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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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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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Brazilian-born Amon Tobin first emerged between 1994-1995 with a string of 12" singles on the small London-based record label 9Bar Records. The album that followed, Adventures In Foam, paved the way for a whole generation of electronic productions and prompted his signing to the prodigious Ninja Tune in 1996. He has since gone on to record seven critically- acclaimed albums under his own name on Ninja that have since helped define the label as a force in musical innovation and diversity. In addition, Amon has produced a small number of radically diverse original scores ranging from George Palfi's cult cinema oddity Taxidermia to Tom Clancy's video game blockbuster Splinter Cell: Chaos Theory.

The depth and scope of Amon Tobin's work have had a far-reaching influence. From the Kronos Quartet to Diplo he has garnered respect amongst artists both within and outside electronic music. Amon has established a reputation for musical ingenuity that is unconfined by genre and over a fifteen-year-long career remains among one of the most visionary electronic artists of a generation.

The 2007 album Foley Room explored the role of found sound in modern day music. Documented on film, the process of recording minute insects to lions, wolves, engines and foley performances culminated in a much- lauded performance at the birthplace of musique concrete, the GRM Theatre in Paris. More recently, the famed London Metropolitan Orchestra performed selected works from a cross-section of his musical repertoire at the Royal Albert Hall.

An Acronym for "Invented Sound Applied to Music"ISAM was an experiment in synthesizing field recordings and transforming them into new physically playable instruments to create unique sound palettes. From Amon's own voice gender-modified to the sound a of a creaking chair mutated into a string ensemble, ISAM directs an academic approach in audio manipulation to a purely emotional musical context. This contrast is central to the album and represents a pivotal moment in Amon's personal musical development. Sound design techniques previously used in film, as pioneered by the likes of Ben Burt (Star Wars, Wall-E) were utilized along side new ones Amon developed specifically for ISAM and applied in an unprecedented approach to music production.

The specific nature of the album demanded new thinking in terms of how to present it live and this in turn lead to an entirely new kind of music performance. ISAM Live is a hybrid of interactive cinema and a concert experience in which sound determines a narrative. Much like the album, the live show adapted existing and emerging technologies to new contexts. Projection mapping, which had up to then been largely the domain of static mostly corporate visual showcases, was configured for the first time to narrate the musical performance of an entire album. A giant cubic structure was built housing a control booth from which Amon could perform while providing an intricate canvas on to which a story was told as an audio reactive, three dimensional visual interpretation of the music being played.

ISAM Live reshaped audience's expectations of electronic music concerts for years to come selling out the worlds most prestigious venues. From the Sydney Opera House to the Olympia in Paris to the London Hammersmith and LA's Greek Theater ISAM Live received universal acclaim as a landmark in audio visual performance.

In May of 2012, Amon Tobin and Ninja Tune released the Amon Tobin Boxset: a strictly limited edition release and that came in the form of a beautiful high quality bolt fastened mechanical 'press' and included 6 x 10" vinyls, 7 CDs, 2 DVD's and several posters. Most of the material is unreleased, almost none of it has ever been available on a physical format before. It includes new music, unreleased dub plates and a wealth of archive material, Amon Tobin's earliest audio experiments (never been played in public before), film and television score work, unreleased score work, deleted bootlegs, ISAM live show DVD, ISAM live audio album, remixes, cover versions and re-interpretations of the ISAM album, remixes Amon has produced for others, a recording of the (November 2010) Royal Albert Hall orchestrations of Amon Tobin and more.

Concurrent to ISAM Live's final run around the globe, in October 2012, Stunt Rhythms, the sophomore release from Amon's beat-orientated alias Two Fingers dropped. A double CD and triple LP release, Stunt Rhythms is as much body-popping beats as it is raw synth energy. The Two Fingers project is in parallel with Amon's more esoteric musical excursions. A furious vent between exploring the outer reaches of sound.

Post ISAM, Amon returned to playing DJ sets, and exploring the dancefloor end of his sound as Two Fingers. 2014 saw him settle back into the studio to begin experimenting on new album material. That experimentation was instantly fruitful, as can be heard on 2015’s brand new Amon Tobin release Dark Jovian. Initially presented as a Record Store Day exclusive, this EP is a collection of stunning new music; momentous and elemental, and epic in scope.

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Brazilian-born Amon Tobin first emerged between 1994-1995 with a string of 12" singles on the small London-based record label 9Bar Records. The album that followed, Adventures In Foam, paved the way for a whole generation of electronic productions and prompted his signing to the prodigious Ninja Tune in 1996. He has since gone on to record seven critically- acclaimed albums under his own name on Ninja that have since helped define the label as a force in musical innovation and diversity. In addition, Amon has produced a small number of radically diverse original scores ranging from George Palfi's cult cinema oddity Taxidermia to Tom Clancy's video game blockbuster Splinter Cell: Chaos Theory.

The depth and scope of Amon Tobin's work have had a far-reaching influence. From the Kronos Quartet to Diplo he has garnered respect amongst artists both within and outside electronic music. Amon has established a reputation for musical ingenuity that is unconfined by genre and over a fifteen-year-long career remains among one of the most visionary electronic artists of a generation.

The 2007 album Foley Room explored the role of found sound in modern day music. Documented on film, the process of recording minute insects to lions, wolves, engines and foley performances culminated in a much- lauded performance at the birthplace of musique concrete, the GRM Theatre in Paris. More recently, the famed London Metropolitan Orchestra performed selected works from a cross-section of his musical repertoire at the Royal Albert Hall.

An Acronym for "Invented Sound Applied to Music"ISAM was an experiment in synthesizing field recordings and transforming them into new physically playable instruments to create unique sound palettes. From Amon's own voice gender-modified to the sound a of a creaking chair mutated into a string ensemble, ISAM directs an academic approach in audio manipulation to a purely emotional musical context. This contrast is central to the album and represents a pivotal moment in Amon's personal musical development. Sound design techniques previously used in film, as pioneered by the likes of Ben Burt (Star Wars, Wall-E) were utilized along side new ones Amon developed specifically for ISAM and applied in an unprecedented approach to music production.

The specific nature of the album demanded new thinking in terms of how to present it live and this in turn lead to an entirely new kind of music performance. ISAM Live is a hybrid of interactive cinema and a concert experience in which sound determines a narrative. Much like the album, the live show adapted existing and emerging technologies to new contexts. Projection mapping, which had up to then been largely the domain of static mostly corporate visual showcases, was configured for the first time to narrate the musical performance of an entire album. A giant cubic structure was built housing a control booth from which Amon could perform while providing an intricate canvas on to which a story was told as an audio reactive, three dimensional visual interpretation of the music being played.

ISAM Live reshaped audience's expectations of electronic music concerts for years to come selling out the worlds most prestigious venues. From the Sydney Opera House to the Olympia in Paris to the London Hammersmith and LA's Greek Theater ISAM Live received universal acclaim as a landmark in audio visual performance.

In May of 2012, Amon Tobin and Ninja Tune released the Amon Tobin Boxset: a strictly limited edition release and that came in the form of a beautiful high quality bolt fastened mechanical 'press' and included 6 x 10" vinyls, 7 CDs, 2 DVD's and several posters. Most of the material is unreleased, almost none of it has ever been available on a physical format before. It includes new music, unreleased dub plates and a wealth of archive material, Amon Tobin's earliest audio experiments (never been played in public before), film and television score work, unreleased score work, deleted bootlegs, ISAM live show DVD, ISAM live audio album, remixes, cover versions and re-interpretations of the ISAM album, remixes Amon has produced for others, a recording of the (November 2010) Royal Albert Hall orchestrations of Amon Tobin and more.

Concurrent to ISAM Live's final run around the globe, in October 2012, Stunt Rhythms, the sophomore release from Amon's beat-orientated alias Two Fingers dropped. A double CD and triple LP release, Stunt Rhythms is as much body-popping beats as it is raw synth energy. The Two Fingers project is in parallel with Amon's more esoteric musical excursions. A furious vent between exploring the outer reaches of sound.

Post ISAM, Amon returned to playing DJ sets, and exploring the dancefloor end of his sound as Two Fingers. 2014 saw him settle back into the studio to begin experimenting on new album material. That experimentation was instantly fruitful, as can be heard on 2015’s brand new Amon Tobin release Dark Jovian. Initially presented as a Record Store Day exclusive, this EP is a collection of stunning new music; momentous and elemental, and epic in scope.

