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

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

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

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

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

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

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

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

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

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

[links] =>

Website

Facebook
Twitter
Soundcloud

[image_upload_id] => 19811 [label_id] => 7 [twitter_username] => daedelus_music [instagram_id] => 855015 [instagram_username] => daedelus [link] => [listed] => 0 [sortname] => Daedelus [created] => 2010-07-17 22:15:59 [modified] => 2014-09-08 11:12:48 [slug] => daedelus [fuga_id] => [description_clean] =>

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

Website

Facebook
Twitter
Soundcloud

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For those who think they know Jaga Jazzist, the story of this Norwegian supergroup and Starfire - its fifth full-length studio album, hot on the heels of the acclaimed 20th anniversary vinyl box, '94-'14 - begins with a pop quiz:

Jaga Jazzist is:

(a) A jazz band;
(b) A rock band;
(c) A progressive rock band;
(d) A hip hop group;
(e) A rap group;
(f) A reggae group;
(g) A polka band;
(h) A comedy band;
(i) An electronica group;
(j) A classical ensemble;
(k) A choral ensemble;
(l) All of the above;
(m) None of the above.

The answer is, indeed, both (l) and (m) because across two decades Jaga has been all of these things but, at the end of the day, is really none of them. A point made all the more clear with Starfire - which, in some ways, returns to earlier roots while, at he same time, introducing new elements and, as ever, moving forward...always moving forward.

If Jaga has any rules, there's really just one: every album must sound like nothing that preceded it. With Starfire, the group that has confounded categorization from inception has delivered yet another album unlike any they've ever done before. Yet, at the end of the day - despite touchstones ranging from Gil Evans to Radiohead, My Bloody Valentine to Tortoise, Oslo 13 to Motorpsycho and Fela Kuti to Steve Reich - Starfire still sounds absolutely like nobody but Jaga Jazzist.

The youngest of three siblings that began Jaga in 1994 in the small town of Tønsburg when he was just 14, Lars Horntveth gradually emerged as Jaga's primary compositional voice. Lars, brother Martin and sister Line all demonstrated a strong-willed distaste for orthodoxy - an early reason why Jaga sounds unlike any other band on any scene.

All bandleaders, producers, engineers and/or busy session musicians, Jaga's members have always been at the heart of Norway's disproportionately large and vibrant music scene. All the more remarkable, then, that five of its current eight members remain from its early days, with Even Ormestad and Andreas Mjøs still here alongside the Horntveth siblings.

Jaga's out-of-print 1996 debut, Grete Stitz, did extremely well for an indie release, grabbing the ears and eyes of musicians, producers and venue owners at the heart of Norway's music scene. "We got attention because Jaga was such a bizarre group and Grete Stitz was a very strange album," says Lars. "We started playing more shows in Oslo, mostly in small clubs; then we signed to the Debut label and recorded the Magazine EP, releasing it in 1998."

While the 28-minute, four-track Magazine was no less eclectic than Grete Stitz, it was where Jaga's voice began to emerge more fully, with Lars' writing facilitating its textural breadth, long-form cinematic complexities, intrinsic lyricism and rampant multi-instrumentalism.

While yet to release an album that's anything less than superb, many still feel that 2001's A Livingroom Hush and Jaga's 2002 Ninja Tune debut, The Stix, are the group's best...though Starfire may well change that. What is certain is that Jørgen Træen's arrival as Jaga's producer created a monumental paradigm shift: the final piece of Jaga's puzzle, and a constant challenge to Jaga's modus operandi. If Magazine represented what it was on the road to becoming, A Livingroom Hush was when Jaga Jazzist arrived.

"Jørgen changed the whole band," says Lars. "He thought about music from a different perspective," Martin interjects. "Jørgen was so good for us because he could be really forceful about pushing the music in a totally different direction." "He took different parts of what we had recorded, flipped them them around and changed them," Lars continues, "changing the chorus, changing the verse - basically just working inside the computer, remixing. Jørgen is a rare combination of someone mostly into really far out stuff while also understanding when a song is the single. We'll remove this bar or move that one around, and suddenly a song becomes super catchy. I've great respect for pop craftsmanship and think it's also possible with instrumental music.”

"Livingroom Hush also changed the way we played," Lars concludes. "We started focusing much more on details and dynamics, and how to make the music sound the way it did on the album."

