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Big Dada are proud and pleased to announce that they will release the album Jungle Revolution by Congo Natty on 1 July 2013. Congo Natty aka Rebel MC has a career dating back to his early hit with Double Trouble, "Street Tuff," but is probably most respected as one of the pioneers of Jungle - perhaps the first uniquely UK-born bass music. Jungle Revolution features the whole of the extended Congo Natty family and was mixed with Adrian Sherwood. Clearly showing this Rasta's belief that Jungle is a re-boot of roots reggae for a new century, the record is full of blood and fire, the sternum-buzz of sub-bass, rapid fire drum breaks, sweet hooks, righteous anger and professions of religious fervour. It’s the kind of passionate, committed, raw and spiritual, beautiful record that doesn’t come along every day.

To celebrate this release, we are giving away the track "UK Allstars," which features a who's who of British soundsystem culture. This is the first time ever that this line up have all appeared on one track together and so also marks a historic coming together of a scene which lies at the roots of so much of what we now take for granted in UK music, from dubstep to grime to drum & bass and beyond.

[links] => [image_upload_id] => 17944 [label_id] => 2 [twitter_username] => CongoNattyRebel [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Congo Natty [created] => 2013-03-27 11:12:39 [modified] => 2013-06-26 17:21:21 [slug] => congo-natty [fuga_id] => [description_clean] =>

Big Dada are proud and pleased to announce that they will release the album Jungle Revolution by Congo Natty on 1 July 2013.

Congo Natty aka Rebel MC has a career dating back to his early hit with Double Trouble, "Street Tuff," but is probably most respected as one of the pioneers of Jungle - perhaps the first uniquely UK-born bass music.

Jungle Revolution features the whole of the extended Congo Natty family and was mixed with Adrian Sherwood. Clearly showing this Rasta's belief that Jungle is a re-boot of roots reggae for a new century, the record is full of blood and fire, the sternum-buzz of sub-bass, rapid fire drum breaks, sweet hooks, righteous anger and professions of religious fervour. It’s the kind of passionate, committed, raw and spiritual, beautiful record that doesn’t come along every day.

To celebrate this release, we are giving away the track "UK Allstars," which features a who's who of British soundsystem culture. This is the first time ever that this line up have all appeared on one track together and so also marks a historic coming together of a scene which lies at the roots of so much of what we now take for granted in UK music, from dubstep to grime to drum & bass and beyond.

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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

[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.

[links_clean] =>

Website

Facebook
Twitter
Instagram

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The Heavy are the music industry’s worst kept secret. They make blazing, urgent, infectious rock-soul with a strong dose of hip-hop. You’ve heard their songs in a lot of different places, and it’s likely that you loved them.

Forming in the fertile swamps of England’s West Country in the mid-naughties, around the axis of Dan Taylor (guitarist and songwriter) and Kelvin Swaby (vocalist and songwriter,) the Heavy immediately astounded. Jaw dropping, freshly minted riffs, swinging hip-hop drums, funk-ridden bass and Swaby’s startling, Mayfield-esque vocals meant early singles ‘That Kind of Man’ and ‘Colleen’ blew minds and won hearts. The debut album they were taken from – ‘Great Vengeance and Furious Fire’ – became an instant connoisseurs’ classic.

It was their sophomore album, though, that saw them blasting into homes across the globe. ‘The House that Dirt Built’ was everything a second album should be: a deeper, richer progression from the band’s early work. It also yielded the mighty ‘How You Like Me Now?’ The single was licensed for a major commercial in the 3rd Quarter of the Superbowl (the biggest ad slot in the world) and quite simply went stratospheric.

A heady mix of impassioned, incandescent vocal, gargantuan riff and boom-bap drums, it also happened to conjure up a triumph-in-adversity sentiment that struck a chord across the globe. The song went on to become the first for which David Letterman ever requested an encore, when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and Mark Wahlberg’s hit comedy ‘Ted.’

