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

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

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

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

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

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

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

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

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

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

[links] =>

Website

Facebook
Twitter
Soundcloud

[image_upload_id] => 19811 [label_id] => 1 [twitter_username] => daedelus_music [instagram_id] => 855015 [instagram_username] => daedelus [link] => [listed] => 0 [sortname] => Daedelus [created] => 2010-07-17 22:15:59 [modified] => 2014-08-12 17:18:59 [slug] => daedelus [fuga_id] => [description_clean] =>

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

Website

Facebook
Twitter
Soundcloud

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Hardest working man in show business? Trouper? Tireless? However you want to put it, be sure of one thing: When DJ Vadim first heard the phrase "Don't Sleep" he obviously took it literally.

Over the last decade few people can have put so much time and energy into the culture they love. Founder of Jazz Fudge in early 1995, A&R, producer, DJ, promoter, record collector, radio presenter, occasional painter, writer, in-house producer/DJ and cohort of Latin Grammy nominees and Spanish hip hop super group 7 Notas 7 Colorez, Vadim has certainly been keeping himself busy. And that's before we even mention his DJing itself, which has seen him perform in virtually every country in Europe (east and west), all over North America, Australia, New Zealand, Japan, Israel, Turkey, South America and South East Asia (often within one year!). He has also performed with the likes of DJ Krush, Company Flow, The Roots, Pharcyde, Public Enemy, Beat Junkies, Dilated Peoples, Kraftwerk, Ed Rush, Morcheeba and Paul Weller, as well as at events like Glastonbury and the Moscow Street Ball festival (to over 40,000 people!). To describe the man as an internationalist almost seems to sell him short.

In 1992, Vadim Peare bought a sampler and started working on the music that would become 'Abstract Hallucinating Gases' and 'Headz Ain't Ready' (both released on his own label, Jazz Fudge). Later in the year he signed to Ninja Tune and began work on his debut LP, 'USSR Repertoire'. From these early recordings came a remix LP, 'USSR Reconstruction', featuring DJ Krush, Kid Koala, Mark B and Silent Poets, plus various 12"s both for Ninja Tune and Jazz Fudge, and a mixtape and CD with DJ Primecuts (International Turntablist Federation World Champion '99 and Scratch Pervert). In 1999 there was the abstract funk collaboration LP, 'The Isolationist', produced by Vadim, scratched by DJ Primecuts and vocalled by New York avant-rappers Antipop Consortium. Relentless international touring followed with Swollen Members, then Company Flow, then Jazz Fudge, all of which led to the purchase of yet more obscure and dusty vinyls to add to an already burgeoning collection.

This all culminated in his critically-acclaimed last album, 'USSR: Life From The Other Side' in 1999. The record featured Company Flow, the Scratch Perverts, Iriscience (from Dilated Peoples), Blade and many others, and caused quite a storm in USA with the track 'Your Revolution', featuring Sarah Jones. The song was banned by the FCC (USA radio regulators) for explicit and provocative lyrics, despite Jones actually satirising the attitudes and words of the mainstream rap and r&b that could be heard pumping out of the radio every day.

To promote the record, Vadim put together a live group - The Russian Percussion - consisting of Mr Thing (turntables), Killer Kela (beat box), Blu rum 13 (MC), John Ellis (keyboards) and himself. They notched up a mere 200 shows in about 24 countries including most of Europe and North America.

Feeling tired yet? Hang on in there. Vadim has also presented radio shows for the BBC, including the Sony Award-nominated programme 'Around The World In Eight Relays'. He has toured with Sarah Jones, Killer Kela and as support and collaborator for Super Furry Animals. Oh, and he went to Latin America with the aformentioned 7 Notas 7 Colores and, and, and...

We'll stop now. Our guess is that the average human mind would actually struggle to take in everything that DJ Vadim has done in the last ten years, let alone do it. There really is only one way to revive yourself now - reach forward, slip 'USSR - The Art Of Listening' into your cd player and soak it all up. It is, after all, where he gets his energy from. And where he's putting it, too...

