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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.

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Bonobo website

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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

[counter_player] => [counter_biog] => ) ) ) [1] => Array ( [Event] => Array ( [id] => 12593 [date] => 2014-03-21 [artist] => FaltyDL [city] => Brooklyn [state] => NY [country] => US [venue] => Baby's All Right [promoter] => [description] => [ticket_url] => http://www.ticketfly.com/purchase/event/496479?skinName=tfly&utm_medium=[Ljava.lang.String%3B%40b87fe8a&wrKey=559579439D763A5B62 [image_upload_id] => 16308 [created] => 2014-02-26 10:23:55 [modified] => 2014-02-26 10:23:55 [year_slug] => 2014 [month_slug] => mar [day_slug] => 21 [slug] => faltydl-brooklyn-babys-all-right [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 16308 [media_type] => image [artist] => FaltyDL [title] => FaltyDL artist shot 2011 [credits] => [buy_link] => [filename] => images/faltydl/faltydl-artist-2011.png [checksum] => 2e78f1571a4a084249a1ee3d48c4e1b6 [mime_type] => image/png [size] => 279880 [external_url] => http://media.ninjatune.net/images/faltydl/faltydl-artist-2011.png [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => faltydl [slug] => faltydl-artist-shot-2011 [created] => 2011-11-15 15:29:36 [modified] => 2011-11-15 15:29:42 [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] => 154 [name] => FaltyDL [description] =>

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] => Tumblr
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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
Instagram [counter_player] => [counter_biog] => ) ) ) [2] => Array ( [Event] => Array ( [id] => 12638 [date] => 2014-03-21 [artist] => Ras G [city] => Kyoto [state] => [country] => JP [venue] => Black Box [promoter] => [description] => [ticket_url] => http://www.kyoto-blackboxxx.com/ [image_upload_id] => 19155 [created] => 2014-03-10 15:36:17 [modified] => 2014-03-10 15:36:17 [year_slug] => 2014 [month_slug] => mar [day_slug] => 21 [slug] => ras-g-kyoto-black-box [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19155 [media_type] => image [artist] => Ras G [title] => Japan Russia EU tour 2014 [credits] => [buy_link] => [filename] => images/ras-g/RAS-G-Final-march-april-tour-poster.jpg [checksum] => c5fe40cd8dddf96a669ee86ca0aa8442 [mime_type] => image/jpeg [size] => 171106 [external_url] => http://media.ninjatune.net/images/ras-g/RAS-G-Final-march-april-tour-poster.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => ras-g [slug] => japan-russia-eu-tour-2014 [created] => 2014-03-10 15:27:36 [modified] => 2014-03-10 15:29:11 [embed] => ) [Country] => Array ( [id] => 135 [name] => Japan [longname] => Japan [numcode] => 392 [iso] => JP [iso3] => JPN [currency] => JPY [active] => 1 [parent_id] => 130 [lft] => 267 [rght] => 268 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 190 [name] => Ras G [description] =>

Sun Ra once spoke a future where the mere thought of a place would take somebody there. In the past future of today, Ras G explores space and time through his ancient/futuristic music. Dusty, ethereal and bugged out, the Crate Creator's beats bring the past to the future. Back On The Planet, _G's first Brainfeeder release in years, finds the blunted master of the beat guiding his Afrikan Space Program further out than ever. 

Since his arrival on the planet, Ras G has called Los Angeles his base. Growing in South Central, _G was tapping into his innate knowledge while having the earthly experience of living in the "ghetto." Gravitating towards the turntables early, _G spent formative years DJing spots like Project Blowed and Five On The Black Hand Side in Leimert Park until his cousin Wolverine introduced him to the SP-1200 and thoughts of production became realities. Equally informed by the looped-up dust of classic boom-bap and the avant-garde esotericism of free jazz, _G began paving his own path in the beats. He cut his teeth in the early days of Low End Theory and in precursor nights like JuJu and Sketchbook. Day long hangouts at record spots like Aaron's (RIP) and Poo Bah's laid the foundation for projects, live experimentations and new experiences. A key pillar in the Los Angeles community, _G is the power-forward of the Brainfeeder crew, down since day one. 

