Jun 18
Bonobo
Kosmonavt, St. Petersburg, , RU
Dates
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[date] => 2013-06-18
[artist] => Bonobo
[city] => St. Petersburg
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Facebook
Twitter
Soundcloud
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Facebook
Twitter
Soundcloud
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http://www.bonobomusic.com/
[ticket_url] => http://www.bonobomusic.com/ [image_upload_id] => 4236 [created] => 2013-01-24 16:46:57 [modified] => 2013-01-24 16:46:57 [year_slug] => 2013 [month_slug] => jun [day_slug] => 18 [slug] => bonobo-st-petersburg-kosmonavt [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 4236 [media_type] => image [artist] => Bonobo [title] => Bonobo - Promo Shot - Jul 2010 [credits] => [buy_link] => [filename] => images/bonobo/bonobo-34_2.jpg [checksum] => 3e6349fd9afbdd64023744448c4c831a [mime_type] => image/jpeg [size] => 3899509 [external_url] => http://media.ninjatune.net/images/bonobo/bonobo-34_2.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => bonobo [slug] => bonobo-promo-shot-jul-2010 [created] => 2010-11-24 04:22:15 [modified] => 2010-11-24 04:22:15 [embed] => ) [Country] => Array ( [id] => 188 [name] => Russian Federation [longname] => Russian Federation [numcode] => 643 [iso] => RU [iso3] => RUS [currency] => RUB [active] => 1 [parent_id] => 180 [lft] => 373 [rght] => 374 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 55 [name] => Bonobo [description] =>Simon Green, aka Bonobo, is an artist very much at the peak of his significant powers. His 2010 album Black Sands 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.
Black Sands went on to sell over 150,000 copies worldwide, and since its release, Bonobo has toured the world with his live band, wowing audiences of thousands at a time with the hypnotic, extended live versions of the album's tracks. He amassed more nearly 50 million recorded plays on Last.fm and over 300,000 likes on Facebook.
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 always 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 Black Sands was generally welcomed as his best album to date. 2012 saw Green 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 Pritchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth studio album. Now, in 2013, he stands ready to take things up yet another notch. The North Borders is 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, Bjaika) and The North Borders sees him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across The North Borders, and Green has yet again found the perfect voice to enhance where he's at. With a huge run of international tour dates set to commence shortly after the album's Spring release date, plus a host of weighty press and radio campaigns and a bleeding edge online campaign, 2013 looks set to be Simon Green's year, which is very good news for the rest of us, too.
[links] =>Facebook
Twitter
Soundcloud
Instagram
Simon Green, aka Bonobo, is an artist very much at the peak of his significant powers. His 2010 album Black Sands 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.
Black Sands went on to sell over 150,000 copies worldwide, and since its release, Bonobo has toured the world with his live band, wowing audiences of thousands at a time with the hypnotic, extended live versions of the album's tracks. He amassed more nearly 50 million recorded plays on Last.fm and over 300,000 likes on Facebook.
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 always 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 Black Sands was generally welcomed as his best album to date. 2012 saw Green 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 Pritchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth studio album. Now, in 2013, he stands ready to take things up yet another notch. The North Borders is 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, Bjaika) and The North Borders sees him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across The North Borders, and Green has yet again found the perfect voice to enhance where he's at. With a huge run of international tour dates set to commence shortly after the album's Spring release date, plus a host of weighty press and radio campaigns and a bleeding edge online campaign, 2013 looks set to be Simon Green's year, which is very good news for the rest of us, too.
[links_clean] =>Facebook
Twitter
Soundcloud
Instagram
“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on 21 August 2012. “We wanted to make a bold statement – it’s not shy.”
“It’s over the top, in a good way,” adds Heavy frontman Kelvin Swaby. “We went pretty cinematic, setting out to score a film that hasn’t been written.” As such, The Glorious Dead proves The Heavy’s most ambitious effort: Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul, it’s unlike anything you’ll hear this year.
The Glorious Dead builds off momentum from The Heavy’s international smash single “How You Like Me Now?,” off acclaimed 2009 album, The House That Dirt Built. “How You Like Me Now?” became the first song David Letterman’s ever requested an encore for when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted – and was even performed by contestant Tony Lucca on NBC’s hit show “The Voice.” “It’s become such a big tune, people ask, ‘How are you going to top that?’,” Swaby says. The Glorious Dead provides the answer with supernatural force. Album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials; “Curse Me Good,” meanwhile, balances sweet whistled hooks and acoustic strum with heartbreaking vocals. “It’s good to have a bit of light and shade,” Taylor explains. As such, the album’s soaring centerpiece “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group backgrounds and epic strings. “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “…Good Man?” proved the album’s breakthrough. Searching for inspiration, The Heavy traveled from their Bath, England hometown to Columbus, Georgia, hooking up with local church-trained singers and players for some Southern Gothic sublimity. Taking the material to yet another level was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs. “He’s such a talent,” Swaby enthuses.
The Glorious Dead also represents the first time The Heavy’s members – which in addition to Taylor and Swaby include Spencer Page (bass) and Chris Ellul (drums) – chose to produce themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing our vision,” Taylor says. “It’s our third record, which is when you’re judged if you’re here to stay, or sliding off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”
[links] => [image_upload_id] => 16903 [label_id] => 5 [twitter_username] => theheavy [instagram_id] => 217232350 [instagram_username] => theheavy [link] => [listed] => 1 [sortname] => Heavy [created] => 2010-07-17 22:15:59 [modified] => 2013-05-03 14:56:03 [slug] => the-heavy [fuga_id] => [description_clean] =>“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on 21 August 2012. “We wanted to make a bold statement – it’s not shy.”
“It’s over the top, in a good way,” adds Heavy frontman Kelvin Swaby. “We went pretty cinematic, setting out to score a film that hasn’t been written.” As such, The Glorious Dead proves The Heavy’s most ambitious effort: Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul, it’s unlike anything you’ll hear this year.
The Glorious Dead builds off momentum from The Heavy’s international smash single “How You Like Me Now?,” off acclaimed 2009 album, The House That Dirt Built. “How You Like Me Now?” became the first song David Letterman’s ever requested an encore for when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted – and was even performed by contestant Tony Lucca on NBC’s hit show “The Voice.” “It’s become such a big tune, people ask, ‘How are you going to top that?’,” Swaby says. The Glorious Dead provides the answer with supernatural force. Album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials; “Curse Me Good,” meanwhile, balances sweet whistled hooks and acoustic strum with heartbreaking vocals. “It’s good to have a bit of light and shade,” Taylor explains. As such, the album’s soaring centerpiece “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group backgrounds and epic strings. “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “…Good Man?” proved the album’s breakthrough. Searching for inspiration, The Heavy traveled from their Bath, England hometown to Columbus, Georgia, hooking up with local church-trained singers and players for some Southern Gothic sublimity. Taking the material to yet another level was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs. “He’s such a talent,” Swaby enthuses.
The Glorious Dead also represents the first time The Heavy’s members – which in addition to Taylor and Swaby include Spencer Page (bass) and Chris Ellul (drums) – chose to produce themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing our vision,” Taylor says. “It’s our third record, which is when you’re judged if you’re here to stay, or sliding off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”
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Black Sands went on to sell over 150,000 copies worldwide, and since its release, Bonobo has toured the world with his live band, wowing audiences of thousands at a time with the hypnotic, extended live versions of the album's tracks. He amassed more nearly 50 million recorded plays on Last.fm and over 300,000 likes on Facebook.
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 always 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 Black Sands was generally welcomed as his best album to date. 2012 saw Green 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 Pritchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth studio album. Now, in 2013, he stands ready to take things up yet another notch. The North Borders is 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, Bjaika) and The North Borders sees him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across The North Borders, and Green has yet again found the perfect voice to enhance where he's at. With a huge run of international tour dates set to commence shortly after the album's Spring release date, plus a host of weighty press and radio campaigns and a bleeding edge online campaign, 2013 looks set to be Simon Green's year, which is very good news for the rest of us, too.
[links] =>Facebook
Twitter
Soundcloud
Instagram
Simon Green, aka Bonobo, is an artist very much at the peak of his significant powers. His 2010 album Black Sands 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.
Black Sands went on to sell over 150,000 copies worldwide, and since its release, Bonobo has toured the world with his live band, wowing audiences of thousands at a time with the hypnotic, extended live versions of the album's tracks. He amassed more nearly 50 million recorded plays on Last.fm and over 300,000 likes on Facebook.
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 always 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 Black Sands was generally welcomed as his best album to date. 2012 saw Green 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 Pritchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth studio album. Now, in 2013, he stands ready to take things up yet another notch. The North Borders is 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, Bjaika) and The North Borders sees him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across The North Borders, and Green has yet again found the perfect voice to enhance where he's at. With a huge run of international tour dates set to commence shortly after the album's Spring release date, plus a host of weighty press and radio campaigns and a bleeding edge online campaign, 2013 looks set to be Simon Green's year, which is very good news for the rest of us, too.
[links_clean] =>Facebook
Twitter
Soundcloud
Instagram
“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on 21 August 2012. “We wanted to make a bold statement – it’s not shy.”
“It’s over the top, in a good way,” adds Heavy frontman Kelvin Swaby. “We went pretty cinematic, setting out to score a film that hasn’t been written.” As such, The Glorious Dead proves The Heavy’s most ambitious effort: Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul, it’s unlike anything you’ll hear this year.
