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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

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inreturn.odesza.com

Facebook
Twitter
Soundcloud

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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

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Kelis describes her sixth album as “a kind of unspoken lovefest”, albeit one involving two unlikely partners. On the one hand, there is Kelis Rogers, who first came to prominence singing the hook of Ol’ Dirty Bastard’s 1999 hit "Got Your Money"; whose debut album Kaleidoscope helped usher in the wave of sharp, thrillingly futuristic r’n’b that dominated the charts in the early Noughties: as exemplified by her global hit, 2003’s "Milkshake"; whose last album was a pop-dance extravaganza featuring production from will.i.am and David Guetta. On the other, there was Dave Sitek, guitarist in acclaimed Brooklyn experimentalists TV On The Radio; producer by appointment to a certain kind of smart, arty indie band: the Yeah Yeah Yeahs, Foals, Liars. “It’s like we’re such different people,” says Kelis, “but I met him and he’s really just this brilliant, strange creature. I musically fell in love with him and I think he’s just a divine person. It’s ridiculous how much we speak the same language, musically and food-wise.”

Ah, food. As you may have gathered from the title, and indeed the tracks "Jerk Ribs", "Friday Fish Fry", "Biscuits n’ Gravy" and "Cobbler", food has quite a large role to play in Kelis’ sixth album, and indeed her life. She is a qualified chef, who took a cordon bleu course in 2008, after a traumatic battle with her then-record label came to an end: “I’d been trying to get off the label for four years. It was all-out war. I was in combat mode. I’d fought them for years, then one Friday I got this call telling me they were finally releasing me from my contract. I was sitting in my kitchen, watching TV, an ad came on for culinary school and I was like, “yeah, I’m going” I started class Monday morning. A year and a half course, seven hours a day, five days a week and Saturdays and Sundays you’ve got to get on the line, ready to be hired in a restaurant.”

Despite her reservations about having to wear “a stupid hat and chef’s getup”, she loved it. She’s about to launch her own range of sauces in the US called Feast – “at school I realized sauce is my thing, I personally think everything is better either smothered or poured” – and there’s talk of a TV cookery series, for which she’s just filmed a pilot episode: “a lifestyle show, it’s my life, and there really is no separation for me between the food and the music.”

You can tell as much from her hugely, infectiously enthusiastic descriptions of the session at which Food was recorded. “First of all, it was recorded at Dave’s house, which is like two minutes from my house in L.A.: ideal because we’re both borderline hermits, so that worked out really nice,” she laughs. “So I’d get there, and he’d be like, “oh, are you hungry?” And I’m like “yes, what do you have?” and I’d go and look in his kitchen. He used to start playing stuff, sitting at the piano, in the living room, right next to the kitchen, and I’d start singing a melody to it, while I’m chopping something. So then I’m frying something or whatever, and he’s playing another melody and I’m like “I love that”, so he says he’s going to call Todd. Todd’s this ridiculously good trumpet player who comes over and does this stupid freakin’ beautiful horn arrangement...

And the next thing you know, I’m cooking pies and there’s all these random musicians arriving, and it’s very calm and chilled, food’s being put on the table in the living room, another guy’s got an idea for a melody and I’m like, “I love that, it makes me think of this” and by the end of the night, we’ve got 11, 12 musicians there and everybody’s stuffed and the music is blaring, the songs are playing, it’s like a freaking zoo in there because he’s got three dogs and two Bengal cats, but it’s also like a freakin’ commune, because he’s got these girls staying there who are in this band CSS, so they’re from Brazil and now they’re cooking, they’re mixing micheladas…” Her voice trails off, happily. “It’s was great. No ego. They guys from TV On The Radio are there, and they’re working with me, and everyone is like: “I know who I am, I know who you are, I’ll do what I do and you’ll do what you do and we’ll do something that knocks everybody out in here.” And in the midst of that, we’ll eat.” She chuckles. “Literally every day, that’s what it was.”

