Fink @ Komplex 457
[ticket_url] => [image_upload_id] => 15102 [created] => 2012-06-06 14:24:26 [modified] => 2012-06-06 14:24:26 [year_slug] => 2012 [month_slug] => nov [day_slug] => 10 [slug] => fink-zurich-komplex-457 [description_clean] =>Fink @ Komplex 457
[products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 15102 [media_type] => image [artist] => Fink [title] => Fink Artist Press Shot 2010 [credits] => [buy_link] => [filename] => images/fink/fink-artistpress-72dpi.jpg [checksum] => 5351e0e8130b7122c12a4d3ae4134162 [mime_type] => image/jpeg [size] => 365184 [external_url] => http://media.ninjatune.net/images/fink/fink-artistpress-72dpi.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => fink [slug] => fink-artist-press-shot-2010 [created] => 2011-01-18 12:34:08 [modified] => 2011-01-18 12:34:08 [embed] => ) [Country] => Array ( [id] => 235 [name] => Switzerland [longname] => Switzerland [numcode] => 756 [iso] => CH [iso3] => CHE [currency] => CHF [active] => 1 [parent_id] => 226 [lft] => 467 [rght] => 468 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 4 [name] => Fink [description] =>Fin Greenall, who is the voice and heart behind Fink, often gets mistaken for other people.
At the BMI Awards in the US, a ‘roomful of gangstas and playas’ were convinced the Cornwall-born, Bristol-raised Englishman was a lawyer, and not a songwriter picking up an ‘American Urban’ gong – one of three BMIs he received for his work with John Legend on the soul singer’s Evolver album.
In Berlin, clubbing capital of the world, they think he helps run a small minimal techno label. In certain London circles he’s known as the hardworking insider whose past roles at DefJam, Sony Music, Talkin’ Loud, and Source saw him work with a range of artists longer than the horizon. At the BBC, they imagine Fink as perhaps the only musician who has played both the Electric Proms and the actual Proms (was that really the same guy leading a 120-piece orchestra at the Royal Albert Hall in an ‘immense’ cover of Roy Ayers’ Everybody Loves The Sunshine?).
In record company circles, he’s the producer who worked on the first demos by Amy Winehouse and the writer who’s been crafting hooks for Professor Green. In big-room booths around the world, he’s the internationally-renowned DJ and Ninja Tune stalwart who finally hung up his Sennheisers with a valedictory set at London’s Fabric in 2003. ‘My skillset just seemed so old compared to these guys that could DJ for six hours without one high-hat out of place using Ableton or something,’ he notes admiringly.
Who is Fin Greenall? All of the above.
Yes, the now-Brighton-based musician acknowledges, he has done – does do – all of those things. ‘But none of that is as important as how I feel when I write songs like "Fear is Like Fire" and "Perfect Darkness". The Fink thing is my main thing.’
As a kid, the one thing of his dad’s that Fin Greenall wasn’t allowed to touch was the old Martin acoustic guitar. ‘It was his one possession where he said, “everything in this house is owned by everybody – apart from that.”’ But with age – and the burgeoning of his son’s skills as a player – came a relaxation of the exclusion zone: Greenall plays the Martin on the punchy, Jeff Buckley-covering-Radiohead-esque "Fear Is Like Fire". It’s sure to become a live stand-out on Fink’s upcoming, 18-month-long world tour. ‘It’s all about trying to look at fear and be optimistic – you can be really negative or fucking embrace it and use it.
‘The great thing about growing up in a house where music is a big factor,’ he continues, ‘was the fact that music being part of your life was a perfectly natural thing.’
Music, it seems, became more than that: it was Greenall’s life. He hoovered up the sounds he heard on John Peel: ‘The Cure, The Smiths, The Orb, African music, Japanese hardcore’. He embraced skateboarding, the music and the fashion – ‘it was an awesome way to grow your own culture’. At university in Leeds, electronic and dance music became everything.
‘It was definitely about wanting to be part of a revolution that I could call my own,’ he recalls. ‘A couple of friends and I clubbed together our student loans and bought equipment to make ambient techno – we were really inspired by Aphex Twin and The Orb and Moby. We were amazed at how fucking easy it was to make ambient techno. It wasn’t easy to make good ambient techno,’ he laughs. ‘But it was easy enough to make techno good enough to get us signed after six months of mucking around at uni.’
The young techno warrior was messianic.
‘I thought the song was dead, the chorus was dead, playing drums and guitar and bass was so old-school and outdated and why would you want to do that? Dylan did that 50 years ago! We should be part of this new revolution, instrumentalism, acid house, rave culture, techno – this stuff is a brave new avant-garde frontier and you should be involved.’
His ardour and his skills saw Greenall become part of the Ninja Tune family – first signed on the back of a cassette-tape demo - as artist, DJ, writer, producer, and remixer.
‘Brilliant times,’ he sighs nostalgically. ‘Sometimes you’d just have to pinch yourself. Then, other times, you wake up in Bratislava on a Tuesday morning and you’re reminded that there is hard work to all of this.’ All that crate-digging wasn’t all it’s cracked up to be either: ‘You can’t be shit!’ Greenall grins. ‘And because of the community that Ninja has worldwide, if you are shit everybody knows about it the next day. Eight years of DJing have given me an obscenely huge record collection. I just cleared out the breaks section – four crates of twelves that were total pony!’