The Glorious Dead builds off momentum from The Heavy’s international smash single “How You Like Me Now?,” off acclaimed 2009 album, The House That Dirt Built. “How You Like Me Now?” became the first song David Letterman’s ever requested an encore for when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted – and was even performed by contestant Tony Lucca on NBC’s hit show “The Voice.” “It’s become such a big tune, people ask, ‘How are you going to top that?’,” Swaby says. The Glorious Dead provides the answer with supernatural force. Album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials; “Curse Me Good,” meanwhile, balances sweet whistled hooks and acoustic strum with heartbreaking vocals. “It’s good to have a bit of light and shade,” Taylor explains. As such, the album’s soaring centerpiece “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group backgrounds and epic strings. “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “…Good Man?” proved the album’s breakthrough. Searching for inspiration, The Heavy traveled from their Bath, England hometown to Columbus, Georgia, hooking up with local church-trained singers and players for some Southern Gothic sublimity. Taking the material to yet another level was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs. “He’s such a talent,” Swaby enthuses.
The Glorious Dead also represents the first time The Heavy’s members – which in addition to Taylor and Swaby include Spencer Page (bass) and Chris Ellul (drums) – chose to produce themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing our vision,” Taylor says. “It’s our third record, which is when you’re judged if you’re here to stay, or sliding off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”
[links] => [image_upload_id] => 16903 [label_id] => 5 [twitter_username] => theheavy [instagram_id] => 217232350 [instagram_username] => theheavy [link] => [listed] => 1 [sortname] => Heavy [created] => 2010-07-17 22:15:59 [modified] => 2013-05-03 14:56:03 [slug] => the-heavy [fuga_id] => [description_clean] =>“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on 21 August 2012. “We wanted to make a bold statement – it’s not shy.”
“It’s over the top, in a good way,” adds Heavy frontman Kelvin Swaby. “We went pretty cinematic, setting out to score a film that hasn’t been written.” As such, The Glorious Dead proves The Heavy’s most ambitious effort: Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul, it’s unlike anything you’ll hear this year.
The Glorious Dead builds off momentum from The Heavy’s international smash single “How You Like Me Now?,” off acclaimed 2009 album, The House That Dirt Built. “How You Like Me Now?” became the first song David Letterman’s ever requested an encore for when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted – and was even performed by contestant Tony Lucca on NBC’s hit show “The Voice.” “It’s become such a big tune, people ask, ‘How are you going to top that?’,” Swaby says. The Glorious Dead provides the answer with supernatural force. Album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials; “Curse Me Good,” meanwhile, balances sweet whistled hooks and acoustic strum with heartbreaking vocals. “It’s good to have a bit of light and shade,” Taylor explains. As such, the album’s soaring centerpiece “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group backgrounds and epic strings. “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “…Good Man?” proved the album’s breakthrough. Searching for inspiration, The Heavy traveled from their Bath, England hometown to Columbus, Georgia, hooking up with local church-trained singers and players for some Southern Gothic sublimity. Taking the material to yet another level was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs. “He’s such a talent,” Swaby enthuses.
The Glorious Dead also represents the first time The Heavy’s members – which in addition to Taylor and Swaby include Spencer Page (bass) and Chris Ellul (drums) – chose to produce themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing our vision,” Taylor says. “It’s our third record, which is when you’re judged if you’re here to stay, or sliding off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”
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[products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 16199 [media_type] => image [artist] => DJ Food [title] => DJ Food Artist Shot Oct 2011 [credits] => [buy_link] => [filename] => images/dj-food/DJFoodbyWillCooperMitchell6.jpg [checksum] => 0f0acc7bd7abea90c0c9c2f273419733 [mime_type] => image/jpeg [size] => 4338325 [external_url] => http://media.ninjatune.net/images/dj-food/DJFoodbyWillCooperMitchell6.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => dj-food [slug] => dj-food-artist-shot-oct-2011 [created] => 2011-10-06 17:12:57 [modified] => 2011-10-06 17:13:11 [embed] => ) [Country] => Array ( [id] => 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 '96.
But who made this food? Matt Black & Jonathan More (aka Coldcut) were responsible for starting the DJ Food series of 'Jazz Brakes' back in the early 90's, and along the way they met Patrick Carpenter (PC) who was commonly misconstrued as the computer that they made the tracks on for a while. A loose collaborative team began to form as more like-minded people arrived at the party; Paul Brook, Paul Rabiger, Strictly Kev and Issac Elliston to name a few.
Whilst keeping their hand in as DJs, Matt & Jon couldn't and didn't want to DJ twice in one night under both aliases of Coldcut & DJ Food, so PC & Strictly stepped up to represent the Food club-wise. This was the score for some time, until PC became so busy with his involvement in the Cinematic Orchestra that he decided to depart to concentrate on that, leaving Strictly Kev to carry the mantle.
[links] => [image_upload_id] => 16199 [label_id] => 1 [twitter_username] => djfood [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => DJ Food [created] => 2010-07-17 22:15:58 [modified] => 2013-01-08 14:51:48 [slug] => dj-food [fuga_id] => [description_clean] =>DJ Food (present) : Strictly Kev
With nearly 25 years of DJing experience and more than a decade serving up Food for DJs, for both Ninja and Coldcut's weekly radio show 'Solid Steel', Kev is now in the Food hot seat.
At his 'Telepathic Fish' ambient parties in the early 90's he booked Matt Black on his first VJing gigs, started designing artwork for Ninja Tune and paired up with PC (Patrick Carpenter) to form the public 'face' of DJ Food on 4 decks in clubs around the world. After working on various Food and Coldcut related studio projects with PC (A Recipe for Disaster, Journeys by DJ, ColdKrushCuts and the Blech mix compilations for Warp) they released the album 'Kaleidoscope' in 2000, closely followed by the 'Quadraplex EP' in 2001.
Also arriving in 2001 was the first in a series of Solid Steel mix CDs, starting with DJ Food & DK (Darren Knott - Solid Steel's producer) and the publicly lauded 'Now, Listen'. Since then he's been constantly art directing the Ninja label, designing for artists like Amon Tobin, The Herbaliser, DJ Vadim and Funki Porcini. Mix work has included a re-score of the Monkees' cult film 'Head', an as-yet-unreleased album of vintage Sesame Street funk, and his magnum opus 'Raiding the 20th Century'. This last hour long mix / documentary was an internet only release, charting the history of the cut-up and featured journalist Paul Morley reading from his book 'Words & Music'. Not only did it crash servers on several sites that hosted it due to its initial popularity but it was later subject to a cease & desist order from EMI for multiple infringements of copyright.
In 2007, alongside DK again, he followed up their Solid Steel debut with the sequel - 'Now, Listen Again', and the pair spent much of 2008 transferring their mix into a 4 deck audio visual live show. Using Serato's video plug-in - that enables video to be mixed and scratched via turntables the same as records - they christened their efforts 'video turntablism'.
Kev is now working on a series of EPs that will make up the next DJ Food album, an exhaustive DJ Food website (www.djfood.org) and providing artwork for Ninja artists such as King Cannibal and the 20th anniversary label celebrations.
DJ Food (past):
DJ Food has been many persons, of who we will come to in a moment. DJ Food is best described as Food for DJs, simple as that, just flip it around and it begins to mean something entirely different.
Originally produced by Coldcut the DJ Food project started in 1990 with the release of 'Jazz Brakes', with 'Jazz Brakes Volume 3' being the label's most successful early album. Not only are they effective collections of breaks, loops and samples ideal for mixing, remixing and producing - but also fine collections of funky jazz & hip hop tunes, that cut it just as well on the discerning dancefloor as in the safety of your own home...
Since the growth of the abstract hip hop scene in recent years the 'Jazz Brakes' albums have proved to be ahead of their time. The latter DJ Food albums have developed with shades of latin, dub, techno, ambient, tribal, african and jungle flavouring the funk. The 2005 album 'A Recipe For Disaster' was a conscious break from the five 'Jazz Brakes' volumes to form more of an identity as an artist, and a remix album of tracks from all 6 LPs 'Refried Food' was released Feb '96.
But who made this food? Matt Black & Jonathan More (aka Coldcut) were responsible for starting the DJ Food series of 'Jazz Brakes' back in the early 90's, and along the way they met Patrick Carpenter (PC) who was commonly misconstrued as the computer that they made the tracks on for a while. A loose collaborative team began to form as more like-minded people arrived at the party; Paul Brook, Paul Rabiger, Strictly Kev and Issac Elliston to name a few.
Whilst keeping their hand in as DJs, Matt & Jon couldn't and didn't want to DJ twice in one night under both aliases of Coldcut & DJ Food, so PC & Strictly stepped up to represent the Food club-wise. This was the score for some time, until PC became so busy with his involvement in the Cinematic Orchestra that he decided to depart to concentrate on that, leaving Strictly Kev to carry the mantle.