Between mouthfuls, they devised an album entirely unlike anything Kelis has released before: a quick spin of the Simon And Garfunkel-esque ballad "Bless The Telephone" will underline that. It mints a sound that’s rootsy without ever being self-consciously retro, that pitches live horns and gospel-y organ against electronics, that for all its classic soul and funk influences, couldn’t have been made any time but now. “The one thing we did say at the beginning of this record is that whatever we do, we’re not copy cats” says Kelis. “The music I listen to and love, I can’t duplicate it, I would never try. I don’t want to make a copy of an old-school record. It doesn’t make any sense. It almost comes off as disrespectful to think that I could actually recreate what was already created masterfully.

That was never my goal. But what I will say is that thinking about moments of my life growing up, I think about what my parents listened to, what was just playing around the block, in my neighbourhood – half of it I don’t remember, but I remember the essence of it, the smile that it provides.Dave’s wonderful at grabbing a moment as opposed to trying to recreate something that doesn’t need to be recreated. That’s what we wanted to do. It’s not about, “let me duplicate this record”. It’s like, hell, we did something because it was authentic and it was beautiful and it’s rich and it’s flawed and I love it.”

In a way, it shouldn’t come as a surprise that Kelis’ music has taken another unpredictable shift: she hasn’t exactly shied away from pushing at the boundaries of the public’s perception of her from the start (“do I think that record labels in the past have had trouble knowing what to do with me and being unable to pigeonhole me?” she ponders, “um, in short: yes”). Her then-record label thought her second album, Wanderland, was too experimental and eclectic to release in America, while she’s probably the only artist in history to take a David Guetta pop-rave track and turn it into a paen to the joys of new motherhood: "Acappella", a song about the birth of her son Knight in 2009. This time, the results aren’t just unexpected, but highly personal.

Food is about more than just Kelis’ culinary passion, it’s an album about life, relationships and the uncertainty of that – “sure I’m self-sufficient, blah blah, independent,” she sings on "Floyd", “truthfully I’ve got some space I want that man to fill it” - and ridding yourself of anger and bitterness as expressed on Change. I think it’s just about where I’m at right now, and what’s going on around me and wanting to make a record that… that I believe. That I can sit down on a stool and sing for a long time.”

Understandably, she thinks she’s succeeded. “Being as arrogant as I can be, no one on Food is new to this, no one there gives a crap, everybody is literally like, “I do this because I’m good at it, I love it and it’s a blessing, and if I can do this with you, then bring it, let’s do it.” It’s like, OK, we’ve all had big budgets, we’ve all done big studios, that’s nice and whatever, but I’m also like, “I’m great, I don’t need any of that, I’ll go on my own schedule.” It would be a waste of energy throwing money at it, because everyone is there is so well-seasoned. There’s not a second of insecurity, not a second of doubt. The reality is that we’re too talented, too old and too good for any of that.” She hoots with laughter. “Like I said,” she smiles, “that’s putting it as arrogantly as I can.”

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Kelis describes her sixth album as “a kind of unspoken lovefest”, albeit one involving two unlikely partners. On the one hand, there is Kelis Rogers, who first came to prominence singing the hook of Ol’ Dirty Bastard’s 1999 hit "Got Your Money"; whose debut album Kaleidoscope helped usher in the wave of sharp, thrillingly futuristic r’n’b that dominated the charts in the early Noughties: as exemplified by her global hit, 2003’s "Milkshake"; whose last album was a pop-dance extravaganza featuring production from will.i.am and David Guetta. On the other, there was Dave Sitek, guitarist in acclaimed Brooklyn experimentalists TV On The Radio; producer by appointment to a certain kind of smart, arty indie band: the Yeah Yeah Yeahs, Foals, Liars. “It’s like we’re such different people,” says Kelis, “but I met him and he’s really just this brilliant, strange creature. I musically fell in love with him and I think he’s just a divine person. It’s ridiculous how much we speak the same language, musically and food-wise.”

Ah, food. As you may have gathered from the title, and indeed the tracks "Jerk Ribs", "Friday Fish Fry", "Biscuits n’ Gravy" and "Cobbler", food has quite a large role to play in Kelis’ sixth album, and indeed her life. She is a qualified chef, who took a cordon bleu course in 2008, after a traumatic battle with her then-record label came to an end: “I’d been trying to get off the label for four years. It was all-out war. I was in combat mode. I’d fought them for years, then one Friday I got this call telling me they were finally releasing me from my contract. I was sitting in my kitchen, watching TV, an ad came on for culinary school and I was like, “yeah, I’m going” I started class Monday morning. A year and a half course, seven hours a day, five days a week and Saturdays and Sundays you’ve got to get on the line, ready to be hired in a restaurant.”

