Fink @ Cabaret Sauvage, Paris.
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[products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 15102 [media_type] => image [artist] => Fink [title] => Fink Artist Press Shot 2010 [credits] => [buy_link] => [filename] => images/fink/fink-artistpress-72dpi.jpg [checksum] => 5351e0e8130b7122c12a4d3ae4134162 [mime_type] => image/jpeg [size] => 365184 [external_url] => http://media.ninjatune.net/images/fink/fink-artistpress-72dpi.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => fink [slug] => fink-artist-press-shot-2010 [created] => 2011-01-18 12:34:08 [modified] => 2011-01-18 12:34:08 [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] => 4 [name] => Fink [description] =>Fin Greenall, who is the voice and heart behind Fink, often gets mistaken for other people.
At the BMI Awards in the US, a ‘roomful of gangstas and playas’ were convinced the Cornwall-born, Bristol-raised Englishman was a lawyer, and not a songwriter picking up an ‘American Urban’ gong – one of three BMIs he received for his work with John Legend on the soul singer’s Evolver album.
In Berlin, clubbing capital of the world, they think he helps run a small minimal techno label. In certain London circles he’s known as the hardworking insider whose past roles at DefJam, Sony Music, Talkin’ Loud, and Source saw him work with a range of artists longer than the horizon. At the BBC, they imagine Fink as perhaps the only musician who has played both the Electric Proms and the actual Proms (was that really the same guy leading a 120-piece orchestra at the Royal Albert Hall in an ‘immense’ cover of Roy Ayers’ Everybody Loves The Sunshine?).
In record company circles, he’s the producer who worked on the first demos by Amy Winehouse and the writer who’s been crafting hooks for Professor Green. In big-room booths around the world, he’s the internationally-renowned DJ and Ninja Tune stalwart who finally hung up his Sennheisers with a valedictory set at London’s Fabric in 2003. ‘My skillset just seemed so old compared to these guys that could DJ for six hours without one high-hat out of place using Ableton or something,’ he notes admiringly.
Who is Fin Greenall? All of the above.
Yes, the now-Brighton-based musician acknowledges, he has done – does do – all of those things. ‘But none of that is as important as how I feel when I write songs like "Fear is Like Fire" and "Perfect Darkness". The Fink thing is my main thing.’
As a kid, the one thing of his dad’s that Fin Greenall wasn’t allowed to touch was the old Martin acoustic guitar. ‘It was his one possession where he said, “everything in this house is owned by everybody – apart from that.”’ But with age – and the burgeoning of his son’s skills as a player – came a relaxation of the exclusion zone: Greenall plays the Martin on the punchy, Jeff Buckley-covering-Radiohead-esque "Fear Is Like Fire". It’s sure to become a live stand-out on Fink’s upcoming, 18-month-long world tour. ‘It’s all about trying to look at fear and be optimistic – you can be really negative or fucking embrace it and use it.
‘The great thing about growing up in a house where music is a big factor,’ he continues, ‘was the fact that music being part of your life was a perfectly natural thing.’
Music, it seems, became more than that: it was Greenall’s life. He hoovered up the sounds he heard on John Peel: ‘The Cure, The Smiths, The Orb, African music, Japanese hardcore’. He embraced skateboarding, the music and the fashion – ‘it was an awesome way to grow your own culture’. At university in Leeds, electronic and dance music became everything.
‘It was definitely about wanting to be part of a revolution that I could call my own,’ he recalls. ‘A couple of friends and I clubbed together our student loans and bought equipment to make ambient techno – we were really inspired by Aphex Twin and The Orb and Moby. We were amazed at how fucking easy it was to make ambient techno. It wasn’t easy to make good ambient techno,’ he laughs. ‘But it was easy enough to make techno good enough to get us signed after six months of mucking around at uni.’
The young techno warrior was messianic.
‘I thought the song was dead, the chorus was dead, playing drums and guitar and bass was so old-school and outdated and why would you want to do that? Dylan did that 50 years ago! We should be part of this new revolution, instrumentalism, acid house, rave culture, techno – this stuff is a brave new avant-garde frontier and you should be involved.’
His ardour and his skills saw Greenall become part of the Ninja Tune family – first signed on the back of a cassette-tape demo - as artist, DJ, writer, producer, and remixer.
