Brendan Angelides aka Eskmo is a San Francisco based electronic music producer and live performer. His multi-genre compositions have been featured on influential labels like Warp Records and Planet Mu, though while Eskmo's tracks encompass a wide range of electronic styles, he avoids classification. Bleep.com called his tracks "masterfully produced...sophisticated, post-Dilla hip-hop funk" while sites like Boomkat describe his music as "[putting] Eskmo on his own electronic plateau.
In the past five years Eskmo has released over a dozen singles and EPs, most recently a collaboration with Amon Tobin as Eskamon, as well as touring as a live act throughout North America and Europe, opening for Flying Lotus, Amon Tobin, STS9, and The Glitch Mob amongst many others. Over time, he has come to be recognized by top-tier producers as having his own distinct 'Eskmo Sound'; as Pendulum said this in a recent interview, "There are good producers, then there are dudes who..you never catch..and don't even try. He's one of those guys."
[links] => [image_upload_id] => 4225 [label_id] => 1 [twitter_username] => eskmowelder [instagram_id] => 4094917 [instagram_username] => eskmowelder [link] => [listed] => 1 [sortname] => Eskmo [created] => 2010-07-17 22:15:59 [modified] => 2013-05-03 14:49:17 [slug] => eskmo [fuga_id] => [description_clean] =>Brendan Angelides aka Eskmo is a San Francisco based electronic music producer and live performer. His multi-genre compositions have been featured on influential labels like Warp Records and Planet Mu, though while Eskmo's tracks encompass a wide range of electronic styles, he avoids classification. Bleep.com called his tracks "masterfully produced...sophisticated, post-Dilla hip-hop funk" while sites like Boomkat describe his music as "[putting] Eskmo on his own electronic plateau.
In the past five years Eskmo has released over a dozen singles and EPs, most recently a collaboration with Amon Tobin as Eskamon, as well as touring as a live act throughout North America and Europe, opening for Flying Lotus, Amon Tobin, STS9, and The Glitch Mob amongst many others. Over time, he has come to be recognized by top-tier producers as having his own distinct 'Eskmo Sound'; as Pendulum said this in a recent interview, "There are good producers, then there are dudes who..you never catch..and don't even try. He's one of those guys."
[links_clean] => ) ) ) [1] => Array ( [Event] => Array ( [id] => 9832 [date] => 2012-07-27 [artist] => Toddla T (DJ Set) [city] => Stockholm [state] => [country] => SE [venue] => Trädgården Under Bron [promoter] => [description] => [ticket_url] => [image_upload_id] => 16079 [created] => 2012-03-29 15:50:25 [modified] => 2012-03-29 15:50:25 [year_slug] => 2012 [month_slug] => jul [day_slug] => 27 [slug] => toddla-t-dj-set-stockholm-tradgarden-under-bron [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 16079 [media_type] => image [artist] => Toddla T [title] => Toddla T Artist Shot 2011 [credits] => [buy_link] => [filename] => images/toddla-t/Papa-0074-0052-V2tomjackson.jpg [checksum] => f3c931e314444a4306c3363c3597371d [mime_type] => image/jpeg [size] => 6260679 [external_url] => http://media.ninjatune.net/images/toddla-t/Papa-0074-0052-V2tomjackson.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => toddla-t [slug] => toddla-t-artist-shot-2011 [created] => 2011-08-16 14:51:02 [modified] => 2011-08-16 14:51:15 [embed] => ) [Country] => Array ( [id] => 207 [name] => Sweden [longname] => Sweden [numcode] => 752 [iso] => SE [iso3] => SWE [currency] => SEK [active] => 1 [parent_id] => 191 [lft] => 411 [rght] => 412 [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] => [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.
[links_clean] => ) ) ) [2] => Array ( [Event] => Array ( [id] => 9844 [date] => 2012-07-27 [artist] => Bonobo (DJ Set) [city] => Los Angeles, CA [state] => [country] => US [venue] => El Rey Theatre [promoter] => [description] => [ticket_url] => http://www.theelrey.com [image_upload_id] => 4236 [created] => 2012-03-30 16:14:25 [modified] => 2012-03-30 16:14:25 [year_slug] => 2012 [month_slug] => jul [day_slug] => 27 [slug] => bonobo-dj-set-los-angeles-ca-el-rey-theatre [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 4236 [media_type] => image [artist] => Bonobo [title] => Bonobo - Promo Shot - Jul 2010 [credits] => [buy_link] => [filename] => images/bonobo/bonobo-34_2.jpg [checksum] => 3e6349fd9afbdd64023744448c4c831a [mime_type] => image/jpeg [size] => 3899509 [external_url] => http://media.ninjatune.net/images/bonobo/bonobo-34_2.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => bonobo [slug] => bonobo-promo-shot-jul-2010 [created] => 2010-11-24 04:22:15 [modified] => 2010-11-24 04:22:15 [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] => 55 [name] => Bonobo [description] =>Simon Green, aka Bonobo, is an artist very much at the peak of his significant powers. His 2010 album Black Sands 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.
