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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

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Drew Lustman aka FaltyDL was born and grew up in New Haven, Connecticut. These days he lives in Brooklyn, New York. Releasing music for Planet Mu, Ramp, Rush Hour, 50 Weapons, Hemlock, Swamp81, his own Blueberry Records imprint and, of course, Ninja Tune, he has recorded three albums (Love Is A Liability, You Stand Uncertain and Hardcourage) and will share his fourth LP In The Wild on 11th August 2014. He has also toured with James Blake; opened for Radiohead; and remixed for the likes of Seun Kuti, Photek, The xx and Disclosure.

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Facebook
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Drew Lustman aka FaltyDL was born and grew up in New Haven, Connecticut. These days he lives in Brooklyn, New York. Releasing music for Planet Mu, Ramp, Rush Hour, 50 Weapons, Hemlock, Swamp81, his own Blueberry Records imprint and, of course, Ninja Tune, he has recorded three albums (Love Is A Liability, You Stand Uncertain and Hardcourage) and will share his fourth LP In The Wild on 11th August 2014. He has also toured with James Blake; opened for Radiohead; and remixed for the likes of Seun Kuti, Photek, The xx and Disclosure.

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

Jaga Jazzist is:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[links] =>

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

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

Jaga Jazzist is:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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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[image_upload_id] => 18456 [label_id] => 1 [twitter_username] => machine_drum [instagram_id] => 182228626 [instagram_username] => machine_drum [link] => [listed] => 1 [sortname] => Machinedrum [created] => 2013-03-15 14:40:02 [modified] => 2014-02-18 10:36:19 [slug] => machinedrum [fuga_id] => [description_clean] =>

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