Array ( [Event] => Array ( [id] => 13682 [date] => 2015-05-25 [artist] => Young Fathers [city] => Manchester [state] => [country] => GB [venue] => Gorilla [promoter] => [description] => [ticket_url] => http://www.gigsandtours.com/event/young-fathers/gorilla/836989 [image_upload_id] => 20364 [created] => 2014-12-11 16:54:25 [modified] => 2015-01-05 11:54:33 [year_slug] => 2015 [month_slug] => may [day_slug] => 25 [slug] => young-fathers-manchester-gorilla [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20364 [media_type] => image [artist] => Young Fathers [title] => Young Fathers Press Shot 2014 [credits] => [buy_link] => [filename] => images/young-fathers/timspicoct1.jpg [checksum] => d16561a1f0ef8f6ecbf82b02a6bdc0ad [mime_type] => image/jpeg [size] => 151449 [external_url] => [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => young-fathers [slug] => young-fathers-press-shot-2014 [created] => 2014-12-05 10:51:10 [modified] => 2014-12-05 10:51:12 [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] => 198 [name] => Young Fathers [description] =>

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

They are:

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

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

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

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

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

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

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

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

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

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

[links] => [image_upload_id] => 20542 [label_id] => 2 [twitter_username] => youngfathers [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Young Fathers [created] => 2013-10-18 16:52:18 [modified] => 2015-03-31 14:34:35 [slug] => young-fathers [fuga_id] => [description_clean] =>

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

They are:

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

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

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

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

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

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

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

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

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

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

[links_clean] => [counter_player] => [counter_biog] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [1] => Array ( [Event] => Array ( [id] => 13683 [date] => 2015-05-26 [artist] => Young Fathers [city] => Nottingham [state] => [country] => GB [venue] => Rescue Rooms [promoter] => [description] => [ticket_url] => http://www.alt-tickets.co.uk/young-fathers/rescue-rooms/2015-05-26-18-30 [image_upload_id] => 20364 [created] => 2014-12-11 16:57:42 [modified] => 2014-12-11 17:16:05 [year_slug] => 2015 [month_slug] => may [day_slug] => 26 [slug] => young-fathers-nottingham-rescue-rooms [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20364 [media_type] => image [artist] => Young Fathers [title] => Young Fathers Press Shot 2014 [credits] => [buy_link] => [filename] => images/young-fathers/timspicoct1.jpg [checksum] => d16561a1f0ef8f6ecbf82b02a6bdc0ad [mime_type] => image/jpeg [size] => 151449 [external_url] => [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => young-fathers [slug] => young-fathers-press-shot-2014 [created] => 2014-12-05 10:51:10 [modified] => 2014-12-05 10:51:12 [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] => 198 [name] => Young Fathers [description] =>

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

They are:

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

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

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

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

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

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

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

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

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

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

[links] => [image_upload_id] => 20542 [label_id] => 2 [twitter_username] => youngfathers [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Young Fathers [created] => 2013-10-18 16:52:18 [modified] => 2015-03-31 14:34:35 [slug] => young-fathers [fuga_id] => [description_clean] =>

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

They are:

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

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

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

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

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

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

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

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

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

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

[links_clean] => [counter_player] => [counter_biog] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [2] => Array ( [Event] => Array ( [id] => 13728 [date] => 2015-05-26 [artist] => ODESZA [city] => Morrison [state] => [country] => US [venue] => Red Rocks Amphitheatre [promoter] => [description] => [ticket_url] => http://odesza.co/redrocks2015 [image_upload_id] => 19684 [created] => 2015-01-09 17:36:58 [modified] => 2015-01-09 17:36:58 [year_slug] => 2015 [month_slug] => may [day_slug] => 26 [slug] => odesza-morrison-red-rocks-amphitheatre [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 19684 [media_type] => image [artist] => ODESZA [title] => Odesza Press Shot 2014 [credits] => [buy_link] => [filename] => images/odesza/ODESZAbyTonjeThilesen.jpg [checksum] => c456cf3ecb3c0e2f802212dbf63f332b [mime_type] => image/jpeg [size] => 7634289 [external_url] => http://media.ninjatune.net/images/odesza/ODESZAbyTonjeThilesen.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => odesza [slug] => odesza-press-shot-2014 [created] => 2014-07-15 18:26:41 [modified] => 2014-07-15 18:29:21 [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] => 210 [name] => ODESZA [description] =>

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[links] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 19684 [label_id] => 5 [twitter_username] => odesza [instagram_id] => 272276842 [instagram_username] => odesza [link] => [listed] => 0 [sortname] => ODESZA [created] => 2014-07-14 21:14:03 [modified] => 2014-11-10 18:14:52 [slug] => odesza [fuga_id] => [description_clean] =>

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[links_clean] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] =>

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

 

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [3] => Array ( [Event] => Array ( [id] => 13684 [date] => 2015-05-27 [artist] => Young Fathers [city] => Cardiff [state] => [country] => GB [venue] => Clwb Ifor Bach [promoter] => [description] => [ticket_url] => http://www.ticketweb.co.uk/event/young-fathers-tickets/155809 [image_upload_id] => 20364 [created] => 2014-12-11 16:58:31 [modified] => 2015-01-05 11:55:59 [year_slug] => 2015 [month_slug] => may [day_slug] => 27 [slug] => young-fathers-cardiff-clwb-ifor-bach [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20364 [media_type] => image [artist] => Young Fathers [title] => Young Fathers Press Shot 2014 [credits] => [buy_link] => [filename] => images/young-fathers/timspicoct1.jpg [checksum] => d16561a1f0ef8f6ecbf82b02a6bdc0ad [mime_type] => image/jpeg [size] => 151449 [external_url] => [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => young-fathers [slug] => young-fathers-press-shot-2014 [created] => 2014-12-05 10:51:10 [modified] => 2014-12-05 10:51:12 [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] => 198 [name] => Young Fathers [description] =>

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

They are:

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

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

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

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

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

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

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

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

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

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

[links] => [image_upload_id] => 20542 [label_id] => 2 [twitter_username] => youngfathers [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Young Fathers [created] => 2013-10-18 16:52:18 [modified] => 2015-03-31 14:34:35 [slug] => young-fathers [fuga_id] => [description_clean] =>

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

They are:

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

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

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

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

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

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

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

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

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

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

[links_clean] => [counter_player] => [counter_biog] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [4] => Array ( [Event] => Array ( [id] => 13897 [date] => 2015-05-27 [artist] => Howling [city] => Hamburg [state] => [country] => DE [venue] => Übel und Gefährlich [promoter] => [description] => [ticket_url] => http://www.uebelundgefaehrlich.com/ [image_upload_id] => 20558 [created] => 2015-02-10 10:26:41 [modified] => 2015-02-10 10:44:40 [year_slug] => 2015 [month_slug] => may [day_slug] => 27 [slug] => howling-hamburg-ubel-und-gefahrlich [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20558 [media_type] => image [artist] => HOWLING [title] => HOWLING Press Photo 2015 [credits] => [buy_link] => [filename] => images/howling/HOWLING-PRESSPIC-1-byMichaelMann.jpg [checksum] => 2ccf32397613b4214c4c3693bd4d7b80 [mime_type] => image/jpeg [size] => 7467559 [external_url] => [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => howling [slug] => howling-press-photo-2015 [created] => 2015-02-04 07:53:02 [modified] => 2015-02-04 07:53:11 [embed] => ) [Country] => Array ( [id] => 230 [name] => Germany [longname] => Germany [numcode] => 276 [iso] => DE [iso3] => DEU [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 457 [rght] => 458 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 223 [name] => Howling [description] =>

Howling’s album Sacred Ground stands for many things at once: collaboration, improvisation, simplicity, unexpected happenstance. The original track ‘Howling’ exploded virally in early 2012 (via Dixon’s Boiler Room set), though hardly past demo stage at the time, and proceeded to climb charts and win awards throughout electronic music. The track’s two humble collaborators - singer/producer/folk-electronic artist Ry X and me producer/Innervisions leader Frank Wiedemann - never saw it coming.

Nor did they expect that a few years later, despite being from two different sonic universes and living on two different sides of the world, their debut album would be pressed in Berlin. Sacred Ground will be released in May 2015 as a collaboration between Modeselektor’s archetypal Berlin label Monkeytown and Counter, an imprint of Ninja Tune.

Raised in a remote town in Australia, and now based in LA, Ry Cuming met Karlsruhe-born, Berlin-based Frank Wiedemann on Skype through a mutual friend. Ry had risen to underground-folk fame with his breakthrough hit ‘Berlin’ and band The Acid, while Wiedemann had long sat as royalty in the 4/4 scene.

After their ‘Howling’ track took off unintentionally, the pair met in Berlin for two shows, and two songs were made very quickly and intuitively in their two days of rehearsal. Session/rehearsal recordings flowed naturally from there, with songs sprouting up in very different atmospheres: a ceremony space in Topenga, CA surrounded by deep forest (hence their lush track ‘Forest’); amongst the WMC madness in Miami; in rehearsals in Zurich (indeed, where their ‘Zurich’ track was magically captured); even on Frank’s farm in South Germany at Lake Constance.

First single ‘Signs' is a shining representative of Howling’s album, ‘Sacred Ground’. A wondrous synergy of both artists, with tangible elements of Frank’s characteristic sound (deep, layered, amalgamative) creeping in ever so slightly amongst the profound freeness of Ry’s vocals and production. But the project takes both artists to someplace new altogether: beautiful, hypnotic soundscapes that somehow hold a sense of abandon and a sense of being found.

“Our process was very, very organic. For both of us, it’s just about the creation. Each song has a little journey of its own. The vision’s beautiful between us because there’s a lot of trust. It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

Howling In 2015, the collective Children of the Light from Holland will be building a live tour with Howling, creating a bespoke, interactive light setup.

[links] => [image_upload_id] => 20558 [label_id] => 5 [twitter_username] => HowlingHowling [instagram_id] => [instagram_username] => HowlingMusic [link] => [listed] => 0 [sortname] => Howling [created] => 2015-02-10 10:11:49 [modified] => 2015-03-09 10:37:06 [slug] => howling [fuga_id] => [description_clean] =>

Howling’s album Sacred Ground stands for many things at once: collaboration, improvisation, simplicity, unexpected happenstance. The original track ‘Howling’ exploded virally in early 2012 (via Dixon’s Boiler Room set), though hardly past demo stage at the time, and proceeded to climb charts and win awards throughout electronic music. The track’s two humble collaborators - singer/producer/folk-electronic artist Ry X and me producer/Innervisions leader Frank Wiedemann - never saw it coming.