‘Brilliant times,’ he sighs nostalgically. ‘Sometimes you’d just have to pinch yourself. Then, other times, you wake up in Bratislava on a Tuesday morning and you’re reminded that there is hard work to all of this.’ All that crate-digging wasn’t all it’s cracked up to be either: ‘You can’t be shit!’ Greenall grins. ‘And because of the community that Ninja has worldwide, if you are shit everybody knows about it the next day. Eight years of DJing have given me an obscenely huge record collection. I just cleared out the breaks section – four crates of twelves that were total pony!’
So the wheels of steel started to fall off.
‘It wasn’t until I’d run that right the way through to its natural conclusion – I’m an international DJ on the biggest DJ label in the world – that I thought: I’m kinda over it. And it was actually working with a young artist straight out of school called Amy Winehouse that inspired me to go, “wow, songs are great! Now I get how difficult it is, and how much talent there is involved in this. It’s more of a challenge than clubbing.”’
Greenall melted down his turntables and recast them as a guitar and a stool. Metaphorically speaking. His parents were pleased. ‘My career only made sense to them when I picked up a guitar and started to sing,’ he says. ‘All of a sudden I was doing music, I wasn’t just mucking around. But in my rave days, DJing techno and breaks, they didn’t get that at all. That’s probably why I did it in the first place.
‘But I realised: if your music had songs in it, it had a much greater reach. Not in business terms, but if a singer of, say, Amy’s calibre sings over this beat, it becomes so much bigger than just a beat. I can’t get rid of my clubbing past, not that I’d want to. But the linear nature of some of my music is definitely because of all those years spent clubbing and DJing, when a very simple idea can make the best club record. And it’s the same with songs – I’m after a really simple riff or really simple lyric or melody. And it’s about keeping that beautiful moment going for as long as you can.’
[links] => [image_upload_id] => 15102 [label_id] => 1 [twitter_username] => Finkmusic [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Fink [created] => 2010-07-17 22:15:58 [modified] => 2013-01-07 16:15:06 [slug] => fink [fuga_id] => [description_clean] =>Fin Greenall, who is the voice and heart behind Fink, often gets mistaken for other people.
At the BMI Awards in the US, a ‘roomful of gangstas and playas’ were convinced the Cornwall-born, Bristol-raised Englishman was a lawyer, and not a songwriter picking up an ‘American Urban’ gong – one of three BMIs he received for his work with John Legend on the soul singer’s Evolver album.
In Berlin, clubbing capital of the world, they think he helps run a small minimal techno label. In certain London circles he’s known as the hardworking insider whose past roles at DefJam, Sony Music, Talkin’ Loud, and Source saw him work with a range of artists longer than the horizon. At the BBC, they imagine Fink as perhaps the only musician who has played both the Electric Proms and the actual Proms (was that really the same guy leading a 120-piece orchestra at the Royal Albert Hall in an ‘immense’ cover of Roy Ayers’ Everybody Loves The Sunshine?).
In record company circles, he’s the producer who worked on the first demos by Amy Winehouse and the writer who’s been crafting hooks for Professor Green. In big-room booths around the world, he’s the internationally-renowned DJ and Ninja Tune stalwart who finally hung up his Sennheisers with a valedictory set at London’s Fabric in 2003. ‘My skillset just seemed so old compared to these guys that could DJ for six hours without one high-hat out of place using Ableton or something,’ he notes admiringly.
Who is Fin Greenall? All of the above.
Yes, the now-Brighton-based musician acknowledges, he has done – does do – all of those things. ‘But none of that is as important as how I feel when I write songs like "Fear is Like Fire" and "Perfect Darkness". The Fink thing is my main thing.’
As a kid, the one thing of his dad’s that Fin Greenall wasn’t allowed to touch was the old Martin acoustic guitar. ‘It was his one possession where he said, “everything in this house is owned by everybody – apart from that.”’ But with age – and the burgeoning of his son’s skills as a player – came a relaxation of the exclusion zone: Greenall plays the Martin on the punchy, Jeff Buckley-covering-Radiohead-esque "Fear Is Like Fire". It’s sure to become a live stand-out on Fink’s upcoming, 18-month-long world tour. ‘It’s all about trying to look at fear and be optimistic – you can be really negative or fucking embrace it and use it.
‘The great thing about growing up in a house where music is a big factor,’ he continues, ‘was the fact that music being part of your life was a perfectly natural thing.’
