by Tony Brown)
The Ethiopian Eunuchs – ‘East African Herbs Vendor’ on Thing (version to ‘Weeping’ by Junior Byles)
And an easier one to snag ‘This Land is For Everyone’ by the Abyssinians on Clinch

But I could just as easily say check out the great Rhys Chatham reissues on Table of the Elements or there’s a great Moondog rarities CD out at he moment …

When are you coming on your US dj tour? The people are requesting.

A. Well, I would love to come to play. I have a nice little box of wicked 45s with me here in Beijing. I could plan my own route starting in Seattle and running through Portland and down into San Francisco – see a few mates - then I need help between there and Chicago ….. It’s a nice dream, maybe one day reggae people will unite …!

Thanks so much for taking the time out to answer these questions. Big respect.

A. Mei guanxi!

Selectors: Lord Dubious & Municiple
Recorded August 2006

01. Creation Rebel – Threat to Creation – Cherry Red
02. Roots Radics w/ Scientist - Forward this ya Dub - Selena
03. Digital Mystikz – Haunted - DMZ
04. Shackleton - Tin Foil Sky - Skull Disco
05. Testrack – Test Pilot Sequence - (white)
06. Kode 9 - 9 Samurai - Hyperdub
07. Miles Davis – Mr. Freedom x - Columbia
08. Plug - Tuff Rinse- Blue Angel
09. Ghislain Poirier – Embargo Riddim – Chocolate Industries
10. DMT- Future Plans- Stray
11. Milanese – Barry Dub - (white)
12. Bush Chemists - Cymbal Rock - Conscious Sounds
13. King Tubby’s – Whip Them Jah – Blood & Fire
14. Dillinger - Ku Fu Fighting - Virgin
15. Disrupt – Kozure Okami – iD.EOLOGY
16. Dub Ghecko – Asunder - Dubhead
17. Loefah – Root - DMZ
18. Loefah – Ruffage - DMZ
19. Vex’d – Crusher Dub – Planet µ
20. Black City Dread - Dub in the Arena - Tanty
21. Amen Andrews – Amen Andrews (edit) – Rephlex
22. Meat Beat Manifesto - Re-Animator Pt. 4- Wax Trax
23. Dubadelic – High - Wordsound
24. Spectre- Kaos is and Always will Be- Wordsound
25. 8 Bit – Under Me Sensi (forum mix) – (white)
26. Skream- Morning Blues- Tempa
27. Squarepusher – Plastic Flex Out - Warp
28. Ammon Contact - Cruisin_- Eastern Developments
29. Dabrye/Waaheed/Ta Raach – Pressure - Ghostly
30. Anthony Red Rose – Tempo - Firehouse
31. Noah House of Dread – Murderation – On U Sound
32. The Drastics - High Fidelity - Jump Up
33. Poets & the Roots – Command Councel Dub – Front Line
34. Jah Warrior - Dub from the Heart - Jah Warrior
35. Distance – Fallen - Boka



I posted three new tracks up at my Myspace site today. These tracks are in a dub/electro style, which is the sound I am pushing for with the Municiple project at this time. I want to keep it bass music, but with a ear for poly-rythmn and melody.

At the same time I am working on a more jacky dancefloor project called Fluent, which I initally started while living in Beijing in 2002-2003. Hang tight for some of those tracks this fall.

As always, I would love to hear any feedback or comments. Hope you all are doing well.


Municiple Tracks



This is a new mix I have been putting together for the past few weeks. It features all Warp Records or Arcola releases, as well as the inclusion of D-Funked by Dexter which was not a Warp release, but was featured on the “Bleep Oh Six” free to download compilation, which I thought was fair game considering the focus on free music that this blog is pushing. While one would probably think that a Warp mix is going to be full on IDM and drum and bass, with big players like Aphex Twin, Autechre and Squarepusher featured, this one does not. While those are the songs and artists that eventually moved Warp records forward and created an arguably signature sound, these are the records that were more fringe, and for the dancefloor. These are the tracks that show that Warp knows how to jack. Wearing their acid house heritage proudly on their sleeves, Warp released some of the more crucial acid and techno tracks of the 90’s and continue to kill the dance floor from time to time. A lot of these tracks mean a lot to me personally, a rave long ago kinda thing, you know how it is. I know its unpopular to like Warp now and all that but I have mad respect still and haters can try to jack elsewhere.

