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Big Dada are proud and pleased to announce that they will release the album Jungle Revolution by Congo Natty on 1 July 2013. Congo Natty aka Rebel MC has a career dating back to his early hit with Double Trouble, "Street Tuff," but is probably most respected as one of the pioneers of Jungle - perhaps the first uniquely UK-born bass music. Jungle Revolution features the whole of the extended Congo Natty family and was mixed with Adrian Sherwood. Clearly showing this Rasta's belief that Jungle is a re-boot of roots reggae for a new century, the record is full of blood and fire, the sternum-buzz of sub-bass, rapid fire drum breaks, sweet hooks, righteous anger and professions of religious fervour. It’s the kind of passionate, committed, raw and spiritual, beautiful record that doesn’t come along every day.

To celebrate this release, we are giving away the track "UK Allstars," which features a who's who of British soundsystem culture. This is the first time ever that this line up have all appeared on one track together and so also marks a historic coming together of a scene which lies at the roots of so much of what we now take for granted in UK music, from dubstep to grime to drum & bass and beyond.

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Big Dada are proud and pleased to announce that they will release the album Jungle Revolution by Congo Natty on 1 July 2013.

Congo Natty aka Rebel MC has a career dating back to his early hit with Double Trouble, "Street Tuff," but is probably most respected as one of the pioneers of Jungle - perhaps the first uniquely UK-born bass music.

Jungle Revolution features the whole of the extended Congo Natty family and was mixed with Adrian Sherwood. Clearly showing this Rasta's belief that Jungle is a re-boot of roots reggae for a new century, the record is full of blood and fire, the sternum-buzz of sub-bass, rapid fire drum breaks, sweet hooks, righteous anger and professions of religious fervour. It’s the kind of passionate, committed, raw and spiritual, beautiful record that doesn’t come along every day.

To celebrate this release, we are giving away the track "UK Allstars," which features a who's who of British soundsystem culture. This is the first time ever that this line up have all appeared on one track together and so also marks a historic coming together of a scene which lies at the roots of so much of what we now take for granted in UK music, from dubstep to grime to drum & bass and beyond.

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

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

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

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

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

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

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

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

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

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

[links] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

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“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious album, The Glorious Dead. “We wanted to make a bold statement – it’s not shy, but a beast unto itself.” “It’s over the top, but in a good way,” adds charismatic Heavy frontman Kelvin Swaby. “With this record, we went pretty cinematic: we basically set out to score a film that hasn’t been written.” 

Indeed, The Glorious Dead proves singular: Frankensteining everything from swampy voodoo and b-movie zombies with garage-rock guitars and Gospel-soaked soul, it becomes a whole other creature feature unlike anything else you’ll hear this year. The Glorious Dead isn’t just The Heavy’s third full-length: it’s also the group’s most ambitious effort, traveling sonically from the group’s South England home to America’s deep South, and beyond. It’s also building off momentum from The Heavy’s greatest success, the international smash single “How You Like Me Now?,” off the band’s acclaimed previous album, 2009’s The House That Dirt Built

An infectious anthem of hard-rocking maximum R&B, “How You Like Me Now?” exploded upon release: it became the first song David Letterman’s ever requested an encore for when The Heavy played it on his “Late Show,” and has appeared everywhere from “Entourage” episodes, Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted. “How You Like Me Now?” continues to enthrall: on the recent climax of the 2012 season of NBC’s hit show “The Voice,” Adam Levine’s team contestant Tony Lucca performed the song to massive acclaim. “That was surreal,” says Taylor. “It’s taken on legs of its own. I can’t complain, but I wouldn’t want to be known for one song – it’s not our peak.” 

“It’s such a big tune, people ask, ‘How are you going to top that?’,” Swaby adds. “But we’re not going to lie down and play dead.” 

As such, The Glorious Dead rockets out of the grave with supernatural force. Alternately haunting and relentless, album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials. It’s followed by “Curse Me Good,” which provides a jarring contrast with its sweet whistled hook, George Harrison-meets-T.Rex acoustic strum, and a heartbreaking soul vocal from Swaby. “It’s good to have a bit of light and shade amid the onslaught of heavy guitars,” Taylor explains. “I find we’re always trying to recreate the diversity of, say, The White Album, but with beats.” 

Likewise, “Big Bad Wolf” combines primal howling à la Screamin’ Jay Hawkins, funkdafied breakbeats, and eerie electronics that recall Luniz’ stoned rap classic “I Got 5 On It.” “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “It’s integral to make everything sound like samples from our record collection, but with a modern edge. We’re not afraid to use technology, and everything needs to have that tight, heavyweight bottom end.” 

Epitomizing this all-inclusive strategy is The Glorious Dead’s centerpiece breakthrough track, “What Makes A Good Man?” Defiant yet uplifting, “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group call-and-response vocals and soaring, epic strings. Its creation provided the spark that would prove crucial to the album’s inception. Looking to soak up some Southern Gothic inspiration, The Heavy traveled far from their hometown near Bath, England all the way to Columbus, Georgia on the advice of their U.S. tour-bus driver, Sam Phillips. There, Phillips hooked the group up with a number of church-trained singers and players: they would take Swaby and Taylor’s song ideas to another realm, like singer/keyboardist Lloyd Buchanan’s intense contribution to “…Good Man?” “We had the beat and the chorus for ‘Good Man,’ and when Lloyd started jamming on the B-3 and singing on it, I was like, ‘This is going to be insane,’” Swaby says. “The Gospel singers started doing the chorus they already knew they song – they made it sound like the Supremes or Ronettes. It was an incredible feeling: after that, we were on our merry way.”