Another key event for Jaga - already garnering a word-of-mouth reputation for exhilarating live performances - was signing with Ninja Tune. "Ninja helped get us out to the whole world," says Martin. "We played Japan...went to places we’d never been, with tons of people coming to the shows because they'd heard the name or about the band. Our records had already been in their shops and available online for years; it was really helpful."

After two successful albums (A Livingroom Hush selling 15,000 copies in Norway alone), when it came time to record 2005's What We Must, Træen suggested the group try a different pro-ducer. After an unsuccessful first attempt in Germany, the group returned home to work with Kåre Chr. Vestrheim, one of Norway's biggest producers.

"Working with Kåre was great," Lars says, "but I missed working with someone from a different musical place. Kåre and I shared so many of the same influences, and I needed resistance; I needed someone that didn't see all the theory. I never want to make challenging music for the sake of it and Jørgen is always good quality control, asking 'Why do you have this? Why do you want to do that?' This is music, and I need people to get in there and fuck with it."

After releasing and touring What We Must, Jaga Jazzist ended up taking an unexpected hiatus, By the time the group returned, full force, in 2009, only six of its members remained - including Erik Johannessen, who joined the group after What We Must was recorded, touring heavily be-fore Jaga's temporary break.

It was also during this break that Øystein Moen joined the band, recording One-Armed Bandit - Jaga's most overtly progressive rock album, brimming with "the best songs Lars has ever written for Jaga," asserts Mjøs - alongside fellow Puma bandmate (and short-lived Jaga guitarist) Stian Westerhus. Westerhus played only a handful of gigs after recording the album, and by the time it was released in 2010, Marcus Forsgren was Jaga's new guitarist - the beginning of Jaga's most stable lineup, continuing to this day, barring trumpeter Mathias Eick's 2014 departure after over 15 years with Jaga.

Træen, unfortunately, took ill during One-Armed Bandit's recording sessions, so Tortoise's John McEntire was recruited for the mix. Universally praised, One-Armed Bandit won Norway's Spel-lemannprisen (Grammy) and captured a significant number of new fans. Live, the material took on a life of its own, as heard on 2013's Live with Britten Sinfonia.

Constantly pushing himself to avoid the onset of predictability common in bands achieving Jaga's longevity, Lars' epic, cinematic approach to writing has remained paradoxically accessible... singable, even. Still, despite having a primary composer, Jaga's fundamental philosophy is that everyone in the band contributes to the music's final shape. This has never been clearer than with Starfire, as Lars - relocating to Los Angeles for a time (where the bulk of the record was written) - adopted an entirely different recording approach. Rather than inviting the entire band to play together, he became Jaga's musical ringleader, bringing other members in, one or two at a time, to contribute... and not just instrumentally.

With Starfire, Jaga Jazzist ups its ante, returning to a more electronic sound while flipping Lars' characteristically vertical musical stacks into horizontal sequences. "Starfire is neither an improvised album," Lars explains, "nor was it notated in scores. Composed and recorded over two years and slowly finding its shape in the studio, the music is as intricate and composed as our other albums, but it's a 100% studio record. We didn't rehearse once during this period. The idea was to think about the songs as both original songs and remixes."

The result? Some of the group's longest tracks ever, filled with the strangest, most otherworldly sounds you're likely to hear this - or any other - year. As Jaga prepares to take Starfire on the road, fans had better buckle up. This is a Jaga Jazzist you've never heard before...and transferring Starfire to the stage will undoubtedly become one of this year's most uniquely thrilling concert experiences.

Marcus Forsgren – Guitars + effects
Even Ormestad – Bass + keyboards
Andreas Mjøs – Vibraphone, guitars, drums + electronics
Line Horntveth – Tuba + percussion
Martin Horntveth – Drums + drum-machines
Lars Horntveth – Tenor sax, bass-clarinet, guitars + keyboards
Øystein Moen – Keyboards
Erik Johannessen - Trombone + percussion.