Nor did they expect that a few years later, despite being from two different sonic universes and living on two different sides of the world, their debut album would be pressed in Berlin. Sacred Ground will be released in May 2015 as a collaboration between Modeselektor’s archetypal Berlin label Monkeytown and Counter, an imprint of Ninja Tune.

Raised in a remote town in Australia, and now based in LA, Ry Cuming met Karlsruhe-born, Berlin-based Frank Wiedemann on Skype through a mutual friend. Ry had risen to underground-folk fame with his breakthrough hit ‘Berlin’ and band The Acid, while Wiedemann had long sat as royalty in the 4/4 scene.

After their ‘Howling’ track took off unintentionally, the pair met in Berlin for two shows, and two songs were made very quickly and intuitively in their two days of rehearsal. Session/rehearsal recordings flowed naturally from there, with songs sprouting up in very different atmospheres: a ceremony space in Topenga, CA surrounded by deep forest (hence their lush track ‘Forest’); amongst the WMC madness in Miami; in rehearsals in Zurich (indeed, where their ‘Zurich’ track was magically captured); even on Frank’s farm in South Germany at Lake Constance.

First single ‘Signs' is a shining representative of Howling’s album, ‘Sacred Ground’. A wondrous synergy of both artists, with tangible elements of Frank’s characteristic sound (deep, layered, amalgamative) creeping in ever so slightly amongst the profound freeness of Ry’s vocals and production. But the project takes both artists to someplace new altogether: beautiful, hypnotic soundscapes that somehow hold a sense of abandon and a sense of being found.

“Our process was very, very organic. For both of us, it’s just about the creation. Each song has a little journey of its own. The vision’s beautiful between us because there’s a lot of trust. It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

Howling In 2015, the collective Children of the Light from Holland will be building a live tour with Howling, creating a bespoke, interactive light setup.

[links_clean] => [counter_player] => [counter_biog] =>

Howling’s album Sacred Ground stands for many things at once: collaboration, improvisation, simplicity, unexpected happenstance. The original track ‘Howling’ exploded virally in early 2012 (via Dixon’s Boiler Room set), though hardly past demo stage at the time, and proceeded to climb charts and win awards throughout electronic music. The track’s two humble collaborators - singer/producer/folk-electronic artist Ry X and me producer/Innervisions leader Frank Wiedemann - never saw it coming.

Nor did they expect that a few years later, despite being from two different sonic universes and living on two different sides of the world, their debut album would be pressed in Berlin. Sacred Ground will be released in May 2015 as a collaboration between Modeselektor’s archetypal Berlin label Monkeytown and Counter, an imprint of Ninja Tune.

Raised in a remote town in Australia, and now based in LA, Ry Cuming met Karlsruhe-born, Berlin-based Frank Wiedemann on Skype through a mutual friend. Ry had risen to underground-folk fame with his breakthrough hit ‘Berlin’ and band The Acid, while Wiedemann had long sat as royalty in the 4/4 scene.

After their ‘Howling’ track took off unintentionally, the pair met in Berlin for two shows, and two songs were made very quickly and intuitively in their two days of rehearsal. Session/rehearsal recordings flowed naturally from there, with songs sprouting up in very different atmospheres: a ceremony space in Topenga, CA surrounded by deep forest (hence their lush track ‘Forest’); amongst the WMC madness in Miami; in rehearsals in Zurich (indeed, where their ‘Zurich’ track was magically captured); even on Frank’s farm in South Germany at Lake Constance.

First single ‘Signs' is a shining representative of Howling’s album, ‘Sacred Ground’. A wondrous synergy of both artists, with tangible elements of Frank’s characteristic sound (deep, layered, amalgamative) creeping in ever so slightly amongst the profound freeness of Ry’s vocals and production. But the project takes both artists to someplace new altogether: beautiful, hypnotic soundscapes that somehow hold a sense of abandon and a sense of being found.

“Our process was very, very organic. For both of us, it’s just about the creation. Each song has a little journey of its own. The vision’s beautiful between us because there’s a lot of trust. It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

Howling

In 2015, the collective Children of the Light from Holland will be building a live tour with Howling, creating a bespoke, interactive light setup.

[tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [5] => Array ( [Event] => Array ( [id] => 13946 [date] => 2015-05-27 [artist] => ODESZA [city] => Salt Lake City [state] => Utah [country] => US [venue] => Red Butte Garden Amphitheatre [promoter] => [description] => [ticket_url] => https://www.tixr.com/groups/odesza/events/chromeo-odesza-salt-lake-city-1046 [image_upload_id] => 19684 [created] => 2015-02-17 11:16:38 [modified] => 2015-02-17 11:16:38 [year_slug] => 2015 [month_slug] => may [day_slug] => 27 [slug] => odesza-salt-lake-city-red-butte-garden-amphitheatre [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 19684 [media_type] => image [artist] => ODESZA [title] => Odesza Press Shot 2014 [credits] => [buy_link] => [filename] => images/odesza/ODESZAbyTonjeThilesen.jpg [checksum] => c456cf3ecb3c0e2f802212dbf63f332b [mime_type] => image/jpeg [size] => 7634289 [external_url] => http://media.ninjatune.net/images/odesza/ODESZAbyTonjeThilesen.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => odesza [slug] => odesza-press-shot-2014 [created] => 2014-07-15 18:26:41 [modified] => 2014-07-15 18:29:21 [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] => 210 [name] => ODESZA [description] =>

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[links] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 19684 [label_id] => 5 [twitter_username] => odesza [instagram_id] => 272276842 [instagram_username] => odesza [link] => [listed] => 0 [sortname] => ODESZA [created] => 2014-07-14 21:14:03 [modified] => 2014-11-10 18:14:52 [slug] => odesza [fuga_id] => [description_clean] =>

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[links_clean] =>

inreturn.odesza.com

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] =>

In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums.  Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights and Emancipator and numerous festival performances including Sasquatch Music Festival and Lightning In A Bottle. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart.  Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP. 

February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine.  In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.  

Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

 

Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album. 

And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift. 

ODESZA developed a new live performance to accompany In Return, ensuring that the shows do full justice to the album. Their work ethic and constant evolution resulted in a sold out headline tour of North America this fall and has set them up for a successful first European tour. 2015 brings an even more ambitious live production which ODESZA will unveil at every major music festival across the United States. 

One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. To date, ODESZA has earned 16 Hype Machine #1s, amassed over 35 million SoundCloud streams and 15.3 million Spotify plays in the last 60 days, and been licensed by Adidas, GoPro, Piz Buin and many more. In Return debuted at #1 on the Billboard Electronic chart, #42 on the Billboard Top 200 chart, # 1 on the iTunes Electronic Chart where it spent 15 days in a row, cracked the iTunes Electronic Chart Top 10 in 7 other countries outside the U.S., and reached #20 on the iTunes Overall Albums chart. Their breakout single, "Say My Name (feat. Zyra)," reached #1 on the Hype Machine popular chart twice, #1 on the Spotify US Viral Chart, #2 on the Spotify Global Chart and was named iTunes Single of the Week in many countries around the globe. The “Say My Name” video was named a Vimeo staff pick and saw airplay on MTV Hits, MTVU and Fuse. ODESZA has also been commissioned to make remixes for Charli XCX, Angus & Julia Stone and many more to come.

That’s a lot of people paying attention! In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age. 

“Despite the many voices featured on the album, the sound is unified under a groove, built on ODESZA’s multi-layered melodies, spaced-out beats and cinematic charm.” - TIME 

“Every track off of their latest album In Return hangs between blithe, ethereal spaces and thumping percussion, like fuzzy clouds punctuated by dope-ass thunder. The duo keep things unpredictable, never relying on same beat for too long, their music making you feel as if you’re being teleported into the future that's nostalgic for the past.” - Noisey

“Mixed in with their classic approach are a number of choice guest appearances and snazzy experiments that push the limits of their sound.” - Seattle Times 

“...a surging contra-EDM movement..the duo blend deep house, bass, garage, chill wave and glitch-hop into an occasionally nostalgic but always airy summer soundtrack.” - Herald Sun (Australia)

“There’s a certain finger-on-the-pulse feeling with ODESZA. Their grasp on the direction of electronic music sets them apart and they’re becoming the gold standard of acts born from sounds exchanged on the internet.” - Paste Magazine

“ODESZA has already demonstrated the ability to take root in the future and garage house genre as a power team to watch, and continues to showcase their forward thinking ear for the genre’s sound.” - Dancing Astronaut

[tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [6] => Array ( [Event] => Array ( [id] => 13685 [date] => 2015-05-28 [artist] => Young Fathers [city] => London [state] => [country] => GB [venue] => Koko [promoter] => [description] => [ticket_url] => http://birdonthewire.ticketabc.com/events/yf-koko [image_upload_id] => 20364 [created] => 2014-12-11 16:59:35 [modified] => 2015-01-26 09:51:29 [year_slug] => 2015 [month_slug] => may [day_slug] => 28 [slug] => young-fathers-london-koko [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20364 [media_type] => image [artist] => Young Fathers [title] => Young Fathers Press Shot 2014 [credits] => [buy_link] => [filename] => images/young-fathers/timspicoct1.jpg [checksum] => d16561a1f0ef8f6ecbf82b02a6bdc0ad [mime_type] => image/jpeg [size] => 151449 [external_url] => [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => young-fathers [slug] => young-fathers-press-shot-2014 [created] => 2014-12-05 10:51:10 [modified] => 2014-12-05 10:51:12 [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] => 198 [name] => Young Fathers [description] =>

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

They are:

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

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

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

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

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

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

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

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

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

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

[links] => [image_upload_id] => 20542 [label_id] => 2 [twitter_username] => youngfathers [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Young Fathers [created] => 2013-10-18 16:52:18 [modified] => 2015-03-31 14:34:35 [slug] => young-fathers [fuga_id] => [description_clean] =>

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

They are:

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

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

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

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

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

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

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

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

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

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

[links_clean] => [counter_player] => [counter_biog] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [7] => Array ( [Event] => Array ( [id] => 14032 [date] => 2015-05-28 [artist] => Howling [city] => Amsterdam [state] => [country] => NL [venue] => Melkweg [promoter] => [description] => [ticket_url] => http://www.ticketmaster.nl/event/140153?brand=nl_melkweg&camefrom=mw_nl [image_upload_id] => 20751 [created] => 2015-03-17 10:28:33 [modified] => 2015-03-17 11:49:28 [year_slug] => 2015 [month_slug] => may [day_slug] => 28 [slug] => howling-amsterdam-melkweg-2 [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20751 [media_type] => image [artist] => Howling [title] => Howling tour flyer May 2015 [credits] => [buy_link] => [filename] => images/howling/Howling-tour-digital.jpg [checksum] => 39243546b1363e744b0e92d579c2c707 [mime_type] => image/jpeg [size] => 86077 [external_url] => [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => howling [slug] => howling-tour-flyer-may-2015 [created] => 2015-03-17 10:16:59 [modified] => 2015-03-17 10:17:00 [embed] => ) [Country] => Array ( [id] => 234 [name] => Netherlands [longname] => Netherlands [numcode] => 528 [iso] => NL [iso3] => NLD [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 465 [rght] => 466 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 223 [name] => Howling [description] =>

Howling’s album Sacred Ground stands for many things at once: collaboration, improvisation, simplicity, unexpected happenstance. The original track ‘Howling’ exploded virally in early 2012 (via Dixon’s Boiler Room set), though hardly past demo stage at the time, and proceeded to climb charts and win awards throughout electronic music. The track’s two humble collaborators - singer/producer/folk-electronic artist Ry X and me producer/Innervisions leader Frank Wiedemann - never saw it coming.