Taking the material to yet another level was the contribution of Gabriel “Bosco Mann” Roth, Daptone Records co-founder and bandleader of Sharon Jones & the Dap-Kings, with whom The Heavy had toured extensively. Roth ended up scoring innovative string and horn parts to four of The Glorious Dead’s ten songs. “It doesn’t sound like what Gabriel does with the Dap-Kings,” Taylor says. “He got into the mindset to do something different.” “He’s such a talented entity,” Swaby continues. “I couldn’t believe what was coming out of the speakers. It was so fitting, with this vintage sound, and amazing beauty. It reminded me of these black-and-white films I used to watch as a kid.” 

Film loomed as large an influence on The Glorious Dead as music. As key inspirations, Taylor cites the tweaked Americana of Jim Jarmusch’s Down By Law and the voodoo vibes of the James Bond classic Live and Let Die alongside ‘60s Mod rave-ups and the atmospheric Brit multiculturalism of Fun Boy Three and The Specials; Swaby, meanwhile, explored low-budget horror flicks alongside the controlled screaming of garage-rockers The Sonics, Tom Waits’ elastic growl, and soul giants Al Green and Otis Redding. 

Starting in January 2011, Taylor, Swaby, and bandmates Spencer Page (bass) and Chris Ellul (drums) began combining these ingredients into their own idiosyncratic blend – a process launched by The Heavy building their own studio and choosing to produce The Glorious Dead themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing the vision we had,” Taylor says. “Your third record is judged as to whether you’re there to stay, or slide off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”

The Glorious Dead spawned the mighty lead single 'What Makes a Good Man?' a funk-ridden, soul-wrenching study of a deep spiritual question. What Makes A Good Man? has been featured in trailers for HBO, Lawless, Borderlands 2 and Elementary, and the band gave TV performances on The Late Show with David Letterman, Last Call With Carson Daly and The Late Late Show With Craig Ferguson. 

Since the dawn of The Glorious Dead, The Heavy have done anything other than rest on their laurels. 2013 has seen them reprise their smash hit 'How You Like Me Now?' for ESPN's Draft Week. The song was reworked to feature a guest verse from none other than 50 Cent, who happily enveloped himself in The Heavy's swamp-funk, and even performed in a brand new video. Since then, the song has gone on to reach Gold status in the USA, a stunning success from a British band on a label as independent as they are. 

The Heavy came back to the US to perform at Spike TV's Guys Choice Awards as the house band in June 2013. Touring in 2013 has so far been a SOLD OUT UK Tour, an EU Tour in May, plus USA and Canadian dates in June and August, with another EU/UK Tour booked for the end of the year. Festival highlights this summer include Ottawa Jazz Festival, Rock-A-Field in Luxembourg, Hove in Norway, T In The Park in Scotland, Glastonbury and WOMAD in England, Osheaga in Montreal, Outside Lands in San Francisco and Afropunk in New York. 

To date, this true original of a band have sold 750,000 singles and over 150,000 albums. Long live The Heavy

[links] =>

www.theheavy.co.uk

Facebook
Twitter
Soundcloud

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“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious album, The Glorious Dead. “We wanted to make a bold statement – it’s not shy, but a beast unto itself.” “It’s over the top, but in a good way,” adds charismatic Heavy frontman Kelvin Swaby. “With this record, we went pretty cinematic: we basically set out to score a film that hasn’t been written.” 

Indeed, The Glorious Dead proves singular: Frankensteining everything from swampy voodoo and b-movie zombies with garage-rock guitars and Gospel-soaked soul, it becomes a whole other creature feature unlike anything else you’ll hear this year. The Glorious Dead isn’t just The Heavy’s third full-length: it’s also the group’s most ambitious effort, traveling sonically from the group’s South England home to America’s deep South, and beyond. It’s also building off momentum from The Heavy’s greatest success, the international smash single “How You Like Me Now?,” off the band’s acclaimed previous album, 2009’s The House That Dirt Built

An infectious anthem of hard-rocking maximum R&B, “How You Like Me Now?” exploded upon release: it became the first song David Letterman’s ever requested an encore for when The Heavy played it on his “Late Show,” and has appeared everywhere from “Entourage” episodes, Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted. “How You Like Me Now?” continues to enthrall: on the recent climax of the 2012 season of NBC’s hit show “The Voice,” Adam Levine’s team contestant Tony Lucca performed the song to massive acclaim. “That was surreal,” says Taylor. “It’s taken on legs of its own. I can’t complain, but I wouldn’t want to be known for one song – it’s not our peak.” 

“It’s such a big tune, people ask, ‘How are you going to top that?’,” Swaby adds. “But we’re not going to lie down and play dead.” 

As such, The Glorious Dead rockets out of the grave with supernatural force. Alternately haunting and relentless, album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials. It’s followed by “Curse Me Good,” which provides a jarring contrast with its sweet whistled hook, George Harrison-meets-T.Rex acoustic strum, and a heartbreaking soul vocal from Swaby. “It’s good to have a bit of light and shade amid the onslaught of heavy guitars,” Taylor explains. “I find we’re always trying to recreate the diversity of, say, The White Album, but with beats.” 