[links_clean] => ) ) ) [5] => Array ( [Event] => Array ( [id] => 11638 [date] => 2013-06-20 [artist] => The Heavy [city] => Ottawa [state] => ON [country] => US [venue] => Ottawa Jazz Festival [promoter] => [description] => [ticket_url] => http://ottawajazzfestival.com/index.php/tickets/ [image_upload_id] => 18148 [created] => 2013-06-06 15:56:13 [modified] => 2013-06-06 15:56:13 [year_slug] => 2013 [month_slug] => jun [day_slug] => 20 [slug] => the-heavy-ottawa-ottawa-jazz-festival [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18148 [media_type] => image [artist] => The Heavy [title] => The Heavy US Tour 2013 summer [credits] => [buy_link] => [filename] => images/the-heavy/The-Heavy-Draft-America3.jpg [checksum] => 0689e98c9509b9d0639685a5a0a5eb08 [mime_type] => image/jpeg [size] => 410022 [external_url] => http://media.ninjatune.net/images/the-heavy/The-Heavy-Draft-America3.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => the-heavy [slug] => the-heavy-us-tour-2013-summer [created] => 2013-06-06 15:26:30 [modified] => 2013-06-06 15:27:07 [embed] => ) [Country] => Array ( [id] => 122 [name] => United States [longname] => United States of America [numcode] => 840 [iso] => US [iso3] => USA [currency] => USD [active] => 1 [parent_id] => 117 [lft] => 241 [rght] => 242 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 71 [name] => The Heavy [description] =>“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on 21 August 2012. “We wanted to make a bold statement – it’s not shy.”
“It’s over the top, in a good way,” adds Heavy frontman Kelvin Swaby. “We went pretty cinematic, setting out to score a film that hasn’t been written.” As such, The Glorious Dead proves The Heavy’s most ambitious effort: Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul, it’s unlike anything you’ll hear this year.
The Glorious Dead builds off momentum from The Heavy’s international smash single “How You Like Me Now?,” off acclaimed 2009 album, The House That Dirt Built. “How You Like Me Now?” became the first song David Letterman’s ever requested an encore for when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted – and was even performed by contestant Tony Lucca on NBC’s hit show “The Voice.” “It’s become such a big tune, people ask, ‘How are you going to top that?’,” Swaby says. The Glorious Dead provides the answer with supernatural force. Album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials; “Curse Me Good,” meanwhile, balances sweet whistled hooks and acoustic strum with heartbreaking vocals. “It’s good to have a bit of light and shade,” Taylor explains. As such, the album’s soaring centerpiece “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group backgrounds and epic strings. “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “…Good Man?” proved the album’s breakthrough. Searching for inspiration, The Heavy traveled from their Bath, England hometown to Columbus, Georgia, hooking up with local church-trained singers and players for some Southern Gothic sublimity. Taking the material to yet another level was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs. “He’s such a talent,” Swaby enthuses.
The Glorious Dead also represents the first time The Heavy’s members – which in addition to Taylor and Swaby include Spencer Page (bass) and Chris Ellul (drums) – chose to produce themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing our vision,” Taylor says. “It’s our third record, which is when you’re judged if you’re here to stay, or sliding off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”
[links] => [image_upload_id] => 16903 [label_id] => 5 [twitter_username] => theheavy [instagram_id] => 217232350 [instagram_username] => theheavy [link] => [listed] => 1 [sortname] => Heavy [created] => 2010-07-17 22:15:59 [modified] => 2013-05-03 14:56:03 [slug] => the-heavy [fuga_id] => [description_clean] =>“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on 21 August 2012. “We wanted to make a bold statement – it’s not shy.”
“It’s over the top, in a good way,” adds Heavy frontman Kelvin Swaby. “We went pretty cinematic, setting out to score a film that hasn’t been written.” As such, The Glorious Dead proves The Heavy’s most ambitious effort: Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul, it’s unlike anything you’ll hear this year.
The Glorious Dead builds off momentum from The Heavy’s international smash single “How You Like Me Now?,” off acclaimed 2009 album, The House That Dirt Built. “How You Like Me Now?” became the first song David Letterman’s ever requested an encore for when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted – and was even performed by contestant Tony Lucca on NBC’s hit show “The Voice.” “It’s become such a big tune, people ask, ‘How are you going to top that?’,” Swaby says. The Glorious Dead provides the answer with supernatural force. Album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials; “Curse Me Good,” meanwhile, balances sweet whistled hooks and acoustic strum with heartbreaking vocals. “It’s good to have a bit of light and shade,” Taylor explains. As such, the album’s soaring centerpiece “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group backgrounds and epic strings. “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “…Good Man?” proved the album’s breakthrough. Searching for inspiration, The Heavy traveled from their Bath, England hometown to Columbus, Georgia, hooking up with local church-trained singers and players for some Southern Gothic sublimity. Taking the material to yet another level was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs. “He’s such a talent,” Swaby enthuses.
The Glorious Dead also represents the first time The Heavy’s members – which in addition to Taylor and Swaby include Spencer Page (bass) and Chris Ellul (drums) – chose to produce themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing our vision,” Taylor says. “It’s our third record, which is when you’re judged if you’re here to stay, or sliding off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”
[links_clean] => ) ) ) [6] => Array ( [Event] => Array ( [id] => 11271 [date] => 2013-06-21 [artist] => Letherette [city] => Amsterdam [state] => [country] => NL [venue] => Melkweg [promoter] => [description] => [ticket_url] => http://citynumbers.com/nightlife/parties/Melkweg/Hoax-@-klinch/2013-06-21/14_en.html [image_upload_id] => 17276 [created] => 2013-03-04 13:26:58 [modified] => 2013-03-04 13:26:58 [year_slug] => 2013 [month_slug] => jun [day_slug] => 21 [slug] => letherette-amsterdam-melkweg [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 17276 [media_type] => image [artist] => Letherette [title] => Letherette Press Shot 2012 [credits] => [buy_link] => http://ninjatune.net/release/letherette/letherette [filename] => images/letherette/LetherettePress-stephenwilkinson2.jpg [checksum] => 07ee101818c0a0a7177926a7d61f7cba [mime_type] => image/jpeg [size] => 141276 [external_url] => http://media.ninjatune.net/images/letherette/LetherettePress-stephenwilkinson2.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => letherette [slug] => letherette-press-shot-2012 [created] => 2012-09-18 13:04:07 [modified] => 2013-02-22 13:09:56 [embed] => ) [Country] => Array ( [id] => 234 [name] => Netherlands [longname] => Netherlands [numcode] => 528 [iso] => NL [iso3] => NLD [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 465 [rght] => 466 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 172 [name] => Letherette [description] =>The story of the most fun new force in electronic music goes a long way to explaining just why their music is so good. Letherette are two childhood friends with a current of empathy between them so strong that they seem more like brothers than anything else. Their serious intent is always expressed endearingly; they never take themselves too seriously, but they do want their music to be seriously good.
Richard Roberts and Andy Harber were both born during a deep snowstorm one December - at the time the worst since 1960 - that prevented the ambulances that came to get their mothers from reaching their houses. They grew up thirty minutes away from each other in Wolverhampton, and met at the age of 11 when they were sent to the same secondary school. Andy threatened to beat Rich up if he didn't invite him to join a football game, and they took things from there. It's perhaps helpful to know that whilst Andy was the same height then as now, Rich used to look entirely physically different. He went so suddenly from blonde to dark haired that his father claimed he was swapped in his teens.
The pair quickly became firm friends, their (now friendlier) football games lasting long into the night, and remaining their main pastime until they discovered girls, cigarettes and, most importantly, music. Both had strong musical experiences early in their lives. Andy had two older sisters and was 'made' to sing along with them and his mother in the car. They'd harmonise along to The Carpenters on their annual journeys to Wales. He also loved guitar music: Jimi, The Beatles, Moody Blues and T Rex. His first purchase was an MC Hammer tape, and his eventual love was the electronic music of Orbital and Aphex Twin and the avant-garde work of pioneers like Stockhausen.
Rich had a profound early experience when he heard "Reach Out and I'll Be There" by The Four Tops. To this day, whenever he hears it he remembers how excited he was at the capabilities of this thing called music. His dad has a massive soul collection, and he devoured it happily in his youth. Later, he taught himself guitar by freezing videos and copying chord shapes. He used to go to Andy's in order to make use of his friend's more expensive gear.
They began making music together, initially just hitting record and improvising for hours and hours, making experimental music. 'We'd just smoke joints and indulge ourselves,' they say. It seems it was a fertile starting point for their career. 'Wolverhampton is perfect,' says Rich, 'because there is nothing to do. It was recently voted the 3rd or 4th worst city in the world, with some shanty town in Brazil the next worst.' Easy then, he says, to get into creativity. 'We couldn't live in London,' they laugh. 'There'd be much too much to do.'
They did make the most of what little music there was in their hometown though, soaking up the commercial house music at Wolverhampton's two main clubs, The Canal and Light Bar. Andy worked in the latter as a glass collector at 16, and the pair clubbed at both together. You can hear the influence of these days in their own exuberant, unrestrained music, which moves the feet as much as the mind. Despite their regional upbringings, they are firmly part of a generation of artists taking electronic music to a new level, making the artform richer.
