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Richard Kylea Cowie (born 19 January 1979), better known by his stage name Wiley, is perhaps the most prolific British producer, rapper and recording artist to emerge in the last twenty years. He has made pioneering music in the fields of jungle, drum & bass and UK garage, but is best known as the originator and Godfather of Grime, the uniquely British take on rap music which roared out of east London in the early noughties. Since then he has straddled the mainstream and the underground, irritated and amazed people in equal measure and carved out a unique career path which he has more or less had to make up as he has  gone along.

Wiley's earliest recordings date back to 1997, when he featured on pirate radio rapping over jungle beats. In 2000, Wiley joined with "The Hit Squad" garage crew with school friends DJ Target and MC Maxwell D. They achieved some success on the UKG scene but then decided to combine with rival crew Pay As U Go to become a "super crew," containing the Ladies Hit Squad members plus DJ Slimzee and MC's Major Ace and Plague. God's Gift, Flow Dan and Riko joined soon after. In 2002 the collective achieved a top 40 hit with "Champagne Dance"

Soon after, the crew disintegrated due to individual members having differing ideas of the direction the crew should take. Wiley went on to form the Roll Deep collective, which included Dizzee Rascal and Tinchy Stryder as MCs. Wiley’s vision saw him stripping the generic melodies and sickly harmonies out of garage music and developing the drums and basslines. For a while there was no name for the genre he did more than anyone to create, but eventually the label "grime" was the one that stuck.  From 2001, Wiley produced a slew of instrumental singles on his WileyKat Record label, the best known being "Eskimo", "Avalanche" and "Ice Rink". The underground notoriety he achieved led to his being offered a recording deal with the legendary XL Recordings.

In 2004, Wiley released his debut album, 'Treddin' on Thin Ice' with his new label. Singles from the album included, "Wot Do U Call It?" which mocked the various names given to his music, and "Pies”, which showed his humorous side. Reviews such as in Pitchfork Media made comparisons between Wiley and his previous labelmate Dizzee Rascal, who had achieved success with Boy in Da Corner the previous year. Alexis Petridis of The Guardian noted the "comically polarised" fanbase Wiley had accrued; "At one extreme, its sonic experimentation has attracted the kind of people who run music blogs... [where] lengthy essays are posted on issues as the differentiation between Humean and Kantian views of motivation in the lyrics of Bonnie Prince Billy. At the other extreme, it is favoured by inner city teens who appear to communicate entirely in an impenetrable mix of street slang and patois."

During this period, Wiley occasionally referred to his music as "Eski", short for 'Eskibeat' – the name he initially gave to grime. He also released mixtapes under the name "Eskiboy". He explained his choice of name for his music and the continuing theme in his song and album titles such as 'Treddin' on Thin Ice', partly because he likes the wintertime, but mainly meaning cold in spirit. "Sometimes I just feel cold hearted. I felt cold at that time, towards my family, towards everyone. That's why I used those names.”

Many of Wiley's early vinyl releases, such as 'Eskimo', were released under the alias "Wiley Kat", this name was derived from a character in the cartoon Thundercats. However, the 'Kat' is never officially used by Wiley anymore, only being mentioned loosely in some of his songs.

In 2006, Wiley released his second album 'Da 2nd Phaze' on the Boy Better Know label. The album consists of 20 tracks that had been put together by Wiley from the past three years of work, including exclusive bonus tracks from God’s Gift, Alex Mills and More Fire Crew, the latter signaling the end of the Wiley-Lethal Bizzle feud.

This was followed in by Wiley's third album, 'Playtime is Over'  on Big Dada Records, which combined artistic control for Wiley with a full scale release on a recognised label. Wiley was thrilled at the opportunity to be allowed to make a grime record as he saw it, and he formed a relationship with the label that outlasted any other he’s had in the industry.

In May 2008, Wiley found mainstream chart success with the hit single, "Wearing My Rolex". The instrumentation (such as the slower, house style beat and lack of sub bass) caused some unrest within the Grime scene, as Wiley had publicly vowed that he would never leave grime music to break into the mainstream. In the same month, Wiley released his fourth album entitled Grime Wave, which was described by The Times as a "very pre-Rolex album. With its roots firmly based in the harsh, bass-heavy rhythms of the scene".  

This album was followed by See Clear Now, in October 2008 which included the mainstream hits "Wearing My Rolex", "Cash In My Pocket" and "Summertime". This album took Wiley in a mainstream direction. Despite its success, Wiley has disowned the album as he was "very angry" with the label, Asylum, about the production and also unhappy about his management at the time.

Now on his own label, Wiley went on to make another album, Race Against Time. This was released eight months after his previous album in June 2009, on Eskibeat Recordings and again he had much more creative control, if little time and few resources to organise the release effectively. The album includes the 2009 hit "Too Many Man", featuring Boy Better Know.

In 2010 Wiley released 11 Zip Files for free download on his Twitter page, containing over 200 tracks of old and unreleased music, including tracks from the forthcoming album 'The Elusive'. The following year, Wiley announced his return to the Big Dada label, and the release of '100% Publishing' . The album is perhaps best remembered for “Numbers In Action” and its innovative video, for which Wiley won a Video Music Award. 

Less than six months later, he released his third album with Big Dada, 'Evolve Or Be Extinct' , including skits set in taxi cabs and at immigration as well as lighthearted bangers like “Boom Blast” and “I’m Skanking” alongside harder material such as “Scar”. Soon after the record’s release Wiley began leaking grime freestyles over grime beats and releasing them for free via Twitter. This collection was released chronologically with the names "Step 1", "Step 2" and so on. After "Step 10", all of the freestyles were compiled and released as a mixtape titled It's All Fun and Games Till, Vol. 1. Alongside working on his "Step" freestyles, various other promo songs were released. Wiley carried on with his "Step" freestyles, releasing Vol. 2 of It's All Fun and Games Till.

In June 2012, Wiley released his summer single "Heatwave", featuring Ms D and produced by Rymez. On 5 August 2012, "Heatwave" peaked at number 1 on the UK Singles Chart, making this Wiley's first solo number 1, selling an impressive 114,000 copies. His next single, announced in late August, titled "Can You Hear Me" featuring Skepta, JME and Ms D, was released in October 2012. The song was renamed to "Can You Hear Me (Ayayaya)".

