Array ( [Event] => Array ( [id] => 11968 [date] => 2013-10-26 [artist] => Congo Natty [city] => Berlin [state] => [country] => DE [venue] => Gretchen [promoter] => [description] => [ticket_url] => http://www.gretchen-club.de/ [image_upload_id] => 17944 [created] => 2013-09-04 10:10:56 [modified] => 2013-09-04 10:10:56 [year_slug] => 2013 [month_slug] => oct [day_slug] => 26 [slug] => congo-natty-berlin-gretchen-2 [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 17944 [media_type] => image [artist] => Congo Natty Press Shot 2013 [title] => Congo Natty [credits] => [buy_link] => [filename] => images/congo-natty-press-shot-2013/congo-natty-press-shot.jpg [checksum] => d0393ce6919154f58a310d117ec7d130 [mime_type] => image/jpeg [size] => 374084 [external_url] => http://media.ninjatune.net/images/congo-natty-press-shot-2013/congo-natty-press-shot.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => congo-natty-press-shot-2013 [slug] => congo-natty [created] => 2013-03-27 11:18:47 [modified] => 2013-03-27 11:19:09 [embed] => ) [Country] => Array ( [id] => 230 [name] => Germany [longname] => Germany [numcode] => 276 [iso] => DE [iso3] => DEU [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 457 [rght] => 458 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 183 [name] => Congo Natty [description] =>

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

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

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

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

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

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

[links_clean] => [counter_player] => [counter_biog] => ) ) ) [1] => Array ( [Event] => Array ( [id] => 11919 [date] => 2013-10-26 [artist] => Emika [city] => Frankfurt [state] => [country] => DE [venue] => Mousonturm [promoter] => [description] => [ticket_url] => http://www.mousonturm.de/web/en/ [image_upload_id] => 18350 [created] => 2013-08-07 12:02:47 [modified] => 2013-08-07 12:30:46 [year_slug] => 2013 [month_slug] => oct [day_slug] => 26 [slug] => emika-frankfurt-mousonturm [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 18350 [media_type] => image [artist] => Emika [title] => Emika Tour Flyer Summer 2013 [credits] => [buy_link] => http://ninjatune.net/artists/events/emika [filename] => images/emika/EMIKA-Tour-Poster-NEW-1.gif [checksum] => 76387c55326666a4d234d893611f5917 [mime_type] => image/gif [size] => 76142 [external_url] => http://media.ninjatune.net/images/emika/EMIKA-Tour-Poster-NEW-1.gif [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => emika [slug] => emika-tour-flyer-summer-2013 [created] => 2013-08-07 10:25:51 [modified] => 2013-08-07 12:35:09 [embed] => ) [Country] => Array ( [id] => 230 [name] => Germany [longname] => Germany [numcode] => 276 [iso] => DE [iso3] => DEU [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 457 [rght] => 458 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 93 [name] => Emika [description] =>

Ema Jolly, a musician and performer also known as Emika, has a geographical track record as diverse as they come. Born in the UK of Czech heritage, she spent many musically formative years in Bristol before relocating to the equally rich sonic landscape of Berlin. Emika takes all of her roots and melds them, lending context to her narrative-driven music.

Classically trained in piano and composition, she went on to study music technology at university and worked as a sound designer before pursuing music-making full-time, a career that now manifests in the writing, producing and mixing of all of her own work. Despite her self-described "nerdy," studio-based background, she notes a major shift in her recent output evolving from the isolated nature of her self-titled debut LP to a more interactive and freewheeling piece of work in this year's acclaimed DVA, an opus dreamt up in her Berlin apartment and created entirely herself.

The character of her performances has seen an evolution as well; she excitedly describes the interaction between her sound technician, light technician and choreographer which shapes the live show she's taken worldwide. Emika emphasises the live value of her performances: she and her small crew improvise together for each show, with the result becoming totally unpredictable and a very real response to the audience at hand.

Emika describes her music somewhere at the conjunction between "futuristic storytelling, club context and classical influences"--and it's caught the attention of a slew of collaborators including Tommy Four Seven, Pinch, Nick Hoppner, Paul Frick, Brand Brauer Frick, Amon Tobin and Marcel Dettman (with whom she co-produced a song for his forthcoming record).

After spending a good part of the year travelling everywhere from America to Ukraine, this autumn will see her embark on her first headline tour in Russia, in addition to a number of gigs across Europe. As long as she continues to push her unique singer-songwriter-meets-Berghain sound, there's no sign of slowing down.

