Array ( [Event] => Array ( [id] => 10720 [date] => 2013-04-19 [artist] => Wiley [city] => Birmingham [state] => [country] => GB [venue] => HMV Institute [promoter] => [description] => [ticket_url] => http://www.ticketweb.co.uk/event/ZRE1904?camefrom=CFC_UK_BUYAT_73074 [image_upload_id] => 15768 [created] => 2012-11-07 11:40:56 [modified] => 2012-11-07 11:40:56 [year_slug] => 2013 [month_slug] => apr [day_slug] => 19 [slug] => wiley-birmingham-hmv-institute [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 15768 [media_type] => image [artist] => Wiley [title] => 100% Publishing Cover [credits] => [buy_link] => [filename] => images/wiley/5021392180892.jpg [checksum] => 7913320742b678bac08eddc7930a0532 [mime_type] => image/jpeg [size] => 135986 [external_url] => http://media.ninjatune.net/images/wiley/5021392180892.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => wiley [slug] => 100-percent-publishing-cover [created] => 2011-06-01 11:48:43 [modified] => 2013-02-26 17:12:46 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 69 [name] => Wiley [description] =>

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 15 years. He who was one of the original founders of the Roll Deep crew, and has made pioneering music in the fields of jungle, drum & bass and UK garage music. He is credited as the originator of the grime genre, which roared out of east London in the early noughties.

Wiley's third album "Playtime is Over" on Big Dada Records, combined artistic control for Wiley with a full scale release on a recognised label. In early 2011, Wiley finally announced his return to the Big Dada label, and the release of his ultimate album and statement, "100% Publishing". This was followed less than six months later by "Evolve Or Be Extinct," perhaps his strongest and most consistent album, which went on to win the AIM Genre Award 2012.

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 unreleased 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, in between working with Big Dada, Wiley has released three top ten singles, including "Wearing My Rolex" and UK number 1, "Heatwave.

[links] =>

www.wileymusic.co.uk

Facebook
Twitter

[image_upload_id] => 15800 [label_id] => 2 [twitter_username] => WileyArtist [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Wiley [created] => 2010-07-17 22:15:59 [modified] => 2013-01-07 12:38:41 [slug] => wiley [fuga_id] => [description_clean] =>

Richard Kylea Cowie (born 19 January 1979), better known by his stage name Wiley, is perhaps the most prolific British producer, rapper and recording artist to emerge in the last 15 years. He who was one of the original founders of the Roll Deep crew, and has made pioneering music in the fields of jungle, drum & bass and UK garage music. He is credited as the originator of the grime genre, which roared out of east London in the early noughties.

Wiley's third album "Playtime is Over" on Big Dada Records, combined artistic control for Wiley with a full scale release on a recognised label. In early 2011, Wiley finally announced his return to the Big Dada label, and the release of his ultimate album and statement, "100% Publishing". This was followed less than six months later by "Evolve Or Be Extinct," perhaps his strongest and most consistent album, which went on to win the AIM Genre Award 2012.

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 unreleased 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, in between working with Big Dada, Wiley has released three top ten singles, including "Wearing My Rolex" and UK number 1, "Heatwave.

[links_clean] =>

www.wileymusic.co.uk

Facebook
Twitter

) ) ) [1] => Array ( [Event] => Array ( [id] => 10889 [date] => 2013-04-19 [artist] => Amon Tobin (DJ Set) [city] => Boston [state] => Massachusettes [country] => US [venue] => Paradise Rock Club [promoter] => [description] => [ticket_url] => http://www.ticketmaster.com/event/0100498DEB93C696?wt.mc_id=aff_BUYAT_73074&camefrom=CFC_BUYAT_73074 [image_upload_id] => 3861 [created] => 2012-12-18 14:50:41 [modified] => 2013-03-13 17:06:03 [year_slug] => 2013 [month_slug] => apr [day_slug] => 19 [slug] => amon-tobin-dj-set-boston-paradise-rock-club [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 3861 [media_type] => image [artist] => Amon Tobin [title] => Promo Shot (Migrated) [credits] => [buy_link] => [filename] => images/amon-tobin/amontobin.jpg [checksum] => 750bf5766714493e5ffa2698159747e7 [mime_type] => image/jpeg [size] => 3195926 [external_url] => http://media.ninjatune.net/images/amon-tobin/amontobin.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => amon-tobin [slug] => promo-shot-migrated-36 [created] => 2010-11-24 03:35:43 [modified] => 2010-11-24 03:35:43 [embed] => ) [Country] => Array ( [id] => 122 [name] => United States [longname] => United States of America [numcode] => 840 [iso] => US [iso3] => USA [currency] => USD [active] => 1 [parent_id] => 117 [lft] => 241 [rght] => 242 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 31 [name] => Amon Tobin [description] => Brazilian-born Amon Tobin first emerged between 1994-1995 with a string of 12" singles on a small London-based record label called 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, garnering respect amongst producers and artists both within and outside electronic music. Whether with the classical avant garde Kronos Quartet or D'n'B legends Noisia, or on his own in some invented form, Amon has established a reputation for musical ingenuity that is unconfined by genre. Over a fifteen-year-long career Amon Tobin 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. The performance included a piece from his forthcoming studio album due for release in early 2011.

