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Fink @ Cabaret Sauvage, Paris.

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Fink @ Cabaret Sauvage, Paris.

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Hard Believer is the new studio album by FINK: Fin Greenall on vocals/guitar, alongside bandmates Tim Thornton on drums/guitar, and Guy Whittaker on bass. It will be their first release on the R’COUP’D imprint, a label newly created by Greenall with the backing of the Ninja Tune team. Urban, bluesy, and alive, Hard Believer is inspired by life’s twists and turns, channelling hard-won triumphs and bittersweet experiences. It is a masterful collection of songs from an artist at the peak of his creative powers.

“We wanted to go deeper this time, and be more ambitious with the music,” Fin explains, “to move the sound forward without losing touch of where we’re from.” Recorded in seventeen days at Hollywood’s legendary Sound Factory studiosHard Believer is shot through with rawness and controlled aggression; an album replete with calm beginnings seguing into powerfully hypnotic loops and climactic finales.“It’s performance-oriented rather than track-oriented,” Fin says. “We recorded a lot of the vocals at the same time as the acoustic guitars so they aren’t always perfectly synchronised. But we like that honesty in our recordings.”

With Thornton and Whittaker now as trusted co-writers, work on the new songs began after the Perfect Darkness/Wheels tour finished in India in late 2012, continuing on subsequent trips to LA (where Greenall also wrote tracks for the William H Macy movie Rudderless, and with John Legend for the 12 Years a Slave soundtrack album). After a year of intensive writing sessions in Amsterdam, Brighton and London, the band journeyed to California to reunite with producer Billy Bush (Garbage, Beck, Foster the People). Other contributors to the album include Dutch jazz pianist Ruben Hein, with strings courtesy of Matt Kelly and Andrew Phillips.

The new album presents ten brand new songs, including the mighty “Shakespeare”, a tale of young love gone tragically sour as the mood darkens from acoustic to guttural rock; the spiky yet delicate “Looking Too Closely”, riding an irresistible piano-and-guitar groove; “Green And The Blue”, on which a vulnerable Greenall meditates on the constants in life that see you through tough times; “Two Days Later”, a deeply personal lament and one of only two songs that start and remain down-tempo; and the breathtaking “Pilgrim”, the latest collaboration with songwriter Blair Mackichan, co-writer of “This Is The Thing” from Fink’s 2007 Distance and Time, and “Honesty” from 2011’s Perfect Darkness.

Hard Believer continues the bold expansion of folk’s parameters begun by its predecessor, Perfect Darkness: “A delight… you don’t want it to end,” glowed a Guardian review, and at times on the epic 18-month tour that followed, it felt as if it never would. Such was the global popularity of the album that it also spawned not one, but two live records: 2012’s Wheels Turn Beneath My Feet, and 2013’s Fink Meets the Royal Concertgebouw Orchestra, which repurposed the songs as rolling mini-symphonies with one of the greatest symphony orchestras in the world. The campaign concluded with the release of final single “Warm Shadow,” accompanied by a cover of the song from Justin Vernon and Colin Stetson of Bon Iver.

Greenall has always been a guitarist; self-taught at a young age, it was a quiet and personal gift he kept largely to himself. He began creating trip-hop music in college, leading to his first purely electronic album Fresh Produce, released on Ninja Tune’s N-Tone label in 2000. It was six “long-assed” and “brutal” years of DJing before his next record, 2006’s Biscuits for Breakfast, unveiled the radical new singer-songwriter direction. Greenall had initially envisaged only a partial transition from the world of electronica, but it was Ninja Tune who insisted he either commit fully to the shift from behind the decks, or not at all. “Their encouragement helped me make one of the most important decisions of my career,” he admits.

Another big influence on the transition was producing and co-writing tracks for others from his basement studio; among them the actor Michael Pitt, and a teenage Amy Winehouse. “She blew my mind,” Greenall says. “At the time, if you didn’t look like one of Girls Aloud it was game over. Amy reminded us that it’s what you sound like and have to say, that counts.” One of their collaborations, “Half Time”, produced by Salaam Remi, can be heard on her posthumous collection Lioness: Hidden Treasures.

Much like Fink albums of the past, Hard Believer covers wide ground. Musically it explores folk, electronica, blues, and rock. But it’s the songwriting that really propels Fink into a new space: a serious evolution that should see him regarded as one of the UK’s great modern-day songwriters. “The term ‘Hard Believer’ comes from deep-south Americana; it means somebody who is difficult to persuade, who requires proof.” In truth, all anyone has to do here is listen to the powerful collection of songs on Hard Believer. The belief will surely follow.