After amassing a sizable discography of 7"s, EPs and digital releases on a host of platforms, Ras G & The Alkebulan Space Program are Back On The Planet for their most complete demonstration to date. The countless nights at SpaceBase behind the MPC and SP-303 have seen _G come fully into his own. On this project past experiments in chest-rattling bass, terse loops and bugged-out field noise come full circle. Ancient Afrikan poly-drum rhythms meet outer-synth splashes of white noise and intuitive experimentation meld with deep sub-harmonics for an otherworldly experience. "Asteroid Storm" captures the pulsating energy of The ASP's live demonstrations while "Natural Melanin Being..." finds _G's Uncle Ra sharing a few words of wisdom that go very well with the therapeutic tones of the meditative "All Is Well...". Back On The Planet is The ASP at it's most confident, shedding all barriers for an open and honest manifestation. Drawing from a source beyond the ego and dealing with the eternal, Ras G & The Ancient Space Program are a cosmic outfit, eternally elsewhere but always in tune. 

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[image_upload_id] => 18254 [label_id] => 7 [twitter_username] => ras_g [instagram_id] => 375161019 [instagram_username] => afrikanspaceprogram [link] => [listed] => 0 [sortname] => Ras G [created] => 2013-07-04 10:30:11 [modified] => 2013-07-04 10:45:25 [slug] => ras-g [fuga_id] => [description_clean] =>

Sun Ra once spoke a future where the mere thought of a place would take somebody there. In the past future of today, Ras G explores space and time through his ancient/futuristic music. Dusty, ethereal and bugged out, the Crate Creator's beats bring the past to the future. Back On The Planet, _G's first Brainfeeder release in years, finds the blunted master of the beat guiding his Afrikan Space Program further out than ever. 

Since his arrival on the planet, Ras G has called Los Angeles his base. Growing in South Central, _G was tapping into his innate knowledge while having the earthly experience of living in the "ghetto." Gravitating towards the turntables early, _G spent formative years DJing spots like Project Blowed and Five On The Black Hand Side in Leimert Park until his cousin Wolverine introduced him to the SP-1200 and thoughts of production became realities. Equally informed by the looped-up dust of classic boom-bap and the avant-garde esotericism of free jazz, _G began paving his own path in the beats. He cut his teeth in the early days of Low End Theory and in precursor nights like JuJu and Sketchbook. Day long hangouts at record spots like Aaron's (RIP) and Poo Bah's laid the foundation for projects, live experimentations and new experiences. A key pillar in the Los Angeles community, _G is the power-forward of the Brainfeeder crew, down since day one. 

After amassing a sizable discography of 7"s, EPs and digital releases on a host of platforms, Ras G & The Alkebulan Space Program are Back On The Planet for their most complete demonstration to date. The countless nights at SpaceBase behind the MPC and SP-303 have seen _G come fully into his own. On this project past experiments in chest-rattling bass, terse loops and bugged-out field noise come full circle. Ancient Afrikan poly-drum rhythms meet outer-synth splashes of white noise and intuitive experimentation meld with deep sub-harmonics for an otherworldly experience. "Asteroid Storm" captures the pulsating energy of The ASP's live demonstrations while "Natural Melanin Being..." finds _G's Uncle Ra sharing a few words of wisdom that go very well with the therapeutic tones of the meditative "All Is Well...". Back On The Planet is The ASP at it's most confident, shedding all barriers for an open and honest manifestation. Drawing from a source beyond the ego and dealing with the eternal, Ras G & The Ancient Space Program are a cosmic outfit, eternally elsewhere but always in tune. 

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[counter_player] => [counter_biog] => ) ) ) [3] => Array ( [Event] => Array ( [id] => 12691 [date] => 2014-03-21 [artist] => Toddla T [city] => London [state] => [country] => GB [venue] => Queens Head [promoter] => [description] => [ticket_url] => [image_upload_id] => 19186 [created] => 2014-03-14 12:02:50 [modified] => 2014-03-14 12:02:50 [year_slug] => 2014 [month_slug] => mar [day_slug] => 21 [slug] => toddla-t-london-queens-head [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19186 [media_type] => image [artist] => Toddla T [title] => Toddla T Local 2014 [credits] => [buy_link] => [filename] => images/toddla-t/1374266-634822709899250-1537364726-n.jpg [checksum] => f1b02b136539107497e08916803ca51b [mime_type] => image/jpeg [size] => 61064 [external_url] => http://media.ninjatune.net/images/toddla-t/1374266-634822709899250-1537364726-n.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => toddla-t [slug] => toddla-t-local-2014 [created] => 2014-03-14 12:00:59 [modified] => 2014-03-14 12:02:32 [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] => 95 [name] => Toddla T [description] =>

Do U Know Toddla T? 