Despite her reservations about having to wear “a stupid hat and chef’s getup”, she loved it. She’s about to launch her own range of sauces in the US called Feast – “at school I realized sauce is my thing, I personally think everything is better either smothered or poured” – and there’s talk of a TV cookery series, for which she’s just filmed a pilot episode: “a lifestyle show, it’s my life, and there really is no separation for me between the food and the music.”

You can tell as much from her hugely, infectiously enthusiastic descriptions of the session at which Food was recorded. “First of all, it was recorded at Dave’s house, which is like two minutes from my house in L.A.: ideal because we’re both borderline hermits, so that worked out really nice,” she laughs. “So I’d get there, and he’d be like, “oh, are you hungry?” And I’m like “yes, what do you have?” and I’d go and look in his kitchen. He used to start playing stuff, sitting at the piano, in the living room, right next to the kitchen, and I’d start singing a melody to it, while I’m chopping something. So then I’m frying something or whatever, and he’s playing another melody and I’m like “I love that”, so he says he’s going to call Todd. Todd’s this ridiculously good trumpet player who comes over and does this stupid freakin’ beautiful horn arrangement...

And the next thing you know, I’m cooking pies and there’s all these random musicians arriving, and it’s very calm and chilled, food’s being put on the table in the living room, another guy’s got an idea for a melody and I’m like, “I love that, it makes me think of this” and by the end of the night, we’ve got 11, 12 musicians there and everybody’s stuffed and the music is blaring, the songs are playing, it’s like a freaking zoo in there because he’s got three dogs and two Bengal cats, but it’s also like a freakin’ commune, because he’s got these girls staying there who are in this band CSS, so they’re from Brazil and now they’re cooking, they’re mixing micheladas…” Her voice trails off, happily. “It’s was great. No ego. They guys from TV On The Radio are there, and they’re working with me, and everyone is like: “I know who I am, I know who you are, I’ll do what I do and you’ll do what you do and we’ll do something that knocks everybody out in here.” And in the midst of that, we’ll eat.” She chuckles. “Literally every day, that’s what it was.”

Between mouthfuls, they devised an album entirely unlike anything Kelis has released before: a quick spin of the Simon And Garfunkel-esque ballad "Bless The Telephone" will underline that. It mints a sound that’s rootsy without ever being self-consciously retro, that pitches live horns and gospel-y organ against electronics, that for all its classic soul and funk influences, couldn’t have been made any time but now. “The one thing we did say at the beginning of this record is that whatever we do, we’re not copy cats” says Kelis. “The music I listen to and love, I can’t duplicate it, I would never try. I don’t want to make a copy of an old-school record. It doesn’t make any sense. It almost comes off as disrespectful to think that I could actually recreate what was already created masterfully.

That was never my goal. But what I will say is that thinking about moments of my life growing up, I think about what my parents listened to, what was just playing around the block, in my neighbourhood – half of it I don’t remember, but I remember the essence of it, the smile that it provides.Dave’s wonderful at grabbing a moment as opposed to trying to recreate something that doesn’t need to be recreated. That’s what we wanted to do. It’s not about, “let me duplicate this record”. It’s like, hell, we did something because it was authentic and it was beautiful and it’s rich and it’s flawed and I love it.”

In a way, it shouldn’t come as a surprise that Kelis’ music has taken another unpredictable shift: she hasn’t exactly shied away from pushing at the boundaries of the public’s perception of her from the start (“do I think that record labels in the past have had trouble knowing what to do with me and being unable to pigeonhole me?” she ponders, “um, in short: yes”). Her then-record label thought her second album, Wanderland, was too experimental and eclectic to release in America, while she’s probably the only artist in history to take a David Guetta pop-rave track and turn it into a paen to the joys of new motherhood: "Acappella", a song about the birth of her son Knight in 2009. This time, the results aren’t just unexpected, but highly personal.

