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Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.

In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.

While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.

Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.

In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...

Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.

In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.

[links] =>

www.kidkoala.com

Facebook
Twitter
Soundcloud

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Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.

In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.

While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.

Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.

In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...

Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.

In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.

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www.kidkoala.com

Facebook
Twitter
Soundcloud

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Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.

In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.

While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.

Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.

In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...

Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.

In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.

[links] =>

www.kidkoala.com

Facebook
Twitter
Soundcloud

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Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.

In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.

While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.

Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.

In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...

Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.

In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.

[links_clean] =>

www.kidkoala.com

Facebook
Twitter
Soundcloud

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From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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Born and raised in the South Bay area of Los Angeles, TOKiMONSTA (Jennifer Lee) was an unfocused pupil of classical piano. However, she has come to use this background to create vast textural soundscapes through utilizing live instruments, percussion, digital manipulation, and dusty noise. Through her musical creations, she is able to fuse vintage sounds with progressive styles into something unique. 

Her music has been recognized and praised by the very best in avant-garde and mainstream media.TOKiMONSTA has been featured on various large scale radio programs such as: BBC Radio1, NPR, BBC World Service, J Wave (JP), Studio Brussels (BE), Radio Nova (FR), KCRW (USA) to name a few. Subsequently, she has been featured in DJ Mag, Pitchfork, XLR8R, URB, Paper, LA Times, SPIN, and is listed as the #1 female DJ in Los Angeles by LA Weekly. 

Not only has she caught ears of many as a different dimension of Los Angeles-based music, TOKiMONSTA is notably the first female to join crew/label Brainfeeder, headed by Flying Lotus— celebrated as the most exciting LA music label by LA Weekly. In addition, she is also a 2010 Red Bull Music Academy alumni, allowing her to join the ranks of other elite taste makers. Her live performance is engaging as well as intricate—using a laptop, other pieces of instrumentation and multimedia to orchestrate a truly interactive experience. She is a fearless and energetic performer who tours regularly around the world from LA to NY, London to Tel Aviv, Singapore to Tokyo.

[links] =>

www.tokimomsta.com

Tumblr
Facebook
Twitter
Soundcloud

[image_upload_id] => 15746 [label_id] => 7 [twitter_username] => tokimonsta [instagram_id] => 2691106 [instagram_username] => tokimonsta [link] => [listed] => 0 [sortname] => TOKiMONSTA [created] => 2011-03-21 15:00:09 [modified] => 2013-05-03 14:57:21 [slug] => tokimonsta [fuga_id] => [description_clean] =>

Born and raised in the South Bay area of Los Angeles, TOKiMONSTA (Jennifer Lee) was an unfocused pupil of classical piano. However, she has come to use this background to create vast textural soundscapes through utilizing live instruments, percussion, digital manipulation, and dusty noise. Through her musical creations, she is able to fuse vintage sounds with progressive styles into something unique. 

Her music has been recognized and praised by the very best in avant-garde and mainstream media.TOKiMONSTA has been featured on various large scale radio programs such as: BBC Radio1, NPR, BBC World Service, J Wave (JP), Studio Brussels (BE), Radio Nova (FR), KCRW (USA) to name a few. Subsequently, she has been featured in DJ Mag, Pitchfork, XLR8R, URB, Paper, LA Times, SPIN, and is listed as the #1 female DJ in Los Angeles by LA Weekly. 

Not only has she caught ears of many as a different dimension of Los Angeles-based music, TOKiMONSTA is notably the first female to join crew/label Brainfeeder, headed by Flying Lotus— celebrated as the most exciting LA music label by LA Weekly. In addition, she is also a 2010 Red Bull Music Academy alumni, allowing her to join the ranks of other elite taste makers. Her live performance is engaging as well as intricate—using a laptop, other pieces of instrumentation and multimedia to orchestrate a truly interactive experience. She is a fearless and energetic performer who tours regularly around the world from LA to NY, London to Tel Aviv, Singapore to Tokyo.