Likewise, “Big Bad Wolf” combines primal howling à la Screamin’ Jay Hawkins, funkdafied breakbeats, and eerie electronics that recall Luniz’ stoned rap classic “I Got 5 On It.” “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “It’s integral to make everything sound like samples from our record collection, but with a modern edge. We’re not afraid to use technology, and everything needs to have that tight, heavyweight bottom end.” 

Epitomizing this all-inclusive strategy is The Glorious Dead’s centerpiece breakthrough track, “What Makes A Good Man?” Defiant yet uplifting, “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group call-and-response vocals and soaring, epic strings. Its creation provided the spark that would prove crucial to the album’s inception. Looking to soak up some Southern Gothic inspiration, The Heavy traveled far from their hometown near Bath, England all the way to Columbus, Georgia on the advice of their U.S. tour-bus driver, Sam Phillips. There, Phillips hooked the group up with a number of church-trained singers and players: they would take Swaby and Taylor’s song ideas to another realm, like singer/keyboardist Lloyd Buchanan’s intense contribution to “…Good Man?” “We had the beat and the chorus for ‘Good Man,’ and when Lloyd started jamming on the B-3 and singing on it, I was like, ‘This is going to be insane,’” Swaby says. “The Gospel singers started doing the chorus they already knew they song – they made it sound like the Supremes or Ronettes. It was an incredible feeling: after that, we were on our merry way.”

Taking the material to yet another level was the contribution of Gabriel “Bosco Mann” Roth, Daptone Records co-founder and bandleader of Sharon Jones & the Dap-Kings, with whom The Heavy had toured extensively. Roth ended up scoring innovative string and horn parts to four of The Glorious Dead’s ten songs. “It doesn’t sound like what Gabriel does with the Dap-Kings,” Taylor says. “He got into the mindset to do something different.” “He’s such a talented entity,” Swaby continues. “I couldn’t believe what was coming out of the speakers. It was so fitting, with this vintage sound, and amazing beauty. It reminded me of these black-and-white films I used to watch as a kid.” 

Film loomed as large an influence on The Glorious Dead as music. As key inspirations, Taylor cites the tweaked Americana of Jim Jarmusch’s Down By Law and the voodoo vibes of the James Bond classic Live and Let Die alongside ‘60s Mod rave-ups and the atmospheric Brit multiculturalism of Fun Boy Three and The Specials; Swaby, meanwhile, explored low-budget horror flicks alongside the controlled screaming of garage-rockers The Sonics, Tom Waits’ elastic growl, and soul giants Al Green and Otis Redding. 

Starting in January 2011, Taylor, Swaby, and bandmates Spencer Page (bass) and Chris Ellul (drums) began combining these ingredients into their own idiosyncratic blend – a process launched by The Heavy building their own studio and choosing to produce The Glorious Dead themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing the vision we had,” Taylor says. “Your third record is judged as to whether you’re there to stay, or slide off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”

The Glorious Dead spawned the mighty lead single 'What Makes a Good Man?' a funk-ridden, soul-wrenching study of a deep spiritual question. What Makes A Good Man? has been featured in trailers for HBO, Lawless, Borderlands 2 and Elementary, and the band gave TV performances on The Late Show with David Letterman, Last Call With Carson Daly and The Late Late Show With Craig Ferguson. 

Since the dawn of The Glorious Dead, The Heavy have done anything other than rest on their laurels. 2013 has seen them reprise their smash hit 'How You Like Me Now?' for ESPN's Draft Week. The song was reworked to feature a guest verse from none other than 50 Cent, who happily enveloped himself in The Heavy's swamp-funk, and even performed in a brand new video. Since then, the song has gone on to reach Gold status in the USA, a stunning success from a British band on a label as independent as they are. 

The Heavy came back to the US to perform at Spike TV's Guys Choice Awards as the house band in June 2013. Touring in 2013 has so far been a SOLD OUT UK Tour, an EU Tour in May, plus USA and Canadian dates in June and August, with another EU/UK Tour booked for the end of the year. Festival highlights this summer include Ottawa Jazz Festival, Rock-A-Field in Luxembourg, Hove in Norway, T In The Park in Scotland, Glastonbury and WOMAD in England, Osheaga in Montreal, Outside Lands in San Francisco and Afropunk in New York. 

To date, this true original of a band have sold 750,000 singles and over 150,000 albums. Long live The Heavy

