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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

[links_clean] =>

www.lapalux.com

Facebook
Twitter
Soundcloud

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http://www.bonobomusic.com/

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http://www.bonobomusic.com/

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

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

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

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

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

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

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

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

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

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

[links] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

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Mr. Scruff @ Love Saves The Day Festival, Bristol

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Mr. Scruff @ Love Saves The Day Festival, Bristol

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Mr. Scruff: DJ, Producer & Cartoonist

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

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

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

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

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

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

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

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

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

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

[links] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

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Mr. Scruff: DJ, Producer & Cartoonist

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

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Zulu Guru is the first full-length collaboration from singer/songwriter Jesse Boykins III and producer/emcee MeLo-X. Both Jesse and MeLo-X have critically acclaimed self-released albums and duets.With Zulu Guru, they bring together a solid collection of songs that reflect and define a new direction in Hip Hop and R&B, both lyrically and musically. This new sound is rooted in traditional soul music, adding elements from multiple genres to serve a purely unique and honest look at modern romance. With Zulu Guru, Jesse and MeLo-X absorb influences from around the world into the production including Afro-Beat, West Indian, and Electronic Soul - expanding their brand and message worldwide. 

"The history of the ZuLu is one rich with stories of royalty, valor and the warrior spirit.  In an age of creative freedom through the use of social networks we have become warriors of free expression. Never bound by the shackles of genre, we travel and shift through musical landscapes breaking down barriers in the process. Our approach to music is similar to that of the spirited tribal warrior; conquering new land as we travel the world winning wars through romance. As we venture into a new level in our careers, we continue to embody the Zulu warrior spirit while elaborating on the romantic qualities in everyday life.

The greatest minds are the ones that connect wholeheartedly with their artistic visions and do all they can to make it reality. The Guru in us all simply craves evolution and tranquility which comes with experience, which is simply the process in which we become more and more true to ourselves: being able to acknowledge our flaws and mistakes and wrongdoings and grow for the better. 

In this music there is honesty; pure understanding or putting forth the effort to understand the emotions that make us do what we do.  We write to express and highlight things within ourselves and our culture that we feel hold some sort of significance, good or bad. We deeply connect with the many cultures of the world, traveling and over-involving ourselves with awareness. This music we bring to you is a sonic form of connection, a humbling form of passion, and the advancement of art in form of romance."

[links] =>

www.zulu-guru.com
Tumblr

Jesse Boykins III Facebook
Jesse Boykins III Twitter
Jesse Boykins III Soundcloud

MeLo-X Facebook
MeLo-X Twitter
MeLo-X Soundcloud

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Zulu Guru is the first full-length collaboration from singer/songwriter Jesse Boykins III and producer/emcee MeLo-X. Both Jesse and MeLo-X have critically acclaimed self-released albums and duets.With Zulu Guru, they bring together a solid collection of songs that reflect and define a new direction in Hip Hop and R&B, both lyrically and musically. This new sound is rooted in traditional soul music, adding elements from multiple genres to serve a purely unique and honest look at modern romance. With Zulu Guru, Jesse and MeLo-X absorb influences from around the world into the production including Afro-Beat, West Indian, and Electronic Soul - expanding their brand and message worldwide. 

"The history of the ZuLu is one rich with stories of royalty, valor and the warrior spirit.  In an age of creative freedom through the use of social networks we have become warriors of free expression. Never bound by the shackles of genre, we travel and shift through musical landscapes breaking down barriers in the process. Our approach to music is similar to that of the spirited tribal warrior; conquering new land as we travel the world winning wars through romance. As we venture into a new level in our careers, we continue to embody the Zulu warrior spirit while elaborating on the romantic qualities in everyday life.

The greatest minds are the ones that connect wholeheartedly with their artistic visions and do all they can to make it reality. The Guru in us all simply craves evolution and tranquility which comes with experience, which is simply the process in which we become more and more true to ourselves: being able to acknowledge our flaws and mistakes and wrongdoings and grow for the better. 

In this music there is honesty; pure understanding or putting forth the effort to understand the emotions that make us do what we do.  We write to express and highlight things within ourselves and our culture that we feel hold some sort of significance, good or bad. We deeply connect with the many cultures of the world, traveling and over-involving ourselves with awareness. This music we bring to you is a sonic form of connection, a humbling form of passion, and the advancement of art in form of romance."

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MeLo-X Soundcloud

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Bassist/songwriter/vocalist Stephen Bruner, aka Thundercat, has music deeply rooted within. His father, Ronald Bruner, Sr., is an internationally renowned jazz drummer who played with the Temptations, Diana Ross, Gary Bartz and Gladys Knight. His brother Ronald Bruner, Jr., a Grammy-winning drummer, has played with the likes of Roy Hargrove, Stanley Clarke, and Wayne Shorter. Stephen joined his brother as a member of West Coast punk vets Suicidal Tendencies, playing bass on their worldwide tours while still in high school. He also toured through Japan with Stanley Clarke at the age of 16.

