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*Paul's Boutique Set with DJ Cheeba & DJ Moneyshot*

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*Paul's Boutique Set with DJ Cheeba & DJ Moneyshot*

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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

) ) ) [1] => Array ( [Event] => Array ( [id] => 12615 [date] => 2014-04-20 [artist] => Mr. Scruff [city] => Glasgow [state] => [country] => GB [venue] => The Admiral [promoter] => [description] => [ticket_url] => http://www.residentadvisor.net/event.aspx?562750 [image_upload_id] => 19169 [created] => 2014-03-04 14:57:56 [modified] => 2014-03-11 13:36:26 [year_slug] => 2014 [month_slug] => apr [day_slug] => 20 [slug] => mr-scruff-glasgow-the-admiral [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19169 [media_type] => image [artist] => Mr. Scruff [title] => Scruff Glasgow april 2014 [credits] => [buy_link] => [filename] => images/mr-scruff/140420scruffglasgow-430WEB.jpg [checksum] => edd31cdf8e286c4734f3f1e5ad4ee8b0 [mime_type] => image/jpeg [size] => 274429 [external_url] => http://media.ninjatune.net/images/mr-scruff/140420scruffglasgow-430WEB.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => mr-scruff [slug] => scruff-glasgow-april-2014 [created] => 2014-03-11 13:36:16 [modified] => 2014-03-11 13:37:49 [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

) ) ) [2] => Array ( [Event] => Array ( [id] => 12760 [date] => 2014-04-20 [artist] => Hint [city] => Paris [state] => [country] => FR [venue] => La Machine du Moulin Rouge [promoter] => [description] => [ticket_url] => http://www.digitick.com/hint-cabaret-contemporain-concert-la-machine-du-moulin-rouge-paris-20-avril-2014-css5-lamachinedumoulinr [image_upload_id] => 19224 [created] => 2014-03-26 10:55:32 [modified] => 2014-03-26 10:55:32 [year_slug] => 2014 [month_slug] => apr [day_slug] => 20 [slug] => hint-paris-la-machine-du-moulin-rouge [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19224 [media_type] => image [artist] => Hint [title] => Hint Paris 2014 [credits] => [buy_link] => [filename] => images/hint/Hint-paris.jpg [checksum] => 79fe069a3a52efb7747c4cc8965f9c42 [mime_type] => image/jpeg [size] => 850856 [external_url] => http://media.ninjatune.net/images/hint/Hint-paris.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => hint [slug] => hint-paris-2014 [created] => 2014-03-26 10:55:13 [modified] => 2014-03-26 10:56:47 [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] => 14 [name] => Hint [description] => Hint is one man, alone, in his portakabin in the deepest Sussex countryside, looking out the window, and looking deep inside, to make some very beautiful music. Otherwise known as Jonathan James, Hint's musical tastes have gone through various transformations over his brief 23 years on the planet. From full on drum and bass to hip hop, soul to funk, and electronica to post rock, it all went in one ear and out the other as our boy finished his degree at Leicester University, and went straight, as all graduates worth their salt do, into working in a record shop. Coming to our attention via what is, in the Leicester underground, still known as 'the best mixtape ever', Hint began to rock Leicester's minuscule nitespots, whilst secretly harbouring desires to own an MPC. Through a mixture of blood, sweat, and teas, the sampler was saved for and purchased, and was swiftly joined by Hint's hitherto hidden musical talents on the keyboard, guitar, and bass. After Hint and cynical hack Joe90 spent many a DJ car journey to Leeds listening to his first efforts, whereupon 90, after being practically reduced to tears by the ramshackle joy of ruralbeat, told him he'd be famous one day, Hint was introduced to the newly formed Leicester label Deep Water Recordings. 'Count Your Blessings', the standout track on Deep Water's inaugral various artists EP, appeared, to be swiftly followed by 'The Beau Selector EP', which garnered eclectic single of month in Ministry, and a Peel Session. Imagine that. At this point the finely tuned ears of Bristol's Hombre Recording's pricked up, as Hint literally gave up the day job, moved back to Sussex, and set up his studio in the portakabin to make some lovely noise. Unable to resist the beguiling draw of Hint's new found 'rural beat', Hombre offered him a new home, and its there that he now musically resides. With debut 10" 'The Look Up', and follow up single 'Count Your Blessings' now out his debut album is completed in it's full laidback glory, due for release early 2003 [links] =>

Facebook
Twitter
Soundcloud

[image_upload_id] => 3973 [label_id] => 1 [twitter_username] => theycallmehint [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Hint [created] => 2010-07-17 22:15:58 [modified] => 2013-01-09 11:21:38 [slug] => hint [fuga_id] => [description_clean] =>

Hint is one man, alone, in his portakabin in the deepest Sussex countryside, looking out the window, and looking deep inside, to make some very beautiful music.

