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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] =>

Fink Website

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[image_upload_id] => 19785 [label_id] => 13 [twitter_username] => Finkmusic [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Fink [created] => 2010-07-17 22:15:58 [modified] => 2014-08-11 14:09:15 [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] =>

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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Artist Website

Facebook
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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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Mr. Scruff: DJ, Producer & Cartoonist

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

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

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

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

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

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

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

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

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

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

[links] =>

www.mrscruff.com

Facebook
Twitter
Soundcloud

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

Mr. Scruff: DJ, Producer & Cartoonist

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

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

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

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

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

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

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

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

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

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

[links_clean] =>

www.mrscruff.com

Facebook
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Hardest working man in show business? Trouper? Tireless? However you want to put it, be sure of one thing: When DJ Vadim first heard the phrase "Don't Sleep" he obviously took it literally.

Over the last decade few people can have put so much time and energy into the culture they love. Founder of Jazz Fudge in early 1995, A&R, producer, DJ, promoter, record collector, radio presenter, occasional painter, writer, in-house producer/DJ and cohort of Latin Grammy nominees and Spanish hip hop super group 7 Notas 7 Colorez, Vadim has certainly been keeping himself busy. And that's before we even mention his DJing itself, which has seen him perform in virtually every country in Europe (east and west), all over North America, Australia, New Zealand, Japan, Israel, Turkey, South America and South East Asia (often within one year!). He has also performed with the likes of DJ Krush, Company Flow, The Roots, Pharcyde, Public Enemy, Beat Junkies, Dilated Peoples, Kraftwerk, Ed Rush, Morcheeba and Paul Weller, as well as at events like Glastonbury and the Moscow Street Ball festival (to over 40,000 people!). To describe the man as an internationalist almost seems to sell him short.

In 1992, Vadim Peare bought a sampler and started working on the music that would become 'Abstract Hallucinating Gases' and 'Headz Ain't Ready' (both released on his own label, Jazz Fudge). Later in the year he signed to Ninja Tune and began work on his debut LP, 'USSR Repertoire'. From these early recordings came a remix LP, 'USSR Reconstruction', featuring DJ Krush, Kid Koala, Mark B and Silent Poets, plus various 12"s both for Ninja Tune and Jazz Fudge, and a mixtape and CD with DJ Primecuts (International Turntablist Federation World Champion '99 and Scratch Pervert). In 1999 there was the abstract funk collaboration LP, 'The Isolationist', produced by Vadim, scratched by DJ Primecuts and vocalled by New York avant-rappers Antipop Consortium. Relentless international touring followed with Swollen Members, then Company Flow, then Jazz Fudge, all of which led to the purchase of yet more obscure and dusty vinyls to add to an already burgeoning collection.

This all culminated in his critically-acclaimed last album, 'USSR: Life From The Other Side' in 1999. The record featured Company Flow, the Scratch Perverts, Iriscience (from Dilated Peoples), Blade and many others, and caused quite a storm in USA with the track 'Your Revolution', featuring Sarah Jones. The song was banned by the FCC (USA radio regulators) for explicit and provocative lyrics, despite Jones actually satirising the attitudes and words of the mainstream rap and r&b that could be heard pumping out of the radio every day.

To promote the record, Vadim put together a live group - The Russian Percussion - consisting of Mr Thing (turntables), Killer Kela (beat box), Blu rum 13 (MC), John Ellis (keyboards) and himself. They notched up a mere 200 shows in about 24 countries including most of Europe and North America.

Feeling tired yet? Hang on in there. Vadim has also presented radio shows for the BBC, including the Sony Award-nominated programme 'Around The World In Eight Relays'. He has toured with Sarah Jones, Killer Kela and as support and collaborator for Super Furry Animals. Oh, and he went to Latin America with the aformentioned 7 Notas 7 Colores and, and, and...

We'll stop now. Our guess is that the average human mind would actually struggle to take in everything that DJ Vadim has done in the last ten years, let alone do it. There really is only one way to revive yourself now - reach forward, slip 'USSR - The Art Of Listening' into your cd player and soak it all up. It is, after all, where he gets his energy from. And where he's putting it, too...

[links] =>

www.djvadim.com

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Hardest working man in show business? Trouper? Tireless? However you want to put it, be sure of one thing: When DJ Vadim first heard the phrase "Don't Sleep" he obviously took it literally.

Over the last decade few people can have put so much time and energy into the culture they love. Founder of Jazz Fudge in early 1995, A&R, producer, DJ, promoter, record collector, radio presenter, occasional painter, writer, in-house producer/DJ and cohort of Latin Grammy nominees and Spanish hip hop super group 7 Notas 7 Colorez, Vadim has certainly been keeping himself busy. And that's before we even mention his DJing itself, which has seen him perform in virtually every country in Europe (east and west), all over North America, Australia, New Zealand, Japan, Israel, Turkey, South America and South East Asia (often within one year!). He has also performed with the likes of DJ Krush, Company Flow, The Roots, Pharcyde, Public Enemy, Beat Junkies, Dilated Peoples, Kraftwerk, Ed Rush, Morcheeba and Paul Weller, as well as at events like Glastonbury and the Moscow Street Ball festival (to over 40,000 people!). To describe the man as an internationalist almost seems to sell him short.