[links_clean] =>

www.theheavy.co.uk

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[counter_player] => [counter_biog] => “What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious album, The Glorious Dead. “We wanted to make a bold statement – it’s not shy, but a beast unto itself." "It’s over the top, but in a good way," adds charismatic Heavy frontman Kelvin Swaby. "With this record, we went pretty cinematic: we basically set out to score a film that hasn’t been written." Indeed, The Glorious Dead proves singular: Frankensteining everything from swampy voodoo and b-movie zombies with garage-rock guitars and Gospel-soaked soul, it becomes a whole other creature feature unlike anything else you’ll hear this year. The Glorious Dead isn’t just The Heavy’s third full-length: it’s also the group’s most ambitious effort, traveling sonically from the group’s South England home to America’s deep South, and beyond. It’s also building off momentum from The Heavy’s greatest success, the international smash single “How You Like Me Now?,” off the band’s acclaimed previous album, 2009’s The House That Dirt Built. An infectious anthem of hard-rocking maximum R&B, “How You Like Me Now?” exploded upon release: it became the first song David Letterman’s ever requested an encore for when The Heavy played it on his “Late Show,” and has appeared everywhere from “Entourage” episodes, Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted. “How You Like Me Now?” continues to enthrall: on the recent climax of the 2012 season of NBC’s hit show “The Voice,” Adam Levine’s team contestant Tony Lucca performed the song to massive acclaim. “That was surreal,” says Taylor. “It’s taken on legs of its own. I can’t complain, but I wouldn’t want to be known for one song – it’s not our peak.” “It’s such a big tune, people ask, ‘How are you going to top that?’,” Swaby adds. “But we’re not going to lie down and play dead.” As such, The Glorious Dead rockets out of the grave with supernatural force. Alternately haunting and relentless, album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials. It’s followed by “Curse Me Good,” which provides a jarring contrast with its sweet whistled hook, George Harrison-meets-T.Rex acoustic strum, and a heartbreaking soul vocal from Swaby. “It’s good to have a bit of light and shade amid the onslaught of heavy guitars,” Taylor explains. “I find we’re always trying to recreate the diversity of, say, The White Album, but with beats.” Likewise, “Big Bad Wolf” combines primal howling à la Screamin’ Jay Hawkins, funkdafied breakbeats, and eerie electronics that recall Luniz’ stoned rap classic “I Got 5 On It.” “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “It’s integral to make everything sound like samples from our record collection, but with a modern edge. We’re not afraid to use technology, and everything needs to have that tight, heavyweight bottom end.” Epitomizing this all-inclusive strategy is The Glorious Dead’s centerpiece breakthrough track, “What Makes A Good Man?” Defiant yet uplifting, “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group call-and-response vocals and soaring, epic strings. Its creation provided the spark that would prove crucial to the album’s inception. Looking to soak up some Southern Gothic inspiration, The Heavy traveled far from their hometown near Bath, England all the way to Columbus, Georgia on the advice of their U.S. tour-bus driver, Sam Phillips. There, Phillips hooked the group up with a number of church-trained singers and players: they would take Swaby and Taylor’s song ideas to another realm, like singer/keyboardist Lloyd Buchanan’s intense contribution to “…Good Man?” “We had the beat and the chorus for ‘Good Man,’ and when Lloyd started jamming on the B-3 and singing on it, I was like, ‘This is going to be insane,’” Swaby says. “The Gospel singers started doing the chorus they already knew they song – they made it sound like the Supremes or Ronettes. It was an incredible feeling: after that, we were on our merry way.” Taking the material to yet another level was the contribution of Gabriel “Bosco Mann” Roth, Daptone Records co-founder and bandleader of Sharon Jones & the Dap-Kings, with whom The Heavy had toured extensively. Roth ended up scoring innovative string and horn parts to four of The Glorious Dead’s ten songs. “It doesn’t sound like what Gabriel does with the Dap-Kings,” Taylor says. “He got into the mindset to do something different.” “He’s such a talented entity,” Swaby continues. “I couldn’t believe what was coming out of the speakers. It was so fitting, with this vintage sound, and amazing beauty. It reminded me of these black-and-white films I used to watch as a kid.” Film loomed as large an influence on The Glorious Dead as music. As key inspirations, Taylor cites the tweaked Americana of Jim Jarmusch’s Down By Law and the voodoo vibes of the James Bond classic Live and Let Die alongside ‘60s Mod rave-ups and the atmospheric Brit multiculturalism of Fun Boy Three and The Specials; Swaby, meanwhile, explored low-budget horror flicks alongside the controlled screaming of garage-rockers The Sonics, Tom Waits’ elastic growl, and soul giants Al Green and Otis Redding. Starting in January 2011, Taylor, Swaby, and bandmates Spencer Page (bass) and Chris Ellul (drums) began combining these ingredients into their own idiosyncratic blend – a process launched by The Heavy building their own studio and choosing to produce The Glorious Dead themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing the vision we had,” Taylor says. “Your third record is judged as to whether you’re there to stay, or slide off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.” The Glorious Dead spawned the mighty lead single 'What Makes a Good Man?' a funk-ridden, soul-wrenching study of a deep spiritual question. What Makes A Good Man? has been featured in trailers for HBO, Lawless, Borderlands 2 and Elementary, and the band gave TV performances on The Late Show with David Letterman, Last Call With Carson Daly and The Late Late Show With Craig Ferguson. Since the dawn of 'The Glorious Dead,' The Heavy have done anything other than rest on their laurels. 2013 has seen them reprise their smash hit 'How You Like Me Now?' for ESPN's Draft Week. The song was reworked to feature a guest verse from none other than 50 Cent, who happily enveloped himself in The Heavy's swamp-funk, and even performed in a brand new video. Since then, the song has gone on to reach Gold status in the USA, a stunning success from a British band on a label as independent as they are. The Heavy came back to the US to perform at Spike TV's Guys Choice Awards as the house band in June 2013. Touring in 2013 has so far been a SOLD OUT UK Tour, an EU Tour in May, plus USA and Canadian dates in June and August, with another EU/UK Tour booked for the end of the year. Festival highlights this summer include Ottawa Jazz Festival, Rock-A-Field in Luxembourg, Hove in Norway, T In The Park in Scotland, Glastonbury and WOMAD in England, Osheaga in Montreal, Outside Lands in San Francisco and Afropunk in New York. To date, this true original of a band have sold 750,000 singles and over 150,000 albums. Long live The Heavy. ) ) ) [3] => Array ( [Event] => Array ( [id] => 11989 [date] => 2013-11-08 [artist] => Machinedrum and King Midas Sound [city] => London [state] => [country] => GB [venue] => Village Underground [promoter] => [description] => [ticket_url] => http://www.soundcrashmusic.com/machinedrum-kms/ [image_upload_id] => 18691 [created] => 2013-09-11 14:36:55 [modified] => 2013-10-29 15:18:01 [year_slug] => 2013 [month_slug] => nov [day_slug] => 8 [slug] => machinedrum-and-king-midas-sound-london-village-underground [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 18691 [media_type] => image [artist] => Machinedrum [title] => Village Underground New [credits] => [buy_link] => http://ninjatune.net/event/2013/nov/8/machinedrum-and-king-midas-sound-london-village-underground [filename] => images/machinedrum/Machinedrum-kingMidasSound-LR-580-WEB.jpg [checksum] => adbeb2b5db1ea12eae8aa1551e0229cf [mime_type] => image/jpeg [size] => 222326 [external_url] => http://media.ninjatune.net/images/machinedrum/Machinedrum-kingMidasSound-LR-580-WEB.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => machinedrum [slug] => village-underground-new [created] => 2013-10-29 14:58:31 [modified] => 2013-10-29 17:39:56 [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] => 184 [name] => King Midas Sound [description] =>

