Array ( [Event] => Array ( [id] => 13165 [date] => 2014-07-31 [artist] => Tre Mission [city] => London [state] => [country] => GB [venue] => Basement, 10 Berners Street [promoter] => [description] => [ticket_url] => [image_upload_id] => 19703 [created] => 2014-07-21 17:01:05 [modified] => 2014-07-21 17:03:08 [year_slug] => 2014 [month_slug] => jul [day_slug] => 31 [slug] => tre-mission-london-basement-10-berners-street [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19703 [media_type] => image [artist] => Tre Mission [title] => Tax free london flyer [credits] => [buy_link] => [filename] => images/tre-mission/taxfree-tremission430.jpg [checksum] => 2b508bbcb23786ea421708ceb7dded94 [mime_type] => image/jpeg [size] => 406970 [external_url] => http://media.ninjatune.net/images/tre-mission/taxfree-tremission430.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => tre-mission [slug] => tax-free-london-flyer [created] => 2014-07-21 16:58:22 [modified] => 2014-07-21 17:00:39 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 191 [name] => Tre Mission [description] =>

Big Dada are pleased to announce the signing of Tre Mission on a three album deal. The twenty two year old MC and producer from Toronto found a common Caribbean heritage in the rhythms and slang of grime and quickly developed links with the UK scene, forming strong bonds with Wiley and JME, amongst others, and appearing on "Lord Of The Mics 3."

Earlier this summer he released the mixtape (or as he prefers, "free album") "Malmaison" which showcases his skills both as a producer and a lyricist, and which has already spawned a series of high quality videos from his team as well as racking up an impressive amount of downloads. He was recently described by the Independent as "one of grime's hottest talents."

To celebrate the signing of his deal with the label, Big Dada are working the double-AA single "Brunch / High Fashion," featuring two tracks from "Malmaison". A further video for the tracks is forthcoming and the tunes have already had plays from Tim Westwood, Logan Sama and Mister Jam. A full debut album will follow in early 2014.

[links] => www.tremission.com
Facebook
Twitter [image_upload_id] => 18298 [label_id] => 2 [twitter_username] => TreMission [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Tre Mission [created] => 2013-07-25 16:50:17 [modified] => 2013-07-26 12:23:22 [slug] => tre-mission [fuga_id] => [description_clean] =>

Big Dada are pleased to announce the signing of Tre Mission on a three album deal. The twenty two year old MC and producer from Toronto found a common Caribbean heritage in the rhythms and slang of grime and quickly developed links with the UK scene, forming strong bonds with Wiley and JME, amongst others, and appearing on "Lord Of The Mics 3."

Earlier this summer he released the mixtape (or as he prefers, "free album") "Malmaison" which showcases his skills both as a producer and a lyricist, and which has already spawned a series of high quality videos from his team as well as racking up an impressive amount of downloads. He was recently described by the Independent as "one of grime's hottest talents."

To celebrate the signing of his deal with the label, Big Dada are working the double-AA single "Brunch / High Fashion," featuring two tracks from "Malmaison". A further video for the tracks is forthcoming and the tunes have already had plays from Tim Westwood, Logan Sama and Mister Jam. A full debut album will follow in early 2014.

[links_clean] =>

www.tremission.com
Facebook
Twitter

) ) ) [1] => Array ( [Event] => Array ( [id] => 13233 [date] => 2014-07-31 [artist] => The Underachievers [city] => Paris [state] => [country] => FR [venue] => Le Social Club [promoter] => [description] => [ticket_url] => http://www.digitick.com/the-underachievers-live-concert-le-social-club-paris-31-juillet-2014-css4-digitick-pg101-ri2551996.html [image_upload_id] => 17656 [created] => 2014-07-24 14:33:29 [modified] => 2014-07-24 14:33:29 [year_slug] => 2014 [month_slug] => jul [day_slug] => 31 [slug] => the-underachievers-paris-le-social-club [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 17656 [media_type] => image [artist] => Underachievers Press Shot [title] => Underachievers Press Shot [credits] => [buy_link] => [filename] => images/underachievers-press-shot/1UA-by-Theo-Jemison.jpg [checksum] => d17e39a3551484c6d6d067311c2166d9 [mime_type] => image/jpeg [size] => 323832 [external_url] => http://media.ninjatune.net/images/underachievers-press-shot/1UA-by-Theo-Jemison.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => underachievers-press-shot [slug] => underachievers-press-shot [created] => 2013-02-01 12:35:27 [modified] => 2013-02-01 12:35:41 [embed] => ) [Country] => Array ( [id] => 229 [name] => France [longname] => France [numcode] => 250 [iso] => FR [iso3] => FRA [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 455 [rght] => 456 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 180 [name] => The Underachievers [description] => [links] => [image_upload_id] => 17656 [label_id] => 7 [twitter_username] => THEUALIFESTYLE [instagram_id] => 250906233 [instagram_username] => theunderachievers [link] => [listed] => 0 [sortname] => Underachievers [created] => 2013-02-01 12:36:01 [modified] => 2013-12-11 16:01:01 [slug] => the-underachievers [fuga_id] => [description_clean] => [links_clean] => ) ) ) [2] => Array ( [Event] => Array ( [id] => 12366 [date] => 2014-08-01 [artist] => DJ Food [city] => Brussels [state] => [country] => BE [venue] => Recyclart [promoter] => [description] =>

DJ Food AV show

[ticket_url] => http://tickets.perthfestival.com.au/single/PSDetail.aspx?psn=891 [image_upload_id] => 16199 [created] => 2013-12-19 16:44:12 [modified] => 2014-07-04 17:20:39 [year_slug] => 2014 [month_slug] => aug [day_slug] => 1 [slug] => dj-food-brussels-recyclart [description_clean] =>

DJ Food AV show

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DJ Food (present) : Strictly Kev

With nearly 25 years of DJing experience and more than a decade serving up Food for DJs, for both Ninja and Coldcut's weekly radio show 'Solid Steel', Kev is now in the Food hot seat.

At his 'Telepathic Fish' ambient parties in the early 90's he booked Matt Black on his first VJing gigs, started designing artwork for Ninja Tune and paired up with PC (Patrick Carpenter) to form the public 'face' of DJ Food on 4 decks in clubs around the world. After working on various Food and Coldcut related studio projects with PC (A Recipe for Disaster, Journeys by DJ, ColdKrushCuts and the Blech mix compilations for Warp) they released the album 'Kaleidoscope' in 2000, closely followed by the 'Quadraplex EP' in 2001.

Also arriving in 2001 was the first in a series of Solid Steel mix CDs, starting with DJ Food & DK (Darren Knott - Solid Steel's producer) and the publicly lauded 'Now, Listen'. Since then he's been constantly art directing the Ninja label, designing for artists like Amon Tobin, The Herbaliser, DJ Vadim and Funki Porcini. Mix work has included a re-score of the Monkees' cult film 'Head', an as-yet-unreleased album of vintage Sesame Street funk, and his magnum opus 'Raiding the 20th Century'. This last hour long mix / documentary was an internet only release, charting the history of the cut-up and featured journalist Paul Morley reading from his book 'Words & Music'. Not only did it crash servers on several sites that hosted it due to its initial popularity but it was later subject to a cease & desist order from EMI for multiple infringements of copyright.

In 2007, alongside DK again, he followed up their Solid Steel debut with the sequel - 'Now, Listen Again', and the pair spent much of 2008 transferring their mix into a 4 deck audio visual live show. Using Serato's video plug-in - that enables video to be mixed and scratched via turntables the same as records - they christened their efforts 'video turntablism'.

Kev is now working on a series of EPs that will make up the next DJ Food album, an exhaustive DJ Food website (www.djfood.org) and providing artwork for Ninja artists such as King Cannibal and the 20th anniversary label celebrations.

DJ Food (past):

DJ Food has been many persons, of who we will come to in a moment. DJ Food is best described as Food for DJs, simple as that, just flip it around and it begins to mean something entirely different.

Originally produced by Coldcut the DJ Food project started in 1990 with the release of 'Jazz Brakes', with 'Jazz Brakes Volume 3' being the label's most successful early album. Not only are they effective collections of breaks, loops and samples ideal for mixing, remixing and producing - but also fine collections of funky jazz & hip hop tunes, that cut it just as well on the discerning dancefloor as in the safety of your own home...

Since the growth of the abstract hip hop scene in recent years the 'Jazz Brakes' albums have proved to be ahead of their time. The latter DJ Food albums have developed with shades of latin, dub, techno, ambient, tribal, african and jungle flavouring the funk. The 2005 album 'A Recipe For Disaster' was a conscious break from the five 'Jazz Brakes' volumes to form more of an identity as an artist, and a remix album of tracks from all 6 LPs 'Refried Food' was released Feb '96.

But who made this food? Matt Black & Jonathan More (aka Coldcut) were responsible for starting the DJ Food series of 'Jazz Brakes' back in the early 90's, and along the way they met Patrick Carpenter (PC) who was commonly misconstrued as the computer that they made the tracks on for a while. A loose collaborative team began to form as more like-minded people arrived at the party; Paul Brook, Paul Rabiger, Strictly Kev and Issac Elliston to name a few.

Whilst keeping their hand in as DJs, Matt & Jon couldn't and didn't want to DJ twice in one night under both aliases of Coldcut & DJ Food, so PC & Strictly stepped up to represent the Food club-wise. This was the score for some time, until PC became so busy with his involvement in the Cinematic Orchestra that he decided to depart to concentrate on that, leaving Strictly Kev to carry the mantle.

[links] =>

www.djfood.org

Twitter
Soundcloud

[image_upload_id] => 16199 [label_id] => 1 [twitter_username] => djfood [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => DJ Food [created] => 2010-07-17 22:15:58 [modified] => 2013-07-05 15:56:56 [slug] => dj-food [fuga_id] => [description_clean] =>

DJ Food (present) : Strictly Kev

With nearly 25 years of DJing experience and more than a decade serving up Food for DJs, for both Ninja and Coldcut's weekly radio show 'Solid Steel', Kev is now in the Food hot seat.