So the wheels of steel started to fall off.
‘It wasn’t until I’d run that right the way through to its natural conclusion – I’m an international DJ on the biggest DJ label in the world – that I thought: I’m kinda over it. And it was actually working with a young artist straight out of school called Amy Winehouse that inspired me to go, “wow, songs are great! Now I get how difficult it is, and how much talent there is involved in this. It’s more of a challenge than clubbing.”’
Greenall melted down his turntables and recast them as a guitar and a stool. Metaphorically speaking. His parents were pleased. ‘My career only made sense to them when I picked up a guitar and started to sing,’ he says. ‘All of a sudden I was doing music, I wasn’t just mucking around. But in my rave days, DJing techno and breaks, they didn’t get that at all. That’s probably why I did it in the first place.
‘But I realised: if your music had songs in it, it had a much greater reach. Not in business terms, but if a singer of, say, Amy’s calibre sings over this beat, it becomes so much bigger than just a beat. I can’t get rid of my clubbing past, not that I’d want to. But the linear nature of some of my music is definitely because of all those years spent clubbing and DJing, when a very simple idea can make the best club record. And it’s the same with songs – I’m after a really simple riff or really simple lyric or melody. And it’s about keeping that beautiful moment going for as long as you can.’
[links] => [image_upload_id] => 15102 [label_id] => 1 [twitter_username] => Finkmusic [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Fink [created] => 2010-07-17 22:15:58 [modified] => 2013-01-07 16:15:06 [slug] => fink [fuga_id] => [description_clean] =>Fin Greenall, who is the voice and heart behind Fink, often gets mistaken for other people.
At the BMI Awards in the US, a ‘roomful of gangstas and playas’ were convinced the Cornwall-born, Bristol-raised Englishman was a lawyer, and not a songwriter picking up an ‘American Urban’ gong – one of three BMIs he received for his work with John Legend on the soul singer’s Evolver album.
In Berlin, clubbing capital of the world, they think he helps run a small minimal techno label. In certain London circles he’s known as the hardworking insider whose past roles at DefJam, Sony Music, Talkin’ Loud, and Source saw him work with a range of artists longer than the horizon. At the BBC, they imagine Fink as perhaps the only musician who has played both the Electric Proms and the actual Proms (was that really the same guy leading a 120-piece orchestra at the Royal Albert Hall in an ‘immense’ cover of Roy Ayers’ Everybody Loves The Sunshine?).
In record company circles, he’s the producer who worked on the first demos by Amy Winehouse and the writer who’s been crafting hooks for Professor Green. In big-room booths around the world, he’s the internationally-renowned DJ and Ninja Tune stalwart who finally hung up his Sennheisers with a valedictory set at London’s Fabric in 2003. ‘My skillset just seemed so old compared to these guys that could DJ for six hours without one high-hat out of place using Ableton or something,’ he notes admiringly.
Who is Fin Greenall? All of the above.
Yes, the now-Brighton-based musician acknowledges, he has done – does do – all of those things. ‘But none of that is as important as how I feel when I write songs like "Fear is Like Fire" and "Perfect Darkness". The Fink thing is my main thing.’
As a kid, the one thing of his dad’s that Fin Greenall wasn’t allowed to touch was the old Martin acoustic guitar. ‘It was his one possession where he said, “everything in this house is owned by everybody – apart from that.”’ But with age – and the burgeoning of his son’s skills as a player – came a relaxation of the exclusion zone: Greenall plays the Martin on the punchy, Jeff Buckley-covering-Radiohead-esque "Fear Is Like Fire". It’s sure to become a live stand-out on Fink’s upcoming, 18-month-long world tour. ‘It’s all about trying to look at fear and be optimistic – you can be really negative or fucking embrace it and use it.
‘The great thing about growing up in a house where music is a big factor,’ he continues, ‘was the fact that music being part of your life was a perfectly natural thing.’
Music, it seems, became more than that: it was Greenall’s life. He hoovered up the sounds he heard on John Peel: ‘The Cure, The Smiths, The Orb, African music, Japanese hardcore’. He embraced skateboarding, the music and the fashion – ‘it was an awesome way to grow your own culture’. At university in Leeds, electronic and dance music became everything.
‘It was definitely about wanting to be part of a revolution that I could call my own,’ he recalls. ‘A couple of friends and I clubbed together our student loans and bought equipment to make ambient techno – we were really inspired by Aphex Twin and The Orb and Moby. We were amazed at how fucking easy it was to make ambient techno. It wasn’t easy to make good ambient techno,’ he laughs. ‘But it was easy enough to make techno good enough to get us signed after six months of mucking around at uni.’
The young techno warrior was messianic.
‘I thought the song was dead, the chorus was dead, playing drums and guitar and bass was so old-school and outdated and why would you want to do that? Dylan did that 50 years ago! We should be part of this new revolution, instrumentalism, acid house, rave culture, techno – this stuff is a brave new avant-garde frontier and you should be involved.’