Nor did they expect that a few years later, despite being from two different sonic universes and living on two different sides of the world, their debut album would be pressed in Berlin. Sacred Ground will be released in May 2015 as a collaboration between Modeselektor’s archetypal Berlin label Monkeytown and Counter, an imprint of Ninja Tune.

Raised in a remote town in Australia, and now based in LA, Ry Cuming met Karlsruhe-born, Berlin-based Frank Wiedemann on Skype through a mutual friend. Ry had risen to underground-folk fame with his breakthrough hit ‘Berlin’ and band The Acid, while Wiedemann had long sat as royalty in the 4/4 scene.

After their ‘Howling’ track took off unintentionally, the pair met in Berlin for two shows, and two songs were made very quickly and intuitively in their two days of rehearsal. Session/rehearsal recordings flowed naturally from there, with songs sprouting up in very different atmospheres: a ceremony space in Topenga, CA surrounded by deep forest (hence their lush track ‘Forest’); amongst the WMC madness in Miami; in rehearsals in Zurich (indeed, where their ‘Zurich’ track was magically captured); even on Frank’s farm in South Germany at Lake Constance.

First single ‘Signs' is a shining representative of Howling’s album, ‘Sacred Ground’. A wondrous synergy of both artists, with tangible elements of Frank’s characteristic sound (deep, layered, amalgamative) creeping in ever so slightly amongst the profound freeness of Ry’s vocals and production. But the project takes both artists to someplace new altogether: beautiful, hypnotic soundscapes that somehow hold a sense of abandon and a sense of being found.

“Our process was very, very organic. For both of us, it’s just about the creation. Each song has a little journey of its own. The vision’s beautiful between us because there’s a lot of trust. It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

Howling In 2015, the collective Children of the Light from Holland will be building a live tour with Howling, creating a bespoke, interactive light setup.

[links] => [image_upload_id] => 20558 [label_id] => 5 [twitter_username] => HowlingHowling [instagram_id] => [instagram_username] => HowlingMusic [link] => [listed] => 0 [sortname] => Howling [created] => 2015-02-10 10:11:49 [modified] => 2015-03-09 10:37:06 [slug] => howling [fuga_id] => [description_clean] =>

Howling’s album Sacred Ground stands for many things at once: collaboration, improvisation, simplicity, unexpected happenstance. The original track ‘Howling’ exploded virally in early 2012 (via Dixon’s Boiler Room set), though hardly past demo stage at the time, and proceeded to climb charts and win awards throughout electronic music. The track’s two humble collaborators - singer/producer/folk-electronic artist Ry X and me producer/Innervisions leader Frank Wiedemann - never saw it coming.

Nor did they expect that a few years later, despite being from two different sonic universes and living on two different sides of the world, their debut album would be pressed in Berlin. Sacred Ground will be released in May 2015 as a collaboration between Modeselektor’s archetypal Berlin label Monkeytown and Counter, an imprint of Ninja Tune.

Raised in a remote town in Australia, and now based in LA, Ry Cuming met Karlsruhe-born, Berlin-based Frank Wiedemann on Skype through a mutual friend. Ry had risen to underground-folk fame with his breakthrough hit ‘Berlin’ and band The Acid, while Wiedemann had long sat as royalty in the 4/4 scene.

After their ‘Howling’ track took off unintentionally, the pair met in Berlin for two shows, and two songs were made very quickly and intuitively in their two days of rehearsal. Session/rehearsal recordings flowed naturally from there, with songs sprouting up in very different atmospheres: a ceremony space in Topenga, CA surrounded by deep forest (hence their lush track ‘Forest’); amongst the WMC madness in Miami; in rehearsals in Zurich (indeed, where their ‘Zurich’ track was magically captured); even on Frank’s farm in South Germany at Lake Constance.

First single ‘Signs' is a shining representative of Howling’s album, ‘Sacred Ground’. A wondrous synergy of both artists, with tangible elements of Frank’s characteristic sound (deep, layered, amalgamative) creeping in ever so slightly amongst the profound freeness of Ry’s vocals and production. But the project takes both artists to someplace new altogether: beautiful, hypnotic soundscapes that somehow hold a sense of abandon and a sense of being found.

“Our process was very, very organic. For both of us, it’s just about the creation. Each song has a little journey of its own. The vision’s beautiful between us because there’s a lot of trust. It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

Howling In 2015, the collective Children of the Light from Holland will be building a live tour with Howling, creating a bespoke, interactive light setup.

[links_clean] => [counter_player] => [counter_biog] =>

Howling’s album Sacred Ground stands for many things at once: collaboration, improvisation, simplicity, unexpected happenstance. The original track ‘Howling’ exploded virally in early 2012 (via Dixon’s Boiler Room set), though hardly past demo stage at the time, and proceeded to climb charts and win awards throughout electronic music. The track’s two humble collaborators - singer/producer/folk-electronic artist Ry X and me producer/Innervisions leader Frank Wiedemann - never saw it coming.

Nor did they expect that a few years later, despite being from two different sonic universes and living on two different sides of the world, their debut album would be pressed in Berlin. Sacred Ground will be released in May 2015 as a collaboration between Modeselektor’s archetypal Berlin label Monkeytown and Counter, an imprint of Ninja Tune.

Raised in a remote town in Australia, and now based in LA, Ry Cuming met Karlsruhe-born, Berlin-based Frank Wiedemann on Skype through a mutual friend. Ry had risen to underground-folk fame with his breakthrough hit ‘Berlin’ and band The Acid, while Wiedemann had long sat as royalty in the 4/4 scene.

After their ‘Howling’ track took off unintentionally, the pair met in Berlin for two shows, and two songs were made very quickly and intuitively in their two days of rehearsal. Session/rehearsal recordings flowed naturally from there, with songs sprouting up in very different atmospheres: a ceremony space in Topenga, CA surrounded by deep forest (hence their lush track ‘Forest’); amongst the WMC madness in Miami; in rehearsals in Zurich (indeed, where their ‘Zurich’ track was magically captured); even on Frank’s farm in South Germany at Lake Constance.

First single ‘Signs' is a shining representative of Howling’s album, ‘Sacred Ground’. A wondrous synergy of both artists, with tangible elements of Frank’s characteristic sound (deep, layered, amalgamative) creeping in ever so slightly amongst the profound freeness of Ry’s vocals and production. But the project takes both artists to someplace new altogether: beautiful, hypnotic soundscapes that somehow hold a sense of abandon and a sense of being found.

“Our process was very, very organic. For both of us, it’s just about the creation. Each song has a little journey of its own. The vision’s beautiful between us because there’s a lot of trust. It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

Howling

In 2015, the collective Children of the Light from Holland will be building a live tour with Howling, creating a bespoke, interactive light setup.

[tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [8] => Array ( [Event] => Array ( [id] => 14105 [date] => 2015-05-28 [artist] => Bonobo (DJ) [city] => Brooklyn [state] => Ney York [country] => US [venue] => Input at Output [promoter] => [description] => [ticket_url] => http://ticketf.ly/1CMs39e [image_upload_id] => 19258 [created] => 2015-04-17 10:17:38 [modified] => 2015-04-17 10:17:38 [year_slug] => 2015 [month_slug] => may [day_slug] => 28 [slug] => bonobo-dj-brooklyn-input-at-output [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 19258 [media_type] => image [artist] => Bonobo [title] => Bonobo Press Shot [credits] => [buy_link] => [filename] => images/bonobo/Bonobo-MainAndrewdeFrancessco1.jpg [checksum] => a31f8301190c3ab688695ffcc7ef9495 [mime_type] => image/jpeg [size] => 8279110 [external_url] => http://media.ninjatune.net/images/bonobo/Bonobo-MainAndrewdeFrancessco1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => bonobo [slug] => bonobo-press-shot [created] => 2014-04-04 11:03:02 [modified] => 2014-04-04 11:05:00 [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 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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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

[links] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

[image_upload_id] => 19635 [label_id] => 1 [twitter_username] => sibonobo [instagram_id] => 1322091 [instagram_username] => si_bonobo [link] => [listed] => 1 [sortname] => Bonobo [created] => 2010-07-17 22:15:59 [modified] => 2015-01-09 12:49:39 [slug] => bonobo [fuga_id] => [description_clean] =>

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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [9] => Array ( [Event] => Array ( [id] => 13686 [date] => 2015-05-29 [artist] => Young Fathers [city] => Brighton [state] => [country] => GB [venue] => The Haunt [promoter] => [description] => [ticket_url] => http://www.seetickets.com/event/young-fathers/the-haunt/835886 [image_upload_id] => 20364 [created] => 2014-12-11 17:00:28 [modified] => 2014-12-15 13:34:38 [year_slug] => 2015 [month_slug] => may [day_slug] => 29 [slug] => young-fathers-brighton-the-haunt [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20364 [media_type] => image [artist] => Young Fathers [title] => Young Fathers Press Shot 2014 [credits] => [buy_link] => [filename] => images/young-fathers/timspicoct1.jpg [checksum] => d16561a1f0ef8f6ecbf82b02a6bdc0ad [mime_type] => image/jpeg [size] => 151449 [external_url] => [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => young-fathers [slug] => young-fathers-press-shot-2014 [created] => 2014-12-05 10:51:10 [modified] => 2014-12-05 10:51:12 [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] => 198 [name] => Young Fathers [description] =>