Black Sands went on to sell over 150,000 copies worldwide, and since its release, Bonobo has toured the world with his live band, wowing audiences of thousands at a time with the hypnotic, extended live versions of the album's tracks. He amassed more nearly 50 million recorded plays on Last.fm and over 300,000 likes on Facebook.
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 always 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 Black Sands was generally welcomed as his best album to date. 2012 saw Green 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 Pritchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth studio album. Now, in 2013, he stands ready to take things up yet another notch. The North Borders is 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, Bjaika) and The North Borders sees him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across The North Borders, and Green has yet again found the perfect voice to enhance where he's at. With a huge run of international tour dates set to commence shortly after the album's Spring release date, plus a host of weighty press and radio campaigns and a bleeding edge online campaign, 2013 looks set to be Simon Green's year, which is very good news for the rest of us, too.
[links] =>Facebook
Twitter
Soundcloud
Instagram
Simon Green, aka Bonobo, is an artist very much at the peak of his significant powers. His 2010 album Black Sands 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.
Black Sands went on to sell over 150,000 copies worldwide, and since its release, Bonobo has toured the world with his live band, wowing audiences of thousands at a time with the hypnotic, extended live versions of the album's tracks. He amassed more nearly 50 million recorded plays on Last.fm and over 300,000 likes on Facebook.
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 always 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 Black Sands was generally welcomed as his best album to date. 2012 saw Green 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 Pritchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth studio album. Now, in 2013, he stands ready to take things up yet another notch. The North Borders is 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, Bjaika) and The North Borders sees him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across The North Borders, and Green has yet again found the perfect voice to enhance where he's at. With a huge run of international tour dates set to commence shortly after the album's Spring release date, plus a host of weighty press and radio campaigns and a bleeding edge online campaign, 2013 looks set to be Simon Green's year, which is very good news for the rest of us, too.
[links_clean] =>Facebook
Twitter
Soundcloud
Instagram
“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on 21 August 2012. “We wanted to make a bold statement – it’s not shy.”
“It’s 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.” As such, The Glorious Dead proves The Heavy’s most ambitious effort: Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul, it’s unlike anything you’ll hear this year.
The Glorious Dead builds off momentum from The Heavy’s international smash single “How You Like Me Now?,” off acclaimed 2009 album, The House That Dirt Built. “How You Like Me Now?” became the first song David Letterman’s ever requested an encore for when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted – and was even performed by contestant Tony Lucca on NBC’s hit show “The Voice.” “It’s become such a big tune, people ask, ‘How are you going to top that?’,” Swaby says. The Glorious Dead provides the answer with supernatural force. Album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials; “Curse Me Good,” meanwhile, balances sweet whistled hooks and acoustic strum with heartbreaking vocals. “It’s good to have a bit of light and shade,” Taylor explains. As such, the album’s soaring centerpiece “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group backgrounds and epic strings. “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “…Good Man?” proved the album’s breakthrough. Searching for inspiration, The Heavy traveled from their Bath, England hometown to Columbus, Georgia, hooking up with local church-trained singers and players for some Southern Gothic sublimity. Taking the material to yet another level was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs. “He’s such a talent,” Swaby enthuses.
The Glorious Dead also represents the first time The Heavy’s members – which in addition to Taylor and Swaby include Spencer Page (bass) and Chris Ellul (drums) – chose to produce 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 our vision,” Taylor says. “It’s our third record, which is when you’re judged if you’re here to stay, or sliding 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.”
[links] => [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] => 2013-05-03 14:56:03 [slug] => the-heavy [fuga_id] => [description_clean] =>“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on 21 August 2012. “We wanted to make a bold statement – it’s not shy.”
“It’s 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.” As such, The Glorious Dead proves The Heavy’s most ambitious effort: Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul, it’s unlike anything you’ll hear this year.
The Glorious Dead builds off momentum from The Heavy’s international smash single “How You Like Me Now?,” off acclaimed 2009 album, The House That Dirt Built. “How You Like Me Now?” became the first song David Letterman’s ever requested an encore for when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted – and was even performed by contestant Tony Lucca on NBC’s hit show “The Voice.” “It’s become such a big tune, people ask, ‘How are you going to top that?’,” Swaby says. The Glorious Dead provides the answer with supernatural force. Album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials; “Curse Me Good,” meanwhile, balances sweet whistled hooks and acoustic strum with heartbreaking vocals. “It’s good to have a bit of light and shade,” Taylor explains. As such, the album’s soaring centerpiece “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group backgrounds and epic strings. “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “…Good Man?” proved the album’s breakthrough. Searching for inspiration, The Heavy traveled from their Bath, England hometown to Columbus, Georgia, hooking up with local church-trained singers and players for some Southern Gothic sublimity. Taking the material to yet another level was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs. “He’s such a talent,” Swaby enthuses.