Actually, they went to a sort of anti-Brit school for young electronic talent; Actress was two years above them, Alex Nut in the same year. The latter introduced them to Bibio - still a great friend and contemporary - and like him and Lee Gamble, they attended courses at Sonic Arts college. This mixture of musical pedigree and regional boredom was a strong tonic for the young duo. Myspace was a real tool for them, and they met Kwes, Machinedrum, Jimmy Edgar and Brownswood records via the social networking site. They remixed Machinerum and Bibio in 2009, and were then invited to submit a track for the ‘Brownswood Electric’ comp in 2010. They played their first, ‘awful’ gig with a crashed Ableton at the comp’s launch, in front of Gilles Peterson himself.
A mix for Andrew Meza’s BTS radio was a huge turning point, as were the two EPs Alex Nut released on his Hotep label. For a while after that they felt slightly stuck, they say; they were talented beatmakers with potential, but needed inspiration to move on. That inspiration appeared in the form of manager Greg Eden (Mark Pritchard, Clark) who told them he’d take them on if they took a step up. They put their heads down, worked hard, and won him over within only a few months.
And the work they made to do so became part of the demos that saw Ninja Tune eagerly pick them up in 2012. Ninja ‘saw the light,’ they say, and helped them to do the same. Now, they are full time musicians whose stunning debut album is winning applause from all sides. People fall in love quickly with Letherette, whose playful, ‘70s referencing, sexy stylings and joyful music are infectious.
They want, says Rich, ‘to be in a position where they make great albums playing to great people.’ 'We always want to be in touch with what's good,' Andy adds, 'and to make music we're proud of and never go stale. If that ever happened, in my ears, we’d call it a day.’ May that never come then, because it would make the musical landscape a significantly poorer place.
[links] => [image_upload_id] => 17276 [label_id] => 1 [twitter_username] => letherette [instagram_id] => 231188637 [instagram_username] => letherette [link] => [listed] => 1 [sortname] => Letherette [created] => 2012-09-18 12:59:50 [modified] => 2013-05-03 14:52:39 [slug] => letherette [fuga_id] => [description_clean] =>The story of the most fun new force in electronic music goes a long way to explaining just why their music is so good. Letherette are two childhood friends with a current of empathy between them so strong that they seem more like brothers than anything else. Their serious intent is always expressed endearingly; they never take themselves too seriously, but they do want their music to be seriously good.
Richard Roberts and Andy Harber were both born during a deep snowstorm one December - at the time the worst since 1960 - that prevented the ambulances that came to get their mothers from reaching their houses. They grew up thirty minutes away from each other in Wolverhampton, and met at the age of 11 when they were sent to the same secondary school. Andy threatened to beat Rich up if he didn't invite him to join a football game, and they took things from there. It's perhaps helpful to know that whilst Andy was the same height then as now, Rich used to look entirely physically different. He went so suddenly from blonde to dark haired that his father claimed he was swapped in his teens.
The pair quickly became firm friends, their (now friendlier) football games lasting long into the night, and remaining their main pastime until they discovered girls, cigarettes and, most importantly, music. Both had strong musical experiences early in their lives. Andy had two older sisters and was 'made' to sing along with them and his mother in the car. They'd harmonise along to The Carpenters on their annual journeys to Wales. He also loved guitar music: Jimi, The Beatles, Moody Blues and T Rex. His first purchase was an MC Hammer tape, and his eventual love was the electronic music of Orbital and Aphex Twin and the avant-garde work of pioneers like Stockhausen.
Rich had a profound early experience when he heard "Reach Out and I'll Be There" by The Four Tops. To this day, whenever he hears it he remembers how excited he was at the capabilities of this thing called music. His dad has a massive soul collection, and he devoured it happily in his youth. Later, he taught himself guitar by freezing videos and copying chord shapes. He used to go to Andy's in order to make use of his friend's more expensive gear.
They began making music together, initially just hitting record and improvising for hours and hours, making experimental music. 'We'd just smoke joints and indulge ourselves,' they say. It seems it was a fertile starting point for their career. 'Wolverhampton is perfect,' says Rich, 'because there is nothing to do. It was recently voted the 3rd or 4th worst city in the world, with some shanty town in Brazil the next worst.' Easy then, he says, to get into creativity. 'We couldn't live in London,' they laugh. 'There'd be much too much to do.'
They did make the most of what little music there was in their hometown though, soaking up the commercial house music at Wolverhampton's two main clubs, The Canal and Light Bar. Andy worked in the latter as a glass collector at 16, and the pair clubbed at both together. You can hear the influence of these days in their own exuberant, unrestrained music, which moves the feet as much as the mind. Despite their regional upbringings, they are firmly part of a generation of artists taking electronic music to a new level, making the artform richer.
Actually, they went to a sort of anti-Brit school for young electronic talent; Actress was two years above them, Alex Nut in the same year. The latter introduced them to Bibio - still a great friend and contemporary - and like him and Lee Gamble, they attended courses at Sonic Arts college. This mixture of musical pedigree and regional boredom was a strong tonic for the young duo. Myspace was a real tool for them, and they met Kwes, Machinedrum, Jimmy Edgar and Brownswood records via the social networking site. They remixed Machinerum and Bibio in 2009, and were then invited to submit a track for the ‘Brownswood Electric’ comp in 2010. They played their first, ‘awful’ gig with a crashed Ableton at the comp’s launch, in front of Gilles Peterson himself.
A mix for Andrew Meza’s BTS radio was a huge turning point, as were the two EPs Alex Nut released on his Hotep label. For a while after that they felt slightly stuck, they say; they were talented beatmakers with potential, but needed inspiration to move on. That inspiration appeared in the form of manager Greg Eden (Mark Pritchard, Clark) who told them he’d take them on if they took a step up. They put their heads down, worked hard, and won him over within only a few months.
And the work they made to do so became part of the demos that saw Ninja Tune eagerly pick them up in 2012. Ninja ‘saw the light,’ they say, and helped them to do the same. Now, they are full time musicians whose stunning debut album is winning applause from all sides. People fall in love quickly with Letherette, whose playful, ‘70s referencing, sexy stylings and joyful music are infectious.
They want, says Rich, ‘to be in a position where they make great albums playing to great people.’ 'We always want to be in touch with what's good,' Andy adds, 'and to make music we're proud of and never go stale. If that ever happened, in my ears, we’d call it a day.’ May that never come then, because it would make the musical landscape a significantly poorer place.
[links_clean] => ) ) ) [7] => Array ( [Event] => Array ( [id] => 11313 [date] => 2013-06-21 [artist] => Emika (Live) [city] => Paris [state] => [country] => FR [venue] => Fleche d'Or [promoter] => [description] => [ticket_url] => [image_upload_id] => 18040 [created] => 2013-03-13 16:19:25 [modified] => 2013-05-17 12:24:08 [year_slug] => 2013 [month_slug] => jun [day_slug] => 21 [slug] => emika-live-paris-fleche-dor [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18040 [media_type] => image [artist] => Emika [title] => Emika Tour poster 2013 [credits] => [buy_link] => [filename] => images/emika/image.jpg [checksum] => fbed3904a8e2689ec745dc7fe3e927a3 [mime_type] => image/jpeg [size] => 81920 [external_url] => http://media.ninjatune.net/images/emika/image.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => emika [slug] => emika-tour-poster-2013 [created] => 2013-05-03 14:20:55 [modified] => 2013-05-03 14:21:22 [embed] => ) [Country] => Array ( [id] => 229 [name] => France [longname] => France [numcode] => 250 [iso] => FR [iso3] => FRA [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 455 [rght] => 456 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 93 [name] => Emika [description] =>Emika's forthcoming sophomore album, Dva, is a return to the music of her roots, a triumph of keenly felt and brilliantly expressed reflections of oppression and freedom, be it political, sexual or artistic. Dva is an exploration of self-expression and sound, taking dark dub pop, sound design inspirations and melding them with classical music of her upbringing, taking Emika's production a giant step forward.
By way of announcing an album we can hardly wait for you to hear, we offer you Emika's version of "Wicked Game", a classic Chris Isaak song not many performers have dared to take on. "Wicked Game" is a gift to her fans allowing further insight into Emika's artistic universe. The blues-drenched, introspective atmosphere of the original is retained, but its palette is effortlessly updated via deep dub textures, addictive drums and fragile, echoing melody. Like all the best covers, it matches the original by understanding it enough to do it justice. Enjoy.
[links] => [image_upload_id] => 17890 [label_id] => 1 [twitter_username] => emikatwit [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Emika [created] => 2010-07-17 22:15:59 [modified] => 2013-03-14 15:16:23 [slug] => emika [fuga_id] => [description_clean] =>Emika's forthcoming sophomore album, Dva, is a return to the music of her roots, a triumph of keenly felt and brilliantly expressed reflections of oppression and freedom, be it political, sexual or artistic. Dva is an exploration of self-expression and sound, taking dark dub pop, sound design inspirations and melding them with classical music of her upbringing, taking Emika's production a giant step forward.
By way of announcing an album we can hardly wait for you to hear, we offer you Emika's version of "Wicked Game", a classic Chris Isaak song not many performers have dared to take on. "Wicked Game" is a gift to her fans allowing further insight into Emika's artistic universe. The blues-drenched, introspective atmosphere of the original is retained, but its palette is effortlessly updated via deep dub textures, addictive drums and fragile, echoing melody. Like all the best covers, it matches the original by understanding it enough to do it justice. Enjoy.