[links] =>

Fink Website

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Twitter
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Hard Believer is the new studio album by FINK: Fin Greenall on vocals/guitar, alongside bandmates Tim Thornton on drums/guitar, and Guy Whittaker on bass. It will be their first release on the R’COUP’D imprint, a label newly created by Greenall with the backing of the Ninja Tune team. Urban, bluesy, and alive, Hard Believer is inspired by life’s twists and turns, channelling hard-won triumphs and bittersweet experiences. It is a masterful collection of songs from an artist at the peak of his creative powers.

“We wanted to go deeper this time, and be more ambitious with the music,” Fin explains, “to move the sound forward without losing touch of where we’re from.” Recorded in seventeen days at Hollywood’s legendary Sound Factory studiosHard Believer is shot through with rawness and controlled aggression; an album replete with calm beginnings seguing into powerfully hypnotic loops and climactic finales.“It’s performance-oriented rather than track-oriented,” Fin says. “We recorded a lot of the vocals at the same time as the acoustic guitars so they aren’t always perfectly synchronised. But we like that honesty in our recordings.”

With Thornton and Whittaker now as trusted co-writers, work on the new songs began after the Perfect Darkness/Wheels tour finished in India in late 2012, continuing on subsequent trips to LA (where Greenall also wrote tracks for the William H Macy movie Rudderless, and with John Legend for the 12 Years a Slave soundtrack album). After a year of intensive writing sessions in Amsterdam, Brighton and London, the band journeyed to California to reunite with producer Billy Bush (Garbage, Beck, Foster the People). Other contributors to the album include Dutch jazz pianist Ruben Hein, with strings courtesy of Matt Kelly and Andrew Phillips.

The new album presents ten brand new songs, including the mighty “Shakespeare”, a tale of young love gone tragically sour as the mood darkens from acoustic to guttural rock; the spiky yet delicate “Looking Too Closely”, riding an irresistible piano-and-guitar groove; “Green And The Blue”, on which a vulnerable Greenall meditates on the constants in life that see you through tough times; “Two Days Later”, a deeply personal lament and one of only two songs that start and remain down-tempo; and the breathtaking “Pilgrim”, the latest collaboration with songwriter Blair Mackichan, co-writer of “This Is The Thing” from Fink’s 2007 Distance and Time, and “Honesty” from 2011’s Perfect Darkness.

Hard Believer continues the bold expansion of folk’s parameters begun by its predecessor, Perfect Darkness: “A delight… you don’t want it to end,” glowed a Guardian review, and at times on the epic 18-month tour that followed, it felt as if it never would. Such was the global popularity of the album that it also spawned not one, but two live records: 2012’s Wheels Turn Beneath My Feet, and 2013’s Fink Meets the Royal Concertgebouw Orchestra, which repurposed the songs as rolling mini-symphonies with one of the greatest symphony orchestras in the world. The campaign concluded with the release of final single “Warm Shadow,” accompanied by a cover of the song from Justin Vernon and Colin Stetson of Bon Iver.

Greenall has always been a guitarist; self-taught at a young age, it was a quiet and personal gift he kept largely to himself. He began creating trip-hop music in college, leading to his first purely electronic album Fresh Produce, released on Ninja Tune’s N-Tone label in 2000. It was six “long-assed” and “brutal” years of DJing before his next record, 2006’s Biscuits for Breakfast, unveiled the radical new singer-songwriter direction. Greenall had initially envisaged only a partial transition from the world of electronica, but it was Ninja Tune who insisted he either commit fully to the shift from behind the decks, or not at all. “Their encouragement helped me make one of the most important decisions of my career,” he admits.

Another big influence on the transition was producing and co-writing tracks for others from his basement studio; among them the actor Michael Pitt, and a teenage Amy Winehouse. “She blew my mind,” Greenall says. “At the time, if you didn’t look like one of Girls Aloud it was game over. Amy reminded us that it’s what you sound like and have to say, that counts.” One of their collaborations, “Half Time”, produced by Salaam Remi, can be heard on her posthumous collection Lioness: Hidden Treasures.

Much like Fink albums of the past, Hard Believer covers wide ground. Musically it explores folk, electronica, blues, and rock. But it’s the songwriting that really propels Fink into a new space: a serious evolution that should see him regarded as one of the UK’s great modern-day songwriters. “The term ‘Hard Believer’ comes from deep-south Americana; it means somebody who is difficult to persuade, who requires proof.” In truth, all anyone has to do here is listen to the powerful collection of songs on Hard Believer. The belief will surely follow.