In 2007 Toddla T (aka Tom Bell) was working in a shoe shop in his hometown of Sheffield. Then just 19 and living at home with his parents, he DJ'd at weekends and was producing beats and tracks with his friend Scott as Small Arms Fiya.

Now it's 2011 Toddla T is making the finishing touches to his second album on the legendary Ninja Tune label, has a regular slot on BBC Radio 1, and has produced tracks for some of the UK urban scenes biggest stars (hands up Tinchy, Jammer, Bashy, Roots Manuva and Ms Dynamite). 

He DJ's around the globe, has a slew of remixes under his belt (Hot Chip, Gyptian, Gorillaz, Major Lazer for starters), is a star of his own Toddla TV channel online and has worked in studios from Kingston Jamaica to Kingston upon Hull. Not to mention the recent launch of his Girls Music Label which, after only three releases has already featured productions by British dance music heroes Sticky and Roska.

So how do you get to be one of the leading lights of UK dance music in 4 short years?

Much can be attributed to Toddla’s phenomenal talent, drive and ambition. He has good taste and keen eyes and ears in all elements of British youth culture. However, the man himself modestly explains that it has just as much to do with the sea change which has taken place in British Pop music in the last few years. 

When Toddla first started taking to the decks outside of his home town he was worried that no one would "get it" and to start with, many didn't. (Listen to the track "Roadtrip" from debut album Skanky Skanky to hear an amusing account of just such a night). No one could quite work out who Toddla was. Was he an MC? or the producer at the front of a now forgotten, media created "UK Digi-Dancehall revolution"? Was that skinny white kid the voice singing about Rice n Peas? Surely not.

Not allowing this confusion to get in his way T stuck to his guns. He could smell a change in the air and knew that what he was doing was worth sticking with. He made a mixtape, The Toddla T Ghettoblaster Vol.1 in 2008 and put it up for free online. It was downloaded by more than 10,000 people, was brilliantly received and announced Toddla as a talent to be watched. People other than club promoters and other DJ's started to hear about him and his club sets started to get more and more busy with people who were there to see him. Longtime studio spar and MC Serocee joined him on the road and the pair started to travel far and wide around the UK spreading the good word. 

His debut album Skanky Skanky was released in January 2009, this was followed by a Fabric live mix album and a lot of requests for his production skills with everyone from Major Lazer to Grandmaster Flash getting in touch. Over a Guinness or two in his new London local (he decamped from Sheffield to the capital in 2010) Toddla reflects on the last couple of "pretty crazy years", the current UK scene and sets out his stall for what promises to be a very busy and successful 2011. 

"When I was first signed (to 1965 Records) every kid wanted to be in a band. The Arctic Monkeys, The Libertines and all that were really popular, me and my mates who were into Notorious B.I.G and dancehall were really in the minority. Nowadays kids want to be Skream and Benga, or Tinchy or N-Dubz and because of that all their points of musical reference have changed" 

It's true, there has been a huge shift in musical aesthetic, away from the skinny jeans and Chuck Taylors of The Strokes and the seemingly never-ending bandwagon that followed. What Toddla's saying here is borne out of the recently released statistic that rock music has had its worst year in the UK charts since 1960 with only 3 rock bands making it into the top 100 songs of 2010.

As a backdrop to Dizzee, Tinie, Tinchy et al storming the charts, the explosion of dubstep and subsequent re-evaluation of bass-driven, UK club music has seen a major shift in what people aged 15 - 25 are raving to. Where Soulwax and SMD and their like were ruling the clubs 2002 - 2006 nowadays seasoned campaigners like Shy FX and David Rodigan are championed by kids who weren't born when they were first spinning records.

Watch Me Dance is a bold step forward for Toddla T. Fans of Skanky Skanky will find plenty that will please them but for the countless thousands of clubbers who know Toddla T the DJ but haven't heard his productions this second album may come as a surprise. Toddla explains... 