[links_clean] => ) ) ) [8] => Array ( [Event] => Array ( [id] => 11381 [date] => 2013-06-21 [artist] => Busdriver [city] => Nürnberg [state] => [country] => DE [venue] => K4 [promoter] => [description] => [ticket_url] => [image_upload_id] => 4230 [created] => 2013-04-05 14:39:28 [modified] => 2013-04-05 14:39:28 [year_slug] => 2013 [month_slug] => jun [day_slug] => 21 [slug] => busdriver-nurnberg-k4 [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 4230 [media_type] => image [artist] => Busdriver [title] => Busdriver - Promo Pic (Migrated) [credits] => [buy_link] => [filename] => images/busdriver/busdriverpic2.jpg [checksum] => 5583b5db5510df17bff73a9dc455792f [mime_type] => image/jpeg [size] => 1524895 [external_url] => http://media.ninjatune.net/images/busdriver/busdriverpic2.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => busdriver [slug] => busdriver-promo-pic-migrated [created] => 2010-11-24 04:21:55 [modified] => 2010-11-24 04:21:55 [embed] => ) [Country] => Array ( [id] => 230 [name] => Germany [longname] => Germany [numcode] => 276 [iso] => DE [iso3] => DEU [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 457 [rght] => 458 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 28 [name] => Busdriver [description] =>Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today. As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more. A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando. His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush. Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard. And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself: "I don't love hip hop. I don't even like it. Let me break it down into its smallest form for everyone in your college dorm. I don't love it, I don't dedicate hours every day to writing sappy poetry in its name. Okay, maybe I do." - "Rap Sucks"
[links] => [image_upload_id] => 17751 [label_id] => 2 [twitter_username] => Busdriverr [instagram_id] => 7648195 [instagram_username] => busdriverr [link] => [listed] => 1 [sortname] => Busdriver [created] => 2010-07-17 22:15:58 [modified] => 2013-05-08 11:49:07 [slug] => busdriver [fuga_id] => [description_clean] =>Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today. As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more. A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando.
His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush. Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard. And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself:
"I don't love hip hop. I don't even like it. Let me break it down into its smallest form for everyone in your college dorm. I don't love it, I don't dedicate hours every day to writing sappy poetry in its name. Okay, maybe I do." - "Rap Sucks"
[links_clean] => ) ) ) [9] => Array ( [Event] => Array ( [id] => 11471 [date] => 2013-06-21 [artist] => Machinedrum [city] => Berlin [state] => [country] => DE [venue] => Fete de la Musique [promoter] => [description] => [ticket_url] => https://www.facebook.com/events/267886393355296/ [image_upload_id] => 17892 [created] => 2013-05-01 17:28:54 [modified] => 2013-06-03 17:41:49 [year_slug] => 2013 [month_slug] => jun [day_slug] => 21 [slug] => machinedrum-berlin-fete-de-la-musique [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 17892 [media_type] => image [artist] => Machinedrum [title] => Machinedrum Artist Shot [credits] => [buy_link] => [filename] => images/machinedrum/Machinedrum-by-Matt-Barnes-2-HR.jpg [checksum] => 58be199527d31e4a51eb41ed6a55d771 [mime_type] => image/jpeg [size] => 38219 [external_url] => http://media.ninjatune.net/images/machinedrum/Machinedrum-by-Matt-Barnes-2-HR.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => machinedrum [slug] => machinedrum-artist-shot [created] => 2013-03-15 14:36:44 [modified] => 2013-03-15 14:37:02 [embed] => ) [Country] => Array ( [id] => 230 [name] => Germany [longname] => Germany [numcode] => 276 [iso] => DE [iso3] => DEU [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 457 [rght] => 458 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 182 [name] => Machinedrum [description] =>Ninja Tune are very excited to announce that Travis Stewart aka Machinedrum has joined our roster.
We've been massive fans of Machinedrum for years and whatever style he's doing, he never fails to impress with his unmistakably precise and relentlessly forward-looking production that is as effective on headphones as it is in the club. It's an absolute honour to work with him as he develops all elements of his sound and vision for the next stage of his career.
To celebrate the union, Machinedrum joined the likes of Bonobo and Toddla T for a special, unannounced set at the Ninja Tune SXSW 2013 showcase in Austin, Texas.
More info will follow in the coming months, in the meantime read an exclusive Billboard interview with Travis and Ninja Tune MD Peter Quicke here.
[links] => [image_upload_id] => 17893 [label_id] => 1 [twitter_username] => machine_drum [instagram_id] => 182228626 [instagram_username] => machine_drum [link] => [listed] => 1 [sortname] => Machinedrum [created] => 2013-03-15 14:40:02 [modified] => 2013-05-03 14:53:06 [slug] => machinedrum [fuga_id] => [description_clean] =>Ninja Tune are very excited to announce that Travis Stewart aka Machinedrum has joined our roster.
We've been massive fans of Machinedrum for years and whatever style he's doing, he never fails to impress with his unmistakably precise and relentlessly forward-looking production that is as effective on headphones as it is in the club. It's an absolute honour to work with him as he develops all elements of his sound and vision for the next stage of his career.
To celebrate the union, Machinedrum joined the likes of Bonobo and Toddla T for a special, unannounced set at the Ninja Tune SXSW 2013 showcase in Austin, Texas.
More info will follow in the coming months, in the meantime read an exclusive Billboard interview with Travis and Ninja Tune MD Peter Quicke here.
[links_clean] => ) ) ) [10] => Array ( [Event] => Array ( [id] => 11382 [date] => 2013-06-22 [artist] => Busdriver [city] => Dresden [state] => [country] => DE [venue] => Scheune [promoter] => [description] => [ticket_url] => [image_upload_id] => 4230 [created] => 2013-04-05 15:01:33 [modified] => 2013-04-05 15:01:33 [year_slug] => 2013 [month_slug] => jun [day_slug] => 22 [slug] => busdriver-dresden-scheune [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 4230 [media_type] => image [artist] => Busdriver [title] => Busdriver - Promo Pic (Migrated) [credits] => [buy_link] => [filename] => images/busdriver/busdriverpic2.jpg [checksum] => 5583b5db5510df17bff73a9dc455792f [mime_type] => image/jpeg [size] => 1524895 [external_url] => http://media.ninjatune.net/images/busdriver/busdriverpic2.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => busdriver [slug] => busdriver-promo-pic-migrated [created] => 2010-11-24 04:21:55 [modified] => 2010-11-24 04:21:55 [embed] => ) [Country] => Array ( [id] => 230 [name] => Germany [longname] => Germany [numcode] => 276 [iso] => DE [iso3] => DEU [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 457 [rght] => 458 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 28 [name] => Busdriver [description] =>Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today. As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more. A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando. His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush. Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard. And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself: "I don't love hip hop. I don't even like it. Let me break it down into its smallest form for everyone in your college dorm. I don't love it, I don't dedicate hours every day to writing sappy poetry in its name. Okay, maybe I do." - "Rap Sucks"
[links] => [image_upload_id] => 17751 [label_id] => 2 [twitter_username] => Busdriverr [instagram_id] => 7648195 [instagram_username] => busdriverr [link] => [listed] => 1 [sortname] => Busdriver [created] => 2010-07-17 22:15:58 [modified] => 2013-05-08 11:49:07 [slug] => busdriver [fuga_id] => [description_clean] =>Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today. As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more. A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando.
His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush. Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard. And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself:
"I don't love hip hop. I don't even like it. Let me break it down into its smallest form for everyone in your college dorm. I don't love it, I don't dedicate hours every day to writing sappy poetry in its name. Okay, maybe I do." - "Rap Sucks"
[links_clean] => ) ) ) [11] => Array ( [Event] => Array ( [id] => 11456 [date] => 2013-06-22 [artist] => Machinedrum [city] => Arhus [state] => [country] => DK [venue] => Radar [promoter] => [description] => [ticket_url] => http://www.billetlugen.dk/musik/29610/regnsky-radar-machinedrum-usa/ [image_upload_id] => 17892 [created] => 2013-04-30 13:11:45 [modified] => 2013-06-03 17:42:08 [year_slug] => 2013 [month_slug] => jun [day_slug] => 22 [slug] => machinedrum-arhus-radar [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 17892 [media_type] => image [artist] => Machinedrum [title] => Machinedrum Artist Shot [credits] => [buy_link] => [filename] => images/machinedrum/Machinedrum-by-Matt-Barnes-2-HR.jpg [checksum] => 58be199527d31e4a51eb41ed6a55d771 [mime_type] => image/jpeg [size] => 38219 [external_url] => http://media.ninjatune.net/images/machinedrum/Machinedrum-by-Matt-Barnes-2-HR.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => machinedrum [slug] => machinedrum-artist-shot [created] => 2013-03-15 14:36:44 [modified] => 2013-03-15 14:37:02 [embed] => ) [Country] => Array ( [id] => 194 [name] => Denmark [longname] => Denmark [numcode] => 208 [iso] => DK [iso3] => DNK [currency] => DKK [active] => 1 [parent_id] => 191 [lft] => 385 [rght] => 386 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 182 [name] => Machinedrum [description] =>Ninja Tune are very excited to announce that Travis Stewart aka Machinedrum has joined our roster.
We've been massive fans of Machinedrum for years and whatever style he's doing, he never fails to impress with his unmistakably precise and relentlessly forward-looking production that is as effective on headphones as it is in the club. It's an absolute honour to work with him as he develops all elements of his sound and vision for the next stage of his career.