Alongside a series of harder-edged releases on Big Dada, Wiley devoted much of 2013 to the promotion of his Warner album, ‘The Ascent’, inclduing his infamous appearance at Glastonbury that summer, culminating in his all-time classic Tweet: “Fuck them and their farm.” On 11 October 2013, a petition was presented to Tower Hamlets' mayor Lutfur Rahman signed by over 2,000 Wiley fans, requesting that a monument to the artist be erected in Bow. On 19 October 2013, Wiley was awarded 'Best Male' at the MOBO Award's 18th Anniversary. 

Wiley remains one of the biggest characters and wildest talents in British music. Whether helping younger artists break through (Dizzee, Chipmunk, Tinchy), offloading hundreds of unreleashed tracks on Twitter, rowing with detractors or doling out private insights on the web – he is always in the studio. Ultimately a workaholic, he’s the kind of artist one can imagine making groundbreaking, avant-garde music well into his old age. A true maverick and an artist in the truest sense of the word, we’re lucky to have Wiley. We should make the most of it. But he probably won’t let us.

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Richard Kylea Cowie (born 19 January 1979), better known by his stage name Wiley, is perhaps the most prolific British producer, rapper and recording artist to emerge in the last twenty years. He has made pioneering music in the fields of jungle, drum & bass and UK garage, but is best known as the originator and Godfather of Grime, the uniquely British take on rap music which roared out of east London in the early noughties. Since then he has straddled the mainstream and the underground, irritated and amazed people in equal measure and carved out a unique career path which he has more or less had to make up as he has  gone along.

Wiley's earliest recordings date back to 1997, when he featured on pirate radio rapping over jungle beats. In 2000, Wiley joined with "The Hit Squad" garage crew with school friends DJ Target and MC Maxwell D. They achieved some success on the UKG scene but then decided to combine with rival crew Pay As U Go to become a "super crew," containing the Ladies Hit Squad members plus DJ Slimzee and MC's Major Ace and Plague. God's Gift, Flow Dan and Riko joined soon after. In 2002 the collective achieved a top 40 hit with "Champagne Dance"

Soon after, the crew disintegrated due to individual members having differing ideas of the direction the crew should take. Wiley went on to form the Roll Deep collective, which included Dizzee Rascal and Tinchy Stryder as MCs. Wiley’s vision saw him stripping the generic melodies and sickly harmonies out of garage music and developing the drums and basslines. For a while there was no name for the genre he did more than anyone to create, but eventually the label "grime" was the one that stuck.  From 2001, Wiley produced a slew of instrumental singles on his WileyKat Record label, the best known being "Eskimo", "Avalanche" and "Ice Rink". The underground notoriety he achieved led to his being offered a recording deal with the legendary XL Recordings.

In 2004, Wiley released his debut album, 'Treddin' on Thin Ice' with his new label. Singles from the album included, "Wot Do U Call It?" which mocked the various names given to his music, and "Pies”, which showed his humorous side. Reviews such as in Pitchfork Media made comparisons between Wiley and his previous labelmate Dizzee Rascal, who had achieved success with Boy in Da Corner the previous year. Alexis Petridis of The Guardian noted the "comically polarised" fanbase Wiley had accrued; "At one extreme, its sonic experimentation has attracted the kind of people who run music blogs... [where] lengthy essays are posted on issues as the differentiation between Humean and Kantian views of motivation in the lyrics of Bonnie Prince Billy. At the other extreme, it is favoured by inner city teens who appear to communicate entirely in an impenetrable mix of street slang and patois."

During this period, Wiley occasionally referred to his music as "Eski", short for 'Eskibeat' – the name he initially gave to grime. He also released mixtapes under the name "Eskiboy". He explained his choice of name for his music and the continuing theme in his song and album titles such as 'Treddin' on Thin Ice', partly because he likes the wintertime, but mainly meaning cold in spirit. "Sometimes I just feel cold hearted. I felt cold at that time, towards my family, towards everyone. That's why I used those names.”

Many of Wiley's early vinyl releases, such as 'Eskimo', were released under the alias "Wiley Kat", this name was derived from a character in the cartoon Thundercats. However, the 'Kat' is never officially used by Wiley anymore, only being mentioned loosely in some of his songs.

In 2006, Wiley released his second album 'Da 2nd Phaze' on the Boy Better Know label. The album consists of 20 tracks that had been put together by Wiley from the past three years of work, including exclusive bonus tracks from God’s Gift, Alex Mills and More Fire Crew, the latter signaling the end of the Wiley-Lethal Bizzle feud.

This was followed in by Wiley's third album, 'Playtime is Over'  on Big Dada Records, which combined artistic control for Wiley with a full scale release on a recognised label. Wiley was thrilled at the opportunity to be allowed to make a grime record as he saw it, and he formed a relationship with the label that outlasted any other he’s had in the industry.

In May 2008, Wiley found mainstream chart success with the hit single, "Wearing My Rolex". The instrumentation (such as the slower, house style beat and lack of sub bass) caused some unrest within the Grime scene, as Wiley had publicly vowed that he would never leave grime music to break into the mainstream. In the same month, Wiley released his fourth album entitled Grime Wave, which was described by The Times as a "very pre-Rolex album. With its roots firmly based in the harsh, bass-heavy rhythms of the scene".  

This album was followed by See Clear Now, in October 2008 which included the mainstream hits "Wearing My Rolex", "Cash In My Pocket" and "Summertime". This album took Wiley in a mainstream direction. Despite its success, Wiley has disowned the album as he was "very angry" with the label, Asylum, about the production and also unhappy about his management at the time.

Now on his own label, Wiley went on to make another album, Race Against Time. This was released eight months after his previous album in June 2009, on Eskibeat Recordings and again he had much more creative control, if little time and few resources to organise the release effectively. The album includes the 2009 hit "Too Many Man", featuring Boy Better Know.

In 2010 Wiley released 11 Zip Files for free download on his Twitter page, containing over 200 tracks of old and unreleased music, including tracks from the forthcoming album 'The Elusive'. The following year, Wiley announced his return to the Big Dada label, and the release of '100% Publishing' . The album is perhaps best remembered for “Numbers In Action” and its innovative video, for which Wiley won a Video Music Award. 

Less than six months later, he released his third album with Big Dada, 'Evolve Or Be Extinct' , including skits set in taxi cabs and at immigration as well as lighthearted bangers like “Boom Blast” and “I’m Skanking” alongside harder material such as “Scar”. Soon after the record’s release Wiley began leaking grime freestyles over grime beats and releasing them for free via Twitter. This collection was released chronologically with the names "Step 1", "Step 2" and so on. After "Step 10", all of the freestyles were compiled and released as a mixtape titled It's All Fun and Games Till, Vol. 1. Alongside working on his "Step" freestyles, various other promo songs were released. Wiley carried on with his "Step" freestyles, releasing Vol. 2 of It's All Fun and Games Till.

