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Amon Tobin @ LPR - Le Poisson Rouge

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Amon Tobin @ LPR - Le Poisson Rouge

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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

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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

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(inc. booking fee)

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

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

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

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

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

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

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

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

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

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

[links] =>

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

Website

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] => ) ) ) [3] => Array ( [Event] => Array ( [id] => 11019 [date] => 2013-04-20 [artist] => Coldcut [city] => Marseille [state] => [country] => FR [venue] => Cabaret Aleatoire [promoter] => [description] => [ticket_url] => [image_upload_id] => 3902 [created] => 2013-01-23 14:04:54 [modified] => 2013-01-23 14:04:54 [year_slug] => 2013 [month_slug] => apr [day_slug] => 20 [slug] => coldcut-marseille-cabaret-aleatoire [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 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.

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[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.

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[image_upload_id] => 17164 [label_id] => 8 [twitter_username] => djwalterego [instagram_id] => 186846847 [instagram_username] => djwalterego [link] => [listed] => 0 [sortname] => Walter Ego [created] => 2012-08-09 12:29:16 [modified] => 2013-12-11 16:01:14 [slug] => walter-ego [fuga_id] => [description_clean] => [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 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.

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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] => 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

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[counter_player] => [counter_biog] => ) ) ) [6] => Array ( [Event] => Array ( [id] => 11129 [date] => 2013-04-20 [artist] => Lapalux [city] => Paris [state] => [country] => FR [venue] => La Bellevilloise [promoter] => [description] => [ticket_url] => [image_upload_id] => 17288 [created] => 2013-02-04 10:06:13 [modified] => 2013-02-04 10:06:13 [year_slug] => 2013 [month_slug] => apr [day_slug] => 20 [slug] => lapalux-paris-la-bellevilloise [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 17288 [media_type] => image [artist] => Lapalux [title] => Press Shot 2012 1 [credits] => [buy_link] => [filename] => images/lapalux/lapalux-shaunbloodworth.jpg [checksum] => d8795d87bf037be095ef5e7d0c99736d [mime_type] => image/jpeg [size] => 7372339 [external_url] => http://media.ninjatune.net/images/lapalux/lapalux-shaunbloodworth.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => lapalux [slug] => press-shot-2012-1 [created] => 2012-09-18 17:50:00 [modified] => 2012-09-18 17:50:30 [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] => 164 [name] => Lapalux [description] =>

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

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

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

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

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

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

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[image_upload_id] => 19967 [label_id] => 7 [twitter_username] => lapalux [instagram_id] => 326469740 [instagram_username] => lapaluxmusic [link] => [listed] => 0 [sortname] => Lapalux [created] => 2012-01-17 15:28:40 [modified] => 2014-09-16 17:23:35 [slug] => lapalux [fuga_id] => [description_clean] =>

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

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

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

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

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

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

[links_clean] =>

www.lapalux.com

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"DJ Kentaro may be a turntablist - a world-beating turntablist, in fact, having taken the DMC World Championship title in 2002 - but that doesn't mean that only spotty geezers in puffas and baseball caps need to look out for him. Because hip hop and scratching represent merely one side of Kentaro's multi-faceted musical persona." - IDJ Magazine

"More than just a technical DJ, Kentaro is a performer, inciting the crowd into a frenzy while titillating the scratch fetishists. Starting with the Roots and winding up with Pharcyde, Wayne Marshall and Sizzla - with cut and juggle excursions through all the other artists from all over the world, hip-hop, reggae, drumn' bass, house, electro and jungle - he slid easily to a second victory." - Blast Magazine

On September 18th 2002, DJ Kentaro (Kentaro Okamoto) re-tried for the DMC World Championship and claimed the title with the first ever perfect score in DMC World history. Dedicating his winning 6 minute set to his "no walls between the music" ethos, DJ Kentaro finally took 2 gold Technics 1200s and a matching Technics DJ mixer to its home country.

Kentaro's blend of hip-hop, breaks, drum & bass and turntablism is untouchable. He is a mad dexterous surgeon, who slices and dices beats into a breathtaking sonic concoction in his Sendai laboratory and at events all over the world. When Kentaro is behind a set of 1200s and a mixer, he's on stage: sometimes he's shy, sometimes he's sassy, but we've never heard him be anything short of absolutely splendid.

Where some turntablists are content to fill their routines with the same ol' thang, Kentaro uses his awesome technique to move beyond the crab scratch and has catapulted drum 'n' bass and dance music into a realm that nobody else has yet to explore. 'My Favorite Songs' - Kentaro's first ever mix CD - stands as a testament to his pioneering vision of melding the mentality of a battler with the street smarts and savvy of the hip-hop elite.

Lauded for years by hip-hop aficionados, Kentaro has won the respect of Japan's 'Hip Hop Best Artists' (tied winner was Eminem) which explains why revered Japanese labels like Endeavor Entertainment, W + Kennedy Tokyo Lab, Artimage and Jazzysport, Undiluted and Virus have presented him with exclusive tracks you won't be able to hear anywhere else. And let's not forget Kentaro's exclusive turntablist cut ups - mind blowing pastiches that are all ahead of its time. Kentaro is moving at the speed of vox. Sleep on his skills and he's gonna leave you in the dust.