Otherwise known as Jonathan James, Hint's musical tastes have gone through various transformations over his brief 23 years on the planet. From full on drum and bass to hip hop, soul to funk, and electronica to post rock, it all went in one ear and out the other as our boy finished his degree at Leicester University, and went straight, as all graduates worth their salt do, into working in a record shop.

Coming to our attention via what is, in the Leicester underground, still known as 'the best mixtape ever', Hint began to rock Leicester's minuscule nitespots, whilst secretly harbouring desires to own an MPC. Through a mixture of blood, sweat, and teas, the sampler was saved for and purchased, and was swiftly joined by Hint's hitherto hidden musical talents on the keyboard, guitar, and bass.

After Hint and cynical hack Joe90 spent many a DJ car journey to Leeds listening to his first efforts, whereupon 90, after being practically reduced to tears by the ramshackle joy of ruralbeat, told him he'd be famous one day, Hint was introduced to the newly formed Leicester label Deep Water Recordings.

'Count Your Blessings', the standout track on Deep Water's inaugral various artists EP, appeared, to be swiftly followed by 'The Beau Selector EP', which garnered eclectic single of month in Ministry, and a Peel Session. Imagine that.

At this point the finely tuned ears of Bristol's Hombre Recording's pricked up, as Hint literally gave up the day job, moved back to Sussex, and set up his studio in the portakabin to make some lovely noise.

Unable to resist the beguiling draw of Hint's new found 'rural beat', Hombre offered him a new home, and its there that he now musically resides. With debut 10" 'The Look Up', and follow up single 'Count Your Blessings' now out his debut album is completed in it's full laidback glory, due for release early 2003

[links_clean] =>

Facebook
Twitter
Soundcloud

) ) ) [3] => Array ( [Event] => Array ( [id] => 12463 [date] => 2014-04-22 [artist] => Young Fathers [city] => Washington [state] => DC [country] => US [venue] => U Street Music Hall [promoter] => [description] => [ticket_url] => http://www.ticketfly.com/purchase/event/477513/tfly [image_upload_id] => 18985 [created] => 2014-01-27 10:50:13 [modified] => 2014-01-27 12:34:01 [year_slug] => 2014 [month_slug] => apr [day_slug] => 22 [slug] => young-fathers-washington-u-street-music-hall [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18985 [media_type] => image [artist] => Young Fathers [title] => US Tour Poster 2014 1 [credits] => [buy_link] => [filename] => images/young-fathers/1531605-10151941274611523-1274213393-n.jpg [checksum] => 6b9c3302221922995a5e5341ed3409ea [mime_type] => image/jpeg [size] => 103339 [external_url] => http://media.ninjatune.net/images/young-fathers/1531605-10151941274611523-1274213393-n.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => young-fathers [slug] => us-tour-poster-2014-1 [created] => 2014-01-27 10:39:47 [modified] => 2014-01-27 10:41:09 [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] => 198 [name] => Young Fathers [description] =>

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

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

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

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

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

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

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

[links] =>

www.kidkoala.com

Facebook
Twitter
Soundcloud

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

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

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

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

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

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

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

[links_clean] =>

www.kidkoala.com

Facebook
Twitter
Soundcloud

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North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.

His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.

Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.

The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.

His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.

Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.

[links] =>

Website

Facebook
Twitter
Instagram

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North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.

His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.

Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.

The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.

His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.

Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.