At his 'Telepathic Fish' ambient parties in the early 90's he booked Matt Black on his first VJing gigs, started designing artwork for Ninja Tune and paired up with PC (Patrick Carpenter) to form the public 'face' of DJ Food on 4 decks in clubs around the world. After working on various Food and Coldcut related studio projects with PC (A Recipe for Disaster, Journeys by DJ, ColdKrushCuts and the Blech mix compilations for Warp) they released the album 'Kaleidoscope' in 2000, closely followed by the 'Quadraplex EP' in 2001.

Also arriving in 2001 was the first in a series of Solid Steel mix CDs, starting with DJ Food & DK (Darren Knott - Solid Steel's producer) and the publicly lauded 'Now, Listen'. Since then he's been constantly art directing the Ninja label, designing for artists like Amon Tobin, The Herbaliser, DJ Vadim and Funki Porcini. Mix work has included a re-score of the Monkees' cult film 'Head', an as-yet-unreleased album of vintage Sesame Street funk, and his magnum opus 'Raiding the 20th Century'. This last hour long mix / documentary was an internet only release, charting the history of the cut-up and featured journalist Paul Morley reading from his book 'Words & Music'. Not only did it crash servers on several sites that hosted it due to its initial popularity but it was later subject to a cease & desist order from EMI for multiple infringements of copyright.

In 2007, alongside DK again, he followed up their Solid Steel debut with the sequel - 'Now, Listen Again', and the pair spent much of 2008 transferring their mix into a 4 deck audio visual live show. Using Serato's video plug-in - that enables video to be mixed and scratched via turntables the same as records - they christened their efforts 'video turntablism'.

Kev is now working on a series of EPs that will make up the next DJ Food album, an exhaustive DJ Food website (www.djfood.org) and providing artwork for Ninja artists such as King Cannibal and the 20th anniversary label celebrations.

DJ Food (past):

DJ Food has been many persons, of who we will come to in a moment. DJ Food is best described as Food for DJs, simple as that, just flip it around and it begins to mean something entirely different.

Originally produced by Coldcut the DJ Food project started in 1990 with the release of 'Jazz Brakes', with 'Jazz Brakes Volume 3' being the label's most successful early album. Not only are they effective collections of breaks, loops and samples ideal for mixing, remixing and producing - but also fine collections of funky jazz & hip hop tunes, that cut it just as well on the discerning dancefloor as in the safety of your own home...

Since the growth of the abstract hip hop scene in recent years the 'Jazz Brakes' albums have proved to be ahead of their time. The latter DJ Food albums have developed with shades of latin, dub, techno, ambient, tribal, african and jungle flavouring the funk. The 2005 album 'A Recipe For Disaster' was a conscious break from the five 'Jazz Brakes' volumes to form more of an identity as an artist, and a remix album of tracks from all 6 LPs 'Refried Food' was released Feb '96.

But who made this food? Matt Black & Jonathan More (aka Coldcut) were responsible for starting the DJ Food series of 'Jazz Brakes' back in the early 90's, and along the way they met Patrick Carpenter (PC) who was commonly misconstrued as the computer that they made the tracks on for a while. A loose collaborative team began to form as more like-minded people arrived at the party; Paul Brook, Paul Rabiger, Strictly Kev and Issac Elliston to name a few.

Whilst keeping their hand in as DJs, Matt & Jon couldn't and didn't want to DJ twice in one night under both aliases of Coldcut & DJ Food, so PC & Strictly stepped up to represent the Food club-wise. This was the score for some time, until PC became so busy with his involvement in the Cinematic Orchestra that he decided to depart to concentrate on that, leaving Strictly Kev to carry the mantle.

[links_clean] =>

www.djfood.org

Twitter
Soundcloud

) ) ) [3] => Array ( [Event] => Array ( [id] => 12785 [date] => 2014-08-01 [artist] => Mr. Scruff [city] => Hackthope [state] => [country] => GB [venue] => Kendall Calling [promoter] => [description] => [ticket_url] => http://www.kendalcalling.co.uk/tickets/ [image_upload_id] => 18918 [created] => 2014-04-08 10:52:52 [modified] => 2014-05-01 17:14:30 [year_slug] => 2014 [month_slug] => aug [day_slug] => 1 [slug] => mr-scruff-hackthope-kendall-calling [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18918 [media_type] => image [artist] => Mr. Scruff [title] => Mr. Scruff Promo Shot [credits] => [buy_link] => [filename] => images/mr-scruff/scruff-1_2.jpg [checksum] => 82e1c7a063c29515235dd686747eeb96 [mime_type] => image/jpeg [size] => 20098 [external_url] => http://media.ninjatune.net/images/mr-scruff/scruff-1_2.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => mr-scruff [slug] => mr-scruff-promo-shot [created] => 2014-01-09 12:15:27 [modified] => 2014-01-09 12:16:56 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 40 [name] => Mr. Scruff [description] =>

Mr. Scruff: DJ, Producer & Cartoonist

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

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

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

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

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

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

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

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

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

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

[links] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 19130 [label_id] => 1 [twitter_username] => mrscruff1 [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Mr. Scruff [created] => 2010-07-17 22:15:58 [modified] => 2014-03-03 16:02:01 [slug] => mr-scruff [fuga_id] => [description_clean] =>

Mr. Scruff: DJ, Producer & Cartoonist

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

) ) ) [4] => Array ( [Event] => Array ( [id] => 12800 [date] => 2014-08-01 [artist] => The Heavy [city] => Standon [state] => [country] => GB [venue] => Standon Calling [promoter] => [description] => [ticket_url] => http://www.standon-calling.com/information/tickets [image_upload_id] => 16903 [created] => 2014-04-08 11:30:07 [modified] => 2014-05-01 17:14:13 [year_slug] => 2014 [month_slug] => aug [day_slug] => 1 [slug] => the-heavy-standon-standon-calling [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 16903 [media_type] => image [artist] => The Heavy [title] => Heavy Artist Shot 2012 1 [credits] => [buy_link] => [filename] => images/the-heavy/theheavy-promoshot1.jpg [checksum] => 333ca971966ac881a09d97d3ec798fb0 [mime_type] => image/jpeg [size] => 76818 [external_url] => http://media.ninjatune.net/images/the-heavy/theheavy-promoshot1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => the-heavy [slug] => heavy-artist-shot-2012-1 [created] => 2012-05-23 13:49:14 [modified] => 2012-05-23 13:49:21 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 71 [name] => The Heavy [description] =>

“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious album, The Glorious Dead. “We wanted to make a bold statement – it’s not shy, but a beast unto itself.” “It’s over the top, but in a good way,” adds charismatic Heavy frontman Kelvin Swaby. “With this record, we went pretty cinematic: we basically set out to score a film that hasn’t been written.” 

Indeed, The Glorious Dead proves singular: Frankensteining everything from swampy voodoo and b-movie zombies with garage-rock guitars and Gospel-soaked soul, it becomes a whole other creature feature unlike anything else you’ll hear this year. The Glorious Dead isn’t just The Heavy’s third full-length: it’s also the group’s most ambitious effort, traveling sonically from the group’s South England home to America’s deep South, and beyond. It’s also building off momentum from The Heavy’s greatest success, the international smash single “How You Like Me Now?,” off the band’s acclaimed previous album, 2009’s The House That Dirt Built

An infectious anthem of hard-rocking maximum R&B, “How You Like Me Now?” exploded upon release: it became the first song David Letterman’s ever requested an encore for when The Heavy played it on his “Late Show,” and has appeared everywhere from “Entourage” episodes, Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted. “How You Like Me Now?” continues to enthrall: on the recent climax of the 2012 season of NBC’s hit show “The Voice,” Adam Levine’s team contestant Tony Lucca performed the song to massive acclaim. “That was surreal,” says Taylor. “It’s taken on legs of its own. I can’t complain, but I wouldn’t want to be known for one song – it’s not our peak.” 

“It’s such a big tune, people ask, ‘How are you going to top that?’,” Swaby adds. “But we’re not going to lie down and play dead.” 

As such, The Glorious Dead rockets out of the grave with supernatural force. Alternately haunting and relentless, album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials. It’s followed by “Curse Me Good,” which provides a jarring contrast with its sweet whistled hook, George Harrison-meets-T.Rex acoustic strum, and a heartbreaking soul vocal from Swaby. “It’s good to have a bit of light and shade amid the onslaught of heavy guitars,” Taylor explains. “I find we’re always trying to recreate the diversity of, say, The White Album, but with beats.” 

Likewise, “Big Bad Wolf” combines primal howling à la Screamin’ Jay Hawkins, funkdafied breakbeats, and eerie electronics that recall Luniz’ stoned rap classic “I Got 5 On It.” “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “It’s integral to make everything sound like samples from our record collection, but with a modern edge. We’re not afraid to use technology, and everything needs to have that tight, heavyweight bottom end.” 

Epitomizing this all-inclusive strategy is The Glorious Dead’s centerpiece breakthrough track, “What Makes A Good Man?” Defiant yet uplifting, “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group call-and-response vocals and soaring, epic strings. Its creation provided the spark that would prove crucial to the album’s inception. Looking to soak up some Southern Gothic inspiration, The Heavy traveled far from their hometown near Bath, England all the way to Columbus, Georgia on the advice of their U.S. tour-bus driver, Sam Phillips. There, Phillips hooked the group up with a number of church-trained singers and players: they would take Swaby and Taylor’s song ideas to another realm, like singer/keyboardist Lloyd Buchanan’s intense contribution to “…Good Man?” “We had the beat and the chorus for ‘Good Man,’ and when Lloyd started jamming on the B-3 and singing on it, I was like, ‘This is going to be insane,’” Swaby says. “The Gospel singers started doing the chorus they already knew they song – they made it sound like the Supremes or Ronettes. It was an incredible feeling: after that, we were on our merry way.”