"I've been busiest in the last two years as a DJ, so of course this album has a big dose of the sounds and production techniques that I'm out there representing in the clubs every weekend but if you're looking for tops-off jungle or 4x4 bassline tearouts you won't find them here. This is definitely still a record for clubbers, but it's the one they'll listen to at home with their mates or every day on the way to work" 

In Watch Me Dance Toddla has created a dubwise, street-soul masterpiece. In a typically precocious reference to records that were made when he was 4 and 10 years old respectively Toddla sums it up. "A bit of the Soul from Soul II Soul Club Classics and a bit of the Left-field from Leftism, I've been listening to those now and again, they took in a whole load of club music and made an album that summed something up and were great to listen to at the same time." 

Amen to that.

Watch Me Dance is released on Ninja Tune on 22 August 2011.

[links] =>

www.toddlat.com

Facebook
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[image_upload_id] => 16079 [label_id] => 1 [twitter_username] => toddlat [instagram_id] => 7231711 [instagram_username] => toddlat [link] => [listed] => 1 [sortname] => Toddla T [created] => 2010-07-17 22:15:59 [modified] => 2013-05-03 14:57:03 [slug] => toddla-t [fuga_id] => [description_clean] =>

Do U Know Toddla T? 

In 2007 Toddla T (aka Tom Bell) was working in a shoe shop in his hometown of Sheffield. Then just 19 and living at home with his parents, he DJ'd at weekends and was producing beats and tracks with his friend Scott as Small Arms Fiya.

Now it's 2011 Toddla T is making the finishing touches to his second album on the legendary Ninja Tune label, has a regular slot on BBC Radio 1, and has produced tracks for some of the UK urban scenes biggest stars (hands up Tinchy, Jammer, Bashy, Roots Manuva and Ms Dynamite). 

He DJ's around the globe, has a slew of remixes under his belt (Hot Chip, Gyptian, Gorillaz, Major Lazer for starters), is a star of his own Toddla TV channel online and has worked in studios from Kingston Jamaica to Kingston upon Hull. Not to mention the recent launch of his Girls Music Label which, after only three releases has already featured productions by British dance music heroes Sticky and Roska.

So how do you get to be one of the leading lights of UK dance music in 4 short years?

Much can be attributed to Toddla’s phenomenal talent, drive and ambition. He has good taste and keen eyes and ears in all elements of British youth culture. However, the man himself modestly explains that it has just as much to do with the sea change which has taken place in British Pop music in the last few years. 

When Toddla first started taking to the decks outside of his home town he was worried that no one would "get it" and to start with, many didn't. (Listen to the track "Roadtrip" from debut album Skanky Skanky to hear an amusing account of just such a night). No one could quite work out who Toddla was. Was he an MC? or the producer at the front of a now forgotten, media created "UK Digi-Dancehall revolution"? Was that skinny white kid the voice singing about Rice n Peas? Surely not.

Not allowing this confusion to get in his way T stuck to his guns. He could smell a change in the air and knew that what he was doing was worth sticking with. He made a mixtape, The Toddla T Ghettoblaster Vol.1 in 2008 and put it up for free online. It was downloaded by more than 10,000 people, was brilliantly received and announced Toddla as a talent to be watched. People other than club promoters and other DJ's started to hear about him and his club sets started to get more and more busy with people who were there to see him. Longtime studio spar and MC Serocee joined him on the road and the pair started to travel far and wide around the UK spreading the good word. 

His debut album Skanky Skanky was released in January 2009, this was followed by a Fabric live mix album and a lot of requests for his production skills with everyone from Major Lazer to Grandmaster Flash getting in touch. Over a Guinness or two in his new London local (he decamped from Sheffield to the capital in 2010) Toddla reflects on the last couple of "pretty crazy years", the current UK scene and sets out his stall for what promises to be a very busy and successful 2011. 

"When I was first signed (to 1965 Records) every kid wanted to be in a band. The Arctic Monkeys, The Libertines and all that were really popular, me and my mates who were into Notorious B.I.G and dancehall were really in the minority. Nowadays kids want to be Skream and Benga, or Tinchy or N-Dubz and because of that all their points of musical reference have changed" 

It's true, there has been a huge shift in musical aesthetic, away from the skinny jeans and Chuck Taylors of The Strokes and the seemingly never-ending bandwagon that followed. What Toddla's saying here is borne out of the recently released statistic that rock music has had its worst year in the UK charts since 1960 with only 3 rock bands making it into the top 100 songs of 2010.

