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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[links] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] =>

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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Photo: Josh Wehle

Lee Bannon is an experimental hip-hop producer from Sacramento, California. His work has spread along the vast hip hop scene, having produced Joey Bada$$, Ab-Soul, Souls of Mischief and others. In addition, Bannon has evolved his sound into traces of trance, jungle, and deep house music and establishing himself as one of the few producers able to navigate across all soundscapes.

After a series of collaborations and releases he delivered the Fantastic Plastic album in 2012 and earlier that year premiered his Caligula Theme Music with Spin Magazine. Bannon toured with Joey Bada$$ in 2012 and appeared on Jimmy Fallon alongside The Roots performing Joey's hit single "Waves". He produced the B side to that single titled "Enter The Void" with Ab-Soul. In addition to the Bada$$/ Lil B diss track "Don't Quit Your Day Job", he also produced a few songs on the Pro era compilation Peep the The aPROcalypse and had a heavy presence on Joey's follow up project Summer Knights.

In February 2013, he released a free 10-track project and follow-up to his Caligula Theme Music EP titled Caligula Theme Music 2.7.5 and a few months later, the calmer free EP Never/mind/the/darkness/of/it...Later that summer, the hard core jungle-influenced track "NW/WB" took the internet by storm and listed him on Spin Magazine's top 5 artist to watch that month. Freshly signed to UK label Ninjatune, Bannon is ready to share his official debut album at the end of 2013.

[links] =>

Bandcamp
SoundCloud
Instagram

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Photo: Josh Wehle

Lee Bannon is an experimental hip-hop producer from Sacramento, California. His work has spread along the vast hip hop scene, having produced Joey Bada$$, Ab-Soul, Souls of Mischief and others. In addition, Bannon has evolved his sound into traces of trance, jungle, and deep house music and establishing himself as one of the few producers able to navigate across all soundscapes.

After a series of collaborations and releases he delivered the Fantastic Plastic album in 2012 and earlier that year premiered his Caligula Theme Music with Spin Magazine. Bannon toured with Joey Bada$$ in 2012 and appeared on Jimmy Fallon alongside The Roots performing Joey's hit single "Waves". He produced the B side to that single titled "Enter The Void" with Ab-Soul. In addition to the Bada$$/ Lil B diss track "Don't Quit Your Day Job", he also produced a few songs on the Pro era compilation Peep the The aPROcalypse and had a heavy presence on Joey's follow up project Summer Knights.

In February 2013, he released a free 10-track project and follow-up to his Caligula Theme Music EP titled Caligula Theme Music 2.7.5 and a few months later, the calmer free EP Never/mind/the/darkness/of/it...Later that summer, the hard core jungle-influenced track "NW/WB" took the internet by storm and listed him on Spin Magazine's top 5 artist to watch that month. Freshly signed to UK label Ninjatune, Bannon is ready to share his official debut album at the end of 2013.

[links_clean] =>

Bandcamp
SoundCloud
Instagram

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There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

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There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

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Busdriver is fixed as one of LA music’s most dynamic indie artist. From his years as a cyher phenom at Project Blowed to his years as a recording artist on Epitaph to his current role as co-head of Hellfyre Club, Busdriver has always challenged rap in the most particular and thoughful of ways.

BD’s first record, Memoirs of the Elephantman, was self released thru Afterlife records (a Project Blowed subcrew at the time)in 1999. Not until his second self-released record, Temporary Forever, came out in 2002 did Busdriver step on the world stage. Sleeper hit "Imaginary Places" turned him into one of many beacons of left-leaning hip-hop at the moment. During this time he was also emceeing at the Hiphop/Drum’n’bass night weekly Concrete Jungle with Daddy Kev, Myka 9, edit and DJ Hive.

After the new success of Temporary Forever, Busdriver signed with Mush records to do a collaborative album with beat/production guru Daedelus and quirky rap talent Radioinactive in 2003. The project was called ‘The Weather’. Their album toyed with daring disjointed production and dexterous rap writing in a way that Busdriver hadn’t in the past. The project amassed a small cult following all its own and aligned Driver’s taste with the output of LA’s electronic music scene.

In 2004, Busdriver began his relationship with Big Dada by releasing with them the Daddy Kev-produced mini-LP, Cosmic Cleavage. This was followed by Busdriver’s official 3rd album, Fear of a Black Tangent, released via Big Dada in the EU and on Mush in the US.

Busdriver’s label dealings grew outside of the rap arena in 2007 when he signed to indie-punk mega-label Epitaph and eventually, it’s more indie-music driven sister label, Anti-. Through them he released RoadKillOvercoat in 2007 and Jhellibeam in 2009. Both albums featured production from DJ Nobody, Nosaj Thing, Free the Robots and Boom Bip. During these years, rap producer culture was in flux in LA and the newly founded Low End Theory began gaining momentum. Producer eDIT (who becomes the head of Glitch Mob) featured Busdriver on "Crunk De Gaulle" (also featuring TTC) off his Alpha Pup debut, Certified Air Raid Material.

Computer Cooties came out in 2010 after BD parted with Anti-. It was a free mixtape featuring collaborations with Flying Lotus, Anti-Pop Consortium, Sister Crayon, Daedelus and Open Mike Eagle. He followed this by joining Hellfyre Club and forming Flash Bang Grenada, a two-man group made of Nocando (founder of Hellfyre Club and original resident of Low End Theory) and himself, created solely to let their musings on popular rap themes run amok. They released their debut 10 Haters in 2011.

In 2012, BD released Beaus$Eros through Fake Four. The album was produced entirely by Loden and had features from Cocorosie and Mike Ladd. It was a departure from rap writing into microclimates of experimental pop but then completely not also. The record was coupled with Regan Farquhar aka Busdriver(Driver) fronting an progressive power pop outfit briefly called Physiccal Forms.

That same year Driver released Arguments with Dreams, an EP marking a return to Big Dada. It was mostly self-produced with stand-out appearances from Das Racist on “Firehydrant” and HFC members Nocando and Mike Eagle on “Wernor Herzog”.