In 1992, Vadim Peare bought a sampler and started working on the music that would become 'Abstract Hallucinating Gases' and 'Headz Ain't Ready' (both released on his own label, Jazz Fudge). Later in the year he signed to Ninja Tune and began work on his debut LP, 'USSR Repertoire'. From these early recordings came a remix LP, 'USSR Reconstruction', featuring DJ Krush, Kid Koala, Mark B and Silent Poets, plus various 12"s both for Ninja Tune and Jazz Fudge, and a mixtape and CD with DJ Primecuts (International Turntablist Federation World Champion '99 and Scratch Pervert). In 1999 there was the abstract funk collaboration LP, 'The Isolationist', produced by Vadim, scratched by DJ Primecuts and vocalled by New York avant-rappers Antipop Consortium. Relentless international touring followed with Swollen Members, then Company Flow, then Jazz Fudge, all of which led to the purchase of yet more obscure and dusty vinyls to add to an already burgeoning collection.

This all culminated in his critically-acclaimed last album, 'USSR: Life From The Other Side' in 1999. The record featured Company Flow, the Scratch Perverts, Iriscience (from Dilated Peoples), Blade and many others, and caused quite a storm in USA with the track 'Your Revolution', featuring Sarah Jones. The song was banned by the FCC (USA radio regulators) for explicit and provocative lyrics, despite Jones actually satirising the attitudes and words of the mainstream rap and r&b that could be heard pumping out of the radio every day.

To promote the record, Vadim put together a live group - The Russian Percussion - consisting of Mr Thing (turntables), Killer Kela (beat box), Blu rum 13 (MC), John Ellis (keyboards) and himself. They notched up a mere 200 shows in about 24 countries including most of Europe and North America.

Feeling tired yet? Hang on in there. Vadim has also presented radio shows for the BBC, including the Sony Award-nominated programme 'Around The World In Eight Relays'. He has toured with Sarah Jones, Killer Kela and as support and collaborator for Super Furry Animals. Oh, and he went to Latin America with the aformentioned 7 Notas 7 Colores and, and, and...

We'll stop now. Our guess is that the average human mind would actually struggle to take in everything that DJ Vadim has done in the last ten years, let alone do it. There really is only one way to revive yourself now - reach forward, slip 'USSR - The Art Of Listening' into your cd player and soak it all up. It is, after all, where he gets his energy from. And where he's putting it, too...

[links_clean] =>

www.djvadim.com

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Twitter
Soundcloud

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Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.

In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.

While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.

Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.

In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...

Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.

In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.

[links] =>

www.kidkoala.com

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[image_upload_id] => 4006 [label_id] => 1 [twitter_username] => kidkoala [instagram_id] => 209219810 [instagram_username] => realkidkoala [link] => [listed] => 1 [sortname] => Kid Koala [created] => 2010-07-17 22:15:58 [modified] => 2013-05-03 14:51:56 [slug] => kid-koala [fuga_id] => [description_clean] =>

Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.

In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.

While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.

Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.

In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...

Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.

In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.

[links_clean] =>

www.kidkoala.com

Facebook
Twitter
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“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

[links] =>

www.theheavy.co.uk

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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] => 2014-08-14 10:46:22 [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 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

[links_clean] =>

www.theheavy.co.uk

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[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. ) ) ) [6] => Array ( [Event] => Array ( [id] => 10698 [date] => 2012-11-08 [artist] => Slugabed [city] => Besançon [state] => [country] => FR [venue] => La Rodia [promoter] => [description] =>

Facebook Event link https://www.facebook.com/events/170588989745441/

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Facebook Event link https://www.facebook.com/events/170588989745441/

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Blending influences both classic and contemporary, from the outermost reaches of dubstep, hip hop and beyond, Slugabed has received unanimous praise for his debut album 'Time Time, released on the Ninja Tune label in May 2012.

Under his Slugabed alias, 23 year-old Greg Feldwick creates music which is at once complex, deep, thoughtful and above all distinctive. It channels the energy of the best of today's bass music, through spacey bleeps and meditative melodies to explore the outermost reaches of electronic music making today.

Originally hailing from Bath, UK, Feldwick relocated to Brighton in 2008, where he played an instrumental role in the success of local club night Donky Pitch for which he still holds a residency. The first rumblings of appreciation from his peers came at this time, from Slugabed’s initial pool of 12-inches. Releases for the Ramp Recordings and Stuff Records labels were the first introduction for many to his work, with both demonstrating his ability to combine intelligent and original production skills with serious dancefloor appeal.