[links_clean] =>

www.tokimomsta.com

Tumblr
Facebook
Twitter
Soundcloud

) ) ) [4] => Array ( [Event] => Array ( [id] => 12776 [date] => 2014-04-30 [artist] => Bonobo (DJ set) [city] => Guadalajara [state] => [country] => MX [venue] => GetMove [promoter] => [description] => [ticket_url] => http://www.brownpapertickets.com/event/612576 [image_upload_id] => 19258 [created] => 2014-04-04 11:03:13 [modified] => 2014-04-04 11:03:13 [year_slug] => 2014 [month_slug] => apr [day_slug] => 30 [slug] => bonobo-dj-set-guadalajara-getmove [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19258 [media_type] => image [artist] => Bonobo [title] => Bonobo Press Shot [credits] => [buy_link] => [filename] => images/bonobo/Bonobo-MainAndrewdeFrancessco1.jpg [checksum] => a31f8301190c3ab688695ffcc7ef9495 [mime_type] => image/jpeg [size] => 8279110 [external_url] => http://media.ninjatune.net/images/bonobo/Bonobo-MainAndrewdeFrancessco1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => bonobo [slug] => bonobo-press-shot [created] => 2014-04-04 11:03:02 [modified] => 2014-04-04 11:05:00 [embed] => ) [Country] => Array ( [id] => 99 [name] => Mexico [longname] => Mexico [numcode] => 484 [iso] => MX [iso3] => MEX [currency] => MXN [active] => 1 [parent_id] => 93 [lft] => 194 [rght] => 195 [level] => 3 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 55 [name] => Bonobo [description] =>

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
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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

) ) ) [5] => Array ( [Event] => Array ( [id] => 12819 [date] => 2014-04-30 [artist] => Lapalux [city] => Los Angeles [state] => [country] => US [venue] => Low End Theory [promoter] => [description] => [ticket_url] => http://www.lowendtheoryclub.com/ [image_upload_id] => 19298 [created] => 2014-04-10 16:20:33 [modified] => 2014-04-10 16:20:33 [year_slug] => 2014 [month_slug] => apr [day_slug] => 30 [slug] => lapalux-los-angeles-low-end-theory-2 [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19298 [media_type] => image [artist] => Lapalux [title] => NA Tour Flyer 2014 [credits] => [buy_link] => [filename] => images/lapalux/na-tour2014.jpg [checksum] => a58329de99e733731a3d19c26358c750 [mime_type] => image/jpeg [size] => 120001 [external_url] => http://media.ninjatune.net/images/lapalux/na-tour2014.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => lapalux [slug] => na-tour-flyer-2014 [created] => 2014-04-10 11:20:45 [modified] => 2014-04-10 11:22:28 [embed] => ) [Country] => Array ( [id] => 122 [name] => United States [longname] => United States of America [numcode] => 840 [iso] => US [iso3] => USA [currency] => USD [active] => 1 [parent_id] => 117 [lft] => 241 [rght] => 242 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 164 [name] => Lapalux [description] =>

In a world in which upstart DIY talent is flooding the gates of electronic music, a few recent voices have been so strong as to be startling. Lapalux - aka 25-year-old Stuart Howard - is certainly one such. As singular as a brilliant artist always should be, his instinctive understanding of the atmospheric power of texture grips the ear immediately on listening. Nostalchic is his debut album, mission statement, and the climax of many years of studying his craft. 

The amalgam of words that make the title is aptly, and perhaps knowingly chosen. The album evokes nostalgia without ever sounding nostalgic, and Howard may have had his tongue in his chic when he added the second half of the title. The album is his most focused document to date, adding his beloved R&B and soul into elements of house and hip hop, all with the trademark Lapalux finish; infectious, lopsided swing and achingly deep texture.

“Like the R&B of another time and place, transmitted from an unknown planet in a distant galaxy into the mind of a wildly creative sound designer.” – XLR8R 

“Fans of the Kimbies, James Blake’s ‘CMYK’, Four Tet, Bibio, FlyLo, Matthewdavid, Onra, Debruit and all those guys – meet your new favourite producer.“ – Boomkat 

“Lapalux is probably one of the finest producers out there at the moment” – Oli Marlow, Sonic Router 

“The Barry White of electronica.” – Errol Anderson, The Independent

[links] =>

www.lapalux.com

Facebook
Twitter
Soundcloud

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In a world in which upstart DIY talent is flooding the gates of electronic music, a few recent voices have been so strong as to be startling. Lapalux - aka 25-year-old Stuart Howard - is certainly one such. As singular as a brilliant artist always should be, his instinctive understanding of the atmospheric power of texture grips the ear immediately on listening. Nostalchic is his debut album, mission statement, and the climax of many years of studying his craft. 