In 2013, Driver helmed and oversaw the production of Dorner Vs. Tookie, the joint mixtape featuring efforts from all the members of Hellfyre Club (Nocando, Busdriver, Open Mike Eagle, milo, Rheteric Ramirez, Kail, VerBS, Taurus Scott, The Kleerz). While doing this Busdriver completed his 8th proper studio album, Perfect Hair. The album features production from Mono/Poly, Jeremiah Jae, Great Dane, Kenny Segal and Riley Lake with guest performances from Danny Brown, Aesop Rock and Mike Eagle. A follow up mixtape from Hellfyre Club in collaboration with producer collective Team Supreme is planned for 2014. But it is only it is pre-production stages now.

More recently Driver has done collaborations with Modeselektor, Son Lux, Latyrx, Kool AD, Lapalux, Sonnymoon, P.O.S, and others on various albums.

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Busdriver is fixed as one of LA music’s most dynamic indie artist. From his years as a cyher phenom at Project Blowed to his years as a recording artist on Epitaph to his current role as co-head of Hellfyre Club, Busdriver has always challenged rap in the most particular and thoughful of ways.

BD’s first record, Memoirs of the Elephantman, was self released thru Afterlife records (a Project Blowed subcrew at the time)in 1999. Not until his second self-released record, Temporary Forever, came out in 2002 did Busdriver step on the world stage. Sleeper hit "Imaginary Places" turned him into one of many beacons of left-leaning hip-hop at the moment. During this time he was also emceeing at the Hiphop/Drum’n’bass night weekly Concrete Jungle with Daddy Kev, Myka 9, edit and DJ Hive.

After the new success of Temporary Forever, Busdriver signed with Mush records to do a collaborative album with beat/production guru Daedelus and quirky rap talent Radioinactive in 2003. The project was called ‘The Weather’. Their album toyed with daring disjointed production and dexterous rap writing in a way that Busdriver hadn’t in the past. The project amassed a small cult following all its own and aligned Driver’s taste with the output of LA’s electronic music scene.

In 2004, Busdriver began his relationship with Big Dada by releasing with them the Daddy Kev-produced mini-LP, Cosmic Cleavage. This was followed by Busdriver’s official 3rd album, Fear of a Black Tangent, released via Big Dada in the EU and on Mush in the US.

Busdriver’s label dealings grew outside of the rap arena in 2007 when he signed to indie-punk mega-label Epitaph and eventually, it’s more indie-music driven sister label, Anti-. Through them he released RoadKillOvercoat in 2007 and Jhellibeam in 2009. Both albums featured production from DJ Nobody, Nosaj Thing, Free the Robots and Boom Bip. During these years, rap producer culture was in flux in LA and the newly founded Low End Theory began gaining momentum. Producer eDIT (who becomes the head of Glitch Mob) featured Busdriver on "Crunk De Gaulle" (also featuring TTC) off his Alpha Pup debut, Certified Air Raid Material.

Computer Cooties came out in 2010 after BD parted with Anti-. It was a free mixtape featuring collaborations with Flying Lotus, Anti-Pop Consortium, Sister Crayon, Daedelus and Open Mike Eagle. He followed this by joining Hellfyre Club and forming Flash Bang Grenada, a two-man group made of Nocando (founder of Hellfyre Club and original resident of Low End Theory) and himself, created solely to let their musings on popular rap themes run amok. They released their debut 10 Haters in 2011.

In 2012, BD released Beaus$Eros through Fake Four. The album was produced entirely by Loden and had features from Cocorosie and Mike Ladd. It was a departure from rap writing into microclimates of experimental pop but then completely not also. The record was coupled with Regan Farquhar aka Busdriver(Driver) fronting an progressive power pop outfit briefly called Physiccal Forms.

That same year Driver released Arguments with Dreams, an EP marking a return to Big Dada. It was mostly self-produced with stand-out appearances from Das Racist on “Firehydrant” and HFC members Nocando and Mike Eagle on “Wernor Herzog”.

In 2013, Driver helmed and oversaw the production of Dorner Vs. Tookie, the joint mixtape featuring efforts from all the members of Hellfyre Club (Nocando, Busdriver, Open Mike Eagle, milo, Rheteric Ramirez, Kail, VerBS, Taurus Scott, The Kleerz). While doing this Busdriver completed his 8th proper studio album, Perfect Hair. The album features production from Mono/Poly, Jeremiah Jae, Great Dane, Kenny Segal and Riley Lake with guest performances from Danny Brown, Aesop Rock and Mike Eagle. A follow up mixtape from Hellfyre Club in collaboration with producer collective Team Supreme is planned for 2014. But it is only it is pre-production stages now.

More recently Driver has done collaborations with Modeselektor, Son Lux, Latyrx, Kool AD, Lapalux, Sonnymoon, P.O.S, and others on various albums.

[links_clean] =>

Facebook
Twitter
SoundCloud
Dorner Vs. Tookie Mixtape

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

inreturn.odesza.com

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Twitter
Soundcloud

[counter_player] => [counter_biog] =>

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Who is Fin Greenall? All of the above. 

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

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

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

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

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

The young techno warrior was messianic. 

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

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

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

So the wheels of steel started to fall off. 

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

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

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

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Fink Website

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

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

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

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

Who is Fin Greenall? All of the above. 

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

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

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

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

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

The young techno warrior was messianic. 

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

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

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

So the wheels of steel started to fall off. 

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

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

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

[links_clean] =>

Fink Website

Facebook
Twitter
Soundcloud

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Photo: Josh Wehle

Lee Bannon is an experimental hip-hop producer from Sacramento, California. His work has spread along the vast hip hop scene, having produced Joey Bada$$, Ab-Soul, Souls of Mischief and others. In addition, Bannon has evolved his sound into traces of trance, jungle, and deep house music and establishing himself as one of the few producers able to navigate across all soundscapes.