Taking the material to yet another level was the contribution of Gabriel “Bosco Mann” Roth, Daptone Records co-founder and bandleader of Sharon Jones & the Dap-Kings, with whom The Heavy had toured extensively. Roth ended up scoring innovative string and horn parts to four of The Glorious Dead’s ten songs. “It doesn’t sound like what Gabriel does with the Dap-Kings,” Taylor says. “He got into the mindset to do something different.” “He’s such a talented entity,” Swaby continues. “I couldn’t believe what was coming out of the speakers. It was so fitting, with this vintage sound, and amazing beauty. It reminded me of these black-and-white films I used to watch as a kid.” 

Film loomed as large an influence on The Glorious Dead as music. As key inspirations, Taylor cites the tweaked Americana of Jim Jarmusch’s Down By Law and the voodoo vibes of the James Bond classic Live and Let Die alongside ‘60s Mod rave-ups and the atmospheric Brit multiculturalism of Fun Boy Three and The Specials; Swaby, meanwhile, explored low-budget horror flicks alongside the controlled screaming of garage-rockers The Sonics, Tom Waits’ elastic growl, and soul giants Al Green and Otis Redding. 

Starting in January 2011, Taylor, Swaby, and bandmates Spencer Page (bass) and Chris Ellul (drums) began combining these ingredients into their own idiosyncratic blend – a process launched by The Heavy building their own studio and choosing to produce The Glorious Dead themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing the vision we had,” Taylor says. “Your third record is judged as to whether you’re there to stay, or slide off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”

The Glorious Dead spawned the mighty lead single 'What Makes a Good Man?' a funk-ridden, soul-wrenching study of a deep spiritual question. What Makes A Good Man? has been featured in trailers for HBO, Lawless, Borderlands 2 and Elementary, and the band gave TV performances on The Late Show with David Letterman, Last Call With Carson Daly and The Late Late Show With Craig Ferguson. 

Since the dawn of The Glorious Dead, The Heavy have done anything other than rest on their laurels. 2013 has seen them reprise their smash hit 'How You Like Me Now?' for ESPN's Draft Week. The song was reworked to feature a guest verse from none other than 50 Cent, who happily enveloped himself in The Heavy's swamp-funk, and even performed in a brand new video. Since then, the song has gone on to reach Gold status in the USA, a stunning success from a British band on a label as independent as they are. 

The Heavy came back to the US to perform at Spike TV's Guys Choice Awards as the house band in June 2013. Touring in 2013 has so far been a SOLD OUT UK Tour, an EU Tour in May, plus USA and Canadian dates in June and August, with another EU/UK Tour booked for the end of the year. Festival highlights this summer include Ottawa Jazz Festival, Rock-A-Field in Luxembourg, Hove in Norway, T In The Park in Scotland, Glastonbury and WOMAD in England, Osheaga in Montreal, Outside Lands in San Francisco and Afropunk in New York. 

To date, this true original of a band have sold 750,000 singles and over 150,000 albums. Long live The Heavy

[links] =>

www.theheavy.co.uk

Facebook
Twitter
Soundcloud

[image_upload_id] => 16903 [label_id] => 5 [twitter_username] => theheavy [instagram_id] => 217232350 [instagram_username] => theheavy [link] => [listed] => 1 [sortname] => Heavy [created] => 2010-07-17 22:15:59 [modified] => 2014-06-30 16:51:09 [slug] => the-heavy [fuga_id] => [description_clean] =>

“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious album, The Glorious Dead. “We wanted to make a bold statement – it’s not shy, but a beast unto itself.” “It’s over the top, but in a good way,” adds charismatic Heavy frontman Kelvin Swaby. “With this record, we went pretty cinematic: we basically set out to score a film that hasn’t been written.” 

Indeed, The Glorious Dead proves singular: Frankensteining everything from swampy voodoo and b-movie zombies with garage-rock guitars and Gospel-soaked soul, it becomes a whole other creature feature unlike anything else you’ll hear this year. The Glorious Dead isn’t just The Heavy’s third full-length: it’s also the group’s most ambitious effort, traveling sonically from the group’s South England home to America’s deep South, and beyond. It’s also building off momentum from The Heavy’s greatest success, the international smash single “How You Like Me Now?,” off the band’s acclaimed previous album, 2009’s The House That Dirt Built

An infectious anthem of hard-rocking maximum R&B, “How You Like Me Now?” exploded upon release: it became the first song David Letterman’s ever requested an encore for when The Heavy played it on his “Late Show,” and has appeared everywhere from “Entourage” episodes, Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted. “How You Like Me Now?” continues to enthrall: on the recent climax of the 2012 season of NBC’s hit show “The Voice,” Adam Levine’s team contestant Tony Lucca performed the song to massive acclaim. “That was surreal,” says Taylor. “It’s taken on legs of its own. I can’t complain, but I wouldn’t want to be known for one song – it’s not our peak.” 

“It’s such a big tune, people ask, ‘How are you going to top that?’,” Swaby adds. “But we’re not going to lie down and play dead.” 

As such, The Glorious Dead rockets out of the grave with supernatural force. Alternately haunting and relentless, album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials. It’s followed by “Curse Me Good,” which provides a jarring contrast with its sweet whistled hook, George Harrison-meets-T.Rex acoustic strum, and a heartbreaking soul vocal from Swaby. “It’s good to have a bit of light and shade amid the onslaught of heavy guitars,” Taylor explains. “I find we’re always trying to recreate the diversity of, say, The White Album, but with beats.” 

Likewise, “Big Bad Wolf” combines primal howling à la Screamin’ Jay Hawkins, funkdafied breakbeats, and eerie electronics that recall Luniz’ stoned rap classic “I Got 5 On It.” “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “It’s integral to make everything sound like samples from our record collection, but with a modern edge. We’re not afraid to use technology, and everything needs to have that tight, heavyweight bottom end.” 

Epitomizing this all-inclusive strategy is The Glorious Dead’s centerpiece breakthrough track, “What Makes A Good Man?” Defiant yet uplifting, “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group call-and-response vocals and soaring, epic strings. Its creation provided the spark that would prove crucial to the album’s inception. Looking to soak up some Southern Gothic inspiration, The Heavy traveled far from their hometown near Bath, England all the way to Columbus, Georgia on the advice of their U.S. tour-bus driver, Sam Phillips. There, Phillips hooked the group up with a number of church-trained singers and players: they would take Swaby and Taylor’s song ideas to another realm, like singer/keyboardist Lloyd Buchanan’s intense contribution to “…Good Man?” “We had the beat and the chorus for ‘Good Man,’ and when Lloyd started jamming on the B-3 and singing on it, I was like, ‘This is going to be insane,’” Swaby says. “The Gospel singers started doing the chorus they already knew they song – they made it sound like the Supremes or Ronettes. It was an incredible feeling: after that, we were on our merry way.”

Taking the material to yet another level was the contribution of Gabriel “Bosco Mann” Roth, Daptone Records co-founder and bandleader of Sharon Jones & the Dap-Kings, with whom The Heavy had toured extensively. Roth ended up scoring innovative string and horn parts to four of The Glorious Dead’s ten songs. “It doesn’t sound like what Gabriel does with the Dap-Kings,” Taylor says. “He got into the mindset to do something different.” “He’s such a talented entity,” Swaby continues. “I couldn’t believe what was coming out of the speakers. It was so fitting, with this vintage sound, and amazing beauty. It reminded me of these black-and-white films I used to watch as a kid.” 

Film loomed as large an influence on The Glorious Dead as music. As key inspirations, Taylor cites the tweaked Americana of Jim Jarmusch’s Down By Law and the voodoo vibes of the James Bond classic Live and Let Die alongside ‘60s Mod rave-ups and the atmospheric Brit multiculturalism of Fun Boy Three and The Specials; Swaby, meanwhile, explored low-budget horror flicks alongside the controlled screaming of garage-rockers The Sonics, Tom Waits’ elastic growl, and soul giants Al Green and Otis Redding. 

Starting in January 2011, Taylor, Swaby, and bandmates Spencer Page (bass) and Chris Ellul (drums) began combining these ingredients into their own idiosyncratic blend – a process launched by The Heavy building their own studio and choosing to produce The Glorious Dead themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing the vision we had,” Taylor says. “Your third record is judged as to whether you’re there to stay, or slide off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”

The Glorious Dead spawned the mighty lead single 'What Makes a Good Man?' a funk-ridden, soul-wrenching study of a deep spiritual question. What Makes A Good Man? has been featured in trailers for HBO, Lawless, Borderlands 2 and Elementary, and the band gave TV performances on The Late Show with David Letterman, Last Call With Carson Daly and The Late Late Show With Craig Ferguson. 

Since the dawn of The Glorious Dead, The Heavy have done anything other than rest on their laurels. 2013 has seen them reprise their smash hit 'How You Like Me Now?' for ESPN's Draft Week. The song was reworked to feature a guest verse from none other than 50 Cent, who happily enveloped himself in The Heavy's swamp-funk, and even performed in a brand new video. Since then, the song has gone on to reach Gold status in the USA, a stunning success from a British band on a label as independent as they are. 

The Heavy came back to the US to perform at Spike TV's Guys Choice Awards as the house band in June 2013. Touring in 2013 has so far been a SOLD OUT UK Tour, an EU Tour in May, plus USA and Canadian dates in June and August, with another EU/UK Tour booked for the end of the year. Festival highlights this summer include Ottawa Jazz Festival, Rock-A-Field in Luxembourg, Hove in Norway, T In The Park in Scotland, Glastonbury and WOMAD in England, Osheaga in Montreal, Outside Lands in San Francisco and Afropunk in New York. 