Amon Tobin will release 3 albums in 2011: a radical new studio album entitled 'ISAM', a new Two Fingers album, and an album of remixes of his 'Chaos Theory' soundtrack work.

[links] =>

www.amontobin.com

Tumblr
Facebook
Twitter
Soundcloud
YouTube

[image_upload_id] => 15363 [label_id] => 1 [twitter_username] => AmonTobinHQ [instagram_id] => 10218717 [instagram_username] => amontobin [link] => [listed] => 1 [sortname] => Amon Tobin [created] => 2010-07-17 22:15:58 [modified] => 2013-05-03 14:45:41 [slug] => amon-tobin [fuga_id] => [description_clean] =>

Brazilian-born Amon Tobin first emerged between 1994-1995 with a string of 12" singles on a small London-based record label called 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, garnering respect amongst producers and artists both within and outside electronic music. Whether with the classical avant garde Kronos Quartet or D'n'B legends Noisia, or on his own in some invented form, Amon has established a reputation for musical ingenuity that is unconfined by genre. Over a fifteen-year-long career Amon Tobin 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. The performance included a piece from his forthcoming studio album due for release in early 2011.

Amon Tobin will release 3 albums in 2011: a radical new studio album entitled 'ISAM', a new Two Fingers album, and an album of remixes of his 'Chaos Theory' soundtrack work.

[links_clean] =>

www.amontobin.com

Tumblr
Facebook
Twitter
Soundcloud
YouTube

) ) ) [2] => Array ( [Event] => Array ( [id] => 11018 [date] => 2013-04-19 [artist] => Coldcut [city] => Bourgoin-Jallieu [state] => [country] => FR [venue] => Les Abattoirs [promoter] => [description] => [ticket_url] => [image_upload_id] => 3902 [created] => 2013-01-23 14:03:46 [modified] => 2013-02-04 15:34:53 [year_slug] => 2013 [month_slug] => apr [day_slug] => 19 [slug] => coldcut-bourgoin-jallieu-les-abattoirs [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 3902 [media_type] => image [artist] => Coldcut [title] => Coldcut - Promo Shot (Migrated) [credits] => [buy_link] => [filename] => images/coldcut/coldcut-4.jpg [checksum] => 79cf0089ae674fa2739684888f27bc9a [mime_type] => image/jpeg [size] => 3379949 [external_url] => http://media.ninjatune.net/images/coldcut/coldcut-4.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => coldcut [slug] => coldcut-promo-shot-migrated [created] => 2010-11-24 03:41:29 [modified] => 2011-08-28 09:45:41 [embed] => ) [Country] => Array ( [id] => 229 [name] => France [longname] => France [numcode] => 250 [iso] => FR [iso3] => FRA [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 455 [rght] => 456 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 33 [name] => Coldcut [description] => 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. 

Ex-art teacher Jonathan More and computer programmer Matt Black have been a team since the mid-eighties. Both Matt and Jonathan had been building their DJ reputation on the nascent rare groove / warehouse party scene. Jon had a show on the then pirate station Kiss FM and worked in Reckless Records in Londons west end, where he sold Matt a bootleg of 'Across The Tracks' by Maceo & the Macks. Matt came back the next day with 'Say Kids, What Time Is It?' and suggested they work on it together. Meanwhile Jon helped Matt onto Kiss FM and they soon started the joint 'Solid Steel' show (still running to this day). 'Say Kids...' was released in 1987, becoming the UK's first sample-built record. In the same year the duo defined the term 'remix' on Eric B and Rakim's 'Paid in Full', cutting and pasting Israeli singer Ofra Haza's vocals in a notorious reworking which became a worldwide classic. Coldcut's talent was recognized by a BPI 'Producers Of the Year' award in 1990, while their debut album, 'What's That Noise', went silver. 