In June 2012, Wiley released his summer single "Heatwave", featuring Ms D and produced by Rymez. On 5 August 2012, "Heatwave" peaked at number 1 on the UK Singles Chart, making this Wiley's first solo number 1, selling an impressive 114,000 copies. His next single, announced in late August, titled "Can You Hear Me" featuring Skepta, JME and Ms D, was released in October 2012. The song was renamed to "Can You Hear Me (Ayayaya)".

Alongside a series of harder-edged releases on Big Dada, Wiley devoted much of 2013 to the promotion of his Warner album, ‘The Ascent’, inclduing his infamous appearance at Glastonbury that summer, culminating in his all-time classic Tweet: “Fuck them and their farm.” On 11 October 2013, a petition was presented to Tower Hamlets' mayor Lutfur Rahman signed by over 2,000 Wiley fans, requesting that a monument to the artist be erected in Bow. On 19 October 2013, Wiley was awarded 'Best Male' at the MOBO Award's 18th Anniversary. 

Wiley remains one of the biggest characters and wildest talents in British music. Whether helping younger artists break through (Dizzee, Chipmunk, Tinchy), offloading hundreds of unreleashed tracks on Twitter, rowing with detractors or doling out private insights on the web – he is always in the studio. Ultimately a workaholic, he’s the kind of artist one can imagine making groundbreaking, avant-garde music well into his old age. A true maverick and an artist in the truest sense of the word, we’re lucky to have Wiley. We should make the most of it. But he probably won’t let us.

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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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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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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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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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Fin Greenall, who is the voice and heart behind Fink, often gets mistaken for other people. 

At the BMI Awards in the US, a ‘roomful of gangstas and playas’ were convinced the Cornwall-born, Bristol-raised Englishman was a lawyer, and not a songwriter picking up an ‘American Urban’ gong – one of three BMIs he received for his work with John Legend on the soul singer’s Evolver album.

In Berlin, clubbing capital of the world, they think he helps run a small minimal techno label. In certain London circles he’s known as the hardworking insider whose past roles at DefJam, Sony Music, Talkin’ Loud, and Source saw him work with a range of artists longer than the horizon. At the BBC, they imagine Fink as perhaps the only musician who has played both the Electric Proms and the actual Proms (was that really the same guy leading a 120-piece orchestra at the Royal Albert Hall in an ‘immense’ cover of Roy Ayers’ Everybody Loves The Sunshine?). 

In record company circles, he’s the producer who worked on the first demos by Amy Winehouse and the writer who’s been crafting hooks for Professor Green. In big-room booths around the world, he’s the internationally-renowned DJ and Ninja Tune stalwart who finally hung up his Sennheisers with a valedictory set at London’s Fabric in 2003. ‘My skillset just seemed so old compared to these guys that could DJ for six hours without one high-hat out of place using Ableton or something,’ he notes admiringly.

Who is Fin Greenall? All of the above. 

Yes, the now-Brighton-based musician acknowledges, he has done – does do – all of those things. ‘But none of that is as important as how I feel when I write songs like "Fear is Like Fire" and "Perfect Darkness". The Fink thing is my main thing.’

As a kid, the one thing of his dad’s that Fin Greenall wasn’t allowed to touch was the old Martin acoustic guitar. ‘It was his one possession where he said, “everything in this house is owned by everybody – apart from that.”’ But with age – and the burgeoning of his son’s skills as a player – came a relaxation of the exclusion zone: Greenall plays the Martin on the punchy, Jeff Buckley-covering-Radiohead-esque "Fear Is Like Fire". It’s sure to become a live stand-out on Fink’s upcoming, 18-month-long world tour. ‘It’s all about trying to look at fear and be optimistic – you can be really negative or fucking embrace it and use it. 

‘The great thing about growing up in a house where music is a big factor,’ he continues, ‘was the fact that music being part of your life was a perfectly natural thing.’ 

Music, it seems, became more than that: it was Greenall’s life. He hoovered up the sounds he heard on John Peel: ‘The Cure, The Smiths, The Orb, African music, Japanese hardcore’. He embraced skateboarding, the music and the fashion – ‘it was an awesome way to grow your own culture’. At university in Leeds, electronic and dance music became everything. 

‘It was definitely about wanting to be part of a revolution that I could call my own,’ he recalls. ‘A couple of friends and I clubbed together our student loans and bought equipment to make ambient techno – we were really inspired by Aphex Twin and The Orb and Moby. We were amazed at how fucking easy it was to make ambient techno. It wasn’t easy to make good ambient techno,’ he laughs. ‘But it was easy enough to make techno good enough to get us signed after six months of mucking around at uni.’ 

The young techno warrior was messianic. 

‘I thought the song was dead, the chorus was dead, playing drums and guitar and bass was so old-school and outdated and why would you want to do that? Dylan did that 50 years ago! We should be part of this new revolution, instrumentalism, acid house, rave culture, techno – this stuff is a brave new avant-garde frontier and you should be involved.’ 

His ardour and his skills saw Greenall become part of the Ninja Tune family – first signed on the back of a cassette-tape demo - as artist, DJ, writer, producer, and remixer. 

‘Brilliant times,’ he sighs nostalgically. ‘Sometimes you’d just have to pinch yourself. Then, other times, you wake up in Bratislava on a Tuesday morning and you’re reminded that there is hard work to all of this.’ All that crate-digging wasn’t all it’s cracked up to be either: ‘You can’t be shit!’ Greenall grins. ‘And because of the community that Ninja has worldwide, if you are shit everybody knows about it the next day. Eight years of DJing have given me an obscenely huge record collection. I just cleared out the breaks section – four crates of twelves that were total pony!’ 

So the wheels of steel started to fall off. 

‘It wasn’t until I’d run that right the way through to its natural conclusion – I’m an international DJ on the biggest DJ label in the world – that I thought: I’m kinda over it. And it was actually working with a young artist straight out of school called Amy Winehouse that inspired me to go, “wow, songs are great! Now I get how difficult it is, and how much talent there is involved in this. It’s more of a challenge than clubbing.”’ 

Greenall melted down his turntables and recast them as a guitar and a stool. Metaphorically speaking. His parents were pleased. ‘My career only made sense to them when I picked up a guitar and started to sing,’ he says. ‘All of a sudden I was doing music, I wasn’t just mucking around. But in my rave days, DJing techno and breaks, they didn’t get that at all. That’s probably why I did it in the first place. 