To date, this true original of a band have sold 750,000 singles and over 150,000 albums. Long live The Heavy

[links_clean] =>

www.theheavy.co.uk

Facebook
Twitter
Soundcloud

) ) ) [5] => Array ( [Event] => Array ( [id] => 13030 [date] => 2014-08-01 [artist] => Run The Jewels [city] => Chicago [state] => [country] => US [venue] => Lollapalooza [promoter] => [description] => [ticket_url] => http://www.lollapalooza.com/tickets/ [image_upload_id] => 19136 [created] => 2014-06-05 17:11:53 [modified] => 2014-06-05 17:11:53 [year_slug] => 2014 [month_slug] => aug [day_slug] => 1 [slug] => run-the-jewels-chicago-lollapalooza [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19136 [media_type] => image [artist] => Run The Jewels [title] => "Run The Jewels" Grab [credits] => [buy_link] => [filename] => images/run-the-jewels/Screen-Shot-2014-03-05-at-10-30-14.png [checksum] => ae40f03a9620daa67a2f151e467761b5 [mime_type] => image/png [size] => 834865 [external_url] => http://media.ninjatune.net/images/run-the-jewels/Screen-Shot-2014-03-05-at-10-30-14.png [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => run-the-jewels [slug] => inch-run-the-jewels-inch-grab [created] => 2014-03-05 10:28:08 [modified] => 2014-03-05 10:29:30 [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] => 195 [name] => Run The Jewels [description] =>

El-P and Killer Mike will release their collaborative and acclaimed Run The Jewels album throughout Europe on 4th November via Big Dada. The record will feature new, previously unreleased material and be available in Europe for the first time on digital outlets, including iTunes, and as a deluxe vinyl edition.

Big Dada: “We're incredibly excited to be releasingRun The Jewels. El-P was one of the early inspirations behind Big Dada, and is one of the all-time great driving forces of forward-thinking rap music. His partnership with one of the most intelligent, fluent and ferocious MCs out there, Killer Mike, is hugely exciting and we think Run The Jewels is the rap record of 2013 and then some.

[links] =>
Run The Jewels - FREE DOWNLOAD
[image_upload_id] => 18652 [label_id] => 2 [twitter_username] => therealelp [instagram_id] => 508845469 [instagram_username] => threalelp [link] => [listed] => 1 [sortname] => Run The Jewels [created] => 2013-09-27 11:09:34 [modified] => 2014-03-10 10:43:44 [slug] => run-the-jewels [fuga_id] => [description_clean] =>

El-P and Killer Mike will release their collaborative and acclaimed Run The Jewels album throughout Europe on 4th November via Big Dada. The record will feature new, previously unreleased material and be available in Europe for the first time on digital outlets, including iTunes, and as a deluxe vinyl edition.

Big Dada: “We're incredibly excited to be releasingRun The Jewels. El-P was one of the early inspirations behind Big Dada, and is one of the all-time great driving forces of forward-thinking rap music. His partnership with one of the most intelligent, fluent and ferocious MCs out there, Killer Mike, is hugely exciting and we think Run The Jewels is the rap record of 2013 and then some.

[links_clean] =>
Run The Jewels - FREE DOWNLOAD
) ) ) [6] => Array ( [Event] => Array ( [id] => 12928 [date] => 2014-08-01 [artist] => Romare [city] => Somerset [state] => [country] => GB [venue] => Farmfestival 2014 [promoter] => [description] => [ticket_url] => http://farmfestival.co.uk/buy-tickets/ [image_upload_id] => 19667 [created] => 2014-05-08 14:57:59 [modified] => 2014-07-08 17:07:50 [year_slug] => 2014 [month_slug] => aug [day_slug] => 1 [slug] => romare-somerset-farmfestival-2014 [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19667 [media_type] => image [artist] => Romare [title] => Farmfest poster [credits] => [buy_link] => [filename] => images/romare/Romarefarmfest430.jpg [checksum] => 12914e35a01d7f1e7aada2ed5865babe [mime_type] => image/jpeg [size] => 79940 [external_url] => http://media.ninjatune.net/images/romare/Romarefarmfest430.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => romare [slug] => farmfest-poster [created] => 2014-07-08 17:07:38 [modified] => 2014-07-08 17:09:59 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 203 [name] => Romare [description] =>

Ninja Tune is very proud to announce the signing of Romare. One of the most exciting British talents to emerge from the electronic world of late, Romare’s music combines a seriousness of intent with a thrilling immediacy.

The discovery of revered American collagist Romare Bearden whilst at university became a lightning bolt moment, as is revealed by the moniker he chose for himself. More importantly, Bearden’s collages inspired the young musician to pursue a similar technique in his productions, harnessing its power to illuminate and assert through re-contextualisation.

With two vinyl EP releases on the excellent Black Acre label - Meditations on Afrocentrism (2012) and Love Songs: Part One (2013) - fiercely supported by the likes of Benji B, Gilles Peterson, Huw Stephens and BonoboRomare’s music has, rightfully, already caused a stir.

A true artist, Romare’s music moves the mind as much as the feet, its sense of detail married to its mood, melody and passion.

[links] =>

Website
Facebook
Twitter
SoundCloud
YouTube

[image_upload_id] => 19139 [label_id] => 1 [twitter_username] => romaremusic [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Romare [created] => 2014-03-05 10:29:46 [modified] => 2014-03-06 12:26:09 [slug] => romare [fuga_id] => [description_clean] =>

Ninja Tune is very proud to announce the signing of Romare. One of the most exciting British talents to emerge from the electronic world of late, Romare’s music combines a seriousness of intent with a thrilling immediacy.

The discovery of revered American collagist Romare Bearden whilst at university became a lightning bolt moment, as is revealed by the moniker he chose for himself. More importantly, Bearden’s collages inspired the young musician to pursue a similar technique in his productions, harnessing its power to illuminate and assert through re-contextualisation.

With two vinyl EP releases on the excellent Black Acre label - Meditations on Afrocentrism (2012) and Love Songs: Part One (2013) - fiercely supported by the likes of Benji B, Gilles Peterson, Huw Stephens and BonoboRomare’s music has, rightfully, already caused a stir.

A true artist, Romare’s music moves the mind as much as the feet, its sense of detail married to its mood, melody and passion.

[links_clean] =>

Website
Facebook
Twitter
SoundCloud
YouTube

) ) ) [7] => Array ( [Event] => Array ( [id] => 13117 [date] => 2014-08-01 [artist] => Bonobo [city] => Sao Paulo [state] => [country] => BA [venue] => D.EDGE [promoter] => [description] => [ticket_url] => http://www.d-edge.com.br/ [image_upload_id] => 14852 [created] => 2014-06-27 10:50:59 [modified] => 2014-07-08 16:53:38 [year_slug] => 2014 [month_slug] => aug [day_slug] => 1 [slug] => bonobo-sao-paulo-d-edge [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 14852 [media_type] => image [artist] => Bonobo [title] => 'The Keeper' video screenshot [credits] => [buy_link] => [filename] => images/bonobo/bonobo-thekeeper-screenshot.jpg [checksum] => a9a9826a64bd66392af0d1890b4cac17 [mime_type] => image/jpeg [size] => 78732 [external_url] => http://media.ninjatune.net/images/bonobo/bonobo-thekeeper-screenshot.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => bonobo [slug] => the-keeper-video-screenshot [created] => 2010-12-08 10:48:24 [modified] => 2010-12-08 10:48:24 [embed] => ) [Country] => Array ( [id] => 105 [name] => Brazil [longname] => Brazil [numcode] => 76 [iso] => BA [iso3] => BRA [currency] => GBP [active] => 1 [parent_id] => 102 [lft] => 206 [rght] => 207 [level] => 3 ) [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 FaltyDL.

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

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

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

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

[links] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

[image_upload_id] => 19635 [label_id] => 1 [twitter_username] => sibonobo [instagram_id] => 1322091 [instagram_username] => si_bonobo [link] => [listed] => 1 [sortname] => Bonobo [created] => 2010-07-17 22:15:59 [modified] => 2014-07-02 15:32:12 [slug] => bonobo [fuga_id] => [description_clean] =>

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

Bonobo website

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) ) ) [8] => Array ( [Event] => Array ( [id] => 13169 [date] => 2014-08-01 [artist] => ODESZA [city] => Montreal [state] => [country] => CA [venue] => Osheaga [promoter] => [description] => [ticket_url] => http://www.osheaga.com/tickets/ [image_upload_id] => 19719 [created] => 2014-07-22 16:33:09 [modified] => 2014-07-22 16:33:09 [year_slug] => 2014 [month_slug] => aug [day_slug] => 1 [slug] => odesza-montreal-osheaga [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19719 [media_type] => image [artist] => ODESZA [title] => US tour 2014 [credits] => [buy_link] => [filename] => images/odesza/Odesza-us-tour-430.jpg [checksum] => 456976cd4b7b64574e4abfd177dbd9ad [mime_type] => image/jpeg [size] => 309019 [external_url] => http://media.ninjatune.net/images/odesza/Odesza-us-tour-430.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => odesza [slug] => us-tour-2014 [created] => 2014-07-22 16:25:40 [modified] => 2014-07-22 16:27:52 [embed] => ) [Country] => Array ( [id] => 119 [name] => Canada [longname] => Canada [numcode] => 124 [iso] => CA [iso3] => CAN [currency] => CAD [active] => 1 [parent_id] => 117 [lft] => 235 [rght] => 236 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 210 [name] => ODESZA [description] =>

Over the past 18 months, Seattle producer duo ODESZA (Harrison Mills, Clayton Knight) has rapidly ascended to the top of their class. Accruing listens online, selling out shows and packing out festival crowds, ODESZA has won fans through the stereo and from the stage. They’ve racked up 10 Hype Machine #1s, over 16 million SoundCloud streams, over 7.5 million Spotify plays and a sold out U.S. headline tour this spring. They’ve performed at numerous festivals including Coachella, Sasquatch, Lightning In A Bottle, Osheaga, Shambhala, What The Festival, Summer Meltdown, Decibel Festival, The Hudson Project and Symbiosis Gathering, and shared stages with Pretty Lights, Bonobo, Emancipator, and Star Slinger

Today, ODESZA proudly unveils their brand new album, In Return, to be released Sept. 9thon Counter Records.  In Return more than delivers 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, Shy Girls, and Madelyn Grant, who is featured on the previously released hit, “Sun Models”, are expertly worked into ODESZA’s trademark, mood-altering uplift. In Return is available now for pre-order at odesza.com where fans can purchase Vinyl, CD and mp3/WAVs for the first time ever.  The new track, “Memories That You Call (feat. Monsoonsiren)”, premiered via Noisey, is available to stream and download via the pre-order. ODESZA will tour in support of In Return throughout the fall playing their largest headline gigs yet with shows already selling out over two months in advance. A new live performance has been developed to accompany In Return – ensuring that the shows will do full justice to the album.