I am certainly not really a dj, so I apologize for some moments in the mix. I did this on Traktor and rocked it sort of improve on a Saturday afternoon. The tracks have not been pitched up or down more than a nudge, in order to keep the original vibe of the tracks. I know some people get sensitive about that. The Most of the tracks come from Bleep downloads. I give you Warp Jack and I hope you are enjoying the summer.



Come and Join the Future - Tuff Little Unit [WARP2]
Trust City - DSR [WAP19]
Matala - Brothomstates [ARC004]
Babaloo - DSR [WAP19]
Dance Floor Microphysics - Louis Digital [ARC003]
Roll X - V.L.A.D. [WAP130]
Its Your Love - The Other People Place [WARPLP90]
Obsession - Denis Rusnak [ARC002]
Freaky Deaky (more bounce to the ounce mix) - Lex Loofah [WAP41]
Mojo’s Workin - Black Mojo [WAP43]
Electron (blue print mix) - Wild Planet [WAP22]
Give It Up - Chok Rock [WAP188]
Kilohertz - Elecktroids [WAP65]
Rain/Shine - Move D [WAP80]
Thin Crust - Sympletic [WAP79]
Polka Trax 4 - Mike Ink [WAP82]
The City (fourtet mix) - Jamie Lidell [WARPLP143]
Ace Space - Sympletic [WAP79]
Global Warning (underground mix) - K Hand [WAP55]
D-Funked - Dexter [BleepOhSix]
Stop the World - Dub Kult [ARC001]
Oscillator - RAC [WAP52]
Teknotest - Cane [ARC05
Acid 101 - K Hand [WAP55]

Website Focus: WU TANG CORP


Now, we all know Wu Tang Clan, and there is not much that hasn't been said or that needs to be said about these don's of hip hop. Prolific and massive, Wu Tang just keep it coming in all formats. That is why I just had to include their website, as a spot to stop by when looking for critical, free beats pon the internet.

In their "Media" section, Wu Tang have uploaded 215 (!!!) mp3's for the takin'. These mp3's cover the spectrum of Wu Tang artists, and hail from albums, remixes, mix tapes and rarities. Seriously, don't sleep.

Blog Focus: schrikdraad®



This blog came to my attention after my boy Dubious from the SuperStatus Crew shot me the link. From that point on it was all about me checking in every day, cus rudeboys over at schrikdraad® have mad records to share. I'm telling you, they are the hot hot as well. None of these every day kinda things, so don't front.

After visiting the site for a few months, I thought I would give him a shout and ask if he wanted to do the beatsgratis question session. He agreed, and the response is below. Big respect to schrikdraad® crew, and to reggae heads each and every! Bo!

Your Name: head honcho

Age: 22 years old.

Relation to website: Owner/founder/creator.

Where are you located?

Nijmegen, Holland, although I temporarily live somewhere else because of my new job.

What is the main concept behind Schrikdraad?

There’s not really a main concept. I just post music that I like. Mostly reggae and dub music from the 70s and early 80s (the golden era of reggae) . In the beginning I posted links to al kinds of music, but after a while I started concentrating on reggae and reggae related music. Usually (if I can find any info) I also try to tell something about the artist, or the music. I also try to focus on out of print albums.

You can argue with me about it, but in my opinion today’s Jamaican music has nothing to do with reggae any more. Listen for example to Ninjaman or Vibez Cartel, it all sounds so cheap if you compare them with the well known albums from the 70s. So you won’t see any modern Jamaican music on my blog.

How long have you been doing this blog? Since +- November 2004.