‘But I realised: if your music had songs in it, it had a much greater reach. Not in business terms, but if a singer of, say, Amy’s calibre sings over this beat, it becomes so much bigger than just a beat. I can’t get rid of my clubbing past, not that I’d want to. But the linear nature of some of my music is definitely because of all those years spent clubbing and DJing, when a very simple idea can make the best club record. And it’s the same with songs – I’m after a really simple riff or really simple lyric or melody. And it’s about keeping that beautiful moment going for as long as you can.’

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Fin Greenall, who is the voice and heart behind Fink, often gets mistaken for other people. 

At the BMI Awards in the US, a ‘roomful of gangstas and playas’ were convinced the Cornwall-born, Bristol-raised Englishman was a lawyer, and not a songwriter picking up an ‘American Urban’ gong – one of three BMIs he received for his work with John Legend on the soul singer’s Evolver album.

In Berlin, clubbing capital of the world, they think he helps run a small minimal techno label. In certain London circles he’s known as the hardworking insider whose past roles at DefJam, Sony Music, Talkin’ Loud, and Source saw him work with a range of artists longer than the horizon. At the BBC, they imagine Fink as perhaps the only musician who has played both the Electric Proms and the actual Proms (was that really the same guy leading a 120-piece orchestra at the Royal Albert Hall in an ‘immense’ cover of Roy Ayers’ Everybody Loves The Sunshine?). 

In record company circles, he’s the producer who worked on the first demos by Amy Winehouse and the writer who’s been crafting hooks for Professor Green. In big-room booths around the world, he’s the internationally-renowned DJ and Ninja Tune stalwart who finally hung up his Sennheisers with a valedictory set at London’s Fabric in 2003. ‘My skillset just seemed so old compared to these guys that could DJ for six hours without one high-hat out of place using Ableton or something,’ he notes admiringly.

Who is Fin Greenall? All of the above. 

Yes, the now-Brighton-based musician acknowledges, he has done – does do – all of those things. ‘But none of that is as important as how I feel when I write songs like "Fear is Like Fire" and "Perfect Darkness". The Fink thing is my main thing.’

As a kid, the one thing of his dad’s that Fin Greenall wasn’t allowed to touch was the old Martin acoustic guitar. ‘It was his one possession where he said, “everything in this house is owned by everybody – apart from that.”’ But with age – and the burgeoning of his son’s skills as a player – came a relaxation of the exclusion zone: Greenall plays the Martin on the punchy, Jeff Buckley-covering-Radiohead-esque "Fear Is Like Fire". It’s sure to become a live stand-out on Fink’s upcoming, 18-month-long world tour. ‘It’s all about trying to look at fear and be optimistic – you can be really negative or fucking embrace it and use it. 

‘The great thing about growing up in a house where music is a big factor,’ he continues, ‘was the fact that music being part of your life was a perfectly natural thing.’ 

Music, it seems, became more than that: it was Greenall’s life. He hoovered up the sounds he heard on John Peel: ‘The Cure, The Smiths, The Orb, African music, Japanese hardcore’. He embraced skateboarding, the music and the fashion – ‘it was an awesome way to grow your own culture’. At university in Leeds, electronic and dance music became everything. 

‘It was definitely about wanting to be part of a revolution that I could call my own,’ he recalls. ‘A couple of friends and I clubbed together our student loans and bought equipment to make ambient techno – we were really inspired by Aphex Twin and The Orb and Moby. We were amazed at how fucking easy it was to make ambient techno. It wasn’t easy to make good ambient techno,’ he laughs. ‘But it was easy enough to make techno good enough to get us signed after six months of mucking around at uni.’ 

The young techno warrior was messianic. 

‘I thought the song was dead, the chorus was dead, playing drums and guitar and bass was so old-school and outdated and why would you want to do that? Dylan did that 50 years ago! We should be part of this new revolution, instrumentalism, acid house, rave culture, techno – this stuff is a brave new avant-garde frontier and you should be involved.’ 

His ardour and his skills saw Greenall become part of the Ninja Tune family – first signed on the back of a cassette-tape demo - as artist, DJ, writer, producer, and remixer. 

‘Brilliant times,’ he sighs nostalgically. ‘Sometimes you’d just have to pinch yourself. Then, other times, you wake up in Bratislava on a Tuesday morning and you’re reminded that there is hard work to all of this.’ All that crate-digging wasn’t all it’s cracked up to be either: ‘You can’t be shit!’ Greenall grins. ‘And because of the community that Ninja has worldwide, if you are shit everybody knows about it the next day. Eight years of DJing have given me an obscenely huge record collection. I just cleared out the breaks section – four crates of twelves that were total pony!’ 

So the wheels of steel started to fall off. 

‘It wasn’t until I’d run that right the way through to its natural conclusion – I’m an international DJ on the biggest DJ label in the world – that I thought: I’m kinda over it. And it was actually working with a young artist straight out of school called Amy Winehouse that inspired me to go, “wow, songs are great! Now I get how difficult it is, and how much talent there is involved in this. It’s more of a challenge than clubbing.”’ 

Greenall melted down his turntables and recast them as a guitar and a stool. Metaphorically speaking. His parents were pleased. ‘My career only made sense to them when I picked up a guitar and started to sing,’ he says. ‘All of a sudden I was doing music, I wasn’t just mucking around. But in my rave days, DJing techno and breaks, they didn’t get that at all. That’s probably why I did it in the first place. 

‘But I realised: if your music had songs in it, it had a much greater reach. Not in business terms, but if a singer of, say, Amy’s calibre sings over this beat, it becomes so much bigger than just a beat. I can’t get rid of my clubbing past, not that I’d want to. But the linear nature of some of my music is definitely because of all those years spent clubbing and DJing, when a very simple idea can make the best club record. And it’s the same with songs – I’m after a really simple riff or really simple lyric or melody. And it’s about keeping that beautiful moment going for as long as you can.’

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Yppah (pronounced 'Yippah'), sometimes know as Joe Corrales, Jr., released his debut album You Are Beautiful At All Times in November of 2006 on Ninja Tune. This stunning debut is a lush mix of beautiful and often times melancholic electronica, breakbeat drum samples with shoegazer melodies set in an atmospheric sound landscape.

Joe spent his early teen years playing guitar and bass in rock bands, then later as a scratch DJ who mixed hip hop and house in clubs sets. He's also a founding member of the turntablist group The Truth.

Drawing on a cultural heritage that took in My Bloody Valentine alongside hip hop and heavily influenced by various forms of electronic music, psychedelic soul and rock, his music often mixes guitars shoved through massive reverbs/delays, keyboards/synthesizers, live drums, and other techniques.