“It became such a big tune, that people asked, ‘How are you going to top that?’.” Swaby says.

The answer was 2012’s ‘The Glorious Dead,’ the band’s third album. Searching for inspiration, The Heavy – which in addition to Taylor and Swaby includes Spencer Page (bass) and Chris Ellul (drums) – travelled from their Bath, England hometown to Columbus, Georgia. There, they hooked up with local gospel singers and musicians for some Southern Gothic sublimity.

The final magic ingredient in the mix was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs.

Even deeper, a touch darker, and with shades of Southern Gothic infesting the swampy rock n’ soul of previous records, the album was another giant step forward, Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul.

Lead single ‘What Makes a Good Man?’ showed that The Heavy were able to write brilliant singles time after time, with synchs snowing in once again, and American radio coming on board. The band toured the world exhaustively, wowing audiences with their transcendental live performances.

“It was over the top, in a good way,” adds Heavy frontman Kelvin Swaby. “We went pretty cinematic, setting out to score a film that hasn’t been written.”

“It’s good to have a bit of light and shade,” Taylor adds.

Since then, The Heavy has gone on to achieve storming success in Japan, playing Fuji Rock, chalking up a #1 alternative album on iTunes Japan, scoring a major Pepsi synch and playing Japan’s biggest breakfast TV show, ‘Sukkiri.’

Their music was used in the stunning Guiness Sapeurs ad, they played Glastonbury, sold out Shepherd’s Bush Empire and re-recorded How You Like Me Now? with none other than 50 Cent, to launch ESPN’s coverage of the NFL Draft Week.

To top it all, How You Like Me Now? reached Gold status in the United States – a stunning achievement for an English, independent artist. How to top all that, you might ask? Well, there’s a new album on the way, and The Heavy just happen to have a habit of exceeding themselves…

[links] =>

www.theheavy.co.uk

Facebook
Twitter
Soundcloud

[image_upload_id] => 16903 [label_id] => 5 [twitter_username] => theheavy [instagram_id] => 217232350 [instagram_username] => theheavy [link] => [listed] => 1 [sortname] => Heavy [created] => 2010-07-17 22:15:59 [modified] => 2015-01-09 12:48:28 [slug] => the-heavy [fuga_id] => [description_clean] =>

The Heavy are the music industry’s worst kept secret. They make blazing, urgent, infectious rock-soul with a strong dose of hip-hop. You’ve heard their songs in a lot of different places, and it’s likely that you loved them.

Forming in the fertile swamps of England’s West Country in the mid-naughties, around the axis of Dan Taylor (guitarist and songwriter) and Kelvin Swaby (vocalist and songwriter,) the Heavy immediately astounded. Jaw dropping, freshly minted riffs, swinging hip-hop drums, funk-ridden bass and Swaby’s startling, Mayfield-esque vocals meant early singles ‘That Kind of Man’ and ‘Colleen’ blew minds and won hearts. The debut album they were taken from – ‘Great Vengeance and Furious Fire’ – became an instant connoisseurs’ classic.

It was their sophomore album, though, that saw them blasting into homes across the globe. ‘The House that Dirt Built’ was everything a second album should be: a deeper, richer progression from the band’s early work. It also yielded the mighty ‘How You Like Me Now?’ The single was licensed for a major commercial in the 3rd Quarter of the Superbowl (the biggest ad slot in the world) and quite simply went stratospheric.

A heady mix of impassioned, incandescent vocal, gargantuan riff and boom-bap drums, it also happened to conjure up a triumph-in-adversity sentiment that struck a chord across the globe. The song went on to become the first for which David Letterman ever requested an encore, when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and Mark Wahlberg’s hit comedy ‘Ted.’

“It became such a big tune, that people asked, ‘How are you going to top that?’.” Swaby says.

