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Heavy anticipation has been brewing for quite some time as Brooklyn based producer, composer, pianist, DJ and live musician Taylor McFerrin is set to release his first full length LP, Early Riser in June 2014 on Flying Lotus's Brainfeeder record label.

Taylor's musical style is equally influenced by the legends of 60's / 70's Soul, the kings of the Modern Beat Generation, Golden Era hip hop, free form jazz and electronic music.  By playing all of the instruments on his productions, while also relying heavily on sampling and chopping up his live takes, he has found a sound that seamlessly bridges myriad musical worlds that draws the listener into a constantly shifting beautiful audio soundscape.

By sustaining major buzz in the Future Soul scene through his first EP, Broken Vibes (featuring the acclaimed single, "Place in My Heart"), Taylor has toured worldwide as a one man show and has played major festivals such as Lollapalooza, Glastonbury, The Big Chill, and Gilles Peterson's Worldwide Festival.  In his home base of New York City, he has performed at such legendary venues as The Apollo, The Blue Note, Radio City Music Hall and The Lincoln Jazz Center opening up for artists such as Erykah Badu, The Roots, Nas, Talib Kweli and Robert Glasper

In addition to producing and performing, Taylor has served as the Head Instructor of the pioneering Beat Rockers program over the past 4 years teaching beatboxing and musical self-expression to students who are blind and/or have multiple disabilities at the Lavelle School for the Blind in the Bronx.

Taylor's ability to create and evolve musically by drawing inspiration from all corners of his life translates into a sound that evokes feeling and an innovative live set that is equal parts wonderment and musical dexterity.  

[links] =>

www.taylormcferrin.com

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[image_upload_id] => 19295 [label_id] => 7 [twitter_username] => taylormcferrin [instagram_id] => [instagram_username] => taylormcferrin [link] => [listed] => 0 [sortname] => Taylor McFerrin [created] => 2011-02-02 17:39:17 [modified] => 2014-04-09 16:41:23 [slug] => taylor-mcferrin [fuga_id] => [description_clean] =>

Heavy anticipation has been brewing for quite some time as Brooklyn based producer, composer, pianist, DJ and live musician Taylor McFerrin is set to release his first full length LP, Early Riser in June 2014 on Flying Lotus's Brainfeeder record label.

Taylor's musical style is equally influenced by the legends of 60's / 70's Soul, the kings of the Modern Beat Generation, Golden Era hip hop, free form jazz and electronic music.  By playing all of the instruments on his productions, while also relying heavily on sampling and chopping up his live takes, he has found a sound that seamlessly bridges myriad musical worlds that draws the listener into a constantly shifting beautiful audio soundscape.

By sustaining major buzz in the Future Soul scene through his first EP, Broken Vibes (featuring the acclaimed single, "Place in My Heart"), Taylor has toured worldwide as a one man show and has played major festivals such as Lollapalooza, Glastonbury, The Big Chill, and Gilles Peterson's Worldwide Festival.  In his home base of New York City, he has performed at such legendary venues as The Apollo, The Blue Note, Radio City Music Hall and The Lincoln Jazz Center opening up for artists such as Erykah Badu, The Roots, Nas, Talib Kweli and Robert Glasper

In addition to producing and performing, Taylor has served as the Head Instructor of the pioneering Beat Rockers program over the past 4 years teaching beatboxing and musical self-expression to students who are blind and/or have multiple disabilities at the Lavelle School for the Blind in the Bronx.

Taylor's ability to create and evolve musically by drawing inspiration from all corners of his life translates into a sound that evokes feeling and an innovative live set that is equal parts wonderment and musical dexterity.  

[links_clean] =>

www.taylormcferrin.com

Facebook
Twitter
Soundcloud

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few.

Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far too many to list here. Name checked by confirmed fans as diverse as Aphex Twin, Four Tet, Grace Jones, Trent Reznor, Fuck Buttons, Death Grips, Thom Yorke, Daddy G (Massive Attack) and more. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic originator and not some come-lately producer.

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on Tapping The Conversation. Released on N.Y’s Word Sound label, it was conceived as an alternate soundtrack to Coppola’s 'The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later.

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s Pressure. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on Pressure but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more…

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases Aktion Pak (Rephlex) and Money Honey (under the moniker Pressure which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva).

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for London Zoo, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capital’s urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails Lights In The Sky tour.