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Most people come into music, do the same thing for a few years, slowly sink back into obscurity and spend the rest of their life collecting publishing royalties and re-forming for tribute tours. Their biographies can afford to be quite short – most of us aren’t that interested in golf or angling. The problem with Coldcut is that, despite their veteran status, they act like two unruly children who just won’t sit still. Which is why even a brief trawl through their various activities looks like a large chapter of a big book. 
In 1986, computer programmer Matt Black and ex-art teacher Jonathan More were part-time DJs on the rare groove scene. More also DJed on pirate radio, hosting the Meltdown Show on Kiss FM and worked at the Reckless Records store on Berwick Street, London where Black visited as a customer. The first collaboration between the two artists was 'Say Kids What Time Is It?' on a white label in January 1987, which mixed Jungle Book's "King of the Swingers" with the break from James Brown's "Funky Drummer." The innovation of "Say Kids..." caused More and Black to be heralded by SPIN as "the first Brit artists to really get hip-hop’s class-cutup aesthetic". It’s regarded as the UK’s first breaks record, the first UK record to be built entirely of samples and "the final link in the chain connecting European collage-experiment with the dance-remix-scratch edit". This was later sampled in "Pump Up the Volume" by MARRS, a single that reached #1 in the UK in October 1987. 
Though Black had joined Kiss FM with his own mix-based show, the pair eventually joined forces with their own show, later in 1987, called Solid Steel. The eclectic show became a unifying force in underground experimental electronic music, and is still running to date, celebrating 25 years in 2013. 
The duo adopted the name Coldcut, and set up a record label called Ahead Of Our Time to release the single Beats + Pieces (one of the formats also included "That Greedy Beat") in 1987. All of these tracks were assembled using cassette pause button edits, and later spliced tape loops that would sometimes run "all over the room.” The duo used sampling from Led Zeppelin to James Brown. Electronic act The Chemical Brothers have described ‘Beats + Pieces’ as the ‘first bigbeat record’, a style which appeared in the mid-90s. 
Coldcut's first mainstream success came when Julian Palmer from Island Records asked them to remix Eric B. & Rakim's "Paid in Full". Released in October 1987, the landmark remix is said to have "laid the groundwork for hip hop’s entry into the UK mainstream", becoming a breakthrough hit for Eric B & Rakim outside the U.S., reaching #15 in the UK and the top 20 in a number of European countries. It featured a prominent Ofra Haza sample and many other vocal cut ups as well as a looped rhythm which later, when speeded up, proved popular in the Breakbeat genre. Off the back of its success in clubs, the Coldcut "Seven Minutes of Madness" remix ended up being promoted as the single in the UK. 
In 1988, More and Black formed Hex, a self-titled "multimedia pop group," with Mile Visman and Rob Pepperell. While working on videos for artists such as Kevin Saunderson, Queen Latifah and Spiritualized, Hex’s collaborative work went on to incorporate 3D modelling, punk video art, and algorithmic visuals on desktop machines. The video for Coldcut’s ‘Christmas Break’ in 1989 is arguably one of the first pop promos produced entirely on microcomputers. 
In 1988, Coldcut released ‘Out To Lunch With Ahead Of Our Time,’ a double LP of Coldcut productions and re-cuts, and the various aliases under which the duo had recorded. This continued the duo’s tradition of releasing limited availability vinyl. 
The next Coldcut single, released in February 1988, moved towards a more house-influenced style. "Doctorin' the House", which debuted singer Yazz, became a top ten hit, and peaked at #6. In the same year, under the guise Yazz and the Plastic Population, they produced "The Only Way Is Up", a cover of a Northern Soul song. The record reached #1 in the UK in August, and remained there for five weeks, becoming 1988’s second biggest selling single. Producer Youth of Killing Joke also helped Coldcut with this record. The duo had another top hit in September with "Stop This Crazy Thing", which featured reggae vocalist Junior Reid and reached number 21 in the UK. 
The single "People Hold On" became another UK Top 20 hit. Released in March 1989, it helped launch the career of the then relatively unknown singer Lisa Stansfield. Coldcut and Mark Saunders produced her debut solo single "This Is the Right Time", which became another UK Top 20 hit in August as well as reaching #21 on the U.S. Billboard Hot 100 the following year. 
As the duo started to enjoy critical and commercial success, their debut album What's That Noise? was released in April 1989 on Ahead of Our Time and distributed by Big Life Records. The album gave "breaks the full length treatment", and showcased "their heady blend of hip-hop production aesthetics and proto-acid house grooves". It also rounded up a heap of unconventional guest features, quoted by SPIN as having "somehow found room at the same table for Queen Latifah and Mark E. Smith". The album’s track ‘I’m in Deep’ (featuring Smith) prefigured the Indie-dance guitar-breaks crossover of such bands as the Stone Roses and Happy Mondays, utilizing Smith’s freestyle raucous vocals over an acid house backing, and also including psych guitar samples from British rock band Deep Purple. What’s That Noise? reached the Top 20 in the UK and was certified Silver. 
Coldcut's second album, Some Like It Cold released in 1990 on Ahead Of Our Time, featured a collaboration with Queen Latifah on the single "Find a Way". Though "Find a Way" was a minor hit in the UK, no more singles were released from the album. The duo was given the BPI "Producer of the Year Award" in 1990. Hex - alongside some other London visual experimenters such as iE - produced a series of videos for a longform VHS version of the album. This continued Coldcut and Hex’s pioneering of the use of microcomputers to synthesize electronic music visuals. 
After their success with Lisa Stansfield, Coldcut signed with her label, Arista. Conflicts arose with the major label, as Coldcut’s "vision extended beyond the formulae of house and techno" and mainstream pop culture. Eventually, the duo’s album Philosophy emerged in 1993. Singles "Dreamer" and "Autumn Leaves" (1994) were both minor hits but the album did not chart. 
"Autumn Leaves" had strings recorded at Abbey Road, with a 30 piece string section and an arrangement by film composer Ed Shearmur. The leader of the string section was Simon Jeffes of Penguin Cafe Orchestra. Coldcut’s insistence on their friend Mixmaster Morris to remix "Autumn Leaves" led to one of Morris’ most celebrated remixes, which became a minor legend in ambient music. It has appeared on numerous compilations. 
In 1990, whilst on their first tour in Japan (which also featured Norman Cook, who later became Fatboy Slim), Matt and Jon formed their second record label, Ninja Tune, as a self-titled ’technocoloured escape pod,’ and a way to escape the creative control of major labels. The label enabled them to release music under different aliases (e.g.. Bogus Order, DJ Food), which also helped them to avoid pigeonholing as producers. Ninja Tune’s first release was Bogus Order’s ‘Zen Brakes.’ The name Coldcut stayed with Arista, so there were no official Coldcut releases for the next three years. 
During this time, Coldcut still produced for artists on their new label, releasing a flood of material under different names and continuing to work with young groups. They additionally kept on with Solid Steel on Kiss FM and running the night club Stealth (Club of the Year in the NME, The Face, and Mixmag in 1996). 
In 1991, Hex released their first video game, ‘Top Banana’, which was included on a Hex release for the Commodore CDTV machine in 1992, arguably the first complete purpose-designed multimedia system. ‘Top Banana’ was innovative in that it used sampled graphics, contained an ecological theme and a female lead character (dubbed ‘KT’), and its music changed through random processes. Coldcut and Hex presented this multimedia project as an example of the forthcoming convergence of pop music and computer game characters. 
In 1992, Hex’s first single - ‘Global Chaos’ / ‘Digital Love Opus 1’ - combined rave visuals with techno and ambient interactive visuals.[32] In November of that year, Hex released Global Chaos CDTV, which took advantage of the possibilities of the new CD-ROM medium. The Global Chaos CDTV disk (which contained the ‘Top Banana’ game, interactive visuals and audio), was a forerunner of the "CD+" concept, uniting music, graphics, and video games into one. This multi-dimensional entertainment product received wide coverage in the national media, including features on Dance Energy, Kaleidoscope on BBC Radio 4, What's Up Doc? on ITV and Reportage on BBC 2. i-D Magazine was quoted as saying, "It's like your TV tripping". 
Coldcut videos were made for most songs, often by Hexstatic, and used a lot of stock and sampled footage. Their ‘Timber’ video, which created an AV collage piece using analogous techniques to audio sample collage, was put on heavy rotation on MTV. Stuart Warren Hill of Hexstatic referred to this technique as: "What you see is what you hear." ‘Timber’ (which appears on both ‘Let Us Play’, Coldcut’s fourth album, and ‘Let Us Replay,’ their fifth) won awards for its innovative use of repetitive video clips synced to the music, including being shortlisted at the Edinburgh Television and Film Festival in their top five music videos of the year in 1998. 
Coldcut began integrating video sampling into their live DJ gigs at the time, and incorporated multimedia content that caused press to credit the act as segueing "into the computer age". Throughout the 90s, Hex created visuals for Coldcut’s live performances, and developed the CD-ROM portion of Coldcut’s ‘Let Us Play’ and ‘Let Us Replay,’ in addition to software developed specifically for the album’s world tour. Hex’s inclusion of music videos and ‘playtools’ (playful art/music software programs) on Coldcut’s CD-Roms was completely ahead of the curve at that time, offering viewers/listeners a high level of interactivity. Playtools such as My Little Funkit and Playtime were the prototypes for Ninja Jamm, the app Coldcut designed and launched 16 years later. Playtime followed on from Coldcut and Hex’s Synopticon installation, developing the auto-cutup algorhythm, and using other random processes to generate surprising combinations. Coldcut and Hex performed live using Playtime at the 1st Sonar Festival in 1994. Playtime was also used to generate the backing track for Coldcut’s collaboration with Jello Biafra, ‘Every Home a Prison’. 
In 1994 Coldcut and Hex contributed an installation to the Glasgow Gallery of Modern Art. The piece, called 'Generator' was installed in the Fire Gallery. Generator was an interactive installation which allowed users to mix sound, video, text and graphics and make their own audio-visual mix, modelled on the techniques and technology used by Coldcut in clubs and live performance events. It consisted of two consoles: the left controlling how the sounds are played, the right controlling how the images are played. 
