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Mr. Scruff: DJ, Producer & Cartoonist

As a DJ, Andy Carthy aka Mr. Scruff plays across the board, flitting between soul, funk, hip hop, jazz, reggae, latin, african, ska, disco, house, funk, breaks, soundtracks and loads more. As a producer he makes music that draws on these influences, with a large dose of cheek and good humour. His cartoon drawings illustrate gig flyers, record sleeves and CD covers, and usually accompany him at gigs as live animated visuals.

Carthy’s first encounter with mixing was as a 12 year old in late 1984, when a friend played him some of his uncle's electro records, notably the Streetsounds LP Crucial Electro Volume 1, opening his eyes and ears to the art of mixing records. Soon after he was constructing his own crude pause-button mixtapes, inspired by the electro compilations and various radio shows on stations such as Piccadilly, Radio Lancashire & Southside that exposed him to electro and hip-hop, soul, reggae and early house music. Shouts to John Peel (of course), Greg Wilson, Robbie Vincent, Richard Searling, Stu Allan, Lee Browne, Ranking Miss P, Scotty, Tony the Greek, Steve Barker, Gary Hickson, Sam Brown & Waxmaster.

Little by little Andy was building a collection fuelled by this knowledge, all the while improving his DJ skills. By 1987 he was proficient at turntable mixing and editing, although he was still using primitive home hi-fi gear. His first break came in 1994, when he met Barney Doodlebug, a DJ/Doodler who gave him his first Manchester gig, on a Sunday night in a venue called Dry Bar. He also passed on a demo tape to local label Rob's Records, which resulted in them releasing the first Mr. Scruff 12" single.

A regular on the Manchester scene through ’94-’95, he released a string of 12”s on Rob's Records subsidiary Pleasure, as well as sides for Echo Drop, Grand Central & Cup of Tea. His work for Grand Central with Mark Rae inspired some four-deck club performances, including friendly “battles” with DJ Food, which introduced him to the Ninja Tune fold.

Gigging across the UK (with Electric Chair, Off Centre, Fat City and Tru Thoughts) and Europe (with Grand Central), Mr. Scruff signed to Ninja Tune in 1998. His debut album Keep It Unreal arrived a year later, featuring the certified classic "Get A Move On", kick-starting his Manchester club night of the same name, borne of a desire to play exactly what he wanted, rather than having to fit in with the music policies of other club nights.

These were the beginnings of his famed “all-night-long” DJ sets cheerfully spanning blues, jazz, soul, funk, 60s R&B, disco, boogie, deep house, reggae, ska, rocksteady, dancehall, electronica, electro, hip hop, African, Latin, drum & bass, breakbeat… and bolstered his standing as a passionate, digger, collector and, above all, an unrivalled selector of the good stuff.

Trouser Jazz (2002); the epic mix CD Keep It Solid Steel (2004); and Ninja Tuna (2008) cemented Scruff’s rep as a premium freaker of frequencies, the latter featuring collaborations with the likes of Quantic, Danny Breaks, Alice Russell, Andreya Triana, Pete Simpson, Kaidi Tatham and Roots Manuva.

A fistful of EPs and singles populated 2009-2013 including Wobble Control (2011), Feel It / Bounce (2011) and Be The Music (2012).

In 2010 Big Chill Festival invited Mr. Scruff to host his own tent, testament to his inimitable raw dancefloor magnetism as are his regularly rammed-to-the-rafters Keep It Unreal sessions at Band On The Wall (Manchester) and KOKO (London).

After receiving a mighty nudge by the giant elbow of Ninja, the majority of 2013 was spent in the studio recording new album Friendly Bacteria, featuring Denis Jones, Matthew Halsall, Phil France, Vanessa Freeman & Robert Owens.