[links] =>

www.djvadim.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 15942 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => DJ Vadim [created] => 2010-07-17 22:15:58 [modified] => 2014-03-06 10:14:25 [slug] => dj-vadim [fuga_id] => [description_clean] =>

Hardest working man in show business? Trouper? Tireless? However you want to put it, be sure of one thing: When DJ Vadim first heard the phrase "Don't Sleep" he obviously took it literally.

Over the last decade few people can have put so much time and energy into the culture they love. Founder of Jazz Fudge in early 1995, A&R, producer, DJ, promoter, record collector, radio presenter, occasional painter, writer, in-house producer/DJ and cohort of Latin Grammy nominees and Spanish hip hop super group 7 Notas 7 Colorez, Vadim has certainly been keeping himself busy. And that's before we even mention his DJing itself, which has seen him perform in virtually every country in Europe (east and west), all over North America, Australia, New Zealand, Japan, Israel, Turkey, South America and South East Asia (often within one year!). He has also performed with the likes of DJ Krush, Company Flow, The Roots, Pharcyde, Public Enemy, Beat Junkies, Dilated Peoples, Kraftwerk, Ed Rush, Morcheeba and Paul Weller, as well as at events like Glastonbury and the Moscow Street Ball festival (to over 40,000 people!). To describe the man as an internationalist almost seems to sell him short.

In 1992, Vadim Peare bought a sampler and started working on the music that would become 'Abstract Hallucinating Gases' and 'Headz Ain't Ready' (both released on his own label, Jazz Fudge). Later in the year he signed to Ninja Tune and began work on his debut LP, 'USSR Repertoire'. From these early recordings came a remix LP, 'USSR Reconstruction', featuring DJ Krush, Kid Koala, Mark B and Silent Poets, plus various 12"s both for Ninja Tune and Jazz Fudge, and a mixtape and CD with DJ Primecuts (International Turntablist Federation World Champion '99 and Scratch Pervert). In 1999 there was the abstract funk collaboration LP, 'The Isolationist', produced by Vadim, scratched by DJ Primecuts and vocalled by New York avant-rappers Antipop Consortium. Relentless international touring followed with Swollen Members, then Company Flow, then Jazz Fudge, all of which led to the purchase of yet more obscure and dusty vinyls to add to an already burgeoning collection.

This all culminated in his critically-acclaimed last album, 'USSR: Life From The Other Side' in 1999. The record featured Company Flow, the Scratch Perverts, Iriscience (from Dilated Peoples), Blade and many others, and caused quite a storm in USA with the track 'Your Revolution', featuring Sarah Jones. The song was banned by the FCC (USA radio regulators) for explicit and provocative lyrics, despite Jones actually satirising the attitudes and words of the mainstream rap and r&b that could be heard pumping out of the radio every day.

To promote the record, Vadim put together a live group - The Russian Percussion - consisting of Mr Thing (turntables), Killer Kela (beat box), Blu rum 13 (MC), John Ellis (keyboards) and himself. They notched up a mere 200 shows in about 24 countries including most of Europe and North America.

Feeling tired yet? Hang on in there. Vadim has also presented radio shows for the BBC, including the Sony Award-nominated programme 'Around The World In Eight Relays'. He has toured with Sarah Jones, Killer Kela and as support and collaborator for Super Furry Animals. Oh, and he went to Latin America with the aformentioned 7 Notas 7 Colores and, and, and...

We'll stop now. Our guess is that the average human mind would actually struggle to take in everything that DJ Vadim has done in the last ten years, let alone do it. There really is only one way to revive yourself now - reach forward, slip 'USSR - The Art Of Listening' into your cd player and soak it all up. It is, after all, where he gets his energy from. And where he's putting it, too...

[links_clean] =>

www.djvadim.com

Facebook
Twitter
Soundcloud

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Jaga Jazzist have become something of a musical phenomenon in Norway since they started 19 years ago. Not only is this 9 piece instrumental band regarded as one of the most exciting and innovative in Norway, the members are all involved in other musical projects and have in one way or another contributed to almost every significant recording to come out of that part of the world in the last few years. It has been this strong involvement with different projects and musical styles which is the key to the unique sound of Jaga Jazzist. With no boundaries and an arsenal that includes trumpet, trombone, electric guitars, bass, tuba, bass clarinet, saxes, keyboards, vibraphone and a rack of electronics, Jaga Jazzist create timeless music; melodic, hypnotizing, delicate and subtle.

