Leo Perez was born in Panama City. In 2006 he starts to play in different City clubs, where he quickly began to gain success and became the resident Dj at two of the most popular clubs in Panama, The Gallery-Blue Room and Hedkandi Lounge.Also, due to his energetic sets he was well received by the crowd and invited to warm up for many international Djs and producers such as: Lucca Bacchetti, Audiofly, Omid 16B, Marco Carola, Danny Howells, Steve Lawler, just to naming a few.Leo Perez has his own style mixing genres from underground, progressive to deep house and tech house. His sets are full of trippy beats making crowds dance till the early morning.In 2012 reached No. 1 position in the top 100 Chart Nu Disco on Beatport with his Track “Colors”.Leo works with different Record Labels , including: Alola Records, Chronovision Ibiza, SexOnWax, Half Seas Over, Endemic Digital, Gee Spot Recordings, Late Night Music, Sagol, BC2, BCT, South Records, Balkan Connection South America, ReTune Music, Stripped Recordings.
The Archaic period, prior to 2000 BC, saw the first developments in agriculture and the earliest villages. The Preclassic period (c. 2000 BC to 250 AD) saw the establishment of the first complex societies in the Maya region, and the cultivation of the staple crops of the Maya diet, including maize, beans, squashes, and chili peppers. The first Maya cities developed around 750 BC, and by 500 BC these cities possessed monumental architecture, including large temples with elaborate stucco façades. Hieroglyphic writing was being used in the Maya region by the 3rd century BC. In the Late Preclassic a number of large cities developed in the Petén Basin, and the city of Kaminaljuyu rose to prominence in the Guatemalan Highlands. Beginning around 250 AD, the Classic period is largely defined as when the Maya were raising sculpted monuments with Long Count dates. This period saw the Maya civilization develop many city-states linked by a complex trade network. In the Maya Lowlands two great rivals, the cities of Tikal and Calakmul, became powerful. The Classic period also saw the intrusive intervention of the central Mexican city of Teotihuacan in Maya dynastic politics. In the 9th century, there was a widespread political collapse in the central Maya region, resulting in internecine warfare, the abandonment of cities, and a northward shift of population. The Postclassic period saw the rise of Chichen Itza in the north, and the expansion of the aggressive Kʼicheʼ kingdom in the Guatemalan Highlands. In the 16th century, the Spanish Empire colonised the Mesoamerican region, and a lengthy series of campaigns saw the fall of Nojpetén, the last Maya city, in 1697.
Classic period rule was centred on the concept of the “divine king”, who acted as a mediator between mortals and the supernatural realm. Kingship was patrilineal, and power would normally pass to the eldest son. A prospective king was also expected to be a successful war leader. Maya politics was dominated by a closed system of patronage, although the exact political make-up of a kingdom varied from city-state to city-state. By the Late Classic, the aristocracy had greatly increased, resulting in the corresponding reduction in the exclusive power of the divine king. The Maya civilization developed highly sophisticated artforms, and the Maya created art using both perishable and non-perishable materials, including wood, jade, obsidian, ceramics, sculpted stone monuments, stucco, and finely painted murals.
Maya cities tended to expand haphazardly, and the city centre would be occupied by ceremonial and administrative complexes, surrounded by an irregular sprawl of residential districts. Different parts of a city would often be linked by causeways. The principal architecture of the city consisted of palaces, pyramid-temples, ceremonial ballcourts, and structures aligned for astronomical observation. The Maya elite were literate, and developed a complex system of hieroglyphic writing that was the most advanced in the pre-Columbian Americas. The Maya recorded their history and ritual knowledge in screenfold books, of which only three uncontested examples remain, the rest having been destroyed by the Spanish. There are also a great many examples of Maya text found on stelae and ceramics. The Maya developed a highly complex series of interlocking ritual calendars, and employed mathematics that included one of the earliest instances of the explicit zero in the world. As a part of their religion, the Maya practised human sacrifice. https://en.wikipedia.org/wiki/Maya_civilization
Release Promo is an electronic music promotion service which consists of DJs, Press and other key industry figures who provide feedback on promotional releases. Based on those reactions, record labels can judge the strength of upcoming releases. Feedback from promo pool members is compiled in a top 100 chart and published on the website and in weekly emails. The top 100 charts play a major role in what other DJs and music buyers play & ultimately purchase.
NuFects make their debut on the label with a superb single release under the title “The Euler Theory” which is backed by a strong remix from rising star Gaston Ponte.