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) ) ) [7] => Array ( [Event] => Array ( [id] => 12465 [date] => 2014-04-24 [artist] => Young Fathers [city] => Hamden [state] => CT [country] => US [venue] => The Space [promoter] => [description] => [ticket_url] => http://www.ticketfly.com/purchase/event/474661/tfly [image_upload_id] => 18985 [created] => 2014-01-27 10:51:21 [modified] => 2014-01-27 12:35:32 [year_slug] => 2014 [month_slug] => apr [day_slug] => 24 [slug] => young-fathers-hamden-the-space [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18985 [media_type] => image [artist] => Young Fathers [title] => US Tour Poster 2014 1 [credits] => [buy_link] => [filename] => images/young-fathers/1531605-10151941274611523-1274213393-n.jpg [checksum] => 6b9c3302221922995a5e5341ed3409ea [mime_type] => image/jpeg [size] => 103339 [external_url] => http://media.ninjatune.net/images/young-fathers/1531605-10151941274611523-1274213393-n.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => young-fathers [slug] => us-tour-poster-2014-1 [created] => 2014-01-27 10:39:47 [modified] => 2014-01-27 10:41:09 [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] => 198 [name] => Young Fathers [description] =>

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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LA’s William Bensussen, aka The Gaslamp Killer, is many things at once. The San Diego native is a bonafide one-off; an artist and human being that can never be repeated. With an unparalleled energy, the DJ, producer, promoter and curator brings a different level of performance and showmanship to electronic music. 

"I always felt drawn to party time ever since I was little. Any kind of opportunity; a wedding, bar mitzvah, holiday. Whatever kind of event that was going on in my little community in San Diego, if there was music, I was dancing. It's just the way it was. I've always been into the energy and the happiness that it brings.”

Being a true music lover, and a complete obsessive, as a DJ/selector Bensussen has opened minds around the world to music that wouldn’t otherwise get heard. In his own words: “As artists, it's our job to entertain as well as educate.” Alongside co-founder Daddy Kev, GLK has put Southern California on the music map for years to come, with their beat mecca Low End Theory and the vibrant creative community they’ve built around it. The weekly Wednesday club night has brought together different scenes and generations, breaking new artists while also getting the likes of Thom Yorke and Erykah Badu to play DJ sets to the fevered Low End crowd, who often wait hours to get in. 

Over the last ten years, Gaslamp Killer’s iconoclastic attitude has led him beyond LA to far-reaching corners of the globe, one stage at a time: from Pitch in Amsterdam, to Sonar in Barcelona, to Austin Psych Fest, to Roskilde in Denmark, to Coachella. Holding a collection of well over 13,000 vinyl records, GLK’s untamed, unpredictable sets take traditional genres of rock into the outer reaches of hip-hop and the deep into the cosmic pressure of the heaviest electronic beats, with plenty of obscurity and bizarreness in-between. 

The now rare, GLK collectables I Spit On Your Grave and All Killer inspired a new generation of DJs to appreciate the art of a mixtape. Dusted Magazine described his follow-up mix, Hell And The Lake Of Fire Are Waiting For You, with words that describe GLK as a DJ in general: “Trying to figure out what’s going on is half the draw.” 

"The music that I grew up with influences me today enormously still. I love classic rock, I still love Dub and I still love Rap. Real rap. Gansta rap. I love bands, live bands, it's the music I grew up with. I don't think there are that many bands that can compare to Jimi Hendrix, Led Zeppelin, Pink Floyd, The Doors. They're not popular for no reason. I play The Beatles in my sets all the time still. Their music is a huge influence on me. I still play Dr Dre in my set all the time. His beats and the rhymes, the energy, they just affect me so much. They are a part of me. As well as Hip Hop, as well as Rock, and Blues, and Soul, and Jazz, and Reggae, and Dub. That kind of music I think lends to everything that we are all into today. All of us are fueled by that. The formulas that they laid and the foundations that they laid are used by musicians forever and will continue to be used forever.”

As a producer, The Gaslamp Killer has worked with artists such as Gonjasufi, Prefuse 73 and Flying Lotus. His own experimental solo material pushes the borders of genre as much as his performances, particularly with his heavy-weighted EP My Troubled Mind (Brainfeeder) and the monster Death Gate EP (Brainfeeder), which featured Gonjasufi, Computer Jay and Mophono

Breakthrough will mark the debut full-length album from the Gaslamp Killer. Blending California-inspired psych with widespread global influences, on Breakthrough GLK brings together a potent cast of friends to contribute to the album, with guest appearances from Gonjasufi, Adrian Younge, Dimlite, Daedelus, SAMIYAM and more. A musical anachronism and unconstrained compilation from a wandering spirit.