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inreturn.odesza.com

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[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] => 2014-07-25 13:44:00 [slug] => odesza [fuga_id] => [description_clean] =>

Over the past 18 months, Seattle producer duo ODESZA (Harrison Mills, Clayton Knight) has rapidly ascended to the top of their class. Accruing listens online, selling out shows and packing out festival crowds, ODESZA has won fans through the stereo and from the stage. They’ve racked up 10 Hype Machine #1s, over 16 million SoundCloud streams, over 7.5 million Spotify plays and a sold out U.S. headline tour this spring. They’ve performed at numerous festivals including Coachella, Sasquatch, Lightning In A Bottle, Osheaga, Shambhala, What The Festival, Summer Meltdown, Decibel Festival, The Hudson Project and Symbiosis Gathering, and shared stages with Pretty Lights, Bonobo, Emancipator, and Star Slinger

Today, ODESZA proudly unveils their brand new album, In Return, to be released Sept. 9thon Counter Records.  In Return more than delivers 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, Shy Girls, and Madelyn Grant, who is featured on the previously released hit, “Sun Models”, are expertly worked into ODESZA’s trademark, mood-altering uplift. In Return is available now for pre-order at odesza.com where fans can purchase Vinyl, CD and mp3/WAVs for the first time ever.  The new track, “Memories That You Call (feat. Monsoonsiren)”, premiered via Noisey, is available to stream and download via the pre-order. ODESZA will tour in support of In Return throughout the fall playing their largest headline gigs yet with shows already selling out over two months in advance. A new live performance has been developed to accompany In Return – ensuring that the shows will do full justice to the album.

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inreturn.odesza.com

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) ) ) [9] => Array ( [Event] => Array ( [id] => 13204 [date] => 2014-08-01 [artist] => Martyn [city] => London [state] => [country] => GB [venue] => XOYO [promoter] => [description] => [ticket_url] => http://www.xoyo.co.uk/events/DEVIATION-BEN-14/index.html [image_upload_id] => 19720 [created] => 2014-07-23 12:05:53 [modified] => 2014-07-23 12:05:53 [year_slug] => 2014 [month_slug] => aug [day_slug] => 1 [slug] => martyn-london-xoyo-2 [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19720 [media_type] => image [artist] => Martyn [title] => Deviation 2014 [credits] => [buy_link] => [filename] => images/martyn/deviation-76-JUL14.jpg [checksum] => c72f5453881215ea5a82023e32950e50 [mime_type] => image/jpeg [size] => 347091 [external_url] => http://media.ninjatune.net/images/martyn/deviation-76-JUL14.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => martyn [slug] => deviation-2014 [created] => 2014-07-23 09:38:27 [modified] => 2014-07-23 09:40:59 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 152 [name] => Martyn [description] =>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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) ) ) [10] => Array ( [Event] => Array ( [id] => 12602 [date] => 2014-08-02 [artist] => Roots Manuva [city] => Herefordshire [state] => [country] => GB [venue] => Nozstock Festival [promoter] => [description] => [ticket_url] => http://www.nozstock.com/tickets/ [image_upload_id] => 19124 [created] => 2014-02-26 17:32:45 [modified] => 2014-05-07 16:14:35 [year_slug] => 2014 [month_slug] => aug [day_slug] => 2 [slug] => roots-manuva-herefordshire-nozstock-festival [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19124 [media_type] => image [artist] => Roots Manuva [title] => Roots Manuva Nozstock 2014 [credits] => [buy_link] => [filename] => images/roots-manuva/Rootsmanuvaflyer.jpg [checksum] => 9d1f628c487d61b49f15fe4995219ffb [mime_type] => image/jpeg [size] => 199650 [external_url] => http://media.ninjatune.net/images/roots-manuva/Rootsmanuvaflyer.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => roots-manuva [slug] => roots-manuva-nozstock-2014 [created] => 2014-02-26 17:29:32 [modified] => 2014-02-26 17:30:57 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 44 [name] => Roots Manuva [description] =>

Rodney Smith aka Roots Manuva is one of the titans of Black British music.

Smith made his recorded debut in 1994 as part of IQ Procedure through Suburban Base's short-lived hip hop imprint Bluntly Speaking Vinyl. He debuted as Roots Manuva the same year on Blak Twang's 'Queen's Head' single, before releasing his own single, 'Next Type of Motion' the following year through the same label, the hugely influential Sound of Money. 1996 saw the release of his collaborations with Skitz ('Where My Mind Is At'/'Blessed Be the Manner') on 23 Skidoo's Ronin label. The release of 'Feva' on Tony Vegas's Wayward imprint followed in 1997. This was also the year that saw the first releases from Big Dada. In 1998 he joined the label and the following year released his fiercesome debut, 'Brand New Second Hand'. From an initial 3000 records put into the shops 'BNSH' has now sold over 50,000 copies in the UK. It also made the first dents in the wall of complacency and indifference which has often greeted home-grown Black music in this country. Manuva was rewarded for his breakthrough with a MOBO as Best Hip Hop Act that year. As if to demonstrate the broad appeal of his style, he also featured on Leftfield's 'Dusted' from their 'Rhythm & Stealth' album.

Big things were now expected of Smith and he delivered with 2001's 'Run Come Save Me', the record which gained him a nomination for the Mercury Music Prize and which has currently sold well over 100,000 copies in the UK. More importantly, it spawned the all-time classic 'Witness' (voted the greatest UK hip hop tune of all time by the readers of Hip Hop Connection) on an album that ran from the broad, swaggering pop of 'Dreamy Days' to the dark, odd meditation of 'Evil Rabbit'. It is also the record which led the Guardian newspaper, in October 2003, to proclaim Manuva fifth in their '40 Best Bands In Britain' feature, proclaiming that "his influence is incalculable and he opened the doors for the Streets, Dizzee Rascal et al."

Smith followed up that album with "Slime & Reason" in 2008 and "4everevolution" in 2011. Both records were acclaimed by critics and fans alike. In addition, 2010 saw the release of "Duppy Writer," Alongside these releases, he contributed to the first Gorillaz record, started up his label-come-gang, Banana Klan, and guested on countless records for other artists.

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www.rootsmanuva.co.uk

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[image_upload_id] => 16203 [label_id] => 2 [twitter_username] => rootsmanuva [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Roots Manuva [created] => 2010-07-17 22:15:59 [modified] => 2013-02-26 13:26:20 [slug] => roots-manuva [fuga_id] => [description_clean] =>

Rodney Smith aka Roots Manuva is one of the titans of Black British music.

Smith made his recorded debut in 1994 as part of IQ Procedure through Suburban Base's short-lived hip hop imprint Bluntly Speaking Vinyl. He debuted as Roots Manuva the same year on Blak Twang's 'Queen's Head' single, before releasing his own single, 'Next Type of Motion' the following year through the same label, the hugely influential Sound of Money. 1996 saw the release of his collaborations with Skitz ('Where My Mind Is At'/'Blessed Be the Manner') on 23 Skidoo's Ronin label. The release of 'Feva' on Tony Vegas's Wayward imprint followed in 1997. This was also the year that saw the first releases from Big Dada. In 1998 he joined the label and the following year released his fiercesome debut, 'Brand New Second Hand'. From an initial 3000 records put into the shops 'BNSH' has now sold over 50,000 copies in the UK. It also made the first dents in the wall of complacency and indifference which has often greeted home-grown Black music in this country. Manuva was rewarded for his breakthrough with a MOBO as Best Hip Hop Act that year. As if to demonstrate the broad appeal of his style, he also featured on Leftfield's 'Dusted' from their 'Rhythm & Stealth' album.

Big things were now expected of Smith and he delivered with 2001's 'Run Come Save Me', the record which gained him a nomination for the Mercury Music Prize and which has currently sold well over 100,000 copies in the UK. More importantly, it spawned the all-time classic 'Witness' (voted the greatest UK hip hop tune of all time by the readers of Hip Hop Connection) on an album that ran from the broad, swaggering pop of 'Dreamy Days' to the dark, odd meditation of 'Evil Rabbit'. It is also the record which led the Guardian newspaper, in October 2003, to proclaim Manuva fifth in their '40 Best Bands In Britain' feature, proclaiming that "his influence is incalculable and he opened the doors for the Streets, Dizzee Rascal et al."

Smith followed up that album with "Slime & Reason" in 2008 and "4everevolution" in 2011. Both records were acclaimed by critics and fans alike. In addition, 2010 saw the release of "Duppy Writer," Alongside these releases, he contributed to the first Gorillaz record, started up his label-come-gang, Banana Klan, and guested on countless records for other artists.

[links_clean] =>

www.rootsmanuva.co.uk

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) ) ) [11] => Array ( [Event] => Array ( [id] => 12668 [date] => 2014-08-02 [artist] => DJ Food [city] => Somerset [state] => [country] => GB [venue] => Farm Festival [promoter] => [description] => [ticket_url] => http://www.farmfestival.co.uk/buy-tickets/ [image_upload_id] => [created] => 2014-03-11 17:52:18 [modified] => 2014-03-11 17:52:18 [year_slug] => 2014 [month_slug] => aug [day_slug] => 2 [slug] => dj-food-somerset-farm-festival [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => [media_type] => [artist] => [title] => [credits] => [buy_link] => [filename] => [checksum] => [mime_type] => [size] => [external_url] => [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => [active] => [processed] => [artist_slug] => [slug] => [created] => [modified] => [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 34 [name] => DJ Food [description] =>

DJ Food (present) : Strictly Kev

With nearly 25 years of DJing experience and more than a decade serving up Food for DJs, for both Ninja and Coldcut's weekly radio show 'Solid Steel', Kev is now in the Food hot seat.