DJ Kentaro, number one DJ in the world, and it's just the beginning...

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[image_upload_id] => 3935 [label_id] => 1 [twitter_username] => DJKENTARO [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => DJ Kentaro [created] => 2010-07-17 22:15:59 [modified] => 2014-03-06 10:14:18 [slug] => dj-kentaro [fuga_id] => [description_clean] =>

"DJ Kentaro may be a turntablist - a world-beating turntablist, in fact, having taken the DMC World Championship title in 2002 - but that doesn't mean that only spotty geezers in puffas and baseball caps need to look out for him. Because hip hop and scratching represent merely one side of Kentaro's multi-faceted musical persona." - IDJ Magazine

"More than just a technical DJ, Kentaro is a performer, inciting the crowd into a frenzy while titillating the scratch fetishists. Starting with the Roots and winding up with Pharcyde, Wayne Marshall and Sizzla - with cut and juggle excursions through all the other artists from all over the world, hip-hop, reggae, drumn' bass, house, electro and jungle - he slid easily to a second victory." - Blast Magazine

On September 18th 2002, DJ Kentaro (Kentaro Okamoto) re-tried for the DMC World Championship and claimed the title with the first ever perfect score in DMC World history. Dedicating his winning 6 minute set to his "no walls between the music" ethos, DJ Kentaro finally took 2 gold Technics 1200s and a matching Technics DJ mixer to its home country.

Kentaro's blend of hip-hop, breaks, drum & bass and turntablism is untouchable. He is a mad dexterous surgeon, who slices and dices beats into a breathtaking sonic concoction in his Sendai laboratory and at events all over the world. When Kentaro is behind a set of 1200s and a mixer, he's on stage: sometimes he's shy, sometimes he's sassy, but we've never heard him be anything short of absolutely splendid.

Where some turntablists are content to fill their routines with the same ol' thang, Kentaro uses his awesome technique to move beyond the crab scratch and has catapulted drum 'n' bass and dance music into a realm that nobody else has yet to explore. 'My Favorite Songs' - Kentaro's first ever mix CD - stands as a testament to his pioneering vision of melding the mentality of a battler with the street smarts and savvy of the hip-hop elite.

Lauded for years by hip-hop aficionados, Kentaro has won the respect of Japan's 'Hip Hop Best Artists' (tied winner was Eminem) which explains why revered Japanese labels like Endeavor Entertainment, W + Kennedy Tokyo Lab, Artimage and Jazzysport, Undiluted and Virus have presented him with exclusive tracks you won't be able to hear anywhere else. And let's not forget Kentaro's exclusive turntablist cut ups - mind blowing pastiches that are all ahead of its time. Kentaro is moving at the speed of vox. Sleep on his skills and he's gonna leave you in the dust.

DJ Kentaro, number one DJ in the world, and it's just the beginning...

[links_clean] =>

www.djkentaro.jp

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Manchester born, London based 24 year old producer/dj/composer Sam Shepherd aka Floating Points has quickly become one of the most respected and sought-after musicians in modern music. Debuting in February 2009 with the limited 7 inch ‘For You/Radiality’ (Eglo records) he has gone on to establish himself as one the forerunners of today’s new dance music movement, earning the respect of his peers and contemporaries such as Theo Parrish, Kyle Hall, Benji B, Ramadanman, Four Tet, Kode 9 and Mary Anne Hobbs. He's released music predominantly on Eglo records (which he runs alongside Rinse FM’s Alexander Nut), as well as Planet Mu, R2, Ninja Tune and notching up remixes and features for the likes of Domino, Ubiquity, XL, Fabric and Rinse.

The name Floating Points holds just much weight within the DJ world as its does in production, song writing and arrangement. In a short space of time Shepherd has won over crowds around the world with his strictly vinyl club sessions, spanning, house, techno, soul and disco, steadily climbing the ranks of the globes most impressive DJ’s, fuelling an indulgent record habit that regularly leads him on trips to both Chicago and Detroit.

Outside of his studio based productions and crate-breaking DJ sets Shepherd makes use of his classical music training, writing, composing and arranging for the Floating Points Ensemble. The 16 piece group, led by Shepherd, recently won the ‘Best Maida Vale Session’ gong at Gilles Peterson’s ‘Worldwide Awards’. With big plans for 2011 the future is looking bright for Floating Points. When not writing, recording or playing music Sam Shepherd can be found in the laboratories of UCL, where is currently studying a PHD in 'The Neuroscience Of Pain'.

