Dates

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An experimental and self-taught singer and songwriter originally hailing from South East London, Andreya Triana grew up submerged in a multicultural atmosphere. A unique vocalist, Andreya began singing at the tender age of 7, taking influence from the sights and sounds of inner-city London. Her early love and passion for music would see her locked in her bedroom for hours on end writing poetry, making homemade mix tapes and recording tracks - utilizing two battered cassette decks to record harmonies.

Her early love of improvisation would warp and change over the years, hugely influencing her 'Freeflo Sessions' - a hypnotic one woman show using a sampler to loop vocals, percussive sounds and beats live. To date she has taken her Freeflo Sessions worldwide, dazzling audiences far and wide with her cutting edge and soulful performances. 2006 saw her selected from thousands to take part in the Red Bull Music Academy in Australia, where she further developed her style for improvisation and secured links with some of the best producers and musicians on the music scene. Multiple collaborations ensued daily at the Academy, including 'Tea Leaf Dancers' a collaboration with now-legendary electronic muscian and producer Flying Lotus (released on Warp Records). The track was hailed as a classic, getting rave reviews from Benji B and Gilles Peterson while getting airplay on Annie Mac's Radio One show. It was this song that also caught the attention of Ninja Tune stalwart Bonobo.

In 2009 Triana’s career took another upturn when she toured the U.S and Canada with the Bonobo live band, played the BBC Introducing stage at Glastonbury, and secured a three album deal with Ninja Tune. Her debut album, ‘Lost Where I Belong,’ was released in 2010 to rapturous praise. Produced by Bonobo and imbued with his cinematic, future-beat magic, it also featured two co-writes with fellow Ninja artist Fink.

Since then, Andreya’s been working intensively on both sides of the Atlantic, writing her sophomore album, which is due for release in 2013. She’s planning some intimate gigs during the remainder of 2012, ahead of a 4-track EP which will be released as a taster for the album.

Andreya Triana has truly come into her own as a songwriter and performer, travelling across the world to play everywhere from Poland and the Isle of Wight through the U.S. to Switzerland, where she supported Erykah Badu. Her U.S writing partners include Marc Nelkin, Carl Ryden, Rex Rideout, Juanita Stokes and Blac Elvis, and in the UK she’s been holed up with Rick Nowles, Jimmy Hogarth, Alan Nglish and Dee Adam. Such an illustrious list of collaborators is testament to her own abilities as a writer.

Rapidly approaching the peak of her powers, great things can be expected from Andreya Triana in the months and years to come.

[links] => Facebook
Twitter
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An experimental and self-taught singer and songwriter originally hailing from South East London, Andreya Triana grew up submerged in a multicultural atmosphere. A unique vocalist, Andreya began singing at the tender age of 7, taking influence from the sights and sounds of inner-city London. Her early love and passion for music would see her locked in her bedroom for hours on end writing poetry, making homemade mix tapes and recording tracks - utilizing two battered cassette decks to record harmonies.

Her early love of improvisation would warp and change over the years, hugely influencing her 'Freeflo Sessions' - a hypnotic one woman show using a sampler to loop vocals, percussive sounds and beats live. To date she has taken her Freeflo Sessions worldwide, dazzling audiences far and wide with her cutting edge and soulful performances. 2006 saw her selected from thousands to take part in the Red Bull Music Academy in Australia, where she further developed her style for improvisation and secured links with some of the best producers and musicians on the music scene. Multiple collaborations ensued daily at the Academy, including 'Tea Leaf Dancers' a collaboration with now-legendary electronic muscian and producer Flying Lotus (released on Warp Records). The track was hailed as a classic, getting rave reviews from Benji B and Gilles Peterson while getting airplay on Annie Mac's Radio One show. It was this song that also caught the attention of Ninja Tune stalwart Bonobo.

In 2009 Triana’s career took another upturn when she toured the U.S and Canada with the Bonobo live band, played the BBC Introducing stage at Glastonbury, and secured a three album deal with Ninja Tune. Her debut album, ‘Lost Where I Belong,’ was released in 2010 to rapturous praise. Produced by Bonobo and imbued with his cinematic, future-beat magic, it also featured two co-writes with fellow Ninja artist Fink.

Since then, Andreya’s been working intensively on both sides of the Atlantic, writing her sophomore album, which is due for release in 2013. She’s planning some intimate gigs during the remainder of 2012, ahead of a 4-track EP which will be released as a taster for the album.

Andreya Triana has truly come into her own as a songwriter and performer, travelling across the world to play everywhere from Poland and the Isle of Wight through the U.S. to Switzerland, where she supported Erykah Badu. Her U.S writing partners include Marc Nelkin, Carl Ryden, Rex Rideout, Juanita Stokes and Blac Elvis, and in the UK she’s been holed up with Rick Nowles, Jimmy Hogarth, Alan Nglish and Dee Adam. Such an illustrious list of collaborators is testament to her own abilities as a writer.

Rapidly approaching the peak of her powers, great things can be expected from Andreya Triana in the months and years to come.