As a backdrop to Dizzee, Tinie, Tinchy et al storming the charts, the explosion of dubstep and subsequent re-evaluation of bass-driven, UK club music has seen a major shift in what people aged 15 - 25 are raving to. Where Soulwax and SMD and their like were ruling the clubs 2002 - 2006 nowadays seasoned campaigners like Shy FX and David Rodigan are championed by kids who weren't born when they were first spinning records.

Watch Me Dance is a bold step forward for Toddla T. Fans of Skanky Skanky will find plenty that will please them but for the countless thousands of clubbers who know Toddla T the DJ but haven't heard his productions this second album may come as a surprise. Toddla explains... 

"I've been busiest in the last two years as a DJ, so of course this album has a big dose of the sounds and production techniques that I'm out there representing in the clubs every weekend but if you're looking for tops-off jungle or 4x4 bassline tearouts you won't find them here. This is definitely still a record for clubbers, but it's the one they'll listen to at home with their mates or every day on the way to work" 

In Watch Me Dance Toddla has created a dubwise, street-soul masterpiece. In a typically precocious reference to records that were made when he was 4 and 10 years old respectively Toddla sums it up. "A bit of the Soul from Soul II Soul Club Classics and a bit of the Left-field from Leftism, I've been listening to those now and again, they took in a whole load of club music and made an album that summed something up and were great to listen to at the same time." 

Amen to that.

Watch Me Dance is released on Ninja Tune on 22 August 2011.

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Ex-art teacher Jonathan More and computer programmer Matt Black have been a team since the mid-eighties. Both Matt and Jonathan had been building their DJ reputation on the nascent rare groove / warehouse party scene. Jon had a show on the then pirate station Kiss FM and worked in Reckless Records in Londons west end, where he sold Matt a bootleg of 'Across The Tracks' by Maceo & the Macks. Matt came back the next day with 'Say Kids, What Time Is It?' and suggested they work on it together. Meanwhile Jon helped Matt onto Kiss FM and they soon started the joint 'Solid Steel' show (still running to this day). 'Say Kids...' was released in 1987, becoming the UK's first sample-built record. In the same year the duo defined the term 'remix' on Eric B and Rakim's 'Paid in Full', cutting and pasting Israeli singer Ofra Haza's vocals in a notorious reworking which became a worldwide classic. Coldcut's talent was recognized by a BPI 'Producers Of the Year' award in 1990, while their debut album, 'What's That Noise', went silver. 

 The concept of setting up an independent label took shape during a trip to Japan where Matt and Jon made a discovery: "We found a book about cut-out-and-keep Ninjas. They build these amazing houses where they have special traps so they can disappear and reappear somewhere else. They were all about artifice and hidden identity." Tiring of the juggernaut marketing ethic of major labels, this stealthy philosophy seemed appealing. They wrapped up their involvement with the Big Boys in 1993 with the album 'Philosophy' and plunged into the establishment of Ninja Tune, though not before their ambient cover of 'Autumn Leaves' had kickstarted the easy listening movement. 

The story of Ninja Tune is another whole chapter and has been told elsewhere. It perhaps suffices to say that the organisation has grown into one of the classic independent labels to emerge in the '90s, providing a welcoming home to a range of acts including Mr Scruff, Cinematic Orchestra, Herbaliser, Kid Koala and Wagon Christ, as well as the likes of Roots Manuva and Ty through the later-established Big Dada imprint. As befits a pair of DJs who seem to believe that the whole world is there to be cut and pasted, "we mix things, over as broad a spectrum of activities as possible." 

Hence the duo's label-running activities in the early and mid-nineties were augmented by a plethora of other endeavours: the Stealth club night (Club of the Year in the NME, The Face and Mixmag in 1996), the pioneering Pipe website initially written by Coldcut themselves in 1995 and a variety of multimedia experiments with Rob Pepperell as Hex. Fired up by the possibilities presented by digital interactivity, Coldcut and Hex began developing toys and art installation pieces ranging from the 'Top Banana' computer game to the  'Generator' for the Glasgow Gallery Of Modern Art and 'Synopticon' for the JAM, a major exhibit at London's Barbican. While spending the early 90s building this diverse, avant-garde collage of activities, Coldcut were maniacally preparing their own musical breakout. In 1997 they unleashed their fourth album, 'Let Us Play', the first on their own label. The album featured collaborations with highly political ex-Dead Kennedy Jello Biafra, legendary funk drummer Bernard Purdie, poet Salena Saliva, and - one of Coldcut's biggest inspirations - Steinski. Both album and classic single 'More Beats and Pieces' reached the UK Top 40. And, as important as the art was, the politics - tracks like 'Timber' and 'Atomic Moog 3000' - set out an anti-corporate, ecological, anti-authoritarian vision that found its technical expression in the group's continuing interest in interactivity with their audience. 