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

They are:

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

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

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

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

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

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

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

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

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

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

[links] => [image_upload_id] => 20542 [label_id] => 2 [twitter_username] => youngfathers [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Young Fathers [created] => 2013-10-18 16:52:18 [modified] => 2015-03-31 14:34:35 [slug] => young-fathers [fuga_id] => [description_clean] =>

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

They are:

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

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

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

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

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

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

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

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

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

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

[links_clean] => [counter_player] => [counter_biog] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [10] => Array ( [Event] => Array ( [id] => 14033 [date] => 2015-05-29 [artist] => Howling [city] => Cologne [state] => [country] => DE [venue] => Electronic Beats Festival [promoter] => [description] => [ticket_url] => http://www.electronicbeats.net/en/events/here-are-the-dates-for-electronic-beats-spring-2015-festival/ [image_upload_id] => 20751 [created] => 2015-03-17 10:29:26 [modified] => 2015-03-17 11:51:28 [year_slug] => 2015 [month_slug] => may [day_slug] => 29 [slug] => howling-cologne-electronic-beats-festival [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20751 [media_type] => image [artist] => Howling [title] => Howling tour flyer May 2015 [credits] => [buy_link] => [filename] => images/howling/Howling-tour-digital.jpg [checksum] => 39243546b1363e744b0e92d579c2c707 [mime_type] => image/jpeg [size] => 86077 [external_url] => [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => howling [slug] => howling-tour-flyer-may-2015 [created] => 2015-03-17 10:16:59 [modified] => 2015-03-17 10:17:00 [embed] => ) [Country] => Array ( [id] => 230 [name] => Germany [longname] => Germany [numcode] => 276 [iso] => DE [iso3] => DEU [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 457 [rght] => 458 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 223 [name] => Howling [description] =>

Howling’s album Sacred Ground stands for many things at once: collaboration, improvisation, simplicity, unexpected happenstance. The original track ‘Howling’ exploded virally in early 2012 (via Dixon’s Boiler Room set), though hardly past demo stage at the time, and proceeded to climb charts and win awards throughout electronic music. The track’s two humble collaborators - singer/producer/folk-electronic artist Ry X and me producer/Innervisions leader Frank Wiedemann - never saw it coming.

Nor did they expect that a few years later, despite being from two different sonic universes and living on two different sides of the world, their debut album would be pressed in Berlin. Sacred Ground will be released in May 2015 as a collaboration between Modeselektor’s archetypal Berlin label Monkeytown and Counter, an imprint of Ninja Tune.

Raised in a remote town in Australia, and now based in LA, Ry Cuming met Karlsruhe-born, Berlin-based Frank Wiedemann on Skype through a mutual friend. Ry had risen to underground-folk fame with his breakthrough hit ‘Berlin’ and band The Acid, while Wiedemann had long sat as royalty in the 4/4 scene.

After their ‘Howling’ track took off unintentionally, the pair met in Berlin for two shows, and two songs were made very quickly and intuitively in their two days of rehearsal. Session/rehearsal recordings flowed naturally from there, with songs sprouting up in very different atmospheres: a ceremony space in Topenga, CA surrounded by deep forest (hence their lush track ‘Forest’); amongst the WMC madness in Miami; in rehearsals in Zurich (indeed, where their ‘Zurich’ track was magically captured); even on Frank’s farm in South Germany at Lake Constance.

First single ‘Signs' is a shining representative of Howling’s album, ‘Sacred Ground’. A wondrous synergy of both artists, with tangible elements of Frank’s characteristic sound (deep, layered, amalgamative) creeping in ever so slightly amongst the profound freeness of Ry’s vocals and production. But the project takes both artists to someplace new altogether: beautiful, hypnotic soundscapes that somehow hold a sense of abandon and a sense of being found.

“Our process was very, very organic. For both of us, it’s just about the creation. Each song has a little journey of its own. The vision’s beautiful between us because there’s a lot of trust. It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

Howling In 2015, the collective Children of the Light from Holland will be building a live tour with Howling, creating a bespoke, interactive light setup.

[links] => [image_upload_id] => 20558 [label_id] => 5 [twitter_username] => HowlingHowling [instagram_id] => [instagram_username] => HowlingMusic [link] => [listed] => 0 [sortname] => Howling [created] => 2015-02-10 10:11:49 [modified] => 2015-03-09 10:37:06 [slug] => howling [fuga_id] => [description_clean] =>

Howling’s album Sacred Ground stands for many things at once: collaboration, improvisation, simplicity, unexpected happenstance. The original track ‘Howling’ exploded virally in early 2012 (via Dixon’s Boiler Room set), though hardly past demo stage at the time, and proceeded to climb charts and win awards throughout electronic music. The track’s two humble collaborators - singer/producer/folk-electronic artist Ry X and me producer/Innervisions leader Frank Wiedemann - never saw it coming.

Nor did they expect that a few years later, despite being from two different sonic universes and living on two different sides of the world, their debut album would be pressed in Berlin. Sacred Ground will be released in May 2015 as a collaboration between Modeselektor’s archetypal Berlin label Monkeytown and Counter, an imprint of Ninja Tune.

Raised in a remote town in Australia, and now based in LA, Ry Cuming met Karlsruhe-born, Berlin-based Frank Wiedemann on Skype through a mutual friend. Ry had risen to underground-folk fame with his breakthrough hit ‘Berlin’ and band The Acid, while Wiedemann had long sat as royalty in the 4/4 scene.

After their ‘Howling’ track took off unintentionally, the pair met in Berlin for two shows, and two songs were made very quickly and intuitively in their two days of rehearsal. Session/rehearsal recordings flowed naturally from there, with songs sprouting up in very different atmospheres: a ceremony space in Topenga, CA surrounded by deep forest (hence their lush track ‘Forest’); amongst the WMC madness in Miami; in rehearsals in Zurich (indeed, where their ‘Zurich’ track was magically captured); even on Frank’s farm in South Germany at Lake Constance.

First single ‘Signs' is a shining representative of Howling’s album, ‘Sacred Ground’. A wondrous synergy of both artists, with tangible elements of Frank’s characteristic sound (deep, layered, amalgamative) creeping in ever so slightly amongst the profound freeness of Ry’s vocals and production. But the project takes both artists to someplace new altogether: beautiful, hypnotic soundscapes that somehow hold a sense of abandon and a sense of being found.

“Our process was very, very organic. For both of us, it’s just about the creation. Each song has a little journey of its own. The vision’s beautiful between us because there’s a lot of trust. It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

Howling In 2015, the collective Children of the Light from Holland will be building a live tour with Howling, creating a bespoke, interactive light setup.

[links_clean] => [counter_player] => [counter_biog] =>

Howling’s album Sacred Ground stands for many things at once: collaboration, improvisation, simplicity, unexpected happenstance. The original track ‘Howling’ exploded virally in early 2012 (via Dixon’s Boiler Room set), though hardly past demo stage at the time, and proceeded to climb charts and win awards throughout electronic music. The track’s two humble collaborators - singer/producer/folk-electronic artist Ry X and me producer/Innervisions leader Frank Wiedemann - never saw it coming.

Nor did they expect that a few years later, despite being from two different sonic universes and living on two different sides of the world, their debut album would be pressed in Berlin. Sacred Ground will be released in May 2015 as a collaboration between Modeselektor’s archetypal Berlin label Monkeytown and Counter, an imprint of Ninja Tune.

Raised in a remote town in Australia, and now based in LA, Ry Cuming met Karlsruhe-born, Berlin-based Frank Wiedemann on Skype through a mutual friend. Ry had risen to underground-folk fame with his breakthrough hit ‘Berlin’ and band The Acid, while Wiedemann had long sat as royalty in the 4/4 scene.

After their ‘Howling’ track took off unintentionally, the pair met in Berlin for two shows, and two songs were made very quickly and intuitively in their two days of rehearsal. Session/rehearsal recordings flowed naturally from there, with songs sprouting up in very different atmospheres: a ceremony space in Topenga, CA surrounded by deep forest (hence their lush track ‘Forest’); amongst the WMC madness in Miami; in rehearsals in Zurich (indeed, where their ‘Zurich’ track was magically captured); even on Frank’s farm in South Germany at Lake Constance.

First single ‘Signs' is a shining representative of Howling’s album, ‘Sacred Ground’. A wondrous synergy of both artists, with tangible elements of Frank’s characteristic sound (deep, layered, amalgamative) creeping in ever so slightly amongst the profound freeness of Ry’s vocals and production. But the project takes both artists to someplace new altogether: beautiful, hypnotic soundscapes that somehow hold a sense of abandon and a sense of being found.

“Our process was very, very organic. For both of us, it’s just about the creation. Each song has a little journey of its own. The vision’s beautiful between us because there’s a lot of trust. It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

Howling

In 2015, the collective Children of the Light from Holland will be building a live tour with Howling, creating a bespoke, interactive light setup.

[tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [11] => Array ( [Event] => Array ( [id] => 14073 [date] => 2015-05-29 [artist] => Mr. Scruff [city] => Belfast [state] => [country] => IE [venue] => Black Box [promoter] => [description] => [ticket_url] => http://www.mrscruff.com/gig/7095/Belfast_29th-May-2015/ [image_upload_id] => 18918 [created] => 2015-03-31 18:17:01 [modified] => 2015-03-31 18:17:01 [year_slug] => 2015 [month_slug] => may [day_slug] => 29 [slug] => mr-scruff-belfast-black-box [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 18918 [media_type] => image [artist] => Mr. Scruff [title] => Mr. Scruff Promo Shot [credits] => [buy_link] => [filename] => images/mr-scruff/scruff-1_2.jpg [checksum] => 82e1c7a063c29515235dd686747eeb96 [mime_type] => image/jpeg [size] => 20098 [external_url] => http://media.ninjatune.net/images/mr-scruff/scruff-1_2.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => mr-scruff [slug] => mr-scruff-promo-shot [created] => 2014-01-09 12:15:27 [modified] => 2014-01-09 12:16:56 [embed] => ) [Country] => Array ( [id] => 200 [name] => Ireland [longname] => Ireland [numcode] => 372 [iso] => IE [iso3] => IRL [currency] => EUR [active] => 1 [parent_id] => 191 [lft] => 397 [rght] => 398 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 40 [name] => Mr. Scruff [description] =>

Mr. Scruff: DJ, Producer & Cartoonist

As a DJ, Andy Carthy aka Mr. Scruff plays across the board, flitting between soul, funk, hip hop, jazz, reggae, latin, african, ska, disco, house, funk, breaks, soundtracks and loads more. As a producer he makes music that draws on these influences, with a large dose of cheek and good humour. His cartoon drawings illustrate gig flyers, record sleeves and CD covers, and usually accompany him at gigs as live animated visuals.