[links_clean] => Facebook
Twitter
Soundcloud [counter_player] => [counter_biog] => An experimental and self taught singer and songwriter originally hailing from South East London, Andreya Triana grew up submerged in a multicultural atmosphere. A unique vocalist, Andreya began singing at the tender age of 7, taking influence from the sights and sounds of inner city London. Her early love and passion for music would see her locked in her bedroom for hours on end writing poetry, making homemade mix tapes and recording tracks - utilising two battered cassette decks to record harmonies. Her early love of improvisation would warp and change over the years, hugely influencing her 'Freeflo Sessions' - a hypnotic one woman show using a sampler to loop vocals, percussive sounds and beats live. To date she has taken her Freeflo Sessions worldwide, dazzling audiences far and wide with her cutting edge and soulful performances. 2006 saw her selected from thousands to take part in the Red Bull Music Academy in Australia where she further developed her style for improvisation and secured links with some of the best producers and musicians on the music scene. Multiple collaborations ensued daily at the Academy, with 'Tea Leaf Dancers', a collaboration with glitchy hip hop producer Flying Lotus (released on Warp Records), was a product of this and has been her most successful musical venture to date. Hailed as a classic while getting rave reviews from Benji B and Gilles Peterson while getting airplay on Annie Mac's Radio One show, it was this track that also caught the attention of Ninja Tune stalwart Bonobo. 2009 has been an eventful year for Miss Triana, touring America and Canada with the Bonobo live band, playing on the BBC Introducing stage at Glastonbury showcasing new material and signing a three album deal with Ninja Tune Records. 2010 saw the release of her album 'Lost Where I Belong', produced by Bonobo, with fellow Ninja Tune singer and songwriter Fink also stepping up to co-write two tracks for the album. 'Lost Where I Belong' is a beautifully honest album combining Soul, Folk, Jazz and Bonobo's cinematic magic in a highly anticipated and hotly tipped debut... watch out for Andreya Triana! [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [1] => Array ( [Event] => Array ( [id] => 13985 [date] => 2015-04-02 [artist] => Bonobo (DJ Set) [city] => Santa Ana [state] => California [country] => US [venue] => The Observatory [promoter] => [description] => [ticket_url] => http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=5679005&pl=observatory [image_upload_id] => 19258 [created] => 2015-02-27 14:08:18 [modified] => 2015-02-27 14:08:18 [year_slug] => 2015 [month_slug] => apr [day_slug] => 2 [slug] => bonobo-dj-set-santa-ana-the-observatory-2 [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 19258 [media_type] => image [artist] => Bonobo [title] => Bonobo Press Shot [credits] => [buy_link] => [filename] => images/bonobo/Bonobo-MainAndrewdeFrancessco1.jpg [checksum] => a31f8301190c3ab688695ffcc7ef9495 [mime_type] => image/jpeg [size] => 8279110 [external_url] => http://media.ninjatune.net/images/bonobo/Bonobo-MainAndrewdeFrancessco1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => bonobo [slug] => bonobo-press-shot [created] => 2014-04-04 11:03:02 [modified] => 2014-04-04 11:05:00 [embed] => ) [Country] => Array ( [id] => 122 [name] => United States [longname] => United States of America [numcode] => 840 [iso] => US [iso3] => USA [currency] => USD [active] => 1 [parent_id] => 117 [lft] => 241 [rght] => 242 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 55 [name] => Bonobo [description] =>

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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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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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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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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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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The young electronic musician known as Romare wears his inspiration on his sleeve – in fact, he takes his very name from it. Having studied African American Visual Culture at University, he had his ‘Sex Pistols moment’ when he came across the work of Romare Bearden. The African American’s collaged, cut’n’paste artworks inspired the young musician to apply a similar technique to music – an approach that was hugely fruitful, and remains central to his work today. After stints as a drummer and guitarist throughout school and university, he moved to Paris where he picked up the turntables and began mixing his own music with samples from second hand records. Romare the musician was born and the template for his debut record.

Underground hothouse Black Acre signed him in 2012, adding him to a formidable roster that included Loops Haunt, Fantastic Mr Fox, Blue Daisy and Dark Sky. The imprint put out his first release Meditations on Afrocentrism in March of that year. He began to play shows, making enough money to finance a move to London. Ensconced in the vast musical melting pot of the capital, he began work on his second EP Love Songs: Part One. Romare’s songs were included on compilations by heavyweights such as Bonobo and Tiga, as well as the Brownswood Recordings imprint.

His debut album, Projections, is named after a pivotal exhibition of his namesake and likewise explores various elements of American life. The album is in many ways a homage to the cycle of cultural appropriation in America. “Work Song” is a tribute to the classic American and namesake work song, whilst “Rainbow” is a celebration of disco. Projections expertly catalogues the movements of influence within music. The album doesn’t just sample music and vocal snatches, but also other sources such as documentaries and marries live instrumentation with the sampling palette.

With fierce support from by the likes of Benji B, Gilles Peterson and Huw Stephens, Romare’s music has, rightfully, already caused a stir. The stage is now set for his stunning debut album, Projections.

[links] =>

Website
Facebook
Twitter
SoundCloud
YouTube

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The young electronic musician known as Romare wears his inspiration on his sleeve – in fact, he takes his very name from it. Having studied African American Visual Culture at University, he had his ‘Sex Pistols moment’ when he came across the work of Romare Bearden. The African American’s collaged, cut’n’paste artworks inspired the young musician to apply a similar technique to music – an approach that was hugely fruitful, and remains central to his work today. After stints as a drummer and guitarist throughout school and university, he moved to Paris where he picked up the turntables and began mixing his own music with samples from second hand records. Romare the musician was born and the template for his debut record.

Underground hothouse Black Acre signed him in 2012, adding him to a formidable roster that included Loops Haunt, Fantastic Mr Fox, Blue Daisy and Dark Sky. The imprint put out his first release Meditations on Afrocentrism in March of that year. He began to play shows, making enough money to finance a move to London. Ensconced in the vast musical melting pot of the capital, he began work on his second EP Love Songs: Part One. Romare’s songs were included on compilations by heavyweights such as Bonobo and Tiga, as well as the Brownswood Recordings imprint.

His debut album, Projections, is named after a pivotal exhibition of his namesake and likewise explores various elements of American life. The album is in many ways a homage to the cycle of cultural appropriation in America. “Work Song” is a tribute to the classic American and namesake work song, whilst “Rainbow” is a celebration of disco. Projections expertly catalogues the movements of influence within music. The album doesn’t just sample music and vocal snatches, but also other sources such as documentaries and marries live instrumentation with the sampling palette.