To celebrate the union, Machinedrum joined the likes of Bonobo and Toddla T for a special, unannounced set at the Ninja Tune SXSW 2013 showcase in Austin, Texas.
More info will follow in the coming months, in the meantime read an exclusive Billboard interview with Travis and Ninja Tune MD Peter Quicke here.
[links] => [image_upload_id] => 17893 [label_id] => 1 [twitter_username] => machine_drum [instagram_id] => 182228626 [instagram_username] => machine_drum [link] => [listed] => 1 [sortname] => Machinedrum [created] => 2013-03-15 14:40:02 [modified] => 2013-05-03 14:53:06 [slug] => machinedrum [fuga_id] => [description_clean] =>Ninja Tune are very excited to announce that Travis Stewart aka Machinedrum has joined our roster.
We've been massive fans of Machinedrum for years and whatever style he's doing, he never fails to impress with his unmistakably precise and relentlessly forward-looking production that is as effective on headphones as it is in the club. It's an absolute honour to work with him as he develops all elements of his sound and vision for the next stage of his career.
To celebrate the union, Machinedrum joined the likes of Bonobo and Toddla T for a special, unannounced set at the Ninja Tune SXSW 2013 showcase in Austin, Texas.
More info will follow in the coming months, in the meantime read an exclusive Billboard interview with Travis and Ninja Tune MD Peter Quicke here.
[links_clean] => ) ) ) [12] => Array ( [Event] => Array ( [id] => 11644 [date] => 2013-06-22 [artist] => Floating Points [city] => Hatfield [state] => [country] => GB [venue] => Night + Day 2013 [promoter] => [description] => [ticket_url] => http://www.ticketmaster.co.uk/night-day-featuring-the-xx-hatfield-22-06-2013/event/1F004A92B4AAAC2F [image_upload_id] => 14709 [created] => 2013-06-06 17:37:08 [modified] => 2013-06-06 17:37:08 [year_slug] => 2013 [month_slug] => jun [day_slug] => 22 [slug] => floating-points-hatfield-night-and-day-2013 [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 14709 [media_type] => image [artist] => Floating Points [title] => Post Suite 10" artwork [credits] => [buy_link] => [filename] => images/floating-points/floatingpoints10inch.jpg [checksum] => 6951e3c146231a4a612802a14a174829 [mime_type] => image/jpeg [size] => 176368 [external_url] => http://media.ninjatune.net/images/floating-points/floatingpoints10inch.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => floating-points [slug] => post-suite-10-inch-artwork [created] => 2010-11-29 12:55:47 [modified] => 2010-11-29 12:55:47 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 135 [name] => Floating Points [description] =>Manchester born, London based 24 year old producer/dj/composer Sam Shepherd aka Floating Points has quickly become one of the most respected and sought-after musicians in modern music. Debuting in February 2009 with the limited 7 inch ‘For You/Radiality’ (Eglo records) he has gone on to establish himself as one the forerunners of today’s new dance music movement, earning the respect of his peers and contemporaries such as Theo Parrish, Kyle Hall, Benji B, Ramadanman, Four Tet, Kode 9 and Mary Anne Hobbs. He's released music predominantly on Eglo records (which he runs alongside Rinse FM’s Alexander Nut), as well as Planet Mu, R2, Ninja Tune and notching up remixes and features for the likes of Domino, Ubiquity, XL, Fabric and Rinse.
The name Floating Points holds just much weight within the DJ world as its does in production, song writing and arrangement. In a short space of time Shepherd has won over crowds around the world with his strictly vinyl club sessions, spanning, house, techno, soul and disco, steadily climbing the ranks of the globes most impressive DJ’s, fuelling an indulgent record habit that regularly leads him on trips to both Chicago and Detroit.
Outside of his studio based productions and crate-breaking DJ sets Shepherd makes use of his classical music training, writing, composing and arranging for the Floating Points Ensemble. The 16 piece group, led by Shepherd, recently won the ‘Best Maida Vale Session’ gong at Gilles Peterson’s ‘Worldwide Awards’. With big plans for 2011 the future is looking bright for Floating Points. When not writing, recording or playing music Sam Shepherd can be found in the laboratories of UCL, where is currently studying a PHD in 'The Neuroscience Of Pain'.
[links] => [image_upload_id] => 14709 [label_id] => 1 [twitter_username] => floatingpoints [instagram_id] => 55726253 [instagram_username] => floatingpoints [link] => [listed] => 1 [sortname] => Floating Points [created] => 2010-11-24 11:24:03 [modified] => 2013-05-03 14:49:52 [slug] => floating-points [fuga_id] => [description_clean] =>Manchester born, London based 24 year old producer/dj/composer Sam Shepherd aka Floating Points has quickly become one of the most respected and sought-after musicians in modern music. Debuting in February 2009 with the limited 7 inch ‘For You/Radiality’ (Eglo records) he has gone on to establish himself as one the forerunners of today’s new dance music movement, earning the respect of his peers and contemporaries such as Theo Parrish, Kyle Hall, Benji B, Ramadanman, Four Tet, Kode 9 and Mary Anne Hobbs. He's released music predominantly on Eglo records (which he runs alongside Rinse FM’s Alexander Nut), as well as Planet Mu, R2, Ninja Tune and notching up remixes and features for the likes of Domino, Ubiquity, XL, Fabric and Rinse.
The name Floating Points holds just much weight within the DJ world as its does in production, song writing and arrangement. In a short space of time Shepherd has won over crowds around the world with his strictly vinyl club sessions, spanning, house, techno, soul and disco, steadily climbing the ranks of the globes most impressive DJ’s, fuelling an indulgent record habit that regularly leads him on trips to both Chicago and Detroit.
Outside of his studio based productions and crate-breaking DJ sets Shepherd makes use of his classical music training, writing, composing and arranging for the Floating Points Ensemble. The 16 piece group, led by Shepherd, recently won the ‘Best Maida Vale Session’ gong at Gilles Peterson’s ‘Worldwide Awards’. With big plans for 2011 the future is looking bright for Floating Points. When not writing, recording or playing music Sam Shepherd can be found in the laboratories of UCL, where is currently studying a PHD in 'The Neuroscience Of Pain'.
[links_clean] => ) ) ) [13] => Array ( [Event] => Array ( [id] => 11480 [date] => 2013-06-23 [artist] => Starkey [city] => Washington DC [state] => DC [country] => US [venue] => U Street Music Hall [promoter] => [description] => [ticket_url] => http://www.ustreetmusichall.com/event/270981/ [image_upload_id] => 16007 [created] => 2013-05-07 12:52:53 [modified] => 2013-05-07 12:52:53 [year_slug] => 2013 [month_slug] => jun [day_slug] => 23 [slug] => starkey-washington-dc-u-street-music-hall [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 16007 [media_type] => image [artist] => Starkey [title] => Starkey - Artist Shot 2011 [credits] => [buy_link] => [filename] => images/starkey/LT-2773.jpg [checksum] => 045760a3ddf128253c5b17e7244d6fda [mime_type] => image/jpeg [size] => 3071706 [external_url] => http://media.ninjatune.net/images/starkey/LT-2773.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => starkey [slug] => starkey-artist-shot-2011 [created] => 2011-07-29 17:31:50 [modified] => 2011-07-29 17:32:09 [embed] => ) [Country] => Array ( [id] => 122 [name] => United States [longname] => United States of America [numcode] => 840 [iso] => US [iso3] => USA [currency] => USD [active] => 1 [parent_id] => 117 [lft] => 241 [rght] => 242 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 153 [name] => Starkey [description] =>Starkey continues Ninja Tune's fine run of EP's with Open The Pod Bay Doors, the kind of transcendental, melodic and immaculately produced music that will see Starkey fit in nicely within the label's roster. The EP is a good example of Starkey's (aka PJ Geissinger from Philadelphia) multifaceted and genre-crossing talents as a producer that have been gaining much acclaim ever since his 2005 debut. Starkey's original grime and bass leaning productions can be heard throughout (his own Seclusiasis label is at forefront of Street Bass in the USA), especially on "'Rayguns" and "Blood Roses", but it's his compositional talents and more delicate blemishes seeping into his beats which are really starting to make Starkey stand out. Lead track "Open The Pod Bay Doors" is an epic statement of intent that builds in the most beguiling of ways, at once melodic, futuristic and tough.
Starkey comes with much support. He has been heralded in Pitchfork, FACT, The Wire, DJ Mag, Radio 1 and chosen by Mistajam on 1Xtra as one of the first DJ's for his new Daily Dose of Dubstep residency. He has worked with Tinie Tempah, Trim, Virus Syndicate, Kozzie whilst co-writing/producing with the likes of Guy Sigsworth and Aaron Levinson. This EP will see Starkey build on the huge success of his Space Traitor EPs by pushing experimentalism in bass culture while maintaining a rich melodic and harmonic language. Don't be surprised to see Starkey producing for some of music's biggest names in the not too distant future.