After a series of collaborations and releases he delivered the Fantastic Plastic album in 2012 and earlier that year premiered his Caligula Theme Music with Spin Magazine. Bannon toured with Joey Bada$$ in 2012 and appeared on Jimmy Fallon alongside The Roots performing Joey's hit single "Waves". He produced the B side to that single titled "Enter The Void" with Ab-Soul. In addition to the Bada$$/ Lil B diss track "Don't Quit Your Day Job", he also produced a few songs on the Pro era compilation Peep the The aPROcalypse and had a heavy presence on Joey's follow up project Summer Knights.

In February 2013, he released a free 10-track project and follow-up to his Caligula Theme Music EP titled Caligula Theme Music 2.7.5 and a few months later, the calmer free EP Never/mind/the/darkness/of/it...Later that summer, the hard core jungle-influenced track "NW/WB" took the internet by storm and listed him on Spin Magazine's top 5 artist to watch that month. Freshly signed to UK label Ninjatune, Bannon is ready to share his official debut album at the end of 2013.

[links] =>

Bandcamp
SoundCloud
Instagram

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Photo: Josh Wehle

Lee Bannon is an experimental hip-hop producer from Sacramento, California. His work has spread along the vast hip hop scene, having produced Joey Bada$$, Ab-Soul, Souls of Mischief and others. In addition, Bannon has evolved his sound into traces of trance, jungle, and deep house music and establishing himself as one of the few producers able to navigate across all soundscapes.

After a series of collaborations and releases he delivered the Fantastic Plastic album in 2012 and earlier that year premiered his Caligula Theme Music with Spin Magazine. Bannon toured with Joey Bada$$ in 2012 and appeared on Jimmy Fallon alongside The Roots performing Joey's hit single "Waves". He produced the B side to that single titled "Enter The Void" with Ab-Soul. In addition to the Bada$$/ Lil B diss track "Don't Quit Your Day Job", he also produced a few songs on the Pro era compilation Peep the The aPROcalypse and had a heavy presence on Joey's follow up project Summer Knights.

In February 2013, he released a free 10-track project and follow-up to his Caligula Theme Music EP titled Caligula Theme Music 2.7.5 and a few months later, the calmer free EP Never/mind/the/darkness/of/it...Later that summer, the hard core jungle-influenced track "NW/WB" took the internet by storm and listed him on Spin Magazine's top 5 artist to watch that month. Freshly signed to UK label Ninjatune, Bannon is ready to share his official debut album at the end of 2013.

[links_clean] =>

Bandcamp
SoundCloud
Instagram

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The young electronic musician known as Romare wears his inspiration on his sleeve – in fact, he takes his very name from it. Having studied African American Visual Culture at University, he had his ‘Sex Pistols moment’ when he came across the work of Romare Bearden. The African American’s collaged, cut’n’paste artworks inspired the young musician to apply a similar technique to music – an approach that was hugely fruitful, and remains central to his work today. After stints as a drummer and guitarist throughout school and university, he moved to Paris where he picked up the turntables and began mixing his own music with samples from second hand records. Romare the musician was born and the template for his debut record.

Underground hothouse Black Acre signed him in 2012, adding him to a formidable roster that included Loops Haunt, Fantastic Mr Fox, Blue Daisy and Dark Sky. The imprint put out his first release Meditations on Afrocentrism in March of that year. He began to play shows, making enough money to finance a move to London. Ensconced in the vast musical melting pot of the capital, he began work on his second EP Love Songs: Part One. Romare’s songs were included on compilations by heavyweights such as Bonobo and Tiga, as well as the Brownswood Recordings imprint.

His debut album, Projections, is named after a pivotal exhibition of his namesake and likewise explores various elements of American life. The album is in many ways a homage to the cycle of cultural appropriation in America. “Work Song” is a tribute to the classic American and namesake work song, whilst “Rainbow” is a celebration of disco. Projections expertly catalogues the movements of influence within music. The album doesn’t just sample music and vocal snatches, but also other sources such as documentaries and marries live instrumentation with the sampling palette.

With fierce support from by the likes of Benji B, Gilles Peterson and Huw Stephens, Romare’s music has, rightfully, already caused a stir. The stage is now set for his stunning debut album, Projections.

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Website
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The young electronic musician known as Romare wears his inspiration on his sleeve – in fact, he takes his very name from it. Having studied African American Visual Culture at University, he had his ‘Sex Pistols moment’ when he came across the work of Romare Bearden. The African American’s collaged, cut’n’paste artworks inspired the young musician to apply a similar technique to music – an approach that was hugely fruitful, and remains central to his work today. After stints as a drummer and guitarist throughout school and university, he moved to Paris where he picked up the turntables and began mixing his own music with samples from second hand records. Romare the musician was born and the template for his debut record.

Underground hothouse Black Acre signed him in 2012, adding him to a formidable roster that included Loops Haunt, Fantastic Mr Fox, Blue Daisy and Dark Sky. The imprint put out his first release Meditations on Afrocentrism in March of that year. He began to play shows, making enough money to finance a move to London. Ensconced in the vast musical melting pot of the capital, he began work on his second EP Love Songs: Part One. Romare’s songs were included on compilations by heavyweights such as Bonobo and Tiga, as well as the Brownswood Recordings imprint.

His debut album, Projections, is named after a pivotal exhibition of his namesake and likewise explores various elements of American life. The album is in many ways a homage to the cycle of cultural appropriation in America. “Work Song” is a tribute to the classic American and namesake work song, whilst “Rainbow” is a celebration of disco. Projections expertly catalogues the movements of influence within music. The album doesn’t just sample music and vocal snatches, but also other sources such as documentaries and marries live instrumentation with the sampling palette.

With fierce support from by the likes of Benji B, Gilles Peterson and Huw Stephens, Romare’s music has, rightfully, already caused a stir. The stage is now set for his stunning debut album, Projections.

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Young Fathers were christened in 2008, named after the fact that all three members were named for their fathers..

They are:

‘G’ Hastings, from Drylaw, Edinburgh, Alloysious Massaquoi, originally from Liberia via Ghana and Kayus Bankole, born in Edinburgh to Nigerian parents but partially raised in Maryland in the USA, all 27 years old. Their live shows are complimented by Steven Morrison (drums & DJ) and Lauren Holt (AKA LAWholt - vocals).