The Glorious Dead also represents the first time The Heavy’s members – which in addition to Taylor and Swaby include Spencer Page (bass) and Chris Ellul (drums) – chose to produce 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 our vision,” Taylor says. “It’s our third record, which is when you’re judged if you’re here to stay, or sliding 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.”
[links_clean] => ) ) ) [4] => Array ( [Event] => Array ( [id] => 10048 [date] => 2012-07-27 [artist] => Martyn [city] => Boom [state] => [country] => BE [venue] => Tomorrowland [promoter] => [description] => [ticket_url] => http://www.tomorrowland.be/buy-ticket [image_upload_id] => 15873 [created] => 2012-05-14 15:29:42 [modified] => 2012-05-14 15:29:42 [year_slug] => 2012 [month_slug] => jul [day_slug] => 27 [slug] => martyn-boom-tomorrowland [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 15873 [media_type] => image [artist] => Martyn [title] => Martyn Artist Shot 2011 [credits] => [buy_link] => [filename] => images/martyn/martyn-artistshot.jpg [checksum] => 75c1c631970ec6c83caeec1cd71d4b71 [mime_type] => image/jpeg [size] => 31953 [external_url] => http://media.ninjatune.net/images/martyn/martyn-artistshot.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => martyn [slug] => martyn-artist-shot-2011 [created] => 2011-06-29 15:37:17 [modified] => 2011-06-29 15:39:02 [embed] => ) [Country] => Array ( [id] => 228 [name] => Belgium [longname] => Belgium [numcode] => 56 [iso] => BE [iso3] => BEL [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 453 [rght] => 454 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 152 [name] => Martyn [description] =>Martyn’s unique strand of bass defies easy categorisation. Yet no matter the genre, tempo or drum pattern, there always remains that immersive, intricately detailed and rhythmically precise sound: to his fans and admirers, it’s known simply as ‘Martyn Music’. A unique character that’s become emblematic for all that’s forward thinking in dubstep and techno, a defiant out-of-the-box mentality is pushed into his every artistic venture, side-stepping convention and continually stepping forward towards what’s new. Or, more often than not, what’s next.
Throughout the many turns and layers of his winding career, the Holland native (and now Washington DC resident) Martijn Deijkers has always stood in a scene of his own. Never a complete outsider but never one to fit in, each of his releases is a progression on from where he left off, and an evolution into where the electronic world is likely to move in the near future. His first releases in 2005 (on Play:Musik and Marcus Intalex’s Revolve:r imprint) indicated a tendency towards the dub end of the spectrum. Drawing on his roots in techno and house, as much as a still fertile dubstep scene, his Broken EP on Revolve:r in ’07 blurred the lines entirely. And though his releases that followed on Tempa, Applepips and Hessle Audio (including his scene-altering remix of TRG’s "Broken Heart") made thorough rounds in dubstep circles, there was a distinct nod to future 4/4 explorations, and served as a tip-off that he was on his way to forming a new, uncharted genre altogether.
“I was always interested in the technology side of things - synthesizers and science fiction and lazers and transformers and robots...that was really my thing. I have been buying music for as long as I can remember, really; as soon as I got a weekly allowance I spent it on 7” singles and albums. When I was studying I went clubbing a lot, there were a couple of clubs that I used to frequent, and I just got drawn to the music, really. In the early 90s, I heard Chicago house and Detroit techno for the first time in a club; from then onwards that was kind of my thing, but I kept following bands as well, so for me not all music was electronic. I never thought I would play a role in music myself.”
Equal parts unpredictable and electric, as a DJ Martyn’s is a style that is equally as uncategorizable as his production style. His encyclopaedic knowledge of music and rarities is aptly matched with an ability to mix the most unlikely of sounds: a raw J Dilla cut gets paired with a rare Jamie Principle house edit one moment, New Wave vocals get thrown down with the percussive fills of Shed the next. His seamless sets have crossed countries and stages, playing iconic venues the globe over, including Berghain/Panoramabar, The Roxy in LA and DMZ at Mass. There’s also his all-inclusive festival circuit, which has included Sonar, Mutek, Airwaves, Decibel, Electric Zoo, Bestival, Lowlands, Pukkelpop, The Big Chill, Elevate in Austria and Unsound in Poland.
A regular at London’s clubbing institution Fabric from early in his career, towards the end of 2009 Martyn was approached to mix their landmark 50th mix CD. Released the following January on the fabric series (rather than the bass-heavy FABRICLIVE series), the mix set off 2010 with an audible buzz, sparking reviews that hailed the appearance of one of the finest mixes in the fabric collection’s long and illustrious history. Employing an adventurous tracklisting, and bringing back the old school vinyl feel of classic techno mixtapes, the CD added yet further to his reputation as a multifaceted artist.