[links] => [image_upload_id] => 16007 [label_id] => 1 [twitter_username] => starkbotbeats [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Starkey [created] => 2011-09-22 12:33:36 [modified] => 2013-01-08 15:13:07 [slug] => starkey [fuga_id] => [description_clean] =>Starkey continues Ninja Tune's fine run of EP's with Open The Pod Bay Doors, the kind of transcendental, melodic and immaculately produced music that will see Starkey fit in nicely within the label's roster. The EP is a good example of Starkey's (aka PJ Geissinger from Philadelphia) multifaceted and genre-crossing talents as a producer that have been gaining much acclaim ever since his 2005 debut. Starkey's original grime and bass leaning productions can be heard throughout (his own Seclusiasis label is at forefront of Street Bass in the USA), especially on "'Rayguns" and "Blood Roses", but it's his compositional talents and more delicate blemishes seeping into his beats which are really starting to make Starkey stand out. Lead track "Open The Pod Bay Doors" is an epic statement of intent that builds in the most beguiling of ways, at once melodic, futuristic and tough.
Starkey comes with much support. He has been heralded in Pitchfork, FACT, The Wire, DJ Mag, Radio 1 and chosen by Mistajam on 1Xtra as one of the first DJ's for his new Daily Dose of Dubstep residency. He has worked with Tinie Tempah, Trim, Virus Syndicate, Kozzie whilst co-writing/producing with the likes of Guy Sigsworth and Aaron Levinson. This EP will see Starkey build on the huge success of his Space Traitor EPs by pushing experimentalism in bass culture while maintaining a rich melodic and harmonic language. Don't be surprised to see Starkey producing for some of music's biggest names in the not too distant future.
[links_clean] => ) ) ) [14] => Array ( [Event] => Array ( [id] => 11655 [date] => 2013-06-24 [artist] => FaltyDL [city] => New York [state] => New York [country] => US [venue] => Le Bain [promoter] => [description] =>Free With RSVP
[ticket_url] => http://www.giantstep.net/index.php/2013/06/video-faltydl-rbma-lecture-dj-set-le-bain-nyc-june-24/ [image_upload_id] => 16308 [created] => 2013-06-18 15:25:57 [modified] => 2013-06-18 15:25:57 [year_slug] => 2013 [month_slug] => jun [day_slug] => 24 [slug] => faltydl-new-york-le-bain [description_clean] =>Free With RSVP
[products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 16308 [media_type] => image [artist] => FaltyDL [title] => FaltyDL artist shot 2011 [credits] => [buy_link] => [filename] => images/faltydl/faltydl-artist-2011.png [checksum] => 2e78f1571a4a084249a1ee3d48c4e1b6 [mime_type] => image/png [size] => 279880 [external_url] => http://media.ninjatune.net/images/faltydl/faltydl-artist-2011.png [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => faltydl [slug] => faltydl-artist-shot-2011 [created] => 2011-11-15 15:29:36 [modified] => 2011-11-15 15:29:42 [embed] => ) [Country] => Array ( [id] => 122 [name] => United States [longname] => United States of America [numcode] => 840 [iso] => US [iso3] => USA [currency] => USD [active] => 1 [parent_id] => 117 [lft] => 241 [rght] => 242 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 154 [name] => FaltyDL [description] =>Drew Lustman aka FaltyDL was born and grew up in New Haven, Connecticut. It’s a place best known as the home of top Ivy League establishment Yale University. Other than that, Lustman explains “it’s a big ghetto.” The young Lustman found himself bouncing between these two worlds, not entirely comfortable in either. “i was a shitty student,” he explains. “I barely graduated, did a lot of drugs, and ended up in rehab at 16/17. Music was my way to get out of it.” He started off playing in jazz and rock bands, but by 19 he’d decided to go it alone and named himself FaltyDL.
There followed a few years of intensive music making interpersed with attempts to find a home for what he was making. Eventually Mike Paradinas of the legendary Planet Mu said he’d release the young producer’s records, “a huge moment,” Falty remembers. Shortly after, he relocated to New York and it was here that his musical career really took off. “My good friend Boxcutter advised me to the slow the BPM down to like 130BPM and was sending me a lot of garage-influenced stuff like Horsepower and El-B, and I started making "Love is a Liability."” Since then, Lustman has looked to expand and evolve his signature sound over two albums, an EP and three singles for the label. In addition, he has released an afrobeat-inspired 12”, “Mean Streets Pt 1” with Loefah’s Swamp81 label, a single on Ramp backed with a remix from Jamie XX and begun releasing collaborations with Machinedrum online. An in-demand remixer, he has made versions for the likes of Seun Kuti (Fela’s son), Mount Kimbie, The XX, Scuba, Photek, Anthony Shake Shakir and others. Recently he supported Radiohead in New York and topped Thom Yorke’s office playlist. In additon to all this, he set up his own label, Blueberry Records, named for both the fruit and the Blueberry Hill he used to climb near his grandmother’s house.
But if FaltyDL was known for his own twisting of the garage template (a music which had crossed the Atlantic, mutated, and now come back to be twisted again) his new music signals another change. “I've moved completely away from that sound,” he says. “Production-wise it’s the best thing I've ever done. It’s about getting sounds I hear out of my head onto the software/synths I’m writing on. Filtering through the sounds in my subconcious. This is the closest I've ever got." Partly the changes are down to that old black magic, love. Lustman met his girlfriend mid-way through the writing of the record (shortly after signing to that cupid amongst labels, Ninja Tune!) and she “became my muse. I didn't make this album with the intention of sharing all of it. Of course some of it, but most was made for one person in particular.” And, more than anything else, that honesty and intimacy shines through.
[links] => TumblrSoundcloud
Instagram [image_upload_id] => 17580 [label_id] => 1 [twitter_username] => faltydl [instagram_id] => 8458705 [instagram_username] => faltydl [link] => [listed] => 1 [sortname] => FaltyDL [created] => 2011-09-23 12:05:55 [modified] => 2013-05-03 14:46:13 [slug] => faltydl [fuga_id] => [description_clean] =>
Drew Lustman aka FaltyDL was born and grew up in New Haven, Connecticut. It’s a place best known as the home of top Ivy League establishment Yale University. Other than that, Lustman explains “it’s a big ghetto.” The young Lustman found himself bouncing between these two worlds, not entirely comfortable in either. “i was a shitty student,” he explains. “I barely graduated, did a lot of drugs, and ended up in rehab at 16/17. Music was my way to get out of it.” He started off playing in jazz and rock bands, but by 19 he’d decided to go it alone and named himself FaltyDL.
There followed a few years of intensive music making interpersed with attempts to find a home for what he was making. Eventually Mike Paradinas of the legendary Planet Mu said he’d release the young producer’s records, “a huge moment,” Falty remembers. Shortly after, he relocated to New York and it was here that his musical career really took off. “My good friend Boxcutter advised me to the slow the BPM down to like 130BPM and was sending me a lot of garage-influenced stuff like Horsepower and El-B, and I started making "Love is a Liability."” Since then, Lustman has looked to expand and evolve his signature sound over two albums, an EP and three singles for the label. In addition, he has released an afrobeat-inspired 12”, “Mean Streets Pt 1” with Loefah’s Swamp81 label, a single on Ramp backed with a remix from Jamie XX and begun releasing collaborations with Machinedrum online. An in-demand remixer, he has made versions for the likes of Seun Kuti (Fela’s son), Mount Kimbie, The XX, Scuba, Photek, Anthony Shake Shakir and others. Recently he supported Radiohead in New York and topped Thom Yorke’s office playlist. In additon to all this, he set up his own label, Blueberry Records, named for both the fruit and the Blueberry Hill he used to climb near his grandmother’s house.
But if FaltyDL was known for his own twisting of the garage template (a music which had crossed the Atlantic, mutated, and now come back to be twisted again) his new music signals another change. “I've moved completely away from that sound,” he says. “Production-wise it’s the best thing I've ever done. It’s about getting sounds I hear out of my head onto the software/synths I’m writing on. Filtering through the sounds in my subconcious. This is the closest I've ever got." Partly the changes are down to that old black magic, love. Lustman met his girlfriend mid-way through the writing of the record (shortly after signing to that cupid amongst labels, Ninja Tune!) and she “became my muse. I didn't make this album with the intention of sharing all of it. Of course some of it, but most was made for one person in particular.” And, more than anything else, that honesty and intimacy shines through.
[links_clean] =>Tumblr
Facebook
Twitter
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Drew Lustman aka FaltyDL was born and grew up in New Haven, Connecticut. It’s a place best known as the home of top Ivy League establishment Yale University. Other than that, Lustman explains “it’s a big ghetto.” The young Lustman found himself bouncing between these two worlds, not entirely comfortable in either. “i was a shitty student,” he explains. “I barely graduated, did a lot of drugs, and ended up in rehab at 16/17. Music was my way to get out of it.” He started off playing in jazz and rock bands, but by 19 he’d decided to go it alone and named himself FaltyDL.