[links_clean] =>

Fink Website

Facebook
Twitter
Soundcloud

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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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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_clean] =>

Artist Website

Facebook
Twitter
SoundCloud

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The Heavy are the music industry’s worst kept secret. They make blazing, urgent, infectious rock-soul with a strong dose of hip-hop. You’ve heard their songs in a lot of different places, and it’s likely that you loved them.

Forming in the fertile swamps of England’s West Country in the mid-naughties, around the axis of Dan Taylor (guitarist and songwriter) and Kelvin Swaby (vocalist and songwriter,) the Heavy immediately astounded. Jaw dropping, freshly minted riffs, swinging hip-hop drums, funk-ridden bass and Swaby’s startling, Mayfield-esque vocals meant early singles ‘That Kind of Man’ and ‘Colleen’ blew minds and won hearts. The debut album they were taken from – ‘Great Vengeance and Furious Fire’ – became an instant connoisseurs’ classic.

It was their sophomore album, though, that saw them blasting into homes across the globe. ‘The House that Dirt Built’ was everything a second album should be: a deeper, richer progression from the band’s early work. It also yielded the mighty ‘How You Like Me Now?’ The single was licensed for a major commercial in the 3rd Quarter of the Superbowl (the biggest ad slot in the world) and quite simply went stratospheric.

A heady mix of impassioned, incandescent vocal, gargantuan riff and boom-bap drums, it also happened to conjure up a triumph-in-adversity sentiment that struck a chord across the globe. The song went on to become the first for which David Letterman ever requested an encore, when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and Mark Wahlberg’s hit comedy ‘Ted.’

“It became such a big tune, that people asked, ‘How are you going to top that?’.” Swaby says.

The answer was 2012’s ‘The Glorious Dead,’ the band’s third album. Searching for inspiration, The Heavy – which in addition to Taylor and Swaby includes Spencer Page (bass) and Chris Ellul (drums) – travelled from their Bath, England hometown to Columbus, Georgia. There, they hooked up with local gospel singers and musicians for some Southern Gothic sublimity.

The final magic ingredient in the mix was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs.

Even deeper, a touch darker, and with shades of Southern Gothic infesting the swampy rock n’ soul of previous records, the album was another giant step forward, Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul.

Lead single ‘What Makes a Good Man?’ showed that The Heavy were able to write brilliant singles time after time, with synchs snowing in once again, and American radio coming on board. The band toured the world exhaustively, wowing audiences with their transcendental live performances.

“It was 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.”

“It’s good to have a bit of light and shade,” Taylor adds.

Since then, The Heavy has gone on to achieve storming success in Japan, playing Fuji Rock, chalking up a #1 alternative album on iTunes Japan, scoring a major Pepsi synch and playing Japan’s biggest breakfast TV show, ‘Sukkiri.’

Their music was used in the stunning Guiness Sapeurs ad, they played Glastonbury, sold out Shepherd’s Bush Empire and re-recorded How You Like Me Now? with none other than 50 Cent, to launch ESPN’s coverage of the NFL Draft Week.

To top it all, How You Like Me Now? reached Gold status in the United States – a stunning achievement for an English, independent artist. How to top all that, you might ask? Well, there’s a new album on the way, and The Heavy just happen to have a habit of exceeding themselves…

[links] =>

www.theheavy.co.uk

Facebook
Twitter
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[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] => 2015-01-09 12:48:28 [slug] => the-heavy [fuga_id] => [description_clean] =>

The Heavy are the music industry’s worst kept secret. They make blazing, urgent, infectious rock-soul with a strong dose of hip-hop. You’ve heard their songs in a lot of different places, and it’s likely that you loved them.

Forming in the fertile swamps of England’s West Country in the mid-naughties, around the axis of Dan Taylor (guitarist and songwriter) and Kelvin Swaby (vocalist and songwriter,) the Heavy immediately astounded. Jaw dropping, freshly minted riffs, swinging hip-hop drums, funk-ridden bass and Swaby’s startling, Mayfield-esque vocals meant early singles ‘That Kind of Man’ and ‘Colleen’ blew minds and won hearts. The debut album they were taken from – ‘Great Vengeance and Furious Fire’ – became an instant connoisseurs’ classic.

It was their sophomore album, though, that saw them blasting into homes across the globe. ‘The House that Dirt Built’ was everything a second album should be: a deeper, richer progression from the band’s early work. It also yielded the mighty ‘How You Like Me Now?’ The single was licensed for a major commercial in the 3rd Quarter of the Superbowl (the biggest ad slot in the world) and quite simply went stratospheric.

