Array ( [Event] => Array ( [id] => 10946 [date] => 2013-04-03 [artist] => Daedelus [city] => Portland [state] => Oregon [country] => US [venue] => Branx [promoter] => [description] =>

Daedelus with Two Fresh @ Branx

[ticket_url] => http://www.songkick.com/concerts/15122289-daedelus-at-branx?utm_medium=email&utm_source=skemail&utm_campaign=upcoming%2Fdaily_di [image_upload_id] => 17586 [created] => 2013-01-10 11:25:25 [modified] => 2013-02-27 16:56:17 [year_slug] => 2013 [month_slug] => apr [day_slug] => 3 [slug] => daedelus-portland-branx [description_clean] =>

Daedelus with Two Fresh @ Branx

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Alfred Darlington isn’t a paint-by-numbers musician. From how he looks (early Victorian Dandyism), to how he makes music, or how he expresses
himself and views the world, his is a very individual ‘bespoke’ outlook. 

Alfred was born in Santa Monica in 1977 to an artist mother and professor father. Musical from very early on, as a child he was classically and jazz-trained in a number of instruments, but his interests were broad and varied – less a prodigy than a renaissance boy whose obsessions ranged from Greek legend to the mountains of Wales. As a 15 year old he finally persuaded his parents to take him to the Principality. Whilst in a YWCA in London he flipped the radio dial, found a pirate radio station and taped some UK rave and hardcore. “It was my first ‘Eureka!’ moment in music,” he says. 

Back in the US he joined local rock bands, jazz bands and ska bands, which he enjoyed but felt limited by, too. At home he was listening to Warp, Ninja and your harder electronic stuff. He started DJing out the more leftfield side of drum & bass and making his own rudimentary productions. They were meant to fit the d&b template but they kept turning out different and from his outsider’s experiments his own style was born. He chose the name Daedelus as he had a childhood obsession with invention, and what was he doing, after all, if not tinkering and fiddling and experimenting like the “gentleman inventors” of old? 

In 1999 he started DJing on Dublab.com for his 'Entropy Sessions' and began dropping in his own early demo productions. Carlos Nino (of Ammoncontact) had the show after him and usually pushed Alfred out the studio as quickly as possible as he was not so enamoured with Alfred’s leftfield-electronic DJ style, but when he heard a tranquil Daedelus production he took Daedelus and introduced him to the LA scene. Nino placed Daedelus tracks on two influential compilations and then Plug Research released his debut album, 'Invention' in 2002. Remixers included Madlib, who later took Daedelus' accordion parts and used them on 2004's Madvillain record. 

In 2003, he was booked to play a show in San Diego by Brian Crabtree and Peter Siegerstrong and the pair asked him to test out an early prototype of the Monome. "It’s a Non-traditional electronic instrument,” Daedelus explains. “Basically it allows for massive improvisation." Since then Daedelus has continued to use this revolutionary controller, bringing much genuine liveness to the sometimes static world of performed electronic/dance music. 

In 2003 he did 'The Weather' album with Busdriver and Radioinactive and the remix album 'Rethinking the Weather' on Mush records. 2004 saw the release of 'Of Snowdonia' on Plug Research, the album with which Daedelus says he first “felt true artistic confidence, finding a true voice. I was finally in the right zone.” 

There was certainly no let up in his creativity. Also in 2004 he released the concept album 'A Gent Agent' on micro-label Laboratory Instinct. The 2005 album 'Exquisite Corpse' on Mush featured the likes of TTC, Mike Ladd and MF DOOM. Ninja signed Daedelus for UK/Europe (a relationship which reached its full expression on 2008's 'Love To Make Music To', his first album for the label worldwide and put together with the help of their team).

In 2006 'Denies the Day's Demise' came out, a record showcasing his love of Brazilian music. Last year he released his first live album, 'Live At Low End Theory', and 'Fairweather Friends EP'. Later that year came the release of his collaboration with his wife, Laura Darling, as the pastoral 'The Long Lost'. 