[links] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

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Mr. Scruff: DJ, Producer & Cartoonist

As a DJ, Andy Carthy aka Mr. Scruff plays across the board, flitting between soul, funk, hip hop, jazz, reggae, latin, african, ska, disco, house, funk, breaks, soundtracks and loads more. As a producer he makes music that draws on these influences, with a large dose of cheek and good humour. His cartoon drawings illustrate gig flyers, record sleeves and CD covers, and usually accompany him at gigs as live animated visuals.

Carthy’s first encounter with mixing was as a 12 year old in late 1984, when a friend played him some of his uncle's electro records, notably the Streetsounds LP Crucial Electro Volume 1, opening his eyes and ears to the art of mixing records. Soon after he was constructing his own crude pause-button mixtapes, inspired by the electro compilations and various radio shows on stations such as Piccadilly, Radio Lancashire & Southside that exposed him to electro and hip-hop, soul, reggae and early house music. Shouts to John Peel (of course), Greg Wilson, Robbie Vincent, Richard Searling, Stu Allan, Lee Browne, Ranking Miss P, Scotty, Tony the Greek, Steve Barker, Gary Hickson, Sam Brown & Waxmaster.

Little by little Andy was building a collection fuelled by this knowledge, all the while improving his DJ skills. By 1987 he was proficient at turntable mixing and editing, although he was still using primitive home hi-fi gear. His first break came in 1994, when he met Barney Doodlebug, a DJ/Doodler who gave him his first Manchester gig, on a Sunday night in a venue called Dry Bar. He also passed on a demo tape to local label Rob's Records, which resulted in them releasing the first Mr. Scruff 12" single.

A regular on the Manchester scene through ’94-’95, he released a string of 12”s on Rob's Records subsidiary Pleasure, as well as sides for Echo Drop, Grand Central & Cup of Tea. His work for Grand Central with Mark Rae inspired some four-deck club performances, including friendly “battles” with DJ Food, which introduced him to the Ninja Tune fold.

Gigging across the UK (with Electric Chair, Off Centre, Fat City and Tru Thoughts) and Europe (with Grand Central), Mr. Scruff signed to Ninja Tune in 1998. His debut album Keep It Unreal arrived a year later, featuring the certified classic "Get A Move On", kick-starting his Manchester club night of the same name, borne of a desire to play exactly what he wanted, rather than having to fit in with the music policies of other club nights.

These were the beginnings of his famed “all-night-long” DJ sets cheerfully spanning blues, jazz, soul, funk, 60s R&B, disco, boogie, deep house, reggae, ska, rocksteady, dancehall, electronica, electro, hip hop, African, Latin, drum & bass, breakbeat… and bolstered his standing as a passionate, digger, collector and, above all, an unrivalled selector of the good stuff.

Trouser Jazz (2002); the epic mix CD Keep It Solid Steel (2004); and Ninja Tuna (2008) cemented Scruff’s rep as a premium freaker of frequencies, the latter featuring collaborations with the likes of Quantic, Danny Breaks, Alice Russell, Andreya Triana, Pete Simpson, Kaidi Tatham and Roots Manuva.

A fistful of EPs and singles populated 2009-2013 including Wobble Control (2011), Feel It / Bounce (2011) and Be The Music (2012).

In 2010 Big Chill Festival invited Mr. Scruff to host his own tent, testament to his inimitable raw dancefloor magnetism as are his regularly rammed-to-the-rafters Keep It Unreal sessions at Band On The Wall (Manchester) and KOKO (London).

After receiving a mighty nudge by the giant elbow of Ninja, the majority of 2013 was spent in the studio recording new album Friendly Bacteria, featuring Denis Jones, Matthew Halsall, Phil France, Vanessa Freeman & Robert Owens.