[links] =>

www.emika.co.uk

Facebook
Twitter
Soundcloud

[image_upload_id] => 17890 [label_id] => 1 [twitter_username] => emikatwit [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Emika [created] => 2010-07-17 22:15:59 [modified] => 2014-03-06 10:15:14 [slug] => emika [fuga_id] => [description_clean] =>

Ema Jolly, a musician and performer also known as Emika, has a geographical track record as diverse as they come. Born in the UK of Czech heritage, she spent many musically formative years in Bristol before relocating to the equally rich sonic landscape of Berlin. Emika takes all of her roots and melds them, lending context to her narrative-driven music.

Classically trained in piano and composition, she went on to study music technology at university and worked as a sound designer before pursuing music-making full-time, a career that now manifests in the writing, producing and mixing of all of her own work. Despite her self-described "nerdy," studio-based background, she notes a major shift in her recent output evolving from the isolated nature of her self-titled debut LP to a more interactive and freewheeling piece of work in this year's acclaimed DVA, an opus dreamt up in her Berlin apartment and created entirely herself.

The character of her performances has seen an evolution as well; she excitedly describes the interaction between her sound technician, light technician and choreographer which shapes the live show she's taken worldwide. Emika emphasises the live value of her performances: she and her small crew improvise together for each show, with the result becoming totally unpredictable and a very real response to the audience at hand.

Emika describes her music somewhere at the conjunction between "futuristic storytelling, club context and classical influences"--and it's caught the attention of a slew of collaborators including Tommy Four Seven, Pinch, Nick Hoppner, Paul Frick, Brand Brauer Frick, Amon Tobin and Marcel Dettman (with whom she co-produced a song for his forthcoming record).

After spending a good part of the year travelling everywhere from America to Ukraine, this autumn will see her embark on her first headline tour in Russia, in addition to a number of gigs across Europe. As long as she continues to push her unique singer-songwriter-meets-Berghain sound, there's no sign of slowing down.

[links_clean] =>

www.emika.co.uk

Facebook
Twitter
Soundcloud

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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] => 7 [twitter_username] => daedelus_music [instagram_id] => 855015 [instagram_username] => daedelus [link] => [listed] => 0 [sortname] => Daedelus [created] => 2010-07-17 22:15:59 [modified] => 2014-09-08 11:12:48 [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

[counter_player] => [counter_biog] => ) ) ) [3] => Array ( [Event] => Array ( [id] => 12041 [date] => 2013-10-26 [artist] => Machinedrum [city] => Neuchatel [state] => [country] => CH [venue] => Case à Chocs [Superette Festival] [promoter] => [description] => [ticket_url] => http://www.superette.ch/welcome/samedi/ [image_upload_id] => 18518 [created] => 2013-09-19 17:52:44 [modified] => 2013-09-24 10:57:15 [year_slug] => 2013 [month_slug] => oct [day_slug] => 26 [slug] => machinedrum-neuchatel-case-a-chocs-superette-festival [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 18518 [media_type] => image [artist] => Machinedrum [title] => Vapor City Tour 2013 [credits] => [buy_link] => [filename] => images/machinedrum/WHOLE-VAPOR-CITY-TOUR-11-X-17.jpg [checksum] => 72d069db9bc6493044d67cf9142d88cf [mime_type] => image/jpeg [size] => 724005 [external_url] => http://media.ninjatune.net/images/machinedrum/WHOLE-VAPOR-CITY-TOUR-11-X-17.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => machinedrum [slug] => vapor-city-tour-2013 [created] => 2013-09-19 17:13:24 [modified] => 2013-09-19 17:23:29 [embed] => ) [Country] => Array ( [id] => 235 [name] => Switzerland [longname] => Switzerland [numcode] => 756 [iso] => CH [iso3] => CHE [currency] => CHF [active] => 1 [parent_id] => 226 [lft] => 467 [rght] => 468 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 182 [name] => Machinedrum [description] =>

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

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

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

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

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

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

[links] =>

Website

Facebook
Twitter
Instagram

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

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

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

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

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

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

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

[links_clean] =>

Website

Facebook
Twitter
Instagram

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

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

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

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

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

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

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

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

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

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

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Bonobo website

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

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

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

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

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

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

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

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

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

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

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Facebook
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[image_upload_id] => 17276 [label_id] => 1 [twitter_username] => letherette [instagram_id] => 231188637 [instagram_username] => letherette [link] => [listed] => 1 [sortname] => Letherette [created] => 2012-09-18 12:59:50 [modified] => 2013-05-03 14:52:39 [slug] => letherette [fuga_id] => [description_clean] =>