Since his last album 'Love To Make Music To' for Ninja there has been no let up in Daedelus’ productivity. He has remixed or been remixed by and produced with all of his LA scene peers including Flying Lotus, Nosaj Thing, The Gaslamp Killer, Baths, and countless others from further afield. In addition, singles and EPs under his own name have come out with Brainfeeder, All City, Magical Properties (the Daedelus home-imprint), Alpha Pup, Warp and Stones Throw. And all the while his reputation has grown internationally, his place in the LA scene has also solidified as a musician that many of the hottest names in the city turn to for everything from bass clarinet licks to advice on obscure electronics; all the while with a continuous string of tour dates across North America, Asia, Europe, the UK, and beyond. 

2011 starts not only with his new album but the meticulous planning of a huge tour featuring guest vocalists from his 'Bespoke' LP and with a spectacular visual show curated in part by Emmanuel Baird (of Manchester's Warehouse Project and Hoya Hoya nights) which will feature a top secret new invention codenamed ARCHIMEDES, promising to yet again re-invent live electronic performance.

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Alfred Darlington isn’t a paint-by-numbers musician. From how he looks (early Victorian Dandyism), to how he makes music, or how he expresses
himself and views the world, his is a very individual ‘bespoke’ outlook. 

Alfred was born in Santa Monica in 1977 to an artist mother and professor father. Musical from very early on, as a child he was classically and jazz-trained in a number of instruments, but his interests were broad and varied – less a prodigy than a renaissance boy whose obsessions ranged from Greek legend to the mountains of Wales. As a 15 year old he finally persuaded his parents to take him to the Principality. Whilst in a YWCA in London he flipped the radio dial, found a pirate radio station and taped some UK rave and hardcore. “It was my first ‘Eureka!’ moment in music,” he says. 

Back in the US he joined local rock bands, jazz bands and ska bands, which he enjoyed but felt limited by, too. At home he was listening to Warp, Ninja and your harder electronic stuff. He started DJing out the more leftfield side of drum & bass and making his own rudimentary productions. They were meant to fit the d&b template but they kept turning out different and from his outsider’s experiments his own style was born. He chose the name Daedelus as he had a childhood obsession with invention, and what was he doing, after all, if not tinkering and fiddling and experimenting like the “gentleman inventors” of old? 

In 1999 he started DJing on Dublab.com for his 'Entropy Sessions' and began dropping in his own early demo productions. Carlos Nino (of Ammoncontact) had the show after him and usually pushed Alfred out the studio as quickly as possible as he was not so enamoured with Alfred’s leftfield-electronic DJ style, but when he heard a tranquil Daedelus production he took Daedelus and introduced him to the LA scene. Nino placed Daedelus tracks on two influential compilations and then Plug Research released his debut album, 'Invention' in 2002. Remixers included Madlib, who later took Daedelus' accordion parts and used them on 2004's Madvillain record. 

In 2003, he was booked to play a show in San Diego by Brian Crabtree and Peter Siegerstrong and the pair asked him to test out an early prototype of the Monome. "It’s a Non-traditional electronic instrument,” Daedelus explains. “Basically it allows for massive improvisation." Since then Daedelus has continued to use this revolutionary controller, bringing much genuine liveness to the sometimes static world of performed electronic/dance music. 

In 2003 he did 'The Weather' album with Busdriver and Radioinactive and the remix album 'Rethinking the Weather' on Mush records. 2004 saw the release of 'Of Snowdonia' on Plug Research, the album with which Daedelus says he first “felt true artistic confidence, finding a true voice. I was finally in the right zone.” 

There was certainly no let up in his creativity. Also in 2004 he released the concept album 'A Gent Agent' on micro-label Laboratory Instinct. The 2005 album 'Exquisite Corpse' on Mush featured the likes of TTC, Mike Ladd and MF DOOM. Ninja signed Daedelus for UK/Europe (a relationship which reached its full expression on 2008's 'Love To Make Music To', his first album for the label worldwide and put together with the help of their team).

In 2006 'Denies the Day's Demise' came out, a record showcasing his love of Brazilian music. Last year he released his first live album, 'Live At Low End Theory', and 'Fairweather Friends EP'. Later that year came the release of his collaboration with his wife, Laura Darling, as the pastoral 'The Long Lost'. 