Carthy’s first encounter with mixing was as a 12 year old in late 1984, when a friend played him some of his uncle's electro records, notably the Streetsounds LP Crucial Electro Volume 1, opening his eyes and ears to the art of mixing records. Soon after he was constructing his own crude pause-button mixtapes, inspired by the electro compilations and various radio shows on stations such as Piccadilly, Radio Lancashire & Southside that exposed him to electro and hip-hop, soul, reggae and early house music. Shouts to John Peel (of course), Greg Wilson, Robbie Vincent, Richard Searling, Stu Allan, Lee Browne, Ranking Miss P, Scotty, Tony the Greek, Steve Barker, Gary Hickson, Sam Brown & Waxmaster.

Little by little Andy was building a collection fuelled by this knowledge, all the while improving his DJ skills. By 1987 he was proficient at turntable mixing and editing, although he was still using primitive home hi-fi gear. His first break came in 1994, when he met Barney Doodlebug, a DJ/Doodler who gave him his first Manchester gig, on a Sunday night in a venue called Dry Bar. He also passed on a demo tape to local label Rob's Records, which resulted in them releasing the first Mr. Scruff 12" single.

A regular on the Manchester scene through ’94-’95, he released a string of 12”s on Rob's Records subsidiary Pleasure, as well as sides for Echo Drop, Grand Central & Cup of Tea. His work for Grand Central with Mark Rae inspired some four-deck club performances, including friendly “battles” with DJ Food, which introduced him to the Ninja Tune fold.

Gigging across the UK (with Electric Chair, Off Centre, Fat City and Tru Thoughts) and Europe (with Grand Central), Mr. Scruff signed to Ninja Tune in 1998. His debut album Keep It Unreal arrived a year later, featuring the certified classic "Get A Move On", kick-starting his Manchester club night of the same name, borne of a desire to play exactly what he wanted, rather than having to fit in with the music policies of other club nights.

These were the beginnings of his famed “all-night-long” DJ sets cheerfully spanning blues, jazz, soul, funk, 60s R&B, disco, boogie, deep house, reggae, ska, rocksteady, dancehall, electronica, electro, hip hop, African, Latin, drum & bass, breakbeat… and bolstered his standing as a passionate, digger, collector and, above all, an unrivalled selector of the good stuff.

Trouser Jazz (2002); the epic mix CD Keep It Solid Steel (2004); and Ninja Tuna (2008) cemented Scruff’s rep as a premium freaker of frequencies, the latter featuring collaborations with the likes of Quantic, Danny Breaks, Alice Russell, Andreya Triana, Pete Simpson, Kaidi Tatham and Roots Manuva.

A fistful of EPs and singles populated 2009-2013 including Wobble Control (2011), Feel It / Bounce (2011) and Be The Music (2012).

In 2010 Big Chill Festival invited Mr. Scruff to host his own tent, testament to his inimitable raw dancefloor magnetism as are his regularly rammed-to-the-rafters Keep It Unreal sessions at Band On The Wall (Manchester) and KOKO (London).

After receiving a mighty nudge by the giant elbow of Ninja, the majority of 2013 was spent in the studio recording new album Friendly Bacteria, featuring Denis Jones, Matthew Halsall, Phil France, Vanessa Freeman & Robert Owens.

[links] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 19130 [label_id] => 1 [twitter_username] => mrscruff1 [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Mr. Scruff [created] => 2010-07-17 22:15:58 [modified] => 2014-03-03 16:02:01 [slug] => mr-scruff [fuga_id] => [description_clean] =>

Mr. Scruff: DJ, Producer & Cartoonist

As a DJ, Andy Carthy aka Mr. Scruff plays across the board, flitting between soul, funk, hip hop, jazz, reggae, latin, african, ska, disco, house, funk, breaks, soundtracks and loads more. As a producer he makes music that draws on these influences, with a large dose of cheek and good humour. His cartoon drawings illustrate gig flyers, record sleeves and CD covers, and usually accompany him at gigs as live animated visuals.

Carthy’s first encounter with mixing was as a 12 year old in late 1984, when a friend played him some of his uncle's electro records, notably the Streetsounds LP Crucial Electro Volume 1, opening his eyes and ears to the art of mixing records. Soon after he was constructing his own crude pause-button mixtapes, inspired by the electro compilations and various radio shows on stations such as Piccadilly, Radio Lancashire & Southside that exposed him to electro and hip-hop, soul, reggae and early house music. Shouts to John Peel (of course), Greg Wilson, Robbie Vincent, Richard Searling, Stu Allan, Lee Browne, Ranking Miss P, Scotty, Tony the Greek, Steve Barker, Gary Hickson, Sam Brown & Waxmaster.

Little by little Andy was building a collection fuelled by this knowledge, all the while improving his DJ skills. By 1987 he was proficient at turntable mixing and editing, although he was still using primitive home hi-fi gear. His first break came in 1994, when he met Barney Doodlebug, a DJ/Doodler who gave him his first Manchester gig, on a Sunday night in a venue called Dry Bar. He also passed on a demo tape to local label Rob's Records, which resulted in them releasing the first Mr. Scruff 12" single.

A regular on the Manchester scene through ’94-’95, he released a string of 12”s on Rob's Records subsidiary Pleasure, as well as sides for Echo Drop, Grand Central & Cup of Tea. His work for Grand Central with Mark Rae inspired some four-deck club performances, including friendly “battles” with DJ Food, which introduced him to the Ninja Tune fold.

Gigging across the UK (with Electric Chair, Off Centre, Fat City and Tru Thoughts) and Europe (with Grand Central), Mr. Scruff signed to Ninja Tune in 1998. His debut album Keep It Unreal arrived a year later, featuring the certified classic "Get A Move On", kick-starting his Manchester club night of the same name, borne of a desire to play exactly what he wanted, rather than having to fit in with the music policies of other club nights.

These were the beginnings of his famed “all-night-long” DJ sets cheerfully spanning blues, jazz, soul, funk, 60s R&B, disco, boogie, deep house, reggae, ska, rocksteady, dancehall, electronica, electro, hip hop, African, Latin, drum & bass, breakbeat… and bolstered his standing as a passionate, digger, collector and, above all, an unrivalled selector of the good stuff.

Trouser Jazz (2002); the epic mix CD Keep It Solid Steel (2004); and Ninja Tuna (2008) cemented Scruff’s rep as a premium freaker of frequencies, the latter featuring collaborations with the likes of Quantic, Danny Breaks, Alice Russell, Andreya Triana, Pete Simpson, Kaidi Tatham and Roots Manuva.

A fistful of EPs and singles populated 2009-2013 including Wobble Control (2011), Feel It / Bounce (2011) and Be The Music (2012).

In 2010 Big Chill Festival invited Mr. Scruff to host his own tent, testament to his inimitable raw dancefloor magnetism as are his regularly rammed-to-the-rafters Keep It Unreal sessions at Band On The Wall (Manchester) and KOKO (London).

After receiving a mighty nudge by the giant elbow of Ninja, the majority of 2013 was spent in the studio recording new album Friendly Bacteria, featuring Denis Jones, Matthew Halsall, Phil France, Vanessa Freeman & Robert Owens.

[links_clean] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [12] => Array ( [Event] => Array ( [id] => 14106 [date] => 2015-05-29 [artist] => Bonobo (DJ) [city] => Toronto [state] => [country] => CA [venue] => The Hoxton [promoter] => [description] => [ticket_url] => http://tktwb.tw/1G57Zmr [image_upload_id] => 19258 [created] => 2015-04-17 10:19:39 [modified] => 2015-04-17 10:19:39 [year_slug] => 2015 [month_slug] => may [day_slug] => 29 [slug] => bonobo-dj-toronto-the-hoxton [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 19258 [media_type] => image [artist] => Bonobo [title] => Bonobo Press Shot [credits] => [buy_link] => [filename] => images/bonobo/Bonobo-MainAndrewdeFrancessco1.jpg [checksum] => a31f8301190c3ab688695ffcc7ef9495 [mime_type] => image/jpeg [size] => 8279110 [external_url] => http://media.ninjatune.net/images/bonobo/Bonobo-MainAndrewdeFrancessco1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => bonobo [slug] => bonobo-press-shot [created] => 2014-04-04 11:03:02 [modified] => 2014-04-04 11:05:00 [embed] => ) [Country] => Array ( [id] => 119 [name] => Canada [longname] => Canada [numcode] => 124 [iso] => CA [iso3] => CAN [currency] => CAD [active] => 1 [parent_id] => 117 [lft] => 235 [rght] => 236 [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 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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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

[links] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

[image_upload_id] => 19635 [label_id] => 1 [twitter_username] => sibonobo [instagram_id] => 1322091 [instagram_username] => si_bonobo [link] => [listed] => 1 [sortname] => Bonobo [created] => 2010-07-17 22:15:59 [modified] => 2015-01-09 12:49:39 [slug] => bonobo [fuga_id] => [description_clean] =>

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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [13] => Array ( [Event] => Array ( [id] => 14001 [date] => 2015-05-30 [artist] => Romare [city] => Toulon [state] => [country] => FR [venue] => Barathym [promoter] => [description] => [ticket_url] => http://barathym.net/programmation/ [image_upload_id] => 20189 [created] => 2015-03-02 12:30:02 [modified] => 2015-03-02 12:30:02 [year_slug] => 2015 [month_slug] => may [day_slug] => 30 [slug] => romare-toulon-barathym [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20189 [media_type] => image [artist] => Romare [title] => Romare Press Photo 2014 [credits] => [buy_link] => [filename] => images/romare/Screen-Shot-2014-10-24-at-4-10-15-PM.png [checksum] => 04ad9c4fc49ed2e379289e4d4ea8bfc4 [mime_type] => image/png [size] => 591043 [external_url] => http://media.ninjatune.net/images/romare/Screen-Shot-2014-10-24-at-4-10-15-PM.png [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => romare [slug] => romare-press-photo-2014 [created] => 2014-10-27 10:37:10 [modified] => 2014-10-27 10:40:05 [embed] => ) [Country] => Array ( [id] => 229 [name] => France [longname] => France [numcode] => 250 [iso] => FR [iso3] => FRA [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 455 [rght] => 456 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 203 [name] => Romare [description] =>

The young electronic musician known as Romare wears his inspiration on his sleeve – in fact, he takes his very name from it. Having studied African American Visual Culture at University, he had his ‘Sex Pistols moment’ when he came across the work of Romare Bearden. The African American’s collaged, cut’n’paste artworks inspired the young musician to apply a similar technique to music – an approach that was hugely fruitful, and remains central to his work today. After stints as a drummer and guitarist throughout school and university, he moved to Paris where he picked up the turntables and began mixing his own music with samples from second hand records. Romare the musician was born and the template for his debut record.