His ardour and his skills saw Greenall become part of the Ninja Tune family – first signed on the back of a cassette-tape demo - as artist, DJ, writer, producer, and remixer.
‘Brilliant times,’ he sighs nostalgically. ‘Sometimes you’d just have to pinch yourself. Then, other times, you wake up in Bratislava on a Tuesday morning and you’re reminded that there is hard work to all of this.’ All that crate-digging wasn’t all it’s cracked up to be either: ‘You can’t be shit!’ Greenall grins. ‘And because of the community that Ninja has worldwide, if you are shit everybody knows about it the next day. Eight years of DJing have given me an obscenely huge record collection. I just cleared out the breaks section – four crates of twelves that were total pony!’
So the wheels of steel started to fall off.
‘It wasn’t until I’d run that right the way through to its natural conclusion – I’m an international DJ on the biggest DJ label in the world – that I thought: I’m kinda over it. And it was actually working with a young artist straight out of school called Amy Winehouse that inspired me to go, “wow, songs are great! Now I get how difficult it is, and how much talent there is involved in this. It’s more of a challenge than clubbing.”’
Greenall melted down his turntables and recast them as a guitar and a stool. Metaphorically speaking. His parents were pleased. ‘My career only made sense to them when I picked up a guitar and started to sing,’ he says. ‘All of a sudden I was doing music, I wasn’t just mucking around. But in my rave days, DJing techno and breaks, they didn’t get that at all. That’s probably why I did it in the first place.
‘But I realised: if your music had songs in it, it had a much greater reach. Not in business terms, but if a singer of, say, Amy’s calibre sings over this beat, it becomes so much bigger than just a beat. I can’t get rid of my clubbing past, not that I’d want to. But the linear nature of some of my music is definitely because of all those years spent clubbing and DJing, when a very simple idea can make the best club record. And it’s the same with songs – I’m after a really simple riff or really simple lyric or melody. And it’s about keeping that beautiful moment going for as long as you can.’
[links_clean] => ) ) ) [1] => Array ( [Event] => Array ( [id] => 10436 [date] => 2012-11-10 [artist] => Bonobo (DJ Set) [city] => Charlotte, NC [state] => [country] => US [venue] => Bojangles' Coliseum [promoter] => [description] => [ticket_url] => [image_upload_id] => 9808 [created] => 2012-08-13 11:08:30 [modified] => 2012-09-05 13:56:03 [year_slug] => 2012 [month_slug] => nov [day_slug] => 10 [slug] => bonobo-dj-set-charlotte-nc-bojangles-coliseum [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 9808 [media_type] => image [artist] => Bonobo [title] => Bonobo - Promo Shot - Jul 2010 [credits] => [buy_link] => [filename] => images/bonobo/bm2-16.jpg [checksum] => 56b0517bd24dcb7c09ba10806d009711 [mime_type] => image/jpeg [size] => 2441936 [external_url] => http://media.ninjatune.net/images/bonobo/bm2-16.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => bonobo [slug] => bonobo-promo-shot-jul-2010-2 [created] => 2010-11-24 04:26:12 [modified] => 2010-11-24 04:26:12 [embed] => ) [Country] => Array ( [id] => 122 [name] => United States [longname] => United States of America [numcode] => 840 [iso] => US [iso3] => USA [currency] => USD [active] => 1 [parent_id] => 117 [lft] => 241 [rght] => 242 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 55 [name] => Bonobo [description] =>Simon Green, aka Bonobo, is an artist very much at the peak of his significant powers. His 2010 album Black Sands was the high watermark of his career to date; a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.
Black Sands went on to sell over 150,000 copies worldwide, and since its release, Bonobo has toured the world with his live band, wowing audiences of thousands at a time with the hypnotic, extended live versions of the album's tracks. He amassed more nearly 50 million recorded plays on Last.fm and over 300,000 likes on Facebook.
All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and always myriad great ones.
It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.
His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as Black Sands was generally welcomed as his best album to date. 2012 saw Green take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pritchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth studio album. Now, in 2013, he stands ready to take things up yet another notch. The North Borders is another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.
Bonobo has a long history of unearthing new talent (Andreya Triana, Bjaika) and The North Borders sees him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across The North Borders, and Green has yet again found the perfect voice to enhance where he's at. With a huge run of international tour dates set to commence shortly after the album's Spring release date, plus a host of weighty press and radio campaigns and a bleeding edge online campaign, 2013 looks set to be Simon Green's year, which is very good news for the rest of us, too.
[links] =>Facebook
Twitter
Soundcloud
Instagram
Simon Green, aka Bonobo, is an artist very much at the peak of his significant powers. His 2010 album Black Sands was the high watermark of his career to date; a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.
Black Sands went on to sell over 150,000 copies worldwide, and since its release, Bonobo has toured the world with his live band, wowing audiences of thousands at a time with the hypnotic, extended live versions of the album's tracks. He amassed more nearly 50 million recorded plays on Last.fm and over 300,000 likes on Facebook.
All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and always myriad great ones.
It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.