Food is about more than just Kelis’ culinary passion, it’s an album about life, relationships and the uncertainty of that – “sure I’m self-sufficient, blah blah, independent,” she sings on "Floyd", “truthfully I’ve got some space I want that man to fill it” - and ridding yourself of anger and bitterness as expressed on Change. I think it’s just about where I’m at right now, and what’s going on around me and wanting to make a record that… that I believe. That I can sit down on a stool and sing for a long time.”

Understandably, she thinks she’s succeeded. “Being as arrogant as I can be, no one on Food is new to this, no one there gives a crap, everybody is literally like, “I do this because I’m good at it, I love it and it’s a blessing, and if I can do this with you, then bring it, let’s do it.” It’s like, OK, we’ve all had big budgets, we’ve all done big studios, that’s nice and whatever, but I’m also like, “I’m great, I don’t need any of that, I’ll go on my own schedule.” It would be a waste of energy throwing money at it, because everyone is there is so well-seasoned. There’s not a second of insecurity, not a second of doubt. The reality is that we’re too talented, too old and too good for any of that.” She hoots with laughter. “Like I said,” she smiles, “that’s putting it as arrogantly as I can.”

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An experimental and self-taught singer and songwriter originally hailing from South East London, Andreya Triana grew up submerged in a multicultural atmosphere. A unique vocalist, Andreya began singing at the tender age of 7, taking influence from the sights and sounds of inner-city London. Her early love and passion for music would see her locked in her bedroom for hours on end writing poetry, making homemade mix tapes and recording tracks - utilizing two battered cassette decks to record harmonies.

Her early love of improvisation would warp and change over the years, hugely influencing her 'Freeflo Sessions' - a hypnotic one woman show using a sampler to loop vocals, percussive sounds and beats live. To date she has taken her Freeflo Sessions worldwide, dazzling audiences far and wide with her cutting edge and soulful performances. 2006 saw her selected from thousands to take part in the Red Bull Music Academy in Australia, where she further developed her style for improvisation and secured links with some of the best producers and musicians on the music scene. Multiple collaborations ensued daily at the Academy, including 'Tea Leaf Dancers' a collaboration with now-legendary electronic muscian and producer Flying Lotus (released on Warp Records). The track was hailed as a classic, getting rave reviews from Benji B and Gilles Peterson while getting airplay on Annie Mac's Radio One show. It was this song that also caught the attention of Ninja Tune stalwart Bonobo.

In 2009 Triana’s career took another upturn when she toured the U.S and Canada with the Bonobo live band, played the BBC Introducing stage at Glastonbury, and secured a three album deal with Ninja Tune. Her debut album, ‘Lost Where I Belong,’ was released in 2010 to rapturous praise. Produced by Bonobo and imbued with his cinematic, future-beat magic, it also featured two co-writes with fellow Ninja artist Fink.

Since then, Andreya’s been working intensively on both sides of the Atlantic, writing her sophomore album, which is due for release in 2013. She’s planning some intimate gigs during the remainder of 2012, ahead of a 4-track EP which will be released as a taster for the album.

Andreya Triana has truly come into her own as a songwriter and performer, travelling across the world to play everywhere from Poland and the Isle of Wight through the U.S. to Switzerland, where she supported Erykah Badu. Her U.S writing partners include Marc Nelkin, Carl Ryden, Rex Rideout, Juanita Stokes and Blac Elvis, and in the UK she’s been holed up with Rick Nowles, Jimmy Hogarth, Alan Nglish and Dee Adam. Such an illustrious list of collaborators is testament to her own abilities as a writer.

Rapidly approaching the peak of her powers, great things can be expected from Andreya Triana in the months and years to come.

[links] => Facebook
Twitter
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An experimental and self-taught singer and songwriter originally hailing from South East London, Andreya Triana grew up submerged in a multicultural atmosphere. A unique vocalist, Andreya began singing at the tender age of 7, taking influence from the sights and sounds of inner-city London. Her early love and passion for music would see her locked in her bedroom for hours on end writing poetry, making homemade mix tapes and recording tracks - utilizing two battered cassette decks to record harmonies.

