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North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.

His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.

Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.

The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.

His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.

Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.

[links] =>

Website

Facebook
Twitter
Instagram

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North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.

His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.

Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.

The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.

His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.

Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.

[links_clean] =>

Website

Facebook
Twitter
Instagram

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Three years after his last album – Ghost PeopleMartyn joins the Ninja Tune family to present his third long player. Universally respected for his ever-evolving, but inimitable sound, the Dutch-born, Washington DC-based producer brings an entirely new sonic direction with The Air Between Words. This is an exploration of the essence of all of Martyn’s music: a rugged four-to-the-floor groove, intelligently sculpted and artfully composed.

Where Great Lengths - his 2009 debut - was a body of work that explored Martyn’s uncategorizable versatility, and 2011’s Ghost People (via Brainfeeder) was a focused effort on writing an album with a specific sound, The Air Between Words came from a different realm altogether. Martyn had no parameters, and in fact no plan at all. He fell into a back-to-basics mentality where simple experimentation with purely analogue sounds and equipment inadvertently turned to melodic sketches, and without warning the album revealed itself.

“Every album signifies a period in your life, and finishing one shows you something about yourself,” says Martyn about the experience. “Without the music being introspective, this is my most natural sounding album.”

The Air Between Words opens coyly with the panoramic sonics of "Forgiveness Step 1" - a beatless but nonetheless authoritative statement of intent - before pitching headlong into pure dancefloor territory. Lean, raw, powerful productions predominate - gloriously brash, occasionally beautiful, but always vigorously hypnotic, sensitively swung and utterly irresistible.

Martyn joins forces with Kieran Hebden aka Four Tet for "Glassbeadgames", a powerhouse of a track that finds the perfect amalgamation of both producers’ fortés. Heavy kicks, UKG-esque percussion and swirling subs dictate the groove, whilst the melodic progressions are simultaneously melancholic and anthemic, and further enhanced by a Hebden trademark thumb piano motif.

Another collaboration - "Love of Pleasure" - finds Martyn partnering with his good friend copeland (formerly known as Inga Copeland, or one half of art pop duo Hype Williams). Her fragile vocal cuts through distorted piano riffs and swathes of broken synths, a fitting centerpiece for the album before it returns to its essence via "Forgiveness Step 2", "Like That" and "Two Leads and a Computer", which distinctly draw from a 90s Warp heritage (Sweet Exorcist, LFO and Autechre) but bizarrely sound like they’ve been beamed from the future. After the Afro-tinged elegance of "Lullaby", the final piece word belongs to "Fashion Skater": a dark, earthy, almost Zen-like exercise in house music in its purest form.

Stylistically and sonically, Martyn stands apart from his counterparts. His music incorporates vintage references but is steadfastly forward-facing at the same time. He’s always done that. His sound is heritage and future - and that character has elevated him alongside fellow electronic heavyweights such as Four Tet, Kode9, dBridge and Mark Pritchard.

[links] =>

Website
Facebook
Twitter
Soundcloud

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Three years after his last album – Ghost PeopleMartyn joins the Ninja Tune family to present his third long player. Universally respected for his ever-evolving, but inimitable sound, the Dutch-born, Washington DC-based producer brings an entirely new sonic direction with The Air Between Words. This is an exploration of the essence of all of Martyn’s music: a rugged four-to-the-floor groove, intelligently sculpted and artfully composed.

Where Great Lengths - his 2009 debut - was a body of work that explored Martyn’s uncategorizable versatility, and 2011’s Ghost People (via Brainfeeder) was a focused effort on writing an album with a specific sound, The Air Between Words came from a different realm altogether. Martyn had no parameters, and in fact no plan at all. He fell into a back-to-basics mentality where simple experimentation with purely analogue sounds and equipment inadvertently turned to melodic sketches, and without warning the album revealed itself.

“Every album signifies a period in your life, and finishing one shows you something about yourself,” says Martyn about the experience. “Without the music being introspective, this is my most natural sounding album.”

The Air Between Words opens coyly with the panoramic sonics of "Forgiveness Step 1" - a beatless but nonetheless authoritative statement of intent - before pitching headlong into pure dancefloor territory. Lean, raw, powerful productions predominate - gloriously brash, occasionally beautiful, but always vigorously hypnotic, sensitively swung and utterly irresistible.

Martyn joins forces with Kieran Hebden aka Four Tet for "Glassbeadgames", a powerhouse of a track that finds the perfect amalgamation of both producers’ fortés. Heavy kicks, UKG-esque percussion and swirling subs dictate the groove, whilst the melodic progressions are simultaneously melancholic and anthemic, and further enhanced by a Hebden trademark thumb piano motif.

Another collaboration - "Love of Pleasure" - finds Martyn partnering with his good friend copeland (formerly known as Inga Copeland, or one half of art pop duo Hype Williams). Her fragile vocal cuts through distorted piano riffs and swathes of broken synths, a fitting centerpiece for the album before it returns to its essence via "Forgiveness Step 2", "Like That" and "Two Leads and a Computer", which distinctly draw from a 90s Warp heritage (Sweet Exorcist, LFO and Autechre) but bizarrely sound like they’ve been beamed from the future. After the Afro-tinged elegance of "Lullaby", the final piece word belongs to "Fashion Skater": a dark, earthy, almost Zen-like exercise in house music in its purest form.

Stylistically and sonically, Martyn stands apart from his counterparts. His music incorporates vintage references but is steadfastly forward-facing at the same time. He’s always done that. His sound is heritage and future - and that character has elevated him alongside fellow electronic heavyweights such as Four Tet, Kode9, dBridge and Mark Pritchard.

[links_clean] =>

Website
Facebook
Twitter
Soundcloud

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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

[counter_player] => [counter_biog] => ) [1] => Array ( [id] => 152 [name] => Martyn [description] =>

Three years after his last album – Ghost PeopleMartyn joins the Ninja Tune family to present his third long player. Universally respected for his ever-evolving, but inimitable sound, the Dutch-born, Washington DC-based producer brings an entirely new sonic direction with The Air Between Words. This is an exploration of the essence of all of Martyn’s music: a rugged four-to-the-floor groove, intelligently sculpted and artfully composed.

Where Great Lengths - his 2009 debut - was a body of work that explored Martyn’s uncategorizable versatility, and 2011’s Ghost People (via Brainfeeder) was a focused effort on writing an album with a specific sound, The Air Between Words came from a different realm altogether. Martyn had no parameters, and in fact no plan at all. He fell into a back-to-basics mentality where simple experimentation with purely analogue sounds and equipment inadvertently turned to melodic sketches, and without warning the album revealed itself.

“Every album signifies a period in your life, and finishing one shows you something about yourself,” says Martyn about the experience. “Without the music being introspective, this is my most natural sounding album.”

The Air Between Words opens coyly with the panoramic sonics of "Forgiveness Step 1" - a beatless but nonetheless authoritative statement of intent - before pitching headlong into pure dancefloor territory. Lean, raw, powerful productions predominate - gloriously brash, occasionally beautiful, but always vigorously hypnotic, sensitively swung and utterly irresistible.

Martyn joins forces with Kieran Hebden aka Four Tet for "Glassbeadgames", a powerhouse of a track that finds the perfect amalgamation of both producers’ fortés. Heavy kicks, UKG-esque percussion and swirling subs dictate the groove, whilst the melodic progressions are simultaneously melancholic and anthemic, and further enhanced by a Hebden trademark thumb piano motif.

Another collaboration - "Love of Pleasure" - finds Martyn partnering with his good friend copeland (formerly known as Inga Copeland, or one half of art pop duo Hype Williams). Her fragile vocal cuts through distorted piano riffs and swathes of broken synths, a fitting centerpiece for the album before it returns to its essence via "Forgiveness Step 2", "Like That" and "Two Leads and a Computer", which distinctly draw from a 90s Warp heritage (Sweet Exorcist, LFO and Autechre) but bizarrely sound like they’ve been beamed from the future. After the Afro-tinged elegance of "Lullaby", the final piece word belongs to "Fashion Skater": a dark, earthy, almost Zen-like exercise in house music in its purest form.

Stylistically and sonically, Martyn stands apart from his counterparts. His music incorporates vintage references but is steadfastly forward-facing at the same time. He’s always done that. His sound is heritage and future - and that character has elevated him alongside fellow electronic heavyweights such as Four Tet, Kode9, dBridge and Mark Pritchard.

[links] =>

Website
Facebook
Twitter
Soundcloud

[image_upload_id] => 19301 [label_id] => 1 [twitter_username] => MARTYN3024 [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Martyn [created] => 2011-06-29 15:37:25 [modified] => 2014-04-11 14:50:12 [slug] => martyn [fuga_id] => [description_clean] =>

Three years after his last album – Ghost PeopleMartyn joins the Ninja Tune family to present his third long player. Universally respected for his ever-evolving, but inimitable sound, the Dutch-born, Washington DC-based producer brings an entirely new sonic direction with The Air Between Words. This is an exploration of the essence of all of Martyn’s music: a rugged four-to-the-floor groove, intelligently sculpted and artfully composed.

Where Great Lengths - his 2009 debut - was a body of work that explored Martyn’s uncategorizable versatility, and 2011’s Ghost People (via Brainfeeder) was a focused effort on writing an album with a specific sound, The Air Between Words came from a different realm altogether. Martyn had no parameters, and in fact no plan at all. He fell into a back-to-basics mentality where simple experimentation with purely analogue sounds and equipment inadvertently turned to melodic sketches, and without warning the album revealed itself.

“Every album signifies a period in your life, and finishing one shows you something about yourself,” says Martyn about the experience. “Without the music being introspective, this is my most natural sounding album.”

The Air Between Words opens coyly with the panoramic sonics of "Forgiveness Step 1" - a beatless but nonetheless authoritative statement of intent - before pitching headlong into pure dancefloor territory. Lean, raw, powerful productions predominate - gloriously brash, occasionally beautiful, but always vigorously hypnotic, sensitively swung and utterly irresistible.

Martyn joins forces with Kieran Hebden aka Four Tet for "Glassbeadgames", a powerhouse of a track that finds the perfect amalgamation of both producers’ fortés. Heavy kicks, UKG-esque percussion and swirling subs dictate the groove, whilst the melodic progressions are simultaneously melancholic and anthemic, and further enhanced by a Hebden trademark thumb piano motif.

Another collaboration - "Love of Pleasure" - finds Martyn partnering with his good friend copeland (formerly known as Inga Copeland, or one half of art pop duo Hype Williams). Her fragile vocal cuts through distorted piano riffs and swathes of broken synths, a fitting centerpiece for the album before it returns to its essence via "Forgiveness Step 2", "Like That" and "Two Leads and a Computer", which distinctly draw from a 90s Warp heritage (Sweet Exorcist, LFO and Autechre) but bizarrely sound like they’ve been beamed from the future. After the Afro-tinged elegance of "Lullaby", the final piece word belongs to "Fashion Skater": a dark, earthy, almost Zen-like exercise in house music in its purest form.

Stylistically and sonically, Martyn stands apart from his counterparts. His music incorporates vintage references but is steadfastly forward-facing at the same time. He’s always done that. His sound is heritage and future - and that character has elevated him alongside fellow electronic heavyweights such as Four Tet, Kode9, dBridge and Mark Pritchard.

[links_clean] =>

Website
Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] => ) [2] => Array ( [id] => 203 [name] => Romare [description] =>

Ninja Tune is very proud to announce the signing of Romare. One of the most exciting British talents to emerge from the electronic world of late, Romare’s music combines a seriousness of intent with a thrilling immediacy.