[links_clean] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

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Kelis describes her sixth album as “a kind of unspoken lovefest”, albeit one involving two unlikely partners. On the one hand, there is Kelis Rogers, who first came to prominence singing the hook of Ol’ Dirty Bastard’s 1999 hit "Got Your Money"; whose debut album Kaleidoscope helped usher in the wave of sharp, thrillingly futuristic r’n’b that dominated the charts in the early Noughties: as exemplified by her global hit, 2003’s "Milkshake"; whose last album was a pop-dance extravaganza featuring production from will.i.am and David Guetta. On the other, there was Dave Sitek, guitarist in acclaimed Brooklyn experimentalists TV On The Radio; producer by appointment to a certain kind of smart, arty indie band: the Yeah Yeah Yeahs, Foals, Liars. “It’s like we’re such different people,” says Kelis, “but I met him and he’s really just this brilliant, strange creature. I musically fell in love with him and I think he’s just a divine person. It’s ridiculous how much we speak the same language, musically and food-wise.”

Ah, food. As you may have gathered from the title, and indeed the tracks "Jerk Ribs", "Friday Fish Fry", "Biscuits n’ Gravy" and "Cobbler", food has quite a large role to play in Kelis’ sixth album, and indeed her life. She is a qualified chef, who took a cordon bleu course in 2008, after a traumatic battle with her then-record label came to an end: “I’d been trying to get off the label for four years. It was all-out war. I was in combat mode. I’d fought them for years, then one Friday I got this call telling me they were finally releasing me from my contract. I was sitting in my kitchen, watching TV, an ad came on for culinary school and I was like, “yeah, I’m going” I started class Monday morning. A year and a half course, seven hours a day, five days a week and Saturdays and Sundays you’ve got to get on the line, ready to be hired in a restaurant.”

Despite her reservations about having to wear “a stupid hat and chef’s getup”, she loved it. She’s about to launch her own range of sauces in the US called Feast – “at school I realized sauce is my thing, I personally think everything is better either smothered or poured” – and there’s talk of a TV cookery series, for which she’s just filmed a pilot episode: “a lifestyle show, it’s my life, and there really is no separation for me between the food and the music.”

You can tell as much from her hugely, infectiously enthusiastic descriptions of the session at which Food was recorded. “First of all, it was recorded at Dave’s house, which is like two minutes from my house in L.A.: ideal because we’re both borderline hermits, so that worked out really nice,” she laughs. “So I’d get there, and he’d be like, “oh, are you hungry?” And I’m like “yes, what do you have?” and I’d go and look in his kitchen. He used to start playing stuff, sitting at the piano, in the living room, right next to the kitchen, and I’d start singing a melody to it, while I’m chopping something. So then I’m frying something or whatever, and he’s playing another melody and I’m like “I love that”, so he says he’s going to call Todd. Todd’s this ridiculously good trumpet player who comes over and does this stupid freakin’ beautiful horn arrangement...

And the next thing you know, I’m cooking pies and there’s all these random musicians arriving, and it’s very calm and chilled, food’s being put on the table in the living room, another guy’s got an idea for a melody and I’m like, “I love that, it makes me think of this” and by the end of the night, we’ve got 11, 12 musicians there and everybody’s stuffed and the music is blaring, the songs are playing, it’s like a freaking zoo in there because he’s got three dogs and two Bengal cats, but it’s also like a freakin’ commune, because he’s got these girls staying there who are in this band CSS, so they’re from Brazil and now they’re cooking, they’re mixing micheladas…” Her voice trails off, happily. “It’s was great. No ego. They guys from TV On The Radio are there, and they’re working with me, and everyone is like: “I know who I am, I know who you are, I’ll do what I do and you’ll do what you do and we’ll do something that knocks everybody out in here.” And in the midst of that, we’ll eat.” She chuckles. “Literally every day, that’s what it was.”

Between mouthfuls, they devised an album entirely unlike anything Kelis has released before: a quick spin of the Simon And Garfunkel-esque ballad "Bless The Telephone" will underline that. It mints a sound that’s rootsy without ever being self-consciously retro, that pitches live horns and gospel-y organ against electronics, that for all its classic soul and funk influences, couldn’t have been made any time but now. “The one thing we did say at the beginning of this record is that whatever we do, we’re not copy cats” says Kelis. “The music I listen to and love, I can’t duplicate it, I would never try. I don’t want to make a copy of an old-school record. It doesn’t make any sense. It almost comes off as disrespectful to think that I could actually recreate what was already created masterfully.