Ninja Tune are delighted to announce the signing of King Midas Sound!

The trio, made up of The Bug, Roger Robinson and Kiki Hitomi, will release a new single, Aroo, on Record Store Day 2013 (20 April) on 180g 12" vinyl with silver UV gloss text, matt board, and a black inner sleeve. They'll also be performing live in-store at Rough Trade East, London on 20 April as part of the Record Store Day celebrations.

A full album release will follow later in the year - keep your eyes peeled for the Aroo video premiere, coming very soon.

[links] =>

Website
Twitter
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[image_upload_id] => 17946 [label_id] => 1 [twitter_username] => kingmidassound [instagram_id] => 195570403 [instagram_username] => kingmidassound [link] => [listed] => 1 [sortname] => King Midas Sound [created] => 2013-03-27 14:15:25 [modified] => 2013-05-08 12:31:58 [slug] => king-midas-sound [fuga_id] => [description_clean] =>

Ninja Tune are delighted to announce the signing of King Midas Sound!

The trio, made up of The Bug, Roger Robinson and Kiki Hitomi, will release a new single, Aroo, on Record Store Day 2013 (20 April) on 180g 12" vinyl with silver UV gloss text, matt board, and a black inner sleeve. They'll also be performing live in-store at Rough Trade East, London on 20 April as part of the Record Store Day celebrations.

A full album release will follow later in the year - keep your eyes peeled for the Aroo video premiere, coming very soon.

[links_clean] =>

Website
Twitter
Soundcloud

[counter_player] => [counter_biog] => ) [1] => Array ( [id] => 182 [name] => Machinedrum [description] =>

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

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

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

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

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

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

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Website

Facebook
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Instagram

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

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

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

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

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

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

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

[links_clean] =>

Website

Facebook
Twitter
Instagram

[counter_player] => [counter_biog] => ) ) ) [4] => Array ( [Event] => Array ( [id] => 11874 [date] => 2013-11-08 [artist] => The Invisible w/ Jessie Ware [city] => Detroit [state] => MI [country] => US [venue] => St Andrews Hall [promoter] => [description] =>

w/ Jessie Ware

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w/ Jessie Ware

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*Download a FREE radio edit of upcoming single 'Protection' here.*

Dave Okumu, Tom Herbert (bass & synthesizer) and Leo Taylor (drums) have been working together as The Invisible for the last six years, though their musical collaborations stretch back much further. The trio met as teenagers, and, over a decade or so, they crossed over again and again, gigging, jamming, working as session players and supporting each other’s band projects.

It was only in 2006 that they coalesced as The Invisible. “We became a band backwards,” says Okumu. After a year out on the road playing in Matthew Herbert’s band, Herbert said he wanted to produce and release (via his label, Accidental) Dave’s solo record. But Dave instead decided to recruit his longtime friends for a genuine collaboration. The Invisible’s name arrived after the three began writing. The moniker is a nod to the writing of Irish philosopher and poet John O’Donohue, whose simply articulated notion that humans exist in parallel worlds – the visible and the invisible; one physical, one spiritual – is a relationship, a balance, that comes through loud and clear in the band’s aesthetic.

The result was their eponymous debut, which was nominated for the 2009 Mercury Music Prize and was many people’s tip to win it. It was also critics’ choice as iTunes' album of the year. Unafraid to challenge themselves compositionally, The Invisible's boundless approach to arrangement flows effortlessly between the texturally rich and the rhythm heavy, the ethereal and the visceral, taking in unique and subtle electronic dancefloor rhythms as well as deviations into experimental rock.  It's a mixture that's won peer level praise from the likes of Radiohead's Ed O'Brien, Foals, Hot Chip, Wild Beasts, Anna Calvi and Everything Everything.