With fierce support from by the likes of Benji B, Gilles Peterson and Huw Stephens, Romare’s music has, rightfully, already caused a stir. The stage is now set for his stunning debut album, Projections.

[links_clean] =>

Website
Facebook
Twitter
SoundCloud
YouTube

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Helena Hauff returns to Werkdiscs/Ninja Tune with a 5-track EP Lex Tertia - her first for the imprint since 2013's Actio Reactio. Released 30th March 2015 on 12" and digital formats. In her won words: "Lex Tertia is a further exploration into the idea of grimy, sonically crushed, dysfunctional, insane stuff that kicks on where Actio Reactio left off."

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Helena Hauff returns to Werkdiscs/Ninja Tune with a 5-track EP Lex Tertia - her first for the imprint since 2013's Actio Reactio. Released 30th March 2015 on 12" and digital formats. In her won words: "Lex Tertia is a further exploration into the idea of grimy, sonically crushed, dysfunctional, insane stuff that kicks on where Actio Reactio left off."

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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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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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Despite growing up in the same picturesque village – Potten End (Herts) – Chris Davids and Liam Ivory aka Maribou State customarily ignored each other at school, but discovered their shared passion for music at university in Leeds and became firm friends.

Since then they have steadily built a glowing international reputation via a string of well-loved EPs and a fistful of remixes (including Kelis, Lana del Ray, Crookers, Kastle, Ultraísta) since 2011. Plaudits from the electronic press have flowed thick and fast alongside support from radio heavyweights: Zane Lowe, Huw Stephens, Annie Mac, B. Traits, Pete Tong and Gilles Peterson amongst others.

The past 18 months has been a glorious blur, with weekends dedicated to touring – the duo have zipped around UK, Europe, the US and Australia – whilst keeping a strict 9-to-5 work ethic in the studio during the week that has enabled them to record their finest work to date. It’s hard to pick out highlights, but Glastonbury, Warehouse Project and Bestival were particularly special milestones.

Intrigued by the dynamics of electronic music for the dancefloor as much as with the richness and human quality of live instrumentation and songcraft, they have worked tirelessly to evolve and forge a unique, compelling and deeply soulful marriage of the organic and the synthetic, showcased on their forthcoming debut album Portraits.

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Despite growing up in the same picturesque village – Potten End (Herts) – Chris Davids and Liam Ivory aka Maribou State customarily ignored each other at school, but discovered their shared passion for music at university in Leeds and became firm friends.

Since then they have steadily built a glowing international reputation via a string of well-loved EPs and a fistful of remixes (including Kelis, Lana del Ray, Crookers, Kastle, Ultraísta) since 2011. Plaudits from the electronic press have flowed thick and fast alongside support from radio heavyweights: Zane Lowe, Huw Stephens, Annie Mac, B. Traits, Pete Tong and Gilles Peterson amongst others.

The past 18 months has been a glorious blur, with weekends dedicated to touring – the duo have zipped around UK, Europe, the US and Australia – whilst keeping a strict 9-to-5 work ethic in the studio during the week that has enabled them to record their finest work to date. It’s hard to pick out highlights, but Glastonbury, Warehouse Project and Bestival were particularly special milestones.

Intrigued by the dynamics of electronic music for the dancefloor as much as with the richness and human quality of live instrumentation and songcraft, they have worked tirelessly to evolve and forge a unique, compelling and deeply soulful marriage of the organic and the synthetic, showcased on their forthcoming debut album Portraits.

[links_clean] => [counter_player] => [counter_biog] =>

Despite growing up in the same picturesque village – Potten End (Herts) – Chris Davids and Liam Ivory aka Maribou State customarily ignored each other at school, but discovered their shared passion for music at university in Leeds and became firm friends.

Since then they have steadily built a glowing international reputation via a string of well-loved EPs and a fistful of remixes (including Kelis, Lana del Ray, Crookers, Kastle, Ultraísta) since 2011. Plaudits from the electronic press have flowed thick and fast alongside support from radio heavyweights: Zane Lowe, Huw Stephens, Annie Mac, B. Traits, Pete Tong and Gilles Peterson amongst others.

The past 18 months has been a glorious blur, with weekends dedicated to touring – the duo have zipped around UK, Europe, the US and Australia – whilst keeping a strict 9-to-5 work ethic in the studio during the week that has enabled them to record their finest work to date. It’s hard to pick out highlights, but Glastonbury, Warehouse Project and Bestival were particularly special milestones.

Intrigued by the dynamics of electronic music for the dancefloor as much as with the richness and human quality of live instrumentation and songcraft, they have worked tirelessly to evolve and forge a unique, compelling and deeply soulful marriage of the organic and the synthetic, showcased on their forthcoming debut album Portraits.

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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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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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In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[links] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 19684 [label_id] => 5 [twitter_username] => odesza [instagram_id] => 272276842 [instagram_username] => odesza [link] => [listed] => 0 [sortname] => ODESZA [created] => 2014-07-14 21:14:03 [modified] => 2014-11-10 18:14:52 [slug] => odesza [fuga_id] => [description_clean] =>

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[links_clean] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] =>

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

 

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

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In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[links] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

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In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[links_clean] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] =>

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

 

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

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Young Fathers were christened in 2008, named after the fact that all three members were named for their fathers..

They are:

‘G’ Hastings, from Drylaw, Edinburgh, Alloysious Massaquoi, originally from Liberia via Ghana and Kayus Bankole, born in Edinburgh to Nigerian parents but partially raised in Maryland in the USA, all 27 years old. Their live shows are complimented by Steven Morrison (drums & DJ) and Lauren Holt (AKA LAWholt - vocals).