Her early love of improvisation would warp and change over the years, hugely influencing her 'Freeflo Sessions' - a hypnotic one woman show using a sampler to loop vocals, percussive sounds and beats live. To date she has taken her Freeflo Sessions worldwide, dazzling audiences far and wide with her cutting edge and soulful performances. 2006 saw her selected from thousands to take part in the Red Bull Music Academy in Australia, where she further developed her style for improvisation and secured links with some of the best producers and musicians on the music scene. Multiple collaborations ensued daily at the Academy, including 'Tea Leaf Dancers' a collaboration with now-legendary electronic muscian and producer Flying Lotus (released on Warp Records). The track was hailed as a classic, getting rave reviews from Benji B and Gilles Peterson while getting airplay on Annie Mac's Radio One show. It was this song that also caught the attention of Ninja Tune stalwart Bonobo.

In 2009 Triana’s career took another upturn when she toured the U.S and Canada with the Bonobo live band, played the BBC Introducing stage at Glastonbury, and secured a three album deal with Ninja Tune. Her debut album, ‘Lost Where I Belong,’ was released in 2010 to rapturous praise. Produced by Bonobo and imbued with his cinematic, future-beat magic, it also featured two co-writes with fellow Ninja artist Fink.

Since then, Andreya’s been working intensively on both sides of the Atlantic, writing her sophomore album, which is due for release in 2013. She’s planning some intimate gigs during the remainder of 2012, ahead of a 4-track EP which will be released as a taster for the album.

Andreya Triana has truly come into her own as a songwriter and performer, travelling across the world to play everywhere from Poland and the Isle of Wight through the U.S. to Switzerland, where she supported Erykah Badu. Her U.S writing partners include Marc Nelkin, Carl Ryden, Rex Rideout, Juanita Stokes and Blac Elvis, and in the UK she’s been holed up with Rick Nowles, Jimmy Hogarth, Alan Nglish and Dee Adam. Such an illustrious list of collaborators is testament to her own abilities as a writer.

Rapidly approaching the peak of her powers, great things can be expected from Andreya Triana in the months and years to come.

[links_clean] => Facebook
Twitter
Soundcloud [counter_player] => [counter_biog] => An experimental and self taught singer and songwriter originally hailing from South East London, Andreya Triana grew up submerged in a multicultural atmosphere. A unique vocalist, Andreya began singing at the tender age of 7, taking influence from the sights and sounds of inner city London. Her early love and passion for music would see her locked in her bedroom for hours on end writing poetry, making homemade mix tapes and recording tracks - utilising two battered cassette decks to record harmonies. Her early love of improvisation would warp and change over the years, hugely influencing her 'Freeflo Sessions' - a hypnotic one woman show using a sampler to loop vocals, percussive sounds and beats live. To date she has taken her Freeflo Sessions worldwide, dazzling audiences far and wide with her cutting edge and soulful performances. 2006 saw her selected from thousands to take part in the Red Bull Music Academy in Australia where she further developed her style for improvisation and secured links with some of the best producers and musicians on the music scene. Multiple collaborations ensued daily at the Academy, with 'Tea Leaf Dancers', a collaboration with glitchy hip hop producer Flying Lotus (released on Warp Records), was a product of this and has been her most successful musical venture to date. Hailed as a classic while getting rave reviews from Benji B and Gilles Peterson while getting airplay on Annie Mac's Radio One show, it was this track that also caught the attention of Ninja Tune stalwart Bonobo. 2009 has been an eventful year for Miss Triana, touring America and Canada with the Bonobo live band, playing on the BBC Introducing stage at Glastonbury showcasing new material and signing a three album deal with Ninja Tune Records. 2010 saw the release of her album 'Lost Where I Belong', produced by Bonobo, with fellow Ninja Tune singer and songwriter Fink also stepping up to co-write two tracks for the album. 'Lost Where I Belong' is a beautifully honest album combining Soul, Folk, Jazz and Bonobo's cinematic magic in a highly anticipated and hotly tipped debut... watch out for Andreya Triana! ) ) ) [3] => Array ( [Event] => Array ( [id] => 12868 [date] => 2014-07-25 [artist] => Young Fathers [city] => Ullapool [state] => [country] => GB [venue] => Wickerman Festival [promoter] => [description] => [ticket_url] => http://www.thewickermanfestival.co.uk/ticket-information/ [image_upload_id] => 19554 [created] => 2014-04-25 14:37:51 [modified] => 2014-06-13 12:49:32 [year_slug] => 2014 [month_slug] => jul [day_slug] => 25 [slug] => young-fathers-ullapool-wickerman-festival [description_clean] => [products_count] => 0 [hidden] => 0 [soldout] => 0 ) [Image] => Array ( [id] => 19554 [media_type] => image [artist] => Young Fathers [title] => Young Fathers Summer 2014 tour flyer [credits] => [buy_link] => [filename] => images/young-fathers/YF-SUMMER-DATES430.jpg [checksum] => 0f7be6725c1bffb257906144f9c2989a [mime_type] => image/jpeg [size] => 124365 [external_url] => http://media.ninjatune.net/images/young-fathers/YF-SUMMER-DATES430.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => young-fathers [slug] => young-fathers-summer-2014-tour-flyer [created] => 2014-06-13 12:41:00 [modified] => 2014-06-13 12:43:04 [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] =>