As part of the JAM exhibition of "Style, Music and Media" at the Barbican Art Gallery in 1996, Coldcut and Hex were commissioned to produce an interactive audiovisual piece called Synopticon. Conceived and designed by Robert Pepperell and Matt Black, the digital culture synthesiser allows users to "remix" sounds, images, text and music in a partially random, partially controlled way. 
The year 1996 also brought the Coldcut name back to More and Black, and the pair celebrated with ‘70 Minutes of Madness,’ a mix CD that became part of the Journeys by DJ series. The release was credited with "bringing to wider attention the sort of freestyle mixing the pair were always known for through their radio show on KISS FM, Solid Steel, and their steady club dates". It was voted "Best Compilation of All Time" by Jockey Slut in 1998. 
In February 1997, they released a double pack single "Atomic Moog 2000" / "Boot the System", the first Coldcut release on Ninja Tune. This was not eligible for the UK chart because time and format restrictions prevented the inclusion of the ‘Natural Rhythm’ video on the CD. In August 1997, a reworking of the early track "More Beats + Pieces" gave them their first UK Top 40 hit since 1989. 
The album Let Us Play! followed in September and also made the Top 40. The fourth album by Coldcut, Let Us Play! paid homage to the greats that inspired them. Their first album to be released on Ninja Tune, it featured guest appearances by Grandmaster Flash, Steinski, Jello Biafra, Jimpster, The Herbaliser, Talvin Singh, Daniel Pemberton and Selena Saliva. Coldcut’s cut 'n' paste method on the album was compared to that of Dadaism and William Burroughs. Hex collaborated with Coldcut to produce the multimedia CD-Rom for the album. Hex later evolved the software into the engine that was used on the Let Us Play! world tour. 
In 1997, Matt Black - alongside Cambridge based developers Camart - created real-time video manipulation software VJamm. It allowed users to be a "digital video jockey,", remixing and collaging sound and images and trigger audio and visual samples simultaneously, subsequently bringing futuristic technology to the audio-visual field. VJamm rivalled some of the features of high-end and high cost tech at the time. The VJamm technology, praised as being proof of how far computers changed the face of live music, became seminal in both Coldcut's live sets (which were called a "revelaton" by Melody Maker and DJ sets. Their CCTV live show was featured at major festivals including Glastonbury, Roskilde, Sónar, the Montreux Jazz Festival, and John Peel's Meltdown. The "beautifully simple and devastatingly effective" software was deemed revolutionary, and became recognized as a major factor in the evolution of clubs. It eventually earned a place in the American Museum of the Moving Image's permanent collection. As quoted by The Independent: "Coldcut's motto? 'Don't hate the media, be the media." NME was quoted as saying: "Veteran duo Coldcut are so cool they invented the remix - now they are doing the same for television." 
Also working with Camart, Black designed DJamm software in 1998, which Coldcut used on laptops for their live shows, providing the audio bed alongside VJamm’s audiovisual samples. Matt Black explained they designed DJamm so they "could perform electronic music in a different way – i.e., not just taking a session band out to reproduce what you put together in the studio using samples. It had a relationship to DJing, but was more interactive and more effective." Excitingly at that time, DJamm was pioneering in its ability to shuffle sliced loops into intricate sequences, enabling users to split loops into any number of parts. 
In 1999, Let Us Replay! was released, a double-disc remix album where Coldcut’s classic tunes were remixed by the likes of Cornelius (which was heralded as a highlight of the album, Irresistible Force, Shut Up And Dance, Carl Craig and J Swinscoe. Let Us Replay! pieces together "short sharp shocks that put the mental in ‘experimental’ and still bring the breaks till the breakadawn". It also includes a few live tracks from the duo’s innovative world tour. The CD-Rom of the album, which also contained a free demo disc of the VJamm software, was one of the earliest audiovisual CD- ROMs on the market, and Muzik claimed deserved to "have them canonized...it’s like buying an entire mini studio for under $15." 
In 2000, the Solid Steel show moved to BBC London. 
Coldcut continued to forge interesting collaborations, including 2001's "Revolution," an EP in which Coldcut created their own political party (The Guilty Party). Featuring scratches and samples of Tony Blair and William Hague speeches, the 3-track EP included Nautilus' "Space Journey," which won an Intermusic contest in 2000. The video was widely played on MTV. With ‘Space Journey,’ Coldcut were arguably the first group to give fans access to the multitrack parts, or "stems," of their songs, building on the idea of interactivity and sharing from Let Us Play. 
In 2001, Coldcut produced tracks for the Sega music video game REZ. REZ replaced typical video game sound effect with electronic music; the player created sounds and melodies, intended to simulate a form of synesthesia. The soundtrack also featured Adam Freeland and Oval. 
In 2002, while utilizing VJamm and Detraktor, Coldcut and Juxta remixed Herbie Hancock’s classic ‘Rockit,’ creating both an audio and video remix. 
Working with Marcus Clements in 2002, Coldcut released the sample manipulation algorhythm from their DJamm software as a standalone VST plugin that could be used in other software, naming it the Coldcutter. 
Also in 2002, Coldcut with UK VJs Headspace (now mainly performing as the VJamm Allstars developed Gridio, an interactive, immersive audio-visual installation for the Pompidou Centre as part of the ‘Sonic Process’ exhibition. The ‘Sonic Process’ exhibition was launched at the MACBA in Barcelona in conjunction with Sónar, featuring Gridio as its centerpiece. In 2003, a commission for Graz led to a specially built version of Gridio, in a cave inside the castle mountain in Austria. Gridio was later commissioned by O2 for two simultaneous customised installations at the O2 Wireless Festivals in Leeds and London in 2007. That same year, Gridio was featured as part of Optronica at the opening week of the new BFI Southbank development in London. 
In 2003, Black worked with Penny Rimbaud (ex Crass) on Crass Agenda's Savage Utopia project. Black performed the piece with Rimbaud, Eve Libertine and other players at London’s Vortex Jazz Club. 
In 2004, Coldcut collaborated with American video mashup artist TV Sheriff to produce their cut-up entitled ‘Revolution USA.’ The tactical-media project (coordinated with Canadian art duo NomIg) followed on from the UK version and extended the premise "into an open access participatory project". Through the multimedia political art project, over 12 gigabytes of footage from the last 40 years of US politics were made accessible to download, allowing participants to create a cut-up over a Coldcut beat. Coldcut also collaborated with TV Sheriff and NomIg to produce two audiovisual pieces "World of Evil" (2004) and "Revolution '08" (2008), both composed of footage from the United States presidential elections of respective years. The music used was composed by Coldcut, with "Revolution '08" featuring a remix by the Qemists. 
Later that year, a collaboration with the British Antarctic Survey (BAS) led to the psychedelic art documentary 'Wavejammer.’ Coldcut was given access to the BAS archive in order to create sounds and visuals for the short film. 
2004 also saw Coldcut produce a radio play in conjunction with renowned young author Hari Kunzru for BBC Radio 3 (incidentally called 'Sound Mirrors'). 
Coldcut returned with the single "Everything Is Under Control” at the end of 2005, featuring Jon Spencer (of Jon Spencer Blues Explosion) and Mike Ladd. It was followed in 2006 by their fifth studio album Sound Mirrors, which was quoted as being “one of the most vital and imaginative records Jon Moore and Matt Black have ever made”, and saw the duo "continue, impressively, to find new ways to present political statements through a gamut of pristine electronics and breakbeats" (CITATION: Future Music, 2007). The fascinating array of guest vocalists included Soweto Kinch, Annette Peacock, Ameri Baraka, and Saul Williams. The latter followed on from Coldcut’s remix of Williams’ ‘The Pledge’ for a project with DJ Spooky. 
A 100-date audiovisual world tour commenced for ‘Sound Mirrors,’ which was considered "no small feat in terms of technology or human effort". Coldcut was accompanied by scratch DJ Raj and AV artist Juxta, in addition to guest vocalists from the album, including UK rapper Juice Aleem, Roots Manuva, Mpho Skeef, Jon Spencer and house legend Robert Owens. 
Three further singles were released from the album including the Top 75 hit "True Skool" with Roots Manuva. The same track appeared on the soundtrack of the video game FIFA Street 2. 
Sponsored by the British Council, in 2005 Coldcut introduced AV mixing to India with the Union project, alongside collaborators Howie B and Aki Nawaz of Fun-Da-Mental. Coldcut created an A/V remix of the Bollywood hit movie ‘Kal Ho Naa Ho’. 
In 2006, Coldcut performed an A/V set based on "Music for 18 Musicians" as part of Steve Reich’s 70th birthday gig at the Barbican Centre in London. 
Coldcut remixed another classic song in 2007: Nina Simone’s ‘Save Me.’ This was part of a remix album called ‘Nina Simone: Remixed & Re-imagined,’ featuring remixes from Tony Humphries, Francois K and Chris Coco. 
In February 2007, Coldcut and Mixmaster Morris created a psychedelic AV obituary/tribute Coldcut, Mixmaster Morris, Ken Campbell, Bill Drummond and Alan Moore (18 March 2007). Robert Anton Wilson tribute show. Queen Elizabeth Hall, London: Mixmaster Morris. (28 August 2009) to Robert Anton Wilson, the 60s author of Illuminatus! Trilogy. The tribute featured graphic novel writer Alan Moore and artist Bill Drummond and a performance by experimental theatre legend Ken Campbell. Coldcut and Morris’ hour and a half performance resembled a documentary being remixed on the fly, cutting up nearly 15 hours’ worth of Wilson’s lectures. 
In 2008, an international group of party organisers, activists and artists including Coldcut received a grant from the Intelligent Energy Department of the European Union, to create a project that promoted intelligent energy and environmental awareness to the youth of Europe. The result was Energy Union, a piece of VJ cinema, political campaign, music tour, party, art exhibition and social media hub. Energy Union toured 12 EU countries throughout 2009 and 2010, completing 24 events in total. Coldcut created the Energy Union show for the tour, a one-hour Audio/Visual montage on the theme of Intelligent Energy. In presenting new ideas for climate, environmental and energy communication strategies, the Energy Union tour was well received, and reached a widespread audience in cities across the UK, Germany, Belgium, The Netherlands, Croatia, Slovenia, Austria, Hungary, Bulgaria, Spain and the Czech Republic. 