The discovery of revered American collagist Romare Bearden whilst at university became a lightning bolt moment, as is revealed by the moniker he chose for himself. More importantly, Bearden’s collages inspired the young musician to pursue a similar technique in his productions, harnessing its power to illuminate and assert through re-contextualisation.

With two vinyl EP releases on the excellent Black Acre label - Meditations on Afrocentrism (2012) and Love Songs: Part One (2013) - fiercely supported by the likes of Benji B, Gilles Peterson, Huw Stephens and BonoboRomare’s music has, rightfully, already caused a stir.

A true artist, Romare’s music moves the mind as much as the feet, its sense of detail married to its mood, melody and passion.

[links] =>

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Facebook
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[image_upload_id] => 20189 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Romare [created] => 2014-03-05 10:29:46 [modified] => 2014-11-04 12:08:00 [slug] => romare [fuga_id] => [description_clean] =>

Ninja Tune is very proud to announce the signing of Romare. One of the most exciting British talents to emerge from the electronic world of late, Romare’s music combines a seriousness of intent with a thrilling immediacy.

The discovery of revered American collagist Romare Bearden whilst at university became a lightning bolt moment, as is revealed by the moniker he chose for himself. More importantly, Bearden’s collages inspired the young musician to pursue a similar technique in his productions, harnessing its power to illuminate and assert through re-contextualisation.

With two vinyl EP releases on the excellent Black Acre label - Meditations on Afrocentrism (2012) and Love Songs: Part One (2013) - fiercely supported by the likes of Benji B, Gilles Peterson, Huw Stephens and BonoboRomare’s music has, rightfully, already caused a stir.

A true artist, Romare’s music moves the mind as much as the feet, its sense of detail married to its mood, melody and passion.

[links_clean] =>

Website
Facebook
Twitter
SoundCloud
YouTube

[counter_player] => [counter_biog] => ) [3] => Array ( [id] => 182 [name] => Machinedrum [description] =>

North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.

His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.

Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.

The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.

His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.

Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.

[links] =>

Website

Facebook
Twitter
Instagram

[image_upload_id] => 18456 [label_id] => 1 [twitter_username] => machine_drum [instagram_id] => 182228626 [instagram_username] => machine_drum [link] => [listed] => 1 [sortname] => Machinedrum [created] => 2013-03-15 14:40:02 [modified] => 2014-02-18 10:36:19 [slug] => machinedrum [fuga_id] => [description_clean] =>

North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.

His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.

Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.

The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.

His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.

Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.

[links_clean] =>

Website

Facebook
Twitter
Instagram

[counter_player] => [counter_biog] => ) [4] => Array ( [id] => 177 [name] => Illum Sphere [description] =>

Restless as a DJ and adventurous in his productions, Illum Sphere (real name Ryan Hunn) is both a key player in the Manchester music scene and a unique presence on the global stage. Deliberately oblique in his approach, he’s had a vital impact on electronic music, and it’s about to get bigger.

Hoya:Hoya, the club night he founded in 2008 along with Jonny Dub, has steadily expanded its reputation in and outside Manchester: they now boast Eclair Fifi, Jon K, Lone, and Krystal Klear as resident DJs, as well as mic skills from Chunky, Fox and visuals by EMN.

That’s a hotbed of talent from which radio stations, festivals and record labels outside Manchester draw. Hoya:Hoya  also brings names like Four Tet, Dabrye, Ikonika and Kuedo to the city, helping to build its reputation as a nightclub singular in style, and simply as one of the best parties in the country. It’s well known that you can’t fully predict what music you’ll get on a Hoya:Hoya night, let alone from one of Illum Sphere’s own DJ sets. He’ll skip effortlessly between hip-hop, psych, techno, boogie and myriad more styles, before you even know what’s happened.

It’s partly through this reach that Illum Sphere has attracted international attention. He’s played parties everywhere from Low End Theory in LA to Sydney, Australia. XL Recordings asked him to remix Radiohead, who then invited Illum to appear on the seminal King of Limbs remixed edition of Boiler Room, alongside Caribou, Jamie XX and Lone, as well as to DJ at the afterparty of Radiohead’s 02 concert.

Besides releases on Manchester’s own Fat City, he’s released music on a plethora of electronic music’s best imprints: Martyn’s label 3024, Pinch’s Tectonic and Young Turks.

Now, he’s found a permanent home in Ninja Tune. As with his boundary skipping DJ sets, Illum Sphere’s releases are marked not by a regulated approach beginning with tempo or genre, but a free-spirited attitude that encompasses a range of genres. With his series of EPs for Fat City, Illum Sphere started out in sci-fi atmospherics and loosely slung beats, before quickly venturing into more exotic grooves. "Titan" (on 3024) achieved a new, bleepy dancefloor leverage while "Dreamstealin" (on Tectonic) is a trip, awash with warped and droned strings, far out rhythms and a soothing boogie comedown.

His Young Turks EP saw Illum Sphere stepping out with a new 4/4 fearlessness. Both tracks are dancefloor to the max: while "h808er" effortlessly sweeps you up into storming  Drexciyan techno and then lifts unexpectedly into breezy psychedelia. "Birthday" is full on bump, coupled with Illum Sphere’s distinct musical humour.

Just as his DJing style fuses the explorative and the unexpected, so do his productions, and with the talent to match his idiosyncratic style, he is now achieving a newfound confidence and artistic distinction.

Photo by Louis Reynolds

[links] =>

Hoya:Hoya

Facebook
Twitter
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SoundCloud

[image_upload_id] => 19057 [label_id] => 1 [twitter_username] => illumsphere [instagram_id] => 45336171 [instagram_username] => illumsphere [link] => [listed] => 1 [sortname] => Illum Sphere [created] => 2012-11-07 11:51:50 [modified] => 2014-02-14 15:01:04 [slug] => illum-sphere [fuga_id] => [description_clean] =>

Restless as a DJ and adventurous in his productions, Illum Sphere (real name Ryan Hunn) is both a key player in the Manchester music scene and a unique presence on the global stage. Deliberately oblique in his approach, he’s had a vital impact on electronic music, and it’s about to get bigger.

Hoya:Hoya, the club night he founded in 2008 along with Jonny Dub, has steadily expanded its reputation in and outside Manchester: they now boast Eclair Fifi, Jon K, Lone, and Krystal Klear as resident DJs, as well as mic skills from Chunky, Fox and visuals by EMN.

That’s a hotbed of talent from which radio stations, festivals and record labels outside Manchester draw. Hoya:Hoya  also brings names like Four Tet, Dabrye, Ikonika and Kuedo to the city, helping to build its reputation as a nightclub singular in style, and simply as one of the best parties in the country. It’s well known that you can’t fully predict what music you’ll get on a Hoya:Hoya night, let alone from one of Illum Sphere’s own DJ sets. He’ll skip effortlessly between hip-hop, psych, techno, boogie and myriad more styles, before you even know what’s happened.

It’s partly through this reach that Illum Sphere has attracted international attention. He’s played parties everywhere from Low End Theory in LA to Sydney, Australia. XL Recordings asked him to remix Radiohead, who then invited Illum to appear on the seminal King of Limbs remixed edition of Boiler Room, alongside Caribou, Jamie XX and Lone, as well as to DJ at the afterparty of Radiohead’s 02 concert.

Besides releases on Manchester’s own Fat City, he’s released music on a plethora of electronic music’s best imprints: Martyn’s label 3024, Pinch’s Tectonic and Young Turks.

Now, he’s found a permanent home in Ninja Tune. As with his boundary skipping DJ sets, Illum Sphere’s releases are marked not by a regulated approach beginning with tempo or genre, but a free-spirited attitude that encompasses a range of genres. With his series of EPs for Fat City, Illum Sphere started out in sci-fi atmospherics and loosely slung beats, before quickly venturing into more exotic grooves. "Titan" (on 3024) achieved a new, bleepy dancefloor leverage while "Dreamstealin" (on Tectonic) is a trip, awash with warped and droned strings, far out rhythms and a soothing boogie comedown.

His Young Turks EP saw Illum Sphere stepping out with a new 4/4 fearlessness. Both tracks are dancefloor to the max: while "h808er" effortlessly sweeps you up into storming  Drexciyan techno and then lifts unexpectedly into breezy psychedelia. "Birthday" is full on bump, coupled with Illum Sphere’s distinct musical humour.

Just as his DJing style fuses the explorative and the unexpected, so do his productions, and with the talent to match his idiosyncratic style, he is now achieving a newfound confidence and artistic distinction.

Photo by Louis Reynolds

[links_clean] =>

Hoya:Hoya

Facebook
Twitter
Instagram
SoundCloud

[counter_player] => [counter_biog] => ) [5] => 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

Facebook
Twitter

[counter_player] => [counter_biog] => ) [6] => Array ( [id] => 154 [name] => FaltyDL [description] =>

Drew Lustman aka FaltyDL was born and grew up in New Haven, Connecticut. These days he lives in Brooklyn, New York. Releasing music for Planet Mu, Ramp, Rush Hour, 50 Weapons, Hemlock, Swamp81, his own Blueberry Records imprint and, of course, Ninja Tune, he has recorded three albums (Love Is A Liability, You Stand Uncertain and Hardcourage) and will share his fourth LP In The Wild on 11th August 2014. He has also toured with James Blake; opened for Radiohead; and remixed for the likes of Seun Kuti, Photek, The xx and Disclosure.

[links] => Tumblr
Facebook
Twitter
Soundcloud
Instagram [image_upload_id] => 19477 [label_id] => 1 [twitter_username] => faltydl [instagram_id] => 8458705 [instagram_username] => faltydl [link] => [listed] => 1 [sortname] => FaltyDL [created] => 2011-09-23 12:05:55 [modified] => 2014-05-23 15:49:49 [slug] => faltydl [fuga_id] => [description_clean] =>

Drew Lustman aka FaltyDL was born and grew up in New Haven, Connecticut. These days he lives in Brooklyn, New York. Releasing music for Planet Mu, Ramp, Rush Hour, 50 Weapons, Hemlock, Swamp81, his own Blueberry Records imprint and, of course, Ninja Tune, he has recorded three albums (Love Is A Liability, You Stand Uncertain and Hardcourage) and will share his fourth LP In The Wild on 11th August 2014. He has also toured with James Blake; opened for Radiohead; and remixed for the likes of Seun Kuti, Photek, The xx and Disclosure.

[links_clean] => Tumblr
Facebook
Twitter
Soundcloud
Instagram [counter_player] => [counter_biog] => ) [7] => Array ( [id] => 74 [name] => The Bug [description] =>

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 too many to list here. Name checked by confirmed fans as diverse as Aphex Twin, Four Tet, Grace Jones, Trent Reznor, Fuck Buttons, Death Grips, Thom Yorke, Daddy G (Massive Attack) and more. 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 originator 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, it 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 capital’s 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.

Post London Zoo, The Bug alternated between live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound. 2012 saw a re-emergence 7" style with his Acid Ragga imprint series. With a Roland TB-303 in hand he found the missing link between classic acid techno and digital dancehall. It was no second coming of acid/summer of love celebration. It was raw digi-grinds with the likes of Daddy Freddy, Warrior Queen, Copeland, and Miss Red up on them.