Music, it seems, became more than that: it was Greenall’s life. He hoovered up the sounds he heard on John Peel: ‘The Cure, The Smiths, The Orb, African music, Japanese hardcore’. He embraced skateboarding, the music and the fashion – ‘it was an awesome way to grow your own culture’. At university in Leeds, electronic and dance music became everything.
‘It was definitely about wanting to be part of a revolution that I could call my own,’ he recalls. ‘A couple of friends and I clubbed together our student loans and bought equipment to make ambient techno – we were really inspired by Aphex Twin and The Orb and Moby. We were amazed at how fucking easy it was to make ambient techno. It wasn’t easy to make good ambient techno,’ he laughs. ‘But it was easy enough to make techno good enough to get us signed after six months of mucking around at uni.’
The young techno warrior was messianic.
‘I thought the song was dead, the chorus was dead, playing drums and guitar and bass was so old-school and outdated and why would you want to do that? Dylan did that 50 years ago! We should be part of this new revolution, instrumentalism, acid house, rave culture, techno – this stuff is a brave new avant-garde frontier and you should be involved.’
His ardour and his skills saw Greenall become part of the Ninja Tune family – first signed on the back of a cassette-tape demo - as artist, DJ, writer, producer, and remixer.
‘Brilliant times,’ he sighs nostalgically. ‘Sometimes you’d just have to pinch yourself. Then, other times, you wake up in Bratislava on a Tuesday morning and you’re reminded that there is hard work to all of this.’ All that crate-digging wasn’t all it’s cracked up to be either: ‘You can’t be shit!’ Greenall grins. ‘And because of the community that Ninja has worldwide, if you are shit everybody knows about it the next day. Eight years of DJing have given me an obscenely huge record collection. I just cleared out the breaks section – four crates of twelves that were total pony!’
So the wheels of steel started to fall off.
‘It wasn’t until I’d run that right the way through to its natural conclusion – I’m an international DJ on the biggest DJ label in the world – that I thought: I’m kinda over it. And it was actually working with a young artist straight out of school called Amy Winehouse that inspired me to go, “wow, songs are great! Now I get how difficult it is, and how much talent there is involved in this. It’s more of a challenge than clubbing.”’
Greenall melted down his turntables and recast them as a guitar and a stool. Metaphorically speaking. His parents were pleased. ‘My career only made sense to them when I picked up a guitar and started to sing,’ he says. ‘All of a sudden I was doing music, I wasn’t just mucking around. But in my rave days, DJing techno and breaks, they didn’t get that at all. That’s probably why I did it in the first place.
‘But I realised: if your music had songs in it, it had a much greater reach. Not in business terms, but if a singer of, say, Amy’s calibre sings over this beat, it becomes so much bigger than just a beat. I can’t get rid of my clubbing past, not that I’d want to. But the linear nature of some of my music is definitely because of all those years spent clubbing and DJing, when a very simple idea can make the best club record. And it’s the same with songs – I’m after a really simple riff or really simple lyric or melody. And it’s about keeping that beautiful moment going for as long as you can.’
[links_clean] => ) ) ) [1] => Array ( [Event] => Array ( [id] => 10475 [date] => 2012-11-06 [artist] => Cadence Weapon [city] => Washington, DC [state] => [country] => US [venue] => DC9 [promoter] => [description] => [ticket_url] => [image_upload_id] => 3892 [created] => 2012-08-23 10:11:48 [modified] => 2012-08-23 10:11:48 [year_slug] => 2012 [month_slug] => nov [day_slug] => 6 [slug] => cadence-weapon-washington-dc-dc9 [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 3892 [media_type] => image [artist] => Cadence Weapon [title] => Promo Shot (Migrated) [credits] => [buy_link] => [filename] => images/cadence-weapon/cadence-1.jpg [checksum] => d36ba655ef1c770e9d10f9f1c73e9c21 [mime_type] => image/jpeg [size] => 859068 [external_url] => http://media.ninjatune.net/images/cadence-weapon/cadence-1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => cadence-weapon [slug] => promo-shot-migrated-67 [created] => 2010-11-24 03:40:21 [modified] => 2010-11-24 03:40:21 [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] => 72 [name] => Cadence Weapon [description] =>Roland "Rollie" Pemberton aka Cadence Weapon had never released an album, but by age 18 had become an infamous hip-hop reviewer at online indie music mecca Pitchfork, also writing reviews for Stylus and Wired magazines. He launched his own mp3 blog, RazorBladeRunner - now retired - and began remixing artists as a producer and posting his home mixes on his blog, to much critical acclaim. Early in 2005 Cadence Weapon decided to compile some of his favourite remixes and freestyles and released his "Cadence Weapon Is The Black Hand" mixtape, sold only online and at shows. Canadian label Upper Class Recordings signed Mr. Pemberton on the spot. "Breaking Kayfabe"was released in Canada to instant praise and notoriety, culminating in two prized nominations; a Plug Independent Award for Best Rap Album and the Polaris Music Prize (modeled after the Mercury Prize). Anti/Epitaph Records, signed Cadence Weapon for the USA. In conjunction with Cadence's SXSW 2006 performances, Breaking Kayfabe was released in the USA March 13 through Upper Class/Epitaph. Big Dada re-released "Breaking Kayfabe" for the rest of the world and, in 2008, followed it up with "After Party Babies." He released a new album, "Hope In Dirt City" in 2012.