Also in 2008, Coldcut was asked to remix the theme song for British cult TV show Doctor Who for the program’s 40th anniversary. In October 2008, Coldcut celebrated the legacy of the BBC Radiophonic Workshop (the place where the Doctor Who theme was created) with a live DJ mix at London’s legendary Roundhouse. The live mix incorporated classic Radiophonic Workshop compositions with extended sampling of the original gear. 
Additionally in 2008, Coldcut remixed "Ourselves", a Japanese #1 hit from the single "&" by Ayumi Hamasaki. This mix was included on the album Ayu-mi-x 6: Gold. 
Starting in 2009, Matt Black, with musician/artist/coder Paul Miller (creator of the TX Modular Open Source synth), developed Granul8, a new type of visual fx/source Black termed a ‘granular video synthesiser’. Granul8 allows the use of realtime VJ techniques including video feedback combined with VDMX VJ software. 
From 2009 onwards, Black has been collaborating with coder and psychedelic mathematician William Rood to create a forthcoming project called Liveloom, a social media AV mixer. 
In 2010, Coldcut celebrated 20 years of releasing music with its label, Ninja Tune. A book entitled Ninja Tune: 20 Years of Beats and Pieces was released on 12 August 2010, and an exhibition was held at Black Dog Publishing's Black Dog Space in London, showcasing artwork, design and photography from the label's 20-year history. A compilation album was released on 20 September in two formats: a regular version consisting of two 2-disc volumes, and a limited edition which contained six CDs, six 7" vinyl singles, a hardback copy of the book, a poster and additional items. Ninja Tune also incorporated a series of international parties. This repositioned Ninja as a continually compelling and influential label, being one of the "longest-running (and successful) UK indie labels to come out of the late-1980s/early-90s explosion in dance music and hip-hop" (Pitchfork, 28 September 2010). Pitchfork claimed it had a "right to show off a little". 
In July 2013, Coldcut produced a piece entitled ‘D’autre’ based on the writings of French poet Arthur Rimbaud, for Forum Des Images in Paris.The following month, in August, Coldcut produced a new soundtrack for a section of André Sauvage’s classic film Études sur Paris, which was shown as part of Noise of Art at the BFI in London, which celebrated 100 years of Electronic Music and Silent Cinema. Coldcut put new music to films from the Russolo era, incorporating original recordings of Russolo's proto-synths. 
In April 2013, Coldcut released Ninja Jamm, an iOS music app, in collaboration with London-based technology crew Seeper. Initially, the app allowed users to purchase and remix ‘Tunepacks’ of original tracks by Coldcut and other Ninja artists. These packs became part of the Ninja Tune release schedule, often being released simultaneously with traditional formats. Ninja Jamm was featured on the New and Noteworthy section of the App Store on release, and has received over 300,000 downloads to date. 
The powerful, ‘intuitive yet deep,’ app allowed users significant scope to play with, edit and re-work Ninja releases. Coldcut used it in their DJ sets, constantly improving and updating it. 
In summer 2015, Ninja Jamm and Loopmasters launched ‘Samplepacks,’ containing genre specific samples and turning Ninja Jamm into a powerful, original music creation app. Users are now able to turn instruments on and off, swap between clips, add glitches and effects, trigger and pitch-bend stabs and one-off samples, and change the tempo of the track under touch control. Users can additionally record as they play and instantly share their jamms via Soundcloud, Facebook and other means. 
To date over 20 tunepacks have been released, including Amon Tobin, Bonobo, Coldcut, DJ Food, Lapalux, Machinedrum, Congo Natty, Irresistible Force, FaltyDL and many more, and in July 2015 it is planned to release the app on Android. 
In 2013, Coldcut began working on a new album, collaborating with producer Dave Taylor (a.k.a. Solid Groove a.k.a. Switch). As of Summer 2015, this latest chapter in their legendary catalogue is nearing completion. 
Ninja Tune turns 25 in 2015. Coldcut founded the label to release the future-gazing music that excited them, and to do so without boundaries, and based purely on its quality and originality. The label’s remit remains exactly that, a quarter of a century later. 
And Coldcut themselves are as irrepressible as ever. Lauded as the number 3 DJs of all time by Music Radar, in recent months they’ve contributed an original, interactive, cutup installation for one of their creative precursors, William Burroughs, at his ‘Animals in the Wall’ exhibition. 
Their long term relationship with Greenpeace continued with DJ sets for the organization at Glastonbury for the last two years. In the same vein, ‘Everything is Under Control’ was used for ‘The Revolution with be Televised,’ the BBS activist comedy show broadcast in 2013. Matt Black has found a natural calling giving talks and lectures at events and teaching establishments, his long-standing political activism finding itself in renewed demand in turbulent times. 
And coming soon will be a brand new studio album, which will see Coldcut back in the vanguard of electronic music, and collaborating with some of the best musical mavericks from around the world – a group they’ve long been counted amongst.
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Most people come into music, do the same thing for a few years, slowly sink back into obscurity and spend the rest of their life collecting publishing royalties and re-forming for tribute tours. Their biographies can afford to be quite short – most of us aren’t that interested in golf or angling. The problem with Coldcut is that, despite their veteran status, they act like two unruly children who just won’t sit still. Which is why even a brief trawl through their various activities looks like a large chapter of a big book. 
In 1986, computer programmer Matt Black and ex-art teacher Jonathan More were part-time DJs on the rare groove scene. More also DJed on pirate radio, hosting the Meltdown Show on Kiss FM and worked at the Reckless Records store on Berwick Street, London where Black visited as a customer. The first collaboration between the two artists was 'Say Kids What Time Is It?' on a white label in January 1987, which mixed Jungle Book's "King of the Swingers" with the break from James Brown's "Funky Drummer." The innovation of "Say Kids..." caused More and Black to be heralded by SPIN as "the first Brit artists to really get hip-hop’s class-cutup aesthetic". It’s regarded as the UK’s first breaks record, the first UK record to be built entirely of samples and "the final link in the chain connecting European collage-experiment with the dance-remix-scratch edit". This was later sampled in "Pump Up the Volume" by MARRS, a single that reached #1 in the UK in October 1987. 
Though Black had joined Kiss FM with his own mix-based show, the pair eventually joined forces with their own show, later in 1987, called Solid Steel. The eclectic show became a unifying force in underground experimental electronic music, and is still running to date, celebrating 25 years in 2013. 
The duo adopted the name Coldcut, and set up a record label called Ahead Of Our Time to release the single Beats + Pieces (one of the formats also included "That Greedy Beat") in 1987. All of these tracks were assembled using cassette pause button edits, and later spliced tape loops that would sometimes run "all over the room.” The duo used sampling from Led Zeppelin to James Brown. Electronic act The Chemical Brothers have described ‘Beats + Pieces’ as the ‘first bigbeat record’, a style which appeared in the mid-90s. 
Coldcut's first mainstream success came when Julian Palmer from Island Records asked them to remix Eric B. & Rakim's "Paid in Full". Released in October 1987, the landmark remix is said to have "laid the groundwork for hip hop’s entry into the UK mainstream", becoming a breakthrough hit for Eric B & Rakim outside the U.S., reaching #15 in the UK and the top 20 in a number of European countries. It featured a prominent Ofra Haza sample and many other vocal cut ups as well as a looped rhythm which later, when speeded up, proved popular in the Breakbeat genre. Off the back of its success in clubs, the Coldcut "Seven Minutes of Madness" remix ended up being promoted as the single in the UK. 
In 1988, More and Black formed Hex, a self-titled "multimedia pop group," with Mile Visman and Rob Pepperell. While working on videos for artists such as Kevin Saunderson, Queen Latifah and Spiritualized, Hex’s collaborative work went on to incorporate 3D modelling, punk video art, and algorithmic visuals on desktop machines. The video for Coldcut’s ‘Christmas Break’ in 1989 is arguably one of the first pop promos produced entirely on microcomputers. 
In 1988, Coldcut released ‘Out To Lunch With Ahead Of Our Time,’ a double LP of Coldcut productions and re-cuts, and the various aliases under which the duo had recorded. This continued the duo’s tradition of releasing limited availability vinyl. 
The next Coldcut single, released in February 1988, moved towards a more house-influenced style. "Doctorin' the House", which debuted singer Yazz, became a top ten hit, and peaked at #6. In the same year, under the guise Yazz and the Plastic Population, they produced "The Only Way Is Up", a cover of a Northern Soul song. The record reached #1 in the UK in August, and remained there for five weeks, becoming 1988’s second biggest selling single. Producer Youth of Killing Joke also helped Coldcut with this record. The duo had another top hit in September with "Stop This Crazy Thing", which featured reggae vocalist Junior Reid and reached number 21 in the UK. 
The single "People Hold On" became another UK Top 20 hit. Released in March 1989, it helped launch the career of the then relatively unknown singer Lisa Stansfield. Coldcut and Mark Saunders produced her debut solo single "This Is the Right Time", which became another UK Top 20 hit in August as well as reaching #21 on the U.S. Billboard Hot 100 the following year. 
As the duo started to enjoy critical and commercial success, their debut album What's That Noise? was released in April 1989 on Ahead of Our Time and distributed by Big Life Records. The album gave "breaks the full length treatment", and showcased "their heady blend of hip-hop production aesthetics and proto-acid house grooves". It also rounded up a heap of unconventional guest features, quoted by SPIN as having "somehow found room at the same table for Queen Latifah and Mark E. Smith". The album’s track ‘I’m in Deep’ (featuring Smith) prefigured the Indie-dance guitar-breaks crossover of such bands as the Stone Roses and Happy Mondays, utilizing Smith’s freestyle raucous vocals over an acid house backing, and also including psych guitar samples from British rock band Deep Purple. What’s That Noise? reached the Top 20 in the UK and was certified Silver. 