2013's Filthy EP marked the first rumblings of a new full length record. And now Angels & Devils is upon us (are amongst us). For this album Kevin Martin has both enlisted the familiar and smashed open the idea of what The Bug is. Grouping the results in two different distinct themes of Angels & Devils under the same conceptual banner. Both a year zero of sorts for The Bug, yet drawing on what has been before. Indeed The Bug is the only producer who can bring in the likes of Grouper, Copeland, Miss Red, Gonjasufi, Flowdan, Justin Broadrick (Godflesh/Jesu), Mala, Death Grips, and Warrior Queen and make it seamless. End times need a soundtrack to prep for what's above and below, and this is it.

Watch for post release campaign addendums. The Exit EP (featuring "Void" plus further Grouper material, Manga's wide cut "Function" and Daddy Freddy's "Blaow" with attendent instrumental dubs), and Bug vs. Earth (Dylan Carlson), a 12" release of tracks initially penned for Angels & Devils, but which quality of results quickly dictated was in need of its own release. Plus additional Acid Ragga onslaughts being detonated in quick succession before the Acid Ragga compilation.

[links] => [image_upload_id] => 19551 [label_id] => 1 [twitter_username] => thebugzoo [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2014-06-12 14:53:50 [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 too many to list here. Name checked by confirmed fans as diverse as Aphex Twin, Four Tet, Grace Jones, Trent Reznor, Fuck Buttons, Death Grips, Thom Yorke, Daddy G (Massive Attack) and more. 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 originator 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, it 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 capital’s 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.

Post London Zoo, The Bug alternated between live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound. 2012 saw a re-emergence 7" style with his Acid Ragga imprint series. With a Roland TB-303 in hand he found the missing link between classic acid techno and digital dancehall. It was no second coming of acid/summer of love celebration. It was raw digi-grinds with the likes of Daddy Freddy, Warrior Queen, Copeland, and Miss Red up on them.

2013's Filthy EP marked the first rumblings of a new full length record. And now Angels & Devils is upon us (are amongst us). For this album Kevin Martin has both enlisted the familiar and smashed open the idea of what The Bug is. Grouping the results in two different distinct themes of Angels & Devils under the same conceptual banner. Both a year zero of sorts for The Bug, yet drawing on what has been before. Indeed The Bug is the only producer who can bring in the likes of Grouper, Copeland, Miss Red, Gonjasufi, Flowdan, Justin Broadrick (Godflesh/Jesu), Mala, Death Grips, and Warrior Queen and make it seamless. End times need a soundtrack to prep for what's above and below, and this is it.

Watch for post release campaign addendums. The Exit EP (featuring "Void" plus further Grouper material, Manga's wide cut "Function" and Daddy Freddy's "Blaow" with attendent instrumental dubs), and Bug vs. Earth (Dylan Carlson), a 12" release of tracks initially penned for Angels & Devils, but which quality of results quickly dictated was in need of its own release. Plus additional Acid Ragga onslaughts being detonated in quick succession before the Acid Ragga compilation.

[links_clean] => [counter_player] => [counter_biog] => ) ) ) [3] => Array ( [Event] => Array ( [id] => 13225 [date] => 2014-12-06 [artist] => Submotion Orchestra [city] => Leeds [state] => [country] => GB [venue] => Brudenell [promoter] => [description] => [ticket_url] => https://www.lunatickets.co.uk/event_page.php?eventID=2923 [image_upload_id] => 19739 [created] => 2014-07-24 13:50:41 [modified] => 2014-07-24 15:57:10 [year_slug] => 2014 [month_slug] => dec [day_slug] => 6 [slug] => submotion-orchestra-leeds-brudenell [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 19739 [media_type] => image [artist] => Submotion Orchestra [title] => Submo Tour 2014 [credits] => [buy_link] => [filename] => images/submotion-orchestra/SMO-Tour-2014-web.jpg [checksum] => 8b2e78aedd16afb992d5583d22e0f51d [mime_type] => image/jpeg [size] => 774024 [external_url] => http://media.ninjatune.net/images/submotion-orchestra/SMO-Tour-2014-web.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => submotion-orchestra [slug] => submo-tour-2014 [created] => 2014-07-24 13:41:01 [modified] => 2014-07-24 13:43:23 [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] => 211 [name] => Submotion Orchestra [description] =>

Submotion Orchestra make some of the most interesting and exciting music from the UK today: A kaleidoscope of electronic bass music, entrancing vocals, ambient, jazz and dub that sits somewhere on an axis between Bonobo and London Grammar. Their unique music is at once delicate and heavy, spacious and dense, highly atmospheric but firmly rooted. Earth-shaking bass and drums combine with lush keyboard and trumpet textures to create the perfect backdrop for the fragile beauty of Ruby Wood’s vocals, and the celestial effects of producer Ruckspin.

Formed in Leeds in 2009, the band quickly made a splash on the wider scene. Their live gigs left audiences open-mouthed, and their debut EP on Ranking Records drew a rave reaction from Gilles Peterson. Their now-legendary weekly residency at the tiny Hukaz Bar in Leeds gave fans the unique opportunity to see the band create new material up-close and personal.

Submotion went on to release their first full-length album, Finest Hour. The record became an instant classic, receiving critical acclaim from around the world, and strong support from DJs such as 6Music's Mista Jam and Trevor Nelson, who personally invited the band to record a live Radio 2 session. Sell out tours followed across Europe, and the band were quickly booked for some of Europe’s biggest festivals, including Glastonbury, Bestival, The Big Chill, Pohoda and Outlook.

The band's second album Fragments followed in 2012, receiving heated enthusiasm from fans and critics alike for the variety of its sound. Radio support came from such diverse presenters as Pete Tong, Huey, Lauren Laverne and Don Letts, demonstrating Submotion’s unique cross-genre appeal. Fragments spent a week at number 1 in the iTunes charts, and the supporting tour climaxed with a sold out show at London’s legendary venue KOKO.

Demand for the band had never been greater, as their reputation for staging one of the most exciting shows around grew with each appearance they made. 2013 saw them release the 1968 EP on Circus Records, which saw their champions grow to include I-D, Noisey, and Clash. The band also performed for international fans in France, Poland, Germany, Turkey, Croatia, and the Netherlands, as well as in the UK. Somehow - perhaps inspired by the whirlwind of energy around them – they found time to write their third album.

Alium, is a dazzlingly eclectic record that showcases every aspect of the band’s myriad talents. Thanks to producer Ruckspin's deft touch, it also remains a satisfyingly coherent artist statement. Counter Records leapt at the chance to release it, signing the band in summer 2014.

With a busy summer schedule that will see the band play over a dozen festivals in 7 different countries (including Lovebox, Parklife, Secret Garden Party, Wilderness and Outlook,) before embarking on a full European tour in the Autumn, Alium looks set to cap a triumphant year for the band, as they continue to push the boundaries of what ‘electronica’ can and should be.

[links] =>
submotion.co.uk

Facebook / Twitter / Instagram / SoundCloud / YouTube / Spotify

[image_upload_id] => 20103 [label_id] => 5 [twitter_username] => submotion [instagram_id] => 230405619 [instagram_username] => submotionorchestra [link] => [listed] => 0 [sortname] => Submotion Orchestra [created] => 2014-07-15 10:46:29 [modified] => 2014-10-08 21:08:49 [slug] => submotion-orchestra [fuga_id] => [description_clean] =>

Submotion Orchestra make some of the most interesting and exciting music from the UK today: A kaleidoscope of electronic bass music, entrancing vocals, ambient, jazz and dub that sits somewhere on an axis between Bonobo and London Grammar. Their unique music is at once delicate and heavy, spacious and dense, highly atmospheric but firmly rooted. Earth-shaking bass and drums combine with lush keyboard and trumpet textures to create the perfect backdrop for the fragile beauty of Ruby Wood’s vocals, and the celestial effects of producer Ruckspin.

Formed in Leeds in 2009, the band quickly made a splash on the wider scene. Their live gigs left audiences open-mouthed, and their debut EP on Ranking Records drew a rave reaction from Gilles Peterson. Their now-legendary weekly residency at the tiny Hukaz Bar in Leeds gave fans the unique opportunity to see the band create new material up-close and personal.

Submotion went on to release their first full-length album, Finest Hour. The record became an instant classic, receiving critical acclaim from around the world, and strong support from DJs such as 6Music's Mista Jam and Trevor Nelson, who personally invited the band to record a live Radio 2 session. Sell out tours followed across Europe, and the band were quickly booked for some of Europe’s biggest festivals, including Glastonbury, Bestival, The Big Chill, Pohoda and Outlook.

The band's second album Fragments followed in 2012, receiving heated enthusiasm from fans and critics alike for the variety of its sound. Radio support came from such diverse presenters as Pete Tong, Huey, Lauren Laverne and Don Letts, demonstrating Submotion’s unique cross-genre appeal. Fragments spent a week at number 1 in the iTunes charts, and the supporting tour climaxed with a sold out show at London’s legendary venue KOKO.

Demand for the band had never been greater, as their reputation for staging one of the most exciting shows around grew with each appearance they made. 2013 saw them release the 1968 EP on Circus Records, which saw their champions grow to include I-D, Noisey, and Clash. The band also performed for international fans in France, Poland, Germany, Turkey, Croatia, and the Netherlands, as well as in the UK. Somehow - perhaps inspired by the whirlwind of energy around them – they found time to write their third album.

Alium, is a dazzlingly eclectic record that showcases every aspect of the band’s myriad talents. Thanks to producer Ruckspin's deft touch, it also remains a satisfyingly coherent artist statement. Counter Records leapt at the chance to release it, signing the band in summer 2014.

With a busy summer schedule that will see the band play over a dozen festivals in 7 different countries (including Lovebox, Parklife, Secret Garden Party, Wilderness and Outlook,) before embarking on a full European tour in the Autumn, Alium looks set to cap a triumphant year for the band, as they continue to push the boundaries of what ‘electronica’ can and should be.

[links_clean] =>
submotion.co.uk

Facebook / Twitter / Instagram / SoundCloud / YouTube / Spotify

[counter_player] => [counter_biog] => Submotion Orchestra are one of the most interesting and exciting projects working in the UK today. Drawing upon electronica, soul, ambient electronica, jazz and dub, their unique music is at once delicate and heavy, spacious and dense, highly atmospheric but firmly rooted. Earth-shaking bass and drums combine with lush keyboard and trumpet textures to create the perfect bed for the fragile beauty of Ruby Wood’s vocals, and the celestial effects of producer Ruckspin. Demand for the band has never been greater as their reputation for staging one of the most exciting shows around grows with each appearance they make. 2013 looks to be their busiest year to date, with the band travelling to France, Poland, Russia, Turkey, Croatia, the Netherlands, the UK, Belgium and Ukraine, as well as working on their third album, which promises to show them continuing to push the boundaries and pre-conceptions of electronic music. ) ) ) [4] => Array ( [Event] => Array ( [id] => 13302 [date] => 2014-12-06 [artist] => Mr. Scruff [city] => Manchester [state] => [country] => GB [venue] => Band on The Wall [promoter] => [description] => [ticket_url] => http://www.bandonthewall.org [image_upload_id] => 4258 [created] => 2014-08-13 16:15:40 [modified] => 2014-08-13 16:15:40 [year_slug] => 2014 [month_slug] => dec [day_slug] => 6 [slug] => mr-scruff-manchester-band-on-the-wall-38 [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 4258 [media_type] => image [artist] => Mr. Scruff [title] => Mr Scruff - Promo Shot - Jul 2010 [credits] => [buy_link] => [filename] => images/mr-scruff/IMG-1475t.jpg [checksum] => b13eaf311c76808c1e30ca7cdd949857 [mime_type] => image/jpeg [size] => 4651812 [external_url] => http://media.ninjatune.net/images/mr-scruff/IMG-1475t.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => mr-scruff [slug] => mr-scruff-promo-shot-jul-2010 [created] => 2010-11-24 04:22:40 [modified] => 2010-11-24 04:22:40 [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] => 40 [name] => Mr. Scruff [description] =>