Strong club and radio support followed from a wide range of respected DJs including Mary Anne Hobbs, Mark Pritchard, Benji B, Laurent Garnier and Surgeon as well as Tom Ravenscroft and Huw Stevens on BBC Radio 1.

With an already impressive catalogue of official remixes for the likes of Starkey, Eprom and Kelpe under his belt, he also created his own unofficial version of Pharoah Monch’s classic ‘Simon Says’ which devastated dancefloors worldwide. However, it was arguably his ‘Ultra Heat Treated’ EP, released in 2009 on the Planet Mu label, that propelled Slugabed into the spotlight, winning him new support and glowing reviews across the board, as well as interest from some of the best cutting-edge record labels around.

Partly as a result of this interest he was offered a chance to remix Roots Manuva’s all-time great “Witness (1Hope)” for Ninja Tune’s twentieth anniversary boxset. The result was one of the stand-outs of that mammoth collection, and made him one of only a handful of producers to successfully remix that classic cut. In fact, Roots Manuva himself liked it so much that he personally requested the instrumental so that he could use it in his live set. Almost inevitably, the album deal with Ninja Tune followed shortly after.

Since then, things have really taken off for Feldwick. He has played at the legendary Berghain club in Berlin as part of Scuba’s SUB:STANCE night, toured the USA, Australia and Asia, and remixed both Eskmo and Stateless for his new home label, as well as supplying another remix for the mighty Roots Manuva's 'Get The Get' single.

Funny, clever, referential, sometimes moving and never anything but completely himself, Slugabed is a substantial new presence in UK bass music.

With an ongoing touring schedule throughout Europe and the world, 2 new singles planned, and work on his second LP underway, things look set to stay busy for Slugabed into 2013 and beyond.

[links] =>

www.slugabed.net

Facebook
Twitter
Soundcloud

[image_upload_id] => 16726 [label_id] => 1 [twitter_username] => slugabedmusic [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Slugabed [created] => 2011-02-17 16:40:58 [modified] => 2014-08-20 11:02:40 [slug] => slugabed [fuga_id] => [description_clean] =>

Blending influences both classic and contemporary, from the outermost reaches of dubstep, hip hop and beyond, Slugabed has received unanimous praise for his debut album 'Time Time, released on the Ninja Tune label in May 2012.

Under his Slugabed alias, 23 year-old Greg Feldwick creates music which is at once complex, deep, thoughtful and above all distinctive. It channels the energy of the best of today's bass music, through spacey bleeps and meditative melodies to explore the outermost reaches of electronic music making today.

Originally hailing from Bath, UK, Feldwick relocated to Brighton in 2008, where he played an instrumental role in the success of local club night Donky Pitch for which he still holds a residency. The first rumblings of appreciation from his peers came at this time, from Slugabed’s initial pool of 12-inches. Releases for the Ramp Recordings and Stuff Records labels were the first introduction for many to his work, with both demonstrating his ability to combine intelligent and original production skills with serious dancefloor appeal.

Strong club and radio support followed from a wide range of respected DJs including Mary Anne Hobbs, Mark Pritchard, Benji B, Laurent Garnier and Surgeon as well as Tom Ravenscroft and Huw Stevens on BBC Radio 1.

With an already impressive catalogue of official remixes for the likes of Starkey, Eprom and Kelpe under his belt, he also created his own unofficial version of Pharoah Monch’s classic ‘Simon Says’ which devastated dancefloors worldwide. However, it was arguably his ‘Ultra Heat Treated’ EP, released in 2009 on the Planet Mu label, that propelled Slugabed into the spotlight, winning him new support and glowing reviews across the board, as well as interest from some of the best cutting-edge record labels around.

Partly as a result of this interest he was offered a chance to remix Roots Manuva’s all-time great “Witness (1Hope)” for Ninja Tune’s twentieth anniversary boxset. The result was one of the stand-outs of that mammoth collection, and made him one of only a handful of producers to successfully remix that classic cut. In fact, Roots Manuva himself liked it so much that he personally requested the instrumental so that he could use it in his live set. Almost inevitably, the album deal with Ninja Tune followed shortly after.

Since then, things have really taken off for Feldwick. He has played at the legendary Berghain club in Berlin as part of Scuba’s SUB:STANCE night, toured the USA, Australia and Asia, and remixed both Eskmo and Stateless for his new home label, as well as supplying another remix for the mighty Roots Manuva's 'Get The Get' single.

Funny, clever, referential, sometimes moving and never anything but completely himself, Slugabed is a substantial new presence in UK bass music.

With an ongoing touring schedule throughout Europe and the world, 2 new singles planned, and work on his second LP underway, things look set to stay busy for Slugabed into 2013 and beyond.

[links_clean] =>

www.slugabed.net

Facebook
Twitter
Soundcloud

[counter_player] => [counter_biog] => ) ) ) )
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