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[image_upload_id] => 15025 [label_id] => 7 [twitter_username] => GASLAMPKILLER [instagram_id] => 8233383 [instagram_username] => gaslampkiller [link] => [listed] => 0 [sortname] => Gaslamp Killer [created] => 2010-11-05 15:56:36 [modified] => 2013-05-03 14:57:46 [slug] => the-gaslamp-killer [fuga_id] => [description_clean] =>

LA’s William Bensussen, aka The Gaslamp Killer, is many things at once. The San Diego native is a bonafide one-off; an artist and human being that can never be repeated. With an unparalleled energy, the DJ, producer, promoter and curator brings a different level of performance and showmanship to electronic music. 

"I always felt drawn to party time ever since I was little. Any kind of opportunity; a wedding, bar mitzvah, holiday. Whatever kind of event that was going on in my little community in San Diego, if there was music, I was dancing. It's just the way it was. I've always been into the energy and the happiness that it brings.”

Being a true music lover, and a complete obsessive, as a DJ/selector Bensussen has opened minds around the world to music that wouldn’t otherwise get heard. In his own words: “As artists, it's our job to entertain as well as educate.” Alongside co-founder Daddy Kev, GLK has put Southern California on the music map for years to come, with their beat mecca Low End Theory and the vibrant creative community they’ve built around it. The weekly Wednesday club night has brought together different scenes and generations, breaking new artists while also getting the likes of Thom Yorke and Erykah Badu to play DJ sets to the fevered Low End crowd, who often wait hours to get in. 

Over the last ten years, Gaslamp Killer’s iconoclastic attitude has led him beyond LA to far-reaching corners of the globe, one stage at a time: from Pitch in Amsterdam, to Sonar in Barcelona, to Austin Psych Fest, to Roskilde in Denmark, to Coachella. Holding a collection of well over 13,000 vinyl records, GLK’s untamed, unpredictable sets take traditional genres of rock into the outer reaches of hip-hop and the deep into the cosmic pressure of the heaviest electronic beats, with plenty of obscurity and bizarreness in-between. 

The now rare, GLK collectables I Spit On Your Grave and All Killer inspired a new generation of DJs to appreciate the art of a mixtape. Dusted Magazine described his follow-up mix, Hell And The Lake Of Fire Are Waiting For You, with words that describe GLK as a DJ in general: “Trying to figure out what’s going on is half the draw.” 

"The music that I grew up with influences me today enormously still. I love classic rock, I still love Dub and I still love Rap. Real rap. Gansta rap. I love bands, live bands, it's the music I grew up with. I don't think there are that many bands that can compare to Jimi Hendrix, Led Zeppelin, Pink Floyd, The Doors. They're not popular for no reason. I play The Beatles in my sets all the time still. Their music is a huge influence on me. I still play Dr Dre in my set all the time. His beats and the rhymes, the energy, they just affect me so much. They are a part of me. As well as Hip Hop, as well as Rock, and Blues, and Soul, and Jazz, and Reggae, and Dub. That kind of music I think lends to everything that we are all into today. All of us are fueled by that. The formulas that they laid and the foundations that they laid are used by musicians forever and will continue to be used forever.”

As a producer, The Gaslamp Killer has worked with artists such as Gonjasufi, Prefuse 73 and Flying Lotus. His own experimental solo material pushes the borders of genre as much as his performances, particularly with his heavy-weighted EP My Troubled Mind (Brainfeeder) and the monster Death Gate EP (Brainfeeder), which featured Gonjasufi, Computer Jay and Mophono

Breakthrough will mark the debut full-length album from the Gaslamp Killer. Blending California-inspired psych with widespread global influences, on Breakthrough GLK brings together a potent cast of friends to contribute to the album, with guest appearances from Gonjasufi, Adrian Younge, Dimlite, Daedelus, SAMIYAM and more. A musical anachronism and unconstrained compilation from a wandering spirit.

[links_clean] =>

Website

Facebook
Twitter
Soundcloud

) ) ) [9] => Array ( [Event] => Array ( [id] => 12816 [date] => 2014-04-24 [artist] => Lapalux [city] => New York [state] => New York [country] => US [venue] => Glasslands [promoter] => [description] => [ticket_url] => http://ticketf.ly/1ejMCS2 [image_upload_id] => 19298 [created] => 2014-04-10 12:18:16 [modified] => 2014-04-10 12:18:16 [year_slug] => 2014 [month_slug] => apr [day_slug] => 24 [slug] => lapalux-new-york-glasslands [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19298 [media_type] => image [artist] => Lapalux [title] => NA Tour Flyer 2014 [credits] => [buy_link] => [filename] => images/lapalux/na-tour2014.jpg [checksum] => a58329de99e733731a3d19c26358c750 [mime_type] => image/jpeg [size] => 120001 [external_url] => http://media.ninjatune.net/images/lapalux/na-tour2014.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => lapalux [slug] => na-tour-flyer-2014 [created] => 2014-04-10 11:20:45 [modified] => 2014-04-10 11:22:28 [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] => 164 [name] => Lapalux [description] =>