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

[counter_player] => [counter_biog] => ) ) ) [5] => Array ( [Event] => Array ( [id] => 13443 [date] => 2014-12-06 [artist] => Portico [city] => Athens [state] => [country] => GR [venue] => Gazarte [promoter] => [description] => [ticket_url] => http://www.gazarte.gr/ [image_upload_id] => 20177 [created] => 2014-09-23 15:46:52 [modified] => 2014-10-22 15:17:14 [year_slug] => 2014 [month_slug] => dec [day_slug] => 6 [slug] => portico-athens-gazarte [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20177 [media_type] => image [artist] => Portico [title] => EU Tour Flyer 2014 [credits] => [buy_link] => [filename] => images/portico/EURO-TOUR-DRAFT3.jpg [checksum] => 3e9c924bb0443376365608e9c3d3efb4 [mime_type] => image/jpeg [size] => 4973129 [external_url] => http://media.ninjatune.net/images/portico/EURO-TOUR-DRAFT3.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => portico [slug] => eu-tour-flyer-2014 [created] => 2014-10-21 15:53:51 [modified] => 2014-10-21 15:57:07 [embed] => ) [Country] => Array ( [id] => 215 [name] => Greece [longname] => Greece [numcode] => 300 [iso] => GR [iso3] => GRC [currency] => EUR [active] => 1 [parent_id] => 209 [lft] => 427 [rght] => 428 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 213 [name] => Portico [description] =>

Newly re-configured as a three piece, Portico (Duncan Bellamy, Milo Fitzpatrick and Jack Wyllie) are delighted to unveil a brand new song from their forthcoming album - listen now and view tour dates at porticomusic.co.uk.

Bordering on the hallucinatory, their hypnotic music moves forwards towards distant places, arriving somewhere between structured pop songs and a disintegrating ambience. Living Fields is the perfect introduction. The band is also thrilled to announce that they’ve signed to Ninja Tune. Currently in the studio putting the finishing touches to the full length, with collaborators Jamie Woon, Jono McCleery and Joe Newman (Alt-J) the band said: “We’re really pleased that we've signed to Ninja Tune, they have such a rich history of releasing innovative exciting music and so we feel at home here already. Can't wait to share this new music with you all.” 

Portico are on tour this autumn, and their new album will be released in March 2015.

[links] =>

porticomusic.co.uk
Facebook
Twitter
Instagram
SoundCloud

[image_upload_id] => 20305 [label_id] => 1 [twitter_username] => porticomusic [instagram_id] => 1308320561 [instagram_username] => porticomusic [link] => [listed] => 1 [sortname] => Portico [created] => 2014-09-23 15:38:15 [modified] => 2014-11-24 16:12:24 [slug] => portico [fuga_id] => [description_clean] =>

Newly re-configured as a three piece, Portico (Duncan Bellamy, Milo Fitzpatrick and Jack Wyllie) are delighted to unveil a brand new song from their forthcoming album - listen now and view tour dates at porticomusic.co.uk.

Bordering on the hallucinatory, their hypnotic music moves forwards towards distant places, arriving somewhere between structured pop songs and a disintegrating ambience. Living Fields is the perfect introduction. The band is also thrilled to announce that they’ve signed to Ninja Tune. Currently in the studio putting the finishing touches to the full length, with collaborators Jamie Woon, Jono McCleery and Joe Newman (Alt-J) the band said: “We’re really pleased that we've signed to Ninja Tune, they have such a rich history of releasing innovative exciting music and so we feel at home here already. Can't wait to share this new music with you all.” 

Portico are on tour this autumn, and their new album will be released in March 2015.

[links_clean] =>

porticomusic.co.uk
Facebook
Twitter
Instagram
SoundCloud

[counter_player] => [counter_biog] => ) ) ) [6] => Array ( [Event] => Array ( [id] => 13596 [date] => 2014-12-07 [artist] => Martyn [city] => Berlin [state] => [country] => GB [venue] => Panoramabar [promoter] => [description] => [ticket_url] => [image_upload_id] => 19301 [created] => 2014-11-18 10:04:32 [modified] => 2014-11-18 10:04:32 [year_slug] => 2014 [month_slug] => dec [day_slug] => 7 [slug] => martyn-berlin-panoramabar-2 [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 19301 [media_type] => image [artist] => Martyn [title] => Martyn Press Shot 2014 [credits] => [buy_link] => [filename] => images/martyn/Martyn-Press-shot-2014-430PX.jpg [checksum] => b04ddc3b88db556261072ba0dae88e81 [mime_type] => image/jpeg [size] => 88970 [external_url] => http://media.ninjatune.net/images/martyn/Martyn-Press-shot-2014-430PX.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => martyn [slug] => martyn-press-shot-2014 [created] => 2014-04-11 14:49:41 [modified] => 2014-04-11 14:51:19 [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] => 152 [name] => Martyn [description] =>

Three years after his last album – Ghost PeopleMartyn joins the Ninja Tune family to present his third long player. Universally respected for his ever-evolving, but inimitable sound, the Dutch-born, Washington DC-based producer brings an entirely new sonic direction with The Air Between Words. This is an exploration of the essence of all of Martyn’s music: a rugged four-to-the-floor groove, intelligently sculpted and artfully composed.

Where Great Lengths - his 2009 debut - was a body of work that explored Martyn’s uncategorizable versatility, and 2011’s Ghost People (via Brainfeeder) was a focused effort on writing an album with a specific sound, The Air Between Words came from a different realm altogether. Martyn had no parameters, and in fact no plan at all. He fell into a back-to-basics mentality where simple experimentation with purely analogue sounds and equipment inadvertently turned to melodic sketches, and without warning the album revealed itself.

“Every album signifies a period in your life, and finishing one shows you something about yourself,” says Martyn about the experience. “Without the music being introspective, this is my most natural sounding album.”

The Air Between Words opens coyly with the panoramic sonics of "Forgiveness Step 1" - a beatless but nonetheless authoritative statement of intent - before pitching headlong into pure dancefloor territory. Lean, raw, powerful productions predominate - gloriously brash, occasionally beautiful, but always vigorously hypnotic, sensitively swung and utterly irresistible.

Martyn joins forces with Kieran Hebden aka Four Tet for "Glassbeadgames", a powerhouse of a track that finds the perfect amalgamation of both producers’ fortés. Heavy kicks, UKG-esque percussion and swirling subs dictate the groove, whilst the melodic progressions are simultaneously melancholic and anthemic, and further enhanced by a Hebden trademark thumb piano motif.

Another collaboration - "Love of Pleasure" - finds Martyn partnering with his good friend copeland (formerly known as Inga Copeland, or one half of art pop duo Hype Williams). Her fragile vocal cuts through distorted piano riffs and swathes of broken synths, a fitting centerpiece for the album before it returns to its essence via "Forgiveness Step 2", "Like That" and "Two Leads and a Computer", which distinctly draw from a 90s Warp heritage (Sweet Exorcist, LFO and Autechre) but bizarrely sound like they’ve been beamed from the future. After the Afro-tinged elegance of "Lullaby", the final piece word belongs to "Fashion Skater": a dark, earthy, almost Zen-like exercise in house music in its purest form.

Stylistically and sonically, Martyn stands apart from his counterparts. His music incorporates vintage references but is steadfastly forward-facing at the same time. He’s always done that. His sound is heritage and future - and that character has elevated him alongside fellow electronic heavyweights such as Four Tet, Kode9, dBridge and Mark Pritchard.

[links] =>

Website
Facebook
Twitter
Soundcloud

[image_upload_id] => 19301 [label_id] => 1 [twitter_username] => MARTYN3024 [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Martyn [created] => 2011-06-29 15:37:25 [modified] => 2014-04-11 14:50:12 [slug] => martyn [fuga_id] => [description_clean] =>

Three years after his last album – Ghost PeopleMartyn joins the Ninja Tune family to present his third long player. Universally respected for his ever-evolving, but inimitable sound, the Dutch-born, Washington DC-based producer brings an entirely new sonic direction with The Air Between Words. This is an exploration of the essence of all of Martyn’s music: a rugged four-to-the-floor groove, intelligently sculpted and artfully composed.

Where Great Lengths - his 2009 debut - was a body of work that explored Martyn’s uncategorizable versatility, and 2011’s Ghost People (via Brainfeeder) was a focused effort on writing an album with a specific sound, The Air Between Words came from a different realm altogether. Martyn had no parameters, and in fact no plan at all. He fell into a back-to-basics mentality where simple experimentation with purely analogue sounds and equipment inadvertently turned to melodic sketches, and without warning the album revealed itself.

“Every album signifies a period in your life, and finishing one shows you something about yourself,” says Martyn about the experience. “Without the music being introspective, this is my most natural sounding album.”

The Air Between Words opens coyly with the panoramic sonics of "Forgiveness Step 1" - a beatless but nonetheless authoritative statement of intent - before pitching headlong into pure dancefloor territory. Lean, raw, powerful productions predominate - gloriously brash, occasionally beautiful, but always vigorously hypnotic, sensitively swung and utterly irresistible.

Martyn joins forces with Kieran Hebden aka Four Tet for "Glassbeadgames", a powerhouse of a track that finds the perfect amalgamation of both producers’ fortés. Heavy kicks, UKG-esque percussion and swirling subs dictate the groove, whilst the melodic progressions are simultaneously melancholic and anthemic, and further enhanced by a Hebden trademark thumb piano motif.

Another collaboration - "Love of Pleasure" - finds Martyn partnering with his good friend copeland (formerly known as Inga Copeland, or one half of art pop duo Hype Williams). Her fragile vocal cuts through distorted piano riffs and swathes of broken synths, a fitting centerpiece for the album before it returns to its essence via "Forgiveness Step 2", "Like That" and "Two Leads and a Computer", which distinctly draw from a 90s Warp heritage (Sweet Exorcist, LFO and Autechre) but bizarrely sound like they’ve been beamed from the future. After the Afro-tinged elegance of "Lullaby", the final piece word belongs to "Fashion Skater": a dark, earthy, almost Zen-like exercise in house music in its purest form.

Stylistically and sonically, Martyn stands apart from his counterparts. His music incorporates vintage references but is steadfastly forward-facing at the same time. He’s always done that. His sound is heritage and future - and that character has elevated him alongside fellow electronic heavyweights such as Four Tet, Kode9, dBridge and Mark Pritchard.

[links_clean] =>

Website
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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North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.

His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.

Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.

The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.

His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.

Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.

[links] =>

Website

Facebook
Twitter
Instagram

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North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.

His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.

Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.

The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.

His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.

Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.