Jaga Jazzist started out in Tonsberg (a small town outside Oslo) in 1994 at which time Lars Horntveth (the main songwriter in Jaga) was only 14 years old! In 2001 they released their debut album 'A Livingroom Hush' on Warner in Scandinavia to massive critical acclaim and great sales (the album sold over 15000 copies in Norway alone...) Throughout 2002 the band shocked fans and critics alike with their blistering live shows, the buzz resulting in sold out dates all over Europe and bringing the band to the attention of Ninja Tune.

At the same time that their debut album was gaining more and more international success, Jaga recorded the follow up titled 'The Stix', their first release for Ninja. As with their first album it was produced by Norwegian superproducer Jørgen Træen, the man behind Duper Studios in Bergen (home of Røyksopp, Kings of Convenience, Sondre Lerche et al), but this time Jaga wanted to push their musical limits even further and really create a sound they could genuinely call 'Jaga Jazzist'. It was the perfect balance between (hu)man and machine, and it never lost the organic nature of a live 10 piece band.

After heavy touring next came their most radical album, 'What We Must', the result of the band going into an isolated studio out in the Norwegian woods and recording the demo now known as the 'Spydeberg Session'. Put down in one take in one day, it was a breakthrough moment for the group, a sound that was closer to their live sound than ever before. It was their rock album, but Jaga's own kaleidoscopic take on a rock album; rolling from early 90s British shoegazer guitar pop to 70s prog rock, all shot through with Jaga's own unique logic.

And now this takes us to their 6th album, "One Armed Bandit", released in January 2010. Lars Horntveth began writing the music in early 2008; alongside two new band members, Øystein Moen-keys and Stian Westerhus-Guitar, Jaga rented a house in the Swedish forest to rehearse new material. It could be said that this material was a reaction to their previous release, as whilst it does include the rock stylings of 'What We Must' and the electronics of 'The Stix', it is still very much looking forward with a new sound. The breakthrough moment was the track "One Armed Bandit", the first single title track from the album. Taking influence from the afro-beat stylings of Fela Kuti but funneled through Wagner-esque fanfares and arpeggios, this sound became a theme of the album.

In December 2008 the band went to Cabin Recorders to record the album with Jørgen Træen, a man who had been a big factor in forming Jaga´s music since 'A Livingroom Hush' and 'The Stix'. Unfortunately, after 3 weeks Træen got tinnitus, leading Jaga to quickly think about John McEntire, of Tortoise fame. He was enthusiastic about working with the band and in April 2009, 3 members of the band went to Soma Studio in Chicago to mix the album.

At heart of this collective is a restless soul, going in many directions at the same time, but always going forward - fast. The band are always pushing their boundaries, both personal and musical, and this is why they are impossible to categorize. And why they're special. Jaga is something natural and beautiful; a necessity. For both them and us.

[links] =>

www.jagajazzist.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 3994 [label_id] => 1 [twitter_username] => jagajazzist [instagram_id] => 344621722 [instagram_username] => jagajazzistofficial [link] => [listed] => 1 [sortname] => Jaga Jazzist [created] => 2010-07-17 22:15:58 [modified] => 2013-10-28 10:24:55 [slug] => jaga-jazzist [fuga_id] => [description_clean] =>

Jaga Jazzist have become something of a musical phenomenon in Norway since they started 19 years ago. Not only is this 9 piece instrumental band regarded as one of the most exciting and innovative in Norway, the members are all involved in other musical projects and have in one way or another contributed to almost every significant recording to come out of that part of the world in the last few years. It has been this strong involvement with different projects and musical styles which is the key to the unique sound of Jaga Jazzist. With no boundaries and an arsenal that includes trumpet, trombone, electric guitars, bass, tuba, bass clarinet, saxes, keyboards, vibraphone and a rack of electronics, Jaga Jazzist create timeless music; melodic, hypnotizing, delicate and subtle.