Since the release of You Are Beautiful At All Times, Yppah has formed a live band consisting of himself, Caliban Goodbrain (Thomas Sutherland), Nicholas Noeding, Jr. and rotating band members. Live performances of the album have included shows at SXSW 2007 and the enormously popular Starbucks Mixed Media Series at the Museum of Fine Arts Houston. Yppah again made an appearance at SXSW 2008, this time as a DJ. He has traveled with the likes of DJ Food, DK, Bonobo and Zero dB taking part in Solid Steel Nippon 2, a hugely popular music event in Japan, and has also created remixes for DJ Kentaro and Zero dB.

Recently, Yppah's music has been embraced by the entertainment industry. His songs have been featured in television episodes of CSI and House, the movie 21, and in the videogame trailer for Atari's Alone in the Dark.

Yppah's sophomore album, They Know What Ghost Know, was released in May of 2009. Employing the same atmospheric mix as his debut album, They Know What Ghost Know consists of a more rock based sound. He is also a third of the electronic/rock group Day of the Woman with Pollination/Nick Noeding, Jr. (Albuquerque, NM) and Stenographer/Dave Salinas (Houston, TX).

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Yppah (pronounced 'Yippah'), sometimes know as Joe Corrales, Jr., released his debut album You Are Beautiful At All Times in November of 2006 on Ninja Tune. This stunning debut is a lush mix of beautiful and often times melancholic electronica, breakbeat drum samples with shoegazer melodies set in an atmospheric sound landscape.

Joe spent his early teen years playing guitar and bass in rock bands, then later as a scratch DJ who mixed hip hop and house in clubs sets. He's also a founding member of the turntablist group The Truth.

Drawing on a cultural heritage that took in My Bloody Valentine alongside hip hop and heavily influenced by various forms of electronic music, psychedelic soul and rock, his music often mixes guitars shoved through massive reverbs/delays, keyboards/synthesizers, live drums, and other techniques.

Since the release of You Are Beautiful At All Times, Yppah has formed a live band consisting of himself, Caliban Goodbrain (Thomas Sutherland), Nicholas Noeding, Jr. and rotating band members. Live performances of the album have included shows at SXSW 2007 and the enormously popular Starbucks Mixed Media Series at the Museum of Fine Arts Houston. Yppah again made an appearance at SXSW 2008, this time as a DJ. He has traveled with the likes of DJ Food, DK, Bonobo and Zero dB taking part in Solid Steel Nippon 2, a hugely popular music event in Japan, and has also created remixes for DJ Kentaro and Zero dB.

Recently, Yppah's music has been embraced by the entertainment industry. His songs have been featured in television episodes of CSI and House, the movie 21, and in the videogame trailer for Atari's Alone in the Dark.

Yppah's sophomore album, They Know What Ghost Know, was released in May of 2009. Employing the same atmospheric mix as his debut album, They Know What Ghost Know consists of a more rock based sound. He is also a third of the electronic/rock group Day of the Woman with Pollination/Nick Noeding, Jr. (Albuquerque, NM) and Stenographer/Dave Salinas (Houston, TX).

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In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[links] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 19684 [label_id] => 5 [twitter_username] => odesza [instagram_id] => 272276842 [instagram_username] => odesza [link] => [listed] => 0 [sortname] => ODESZA [created] => 2014-07-14 21:14:03 [modified] => 2014-11-10 18:14:52 [slug] => odesza [fuga_id] => [description_clean] =>

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[links_clean] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] =>

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

 

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

) ) ) [6] => Array ( [Event] => Array ( [id] => 13226 [date] => 2014-08-08 [artist] => Submotion Orchestra [city] => Skipton [state] => [country] => GB [venue] => Beacons Festival [promoter] => [description] => [ticket_url] => http://beaconsfestival.seetickets.com/event/beacons-festival-2014/funkirk-estate/761325?bp-remote-id=96758 [image_upload_id] => 19738 [created] => 2014-07-24 13:50:54 [modified] => 2014-07-24 13:50:54 [year_slug] => 2014 [month_slug] => aug [day_slug] => 8 [slug] => submotion-orchestra-skipton-beacons-festival [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 19738 [media_type] => image [artist] => Submotion Orchestra [title] => Submo Press Photo 2014 [credits] => [buy_link] => [filename] => images/submotion-orchestra/Submotion-Orchestra-2014-Press-Shot-HIGHRES.jpg [checksum] => e0644cf17613dbc6845d280230164d97 [mime_type] => image/jpeg [size] => 12354184 [external_url] => http://media.ninjatune.net/images/submotion-orchestra/Submotion-Orchestra-2014-Press-Shot-HIGHRES.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => submotion-orchestra [slug] => submo-press-photo-2014 [created] => 2014-07-24 12:46:11 [modified] => 2014-07-24 12:48:43 [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] => 211 [name] => Submotion Orchestra [description] =>

Submotion Orchestra make some of the most interesting and exciting music from the UK today: A kaleidoscope of electronic bass music, entrancing vocals, ambient, jazz and dub that sits somewhere on an axis between Bonobo and London Grammar. Their unique music is at once delicate and heavy, spacious and dense, highly atmospheric but firmly rooted. Earth-shaking bass and drums combine with lush keyboard and trumpet textures to create the perfect backdrop for the fragile beauty of Ruby Wood’s vocals, and the celestial effects of producer Ruckspin.

Formed in Leeds in 2009, the band quickly made a splash on the wider scene. Their live gigs left audiences open-mouthed, and their debut EP on Ranking Records drew a rave reaction from Gilles Peterson. Their now-legendary weekly residency at the tiny Hukaz Bar in Leeds gave fans the unique opportunity to see the band create new material up-close and personal.

Submotion went on to release their first full-length album, Finest Hour. The record became an instant classic, receiving critical acclaim from around the world, and strong support from DJs such as 6Music's Mista Jam and Trevor Nelson, who personally invited the band to record a live Radio 2 session. Sell out tours followed across Europe, and the band were quickly booked for some of Europe’s biggest festivals, including Glastonbury, Bestival, The Big Chill, Pohoda and Outlook.

The band's second album Fragments followed in 2012, receiving heated enthusiasm from fans and critics alike for the variety of its sound. Radio support came from such diverse presenters as Pete Tong, Huey, Lauren Laverne and Don Letts, demonstrating Submotion’s unique cross-genre appeal. Fragments spent a week at number 1 in the iTunes charts, and the supporting tour climaxed with a sold out show at London’s legendary venue KOKO.