The group formed after meeting at an under-16s hiphop night at the infamous Bongo Club in Edinburgh when they were all 14 years old. Almost immediately they started writing and recording together, initially on an old karoake machine plugged into a cheap cassette recorderat G’s parents house.

After going through various guises over several years and after hooking up with a local production company, they eventually settled on the name Young Fathers and recorded their first album with Tim Brinkhurst (AKA London) as producer. The recordings included their first single, Straight Back On It, which was given a limited release in 2009 and was received well enough to get them a couple of TV appearances, plays on BBC radio, some festival dates and the support slots with Simian Mobile Disco and Esser on UK tours.

Straight Back On It, a bang-on-the-money pop song built around Afrika Bambaataa’s reworking of Kraftwerk, was indicative of the rest of the album, Inconceivable Child… Conceived, in as much as the album was a state of the art teenage pop collection. Unfortunately the album was never released; however, another single, separately recorded, Automatic, was given a limited online release, but failed to have much impact.

In 2011 and after writing and recording yet another, unreleased album, the group decided a radical change was necessary and they finally disconnected themselves from the local production company and took control of their destiny. Recording mini-album (or ‘mixtape’ as it was called) TAPE ONE in just over a week, finishing a track a day and having it available for download within two weeks of recording gave them renewed vigour. They quickly followed this up by recording TAPE TWO in a similar fashion. Los Angeles based alt-hiphop label, Anticon, discovered them online and within a few months had signed them up for a short deal that saw both TAPEs officially released in 2013.

The group, meanwhile, continued to tour, gathering an impressive reputation as a fierce live act. They played all over Europe and made their US debut at SxSW in Austin, Texas, in March 2013.

Following support from the BBC’s Zane Lowe and Lauren Laverne, and an appearance on influential USA talk show, Jimmy Kimmel in 2014, TAPE TWO won Scottish Album Of The Year (‘The SAY Award’) and this was followed by their latest album, DEAD, released this time on Anticon in the USA and Big Dada in the UK and Europe, receiving the Mercury Award for best album of 2014. They won as the underdogs and there was a minor controversy because they didn’t look particularly joyful at the presentation and because they refused to speak to some of the more right wing press covering the event.

Immediately after winning the Mercury, YFs travelled to Berlin where they continued making their new album in a freezing basement in a building near the railway yards. Returning to the more familiar (and warmer) basement studio in Edinburgh where most of their recordings were made, to finish the album, they ended 2014 by playing a home town show at Edinburgh’s Hogmanay New year’s Eve festival in front of several thousand people.

The new album, White Men Are Black Men Too, has been recorded at various places around the world, including Melbourne and London as well as Berlin and Edinburgh and features the Leith Congregational Choir on a couple of tracks.

Young Fathers played over 140 shows during 2014, including On Blackheath Festival (curated by Massive Attack). They toured the UK, large swathes of Europe and did a six week stint in the USA. The new year already has them booked to play even more. White Men Are Black Men Too is due for release in April.

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Young Fathers were christened in 2008, named after the fact that all three members were named for their fathers..

They are:

‘G’ Hastings, from Drylaw, Edinburgh, Alloysious Massaquoi, originally from Liberia via Ghana and Kayus Bankole, born in Edinburgh to Nigerian parents but partially raised in Maryland in the USA, all 27 years old. Their live shows are complimented by Steven Morrison (drums & DJ) and Lauren Holt (AKA LAWholt - vocals).

The group formed after meeting at an under-16s hiphop night at the infamous Bongo Club in Edinburgh when they were all 14 years old. Almost immediately they started writing and recording together, initially on an old karoake machine plugged into a cheap cassette recorderat G’s parents house.

After going through various guises over several years and after hooking up with a local production company, they eventually settled on the name Young Fathers and recorded their first album with Tim Brinkhurst (AKA London) as producer. The recordings included their first single, Straight Back On It, which was given a limited release in 2009 and was received well enough to get them a couple of TV appearances, plays on BBC radio, some festival dates and the support slots with Simian Mobile Disco and Esser on UK tours.

Straight Back On It, a bang-on-the-money pop song built around Afrika Bambaataa’s reworking of Kraftwerk, was indicative of the rest of the album, Inconceivable Child… Conceived, in as much as the album was a state of the art teenage pop collection. Unfortunately the album was never released; however, another single, separately recorded, Automatic, was given a limited online release, but failed to have much impact.

In 2011 and after writing and recording yet another, unreleased album, the group decided a radical change was necessary and they finally disconnected themselves from the local production company and took control of their destiny. Recording mini-album (or ‘mixtape’ as it was called) TAPE ONE in just over a week, finishing a track a day and having it available for download within two weeks of recording gave them renewed vigour. They quickly followed this up by recording TAPE TWO in a similar fashion. Los Angeles based alt-hiphop label, Anticon, discovered them online and within a few months had signed them up for a short deal that saw both TAPEs officially released in 2013.

The group, meanwhile, continued to tour, gathering an impressive reputation as a fierce live act. They played all over Europe and made their US debut at SxSW in Austin, Texas, in March 2013.

Following support from the BBC’s Zane Lowe and Lauren Laverne, and an appearance on influential USA talk show, Jimmy Kimmel in 2014, TAPE TWO won Scottish Album Of The Year (‘The SAY Award’) and this was followed by their latest album, DEAD, released this time on Anticon in the USA and Big Dada in the UK and Europe, receiving the Mercury Award for best album of 2014. They won as the underdogs and there was a minor controversy because they didn’t look particularly joyful at the presentation and because they refused to speak to some of the more right wing press covering the event.

Immediately after winning the Mercury, YFs travelled to Berlin where they continued making their new album in a freezing basement in a building near the railway yards. Returning to the more familiar (and warmer) basement studio in Edinburgh where most of their recordings were made, to finish the album, they ended 2014 by playing a home town show at Edinburgh’s Hogmanay New year’s Eve festival in front of several thousand people.