His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as Black Sands was generally welcomed as his best album to date. 2012 saw Green take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pritchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth studio album. Now, in 2013, he stands ready to take things up yet another notch. The North Borders is another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.
Bonobo has a long history of unearthing new talent (Andreya Triana, Bjaika) and The North Borders sees him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across The North Borders, and Green has yet again found the perfect voice to enhance where he's at. With a huge run of international tour dates set to commence shortly after the album's Spring release date, plus a host of weighty press and radio campaigns and a bleeding edge online campaign, 2013 looks set to be Simon Green's year, which is very good news for the rest of us, too.
[links_clean] =>Facebook
Twitter
Soundcloud
Instagram
A lot of things have happened since a young Andy Carthy started answering to the name Mr Scruff, making a name for himself under the shadow of Manchester's mid 90s club scene. Releasing three critically acclaimed albums, selling over half a million records worldwide and playing countless tours and club events has cemented his now legendary DJ status; this is a DJ that can sell out the 1600 capacity London KoKo armed only with his records, some turntables and a few spare packets of teabags.
More than that, Scruff has established himself as a general guarantor of quirkiness and quality, so much so that when his range of speciality teas were launched they became the 5th best selling grocery product in the long and illustrious history of Selfridge's Food Hall (see www.makeusabrew.com for more tea shenanigans). His 'CUP' tea shop in Manchester packs in the punters and the now legendary travelling tea stall is a firm favourite at Scruff gigs & festivals all over the UK. Meanwhile, his wobbly potato people adorn t-shirts, brollies and even people's bodies worldwide (Ninja Tune has been sent documentary evidence of this phenomenon...)
But who are we to tell you the full-story? Over to you Andy...
Greetings! I am Mr. Scruff, DJ, Producer, Cartoonist & Tea Drinker. As a DJ, I play across the board, including Soul, Funk, Hip Hop, Jazz, Reggae, Latin, African, Ska, Disco, House, Funk, Breaks, Soundtracks and loads more. I make music that draws on these influences, with a large dose of cheek and good humour. There follows a rambling overview of what i have been up to for the last 20-odd years...
The event that first sparked my curiosity about music was in the early 1980's when, as a young 2 Tone fan, I discovered a stack of my father's original Blue Beat 7"s, including several Prince Buster songs that had been covered by my then favourite band, Madness. I suddenly realised that the new music I had been listening to had roots that reached far back, and this knowledge inspired me to explore the wider musical world which had just been revealed to me.
I encountered mixing as a 12 year old in late 1984, when a friend of mine played me his uncle's electro records, notably the Streetsounds' LP 'Crucial Electro Volume 2'. At first, I assumed that the reason for there being no gaps between the songs was to fit more on the vinyl, it didn't occur to me the mixing was a creative part of the presentation, and had been carefully thought out.
Soon after I was constructing my own crude pause-button mixtapes, inspired by the Electro compilations and various radio shows on stations such as Piccadilly, and Radio Lancashire & Southside. These shows exposed me to a wide range of dance music, which at the time was a blanket term to cover anything from electro and hip-hop to soul, reggae and early house music. Back then there were far fewer records being released each week, so DJs had to be versatile and play across the board.
As an enthusiastic young music fiend in Stockport, these stations were a lifeline to quality new releases, and exposed me to a lot of older music that I had missed. Little by little I was building a collection fuelled by this knowledge, all the while improving my DJ skills. By 1987 I was proficient at turntable mixing and editing, although I was still using primitive home hi-fi gear. In the summer of 1988 I had my first mix played on Waxmaster's show on the Manchester pirate station WBLS.
Fuelled by this exposure, I took a part time job at Kwik Save and ploughed all my earnings into vinyl. By this time I had a good knowledge of electro, hip hop, house, & 80's soul, and was busy expanding my knowledge of blues, disco, funk, soul, reggae, jazz, African and Latin music. More pause-button mix tapes followed, as did demo tapes of my own early productions. My first break came in 1994, when I met Barney Doodlebug, a DJ/Doodler who was originally from Bristol, and now runs the international Doodlebug events. He gave me my first Manchester gig, in Dry Bar on a Sunday night, and he also passed a demo tape of mine to local label Rob's Records, which resulted in them releasing my first 12" single.
I gained regular bar gigs, as well as a short stint at Manumission alongside fellow Stockport lad Treva Whateva. Following on from this, I became a frequent guest at Headfunk, alongside residents Chubby Grooves & Tom Simba (who went on to form Groove Armada with Andy Cato). This night mutated into Eardrum, a DJ/jam night that I was resident at alongside Chubby, Mark One and Andy Votel. Other Manchester residencies included One Tree Island with Stefano, Guy Morley, Jah Conguero and Funk Boutique; and Dubism, with Guy Morley and Dom from Blood and Fire.
On the recording side, I released further singles for Rob's Records subsidiary Pleasure, as well as sides for Echo Drop, Grand Central & Cup of Tea. My work for Grand Central with Mark Rae inspired some 4-deck club performances, including friendly 'battles' with DJ Food, which introduced me to the Ninja Tune fold. My first remix was a DJ Food megamix for their 'Refried Food' box set in 1996. Then more gigs followed.