Demand for the band had never been greater, as their reputation for staging one of the most exciting shows around grew with each appearance they made. 2013 saw them release the 1968 EP on Circus Records, which saw their champions grow to include I-D, Noisey, and Clash. The band also performed for international fans in France, Poland, Germany, Turkey, Croatia, and the Netherlands, as well as in the UK. Somehow - perhaps inspired by the whirlwind of energy around them – they found time to write their third album.

Alium, is a dazzlingly eclectic record that showcases every aspect of the band’s myriad talents. Thanks to producer Ruckspin's deft touch, it also remains a satisfyingly coherent artist statement. Counter Records leapt at the chance to release it, signing the band in summer 2014.

With a busy summer schedule that will see the band play over a dozen festivals in 7 different countries (including Lovebox, Parklife, Secret Garden Party, Wilderness and Outlook,) before embarking on a full European tour in the Autumn, Alium looks set to cap a triumphant year for the band, as they continue to push the boundaries of what ‘electronica’ can and should be.

[links] =>
submotion.co.uk

Facebook / Twitter / Instagram / SoundCloud / YouTube / Spotify

[image_upload_id] => 20103 [label_id] => 5 [twitter_username] => submotion [instagram_id] => 230405619 [instagram_username] => submotionorchestra [link] => [listed] => 0 [sortname] => Submotion Orchestra [created] => 2014-07-15 10:46:29 [modified] => 2014-10-08 21:08:49 [slug] => submotion-orchestra [fuga_id] => [description_clean] =>

Submotion Orchestra make some of the most interesting and exciting music from the UK today: A kaleidoscope of electronic bass music, entrancing vocals, ambient, jazz and dub that sits somewhere on an axis between Bonobo and London Grammar. Their unique music is at once delicate and heavy, spacious and dense, highly atmospheric but firmly rooted. Earth-shaking bass and drums combine with lush keyboard and trumpet textures to create the perfect backdrop for the fragile beauty of Ruby Wood’s vocals, and the celestial effects of producer Ruckspin.

Formed in Leeds in 2009, the band quickly made a splash on the wider scene. Their live gigs left audiences open-mouthed, and their debut EP on Ranking Records drew a rave reaction from Gilles Peterson. Their now-legendary weekly residency at the tiny Hukaz Bar in Leeds gave fans the unique opportunity to see the band create new material up-close and personal.

Submotion went on to release their first full-length album, Finest Hour. The record became an instant classic, receiving critical acclaim from around the world, and strong support from DJs such as 6Music's Mista Jam and Trevor Nelson, who personally invited the band to record a live Radio 2 session. Sell out tours followed across Europe, and the band were quickly booked for some of Europe’s biggest festivals, including Glastonbury, Bestival, The Big Chill, Pohoda and Outlook.

The band's second album Fragments followed in 2012, receiving heated enthusiasm from fans and critics alike for the variety of its sound. Radio support came from such diverse presenters as Pete Tong, Huey, Lauren Laverne and Don Letts, demonstrating Submotion’s unique cross-genre appeal. Fragments spent a week at number 1 in the iTunes charts, and the supporting tour climaxed with a sold out show at London’s legendary venue KOKO.

Demand for the band had never been greater, as their reputation for staging one of the most exciting shows around grew with each appearance they made. 2013 saw them release the 1968 EP on Circus Records, which saw their champions grow to include I-D, Noisey, and Clash. The band also performed for international fans in France, Poland, Germany, Turkey, Croatia, and the Netherlands, as well as in the UK. Somehow - perhaps inspired by the whirlwind of energy around them – they found time to write their third album.

Alium, is a dazzlingly eclectic record that showcases every aspect of the band’s myriad talents. Thanks to producer Ruckspin's deft touch, it also remains a satisfyingly coherent artist statement. Counter Records leapt at the chance to release it, signing the band in summer 2014.

With a busy summer schedule that will see the band play over a dozen festivals in 7 different countries (including Lovebox, Parklife, Secret Garden Party, Wilderness and Outlook,) before embarking on a full European tour in the Autumn, Alium looks set to cap a triumphant year for the band, as they continue to push the boundaries of what ‘electronica’ can and should be.

[links_clean] =>
submotion.co.uk

Facebook / Twitter / Instagram / SoundCloud / YouTube / Spotify

[counter_player] => [counter_biog] => Submotion Orchestra are one of the most interesting and exciting projects working in the UK today. Drawing upon electronica, soul, ambient electronica, jazz and dub, their unique music is at once delicate and heavy, spacious and dense, highly atmospheric but firmly rooted. Earth-shaking bass and drums combine with lush keyboard and trumpet textures to create the perfect bed for the fragile beauty of Ruby Wood’s vocals, and the celestial effects of producer Ruckspin. Demand for the band has never been greater as their reputation for staging one of the most exciting shows around grows with each appearance they make. 2013 looks to be their busiest year to date, with the band travelling to France, Poland, Russia, Turkey, Croatia, the Netherlands, the UK, Belgium and Ukraine, as well as working on their third album, which promises to show them continuing to push the boundaries and pre-conceptions of electronic music. ) ) ) [7] => Array ( [Event] => Array ( [id] => 13234 [date] => 2014-08-08 [artist] => DJ Food [city] => London [state] => [country] => GB [venue] => ArcelorMittal Orbit [promoter] => [description] => [ticket_url] => [image_upload_id] => 16199 [created] => 2014-07-24 14:47:29 [modified] => 2014-07-24 14:47:29 [year_slug] => 2014 [month_slug] => aug [day_slug] => 8 [slug] => dj-food-london-arcelormittal-orbit [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 16199 [media_type] => image [artist] => DJ Food [title] => DJ Food Artist Shot Oct 2011 [credits] => [buy_link] => [filename] => images/dj-food/DJFoodbyWillCooperMitchell6.jpg [checksum] => 0f0acc7bd7abea90c0c9c2f273419733 [mime_type] => image/jpeg [size] => 4338325 [external_url] => http://media.ninjatune.net/images/dj-food/DJFoodbyWillCooperMitchell6.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => dj-food [slug] => dj-food-artist-shot-oct-2011 [created] => 2011-10-06 17:12:57 [modified] => 2011-10-06 17:13:11 [embed] => ) [Country] => Array ( [id] => 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] => 34 [name] => DJ Food [description] =>

DJ Food (present) : Strictly Kev

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

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

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

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

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

DJ Food (past):

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

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

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

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

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

[links] =>

www.djfood.org

Twitter
Soundcloud

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

DJ Food (present) : Strictly Kev

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

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

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

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

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

DJ Food (past):

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

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

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

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

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

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Three years after his last album – Ghost PeopleMartyn joins the Ninja Tune family to present his third long player. Universally respected for his ever-evolving, but inimitable sound, the Dutch-born, Washington DC-based producer brings an entirely new sonic direction with The Air Between Words. This is an exploration of the essence of all of Martyn’s music: a rugged four-to-the-floor groove, intelligently sculpted and artfully composed.