As an artist, a sharp sense of integrity and imagination is thematic throughout Martyn’s every move. He opts to work with genre-crossing musicians that are as unorthodox and innovative as himself, as seen in his extensive remix work (for the likes of Flying Lotus, Maximo Park, Fever Ray, Tiga, Kode9 and Shed, among many others). His art-led mentality shines brightest through the output of his vibrant 3024 label. Launched in 2007, he teamed up with old friend Erosie (one of Europe’s most celebrated street artists) to create a visionary stack of releases, with a roster that keeps building from strength to strength: including the deep sounds of Mancunian Illum Sphere, the housier feel of Altered Natives and the rhythmically led 2562, and remix work from Ben Klock, Zomby, Flying Lotus, Redshape and Roska. Forthcoming releases in 2011 include an interesting mix of Martyn’s across-the-board taste, including Julio Bashmore, Addison Groove and Instra:mental. Released in April 2009 on his 3024 imprint, Martyn’s debut album cemented the path of his next expansion: Great Lengths set a new standard in the fragmenting dubstep scene (if not all of electronic music) for long players. Showcasing every distinct element of Martyn’s sound, the album’s refusal to sit with any identifiable genre resonated far beyond bass culture, repeatedly occupying top 10 spots in end-of-year polls (including #2 on Mixmag’s ‘Albums of the Year’ chart), and leading to releases on the experimental Aus Music and with Berlin’s 4/4 stalwarts Watergate Records and Ostgut Ton.
Intent on continually finding ways to merge different arts, in the summer of 2010, Martyn starred in a beautifully poignant and moving short film by Dutch director Ramon Gieling called Great Lengths. Soundtracked with 2 tracks off the album, the dream sequence is a duet between film and music: vimeo.com/14451792. "It was a great experience putting my music in a different context, and working with someone as creative and visionary as Ramon. It felt like the music and the images gelled together perfectly." Towards the end of 2008, Flying Lotus invited Martyn (alongside frequent DJ partner Kode 9) to the first Brainfeeder shows in Los Angeles and San Francisco. Ever since, he’s become a resident for the esteemed family, playing increasingly legendary sets for Brainfeeder events from NYC to Barcelona. With a close friendship and intuitive artistic alliance, in 2010 Flying Lotus asked Martyn to release his hugely anticipated second album, Ghost People, on Brainfeeder. In leading up to the release of Ghost People, starting in June 2011, Martyn began taking his performances - and his musical creations - to the next level, by merging his sounds and Erosie’s visuals into an extraordinary live show that has been touring the festival rounds. Martyn and Erosie additionally have a series of album launches planned, which will be a “full live manifestation of the album.”
With Ghost People, which will be released on Brainfeeder this autumn, Martyn takes his sound into astral heights, paving his way towards perhaps the most unexpected direction yet. Adjective-heavy journalists and genre-name creators be warned: that next sound is here.
[links] => [image_upload_id] => 16712 [label_id] => 7 [twitter_username] => MARTYN3024 [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Martyn [created] => 2011-06-29 15:37:25 [modified] => 2013-01-08 14:59:10 [slug] => martyn [fuga_id] => [description_clean] =>Martyn’s unique strand of bass defies easy categorisation. Yet no matter the genre, tempo or drum pattern, there always remains that immersive, intricately detailed and rhythmically precise sound: to his fans and admirers, it’s known simply as ‘Martyn Music’. A unique character that’s become emblematic for all that’s forward thinking in dubstep and techno, a defiant out-of-the-box mentality is pushed into his every artistic venture, side-stepping convention and continually stepping forward towards what’s new. Or, more often than not, what’s next.
Throughout the many turns and layers of his winding career, the Holland native (and now Washington DC resident) Martijn Deijkers has always stood in a scene of his own. Never a complete outsider but never one to fit in, each of his releases is a progression on from where he left off, and an evolution into where the electronic world is likely to move in the near future. His first releases in 2005 (on Play:Musik and Marcus Intalex’s Revolve:r imprint) indicated a tendency towards the dub end of the spectrum. Drawing on his roots in techno and house, as much as a still fertile dubstep scene, his Broken EP on Revolve:r in ’07 blurred the lines entirely. And though his releases that followed on Tempa, Applepips and Hessle Audio (including his scene-altering remix of TRG’s "Broken Heart") made thorough rounds in dubstep circles, there was a distinct nod to future 4/4 explorations, and served as a tip-off that he was on his way to forming a new, uncharted genre altogether.