The new album, White Men Are Black Men Too, has been recorded at various places around the world, including Melbourne and London as well as Berlin and Edinburgh and features the Leith Congregational Choir on a couple of tracks.

Young Fathers played over 140 shows during 2014, including On Blackheath Festival (curated by Massive Attack). They toured the UK, large swathes of Europe and did a six week stint in the USA. The new year already has them booked to play even more. White Men Are Black Men Too is due for release in April.

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In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[links] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

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In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[links_clean] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] =>

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

 

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

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Despite growing up in the same picturesque village – Potten End (Herts) – Chris Davids and Liam Ivory aka Maribou State customarily ignored each other at school, but discovered their shared passion for music at university in Leeds and became firm friends.

Since then they have steadily built a glowing international reputation via a string of well-loved EPs and a fistful of remixes (including Kelis, Lana del Ray, Crookers, Kastle, Ultraísta) since 2011. Plaudits from the electronic press have flowed thick and fast alongside support from radio heavyweights: Zane Lowe, Huw Stephens, Annie Mac, B. Traits, Pete Tong and Gilles Peterson amongst others.

The past 18 months has been a glorious blur, with weekends dedicated to touring – the duo have zipped around UK, Europe, the US and Australia – whilst keeping a strict 9-to-5 work ethic in the studio during the week that has enabled them to record their finest work to date. It’s hard to pick out highlights, but Glastonbury, Warehouse Project and Bestival were particularly special milestones.

Intrigued by the dynamics of electronic music for the dancefloor as much as with the richness and human quality of live instrumentation and songcraft, they have worked tirelessly to evolve and forge a unique, compelling and deeply soulful marriage of the organic and the synthetic, showcased on their forthcoming debut album Portraits.

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Despite growing up in the same picturesque village – Potten End (Herts) – Chris Davids and Liam Ivory aka Maribou State customarily ignored each other at school, but discovered their shared passion for music at university in Leeds and became firm friends.

Since then they have steadily built a glowing international reputation via a string of well-loved EPs and a fistful of remixes (including Kelis, Lana del Ray, Crookers, Kastle, Ultraísta) since 2011. Plaudits from the electronic press have flowed thick and fast alongside support from radio heavyweights: Zane Lowe, Huw Stephens, Annie Mac, B. Traits, Pete Tong and Gilles Peterson amongst others.

The past 18 months has been a glorious blur, with weekends dedicated to touring – the duo have zipped around UK, Europe, the US and Australia – whilst keeping a strict 9-to-5 work ethic in the studio during the week that has enabled them to record their finest work to date. It’s hard to pick out highlights, but Glastonbury, Warehouse Project and Bestival were particularly special milestones.

Intrigued by the dynamics of electronic music for the dancefloor as much as with the richness and human quality of live instrumentation and songcraft, they have worked tirelessly to evolve and forge a unique, compelling and deeply soulful marriage of the organic and the synthetic, showcased on their forthcoming debut album Portraits.

[links_clean] => [counter_player] => [counter_biog] =>

Despite growing up in the same picturesque village – Potten End (Herts) – Chris Davids and Liam Ivory aka Maribou State customarily ignored each other at school, but discovered their shared passion for music at university in Leeds and became firm friends.

Since then they have steadily built a glowing international reputation via a string of well-loved EPs and a fistful of remixes (including Kelis, Lana del Ray, Crookers, Kastle, Ultraísta) since 2011. Plaudits from the electronic press have flowed thick and fast alongside support from radio heavyweights: Zane Lowe, Huw Stephens, Annie Mac, B. Traits, Pete Tong and Gilles Peterson amongst others.

The past 18 months has been a glorious blur, with weekends dedicated to touring – the duo have zipped around UK, Europe, the US and Australia – whilst keeping a strict 9-to-5 work ethic in the studio during the week that has enabled them to record their finest work to date. It’s hard to pick out highlights, but Glastonbury, Warehouse Project and Bestival were particularly special milestones.

Intrigued by the dynamics of electronic music for the dancefloor as much as with the richness and human quality of live instrumentation and songcraft, they have worked tirelessly to evolve and forge a unique, compelling and deeply soulful marriage of the organic and the synthetic, showcased on their forthcoming debut album Portraits.

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Young Fathers were christened in 2008, named after the fact that all three members were named for their fathers..

They are:

‘G’ Hastings, from Drylaw, Edinburgh, Alloysious Massaquoi, originally from Liberia via Ghana and Kayus Bankole, born in Edinburgh to Nigerian parents but partially raised in Maryland in the USA, all 27 years old. Their live shows are complimented by Steven Morrison (drums & DJ) and Lauren Holt (AKA LAWholt - vocals).

The group formed after meeting at an under-16s hiphop night at the infamous Bongo Club in Edinburgh when they were all 14 years old. Almost immediately they started writing and recording together, initially on an old karoake machine plugged into a cheap cassette recorderat G’s parents house.

After going through various guises over several years and after hooking up with a local production company, they eventually settled on the name Young Fathers and recorded their first album with Tim Brinkhurst (AKA London) as producer. The recordings included their first single, Straight Back On It, which was given a limited release in 2009 and was received well enough to get them a couple of TV appearances, plays on BBC radio, some festival dates and the support slots with Simian Mobile Disco and Esser on UK tours.

Straight Back On It, a bang-on-the-money pop song built around Afrika Bambaataa’s reworking of Kraftwerk, was indicative of the rest of the album, Inconceivable Child… Conceived, in as much as the album was a state of the art teenage pop collection. Unfortunately the album was never released; however, another single, separately recorded, Automatic, was given a limited online release, but failed to have much impact.