The answer was 2012’s ‘The Glorious Dead,’ the band’s third album. Searching for inspiration, The Heavy – which in addition to Taylor and Swaby includes Spencer Page (bass) and Chris Ellul (drums) – travelled from their Bath, England hometown to Columbus, Georgia. There, they hooked up with local gospel singers and musicians for some Southern Gothic sublimity.

The final magic ingredient in the mix was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs.

Even deeper, a touch darker, and with shades of Southern Gothic infesting the swampy rock n’ soul of previous records, the album was another giant step forward, Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul.

Lead single ‘What Makes a Good Man?’ showed that The Heavy were able to write brilliant singles time after time, with synchs snowing in once again, and American radio coming on board. The band toured the world exhaustively, wowing audiences with their transcendental live performances.

“It was over the top, in a good way,” adds Heavy frontman Kelvin Swaby. “We went pretty cinematic, setting out to score a film that hasn’t been written.”

“It’s good to have a bit of light and shade,” Taylor adds.

Since then, The Heavy has gone on to achieve storming success in Japan, playing Fuji Rock, chalking up a #1 alternative album on iTunes Japan, scoring a major Pepsi synch and playing Japan’s biggest breakfast TV show, ‘Sukkiri.’

Their music was used in the stunning Guiness Sapeurs ad, they played Glastonbury, sold out Shepherd’s Bush Empire and re-recorded How You Like Me Now? with none other than 50 Cent, to launch ESPN’s coverage of the NFL Draft Week.

To top it all, How You Like Me Now? reached Gold status in the United States – a stunning achievement for an English, independent artist. How to top all that, you might ask? Well, there’s a new album on the way, and The Heavy just happen to have a habit of exceeding themselves…

