I was asked by Italian DJ / producer GLEDD (also record label boss) to make a mix for his label’s series. If you’re not familiar, do yourself a favor and check out the Saint Wax catalogue- lots of dancefloor gems and heaters! My mix is 70mins, leaning heavily into Afro, Disco, & House, with some Latin and a bit of other trippy Psychedelic sounds blended in as well. Also a couple unreleased edits of mine in here. Enjoy the trip!
“Sonido Madera” is my tribute to the wide breadth of music from around the world that features the marimba, or one of it’s many cousins- the balafon, the xylophone, and the xalaparta among others. I’ve always been naturally attracted to the earthy percussive sound of wood resonating, and it’s become one of the most recurring instruments in my own music production without me even realizing it.
Perhaps it’s partly due to my background as a drummer, growing up in the forest surrounded by trees, or the fact that music highlighting the marimba is often connected to Africa, folkloric roots, and tropical locations which I love. Whatever the case may be, I have a deep appreciation for the sound of wood and the music it makes. This mix is a 70-minute musical world tour, with songs and artists from over 20 countries, including some tracks that date back to the 50’s and others that are brand new releases.
You’ll hear electronic dance music, Afrobeat, Cumbia, Colombian Bullerengue, Malian Disco, Jazz, Salsa, a touch of punk rock and even a cheeky nod to the “Exotica” music which essentially commercialized and re-branded authentic marimba based music for White audiences. There’s also a touch of Txalaparta music which I learned about in Basque Country, Spain, as well as a taste of Jegog music played on bamboo, which I first heard in Bali, Indonesia. Of course there are endless more examples of amazing wood-based music out there, harnessing the powerful voices of trees, and I hope this mix inspires listeners to keep exploring!
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The focus on wood-resonant instruments gives the mix a clear listening lens rather than treating marimba as a single fixed sound. Placing it alongside the balafon, xylophone, and xalaparta also makes the idea feel broader and more rooted in different musical traditions. The percussion angle is especially compelling because it points listeners toward texture and attack as much as melody. A short track-by-track note on which instrument leads each selection could make that thread even easier to follow.
Hello world! I’m back with another 60 minutes of fresh tracks to keep your head bopping and your soul lifted, even in the face of imminent apocalypse. New funk, Brazilian bass, Electronic cumbia, Arabic Amapiano, Turkish & Trinidadian disco, Afro house and more. Strictly the good stuff, hand picked and expertly mixed from all around the world.
Full tracklist and download available on the Brooklyn Radio page
The range here sounds deliberately wide rather than stitched together for novelty: funk, Brazilian bass, electronic cumbia, Arabic Amapiano, Turkish and Trinidadian disco, plus Afro house. Framing the hour as music for keeping momentum during an unsettling moment gives the mix a clear emotional purpose. The eclectic sequencing is the detail that makes the set feel like a journey instead of a genre checklist.
The range of styles makes this feel designed as a journey rather than a stack of isolated tracks. Moving through new funk, Brazilian bass, electronic cumbia, Arabic Amapiano, disco, and Afro house gives the hour a compelling rhythm while leaving room for contrast. That framing of music as something that can lift a listener through a difficult moment is a strong reason to give the full mix uninterrupted attention.
Urban Bramwell • October 11, 2026
Really enjoyed this, thank you. The detail on the common mistakes is what made it worth my time. free HDR editor has saved me doing it by hand more than once.
Noah • October 12, 2026
A seventy-minute mix has room to establish a real arc rather than simply stack standout tracks. The combination of Afro, disco, house, Latin, and psychedelic elements suggests that transitions will matter as much as individual selections. That kind of sequencing can keep different rhythmic traditions in conversation while still giving dancers enough time to settle into a groove before the mood shifts. The catalogue context also helps explain the choice of a guest-mix format.