Coldcut's second album, Some Like It Cold released in 1990 on Ahead Of Our Time, featured a collaboration with Queen Latifah on the single "Find a Way". Though "Find a Way" was a minor hit in the UK, no more singles were released from the album. The duo was given the BPI "Producer of the Year Award" in 1990. Hex - alongside some other London visual experimenters such as iE - produced a series of videos for a longform VHS version of the album. This continued Coldcut and Hex’s pioneering of the use of microcomputers to synthesize electronic music visuals. 
After their success with Lisa Stansfield, Coldcut signed with her label, Arista. Conflicts arose with the major label, as Coldcut’s "vision extended beyond the formulae of house and techno" and mainstream pop culture. Eventually, the duo’s album Philosophy emerged in 1993. Singles "Dreamer" and "Autumn Leaves" (1994) were both minor hits but the album did not chart. 
"Autumn Leaves" had strings recorded at Abbey Road, with a 30 piece string section and an arrangement by film composer Ed Shearmur. The leader of the string section was Simon Jeffes of Penguin Cafe Orchestra. Coldcut’s insistence on their friend Mixmaster Morris to remix "Autumn Leaves" led to one of Morris’ most celebrated remixes, which became a minor legend in ambient music. It has appeared on numerous compilations. 
In 1990, whilst on their first tour in Japan (which also featured Norman Cook, who later became Fatboy Slim), Matt and Jon formed their second record label, Ninja Tune, as a self-titled ’technocoloured escape pod,’ and a way to escape the creative control of major labels. The label enabled them to release music under different aliases (e.g.. Bogus Order, DJ Food), which also helped them to avoid pigeonholing as producers. Ninja Tune’s first release was Bogus Order’s ‘Zen Brakes.’ The name Coldcut stayed with Arista, so there were no official Coldcut releases for the next three years. 
During this time, Coldcut still produced for artists on their new label, releasing a flood of material under different names and continuing to work with young groups. They additionally kept on with Solid Steel on Kiss FM and running the night club Stealth (Club of the Year in the NME, The Face, and Mixmag in 1996). 
In 1991, Hex released their first video game, ‘Top Banana’, which was included on a Hex release for the Commodore CDTV machine in 1992, arguably the first complete purpose-designed multimedia system. ‘Top Banana’ was innovative in that it used sampled graphics, contained an ecological theme and a female lead character (dubbed ‘KT’), and its music changed through random processes. Coldcut and Hex presented this multimedia project as an example of the forthcoming convergence of pop music and computer game characters. 
In 1992, Hex’s first single - ‘Global Chaos’ / ‘Digital Love Opus 1’ - combined rave visuals with techno and ambient interactive visuals.[32] In November of that year, Hex released Global Chaos CDTV, which took advantage of the possibilities of the new CD-ROM medium. The Global Chaos CDTV disk (which contained the ‘Top Banana’ game, interactive visuals and audio), was a forerunner of the "CD+" concept, uniting music, graphics, and video games into one. This multi-dimensional entertainment product received wide coverage in the national media, including features on Dance Energy, Kaleidoscope on BBC Radio 4, What's Up Doc? on ITV and Reportage on BBC 2. i-D Magazine was quoted as saying, "It's like your TV tripping". 
Coldcut videos were made for most songs, often by Hexstatic, and used a lot of stock and sampled footage. Their ‘Timber’ video, which created an AV collage piece using analogous techniques to audio sample collage, was put on heavy rotation on MTV. Stuart Warren Hill of Hexstatic referred to this technique as: "What you see is what you hear." ‘Timber’ (which appears on both ‘Let Us Play’, Coldcut’s fourth album, and ‘Let Us Replay,’ their fifth) won awards for its innovative use of repetitive video clips synced to the music, including being shortlisted at the Edinburgh Television and Film Festival in their top five music videos of the year in 1998. 
Coldcut began integrating video sampling into their live DJ gigs at the time, and incorporated multimedia content that caused press to credit the act as segueing "into the computer age". Throughout the 90s, Hex created visuals for Coldcut’s live performances, and developed the CD-ROM portion of Coldcut’s ‘Let Us Play’ and ‘Let Us Replay,’ in addition to software developed specifically for the album’s world tour. Hex’s inclusion of music videos and ‘playtools’ (playful art/music software programs) on Coldcut’s CD-Roms was completely ahead of the curve at that time, offering viewers/listeners a high level of interactivity. Playtools such as My Little Funkit and Playtime were the prototypes for Ninja Jamm, the app Coldcut designed and launched 16 years later. Playtime followed on from Coldcut and Hex’s Synopticon installation, developing the auto-cutup algorhythm, and using other random processes to generate surprising combinations. Coldcut and Hex performed live using Playtime at the 1st Sonar Festival in 1994. Playtime was also used to generate the backing track for Coldcut’s collaboration with Jello Biafra, ‘Every Home a Prison’. 
In 1994 Coldcut and Hex contributed an installation to the Glasgow Gallery of Modern Art. The piece, called 'Generator' was installed in the Fire Gallery. Generator was an interactive installation which allowed users to mix sound, video, text and graphics and make their own audio-visual mix, modelled on the techniques and technology used by Coldcut in clubs and live performance events. It consisted of two consoles: the left controlling how the sounds are played, the right controlling how the images are played. 
As part of the JAM exhibition of "Style, Music and Media" at the Barbican Art Gallery in 1996, Coldcut and Hex were commissioned to produce an interactive audiovisual piece called Synopticon. Conceived and designed by Robert Pepperell and Matt Black, the digital culture synthesiser allows users to "remix" sounds, images, text and music in a partially random, partially controlled way. 
The year 1996 also brought the Coldcut name back to More and Black, and the pair celebrated with ‘70 Minutes of Madness,’ a mix CD that became part of the Journeys by DJ series. The release was credited with "bringing to wider attention the sort of freestyle mixing the pair were always known for through their radio show on KISS FM, Solid Steel, and their steady club dates". It was voted "Best Compilation of All Time" by Jockey Slut in 1998. 
In February 1997, they released a double pack single "Atomic Moog 2000" / "Boot the System", the first Coldcut release on Ninja Tune. This was not eligible for the UK chart because time and format restrictions prevented the inclusion of the ‘Natural Rhythm’ video on the CD. In August 1997, a reworking of the early track "More Beats + Pieces" gave them their first UK Top 40 hit since 1989. 
The album Let Us Play! followed in September and also made the Top 40. The fourth album by Coldcut, Let Us Play! paid homage to the greats that inspired them. Their first album to be released on Ninja Tune, it featured guest appearances by Grandmaster Flash, Steinski, Jello Biafra, Jimpster, The Herbaliser, Talvin Singh, Daniel Pemberton and Selena Saliva. Coldcut’s cut 'n' paste method on the album was compared to that of Dadaism and William Burroughs. Hex collaborated with Coldcut to produce the multimedia CD-Rom for the album. Hex later evolved the software into the engine that was used on the Let Us Play! world tour. 
In 1997, Matt Black - alongside Cambridge based developers Camart - created real-time video manipulation software VJamm. It allowed users to be a "digital video jockey,", remixing and collaging sound and images and trigger audio and visual samples simultaneously, subsequently bringing futuristic technology to the audio-visual field. VJamm rivalled some of the features of high-end and high cost tech at the time. The VJamm technology, praised as being proof of how far computers changed the face of live music, became seminal in both Coldcut's live sets (which were called a "revelaton" by Melody Maker and DJ sets. Their CCTV live show was featured at major festivals including Glastonbury, Roskilde, Sónar, the Montreux Jazz Festival, and John Peel's Meltdown. The "beautifully simple and devastatingly effective" software was deemed revolutionary, and became recognized as a major factor in the evolution of clubs. It eventually earned a place in the American Museum of the Moving Image's permanent collection. As quoted by The Independent: "Coldcut's motto? 'Don't hate the media, be the media." NME was quoted as saying: "Veteran duo Coldcut are so cool they invented the remix - now they are doing the same for television." 
Also working with Camart, Black designed DJamm software in 1998, which Coldcut used on laptops for their live shows, providing the audio bed alongside VJamm’s audiovisual samples. Matt Black explained they designed DJamm so they "could perform electronic music in a different way – i.e., not just taking a session band out to reproduce what you put together in the studio using samples. It had a relationship to DJing, but was more interactive and more effective." Excitingly at that time, DJamm was pioneering in its ability to shuffle sliced loops into intricate sequences, enabling users to split loops into any number of parts. 
In 1999, Let Us Replay! was released, a double-disc remix album where Coldcut’s classic tunes were remixed by the likes of Cornelius (which was heralded as a highlight of the album, Irresistible Force, Shut Up And Dance, Carl Craig and J Swinscoe. Let Us Replay! pieces together "short sharp shocks that put the mental in ‘experimental’ and still bring the breaks till the breakadawn". It also includes a few live tracks from the duo’s innovative world tour. The CD-Rom of the album, which also contained a free demo disc of the VJamm software, was one of the earliest audiovisual CD- ROMs on the market, and Muzik claimed deserved to "have them canonized...it’s like buying an entire mini studio for under $15." 
In 2000, the Solid Steel show moved to BBC London. 
Coldcut continued to forge interesting collaborations, including 2001's "Revolution," an EP in which Coldcut created their own political party (The Guilty Party). Featuring scratches and samples of Tony Blair and William Hague speeches, the 3-track EP included Nautilus' "Space Journey," which won an Intermusic contest in 2000. The video was widely played on MTV. With ‘Space Journey,’ Coldcut were arguably the first group to give fans access to the multitrack parts, or "stems," of their songs, building on the idea of interactivity and sharing from Let Us Play. 
In 2001, Coldcut produced tracks for the Sega music video game REZ. REZ replaced typical video game sound effect with electronic music; the player created sounds and melodies, intended to simulate a form of synesthesia. The soundtrack also featured Adam Freeland and Oval. 
In 2002, while utilizing VJamm and Detraktor, Coldcut and Juxta remixed Herbie Hancock’s classic ‘Rockit,’ creating both an audio and video remix. 