Underground hothouse Black Acre signed him in 2012, adding him to a formidable roster that included Loops Haunt, Fantastic Mr Fox, Blue Daisy and Dark Sky. The imprint put out his first release Meditations on Afrocentrism in March of that year. He began to play shows, making enough money to finance a move to London. Ensconced in the vast musical melting pot of the capital, he began work on his second EP Love Songs: Part One. Romare’s songs were included on compilations by heavyweights such as Bonobo and Tiga, as well as the Brownswood Recordings imprint.

His debut album, Projections, is named after a pivotal exhibition of his namesake and likewise explores various elements of American life. The album is in many ways a homage to the cycle of cultural appropriation in America. “Work Song” is a tribute to the classic American and namesake work song, whilst “Rainbow” is a celebration of disco. Projections expertly catalogues the movements of influence within music. The album doesn’t just sample music and vocal snatches, but also other sources such as documentaries and marries live instrumentation with the sampling palette.

With fierce support from by the likes of Benji B, Gilles Peterson and Huw Stephens, Romare’s music has, rightfully, already caused a stir. The stage is now set for his stunning debut album, Projections.

[links] =>

Website
Facebook
Twitter
SoundCloud
YouTube

[image_upload_id] => 20351 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Romare [created] => 2014-03-05 10:29:46 [modified] => 2015-01-22 10:42:06 [slug] => romare [fuga_id] => [description_clean] =>

The young electronic musician known as Romare wears his inspiration on his sleeve – in fact, he takes his very name from it. Having studied African American Visual Culture at University, he had his ‘Sex Pistols moment’ when he came across the work of Romare Bearden. The African American’s collaged, cut’n’paste artworks inspired the young musician to apply a similar technique to music – an approach that was hugely fruitful, and remains central to his work today. After stints as a drummer and guitarist throughout school and university, he moved to Paris where he picked up the turntables and began mixing his own music with samples from second hand records. Romare the musician was born and the template for his debut record.

Underground hothouse Black Acre signed him in 2012, adding him to a formidable roster that included Loops Haunt, Fantastic Mr Fox, Blue Daisy and Dark Sky. The imprint put out his first release Meditations on Afrocentrism in March of that year. He began to play shows, making enough money to finance a move to London. Ensconced in the vast musical melting pot of the capital, he began work on his second EP Love Songs: Part One. Romare’s songs were included on compilations by heavyweights such as Bonobo and Tiga, as well as the Brownswood Recordings imprint.

His debut album, Projections, is named after a pivotal exhibition of his namesake and likewise explores various elements of American life. The album is in many ways a homage to the cycle of cultural appropriation in America. “Work Song” is a tribute to the classic American and namesake work song, whilst “Rainbow” is a celebration of disco. Projections expertly catalogues the movements of influence within music. The album doesn’t just sample music and vocal snatches, but also other sources such as documentaries and marries live instrumentation with the sampling palette.

With fierce support from by the likes of Benji B, Gilles Peterson and Huw Stephens, Romare’s music has, rightfully, already caused a stir. The stage is now set for his stunning debut album, Projections.

[links_clean] =>

Website
Facebook
Twitter
SoundCloud
YouTube

[counter_player] => [counter_biog] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [14] => Array ( [Event] => Array ( [id] => 14034 [date] => 2015-05-30 [artist] => Howling [city] => Berlin [state] => [country] => DE [venue] => Berlin Festival [promoter] => [description] => [ticket_url] => http://www.berlinfestival.de/music/artists-a-z/act/howling.html [image_upload_id] => 20751 [created] => 2015-03-17 10:30:19 [modified] => 2015-03-17 11:51:36 [year_slug] => 2015 [month_slug] => may [day_slug] => 30 [slug] => howling-berlin-berlin-festival [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20751 [media_type] => image [artist] => Howling [title] => Howling tour flyer May 2015 [credits] => [buy_link] => [filename] => images/howling/Howling-tour-digital.jpg [checksum] => 39243546b1363e744b0e92d579c2c707 [mime_type] => image/jpeg [size] => 86077 [external_url] => [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => howling [slug] => howling-tour-flyer-may-2015 [created] => 2015-03-17 10:16:59 [modified] => 2015-03-17 10:17:00 [embed] => ) [Country] => Array ( [id] => 230 [name] => Germany [longname] => Germany [numcode] => 276 [iso] => DE [iso3] => DEU [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 457 [rght] => 458 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 223 [name] => Howling [description] =>

Howling’s album Sacred Ground stands for many things at once: collaboration, improvisation, simplicity, unexpected happenstance. The original track ‘Howling’ exploded virally in early 2012 (via Dixon’s Boiler Room set), though hardly past demo stage at the time, and proceeded to climb charts and win awards throughout electronic music. The track’s two humble collaborators - singer/producer/folk-electronic artist Ry X and me producer/Innervisions leader Frank Wiedemann - never saw it coming.

Nor did they expect that a few years later, despite being from two different sonic universes and living on two different sides of the world, their debut album would be pressed in Berlin. Sacred Ground will be released in May 2015 as a collaboration between Modeselektor’s archetypal Berlin label Monkeytown and Counter, an imprint of Ninja Tune.

Raised in a remote town in Australia, and now based in LA, Ry Cuming met Karlsruhe-born, Berlin-based Frank Wiedemann on Skype through a mutual friend. Ry had risen to underground-folk fame with his breakthrough hit ‘Berlin’ and band The Acid, while Wiedemann had long sat as royalty in the 4/4 scene.

After their ‘Howling’ track took off unintentionally, the pair met in Berlin for two shows, and two songs were made very quickly and intuitively in their two days of rehearsal. Session/rehearsal recordings flowed naturally from there, with songs sprouting up in very different atmospheres: a ceremony space in Topenga, CA surrounded by deep forest (hence their lush track ‘Forest’); amongst the WMC madness in Miami; in rehearsals in Zurich (indeed, where their ‘Zurich’ track was magically captured); even on Frank’s farm in South Germany at Lake Constance.

First single ‘Signs' is a shining representative of Howling’s album, ‘Sacred Ground’. A wondrous synergy of both artists, with tangible elements of Frank’s characteristic sound (deep, layered, amalgamative) creeping in ever so slightly amongst the profound freeness of Ry’s vocals and production. But the project takes both artists to someplace new altogether: beautiful, hypnotic soundscapes that somehow hold a sense of abandon and a sense of being found.

“Our process was very, very organic. For both of us, it’s just about the creation. Each song has a little journey of its own. The vision’s beautiful between us because there’s a lot of trust. It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

Howling In 2015, the collective Children of the Light from Holland will be building a live tour with Howling, creating a bespoke, interactive light setup.

[links] => [image_upload_id] => 20558 [label_id] => 5 [twitter_username] => HowlingHowling [instagram_id] => [instagram_username] => HowlingMusic [link] => [listed] => 0 [sortname] => Howling [created] => 2015-02-10 10:11:49 [modified] => 2015-03-09 10:37:06 [slug] => howling [fuga_id] => [description_clean] =>

Howling’s album Sacred Ground stands for many things at once: collaboration, improvisation, simplicity, unexpected happenstance. The original track ‘Howling’ exploded virally in early 2012 (via Dixon’s Boiler Room set), though hardly past demo stage at the time, and proceeded to climb charts and win awards throughout electronic music. The track’s two humble collaborators - singer/producer/folk-electronic artist Ry X and me producer/Innervisions leader Frank Wiedemann - never saw it coming.

Nor did they expect that a few years later, despite being from two different sonic universes and living on two different sides of the world, their debut album would be pressed in Berlin. Sacred Ground will be released in May 2015 as a collaboration between Modeselektor’s archetypal Berlin label Monkeytown and Counter, an imprint of Ninja Tune.

Raised in a remote town in Australia, and now based in LA, Ry Cuming met Karlsruhe-born, Berlin-based Frank Wiedemann on Skype through a mutual friend. Ry had risen to underground-folk fame with his breakthrough hit ‘Berlin’ and band The Acid, while Wiedemann had long sat as royalty in the 4/4 scene.

After their ‘Howling’ track took off unintentionally, the pair met in Berlin for two shows, and two songs were made very quickly and intuitively in their two days of rehearsal. Session/rehearsal recordings flowed naturally from there, with songs sprouting up in very different atmospheres: a ceremony space in Topenga, CA surrounded by deep forest (hence their lush track ‘Forest’); amongst the WMC madness in Miami; in rehearsals in Zurich (indeed, where their ‘Zurich’ track was magically captured); even on Frank’s farm in South Germany at Lake Constance.

First single ‘Signs' is a shining representative of Howling’s album, ‘Sacred Ground’. A wondrous synergy of both artists, with tangible elements of Frank’s characteristic sound (deep, layered, amalgamative) creeping in ever so slightly amongst the profound freeness of Ry’s vocals and production. But the project takes both artists to someplace new altogether: beautiful, hypnotic soundscapes that somehow hold a sense of abandon and a sense of being found.

“Our process was very, very organic. For both of us, it’s just about the creation. Each song has a little journey of its own. The vision’s beautiful between us because there’s a lot of trust. It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

Howling In 2015, the collective Children of the Light from Holland will be building a live tour with Howling, creating a bespoke, interactive light setup.

[links_clean] => [counter_player] => [counter_biog] =>

Howling’s album Sacred Ground stands for many things at once: collaboration, improvisation, simplicity, unexpected happenstance. The original track ‘Howling’ exploded virally in early 2012 (via Dixon’s Boiler Room set), though hardly past demo stage at the time, and proceeded to climb charts and win awards throughout electronic music. The track’s two humble collaborators - singer/producer/folk-electronic artist Ry X and me producer/Innervisions leader Frank Wiedemann - never saw it coming.