The amalgam of words that make the title is aptly, and perhaps knowingly chosen. The album evokes nostalgia without ever sounding nostalgic, and Howard may have had his tongue in his chic when he added the second half of the title. The album is his most focused document to date, adding his beloved R&B and soul into elements of house and hip hop, all with the trademark Lapalux finish; infectious, lopsided swing and achingly deep texture.

“Like the R&B of another time and place, transmitted from an unknown planet in a distant galaxy into the mind of a wildly creative sound designer.” – XLR8R 

“Fans of the Kimbies, James Blake’s ‘CMYK’, Four Tet, Bibio, FlyLo, Matthewdavid, Onra, Debruit and all those guys – meet your new favourite producer.“ – Boomkat 

“Lapalux is probably one of the finest producers out there at the moment” – Oli Marlow, Sonic Router 

“The Barry White of electronica.” – Errol Anderson, The Independent

[links_clean] =>

www.lapalux.com

Facebook
Twitter
Soundcloud

) ) ) [6] => Array ( [Event] => Array ( [id] => 12469 [date] => 2014-05-01 [artist] => Young Fathers [city] => Montreal [state] => QC [country] => CA [venue] => S.A.T [promoter] => [description] => [ticket_url] => http://iloveneon.electrostub.com/show.cfm?id=113263&cart [image_upload_id] => 18985 [created] => 2014-01-27 10:53:47 [modified] => 2014-01-27 12:45:48 [year_slug] => 2014 [month_slug] => may [day_slug] => 1 [slug] => young-fathers-montreal-s-a-t [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18985 [media_type] => image [artist] => Young Fathers [title] => US Tour Poster 2014 1 [credits] => [buy_link] => [filename] => images/young-fathers/1531605-10151941274611523-1274213393-n.jpg [checksum] => 6b9c3302221922995a5e5341ed3409ea [mime_type] => image/jpeg [size] => 103339 [external_url] => http://media.ninjatune.net/images/young-fathers/1531605-10151941274611523-1274213393-n.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => young-fathers [slug] => us-tour-poster-2014-1 [created] => 2014-01-27 10:39:47 [modified] => 2014-01-27 10:41:09 [embed] => ) [Country] => Array ( [id] => 119 [name] => Canada [longname] => Canada [numcode] => 124 [iso] => CA [iso3] => CAN [currency] => CAD [active] => 1 [parent_id] => 117 [lft] => 235 [rght] => 236 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 198 [name] => Young Fathers [description] =>

From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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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

) ) ) [8] => Array ( [Event] => Array ( [id] => 12702 [date] => 2014-05-01 [artist] => Kid Koala [city] => Nashville [state] => [country] => US [venue] => Bridgestone Arena [promoter] => [description] => [ticket_url] => http://www.bridgestonearena.com/events/detail/arcade-fire [image_upload_id] => 15028 [created] => 2014-03-19 11:18:15 [modified] => 2014-03-19 11:18:15 [year_slug] => 2014 [month_slug] => may [day_slug] => 1 [slug] => kid-koala-nashville-bridgestone-arena [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 15028 [media_type] => image [artist] => Kid Koala [title] => Artist Press shot [credits] => [buy_link] => [filename] => images/kid-koala/KidKoala-artistpress-72dpi.jpg [checksum] => 8ad0decd0d63ce1c44ca2a8f3f249d01 [mime_type] => image/jpeg [size] => 104060 [external_url] => http://media.ninjatune.net/images/kid-koala/KidKoala-artistpress-72dpi.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => kid-koala [slug] => artist-press-shot-4 [created] => 2011-01-05 10:49:18 [modified] => 2011-01-05 10:49:18 [embed] => ) [Country] => Array ( [id] => 122 [name] => United States [longname] => United States of America [numcode] => 840 [iso] => US [iso3] => USA [currency] => USD [active] => 1 [parent_id] => 117 [lft] => 241 [rght] => 242 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 38 [name] => Kid Koala [description] =>

Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.

In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.

While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.

Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.

In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...

Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.

In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.

[links] =>

www.kidkoala.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 4006 [label_id] => 1 [twitter_username] => kidkoala [instagram_id] => 209219810 [instagram_username] => realkidkoala [link] => [listed] => 1 [sortname] => Kid Koala [created] => 2010-07-17 22:15:58 [modified] => 2013-05-03 14:51:56 [slug] => kid-koala [fuga_id] => [description_clean] =>

Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.