Their new album, Rispah, is, in the words of Okumu,”a love letter to grief.” Mid-way through recording a follow-up to their debut, Okumu’s mother passed away and the band’s plans and aesthetic were thrown into turmoil. As Okumu remembers it, “"I couldn't engage with music for a long period. The moment it returned to me was at my mum's funeral, which lasted several days. One evening, during the wake, my grandmother Zilpa, my mother's mum, arrived at our home accompanied by a group of women singing traditional spirituals. They approached my mother's body and sang over it, dancing around her coffin. It was the most beautiful sound I've ever heard. They transformed the atmosphere with sound and the spirit they brought to it. They were celebrating life and death, grief and hope, all things. This act was allowing everyone present to express themselves. It served as the most potent reminder of everything I believe about music. It's there for everybody, it's inclusive and transformative. I'm so glad these voices are stitched through our record."

When not working on The Invisible, they are involved in everything from co-writing and producing Jessie Ware's album (Okumu), playing as a member of British post-jazz legends Polar Bear (Herbert) or drumming on much of Adele's world-crushing second album 21 (Taylor). They have also played live and recorded with a dizzying roll call of musicians that runs from St Vincent in the Tom Waits tribute Rain Dogs Revisited, the Britten Symphonia, Jack De Johnette, Matthew Herbert, Hot Chip, Zongamin, Gramme and many others. The Invisible remains closest to the heart of what the trio are about as musicians, though, as the beauty and emotional intelligence of Rispah clearly demonstrates.

[links] =>

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[image_upload_id] => 16793 [label_id] => 1 [twitter_username] => theinvisible3 [instagram_id] => 319389937 [instagram_username] => theinvisible3 [link] => [listed] => 1 [sortname] => Invisible [created] => 2012-03-21 13:43:15 [modified] => 2013-05-03 14:52:20 [slug] => the-invisible [fuga_id] => [description_clean] =>

*Download a FREE radio edit of upcoming single 'Protection' here.*

Dave Okumu, Tom Herbert (bass & synthesizer) and Leo Taylor (drums) have been working together as The Invisible for the last six years, though their musical collaborations stretch back much further. The trio met as teenagers, and, over a decade or so, they crossed over again and again, gigging, jamming, working as session players and supporting each other’s band projects.

It was only in 2006 that they coalesced as The Invisible. “We became a band backwards,” says Okumu. After a year out on the road playing in Matthew Herbert’s band, Herbert said he wanted to produce and release (via his label, Accidental) Dave’s solo record. But Dave instead decided to recruit his longtime friends for a genuine collaboration. The Invisible’s name arrived after the three began writing. The moniker is a nod to the writing of Irish philosopher and poet John O’Donohue, whose simply articulated notion that humans exist in parallel worlds – the visible and the invisible; one physical, one spiritual – is a relationship, a balance, that comes through loud and clear in the band’s aesthetic.

The result was their eponymous debut, which was nominated for the 2009 Mercury Music Prize and was many people’s tip to win it. It was also critics’ choice as iTunes' album of the year. Unafraid to challenge themselves compositionally, The Invisible's boundless approach to arrangement flows effortlessly between the texturally rich and the rhythm heavy, the ethereal and the visceral, taking in unique and subtle electronic dancefloor rhythms as well as deviations into experimental rock.  It's a mixture that's won peer level praise from the likes of Radiohead's Ed O'Brien, Foals, Hot Chip, Wild Beasts, Anna Calvi and Everything Everything.

Their new album, Rispah, is, in the words of Okumu,”a love letter to grief.” Mid-way through recording a follow-up to their debut, Okumu’s mother passed away and the band’s plans and aesthetic were thrown into turmoil. As Okumu remembers it, “"I couldn't engage with music for a long period. The moment it returned to me was at my mum's funeral, which lasted several days. One evening, during the wake, my grandmother Zilpa, my mother's mum, arrived at our home accompanied by a group of women singing traditional spirituals. They approached my mother's body and sang over it, dancing around her coffin. It was the most beautiful sound I've ever heard. They transformed the atmosphere with sound and the spirit they brought to it. They were celebrating life and death, grief and hope, all things. This act was allowing everyone present to express themselves. It served as the most potent reminder of everything I believe about music. It's there for everybody, it's inclusive and transformative. I'm so glad these voices are stitched through our record."

When not working on The Invisible, they are involved in everything from co-writing and producing Jessie Ware's album (Okumu), playing as a member of British post-jazz legends Polar Bear (Herbert) or drumming on much of Adele's world-crushing second album 21 (Taylor). They have also played live and recorded with a dizzying roll call of musicians that runs from St Vincent in the Tom Waits tribute Rain Dogs Revisited, the Britten Symphonia, Jack De Johnette, Matthew Herbert, Hot Chip, Zongamin, Gramme and many others. The Invisible remains closest to the heart of what the trio are about as musicians, though, as the beauty and emotional intelligence of Rispah clearly demonstrates.