There followed a few years of intensive music making interpersed with attempts to find a home for what he was making. Eventually Mike Paradinas of the legendary Planet Mu said he’d release the young producer’s records, “a huge moment,” Falty remembers. Shortly after, he relocated to New York and it was here that his musical career really took off. “My good friend Boxcutter advised me to the slow the BPM down to like 130BPM and was sending me a lot of garage-influenced stuff like Horsepower and El-B, and I started making "Love is a Liability."” Since then, Lustman has looked to expand and evolve his signature sound over two albums, an EP and three singles for the label. In addition, he has released an afrobeat-inspired 12”, “Mean Streets Pt 1” with Loefah’s Swamp81 label, a single on Ramp backed with a remix from Jamie XX and begun releasing collaborations with Machinedrum online. An in-demand remixer, he has made versions for the likes of Seun Kuti (Fela’s son), Mount Kimbie, The XX, Scuba, Photek, Anthony Shake Shakir and others. Recently he supported Radiohead in New York and topped Thom Yorke’s office playlist. In additon to all this, he set up his own label, Blueberry Records, named for both the fruit and the Blueberry Hill he used to climb near his grandmother’s house.
But if FaltyDL was known for his own twisting of the garage template (a music which had crossed the Atlantic, mutated, and now come back to be twisted again) his new music signals another change. “I've moved completely away from that sound,” he says. “Production-wise it’s the best thing I've ever done. It’s about getting sounds I hear out of my head onto the software/synths I’m writing on. Filtering through the sounds in my subconcious. This is the closest I've ever got." Partly the changes are down to that old black magic, love. Lustman met his girlfriend mid-way through the writing of the record (shortly after signing to that cupid amongst labels, Ninja Tune!) and she “became my muse. I didn't make this album with the intention of sharing all of it. Of course some of it, but most was made for one person in particular.” And, more than anything else, that honesty and intimacy shines through.
[links] => TumblrSoundcloud
Instagram [image_upload_id] => 17580 [label_id] => 1 [twitter_username] => faltydl [instagram_id] => 8458705 [instagram_username] => faltydl [link] => [listed] => 1 [sortname] => FaltyDL [created] => 2011-09-23 12:05:55 [modified] => 2013-05-03 14:46:13 [slug] => faltydl [fuga_id] => [description_clean] =>
Drew Lustman aka FaltyDL was born and grew up in New Haven, Connecticut. It’s a place best known as the home of top Ivy League establishment Yale University. Other than that, Lustman explains “it’s a big ghetto.” The young Lustman found himself bouncing between these two worlds, not entirely comfortable in either. “i was a shitty student,” he explains. “I barely graduated, did a lot of drugs, and ended up in rehab at 16/17. Music was my way to get out of it.” He started off playing in jazz and rock bands, but by 19 he’d decided to go it alone and named himself FaltyDL.
There followed a few years of intensive music making interpersed with attempts to find a home for what he was making. Eventually Mike Paradinas of the legendary Planet Mu said he’d release the young producer’s records, “a huge moment,” Falty remembers. Shortly after, he relocated to New York and it was here that his musical career really took off. “My good friend Boxcutter advised me to the slow the BPM down to like 130BPM and was sending me a lot of garage-influenced stuff like Horsepower and El-B, and I started making "Love is a Liability."” Since then, Lustman has looked to expand and evolve his signature sound over two albums, an EP and three singles for the label. In addition, he has released an afrobeat-inspired 12”, “Mean Streets Pt 1” with Loefah’s Swamp81 label, a single on Ramp backed with a remix from Jamie XX and begun releasing collaborations with Machinedrum online. An in-demand remixer, he has made versions for the likes of Seun Kuti (Fela’s son), Mount Kimbie, The XX, Scuba, Photek, Anthony Shake Shakir and others. Recently he supported Radiohead in New York and topped Thom Yorke’s office playlist. In additon to all this, he set up his own label, Blueberry Records, named for both the fruit and the Blueberry Hill he used to climb near his grandmother’s house.
But if FaltyDL was known for his own twisting of the garage template (a music which had crossed the Atlantic, mutated, and now come back to be twisted again) his new music signals another change. “I've moved completely away from that sound,” he says. “Production-wise it’s the best thing I've ever done. It’s about getting sounds I hear out of my head onto the software/synths I’m writing on. Filtering through the sounds in my subconcious. This is the closest I've ever got." Partly the changes are down to that old black magic, love. Lustman met his girlfriend mid-way through the writing of the record (shortly after signing to that cupid amongst labels, Ninja Tune!) and she “became my muse. I didn't make this album with the intention of sharing all of it. Of course some of it, but most was made for one person in particular.” And, more than anything else, that honesty and intimacy shines through.
[links_clean] =>Tumblr
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Twitter
Soundcloud
Instagram
Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today. As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more. A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando. His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush. Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard. And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself: "I don't love hip hop. I don't even like it. Let me break it down into its smallest form for everyone in your college dorm. I don't love it, I don't dedicate hours every day to writing sappy poetry in its name. Okay, maybe I do." - "Rap Sucks"
[links] => [image_upload_id] => 17751 [label_id] => 2 [twitter_username] => Busdriverr [instagram_id] => 7648195 [instagram_username] => busdriverr [link] => [listed] => 1 [sortname] => Busdriver [created] => 2010-07-17 22:15:58 [modified] => 2013-05-08 11:49:07 [slug] => busdriver [fuga_id] => [description_clean] =>Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today. As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more. A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando.
His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush. Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard. And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself:
"I don't love hip hop. I don't even like it. Let me break it down into its smallest form for everyone in your college dorm. I don't love it, I don't dedicate hours every day to writing sappy poetry in its name. Okay, maybe I do." - "Rap Sucks"
[links_clean] => ) ) ) [17] => Array ( [Event] => Array ( [id] => 11383 [date] => 2013-06-26 [artist] => Busdriver [city] => Darmstadt [state] => [country] => DE [venue] => Blumen [promoter] => [description] => [ticket_url] => [image_upload_id] => 4230 [created] => 2013-04-05 15:02:59 [modified] => 2013-04-05 15:03:38 [year_slug] => 2013 [month_slug] => jun [day_slug] => 26 [slug] => busdriver-darmstadt-blumen [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 4230 [media_type] => image [artist] => Busdriver [title] => Busdriver - Promo Pic (Migrated) [credits] => [buy_link] => [filename] => images/busdriver/busdriverpic2.jpg [checksum] => 5583b5db5510df17bff73a9dc455792f [mime_type] => image/jpeg [size] => 1524895 [external_url] => http://media.ninjatune.net/images/busdriver/busdriverpic2.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => busdriver [slug] => busdriver-promo-pic-migrated [created] => 2010-11-24 04:21:55 [modified] => 2010-11-24 04:21:55 [embed] => ) [Country] => Array ( [id] => 230 [name] => Germany [longname] => Germany [numcode] => 276 [iso] => DE [iso3] => DEU [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 457 [rght] => 458 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 28 [name] => Busdriver [description] =>Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today. As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more. A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando. His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush. Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard. And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself: "I don't love hip hop. I don't even like it. Let me break it down into its smallest form for everyone in your college dorm. I don't love it, I don't dedicate hours every day to writing sappy poetry in its name. Okay, maybe I do." - "Rap Sucks"
[links] => [image_upload_id] => 17751 [label_id] => 2 [twitter_username] => Busdriverr [instagram_id] => 7648195 [instagram_username] => busdriverr [link] => [listed] => 1 [sortname] => Busdriver [created] => 2010-07-17 22:15:58 [modified] => 2013-05-08 11:49:07 [slug] => busdriver [fuga_id] => [description_clean] =>Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today. As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more. A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando.
His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush. Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard. And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself:
"I don't love hip hop. I don't even like it. Let me break it down into its smallest form for everyone in your college dorm. I don't love it, I don't dedicate hours every day to writing sappy poetry in its name. Okay, maybe I do." - "Rap Sucks"
[links_clean] => ) ) ) )
<< Previous
| Artist | Date | City | Venue | Buy |
|---|---|---|---|---|
| Bonobo | Tuesday, Jun 18th | St. Petersburg, RU | Kosmonavt | Buy |
| The Heavy | Tuesday, Jun 18th | Detroit, MI, US | Shelter | Buy |
| Bonobo | Wednesday, Jun 19th | Moscow, RU | Moscow Hall | Buy |
| The Heavy | Wednesday, Jun 19th | Toronto, ON, US | Phoenix Concert Theatre | Buy |
| DJ Food | Thursday, Jun 20th | London, GB | Catch | Buy |
| The Heavy | Thursday, Jun 20th | Ottawa, ON, US | Ottawa Jazz Festival | Buy |
| Letherette | Friday, Jun 21st | Amsterdam, NL | Melkweg | Buy |
| Emika (Live) | Friday, Jun 21st | Paris, FR | Fleche d'Or | |
| Busdriver | Friday, Jun 21st | Nürnberg, DE | K4 | |
| Machinedrum | Friday, Jun 21st | Berlin, DE | Fete de la Musique | Buy |
| Busdriver | Saturday, Jun 22nd | Dresden, DE | Scheune | |
| Machinedrum | Saturday, Jun 22nd | Arhus, DK | Radar | Buy |
| Floating Points | Saturday, Jun 22nd | Hatfield, GB | Night + Day 2013 | Buy |
| Starkey | Sunday, Jun 23rd | Washington DC, DC, US | U Street Music Hall | Buy |
| FaltyDL | Monday, Jun 24th | New York, New York, US | Le Bain | Buy |
| FaltyDL | Monday, Jun 24th | New York, NY, US | The Standard | Buy |
| Busdriver | Tuesday, Jun 25th | Paris, FR | Festival Paris Hip Hop | Buy |
| Busdriver | Wednesday, Jun 26th | Darmstadt, DE | Blumen |