In 2011 and after writing and recording yet another, unreleased album, the group decided a radical change was necessary and they finally disconnected themselves from the local production company and took control of their destiny. Recording mini-album (or ‘mixtape’ as it was called) TAPE ONE in just over a week, finishing a track a day and having it available for download within two weeks of recording gave them renewed vigour. They quickly followed this up by recording TAPE TWO in a similar fashion. Los Angeles based alt-hiphop label, Anticon, discovered them online and within a few months had signed them up for a short deal that saw both TAPEs officially released in 2013.

The group, meanwhile, continued to tour, gathering an impressive reputation as a fierce live act. They played all over Europe and made their US debut at SxSW in Austin, Texas, in March 2013.

Following support from the BBC’s Zane Lowe and Lauren Laverne, and an appearance on influential USA talk show, Jimmy Kimmel in 2014, TAPE TWO won Scottish Album Of The Year (‘The SAY Award’) and this was followed by their latest album, DEAD, released this time on Anticon in the USA and Big Dada in the UK and Europe, receiving the Mercury Award for best album of 2014. They won as the underdogs and there was a minor controversy because they didn’t look particularly joyful at the presentation and because they refused to speak to some of the more right wing press covering the event.

Immediately after winning the Mercury, YFs travelled to Berlin where they continued making their new album in a freezing basement in a building near the railway yards. Returning to the more familiar (and warmer) basement studio in Edinburgh where most of their recordings were made, to finish the album, they ended 2014 by playing a home town show at Edinburgh’s Hogmanay New year’s Eve festival in front of several thousand people.

The new album, White Men Are Black Men Too, has been recorded at various places around the world, including Melbourne and London as well as Berlin and Edinburgh and features the Leith Congregational Choir on a couple of tracks.

Young Fathers played over 140 shows during 2014, including On Blackheath Festival (curated by Massive Attack). They toured the UK, large swathes of Europe and did a six week stint in the USA. The new year already has them booked to play even more. White Men Are Black Men Too is due for release in April.

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Young Fathers were christened in 2008, named after the fact that all three members were named for their fathers..

They are:

‘G’ Hastings, from Drylaw, Edinburgh, Alloysious Massaquoi, originally from Liberia via Ghana and Kayus Bankole, born in Edinburgh to Nigerian parents but partially raised in Maryland in the USA, all 27 years old. Their live shows are complimented by Steven Morrison (drums & DJ) and Lauren Holt (AKA LAWholt - vocals).

The group formed after meeting at an under-16s hiphop night at the infamous Bongo Club in Edinburgh when they were all 14 years old. Almost immediately they started writing and recording together, initially on an old karoake machine plugged into a cheap cassette recorderat G’s parents house.

After going through various guises over several years and after hooking up with a local production company, they eventually settled on the name Young Fathers and recorded their first album with Tim Brinkhurst (AKA London) as producer. The recordings included their first single, Straight Back On It, which was given a limited release in 2009 and was received well enough to get them a couple of TV appearances, plays on BBC radio, some festival dates and the support slots with Simian Mobile Disco and Esser on UK tours.

Straight Back On It, a bang-on-the-money pop song built around Afrika Bambaataa’s reworking of Kraftwerk, was indicative of the rest of the album, Inconceivable Child… Conceived, in as much as the album was a state of the art teenage pop collection. Unfortunately the album was never released; however, another single, separately recorded, Automatic, was given a limited online release, but failed to have much impact.

In 2011 and after writing and recording yet another, unreleased album, the group decided a radical change was necessary and they finally disconnected themselves from the local production company and took control of their destiny. Recording mini-album (or ‘mixtape’ as it was called) TAPE ONE in just over a week, finishing a track a day and having it available for download within two weeks of recording gave them renewed vigour. They quickly followed this up by recording TAPE TWO in a similar fashion. Los Angeles based alt-hiphop label, Anticon, discovered them online and within a few months had signed them up for a short deal that saw both TAPEs officially released in 2013.

The group, meanwhile, continued to tour, gathering an impressive reputation as a fierce live act. They played all over Europe and made their US debut at SxSW in Austin, Texas, in March 2013.

Following support from the BBC’s Zane Lowe and Lauren Laverne, and an appearance on influential USA talk show, Jimmy Kimmel in 2014, TAPE TWO won Scottish Album Of The Year (‘The SAY Award’) and this was followed by their latest album, DEAD, released this time on Anticon in the USA and Big Dada in the UK and Europe, receiving the Mercury Award for best album of 2014. They won as the underdogs and there was a minor controversy because they didn’t look particularly joyful at the presentation and because they refused to speak to some of the more right wing press covering the event.

Immediately after winning the Mercury, YFs travelled to Berlin where they continued making their new album in a freezing basement in a building near the railway yards. Returning to the more familiar (and warmer) basement studio in Edinburgh where most of their recordings were made, to finish the album, they ended 2014 by playing a home town show at Edinburgh’s Hogmanay New year’s Eve festival in front of several thousand people.

The new album, White Men Are Black Men Too, has been recorded at various places around the world, including Melbourne and London as well as Berlin and Edinburgh and features the Leith Congregational Choir on a couple of tracks.

Young Fathers played over 140 shows during 2014, including On Blackheath Festival (curated by Massive Attack). They toured the UK, large swathes of Europe and did a six week stint in the USA. The new year already has them booked to play even more. White Men Are Black Men Too is due for release in April.

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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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Young Fathers were christened in 2008, named after the fact that all three members were named for their fathers..

They are:

‘G’ Hastings, from Drylaw, Edinburgh, Alloysious Massaquoi, originally from Liberia via Ghana and Kayus Bankole, born in Edinburgh to Nigerian parents but partially raised in Maryland in the USA, all 27 years old. Their live shows are complimented by Steven Morrison (drums & DJ) and Lauren Holt (AKA LAWholt - vocals).