Post London Zoo, The Bug alternated between live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound. 2012 saw a re-emergence 7" style with his Acid Ragga imprint series. With a Roland TB-303 in hand he found the missing link between classic acid techno and digital dancehall. It was no second coming of acid/summer of love celebration. It was raw digi-grinds with the likes of Daddy Freddy, Warrior Queen, Copeland, and Miss Red up on them.

2013's Filthy EP marked the first rumblings of a new full length record. And now Angels & Devils is upon us (are amongst us). For this album Kevin Martin has both enlisted the familiar and smashed open the idea of what The Bug is. Grouping the results in two different distinct themes of Angels & Devils under the same conceptual banner. Both a year zero of sorts for The Bug, yet drawing on what has been before. Indeed The Bug is the only producer who can bring in the likes of Grouper, Copeland, Miss Red, Gonjasufi, Flowdan, Justin Broadrick (Godflesh/Jesu), Mala, Death Grips, and Warrior Queen and make it seamless. End times need a soundtrack to prep for what's above and below, and this is it.

Watch for post release campaign addendums. The Exit EP (featuring "Void" plus further Grouper material, Manga's wide cut "Function" and Daddy Freddy's "Blaow" with attendent instrumental dubs), and Bug vs. Earth (Dylan Carlson), a 12" release of tracks initially penned for Angels & Devils, but which quality of results quickly dictated was in need of its own release. Plus additional Acid Ragga onslaughts being detonated in quick succession before the Acid Ragga compilation.

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few.

Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far too many to list here. Name checked by confirmed fans as diverse as Aphex Twin, Four Tet, Grace Jones, Trent Reznor, Fuck Buttons, Death Grips, Thom Yorke, Daddy G (Massive Attack) and more. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic originator and not some come-lately producer.

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on Tapping The Conversation. Released on N.Y’s Word Sound label, it was conceived as an alternate soundtrack to Coppola’s 'The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later.

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s Pressure. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on Pressure but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more…

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases Aktion Pak (Rephlex) and Money Honey (under the moniker Pressure which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva).

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for London Zoo, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capital’s urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails Lights In The Sky tour.

Post London Zoo, The Bug alternated between live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound. 2012 saw a re-emergence 7" style with his Acid Ragga imprint series. With a Roland TB-303 in hand he found the missing link between classic acid techno and digital dancehall. It was no second coming of acid/summer of love celebration. It was raw digi-grinds with the likes of Daddy Freddy, Warrior Queen, Copeland, and Miss Red up on them.

2013's Filthy EP marked the first rumblings of a new full length record. And now Angels & Devils is upon us (are amongst us). For this album Kevin Martin has both enlisted the familiar and smashed open the idea of what The Bug is. Grouping the results in two different distinct themes of Angels & Devils under the same conceptual banner. Both a year zero of sorts for The Bug, yet drawing on what has been before. Indeed The Bug is the only producer who can bring in the likes of Grouper, Copeland, Miss Red, Gonjasufi, Flowdan, Justin Broadrick (Godflesh/Jesu), Mala, Death Grips, and Warrior Queen and make it seamless. End times need a soundtrack to prep for what's above and below, and this is it.

Watch for post release campaign addendums. The Exit EP (featuring "Void" plus further Grouper material, Manga's wide cut "Function" and Daddy Freddy's "Blaow" with attendent instrumental dubs), and Bug vs. Earth (Dylan Carlson), a 12" release of tracks initially penned for Angels & Devils, but which quality of results quickly dictated was in need of its own release. Plus additional Acid Ragga onslaughts being detonated in quick succession before the Acid Ragga compilation.

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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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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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[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.’

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Fink Website

Facebook
Twitter
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[counter_player] => [counter_biog] => ) ) ) [4] => Array ( [Event] => Array ( [id] => 13203 [date] => 2014-10-31 [artist] => Taylor McFerrin [city] => Rotterdam [state] => [country] => NL [venue] => Bird [promoter] => [description] => [ticket_url] => http://www.bird-rotterdam.nl/agenda/taylor-mcferrin [image_upload_id] => 19737 [created] => 2014-07-22 17:43:35 [modified] => 2014-07-24 12:45:20 [year_slug] => 2014 [month_slug] => oct [day_slug] => 31 [slug] => taylor-mcferrin-rotterdam-bird [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 19737 [media_type] => image [artist] => Taylor McFerrin [title] => Taylor McFerrin Rotterdam Poster [credits] => [buy_link] => [filename] => images/taylor-mcferrin/Taylor-McFerrin-Rotterdam-Poster.png [checksum] => 2bcd91256263f239ec5676994bbf95dd [mime_type] => image/png [size] => 199582 [external_url] => http://media.ninjatune.net/images/taylor-mcferrin/Taylor-McFerrin-Rotterdam-Poster.png [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => taylor-mcferrin [slug] => taylor-mcferrin-rotterdam-poster [created] => 2014-07-24 12:44:58 [modified] => 2014-07-24 12:47:24 [embed] => ) [Country] => Array ( [id] => 234 [name] => Netherlands [longname] => Netherlands [numcode] => 528 [iso] => NL [iso3] => NLD [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 465 [rght] => 466 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 140 [name] => Taylor McFerrin [description] =>