Some of my first DJ gigs abroad were with Grand Central in the mid to late 1990's, and following my signing to Ninja Tune in 1999, I did several European tours with the likes of Roots Manuva, The Herbaliser, Dynamic Syncopation & Mixmaster Morris. The release of my Ninja album 'Keep it Unreal' also kick started my Manchester club night of the same name, borne of a desire to play exactly what I wanted, rather than having to fit in with the music policies of other club nights. After a short stint at Planet K, the night moved to the Music Box, where it remains to this day. The success of this night inspired me to take the idea on tour, so that instead of turning up with my records and playing the standard 2 hour guest DJ slot, I would recreate 'Keep it Unreal' in different venues, and play for the whole night. A similar situation occurred in Brighton, where after 7 years of regular gigs with Tru Thoughts' Robert Luis, we started the monthly Etch residency at the Concorde 2 in 2001.
Another logical step for me was radio. It was such a vital part of my own musical education that I jumped at the opportunity to guest on shows such as First Priority's late night function on Kiss 102 in the mid 1990's, as well as the many RSL stations that had one month licences. It was on these that I joined forces with Treva Whateva to present the 'Hot Pot' show. The show then progressed to the national Student Broadcast Network for a few years, and then onto Manchester's Key 103 in 2002 for an 18-month run, as well as a year long stint on the Virgin Trains onboard radio channel.. I am not doing a regular radio show at the moment, although my mixes do feature regularly on shows such as 'Futureboogie' on Kiss 101, and 'Unfold' on Juice 107.2.
I am now in a position where as a DJ I can play a lot of esoteric and unusual music, as playing for the duration of the night enables me to create a very relaxed atmosphere, before increasing the energy levels at my own pace, taking in many kinds of music along the way. Over the course of a night the music can include blues, jazz, soul, funk, 60's R&B, disco, boogie, deep house, reggae, ska, rocksteady, dancehall, electronica, electro, hip hop, african, latin, drum & bass, breakbeat, and any combination of the above. The only real criteria is that the music has to have soul!
Although I am a fairly technical DJ, it is vital to remember that the most important skill for a DJ is to play great records in the right order. Each record must complement the one before, and introduce the one that follows. Beatmatching is an obvious way of linking records, but there are other common factors, such as lyrical themes & complimentary keys that a DJ can use to aid the transition. Each piece of music has a mood and an energy level, and orchestrated carefully, you can create an atmosphere where every record that comes in is precisely right for that moment.
[links] => [image_upload_id] => 4258 [label_id] => 1 [twitter_username] => mrscruff1 [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Mr. Scruff [created] => 2010-07-17 22:15:58 [modified] => 2013-01-08 14:17:25 [slug] => mr-scruff [fuga_id] => [description_clean] =>A lot of things have happened since a young Andy Carthy started answering to the name Mr Scruff, making a name for himself under the shadow of Manchester's mid 90s club scene. Releasing three critically acclaimed albums, selling over half a million records worldwide and playing countless tours and club events has cemented his now legendary DJ status; this is a DJ that can sell out the 1600 capacity London KoKo armed only with his records, some turntables and a few spare packets of teabags.
More than that, Scruff has established himself as a general guarantor of quirkiness and quality, so much so that when his range of speciality teas were launched they became the 5th best selling grocery product in the long and illustrious history of Selfridge's Food Hall (see www.makeusabrew.com for more tea shenanigans). His 'CUP' tea shop in Manchester packs in the punters and the now legendary travelling tea stall is a firm favourite at Scruff gigs & festivals all over the UK. Meanwhile, his wobbly potato people adorn t-shirts, brollies and even people's bodies worldwide (Ninja Tune has been sent documentary evidence of this phenomenon...)
But who are we to tell you the full-story? Over to you Andy...
Greetings! I am Mr. Scruff, DJ, Producer, Cartoonist & Tea Drinker. As a DJ, I play across the board, including Soul, Funk, Hip Hop, Jazz, Reggae, Latin, African, Ska, Disco, House, Funk, Breaks, Soundtracks and loads more. I make music that draws on these influences, with a large dose of cheek and good humour. There follows a rambling overview of what i have been up to for the last 20-odd years...
The event that first sparked my curiosity about music was in the early 1980's when, as a young 2 Tone fan, I discovered a stack of my father's original Blue Beat 7"s, including several Prince Buster songs that had been covered by my then favourite band, Madness. I suddenly realised that the new music I had been listening to had roots that reached far back, and this knowledge inspired me to explore the wider musical world which had just been revealed to me.
I encountered mixing as a 12 year old in late 1984, when a friend of mine played me his uncle's electro records, notably the Streetsounds' LP 'Crucial Electro Volume 2'. At first, I assumed that the reason for there being no gaps between the songs was to fit more on the vinyl, it didn't occur to me the mixing was a creative part of the presentation, and had been carefully thought out.
Soon after I was constructing my own crude pause-button mixtapes, inspired by the Electro compilations and various radio shows on stations such as Piccadilly, and Radio Lancashire & Southside. These shows exposed me to a wide range of dance music, which at the time was a blanket term to cover anything from electro and hip-hop to soul, reggae and early house music. Back then there were far fewer records being released each week, so DJs had to be versatile and play across the board.