“I was always interested in the technology side of things - synthesizers and science fiction and lazers and transformers and robots...that was really my thing. I have been buying music for as long as I can remember, really; as soon as I got a weekly allowance I spent it on 7” singles and albums. When I was studying I went clubbing a lot, there were a couple of clubs that I used to frequent, and I just got drawn to the music, really. In the early 90s, I heard Chicago house and Detroit techno for the first time in a club; from then onwards that was kind of my thing, but I kept following bands as well, so for me not all music was electronic. I never thought I would play a role in music myself.”
Equal parts unpredictable and electric, as a DJ Martyn’s is a style that is equally as uncategorizable as his production style. His encyclopaedic knowledge of music and rarities is aptly matched with an ability to mix the most unlikely of sounds: a raw J Dilla cut gets paired with a rare Jamie Principle house edit one moment, New Wave vocals get thrown down with the percussive fills of Shed the next. His seamless sets have crossed countries and stages, playing iconic venues the globe over, including Berghain/Panoramabar, The Roxy in LA and DMZ at Mass. There’s also his all-inclusive festival circuit, which has included Sonar, Mutek, Airwaves, Decibel, Electric Zoo, Bestival, Lowlands, Pukkelpop, The Big Chill, Elevate in Austria and Unsound in Poland.
A regular at London’s clubbing institution Fabric from early in his career, towards the end of 2009 Martyn was approached to mix their landmark 50th mix CD. Released the following January on the fabric series (rather than the bass-heavy FABRICLIVE series), the mix set off 2010 with an audible buzz, sparking reviews that hailed the appearance of one of the finest mixes in the fabric collection’s long and illustrious history. Employing an adventurous tracklisting, and bringing back the old school vinyl feel of classic techno mixtapes, the CD added yet further to his reputation as a multifaceted artist.
As an artist, a sharp sense of integrity and imagination is thematic throughout Martyn’s every move. He opts to work with genre-crossing musicians that are as unorthodox and innovative as himself, as seen in his extensive remix work (for the likes of Flying Lotus, Maximo Park, Fever Ray, Tiga, Kode9 and Shed, among many others). His art-led mentality shines brightest through the output of his vibrant 3024 label. Launched in 2007, he teamed up with old friend Erosie (one of Europe’s most celebrated street artists) to create a visionary stack of releases, with a roster that keeps building from strength to strength: including the deep sounds of Mancunian Illum Sphere, the housier feel of Altered Natives and the rhythmically led 2562, and remix work from Ben Klock, Zomby, Flying Lotus, Redshape and Roska. Forthcoming releases in 2011 include an interesting mix of Martyn’s across-the-board taste, including Julio Bashmore, Addison Groove and Instra:mental. Released in April 2009 on his 3024 imprint, Martyn’s debut album cemented the path of his next expansion: Great Lengths set a new standard in the fragmenting dubstep scene (if not all of electronic music) for long players. Showcasing every distinct element of Martyn’s sound, the album’s refusal to sit with any identifiable genre resonated far beyond bass culture, repeatedly occupying top 10 spots in end-of-year polls (including #2 on Mixmag’s ‘Albums of the Year’ chart), and leading to releases on the experimental Aus Music and with Berlin’s 4/4 stalwarts Watergate Records and Ostgut Ton.
Intent on continually finding ways to merge different arts, in the summer of 2010, Martyn starred in a beautifully poignant and moving short film by Dutch director Ramon Gieling called Great Lengths. Soundtracked with 2 tracks off the album, the dream sequence is a duet between film and music: vimeo.com/14451792. "It was a great experience putting my music in a different context, and working with someone as creative and visionary as Ramon. It felt like the music and the images gelled together perfectly." Towards the end of 2008, Flying Lotus invited Martyn (alongside frequent DJ partner Kode 9) to the first Brainfeeder shows in Los Angeles and San Francisco. Ever since, he’s become a resident for the esteemed family, playing increasingly legendary sets for Brainfeeder events from NYC to Barcelona. With a close friendship and intuitive artistic alliance, in 2010 Flying Lotus asked Martyn to release his hugely anticipated second album, Ghost People, on Brainfeeder. In leading up to the release of Ghost People, starting in June 2011, Martyn began taking his performances - and his musical creations - to the next level, by merging his sounds and Erosie’s visuals into an extraordinary live show that has been touring the festival rounds. Martyn and Erosie additionally have a series of album launches planned, which will be a “full live manifestation of the album.”
With Ghost People, which will be released on Brainfeeder this autumn, Martyn takes his sound into astral heights, paving his way towards perhaps the most unexpected direction yet. Adjective-heavy journalists and genre-name creators be warned: that next sound is here.