Heavy anticipation has been brewing for quite some time as Brooklyn based producer, composer, pianist, DJ and live musician Taylor McFerrin is set to release his first full length LP, Early Riser in June 2014 on Flying Lotus's Brainfeeder record label.

Taylor's musical style is equally influenced by the legends of 60's / 70's Soul, the kings of the Modern Beat Generation, Golden Era hip hop, free form jazz and electronic music.  By playing all of the instruments on his productions, while also relying heavily on sampling and chopping up his live takes, he has found a sound that seamlessly bridges myriad musical worlds that draws the listener into a constantly shifting beautiful audio soundscape.

By sustaining major buzz in the Future Soul scene through his first EP, Broken Vibes (featuring the acclaimed single, "Place in My Heart"), Taylor has toured worldwide as a one man show and has played major festivals such as Lollapalooza, Glastonbury, The Big Chill, and Gilles Peterson's Worldwide Festival.  In his home base of New York City, he has performed at such legendary venues as The Apollo, The Blue Note, Radio City Music Hall and The Lincoln Jazz Center opening up for artists such as Erykah Badu, The Roots, Nas, Talib Kweli and Robert Glasper

In addition to producing and performing, Taylor has served as the Head Instructor of the pioneering Beat Rockers program over the past 4 years teaching beatboxing and musical self-expression to students who are blind and/or have multiple disabilities at the Lavelle School for the Blind in the Bronx.

Taylor's ability to create and evolve musically by drawing inspiration from all corners of his life translates into a sound that evokes feeling and an innovative live set that is equal parts wonderment and musical dexterity.  

[links] =>

www.taylormcferrin.com

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[image_upload_id] => 19295 [label_id] => 7 [twitter_username] => taylormcferrin [instagram_id] => [instagram_username] => taylormcferrin [link] => [listed] => 0 [sortname] => Taylor McFerrin [created] => 2011-02-02 17:39:17 [modified] => 2014-04-09 16:41:23 [slug] => taylor-mcferrin [fuga_id] => [description_clean] =>

Heavy anticipation has been brewing for quite some time as Brooklyn based producer, composer, pianist, DJ and live musician Taylor McFerrin is set to release his first full length LP, Early Riser in June 2014 on Flying Lotus's Brainfeeder record label.

Taylor's musical style is equally influenced by the legends of 60's / 70's Soul, the kings of the Modern Beat Generation, Golden Era hip hop, free form jazz and electronic music.  By playing all of the instruments on his productions, while also relying heavily on sampling and chopping up his live takes, he has found a sound that seamlessly bridges myriad musical worlds that draws the listener into a constantly shifting beautiful audio soundscape.

By sustaining major buzz in the Future Soul scene through his first EP, Broken Vibes (featuring the acclaimed single, "Place in My Heart"), Taylor has toured worldwide as a one man show and has played major festivals such as Lollapalooza, Glastonbury, The Big Chill, and Gilles Peterson's Worldwide Festival.  In his home base of New York City, he has performed at such legendary venues as The Apollo, The Blue Note, Radio City Music Hall and The Lincoln Jazz Center opening up for artists such as Erykah Badu, The Roots, Nas, Talib Kweli and Robert Glasper

In addition to producing and performing, Taylor has served as the Head Instructor of the pioneering Beat Rockers program over the past 4 years teaching beatboxing and musical self-expression to students who are blind and/or have multiple disabilities at the Lavelle School for the Blind in the Bronx.

Taylor's ability to create and evolve musically by drawing inspiration from all corners of his life translates into a sound that evokes feeling and an innovative live set that is equal parts wonderment and musical dexterity.  

[links_clean] =>

www.taylormcferrin.com

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.