At his 'Telepathic Fish' ambient parties in the early 90's he booked Matt Black on his first VJing gigs, started designing artwork for Ninja Tune and paired up with PC (Patrick Carpenter) to form the public 'face' of DJ Food on 4 decks in clubs around the world. After working on various Food and Coldcut related studio projects with PC (A Recipe for Disaster, Journeys by DJ, ColdKrushCuts and the Blech mix compilations for Warp) they released the album 'Kaleidoscope' in 2000, closely followed by the 'Quadraplex EP' in 2001.

Also arriving in 2001 was the first in a series of Solid Steel mix CDs, starting with DJ Food & DK (Darren Knott - Solid Steel's producer) and the publicly lauded 'Now, Listen'. Since then he's been constantly art directing the Ninja label, designing for artists like Amon Tobin, The Herbaliser, DJ Vadim and Funki Porcini. Mix work has included a re-score of the Monkees' cult film 'Head', an as-yet-unreleased album of vintage Sesame Street funk, and his magnum opus 'Raiding the 20th Century'. This last hour long mix / documentary was an internet only release, charting the history of the cut-up and featured journalist Paul Morley reading from his book 'Words & Music'. Not only did it crash servers on several sites that hosted it due to its initial popularity but it was later subject to a cease & desist order from EMI for multiple infringements of copyright.

In 2007, alongside DK again, he followed up their Solid Steel debut with the sequel - 'Now, Listen Again', and the pair spent much of 2008 transferring their mix into a 4 deck audio visual live show. Using Serato's video plug-in - that enables video to be mixed and scratched via turntables the same as records - they christened their efforts 'video turntablism'.

Kev is now working on a series of EPs that will make up the next DJ Food album, an exhaustive DJ Food website (www.djfood.org) and providing artwork for Ninja artists such as King Cannibal and the 20th anniversary label celebrations.

DJ Food (past):

DJ Food has been many persons, of who we will come to in a moment. DJ Food is best described as Food for DJs, simple as that, just flip it around and it begins to mean something entirely different.

Originally produced by Coldcut the DJ Food project started in 1990 with the release of 'Jazz Brakes', with 'Jazz Brakes Volume 3' being the label's most successful early album. Not only are they effective collections of breaks, loops and samples ideal for mixing, remixing and producing - but also fine collections of funky jazz & hip hop tunes, that cut it just as well on the discerning dancefloor as in the safety of your own home...

Since the growth of the abstract hip hop scene in recent years the 'Jazz Brakes' albums have proved to be ahead of their time. The latter DJ Food albums have developed with shades of latin, dub, techno, ambient, tribal, african and jungle flavouring the funk. The 2005 album 'A Recipe For Disaster' was a conscious break from the five 'Jazz Brakes' volumes to form more of an identity as an artist, and a remix album of tracks from all 6 LPs 'Refried Food' was released Feb '96.

But who made this food? Matt Black & Jonathan More (aka Coldcut) were responsible for starting the DJ Food series of 'Jazz Brakes' back in the early 90's, and along the way they met Patrick Carpenter (PC) who was commonly misconstrued as the computer that they made the tracks on for a while. A loose collaborative team began to form as more like-minded people arrived at the party; Paul Brook, Paul Rabiger, Strictly Kev and Issac Elliston to name a few.

Whilst keeping their hand in as DJs, Matt & Jon couldn't and didn't want to DJ twice in one night under both aliases of Coldcut & DJ Food, so PC & Strictly stepped up to represent the Food club-wise. This was the score for some time, until PC became so busy with his involvement in the Cinematic Orchestra that he decided to depart to concentrate on that, leaving Strictly Kev to carry the mantle.

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[image_upload_id] => 16199 [label_id] => 1 [twitter_username] => djfood [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => DJ Food [created] => 2010-07-17 22:15:58 [modified] => 2013-07-05 15:56:56 [slug] => dj-food [fuga_id] => [description_clean] =>

DJ Food (present) : Strictly Kev

With nearly 25 years of DJing experience and more than a decade serving up Food for DJs, for both Ninja and Coldcut's weekly radio show 'Solid Steel', Kev is now in the Food hot seat.

At his 'Telepathic Fish' ambient parties in the early 90's he booked Matt Black on his first VJing gigs, started designing artwork for Ninja Tune and paired up with PC (Patrick Carpenter) to form the public 'face' of DJ Food on 4 decks in clubs around the world. After working on various Food and Coldcut related studio projects with PC (A Recipe for Disaster, Journeys by DJ, ColdKrushCuts and the Blech mix compilations for Warp) they released the album 'Kaleidoscope' in 2000, closely followed by the 'Quadraplex EP' in 2001.

Also arriving in 2001 was the first in a series of Solid Steel mix CDs, starting with DJ Food & DK (Darren Knott - Solid Steel's producer) and the publicly lauded 'Now, Listen'. Since then he's been constantly art directing the Ninja label, designing for artists like Amon Tobin, The Herbaliser, DJ Vadim and Funki Porcini. Mix work has included a re-score of the Monkees' cult film 'Head', an as-yet-unreleased album of vintage Sesame Street funk, and his magnum opus 'Raiding the 20th Century'. This last hour long mix / documentary was an internet only release, charting the history of the cut-up and featured journalist Paul Morley reading from his book 'Words & Music'. Not only did it crash servers on several sites that hosted it due to its initial popularity but it was later subject to a cease & desist order from EMI for multiple infringements of copyright.

In 2007, alongside DK again, he followed up their Solid Steel debut with the sequel - 'Now, Listen Again', and the pair spent much of 2008 transferring their mix into a 4 deck audio visual live show. Using Serato's video plug-in - that enables video to be mixed and scratched via turntables the same as records - they christened their efforts 'video turntablism'.

Kev is now working on a series of EPs that will make up the next DJ Food album, an exhaustive DJ Food website (www.djfood.org) and providing artwork for Ninja artists such as King Cannibal and the 20th anniversary label celebrations.

DJ Food (past):

DJ Food has been many persons, of who we will come to in a moment. DJ Food is best described as Food for DJs, simple as that, just flip it around and it begins to mean something entirely different.

Originally produced by Coldcut the DJ Food project started in 1990 with the release of 'Jazz Brakes', with 'Jazz Brakes Volume 3' being the label's most successful early album. Not only are they effective collections of breaks, loops and samples ideal for mixing, remixing and producing - but also fine collections of funky jazz & hip hop tunes, that cut it just as well on the discerning dancefloor as in the safety of your own home...

Since the growth of the abstract hip hop scene in recent years the 'Jazz Brakes' albums have proved to be ahead of their time. The latter DJ Food albums have developed with shades of latin, dub, techno, ambient, tribal, african and jungle flavouring the funk. The 2005 album 'A Recipe For Disaster' was a conscious break from the five 'Jazz Brakes' volumes to form more of an identity as an artist, and a remix album of tracks from all 6 LPs 'Refried Food' was released Feb '96.

But who made this food? Matt Black & Jonathan More (aka Coldcut) were responsible for starting the DJ Food series of 'Jazz Brakes' back in the early 90's, and along the way they met Patrick Carpenter (PC) who was commonly misconstrued as the computer that they made the tracks on for a while. A loose collaborative team began to form as more like-minded people arrived at the party; Paul Brook, Paul Rabiger, Strictly Kev and Issac Elliston to name a few.

Whilst keeping their hand in as DJs, Matt & Jon couldn't and didn't want to DJ twice in one night under both aliases of Coldcut & DJ Food, so PC & Strictly stepped up to represent the Food club-wise. This was the score for some time, until PC became so busy with his involvement in the Cinematic Orchestra that he decided to depart to concentrate on that, leaving Strictly Kev to carry the mantle.

[links_clean] =>

www.djfood.org

Twitter
Soundcloud

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From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious album, The Glorious Dead. “We wanted to make a bold statement – it’s not shy, but a beast unto itself.” “It’s over the top, but in a good way,” adds charismatic Heavy frontman Kelvin Swaby. “With this record, we went pretty cinematic: we basically set out to score a film that hasn’t been written.” 

Indeed, The Glorious Dead proves singular: Frankensteining everything from swampy voodoo and b-movie zombies with garage-rock guitars and Gospel-soaked soul, it becomes a whole other creature feature unlike anything else you’ll hear this year. The Glorious Dead isn’t just The Heavy’s third full-length: it’s also the group’s most ambitious effort, traveling sonically from the group’s South England home to America’s deep South, and beyond. It’s also building off momentum from The Heavy’s greatest success, the international smash single “How You Like Me Now?,” off the band’s acclaimed previous album, 2009’s The House That Dirt Built

An infectious anthem of hard-rocking maximum R&B, “How You Like Me Now?” exploded upon release: it became the first song David Letterman’s ever requested an encore for when The Heavy played it on his “Late Show,” and has appeared everywhere from “Entourage” episodes, Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted. “How You Like Me Now?” continues to enthrall: on the recent climax of the 2012 season of NBC’s hit show “The Voice,” Adam Levine’s team contestant Tony Lucca performed the song to massive acclaim. “That was surreal,” says Taylor. “It’s taken on legs of its own. I can’t complain, but I wouldn’t want to be known for one song – it’s not our peak.” 

“It’s such a big tune, people ask, ‘How are you going to top that?’,” Swaby adds. “But we’re not going to lie down and play dead.” 

As such, The Glorious Dead rockets out of the grave with supernatural force. Alternately haunting and relentless, album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials. It’s followed by “Curse Me Good,” which provides a jarring contrast with its sweet whistled hook, George Harrison-meets-T.Rex acoustic strum, and a heartbreaking soul vocal from Swaby. “It’s good to have a bit of light and shade amid the onslaught of heavy guitars,” Taylor explains. “I find we’re always trying to recreate the diversity of, say, The White Album, but with beats.” 