[links_clean] =>

www.theheavy.co.uk

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] => “What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious album, The Glorious Dead. “We wanted to make a bold statement – it’s not shy, but a beast unto itself." "It’s over the top, but in a good way," adds charismatic Heavy frontman Kelvin Swaby. "With this record, we went pretty cinematic: we basically set out to score a film that hasn’t been written." Indeed, The Glorious Dead proves singular: Frankensteining everything from swampy voodoo and b-movie zombies with garage-rock guitars and Gospel-soaked soul, it becomes a whole other creature feature unlike anything else you’ll hear this year. The Glorious Dead isn’t just The Heavy’s third full-length: it’s also the group’s most ambitious effort, traveling sonically from the group’s South England home to America’s deep South, and beyond. It’s also building off momentum from The Heavy’s greatest success, the international smash single “How You Like Me Now?,” off the band’s acclaimed previous album, 2009’s The House That Dirt Built. An infectious anthem of hard-rocking maximum R&B, “How You Like Me Now?” exploded upon release: it became the first song David Letterman’s ever requested an encore for when The Heavy played it on his “Late Show,” and has appeared everywhere from “Entourage” episodes, Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted. “How You Like Me Now?” continues to enthrall: on the recent climax of the 2012 season of NBC’s hit show “The Voice,” Adam Levine’s team contestant Tony Lucca performed the song to massive acclaim. “That was surreal,” says Taylor. “It’s taken on legs of its own. I can’t complain, but I wouldn’t want to be known for one song – it’s not our peak.” “It’s such a big tune, people ask, ‘How are you going to top that?’,” Swaby adds. “But we’re not going to lie down and play dead.” As such, The Glorious Dead rockets out of the grave with supernatural force. Alternately haunting and relentless, album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials. It’s followed by “Curse Me Good,” which provides a jarring contrast with its sweet whistled hook, George Harrison-meets-T.Rex acoustic strum, and a heartbreaking soul vocal from Swaby. “It’s good to have a bit of light and shade amid the onslaught of heavy guitars,” Taylor explains. “I find we’re always trying to recreate the diversity of, say, The White Album, but with beats.” Likewise, “Big Bad Wolf” combines primal howling à la Screamin’ Jay Hawkins, funkdafied breakbeats, and eerie electronics that recall Luniz’ stoned rap classic “I Got 5 On It.” “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “It’s integral to make everything sound like samples from our record collection, but with a modern edge. We’re not afraid to use technology, and everything needs to have that tight, heavyweight bottom end.” Epitomizing this all-inclusive strategy is The Glorious Dead’s centerpiece breakthrough track, “What Makes A Good Man?” Defiant yet uplifting, “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group call-and-response vocals and soaring, epic strings. Its creation provided the spark that would prove crucial to the album’s inception. Looking to soak up some Southern Gothic inspiration, The Heavy traveled far from their hometown near Bath, England all the way to Columbus, Georgia on the advice of their U.S. tour-bus driver, Sam Phillips. There, Phillips hooked the group up with a number of church-trained singers and players: they would take Swaby and Taylor’s song ideas to another realm, like singer/keyboardist Lloyd Buchanan’s intense contribution to “…Good Man?” “We had the beat and the chorus for ‘Good Man,’ and when Lloyd started jamming on the B-3 and singing on it, I was like, ‘This is going to be insane,’” Swaby says. “The Gospel singers started doing the chorus they already knew they song – they made it sound like the Supremes or Ronettes. It was an incredible feeling: after that, we were on our merry way.” Taking the material to yet another level was the contribution of Gabriel “Bosco Mann” Roth, Daptone Records co-founder and bandleader of Sharon Jones & the Dap-Kings, with whom The Heavy had toured extensively. Roth ended up scoring innovative string and horn parts to four of The Glorious Dead’s ten songs. “It doesn’t sound like what Gabriel does with the Dap-Kings,” Taylor says. “He got into the mindset to do something different.” “He’s such a talented entity,” Swaby continues. “I couldn’t believe what was coming out of the speakers. It was so fitting, with this vintage sound, and amazing beauty. It reminded me of these black-and-white films I used to watch as a kid.” Film loomed as large an influence on The Glorious Dead as music. As key inspirations, Taylor cites the tweaked Americana of Jim Jarmusch’s Down By Law and the voodoo vibes of the James Bond classic Live and Let Die alongside ‘60s Mod rave-ups and the atmospheric Brit multiculturalism of Fun Boy Three and The Specials; Swaby, meanwhile, explored low-budget horror flicks alongside the controlled screaming of garage-rockers The Sonics, Tom Waits’ elastic growl, and soul giants Al Green and Otis Redding. Starting in January 2011, Taylor, Swaby, and bandmates Spencer Page (bass) and Chris Ellul (drums) began combining these ingredients into their own idiosyncratic blend – a process launched by The Heavy building their own studio and choosing to produce The Glorious Dead themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing the vision we had,” Taylor says. “Your third record is judged as to whether you’re there to stay, or slide off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.” The Glorious Dead spawned the mighty lead single 'What Makes a Good Man?' a funk-ridden, soul-wrenching study of a deep spiritual question. What Makes A Good Man? has been featured in trailers for HBO, Lawless, Borderlands 2 and Elementary, and the band gave TV performances on The Late Show with David Letterman, Last Call With Carson Daly and The Late Late Show With Craig Ferguson. Since the dawn of 'The Glorious Dead,' The Heavy have done anything other than rest on their laurels. 2013 has seen them reprise their smash hit 'How You Like Me Now?' for ESPN's Draft Week. The song was reworked to feature a guest verse from none other than 50 Cent, who happily enveloped himself in The Heavy's swamp-funk, and even performed in a brand new video. Since then, the song has gone on to reach Gold status in the USA, a stunning success from a British band on a label as independent as they are. The Heavy came back to the US to perform at Spike TV's Guys Choice Awards as the house band in June 2013. Touring in 2013 has so far been a SOLD OUT UK Tour, an EU Tour in May, plus USA and Canadian dates in June and August, with another EU/UK Tour booked for the end of the year. Festival highlights this summer include Ottawa Jazz Festival, Rock-A-Field in Luxembourg, Hove in Norway, T In The Park in Scotland, Glastonbury and WOMAD in England, Osheaga in Montreal, Outside Lands in San Francisco and Afropunk in New York. To date, this true original of a band have sold 750,000 singles and over 150,000 albums. Long live The Heavy. [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [3] => Array ( [Event] => Array ( [id] => 11846 [date] => 2013-11-09 [artist] => DJ Vadim [city] => Miami [state] => Florida [country] => US [venue] => Friends of Nature Festival 2013 [promoter] => [description] =>