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

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

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

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

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

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

[links] =>

www.lapalux.com

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

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

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

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

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

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

[links_clean] =>

www.lapalux.com

Facebook
Twitter
Soundcloud

) ) ) [10] => Array ( [Event] => Array ( [id] => 12466 [date] => 2014-04-25 [artist] => Young Fathers [city] => New York [state] => NY [country] => US [venue] => The Bowery Ballroom [promoter] => [description] => [ticket_url] => http://www.ticketmaster.com/baths-new-york-new-york-04-25-2014/event/00004B61EB6FDC1E?artistid=1470372&majorcatid=10001&minorcat [image_upload_id] => 18985 [created] => 2014-01-27 10:51:58 [modified] => 2014-01-27 12:37:17 [year_slug] => 2014 [month_slug] => apr [day_slug] => 25 [slug] => young-fathers-new-york-the-bowery-ballroom [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18985 [media_type] => image [artist] => Young Fathers [title] => US Tour Poster 2014 1 [credits] => [buy_link] => [filename] => images/young-fathers/1531605-10151941274611523-1274213393-n.jpg [checksum] => 6b9c3302221922995a5e5341ed3409ea [mime_type] => image/jpeg [size] => 103339 [external_url] => http://media.ninjatune.net/images/young-fathers/1531605-10151941274611523-1274213393-n.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => young-fathers [slug] => us-tour-poster-2014-1 [created] => 2014-01-27 10:39:47 [modified] => 2014-01-27 10:41:09 [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] => 198 [name] => Young Fathers [description] =>

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

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

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

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

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

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

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

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

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

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

[links] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

) ) ) [12] => Array ( [Event] => Array ( [id] => 12761 [date] => 2014-04-25 [artist] => Iration Steppas Sound System, Flow Dan, The Bug, O.B.F Sound System, Mala [city] => London [state] => [country] => GB [venue] => Coronet Theatre [promoter] => [description] => [ticket_url] => http://www.residentadvisor.net/event.aspx?578167 [image_upload_id] => 19225 [created] => 2014-03-26 11:07:11 [modified] => 2014-03-26 11:07:11 [year_slug] => 2014 [month_slug] => apr [day_slug] => 25 [slug] => iration-steppas-sound-system-flow-dan-the-bug-o-b-f-sound-system-mala-london-coronet-theatre [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19225 [media_type] => image [artist] => The Bug [title] => the bug coronet 2014 [credits] => [buy_link] => [filename] => images/the-bug/subdubnew-612x850.jpg [checksum] => cfa831a0650bb3521c99823d2eae57f9 [mime_type] => image/jpeg [size] => 233499 [external_url] => http://media.ninjatune.net/images/the-bug/subdubnew-612x850.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => the-bug [slug] => the-bug-coronet-2014 [created] => 2014-03-26 11:06:43 [modified] => 2014-03-26 11:08:28 [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] => 74 [name] => The Bug [description] =>

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

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

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

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

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

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

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

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

[links] => [image_upload_id] => 4101 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2012-06-22 11:04:26 [slug] => the-bug [fuga_id] => [description_clean] =>

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

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

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

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

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

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

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

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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