The group formed after meeting at an under-16s hiphop night at the infamous Bongo Club in Edinburgh when they were all 14 years old. Almost immediately they started writing and recording together, initially on an old karoake machine plugged into a cheap cassette recorderat G’s parents house.

After going through various guises over several years and after hooking up with a local production company, they eventually settled on the name Young Fathers and recorded their first album with Tim Brinkhurst (AKA London) as producer. The recordings included their first single, Straight Back On It, which was given a limited release in 2009 and was received well enough to get them a couple of TV appearances, plays on BBC radio, some festival dates and the support slots with Simian Mobile Disco and Esser on UK tours.

Straight Back On It, a bang-on-the-money pop song built around Afrika Bambaataa’s reworking of Kraftwerk, was indicative of the rest of the album, Inconceivable Child… Conceived, in as much as the album was a state of the art teenage pop collection. Unfortunately the album was never released; however, another single, separately recorded, Automatic, was given a limited online release, but failed to have much impact.

In 2011 and after writing and recording yet another, unreleased album, the group decided a radical change was necessary and they finally disconnected themselves from the local production company and took control of their destiny. Recording mini-album (or ‘mixtape’ as it was called) TAPE ONE in just over a week, finishing a track a day and having it available for download within two weeks of recording gave them renewed vigour. They quickly followed this up by recording TAPE TWO in a similar fashion. Los Angeles based alt-hiphop label, Anticon, discovered them online and within a few months had signed them up for a short deal that saw both TAPEs officially released in 2013.

The group, meanwhile, continued to tour, gathering an impressive reputation as a fierce live act. They played all over Europe and made their US debut at SxSW in Austin, Texas, in March 2013.

Following support from the BBC’s Zane Lowe and Lauren Laverne, and an appearance on influential USA talk show, Jimmy Kimmel in 2014, TAPE TWO won Scottish Album Of The Year (‘The SAY Award’) and this was followed by their latest album, DEAD, released this time on Anticon in the USA and Big Dada in the UK and Europe, receiving the Mercury Award for best album of 2014. They won as the underdogs and there was a minor controversy because they didn’t look particularly joyful at the presentation and because they refused to speak to some of the more right wing press covering the event.

Immediately after winning the Mercury, YFs travelled to Berlin where they continued making their new album in a freezing basement in a building near the railway yards. Returning to the more familiar (and warmer) basement studio in Edinburgh where most of their recordings were made, to finish the album, they ended 2014 by playing a home town show at Edinburgh’s Hogmanay New year’s Eve festival in front of several thousand people.

The new album, White Men Are Black Men Too, has been recorded at various places around the world, including Melbourne and London as well as Berlin and Edinburgh and features the Leith Congregational Choir on a couple of tracks.

Young Fathers played over 140 shows during 2014, including On Blackheath Festival (curated by Massive Attack). They toured the UK, large swathes of Europe and did a six week stint in the USA. The new year already has them booked to play even more. White Men Are Black Men Too is due for release in April.

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Young Fathers were christened in 2008, named after the fact that all three members were named for their fathers..

They are:

‘G’ Hastings, from Drylaw, Edinburgh, Alloysious Massaquoi, originally from Liberia via Ghana and Kayus Bankole, born in Edinburgh to Nigerian parents but partially raised in Maryland in the USA, all 27 years old. Their live shows are complimented by Steven Morrison (drums & DJ) and Lauren Holt (AKA LAWholt - vocals).

The group formed after meeting at an under-16s hiphop night at the infamous Bongo Club in Edinburgh when they were all 14 years old. Almost immediately they started writing and recording together, initially on an old karoake machine plugged into a cheap cassette recorderat G’s parents house.

After going through various guises over several years and after hooking up with a local production company, they eventually settled on the name Young Fathers and recorded their first album with Tim Brinkhurst (AKA London) as producer. The recordings included their first single, Straight Back On It, which was given a limited release in 2009 and was received well enough to get them a couple of TV appearances, plays on BBC radio, some festival dates and the support slots with Simian Mobile Disco and Esser on UK tours.

Straight Back On It, a bang-on-the-money pop song built around Afrika Bambaataa’s reworking of Kraftwerk, was indicative of the rest of the album, Inconceivable Child… Conceived, in as much as the album was a state of the art teenage pop collection. Unfortunately the album was never released; however, another single, separately recorded, Automatic, was given a limited online release, but failed to have much impact.

In 2011 and after writing and recording yet another, unreleased album, the group decided a radical change was necessary and they finally disconnected themselves from the local production company and took control of their destiny. Recording mini-album (or ‘mixtape’ as it was called) TAPE ONE in just over a week, finishing a track a day and having it available for download within two weeks of recording gave them renewed vigour. They quickly followed this up by recording TAPE TWO in a similar fashion. Los Angeles based alt-hiphop label, Anticon, discovered them online and within a few months had signed them up for a short deal that saw both TAPEs officially released in 2013.

The group, meanwhile, continued to tour, gathering an impressive reputation as a fierce live act. They played all over Europe and made their US debut at SxSW in Austin, Texas, in March 2013.

Following support from the BBC’s Zane Lowe and Lauren Laverne, and an appearance on influential USA talk show, Jimmy Kimmel in 2014, TAPE TWO won Scottish Album Of The Year (‘The SAY Award’) and this was followed by their latest album, DEAD, released this time on Anticon in the USA and Big Dada in the UK and Europe, receiving the Mercury Award for best album of 2014. They won as the underdogs and there was a minor controversy because they didn’t look particularly joyful at the presentation and because they refused to speak to some of the more right wing press covering the event.

Immediately after winning the Mercury, YFs travelled to Berlin where they continued making their new album in a freezing basement in a building near the railway yards. Returning to the more familiar (and warmer) basement studio in Edinburgh where most of their recordings were made, to finish the album, they ended 2014 by playing a home town show at Edinburgh’s Hogmanay New year’s Eve festival in front of several thousand people.