Where Great Lengths - his 2009 debut - was a body of work that explored Martyn’s uncategorizable versatility, and 2011’s Ghost People (via Brainfeeder) was a focused effort on writing an album with a specific sound, The Air Between Words came from a different realm altogether. Martyn had no parameters, and in fact no plan at all. He fell into a back-to-basics mentality where simple experimentation with purely analogue sounds and equipment inadvertently turned to melodic sketches, and without warning the album revealed itself.

“Every album signifies a period in your life, and finishing one shows you something about yourself,” says Martyn about the experience. “Without the music being introspective, this is my most natural sounding album.”

The Air Between Words opens coyly with the panoramic sonics of "Forgiveness Step 1" - a beatless but nonetheless authoritative statement of intent - before pitching headlong into pure dancefloor territory. Lean, raw, powerful productions predominate - gloriously brash, occasionally beautiful, but always vigorously hypnotic, sensitively swung and utterly irresistible.

Martyn joins forces with Kieran Hebden aka Four Tet for "Glassbeadgames", a powerhouse of a track that finds the perfect amalgamation of both producers’ fortés. Heavy kicks, UKG-esque percussion and swirling subs dictate the groove, whilst the melodic progressions are simultaneously melancholic and anthemic, and further enhanced by a Hebden trademark thumb piano motif.

Another collaboration - "Love of Pleasure" - finds Martyn partnering with his good friend copeland (formerly known as Inga Copeland, or one half of art pop duo Hype Williams). Her fragile vocal cuts through distorted piano riffs and swathes of broken synths, a fitting centerpiece for the album before it returns to its essence via "Forgiveness Step 2", "Like That" and "Two Leads and a Computer", which distinctly draw from a 90s Warp heritage (Sweet Exorcist, LFO and Autechre) but bizarrely sound like they’ve been beamed from the future. After the Afro-tinged elegance of "Lullaby", the final piece word belongs to "Fashion Skater": a dark, earthy, almost Zen-like exercise in house music in its purest form.

Stylistically and sonically, Martyn stands apart from his counterparts. His music incorporates vintage references but is steadfastly forward-facing at the same time. He’s always done that. His sound is heritage and future - and that character has elevated him alongside fellow electronic heavyweights such as Four Tet, Kode9, dBridge and Mark Pritchard.

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Three years after his last album – Ghost PeopleMartyn joins the Ninja Tune family to present his third long player. Universally respected for his ever-evolving, but inimitable sound, the Dutch-born, Washington DC-based producer brings an entirely new sonic direction with The Air Between Words. This is an exploration of the essence of all of Martyn’s music: a rugged four-to-the-floor groove, intelligently sculpted and artfully composed.

Where Great Lengths - his 2009 debut - was a body of work that explored Martyn’s uncategorizable versatility, and 2011’s Ghost People (via Brainfeeder) was a focused effort on writing an album with a specific sound, The Air Between Words came from a different realm altogether. Martyn had no parameters, and in fact no plan at all. He fell into a back-to-basics mentality where simple experimentation with purely analogue sounds and equipment inadvertently turned to melodic sketches, and without warning the album revealed itself.

“Every album signifies a period in your life, and finishing one shows you something about yourself,” says Martyn about the experience. “Without the music being introspective, this is my most natural sounding album.”

The Air Between Words opens coyly with the panoramic sonics of "Forgiveness Step 1" - a beatless but nonetheless authoritative statement of intent - before pitching headlong into pure dancefloor territory. Lean, raw, powerful productions predominate - gloriously brash, occasionally beautiful, but always vigorously hypnotic, sensitively swung and utterly irresistible.

Martyn joins forces with Kieran Hebden aka Four Tet for "Glassbeadgames", a powerhouse of a track that finds the perfect amalgamation of both producers’ fortés. Heavy kicks, UKG-esque percussion and swirling subs dictate the groove, whilst the melodic progressions are simultaneously melancholic and anthemic, and further enhanced by a Hebden trademark thumb piano motif.

Another collaboration - "Love of Pleasure" - finds Martyn partnering with his good friend copeland (formerly known as Inga Copeland, or one half of art pop duo Hype Williams). Her fragile vocal cuts through distorted piano riffs and swathes of broken synths, a fitting centerpiece for the album before it returns to its essence via "Forgiveness Step 2", "Like That" and "Two Leads and a Computer", which distinctly draw from a 90s Warp heritage (Sweet Exorcist, LFO and Autechre) but bizarrely sound like they’ve been beamed from the future. After the Afro-tinged elegance of "Lullaby", the final piece word belongs to "Fashion Skater": a dark, earthy, almost Zen-like exercise in house music in its purest form.

Stylistically and sonically, Martyn stands apart from his counterparts. His music incorporates vintage references but is steadfastly forward-facing at the same time. He’s always done that. His sound is heritage and future - and that character has elevated him alongside fellow electronic heavyweights such as Four Tet, Kode9, dBridge and Mark Pritchard.

[links_clean] =>

Website
Facebook
Twitter
Soundcloud

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Photo by Theo Jemison

Hypnotic. Warm. Organic. Tumbling. Pastoral. Ramshackle. Blissful. Expansive.

These are just some of the words that have been used to describe the work of Mtendere Mandowa, better known as Teebs.

A producer, a painter, and a key member of Brainfeeder clan, recent years have seen Teebs surge toward the top of the so-called "beat scene", and though his affiliation with Flying Lotus certainly has something to do with his ascent, it's ultimately the music - a billowing brand of beautifully off-kilter, hip-hop-colored beat construction - that has set Mandowa apart from what has become an increasingly crowded field of like-mind producers.

Teebs now makes his home in Northeast Los Angeles, but the 26-year-old producer wasn't always an Angeleno. Born in the Bronx, Mandowa's childhood also included time spent in Georgia and Hartford, Connecticut before his family switched coasts, stopping in Monterey Park, California before settling into the cozy LA suburb of Chino Hills. It was there that Teebs first truly took shape as an artist; he began painting in 2005 and started making music shortly thereafter, both by himself and as part of a collective known as My Hollow Drum.