Since his last album 'Love To Make Music To' for Ninja there has been no let up in Daedelus’ productivity. He has remixed or been remixed by and produced with all of his LA scene peers including Flying Lotus, Nosaj Thing, The Gaslamp Killer, Baths, and countless others from further afield. In addition, singles and EPs under his own name have come out with Brainfeeder, All City, Magical Properties (the Daedelus home-imprint), Alpha Pup, Warp and Stones Throw. And all the while his reputation has grown internationally, his place in the LA scene has also solidified as a musician that many of the hottest names in the city turn to for everything from bass clarinet licks to advice on obscure electronics; all the while with a continuous string of tour dates across North America, Asia, Europe, the UK, and beyond. 

2011 starts not only with his new album but the meticulous planning of a huge tour featuring guest vocalists from his 'Bespoke' LP and with a spectacular visual show curated in part by Emmanuel Baird (of Manchester's Warehouse Project and Hoya Hoya nights) which will feature a top secret new invention codenamed ARCHIMEDES, promising to yet again re-invent live electronic performance.

[links_clean] =>

Website

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] => ) ) ) [1] => Array ( [Event] => Array ( [id] => 10999 [date] => 2013-04-03 [artist] => Anti-Pop Consortium [city] => Brussels [state] => [country] => BE [venue] => De Vaartkapoen [promoter] => [description] => [ticket_url] => http://plateforme.fnacspectacles.com/place-spectacle/manifestation//place-spectacle/manifestation/Rap-Hip-hop-Slam-ANTI-POP-CONS [image_upload_id] => 3868 [created] => 2013-01-18 12:43:12 [modified] => 2013-01-18 12:47:15 [year_slug] => 2013 [month_slug] => apr [day_slug] => 3 [slug] => anti-pop-consortium-brussels-de-vaartkapoen [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 3868 [media_type] => image [artist] => Anti-Pop Consortium [title] => Promo Shot (Migrated) [credits] => [buy_link] => [filename] => images/anti-pop-consortium/antipop-1.jpg [checksum] => 5bc750706f10e5cd18f6548887f294fe [mime_type] => image/jpeg [size] => 3815437 [external_url] => http://media.ninjatune.net/images/anti-pop-consortium/antipop-1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => anti-pop-consortium [slug] => promo-shot-migrated-43 [created] => 2010-11-24 03:36:36 [modified] => 2010-11-24 03:36:36 [embed] => ) [Country] => Array ( [id] => 228 [name] => Belgium [longname] => Belgium [numcode] => 56 [iso] => BE [iso3] => BEL [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 453 [rght] => 454 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 10 [name] => Anti-Pop Consortium [description] =>

Anti-Pop Consortium formed in 1997 when Beans, High Priest, M. Sayyid and producer Earl Blaize met at a poetry slam in New York City. The four of them put out a series of mixtapes (proper cassettes!) on their own Anti-Pop Records and called them “Consortium” volumes 1, 2 and 3. The people who were picking up the tapes began to refer to the coalition behind them as the Anti-Pop Consortium and the group as we now know it was born. 

The Consortium’s emblem – a stylised corporate stick figure with a burning head – was also already in place, created by the graphical smarts of High Priest himself. With it, the team began their assault with an infamous xerox and sticker campaign that landed Priest in jail for vandalism under Giuliani's “increased standard of living regime.” Coupled with the verbal pyrotechnics of their live show, the Consortium gained the favor of both staunch B-boy purists and experimental electronics heads. The backpackers were in awe of the group’s varied and contrasting, quickfire rhyme styles, whereas the techies loved their four man MPC jams.

 Dan The Automator signed the group to be the first act on his new imprint, 75 Ark. The result was “Tragic Epilogue,” an album made up of tracks taken from the last mixtape plus some new material. It was swiftly followed by “Shopping Carts Crashing,” released on a Japanese label and exported to fans across the world. But then, in an iconic move, APC signed to UK electronic label, Warp .

The classic “Arrhythmia” followed in 2002 and took APC’s sound to a worldwide audience. To promote it they went out on Radiohead’s world tour and returned to the States to go straight out on a giant DJ Shadow tour. The album was receiving great notices and cemented their status as landmark innovators. But differences over their next creative step, plus the pressures of constant touring all took their toll. “We broke up,” Sayyid explains, “six months after that record was released.” 