[links_clean] =>

Website

Facebook
Twitter
Instagram

[counter_player] => [counter_biog] => ) ) ) [9] => Array ( [Event] => Array ( [id] => 13538 [date] => 2014-12-11 [artist] => Jaga Jazzist [city] => Oslo [state] => [country] => NO [venue] => Parkteatret [promoter] => [description] => [ticket_url] => http://parkteatret.no/concert/jaga-jazzist-2/ [image_upload_id] => 18482 [created] => 2014-10-21 22:56:49 [modified] => 2014-10-21 22:56:49 [year_slug] => 2014 [month_slug] => dec [day_slug] => 11 [slug] => jaga-jazzist-oslo-parkteatret [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 18482 [media_type] => image [artist] => Jaga Jazzist [title] => Press Shot 2013 [credits] => [buy_link] => [filename] => images/jaga-jazzist/PhotobyBardSogge.jpg [checksum] => 5290e07799e8529f1fbbe5430485c3f3 [mime_type] => image/jpeg [size] => 2868854 [external_url] => http://media.ninjatune.net/images/jaga-jazzist/PhotobyBardSogge.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => jaga-jazzist [slug] => press-shot-2013-5 [created] => 2013-09-11 10:42:43 [modified] => 2013-09-11 10:43:39 [embed] => ) [Country] => Array ( [id] => 205 [name] => Norway [longname] => Norway [numcode] => 578 [iso] => NO [iso3] => NOR [currency] => NOK [active] => 1 [parent_id] => 191 [lft] => 407 [rght] => 408 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 15 [name] => Jaga Jazzist [description] =>

Jaga Jazzist have become something of a musical phenomenon in Norway since they started 19 years ago. Not only is this 9 piece instrumental band regarded as one of the most exciting and innovative in Norway, the members are all involved in other musical projects and have in one way or another contributed to almost every significant recording to come out of that part of the world in the last few years. It has been this strong involvement with different projects and musical styles which is the key to the unique sound of Jaga Jazzist. With no boundaries and an arsenal that includes trumpet, trombone, electric guitars, bass, tuba, bass clarinet, saxes, keyboards, vibraphone and a rack of electronics, Jaga Jazzist create timeless music; melodic, hypnotizing, delicate and subtle.

Jaga Jazzist started out in Tonsberg (a small town outside Oslo) in 1994 at which time Lars Horntveth (the main songwriter in Jaga) was only 14 years old! In 2001 they released their debut album 'A Livingroom Hush' on Warner in Scandinavia to massive critical acclaim and great sales (the album sold over 15000 copies in Norway alone...) Throughout 2002 the band shocked fans and critics alike with their blistering live shows, the buzz resulting in sold out dates all over Europe and bringing the band to the attention of Ninja Tune.

At the same time that their debut album was gaining more and more international success, Jaga recorded the follow up titled 'The Stix', their first release for Ninja. As with their first album it was produced by Norwegian superproducer Jørgen Træen, the man behind Duper Studios in Bergen (home of Røyksopp, Kings of Convenience, Sondre Lerche et al), but this time Jaga wanted to push their musical limits even further and really create a sound they could genuinely call 'Jaga Jazzist'. It was the perfect balance between (hu)man and machine, and it never lost the organic nature of a live 10 piece band.

After heavy touring next came their most radical album, 'What We Must', the result of the band going into an isolated studio out in the Norwegian woods and recording the demo now known as the 'Spydeberg Session'. Put down in one take in one day, it was a breakthrough moment for the group, a sound that was closer to their live sound than ever before. It was their rock album, but Jaga's own kaleidoscopic take on a rock album; rolling from early 90s British shoegazer guitar pop to 70s prog rock, all shot through with Jaga's own unique logic.

And now this takes us to their 6th album, "One Armed Bandit", released in January 2010. Lars Horntveth began writing the music in early 2008; alongside two new band members, Øystein Moen-keys and Stian Westerhus-Guitar, Jaga rented a house in the Swedish forest to rehearse new material. It could be said that this material was a reaction to their previous release, as whilst it does include the rock stylings of 'What We Must' and the electronics of 'The Stix', it is still very much looking forward with a new sound. The breakthrough moment was the track "One Armed Bandit", the first single title track from the album. Taking influence from the afro-beat stylings of Fela Kuti but funneled through Wagner-esque fanfares and arpeggios, this sound became a theme of the album.

In December 2008 the band went to Cabin Recorders to record the album with Jørgen Træen, a man who had been a big factor in forming Jaga´s music since 'A Livingroom Hush' and 'The Stix'. Unfortunately, after 3 weeks Træen got tinnitus, leading Jaga to quickly think about John McEntire, of Tortoise fame. He was enthusiastic about working with the band and in April 2009, 3 members of the band went to Soma Studio in Chicago to mix the album.

At heart of this collective is a restless soul, going in many directions at the same time, but always going forward - fast. The band are always pushing their boundaries, both personal and musical, and this is why they are impossible to categorize. And why they're special. Jaga is something natural and beautiful; a necessity. For both them and us.

[links] =>

www.jagajazzist.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 3994 [label_id] => 1 [twitter_username] => jagajazzist [instagram_id] => 344621722 [instagram_username] => jagajazzistofficial [link] => [listed] => 1 [sortname] => Jaga Jazzist [created] => 2010-07-17 22:15:58 [modified] => 2013-10-28 10:24:55 [slug] => jaga-jazzist [fuga_id] => [description_clean] =>

Jaga Jazzist have become something of a musical phenomenon in Norway since they started 19 years ago. Not only is this 9 piece instrumental band regarded as one of the most exciting and innovative in Norway, the members are all involved in other musical projects and have in one way or another contributed to almost every significant recording to come out of that part of the world in the last few years. It has been this strong involvement with different projects and musical styles which is the key to the unique sound of Jaga Jazzist. With no boundaries and an arsenal that includes trumpet, trombone, electric guitars, bass, tuba, bass clarinet, saxes, keyboards, vibraphone and a rack of electronics, Jaga Jazzist create timeless music; melodic, hypnotizing, delicate and subtle.

Jaga Jazzist started out in Tonsberg (a small town outside Oslo) in 1994 at which time Lars Horntveth (the main songwriter in Jaga) was only 14 years old! In 2001 they released their debut album 'A Livingroom Hush' on Warner in Scandinavia to massive critical acclaim and great sales (the album sold over 15000 copies in Norway alone...) Throughout 2002 the band shocked fans and critics alike with their blistering live shows, the buzz resulting in sold out dates all over Europe and bringing the band to the attention of Ninja Tune.

At the same time that their debut album was gaining more and more international success, Jaga recorded the follow up titled 'The Stix', their first release for Ninja. As with their first album it was produced by Norwegian superproducer Jørgen Træen, the man behind Duper Studios in Bergen (home of Røyksopp, Kings of Convenience, Sondre Lerche et al), but this time Jaga wanted to push their musical limits even further and really create a sound they could genuinely call 'Jaga Jazzist'. It was the perfect balance between (hu)man and machine, and it never lost the organic nature of a live 10 piece band.

After heavy touring next came their most radical album, 'What We Must', the result of the band going into an isolated studio out in the Norwegian woods and recording the demo now known as the 'Spydeberg Session'. Put down in one take in one day, it was a breakthrough moment for the group, a sound that was closer to their live sound than ever before. It was their rock album, but Jaga's own kaleidoscopic take on a rock album; rolling from early 90s British shoegazer guitar pop to 70s prog rock, all shot through with Jaga's own unique logic.

And now this takes us to their 6th album, "One Armed Bandit", released in January 2010. Lars Horntveth began writing the music in early 2008; alongside two new band members, Øystein Moen-keys and Stian Westerhus-Guitar, Jaga rented a house in the Swedish forest to rehearse new material. It could be said that this material was a reaction to their previous release, as whilst it does include the rock stylings of 'What We Must' and the electronics of 'The Stix', it is still very much looking forward with a new sound. The breakthrough moment was the track "One Armed Bandit", the first single title track from the album. Taking influence from the afro-beat stylings of Fela Kuti but funneled through Wagner-esque fanfares and arpeggios, this sound became a theme of the album.

In December 2008 the band went to Cabin Recorders to record the album with Jørgen Træen, a man who had been a big factor in forming Jaga´s music since 'A Livingroom Hush' and 'The Stix'. Unfortunately, after 3 weeks Træen got tinnitus, leading Jaga to quickly think about John McEntire, of Tortoise fame. He was enthusiastic about working with the band and in April 2009, 3 members of the band went to Soma Studio in Chicago to mix the album.

At heart of this collective is a restless soul, going in many directions at the same time, but always going forward - fast. The band are always pushing their boundaries, both personal and musical, and this is why they are impossible to categorize. And why they're special. Jaga is something natural and beautiful; a necessity. For both them and us.

[links_clean] =>

www.jagajazzist.com

Facebook
Twitter
Soundcloud

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There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

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[image_upload_id] => 19652 [label_id] => 1 [twitter_username] => dorianconcept [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Dorian Concept [created] => 2010-11-24 11:23:09 [modified] => 2014-07-03 16:52:53 [slug] => dorian-concept [fuga_id] => [description_clean] =>

There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

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Jaga Jazzist have become something of a musical phenomenon in Norway since they started 19 years ago. Not only is this 9 piece instrumental band regarded as one of the most exciting and innovative in Norway, the members are all involved in other musical projects and have in one way or another contributed to almost every significant recording to come out of that part of the world in the last few years. It has been this strong involvement with different projects and musical styles which is the key to the unique sound of Jaga Jazzist. With no boundaries and an arsenal that includes trumpet, trombone, electric guitars, bass, tuba, bass clarinet, saxes, keyboards, vibraphone and a rack of electronics, Jaga Jazzist create timeless music; melodic, hypnotizing, delicate and subtle.

Jaga Jazzist started out in Tonsberg (a small town outside Oslo) in 1994 at which time Lars Horntveth (the main songwriter in Jaga) was only 14 years old! In 2001 they released their debut album 'A Livingroom Hush' on Warner in Scandinavia to massive critical acclaim and great sales (the album sold over 15000 copies in Norway alone...) Throughout 2002 the band shocked fans and critics alike with their blistering live shows, the buzz resulting in sold out dates all over Europe and bringing the band to the attention of Ninja Tune.

At the same time that their debut album was gaining more and more international success, Jaga recorded the follow up titled 'The Stix', their first release for Ninja. As with their first album it was produced by Norwegian superproducer Jørgen Træen, the man behind Duper Studios in Bergen (home of Røyksopp, Kings of Convenience, Sondre Lerche et al), but this time Jaga wanted to push their musical limits even further and really create a sound they could genuinely call 'Jaga Jazzist'. It was the perfect balance between (hu)man and machine, and it never lost the organic nature of a live 10 piece band.

After heavy touring next came their most radical album, 'What We Must', the result of the band going into an isolated studio out in the Norwegian woods and recording the demo now known as the 'Spydeberg Session'. Put down in one take in one day, it was a breakthrough moment for the group, a sound that was closer to their live sound than ever before. It was their rock album, but Jaga's own kaleidoscopic take on a rock album; rolling from early 90s British shoegazer guitar pop to 70s prog rock, all shot through with Jaga's own unique logic.

And now this takes us to their 6th album, "One Armed Bandit", released in January 2010. Lars Horntveth began writing the music in early 2008; alongside two new band members, Øystein Moen-keys and Stian Westerhus-Guitar, Jaga rented a house in the Swedish forest to rehearse new material. It could be said that this material was a reaction to their previous release, as whilst it does include the rock stylings of 'What We Must' and the electronics of 'The Stix', it is still very much looking forward with a new sound. The breakthrough moment was the track "One Armed Bandit", the first single title track from the album. Taking influence from the afro-beat stylings of Fela Kuti but funneled through Wagner-esque fanfares and arpeggios, this sound became a theme of the album.