As Thundercat, Bruner takes his jazz roots and works with a mix of artists that suit his wildly experimental sensibilities - ranging from Flying Lotus, Erykah Badu, and Stanley Clarke, as well as more recent collaborations with Wiz Khalifa and Earl Sweatshirt, to name but a few. After meeting and touring with Flying Lotus, the two artists collaborated on Lotus’ 2010 LP Cosmogramma on the track "MmmHmm." Their kindred sense of musicality led to Thundercat’s 2011 solo debut The Golden Age of Apocalypse, co-produced by Flying Lotus, which opened Bruner up to a new stratosphere of songwriting and artistic exploration.

In 2013, Thundercat teamed up with executive producer Flying Lotus once again, to form a profound body of work for his second album, Apocalypse.’ Forthcoming on Lotus’ Brainfeeder imprint this July, the album straddles lines and pushes genres further, blurring the confines of pop, funk, electronica and prog rock, and creating something else entirely. Both vulnerable and fearless, a comedy and tragedy, Apocalypse is an intimate portrait of an artist who will continue to take music to a new place; the beyond.

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Bassist/songwriter/vocalist Stephen Bruner, aka Thundercat, has music deeply rooted within. His father, Ronald Bruner, Sr., is an internationally renowned jazz drummer who played with the Temptations, Diana Ross, Gary Bartz and Gladys Knight. His brother Ronald Bruner, Jr., a Grammy-winning drummer, has played with the likes of Roy Hargrove, Stanley Clarke, and Wayne Shorter. Stephen joined his brother as a member of West Coast punk vets Suicidal Tendencies, playing bass on their worldwide tours while still in high school. He also toured through Japan with Stanley Clarke at the age of 16.

As Thundercat, Bruner takes his jazz roots and works with a mix of artists that suit his wildly experimental sensibilities - ranging from Flying Lotus, Erykah Badu, and Stanley Clarke, as well as more recent collaborations with Wiz Khalifa and Earl Sweatshirt, to name but a few. After meeting and touring with Flying Lotus, the two artists collaborated on Lotus’ 2010 LP Cosmogramma on the track "MmmHmm." Their kindred sense of musicality led to Thundercat’s 2011 solo debut The Golden Age of Apocalypse, co-produced by Flying Lotus, which opened Bruner up to a new stratosphere of songwriting and artistic exploration.

In 2013, Thundercat teamed up with executive producer Flying Lotus once again, to form a profound body of work for his second album, Apocalypse.’ Forthcoming on Lotus Brainfeeder imprint this July, the album straddles lines and pushes genres further, blurring the confines of pop, funk, electronica and prog rock, and creating something else entirely. Both vulnerable and fearless, a comedy and tragedy, Apocalypse is an intimate portrait of an artist who will continue to take music to a new place; the beyond.

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Photo by Theo Jemison

Hypnotic. Warm. Organic. Tumbling. Pastoral. Ramshackle. Blissful. Expansive.

These are just some of the words that have been used to describe the work of Mtendere Mandowa, better known as Teebs.

A producer, a painter, and a key member of Brainfeeder clan, recent years have seen Teebs surge toward the top of the so-called "beat scene", and though his affiliation with Flying Lotus certainly has something to do with his ascent, it's ultimately the music - a billowing brand of beautifully off-kilter, hip-hop-colored beat construction - that has set Mandowa apart from what has become an increasingly crowded field of like-mind producers.

Teebs now makes his home in Northeast Los Angeles, but the 26-year-old producer wasn't always an Angeleno. Born in the Bronx, Mandowa's childhood also included time spent in Georgia and Hartford, Connecticut before his family switched coasts, stopping in Monterey Park, California before settling into the cozy LA suburb of Chino Hills. It was there that Teebs first truly took shape as an artist; he began painting in 2005 and started making music shortly thereafter, both by himself and as part of a collective known as My Hollow Drum.

It didn't take long for people to take notice. Around this time, Teebs linked up with online radio stronghold Dublab, and quickly saw his network increase exponentially. In 2008, he was invited to come to Barcelona and participate in that year's edition of the annual Red Bull Music Academy. This prompted fellow RBMA alum Flying Lotus to look him up; the two actually met at the now-legendary Low End Theory party in Los Angeles, and within six months, Teebs was living in the same apartment complex as FlyLo and sharing a spot with fellow LA beatmaker Samiyam. Watching those two work fueled his own creative impulses, and he began assembling what would eventually become Ardour, his first full-length album.

Ardour may have properly put Teebs on the electronic music map, but the somber release - the LP was partially inspired by the death of his father, which took place in the middle of the record's genesis - was just one of his many noteworthy efforts. He teamed up with fellow LA beatmakers Daedelus and Jeremiah Jae for split releases; he collaborated with UK producer Jackhigh (who now goes by BNJMN) on an intriguing EP called The Tropics and later joined forces with leftfield beat pioneer Prefuse 73 for the Sons of the Morning project and the Speak Soon, Volume One EP; Brainfeeder offered up the explorative and vaguely defined Collections mini-album; and the label arm of My Hollow Drum dropped limited runs of both Ardour B-Sides and the Cecilia Tapes Collection, the later of which collected music pieces that originally soundtracked one of Teebs' art exhibitions. He's also been busy on the road, frequently touring the globe, often in the company of his fellow Brainfeeder affiliates.