The original mix is a pure progressive gem with a strong groove and a driving bassline to make the basis while menacing stabs and the rolling arpeggio make their way into the mix along with cleverly programmed various percussive elements that add an extra level of depth to the track.
Argentinian rising star Gaston Ponte delivers a deeper and hypnotic remix. He perfectly fuses the original elements with his deeper yet phat groove and pulsating bassline along the warm synth lines while adding some more subtle pads that keep the track on the more melodic side of things.
Each edition of the Four To The Floor series, now in its 16th installment, always presents four tracks that are some of the strongest secret weapons from the sets of Solomun. Opening up the record is Maceo Plex’s “Mutant Magic”, which gets the engine going with deeply pounding percussions and otherworldly synth dabs and vocals.
Up next the sinister sounding “Plastic Head TV” by Fairmont, a driving and dystopian melodic techno track. Track number three is “Louisville Lip (Abaze Edit)” by Nico Garreaud, a Tech-House anthem with rapid drum patterns and energizing arpeggiators.
And lastly is dreamy Melodic House tune called “Princept” by The Vinyl Depreciation Society, a very versatile piece that experiments with an insane amount of sounds over its main structure and with that, rounds off this 16th edition of Four To The Floor.
“Sinner Man” or “Sinnerman” is an African American traditional spiritual song that has been recorded by a number of performers and has been incorporated in many other of the media and arts. The lyrics describe a sinner attempting to hide from divine justice on Judgment Day. It was recorded in the 1950s by Les Baxter, the Swan Silvertones, the Weavers and others, before Nina Simone recorded an extended version in 1965.
The earliest recording of the song to bear the title “Sinner Man” was by the Les Baxter Orchestra in 1956, as the B-side of the Capitol Records single “Tango of the Drums”. The lead vocal was by folk singer Will Holt, who shared the credit for writing the song with Baxter. However, the song clearly bears a close resemblance, in both melody and lyrics, to “On the Judgement Day”, which was recorded by gospel group The Sensational Nightingales in 1954 and released the following year on the Peacock label. The writing of The Sensational Nightingales’ song was credited to two of the group’s singers, Julius Cheeks and Ernest James. Some of the lyrics in “Sinner Man”, including “The rock cried out, ‘No hiding place'”, appear to derive from those in the spiritual, “No Hiding Place Down Here”, recorded in 1928 by the Old South Quartette.
A version of “Sinner Man” released in 1956, by Swedish-American folk singer William Clauson, credited Baxter, Holt, Cheeks and James as co-writers. Another gospel group, the Swan Silvertones, released their version of the song in 1957 on the Vee-Jay label, and folk singer Guy Carawan issued a version in 1958. Carawan wrote that he had learned the song in 1956 from Bob Gibson. Most modern recorded versions derive from the 1956 recording by Les Baxter. Further changes and additions were codified in 1959 by the folk music group the Weavers. The Weavers’ performance of the song appears on their compilation albums Gospel and Reunion at Carnegie Hall Part 2.
The Nina Simone recording
“Sinnerman” (spelled as one word) is one of Nina Simone’s most famous songs and she recorded her definitive 10-minute-plus version on her 1965 album Pastel Blues. Simone learned the lyrics of this English song in her childhood when it was used at revival meetings by her mother, a Methodist minister, to help people confess their sins. In the early days of her career during the early sixties, when she was heavily involved in the Greenwich Village scene, Simone often used the long piece to end her live performances. An earlier version of the song exists, recorded live at The Village Gate, but was not used on the 1962 Colpix album Nina at the Village Gate. It was added as a bonus track to the 2005 CD release.
Simone’s version of Sinnerman has been sampled by Kanye West for the Talib Kweli song “Get By”, by Timbaland for the song “Oh Timbaland”, and by Felix da Housecat for Verve Record’s “Verve Remixed” series. It has also been covered by 16 Horsepower on their album Folklore, and by Zegota on their self-titled single. French rapper Abd al-Malik sampled Simone’s version for the title track of his 2006 album “Gibraltar”. He also sampled Simone’s version of “See Line Woman” for the track “Le grand frère” from the same album. This version of the song is referenced on the 2018 Hozier track and EP Nina Cried Power. Simone’s “Sinnerman” has also been featured in various films and commercials, including the 1999 remake of The Thomas Crown Affair. https://en.wikipedia.org/wiki/Sinner_Man