That was never my goal. But what I will say is that thinking about moments of my life growing up, I think about what my parents listened to, what was just playing around the block, in my neighbourhood – half of it I don’t remember, but I remember the essence of it, the smile that it provides.Dave’s wonderful at grabbing a moment as opposed to trying to recreate something that doesn’t need to be recreated. That’s what we wanted to do. It’s not about, “let me duplicate this record”. It’s like, hell, we did something because it was authentic and it was beautiful and it’s rich and it’s flawed and I love it.”

In a way, it shouldn’t come as a surprise that Kelis’ music has taken another unpredictable shift: she hasn’t exactly shied away from pushing at the boundaries of the public’s perception of her from the start (“do I think that record labels in the past have had trouble knowing what to do with me and being unable to pigeonhole me?” she ponders, “um, in short: yes”). Her then-record label thought her second album, Wanderland, was too experimental and eclectic to release in America, while she’s probably the only artist in history to take a David Guetta pop-rave track and turn it into a paen to the joys of new motherhood: "Acappella", a song about the birth of her son Knight in 2009. This time, the results aren’t just unexpected, but highly personal.

Food is about more than just Kelis’ culinary passion, it’s an album about life, relationships and the uncertainty of that – “sure I’m self-sufficient, blah blah, independent,” she sings on "Floyd", “truthfully I’ve got some space I want that man to fill it” - and ridding yourself of anger and bitterness as expressed on Change. I think it’s just about where I’m at right now, and what’s going on around me and wanting to make a record that… that I believe. That I can sit down on a stool and sing for a long time.”

Understandably, she thinks she’s succeeded. “Being as arrogant as I can be, no one on Food is new to this, no one there gives a crap, everybody is literally like, “I do this because I’m good at it, I love it and it’s a blessing, and if I can do this with you, then bring it, let’s do it.” It’s like, OK, we’ve all had big budgets, we’ve all done big studios, that’s nice and whatever, but I’m also like, “I’m great, I don’t need any of that, I’ll go on my own schedule.” It would be a waste of energy throwing money at it, because everyone is there is so well-seasoned. There’s not a second of insecurity, not a second of doubt. The reality is that we’re too talented, too old and too good for any of that.” She hoots with laughter. “Like I said,” she smiles, “that’s putting it as arrogantly as I can.”

[links] =>

Website
Facebook
Twitter
Instagram
SoundCloud
YouTube

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Kelis describes her sixth album as “a kind of unspoken lovefest”, albeit one involving two unlikely partners. On the one hand, there is Kelis Rogers, who first came to prominence singing the hook of Ol’ Dirty Bastard’s 1999 hit "Got Your Money"; whose debut album Kaleidoscope helped usher in the wave of sharp, thrillingly futuristic r’n’b that dominated the charts in the early Noughties: as exemplified by her global hit, 2003’s "Milkshake"; whose last album was a pop-dance extravaganza featuring production from will.i.am and David Guetta. On the other, there was Dave Sitek, guitarist in acclaimed Brooklyn experimentalists TV On The Radio; producer by appointment to a certain kind of smart, arty indie band: the Yeah Yeah Yeahs, Foals, Liars. “It’s like we’re such different people,” says Kelis, “but I met him and he’s really just this brilliant, strange creature. I musically fell in love with him and I think he’s just a divine person. It’s ridiculous how much we speak the same language, musically and food-wise.”