[links] =>

www.jagajazzist.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 3994 [label_id] => 1 [twitter_username] => jagajazzist [instagram_id] => 344621722 [instagram_username] => jagajazzistofficial [link] => [listed] => 1 [sortname] => Jaga Jazzist [created] => 2010-07-17 22:15:58 [modified] => 2015-04-27 11:09:26 [slug] => jaga-jazzist [fuga_id] => [description_clean] =>

For those who think they know Jaga Jazzist, the story of this Norwegian supergroup and Starfire - its fifth full-length studio album, hot on the heels of the acclaimed 20th anniversary vinyl box, '94-'14 - begins with a pop quiz:

Jaga Jazzist is:

(a) A jazz band;
(b) A rock band;
(c) A progressive rock band;
(d) A hip hop group;
(e) A rap group;
(f) A reggae group;
(g) A polka band;
(h) A comedy band;
(i) An electronica group;
(j) A classical ensemble;
(k) A choral ensemble;
(l) All of the above;
(m) None of the above.

The answer is, indeed, both (l) and (m) because across two decades Jaga has been all of these things but, at the end of the day, is really none of them. A point made all the more clear with Starfire - which, in some ways, returns to earlier roots while, at he same time, introducing new elements and, as ever, moving forward...always moving forward.

If Jaga has any rules, there's really just one: every album must sound like nothing that preceded it. With Starfire, the group that has confounded categorization from inception has delivered yet another album unlike any they've ever done before. Yet, at the end of the day - despite touchstones ranging from Gil Evans to Radiohead, My Bloody Valentine to Tortoise, Oslo 13 to Motorpsycho and Fela Kuti to Steve Reich - Starfire still sounds absolutely like nobody but Jaga Jazzist.

The youngest of three siblings that began Jaga in 1994 in the small town of Tønsburg when he was just 14, Lars Horntveth gradually emerged as Jaga's primary compositional voice. Lars, brother Martin and sister Line all demonstrated a strong-willed distaste for orthodoxy - an early reason why Jaga sounds unlike any other band on any scene.

All bandleaders, producers, engineers and/or busy session musicians, Jaga's members have always been at the heart of Norway's disproportionately large and vibrant music scene. All the more remarkable, then, that five of its current eight members remain from its early days, with Even Ormestad and Andreas Mjøs still here alongside the Horntveth siblings.

Jaga's out-of-print 1996 debut, Grete Stitz, did extremely well for an indie release, grabbing the ears and eyes of musicians, producers and venue owners at the heart of Norway's music scene. "We got attention because Jaga was such a bizarre group and Grete Stitz was a very strange album," says Lars. "We started playing more shows in Oslo, mostly in small clubs; then we signed to the Debut label and recorded the Magazine EP, releasing it in 1998."

While the 28-minute, four-track Magazine was no less eclectic than Grete Stitz, it was where Jaga's voice began to emerge more fully, with Lars' writing facilitating its textural breadth, long-form cinematic complexities, intrinsic lyricism and rampant multi-instrumentalism.

While yet to release an album that's anything less than superb, many still feel that 2001's A Livingroom Hush and Jaga's 2002 Ninja Tune debut, The Stix, are the group's best...though Starfire may well change that. What is certain is that Jørgen Træen's arrival as Jaga's producer created a monumental paradigm shift: the final piece of Jaga's puzzle, and a constant challenge to Jaga's modus operandi. If Magazine represented what it was on the road to becoming, A Livingroom Hush was when Jaga Jazzist arrived.

"Jørgen changed the whole band," says Lars. "He thought about music from a different perspective," Martin interjects. "Jørgen was so good for us because he could be really forceful about pushing the music in a totally different direction." "He took different parts of what we had recorded, flipped them them around and changed them," Lars continues, "changing the chorus, changing the verse - basically just working inside the computer, remixing. Jørgen is a rare combination of someone mostly into really far out stuff while also understanding when a song is the single. We'll remove this bar or move that one around, and suddenly a song becomes super catchy. I've great respect for pop craftsmanship and think it's also possible with instrumental music.”

"Livingroom Hush also changed the way we played," Lars concludes. "We started focusing much more on details and dynamics, and how to make the music sound the way it did on the album."

Another key event for Jaga - already garnering a word-of-mouth reputation for exhilarating live performances - was signing with Ninja Tune. "Ninja helped get us out to the whole world," says Martin. "We played Japan...went to places we’d never been, with tons of people coming to the shows because they'd heard the name or about the band. Our records had already been in their shops and available online for years; it was really helpful."