 The concept of setting up an independent label took shape during a trip to Japan where Matt and Jon made a discovery: "We found a book about cut-out-and-keep Ninjas. They build these amazing houses where they have special traps so they can disappear and reappear somewhere else. They were all about artifice and hidden identity." Tiring of the juggernaut marketing ethic of major labels, this stealthy philosophy seemed appealing. They wrapped up their involvement with the Big Boys in 1993 with the album 'Philosophy' and plunged into the establishment of Ninja Tune, though not before their ambient cover of 'Autumn Leaves' had kickstarted the easy listening movement. 

The story of Ninja Tune is another whole chapter and has been told elsewhere. It perhaps suffices to say that the organisation has grown into one of the classic independent labels to emerge in the '90s, providing a welcoming home to a range of acts including Mr Scruff, Cinematic Orchestra, Herbaliser, Kid Koala and Wagon Christ, as well as the likes of Roots Manuva and Ty through the later-established Big Dada imprint. As befits a pair of DJs who seem to believe that the whole world is there to be cut and pasted, "we mix things, over as broad a spectrum of activities as possible." 

Hence the duo's label-running activities in the early and mid-nineties were augmented by a plethora of other endeavours: the Stealth club night (Club of the Year in the NME, The Face and Mixmag in 1996), the pioneering Pipe website initially written by Coldcut themselves in 1995 and a variety of multimedia experiments with Rob Pepperell as Hex. Fired up by the possibilities presented by digital interactivity, Coldcut and Hex began developing toys and art installation pieces ranging from the 'Top Banana' computer game to the  'Generator' for the Glasgow Gallery Of Modern Art and 'Synopticon' for the JAM, a major exhibit at London's Barbican. While spending the early 90s building this diverse, avant-garde collage of activities, Coldcut were maniacally preparing their own musical breakout. In 1997 they unleashed their fourth album, 'Let Us Play', the first on their own label. The album featured collaborations with highly political ex-Dead Kennedy Jello Biafra, legendary funk drummer Bernard Purdie, poet Salena Saliva, and - one of Coldcut's biggest inspirations - Steinski. Both album and classic single 'More Beats and Pieces' reached the UK Top 40. And, as important as the art was, the politics - tracks like 'Timber' and 'Atomic Moog 3000' - set out an anti-corporate, ecological, anti-authoritarian vision that found its technical expression in the group's continuing interest in interactivity with their audience. 

At the same time, Coldcut were still doing their 'Solid Steel' show on Kiss every Saturday, keeping up the traditional mixed bag and stacking up plaudits such as the Sony Award for Best Specialist Show. All of which led to their 'Journeys By DJ' mix album, '70 Minutes of Madness', which was released to rave reviews and declared the Best Compilation of All Time in Jockey Slut, 1998. By 2000, though, the culture at Kiss has become too commercial for Black and More and they moved the show to BBC London Live, although their main focus was on building its profile as an internet station. Prior to the release of 'Let Us Play', Matt Black was pioneering the concept of VJing at diverse parties such as the legendary Telepathic Fish, Sabresonic and The Big Chill, with the first fruits of this collision of audio and video to be found on the free CD-Rom which accompanied the 'Let Us Play' CD. 

It was, however, only with the tours that followed the record's release that a wider audience began to get an idea of what Coldcut were up to. To promote their work live, Coldcut designed their own VJ software, VJamm, allowing the live re-creation of whole audiovisual pieces. Video could now be jammed or scratched with as easily as sound and audiences were blown away by this new direction. Coldcut called the show CCTV and have presented it everywhere from Sonar in Barcelona, the Montreux Jazz Festival, the Glastonbury Dance Tent, Roskilde, the Queen Elizabeth Hall (as part of John Peel's Meltdown), Steve Reich's remix project launch party in New York and the Darklight Digital Film Festival in Dublin - to name but a few. John Peel, incidentally, was a staunch fan of the group and, in addition to three Sessions during his lifetime, Matt and Jon were chosen to introduce the DJ section of the John Peel Memorial BBC concert night. 