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[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
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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few.

Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far too many to list here. Name checked by confirmed fans as diverse as Aphex Twin, Four Tet, Grace Jones, Trent Reznor, Fuck Buttons, Death Grips, Thom Yorke, Daddy G (Massive Attack) and more. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic originator and not some come-lately producer.

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on Tapping The Conversation. Released on N.Y’s Word Sound label, it was conceived as an alternate soundtrack to Coppola’s 'The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later.

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s Pressure. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on Pressure but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more…

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases Aktion Pak (Rephlex) and Money Honey (under the moniker Pressure which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva).

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for London Zoo, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capital’s urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails Lights In The Sky tour.

Post London Zoo, The Bug alternated between live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound. 2012 saw a re-emergence 7" style with his Acid Ragga imprint series. With a Roland TB-303 in hand he found the missing link between classic acid techno and digital dancehall. It was no second coming of acid/summer of love celebration. It was raw digi-grinds with the likes of Daddy Freddy, Warrior Queen, Copeland, and Miss Red up on them.

2013's Filthy EP marked the first rumblings of a new full length record. And now Angels & Devils is upon us (are amongst us). For this album Kevin Martin has both enlisted the familiar and smashed open the idea of what The Bug is. Grouping the results in two different distinct themes of Angels & Devils under the same conceptual banner. Both a year zero of sorts for The Bug, yet drawing on what has been before. Indeed The Bug is the only producer who can bring in the likes of Grouper, Copeland, Miss Red, Gonjasufi, Flowdan, Justin Broadrick (Godflesh/Jesu), Mala, Death Grips, and Warrior Queen and make it seamless. End times need a soundtrack to prep for what's above and below, and this is it.

Watch for post release campaign addendums. The Exit EP (featuring "Void" plus further Grouper material, Manga's wide cut "Function" and Daddy Freddy's "Blaow" with attendent instrumental dubs), and Bug vs. Earth (Dylan Carlson), a 12" release of tracks initially penned for Angels & Devils, but which quality of results quickly dictated was in need of its own release. Plus additional Acid Ragga onslaughts being detonated in quick succession before the Acid Ragga compilation.

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few.

Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far too many to list here. Name checked by confirmed fans as diverse as Aphex Twin, Four Tet, Grace Jones, Trent Reznor, Fuck Buttons, Death Grips, Thom Yorke, Daddy G (Massive Attack) and more. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic originator and not some come-lately producer.

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on Tapping The Conversation. Released on N.Y’s Word Sound label, it was conceived as an alternate soundtrack to Coppola’s 'The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later.

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s Pressure. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on Pressure but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more…

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases Aktion Pak (Rephlex) and Money Honey (under the moniker Pressure which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva).

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for London Zoo, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capital’s urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails Lights In The Sky tour.

Post London Zoo, The Bug alternated between live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound. 2012 saw a re-emergence 7" style with his Acid Ragga imprint series. With a Roland TB-303 in hand he found the missing link between classic acid techno and digital dancehall. It was no second coming of acid/summer of love celebration. It was raw digi-grinds with the likes of Daddy Freddy, Warrior Queen, Copeland, and Miss Red up on them.

2013's Filthy EP marked the first rumblings of a new full length record. And now Angels & Devils is upon us (are amongst us). For this album Kevin Martin has both enlisted the familiar and smashed open the idea of what The Bug is. Grouping the results in two different distinct themes of Angels & Devils under the same conceptual banner. Both a year zero of sorts for The Bug, yet drawing on what has been before. Indeed The Bug is the only producer who can bring in the likes of Grouper, Copeland, Miss Red, Gonjasufi, Flowdan, Justin Broadrick (Godflesh/Jesu), Mala, Death Grips, and Warrior Queen and make it seamless. End times need a soundtrack to prep for what's above and below, and this is it.

Watch for post release campaign addendums. The Exit EP (featuring "Void" plus further Grouper material, Manga's wide cut "Function" and Daddy Freddy's "Blaow" with attendent instrumental dubs), and Bug vs. Earth (Dylan Carlson), a 12" release of tracks initially penned for Angels & Devils, but which quality of results quickly dictated was in need of its own release. Plus additional Acid Ragga onslaughts being detonated in quick succession before the Acid Ragga compilation.