[links_clean] =>

Tumblr
Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] => ) ) ) [5] => Array ( [Event] => Array ( [id] => 12099 [date] => 2013-11-08 [artist] => Floating Points [city] => Bristol [state] => [country] => GB [venue] => Bristol In:motion [promoter] => [description] => [ticket_url] => http://www.eventbrite.co.uk/event/7765624191/es2/?rank=15 [image_upload_id] => 18422 [created] => 2013-10-03 14:47:42 [modified] => 2013-10-03 14:47:42 [year_slug] => 2013 [month_slug] => nov [day_slug] => 8 [slug] => floating-points-bristol-bristol-in-motion [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 18422 [media_type] => image [artist] => Floating Points [title] => Floating Points Press Shot 2013 [credits] => [buy_link] => [filename] => images/floating-points/floating-points.jpg [checksum] => dabaefbf49832d46792309df2bc53d68 [mime_type] => image/jpeg [size] => 29509 [external_url] => http://media.ninjatune.net/images/floating-points/floating-points.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => floating-points [slug] => floating-points-press-shot-2013 [created] => 2013-09-04 11:30:24 [modified] => 2013-09-04 11:31:15 [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] => 135 [name] => Floating Points [description] =>

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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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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The story of the most fun new force in electronic music goes a long way to explaining just why their music is so good. Letherette are two childhood friends with a current of empathy between them so strong that they seem more like brothers than anything else. Their serious intent is always expressed endearingly; they never take themselves too seriously, but they do want their music to be seriously good.

Richard Roberts and Andy Harber were both born during a deep snowstorm one December - at the time the worst since 1960 - that prevented the ambulances that came to get their mothers from reaching their houses. They grew up thirty minutes away from each other in Wolverhampton, and met at the age of 11 when they were sent to the same secondary school. Andy threatened to beat Rich up if he didn't invite him to join a football game, and they took things from there. It's perhaps helpful to know that whilst Andy was the same height then as now, Rich used to look entirely physically different. He went so suddenly from blonde to dark haired that his father claimed he was swapped in his teens.

The pair quickly became firm friends, their (now friendlier) football games lasting long into the night, and remaining their main pastime until they discovered girls, cigarettes and, most importantly, music. Both had strong musical experiences early in their lives. Andy had two older sisters and was 'made' to sing along with them and his mother in the car. They'd harmonise along to The Carpenters on their annual journeys to Wales. He also loved guitar music: Jimi, The Beatles, Moody Blues and T Rex. His first purchase was an MC Hammer tape, and his eventual love was the electronic music of Orbital and Aphex Twin and the avant-garde work of pioneers like Stockhausen.

Rich had a profound early experience when he heard "Reach Out and I'll Be There" by The Four Tops. To this day, whenever he hears it he remembers how excited he was at the capabilities of this thing called music. His dad has a massive soul collection, and he devoured it happily in his youth. Later, he taught himself guitar by freezing videos and copying chord shapes. He used to go to Andy's in order to make use of his friend's more expensive gear.

They began making music together, initially just hitting record and improvising for hours and hours, making experimental music. 'We'd just smoke joints and indulge ourselves,' they say. It seems it was a fertile starting point for their career. 'Wolverhampton is perfect,' says Rich, 'because there is nothing to do. It was recently voted the 3rd or 4th worst city in the world, with some shanty town in Brazil the next worst.' Easy then, he says, to get into creativity. 'We couldn't live in London,' they laugh. 'There'd be much too much to do.'

They did make the most of what little music there was in their hometown though, soaking up the commercial house music at Wolverhampton's two main clubs, The Canal and Light Bar. Andy worked in the latter as a glass collector at 16, and the pair clubbed at both together. You can hear the influence of these days in their own exuberant, unrestrained music, which moves the feet as much as the mind. Despite their regional upbringings, they are firmly part of a generation of artists taking electronic music to a new level, making the artform richer.

Actually, they went to a sort of anti-Brit school for young electronic talent; Actress was two years above them, Alex Nut in the same year. The latter introduced them to Bibio - still a great friend and contemporary - and like him and Lee Gamble, they attended courses at Sonic Arts college. This mixture of musical pedigree and regional boredom was a strong tonic for the young duo. Myspace was a real tool for them, and they met Kwes, Machinedrum, Jimmy Edgar and Brownswood records via the social networking site. They remixed Machinerum and Bibio in 2009, and were then invited to submit a track for the ‘Brownswood Electric’ comp in 2010. They played their first, ‘awful’ gig with a crashed Ableton at the comp’s launch, in front of Gilles Peterson himself.

A mix for Andrew Meza’s BTS radio was a huge turning point, as were the two EPs Alex Nut released on his Hotep label. For a while after that they felt slightly stuck, they say; they were talented beatmakers with potential, but needed inspiration to move on. That inspiration appeared in the form of manager Greg Eden (Mark Pritchard, Clark) who told them he’d take them on if they took a step up. They put their heads down, worked hard, and won him over within only a few months.

And the work they made to do so became part of the demos that saw Ninja Tune eagerly pick them up in 2012. Ninja ‘saw the light,’ they say, and helped them to do the same. Now, they are full time musicians whose stunning debut album is winning applause from all sides. People fall in love quickly with Letherette, whose playful, ‘70s referencing, sexy stylings and joyful music are infectious.

They want, says Rich, ‘to be in a position where they make great albums playing to great people.’ 'We always want to be in touch with what's good,' Andy adds, 'and to make music we're proud of and never go stale. If that ever happened, in my ears, we’d call it a day.’ May that never come then, because it would make the musical landscape a significantly poorer place.