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

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

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

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

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

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

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

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

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

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

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Mr. Scruff: DJ, Producer & Cartoonist

As a DJ, Andy Carthy aka Mr. Scruff plays across the board, flitting between soul, funk, hip hop, jazz, reggae, latin, african, ska, disco, house, funk, breaks, soundtracks and loads more. As a producer he makes music that draws on these influences, with a large dose of cheek and good humour. His cartoon drawings illustrate gig flyers, record sleeves and CD covers, and usually accompany him at gigs as live animated visuals.

Carthy’s first encounter with mixing was as a 12 year old in late 1984, when a friend played him some of his uncle's electro records, notably the Streetsounds LP Crucial Electro Volume 1, opening his eyes and ears to the art of mixing records. Soon after he was constructing his own crude pause-button mixtapes, inspired by the electro compilations and various radio shows on stations such as Piccadilly, Radio Lancashire & Southside that exposed him to electro and hip-hop, soul, reggae and early house music. Shouts to John Peel (of course), Greg Wilson, Robbie Vincent, Richard Searling, Stu Allan, Lee Browne, Ranking Miss P, Scotty, Tony the Greek, Steve Barker, Gary Hickson, Sam Brown & Waxmaster.

Little by little Andy was building a collection fuelled by this knowledge, all the while improving his DJ skills. By 1987 he was proficient at turntable mixing and editing, although he was still using primitive home hi-fi gear. His first break came in 1994, when he met Barney Doodlebug, a DJ/Doodler who gave him his first Manchester gig, on a Sunday night in a venue called Dry Bar. He also passed on a demo tape to local label Rob's Records, which resulted in them releasing the first Mr. Scruff 12" single.

A regular on the Manchester scene through ’94-’95, he released a string of 12”s on Rob's Records subsidiary Pleasure, as well as sides for Echo Drop, Grand Central & Cup of Tea. His work for Grand Central with Mark Rae inspired some four-deck club performances, including friendly “battles” with DJ Food, which introduced him to the Ninja Tune fold.

Gigging across the UK (with Electric Chair, Off Centre, Fat City and Tru Thoughts) and Europe (with Grand Central), Mr. Scruff signed to Ninja Tune in 1998. His debut album Keep It Unreal arrived a year later, featuring the certified classic "Get A Move On", kick-starting his Manchester club night of the same name, borne of a desire to play exactly what he wanted, rather than having to fit in with the music policies of other club nights.

These were the beginnings of his famed “all-night-long” DJ sets cheerfully spanning blues, jazz, soul, funk, 60s R&B, disco, boogie, deep house, reggae, ska, rocksteady, dancehall, electronica, electro, hip hop, African, Latin, drum & bass, breakbeat… and bolstered his standing as a passionate, digger, collector and, above all, an unrivalled selector of the good stuff.

Trouser Jazz (2002); the epic mix CD Keep It Solid Steel (2004); and Ninja Tuna (2008) cemented Scruff’s rep as a premium freaker of frequencies, the latter featuring collaborations with the likes of Quantic, Danny Breaks, Alice Russell, Andreya Triana, Pete Simpson, Kaidi Tatham and Roots Manuva.

A fistful of EPs and singles populated 2009-2013 including Wobble Control (2011), Feel It / Bounce (2011) and Be The Music (2012).

In 2010 Big Chill Festival invited Mr. Scruff to host his own tent, testament to his inimitable raw dancefloor magnetism as are his regularly rammed-to-the-rafters Keep It Unreal sessions at Band On The Wall (Manchester) and KOKO (London).

After receiving a mighty nudge by the giant elbow of Ninja, the majority of 2013 was spent in the studio recording new album Friendly Bacteria, featuring Denis Jones, Matthew Halsall, Phil France, Vanessa Freeman & Robert Owens.

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Mr. Scruff: DJ, Producer & Cartoonist

As a DJ, Andy Carthy aka Mr. Scruff plays across the board, flitting between soul, funk, hip hop, jazz, reggae, latin, african, ska, disco, house, funk, breaks, soundtracks and loads more. As a producer he makes music that draws on these influences, with a large dose of cheek and good humour. His cartoon drawings illustrate gig flyers, record sleeves and CD covers, and usually accompany him at gigs as live animated visuals.