In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.

While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.

Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.

In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...

Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.

In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.

[links_clean] =>

www.kidkoala.com

Facebook
Twitter
Soundcloud

) ) ) [9] => Array ( [Event] => Array ( [id] => 12820 [date] => 2014-05-01 [artist] => Lapalux [city] => Toronto [state] => [country] => CA [venue] => Tattoo [promoter] => [description] => [ticket_url] => http://tattooqueenwest.com/ [image_upload_id] => 19298 [created] => 2014-04-10 16:21:14 [modified] => 2014-04-10 16:21:14 [year_slug] => 2014 [month_slug] => may [day_slug] => 1 [slug] => lapalux-toronto-tattoo [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19298 [media_type] => image [artist] => Lapalux [title] => NA Tour Flyer 2014 [credits] => [buy_link] => [filename] => images/lapalux/na-tour2014.jpg [checksum] => a58329de99e733731a3d19c26358c750 [mime_type] => image/jpeg [size] => 120001 [external_url] => http://media.ninjatune.net/images/lapalux/na-tour2014.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => lapalux [slug] => na-tour-flyer-2014 [created] => 2014-04-10 11:20:45 [modified] => 2014-04-10 11:22:28 [embed] => ) [Country] => Array ( [id] => 119 [name] => Canada [longname] => Canada [numcode] => 124 [iso] => CA [iso3] => CAN [currency] => CAD [active] => 1 [parent_id] => 117 [lft] => 235 [rght] => 236 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 164 [name] => Lapalux [description] =>

In a world in which upstart DIY talent is flooding the gates of electronic music, a few recent voices have been so strong as to be startling. Lapalux - aka 25-year-old Stuart Howard - is certainly one such. As singular as a brilliant artist always should be, his instinctive understanding of the atmospheric power of texture grips the ear immediately on listening. Nostalchic is his debut album, mission statement, and the climax of many years of studying his craft. 

The amalgam of words that make the title is aptly, and perhaps knowingly chosen. The album evokes nostalgia without ever sounding nostalgic, and Howard may have had his tongue in his chic when he added the second half of the title. The album is his most focused document to date, adding his beloved R&B and soul into elements of house and hip hop, all with the trademark Lapalux finish; infectious, lopsided swing and achingly deep texture.

“Like the R&B of another time and place, transmitted from an unknown planet in a distant galaxy into the mind of a wildly creative sound designer.” – XLR8R 

“Fans of the Kimbies, James Blake’s ‘CMYK’, Four Tet, Bibio, FlyLo, Matthewdavid, Onra, Debruit and all those guys – meet your new favourite producer.“ – Boomkat 

“Lapalux is probably one of the finest producers out there at the moment” – Oli Marlow, Sonic Router 

“The Barry White of electronica.” – Errol Anderson, The Independent

[links] =>

www.lapalux.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 17582 [label_id] => 7 [twitter_username] => lapalux [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Lapalux [created] => 2012-01-17 15:28:40 [modified] => 2013-01-11 10:27:45 [slug] => lapalux [fuga_id] => [description_clean] =>

In a world in which upstart DIY talent is flooding the gates of electronic music, a few recent voices have been so strong as to be startling. Lapalux - aka 25-year-old Stuart Howard - is certainly one such. As singular as a brilliant artist always should be, his instinctive understanding of the atmospheric power of texture grips the ear immediately on listening. Nostalchic is his debut album, mission statement, and the climax of many years of studying his craft. 

The amalgam of words that make the title is aptly, and perhaps knowingly chosen. The album evokes nostalgia without ever sounding nostalgic, and Howard may have had his tongue in his chic when he added the second half of the title. The album is his most focused document to date, adding his beloved R&B and soul into elements of house and hip hop, all with the trademark Lapalux finish; infectious, lopsided swing and achingly deep texture.