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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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In a world in which upstart DIY talent is flooding the gates of electronic music, a few recent voices have been so strong as to be startling. Lapalux - aka 25-year-old Stuart Howard - is certainly one such. As singular as a brilliant artist always should be, his instinctive understanding of the atmospheric power of texture grips the ear immediately on listening. Nostalchic is his debut album, mission statement, and the climax of many years of studying his craft. 

The amalgam of words that make the title is aptly, and perhaps knowingly chosen. The album evokes nostalgia without ever sounding nostalgic, and Howard may have had his tongue in his chic when he added the second half of the title. The album is his most focused document to date, adding his beloved R&B and soul into elements of house and hip hop, all with the trademark Lapalux finish; infectious, lopsided swing and achingly deep texture.

“Like the R&B of another time and place, transmitted from an unknown planet in a distant galaxy into the mind of a wildly creative sound designer.” – XLR8R 

“Fans of the Kimbies, James Blake’s ‘CMYK’, Four Tet, Bibio, FlyLo, Matthewdavid, Onra, Debruit and all those guys – meet your new favourite producer.“ – Boomkat 

“Lapalux is probably one of the finest producers out there at the moment” – Oli Marlow, Sonic Router 

“The Barry White of electronica.” – Errol Anderson, The Independent

[links] =>

www.lapalux.com

Facebook
Twitter
Soundcloud

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In a world in which upstart DIY talent is flooding the gates of electronic music, a few recent voices have been so strong as to be startling. Lapalux - aka 25-year-old Stuart Howard - is certainly one such. As singular as a brilliant artist always should be, his instinctive understanding of the atmospheric power of texture grips the ear immediately on listening. Nostalchic is his debut album, mission statement, and the climax of many years of studying his craft. 

The amalgam of words that make the title is aptly, and perhaps knowingly chosen. The album evokes nostalgia without ever sounding nostalgic, and Howard may have had his tongue in his chic when he added the second half of the title. The album is his most focused document to date, adding his beloved R&B and soul into elements of house and hip hop, all with the trademark Lapalux finish; infectious, lopsided swing and achingly deep texture.

“Like the R&B of another time and place, transmitted from an unknown planet in a distant galaxy into the mind of a wildly creative sound designer.” – XLR8R 

“Fans of the Kimbies, James Blake’s ‘CMYK’, Four Tet, Bibio, FlyLo, Matthewdavid, Onra, Debruit and all those guys – meet your new favourite producer.“ – Boomkat 

“Lapalux is probably one of the finest producers out there at the moment” – Oli Marlow, Sonic Router 

“The Barry White of electronica.” – Errol Anderson, The Independent

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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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[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

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few.

Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far too many to list here. Name checked by confirmed fans as diverse as Aphex Twin, Four Tet, Grace Jones, Trent Reznor, Fuck Buttons, Death Grips, Thom Yorke, Daddy G (Massive Attack) and more. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic originator and not some come-lately producer.

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on Tapping The Conversation. Released on N.Y’s Word Sound label, it was conceived as an alternate soundtrack to Coppola’s 'The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later.

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s Pressure. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on Pressure but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more…

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases Aktion Pak (Rephlex) and Money Honey (under the moniker Pressure which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva).

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for London Zoo, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capital’s urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails Lights In The Sky tour.

Post London Zoo, The Bug alternated between live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound. 2012 saw a re-emergence 7" style with his Acid Ragga imprint series. With a Roland TB-303 in hand he found the missing link between classic acid techno and digital dancehall. It was no second coming of acid/summer of love celebration. It was raw digi-grinds with the likes of Daddy Freddy, Warrior Queen, Copeland, and Miss Red up on them.

2013's Filthy EP marked the first rumblings of a new full length record. And now Angels & Devils is upon us (are amongst us). For this album Kevin Martin has both enlisted the familiar and smashed open the idea of what The Bug is. Grouping the results in two different distinct themes of Angels & Devils under the same conceptual banner. Both a year zero of sorts for The Bug, yet drawing on what has been before. Indeed The Bug is the only producer who can bring in the likes of Grouper, Copeland, Miss Red, Gonjasufi, Flowdan, Justin Broadrick (Godflesh/Jesu), Mala, Death Grips, and Warrior Queen and make it seamless. End times need a soundtrack to prep for what's above and below, and this is it.

Watch for post release campaign addendums. The Exit EP (featuring "Void" plus further Grouper material, Manga's wide cut "Function" and Daddy Freddy's "Blaow" with attendent instrumental dubs), and Bug vs. Earth (Dylan Carlson), a 12" release of tracks initially penned for Angels & Devils, but which quality of results quickly dictated was in need of its own release. Plus additional Acid Ragga onslaughts being detonated in quick succession before the Acid Ragga compilation.