The new album, White Men Are Black Men Too, has been recorded at various places around the world, including Melbourne and London as well as Berlin and Edinburgh and features the Leith Congregational Choir on a couple of tracks.

Young Fathers played over 140 shows during 2014, including On Blackheath Festival (curated by Massive Attack). They toured the UK, large swathes of Europe and did a six week stint in the USA. The new year already has them booked to play even more. White Men Are Black Men Too is due for release in April.

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The young electronic musician known as Romare wears his inspiration on his sleeve – in fact, he takes his very name from it. Having studied African American Visual Culture at University, he had his ‘Sex Pistols moment’ when he came across the work of Romare Bearden. The African American’s collaged, cut’n’paste artworks inspired the young musician to apply a similar technique to music – an approach that was hugely fruitful, and remains central to his work today. After stints as a drummer and guitarist throughout school and university, he moved to Paris where he picked up the turntables and began mixing his own music with samples from second hand records. Romare the musician was born and the template for his debut record.

Underground hothouse Black Acre signed him in 2012, adding him to a formidable roster that included Loops Haunt, Fantastic Mr Fox, Blue Daisy and Dark Sky. The imprint put out his first release Meditations on Afrocentrism in March of that year. He began to play shows, making enough money to finance a move to London. Ensconced in the vast musical melting pot of the capital, he began work on his second EP Love Songs: Part One. Romare’s songs were included on compilations by heavyweights such as Bonobo and Tiga, as well as the Brownswood Recordings imprint.

His debut album, Projections, is named after a pivotal exhibition of his namesake and likewise explores various elements of American life. The album is in many ways a homage to the cycle of cultural appropriation in America. “Work Song” is a tribute to the classic American and namesake work song, whilst “Rainbow” is a celebration of disco. Projections expertly catalogues the movements of influence within music. The album doesn’t just sample music and vocal snatches, but also other sources such as documentaries and marries live instrumentation with the sampling palette.

With fierce support from by the likes of Benji B, Gilles Peterson and Huw Stephens, Romare’s music has, rightfully, already caused a stir. The stage is now set for his stunning debut album, Projections.

[links] =>

Website
Facebook
Twitter
SoundCloud
YouTube

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The young electronic musician known as Romare wears his inspiration on his sleeve – in fact, he takes his very name from it. Having studied African American Visual Culture at University, he had his ‘Sex Pistols moment’ when he came across the work of Romare Bearden. The African American’s collaged, cut’n’paste artworks inspired the young musician to apply a similar technique to music – an approach that was hugely fruitful, and remains central to his work today. After stints as a drummer and guitarist throughout school and university, he moved to Paris where he picked up the turntables and began mixing his own music with samples from second hand records. Romare the musician was born and the template for his debut record.

Underground hothouse Black Acre signed him in 2012, adding him to a formidable roster that included Loops Haunt, Fantastic Mr Fox, Blue Daisy and Dark Sky. The imprint put out his first release Meditations on Afrocentrism in March of that year. He began to play shows, making enough money to finance a move to London. Ensconced in the vast musical melting pot of the capital, he began work on his second EP Love Songs: Part One. Romare’s songs were included on compilations by heavyweights such as Bonobo and Tiga, as well as the Brownswood Recordings imprint.

His debut album, Projections, is named after a pivotal exhibition of his namesake and likewise explores various elements of American life. The album is in many ways a homage to the cycle of cultural appropriation in America. “Work Song” is a tribute to the classic American and namesake work song, whilst “Rainbow” is a celebration of disco. Projections expertly catalogues the movements of influence within music. The album doesn’t just sample music and vocal snatches, but also other sources such as documentaries and marries live instrumentation with the sampling palette.

With fierce support from by the likes of Benji B, Gilles Peterson and Huw Stephens, Romare’s music has, rightfully, already caused a stir. The stage is now set for his stunning debut album, Projections.

[links_clean] =>

Website
Facebook
Twitter
SoundCloud
YouTube

[counter_player] => [counter_biog] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) )

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Artist Date City Venue Buy
Andreya Triana Thursday, Apr 2nd London, GB Village Underground Buy
Bonobo (DJ Set) Thursday, Apr 2nd Santa Ana, California, US The Observatory Buy
Lapalux Friday, Apr 3rd London, GB Rich Mix Buy
Bonobo (DJ Set) Friday, Apr 3rd San Diego, California, US The Observatory North Park Buy
Romare Saturday, Apr 4th Dublin, GB The Opium Rooms Buy
Helena Hauff Saturday, Apr 4th Berlin, DE ://about blank
Bonobo (DJ Set) Saturday, Apr 4th Edmonton, Alberta, CA The Starlite Room Buy
Maribou State Saturday, Apr 4th Liverpool, GB Nation Buy
Bonobo (DJ Set) Sunday, Apr 5th Vancouver, CA Seasons Festival Buy
ODESZA Tuesday, Apr 7th Eugene, Oregon, US McDonald Theatre Buy
ODESZA Wednesday, Apr 8th Arcata, California, US Arcata Theatre Buy
Young Fathers Thursday, Apr 9th Allston, US Great Scott Buy
ODESZA Thursday, Apr 9th Pomona, California, US The Glass House Buy
Maribou State Thursday, Apr 9th Mayrhofen, AT Snowbombing Festival Buy
Young Fathers Friday, Apr 10th New York, US Music Hall of Williamsburg Buy
Congo Natty Friday, Apr 10th London, GB Steelworks Buy
Young Fathers Saturday, Apr 11th Philadelphia, US Boot & Saddle Buy
Romare Saturday, Apr 11th London, GB Corsica Studios Buy

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