As an enthusiastic young music fiend in Stockport, these stations were a lifeline to quality new releases, and exposed me to a lot of older music that I had missed. Little by little I was building a collection fuelled by this knowledge, all the while improving my DJ skills. By 1987 I was proficient at turntable mixing and editing, although I was still using primitive home hi-fi gear. In the summer of 1988 I had my first mix played on Waxmaster's show on the Manchester pirate station WBLS.
Fuelled by this exposure, I took a part time job at Kwik Save and ploughed all my earnings into vinyl. By this time I had a good knowledge of electro, hip hop, house, & 80's soul, and was busy expanding my knowledge of blues, disco, funk, soul, reggae, jazz, African and Latin music. More pause-button mix tapes followed, as did demo tapes of my own early productions. My first break came in 1994, when I met Barney Doodlebug, a DJ/Doodler who was originally from Bristol, and now runs the international Doodlebug events. He gave me my first Manchester gig, in Dry Bar on a Sunday night, and he also passed a demo tape of mine to local label Rob's Records, which resulted in them releasing my first 12" single.
I gained regular bar gigs, as well as a short stint at Manumission alongside fellow Stockport lad Treva Whateva. Following on from this, I became a frequent guest at Headfunk, alongside residents Chubby Grooves & Tom Simba (who went on to form Groove Armada with Andy Cato). This night mutated into Eardrum, a DJ/jam night that I was resident at alongside Chubby, Mark One and Andy Votel. Other Manchester residencies included One Tree Island with Stefano, Guy Morley, Jah Conguero and Funk Boutique; and Dubism, with Guy Morley and Dom from Blood and Fire.
On the recording side, I released further singles for Rob's Records subsidiary Pleasure, as well as sides for Echo Drop, Grand Central & Cup of Tea. My work for Grand Central with Mark Rae inspired some 4-deck club performances, including friendly 'battles' with DJ Food, which introduced me to the Ninja Tune fold. My first remix was a DJ Food megamix for their 'Refried Food' box set in 1996. Then more gigs followed.
Some of my first DJ gigs abroad were with Grand Central in the mid to late 1990's, and following my signing to Ninja Tune in 1999, I did several European tours with the likes of Roots Manuva, The Herbaliser, Dynamic Syncopation & Mixmaster Morris. The release of my Ninja album 'Keep it Unreal' also kick started my Manchester club night of the same name, borne of a desire to play exactly what I wanted, rather than having to fit in with the music policies of other club nights. After a short stint at Planet K, the night moved to the Music Box, where it remains to this day. The success of this night inspired me to take the idea on tour, so that instead of turning up with my records and playing the standard 2 hour guest DJ slot, I would recreate 'Keep it Unreal' in different venues, and play for the whole night. A similar situation occurred in Brighton, where after 7 years of regular gigs with Tru Thoughts' Robert Luis, we started the monthly Etch residency at the Concorde 2 in 2001.
Another logical step for me was radio. It was such a vital part of my own musical education that I jumped at the opportunity to guest on shows such as First Priority's late night function on Kiss 102 in the mid 1990's, as well as the many RSL stations that had one month licences. It was on these that I joined forces with Treva Whateva to present the 'Hot Pot' show. The show then progressed to the national Student Broadcast Network for a few years, and then onto Manchester's Key 103 in 2002 for an 18-month run, as well as a year long stint on the Virgin Trains onboard radio channel.. I am not doing a regular radio show at the moment, although my mixes do feature regularly on shows such as 'Futureboogie' on Kiss 101, and 'Unfold' on Juice 107.2.
I am now in a position where as a DJ I can play a lot of esoteric and unusual music, as playing for the duration of the night enables me to create a very relaxed atmosphere, before increasing the energy levels at my own pace, taking in many kinds of music along the way. Over the course of a night the music can include blues, jazz, soul, funk, 60's R&B, disco, boogie, deep house, reggae, ska, rocksteady, dancehall, electronica, electro, hip hop, african, latin, drum & bass, breakbeat, and any combination of the above. The only real criteria is that the music has to have soul!
Although I am a fairly technical DJ, it is vital to remember that the most important skill for a DJ is to play great records in the right order. Each record must complement the one before, and introduce the one that follows. Beatmatching is an obvious way of linking records, but there are other common factors, such as lyrical themes & complimentary keys that a DJ can use to aid the transition. Each piece of music has a mood and an energy level, and orchestrated carefully, you can create an atmosphere where every record that comes in is precisely right for that moment.