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The story of the most fun new force in electronic music goes a long way to explaining just why their music is so good. Letherette are two childhood friends with a current of empathy between them so strong that they seem more like brothers than anything else. Their serious intent is always expressed endearingly; they never take themselves too seriously, but they do want their music to be seriously good.

Richard Roberts and Andy Harber were both born during a deep snowstorm one December - at the time the worst since 1960 - that prevented the ambulances that came to get their mothers from reaching their houses. They grew up thirty minutes away from each other in Wolverhampton, and met at the age of 11 when they were sent to the same secondary school. Andy threatened to beat Rich up if he didn't invite him to join a football game, and they took things from there. It's perhaps helpful to know that whilst Andy was the same height then as now, Rich used to look entirely physically different. He went so suddenly from blonde to dark haired that his father claimed he was swapped in his teens.

The pair quickly became firm friends, their (now friendlier) football games lasting long into the night, and remaining their main pastime until they discovered girls, cigarettes and, most importantly, music. Both had strong musical experiences early in their lives. Andy had two older sisters and was 'made' to sing along with them and his mother in the car. They'd harmonise along to The Carpenters on their annual journeys to Wales. He also loved guitar music: Jimi, The Beatles, Moody Blues and T Rex. His first purchase was an MC Hammer tape, and his eventual love was the electronic music of Orbital and Aphex Twin and the avant-garde work of pioneers like Stockhausen.

Rich had a profound early experience when he heard "Reach Out and I'll Be There" by The Four Tops. To this day, whenever he hears it he remembers how excited he was at the capabilities of this thing called music. His dad has a massive soul collection, and he devoured it happily in his youth. Later, he taught himself guitar by freezing videos and copying chord shapes. He used to go to Andy's in order to make use of his friend's more expensive gear.

They began making music together, initially just hitting record and improvising for hours and hours, making experimental music. 'We'd just smoke joints and indulge ourselves,' they say. It seems it was a fertile starting point for their career. 'Wolverhampton is perfect,' says Rich, 'because there is nothing to do. It was recently voted the 3rd or 4th worst city in the world, with some shanty town in Brazil the next worst.' Easy then, he says, to get into creativity. 'We couldn't live in London,' they laugh. 'There'd be much too much to do.'

They did make the most of what little music there was in their hometown though, soaking up the commercial house music at Wolverhampton's two main clubs, The Canal and Light Bar. Andy worked in the latter as a glass collector at 16, and the pair clubbed at both together. You can hear the influence of these days in their own exuberant, unrestrained music, which moves the feet as much as the mind. Despite their regional upbringings, they are firmly part of a generation of artists taking electronic music to a new level, making the artform richer.

Actually, they went to a sort of anti-Brit school for young electronic talent; Actress was two years above them, Alex Nut in the same year. The latter introduced them to Bibio - still a great friend and contemporary - and like him and Lee Gamble, they attended courses at Sonic Arts college. This mixture of musical pedigree and regional boredom was a strong tonic for the young duo. Myspace was a real tool for them, and they met Kwes, Machinedrum, Jimmy Edgar and Brownswood records via the social networking site. They remixed Machinerum and Bibio in 2009, and were then invited to submit a track for the ‘Brownswood Electric’ comp in 2010. They played their first, ‘awful’ gig with a crashed Ableton at the comp’s launch, in front of Gilles Peterson himself.

A mix for Andrew Meza’s BTS radio was a huge turning point, as were the two EPs Alex Nut released on his Hotep label. For a while after that they felt slightly stuck, they say; they were talented beatmakers with potential, but needed inspiration to move on. That inspiration appeared in the form of manager Greg Eden (Mark Pritchard, Clark) who told them he’d take them on if they took a step up. They put their heads down, worked hard, and won him over within only a few months.

And the work they made to do so became part of the demos that saw Ninja Tune eagerly pick them up in 2012. Ninja ‘saw the light,’ they say, and helped them to do the same. Now, they are full time musicians whose stunning debut album is winning applause from all sides. People fall in love quickly with Letherette, whose playful, ‘70s referencing, sexy stylings and joyful music are infectious.

They want, says Rich, ‘to be in a position where they make great albums playing to great people.’ 'We always want to be in touch with what's good,' Andy adds, 'and to make music we're proud of and never go stale. If that ever happened, in my ears, we’d call it a day.’ May that never come then, because it would make the musical landscape a significantly poorer place.

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From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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Artist Date City Venue Buy
Congo Natty Friday, Nov 8th Leeds, GB Beaverworks Buy
Bonobo (Live Set) Friday, Nov 8th Houston, TX, US Fitzgerald's Buy
The Heavy Friday, Nov 8th Usine, CH Geneva Buy
Machinedrum and King Midas Sound Friday, Nov 8th London, GB Village Underground Buy
The Invisible w/ Jessie Ware Friday, Nov 8th Detroit, MI, US St Andrews Hall Buy
Floating Points Friday, Nov 8th Bristol, GB Bristol In:motion Buy
Letherette Friday, Nov 8th Brooklyn, New York, US Brooklyn Electronic Music Festival Buy
Young Fathers Friday, Nov 8th Paris, FR La Cigale Buy
The Underachievers Friday, Nov 8th Austin, TX, US Holy Mountain Buy
Next >>