Jaga Jazzist started out in Tonsberg (a small town outside Oslo) in 1994 at which time Lars Horntveth (the main songwriter in Jaga) was only 14 years old! In 2001 they released their debut album 'A Livingroom Hush' on Warner in Scandinavia to massive critical acclaim and great sales (the album sold over 15000 copies in Norway alone...) Throughout 2002 the band shocked fans and critics alike with their blistering live shows, the buzz resulting in sold out dates all over Europe and bringing the band to the attention of Ninja Tune.

At the same time that their debut album was gaining more and more international success, Jaga recorded the follow up titled 'The Stix', their first release for Ninja. As with their first album it was produced by Norwegian superproducer Jørgen Træen, the man behind Duper Studios in Bergen (home of Røyksopp, Kings of Convenience, Sondre Lerche et al), but this time Jaga wanted to push their musical limits even further and really create a sound they could genuinely call 'Jaga Jazzist'. It was the perfect balance between (hu)man and machine, and it never lost the organic nature of a live 10 piece band.

After heavy touring next came their most radical album, 'What We Must', the result of the band going into an isolated studio out in the Norwegian woods and recording the demo now known as the 'Spydeberg Session'. Put down in one take in one day, it was a breakthrough moment for the group, a sound that was closer to their live sound than ever before. It was their rock album, but Jaga's own kaleidoscopic take on a rock album; rolling from early 90s British shoegazer guitar pop to 70s prog rock, all shot through with Jaga's own unique logic.

And now this takes us to their 6th album, "One Armed Bandit", released in January 2010. Lars Horntveth began writing the music in early 2008; alongside two new band members, Øystein Moen-keys and Stian Westerhus-Guitar, Jaga rented a house in the Swedish forest to rehearse new material. It could be said that this material was a reaction to their previous release, as whilst it does include the rock stylings of 'What We Must' and the electronics of 'The Stix', it is still very much looking forward with a new sound. The breakthrough moment was the track "One Armed Bandit", the first single title track from the album. Taking influence from the afro-beat stylings of Fela Kuti but funneled through Wagner-esque fanfares and arpeggios, this sound became a theme of the album.

In December 2008 the band went to Cabin Recorders to record the album with Jørgen Træen, a man who had been a big factor in forming Jaga´s music since 'A Livingroom Hush' and 'The Stix'. Unfortunately, after 3 weeks Træen got tinnitus, leading Jaga to quickly think about John McEntire, of Tortoise fame. He was enthusiastic about working with the band and in April 2009, 3 members of the band went to Soma Studio in Chicago to mix the album.

At heart of this collective is a restless soul, going in many directions at the same time, but always going forward - fast. The band are always pushing their boundaries, both personal and musical, and this is why they are impossible to categorize. And why they're special. Jaga is something natural and beautiful; a necessity. For both them and us.

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

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

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

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

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

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

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

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

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

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

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

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

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[counter_player] => [counter_biog] => ) ) ) [4] => Array ( [Event] => Array ( [id] => 12063 [date] => 2013-10-24 [artist] => Fink [city] => London [state] => [country] => GB [venue] => Screen on the Green [promoter] => [description] =>

One-off screening of Fink Meets The Royal Concertgebouw Orchestra, plus a live Q&A with Fink himself.

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One-off screening of Fink Meets The Royal Concertgebouw Orchestra, plus a live Q&A with Fink himself.

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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

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[image_upload_id] => 19785 [label_id] => 13 [twitter_username] => Finkmusic [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Fink [created] => 2010-07-17 22:15:58 [modified] => 2014-08-11 14:09:15 [slug] => fink [fuga_id] => [description_clean] =>