Despite all of this activity, on a personal level, the last couple of years have been a time of relative calm for Teebs. It was during this time that he put together E s t a r a, his second proper full-length. As opposed to the turmoil that accompanied the creation of Ardour, his new album is an effort inspired by his life as it stands now, and represents a time when Teebs has finally been able to make music completely on his own terms. The record takes its name from the house where much of the music was created, and it finds Teebs filling his sonic canvasses with the same kind of lush, textured sounds he's always used; the key difference is that he's now operating with a renewed sense of purpose and a streamlined musical narrative. The techniques haven't changed, but Teebs' mastery of them certainly has. In short, he's grown as an artist, and continues to confidently forge his own path forward. 

[links] =>

Big Cartel
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Photo by Theo Jemison

Hypnotic. Warm. Organic. Tumbling. Pastoral. Ramshackle. Blissful. Expansive.

These are just some of the words that have been used to describe the work of Mtendere Mandowa, better known as Teebs.

A producer, a painter, and a key member of Brainfeeder clan, recent years have seen Teebs surge toward the top of the so-called "beat scene", and though his affiliation with Flying Lotus certainly has something to do with his ascent, it's ultimately the music - a billowing brand of beautifully off-kilter, hip-hop-colored beat construction - that has set Mandowa apart from what has become an increasingly crowded field of like-mind producers.

Teebs now makes his home in Northeast Los Angeles, but the 26-year-old producer wasn't always an Angeleno. Born in the Bronx, Mandowa's childhood also included time spent in Georgia and Hartford, Connecticut before his family switched coasts, stopping in Monterey Park, California before settling into the cozy LA suburb of Chino Hills. It was there that Teebs first truly took shape as an artist; he began painting in 2005 and started making music shortly thereafter, both by himself and as part of a collective known as My Hollow Drum.

It didn't take long for people to take notice. Around this time, Teebs linked up with online radio stronghold Dublab, and quickly saw his network increase exponentially. In 2008, he was invited to come to Barcelona and participate in that year's edition of the annual Red Bull Music Academy. This prompted fellow RBMA alum Flying Lotus to look him up; the two actually met at the now-legendary Low End Theory party in Los Angeles, and within six months, Teebs was living in the same apartment complex as FlyLo and sharing a spot with fellow LA beatmaker Samiyam. Watching those two work fueled his own creative impulses, and he began assembling what would eventually become Ardour, his first full-length album.

Ardour may have properly put Teebs on the electronic music map, but the somber release - the LP was partially inspired by the death of his father, which took place in the middle of the record's genesis - was just one of his many noteworthy efforts. He teamed up with fellow LA beatmakers Daedelus and Jeremiah Jae for split releases; he collaborated with UK producer Jackhigh (who now goes by BNJMN) on an intriguing EP called The Tropics and later joined forces with leftfield beat pioneer Prefuse 73 for the Sons of the Morning project and the Speak Soon, Volume One EP; Brainfeeder offered up the explorative and vaguely defined Collections mini-album; and the label arm of My Hollow Drum dropped limited runs of both Ardour B-Sides and the Cecilia Tapes Collection, the later of which collected music pieces that originally soundtracked one of Teebs' art exhibitions. He's also been busy on the road, frequently touring the globe, often in the company of his fellow Brainfeeder affiliates.

Despite all of this activity, on a personal level, the last couple of years have been a time of relative calm for Teebs. It was during this time that he put together E s t a r a, his second proper full-length. As opposed to the turmoil that accompanied the creation of Ardour, his new album is an effort inspired by his life as it stands now, and represents a time when Teebs has finally been able to make music completely on his own terms. The record takes its name from the house where much of the music was created, and it finds Teebs filling his sonic canvasses with the same kind of lush, textured sounds he's always used; the key difference is that he's now operating with a renewed sense of purpose and a streamlined musical narrative. The techniques haven't changed, but Teebs' mastery of them certainly has. In short, he's grown as an artist, and continues to confidently forge his own path forward. 

[links_clean] =>

Big Cartel
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Facebook
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Congo Natty with Nanci & Patsy and Congo Dubz

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Congo Natty with Nanci & Patsy and Congo Dubz

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

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

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

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

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

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

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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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Artist Date City Venue Buy
Lapalux Saturday, May 25th TBA, AU TBA
Bonobo Saturday, May 25th Bristol, UK, GB Love Saves The Day Buy
Mr. Scruff Saturday, May 25th Bristol, GB Castle Park Bandstand Buy
Jesse Boykins III & MeLo-X Saturday, May 25th Paris, FR Villette Sonique Buy
Thundercat and Teebs Saturday, May 25th Oakland, CA, US Fox Theater Buy
Congo Natty with Nanci & Phoebe and Congo Dubz Saturday, May 25th London, GB Brixton Jamm Buy
The Bug Saturday, May 25th Detroit, Michigan, US Movement Festival Buy
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