After two successful albums (A Livingroom Hush selling 15,000 copies in Norway alone), when it came time to record 2005's What We Must, Træen suggested the group try a different pro-ducer. After an unsuccessful first attempt in Germany, the group returned home to work with Kåre Chr. Vestrheim, one of Norway's biggest producers.

"Working with Kåre was great," Lars says, "but I missed working with someone from a different musical place. Kåre and I shared so many of the same influences, and I needed resistance; I needed someone that didn't see all the theory. I never want to make challenging music for the sake of it and Jørgen is always good quality control, asking 'Why do you have this? Why do you want to do that?' This is music, and I need people to get in there and fuck with it."

After releasing and touring What We Must, Jaga Jazzist ended up taking an unexpected hiatus, By the time the group returned, full force, in 2009, only six of its members remained - including Erik Johannessen, who joined the group after What We Must was recorded, touring heavily be-fore Jaga's temporary break.

It was also during this break that Øystein Moen joined the band, recording One-Armed Bandit - Jaga's most overtly progressive rock album, brimming with "the best songs Lars has ever written for Jaga," asserts Mjøs - alongside fellow Puma bandmate (and short-lived Jaga guitarist) Stian Westerhus. Westerhus played only a handful of gigs after recording the album, and by the time it was released in 2010, Marcus Forsgren was Jaga's new guitarist - the beginning of Jaga's most stable lineup, continuing to this day, barring trumpeter Mathias Eick's 2014 departure after over 15 years with Jaga.

Træen, unfortunately, took ill during One-Armed Bandit's recording sessions, so Tortoise's John McEntire was recruited for the mix. Universally praised, One-Armed Bandit won Norway's Spel-lemannprisen (Grammy) and captured a significant number of new fans. Live, the material took on a life of its own, as heard on 2013's Live with Britten Sinfonia.

Constantly pushing himself to avoid the onset of predictability common in bands achieving Jaga's longevity, Lars' epic, cinematic approach to writing has remained paradoxically accessible... singable, even. Still, despite having a primary composer, Jaga's fundamental philosophy is that everyone in the band contributes to the music's final shape. This has never been clearer than with Starfire, as Lars - relocating to Los Angeles for a time (where the bulk of the record was written) - adopted an entirely different recording approach. Rather than inviting the entire band to play together, he became Jaga's musical ringleader, bringing other members in, one or two at a time, to contribute... and not just instrumentally.

With Starfire, Jaga Jazzist ups its ante, returning to a more electronic sound while flipping Lars' characteristically vertical musical stacks into horizontal sequences. "Starfire is neither an improvised album," Lars explains, "nor was it notated in scores. Composed and recorded over two years and slowly finding its shape in the studio, the music is as intricate and composed as our other albums, but it's a 100% studio record. We didn't rehearse once during this period. The idea was to think about the songs as both original songs and remixes."

The result? Some of the group's longest tracks ever, filled with the strangest, most otherworldly sounds you're likely to hear this - or any other - year. As Jaga prepares to take Starfire on the road, fans had better buckle up. This is a Jaga Jazzist you've never heard before...and transferring Starfire to the stage will undoubtedly become one of this year's most uniquely thrilling concert experiences.

Marcus Forsgren – Guitars + effects
Even Ormestad – Bass + keyboards
Andreas Mjøs – Vibraphone, guitars, drums + electronics
Line Horntveth – Tuba + percussion
Martin Horntveth – Drums + drum-machines
Lars Horntveth – Tenor sax, bass-clarinet, guitars + keyboards
Øystein Moen – Keyboards
Erik Johannessen - Trombone + percussion.

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www.jagajazzist.com

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w/ Deltron

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Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.

In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.

While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.

Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.

In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...

Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.

In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.

[links] =>

www.kidkoala.com

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Twitter
Soundcloud

[image_upload_id] => 4006 [label_id] => 1 [twitter_username] => kidkoala [instagram_id] => 209219810 [instagram_username] => realkidkoala [link] => [listed] => 1 [sortname] => Kid Koala [created] => 2010-07-17 22:15:58 [modified] => 2013-05-03 14:51:56 [slug] => kid-koala [fuga_id] => [description_clean] =>

Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.

In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.

While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.

Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.

In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...

Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.

In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.

[links_clean] =>

www.kidkoala.com

Facebook
Twitter
Soundcloud

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