[links] => [image_upload_id] => 3894 [label_id] => 2 [twitter_username] => cadenceweapon [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Cadence Weapon [created] => 2010-07-17 22:15:59 [modified] => 2013-01-09 12:46:55 [slug] => cadence-weapon [fuga_id] => [description_clean] =>Roland "Rollie" Pemberton aka Cadence Weapon had never released an album, but by age 18 had become an infamous hip-hop reviewer at online indie music mecca Pitchfork, also writing reviews for Stylus and Wired magazines. He launched his own mp3 blog, RazorBladeRunner - now retired - and began remixing artists as a producer and posting his home mixes on his blog, to much critical acclaim. Early in 2005 Cadence Weapon decided to compile some of his favourite remixes and freestyles and released his "Cadence Weapon Is The Black Hand" mixtape, sold only online and at shows. Canadian label Upper Class Recordings signed Mr. Pemberton on the spot.
"Breaking Kayfabe"was released in Canada to instant praise and notoriety, culminating in two prized nominations; a Plug Independent Award for Best Rap Album and the Polaris Music Prize (modeled after the Mercury Prize).
Anti/Epitaph Records, signed Cadence Weapon for the USA. In conjunction with Cadence's SXSW 2006 performances, Breaking Kayfabe was released in the USA March 13 through Upper Class/Epitaph. Big Dada re-released "Breaking Kayfabe" for the rest of the world and, in 2008, followed it up with "After Party Babies." He released a new album, "Hope In Dirt City" in 2012.
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“It’s over the top, in a good way,” adds Heavy frontman Kelvin Swaby. “We went pretty cinematic, setting out to score a film that hasn’t been written.” As such, The Glorious Dead proves The Heavy’s most ambitious effort: Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul, it’s unlike anything you’ll hear this year.
The Glorious Dead builds off momentum from The Heavy’s international smash single “How You Like Me Now?,” off acclaimed 2009 album, The House That Dirt Built. “How You Like Me Now?” became the first song David Letterman’s ever requested an encore for when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted – and was even performed by contestant Tony Lucca on NBC’s hit show “The Voice.” “It’s become such a big tune, people ask, ‘How are you going to top that?’,” Swaby says. The Glorious Dead provides the answer with supernatural force. Album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials; “Curse Me Good,” meanwhile, balances sweet whistled hooks and acoustic strum with heartbreaking vocals. “It’s good to have a bit of light and shade,” Taylor explains. As such, the album’s soaring centerpiece “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group backgrounds and epic strings. “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “…Good Man?” proved the album’s breakthrough. Searching for inspiration, The Heavy traveled from their Bath, England hometown to Columbus, Georgia, hooking up with local church-trained singers and players for some Southern Gothic sublimity. Taking the material to yet another level was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs. “He’s such a talent,” Swaby enthuses.
The Glorious Dead also represents the first time The Heavy’s members – which in addition to Taylor and Swaby include Spencer Page (bass) and Chris Ellul (drums) – chose to produce themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing our vision,” Taylor says. “It’s our third record, which is when you’re judged if you’re here to stay, or sliding off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”
[links] => [image_upload_id] => 16903 [label_id] => 5 [twitter_username] => theheavy [instagram_id] => 217232350 [instagram_username] => theheavy [link] => [listed] => 1 [sortname] => Heavy [created] => 2010-07-17 22:15:59 [modified] => 2013-05-03 14:56:03 [slug] => the-heavy [fuga_id] => [description_clean] =>“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on 21 August 2012. “We wanted to make a bold statement – it’s not shy.”