In December 2008 the band went to Cabin Recorders to record the album with Jørgen Træen, a man who had been a big factor in forming Jaga´s music since 'A Livingroom Hush' and 'The Stix'. Unfortunately, after 3 weeks Træen got tinnitus, leading Jaga to quickly think about John McEntire, of Tortoise fame. He was enthusiastic about working with the band and in April 2009, 3 members of the band went to Soma Studio in Chicago to mix the album.

At heart of this collective is a restless soul, going in many directions at the same time, but always going forward - fast. The band are always pushing their boundaries, both personal and musical, and this is why they are impossible to categorize. And why they're special. Jaga is something natural and beautiful; a necessity. For both them and us.

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[image_upload_id] => 3994 [label_id] => 1 [twitter_username] => jagajazzist [instagram_id] => 344621722 [instagram_username] => jagajazzistofficial [link] => [listed] => 1 [sortname] => Jaga Jazzist [created] => 2010-07-17 22:15:58 [modified] => 2013-10-28 10:24:55 [slug] => jaga-jazzist [fuga_id] => [description_clean] =>

Jaga Jazzist have become something of a musical phenomenon in Norway since they started 19 years ago. Not only is this 9 piece instrumental band regarded as one of the most exciting and innovative in Norway, the members are all involved in other musical projects and have in one way or another contributed to almost every significant recording to come out of that part of the world in the last few years. It has been this strong involvement with different projects and musical styles which is the key to the unique sound of Jaga Jazzist. With no boundaries and an arsenal that includes trumpet, trombone, electric guitars, bass, tuba, bass clarinet, saxes, keyboards, vibraphone and a rack of electronics, Jaga Jazzist create timeless music; melodic, hypnotizing, delicate and subtle.

Jaga Jazzist started out in Tonsberg (a small town outside Oslo) in 1994 at which time Lars Horntveth (the main songwriter in Jaga) was only 14 years old! In 2001 they released their debut album 'A Livingroom Hush' on Warner in Scandinavia to massive critical acclaim and great sales (the album sold over 15000 copies in Norway alone...) Throughout 2002 the band shocked fans and critics alike with their blistering live shows, the buzz resulting in sold out dates all over Europe and bringing the band to the attention of Ninja Tune.

At the same time that their debut album was gaining more and more international success, Jaga recorded the follow up titled 'The Stix', their first release for Ninja. As with their first album it was produced by Norwegian superproducer Jørgen Træen, the man behind Duper Studios in Bergen (home of Røyksopp, Kings of Convenience, Sondre Lerche et al), but this time Jaga wanted to push their musical limits even further and really create a sound they could genuinely call 'Jaga Jazzist'. It was the perfect balance between (hu)man and machine, and it never lost the organic nature of a live 10 piece band.

After heavy touring next came their most radical album, 'What We Must', the result of the band going into an isolated studio out in the Norwegian woods and recording the demo now known as the 'Spydeberg Session'. Put down in one take in one day, it was a breakthrough moment for the group, a sound that was closer to their live sound than ever before. It was their rock album, but Jaga's own kaleidoscopic take on a rock album; rolling from early 90s British shoegazer guitar pop to 70s prog rock, all shot through with Jaga's own unique logic.

And now this takes us to their 6th album, "One Armed Bandit", released in January 2010. Lars Horntveth began writing the music in early 2008; alongside two new band members, Øystein Moen-keys and Stian Westerhus-Guitar, Jaga rented a house in the Swedish forest to rehearse new material. It could be said that this material was a reaction to their previous release, as whilst it does include the rock stylings of 'What We Must' and the electronics of 'The Stix', it is still very much looking forward with a new sound. The breakthrough moment was the track "One Armed Bandit", the first single title track from the album. Taking influence from the afro-beat stylings of Fela Kuti but funneled through Wagner-esque fanfares and arpeggios, this sound became a theme of the album.

In December 2008 the band went to Cabin Recorders to record the album with Jørgen Træen, a man who had been a big factor in forming Jaga´s music since 'A Livingroom Hush' and 'The Stix'. Unfortunately, after 3 weeks Træen got tinnitus, leading Jaga to quickly think about John McEntire, of Tortoise fame. He was enthusiastic about working with the band and in April 2009, 3 members of the band went to Soma Studio in Chicago to mix the album.

At heart of this collective is a restless soul, going in many directions at the same time, but always going forward - fast. The band are always pushing their boundaries, both personal and musical, and this is why they are impossible to categorize. And why they're special. Jaga is something natural and beautiful; a necessity. For both them and us.

[links_clean] =>

www.jagajazzist.com

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There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

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[image_upload_id] => 19652 [label_id] => 1 [twitter_username] => dorianconcept [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Dorian Concept [created] => 2010-11-24 11:23:09 [modified] => 2014-07-03 16:52:53 [slug] => dorian-concept [fuga_id] => [description_clean] =>

There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

[links_clean] =>

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North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.

His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.

Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.

The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.

His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.

Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.

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North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.

His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.

Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.

The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.

His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.

Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.

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There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

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There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

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North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.

His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.

Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.

The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.

His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.

Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.

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North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.

His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.

Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.

The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.

His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.

Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.

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Richard Kylea Cowie (born 19 January 1979), better known by his stage name Wiley, is perhaps the most prolific British producer, rapper and recording artist to emerge in the last twenty years. He has made pioneering music in the fields of jungle, drum & bass and UK garage, but is best known as the originator and Godfather of Grime, the uniquely British take on rap music which roared out of east London in the early noughties. Since then he has straddled the mainstream and the underground, irritated and amazed people in equal measure and carved out a unique career path which he has more or less had to make up as he has  gone along.

Wiley's earliest recordings date back to 1997, when he featured on pirate radio rapping over jungle beats. In 2000, Wiley joined with "The Hit Squad" garage crew with school friends DJ Target and MC Maxwell D. They achieved some success on the UKG scene but then decided to combine with rival crew Pay As U Go to become a "super crew," containing the Ladies Hit Squad members plus DJ Slimzee and MC's Major Ace and Plague. God's Gift, Flow Dan and Riko joined soon after. In 2002 the collective achieved a top 40 hit with "Champagne Dance"

Soon after, the crew disintegrated due to individual members having differing ideas of the direction the crew should take. Wiley went on to form the Roll Deep collective, which included Dizzee Rascal and Tinchy Stryder as MCs. Wiley’s vision saw him stripping the generic melodies and sickly harmonies out of garage music and developing the drums and basslines. For a while there was no name for the genre he did more than anyone to create, but eventually the label "grime" was the one that stuck.  From 2001, Wiley produced a slew of instrumental singles on his WileyKat Record label, the best known being "Eskimo", "Avalanche" and "Ice Rink". The underground notoriety he achieved led to his being offered a recording deal with the legendary XL Recordings.

In 2004, Wiley released his debut album, 'Treddin' on Thin Ice' with his new label. Singles from the album included, "Wot Do U Call It?" which mocked the various names given to his music, and "Pies”, which showed his humorous side. Reviews such as in Pitchfork Media made comparisons between Wiley and his previous labelmate Dizzee Rascal, who had achieved success with Boy in Da Corner the previous year. Alexis Petridis of The Guardian noted the "comically polarised" fanbase Wiley had accrued; "At one extreme, its sonic experimentation has attracted the kind of people who run music blogs... [where] lengthy essays are posted on issues as the differentiation between Humean and Kantian views of motivation in the lyrics of Bonnie Prince Billy. At the other extreme, it is favoured by inner city teens who appear to communicate entirely in an impenetrable mix of street slang and patois."

During this period, Wiley occasionally referred to his music as "Eski", short for 'Eskibeat' – the name he initially gave to grime. He also released mixtapes under the name "Eskiboy". He explained his choice of name for his music and the continuing theme in his song and album titles such as 'Treddin' on Thin Ice', partly because he likes the wintertime, but mainly meaning cold in spirit. "Sometimes I just feel cold hearted. I felt cold at that time, towards my family, towards everyone. That's why I used those names.”

Many of Wiley's early vinyl releases, such as 'Eskimo', were released under the alias "Wiley Kat", this name was derived from a character in the cartoon Thundercats. However, the 'Kat' is never officially used by Wiley anymore, only being mentioned loosely in some of his songs.

In 2006, Wiley released his second album 'Da 2nd Phaze' on the Boy Better Know label. The album consists of 20 tracks that had been put together by Wiley from the past three years of work, including exclusive bonus tracks from God’s Gift, Alex Mills and More Fire Crew, the latter signaling the end of the Wiley-Lethal Bizzle feud.

This was followed in by Wiley's third album, 'Playtime is Over'  on Big Dada Records, which combined artistic control for Wiley with a full scale release on a recognised label. Wiley was thrilled at the opportunity to be allowed to make a grime record as he saw it, and he formed a relationship with the label that outlasted any other he’s had in the industry.

In May 2008, Wiley found mainstream chart success with the hit single, "Wearing My Rolex". The instrumentation (such as the slower, house style beat and lack of sub bass) caused some unrest within the Grime scene, as Wiley had publicly vowed that he would never leave grime music to break into the mainstream. In the same month, Wiley released his fourth album entitled Grime Wave, which was described by The Times as a "very pre-Rolex album. With its roots firmly based in the harsh, bass-heavy rhythms of the scene".  

This album was followed by See Clear Now, in October 2008 which included the mainstream hits "Wearing My Rolex", "Cash In My Pocket" and "Summertime". This album took Wiley in a mainstream direction. Despite its success, Wiley has disowned the album as he was "very angry" with the label, Asylum, about the production and also unhappy about his management at the time.

Now on his own label, Wiley went on to make another album, Race Against Time. This was released eight months after his previous album in June 2009, on Eskibeat Recordings and again he had much more creative control, if little time and few resources to organise the release effectively. The album includes the 2009 hit "Too Many Man", featuring Boy Better Know.

In 2010 Wiley released 11 Zip Files for free download on his Twitter page, containing over 200 tracks of old and unreleased music, including tracks from the forthcoming album 'The Elusive'. The following year, Wiley announced his return to the Big Dada label, and the release of '100% Publishing' . The album is perhaps best remembered for “Numbers In Action” and its innovative video, for which Wiley won a Video Music Award. 

Less than six months later, he released his third album with Big Dada, 'Evolve Or Be Extinct' , including skits set in taxi cabs and at immigration as well as lighthearted bangers like “Boom Blast” and “I’m Skanking” alongside harder material such as “Scar”. Soon after the record’s release Wiley began leaking grime freestyles over grime beats and releasing them for free via Twitter. This collection was released chronologically with the names "Step 1", "Step 2" and so on. After "Step 10", all of the freestyles were compiled and released as a mixtape titled It's All Fun and Games Till, Vol. 1. Alongside working on his "Step" freestyles, various other promo songs were released. Wiley carried on with his "Step" freestyles, releasing Vol. 2 of It's All Fun and Games Till.

In June 2012, Wiley released his summer single "Heatwave", featuring Ms D and produced by Rymez. On 5 August 2012, "Heatwave" peaked at number 1 on the UK Singles Chart, making this Wiley's first solo number 1, selling an impressive 114,000 copies. His next single, announced in late August, titled "Can You Hear Me" featuring Skepta, JME and Ms D, was released in October 2012. The song was renamed to "Can You Hear Me (Ayayaya)".

Alongside a series of harder-edged releases on Big Dada, Wiley devoted much of 2013 to the promotion of his Warner album, ‘The Ascent’, inclduing his infamous appearance at Glastonbury that summer, culminating in his all-time classic Tweet: “Fuck them and their farm.” On 11 October 2013, a petition was presented to Tower Hamlets' mayor Lutfur Rahman signed by over 2,000 Wiley fans, requesting that a monument to the artist be erected in Bow. On 19 October 2013, Wiley was awarded 'Best Male' at the MOBO Award's 18th Anniversary. 