The group formed after meeting at an under-16s hiphop night at the infamous Bongo Club in Edinburgh when they were all 14 years old. Almost immediately they started writing and recording together, initially on an old karoake machine plugged into a cheap cassette recorderat G’s parents house.

After going through various guises over several years and after hooking up with a local production company, they eventually settled on the name Young Fathers and recorded their first album with Tim Brinkhurst (AKA London) as producer. The recordings included their first single, Straight Back On It, which was given a limited release in 2009 and was received well enough to get them a couple of TV appearances, plays on BBC radio, some festival dates and the support slots with Simian Mobile Disco and Esser on UK tours.

Straight Back On It, a bang-on-the-money pop song built around Afrika Bambaataa’s reworking of Kraftwerk, was indicative of the rest of the album, Inconceivable Child… Conceived, in as much as the album was a state of the art teenage pop collection. Unfortunately the album was never released; however, another single, separately recorded, Automatic, was given a limited online release, but failed to have much impact.

In 2011 and after writing and recording yet another, unreleased album, the group decided a radical change was necessary and they finally disconnected themselves from the local production company and took control of their destiny. Recording mini-album (or ‘mixtape’ as it was called) TAPE ONE in just over a week, finishing a track a day and having it available for download within two weeks of recording gave them renewed vigour. They quickly followed this up by recording TAPE TWO in a similar fashion. Los Angeles based alt-hiphop label, Anticon, discovered them online and within a few months had signed them up for a short deal that saw both TAPEs officially released in 2013.

The group, meanwhile, continued to tour, gathering an impressive reputation as a fierce live act. They played all over Europe and made their US debut at SxSW in Austin, Texas, in March 2013.

Following support from the BBC’s Zane Lowe and Lauren Laverne, and an appearance on influential USA talk show, Jimmy Kimmel in 2014, TAPE TWO won Scottish Album Of The Year (‘The SAY Award’) and this was followed by their latest album, DEAD, released this time on Anticon in the USA and Big Dada in the UK and Europe, receiving the Mercury Award for best album of 2014. They won as the underdogs and there was a minor controversy because they didn’t look particularly joyful at the presentation and because they refused to speak to some of the more right wing press covering the event.

Immediately after winning the Mercury, YFs travelled to Berlin where they continued making their new album in a freezing basement in a building near the railway yards. Returning to the more familiar (and warmer) basement studio in Edinburgh where most of their recordings were made, to finish the album, they ended 2014 by playing a home town show at Edinburgh’s Hogmanay New year’s Eve festival in front of several thousand people.

The new album, White Men Are Black Men Too, has been recorded at various places around the world, including Melbourne and London as well as Berlin and Edinburgh and features the Leith Congregational Choir on a couple of tracks.

Young Fathers played over 140 shows during 2014, including On Blackheath Festival (curated by Massive Attack). They toured the UK, large swathes of Europe and did a six week stint in the USA. The new year already has them booked to play even more. White Men Are Black Men Too is due for release in April.

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Young Fathers were christened in 2008, named after the fact that all three members were named for their fathers..

They are:

‘G’ Hastings, from Drylaw, Edinburgh, Alloysious Massaquoi, originally from Liberia via Ghana and Kayus Bankole, born in Edinburgh to Nigerian parents but partially raised in Maryland in the USA, all 27 years old. Their live shows are complimented by Steven Morrison (drums & DJ) and Lauren Holt (AKA LAWholt - vocals).

The group formed after meeting at an under-16s hiphop night at the infamous Bongo Club in Edinburgh when they were all 14 years old. Almost immediately they started writing and recording together, initially on an old karoake machine plugged into a cheap cassette recorderat G’s parents house.

After going through various guises over several years and after hooking up with a local production company, they eventually settled on the name Young Fathers and recorded their first album with Tim Brinkhurst (AKA London) as producer. The recordings included their first single, Straight Back On It, which was given a limited release in 2009 and was received well enough to get them a couple of TV appearances, plays on BBC radio, some festival dates and the support slots with Simian Mobile Disco and Esser on UK tours.

Straight Back On It, a bang-on-the-money pop song built around Afrika Bambaataa’s reworking of Kraftwerk, was indicative of the rest of the album, Inconceivable Child… Conceived, in as much as the album was a state of the art teenage pop collection. Unfortunately the album was never released; however, another single, separately recorded, Automatic, was given a limited online release, but failed to have much impact.

In 2011 and after writing and recording yet another, unreleased album, the group decided a radical change was necessary and they finally disconnected themselves from the local production company and took control of their destiny. Recording mini-album (or ‘mixtape’ as it was called) TAPE ONE in just over a week, finishing a track a day and having it available for download within two weeks of recording gave them renewed vigour. They quickly followed this up by recording TAPE TWO in a similar fashion. Los Angeles based alt-hiphop label, Anticon, discovered them online and within a few months had signed them up for a short deal that saw both TAPEs officially released in 2013.

The group, meanwhile, continued to tour, gathering an impressive reputation as a fierce live act. They played all over Europe and made their US debut at SxSW in Austin, Texas, in March 2013.

Following support from the BBC’s Zane Lowe and Lauren Laverne, and an appearance on influential USA talk show, Jimmy Kimmel in 2014, TAPE TWO won Scottish Album Of The Year (‘The SAY Award’) and this was followed by their latest album, DEAD, released this time on Anticon in the USA and Big Dada in the UK and Europe, receiving the Mercury Award for best album of 2014. They won as the underdogs and there was a minor controversy because they didn’t look particularly joyful at the presentation and because they refused to speak to some of the more right wing press covering the event.

Immediately after winning the Mercury, YFs travelled to Berlin where they continued making their new album in a freezing basement in a building near the railway yards. Returning to the more familiar (and warmer) basement studio in Edinburgh where most of their recordings were made, to finish the album, they ended 2014 by playing a home town show at Edinburgh’s Hogmanay New year’s Eve festival in front of several thousand people.