Working with Marcus Clements in 2002, Coldcut released the sample manipulation algorhythm from their DJamm software as a standalone VST plugin that could be used in other software, naming it the Coldcutter. 
Also in 2002, Coldcut with UK VJs Headspace (now mainly performing as the VJamm Allstars developed Gridio, an interactive, immersive audio-visual installation for the Pompidou Centre as part of the ‘Sonic Process’ exhibition. The ‘Sonic Process’ exhibition was launched at the MACBA in Barcelona in conjunction with Sónar, featuring Gridio as its centerpiece. In 2003, a commission for Graz led to a specially built version of Gridio, in a cave inside the castle mountain in Austria. Gridio was later commissioned by O2 for two simultaneous customised installations at the O2 Wireless Festivals in Leeds and London in 2007. That same year, Gridio was featured as part of Optronica at the opening week of the new BFI Southbank development in London. 
In 2003, Black worked with Penny Rimbaud (ex Crass) on Crass Agenda's Savage Utopia project. Black performed the piece with Rimbaud, Eve Libertine and other players at London’s Vortex Jazz Club. 
In 2004, Coldcut collaborated with American video mashup artist TV Sheriff to produce their cut-up entitled ‘Revolution USA.’ The tactical-media project (coordinated with Canadian art duo NomIg) followed on from the UK version and extended the premise "into an open access participatory project". Through the multimedia political art project, over 12 gigabytes of footage from the last 40 years of US politics were made accessible to download, allowing participants to create a cut-up over a Coldcut beat. Coldcut also collaborated with TV Sheriff and NomIg to produce two audiovisual pieces "World of Evil" (2004) and "Revolution '08" (2008), both composed of footage from the United States presidential elections of respective years. The music used was composed by Coldcut, with "Revolution '08" featuring a remix by the Qemists. 
Later that year, a collaboration with the British Antarctic Survey (BAS) led to the psychedelic art documentary 'Wavejammer.’ Coldcut was given access to the BAS archive in order to create sounds and visuals for the short film. 
2004 also saw Coldcut produce a radio play in conjunction with renowned young author Hari Kunzru for BBC Radio 3 (incidentally called 'Sound Mirrors'). 
Coldcut returned with the single "Everything Is Under Control” at the end of 2005, featuring Jon Spencer (of Jon Spencer Blues Explosion) and Mike Ladd. It was followed in 2006 by their fifth studio album Sound Mirrors, which was quoted as being “one of the most vital and imaginative records Jon Moore and Matt Black have ever made”, and saw the duo "continue, impressively, to find new ways to present political statements through a gamut of pristine electronics and breakbeats" (CITATION: Future Music, 2007). The fascinating array of guest vocalists included Soweto Kinch, Annette Peacock, Ameri Baraka, and Saul Williams. The latter followed on from Coldcut’s remix of Williams’ ‘The Pledge’ for a project with DJ Spooky. 
A 100-date audiovisual world tour commenced for ‘Sound Mirrors,’ which was considered "no small feat in terms of technology or human effort". Coldcut was accompanied by scratch DJ Raj and AV artist Juxta, in addition to guest vocalists from the album, including UK rapper Juice Aleem, Roots Manuva, Mpho Skeef, Jon Spencer and house legend Robert Owens. 
Three further singles were released from the album including the Top 75 hit "True Skool" with Roots Manuva. The same track appeared on the soundtrack of the video game FIFA Street 2. 
Sponsored by the British Council, in 2005 Coldcut introduced AV mixing to India with the Union project, alongside collaborators Howie B and Aki Nawaz of Fun-Da-Mental. Coldcut created an A/V remix of the Bollywood hit movie ‘Kal Ho Naa Ho’. 
In 2006, Coldcut performed an A/V set based on "Music for 18 Musicians" as part of Steve Reich’s 70th birthday gig at the Barbican Centre in London. 
Coldcut remixed another classic song in 2007: Nina Simone’s ‘Save Me.’ This was part of a remix album called ‘Nina Simone: Remixed & Re-imagined,’ featuring remixes from Tony Humphries, Francois K and Chris Coco. 
In February 2007, Coldcut and Mixmaster Morris created a psychedelic AV obituary/tribute Coldcut, Mixmaster Morris, Ken Campbell, Bill Drummond and Alan Moore (18 March 2007). Robert Anton Wilson tribute show. Queen Elizabeth Hall, London: Mixmaster Morris. (28 August 2009) to Robert Anton Wilson, the 60s author of Illuminatus! Trilogy. The tribute featured graphic novel writer Alan Moore and artist Bill Drummond and a performance by experimental theatre legend Ken Campbell. Coldcut and Morris’ hour and a half performance resembled a documentary being remixed on the fly, cutting up nearly 15 hours’ worth of Wilson’s lectures. 
In 2008, an international group of party organisers, activists and artists including Coldcut received a grant from the Intelligent Energy Department of the European Union, to create a project that promoted intelligent energy and environmental awareness to the youth of Europe. The result was Energy Union, a piece of VJ cinema, political campaign, music tour, party, art exhibition and social media hub. Energy Union toured 12 EU countries throughout 2009 and 2010, completing 24 events in total. Coldcut created the Energy Union show for the tour, a one-hour Audio/Visual montage on the theme of Intelligent Energy. In presenting new ideas for climate, environmental and energy communication strategies, the Energy Union tour was well received, and reached a widespread audience in cities across the UK, Germany, Belgium, The Netherlands, Croatia, Slovenia, Austria, Hungary, Bulgaria, Spain and the Czech Republic. 
Also in 2008, Coldcut was asked to remix the theme song for British cult TV show Doctor Who for the program’s 40th anniversary. In October 2008, Coldcut celebrated the legacy of the BBC Radiophonic Workshop (the place where the Doctor Who theme was created) with a live DJ mix at London’s legendary Roundhouse. The live mix incorporated classic Radiophonic Workshop compositions with extended sampling of the original gear. 
Additionally in 2008, Coldcut remixed "Ourselves", a Japanese #1 hit from the single "&" by Ayumi Hamasaki. This mix was included on the album Ayu-mi-x 6: Gold. 
Starting in 2009, Matt Black, with musician/artist/coder Paul Miller (creator of the TX Modular Open Source synth), developed Granul8, a new type of visual fx/source Black termed a ‘granular video synthesiser’. Granul8 allows the use of realtime VJ techniques including video feedback combined with VDMX VJ software. 
From 2009 onwards, Black has been collaborating with coder and psychedelic mathematician William Rood to create a forthcoming project called Liveloom, a social media AV mixer. 
In 2010, Coldcut celebrated 20 years of releasing music with its label, Ninja Tune. A book entitled Ninja Tune: 20 Years of Beats and Pieces was released on 12 August 2010, and an exhibition was held at Black Dog Publishing's Black Dog Space in London, showcasing artwork, design and photography from the label's 20-year history. A compilation album was released on 20 September in two formats: a regular version consisting of two 2-disc volumes, and a limited edition which contained six CDs, six 7" vinyl singles, a hardback copy of the book, a poster and additional items. Ninja Tune also incorporated a series of international parties. This repositioned Ninja as a continually compelling and influential label, being one of the "longest-running (and successful) UK indie labels to come out of the late-1980s/early-90s explosion in dance music and hip-hop" (Pitchfork, 28 September 2010). Pitchfork claimed it had a "right to show off a little". 
In July 2013, Coldcut produced a piece entitled ‘D’autre’ based on the writings of French poet Arthur Rimbaud, for Forum Des Images in Paris.The following month, in August, Coldcut produced a new soundtrack for a section of André Sauvage’s classic film Études sur Paris, which was shown as part of Noise of Art at the BFI in London, which celebrated 100 years of Electronic Music and Silent Cinema. Coldcut put new music to films from the Russolo era, incorporating original recordings of Russolo's proto-synths. 
In April 2013, Coldcut released Ninja Jamm, an iOS music app, in collaboration with London-based technology crew Seeper. Initially, the app allowed users to purchase and remix ‘Tunepacks’ of original tracks by Coldcut and other Ninja artists. These packs became part of the Ninja Tune release schedule, often being released simultaneously with traditional formats. Ninja Jamm was featured on the New and Noteworthy section of the App Store on release, and has received over 300,000 downloads to date. 
The powerful, ‘intuitive yet deep,’ app allowed users significant scope to play with, edit and re-work Ninja releases. Coldcut used it in their DJ sets, constantly improving and updating it. 
In summer 2015, Ninja Jamm and Loopmasters launched ‘Samplepacks,’ containing genre specific samples and turning Ninja Jamm into a powerful, original music creation app. Users are now able to turn instruments on and off, swap between clips, add glitches and effects, trigger and pitch-bend stabs and one-off samples, and change the tempo of the track under touch control. Users can additionally record as they play and instantly share their jamms via Soundcloud, Facebook and other means. 
To date over 20 tunepacks have been released, including Amon Tobin, Bonobo, Coldcut, DJ Food, Lapalux, Machinedrum, Congo Natty, Irresistible Force, FaltyDL and many more, and in July 2015 it is planned to release the app on Android. 
In 2013, Coldcut began working on a new album, collaborating with producer Dave Taylor (a.k.a. Solid Groove a.k.a. Switch). As of Summer 2015, this latest chapter in their legendary catalogue is nearing completion. 
Ninja Tune turns 25 in 2015. Coldcut founded the label to release the future-gazing music that excited them, and to do so without boundaries, and based purely on its quality and originality. The label’s remit remains exactly that, a quarter of a century later. 
And Coldcut themselves are as irrepressible as ever. Lauded as the number 3 DJs of all time by Music Radar, in recent months they’ve contributed an original, interactive, cutup installation for one of their creative precursors, William Burroughs, at his ‘Animals in the Wall’ exhibition. 
Their long term relationship with Greenpeace continued with DJ sets for the organization at Glastonbury for the last two years. In the same vein, ‘Everything is Under Control’ was used for ‘The Revolution with be Televised,’ the BBS activist comedy show broadcast in 2013. Matt Black has found a natural calling giving talks and lectures at events and teaching establishments, his long-standing political activism finding itself in renewed demand in turbulent times. 
And coming soon will be a brand new studio album, which will see Coldcut back in the vanguard of electronic music, and collaborating with some of the best musical mavericks from around the world – a group they’ve long been counted amongst.
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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.