Likewise, “Big Bad Wolf” combines primal howling à la Screamin’ Jay Hawkins, funkdafied breakbeats, and eerie electronics that recall Luniz’ stoned rap classic “I Got 5 On It.” “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “It’s integral to make everything sound like samples from our record collection, but with a modern edge. We’re not afraid to use technology, and everything needs to have that tight, heavyweight bottom end.” 

Epitomizing this all-inclusive strategy is The Glorious Dead’s centerpiece breakthrough track, “What Makes A Good Man?” Defiant yet uplifting, “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group call-and-response vocals and soaring, epic strings. Its creation provided the spark that would prove crucial to the album’s inception. Looking to soak up some Southern Gothic inspiration, The Heavy traveled far from their hometown near Bath, England all the way to Columbus, Georgia on the advice of their U.S. tour-bus driver, Sam Phillips. There, Phillips hooked the group up with a number of church-trained singers and players: they would take Swaby and Taylor’s song ideas to another realm, like singer/keyboardist Lloyd Buchanan’s intense contribution to “…Good Man?” “We had the beat and the chorus for ‘Good Man,’ and when Lloyd started jamming on the B-3 and singing on it, I was like, ‘This is going to be insane,’” Swaby says. “The Gospel singers started doing the chorus they already knew they song – they made it sound like the Supremes or Ronettes. It was an incredible feeling: after that, we were on our merry way.”

Taking the material to yet another level was the contribution of Gabriel “Bosco Mann” Roth, Daptone Records co-founder and bandleader of Sharon Jones & the Dap-Kings, with whom The Heavy had toured extensively. Roth ended up scoring innovative string and horn parts to four of The Glorious Dead’s ten songs. “It doesn’t sound like what Gabriel does with the Dap-Kings,” Taylor says. “He got into the mindset to do something different.” “He’s such a talented entity,” Swaby continues. “I couldn’t believe what was coming out of the speakers. It was so fitting, with this vintage sound, and amazing beauty. It reminded me of these black-and-white films I used to watch as a kid.” 

Film loomed as large an influence on The Glorious Dead as music. As key inspirations, Taylor cites the tweaked Americana of Jim Jarmusch’s Down By Law and the voodoo vibes of the James Bond classic Live and Let Die alongside ‘60s Mod rave-ups and the atmospheric Brit multiculturalism of Fun Boy Three and The Specials; Swaby, meanwhile, explored low-budget horror flicks alongside the controlled screaming of garage-rockers The Sonics, Tom Waits’ elastic growl, and soul giants Al Green and Otis Redding. 

Starting in January 2011, Taylor, Swaby, and bandmates Spencer Page (bass) and Chris Ellul (drums) began combining these ingredients into their own idiosyncratic blend – a process launched by The Heavy building their own studio and choosing to produce The Glorious Dead themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing the vision we had,” Taylor says. “Your third record is judged as to whether you’re there to stay, or slide off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”

The Glorious Dead spawned the mighty lead single 'What Makes a Good Man?' a funk-ridden, soul-wrenching study of a deep spiritual question. What Makes A Good Man? has been featured in trailers for HBO, Lawless, Borderlands 2 and Elementary, and the band gave TV performances on The Late Show with David Letterman, Last Call With Carson Daly and The Late Late Show With Craig Ferguson. 

Since the dawn of The Glorious Dead, The Heavy have done anything other than rest on their laurels. 2013 has seen them reprise their smash hit 'How You Like Me Now?' for ESPN's Draft Week. The song was reworked to feature a guest verse from none other than 50 Cent, who happily enveloped himself in The Heavy's swamp-funk, and even performed in a brand new video. Since then, the song has gone on to reach Gold status in the USA, a stunning success from a British band on a label as independent as they are. 

The Heavy came back to the US to perform at Spike TV's Guys Choice Awards as the house band in June 2013. Touring in 2013 has so far been a SOLD OUT UK Tour, an EU Tour in May, plus USA and Canadian dates in June and August, with another EU/UK Tour booked for the end of the year. Festival highlights this summer include Ottawa Jazz Festival, Rock-A-Field in Luxembourg, Hove in Norway, T In The Park in Scotland, Glastonbury and WOMAD in England, Osheaga in Montreal, Outside Lands in San Francisco and Afropunk in New York. 

To date, this true original of a band have sold 750,000 singles and over 150,000 albums. Long live The Heavy

[links] =>

www.theheavy.co.uk

Facebook
Twitter
Soundcloud

[image_upload_id] => 16903 [label_id] => 5 [twitter_username] => theheavy [instagram_id] => 217232350 [instagram_username] => theheavy [link] => [listed] => 1 [sortname] => Heavy [created] => 2010-07-17 22:15:59 [modified] => 2014-06-30 16:51:09 [slug] => the-heavy [fuga_id] => [description_clean] =>

“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious album, The Glorious Dead. “We wanted to make a bold statement – it’s not shy, but a beast unto itself.” “It’s over the top, but in a good way,” adds charismatic Heavy frontman Kelvin Swaby. “With this record, we went pretty cinematic: we basically set out to score a film that hasn’t been written.” 

Indeed, The Glorious Dead proves singular: Frankensteining everything from swampy voodoo and b-movie zombies with garage-rock guitars and Gospel-soaked soul, it becomes a whole other creature feature unlike anything else you’ll hear this year. The Glorious Dead isn’t just The Heavy’s third full-length: it’s also the group’s most ambitious effort, traveling sonically from the group’s South England home to America’s deep South, and beyond. It’s also building off momentum from The Heavy’s greatest success, the international smash single “How You Like Me Now?,” off the band’s acclaimed previous album, 2009’s The House That Dirt Built

An infectious anthem of hard-rocking maximum R&B, “How You Like Me Now?” exploded upon release: it became the first song David Letterman’s ever requested an encore for when The Heavy played it on his “Late Show,” and has appeared everywhere from “Entourage” episodes, Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted. “How You Like Me Now?” continues to enthrall: on the recent climax of the 2012 season of NBC’s hit show “The Voice,” Adam Levine’s team contestant Tony Lucca performed the song to massive acclaim. “That was surreal,” says Taylor. “It’s taken on legs of its own. I can’t complain, but I wouldn’t want to be known for one song – it’s not our peak.” 

“It’s such a big tune, people ask, ‘How are you going to top that?’,” Swaby adds. “But we’re not going to lie down and play dead.” 

As such, The Glorious Dead rockets out of the grave with supernatural force. Alternately haunting and relentless, album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials. It’s followed by “Curse Me Good,” which provides a jarring contrast with its sweet whistled hook, George Harrison-meets-T.Rex acoustic strum, and a heartbreaking soul vocal from Swaby. “It’s good to have a bit of light and shade amid the onslaught of heavy guitars,” Taylor explains. “I find we’re always trying to recreate the diversity of, say, The White Album, but with beats.” 

Likewise, “Big Bad Wolf” combines primal howling à la Screamin’ Jay Hawkins, funkdafied breakbeats, and eerie electronics that recall Luniz’ stoned rap classic “I Got 5 On It.” “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “It’s integral to make everything sound like samples from our record collection, but with a modern edge. We’re not afraid to use technology, and everything needs to have that tight, heavyweight bottom end.” 

Epitomizing this all-inclusive strategy is The Glorious Dead’s centerpiece breakthrough track, “What Makes A Good Man?” Defiant yet uplifting, “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group call-and-response vocals and soaring, epic strings. Its creation provided the spark that would prove crucial to the album’s inception. Looking to soak up some Southern Gothic inspiration, The Heavy traveled far from their hometown near Bath, England all the way to Columbus, Georgia on the advice of their U.S. tour-bus driver, Sam Phillips. There, Phillips hooked the group up with a number of church-trained singers and players: they would take Swaby and Taylor’s song ideas to another realm, like singer/keyboardist Lloyd Buchanan’s intense contribution to “…Good Man?” “We had the beat and the chorus for ‘Good Man,’ and when Lloyd started jamming on the B-3 and singing on it, I was like, ‘This is going to be insane,’” Swaby says. “The Gospel singers started doing the chorus they already knew they song – they made it sound like the Supremes or Ronettes. It was an incredible feeling: after that, we were on our merry way.”

Taking the material to yet another level was the contribution of Gabriel “Bosco Mann” Roth, Daptone Records co-founder and bandleader of Sharon Jones & the Dap-Kings, with whom The Heavy had toured extensively. Roth ended up scoring innovative string and horn parts to four of The Glorious Dead’s ten songs. “It doesn’t sound like what Gabriel does with the Dap-Kings,” Taylor says. “He got into the mindset to do something different.” “He’s such a talented entity,” Swaby continues. “I couldn’t believe what was coming out of the speakers. It was so fitting, with this vintage sound, and amazing beauty. It reminded me of these black-and-white films I used to watch as a kid.” 

Film loomed as large an influence on The Glorious Dead as music. As key inspirations, Taylor cites the tweaked Americana of Jim Jarmusch’s Down By Law and the voodoo vibes of the James Bond classic Live and Let Die alongside ‘60s Mod rave-ups and the atmospheric Brit multiculturalism of Fun Boy Three and The Specials; Swaby, meanwhile, explored low-budget horror flicks alongside the controlled screaming of garage-rockers The Sonics, Tom Waits’ elastic growl, and soul giants Al Green and Otis Redding. 

Starting in January 2011, Taylor, Swaby, and bandmates Spencer Page (bass) and Chris Ellul (drums) began combining these ingredients into their own idiosyncratic blend – a process launched by The Heavy building their own studio and choosing to produce The Glorious Dead themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing the vision we had,” Taylor says. “Your third record is judged as to whether you’re there to stay, or slide off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”

The Glorious Dead spawned the mighty lead single 'What Makes a Good Man?' a funk-ridden, soul-wrenching study of a deep spiritual question. What Makes A Good Man? has been featured in trailers for HBO, Lawless, Borderlands 2 and Elementary, and the band gave TV performances on The Late Show with David Letterman, Last Call With Carson Daly and The Late Late Show With Craig Ferguson. 