The new album, White Men Are Black Men Too, has been recorded at various places around the world, including Melbourne and London as well as Berlin and Edinburgh and features the Leith Congregational Choir on a couple of tracks.

Young Fathers played over 140 shows during 2014, including On Blackheath Festival (curated by Massive Attack). They toured the UK, large swathes of Europe and did a six week stint in the USA. The new year already has them booked to play even more. White Men Are Black Men Too is due for release in April.

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There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

[links] =>

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Facebook
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[image_upload_id] => 19652 [label_id] => 1 [twitter_username] => dorianconcept [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Dorian Concept [created] => 2010-11-24 11:23:09 [modified] => 2014-07-03 16:52:53 [slug] => dorian-concept [fuga_id] => [description_clean] =>

There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

[links_clean] =>

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Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] => ) ) ) [10] => Array ( [Event] => Array ( [id] => 13980 [date] => 2015-03-06 [artist] => Bonobo (DJ Set) [city] => Tokyo [state] => [country] => JP [venue] => Unit [promoter] => [description] => [ticket_url] => http://shop.beatink.com/shopdetail/000000001894/ [image_upload_id] => 19258 [created] => 2015-02-27 12:49:36 [modified] => 2015-02-27 12:55:14 [year_slug] => 2015 [month_slug] => mar [day_slug] => 6 [slug] => bonobo-dj-set-tokyo-unit [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 19258 [media_type] => image [artist] => Bonobo [title] => Bonobo Press Shot [credits] => [buy_link] => [filename] => images/bonobo/Bonobo-MainAndrewdeFrancessco1.jpg [checksum] => a31f8301190c3ab688695ffcc7ef9495 [mime_type] => image/jpeg [size] => 8279110 [external_url] => http://media.ninjatune.net/images/bonobo/Bonobo-MainAndrewdeFrancessco1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => bonobo [slug] => bonobo-press-shot [created] => 2014-04-04 11:03:02 [modified] => 2014-04-04 11:05:00 [embed] => ) [Country] => Array ( [id] => 135 [name] => Japan [longname] => Japan [numcode] => 392 [iso] => JP [iso3] => JPN [currency] => JPY [active] => 1 [parent_id] => 130 [lft] => 267 [rght] => 268 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 55 [name] => Bonobo [description] =>

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

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

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

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

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

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

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

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

Since the album’s release, Green has gone on to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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

[links] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

[image_upload_id] => 19635 [label_id] => 1 [twitter_username] => sibonobo [instagram_id] => 1322091 [instagram_username] => si_bonobo [link] => [listed] => 1 [sortname] => Bonobo [created] => 2010-07-17 22:15:59 [modified] => 2015-01-09 12:49:39 [slug] => bonobo [fuga_id] => [description_clean] =>

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

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

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

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

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

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

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

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

Since the album’s release, Green has gone on to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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

[links_clean] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

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Busdriver is fixed as one of LA music’s most dynamic indie artist. From his years as a cyher phenom at Project Blowed to his years as a recording artist on Epitaph to his current role as co-head of Hellfyre Club, Busdriver has always challenged rap in the most particular and thoughful of ways.

BD’s first record, Memoirs of the Elephantman, was self released thru Afterlife records (a Project Blowed subcrew at the time)in 1999. Not until his second self-released record, Temporary Forever, came out in 2002 did Busdriver step on the world stage. Sleeper hit "Imaginary Places" turned him into one of many beacons of left-leaning hip-hop at the moment. During this time he was also emceeing at the Hiphop/Drum’n’bass night weekly Concrete Jungle with Daddy Kev, Myka 9, edit and DJ Hive.

After the new success of Temporary Forever, Busdriver signed with Mush records to do a collaborative album with beat/production guru Daedelus and quirky rap talent Radioinactive in 2003. The project was called ‘The Weather’. Their album toyed with daring disjointed production and dexterous rap writing in a way that Busdriver hadn’t in the past. The project amassed a small cult following all its own and aligned Driver’s taste with the output of LA’s electronic music scene.

In 2004, Busdriver began his relationship with Big Dada by releasing with them the Daddy Kev-produced mini-LP, Cosmic Cleavage. This was followed by Busdriver’s official 3rd album, Fear of a Black Tangent, released via Big Dada in the EU and on Mush in the US.

Busdriver’s label dealings grew outside of the rap arena in 2007 when he signed to indie-punk mega-label Epitaph and eventually, it’s more indie-music driven sister label, Anti-. Through them he released RoadKillOvercoat in 2007 and Jhellibeam in 2009. Both albums featured production from DJ Nobody, Nosaj Thing, Free the Robots and Boom Bip. During these years, rap producer culture was in flux in LA and the newly founded Low End Theory began gaining momentum. Producer eDIT (who becomes the head of Glitch Mob) featured Busdriver on "Crunk De Gaulle" (also featuring TTC) off his Alpha Pup debut, Certified Air Raid Material.

Computer Cooties came out in 2010 after BD parted with Anti-. It was a free mixtape featuring collaborations with Flying Lotus, Anti-Pop Consortium, Sister Crayon, Daedelus and Open Mike Eagle. He followed this by joining Hellfyre Club and forming Flash Bang Grenada, a two-man group made of Nocando (founder of Hellfyre Club and original resident of Low End Theory) and himself, created solely to let their musings on popular rap themes run amok. They released their debut 10 Haters in 2011.

In 2012, BD released Beaus$Eros through Fake Four. The album was produced entirely by Loden and had features from Cocorosie and Mike Ladd. It was a departure from rap writing into microclimates of experimental pop but then completely not also. The record was coupled with Regan Farquhar aka Busdriver(Driver) fronting an progressive power pop outfit briefly called Physiccal Forms.

That same year Driver released Arguments with Dreams, an EP marking a return to Big Dada. It was mostly self-produced with stand-out appearances from Das Racist on “Firehydrant” and HFC members Nocando and Mike Eagle on “Wernor Herzog”.