At the same time, Coldcut were still doing their 'Solid Steel' show on Kiss every Saturday, keeping up the traditional mixed bag and stacking up plaudits such as the Sony Award for Best Specialist Show. All of which led to their 'Journeys By DJ' mix album, '70 Minutes of Madness', which was released to rave reviews and declared the Best Compilation of All Time in Jockey Slut, 1998. By 2000, though, the culture at Kiss has become too commercial for Black and More and they moved the show to BBC London Live, although their main focus was on building its profile as an internet station. Prior to the release of 'Let Us Play', Matt Black was pioneering the concept of VJing at diverse parties such as the legendary Telepathic Fish, Sabresonic and The Big Chill, with the first fruits of this collision of audio and video to be found on the free CD-Rom which accompanied the 'Let Us Play' CD. 

It was, however, only with the tours that followed the record's release that a wider audience began to get an idea of what Coldcut were up to. To promote their work live, Coldcut designed their own VJ software, VJamm, allowing the live re-creation of whole audiovisual pieces. Video could now be jammed or scratched with as easily as sound and audiences were blown away by this new direction. Coldcut called the show CCTV and have presented it everywhere from Sonar in Barcelona, the Montreux Jazz Festival, the Glastonbury Dance Tent, Roskilde, the Queen Elizabeth Hall (as part of John Peel's Meltdown), Steve Reich's remix project launch party in New York and the Darklight Digital Film Festival in Dublin - to name but a few. John Peel, incidentally, was a staunch fan of the group and, in addition to three Sessions during his lifetime, Matt and Jon were chosen to introduce the DJ section of the John Peel Memorial BBC concert night. 

1999 saw the release of remix album 'Let Us Replay', featuring contributions from Cornelius, Carl Craig, Shut Up And Dance and Ryuchi Sakamoto amongst others. Coldcut's politics came to the fore again in 2001, when they released 'Re:volution' to coincide with the British general election. Characterised by Matt Black as a "celebration/diss of UK politics and the 2001 election, an audivisual PARTY political broadcast cutting up your fave enemies over a steaming punk jungle (pungle?) stomper", it led to a campaign involving a mayhem-packed double decker bus ride round Westminster in the company of Brighton's Free Party and the Church of Bob. 

It also inspired American activists to ask Coldcut to become involved in a project for the 2004 US Presidential election. Revusa.net allowed people to download over 12Gb of footage from the last 40 years of US politics and then use them to create a cut-up over a Coldcut beat. The result was Coldcut v. TV Sheriff, 'World Of Evil', widely acclaimed and somehow regularly shown on MTV. 

Alongside the headline-grabbing releases, there has been smaller, more grass-roots activity, too. Piratetv.net was run from Coldcut's Spacelab studio in London and viewed all over the world, pioneering what Black describes as "guerilla netcasting". Special guests on the show ran from Radiohead to the Surveillance Camera Players. Coming from another angle, Vjs.net has focussed on educational activity. Matt is also heavily involved with Nowthemovie.org which aims to make a 21st Century montage documentary in the spirit of 'Sans Soleil' or 'Baraka', using footage uploaded to the site by people all over the world. And the art projects continue apace; Gridio (a collaboration between Coldcut and Headspace) is an "interactive responsive environment" originally commissioned by the Pompidou Centre in Paris which has toured all over Europe. 

2004 saw Coldcut produce a play in conjunction with renowned young author Hari Kunzru for BBC Radio 3 (incidentally, also called 'Sound Mirrors'). A collaboration with the British Antarctic Survey (BAS) has led to the short film 'Wavejammer', and running parallel to this, the remix and production work has continued apace. 

It is a tribute to Coldcut's standing as well as the sheer diversity of their output that the last few years have seen them re-work the theme to Dr Who, the music of Herbie Hancock and the Trojan catalogue, that they returned to the South Bank's Meltdown festival for a live audiovisual dub with Lee 'Scratch' Perry, Mad Professor and Headspace. That they have assembled a group of artists as diverse as Jon Spencer, Robert Owens, Saul Williams, Soweto Kinch and Roots Manuva to appear on their new record. That musically, they have continued to refine and develop both their skills and their style so that, after a twenty year career at the forefront they can honestly claim that this is their best, most complete album to date, utterly contemporary, as fresh as the day they started. Maybe they've remained masters by remaining unruly schoolchildren. Who knows? All that matters is that the masters are back.