[links_clean] => ) ) ) [3] => Array ( [Event] => Array ( [id] => 10551 [date] => 2012-11-10 [artist] => Spokes [city] => Newcastle [state] => [country] => GB [venue] => Star and Shadow Cinema [promoter] => [description] =>6:00 p.m. to 11:00 p.m, more info on the Star and Shadow Cinema site: http://bit.ly/PhtKo2
[ticket_url] => [image_upload_id] => 4088 [created] => 2012-09-10 10:21:47 [modified] => 2012-09-10 10:28:11 [year_slug] => 2012 [month_slug] => nov [day_slug] => 10 [slug] => spokes-newcastle-star-and-shadow-cinema [description_clean] =>6:00 p.m. to 11:00 p.m, more info on the Star and Shadow Cinema site: http://bit.ly/PhtKo2
[products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 4088 [media_type] => image [artist] => Spokes [title] => Promo Shot (Migrated) [credits] => [buy_link] => [filename] => images/spokes/spokes-1.jpg [checksum] => 5ff03250e56e3a27eb47398dfe02a8ef [mime_type] => image/jpeg [size] => 1572006 [external_url] => http://media.ninjatune.net/images/spokes/spokes-1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => spokes [slug] => promo-shot-migrated-263 [created] => 2010-11-24 04:06:30 [modified] => 2010-11-24 04:06:30 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 87 [name] => Spokes [description] =>Spokes are an alt-indie band based in Manchester, UK, brought together in 2006 in Preston by a combination of boyhood friendships, family ties and a relentless love of recording and touring. Critics have praised them for their grand sound, buoyed by bittersweet joy and devastating lows. While sounding like a band with much more than 5 members they go from euphoric noise to moments of intense stillness. While drawing upon folk, shoegaze, slowcore and post-rock their music is always distilled down into something distinctly their own.
In 2007 they recorded their debut EP People Like People Like You, which combined their off-kilter indie with more flowing structures influenced by post-rock and classical music. And it sold out quickly. The release also lead to an appearance on the main stage at the Big Chill festival where People Like People Like You quickly sold out at the Rough Trade stall. They also won the Sound 2008 competition and played at Rockness.
This frenzied activity eventually caught the attention of Ninja Tune (and XFM who had them as a new band of the year) and their indie imprint Counter Records, who re-released People Like People Like You in the spring of 2009. Having played at the End Of The Road festival in the summer, Spokes then returned to their countryside residence somewhere in the North-East of England to finish work on their first album proper. This time introducing intricate vocal harmonies and more complex arrangements, Spokes' meticulous attention to detail and feel lends their songs a lush sound that has a clear respect for the classics, taking inspiration from artists such as Neil Young and Kate Bush.
The song 'Torn Up In Praise' was taken from early recordings for the album and included in the Counter Records sampler, and was warmly received by Clash magazine for its grand take on indie-rock. Similarly, when NME chose to run a feature on the Ninja Tune label a Spokes demo entitled simply as 'Daisy' was included as a featured download alongside label-mates Jaga Jazzist and Andeya Triana.
We Can Make It Out is the first single to be lifted from the upcoming album Everyone I Ever Met, and its unique choral vocals typify the energy of the record as a whole. It comes with a video by director Dan Lowe who himself has already achieved notoriety with a promo for Field Music, nominated by RADAR for best budget video last year alongside luminaries such as Spike Jonze. Everyone I Ever Met will be released in January 2011 on Counter Records.
[links] => [image_upload_id] => 15044 [label_id] => 5 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Spokes [created] => 2010-07-17 22:15:59 [modified] => 2013-05-08 12:53:19 [slug] => spokes [fuga_id] => [description_clean] =>Spokes are an alt-indie band based in Manchester, UK, brought together in 2006 in Preston by a combination of boyhood friendships, family ties and a relentless love of recording and touring. Critics have praised them for their grand sound, buoyed by bittersweet joy and devastating lows. While sounding like a band with much more than 5 members they go from euphoric noise to moments of intense stillness. While drawing upon folk, shoegaze, slowcore and post-rock their music is always distilled down into something distinctly their own.
In 2007 they recorded their debut EP People Like People Like You, which combined their off-kilter indie with more flowing structures influenced by post-rock and classical music. And it sold out quickly. The release also lead to an appearance on the main stage at the Big Chill festival where People Like People Like You quickly sold out at the Rough Trade stall. They also won the Sound 2008 competition and played at Rockness.
This frenzied activity eventually caught the attention of Ninja Tune (and XFM who had them as a new band of the year) and their indie imprint Counter Records, who re-released People Like People Like You in the spring of 2009. Having played at the End Of The Road festival in the summer, Spokes then returned to their countryside residence somewhere in the North-East of England to finish work on their first album proper. This time introducing intricate vocal harmonies and more complex arrangements, Spokes' meticulous attention to detail and feel lends their songs a lush sound that has a clear respect for the classics, taking inspiration from artists such as Neil Young and Kate Bush.
The song 'Torn Up In Praise' was taken from early recordings for the album and included in the Counter Records sampler, and was warmly received by Clash magazine for its grand take on indie-rock. Similarly, when NME chose to run a feature on the Ninja Tune label a Spokes demo entitled simply as 'Daisy' was included as a featured download alongside label-mates Jaga Jazzist and Andeya Triana.
We Can Make It Out is the first single to be lifted from the upcoming album Everyone I Ever Met, and its unique choral vocals typify the energy of the record as a whole. It comes with a video by director Dan Lowe who himself has already achieved notoriety with a promo for Field Music, nominated by RADAR for best budget video last year alongside luminaries such as Spike Jonze. Everyone I Ever Met will be released in January 2011 on Counter Records.