In 2013, Driver helmed and oversaw the production of Dorner Vs. Tookie, the joint mixtape featuring efforts from all the members of Hellfyre Club (Nocando, Busdriver, Open Mike Eagle, milo, Rheteric Ramirez, Kail, VerBS, Taurus Scott, The Kleerz). While doing this Busdriver completed his 8th proper studio album, Perfect Hair. The album features production from Mono/Poly, Jeremiah Jae, Great Dane, Kenny Segal and Riley Lake with guest performances from Danny Brown, Aesop Rock and Mike Eagle. A follow up mixtape from Hellfyre Club in collaboration with producer collective Team Supreme is planned for 2014. But it is only it is pre-production stages now.

More recently Driver has done collaborations with Modeselektor, Son Lux, Latyrx, Kool AD, Lapalux, Sonnymoon, P.O.S, and others on various albums.

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Dorner Vs. Tookie Mixtape

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Busdriver is fixed as one of LA music’s most dynamic indie artist. From his years as a cyher phenom at Project Blowed to his years as a recording artist on Epitaph to his current role as co-head of Hellfyre Club, Busdriver has always challenged rap in the most particular and thoughful of ways.

BD’s first record, Memoirs of the Elephantman, was self released thru Afterlife records (a Project Blowed subcrew at the time)in 1999. Not until his second self-released record, Temporary Forever, came out in 2002 did Busdriver step on the world stage. Sleeper hit "Imaginary Places" turned him into one of many beacons of left-leaning hip-hop at the moment. During this time he was also emceeing at the Hiphop/Drum’n’bass night weekly Concrete Jungle with Daddy Kev, Myka 9, edit and DJ Hive.

After the new success of Temporary Forever, Busdriver signed with Mush records to do a collaborative album with beat/production guru Daedelus and quirky rap talent Radioinactive in 2003. The project was called ‘The Weather’. Their album toyed with daring disjointed production and dexterous rap writing in a way that Busdriver hadn’t in the past. The project amassed a small cult following all its own and aligned Driver’s taste with the output of LA’s electronic music scene.

In 2004, Busdriver began his relationship with Big Dada by releasing with them the Daddy Kev-produced mini-LP, Cosmic Cleavage. This was followed by Busdriver’s official 3rd album, Fear of a Black Tangent, released via Big Dada in the EU and on Mush in the US.

Busdriver’s label dealings grew outside of the rap arena in 2007 when he signed to indie-punk mega-label Epitaph and eventually, it’s more indie-music driven sister label, Anti-. Through them he released RoadKillOvercoat in 2007 and Jhellibeam in 2009. Both albums featured production from DJ Nobody, Nosaj Thing, Free the Robots and Boom Bip. During these years, rap producer culture was in flux in LA and the newly founded Low End Theory began gaining momentum. Producer eDIT (who becomes the head of Glitch Mob) featured Busdriver on "Crunk De Gaulle" (also featuring TTC) off his Alpha Pup debut, Certified Air Raid Material.

Computer Cooties came out in 2010 after BD parted with Anti-. It was a free mixtape featuring collaborations with Flying Lotus, Anti-Pop Consortium, Sister Crayon, Daedelus and Open Mike Eagle. He followed this by joining Hellfyre Club and forming Flash Bang Grenada, a two-man group made of Nocando (founder of Hellfyre Club and original resident of Low End Theory) and himself, created solely to let their musings on popular rap themes run amok. They released their debut 10 Haters in 2011.

In 2012, BD released Beaus$Eros through Fake Four. The album was produced entirely by Loden and had features from Cocorosie and Mike Ladd. It was a departure from rap writing into microclimates of experimental pop but then completely not also. The record was coupled with Regan Farquhar aka Busdriver(Driver) fronting an progressive power pop outfit briefly called Physiccal Forms.

That same year Driver released Arguments with Dreams, an EP marking a return to Big Dada. It was mostly self-produced with stand-out appearances from Das Racist on “Firehydrant” and HFC members Nocando and Mike Eagle on “Wernor Herzog”.

In 2013, Driver helmed and oversaw the production of Dorner Vs. Tookie, the joint mixtape featuring efforts from all the members of Hellfyre Club (Nocando, Busdriver, Open Mike Eagle, milo, Rheteric Ramirez, Kail, VerBS, Taurus Scott, The Kleerz). While doing this Busdriver completed his 8th proper studio album, Perfect Hair. The album features production from Mono/Poly, Jeremiah Jae, Great Dane, Kenny Segal and Riley Lake with guest performances from Danny Brown, Aesop Rock and Mike Eagle. A follow up mixtape from Hellfyre Club in collaboration with producer collective Team Supreme is planned for 2014. But it is only it is pre-production stages now.

More recently Driver has done collaborations with Modeselektor, Son Lux, Latyrx, Kool AD, Lapalux, Sonnymoon, P.O.S, and others on various albums.

[links_clean] =>

Facebook
Twitter
SoundCloud
Dorner Vs. Tookie Mixtape

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Despite growing up in the same picturesque village – Potten End (Herts) – Chris Davids and Liam Ivory aka Maribou State customarily ignored each other at school, but discovered their shared passion for music at university in Leeds and became firm friends.

Since then they have steadily built a glowing international reputation via a string of well-loved EPs and a fistful of remixes (including Kelis, Lana del Ray, Crookers, Kastle, Ultraísta) since 2011. Plaudits from the electronic press have flowed thick and fast alongside support from radio heavyweights: Zane Lowe, Huw Stephens, Annie Mac, B. Traits, Pete Tong and Gilles Peterson amongst others.

The past 18 months has been a glorious blur, with weekends dedicated to touring – the duo have zipped around UK, Europe, the US and Australia – whilst keeping a strict 9-to-5 work ethic in the studio during the week that has enabled them to record their finest work to date. It’s hard to pick out highlights, but Glastonbury, Warehouse Project and Bestival were particularly special milestones.

Intrigued by the dynamics of electronic music for the dancefloor as much as with the richness and human quality of live instrumentation and songcraft, they have worked tirelessly to evolve and forge a unique, compelling and deeply soulful marriage of the organic and the synthetic, showcased on their forthcoming debut album Portraits.