Ah, food. As you may have gathered from the title, and indeed the tracks "Jerk Ribs", "Friday Fish Fry", "Biscuits n’ Gravy" and "Cobbler", food has quite a large role to play in Kelis’ sixth album, and indeed her life. She is a qualified chef, who took a cordon bleu course in 2008, after a traumatic battle with her then-record label came to an end: “I’d been trying to get off the label for four years. It was all-out war. I was in combat mode. I’d fought them for years, then one Friday I got this call telling me they were finally releasing me from my contract. I was sitting in my kitchen, watching TV, an ad came on for culinary school and I was like, “yeah, I’m going” I started class Monday morning. A year and a half course, seven hours a day, five days a week and Saturdays and Sundays you’ve got to get on the line, ready to be hired in a restaurant.”

Despite her reservations about having to wear “a stupid hat and chef’s getup”, she loved it. She’s about to launch her own range of sauces in the US called Feast – “at school I realized sauce is my thing, I personally think everything is better either smothered or poured” – and there’s talk of a TV cookery series, for which she’s just filmed a pilot episode: “a lifestyle show, it’s my life, and there really is no separation for me between the food and the music.”

You can tell as much from her hugely, infectiously enthusiastic descriptions of the session at which Food was recorded. “First of all, it was recorded at Dave’s house, which is like two minutes from my house in L.A.: ideal because we’re both borderline hermits, so that worked out really nice,” she laughs. “So I’d get there, and he’d be like, “oh, are you hungry?” And I’m like “yes, what do you have?” and I’d go and look in his kitchen. He used to start playing stuff, sitting at the piano, in the living room, right next to the kitchen, and I’d start singing a melody to it, while I’m chopping something. So then I’m frying something or whatever, and he’s playing another melody and I’m like “I love that”, so he says he’s going to call Todd. Todd’s this ridiculously good trumpet player who comes over and does this stupid freakin’ beautiful horn arrangement...

And the next thing you know, I’m cooking pies and there’s all these random musicians arriving, and it’s very calm and chilled, food’s being put on the table in the living room, another guy’s got an idea for a melody and I’m like, “I love that, it makes me think of this” and by the end of the night, we’ve got 11, 12 musicians there and everybody’s stuffed and the music is blaring, the songs are playing, it’s like a freaking zoo in there because he’s got three dogs and two Bengal cats, but it’s also like a freakin’ commune, because he’s got these girls staying there who are in this band CSS, so they’re from Brazil and now they’re cooking, they’re mixing micheladas…” Her voice trails off, happily. “It’s was great. No ego. They guys from TV On The Radio are there, and they’re working with me, and everyone is like: “I know who I am, I know who you are, I’ll do what I do and you’ll do what you do and we’ll do something that knocks everybody out in here.” And in the midst of that, we’ll eat.” She chuckles. “Literally every day, that’s what it was.”

Between mouthfuls, they devised an album entirely unlike anything Kelis has released before: a quick spin of the Simon And Garfunkel-esque ballad "Bless The Telephone" will underline that. It mints a sound that’s rootsy without ever being self-consciously retro, that pitches live horns and gospel-y organ against electronics, that for all its classic soul and funk influences, couldn’t have been made any time but now. “The one thing we did say at the beginning of this record is that whatever we do, we’re not copy cats” says Kelis. “The music I listen to and love, I can’t duplicate it, I would never try. I don’t want to make a copy of an old-school record. It doesn’t make any sense. It almost comes off as disrespectful to think that I could actually recreate what was already created masterfully.

That was never my goal. But what I will say is that thinking about moments of my life growing up, I think about what my parents listened to, what was just playing around the block, in my neighbourhood – half of it I don’t remember, but I remember the essence of it, the smile that it provides.Dave’s wonderful at grabbing a moment as opposed to trying to recreate something that doesn’t need to be recreated. That’s what we wanted to do. It’s not about, “let me duplicate this record”. It’s like, hell, we did something because it was authentic and it was beautiful and it’s rich and it’s flawed and I love it.”