In 2007 the group re-formed and signed to Big Dada for the release of "Fluorescent Black." The album was once again rapturously received and the group have been touring on and off since. 

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Facebook
Twitter

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Anti-Pop Consortium formed in 1997 when Beans, High Priest, M. Sayyid and producer Earl Blaize met at a poetry slam in New York City. The four of them put out a series of mixtapes (proper cassettes!) on their own Anti-Pop Records and called them “Consortium” volumes 1, 2 and 3. The people who were picking up the tapes began to refer to the coalition behind them as the Anti-Pop Consortium and the group as we now know it was born. 

The Consortium’s emblem – a stylised corporate stick figure with a burning head – was also already in place, created by the graphical smarts of High Priest himself. With it, the team began their assault with an infamous xerox and sticker campaign that landed Priest in jail for vandalism under Giuliani's “increased standard of living regime.” Coupled with the verbal pyrotechnics of their live show, the Consortium gained the favor of both staunch B-boy purists and experimental electronics heads. The backpackers were in awe of the group’s varied and contrasting, quickfire rhyme styles, whereas the techies loved their four man MPC jams.

 Dan The Automator signed the group to be the first act on his new imprint, 75 Ark. The result was “Tragic Epilogue,” an album made up of tracks taken from the last mixtape plus some new material. It was swiftly followed by “Shopping Carts Crashing,” released on a Japanese label and exported to fans across the world. But then, in an iconic move, APC signed to UK electronic label, Warp .

The classic “Arrhythmia” followed in 2002 and took APC’s sound to a worldwide audience. To promote it they went out on Radiohead’s world tour and returned to the States to go straight out on a giant DJ Shadow tour. The album was receiving great notices and cemented their status as landmark innovators. But differences over their next creative step, plus the pressures of constant touring all took their toll. “We broke up,” Sayyid explains, “six months after that record was released.” 

In 2007 the group re-formed and signed to Big Dada for the release of "Fluorescent Black." The album was once again rapturously received and the group have been touring on and off since. 

[links_clean] =>

Facebook
Twitter

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Do U Know Toddla T? 

In 2007 Toddla T (aka Tom Bell) was working in a shoe shop in his hometown of Sheffield. Then just 19 and living at home with his parents, he DJ'd at weekends and was producing beats and tracks with his friend Scott as Small Arms Fiya.

Now it's 2011 Toddla T is making the finishing touches to his second album on the legendary Ninja Tune label, has a regular slot on BBC Radio 1, and has produced tracks for some of the UK urban scenes biggest stars (hands up Tinchy, Jammer, Bashy, Roots Manuva and Ms Dynamite). 

He DJ's around the globe, has a slew of remixes under his belt (Hot Chip, Gyptian, Gorillaz, Major Lazer for starters), is a star of his own Toddla TV channel online and has worked in studios from Kingston Jamaica to Kingston upon Hull. Not to mention the recent launch of his Girls Music Label which, after only three releases has already featured productions by British dance music heroes Sticky and Roska.

So how do you get to be one of the leading lights of UK dance music in 4 short years?

Much can be attributed to Toddla’s phenomenal talent, drive and ambition. He has good taste and keen eyes and ears in all elements of British youth culture. However, the man himself modestly explains that it has just as much to do with the sea change which has taken place in British Pop music in the last few years. 

When Toddla first started taking to the decks outside of his home town he was worried that no one would "get it" and to start with, many didn't. (Listen to the track "Roadtrip" from debut album Skanky Skanky to hear an amusing account of just such a night). No one could quite work out who Toddla was. Was he an MC? or the producer at the front of a now forgotten, media created "UK Digi-Dancehall revolution"? Was that skinny white kid the voice singing about Rice n Peas? Surely not.