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It's not every day that you come across a duo like Jake Wherry and Ollie Teeba. They've been working together for over a decade and continue to progress and improve, to excel in the competitive world of hip hop production and beyond.

Jake Wherry grew up in South West London. A diet of jazz and James Brown provided the soundtrack of his childhood and teenage years, before he naturally found himself getting into rare groove and old school hiphop and played guitar and bass in many jazz, funk and rock bands. Ollie Teeba, meanwhile, was strictly about the hip hop. He began DJing at 15, was playing out in London within a year and, in between, was to be found collecting sneakers.

Despite knowing of each other's rep at sixth form college it was only to be years later that they would convene at Jake's now legendary studio, Traintrax, to start their beat making careers. The guys immediately hit it off and began working on material of their own, utilising the skills of seminal collobrators DJ Malachi, Kaidi Tatham (Bugz In The Attic) and Ralph Lamb (Easy Access Orchestra). Wherry had played in school bands with PC (DJ Food) and when he heard the early Herbaliser demos, he was quick to introduce them to Ninja Tune; just in time for the mid-nineties explosion of hip hop jazz breaks.

As they explain: "Our instrumental style was born of a necessity to produce hip hop music, but without access to rappers we had to develop a new approach".

Their first album, the classic 'Remedies', was released by Ninja in October '95, a sharp hit of hard breaks, jazz sampledelia and funk, a record that could only have come out of the UK. 1997's 'Blow Your Headphones' added more vocals to the mix, in particular introducing the world (outside of the New York Underground scene) to the talents of What What (now Jean Grae).

Counteracting the prevalence of a couple of DJ's and a bongo player being the most common 'live' presentation of dance music, and inspired by the great funk bands of the previous decades, Wherry and Teeba decided it was time to take the musicians they worked with out on the road. With Tatham, Lamb and Patrick Dawes (percussion) already on board, it was a small step to making a seven piece whose blend of hip hop rawness and funk band tightness made them a major fixture at festivals across Europe.

The experience also caused Jake and Ollie to re-think the process of making a record. For 1999's 'Very Mercenary' they also began sampling their own playing partners, originating new grooves and then splicing them in the sampler as if they were off a piece dusty rare vinyl. It also featured a stellar cast of guests, What What this time being joined by Bahamadia, Blade, and Roots Manuva. But it was the musical breakthrough that fascinated them most and allowed them to indulge a love of sixties soundtrack and library records without merely chopping and looping the originals. Hence, whilst 'Something Wicked This Way Comes' (2002) featured another fantastic batch of guest vocalists, including MF Doom (long before his current deification) and Rakaa Iriscience (Dilated Peoples), it was as music that it really fascinated, a dark psych-funk underpinning being revealed.

The band went back out on the road and the record's commercial and critical success saw The Herbaliser rising to headline status at many key UK and EU festivals, with a live show that by now left most others for dead. Unsurprisingly, perhaps, the boys leapt at the chance to produce last year's "Solid Steel: Herbal Blend" mix and reassert their prime skills as mixers and hip hop heads. Meanwhile, their self-evident production chops got them gigs making music for everyone from Motorola to Guy Ritchie ('Snatch'), from PlayStation ('Tony Hawks Underground') to writing NFL's theme for the primetime 'Sunday Night Football' on ESPN.