“It’s over the top, in a good way,” adds Heavy frontman Kelvin Swaby. “We went pretty cinematic, setting out to score a film that hasn’t been written.” As such, The Glorious Dead proves The Heavy’s most ambitious effort: Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul, it’s unlike anything you’ll hear this year.
The Glorious Dead builds off momentum from The Heavy’s international smash single “How You Like Me Now?,” off acclaimed 2009 album, The House That Dirt Built. “How You Like Me Now?” became the first song David Letterman’s ever requested an encore for when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted – and was even performed by contestant Tony Lucca on NBC’s hit show “The Voice.” “It’s become such a big tune, people ask, ‘How are you going to top that?’,” Swaby says. The Glorious Dead provides the answer with supernatural force. Album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials; “Curse Me Good,” meanwhile, balances sweet whistled hooks and acoustic strum with heartbreaking vocals. “It’s good to have a bit of light and shade,” Taylor explains. As such, the album’s soaring centerpiece “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group backgrounds and epic strings. “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “…Good Man?” proved the album’s breakthrough. Searching for inspiration, The Heavy traveled from their Bath, England hometown to Columbus, Georgia, hooking up with local church-trained singers and players for some Southern Gothic sublimity. Taking the material to yet another level was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs. “He’s such a talent,” Swaby enthuses.
The Glorious Dead also represents the first time The Heavy’s members – which in addition to Taylor and Swaby include Spencer Page (bass) and Chris Ellul (drums) – chose to produce themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing our vision,” Taylor says. “It’s our third record, which is when you’re judged if you’re here to stay, or sliding off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”
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The Consortium’s emblem – a stylised corporate stick figure with a burning head – was also already in place, created by the graphical smarts of High Priest himself. With it, the team began their assault with an infamous xerox and sticker campaign that landed Priest in jail for vandalism under Giuliani's “increased standard of living regime.” Coupled with the verbal pyrotechnics of their live show, the Consortium gained the favor of both staunch B-boy purists and experimental electronics heads. The backpackers were in awe of the group’s varied and contrasting, quickfire rhyme styles, whereas the techies loved their four man MPC jams.
Dan The Automator signed the group to be the first act on his new imprint, 75 Ark. The result was “Tragic Epilogue,” an album made up of tracks taken from the last mixtape plus some new material. It was swiftly followed by “Shopping Carts Crashing,” released on a Japanese label and exported to fans across the world. But then, in an iconic move, APC signed to UK electronic label, Warp .
The classic “Arrhythmia” followed in 2002 and took APC’s sound to a worldwide audience. To promote it they went out on Radiohead’s world tour and returned to the States to go straight out on a giant DJ Shadow tour. The album was receiving great notices and cemented their status as landmark innovators. But differences over their next creative step, plus the pressures of constant touring all took their toll. “We broke up,” Sayyid explains, “six months after that record was released.”
In 2007 the group re-formed and signed to Big Dada for the release of "Fluorescent Black." The album was once again rapturously received and the group have been touring on and off since.
[links] => [image_upload_id] => 3870 [label_id] => 2 [twitter_username] => antipopny [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Anti-Pop Consortium [created] => 2010-07-17 22:15:58 [modified] => 2013-01-21 14:35:20 [slug] => anti-pop-consortium [fuga_id] => [description_clean] =>Anti-Pop Consortium formed in 1997 when Beans, High Priest, M. Sayyid and producer Earl Blaize met at a poetry slam in New York City. The four of them put out a series of mixtapes (proper cassettes!) on their own Anti-Pop Records and called them “Consortium” volumes 1, 2 and 3. The people who were picking up the tapes began to refer to the coalition behind them as the Anti-Pop Consortium and the group as we now know it was born.