From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.

Along the way, they have dropped pearls:  Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century.  Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of.  Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.

Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011.  TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations.  Wildly urban.

Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two.  With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.

2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.

Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.

Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.

A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.  

They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks.  Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational.  Without passports.

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Kate Tempest started out when she was 16, rapping at strangers on night busses and pestering mc's to let her on the mic at raves. Ten years later she is a published playwright, novelist, poet and respected recording artist. Her work includes Balance, her first album with band Sound of Rum; Everything Speaks in its Own Way her first collection of poems, the critically acclaimed playsWasted, Glasshouse and Hopelessly Devoted.  Brand New Ancients, her self-performed epic poem to a live score, won the Ted Hughes prize 2013 and the Herald Angel at Edinburgh Fringe.It has sold out tours in the UK and New York and is published by Picador. Her second collection of poetry, Hold Your Own, will be published by Picador on October 2014. Her debut novel, The Bricks That Built The Houses, sold in a highly competitive auction to Bloomsbury and will be published in territories including the UK, US, France, Holland and Brazil in Spring 2015. Excitingly, each track on the record correlates with a chapter in the novel, in a groundbreaking cross-genre experience. 

Her single Our Town, with producers letthemusicplay was recently released on Greco-Roman records. Kate has featured on songs with Sinead O Connor, Bastille, the King Blues, Damien Dempsey and Landslide. She has toured extensively, supporting Billy Bragg on his UK tour, as well as supporting Scroobius Pip, Femi Kuti, Saul Williams and John Cooper Clarke. She is 2 x slam winner at the prestigious Nu-Yorican poetry cafe in New York and has played all the major UK and European music festivals either solo or with Sound of Rum. She's headlined Latitude festival and has been featured on the BBC's Glastonbury highlights, Channel 4, BBC Radio 1,4 and 6, as well as XFM and the Charlie Rose Show (Bloomberg) in the US.

Kate's new album Everybody Down is released in May 2014 on Big Dada records.  It was produced by Dan Carey aka Mr Dan who is one of the UK’s best known and most highly-rated producers. When the two met, Carey invited Tempest to come through to his South London studio to muck about on a track or two. In a burst of intense creativity, they put down the whole twelve track album in a fortnight having spent almost a year developing the characters and story. Kate is currently working on a new collection of poems, (to be published by Picador in 2014). 

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Kate Tempest started out when she was 16, rapping at strangers on night busses and pestering mc's to let her on the mic at raves. Ten years later she is a published playwright, novelist, poet and respected recording artist. Her work includes Balance, her first album with band Sound of Rum; Everything Speaks in its Own Way her first collection of poems, the critically acclaimed playsWasted, Glasshouse and Hopelessly Devoted.  Brand New Ancients, her self-performed epic poem to a live score, won the Ted Hughes prize 2013 and the Herald Angel at Edinburgh Fringe.It has sold out tours in the UK and New York and is published by Picador. Her second collection of poetry, Hold Your Own, will be published by Picador on October 2014. Her debut novel, The Bricks That Built The Houses, sold in a highly competitive auction to Bloomsbury and will be published in territories including the UK, US, France, Holland and Brazil in Spring 2015. Excitingly, each track on the record correlates with a chapter in the novel, in a groundbreaking cross-genre experience. 