Not allowing this confusion to get in his way T stuck to his guns. He could smell a change in the air and knew that what he was doing was worth sticking with. He made a mixtape, The Toddla T Ghettoblaster Vol.1 in 2008 and put it up for free online. It was downloaded by more than 10,000 people, was brilliantly received and announced Toddla as a talent to be watched. People other than club promoters and other DJ's started to hear about him and his club sets started to get more and more busy with people who were there to see him. Longtime studio spar and MC Serocee joined him on the road and the pair started to travel far and wide around the UK spreading the good word. 

His debut album Skanky Skanky was released in January 2009, this was followed by a Fabric live mix album and a lot of requests for his production skills with everyone from Major Lazer to Grandmaster Flash getting in touch. Over a Guinness or two in his new London local (he decamped from Sheffield to the capital in 2010) Toddla reflects on the last couple of "pretty crazy years", the current UK scene and sets out his stall for what promises to be a very busy and successful 2011. 

"When I was first signed (to 1965 Records) every kid wanted to be in a band. The Arctic Monkeys, The Libertines and all that were really popular, me and my mates who were into Notorious B.I.G and dancehall were really in the minority. Nowadays kids want to be Skream and Benga, or Tinchy or N-Dubz and because of that all their points of musical reference have changed" 

It's true, there has been a huge shift in musical aesthetic, away from the skinny jeans and Chuck Taylors of The Strokes and the seemingly never-ending bandwagon that followed. What Toddla's saying here is borne out of the recently released statistic that rock music has had its worst year in the UK charts since 1960 with only 3 rock bands making it into the top 100 songs of 2010.

As a backdrop to Dizzee, Tinie, Tinchy et al storming the charts, the explosion of dubstep and subsequent re-evaluation of bass-driven, UK club music has seen a major shift in what people aged 15 - 25 are raving to. Where Soulwax and SMD and their like were ruling the clubs 2002 - 2006 nowadays seasoned campaigners like Shy FX and David Rodigan are championed by kids who weren't born when they were first spinning records.

Watch Me Dance is a bold step forward for Toddla T. Fans of Skanky Skanky will find plenty that will please them but for the countless thousands of clubbers who know Toddla T the DJ but haven't heard his productions this second album may come as a surprise. Toddla explains... 

"I've been busiest in the last two years as a DJ, so of course this album has a big dose of the sounds and production techniques that I'm out there representing in the clubs every weekend but if you're looking for tops-off jungle or 4x4 bassline tearouts you won't find them here. This is definitely still a record for clubbers, but it's the one they'll listen to at home with their mates or every day on the way to work" 

In Watch Me Dance Toddla has created a dubwise, street-soul masterpiece. In a typically precocious reference to records that were made when he was 4 and 10 years old respectively Toddla sums it up. "A bit of the Soul from Soul II Soul Club Classics and a bit of the Left-field from Leftism, I've been listening to those now and again, they took in a whole load of club music and made an album that summed something up and were great to listen to at the same time." 

Amen to that.

Watch Me Dance is released on Ninja Tune on 22 August 2011.

[links] =>

www.toddlat.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 16079 [label_id] => 1 [twitter_username] => toddlat [instagram_id] => 7231711 [instagram_username] => toddlat [link] => [listed] => 1 [sortname] => Toddla T [created] => 2010-07-17 22:15:59 [modified] => 2013-05-03 14:57:03 [slug] => toddla-t [fuga_id] => [description_clean] =>

Do U Know Toddla T? 

In 2007 Toddla T (aka Tom Bell) was working in a shoe shop in his hometown of Sheffield. Then just 19 and living at home with his parents, he DJ'd at weekends and was producing beats and tracks with his friend Scott as Small Arms Fiya.

Now it's 2011 Toddla T is making the finishing touches to his second album on the legendary Ninja Tune label, has a regular slot on BBC Radio 1, and has produced tracks for some of the UK urban scenes biggest stars (hands up Tinchy, Jammer, Bashy, Roots Manuva and Ms Dynamite). 

He DJ's around the globe, has a slew of remixes under his belt (Hot Chip, Gyptian, Gorillaz, Major Lazer for starters), is a star of his own Toddla TV channel online and has worked in studios from Kingston Jamaica to Kingston upon Hull. Not to mention the recent launch of his Girls Music Label which, after only three releases has already featured productions by British dance music heroes Sticky and Roska.

So how do you get to be one of the leading lights of UK dance music in 4 short years?