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

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

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

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

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

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

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

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

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

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

[links] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

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Grey  Reverend  is  the solo project of songwriter  L.D.  Brown.  He began the project  in  2005 while living in Philadelphia P.A,  focusing  on guitar  and  voice as a primary means of expression.  Raised  on  a variety of musical genres,  L.D. began playing the saxophone at age 9, but didn't discover the guitar until the age of 22 ,when he moved into an apartment where someone had serendipitously left one behind.  While living in Philadelphia, Brown was also fortunate enough to meet and study music under the instruction and guidance of his mentor and jazz guitar legend, Pat Martino. Soon  enough,  he  was  performing  in  various jazz, rock,  and  blues  outfits  throughout  the City of Brotherly Love. He immersed himself in  the  complex  language  of  music  theory  and jazz improvisation, though a few years into his burgeoning career, he mysteriously began  experiencing  problems  with  his  hands while performing and practicing. This setback obscured his aspirations of becoming a Jazz guitar soloist, in the realm of such legends as Wes Montgomery and Grant Green. Alas, he vowed not to give up the instrument that he had grown to love so dearly. 

Diagnosed  with  focal  dystonia, a neurological disorder that effects fine motor skills,  L.D.  was forced to cope  with  the  loss  of  dexterity  in his  hands  and slowly found himself  drawn  towards more subtle and simplistic  folk  and  blues  compositions of songwriters such as Joni Mitchell, John Fahey, Terry Calier and Mississippi John Hurt.  The  desire to  write and sing his  own  material combined  with  the  knowledge  of musicology  prompted  L.D.  to begin crafting  subversive  and  unique chord structures  for  his deeply visceral compositions.  Using  a stream-­of-­consciousness  style  of writing,  L.D.   also found inspiration in creating  sincere, yet accessible  lyrics about life, love,and loss. 

In  2006,  Brown  left  Philadelphia  for  New  York  City.  Shortly  after settling  in  Brooklyn,  where  he  currently resides,  he  began  to  meet and  collaborate  with  different  artists  and  songwriters  in  his neighborhood. This  manifested  into  a  friendship  with  Jason Swinscoe, the  founding  member  and leader  of  The  Cinematic  Orchestra. Swinscoe  incorporated  L.D.  into  his  musical  outfit, after he was commissioned to cover the now classic TCO song "To Build a Home".  He has  toured  with  TCO  in  support  of  the  group's  2006  studio  album Ma  Fleur,  and  has  been  a contributing  member of the group for nearly  6  years.  Also while in New York L.D.  began  busking  in the subways,  helping  him  to  develop  his  voice  and  performance skills  and inevitably catching  the  eye  of  many  record  labels  and producers. 

In  2011  Grey  Reverend was signed to Ninja Tune/Motion  Audio Records and released  his  first  international  LP  titled  "Of  The  Days".  L.D  has toured  the  U.K  and  Europe  in  support  of  this  album,  and has  been a  featured artist  on  NPR's  All  Things  Considered,  in  the  U.S. Grey Reverend's music has also been showcased on MTV, ABC ,NBC, HBO ,BBC and other networks worldwide, since the aforementioned release. 

Besides working with The Cinematic Orchestra, he has been collaborating with a wide range of artist around the world. He has worked with Bonobo, Fink, Lou Rhodes of Lamb, members of Wilco, Lizz Wright, Tortoise and many others along his journeys, and claims music to be his means of connecting with the rest of the world. 

David Garland of WNYC radio in New York put it eloquently when he said "As Grey Reverend, LD Brown makes compelling songs with reverence for the grey, undefined areas of style, and without concern for standard musical, or social expectations." 

A modern bluesman…if you will... 

[links] =>

Artist Website

Facebook
Twitter
Soundcloud

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Grey  Reverend  is  the solo project of songwriter  L.D.  Brown.  He began the project  in  2005 while living in Philadelphia P.A,  focusing  on guitar  and  voice as a primary means of expression.  Raised  on  a variety of musical genres,  L.D. began playing the saxophone at age 9, but didn't discover the guitar until the age of 22 ,when he moved into an apartment where someone had serendipitously left one behind.  While living in Philadelphia, Brown was also fortunate enough to meet and study music under the instruction and guidance of his mentor and jazz guitar legend, Pat Martino. Soon  enough,  he  was  performing  in  various jazz, rock,  and  blues  outfits  throughout  the City of Brotherly Love. He immersed himself in  the  complex  language  of  music  theory  and jazz improvisation, though a few years into his burgeoning career, he mysteriously began  experiencing  problems  with  his  hands while performing and practicing. This setback obscured his aspirations of becoming a Jazz guitar soloist, in the realm of such legends as Wes Montgomery and Grant Green. Alas, he vowed not to give up the instrument that he had grown to love so dearly. 