DJ Vadim @ Friends of Nature Festival 2013, Historic Virginia Key Beach Park, Miami, Florida, USA

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DJ Vadim @ Friends of Nature Festival 2013, Historic Virginia Key Beach Park, Miami, Florida, USA

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Hardest working man in show business? Trouper? Tireless? However you want to put it, be sure of one thing: When DJ Vadim first heard the phrase "Don't Sleep" he obviously took it literally.

Over the last decade few people can have put so much time and energy into the culture they love. Founder of Jazz Fudge in early 1995, A&R, producer, DJ, promoter, record collector, radio presenter, occasional painter, writer, in-house producer/DJ and cohort of Latin Grammy nominees and Spanish hip hop super group 7 Notas 7 Colorez, Vadim has certainly been keeping himself busy. And that's before we even mention his DJing itself, which has seen him perform in virtually every country in Europe (east and west), all over North America, Australia, New Zealand, Japan, Israel, Turkey, South America and South East Asia (often within one year!). He has also performed with the likes of DJ Krush, Company Flow, The Roots, Pharcyde, Public Enemy, Beat Junkies, Dilated Peoples, Kraftwerk, Ed Rush, Morcheeba and Paul Weller, as well as at events like Glastonbury and the Moscow Street Ball festival (to over 40,000 people!). To describe the man as an internationalist almost seems to sell him short.

In 1992, Vadim Peare bought a sampler and started working on the music that would become 'Abstract Hallucinating Gases' and 'Headz Ain't Ready' (both released on his own label, Jazz Fudge). Later in the year he signed to Ninja Tune and began work on his debut LP, 'USSR Repertoire'. From these early recordings came a remix LP, 'USSR Reconstruction', featuring DJ Krush, Kid Koala, Mark B and Silent Poets, plus various 12"s both for Ninja Tune and Jazz Fudge, and a mixtape and CD with DJ Primecuts (International Turntablist Federation World Champion '99 and Scratch Pervert). In 1999 there was the abstract funk collaboration LP, 'The Isolationist', produced by Vadim, scratched by DJ Primecuts and vocalled by New York avant-rappers Antipop Consortium. Relentless international touring followed with Swollen Members, then Company Flow, then Jazz Fudge, all of which led to the purchase of yet more obscure and dusty vinyls to add to an already burgeoning collection.

This all culminated in his critically-acclaimed last album, 'USSR: Life From The Other Side' in 1999. The record featured Company Flow, the Scratch Perverts, Iriscience (from Dilated Peoples), Blade and many others, and caused quite a storm in USA with the track 'Your Revolution', featuring Sarah Jones. The song was banned by the FCC (USA radio regulators) for explicit and provocative lyrics, despite Jones actually satirising the attitudes and words of the mainstream rap and r&b that could be heard pumping out of the radio every day.

To promote the record, Vadim put together a live group - The Russian Percussion - consisting of Mr Thing (turntables), Killer Kela (beat box), Blu rum 13 (MC), John Ellis (keyboards) and himself. They notched up a mere 200 shows in about 24 countries including most of Europe and North America.

Feeling tired yet? Hang on in there. Vadim has also presented radio shows for the BBC, including the Sony Award-nominated programme 'Around The World In Eight Relays'. He has toured with Sarah Jones, Killer Kela and as support and collaborator for Super Furry Animals. Oh, and he went to Latin America with the aformentioned 7 Notas 7 Colores and, and, and...