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few.

Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far too many to list here. Name checked by confirmed fans as diverse as Aphex Twin, Four Tet, Grace Jones, Trent Reznor, Fuck Buttons, Death Grips, Thom Yorke, Daddy G (Massive Attack) and more. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic originator and not some come-lately producer.

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on Tapping The Conversation. Released on N.Y’s Word Sound label, it was conceived as an alternate soundtrack to Coppola’s 'The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later.

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s Pressure. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on Pressure but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more…

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases Aktion Pak (Rephlex) and Money Honey (under the moniker Pressure which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva).

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for London Zoo, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capital’s urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails Lights In The Sky tour.

Post London Zoo, The Bug alternated between live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound. 2012 saw a re-emergence 7" style with his Acid Ragga imprint series. With a Roland TB-303 in hand he found the missing link between classic acid techno and digital dancehall. It was no second coming of acid/summer of love celebration. It was raw digi-grinds with the likes of Daddy Freddy, Warrior Queen, Copeland, and Miss Red up on them.

2013's Filthy EP marked the first rumblings of a new full length record. And now Angels & Devils is upon us (are amongst us). For this album Kevin Martin has both enlisted the familiar and smashed open the idea of what The Bug is. Grouping the results in two different distinct themes of Angels & Devils under the same conceptual banner. Both a year zero of sorts for The Bug, yet drawing on what has been before. Indeed The Bug is the only producer who can bring in the likes of Grouper, Copeland, Miss Red, Gonjasufi, Flowdan, Justin Broadrick (Godflesh/Jesu), Mala, Death Grips, and Warrior Queen and make it seamless. End times need a soundtrack to prep for what's above and below, and this is it.

Watch for post release campaign addendums. The Exit EP (featuring "Void" plus further Grouper material, Manga's wide cut "Function" and Daddy Freddy's "Blaow" with attendent instrumental dubs), and Bug vs. Earth (Dylan Carlson), a 12" release of tracks initially penned for Angels & Devils, but which quality of results quickly dictated was in need of its own release. Plus additional Acid Ragga onslaughts being detonated in quick succession before the Acid Ragga compilation.

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

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

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

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

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

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

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

[links] =>

Website
Facebook
Twitter
Soundcloud

[image_upload_id] => 19301 [label_id] => 1 [twitter_username] => MARTYN3024 [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Martyn [created] => 2011-06-29 15:37:25 [modified] => 2014-04-11 14:50:12 [slug] => martyn [fuga_id] => [description_clean] =>

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

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

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

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

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

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

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

[links_clean] =>

Website
Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] => ) ) ) [13] => Array ( [Event] => Array ( [id] => 13473 [date] => 2014-11-01 [artist] => Taylor McFerrin [city] => Eindhoven [state] => [country] => NL [venue] => So What's Next? Festival [promoter] => [description] => [ticket_url] => [image_upload_id] => 20009 [created] => 2014-09-25 13:13:24 [modified] => 2014-09-25 13:13:24 [year_slug] => 2014 [month_slug] => nov [day_slug] => 1 [slug] => taylor-mcferrin-eindhoven-so-whats-next-festival [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20009 [media_type] => image [artist] => Taylor McFerrin [title] => 2014 world tour [credits] => [buy_link] => [filename] => images/taylor-mcferrin/TMF-2014tour.jpg [checksum] => a7efe1804e3d75521533fb9e4697a950 [mime_type] => image/jpeg [size] => 159946 [external_url] => http://media.ninjatune.net/images/taylor-mcferrin/TMF-2014tour.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => taylor-mcferrin [slug] => 2014-world-tour [created] => 2014-09-25 12:44:03 [modified] => 2014-09-25 12:46:55 [embed] => ) [Country] => Array ( [id] => 234 [name] => Netherlands [longname] => Netherlands [numcode] => 528 [iso] => NL [iso3] => NLD [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 465 [rght] => 466 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 140 [name] => Taylor McFerrin [description] =>

Heavy anticipation has been brewing for quite some time as Brooklyn based producer, composer, pianist, DJ and live musician Taylor McFerrin is set to release his first full length LP, Early Riser in June 2014 on Flying Lotus's Brainfeeder record label.