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

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

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

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

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

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

[links] =>

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Facebook
Twitter
Soundcloud

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

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

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

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

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

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

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

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

[links_clean] =>

Website
Facebook
Twitter
Soundcloud

) ) ) [14] => Array ( [Event] => Array ( [id] => 12779 [date] => 2014-04-25 [artist] => Jeremiah Jae [city] => Berlin [state] => [country] => DE [venue] => Gretchen [promoter] => [description] => [ticket_url] => [image_upload_id] => 17025 [created] => 2014-04-07 16:56:23 [modified] => 2014-04-07 16:56:23 [year_slug] => 2014 [month_slug] => apr [day_slug] => 25 [slug] => jeremiah-jae-berlin-gretchen-3 [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 17025 [media_type] => image [artist] => Jeremiah Jae [title] => Raw Money Raps Cover [credits] => [buy_link] => http://ninjatune.net/release/jeremiah-jae/raw-money-raps [filename] => images/jeremiah-jae/5021392731193.jpg [checksum] => 6de61f100a4b33aa1cfdd134bc073ca5 [mime_type] => image/jpeg [size] => 408068 [external_url] => http://media.ninjatune.net/images/jeremiah-jae/5021392731193.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => jeremiah-jae [slug] => raw-money-raps-cover [created] => 2012-06-28 13:45:30 [modified] => 2013-07-18 14:05:15 [embed] => ) [Country] => Array ( [id] => 230 [name] => Germany [longname] => Germany [numcode] => 276 [iso] => DE [iso3] => DEU [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 457 [rght] => 458 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 142 [name] => Jeremiah Jae [description] =>

Looking at Jeremiah Jae’s 'studio', a tiny room in his Bridgeport apartment, one is struck by the relative scarcity of recent technology on the room’s low coffee tables. There’s a small synth and a tape deck that looked like it might’ve been copped from Walgreen’s sometime in the mid-’90s. A guitar rests in the corner, and there’s a rusty old pocket cornet that will need some fixing up before it’ll play. The digs are humble, but it’s from this studio that Jeremiah Jae has produced beats that have earned him—at the age of 21—a deal with Los Angeles-based Brainfeeder Records. 

His mother sang gospel and his father was a musical director for Miles Davis during the late, jazz-fusion period of Davis’s career. In high school, Jae listened not to hip-hop but to glam rock, and cites Placebo as a favorite. Groups like Souls of Mischief and Wu-Tang Clan introduced him to hip-hop, and at that point Jae began rhyming.

Together with brothers Tre Smith and Aaron 'Projeck' Butler, he founded a group called the Young Black Preachers, produced YBP’s EP, and continued working on his own projects, while making his own videos and cover art. In 2007, Samiyam, an Ann Arbor-based producer, noticed Jae’s 'Lunch Special Part I' and passed it onto Flying Lotus, the founder of LA’s Brainfeeder record label. A post on Jae’s MySpace wall came first; a private message soon followed. Not long after, Jae was flown to LA to work with FlyLo and was signed to Brainfeeder; his first release, 'Rappayamatantra', is scheduled to drop in early 2011. 

From under a layer of gauzy, lo-fi production, Jae is able to conjure the off-kilter beats and ethereal voicings characteristic of a mature producer. A track like 'Police Ball State Disco' might induce trances with its 7/8, world-music feel. On 'Money Huggers', Jae samples the theme to 'Shaft', but eschews extensive drum programming in favor of the original simple hi-hat slowed-down-a -few beats-per-minute. The result pays homage to wah-wah-driven funk, but the minimalism of the beat gives the track a more modern feel. The diversity of influences in Jae’s work speaks not only to his appetite for various genres of music, characteristic of any producer worth his salt, but also to a personal history forged primarily outside of hip-hop. Jae’s musical philosophy is drawn from many sources. He is the rare young emcee who channels jazz improvisation into delivering rhymes. “It’s all about timing,” he says. “Space is important. I try to do it like a trumpeter playing a solo.” 

When Jae brings social commentary into his work, the thoughtfulness with which he does it is unusual. “Rappers try to romanticize the hood,” Jae says, so the task is to find a way to critique while staying true to one’s own conception of one’s home. On the FlyLo-produced anthem' Jackson Park', instead of outsized proclamations about his native South Side, Jae opts for understatement and a critical message about his home. The song, which opens, “Mr. Mayor don’t care,” isn’t meant to describe an overtly political stance. “I didn’t want to hate on anyone,” Jae says. “It’s just, there aren’t a lot of good vibes on the South Side, you know? I’m not out to make political statements. I just want to stay rooted in what’s going on around me.” 

All of this is, of course, in the service of a single goal, Jae says: “At the end of the day, I want to make music that’s dope.” An ability to manipulate synthesizer and drum tracks into dark, airy atmosphere; a voice that’s all his own, understated despite his youth—it’s all there, and it’s landed him on the brink of fame. When asked if the sudden success has gone to his head or made him at least want to quit his day job at a Bridgeport café, he comes across as both confident and humble: “Until the day Jeremiah Jae has a billion hits, I’m not going to care.”