1999 saw the release of remix album 'Let Us Replay', featuring contributions from Cornelius, Carl Craig, Shut Up And Dance and Ryuchi Sakamoto amongst others. Coldcut's politics came to the fore again in 2001, when they released 'Re:volution' to coincide with the British general election. Characterised by Matt Black as a "celebration/diss of UK politics and the 2001 election, an audivisual PARTY political broadcast cutting up your fave enemies over a steaming punk jungle (pungle?) stomper", it led to a campaign involving a mayhem-packed double decker bus ride round Westminster in the company of Brighton's Free Party and the Church of Bob. 

It also inspired American activists to ask Coldcut to become involved in a project for the 2004 US Presidential election. Revusa.net allowed people to download over 12Gb of footage from the last 40 years of US politics and then use them to create a cut-up over a Coldcut beat. The result was Coldcut v. TV Sheriff, 'World Of Evil', widely acclaimed and somehow regularly shown on MTV. 

Alongside the headline-grabbing releases, there has been smaller, more grass-roots activity, too. Piratetv.net was run from Coldcut's Spacelab studio in London and viewed all over the world, pioneering what Black describes as "guerilla netcasting". Special guests on the show ran from Radiohead to the Surveillance Camera Players. Coming from another angle, Vjs.net has focussed on educational activity. Matt is also heavily involved with Nowthemovie.org which aims to make a 21st Century montage documentary in the spirit of 'Sans Soleil' or 'Baraka', using footage uploaded to the site by people all over the world. And the art projects continue apace; Gridio (a collaboration between Coldcut and Headspace) is an "interactive responsive environment" originally commissioned by the Pompidou Centre in Paris which has toured all over Europe. 

2004 saw Coldcut produce a play in conjunction with renowned young author Hari Kunzru for BBC Radio 3 (incidentally, also called 'Sound Mirrors'). A collaboration with the British Antarctic Survey (BAS) has led to the short film 'Wavejammer', and running parallel to this, the remix and production work has continued apace. 

It is a tribute to Coldcut's standing as well as the sheer diversity of their output that the last few years have seen them re-work the theme to Dr Who, the music of Herbie Hancock and the Trojan catalogue, that they returned to the South Bank's Meltdown festival for a live audiovisual dub with Lee 'Scratch' Perry, Mad Professor and Headspace. That they have assembled a group of artists as diverse as Jon Spencer, Robert Owens, Saul Williams, Soweto Kinch and Roots Manuva to appear on their new record. That musically, they have continued to refine and develop both their skills and their style so that, after a twenty year career at the forefront they can honestly claim that this is their best, most complete album to date, utterly contemporary, as fresh as the day they started. Maybe they've remained masters by remaining unruly schoolchildren. Who knows? All that matters is that the masters are back.

[links] =>

Facebook
Twitter

[image_upload_id] => 3905 [label_id] => 1 [twitter_username] => coldcut [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Coldcut [created] => 2010-07-17 22:15:58 [modified] => 2013-01-09 11:07:32 [slug] => coldcut [fuga_id] => [description_clean] =>

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. 

Ex-art teacher Jonathan More and computer programmer Matt Black have been a team since the mid-eighties. Both Matt and Jonathan had been building their DJ reputation on the nascent rare groove / warehouse party scene. Jon had a show on the then pirate station Kiss FM and worked in Reckless Records in Londons west end, where he sold Matt a bootleg of 'Across The Tracks' by Maceo & the Macks. Matt came back the next day with 'Say Kids, What Time Is It?' and suggested they work on it together. Meanwhile Jon helped Matt onto Kiss FM and they soon started the joint 'Solid Steel' show (still running to this day). 'Say Kids...' was released in 1987, becoming the UK's first sample-built record. In the same year the duo defined the term 'remix' on Eric B and Rakim's 'Paid in Full', cutting and pasting Israeli singer Ofra Haza's vocals in a notorious reworking which became a worldwide classic. Coldcut's talent was recognized by a BPI 'Producers Of the Year' award in 1990, while their debut album, 'What's That Noise', went silver. 

 The concept of setting up an independent label took shape during a trip to Japan where Matt and Jon made a discovery: "We found a book about cut-out-and-keep Ninjas. They build these amazing houses where they have special traps so they can disappear and reappear somewhere else. They were all about artifice and hidden identity." Tiring of the juggernaut marketing ethic of major labels, this stealthy philosophy seemed appealing. They wrapped up their involvement with the Big Boys in 1993 with the album 'Philosophy' and plunged into the establishment of Ninja Tune, though not before their ambient cover of 'Autumn Leaves' had kickstarted the easy listening movement. 