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[image_upload_id] => 14709 [label_id] => 1 [twitter_username] => floatingpoints [instagram_id] => 55726253 [instagram_username] => floatingpoints [link] => [listed] => 0 [sortname] => Floating Points [created] => 2010-11-24 11:24:03 [modified] => 2014-03-06 10:15:38 [slug] => floating-points [fuga_id] => [description_clean] =>

Manchester born, London based 24 year old producer/dj/composer Sam Shepherd aka Floating Points has quickly become one of the most respected and sought-after musicians in modern music. Debuting in February 2009 with the limited 7 inch ‘For You/Radiality’ (Eglo records) he has gone on to establish himself as one the forerunners of today’s new dance music movement, earning the respect of his peers and contemporaries such as Theo Parrish, Kyle Hall, Benji B, Ramadanman, Four Tet, Kode 9 and Mary Anne Hobbs. He's released music predominantly on Eglo records (which he runs alongside Rinse FM’s Alexander Nut), as well as Planet Mu, R2, Ninja Tune and notching up remixes and features for the likes of Domino, Ubiquity, XL, Fabric and Rinse.

The name Floating Points holds just much weight within the DJ world as its does in production, song writing and arrangement. In a short space of time Shepherd has won over crowds around the world with his strictly vinyl club sessions, spanning, house, techno, soul and disco, steadily climbing the ranks of the globes most impressive DJ’s, fuelling an indulgent record habit that regularly leads him on trips to both Chicago and Detroit.

Outside of his studio based productions and crate-breaking DJ sets Shepherd makes use of his classical music training, writing, composing and arranging for the Floating Points Ensemble. The 16 piece group, led by Shepherd, recently won the ‘Best Maida Vale Session’ gong at Gilles Peterson’s ‘Worldwide Awards’. With big plans for 2011 the future is looking bright for Floating Points. When not writing, recording or playing music Sam Shepherd can be found in the laboratories of UCL, where is currently studying a PHD in 'The Neuroscience Of Pain'.

[links_clean] =>

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Dobie @ NTS Radio's 2nd Birthday Party

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Dobie @ NTS Radio's 2nd Birthday Party

[products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 17431 [media_type] => image [artist] => Dobie [title] => Press Shot 2012 [credits] => [buy_link] => [filename] => images/dobie/Liam-Ricketts-MG-5287.jpg [checksum] => 57306bdbb6c11d3f36d1e09f2ec336ca [mime_type] => image/jpeg [size] => 68766 [external_url] => http://media.ninjatune.net/images/dobie/Liam-Ricketts-MG-5287.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => dobie [slug] => press-shot-2012-4 [created] => 2012-10-31 15:07:51 [modified] => 2012-10-31 15:07:58 [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] => 148 [name] => Dobie [description] =>

Dobie is a legendary figure in Black British music. From working on the first two Soul II Soul albums, he went on to produce London Posse's all-time classic "How's Life In London?" before recording a solo LP for Pussyfoot, "The Sound Of One Hand Clapping". In between he has remixed everyone from Bjork, Massive Attack, Les Negress Vertes, Tricky to Gangstarr and recorded for a host of labels including Brownswood and BBE. In addition, his career as a skate photographer led to endless covers for classic UK skate magazine R.a.D. He released two EPs for Big Dada in 2012 and an album, "We Will Not Harm You" in early 2013.

[links] => Twitter
Soundcloud [image_upload_id] => 17431 [label_id] => 2 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Dobie [created] => 2011-05-25 14:19:17 [modified] => 2014-03-06 10:14:46 [slug] => dobie [fuga_id] => [description_clean] =>

Dobie is a legendary figure in Black British music. From working on the first two Soul II Soul albums, he went on to produce London Posse's all-time classic "How's Life In London?" before recording a solo LP for Pussyfoot, "The Sound Of One Hand Clapping". In between he has remixed everyone from Bjork, Massive Attack, Les Negress Vertes, Tricky to Gangstarr and recorded for a host of labels including Brownswood and BBE. In addition, his career as a skate photographer led to endless covers for classic UK skate magazine R.a.D. He released two EPs for Big Dada in 2012 and an album, "We Will Not Harm You" in early 2013.

[links_clean] => Twitter
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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

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[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

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Twitter
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<< Previous
Artist Date City Venue Buy
Wiley and JME Saturday, Apr 20th London, GB The Forum Buy
Amon Tobin (DJ Set) Saturday, Apr 20th New York, New York, US Le Poisson Rouge Buy
Daedelus Saturday, Apr 20th London, GB Koko Buy
Coldcut Saturday, Apr 20th Marseille, FR Cabaret Aleatoire
Walter Ego Saturday, Apr 20th Bristol, GB Motion
Bonobo Saturday, Apr 20th Chicago, Illinois, US House Of Blues Buy
Lapalux Saturday, Apr 20th Paris, FR La Bellevilloise
DJ Kentaro Saturday, Apr 20th Lyon, FR Electrochoc Festival Buy
Floating Points Saturday, Apr 20th Dublin, IE Twisted Pepper Buy
Dobie Saturday, Apr 20th London, GB 7-9 Crucifix Lane Buy
Mr. Scruff Saturday, Apr 20th Rotterdam, NL Bird Buy
Next >>