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[image_upload_id] => 16860 [label_id] => 7 [twitter_username] => jeremiahjae [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Jeremiah Jae [created] => 2011-02-22 14:28:37 [modified] => 2013-01-08 14:25:18 [slug] => jeremiah-jae [fuga_id] => [description_clean] =>

Looking at Jeremiah Jae’s 'studio', a tiny room in his Bridgeport apartment, one is struck by the relative scarcity of recent technology on the room’s low coffee tables. There’s a small synth and a tape deck that looked like it might’ve been copped from Walgreen’s sometime in the mid-’90s. A guitar rests in the corner, and there’s a rusty old pocket cornet that will need some fixing up before it’ll play. The digs are humble, but it’s from this studio that Jeremiah Jae has produced beats that have earned him—at the age of 21—a deal with Los Angeles-based Brainfeeder Records. 

His mother sang gospel and his father was a musical director for Miles Davis during the late, jazz-fusion period of Davis’s career. In high school, Jae listened not to hip-hop but to glam rock, and cites Placebo as a favorite. Groups like Souls of Mischief and Wu-Tang Clan introduced him to hip-hop, and at that point Jae began rhyming.

Together with brothers Tre Smith and Aaron 'Projeck' Butler, he founded a group called the Young Black Preachers, produced YBP’s EP, and continued working on his own projects, while making his own videos and cover art. In 2007, Samiyam, an Ann Arbor-based producer, noticed Jae’s 'Lunch Special Part I' and passed it onto Flying Lotus, the founder of LA’s Brainfeeder record label. A post on Jae’s MySpace wall came first; a private message soon followed. Not long after, Jae was flown to LA to work with FlyLo and was signed to Brainfeeder; his first release, 'Rappayamatantra', is scheduled to drop in early 2011. 

From under a layer of gauzy, lo-fi production, Jae is able to conjure the off-kilter beats and ethereal voicings characteristic of a mature producer. A track like 'Police Ball State Disco' might induce trances with its 7/8, world-music feel. On 'Money Huggers', Jae samples the theme to 'Shaft', but eschews extensive drum programming in favor of the original simple hi-hat slowed-down-a -few beats-per-minute. The result pays homage to wah-wah-driven funk, but the minimalism of the beat gives the track a more modern feel. The diversity of influences in Jae’s work speaks not only to his appetite for various genres of music, characteristic of any producer worth his salt, but also to a personal history forged primarily outside of hip-hop. Jae’s musical philosophy is drawn from many sources. He is the rare young emcee who channels jazz improvisation into delivering rhymes. “It’s all about timing,” he says. “Space is important. I try to do it like a trumpeter playing a solo.” 

When Jae brings social commentary into his work, the thoughtfulness with which he does it is unusual. “Rappers try to romanticize the hood,” Jae says, so the task is to find a way to critique while staying true to one’s own conception of one’s home. On the FlyLo-produced anthem' Jackson Park', instead of outsized proclamations about his native South Side, Jae opts for understatement and a critical message about his home. The song, which opens, “Mr. Mayor don’t care,” isn’t meant to describe an overtly political stance. “I didn’t want to hate on anyone,” Jae says. “It’s just, there aren’t a lot of good vibes on the South Side, you know? I’m not out to make political statements. I just want to stay rooted in what’s going on around me.” 

All of this is, of course, in the service of a single goal, Jae says: “At the end of the day, I want to make music that’s dope.” An ability to manipulate synthesizer and drum tracks into dark, airy atmosphere; a voice that’s all his own, understated despite his youth—it’s all there, and it’s landed him on the brink of fame. When asked if the sudden success has gone to his head or made him at least want to quit his day job at a Bridgeport café, he comes across as both confident and humble: “Until the day Jeremiah Jae has a billion hits, I’m not going to care.”