Diagnosed  with  focal  dystonia, a neurological disorder that effects fine motor skills,  L.D.  was forced to cope  with  the  loss  of  dexterity  in his  hands  and slowly found himself  drawn  towards more subtle and simplistic  folk  and  blues  compositions of songwriters such as Joni Mitchell, John Fahey, Terry Calier and Mississippi John Hurt.  The  desire to  write and sing his  own  material combined  with  the  knowledge  of musicology  prompted  L.D.  to begin crafting  subversive  and  unique chord structures  for  his deeply visceral compositions.  Using  a stream-­of-­consciousness  style  of writing,  L.D.   also found inspiration in creating  sincere, yet accessible  lyrics about life, love,and loss. 

In  2006,  Brown  left  Philadelphia  for  New  York  City.  Shortly  after settling  in  Brooklyn,  where  he  currently resides,  he  began  to  meet and  collaborate  with  different  artists  and  songwriters  in  his neighborhood. This  manifested  into  a  friendship  with  Jason Swinscoe, the  founding  member  and leader  of  The  Cinematic  Orchestra. Swinscoe  incorporated  L.D.  into  his  musical  outfit, after he was commissioned to cover the now classic TCO song "To Build a Home".  He has  toured  with  TCO  in  support  of  the  group's  2006  studio  album Ma  Fleur,  and  has  been  a contributing  member of the group for nearly  6  years.  Also while in New York L.D.  began  busking  in the subways,  helping  him  to  develop  his  voice  and  performance skills  and inevitably catching  the  eye  of  many  record  labels  and producers. 

In  2011  Grey  Reverend was signed to Ninja Tune/Motion  Audio Records and released  his  first  international  LP  titled  "Of  The  Days".  L.D  has toured  the  U.K  and  Europe  in  support  of  this  album,  and has  been a  featured artist  on  NPR's  All  Things  Considered,  in  the  U.S. Grey Reverend's music has also been showcased on MTV, ABC ,NBC, HBO ,BBC and other networks worldwide, since the aforementioned release. 

Besides working with The Cinematic Orchestra, he has been collaborating with a wide range of artist around the world. He has worked with Bonobo, Fink, Lou Rhodes of Lamb, members of Wilco, Lizz Wright, Tortoise and many others along his journeys, and claims music to be his means of connecting with the rest of the world. 

David Garland of WNYC radio in New York put it eloquently when he said "As Grey Reverend, LD Brown makes compelling songs with reverence for the grey, undefined areas of style, and without concern for standard musical, or social expectations." 

A modern bluesman…if you will... 

[links_clean] =>

Artist Website

Facebook
Twitter
Soundcloud

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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] =>

Facebook
Twitter
SoundCloud
Dorner Vs. Tookie Mixtape

[image_upload_id] => 19576 [label_id] => 2 [twitter_username] => Busdriverr [instagram_id] => 7648195 [instagram_username] => busdriverr [link] => [listed] => 1 [sortname] => Busdriver [created] => 2010-07-17 22:15:58 [modified] => 2014-06-16 17:41:15 [slug] => busdriver [fuga_id] => [description_clean] =>

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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<< Previous
Artist Date City Venue Buy
Daedelus Thursday, Oct 24th London, GB Birthdays Buy
DJ Vadim Thursday, Oct 24th Cambrigde, MA, US The Sinclair Buy
Jaga Jazzist Thursday, Oct 24th Brighton, GB The Old Market Buy
The Invisible Thursday, Oct 24th Manchester, GB Soup Kitchen Buy
Fink Thursday, Oct 24th London, GB Screen on the Green Buy
Bonobo (Live Set) Thursday, Oct 24th Seattle, WA, US Showbox at the Market Buy
Grey Reverend Thursday, Oct 24th Seattle, US The Showbox at the Market Buy
Busdriver Thursday, Oct 24th Vancouver, BC, CA The Venue opening Buy
Next >>