Wiley remains one of the biggest characters and wildest talents in British music. Whether helping younger artists break through (Dizzee, Chipmunk, Tinchy), offloading hundreds of unreleashed tracks on Twitter, rowing with detractors or doling out private insights on the web – he is always in the studio. Ultimately a workaholic, he’s the kind of artist one can imagine making groundbreaking, avant-garde music well into his old age. A true maverick and an artist in the truest sense of the word, we’re lucky to have Wiley. We should make the most of it. But he probably won’t let us.

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[image_upload_id] => 15800 [label_id] => 2 [twitter_username] => WileyArtist [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Wiley [created] => 2010-07-17 22:15:59 [modified] => 2014-10-29 15:11:11 [slug] => wiley [fuga_id] => [description_clean] =>

Richard Kylea Cowie (born 19 January 1979), better known by his stage name Wiley, is perhaps the most prolific British producer, rapper and recording artist to emerge in the last twenty years. He has made pioneering music in the fields of jungle, drum & bass and UK garage, but is best known as the originator and Godfather of Grime, the uniquely British take on rap music which roared out of east London in the early noughties. Since then he has straddled the mainstream and the underground, irritated and amazed people in equal measure and carved out a unique career path which he has more or less had to make up as he has  gone along.

Wiley's earliest recordings date back to 1997, when he featured on pirate radio rapping over jungle beats. In 2000, Wiley joined with "The Hit Squad" garage crew with school friends DJ Target and MC Maxwell D. They achieved some success on the UKG scene but then decided to combine with rival crew Pay As U Go to become a "super crew," containing the Ladies Hit Squad members plus DJ Slimzee and MC's Major Ace and Plague. God's Gift, Flow Dan and Riko joined soon after. In 2002 the collective achieved a top 40 hit with "Champagne Dance"

Soon after, the crew disintegrated due to individual members having differing ideas of the direction the crew should take. Wiley went on to form the Roll Deep collective, which included Dizzee Rascal and Tinchy Stryder as MCs. Wiley’s vision saw him stripping the generic melodies and sickly harmonies out of garage music and developing the drums and basslines. For a while there was no name for the genre he did more than anyone to create, but eventually the label "grime" was the one that stuck.  From 2001, Wiley produced a slew of instrumental singles on his WileyKat Record label, the best known being "Eskimo", "Avalanche" and "Ice Rink". The underground notoriety he achieved led to his being offered a recording deal with the legendary XL Recordings.

In 2004, Wiley released his debut album, 'Treddin' on Thin Ice' with his new label. Singles from the album included, "Wot Do U Call It?" which mocked the various names given to his music, and "Pies”, which showed his humorous side. Reviews such as in Pitchfork Media made comparisons between Wiley and his previous labelmate Dizzee Rascal, who had achieved success with Boy in Da Corner the previous year. Alexis Petridis of The Guardian noted the "comically polarised" fanbase Wiley had accrued; "At one extreme, its sonic experimentation has attracted the kind of people who run music blogs... [where] lengthy essays are posted on issues as the differentiation between Humean and Kantian views of motivation in the lyrics of Bonnie Prince Billy. At the other extreme, it is favoured by inner city teens who appear to communicate entirely in an impenetrable mix of street slang and patois."

During this period, Wiley occasionally referred to his music as "Eski", short for 'Eskibeat' – the name he initially gave to grime. He also released mixtapes under the name "Eskiboy". He explained his choice of name for his music and the continuing theme in his song and album titles such as 'Treddin' on Thin Ice', partly because he likes the wintertime, but mainly meaning cold in spirit. "Sometimes I just feel cold hearted. I felt cold at that time, towards my family, towards everyone. That's why I used those names.”

Many of Wiley's early vinyl releases, such as 'Eskimo', were released under the alias "Wiley Kat", this name was derived from a character in the cartoon Thundercats. However, the 'Kat' is never officially used by Wiley anymore, only being mentioned loosely in some of his songs.

In 2006, Wiley released his second album 'Da 2nd Phaze' on the Boy Better Know label. The album consists of 20 tracks that had been put together by Wiley from the past three years of work, including exclusive bonus tracks from God’s Gift, Alex Mills and More Fire Crew, the latter signaling the end of the Wiley-Lethal Bizzle feud.

This was followed in by Wiley's third album, 'Playtime is Over'  on Big Dada Records, which combined artistic control for Wiley with a full scale release on a recognised label. Wiley was thrilled at the opportunity to be allowed to make a grime record as he saw it, and he formed a relationship with the label that outlasted any other he’s had in the industry.

In May 2008, Wiley found mainstream chart success with the hit single, "Wearing My Rolex". The instrumentation (such as the slower, house style beat and lack of sub bass) caused some unrest within the Grime scene, as Wiley had publicly vowed that he would never leave grime music to break into the mainstream. In the same month, Wiley released his fourth album entitled Grime Wave, which was described by The Times as a "very pre-Rolex album. With its roots firmly based in the harsh, bass-heavy rhythms of the scene".  

This album was followed by See Clear Now, in October 2008 which included the mainstream hits "Wearing My Rolex", "Cash In My Pocket" and "Summertime". This album took Wiley in a mainstream direction. Despite its success, Wiley has disowned the album as he was "very angry" with the label, Asylum, about the production and also unhappy about his management at the time.

Now on his own label, Wiley went on to make another album, Race Against Time. This was released eight months after his previous album in June 2009, on Eskibeat Recordings and again he had much more creative control, if little time and few resources to organise the release effectively. The album includes the 2009 hit "Too Many Man", featuring Boy Better Know.

In 2010 Wiley released 11 Zip Files for free download on his Twitter page, containing over 200 tracks of old and unreleased music, including tracks from the forthcoming album 'The Elusive'. The following year, Wiley announced his return to the Big Dada label, and the release of '100% Publishing' . The album is perhaps best remembered for “Numbers In Action” and its innovative video, for which Wiley won a Video Music Award. 

Less than six months later, he released his third album with Big Dada, 'Evolve Or Be Extinct' , including skits set in taxi cabs and at immigration as well as lighthearted bangers like “Boom Blast” and “I’m Skanking” alongside harder material such as “Scar”. Soon after the record’s release Wiley began leaking grime freestyles over grime beats and releasing them for free via Twitter. This collection was released chronologically with the names "Step 1", "Step 2" and so on. After "Step 10", all of the freestyles were compiled and released as a mixtape titled It's All Fun and Games Till, Vol. 1. Alongside working on his "Step" freestyles, various other promo songs were released. Wiley carried on with his "Step" freestyles, releasing Vol. 2 of It's All Fun and Games Till.

In June 2012, Wiley released his summer single "Heatwave", featuring Ms D and produced by Rymez. On 5 August 2012, "Heatwave" peaked at number 1 on the UK Singles Chart, making this Wiley's first solo number 1, selling an impressive 114,000 copies. His next single, announced in late August, titled "Can You Hear Me" featuring Skepta, JME and Ms D, was released in October 2012. The song was renamed to "Can You Hear Me (Ayayaya)".

Alongside a series of harder-edged releases on Big Dada, Wiley devoted much of 2013 to the promotion of his Warner album, ‘The Ascent’, inclduing his infamous appearance at Glastonbury that summer, culminating in his all-time classic Tweet: “Fuck them and their farm.” On 11 October 2013, a petition was presented to Tower Hamlets' mayor Lutfur Rahman signed by over 2,000 Wiley fans, requesting that a monument to the artist be erected in Bow. On 19 October 2013, Wiley was awarded 'Best Male' at the MOBO Award's 18th Anniversary. 

Wiley remains one of the biggest characters and wildest talents in British music. Whether helping younger artists break through (Dizzee, Chipmunk, Tinchy), offloading hundreds of unreleashed tracks on Twitter, rowing with detractors or doling out private insights on the web – he is always in the studio. Ultimately a workaholic, he’s the kind of artist one can imagine making groundbreaking, avant-garde music well into his old age. A true maverick and an artist in the truest sense of the word, we’re lucky to have Wiley. We should make the most of it. But he probably won’t let us.

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Richard Kylea Cowie (born 19 January 1979), better known by his stage name Wiley, is perhaps the most prolific British producer, rapper and recording artist to emerge in the last twenty years. He has made pioneering music in the fields of jungle, drum & bass and UK garage, but is best known as the originator and Godfather of Grime, the uniquely British take on rap music which roared out of east London in the early noughties. Since then he has straddled the mainstream and the underground, irritated and amazed people in equal measure and carved out a unique career path which he has more or less had to make up as he has  gone along.

Wiley's earliest recordings date back to 1997, when he featured on pirate radio rapping over jungle beats. In 2000, Wiley joined with "The Hit Squad" garage crew with school friends DJ Target and MC Maxwell D. They achieved some success on the UKG scene but then decided to combine with rival crew Pay As U Go to become a "super crew," containing the Ladies Hit Squad members plus DJ Slimzee and MC's Major Ace and Plague. God's Gift, Flow Dan and Riko joined soon after. In 2002 the collective achieved a top 40 hit with "Champagne Dance"

Soon after, the crew disintegrated due to individual members having differing ideas of the direction the crew should take. Wiley went on to form the Roll Deep collective, which included Dizzee Rascal and Tinchy Stryder as MCs. Wiley’s vision saw him stripping the generic melodies and sickly harmonies out of garage music and developing the drums and basslines. For a while there was no name for the genre he did more than anyone to create, but eventually the label "grime" was the one that stuck.  From 2001, Wiley produced a slew of instrumental singles on his WileyKat Record label, the best known being "Eskimo", "Avalanche" and "Ice Rink". The underground notoriety he achieved led to his being offered a recording deal with the legendary XL Recordings.

In 2004, Wiley released his debut album, 'Treddin' on Thin Ice' with his new label. Singles from the album included, "Wot Do U Call It?" which mocked the various names given to his music, and "Pies”, which showed his humorous side. Reviews such as in Pitchfork Media made comparisons between Wiley and his previous labelmate Dizzee Rascal, who had achieved success with Boy in Da Corner the previous year. Alexis Petridis of The Guardian noted the "comically polarised" fanbase Wiley had accrued; "At one extreme, its sonic experimentation has attracted the kind of people who run music blogs... [where] lengthy essays are posted on issues as the differentiation between Humean and Kantian views of motivation in the lyrics of Bonnie Prince Billy. At the other extreme, it is favoured by inner city teens who appear to communicate entirely in an impenetrable mix of street slang and patois."

During this period, Wiley occasionally referred to his music as "Eski", short for 'Eskibeat' – the name he initially gave to grime. He also released mixtapes under the name "Eskiboy". He explained his choice of name for his music and the continuing theme in his song and album titles such as 'Treddin' on Thin Ice', partly because he likes the wintertime, but mainly meaning cold in spirit. "Sometimes I just feel cold hearted. I felt cold at that time, towards my family, towards everyone. That's why I used those names.”

Many of Wiley's early vinyl releases, such as 'Eskimo', were released under the alias "Wiley Kat", this name was derived from a character in the cartoon Thundercats. However, the 'Kat' is never officially used by Wiley anymore, only being mentioned loosely in some of his songs.

In 2006, Wiley released his second album 'Da 2nd Phaze' on the Boy Better Know label. The album consists of 20 tracks that had been put together by Wiley from the past three years of work, including exclusive bonus tracks from God’s Gift, Alex Mills and More Fire Crew, the latter signaling the end of the Wiley-Lethal Bizzle feud.