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[image_upload_id] => 3905 [label_id] => 1 [twitter_username] => coldcut [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Coldcut [created] => 2010-07-17 22:15:58 [modified] => 2013-01-09 11:07:32 [slug] => coldcut [fuga_id] => [description_clean] =>

Most people come into music, do the same thing for a few years, slowly sink back into obscurity and spend the rest of their life collecting publishing royalties and re-forming for tribute tours. Their biographies can afford to be quite short - most of us aren't that interested in golf or angling. The problem with Coldcut is that, despite their veteran status, they act like two unruly children who just won't sit still. Which is why even a brief trawl through their various activities looks like a large chapter of a big book. 

Ex-art teacher Jonathan More and computer programmer Matt Black have been a team since the mid-eighties. Both Matt and Jonathan had been building their DJ reputation on the nascent rare groove / warehouse party scene. Jon had a show on the then pirate station Kiss FM and worked in Reckless Records in Londons west end, where he sold Matt a bootleg of 'Across The Tracks' by Maceo & the Macks. Matt came back the next day with 'Say Kids, What Time Is It?' and suggested they work on it together. Meanwhile Jon helped Matt onto Kiss FM and they soon started the joint 'Solid Steel' show (still running to this day). 'Say Kids...' was released in 1987, becoming the UK's first sample-built record. In the same year the duo defined the term 'remix' on Eric B and Rakim's 'Paid in Full', cutting and pasting Israeli singer Ofra Haza's vocals in a notorious reworking which became a worldwide classic. Coldcut's talent was recognized by a BPI 'Producers Of the Year' award in 1990, while their debut album, 'What's That Noise', went silver. 

 The concept of setting up an independent label took shape during a trip to Japan where Matt and Jon made a discovery: "We found a book about cut-out-and-keep Ninjas. They build these amazing houses where they have special traps so they can disappear and reappear somewhere else. They were all about artifice and hidden identity." Tiring of the juggernaut marketing ethic of major labels, this stealthy philosophy seemed appealing. They wrapped up their involvement with the Big Boys in 1993 with the album 'Philosophy' and plunged into the establishment of Ninja Tune, though not before their ambient cover of 'Autumn Leaves' had kickstarted the easy listening movement. 

The story of Ninja Tune is another whole chapter and has been told elsewhere. It perhaps suffices to say that the organisation has grown into one of the classic independent labels to emerge in the '90s, providing a welcoming home to a range of acts including Mr Scruff, Cinematic Orchestra, Herbaliser, Kid Koala and Wagon Christ, as well as the likes of Roots Manuva and Ty through the later-established Big Dada imprint.

As befits a pair of DJs who seem to believe that the whole world is there to be cut and pasted, "we mix things, over as broad a spectrum of activities as possible." 

Hence the duo's label-running activities in the early and mid-nineties were augmented by a plethora of other endeavours: the Stealth club night (Club of the Year in the NME, The Face and Mixmag in 1996), the pioneering Pipe website initially written by Coldcut themselves in 1995 and a variety of multimedia experiments with Rob Pepperell as Hex. Fired up by the possibilities presented by digital interactivity, Coldcut and Hex began developing toys and art installation pieces ranging from the 'Top Banana' computer game to the  'Generator' for the Glasgow Gallery Of Modern Art and 'Synopticon' for the JAM, a major exhibit at London's Barbican.

While spending the early 90s building this diverse, avant-garde collage of activities, Coldcut were maniacally preparing their own musical breakout. In 1997 they unleashed their fourth album, 'Let Us Play', the first on their own label. The album featured collaborations with highly political ex-Dead Kennedy Jello Biafra, legendary funk drummer Bernard Purdie, poet Salena Saliva, and - one of Coldcut's biggest inspirations - Steinski. Both album and classic single 'More Beats and Pieces' reached the UK Top 40. And, as important as the art was, the politics - tracks like 'Timber' and 'Atomic Moog 3000' - set out an anti-corporate, ecological, anti-authoritarian vision that found its technical expression in the group's continuing interest in interactivity with their audience. 