The Consortium’s emblem – a stylised corporate stick figure with a burning head – was also already in place, created by the graphical smarts of High Priest himself. With it, the team began their assault with an infamous xerox and sticker campaign that landed Priest in jail for vandalism under Giuliani's “increased standard of living regime.” Coupled with the verbal pyrotechnics of their live show, the Consortium gained the favor of both staunch B-boy purists and experimental electronics heads. The backpackers were in awe of the group’s varied and contrasting, quickfire rhyme styles, whereas the techies loved their four man MPC jams.
Dan The Automator signed the group to be the first act on his new imprint, 75 Ark. The result was “Tragic Epilogue,” an album made up of tracks taken from the last mixtape plus some new material. It was swiftly followed by “Shopping Carts Crashing,” released on a Japanese label and exported to fans across the world. But then, in an iconic move, APC signed to UK electronic label, Warp .
The classic “Arrhythmia” followed in 2002 and took APC’s sound to a worldwide audience. To promote it they went out on Radiohead’s world tour and returned to the States to go straight out on a giant DJ Shadow tour. The album was receiving great notices and cemented their status as landmark innovators. But differences over their next creative step, plus the pressures of constant touring all took their toll. “We broke up,” Sayyid explains, “six months after that record was released.”
In 2007 the group re-formed and signed to Big Dada for the release of "Fluorescent Black." The album was once again rapturously received and the group have been touring on and off since.
[links_clean] => ) ) ) [4] => Array ( [Event] => Array ( [id] => 10718 [date] => 2012-11-06 [artist] => DJ Kentaro [city] => Melbourne [state] => [country] => AU [venue] => The Espy Hotel [promoter] => [description] => [ticket_url] => http://www.songkick.com/tickets/9696729?u=5906736 [image_upload_id] => 15475 [created] => 2012-11-06 17:08:27 [modified] => 2012-11-06 17:08:27 [year_slug] => 2012 [month_slug] => nov [day_slug] => 6 [slug] => dj-kentaro-melbourne-the-espy-hotel [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 15475 [media_type] => image [artist] => DJ Kentaro [title] => DJ Kentaro - Promo Shot 2011 [credits] => [buy_link] => [filename] => images/dj-kentaro/kentaro-solidsteeltheend2008bymartinlesantosmith.jpg [checksum] => f517ac1df1ad0fb992502fbb68f17a17 [mime_type] => image/jpeg [size] => 1772356 [external_url] => http://media.ninjatune.net/images/dj-kentaro/kentaro-solidsteeltheend2008bymartinlesantosmith.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => dj-kentaro [slug] => dj-kentaro-promo-shot-2011 [created] => 2011-03-10 12:42:07 [modified] => 2011-03-10 12:42:16 [embed] => ) [Country] => Array ( [id] => 238 [name] => Australia [longname] => Australia [numcode] => 36 [iso] => AU [iso3] => AUS [currency] => AUD [active] => 1 [parent_id] => 237 [lft] => 473 [rght] => 474 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 62 [name] => DJ Kentaro [description] =>"DJ Kentaro may be a turntablist - a world-beating turntablist, in fact, having taken the DMC World Championship title in 2002 - but that doesn't mean that only spotty geezers in puffas and baseball caps need to look out for him. Because hip hop and scratching represent merely one side of Kentaro's multi-faceted musical persona." - IDJ Magazine
"More than just a technical DJ, Kentaro is a performer, inciting the crowd into a frenzy while titillating the scratch fetishists. Starting with the Roots and winding up with Pharcyde, Wayne Marshall and Sizzla - with cut and juggle excursions through all the other artists from all over the world, hip-hop, reggae, drumn' bass, house, electro and jungle - he slid easily to a second victory." - Blast Magazine
On September 18th 2002, DJ Kentaro (Kentaro Okamoto) re-tried for the DMC World Championship and claimed the title with the first ever perfect score in DMC World history. Dedicating his winning 6 minute set to his "no walls between the music" ethos, DJ Kentaro finally took 2 gold Technics 1200s and a matching Technics DJ mixer to its home country.
Kentaro's blend of hip-hop, breaks, drum & bass and turntablism is untouchable. He is a mad dexterous surgeon, who slices and dices beats into a breathtaking sonic concoction in his Sendai laboratory and at events all over the world. When Kentaro is behind a set of 1200s and a mixer, he's on stage: sometimes he's shy, sometimes he's sassy, but we've never heard him be anything short of absolutely splendid.