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) ) ) [15] => Array ( [Event] => Array ( [id] => 12817 [date] => 2014-04-25 [artist] => Lapalux [city] => Asheville [state] => AC [country] => US [venue] => Moogfest [promoter] => [description] => [ticket_url] => http://bit.ly/1mXwKab [image_upload_id] => 19298 [created] => 2014-04-10 15:53:58 [modified] => 2014-04-10 15:53:58 [year_slug] => 2014 [month_slug] => apr [day_slug] => 25 [slug] => lapalux-asheville-moogfest [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19298 [media_type] => image [artist] => Lapalux [title] => NA Tour Flyer 2014 [credits] => [buy_link] => [filename] => images/lapalux/na-tour2014.jpg [checksum] => a58329de99e733731a3d19c26358c750 [mime_type] => image/jpeg [size] => 120001 [external_url] => http://media.ninjatune.net/images/lapalux/na-tour2014.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => lapalux [slug] => na-tour-flyer-2014 [created] => 2014-04-10 11:20:45 [modified] => 2014-04-10 11:22:28 [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] => 164 [name] => Lapalux [description] =>

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

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

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

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

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

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

[links] =>

www.lapalux.com

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[image_upload_id] => 17582 [label_id] => 7 [twitter_username] => lapalux [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Lapalux [created] => 2012-01-17 15:28:40 [modified] => 2013-01-11 10:27:45 [slug] => lapalux [fuga_id] => [description_clean] =>

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

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

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

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

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

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

[links_clean] =>

www.lapalux.com

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) ) ) [16] => Array ( [Event] => Array ( [id] => 12487 [date] => 2014-04-26 [artist] => Young Fathers [city] => Cambridge [state] => MA [country] => US [venue] => The Sinclair [promoter] => [description] => [ticket_url] => http://www.sinclaircambridge.com/ [image_upload_id] => 18985 [created] => 2014-01-27 12:43:50 [modified] => 2014-01-27 12:43:50 [year_slug] => 2014 [month_slug] => apr [day_slug] => 26 [slug] => young-fathers-cambridge-the-sinclair [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18985 [media_type] => image [artist] => Young Fathers [title] => US Tour Poster 2014 1 [credits] => [buy_link] => [filename] => images/young-fathers/1531605-10151941274611523-1274213393-n.jpg [checksum] => 6b9c3302221922995a5e5341ed3409ea [mime_type] => image/jpeg [size] => 103339 [external_url] => http://media.ninjatune.net/images/young-fathers/1531605-10151941274611523-1274213393-n.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => young-fathers [slug] => us-tour-poster-2014-1 [created] => 2014-01-27 10:39:47 [modified] => 2014-01-27 10:41:09 [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] => 198 [name] => Young Fathers [description] =>

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.

[links] => [image_upload_id] => 18859 [label_id] => 2 [twitter_username] => youngfathers [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Young Fathers [created] => 2013-10-18 16:52:18 [modified] => 2013-12-04 13:36:31 [slug] => young-fathers [fuga_id] => [description_clean] =>

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

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

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

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

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

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

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

[links] =>

www.kidkoala.com

Facebook
Twitter
Soundcloud

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

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

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

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

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

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

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

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

[links_clean] =>

www.kidkoala.com

Facebook
Twitter
Soundcloud

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<< Previous
Artist Date City Venue Buy
DJ Food (Paul's Boutique Set) Sunday, Apr 20th Cardiff, GB Moon Club
Mr. Scruff Sunday, Apr 20th Glasgow, GB The Admiral Buy
Hint Sunday, Apr 20th Paris, FR La Machine du Moulin Rouge Buy
Young Fathers Tuesday, Apr 22nd Washington, DC, US U Street Music Hall Buy
Young Fathers Wednesday, Apr 23rd Philadelphia, PA, US Union Transfer Buy
Kid Koala Wednesday, Apr 23rd Denver, US Pepsi Center Buy
Machinedrum Wednesday, Apr 23rd Asheville, US Moogfest
Young Fathers Thursday, Apr 24th Hamden, CT, US The Space Buy
The Gaslamp Killer Thursday, Apr 24th Austin, US Empire Garage Buy
Lapalux Thursday, Apr 24th New York, New York, US Glasslands Buy
Young Fathers Friday, Apr 25th New York, NY, US The Bowery Ballroom Buy
Bonobo (DJ Set) Friday, Apr 25th Austin, TX, US Euphoria Festivalk Buy
Iration Steppas Sound System, Flow Dan, The Bug, O.B.F Sound System, Mala Friday, Apr 25th London, GB Coronet Theatre Buy
Martyn Friday, Apr 25th Stockholm, SE Fabricken Club
Jeremiah Jae Friday, Apr 25th Berlin, DE Gretchen
Lapalux Friday, Apr 25th Asheville, AC, US Moogfest Buy
Young Fathers Saturday, Apr 26th Cambridge, MA, US The Sinclair Buy
Kid Koala Saturday, Apr 26th Kanasa, US Starlight Theatre Buy
Next >>