The story of Ninja Tune is another whole chapter and has been told elsewhere. It perhaps suffices to say that the organisation has grown into one of the classic independent labels to emerge in the '90s, providing a welcoming home to a range of acts including Mr Scruff, Cinematic Orchestra, Herbaliser, Kid Koala and Wagon Christ, as well as the likes of Roots Manuva and Ty through the later-established Big Dada imprint.

As befits a pair of DJs who seem to believe that the whole world is there to be cut and pasted, "we mix things, over as broad a spectrum of activities as possible." 

Hence the duo's label-running activities in the early and mid-nineties were augmented by a plethora of other endeavours: the Stealth club night (Club of the Year in the NME, The Face and Mixmag in 1996), the pioneering Pipe website initially written by Coldcut themselves in 1995 and a variety of multimedia experiments with Rob Pepperell as Hex. Fired up by the possibilities presented by digital interactivity, Coldcut and Hex began developing toys and art installation pieces ranging from the 'Top Banana' computer game to the  'Generator' for the Glasgow Gallery Of Modern Art and 'Synopticon' for the JAM, a major exhibit at London's Barbican.

While spending the early 90s building this diverse, avant-garde collage of activities, Coldcut were maniacally preparing their own musical breakout. In 1997 they unleashed their fourth album, 'Let Us Play', the first on their own label. The album featured collaborations with highly political ex-Dead Kennedy Jello Biafra, legendary funk drummer Bernard Purdie, poet Salena Saliva, and - one of Coldcut's biggest inspirations - Steinski. Both album and classic single 'More Beats and Pieces' reached the UK Top 40. And, as important as the art was, the politics - tracks like 'Timber' and 'Atomic Moog 3000' - set out an anti-corporate, ecological, anti-authoritarian vision that found its technical expression in the group's continuing interest in interactivity with their audience. 

At the same time, Coldcut were still doing their 'Solid Steel' show on Kiss every Saturday, keeping up the traditional mixed bag and stacking up plaudits such as the Sony Award for Best Specialist Show. All of which led to their 'Journeys By DJ' mix album, '70 Minutes of Madness', which was released to rave reviews and declared the Best Compilation of All Time in Jockey Slut, 1998. By 2000, though, the culture at Kiss has become too commercial for Black and More and they moved the show to BBC London Live, although their main focus was on building its profile as an internet station.

Prior to the release of 'Let Us Play', Matt Black was pioneering the concept of VJing at diverse parties such as the legendary Telepathic Fish, Sabresonic and The Big Chill, with the first fruits of this collision of audio and video to be found on the free CD-Rom which accompanied the 'Let Us Play' CD. 

It was, however, only with the tours that followed the record's release that a wider audience began to get an idea of what Coldcut were up to. To promote their work live, Coldcut designed their own VJ software, VJamm, allowing the live re-creation of whole audiovisual pieces. Video could now be jammed or scratched with as easily as sound and audiences were blown away by this new direction. Coldcut called the show CCTV and have presented it everywhere from Sonar in Barcelona, the Montreux Jazz Festival, the Glastonbury Dance Tent, Roskilde, the Queen Elizabeth Hall (as part of John Peel's Meltdown), Steve Reich's remix project launch party in New York and the Darklight Digital Film Festival in Dublin - to name but a few. John Peel, incidentally, was a staunch fan of the group and, in addition to three Sessions during his lifetime, Matt and Jon were chosen to introduce the DJ section of the John Peel Memorial BBC concert night. 

1999 saw the release of remix album 'Let Us Replay', featuring contributions from Cornelius, Carl Craig, Shut Up And Dance and Ryuchi Sakamoto amongst others. Coldcut's politics came to the fore again in 2001, when they released 'Re:volution' to coincide with the British general election. Characterised by Matt Black as a "celebration/diss of UK politics and the 2001 election, an audivisual PARTY political broadcast cutting up your fave enemies over a steaming punk jungle (pungle?) stomper", it led to a campaign involving a mayhem-packed double decker bus ride round Westminster in the company of Brighton's Free Party and the Church of Bob. 