In a way, it shouldn’t come as a surprise that Kelis’ music has taken another unpredictable shift: she hasn’t exactly shied away from pushing at the boundaries of the public’s perception of her from the start (“do I think that record labels in the past have had trouble knowing what to do with me and being unable to pigeonhole me?” she ponders, “um, in short: yes”). Her then-record label thought her second album, Wanderland, was too experimental and eclectic to release in America, while she’s probably the only artist in history to take a David Guetta pop-rave track and turn it into a paen to the joys of new motherhood: "Acappella", a song about the birth of her son Knight in 2009. This time, the results aren’t just unexpected, but highly personal.

Food is about more than just Kelis’ culinary passion, it’s an album about life, relationships and the uncertainty of that – “sure I’m self-sufficient, blah blah, independent,” she sings on "Floyd", “truthfully I’ve got some space I want that man to fill it” - and ridding yourself of anger and bitterness as expressed on Change. I think it’s just about where I’m at right now, and what’s going on around me and wanting to make a record that… that I believe. That I can sit down on a stool and sing for a long time.”

Understandably, she thinks she’s succeeded. “Being as arrogant as I can be, no one on Food is new to this, no one there gives a crap, everybody is literally like, “I do this because I’m good at it, I love it and it’s a blessing, and if I can do this with you, then bring it, let’s do it.” It’s like, OK, we’ve all had big budgets, we’ve all done big studios, that’s nice and whatever, but I’m also like, “I’m great, I don’t need any of that, I’ll go on my own schedule.” It would be a waste of energy throwing money at it, because everyone is there is so well-seasoned. There’s not a second of insecurity, not a second of doubt. The reality is that we’re too talented, too old and too good for any of that.” She hoots with laughter. “Like I said,” she smiles, “that’s putting it as arrogantly as I can.”

[links_clean] =>

Website
Facebook
Twitter
Instagram
SoundCloud
YouTube

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Simon Green, AKA Bonobo, is an artist very much at the peak of his powers. His 2013 album The North Borders was the high watermark of his career to date: a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.

An artist that constantly pushes himself outside of his musical comfort zone, Bonobo’s ranging personal tastes and regularly expanding range of synthesizers and instruments continue to take his productions to new levels. This outlook has earned him a reputation as one of the most pioneering figures in electronic music, in both his solo DJ sets and 12-piece live band shows.

All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and myriad great ones.

It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.

His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.

He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as 2010’s Black Sands. 2012 saw him take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and FaltyDL.

Later the same year, he finally settled down in his New York studio to write his fifth album. The North Borders was another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.

Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and The North Borders saw him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at.

Since the album’s release, Green has gone on play over 140 sold out shows across four continents and 25 countries, selling over 500,000 tickets and wowing audiences with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 will see him and his band play both the iconic Coachella festival, and his largest UK show to date at Alexandra Palace in November…

It’s a full schedule and then some, but one that’s constantly rewarding for his fans, and perhaps proves that Bonobo is not only one of the world’s hardest working artists in electronic music, but also one of its best.

[links] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

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Simon Green, AKA Bonobo, is an artist very much at the peak of his powers. His 2013 album The North Borders was the high watermark of his career to date: a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.

An artist that constantly pushes himself outside of his musical comfort zone, Bonobo’s ranging personal tastes and regularly expanding range of synthesizers and instruments continue to take his productions to new levels. This outlook has earned him a reputation as one of the most pioneering figures in electronic music, in both his solo DJ sets and 12-piece live band shows.

All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and myriad great ones.

It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.

His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.

He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as 2010’s Black Sands. 2012 saw him take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and FaltyDL.

Later the same year, he finally settled down in his New York studio to write his fifth album. The North Borders was another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.

Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and The North Borders saw him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at.

Since the album’s release, Green has gone on play over 140 sold out shows across four continents and 25 countries, selling over 500,000 tickets and wowing audiences with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 will see him and his band play both the iconic Coachella festival, and his largest UK show to date at Alexandra Palace in November…

It’s a full schedule and then some, but one that’s constantly rewarding for his fans, and perhaps proves that Bonobo is not only one of the world’s hardest working artists in electronic music, but also one of its best.

[links_clean] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

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