Taylor's musical style is equally influenced by the legends of 60's / 70's Soul, the kings of the Modern Beat Generation, Golden Era hip hop, free form jazz and electronic music.  By playing all of the instruments on his productions, while also relying heavily on sampling and chopping up his live takes, he has found a sound that seamlessly bridges myriad musical worlds that draws the listener into a constantly shifting beautiful audio soundscape.

By sustaining major buzz in the Future Soul scene through his first EP, Broken Vibes (featuring the acclaimed single, "Place in My Heart"), Taylor has toured worldwide as a one man show and has played major festivals such as Lollapalooza, Glastonbury, The Big Chill, and Gilles Peterson's Worldwide Festival.  In his home base of New York City, he has performed at such legendary venues as The Apollo, The Blue Note, Radio City Music Hall and The Lincoln Jazz Center opening up for artists such as Erykah Badu, The Roots, Nas, Talib Kweli and Robert Glasper

In addition to producing and performing, Taylor has served as the Head Instructor of the pioneering Beat Rockers program over the past 4 years teaching beatboxing and musical self-expression to students who are blind and/or have multiple disabilities at the Lavelle School for the Blind in the Bronx.

Taylor's ability to create and evolve musically by drawing inspiration from all corners of his life translates into a sound that evokes feeling and an innovative live set that is equal parts wonderment and musical dexterity.  

[links] =>

www.taylormcferrin.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 19295 [label_id] => 7 [twitter_username] => taylormcferrin [instagram_id] => [instagram_username] => taylormcferrin [link] => [listed] => 0 [sortname] => Taylor McFerrin [created] => 2011-02-02 17:39:17 [modified] => 2014-04-09 16:41:23 [slug] => taylor-mcferrin [fuga_id] => [description_clean] =>

Heavy anticipation has been brewing for quite some time as Brooklyn based producer, composer, pianist, DJ and live musician Taylor McFerrin is set to release his first full length LP, Early Riser in June 2014 on Flying Lotus's Brainfeeder record label.

Taylor's musical style is equally influenced by the legends of 60's / 70's Soul, the kings of the Modern Beat Generation, Golden Era hip hop, free form jazz and electronic music.  By playing all of the instruments on his productions, while also relying heavily on sampling and chopping up his live takes, he has found a sound that seamlessly bridges myriad musical worlds that draws the listener into a constantly shifting beautiful audio soundscape.

By sustaining major buzz in the Future Soul scene through his first EP, Broken Vibes (featuring the acclaimed single, "Place in My Heart"), Taylor has toured worldwide as a one man show and has played major festivals such as Lollapalooza, Glastonbury, The Big Chill, and Gilles Peterson's Worldwide Festival.  In his home base of New York City, he has performed at such legendary venues as The Apollo, The Blue Note, Radio City Music Hall and The Lincoln Jazz Center opening up for artists such as Erykah Badu, The Roots, Nas, Talib Kweli and Robert Glasper

In addition to producing and performing, Taylor has served as the Head Instructor of the pioneering Beat Rockers program over the past 4 years teaching beatboxing and musical self-expression to students who are blind and/or have multiple disabilities at the Lavelle School for the Blind in the Bronx.

Taylor's ability to create and evolve musically by drawing inspiration from all corners of his life translates into a sound that evokes feeling and an innovative live set that is equal parts wonderment and musical dexterity.  

[links_clean] =>

www.taylormcferrin.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.

[links] =>

Facebook
Twitter
SoundCloud
Dorner Vs. Tookie Mixtape

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

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

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

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

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

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

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

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

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

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

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Dorner Vs. Tookie Mixtape

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

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

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

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

Who is Fin Greenall? All of the above. 

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

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

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

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

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

The young techno warrior was messianic. 

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

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

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

So the wheels of steel started to fall off. 

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

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

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

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

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

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

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

Who is Fin Greenall? All of the above. 

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

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

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

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

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

The young techno warrior was messianic. 

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

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

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

So the wheels of steel started to fall off. 

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

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

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

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Heavy anticipation has been brewing for quite some time as Brooklyn based producer, composer, pianist, DJ and live musician Taylor McFerrin is set to release his first full length LP, Early Riser in June 2014 on Flying Lotus's Brainfeeder record label.

Taylor's musical style is equally influenced by the legends of 60's / 70's Soul, the kings of the Modern Beat Generation, Golden Era hip hop, free form jazz and electronic music.  By playing all of the instruments on his productions, while also relying heavily on sampling and chopping up his live takes, he has found a sound that seamlessly bridges myriad musical worlds that draws the listener into a constantly shifting beautiful audio soundscape.