It also inspired American activists to ask Coldcut to become involved in a project for the 2004 US Presidential election. Revusa.net allowed people to download over 12Gb of footage from the last 40 years of US politics and then use them to create a cut-up over a Coldcut beat. The result was Coldcut v. TV Sheriff, 'World Of Evil', widely acclaimed and somehow regularly shown on MTV. 

Alongside the headline-grabbing releases, there has been smaller, more grass-roots activity, too. Piratetv.net was run from Coldcut's Spacelab studio in London and viewed all over the world, pioneering what Black describes as "guerilla netcasting". Special guests on the show ran from Radiohead to the Surveillance Camera Players. Coming from another angle, Vjs.net has focussed on educational activity. Matt is also heavily involved with Nowthemovie.org which aims to make a 21st Century montage documentary in the spirit of 'Sans Soleil' or 'Baraka', using footage uploaded to the site by people all over the world.

And the art projects continue apace; Gridio (a collaboration between Coldcut and Headspace) is an "interactive responsive environment" originally commissioned by the Pompidou Centre in Paris which has toured all over Europe. 

2004 saw Coldcut produce a play in conjunction with renowned young author Hari Kunzru for BBC Radio 3 (incidentally, also called 'Sound Mirrors'). A collaboration with the British Antarctic Survey (BAS) has led to the short film 'Wavejammer', and running parallel to this, the remix and production work has continued apace. 

It is a tribute to Coldcut's standing as well as the sheer diversity of their output that the last few years have seen them re-work the theme to Dr Who, the music of Herbie Hancock and the Trojan catalogue, that they returned to the South Bank's Meltdown festival for a live audiovisual dub with Lee 'Scratch' Perry, Mad Professor and Headspace. That they have assembled a group of artists as diverse as Jon Spencer, Robert Owens, Saul Williams, Soweto Kinch and Roots Manuva to appear on their new record. That musically, they have continued to refine and develop both their skills and their style so that, after a twenty year career at the forefront they can honestly claim that this is their best, most complete album to date, utterly contemporary, as fresh as the day they started. Maybe they've remained masters by remaining unruly schoolchildren. Who knows? All that matters is that the masters are back.

[links_clean] =>

Facebook
Twitter

) ) ) [3] => Array ( [Event] => Array ( [id] => 11021 [date] => 2013-04-19 [artist] => Daedelus and The Herbaliser [city] => Bourgoin-Jallieu [state] => [country] => FR [venue] => Les Abattoirs [promoter] => [description] => [ticket_url] => [image_upload_id] => 3909 [created] => 2013-01-23 14:07:58 [modified] => 2013-02-08 15:56:44 [year_slug] => 2013 [month_slug] => apr [day_slug] => 19 [slug] => daedelus-and-the-herbaliser-bourgoin-jallieu-les-abattoirs [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 3909 [media_type] => image [artist] => Daedelus [title] => Daedelus - Promo Shot (Migrated) [credits] => [buy_link] => [filename] => images/daedelus/daedelus-010.jpg [checksum] => 1084c9431fd481320fb79aa8acb2f34b [mime_type] => image/jpeg [size] => 2741796 [external_url] => http://media.ninjatune.net/images/daedelus/daedelus-010.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => daedelus [slug] => promo-shot-migrated-84 [created] => 2010-11-24 03:42:19 [modified] => 2010-11-24 03:42:19 [embed] => ) [Country] => Array ( [id] => 229 [name] => France [longname] => France [numcode] => 250 [iso] => FR [iso3] => FRA [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 455 [rght] => 456 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 59 [name] => Daedelus [description] =>

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

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

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

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

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

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

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

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

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

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

[links] =>

Website

Facebook
Twitter
Soundcloud

[image_upload_id] => 15479 [label_id] => 1 [twitter_username] => daedelus_music [instagram_id] => 855015 [instagram_username] => daedelus [link] => [listed] => 0 [sortname] => Daedelus [created] => 2010-07-17 22:15:59 [modified] => 2014-03-06 10:13:54 [slug] => daedelus [fuga_id] => [description_clean] =>

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

Website

Facebook
Twitter
Soundcloud

) [1] => Array ( [id] => 39 [name] => The Herbaliser [description] =>

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] =>

Tumblr
Facebook
Twitter
Soundcloud

[image_upload_id] => 14052 [label_id] => 1 [twitter_username] => theherbaliser [instagram_id] => 16194463 [instagram_username] => theherbaliser [link] => [listed] => 0 [sortname] => Herbaliser [created] => 2010-07-17 22:15:58 [modified] => 2014-03-06 10:16:17 [slug] => the-herbaliser [fuga_id] => [description_clean] =>