“Like the R&B of another time and place, transmitted from an unknown planet in a distant galaxy into the mind of a wildly creative sound designer.” – XLR8R 

“Fans of the Kimbies, James Blake’s ‘CMYK’, Four Tet, Bibio, FlyLo, Matthewdavid, Onra, Debruit and all those guys – meet your new favourite producer.“ – Boomkat 

“Lapalux is probably one of the finest producers out there at the moment” – Oli Marlow, Sonic Router 

“The Barry White of electronica.” – Errol Anderson, The Independent

[links_clean] =>

www.lapalux.com

Facebook
Twitter
Soundcloud

) ) ) [10] => Array ( [Event] => Array ( [id] => 12363 [date] => 2014-05-02 [artist] => DJ Food (Paul's Boutique Set) [city] => Leuven [state] => [country] => BE [venue] => Depot [promoter] => [description] =>

*Paul's Boutique Set with DJ Cheeba & DJ Moneyshot*

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*Paul's Boutique Set with DJ Cheeba & DJ Moneyshot*

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DJ Food (present) : Strictly Kev

With nearly 25 years of DJing experience and more than a decade serving up Food for DJs, for both Ninja and Coldcut's weekly radio show 'Solid Steel', Kev is now in the Food hot seat.

At his 'Telepathic Fish' ambient parties in the early 90's he booked Matt Black on his first VJing gigs, started designing artwork for Ninja Tune and paired up with PC (Patrick Carpenter) to form the public 'face' of DJ Food on 4 decks in clubs around the world. After working on various Food and Coldcut related studio projects with PC (A Recipe for Disaster, Journeys by DJ, ColdKrushCuts and the Blech mix compilations for Warp) they released the album 'Kaleidoscope' in 2000, closely followed by the 'Quadraplex EP' in 2001.

Also arriving in 2001 was the first in a series of Solid Steel mix CDs, starting with DJ Food & DK (Darren Knott - Solid Steel's producer) and the publicly lauded 'Now, Listen'. Since then he's been constantly art directing the Ninja label, designing for artists like Amon Tobin, The Herbaliser, DJ Vadim and Funki Porcini. Mix work has included a re-score of the Monkees' cult film 'Head', an as-yet-unreleased album of vintage Sesame Street funk, and his magnum opus 'Raiding the 20th Century'. This last hour long mix / documentary was an internet only release, charting the history of the cut-up and featured journalist Paul Morley reading from his book 'Words & Music'. Not only did it crash servers on several sites that hosted it due to its initial popularity but it was later subject to a cease & desist order from EMI for multiple infringements of copyright.

In 2007, alongside DK again, he followed up their Solid Steel debut with the sequel - 'Now, Listen Again', and the pair spent much of 2008 transferring their mix into a 4 deck audio visual live show. Using Serato's video plug-in - that enables video to be mixed and scratched via turntables the same as records - they christened their efforts 'video turntablism'.

Kev is now working on a series of EPs that will make up the next DJ Food album, an exhaustive DJ Food website (www.djfood.org) and providing artwork for Ninja artists such as King Cannibal and the 20th anniversary label celebrations.

DJ Food (past):

DJ Food has been many persons, of who we will come to in a moment. DJ Food is best described as Food for DJs, simple as that, just flip it around and it begins to mean something entirely different.

Originally produced by Coldcut the DJ Food project started in 1990 with the release of 'Jazz Brakes', with 'Jazz Brakes Volume 3' being the label's most successful early album. Not only are they effective collections of breaks, loops and samples ideal for mixing, remixing and producing - but also fine collections of funky jazz & hip hop tunes, that cut it just as well on the discerning dancefloor as in the safety of your own home...

Since the growth of the abstract hip hop scene in recent years the 'Jazz Brakes' albums have proved to be ahead of their time. The latter DJ Food albums have developed with shades of latin, dub, techno, ambient, tribal, african and jungle flavouring the funk. The 2005 album 'A Recipe For Disaster' was a conscious break from the five 'Jazz Brakes' volumes to form more of an identity as an artist, and a remix album of tracks from all 6 LPs 'Refried Food' was released Feb '96.

But who made this food? Matt Black & Jonathan More (aka Coldcut) were responsible for starting the DJ Food series of 'Jazz Brakes' back in the early 90's, and along the way they met Patrick Carpenter (PC) who was commonly misconstrued as the computer that they made the tracks on for a while. A loose collaborative team began to form as more like-minded people arrived at the party; Paul Brook, Paul Rabiger, Strictly Kev and Issac Elliston to name a few.

Whilst keeping their hand in as DJs, Matt & Jon couldn't and didn't want to DJ twice in one night under both aliases of Coldcut & DJ Food, so PC & Strictly stepped up to represent the Food club-wise. This was the score for some time, until PC became so busy with his involvement in the Cinematic Orchestra that he decided to depart to concentrate on that, leaving Strictly Kev to carry the mantle.