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Despite growing up in the same picturesque village – Potten End (Herts) – Chris Davids and Liam Ivory aka Maribou State customarily ignored each other at school, but discovered their shared passion for music at university in Leeds and became firm friends.

Since then they have steadily built a glowing international reputation via a string of well-loved EPs and a fistful of remixes (including Kelis, Lana del Ray, Crookers, Kastle, Ultraísta) since 2011. Plaudits from the electronic press have flowed thick and fast alongside support from radio heavyweights: Zane Lowe, Huw Stephens, Annie Mac, B. Traits, Pete Tong and Gilles Peterson amongst others.

The past 18 months has been a glorious blur, with weekends dedicated to touring – the duo have zipped around UK, Europe, the US and Australia – whilst keeping a strict 9-to-5 work ethic in the studio during the week that has enabled them to record their finest work to date. It’s hard to pick out highlights, but Glastonbury, Warehouse Project and Bestival were particularly special milestones.

Intrigued by the dynamics of electronic music for the dancefloor as much as with the richness and human quality of live instrumentation and songcraft, they have worked tirelessly to evolve and forge a unique, compelling and deeply soulful marriage of the organic and the synthetic, showcased on their forthcoming debut album Portraits.

[links_clean] => [counter_player] => [counter_biog] =>

Despite growing up in the same picturesque village – Potten End (Herts) – Chris Davids and Liam Ivory aka Maribou State customarily ignored each other at school, but discovered their shared passion for music at university in Leeds and became firm friends.

Since then they have steadily built a glowing international reputation via a string of well-loved EPs and a fistful of remixes (including Kelis, Lana del Ray, Crookers, Kastle, Ultraísta) since 2011. Plaudits from the electronic press have flowed thick and fast alongside support from radio heavyweights: Zane Lowe, Huw Stephens, Annie Mac, B. Traits, Pete Tong and Gilles Peterson amongst others.

The past 18 months has been a glorious blur, with weekends dedicated to touring – the duo have zipped around UK, Europe, the US and Australia – whilst keeping a strict 9-to-5 work ethic in the studio during the week that has enabled them to record their finest work to date. It’s hard to pick out highlights, but Glastonbury, Warehouse Project and Bestival were particularly special milestones.

Intrigued by the dynamics of electronic music for the dancefloor as much as with the richness and human quality of live instrumentation and songcraft, they have worked tirelessly to evolve and forge a unique, compelling and deeply soulful marriage of the organic and the synthetic, showcased on their forthcoming debut album Portraits.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[links] =>

inreturn.odesza.com

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Twitter
Soundcloud

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

inreturn.odesza.com

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Who is Fin Greenall? All of the above. 

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

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

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

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

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

The young techno warrior was messianic. 

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

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

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

So the wheels of steel started to fall off. 

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

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

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

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

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

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

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

Who is Fin Greenall? All of the above. 

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

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

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

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

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

The young techno warrior was messianic. 

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

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

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

So the wheels of steel started to fall off. 

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

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

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

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Facebook
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[counter_player] => [counter_biog] => ) ) ) [15] => Array ( [Event] => Array ( [id] => 13763 [date] => 2015-03-07 [artist] => Lee Bannon [city] => Detroit [state] => [country] => US [venue] => Majestic Theatre [promoter] => [description] => [ticket_url] => http://www.ticketweb.ca/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=5600615 [image_upload_id] => 20490 [created] => 2015-01-26 11:53:21 [modified] => 2015-01-26 11:53:21 [year_slug] => 2015 [month_slug] => mar [day_slug] => 7 [slug] => lee-bannon-detroit-majestic-theatre [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20490 [media_type] => image [artist] => Lee Bannon [title] => Lee Bannon Ratking Tour [credits] => [buy_link] => [filename] => images/lee-bannon/trash-talk-ratking-lee-bannon.jpg [checksum] => cd282ebd56bad270b829bd8518275609 [mime_type] => image/jpeg [size] => 299860 [external_url] => [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => lee-bannon [slug] => lee-bannon-ratking-tour [created] => 2015-01-26 10:07:51 [modified] => 2015-01-26 10:07:52 [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] => 197 [name] => Lee Bannon [description] =>

Photo: Josh Wehle

Lee Bannon is an experimental hip-hop producer from Sacramento, California. His work has spread along the vast hip hop scene, having produced Joey Bada$$, Ab-Soul, Souls of Mischief and others. In addition, Bannon has evolved his sound into traces of trance, jungle, and deep house music and establishing himself as one of the few producers able to navigate across all soundscapes.

After a series of collaborations and releases he delivered the Fantastic Plastic album in 2012 and earlier that year premiered his Caligula Theme Music with Spin Magazine. Bannon toured with Joey Bada$$ in 2012 and appeared on Jimmy Fallon alongside The Roots performing Joey's hit single "Waves". He produced the B side to that single titled "Enter The Void" with Ab-Soul. In addition to the Bada$$/ Lil B diss track "Don't Quit Your Day Job", he also produced a few songs on the Pro era compilation Peep the The aPROcalypse and had a heavy presence on Joey's follow up project Summer Knights.

In February 2013, he released a free 10-track project and follow-up to his Caligula Theme Music EP titled Caligula Theme Music 2.7.5 and a few months later, the calmer free EP Never/mind/the/darkness/of/it...Later that summer, the hard core jungle-influenced track "NW/WB" took the internet by storm and listed him on Spin Magazine's top 5 artist to watch that month. Freshly signed to UK label Ninjatune, Bannon is ready to share his official debut album at the end of 2013.

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Bandcamp
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Instagram

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Photo: Josh Wehle

Lee Bannon is an experimental hip-hop producer from Sacramento, California. His work has spread along the vast hip hop scene, having produced Joey Bada$$, Ab-Soul, Souls of Mischief and others. In addition, Bannon has evolved his sound into traces of trance, jungle, and deep house music and establishing himself as one of the few producers able to navigate across all soundscapes.