We'll stop now. Our guess is that the average human mind would actually struggle to take in everything that DJ Vadim has done in the last ten years, let alone do it. There really is only one way to revive yourself now - reach forward, slip 'USSR - The Art Of Listening' into your cd player and soak it all up. It is, after all, where he gets his energy from. And where he's putting it, too...

[links] =>

www.djvadim.com

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Twitter
Soundcloud

[image_upload_id] => 15942 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => DJ Vadim [created] => 2010-07-17 22:15:58 [modified] => 2014-03-06 10:14:25 [slug] => dj-vadim [fuga_id] => [description_clean] =>

Hardest working man in show business? Trouper? Tireless? However you want to put it, be sure of one thing: When DJ Vadim first heard the phrase "Don't Sleep" he obviously took it literally.

Over the last decade few people can have put so much time and energy into the culture they love. Founder of Jazz Fudge in early 1995, A&R, producer, DJ, promoter, record collector, radio presenter, occasional painter, writer, in-house producer/DJ and cohort of Latin Grammy nominees and Spanish hip hop super group 7 Notas 7 Colorez, Vadim has certainly been keeping himself busy. And that's before we even mention his DJing itself, which has seen him perform in virtually every country in Europe (east and west), all over North America, Australia, New Zealand, Japan, Israel, Turkey, South America and South East Asia (often within one year!). He has also performed with the likes of DJ Krush, Company Flow, The Roots, Pharcyde, Public Enemy, Beat Junkies, Dilated Peoples, Kraftwerk, Ed Rush, Morcheeba and Paul Weller, as well as at events like Glastonbury and the Moscow Street Ball festival (to over 40,000 people!). To describe the man as an internationalist almost seems to sell him short.

In 1992, Vadim Peare bought a sampler and started working on the music that would become 'Abstract Hallucinating Gases' and 'Headz Ain't Ready' (both released on his own label, Jazz Fudge). Later in the year he signed to Ninja Tune and began work on his debut LP, 'USSR Repertoire'. From these early recordings came a remix LP, 'USSR Reconstruction', featuring DJ Krush, Kid Koala, Mark B and Silent Poets, plus various 12"s both for Ninja Tune and Jazz Fudge, and a mixtape and CD with DJ Primecuts (International Turntablist Federation World Champion '99 and Scratch Pervert). In 1999 there was the abstract funk collaboration LP, 'The Isolationist', produced by Vadim, scratched by DJ Primecuts and vocalled by New York avant-rappers Antipop Consortium. Relentless international touring followed with Swollen Members, then Company Flow, then Jazz Fudge, all of which led to the purchase of yet more obscure and dusty vinyls to add to an already burgeoning collection.

This all culminated in his critically-acclaimed last album, 'USSR: Life From The Other Side' in 1999. The record featured Company Flow, the Scratch Perverts, Iriscience (from Dilated Peoples), Blade and many others, and caused quite a storm in USA with the track 'Your Revolution', featuring Sarah Jones. The song was banned by the FCC (USA radio regulators) for explicit and provocative lyrics, despite Jones actually satirising the attitudes and words of the mainstream rap and r&b that could be heard pumping out of the radio every day.

To promote the record, Vadim put together a live group - The Russian Percussion - consisting of Mr Thing (turntables), Killer Kela (beat box), Blu rum 13 (MC), John Ellis (keyboards) and himself. They notched up a mere 200 shows in about 24 countries including most of Europe and North America.

Feeling tired yet? Hang on in there. Vadim has also presented radio shows for the BBC, including the Sony Award-nominated programme 'Around The World In Eight Relays'. He has toured with Sarah Jones, Killer Kela and as support and collaborator for Super Furry Animals. Oh, and he went to Latin America with the aformentioned 7 Notas 7 Colores and, and, and...