[links] =>

www.djfood.org

Twitter
Soundcloud

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DJ Food (present) : Strictly Kev

With nearly 25 years of DJing experience and more than a decade serving up Food for DJs, for both Ninja and Coldcut's weekly radio show 'Solid Steel', Kev is now in the Food hot seat.

At his 'Telepathic Fish' ambient parties in the early 90's he booked Matt Black on his first VJing gigs, started designing artwork for Ninja Tune and paired up with PC (Patrick Carpenter) to form the public 'face' of DJ Food on 4 decks in clubs around the world. After working on various Food and Coldcut related studio projects with PC (A Recipe for Disaster, Journeys by DJ, ColdKrushCuts and the Blech mix compilations for Warp) they released the album 'Kaleidoscope' in 2000, closely followed by the 'Quadraplex EP' in 2001.

Also arriving in 2001 was the first in a series of Solid Steel mix CDs, starting with DJ Food & DK (Darren Knott - Solid Steel's producer) and the publicly lauded 'Now, Listen'. Since then he's been constantly art directing the Ninja label, designing for artists like Amon Tobin, The Herbaliser, DJ Vadim and Funki Porcini. Mix work has included a re-score of the Monkees' cult film 'Head', an as-yet-unreleased album of vintage Sesame Street funk, and his magnum opus 'Raiding the 20th Century'. This last hour long mix / documentary was an internet only release, charting the history of the cut-up and featured journalist Paul Morley reading from his book 'Words & Music'. Not only did it crash servers on several sites that hosted it due to its initial popularity but it was later subject to a cease & desist order from EMI for multiple infringements of copyright.

In 2007, alongside DK again, he followed up their Solid Steel debut with the sequel - 'Now, Listen Again', and the pair spent much of 2008 transferring their mix into a 4 deck audio visual live show. Using Serato's video plug-in - that enables video to be mixed and scratched via turntables the same as records - they christened their efforts 'video turntablism'.

Kev is now working on a series of EPs that will make up the next DJ Food album, an exhaustive DJ Food website (www.djfood.org) and providing artwork for Ninja artists such as King Cannibal and the 20th anniversary label celebrations.

DJ Food (past):

DJ Food has been many persons, of who we will come to in a moment. DJ Food is best described as Food for DJs, simple as that, just flip it around and it begins to mean something entirely different.

Originally produced by Coldcut the DJ Food project started in 1990 with the release of 'Jazz Brakes', with 'Jazz Brakes Volume 3' being the label's most successful early album. Not only are they effective collections of breaks, loops and samples ideal for mixing, remixing and producing - but also fine collections of funky jazz & hip hop tunes, that cut it just as well on the discerning dancefloor as in the safety of your own home...

Since the growth of the abstract hip hop scene in recent years the 'Jazz Brakes' albums have proved to be ahead of their time. The latter DJ Food albums have developed with shades of latin, dub, techno, ambient, tribal, african and jungle flavouring the funk. The 2005 album 'A Recipe For Disaster' was a conscious break from the five 'Jazz Brakes' volumes to form more of an identity as an artist, and a remix album of tracks from all 6 LPs 'Refried Food' was released Feb '96.

But who made this food? Matt Black & Jonathan More (aka Coldcut) were responsible for starting the DJ Food series of 'Jazz Brakes' back in the early 90's, and along the way they met Patrick Carpenter (PC) who was commonly misconstrued as the computer that they made the tracks on for a while. A loose collaborative team began to form as more like-minded people arrived at the party; Paul Brook, Paul Rabiger, Strictly Kev and Issac Elliston to name a few.

Whilst keeping their hand in as DJs, Matt & Jon couldn't and didn't want to DJ twice in one night under both aliases of Coldcut & DJ Food, so PC & Strictly stepped up to represent the Food club-wise. This was the score for some time, until PC became so busy with his involvement in the Cinematic Orchestra that he decided to depart to concentrate on that, leaving Strictly Kev to carry the mantle.

[links_clean] =>

www.djfood.org

Twitter
Soundcloud

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From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.

In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.

While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.

Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.

In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...

Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.

In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.

[links] =>

www.kidkoala.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 4006 [label_id] => 1 [twitter_username] => kidkoala [instagram_id] => 209219810 [instagram_username] => realkidkoala [link] => [listed] => 1 [sortname] => Kid Koala [created] => 2010-07-17 22:15:58 [modified] => 2013-05-03 14:51:56 [slug] => kid-koala [fuga_id] => [description_clean] =>

Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.