Her single Our Town, with producers letthemusicplay was recently released on Greco-Roman records. Kate has featured on songs with Sinead O Connor, Bastille, the King Blues, Damien Dempsey and Landslide. She has toured extensively, supporting Billy Bragg on his UK tour, as well as supporting Scroobius Pip, Femi Kuti, Saul Williams and John Cooper Clarke. She is 2 x slam winner at the prestigious Nu-Yorican poetry cafe in New York and has played all the major UK and European music festivals either solo or with Sound of Rum. She's headlined Latitude festival and has been featured on the BBC's Glastonbury highlights, Channel 4, BBC Radio 1,4 and 6, as well as XFM and the Charlie Rose Show (Bloomberg) in the US.

Kate's new album Everybody Down is released in May 2014 on Big Dada records.  It was produced by Dan Carey aka Mr Dan who is one of the UK’s best known and most highly-rated producers. When the two met, Carey invited Tempest to come through to his South London studio to muck about on a track or two. In a burst of intense creativity, they put down the whole twelve track album in a fortnight having spent almost a year developing the characters and story. Kate is currently working on a new collection of poems, (to be published by Picador in 2014). 

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LA’s William Bensussen, aka The Gaslamp Killer, is many things at once. The San Diego native is a bonafide one-off; an artist and human being that can never be repeated. With an unparalleled energy, the DJ, producer, promoter and curator brings a different level of performance and showmanship to electronic music. 

"I always felt drawn to party time ever since I was little. Any kind of opportunity; a wedding, bar mitzvah, holiday. Whatever kind of event that was going on in my little community in San Diego, if there was music, I was dancing. It's just the way it was. I've always been into the energy and the happiness that it brings.”

Being a true music lover, and a complete obsessive, as a DJ/selector Bensussen has opened minds around the world to music that wouldn’t otherwise get heard. In his own words: “As artists, it's our job to entertain as well as educate.” Alongside co-founder Daddy Kev, GLK has put Southern California on the music map for years to come, with their beat mecca Low End Theory and the vibrant creative community they’ve built around it. The weekly Wednesday club night has brought together different scenes and generations, breaking new artists while also getting the likes of Thom Yorke and Erykah Badu to play DJ sets to the fevered Low End crowd, who often wait hours to get in. 

Over the last ten years, Gaslamp Killer’s iconoclastic attitude has led him beyond LA to far-reaching corners of the globe, one stage at a time: from Pitch in Amsterdam, to Sonar in Barcelona, to Austin Psych Fest, to Roskilde in Denmark, to Coachella. Holding a collection of well over 13,000 vinyl records, GLK’s untamed, unpredictable sets take traditional genres of rock into the outer reaches of hip-hop and the deep into the cosmic pressure of the heaviest electronic beats, with plenty of obscurity and bizarreness in-between. 

The now rare, GLK collectables I Spit On Your Grave and All Killer inspired a new generation of DJs to appreciate the art of a mixtape. Dusted Magazine described his follow-up mix, Hell And The Lake Of Fire Are Waiting For You, with words that describe GLK as a DJ in general: “Trying to figure out what’s going on is half the draw.” 

"The music that I grew up with influences me today enormously still. I love classic rock, I still love Dub and I still love Rap. Real rap. Gansta rap. I love bands, live bands, it's the music I grew up with. I don't think there are that many bands that can compare to Jimi Hendrix, Led Zeppelin, Pink Floyd, The Doors. They're not popular for no reason. I play The Beatles in my sets all the time still. Their music is a huge influence on me. I still play Dr Dre in my set all the time. His beats and the rhymes, the energy, they just affect me so much. They are a part of me. As well as Hip Hop, as well as Rock, and Blues, and Soul, and Jazz, and Reggae, and Dub. That kind of music I think lends to everything that we are all into today. All of us are fueled by that. The formulas that they laid and the foundations that they laid are used by musicians forever and will continue to be used forever.”