Tell us about how you came to be interested in Reggae music.

I always had an interest in reggae music. It started when I was about twelve years old, and heard a Bob Marley (there where some greatest hits on it like, ‘No Woman no Cry, ‘Buffalo Soldier’, etc) , tape . Since then I loved it. Unfortunatly there wasn’t any internet, and all you could buy here where the same awful albums from UB40 & inner circle. So it really started when I hooked on to the internet.

Is there a Reggae scene where you are living?

I really don’t know, Probably there is. But at the moment I’m too busy with al kinds of things ( my new job for example ), so I don’t have any time to get involved.

Where do you buy most of your Reggae records?

On the internet, because most of what I like isn’t available in common stores around here.

How do you upload the music to mp3? Is there a specific program you are using?

I use any program that is useful, and I have contacts with people who rip music from cd and or LP. Basically I’ll try to get my hands on as much music as I can get.

Have you ever visited Jamaica?

No, because I’m don’t have the money , and I don’t think it’s a great country to visit, a lot of poverty, you know. I would rather visit the Bahamas or the Cayman Islands.

Do you follow contemporary Reggae and Dancehall?

Do you also DJ or are you strictly a collector?

Personally I don’t do any DJ stuff. I would love to do it, but like I said before I don’t have the money to buy a good turntable.

Name 5 Reggae records that everyone should have, but probably don’t have:

1) Lee Perry – blackboard jungle dub ( re-release on Auralux, 2004 )

2) Horace Andy – skylarking ( Studio One 1970 )

3) Augustus Pablo & Hugh Mundell – Africa must be free by 1983

4) Prince Douglas – dub roots

5) Bullwackies All Stars – free for all dub ( Aires, 1975 )

What have you been listening to lately?

When I’m at home there’s always reggae music in the cd player. I listen to +- 10 albums a day. And besides that, I’m a big fan of Augustus Pablo. I think I have most of his albums.

Are there other blogs or sights like yours that you can point people to?

I am a frequent visitor to your blog, so thanks so much for the music. Big respect to you.

You’re welcome, if you have any suggestions, tips or whatever, than feel free to contact me.

Is there anyone you want to give a shouts out to?

Krieger, for sharing a one of a kind and unique Lee ‘scratch’ Perry tape.

(Ed.note: Man, hook us up wit the one of a kind Scratch tape!)



Been a pretty busy summer so far, so I should apologize for not updating the site in a while. I promise to be more on top of it as the weather gets cooler and the days get shorter, but until then... it is summer, so gotta enjoy that.

I have just finished a new mix called AFTER HOURS. This one is a sort of 3am dancefloor beatdown, inspired by many a late night in random lofts and warehouses and driving through the great city of Chicago in the wee hours of the morning. It is done up on Traktor, sort of free form stylee. Turn it up loud and shake it out a bit. So, here's some late night/early morning jack for ya'all.

Set List:


DJ Municiple

Rubber – Audion [Spectral]
Welcome to the New Age Disco – Stasis [Peacefrog]
7am – Unique 3 [Ten]
Osram 509 – Sun Electric [R&S]
On the Floor – Baby Ford [Klang Electronik]
Journey Home – Drexcyia [Warp]
Yesco – Kerrier District [Rephlex]
d12 – Auntie Acid [white]
Lock It – Takeshi Onda (Atom Heart)[Logistics]
Chiba – The Black Dog [Warp]
Follow You – DJ Hell [Motor]
21 Brothers – Brothers in Arms (Atom Heart)[Logistics]
Je Suis Musique – Hieroglyphic Being [Spectral]
Town Hall Take 2 – Mossa [Epsilonlab]
Piano – Joe Lewis [Target]
Zillker Park – False [Plus8]
Beau Mot Plage (Freeform Remix) – Isolee [Classic]

Get the mixxx here: AFTER HOURS

For more mixes by DJ Municiple, aka Junior D stop by the website of the mighty DUB SOUNDSYSTEM and get your fill.

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