All of which leads us to 'Take London'. As you'd expect, the record shows further refinement and expansion in sheer technique, while tracks like 'The Generals' show that the boys have lost none of their edge, or sheer enjoyment of fucked up, crazed hip hop tomfoolery. And talking of the Generals (the most unusual group to come out of US hip hop in a good few years), it's great to see this album putting back one woman centre stage. What What may have morphed into Jean Grae, but her skills have gone superhuman. But then The Herbaliser have always been about progression. That and being dope...

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It's not every day that you come across a duo like Jake Wherry and Ollie Teeba. They've been working together for over a decade and continue to progress and improve, to excel in the competitive world of hip hop production and beyond.

Jake Wherry grew up in South West London. A diet of jazz and James Brown provided the soundtrack of his childhood and teenage years, before he naturally found himself getting into rare groove and old school hiphop and played guitar and bass in many jazz, funk and rock bands. Ollie Teeba, meanwhile, was strictly about the hip hop. He began DJing at 15, was playing out in London within a year and, in between, was to be found collecting sneakers.

Despite knowing of each other's rep at sixth form college it was only to be years later that they would convene at Jake's now legendary studio, Traintrax, to start their beat making careers. The guys immediately hit it off and began working on material of their own, utilising the skills of seminal collobrators DJ Malachi, Kaidi Tatham (Bugz In The Attic) and Ralph Lamb (Easy Access Orchestra). Wherry had played in school bands with PC (DJ Food) and when he heard the early Herbaliser demos, he was quick to introduce them to Ninja Tune; just in time for the mid-nineties explosion of hip hop jazz breaks.

As they explain: "Our instrumental style was born of a necessity to produce hip hop music, but without access to rappers we had to develop a new approach".

Their first album, the classic 'Remedies', was released by Ninja in October '95, a sharp hit of hard breaks, jazz sampledelia and funk, a record that could only have come out of the UK. 1997's 'Blow Your Headphones' added more vocals to the mix, in particular introducing the world (outside of the New York Underground scene) to the talents of What What (now Jean Grae).

Counteracting the prevalence of a couple of DJ's and a bongo player being the most common 'live' presentation of dance music, and inspired by the great funk bands of the previous decades, Wherry and Teeba decided it was time to take the musicians they worked with out on the road. With Tatham, Lamb and Patrick Dawes (percussion) already on board, it was a small step to making a seven piece whose blend of hip hop rawness and funk band tightness made them a major fixture at festivals across Europe.

The experience also caused Jake and Ollie to re-think the process of making a record. For 1999's 'Very Mercenary' they also began sampling their own playing partners, originating new grooves and then splicing them in the sampler as if they were off a piece dusty rare vinyl. It also featured a stellar cast of guests, What What this time being joined by Bahamadia, Blade, and Roots Manuva. But it was the musical breakthrough that fascinated them most and allowed them to indulge a love of sixties soundtrack and library records without merely chopping and looping the originals. Hence, whilst 'Something Wicked This Way Comes' (2002) featured another fantastic batch of guest vocalists, including MF Doom (long before his current deification) and Rakaa Iriscience (Dilated Peoples), it was as music that it really fascinated, a dark psych-funk underpinning being revealed.

The band went back out on the road and the record's commercial and critical success saw The Herbaliser rising to headline status at many key UK and EU festivals, with a live show that by now left most others for dead. Unsurprisingly, perhaps, the boys leapt at the chance to produce last year's "Solid Steel: Herbal Blend" mix and reassert their prime skills as mixers and hip hop heads. Meanwhile, their self-evident production chops got them gigs making music for everyone from Motorola to Guy Ritchie ('Snatch'), from PlayStation ('Tony Hawks Underground') to writing NFL's theme for the primetime 'Sunday Night Football' on ESPN.

All of which leads us to 'Take London'. As you'd expect, the record shows further refinement and expansion in sheer technique, while tracks like 'The Generals' show that the boys have lost none of their edge, or sheer enjoyment of fucked up, crazed hip hop tomfoolery. And talking of the Generals (the most unusual group to come out of US hip hop in a good few years), it's great to see this album putting back one woman centre stage. What What may have morphed into Jean Grae, but her skills have gone superhuman. But then The Herbaliser have always been about progression. That and being dope...

[links_clean] =>

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http://www.bonobomusic.com/

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http://www.bonobomusic.com/

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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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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.

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Bonobo website

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[image_upload_id] => 19635 [label_id] => 1 [twitter_username] => sibonobo [instagram_id] => 1322091 [instagram_username] => si_bonobo [link] => [listed] => 1 [sortname] => Bonobo [created] => 2010-07-17 22:15:59 [modified] => 2015-01-09 12:49:39 [slug] => bonobo [fuga_id] => [description_clean] =>

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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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
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Red Bull Music Academy presents: Actress // Lone

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Red Bull Music Academy presents: Actress // Lone

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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

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Werkdiscs

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[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

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Richard 'Sticky' Forbes built his reputation as one of the countries leading club music producers at the height of the UK Garage scene. His distinctive sound not only made his music unavoidable in the clubs during this era, but also launched the careers of a number of the UK’s leading talents including the Mercury Music Prize-winning Ms. Dynamite (the pair's collaboration "Booo!" is regularly cited amongst the greatest of UKG club classics).

Sticky has had an endless numbers of club and chart hits featuring artists including Kele Le Roc, Stush, Tubby T and Twista. He has also remixed the likes of Britney Spears, Justin Timberlake, Aaliyah, Sugababes, Hot Chip, Erykah Badu and Tulisa, consistently making music which has you smiling as well as dancing.

In late 2011, Sticky signed with Big Dada. His first release with the label was the digital-only "Pedal Riddim," in December 2102. He is due to release his first album with the label in 2013.

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Richard 'Sticky' Forbes built his reputation as one of the countries leading club music producers at the height of the UK Garage scene. His distinctive sound not only made his music unavoidable in the clubs during this era, but also launched the careers of a number of the UK’s leading talents including the Mercury Music Prize-winning Ms. Dynamite (the pair's collaboration "Booo!" is regularly cited amongst the greatest of UKG club classics).

Sticky has had an endless numbers of club and chart hits featuring artists including Kele Le Roc, Stush, Tubby T and Twista. He has also remixed the likes of Britney Spears, Justin Timberlake, Aaliyah, Sugababes, Hot Chip, Erykah Badu and Tulisa, consistently making music which has you smiling as well as dancing.

In late 2011, Sticky signed with Big Dada. His first release with the label was the digital-only "Pedal Riddim," in December 2102. He is due to release his first album with the label in 2013.

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DJ Food (present) : Strictly Kev

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

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

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

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

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

DJ Food (past):

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

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

Since the growth of the abstract hip hop scene in recent years the 'Jazz Brakes' albums have proved to be ahead of their time. The latter DJ Food albums have developed with shades of latin, dub, techno, ambient, tribal, african and jungle flavouring the funk. The 2005 album 'A Recipe For Disaster' was a conscious break from the five 'Jazz Brakes' volumes to form more of an identity as an artist, and a remix album of tracks from all 6 LPs 'Refried Food' was released Feb '95.

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

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

[links] =>

www.djfood.org

Twitter
Soundcloud

[image_upload_id] => 16199 [label_id] => 1 [twitter_username] => djfood [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => DJ Food [created] => 2010-07-17 22:15:58 [modified] => 2014-10-21 09:55:59 [slug] => dj-food [fuga_id] => [description_clean] =>

DJ Food (present) : Strictly Kev

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

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

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

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

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

DJ Food (past):

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

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

Since the growth of the abstract hip hop scene in recent years the 'Jazz Brakes' albums have proved to be ahead of their time. The latter DJ Food albums have developed with shades of latin, dub, techno, ambient, tribal, african and jungle flavouring the funk. The 2005 album 'A Recipe For Disaster' was a conscious break from the five 'Jazz Brakes' volumes to form more of an identity as an artist, and a remix album of tracks from all 6 LPs 'Refried Food' was released Feb '95.

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

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

[links_clean] =>

www.djfood.org

Twitter
Soundcloud

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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] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) )
<< Previous
Artist Date City Venue Buy
Wiley Friday, Apr 19th Birmingham, GB HMV Institute Buy
Amon Tobin (DJ Set) Friday, Apr 19th Boston, Massachusettes, US Paradise Rock Club Buy
Coldcut Friday, Apr 19th Bourgoin-Jallieu, FR Les Abattoirs
Daedelus and The Herbaliser Friday, Apr 19th Bourgoin-Jallieu, FR Les Abattoirs
Bonobo Friday, Apr 19th Pontiac, Michigan, US Crofoot Ballroom Buy
Actress Friday, Apr 19th Istanbul, TU Babylon Buy
Sticky Friday, Apr 19th London, GB Brixton Jamm Buy
DJ Food + graphic design talk Friday, Apr 19th Madrid, ES Skills Club
Mr. Scruff Friday, Apr 19th Gent, BE Vooruit Buy
Next >>