Amsterdams Toman is set to release his first EP since 18 months‚ Dolce Far Niente on Cécille Records! Dutch producer and DJ Toman, based in the countrys capital, Amsterdam, has been steadily rising up the ranks of underground house music in recent years. He has released tracks on labelssuch as Meta, Eastenderz, Cuttin Headz, and NO ART. As a rising star in the Netherlands, Toman tours the globe, bringing his raw, stripped-back style to many of the hottest locations, including reputed clubs and festivals across multiple continents. Courtyard opens and sees Toman fuse together crunchy drums with an amalgamation of plucked bass tones and pulsating subs alongside filter house synth licks and vocal hooks, with the vocal on the track provided by Toman himself, all dynamically evolving throughout its eight-minute duration. De Bongo Man, as the name would suggest, shifts focus towards a more tribal feel, merging organic percussion atop subtly unfurling synth tones, dubbed-out stabs, resonant flutters, a weighty low-end drive, and a sturdy rhythm section. Title-cut Dolce Far Niente follows next on the flip-side, a high-octane house cut fuelled by a robust drum groove, twitchy synth lines, breathy vocal chants, and multilayered, gritty stab lines. Good Old Sunny Day then rounds out the release on a more stripped-back tip via bumpy reduced drums, choppy vocals, and airy, fluttering chord sequences.

Amsterdams Toman is set to release his first EP since 18 months‚ Dolce Far Niente on Cécille Records! Dutch producer and DJ Toman, based in the countrys capital, Amsterdam, has been steadily rising up the ranks of underground house music in recent years. He has released tracks on labelssuch as Meta, Eastenderz, Cuttin Headz, and NO ART. As a rising star in the Netherlands, Toman tours the globe, bringing his raw, stripped-back style to many of the hottest locations, including reputed clubs and festivals across multiple continents. Courtyard opens and sees Toman fuse together crunchy drums with an amalgamation of plucked bass tones and pulsating subs alongside filter house synth licks and vocal hooks, with the vocal on the track provided by Toman himself, all dynamically evolving throughout its eight-minute duration. De Bongo Man, as the name would suggest, shifts focus towards a more tribal feel, merging organic percussion atop subtly unfurling synth tones, dubbed-out stabs, resonant flutters, a weighty low-end drive, and a sturdy rhythm section. Title-cut Dolce Far Niente follows next on the flip-side, a high-octane house cut fuelled by a robust drum groove, twitchy synth lines, breathy vocal chants, and multilayered, gritty stab lines. Good Old Sunny Day then rounds out the release on a more stripped-back tip via bumpy reduced drums, choppy vocals, and airy, fluttering chord sequences.