This was followed in by Wiley's third album, 'Playtime is Over'  on Big Dada Records, which combined artistic control for Wiley with a full scale release on a recognised label. Wiley was thrilled at the opportunity to be allowed to make a grime record as he saw it, and he formed a relationship with the label that outlasted any other he’s had in the industry.

In May 2008, Wiley found mainstream chart success with the hit single, "Wearing My Rolex". The instrumentation (such as the slower, house style beat and lack of sub bass) caused some unrest within the Grime scene, as Wiley had publicly vowed that he would never leave grime music to break into the mainstream. In the same month, Wiley released his fourth album entitled Grime Wave, which was described by The Times as a "very pre-Rolex album. With its roots firmly based in the harsh, bass-heavy rhythms of the scene".  

This album was followed by See Clear Now, in October 2008 which included the mainstream hits "Wearing My Rolex", "Cash In My Pocket" and "Summertime". This album took Wiley in a mainstream direction. Despite its success, Wiley has disowned the album as he was "very angry" with the label, Asylum, about the production and also unhappy about his management at the time.

Now on his own label, Wiley went on to make another album, Race Against Time. This was released eight months after his previous album in June 2009, on Eskibeat Recordings and again he had much more creative control, if little time and few resources to organise the release effectively. The album includes the 2009 hit "Too Many Man", featuring Boy Better Know.

In 2010 Wiley released 11 Zip Files for free download on his Twitter page, containing over 200 tracks of old and unreleased music, including tracks from the forthcoming album 'The Elusive'. The following year, Wiley announced his return to the Big Dada label, and the release of '100% Publishing' . The album is perhaps best remembered for “Numbers In Action” and its innovative video, for which Wiley won a Video Music Award. 

Less than six months later, he released his third album with Big Dada, 'Evolve Or Be Extinct' , including skits set in taxi cabs and at immigration as well as lighthearted bangers like “Boom Blast” and “I’m Skanking” alongside harder material such as “Scar”. Soon after the record’s release Wiley began leaking grime freestyles over grime beats and releasing them for free via Twitter. This collection was released chronologically with the names "Step 1", "Step 2" and so on. After "Step 10", all of the freestyles were compiled and released as a mixtape titled It's All Fun and Games Till, Vol. 1. Alongside working on his "Step" freestyles, various other promo songs were released. Wiley carried on with his "Step" freestyles, releasing Vol. 2 of It's All Fun and Games Till.

In June 2012, Wiley released his summer single "Heatwave", featuring Ms D and produced by Rymez. On 5 August 2012, "Heatwave" peaked at number 1 on the UK Singles Chart, making this Wiley's first solo number 1, selling an impressive 114,000 copies. His next single, announced in late August, titled "Can You Hear Me" featuring Skepta, JME and Ms D, was released in October 2012. The song was renamed to "Can You Hear Me (Ayayaya)".

Alongside a series of harder-edged releases on Big Dada, Wiley devoted much of 2013 to the promotion of his Warner album, ‘The Ascent’, inclduing his infamous appearance at Glastonbury that summer, culminating in his all-time classic Tweet: “Fuck them and their farm.” On 11 October 2013, a petition was presented to Tower Hamlets' mayor Lutfur Rahman signed by over 2,000 Wiley fans, requesting that a monument to the artist be erected in Bow. On 19 October 2013, Wiley was awarded 'Best Male' at the MOBO Award's 18th Anniversary. 

Wiley remains one of the biggest characters and wildest talents in British music. Whether helping younger artists break through (Dizzee, Chipmunk, Tinchy), offloading hundreds of unreleashed tracks on Twitter, rowing with detractors or doling out private insights on the web – he is always in the studio. Ultimately a workaholic, he’s the kind of artist one can imagine making groundbreaking, avant-garde music well into his old age. A true maverick and an artist in the truest sense of the word, we’re lucky to have Wiley. We should make the most of it. But he probably won’t let us.

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[image_upload_id] => 15800 [label_id] => 2 [twitter_username] => WileyArtist [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Wiley [created] => 2010-07-17 22:15:59 [modified] => 2014-10-29 15:11:11 [slug] => wiley [fuga_id] => [description_clean] =>

Richard Kylea Cowie (born 19 January 1979), better known by his stage name Wiley, is perhaps the most prolific British producer, rapper and recording artist to emerge in the last twenty years. He has made pioneering music in the fields of jungle, drum & bass and UK garage, but is best known as the originator and Godfather of Grime, the uniquely British take on rap music which roared out of east London in the early noughties. Since then he has straddled the mainstream and the underground, irritated and amazed people in equal measure and carved out a unique career path which he has more or less had to make up as he has  gone along.

Wiley's earliest recordings date back to 1997, when he featured on pirate radio rapping over jungle beats. In 2000, Wiley joined with "The Hit Squad" garage crew with school friends DJ Target and MC Maxwell D. They achieved some success on the UKG scene but then decided to combine with rival crew Pay As U Go to become a "super crew," containing the Ladies Hit Squad members plus DJ Slimzee and MC's Major Ace and Plague. God's Gift, Flow Dan and Riko joined soon after. In 2002 the collective achieved a top 40 hit with "Champagne Dance"

Soon after, the crew disintegrated due to individual members having differing ideas of the direction the crew should take. Wiley went on to form the Roll Deep collective, which included Dizzee Rascal and Tinchy Stryder as MCs. Wiley’s vision saw him stripping the generic melodies and sickly harmonies out of garage music and developing the drums and basslines. For a while there was no name for the genre he did more than anyone to create, but eventually the label "grime" was the one that stuck.  From 2001, Wiley produced a slew of instrumental singles on his WileyKat Record label, the best known being "Eskimo", "Avalanche" and "Ice Rink". The underground notoriety he achieved led to his being offered a recording deal with the legendary XL Recordings.

In 2004, Wiley released his debut album, 'Treddin' on Thin Ice' with his new label. Singles from the album included, "Wot Do U Call It?" which mocked the various names given to his music, and "Pies”, which showed his humorous side. Reviews such as in Pitchfork Media made comparisons between Wiley and his previous labelmate Dizzee Rascal, who had achieved success with Boy in Da Corner the previous year. Alexis Petridis of The Guardian noted the "comically polarised" fanbase Wiley had accrued; "At one extreme, its sonic experimentation has attracted the kind of people who run music blogs... [where] lengthy essays are posted on issues as the differentiation between Humean and Kantian views of motivation in the lyrics of Bonnie Prince Billy. At the other extreme, it is favoured by inner city teens who appear to communicate entirely in an impenetrable mix of street slang and patois."

During this period, Wiley occasionally referred to his music as "Eski", short for 'Eskibeat' – the name he initially gave to grime. He also released mixtapes under the name "Eskiboy". He explained his choice of name for his music and the continuing theme in his song and album titles such as 'Treddin' on Thin Ice', partly because he likes the wintertime, but mainly meaning cold in spirit. "Sometimes I just feel cold hearted. I felt cold at that time, towards my family, towards everyone. That's why I used those names.”

Many of Wiley's early vinyl releases, such as 'Eskimo', were released under the alias "Wiley Kat", this name was derived from a character in the cartoon Thundercats. However, the 'Kat' is never officially used by Wiley anymore, only being mentioned loosely in some of his songs.

In 2006, Wiley released his second album 'Da 2nd Phaze' on the Boy Better Know label. The album consists of 20 tracks that had been put together by Wiley from the past three years of work, including exclusive bonus tracks from God’s Gift, Alex Mills and More Fire Crew, the latter signaling the end of the Wiley-Lethal Bizzle feud.

This was followed in by Wiley's third album, 'Playtime is Over'  on Big Dada Records, which combined artistic control for Wiley with a full scale release on a recognised label. Wiley was thrilled at the opportunity to be allowed to make a grime record as he saw it, and he formed a relationship with the label that outlasted any other he’s had in the industry.

In May 2008, Wiley found mainstream chart success with the hit single, "Wearing My Rolex". The instrumentation (such as the slower, house style beat and lack of sub bass) caused some unrest within the Grime scene, as Wiley had publicly vowed that he would never leave grime music to break into the mainstream. In the same month, Wiley released his fourth album entitled Grime Wave, which was described by The Times as a "very pre-Rolex album. With its roots firmly based in the harsh, bass-heavy rhythms of the scene".  

This album was followed by See Clear Now, in October 2008 which included the mainstream hits "Wearing My Rolex", "Cash In My Pocket" and "Summertime". This album took Wiley in a mainstream direction. Despite its success, Wiley has disowned the album as he was "very angry" with the label, Asylum, about the production and also unhappy about his management at the time.

Now on his own label, Wiley went on to make another album, Race Against Time. This was released eight months after his previous album in June 2009, on Eskibeat Recordings and again he had much more creative control, if little time and few resources to organise the release effectively. The album includes the 2009 hit "Too Many Man", featuring Boy Better Know.

In 2010 Wiley released 11 Zip Files for free download on his Twitter page, containing over 200 tracks of old and unreleased music, including tracks from the forthcoming album 'The Elusive'. The following year, Wiley announced his return to the Big Dada label, and the release of '100% Publishing' . The album is perhaps best remembered for “Numbers In Action” and its innovative video, for which Wiley won a Video Music Award. 

Less than six months later, he released his third album with Big Dada, 'Evolve Or Be Extinct' , including skits set in taxi cabs and at immigration as well as lighthearted bangers like “Boom Blast” and “I’m Skanking” alongside harder material such as “Scar”. Soon after the record’s release Wiley began leaking grime freestyles over grime beats and releasing them for free via Twitter. This collection was released chronologically with the names "Step 1", "Step 2" and so on. After "Step 10", all of the freestyles were compiled and released as a mixtape titled It's All Fun and Games Till, Vol. 1. Alongside working on his "Step" freestyles, various other promo songs were released. Wiley carried on with his "Step" freestyles, releasing Vol. 2 of It's All Fun and Games Till.

In June 2012, Wiley released his summer single "Heatwave", featuring Ms D and produced by Rymez. On 5 August 2012, "Heatwave" peaked at number 1 on the UK Singles Chart, making this Wiley's first solo number 1, selling an impressive 114,000 copies. His next single, announced in late August, titled "Can You Hear Me" featuring Skepta, JME and Ms D, was released in October 2012. The song was renamed to "Can You Hear Me (Ayayaya)".

Alongside a series of harder-edged releases on Big Dada, Wiley devoted much of 2013 to the promotion of his Warner album, ‘The Ascent’, inclduing his infamous appearance at Glastonbury that summer, culminating in his all-time classic Tweet: “Fuck them and their farm.” On 11 October 2013, a petition was presented to Tower Hamlets' mayor Lutfur Rahman signed by over 2,000 Wiley fans, requesting that a monument to the artist be erected in Bow. On 19 October 2013, Wiley was awarded 'Best Male' at the MOBO Award's 18th Anniversary. 

Wiley remains one of the biggest characters and wildest talents in British music. Whether helping younger artists break through (Dizzee, Chipmunk, Tinchy), offloading hundreds of unreleashed tracks on Twitter, rowing with detractors or doling out private insights on the web – he is always in the studio. Ultimately a workaholic, he’s the kind of artist one can imagine making groundbreaking, avant-garde music well into his old age. A true maverick and an artist in the truest sense of the word, we’re lucky to have Wiley. We should make the most of it. But he probably won’t let us.

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