By sustaining major buzz in the Future Soul scene through his first EP, Broken Vibes (featuring the acclaimed single, "Place in My Heart"), Taylor has toured worldwide as a one man show and has played major festivals such as Lollapalooza, Glastonbury, The Big Chill, and Gilles Peterson's Worldwide Festival.  In his home base of New York City, he has performed at such legendary venues as The Apollo, The Blue Note, Radio City Music Hall and The Lincoln Jazz Center opening up for artists such as Erykah Badu, The Roots, Nas, Talib Kweli and Robert Glasper

In addition to producing and performing, Taylor has served as the Head Instructor of the pioneering Beat Rockers program over the past 4 years teaching beatboxing and musical self-expression to students who are blind and/or have multiple disabilities at the Lavelle School for the Blind in the Bronx.

Taylor's ability to create and evolve musically by drawing inspiration from all corners of his life translates into a sound that evokes feeling and an innovative live set that is equal parts wonderment and musical dexterity.  

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[image_upload_id] => 19295 [label_id] => 7 [twitter_username] => taylormcferrin [instagram_id] => [instagram_username] => taylormcferrin [link] => [listed] => 0 [sortname] => Taylor McFerrin [created] => 2011-02-02 17:39:17 [modified] => 2014-04-09 16:41:23 [slug] => taylor-mcferrin [fuga_id] => [description_clean] =>

Heavy anticipation has been brewing for quite some time as Brooklyn based producer, composer, pianist, DJ and live musician Taylor McFerrin is set to release his first full length LP, Early Riser in June 2014 on Flying Lotus's Brainfeeder record label.

Taylor's musical style is equally influenced by the legends of 60's / 70's Soul, the kings of the Modern Beat Generation, Golden Era hip hop, free form jazz and electronic music.  By playing all of the instruments on his productions, while also relying heavily on sampling and chopping up his live takes, he has found a sound that seamlessly bridges myriad musical worlds that draws the listener into a constantly shifting beautiful audio soundscape.

By sustaining major buzz in the Future Soul scene through his first EP, Broken Vibes (featuring the acclaimed single, "Place in My Heart"), Taylor has toured worldwide as a one man show and has played major festivals such as Lollapalooza, Glastonbury, The Big Chill, and Gilles Peterson's Worldwide Festival.  In his home base of New York City, he has performed at such legendary venues as The Apollo, The Blue Note, Radio City Music Hall and The Lincoln Jazz Center opening up for artists such as Erykah Badu, The Roots, Nas, Talib Kweli and Robert Glasper

In addition to producing and performing, Taylor has served as the Head Instructor of the pioneering Beat Rockers program over the past 4 years teaching beatboxing and musical self-expression to students who are blind and/or have multiple disabilities at the Lavelle School for the Blind in the Bronx.

Taylor's ability to create and evolve musically by drawing inspiration from all corners of his life translates into a sound that evokes feeling and an innovative live set that is equal parts wonderment and musical dexterity.  

[links_clean] =>

www.taylormcferrin.com

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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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Twitter
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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.

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Dorner Vs. Tookie Mixtape

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Artist Date City Venue Buy
Taylor McFerrin Thursday, Oct 30th London, GB Birthdays Buy
The Bug Thursday, Oct 30th Asheville, US Orange Peel Buy
Busdriver Thursday, Oct 30th Kansas City, US The Record Bar Buy
Fink Friday, Oct 31st Maastricht, NL Muziekgieterij Buy
Taylor McFerrin Friday, Oct 31st Rotterdam, NL Bird Buy
Daedelus Friday, Oct 31st Atlanta, US Spring 4th Complex
The Bug Friday, Oct 31st Houston, US Gritsy Buy
Busdriver Friday, Oct 31st Denver, US Lost Lake Lounge Buy
Lapalux Friday, Oct 31st Prague, CZ Lunchmeat
Dorian Concept Friday, Oct 31st Stockholm, SE RBMA Weekender Buy
Fink Saturday, Nov 1st Gent, BE Vooruit Buy
The Bug Saturday, Nov 1st San Francisco, US The Independent Buy
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Busdriver Saturday, Nov 1st Salt Lake City, US The Shred Shed Buy
Fink Sunday, Nov 2nd Tourcoing, FR Grand Mix Buy
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