As a producer, The Gaslamp Killer has worked with artists such as Gonjasufi, Prefuse 73 and Flying Lotus. His own experimental solo material pushes the borders of genre as much as his performances, particularly with his heavy-weighted EP My Troubled Mind (Brainfeeder) and the monster Death Gate EP (Brainfeeder), which featured Gonjasufi, Computer Jay and Mophono

Breakthrough will mark the debut full-length album from the Gaslamp Killer. Blending California-inspired psych with widespread global influences, on Breakthrough GLK brings together a potent cast of friends to contribute to the album, with guest appearances from Gonjasufi, Adrian Younge, Dimlite, Daedelus, SAMIYAM and more. A musical anachronism and unconstrained compilation from a wandering spirit.

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LA’s William Bensussen, aka The Gaslamp Killer, is many things at once. The San Diego native is a bonafide one-off; an artist and human being that can never be repeated. With an unparalleled energy, the DJ, producer, promoter and curator brings a different level of performance and showmanship to electronic music. 

"I always felt drawn to party time ever since I was little. Any kind of opportunity; a wedding, bar mitzvah, holiday. Whatever kind of event that was going on in my little community in San Diego, if there was music, I was dancing. It's just the way it was. I've always been into the energy and the happiness that it brings.”

Being a true music lover, and a complete obsessive, as a DJ/selector Bensussen has opened minds around the world to music that wouldn’t otherwise get heard. In his own words: “As artists, it's our job to entertain as well as educate.” Alongside co-founder Daddy Kev, GLK has put Southern California on the music map for years to come, with their beat mecca Low End Theory and the vibrant creative community they’ve built around it. The weekly Wednesday club night has brought together different scenes and generations, breaking new artists while also getting the likes of Thom Yorke and Erykah Badu to play DJ sets to the fevered Low End crowd, who often wait hours to get in. 

Over the last ten years, Gaslamp Killer’s iconoclastic attitude has led him beyond LA to far-reaching corners of the globe, one stage at a time: from Pitch in Amsterdam, to Sonar in Barcelona, to Austin Psych Fest, to Roskilde in Denmark, to Coachella. Holding a collection of well over 13,000 vinyl records, GLK’s untamed, unpredictable sets take traditional genres of rock into the outer reaches of hip-hop and the deep into the cosmic pressure of the heaviest electronic beats, with plenty of obscurity and bizarreness in-between. 

The now rare, GLK collectables I Spit On Your Grave and All Killer inspired a new generation of DJs to appreciate the art of a mixtape. Dusted Magazine described his follow-up mix, Hell And The Lake Of Fire Are Waiting For You, with words that describe GLK as a DJ in general: “Trying to figure out what’s going on is half the draw.” 

"The music that I grew up with influences me today enormously still. I love classic rock, I still love Dub and I still love Rap. Real rap. Gansta rap. I love bands, live bands, it's the music I grew up with. I don't think there are that many bands that can compare to Jimi Hendrix, Led Zeppelin, Pink Floyd, The Doors. They're not popular for no reason. I play The Beatles in my sets all the time still. Their music is a huge influence on me. I still play Dr Dre in my set all the time. His beats and the rhymes, the energy, they just affect me so much. They are a part of me. As well as Hip Hop, as well as Rock, and Blues, and Soul, and Jazz, and Reggae, and Dub. That kind of music I think lends to everything that we are all into today. All of us are fueled by that. The formulas that they laid and the foundations that they laid are used by musicians forever and will continue to be used forever.”

As a producer, The Gaslamp Killer has worked with artists such as Gonjasufi, Prefuse 73 and Flying Lotus. His own experimental solo material pushes the borders of genre as much as his performances, particularly with his heavy-weighted EP My Troubled Mind (Brainfeeder) and the monster Death Gate EP (Brainfeeder), which featured Gonjasufi, Computer Jay and Mophono

Breakthrough will mark the debut full-length album from the Gaslamp Killer. Blending California-inspired psych with widespread global influences, on Breakthrough GLK brings together a potent cast of friends to contribute to the album, with guest appearances from Gonjasufi, Adrian Younge, Dimlite, Daedelus, SAMIYAM and more. A musical anachronism and unconstrained compilation from a wandering spirit.

[links_clean] =>

Website

Facebook
Twitter
Soundcloud

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