Carthy’s first encounter with mixing was as a 12 year old in late 1984, when a friend played him some of his uncle's electro records, notably the Streetsounds LP Crucial Electro Volume 1, opening his eyes and ears to the art of mixing records. Soon after he was constructing his own crude pause-button mixtapes, inspired by the electro compilations and various radio shows on stations such as Piccadilly, Radio Lancashire & Southside that exposed him to electro and hip-hop, soul, reggae and early house music. Shouts to John Peel (of course), Greg Wilson, Robbie Vincent, Richard Searling, Stu Allan, Lee Browne, Ranking Miss P, Scotty, Tony the Greek, Steve Barker, Gary Hickson, Sam Brown & Waxmaster.

Little by little Andy was building a collection fuelled by this knowledge, all the while improving his DJ skills. By 1987 he was proficient at turntable mixing and editing, although he was still using primitive home hi-fi gear. His first break came in 1994, when he met Barney Doodlebug, a DJ/Doodler who gave him his first Manchester gig, on a Sunday night in a venue called Dry Bar. He also passed on a demo tape to local label Rob's Records, which resulted in them releasing the first Mr. Scruff 12" single.

A regular on the Manchester scene through ’94-’95, he released a string of 12”s on Rob's Records subsidiary Pleasure, as well as sides for Echo Drop, Grand Central & Cup of Tea. His work for Grand Central with Mark Rae inspired some four-deck club performances, including friendly “battles” with DJ Food, which introduced him to the Ninja Tune fold.

Gigging across the UK (with Electric Chair, Off Centre, Fat City and Tru Thoughts) and Europe (with Grand Central), Mr. Scruff signed to Ninja Tune in 1998. His debut album Keep It Unreal arrived a year later, featuring the certified classic "Get A Move On", kick-starting his Manchester club night of the same name, borne of a desire to play exactly what he wanted, rather than having to fit in with the music policies of other club nights.

These were the beginnings of his famed “all-night-long” DJ sets cheerfully spanning blues, jazz, soul, funk, 60s R&B, disco, boogie, deep house, reggae, ska, rocksteady, dancehall, electronica, electro, hip hop, African, Latin, drum & bass, breakbeat… and bolstered his standing as a passionate, digger, collector and, above all, an unrivalled selector of the good stuff.

Trouser Jazz (2002); the epic mix CD Keep It Solid Steel (2004); and Ninja Tuna (2008) cemented Scruff’s rep as a premium freaker of frequencies, the latter featuring collaborations with the likes of Quantic, Danny Breaks, Alice Russell, Andreya Triana, Pete Simpson, Kaidi Tatham and Roots Manuva.

A fistful of EPs and singles populated 2009-2013 including Wobble Control (2011), Feel It / Bounce (2011) and Be The Music (2012).

In 2010 Big Chill Festival invited Mr. Scruff to host his own tent, testament to his inimitable raw dancefloor magnetism as are his regularly rammed-to-the-rafters Keep It Unreal sessions at Band On The Wall (Manchester) and KOKO (London).

After receiving a mighty nudge by the giant elbow of Ninja, the majority of 2013 was spent in the studio recording new album Friendly Bacteria, featuring Denis Jones, Matthew Halsall, Phil France, Vanessa Freeman & Robert Owens.

[links_clean] =>

www.mrscruff.com

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.

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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
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SoundCloud
Dorner Vs. Tookie Mixtape

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<< Previous
Artist Date City Venue Buy
Congo Natty Saturday, Oct 26th Berlin, DE Gretchen Buy
Emika Saturday, Oct 26th Frankfurt, DE Mousonturm Buy
Daedelus Saturday, Oct 26th Nijmegen, NL Doornroosje Buy
Machinedrum Saturday, Oct 26th Neuchatel, CH Case à Chocs [Superette Festival] Buy
Bonobo (Live Set) Saturday, Oct 26th San Franciso, CA, US The Warfield Buy
Grey Reverend Saturday, Oct 26th San Francisco, US Warfield Buy
Letherette Saturday, Oct 26th Paris, FR La Machine du Moulin Rouge Buy
Mr. Scruff Saturday, Oct 26th Leeds, GB Canal Mills Buy
Busdriver Saturday, Oct 26th Portland, OR, US Wonder Ballroom Buy
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