A heady mix of impassioned, incandescent vocal, gargantuan riff and boom-bap drums, it also happened to conjure up a triumph-in-adversity sentiment that struck a chord across the globe. The song went on to become the first for which David Letterman ever requested an encore, when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and Mark Wahlberg’s hit comedy ‘Ted.’

“It became such a big tune, that people asked, ‘How are you going to top that?’.” Swaby says.

The answer was 2012’s ‘The Glorious Dead,’ the band’s third album. Searching for inspiration, The Heavy – which in addition to Taylor and Swaby includes Spencer Page (bass) and Chris Ellul (drums) – travelled from their Bath, England hometown to Columbus, Georgia. There, they hooked up with local gospel singers and musicians for some Southern Gothic sublimity.

The final magic ingredient in the mix was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs.

Even deeper, a touch darker, and with shades of Southern Gothic infesting the swampy rock n’ soul of previous records, the album was another giant step forward, Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul.

Lead single ‘What Makes a Good Man?’ showed that The Heavy were able to write brilliant singles time after time, with synchs snowing in once again, and American radio coming on board. The band toured the world exhaustively, wowing audiences with their transcendental live performances.

“It was 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.”

“It’s good to have a bit of light and shade,” Taylor adds.

Since then, The Heavy has gone on to achieve storming success in Japan, playing Fuji Rock, chalking up a #1 alternative album on iTunes Japan, scoring a major Pepsi synch and playing Japan’s biggest breakfast TV show, ‘Sukkiri.’

Their music was used in the stunning Guiness Sapeurs ad, they played Glastonbury, sold out Shepherd’s Bush Empire and re-recorded How You Like Me Now? with none other than 50 Cent, to launch ESPN’s coverage of the NFL Draft Week.

To top it all, How You Like Me Now? reached Gold status in the United States – a stunning achievement for an English, independent artist. How to top all that, you might ask? Well, there’s a new album on the way, and The Heavy just happen to have a habit of exceeding themselves…