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] =>

Tumblr
Facebook
Twitter
Soundcloud

) ) ) [4] => Array ( [Event] => Array ( [id] => 11058 [date] => 2013-04-19 [artist] => Bonobo [city] => Pontiac [state] => Michigan [country] => US [venue] => Crofoot Ballroom [promoter] => [description] =>

http://www.bonobomusic.com/

[ticket_url] => http://www.bonobomusic.com/ [image_upload_id] => 4236 [created] => 2013-01-24 15:16:53 [modified] => 2013-02-27 17:05:31 [year_slug] => 2013 [month_slug] => apr [day_slug] => 19 [slug] => bonobo-pontiac-crofoot-ballroom [description_clean] =>

http://www.bonobomusic.com/

[products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 4236 [media_type] => image [artist] => Bonobo [title] => Bonobo - Promo Shot - Jul 2010 [credits] => [buy_link] => [filename] => images/bonobo/bonobo-34_2.jpg [checksum] => 3e6349fd9afbdd64023744448c4c831a [mime_type] => image/jpeg [size] => 3899509 [external_url] => http://media.ninjatune.net/images/bonobo/bonobo-34_2.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => bonobo [slug] => bonobo-promo-shot-jul-2010 [created] => 2010-11-24 04:22:15 [modified] => 2010-11-24 04:22:15 [embed] => ) [Country] => Array ( [id] => 122 [name] => United States [longname] => United States of America [numcode] => 840 [iso] => US [iso3] => USA [currency] => USD [active] => 1 [parent_id] => 117 [lft] => 241 [rght] => 242 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 55 [name] => Bonobo [description] =>

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

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

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

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

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

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

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

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

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

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

[links] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

[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] => 2014-07-02 15:32:12 [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 FaltyDL.

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

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

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

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

[links_clean] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

) ) ) [5] => Array ( [Event] => Array ( [id] => 11136 [date] => 2013-04-19 [artist] => Actress [city] => Istanbul [state] => [country] => TU [venue] => Babylon [promoter] => [description] =>

Red Bull Music Academy presents: Actress // Lone

[ticket_url] => http://www.biletix.com/etkinlik/PBA38/TURKIYE/tr [image_upload_id] => 17134 [created] => 2013-02-04 12:34:51 [modified] => 2013-02-04 12:36:52 [year_slug] => 2013 [month_slug] => apr [day_slug] => 19 [slug] => actress-istanbul-babylon [description_clean] =>

Red Bull Music Academy presents: Actress // Lone

[products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 17134 [media_type] => image [artist] => Actress [title] => Actress Promo (2012) [credits] => [buy_link] => [filename] => images/actress/Actress-Promo.jpg [checksum] => b5f9460dbc4aef010776b9e0b27649bc [mime_type] => image/jpeg [size] => 47971 [external_url] => http://media.ninjatune.net/images/actress/Actress-Promo.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => actress [slug] => actress-promo-2012 [created] => 2012-08-06 16:21:58 [modified] => 2012-08-06 16:22:06 [embed] => ) [Country] => Array ( [id] => 176 [name] => Turkey [longname] => Turkey [numcode] => 792 [iso] => TU [iso3] => TUR [currency] => GBP [active] => 1 [parent_id] => 160 [lft] => 349 [rght] => 350 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 170 [name] => Actress [description] =>

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

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

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

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

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

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

R.I.P Music 2014.

Actress

[links] =>

Werkdiscs

Facebook
Twitter

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

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

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

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

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

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

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

R.I.P Music 2014.

Actress

[links_clean] =>

Werkdiscs

Facebook
Twitter

) ) ) [6] => Array ( [Event] => Array ( [id] => 11347 [date] => 2013-04-19 [artist] => Sticky [city] => London [state] => [country] => GB [venue] => Brixton Jamm [promoter] => [description] => [ticket_url] => http://www.seetickets.com/event/shoobs-presents-dj-ez-sticky/brixton-jamm/700215 [image_upload_id] => 17745 [created] => 2013-03-27 10:35:20 [modified] => 2013-03-27 10:35:20 [year_slug] => 2013 [month_slug] => apr [day_slug] => 19 [slug] => sticky-london-brixton-jamm [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 17745 [media_type] => image [artist] => Sticky [title] => Sticky press shot [credits] => [buy_link] => [filename] => images/sticky/Sticky.jpg [checksum] => 1d341e0fca4dccba6c645c5a9f110a55 [mime_type] => image/jpeg [size] => 611353 [external_url] => http://media.ninjatune.net/images/sticky/Sticky.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => sticky [slug] => sticky-press-shot [created] => 2013-02-26 13:22:30 [modified] => 2013-02-26 13:22:45 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 163 [name] => Sticky [description] =>

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.