It didn't take long for people to take notice. Around this time, Teebs linked up with online radio stronghold Dublab, and quickly saw his network increase exponentially. In 2008, he was invited to come to Barcelona and participate in that year's edition of the annual Red Bull Music Academy. This prompted fellow RBMA alum Flying Lotus to look him up; the two actually met at the now-legendary Low End Theory party in Los Angeles, and within six months, Teebs was living in the same apartment complex as FlyLo and sharing a spot with fellow LA beatmaker Samiyam. Watching those two work fueled his own creative impulses, and he began assembling what would eventually become Ardour, his first full-length album.

Ardour may have properly put Teebs on the electronic music map, but the somber release - the LP was partially inspired by the death of his father, which took place in the middle of the record's genesis - was just one of his many noteworthy efforts. He teamed up with fellow LA beatmakers Daedelus and Jeremiah Jae for split releases; he collaborated with UK producer Jackhigh (who now goes by BNJMN) on an intriguing EP called The Tropics and later joined forces with leftfield beat pioneer Prefuse 73 for the Sons of the Morning project and the Speak Soon, Volume One EP; Brainfeeder offered up the explorative and vaguely defined Collections mini-album; and the label arm of My Hollow Drum dropped limited runs of both Ardour B-Sides and the Cecilia Tapes Collection, the later of which collected music pieces that originally soundtracked one of Teebs' art exhibitions. He's also been busy on the road, frequently touring the globe, often in the company of his fellow Brainfeeder affiliates.

Despite all of this activity, on a personal level, the last couple of years have been a time of relative calm for Teebs. It was during this time that he put together E s t a r a, his second proper full-length. As opposed to the turmoil that accompanied the creation of Ardour, his new album is an effort inspired by his life as it stands now, and represents a time when Teebs has finally been able to make music completely on his own terms. The record takes its name from the house where much of the music was created, and it finds Teebs filling his sonic canvasses with the same kind of lush, textured sounds he's always used; the key difference is that he's now operating with a renewed sense of purpose and a streamlined musical narrative. The techniques haven't changed, but Teebs' mastery of them certainly has. In short, he's grown as an artist, and continues to confidently forge his own path forward. 

[links] =>

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[image_upload_id] => 19016 [label_id] => 7 [twitter_username] => teebsio [instagram_id] => 3173632 [instagram_username] => teebsio [link] => [listed] => 0 [sortname] => Teebs [created] => 2010-11-05 16:40:14 [modified] => 2014-02-06 23:18:29 [slug] => teebs [fuga_id] => [description_clean] =>

Photo by Theo Jemison

Hypnotic. Warm. Organic. Tumbling. Pastoral. Ramshackle. Blissful. Expansive.

These are just some of the words that have been used to describe the work of Mtendere Mandowa, better known as Teebs.

A producer, a painter, and a key member of Brainfeeder clan, recent years have seen Teebs surge toward the top of the so-called "beat scene", and though his affiliation with Flying Lotus certainly has something to do with his ascent, it's ultimately the music - a billowing brand of beautifully off-kilter, hip-hop-colored beat construction - that has set Mandowa apart from what has become an increasingly crowded field of like-mind producers.

Teebs now makes his home in Northeast Los Angeles, but the 26-year-old producer wasn't always an Angeleno. Born in the Bronx, Mandowa's childhood also included time spent in Georgia and Hartford, Connecticut before his family switched coasts, stopping in Monterey Park, California before settling into the cozy LA suburb of Chino Hills. It was there that Teebs first truly took shape as an artist; he began painting in 2005 and started making music shortly thereafter, both by himself and as part of a collective known as My Hollow Drum.

It didn't take long for people to take notice. Around this time, Teebs linked up with online radio stronghold Dublab, and quickly saw his network increase exponentially. In 2008, he was invited to come to Barcelona and participate in that year's edition of the annual Red Bull Music Academy. This prompted fellow RBMA alum Flying Lotus to look him up; the two actually met at the now-legendary Low End Theory party in Los Angeles, and within six months, Teebs was living in the same apartment complex as FlyLo and sharing a spot with fellow LA beatmaker Samiyam. Watching those two work fueled his own creative impulses, and he began assembling what would eventually become Ardour, his first full-length album.

Ardour may have properly put Teebs on the electronic music map, but the somber release - the LP was partially inspired by the death of his father, which took place in the middle of the record's genesis - was just one of his many noteworthy efforts. He teamed up with fellow LA beatmakers Daedelus and Jeremiah Jae for split releases; he collaborated with UK producer Jackhigh (who now goes by BNJMN) on an intriguing EP called The Tropics and later joined forces with leftfield beat pioneer Prefuse 73 for the Sons of the Morning project and the Speak Soon, Volume One EP; Brainfeeder offered up the explorative and vaguely defined Collections mini-album; and the label arm of My Hollow Drum dropped limited runs of both Ardour B-Sides and the Cecilia Tapes Collection, the later of which collected music pieces that originally soundtracked one of Teebs' art exhibitions. He's also been busy on the road, frequently touring the globe, often in the company of his fellow Brainfeeder affiliates.

Despite all of this activity, on a personal level, the last couple of years have been a time of relative calm for Teebs. It was during this time that he put together E s t a r a, his second proper full-length. As opposed to the turmoil that accompanied the creation of Ardour, his new album is an effort inspired by his life as it stands now, and represents a time when Teebs has finally been able to make music completely on his own terms. The record takes its name from the house where much of the music was created, and it finds Teebs filling his sonic canvasses with the same kind of lush, textured sounds he's always used; the key difference is that he's now operating with a renewed sense of purpose and a streamlined musical narrative. The techniques haven't changed, but Teebs' mastery of them certainly has. In short, he's grown as an artist, and continues to confidently forge his own path forward. 

[links_clean] =>

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Artist Date City Venue Buy
Wiley Friday, Aug 8th London, GB Fabric Buy
Machinedrum Friday, Aug 8th Goteborg, SE Way Out West Festival Buy
Bonobo Friday, Aug 8th Helsinki, FI Flow Festival Buy
Fink Friday, Aug 8th Karlsruhe, DE Zeltival Buy
Yppah Friday, Aug 8th Seattle, US KEXP x Decibel Concerts at The Mural
ODESZA Friday, Aug 8th Tidewater, US Beloved Festival Buy
Submotion Orchestra Friday, Aug 8th Skipton, GB Beacons Festival Buy
DJ Food Friday, Aug 8th London, GB ArcelorMittal Orbit
Martyn Friday, Aug 8th Philadelphia, US Morgan's Pier Buy
Teebs Friday, Aug 8th Adelaide, AU Rocket Bar Buy
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