Where some turntablists are content to fill their routines with the same ol' thang, Kentaro uses his awesome technique to move beyond the crab scratch and has catapulted drum 'n' bass and dance music into a realm that nobody else has yet to explore. 'My Favorite Songs' - Kentaro's first ever mix CD - stands as a testament to his pioneering vision of melding the mentality of a battler with the street smarts and savvy of the hip-hop elite.
Lauded for years by hip-hop aficionados, Kentaro has won the respect of Japan's 'Hip Hop Best Artists' (tied winner was Eminem) which explains why revered Japanese labels like Endeavor Entertainment, W + Kennedy Tokyo Lab, Artimage and Jazzysport, Undiluted and Virus have presented him with exclusive tracks you won't be able to hear anywhere else. And let's not forget Kentaro's exclusive turntablist cut ups - mind blowing pastiches that are all ahead of its time. Kentaro is moving at the speed of vox. Sleep on his skills and he's gonna leave you in the dust.
DJ Kentaro, number one DJ in the world, and it's just the beginning...
[links] => [image_upload_id] => 3935 [label_id] => 1 [twitter_username] => DJKENTARO [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => DJ Kentaro [created] => 2010-07-17 22:15:59 [modified] => 2013-01-07 11:19:35 [slug] => dj-kentaro [fuga_id] => [description_clean] =>"DJ Kentaro may be a turntablist - a world-beating turntablist, in fact, having taken the DMC World Championship title in 2002 - but that doesn't mean that only spotty geezers in puffas and baseball caps need to look out for him. Because hip hop and scratching represent merely one side of Kentaro's multi-faceted musical persona." - IDJ Magazine
"More than just a technical DJ, Kentaro is a performer, inciting the crowd into a frenzy while titillating the scratch fetishists. Starting with the Roots and winding up with Pharcyde, Wayne Marshall and Sizzla - with cut and juggle excursions through all the other artists from all over the world, hip-hop, reggae, drumn' bass, house, electro and jungle - he slid easily to a second victory." - Blast Magazine
On September 18th 2002, DJ Kentaro (Kentaro Okamoto) re-tried for the DMC World Championship and claimed the title with the first ever perfect score in DMC World history. Dedicating his winning 6 minute set to his "no walls between the music" ethos, DJ Kentaro finally took 2 gold Technics 1200s and a matching Technics DJ mixer to its home country.
Kentaro's blend of hip-hop, breaks, drum & bass and turntablism is untouchable. He is a mad dexterous surgeon, who slices and dices beats into a breathtaking sonic concoction in his Sendai laboratory and at events all over the world. When Kentaro is behind a set of 1200s and a mixer, he's on stage: sometimes he's shy, sometimes he's sassy, but we've never heard him be anything short of absolutely splendid.
Where some turntablists are content to fill their routines with the same ol' thang, Kentaro uses his awesome technique to move beyond the crab scratch and has catapulted drum 'n' bass and dance music into a realm that nobody else has yet to explore. 'My Favorite Songs' - Kentaro's first ever mix CD - stands as a testament to his pioneering vision of melding the mentality of a battler with the street smarts and savvy of the hip-hop elite.
Lauded for years by hip-hop aficionados, Kentaro has won the respect of Japan's 'Hip Hop Best Artists' (tied winner was Eminem) which explains why revered Japanese labels like Endeavor Entertainment, W + Kennedy Tokyo Lab, Artimage and Jazzysport, Undiluted and Virus have presented him with exclusive tracks you won't be able to hear anywhere else. And let's not forget Kentaro's exclusive turntablist cut ups - mind blowing pastiches that are all ahead of its time. Kentaro is moving at the speed of vox. Sleep on his skills and he's gonna leave you in the dust.
DJ Kentaro, number one DJ in the world, and it's just the beginning...
[links_clean] => ) ) ) )| Artist | Date | City | Venue | Buy |
|---|---|---|---|---|
| Fink | Tuesday, Nov 6th | Paris, FR | Cabaret Sauvage | |
| Cadence Weapon | Tuesday, Nov 6th | Washington, DC, US | DC9 | |
| The Heavy | Tuesday, Nov 6th | Berlin, DE | Frannz Club | Buy |
| Anti-Pop Consortium | Tuesday, Nov 6th | Paris, FR | La Gaite Lyrique | |
| DJ Kentaro | Tuesday, Nov 6th | Melbourne, AU | The Espy Hotel | Buy |