Much can be attributed to Toddla’s phenomenal talent, drive and ambition. He has good taste and keen eyes and ears in all elements of British youth culture. However, the man himself modestly explains that it has just as much to do with the sea change which has taken place in British Pop music in the last few years. 

When Toddla first started taking to the decks outside of his home town he was worried that no one would "get it" and to start with, many didn't. (Listen to the track "Roadtrip" from debut album Skanky Skanky to hear an amusing account of just such a night). No one could quite work out who Toddla was. Was he an MC? or the producer at the front of a now forgotten, media created "UK Digi-Dancehall revolution"? Was that skinny white kid the voice singing about Rice n Peas? Surely not.

Not allowing this confusion to get in his way T stuck to his guns. He could smell a change in the air and knew that what he was doing was worth sticking with. He made a mixtape, The Toddla T Ghettoblaster Vol.1 in 2008 and put it up for free online. It was downloaded by more than 10,000 people, was brilliantly received and announced Toddla as a talent to be watched. People other than club promoters and other DJ's started to hear about him and his club sets started to get more and more busy with people who were there to see him. Longtime studio spar and MC Serocee joined him on the road and the pair started to travel far and wide around the UK spreading the good word. 

His debut album Skanky Skanky was released in January 2009, this was followed by a Fabric live mix album and a lot of requests for his production skills with everyone from Major Lazer to Grandmaster Flash getting in touch. Over a Guinness or two in his new London local (he decamped from Sheffield to the capital in 2010) Toddla reflects on the last couple of "pretty crazy years", the current UK scene and sets out his stall for what promises to be a very busy and successful 2011. 

"When I was first signed (to 1965 Records) every kid wanted to be in a band. The Arctic Monkeys, The Libertines and all that were really popular, me and my mates who were into Notorious B.I.G and dancehall were really in the minority. Nowadays kids want to be Skream and Benga, or Tinchy or N-Dubz and because of that all their points of musical reference have changed" 

It's true, there has been a huge shift in musical aesthetic, away from the skinny jeans and Chuck Taylors of The Strokes and the seemingly never-ending bandwagon that followed. What Toddla's saying here is borne out of the recently released statistic that rock music has had its worst year in the UK charts since 1960 with only 3 rock bands making it into the top 100 songs of 2010.

As a backdrop to Dizzee, Tinie, Tinchy et al storming the charts, the explosion of dubstep and subsequent re-evaluation of bass-driven, UK club music has seen a major shift in what people aged 15 - 25 are raving to. Where Soulwax and SMD and their like were ruling the clubs 2002 - 2006 nowadays seasoned campaigners like Shy FX and David Rodigan are championed by kids who weren't born when they were first spinning records.

Watch Me Dance is a bold step forward for Toddla T. Fans of Skanky Skanky will find plenty that will please them but for the countless thousands of clubbers who know Toddla T the DJ but haven't heard his productions this second album may come as a surprise. Toddla explains... 

"I've been busiest in the last two years as a DJ, so of course this album has a big dose of the sounds and production techniques that I'm out there representing in the clubs every weekend but if you're looking for tops-off jungle or 4x4 bassline tearouts you won't find them here. This is definitely still a record for clubbers, but it's the one they'll listen to at home with their mates or every day on the way to work" 

In Watch Me Dance Toddla has created a dubwise, street-soul masterpiece. In a typically precocious reference to records that were made when he was 4 and 10 years old respectively Toddla sums it up. "A bit of the Soul from Soul II Soul Club Classics and a bit of the Left-field from Leftism, I've been listening to those now and again, they took in a whole load of club music and made an album that summed something up and were great to listen to at the same time." 

Amen to that.

Watch Me Dance is released on Ninja Tune on 22 August 2011.

[links_clean] =>

www.toddlat.com

Facebook
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Artist Date City Venue Buy
Daedelus Wednesday, Apr 3rd Portland, Oregon, US Branx Buy
Anti-Pop Consortium Wednesday, Apr 3rd Brussels, BE De Vaartkapoen Buy
Toddla T Wednesday, Apr 3rd Mayrhofen, AT Snowbombing Buy
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