[links_clean] => ) ) ) [5] => Array ( [Event] => Array ( [id] => 10104 [date] => 2012-07-27 [artist] => DJ Kentaro [city] => Niigata [state] => [country] => JP [venue] => Fuji Rock Festival [promoter] => [description] => [ticket_url] => http://www.smash-uk.com/frf12/ticket_type.html [image_upload_id] => 17045 [created] => 2012-05-31 14:12:57 [modified] => 2012-06-29 11:06:34 [year_slug] => 2012 [month_slug] => jul [day_slug] => 27 [slug] => dj-kentaro-niigata-fuji-rock-festival [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 17045 [media_type] => image [artist] => DJ Kentaro [title] => Dj Kentaro world tour 2012 [credits] => [buy_link] => [filename] => images/dj-kentaro/CONTRAST-TOUR-1000x720-thumb-590x425-737.jpg [checksum] => d7443ed4fecfab8ea123007569ed06ad [mime_type] => image/jpeg [size] => 307391 [external_url] => http://media.ninjatune.net/images/dj-kentaro/CONTRAST-TOUR-1000x720-thumb-590x425-737.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => dj-kentaro [slug] => dj-kentaro-world-tour-2012 [created] => 2012-06-28 15:51:55 [modified] => 2012-06-28 15:52:01 [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] => 62 [name] => DJ Kentaro [description] =>"DJ Kentaro may be a turntablist - a world-beating turntablist, in fact, having taken the DMC World Championship title in 2002 - but that doesn't mean that only spotty geezers in puffas and baseball caps need to look out for him. Because hip hop and scratching represent merely one side of Kentaro's multi-faceted musical persona." - IDJ Magazine
"More than just a technical DJ, Kentaro is a performer, inciting the crowd into a frenzy while titillating the scratch fetishists. Starting with the Roots and winding up with Pharcyde, Wayne Marshall and Sizzla - with cut and juggle excursions through all the other artists from all over the world, hip-hop, reggae, drumn' bass, house, electro and jungle - he slid easily to a second victory." - Blast Magazine
On September 18th 2002, DJ Kentaro (Kentaro Okamoto) re-tried for the DMC World Championship and claimed the title with the first ever perfect score in DMC World history. Dedicating his winning 6 minute set to his "no walls between the music" ethos, DJ Kentaro finally took 2 gold Technics 1200s and a matching Technics DJ mixer to its home country.
Kentaro's blend of hip-hop, breaks, drum & bass and turntablism is untouchable. He is a mad dexterous surgeon, who slices and dices beats into a breathtaking sonic concoction in his Sendai laboratory and at events all over the world. When Kentaro is behind a set of 1200s and a mixer, he's on stage: sometimes he's shy, sometimes he's sassy, but we've never heard him be anything short of absolutely splendid.
Where some turntablists are content to fill their routines with the same ol' thang, Kentaro uses his awesome technique to move beyond the crab scratch and has catapulted drum 'n' bass and dance music into a realm that nobody else has yet to explore. 'My Favorite Songs' - Kentaro's first ever mix CD - stands as a testament to his pioneering vision of melding the mentality of a battler with the street smarts and savvy of the hip-hop elite.
Lauded for years by hip-hop aficionados, Kentaro has won the respect of Japan's 'Hip Hop Best Artists' (tied winner was Eminem) which explains why revered Japanese labels like Endeavor Entertainment, W + Kennedy Tokyo Lab, Artimage and Jazzysport, Undiluted and Virus have presented him with exclusive tracks you won't be able to hear anywhere else. And let's not forget Kentaro's exclusive turntablist cut ups - mind blowing pastiches that are all ahead of its time. Kentaro is moving at the speed of vox. Sleep on his skills and he's gonna leave you in the dust.
DJ Kentaro, number one DJ in the world, and it's just the beginning...
[links] => [image_upload_id] => 3935 [label_id] => 1 [twitter_username] => DJKENTARO [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => DJ Kentaro [created] => 2010-07-17 22:15:59 [modified] => 2013-01-07 11:19:35 [slug] => dj-kentaro [fuga_id] => [description_clean] =>"DJ Kentaro may be a turntablist - a world-beating turntablist, in fact, having taken the DMC World Championship title in 2002 - but that doesn't mean that only spotty geezers in puffas and baseball caps need to look out for him. Because hip hop and scratching represent merely one side of Kentaro's multi-faceted musical persona." - IDJ Magazine
"More than just a technical DJ, Kentaro is a performer, inciting the crowd into a frenzy while titillating the scratch fetishists. Starting with the Roots and winding up with Pharcyde, Wayne Marshall and Sizzla - with cut and juggle excursions through all the other artists from all over the world, hip-hop, reggae, drumn' bass, house, electro and jungle - he slid easily to a second victory." - Blast Magazine
On September 18th 2002, DJ Kentaro (Kentaro Okamoto) re-tried for the DMC World Championship and claimed the title with the first ever perfect score in DMC World history. Dedicating his winning 6 minute set to his "no walls between the music" ethos, DJ Kentaro finally took 2 gold Technics 1200s and a matching Technics DJ mixer to its home country.