After a series of collaborations and releases he delivered the Fantastic Plastic album in 2012 and earlier that year premiered his Caligula Theme Music with Spin Magazine. Bannon toured with Joey Bada$$ in 2012 and appeared on Jimmy Fallon alongside The Roots performing Joey's hit single "Waves". He produced the B side to that single titled "Enter The Void" with Ab-Soul. In addition to the Bada$$/ Lil B diss track "Don't Quit Your Day Job", he also produced a few songs on the Pro era compilation Peep the The aPROcalypse and had a heavy presence on Joey's follow up project Summer Knights.

In February 2013, he released a free 10-track project and follow-up to his Caligula Theme Music EP titled Caligula Theme Music 2.7.5 and a few months later, the calmer free EP Never/mind/the/darkness/of/it...Later that summer, the hard core jungle-influenced track "NW/WB" took the internet by storm and listed him on Spin Magazine's top 5 artist to watch that month. Freshly signed to UK label Ninjatune, Bannon is ready to share his official debut album at the end of 2013.

[links_clean] =>

Bandcamp
SoundCloud
Instagram

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The young electronic musician known as Romare wears his inspiration on his sleeve – in fact, he takes his very name from it. Having studied African American Visual Culture at University, he had his ‘Sex Pistols moment’ when he came across the work of Romare Bearden. The African American’s collaged, cut’n’paste artworks inspired the young musician to apply a similar technique to music – an approach that was hugely fruitful, and remains central to his work today. After stints as a drummer and guitarist throughout school and university, he moved to Paris where he picked up the turntables and began mixing his own music with samples from second hand records. Romare the musician was born and the template for his debut record.

Underground hothouse Black Acre signed him in 2012, adding him to a formidable roster that included Loops Haunt, Fantastic Mr Fox, Blue Daisy and Dark Sky. The imprint put out his first release Meditations on Afrocentrism in March of that year. He began to play shows, making enough money to finance a move to London. Ensconced in the vast musical melting pot of the capital, he began work on his second EP Love Songs: Part One. Romare’s songs were included on compilations by heavyweights such as Bonobo and Tiga, as well as the Brownswood Recordings imprint.

His debut album, Projections, is named after a pivotal exhibition of his namesake and likewise explores various elements of American life. The album is in many ways a homage to the cycle of cultural appropriation in America. “Work Song” is a tribute to the classic American and namesake work song, whilst “Rainbow” is a celebration of disco. Projections expertly catalogues the movements of influence within music. The album doesn’t just sample music and vocal snatches, but also other sources such as documentaries and marries live instrumentation with the sampling palette.

With fierce support from by the likes of Benji B, Gilles Peterson and Huw Stephens, Romare’s music has, rightfully, already caused a stir. The stage is now set for his stunning debut album, Projections.

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The young electronic musician known as Romare wears his inspiration on his sleeve – in fact, he takes his very name from it. Having studied African American Visual Culture at University, he had his ‘Sex Pistols moment’ when he came across the work of Romare Bearden. The African American’s collaged, cut’n’paste artworks inspired the young musician to apply a similar technique to music – an approach that was hugely fruitful, and remains central to his work today. After stints as a drummer and guitarist throughout school and university, he moved to Paris where he picked up the turntables and began mixing his own music with samples from second hand records. Romare the musician was born and the template for his debut record.

Underground hothouse Black Acre signed him in 2012, adding him to a formidable roster that included Loops Haunt, Fantastic Mr Fox, Blue Daisy and Dark Sky. The imprint put out his first release Meditations on Afrocentrism in March of that year. He began to play shows, making enough money to finance a move to London. Ensconced in the vast musical melting pot of the capital, he began work on his second EP Love Songs: Part One. Romare’s songs were included on compilations by heavyweights such as Bonobo and Tiga, as well as the Brownswood Recordings imprint.

His debut album, Projections, is named after a pivotal exhibition of his namesake and likewise explores various elements of American life. The album is in many ways a homage to the cycle of cultural appropriation in America. “Work Song” is a tribute to the classic American and namesake work song, whilst “Rainbow” is a celebration of disco. Projections expertly catalogues the movements of influence within music. The album doesn’t just sample music and vocal snatches, but also other sources such as documentaries and marries live instrumentation with the sampling palette.

With fierce support from by the likes of Benji B, Gilles Peterson and Huw Stephens, Romare’s music has, rightfully, already caused a stir. The stage is now set for his stunning debut album, Projections.

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There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

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There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

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Artist Date City Venue Buy
ODESZA Thursday, Mar 5th South Burlington, US Higher Ground Buy
Lee Bannon Thursday, Mar 5th Boston, US The Sinclair Buy
Dorian Concept Thursday, Mar 5th Lille, FR La Cave Aux Poetes Buy
Busdriver Thursday, Mar 5th Fort Collins, Colorado, US The Aggie Buy
ODESZA Friday, Mar 6th Northampton, US Pearl Street Nightclub Buy
Fink Friday, Mar 6th Groningen, NL Oosterpoort Buy
Lee Bannon Friday, Mar 6th Toronto, US Studio Bar Buy
Romare Friday, Mar 6th Leeds, GB The HiFi Club Buy
Young Fathers Friday, Mar 6th Bratislava, SK Electronic Beats Festival Buy
Dorian Concept Friday, Mar 6th Caen, FR Le Cargo
Bonobo (DJ Set) Friday, Mar 6th Tokyo, JP Unit Buy
Busdriver Friday, Mar 6th Englewood, Colorado, US Gothic Theatre Buy
Maribou State Friday, Mar 6th Zeewolde, NL Where the Wild Things Are Festival Buy
ODESZA Saturday, Mar 7th Portland, US Port City Music Hall Buy
Fink Saturday, Mar 7th Zeewolde, NL Where The Wild Things Are Buy
Lee Bannon Saturday, Mar 7th Detroit, US Majestic Theatre Buy
Romare Saturday, Mar 7th Liverpool, GB Constellations Buy
Dorian Concept Saturday, Mar 7th Paris, FR Badaboum Buy
Next >>