In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.

While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.

Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.

In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...

Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.

In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.

[links_clean] =>

www.kidkoala.com

Facebook
Twitter
Soundcloud

) ) ) [13] => Array ( [Event] => Array ( [id] => 12733 [date] => 2014-05-02 [artist] => Actress [city] => London [state] => [country] => GB [venue] => The Laundry, London [promoter] => [description] => 2nd - 3rd May 2014Across various venues in East London2 DAYS, VARIOUS HACKNEY VENUES
 
 Friday 02 May 2014

ACTRESSANDY BLAKE FLOATING POINTS [ticket_url] => http://www.alt-tickets.co.uk/alttickets/event_ate_18519a.html [image_upload_id] => 18890 [created] => 2014-03-21 11:19:58 [modified] => 2014-03-21 11:19:58 [year_slug] => 2014 [month_slug] => may [day_slug] => 2 [slug] => actress-london-the-laundry-london [description_clean] => 2nd - 3rd May 2014Across various venues in East London2 DAYS, VARIOUS HACKNEY VENUES
 
 Friday 02 May 2014

ACTRESSANDY BLAKE FLOATING POINTS [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18890 [media_type] => image [artist] => Actress [title] => Actress PRess Shot - Ghettoville 1 [credits] => [buy_link] => http://www.ninjatune.net/release/actress-ghettoville [filename] => images/actress/actress-03.jpg [checksum] => 181c3570db26bc49c97994b96a2268bf [mime_type] => image/jpeg [size] => 35211 [external_url] => http://media.ninjatune.net/images/actress/actress-03.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => actress [slug] => actress-press-shot-ghettoville-1 [created] => 2013-12-17 19:12:15 [modified] => 2013-12-17 19:13:38 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 170 [name] => Actress [description] =>

Ghettoville is the bleached out and black tinted conclusion of the Actress image. 

Where the demands of writing caught the artist slumped and reclined, devoid of any soul, acutely aware of the simulated prism that required breakout.

Four albums in and the notes and compositions no longer contain decipherable language.

The scripts now carry tears, the world has returned to a flattened state, and out through that window, the birds look back into the cage they once inhabited.

Spitting flames behind a white wall of silence. The machines have turned to stone, data reads like an obituary to its user.A fix is no longer a release, it's a brittle curse. 

Zero satisfaction, no teeth, pseudo artists running rampant, but the path continues.

R.I.P Music 2014.

Actress

[links] =>

Werkdiscs

Facebook
Twitter

[image_upload_id] => 18890 [label_id] => 10 [twitter_username] => ctress_a [instagram_id] => 178436049 [instagram_username] => ctress_18 [link] => [listed] => 1 [sortname] => Actress [created] => 2012-08-06 16:25:23 [modified] => 2013-12-18 12:03:56 [slug] => actress [fuga_id] => [description_clean] =>

Ghettoville is the bleached out and black tinted conclusion of the Actress image. 

Where the demands of writing caught the artist slumped and reclined, devoid of any soul, acutely aware of the simulated prism that required breakout.

Four albums in and the notes and compositions no longer contain decipherable language.

The scripts now carry tears, the world has returned to a flattened state, and out through that window, the birds look back into the cage they once inhabited.

Spitting flames behind a white wall of silence. The machines have turned to stone, data reads like an obituary to its user.A fix is no longer a release, it's a brittle curse. 

Zero satisfaction, no teeth, pseudo artists running rampant, but the path continues.

R.I.P Music 2014.

Actress

[links_clean] =>

Werkdiscs

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In a world in which upstart DIY talent is flooding the gates of electronic music, a few recent voices have been so strong as to be startling. Lapalux - aka 25-year-old Stuart Howard - is certainly one such. As singular as a brilliant artist always should be, his instinctive understanding of the atmospheric power of texture grips the ear immediately on listening. Nostalchic is his debut album, mission statement, and the climax of many years of studying his craft. 

The amalgam of words that make the title is aptly, and perhaps knowingly chosen. The album evokes nostalgia without ever sounding nostalgic, and Howard may have had his tongue in his chic when he added the second half of the title. The album is his most focused document to date, adding his beloved R&B and soul into elements of house and hip hop, all with the trademark Lapalux finish; infectious, lopsided swing and achingly deep texture.