Kentaro's blend of hip-hop, breaks, drum & bass and turntablism is untouchable. He is a mad dexterous surgeon, who slices and dices beats into a breathtaking sonic concoction in his Sendai laboratory and at events all over the world. When Kentaro is behind a set of 1200s and a mixer, he's on stage: sometimes he's shy, sometimes he's sassy, but we've never heard him be anything short of absolutely splendid.
Where some turntablists are content to fill their routines with the same ol' thang, Kentaro uses his awesome technique to move beyond the crab scratch and has catapulted drum 'n' bass and dance music into a realm that nobody else has yet to explore. 'My Favorite Songs' - Kentaro's first ever mix CD - stands as a testament to his pioneering vision of melding the mentality of a battler with the street smarts and savvy of the hip-hop elite.
Lauded for years by hip-hop aficionados, Kentaro has won the respect of Japan's 'Hip Hop Best Artists' (tied winner was Eminem) which explains why revered Japanese labels like Endeavor Entertainment, W + Kennedy Tokyo Lab, Artimage and Jazzysport, Undiluted and Virus have presented him with exclusive tracks you won't be able to hear anywhere else. And let's not forget Kentaro's exclusive turntablist cut ups - mind blowing pastiches that are all ahead of its time. Kentaro is moving at the speed of vox. Sleep on his skills and he's gonna leave you in the dust.
DJ Kentaro, number one DJ in the world, and it's just the beginning...
[links_clean] => ) ) ) [6] => Array ( [Event] => Array ( [id] => 10322 [date] => 2012-07-27 [artist] => Jesse Boykins III [city] => Vienna [state] => [country] => AT [venue] => Café Leopold [promoter] => [description] => [ticket_url] => [image_upload_id] => 17082 [created] => 2012-07-17 15:06:36 [modified] => 2012-07-20 16:56:09 [year_slug] => 2012 [month_slug] => jul [day_slug] => 27 [slug] => jesse-boykins-iii-vienna-cafe-leopold [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 17082 [media_type] => image [artist] => Jesse Boykins III [title] => Press Shot 2012 [credits] => [buy_link] => [filename] => images/jesse-boykins-iii/Fewture-9.jpg [checksum] => fb5f9a8a6931697fe9db668b47dde7ee [mime_type] => image/jpeg [size] => 3841883 [external_url] => http://media.ninjatune.net/images/jesse-boykins-iii/Fewture-9.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => jesse-boykins-iii [slug] => press-shot-2012-2 [created] => 2012-07-20 16:51:42 [modified] => 2012-07-26 10:50:45 [embed] => ) [Country] => Array ( [id] => 227 [name] => Austria [longname] => Austria [numcode] => 40 [iso] => AT [iso3] => AUT [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 451 [rght] => 452 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( ) ) [7] => Array ( [Event] => Array ( [id] => 10331 [date] => 2012-07-27 [artist] => Infinite Livez, DELS and Offshore [city] => London [state] => [country] => GB [venue] => Vortex Jazz Club [promoter] => [description] => [ticket_url] => http://www.wegottickets.com/event/174793 [image_upload_id] => 3980 [created] => 2012-07-23 11:58:14 [modified] => 2012-07-23 11:58:14 [year_slug] => 2012 [month_slug] => jul [day_slug] => 27 [slug] => infinite-livez-dels-and-offshore-london-vortex-jazz-club [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 3980 [media_type] => image [artist] => Infinite Livez [title] => Promo Shot (Migrated) [credits] => [buy_link] => [filename] => images/infinite-livez/infinite-1.jpg [checksum] => fcb3d211230b6d6d4c6389c16a5a7971 [mime_type] => image/jpeg [size] => 2319183 [external_url] => http://media.ninjatune.net/images/infinite-livez/infinite-1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => infinite-livez [slug] => promo-shot-migrated-155 [created] => 2010-11-24 03:50:39 [modified] => 2010-11-24 03:50:39 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 18 [name] => Infinite Livez [description] =>Was born in Bethnal Green. Trained at Chelsea Art College. Released his first album (Bushmeat) in 2004 on Big Dada records. Released his second album in 2007 with Big Dada as a collaborative project with the Swiss electro jazz outfit Stade (Art Brut Fe De Yoot). Has worked with producers such as Blufoot, M3 and Part 2. Enjoys making comic books, short films and soft toys. Puts out his own improvised noise CDs. Used to design Gameboy graphics. Is a former FKO Raw freestyle battle champ. Likes Sun Ra, Wesley Willis, David Bowie, Public Image, Willus Drummond, and Funkadelic. Has reoccurring dreams of the end of the world. Lost his prize Barry Convex puppet. Lives in Berlin.