Since the dawn of The Glorious Dead, The Heavy have done anything other than rest on their laurels. 2013 has seen them reprise their smash hit 'How You Like Me Now?' for ESPN's Draft Week. The song was reworked to feature a guest verse from none other than 50 Cent, who happily enveloped himself in The Heavy's swamp-funk, and even performed in a brand new video. Since then, the song has gone on to reach Gold status in the USA, a stunning success from a British band on a label as independent as they are. 

The Heavy came back to the US to perform at Spike TV's Guys Choice Awards as the house band in June 2013. Touring in 2013 has so far been a SOLD OUT UK Tour, an EU Tour in May, plus USA and Canadian dates in June and August, with another EU/UK Tour booked for the end of the year. Festival highlights this summer include Ottawa Jazz Festival, Rock-A-Field in Luxembourg, Hove in Norway, T In The Park in Scotland, Glastonbury and WOMAD in England, Osheaga in Montreal, Outside Lands in San Francisco and Afropunk in New York. 

To date, this true original of a band have sold 750,000 singles and over 150,000 albums. Long live The Heavy

[links_clean] =>

www.theheavy.co.uk

Facebook
Twitter
Soundcloud

) ) ) [14] => Array ( [Event] => Array ( [id] => 13046 [date] => 2014-08-02 [artist] => Run The Jewels [city] => Chicago [state] => [country] => US [venue] => Double Door [promoter] => [description] => [ticket_url] => https://www.songkick.com/events/20770198?utm_campaign=upcoming%2Fdaily_digest&utm_medium=email&utm_source=skemail&deep_link_sour [image_upload_id] => 18744 [created] => 2014-06-09 16:59:16 [modified] => 2014-06-09 16:59:16 [year_slug] => 2014 [month_slug] => aug [day_slug] => 2 [slug] => run-the-jewels-chicago-double-door [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18744 [media_type] => image [artist] => Run The Jewels [title] => RTJ Press Photo 2013 [credits] => [buy_link] => [filename] => images/run-the-jewels/RTJ-Nov-13.jpg [checksum] => 6dca10ea76148c707e2f6cf01e2d097c [mime_type] => image/jpeg [size] => 118013 [external_url] => http://media.ninjatune.net/images/run-the-jewels/RTJ-Nov-13.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => run-the-jewels [slug] => rtj-press-photo-2013 [created] => 2013-11-13 16:34:46 [modified] => 2013-11-13 16:35:48 [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] => 195 [name] => Run The Jewels [description] =>

El-P and Killer Mike will release their collaborative and acclaimed Run The Jewels album throughout Europe on 4th November via Big Dada. The record will feature new, previously unreleased material and be available in Europe for the first time on digital outlets, including iTunes, and as a deluxe vinyl edition.

Big Dada: “We're incredibly excited to be releasingRun The Jewels. El-P was one of the early inspirations behind Big Dada, and is one of the all-time great driving forces of forward-thinking rap music. His partnership with one of the most intelligent, fluent and ferocious MCs out there, Killer Mike, is hugely exciting and we think Run The Jewels is the rap record of 2013 and then some.

[links] =>
Run The Jewels - FREE DOWNLOAD
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El-P and Killer Mike will release their collaborative and acclaimed Run The Jewels album throughout Europe on 4th November via Big Dada. The record will feature new, previously unreleased material and be available in Europe for the first time on digital outlets, including iTunes, and as a deluxe vinyl edition.

Big Dada: “We're incredibly excited to be releasingRun The Jewels. El-P was one of the early inspirations behind Big Dada, and is one of the all-time great driving forces of forward-thinking rap music. His partnership with one of the most intelligent, fluent and ferocious MCs out there, Killer Mike, is hugely exciting and we think Run The Jewels is the rap record of 2013 and then some.

[links_clean] =>
Run The Jewels - FREE DOWNLOAD
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Kate Tempest started out when she was 16, rapping at strangers on night busses and pestering mc's to let her on the mic at raves. Ten years later she is a published playwright, novelist, poet and respected recording artist. Her work includes Balance, her first album with band Sound of Rum; Everything Speaks in its Own Way her first collection of poems, the critically acclaimed playsWasted, Glasshouse and Hopelessly Devoted.  Brand New Ancients, her self-performed epic poem to a live score, won the Ted Hughes prize 2013 and the Herald Angel at Edinburgh Fringe.It has sold out tours in the UK and New York and is published by Picador. Her second collection of poetry, Hold Your Own, will be published by Picador on October 2014. Her debut novel, The Bricks That Built The Houses, sold in a highly competitive auction to Bloomsbury and will be published in territories including the UK, US, France, Holland and Brazil in Spring 2015. Excitingly, each track on the record correlates with a chapter in the novel, in a groundbreaking cross-genre experience. 

Her single Our Town, with producers letthemusicplay was recently released on Greco-Roman records. Kate has featured on songs with Sinead O Connor, Bastille, the King Blues, Damien Dempsey and Landslide. She has toured extensively, supporting Billy Bragg on his UK tour, as well as supporting Scroobius Pip, Femi Kuti, Saul Williams and John Cooper Clarke. She is 2 x slam winner at the prestigious Nu-Yorican poetry cafe in New York and has played all the major UK and European music festivals either solo or with Sound of Rum. She's headlined Latitude festival and has been featured on the BBC's Glastonbury highlights, Channel 4, BBC Radio 1,4 and 6, as well as XFM and the Charlie Rose Show (Bloomberg) in the US.

Kate's new album Everybody Down is released in May 2014 on Big Dada records.  It was produced by Dan Carey aka Mr Dan who is one of the UK’s best known and most highly-rated producers. When the two met, Carey invited Tempest to come through to his South London studio to muck about on a track or two. In a burst of intense creativity, they put down the whole twelve track album in a fortnight having spent almost a year developing the characters and story. Kate is currently working on a new collection of poems, (to be published by Picador in 2014). 

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Kate Tempest started out when she was 16, rapping at strangers on night busses and pestering mc's to let her on the mic at raves. Ten years later she is a published playwright, novelist, poet and respected recording artist. Her work includes Balance, her first album with band Sound of Rum; Everything Speaks in its Own Way her first collection of poems, the critically acclaimed playsWasted, Glasshouse and Hopelessly Devoted.  Brand New Ancients, her self-performed epic poem to a live score, won the Ted Hughes prize 2013 and the Herald Angel at Edinburgh Fringe.It has sold out tours in the UK and New York and is published by Picador. Her second collection of poetry, Hold Your Own, will be published by Picador on October 2014. Her debut novel, The Bricks That Built The Houses, sold in a highly competitive auction to Bloomsbury and will be published in territories including the UK, US, France, Holland and Brazil in Spring 2015. Excitingly, each track on the record correlates with a chapter in the novel, in a groundbreaking cross-genre experience. 

Her single Our Town, with producers letthemusicplay was recently released on Greco-Roman records. Kate has featured on songs with Sinead O Connor, Bastille, the King Blues, Damien Dempsey and Landslide. She has toured extensively, supporting Billy Bragg on his UK tour, as well as supporting Scroobius Pip, Femi Kuti, Saul Williams and John Cooper Clarke. She is 2 x slam winner at the prestigious Nu-Yorican poetry cafe in New York and has played all the major UK and European music festivals either solo or with Sound of Rum. She's headlined Latitude festival and has been featured on the BBC's Glastonbury highlights, Channel 4, BBC Radio 1,4 and 6, as well as XFM and the Charlie Rose Show (Bloomberg) in the US.

Kate's new album Everybody Down is released in May 2014 on Big Dada records.  It was produced by Dan Carey aka Mr Dan who is one of the UK’s best known and most highly-rated producers. When the two met, Carey invited Tempest to come through to his South London studio to muck about on a track or two. In a burst of intense creativity, they put down the whole twelve track album in a fortnight having spent almost a year developing the characters and story. Kate is currently working on a new collection of poems, (to be published by Picador in 2014). 

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

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

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

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

Who is Fin Greenall? All of the above. 

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

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

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

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

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

The young techno warrior was messianic. 

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

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

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

So the wheels of steel started to fall off. 

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

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

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

[links] =>

Fink Website

Facebook
Twitter
Soundcloud

[image_upload_id] => 18384 [label_id] => 1 [twitter_username] => Finkmusic [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Fink [created] => 2010-07-17 22:15:58 [modified] => 2013-08-22 13:03:49 [slug] => fink [fuga_id] => [description_clean] =>

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

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

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

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

Who is Fin Greenall? All of the above. 

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

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

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

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

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

The young techno warrior was messianic. 

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

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

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

So the wheels of steel started to fall off. 

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

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

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

[links_clean] =>

Fink Website

Facebook
Twitter
Soundcloud

) ) ) [17] => Array ( [Event] => Array ( [id] => 13147 [date] => 2014-08-02 [artist] => Bonobo [city] => Sao Paulo [state] => [country] => BA [venue] => Warung Beach Club [promoter] => [description] => [ticket_url] => http://www.blueticket.com.br/11062/Bonobo,-Kate-Simco,-Rick-Maia-Itajai-SC/?obj=listagem-local [image_upload_id] => 19258 [created] => 2014-07-08 16:58:35 [modified] => 2014-07-08 16:58:35 [year_slug] => 2014 [month_slug] => aug [day_slug] => 2 [slug] => bonobo-sao-paulo-warung-beach-club [description_clean] => [products_count] => 0 [hidden] => 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] => 105 [name] => Brazil [longname] => Brazil [numcode] => 76 [iso] => BA [iso3] => BRA [currency] => GBP [active] => 1 [parent_id] => 102 [lft] => 206 [rght] => 207 [level] => 3 ) [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 FaltyDL.

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

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

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

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

[links] =>

Bonobo website

Facebook
Twitter
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[image_upload_id] => 19635 [label_id] => 1 [twitter_username] => sibonobo [instagram_id] => 1322091 [instagram_username] => si_bonobo [link] => [listed] => 1 [sortname] => Bonobo [created] => 2010-07-17 22:15:59 [modified] => 2014-07-02 15:32:12 [slug] => bonobo [fuga_id] => [description_clean] =>

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

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

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

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

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

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

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

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

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

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

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Bonobo website

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