We'll stop now. Our guess is that the average human mind would actually struggle to take in everything that DJ Vadim has done in the last ten years, let alone do it. There really is only one way to revive yourself now - reach forward, slip 'USSR - The Art Of Listening' into your cd player and soak it all up. It is, after all, where he gets his energy from. And where he's putting it, too...

[links_clean] =>

www.djvadim.com

Facebook
Twitter
Soundcloud

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w/ Jessie Ware

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w/ Jessie Ware

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*Download a FREE radio edit of upcoming single 'Protection' here.*

Dave Okumu, Tom Herbert (bass & synthesizer) and Leo Taylor (drums) have been working together as The Invisible for the last six years, though their musical collaborations stretch back much further. The trio met as teenagers, and, over a decade or so, they crossed over again and again, gigging, jamming, working as session players and supporting each other’s band projects.

It was only in 2006 that they coalesced as The Invisible. “We became a band backwards,” says Okumu. After a year out on the road playing in Matthew Herbert’s band, Herbert said he wanted to produce and release (via his label, Accidental) Dave’s solo record. But Dave instead decided to recruit his longtime friends for a genuine collaboration. The Invisible’s name arrived after the three began writing. The moniker is a nod to the writing of Irish philosopher and poet John O’Donohue, whose simply articulated notion that humans exist in parallel worlds – the visible and the invisible; one physical, one spiritual – is a relationship, a balance, that comes through loud and clear in the band’s aesthetic.

The result was their eponymous debut, which was nominated for the 2009 Mercury Music Prize and was many people’s tip to win it. It was also critics’ choice as iTunes' album of the year. Unafraid to challenge themselves compositionally, The Invisible's boundless approach to arrangement flows effortlessly between the texturally rich and the rhythm heavy, the ethereal and the visceral, taking in unique and subtle electronic dancefloor rhythms as well as deviations into experimental rock.  It's a mixture that's won peer level praise from the likes of Radiohead's Ed O'Brien, Foals, Hot Chip, Wild Beasts, Anna Calvi and Everything Everything.

Their new album, Rispah, is, in the words of Okumu,”a love letter to grief.” Mid-way through recording a follow-up to their debut, Okumu’s mother passed away and the band’s plans and aesthetic were thrown into turmoil. As Okumu remembers it, “"I couldn't engage with music for a long period. The moment it returned to me was at my mum's funeral, which lasted several days. One evening, during the wake, my grandmother Zilpa, my mother's mum, arrived at our home accompanied by a group of women singing traditional spirituals. They approached my mother's body and sang over it, dancing around her coffin. It was the most beautiful sound I've ever heard. They transformed the atmosphere with sound and the spirit they brought to it. They were celebrating life and death, grief and hope, all things. This act was allowing everyone present to express themselves. It served as the most potent reminder of everything I believe about music. It's there for everybody, it's inclusive and transformative. I'm so glad these voices are stitched through our record."

When not working on The Invisible, they are involved in everything from co-writing and producing Jessie Ware's album (Okumu), playing as a member of British post-jazz legends Polar Bear (Herbert) or drumming on much of Adele's world-crushing second album 21 (Taylor). They have also played live and recorded with a dizzying roll call of musicians that runs from St Vincent in the Tom Waits tribute Rain Dogs Revisited, the Britten Symphonia, Jack De Johnette, Matthew Herbert, Hot Chip, Zongamin, Gramme and many others. The Invisible remains closest to the heart of what the trio are about as musicians, though, as the beauty and emotional intelligence of Rispah clearly demonstrates.

[links] =>

Tumblr
Facebook
Twitter
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[image_upload_id] => 16793 [label_id] => 1 [twitter_username] => theinvisible3 [instagram_id] => 319389937 [instagram_username] => theinvisible3 [link] => [listed] => 1 [sortname] => Invisible [created] => 2012-03-21 13:43:15 [modified] => 2013-05-03 14:52:20 [slug] => the-invisible [fuga_id] => [description_clean] =>

*Download a FREE radio edit of upcoming single 'Protection' here.*

Dave Okumu, Tom Herbert (bass & synthesizer) and Leo Taylor (drums) have been working together as The Invisible for the last six years, though their musical collaborations stretch back much further. The trio met as teenagers, and, over a decade or so, they crossed over again and again, gigging, jamming, working as session players and supporting each other’s band projects.