[links] =>Tumblr
Facebook
Twitter
SoundCloud
Was born in Bethnal Green. Trained at Chelsea Art College. Released his first album (Bushmeat) in 2004 on Big Dada records. Released his second album in 2007 with Big Dada as a collaborative project with the Swiss electro jazz outfit Stade (Art Brut Fe De Yoot). Has worked with producers such as Blufoot, M3 and Part 2. Enjoys making comic books, short films and soft toys. Puts out his own improvised noise CDs. Used to design Gameboy graphics. Is a former FKO Raw freestyle battle champ. Likes Sun Ra, Wesley Willis, David Bowie, Public Image, Willus Drummond, and Funkadelic. Has reoccurring dreams of the end of the world. Lost his prize Barry Convex puppet. Lives in Berlin.
[links_clean] =>Tumblr
Facebook
Twitter
SoundCloud
Kieren Dickins aka DELS is an MC and graphic designer from Ipswich, now based in London. His first taste of success came when John Peel heard him and his crew rapping in his home town and invited him onto his show. In 2007 he moved to Kingston to study graphic design. While there he made contact with Joe Goddard (Hot Chip) via Myspace and together they recorded "Lazy," which was released by Moshi Moshi. In 2010 he signed to Big Dada, and released his first album, "GOB," in May 2011, preceded by the singles "Shapeshift," "Trumpalump" and "GOB." The album was critically acclaimed, with The Times describing him as "the future of UK hip hop." As well as Goddard, DELS has worked regularly with Kwes (Warp) and Micachu of Micachu & The Shapes. In November 2012 he released a new EP, "Black Salad."
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Facebook
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Kieren Dickins aka DELS is an MC and graphic designer from Ipswich, now based in London. His first taste of success came when John Peel heard him and his crew rapping in his home town and invited him onto his show. In 2007 he moved to Kingston to study graphic design. While there he made contact with Joe Goddard (Hot Chip) via Myspace and together they recorded "Lazy," which was released by Moshi Moshi. In 2010 he signed to Big Dada, and released his first album, "GOB," in May 2011, preceded by the singles "Shapeshift," "Trumpalump" and "GOB." The album was critically acclaimed, with The Times describing him as "the future of UK hip hop." As well as Goddard, DELS has worked regularly with Kwes (Warp) and Micachu of Micachu & The Shapes. In November 2012 he released a new EP, "Black Salad."
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Mutli-talented Ewan Robertson aka Offshore was a celebrated graphic designer as well as a musician. His first release came on the legendary Scottish label, Stuff, leading him to be tied into the scene of Scottish beatmakers spearheaded by Rustie and Hudson Mohawke. Robertson's work, though, perhaps owes as much to the moors, mountains and even folk tunes of his home country as it does to hip hop and inner city London, where he lived until his sad and untimely death in 2012.
After two EPs for the label, Robertson released the "mini-album" "Bake Haus" in 2012. With his remarkable art for the label as well as his beautiful, subtle music, Ewan Robertson will be missed by us all for a long time to come.
[links] => [image_upload_id] => 17744 [label_id] => 2 [twitter_username] => offffshore [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Offshore [created] => 2010-11-05 14:58:29 [modified] => 2013-02-26 13:22:54 [slug] => offshore [fuga_id] => [description_clean] =>Mutli-talented Ewan Robertson aka Offshore was a celebrated graphic designer as well as a musician. His first release came on the legendary Scottish label, Stuff, leading him to be tied into the scene of Scottish beatmakers spearheaded by Rustie and Hudson Mohawke. Robertson's work, though, perhaps owes as much to the moors, mountains and even folk tunes of his home country as it does to hip hop and inner city London, where he lived until his sad and untimely death in 2012.
After two EPs for the label, Robertson released the "mini-album" "Bake Haus" in 2012. With his remarkable art for the label as well as his beautiful, subtle music, Ewan Robertson will be missed by us all for a long time to come.
[links_clean] => ) ) ) )| Artist | Date | City | Venue | Buy |
|---|---|---|---|---|
| Eskmo | Friday, Jul 27th | Lake Tahoe, CA, US | Wanderlust Music Festival | |
| Toddla T (DJ Set) | Friday, Jul 27th | Stockholm, SE | Trädgården Under Bron | |
| Bonobo (DJ Set) | Friday, Jul 27th | Los Angeles, CA, US | El Rey Theatre | Buy |
| The Heavy | Friday, Jul 27th | Lucerne, CH | Blue Balls Festival | Buy |
| Martyn | Friday, Jul 27th | Boom, BE | Tomorrowland | Buy |
| DJ Kentaro | Friday, Jul 27th | Niigata, JP | Fuji Rock Festival | Buy |
| Jesse Boykins III | Friday, Jul 27th | Vienna, AT | Café Leopold | |
| Infinite Livez, DELS and Offshore | Friday, Jul 27th | London, GB | Vortex Jazz Club | Buy |