[links_clean] =>

www.theheavy.co.uk

Facebook
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Soundcloud

[counter_player] => [counter_biog] => “What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious album, The Glorious Dead. “We wanted to make a bold statement – it’s not shy, but a beast unto itself." "It’s over the top, but in a good way," adds charismatic Heavy frontman Kelvin Swaby. "With this record, we went pretty cinematic: we basically set out to score a film that hasn’t been written." Indeed, The Glorious Dead proves singular: Frankensteining everything from swampy voodoo and b-movie zombies with garage-rock guitars and Gospel-soaked soul, it becomes a whole other creature feature unlike anything else you’ll hear this year. The Glorious Dead isn’t just The Heavy’s third full-length: it’s also the group’s most ambitious effort, traveling sonically from the group’s South England home to America’s deep South, and beyond. It’s also building off momentum from The Heavy’s greatest success, the international smash single “How You Like Me Now?,” off the band’s acclaimed previous album, 2009’s The House That Dirt Built. An infectious anthem of hard-rocking maximum R&B, “How You Like Me Now?” exploded upon release: it became the first song David Letterman’s ever requested an encore for when The Heavy played it on his “Late Show,” and has appeared everywhere from “Entourage” episodes, Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted. “How You Like Me Now?” continues to enthrall: on the recent climax of the 2012 season of NBC’s hit show “The Voice,” Adam Levine’s team contestant Tony Lucca performed the song to massive acclaim. “That was surreal,” says Taylor. “It’s taken on legs of its own. I can’t complain, but I wouldn’t want to be known for one song – it’s not our peak.” “It’s such a big tune, people ask, ‘How are you going to top that?’,” Swaby adds. “But we’re not going to lie down and play dead.” As such, The Glorious Dead rockets out of the grave with supernatural force. Alternately haunting and relentless, album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials. It’s followed by “Curse Me Good,” which provides a jarring contrast with its sweet whistled hook, George Harrison-meets-T.Rex acoustic strum, and a heartbreaking soul vocal from Swaby. “It’s good to have a bit of light and shade amid the onslaught of heavy guitars,” Taylor explains. “I find we’re always trying to recreate the diversity of, say, The White Album, but with beats.” Likewise, “Big Bad Wolf” combines primal howling à la Screamin’ Jay Hawkins, funkdafied breakbeats, and eerie electronics that recall Luniz’ stoned rap classic “I Got 5 On It.” “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “It’s integral to make everything sound like samples from our record collection, but with a modern edge. We’re not afraid to use technology, and everything needs to have that tight, heavyweight bottom end.” Epitomizing this all-inclusive strategy is The Glorious Dead’s centerpiece breakthrough track, “What Makes A Good Man?” Defiant yet uplifting, “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group call-and-response vocals and soaring, epic strings. Its creation provided the spark that would prove crucial to the album’s inception. Looking to soak up some Southern Gothic inspiration, The Heavy traveled far from their hometown near Bath, England all the way to Columbus, Georgia on the advice of their U.S. tour-bus driver, Sam Phillips. There, Phillips hooked the group up with a number of church-trained singers and players: they would take Swaby and Taylor’s song ideas to another realm, like singer/keyboardist Lloyd Buchanan’s intense contribution to “…Good Man?” “We had the beat and the chorus for ‘Good Man,’ and when Lloyd started jamming on the B-3 and singing on it, I was like, ‘This is going to be insane,’” Swaby says. “The Gospel singers started doing the chorus they already knew they song – they made it sound like the Supremes or Ronettes. It was an incredible feeling: after that, we were on our merry way.” Taking the material to yet another level was the contribution of Gabriel “Bosco Mann” Roth, Daptone Records co-founder and bandleader of Sharon Jones & the Dap-Kings, with whom The Heavy had toured extensively. Roth ended up scoring innovative string and horn parts to four of The Glorious Dead’s ten songs. “It doesn’t sound like what Gabriel does with the Dap-Kings,” Taylor says. “He got into the mindset to do something different.” “He’s such a talented entity,” Swaby continues. “I couldn’t believe what was coming out of the speakers. It was so fitting, with this vintage sound, and amazing beauty. It reminded me of these black-and-white films I used to watch as a kid.” Film loomed as large an influence on The Glorious Dead as music. As key inspirations, Taylor cites the tweaked Americana of Jim Jarmusch’s Down By Law and the voodoo vibes of the James Bond classic Live and Let Die alongside ‘60s Mod rave-ups and the atmospheric Brit multiculturalism of Fun Boy Three and The Specials; Swaby, meanwhile, explored low-budget horror flicks alongside the controlled screaming of garage-rockers The Sonics, Tom Waits’ elastic growl, and soul giants Al Green and Otis Redding. Starting in January 2011, Taylor, Swaby, and bandmates Spencer Page (bass) and Chris Ellul (drums) began combining these ingredients into their own idiosyncratic blend – a process launched by The Heavy building their own studio and choosing to produce The Glorious Dead 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 the vision we had,” Taylor says. “Your third record is judged as to whether you’re there to stay, or slide 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.” The Glorious Dead spawned the mighty lead single 'What Makes a Good Man?' a funk-ridden, soul-wrenching study of a deep spiritual question. What Makes A Good Man? has been featured in trailers for HBO, Lawless, Borderlands 2 and Elementary, and the band gave TV performances on The Late Show with David Letterman, Last Call With Carson Daly and The Late Late Show With Craig Ferguson. Since the dawn of 'The Glorious Dead,' The Heavy have done anything other than rest on their laurels. 2013 has seen them reprise their smash hit 'How You Like Me Now?' for ESPN's Draft Week. The song was reworked to feature a guest verse from none other than 50 Cent, who happily enveloped himself in The Heavy's swamp-funk, and even performed in a brand new video. Since then, the song has gone on to reach Gold status in the USA, a stunning success from a British band on a label as independent as they are. The Heavy came back to the US to perform at Spike TV's Guys Choice Awards as the house band in June 2013. Touring in 2013 has so far been a SOLD OUT UK Tour, an EU Tour in May, plus USA and Canadian dates in June and August, with another EU/UK Tour booked for the end of the year. Festival highlights this summer include Ottawa Jazz Festival, Rock-A-Field in Luxembourg, Hove in Norway, T In The Park in Scotland, Glastonbury and WOMAD in England, Osheaga in Montreal, Outside Lands in San Francisco and Afropunk in New York. To date, this true original of a band have sold 750,000 singles and over 150,000 albums. Long live The Heavy. 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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. 

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[image_upload_id] => 3870 [label_id] => 2 [twitter_username] => antipopny [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Anti-Pop Consortium [created] => 2010-07-17 22:15:58 [modified] => 2014-03-06 10:12:48 [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. 

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"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...

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[image_upload_id] => 3935 [label_id] => 1 [twitter_username] => DJKENTARO [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => DJ Kentaro [created] => 2010-07-17 22:15:59 [modified] => 2014-03-06 10:14:18 [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] =>

www.djkentaro.jp

Facebook
Twitter
Soundcloud

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DJ Kentaro Tuesday, Nov 6th Melbourne, AU The Espy Hotel Buy
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