Nor did they expect that a few years later, despite being from two different sonic universes and living on two different sides of the world, their debut album would be pressed in Berlin. Sacred Ground will be released in May 2015 as a collaboration between Modeselektor’s archetypal Berlin label Monkeytown and Counter, an imprint of Ninja Tune.

Raised in a remote town in Australia, and now based in LA, Ry Cuming met Karlsruhe-born, Berlin-based Frank Wiedemann on Skype through a mutual friend. Ry had risen to underground-folk fame with his breakthrough hit ‘Berlin’ and band The Acid, while Wiedemann had long sat as royalty in the 4/4 scene.

After their ‘Howling’ track took off unintentionally, the pair met in Berlin for two shows, and two songs were made very quickly and intuitively in their two days of rehearsal. Session/rehearsal recordings flowed naturally from there, with songs sprouting up in very different atmospheres: a ceremony space in Topenga, CA surrounded by deep forest (hence their lush track ‘Forest’); amongst the WMC madness in Miami; in rehearsals in Zurich (indeed, where their ‘Zurich’ track was magically captured); even on Frank’s farm in South Germany at Lake Constance.

First single ‘Signs' is a shining representative of Howling’s album, ‘Sacred Ground’. A wondrous synergy of both artists, with tangible elements of Frank’s characteristic sound (deep, layered, amalgamative) creeping in ever so slightly amongst the profound freeness of Ry’s vocals and production. But the project takes both artists to someplace new altogether: beautiful, hypnotic soundscapes that somehow hold a sense of abandon and a sense of being found.

“Our process was very, very organic. For both of us, it’s just about the creation. Each song has a little journey of its own. The vision’s beautiful between us because there’s a lot of trust. It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

Howling

In 2015, the collective Children of the Light from Holland will be building a live tour with Howling, creating a bespoke, interactive light setup.

[tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [15] => Array ( [Event] => Array ( [id] => 14074 [date] => 2015-05-30 [artist] => Mr. Scruff [city] => Dublin [state] => [country] => IE [venue] => Irish Museum of Modern Art [promoter] => [description] => [ticket_url] => http://www.mrscruff.com/gig/7092/Dublin+_30th-May-2015/ [image_upload_id] => 18918 [created] => 2015-03-31 18:17:47 [modified] => 2015-03-31 18:17:47 [year_slug] => 2015 [month_slug] => may [day_slug] => 30 [slug] => mr-scruff-dublin-irish-museum-of-modern-art [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 18918 [media_type] => image [artist] => Mr. Scruff [title] => Mr. Scruff Promo Shot [credits] => [buy_link] => [filename] => images/mr-scruff/scruff-1_2.jpg [checksum] => 82e1c7a063c29515235dd686747eeb96 [mime_type] => image/jpeg [size] => 20098 [external_url] => http://media.ninjatune.net/images/mr-scruff/scruff-1_2.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => mr-scruff [slug] => mr-scruff-promo-shot [created] => 2014-01-09 12:15:27 [modified] => 2014-01-09 12:16:56 [embed] => ) [Country] => Array ( [id] => 200 [name] => Ireland [longname] => Ireland [numcode] => 372 [iso] => IE [iso3] => IRL [currency] => EUR [active] => 1 [parent_id] => 191 [lft] => 397 [rght] => 398 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 40 [name] => Mr. Scruff [description] =>

Mr. Scruff: DJ, Producer & Cartoonist

As a DJ, Andy Carthy aka Mr. Scruff plays across the board, flitting between soul, funk, hip hop, jazz, reggae, latin, african, ska, disco, house, funk, breaks, soundtracks and loads more. As a producer he makes music that draws on these influences, with a large dose of cheek and good humour. His cartoon drawings illustrate gig flyers, record sleeves and CD covers, and usually accompany him at gigs as live animated visuals.

Carthy’s first encounter with mixing was as a 12 year old in late 1984, when a friend played him some of his uncle's electro records, notably the Streetsounds LP Crucial Electro Volume 1, opening his eyes and ears to the art of mixing records. Soon after he was constructing his own crude pause-button mixtapes, inspired by the electro compilations and various radio shows on stations such as Piccadilly, Radio Lancashire & Southside that exposed him to electro and hip-hop, soul, reggae and early house music. Shouts to John Peel (of course), Greg Wilson, Robbie Vincent, Richard Searling, Stu Allan, Lee Browne, Ranking Miss P, Scotty, Tony the Greek, Steve Barker, Gary Hickson, Sam Brown & Waxmaster.

Little by little Andy was building a collection fuelled by this knowledge, all the while improving his DJ skills. By 1987 he was proficient at turntable mixing and editing, although he was still using primitive home hi-fi gear. His first break came in 1994, when he met Barney Doodlebug, a DJ/Doodler who gave him his first Manchester gig, on a Sunday night in a venue called Dry Bar. He also passed on a demo tape to local label Rob's Records, which resulted in them releasing the first Mr. Scruff 12" single.

A regular on the Manchester scene through ’94-’95, he released a string of 12”s on Rob's Records subsidiary Pleasure, as well as sides for Echo Drop, Grand Central & Cup of Tea. His work for Grand Central with Mark Rae inspired some four-deck club performances, including friendly “battles” with DJ Food, which introduced him to the Ninja Tune fold.

Gigging across the UK (with Electric Chair, Off Centre, Fat City and Tru Thoughts) and Europe (with Grand Central), Mr. Scruff signed to Ninja Tune in 1998. His debut album Keep It Unreal arrived a year later, featuring the certified classic "Get A Move On", kick-starting his Manchester club night of the same name, borne of a desire to play exactly what he wanted, rather than having to fit in with the music policies of other club nights.

These were the beginnings of his famed “all-night-long” DJ sets cheerfully spanning blues, jazz, soul, funk, 60s R&B, disco, boogie, deep house, reggae, ska, rocksteady, dancehall, electronica, electro, hip hop, African, Latin, drum & bass, breakbeat… and bolstered his standing as a passionate, digger, collector and, above all, an unrivalled selector of the good stuff.

Trouser Jazz (2002); the epic mix CD Keep It Solid Steel (2004); and Ninja Tuna (2008) cemented Scruff’s rep as a premium freaker of frequencies, the latter featuring collaborations with the likes of Quantic, Danny Breaks, Alice Russell, Andreya Triana, Pete Simpson, Kaidi Tatham and Roots Manuva.

A fistful of EPs and singles populated 2009-2013 including Wobble Control (2011), Feel It / Bounce (2011) and Be The Music (2012).

In 2010 Big Chill Festival invited Mr. Scruff to host his own tent, testament to his inimitable raw dancefloor magnetism as are his regularly rammed-to-the-rafters Keep It Unreal sessions at Band On The Wall (Manchester) and KOKO (London).

After receiving a mighty nudge by the giant elbow of Ninja, the majority of 2013 was spent in the studio recording new album Friendly Bacteria, featuring Denis Jones, Matthew Halsall, Phil France, Vanessa Freeman & Robert Owens.

[links] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

[image_upload_id] => 19130 [label_id] => 1 [twitter_username] => mrscruff1 [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Mr. Scruff [created] => 2010-07-17 22:15:58 [modified] => 2014-03-03 16:02:01 [slug] => mr-scruff [fuga_id] => [description_clean] =>

Mr. Scruff: DJ, Producer & Cartoonist

As a DJ, Andy Carthy aka Mr. Scruff plays across the board, flitting between soul, funk, hip hop, jazz, reggae, latin, african, ska, disco, house, funk, breaks, soundtracks and loads more. As a producer he makes music that draws on these influences, with a large dose of cheek and good humour. His cartoon drawings illustrate gig flyers, record sleeves and CD covers, and usually accompany him at gigs as live animated visuals.

Carthy’s first encounter with mixing was as a 12 year old in late 1984, when a friend played him some of his uncle's electro records, notably the Streetsounds LP Crucial Electro Volume 1, opening his eyes and ears to the art of mixing records. Soon after he was constructing his own crude pause-button mixtapes, inspired by the electro compilations and various radio shows on stations such as Piccadilly, Radio Lancashire & Southside that exposed him to electro and hip-hop, soul, reggae and early house music. Shouts to John Peel (of course), Greg Wilson, Robbie Vincent, Richard Searling, Stu Allan, Lee Browne, Ranking Miss P, Scotty, Tony the Greek, Steve Barker, Gary Hickson, Sam Brown & Waxmaster.

Little by little Andy was building a collection fuelled by this knowledge, all the while improving his DJ skills. By 1987 he was proficient at turntable mixing and editing, although he was still using primitive home hi-fi gear. His first break came in 1994, when he met Barney Doodlebug, a DJ/Doodler who gave him his first Manchester gig, on a Sunday night in a venue called Dry Bar. He also passed on a demo tape to local label Rob's Records, which resulted in them releasing the first Mr. Scruff 12" single.

A regular on the Manchester scene through ’94-’95, he released a string of 12”s on Rob's Records subsidiary Pleasure, as well as sides for Echo Drop, Grand Central & Cup of Tea. His work for Grand Central with Mark Rae inspired some four-deck club performances, including friendly “battles” with DJ Food, which introduced him to the Ninja Tune fold.

Gigging across the UK (with Electric Chair, Off Centre, Fat City and Tru Thoughts) and Europe (with Grand Central), Mr. Scruff signed to Ninja Tune in 1998. His debut album Keep It Unreal arrived a year later, featuring the certified classic "Get A Move On", kick-starting his Manchester club night of the same name, borne of a desire to play exactly what he wanted, rather than having to fit in with the music policies of other club nights.

These were the beginnings of his famed “all-night-long” DJ sets cheerfully spanning blues, jazz, soul, funk, 60s R&B, disco, boogie, deep house, reggae, ska, rocksteady, dancehall, electronica, electro, hip hop, African, Latin, drum & bass, breakbeat… and bolstered his standing as a passionate, digger, collector and, above all, an unrivalled selector of the good stuff.

Trouser Jazz (2002); the epic mix CD Keep It Solid Steel (2004); and Ninja Tuna (2008) cemented Scruff’s rep as a premium freaker of frequencies, the latter featuring collaborations with the likes of Quantic, Danny Breaks, Alice Russell, Andreya Triana, Pete Simpson, Kaidi Tatham and Roots Manuva.

A fistful of EPs and singles populated 2009-2013 including Wobble Control (2011), Feel It / Bounce (2011) and Be The Music (2012).