It was only in 2006 that they coalesced as The Invisible. “We became a band backwards,” says Okumu. After a year out on the road playing in Matthew Herbert’s band, Herbert said he wanted to produce and release (via his label, Accidental) Dave’s solo record. But Dave instead decided to recruit his longtime friends for a genuine collaboration. The Invisible’s name arrived after the three began writing. The moniker is a nod to the writing of Irish philosopher and poet John O’Donohue, whose simply articulated notion that humans exist in parallel worlds – the visible and the invisible; one physical, one spiritual – is a relationship, a balance, that comes through loud and clear in the band’s aesthetic.

The result was their eponymous debut, which was nominated for the 2009 Mercury Music Prize and was many people’s tip to win it. It was also critics’ choice as iTunes' album of the year. Unafraid to challenge themselves compositionally, The Invisible's boundless approach to arrangement flows effortlessly between the texturally rich and the rhythm heavy, the ethereal and the visceral, taking in unique and subtle electronic dancefloor rhythms as well as deviations into experimental rock.  It's a mixture that's won peer level praise from the likes of Radiohead's Ed O'Brien, Foals, Hot Chip, Wild Beasts, Anna Calvi and Everything Everything.

Their new album, Rispah, is, in the words of Okumu,”a love letter to grief.” Mid-way through recording a follow-up to their debut, Okumu’s mother passed away and the band’s plans and aesthetic were thrown into turmoil. As Okumu remembers it, “"I couldn't engage with music for a long period. The moment it returned to me was at my mum's funeral, which lasted several days. One evening, during the wake, my grandmother Zilpa, my mother's mum, arrived at our home accompanied by a group of women singing traditional spirituals. They approached my mother's body and sang over it, dancing around her coffin. It was the most beautiful sound I've ever heard. They transformed the atmosphere with sound and the spirit they brought to it. They were celebrating life and death, grief and hope, all things. This act was allowing everyone present to express themselves. It served as the most potent reminder of everything I believe about music. It's there for everybody, it's inclusive and transformative. I'm so glad these voices are stitched through our record."

When not working on The Invisible, they are involved in everything from co-writing and producing Jessie Ware's album (Okumu), playing as a member of British post-jazz legends Polar Bear (Herbert) or drumming on much of Adele's world-crushing second album 21 (Taylor). They have also played live and recorded with a dizzying roll call of musicians that runs from St Vincent in the Tom Waits tribute Rain Dogs Revisited, the Britten Symphonia, Jack De Johnette, Matthew Herbert, Hot Chip, Zongamin, Gramme and many others. The Invisible remains closest to the heart of what the trio are about as musicians, though, as the beauty and emotional intelligence of Rispah clearly demonstrates.

[links_clean] =>

Tumblr
Facebook
Twitter
Soundcloud

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

They are:

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

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

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

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

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

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

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

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

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

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

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

They are:

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

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

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

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

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

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

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

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

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

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

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Artist Date City Venue Buy
Congo Natty Saturday, Nov 9th Moscow, RU Port Club
Machinedrum Saturday, Nov 9th Turin, IT Club 2 Club Festival Buy
The Heavy Saturday, Nov 9th Milan, IT Bloom Club Buy
DJ Vadim Saturday, Nov 9th Miami, Florida, US Friends of Nature Festival 2013 Buy
The Invisible w/ Jessie Ware Saturday, Nov 9th Chicago, US House of Blues Buy
Young Fathers Saturday, Nov 9th Nantes, FR Stereolux Buy
The Underachievers Saturday, Nov 9th Austin, TX, US Fun Fun Fun Fest Buy
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