[links] => [image_upload_id] => 17745 [label_id] => 2 [twitter_username] => djsticky [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Sticky [created] => 2012-01-16 15:21:21 [modified] => 2014-03-06 10:21:58 [slug] => sticky [fuga_id] => [description_clean] =>

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.

[links_clean] => ) ) ) [7] => Array ( [Event] => Array ( [id] => 11374 [date] => 2013-04-19 [artist] => DJ Food + graphic design talk [city] => Madrid [state] => [country] => ES [venue] => Skills Club [promoter] => [description] => [ticket_url] => [image_upload_id] => 16199 [created] => 2013-04-04 15:48:25 [modified] => 2013-04-04 15:48:25 [year_slug] => 2013 [month_slug] => apr [day_slug] => 19 [slug] => dj-food-and-graphic-design-talk-madrid-skills-club [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 16199 [media_type] => image [artist] => DJ Food [title] => DJ Food Artist Shot Oct 2011 [credits] => [buy_link] => [filename] => images/dj-food/DJFoodbyWillCooperMitchell6.jpg [checksum] => 0f0acc7bd7abea90c0c9c2f273419733 [mime_type] => image/jpeg [size] => 4338325 [external_url] => http://media.ninjatune.net/images/dj-food/DJFoodbyWillCooperMitchell6.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => dj-food [slug] => dj-food-artist-shot-oct-2011 [created] => 2011-10-06 17:12:57 [modified] => 2011-10-06 17:13:11 [embed] => ) [Country] => Array ( [id] => 224 [name] => Spain [longname] => Spain [numcode] => 724 [iso] => ES [iso3] => ESP [currency] => EUR [active] => 1 [parent_id] => 209 [lft] => 445 [rght] => 446 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 34 [name] => DJ Food [description] =>

DJ Food (present) : Strictly Kev

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

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

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

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

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

DJ Food (past):

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

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

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

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

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

[links] =>

www.djfood.org

Twitter
Soundcloud

[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] => 2013-07-05 15:56:56 [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 '96.

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

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

[links_clean] =>

www.djfood.org

Twitter
Soundcloud

) ) ) [8] => Array ( [Event] => Array ( [id] => 11390 [date] => 2013-04-19 [artist] => Mr. Scruff [city] => Gent [state] => [country] => BE [venue] => Vooruit [promoter] => [description] => [ticket_url] => https://democrazy.ticketmatic.com/addevent.php?a=JcQ6EJzDtYE&e=mzIfHP4Namw&s=80cswBbInpo&l=nl [image_upload_id] => 17969 [created] => 2013-04-08 18:08:04 [modified] => 2013-04-08 18:08:04 [year_slug] => 2013 [month_slug] => apr [day_slug] => 19 [slug] => mr-scruff-gent-vooruit-3 [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 17969 [media_type] => image [artist] => Mr. Scruff [title] => Voruit Gent 2013 [credits] => [buy_link] => [filename] => images/mr-scruff/130419scruffGENTwebflyer.jpg [checksum] => fb5fff410756e28d75dab8cc4f6e791b [mime_type] => image/jpeg [size] => 150183 [external_url] => http://media.ninjatune.net/images/mr-scruff/130419scruffGENTwebflyer.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => mr-scruff [slug] => voruit-gent-2013 [created] => 2013-04-08 18:06:20 [modified] => 2013-04-08 18:06:43 [embed] => ) [Country] => Array ( [id] => 228 [name] => Belgium [longname] => Belgium [numcode] => 56 [iso] => BE [iso3] => BEL [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 453 [rght] => 454 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 40 [name] => Mr. Scruff [description] =>

Mr. Scruff: DJ, Producer & Cartoonist

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

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

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

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

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

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

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

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

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

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

[links] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

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

Mr. Scruff: DJ, Producer & Cartoonist

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

) ) ) )
<< 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 >>