In 2010 Big Chill Festival invited Mr. Scruff to host his own tent, testament to his inimitable raw dancefloor magnetism as are his regularly rammed-to-the-rafters Keep It Unreal sessions at Band On The Wall (Manchester) and KOKO (London).

After receiving a mighty nudge by the giant elbow of Ninja, the majority of 2013 was spent in the studio recording new album Friendly Bacteria, featuring Denis Jones, Matthew Halsall, Phil France, Vanessa Freeman & Robert Owens.

[links_clean] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [16] => Array ( [Event] => Array ( [id] => 14107 [date] => 2015-05-30 [artist] => Bonobo (DJ) [city] => Chicago [state] => [country] => US [venue] => Concord Music Hall [promoter] => [description] => [ticket_url] => http://bit.ly/1DcbaWX [image_upload_id] => 19258 [created] => 2015-04-17 10:21:03 [modified] => 2015-04-17 10:21:03 [year_slug] => 2015 [month_slug] => may [day_slug] => 30 [slug] => bonobo-dj-chicago-concord-music-hall [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 19258 [media_type] => image [artist] => Bonobo [title] => Bonobo Press Shot [credits] => [buy_link] => [filename] => images/bonobo/Bonobo-MainAndrewdeFrancessco1.jpg [checksum] => a31f8301190c3ab688695ffcc7ef9495 [mime_type] => image/jpeg [size] => 8279110 [external_url] => http://media.ninjatune.net/images/bonobo/Bonobo-MainAndrewdeFrancessco1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => bonobo [slug] => bonobo-press-shot [created] => 2014-04-04 11:03:02 [modified] => 2014-04-04 11:05:00 [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 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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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

[links] =>

Bonobo website

Facebook
Twitter
Soundcloud
Instagram

[image_upload_id] => 19635 [label_id] => 1 [twitter_username] => sibonobo [instagram_id] => 1322091 [instagram_username] => si_bonobo [link] => [listed] => 1 [sortname] => Bonobo [created] => 2010-07-17 22:15:59 [modified] => 2015-01-09 12:49:39 [slug] => bonobo [fuga_id] => [description_clean] =>

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 Falty DL. 

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 to play over 175 shows across three continents and 30 countries, wowing audiences of almost 2 million people 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 saw him and his band play the iconic Coachella festival, Sonar, Glastonbury and many more.  This period of extensive touring came to a breathtaking close with his largest show to date at London’s Alexandra Palace in November. In celebration, Ninja Tune released ‘The North Borders Tour. - Live’ in October. A deluxe release including a live album, hardback book and a DVD of seminal live performances from a truly memorable tour.

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] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) [17] => Array ( [Event] => Array ( [id] => 14128 [date] => 2015-05-30 [artist] => Seven Davis Jr [city] => Zurich [state] => [country] => CH [venue] => Zukunft [promoter] => [description] => [ticket_url] => http://www.zukunft.cl/ [image_upload_id] => 20939 [created] => 2015-04-30 15:22:45 [modified] => 2015-04-30 15:22:45 [year_slug] => 2015 [month_slug] => may [day_slug] => 30 [slug] => seven-davis-jr-zurich-zukunft [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 20939 [media_type] => image [artist] => Seven Davis Jr [title] => Seven Davis Jr Press Shot 2015 [credits] => [buy_link] => [filename] => images/seven-davis-jr/Seven-Davis-Jr-PHOTO-CREDIT-Marc-Sethi.jpg [checksum] => fb240db58c7ab5bc5e8f4d5eb0174ede [mime_type] => image/jpeg [size] => 34115 [external_url] => [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => seven-davis-jr [slug] => seven-davis-jr-press-shot-2015 [created] => 2015-04-30 12:36:57 [modified] => 2015-04-30 12:36:57 [embed] => ) [Country] => Array ( [id] => 235 [name] => Switzerland [longname] => Switzerland [numcode] => 756 [iso] => CH [iso3] => CHE [currency] => CHF [active] => 1 [parent_id] => 226 [lft] => 467 [rght] => 468 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 219 [name] => Seven Davis Jr [description] =>

Singer, Producer, Songwriter & rare Artist Seven Davis Jr was physically born on April 3 in Houston, Texas. As a child he was raised in Northern California where he trained as a gospel & jazz singer, brought up on the vocal influences of artists such as Prince, Aretha Franklin, Stevie Wonder and Michael Jackson. Other earlier influences include classical artists like Nat King Cole, Frank Sinatra, Sammy Davis Jr and Burt Bacharach.

As Seven Davis Jr evolved, his interests navigated him into the mainstream/independent world where he began listening to a more diverse range of artists such as Jimi Hendrix, Portishead, The Fugees, The Beatles, Tricky, Bjork and J Dilla… and later on: Heatwave, Earth Wind & Fire and various Motown artists.

Shortly after, House music & Jungle found a young teenage version of Seven Davis Jr in the city of San Francisco's electronic underground, changing his life and sound forever.

Before reaching adulthood Seven Davis Jr rejected several major label offers, instead opting to continue creating in private and remaining behind the scenes sharpening his own skills whilst ghost writing & ghost producing.

Dark times fell upon him in coordination with his musical emancipation as he then spent years battling a heavy amount of addictions and unfortunate circumstances.

These dark years only made his light stronger.

Not long after overcoming his "demons", Seven Davis Jr emerged to debut internationally on Kutmah's Worldwide Family Vol. 2 (Brownswood Recordings) with the track 'Thanks'. Other releases soon followed including, One EP (Must Have Records), The Lost Tapes Vol. 1 (IZWID Records), P.A.R.T.Y EP (Apron Records), and Friends EP (Classic).

From 2012 onward Seven Davis Jr took to the skies touring worldwide, bringing his unique combination of live vocals and occasional live instrumentation to musical realms that had previously only been occupied by DJs. While Seven Davis Jr is not a DJ, he has since made several dear friends in the DJ community and is now expanding to play concerts & festivals.

In 2014 Seven Davis Jr finally accepted a recording offer and Ninja Tune became his new home. Together they released the Wild Hearts 12" in 2015 and will soon release his first full length album Universes.

If you like your soul music futuristic, leftfield, drenched in funk, artsy and intelligent, join Seven Davis Jr on his journey through the musical universe.

[links] => [image_upload_id] => 20939 [label_id] => 1 [twitter_username] => sevendavisjr [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Seven Davis Jr [created] => 2014-10-31 15:10:11 [modified] => 2015-04-30 12:42:18 [slug] => seven-davis-jr [fuga_id] => [description_clean] =>

Singer, Producer, Songwriter & rare Artist Seven Davis Jr was physically born on April 3 in Houston, Texas. As a child he was raised in Northern California where he trained as a gospel & jazz singer, brought up on the vocal influences of artists such as Prince, Aretha Franklin, Stevie Wonder and Michael Jackson. Other earlier influences include classical artists like Nat King Cole, Frank Sinatra, Sammy Davis Jr and Burt Bacharach.

As Seven Davis Jr evolved, his interests navigated him into the mainstream/independent world where he began listening to a more diverse range of artists such as Jimi Hendrix, Portishead, The Fugees, The Beatles, Tricky, Bjork and J Dilla… and later on: Heatwave, Earth Wind & Fire and various Motown artists.

Shortly after, House music & Jungle found a young teenage version of Seven Davis Jr in the city of San Francisco's electronic underground, changing his life and sound forever.

Before reaching adulthood Seven Davis Jr rejected several major label offers, instead opting to continue creating in private and remaining behind the scenes sharpening his own skills whilst ghost writing & ghost producing.

Dark times fell upon him in coordination with his musical emancipation as he then spent years battling a heavy amount of addictions and unfortunate circumstances.

These dark years only made his light stronger.

Not long after overcoming his "demons", Seven Davis Jr emerged to debut internationally on Kutmah's Worldwide Family Vol. 2 (Brownswood Recordings) with the track 'Thanks'. Other releases soon followed including, One EP (Must Have Records), The Lost Tapes Vol. 1 (IZWID Records), P.A.R.T.Y EP (Apron Records), and Friends EP (Classic).

From 2012 onward Seven Davis Jr took to the skies touring worldwide, bringing his unique combination of live vocals and occasional live instrumentation to musical realms that had previously only been occupied by DJs. While Seven Davis Jr is not a DJ, he has since made several dear friends in the DJ community and is now expanding to play concerts & festivals.

In 2014 Seven Davis Jr finally accepted a recording offer and Ninja Tune became his new home. Together they released the Wild Hearts 12" in 2015 and will soon release his first full length album Universes.

If you like your soul music futuristic, leftfield, drenched in funk, artsy and intelligent, join Seven Davis Jr on his journey through the musical universe.

[links_clean] => [counter_player] => [counter_biog] => [tracking] => [conversions] => [hide_preorder] => 0 [hide_tracks] => 0 [hide_buy] => 0 ) ) ) )
<< Previous
Artist Date City Venue Buy
Young Fathers Monday, May 25th Manchester, GB Gorilla Buy
Young Fathers Tuesday, May 26th Nottingham, GB Rescue Rooms Buy
ODESZA Tuesday, May 26th Morrison, US Red Rocks Amphitheatre Buy
Young Fathers Wednesday, May 27th Cardiff, GB Clwb Ifor Bach Buy
Howling Wednesday, May 27th Hamburg, DE Übel und Gefährlich Buy
ODESZA Wednesday, May 27th Salt Lake City, Utah, US Red Butte Garden Amphitheatre Buy
Young Fathers Thursday, May 28th London, GB Koko Buy
Howling Thursday, May 28th Amsterdam, NL Melkweg Buy
Bonobo (DJ) Thursday, May 28th Brooklyn, Ney York, US Input at Output Buy
Young Fathers Friday, May 29th Brighton, GB The Haunt Buy
Howling Friday, May 29th Cologne, DE Electronic Beats Festival Buy
Mr. Scruff Friday, May 29th Belfast, IE Black Box Buy
Bonobo (DJ) Friday, May 29th Toronto, CA The Hoxton Buy
Romare Saturday, May 30th Toulon, FR Barathym Buy
Howling Saturday, May 30th Berlin, DE Berlin Festival Buy
Mr. Scruff Saturday, May 30th Dublin, IE Irish Museum of Modern Art Buy
Bonobo (DJ) Saturday, May 30th Chicago, US Concord Music Hall Buy
Seven Davis Jr Saturday, May 30th Zurich, CH Zukunft Buy
Next >>