“Like the R&B of another time and place, transmitted from an unknown planet in a distant galaxy into the mind of a wildly creative sound designer.” – XLR8R 

“Fans of the Kimbies, James Blake’s ‘CMYK’, Four Tet, Bibio, FlyLo, Matthewdavid, Onra, Debruit and all those guys – meet your new favourite producer.“ – Boomkat 

“Lapalux is probably one of the finest producers out there at the moment” – Oli Marlow, Sonic Router 

“The Barry White of electronica.” – Errol Anderson, The Independent

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www.lapalux.com

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[image_upload_id] => 17582 [label_id] => 7 [twitter_username] => lapalux [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Lapalux [created] => 2012-01-17 15:28:40 [modified] => 2013-01-11 10:27:45 [slug] => lapalux [fuga_id] => [description_clean] =>

In a world in which upstart DIY talent is flooding the gates of electronic music, a few recent voices have been so strong as to be startling. Lapalux - aka 25-year-old Stuart Howard - is certainly one such. As singular as a brilliant artist always should be, his instinctive understanding of the atmospheric power of texture grips the ear immediately on listening. Nostalchic is his debut album, mission statement, and the climax of many years of studying his craft. 

The amalgam of words that make the title is aptly, and perhaps knowingly chosen. The album evokes nostalgia without ever sounding nostalgic, and Howard may have had his tongue in his chic when he added the second half of the title. The album is his most focused document to date, adding his beloved R&B and soul into elements of house and hip hop, all with the trademark Lapalux finish; infectious, lopsided swing and achingly deep texture.

“Like the R&B of another time and place, transmitted from an unknown planet in a distant galaxy into the mind of a wildly creative sound designer.” – XLR8R 

“Fans of the Kimbies, James Blake’s ‘CMYK’, Four Tet, Bibio, FlyLo, Matthewdavid, Onra, Debruit and all those guys – meet your new favourite producer.“ – Boomkat 

“Lapalux is probably one of the finest producers out there at the moment” – Oli Marlow, Sonic Router 

“The Barry White of electronica.” – Errol Anderson, The Independent

[links_clean] =>

www.lapalux.com

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Twitter
Soundcloud

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From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

[links] => [image_upload_id] => 4101 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2012-06-22 11:04:26 [slug] => the-bug [fuga_id] => [description_clean] =>

The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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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

[image_upload_id] => 19130 [label_id] => 1 [twitter_username] => mrscruff1 [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Mr. Scruff [created] => 2010-07-17 22:15:58 [modified] => 2014-03-03 16:02:01 [slug] => mr-scruff [fuga_id] => [description_clean] =>

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

) ) ) )
Artist Date City Venue Buy
Kid Koala Sunday, Apr 27th St. Louis, US Verizon Wireless Amphitheatre Buy
Kid Koala Tuesday, Apr 29th Columbus, US Schottenstein Center Buy
Young Fathers Wednesday, Apr 30th Hanover, NH, US Bones Gate Fraternity
Chromeo and TOKiMONSTA Wednesday, Apr 30th Boston, US House of Blues Buy
Bonobo (DJ set) Wednesday, Apr 30th Guadalajara, MX GetMove Buy
Lapalux Wednesday, Apr 30th Los Angeles, US Low End Theory Buy
Young Fathers Thursday, May 1st Montreal, QC, CA S.A.T Buy
Bonobo (DJ Set) Thursday, May 1st Mexico City, MX, US Mono Buy
Kid Koala Thursday, May 1st Nashville, US Bridgestone Arena Buy
Lapalux Thursday, May 1st Toronto, CA Tattoo Buy
DJ Food (Paul's Boutique Set) Friday, May 2nd Leuven, BE Depot
Young Fathers Friday, May 2nd Otawa, ON, CA Ritual Buy
Kid Koala Friday, May 2nd Atlanta, US Aaron's Amphitheatre Buy
Actress Friday, May 2nd London, GB The Laundry, London Buy
Lapalux Friday, May 2nd Middletown, US Eclectic Society Buy
Young Fathers Saturday, May 3rd Toronto, ON, CA Horseshoe Tavern Buy
The Bug Saturday, May 3rd Leeds, GB External Buy
Mr. Scruff Saturday, May 3rd Manchester, GB Band on the Wall Buy