At the same time, Coldcut were still doing their 'Solid Steel' show on Kiss every Saturday, keeping up the traditional mixed bag and stacking up plaudits such as the Sony Award for Best Specialist Show. All of which led to their 'Journeys By DJ' mix album, '70 Minutes of Madness', which was released to rave reviews and declared the Best Compilation of All Time in Jockey Slut, 1998. By 2000, though, the culture at Kiss has become too commercial for Black and More and they moved the show to BBC London Live, although their main focus was on building its profile as an internet station.

Prior to the release of 'Let Us Play', Matt Black was pioneering the concept of VJing at diverse parties such as the legendary Telepathic Fish, Sabresonic and The Big Chill, with the first fruits of this collision of audio and video to be found on the free CD-Rom which accompanied the 'Let Us Play' CD. 

It was, however, only with the tours that followed the record's release that a wider audience began to get an idea of what Coldcut were up to. To promote their work live, Coldcut designed their own VJ software, VJamm, allowing the live re-creation of whole audiovisual pieces. Video could now be jammed or scratched with as easily as sound and audiences were blown away by this new direction. Coldcut called the show CCTV and have presented it everywhere from Sonar in Barcelona, the Montreux Jazz Festival, the Glastonbury Dance Tent, Roskilde, the Queen Elizabeth Hall (as part of John Peel's Meltdown), Steve Reich's remix project launch party in New York and the Darklight Digital Film Festival in Dublin - to name but a few. John Peel, incidentally, was a staunch fan of the group and, in addition to three Sessions during his lifetime, Matt and Jon were chosen to introduce the DJ section of the John Peel Memorial BBC concert night. 

1999 saw the release of remix album 'Let Us Replay', featuring contributions from Cornelius, Carl Craig, Shut Up And Dance and Ryuchi Sakamoto amongst others. Coldcut's politics came to the fore again in 2001, when they released 'Re:volution' to coincide with the British general election. Characterised by Matt Black as a "celebration/diss of UK politics and the 2001 election, an audivisual PARTY political broadcast cutting up your fave enemies over a steaming punk jungle (pungle?) stomper", it led to a campaign involving a mayhem-packed double decker bus ride round Westminster in the company of Brighton's Free Party and the Church of Bob. 

It also inspired American activists to ask Coldcut to become involved in a project for the 2004 US Presidential election. Revusa.net allowed people to download over 12Gb of footage from the last 40 years of US politics and then use them to create a cut-up over a Coldcut beat. The result was Coldcut v. TV Sheriff, 'World Of Evil', widely acclaimed and somehow regularly shown on MTV. 

Alongside the headline-grabbing releases, there has been smaller, more grass-roots activity, too. Piratetv.net was run from Coldcut's Spacelab studio in London and viewed all over the world, pioneering what Black describes as "guerilla netcasting". Special guests on the show ran from Radiohead to the Surveillance Camera Players. Coming from another angle, Vjs.net has focussed on educational activity. Matt is also heavily involved with Nowthemovie.org which aims to make a 21st Century montage documentary in the spirit of 'Sans Soleil' or 'Baraka', using footage uploaded to the site by people all over the world.

And the art projects continue apace; Gridio (a collaboration between Coldcut and Headspace) is an "interactive responsive environment" originally commissioned by the Pompidou Centre in Paris which has toured all over Europe. 

2004 saw Coldcut produce a play in conjunction with renowned young author Hari Kunzru for BBC Radio 3 (incidentally, also called 'Sound Mirrors'). A collaboration with the British Antarctic Survey (BAS) has led to the short film 'Wavejammer', and running parallel to this, the remix and production work has continued apace. 

It is a tribute to Coldcut's standing as well as the sheer diversity of their output that the last few years have seen them re-work the theme to Dr Who, the music of Herbie Hancock and the Trojan catalogue, that they returned to the South Bank's Meltdown festival for a live audiovisual dub with Lee 'Scratch' Perry, Mad Professor and Headspace. That they have assembled a group of artists as diverse as Jon Spencer, Robert Owens, Saul Williams, Soweto Kinch and Roots Manuva to appear on their new record. That musically, they have continued to refine and develop both their skills and their style so that, after a twenty year career at the forefront they can honestly claim that this is their best, most complete album to date, utterly contemporary, as fresh as the day they started. Maybe they've remained masters by remaining unruly schoolchildren. Who knows? All that matters is that the masters are back.

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