[links_clean] => ) ) ) [4] => Array ( [Event] => Array ( [id] => 10561 [date] => 2012-11-10 [artist] => The Heavy [city] => Zurich [state] => [country] => CH [venue] => Plaza [promoter] => [description] => [ticket_url] => http://www.starticket.ch/0Numberoftix.asp?ShowID=56442&CategoryID=91415&ZoneID=&ShowDetails=1 [image_upload_id] => 16903 [created] => 2012-09-10 16:12:43 [modified] => 2012-09-10 16:12:43 [year_slug] => 2012 [month_slug] => nov [day_slug] => 10 [slug] => the-heavy-zurich-plaza [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 16903 [media_type] => image [artist] => The Heavy [title] => Heavy Artist Shot 2012 1 [credits] => [buy_link] => [filename] => images/the-heavy/theheavy-promoshot1.jpg [checksum] => 333ca971966ac881a09d97d3ec798fb0 [mime_type] => image/jpeg [size] => 76818 [external_url] => http://media.ninjatune.net/images/the-heavy/theheavy-promoshot1.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => the-heavy [slug] => heavy-artist-shot-2012-1 [created] => 2012-05-23 13:49:14 [modified] => 2012-05-23 13:49:21 [embed] => ) [Country] => Array ( [id] => 235 [name] => Switzerland [longname] => Switzerland [numcode] => 756 [iso] => CH [iso3] => CHE [currency] => CHF [active] => 1 [parent_id] => 226 [lft] => 467 [rght] => 468 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 71 [name] => The Heavy [description] =>“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on 21 August 2012. “We wanted to make a bold statement – it’s not shy.”
“It’s over the top, in a good way,” adds Heavy frontman Kelvin Swaby. “We went pretty cinematic, setting out to score a film that hasn’t been written.” As such, The Glorious Dead proves The Heavy’s most ambitious effort: Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul, it’s unlike anything you’ll hear this year.
The Glorious Dead builds off momentum from The Heavy’s international smash single “How You Like Me Now?,” off acclaimed 2009 album, The House That Dirt Built. “How You Like Me Now?” became the first song David Letterman’s ever requested an encore for when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted – and was even performed by contestant Tony Lucca on NBC’s hit show “The Voice.” “It’s become such a big tune, people ask, ‘How are you going to top that?’,” Swaby says. The Glorious Dead provides the answer with supernatural force. Album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials; “Curse Me Good,” meanwhile, balances sweet whistled hooks and acoustic strum with heartbreaking vocals. “It’s good to have a bit of light and shade,” Taylor explains. As such, the album’s soaring centerpiece “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group backgrounds and epic strings. “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “…Good Man?” proved the album’s breakthrough. Searching for inspiration, The Heavy traveled from their Bath, England hometown to Columbus, Georgia, hooking up with local church-trained singers and players for some Southern Gothic sublimity. Taking the material to yet another level was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs. “He’s such a talent,” Swaby enthuses.
The Glorious Dead also represents the first time The Heavy’s members – which in addition to Taylor and Swaby include Spencer Page (bass) and Chris Ellul (drums) – chose to produce themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing our vision,” Taylor says. “It’s our third record, which is when you’re judged if you’re here to stay, or sliding off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”
[links] => [image_upload_id] => 16903 [label_id] => 5 [twitter_username] => theheavy [instagram_id] => 217232350 [instagram_username] => theheavy [link] => [listed] => 1 [sortname] => Heavy [created] => 2010-07-17 22:15:59 [modified] => 2013-05-03 14:56:03 [slug] => the-heavy [fuga_id] => [description_clean] =>“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on 21 August 2012. “We wanted to make a bold statement – it’s not shy.”
“It’s over the top, in a good way,” adds Heavy frontman Kelvin Swaby. “We went pretty cinematic, setting out to score a film that hasn’t been written.” As such, The Glorious Dead proves The Heavy’s most ambitious effort: Frankensteining swampy voodoo and b-movie zombies with garage rock and Gospel-soaked soul, it’s unlike anything you’ll hear this year.
The Glorious Dead builds off momentum from The Heavy’s international smash single “How You Like Me Now?,” off acclaimed 2009 album, The House That Dirt Built. “How You Like Me Now?” became the first song David Letterman’s ever requested an encore for when The Heavy played the “Late Show,” and appeared everywhere from “Entourage,” Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted – and was even performed by contestant Tony Lucca on NBC’s hit show “The Voice.” “It’s become such a big tune, people ask, ‘How are you going to top that?’,” Swaby says. The Glorious Dead provides the answer with supernatural force. Album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials; “Curse Me Good,” meanwhile, balances sweet whistled hooks and acoustic strum with heartbreaking vocals. “It’s good to have a bit of light and shade,” Taylor explains. As such, the album’s soaring centerpiece “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group backgrounds and epic strings. “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “…Good Man?” proved the album’s breakthrough. Searching for inspiration, The Heavy traveled from their Bath, England hometown to Columbus, Georgia, hooking up with local church-trained singers and players for some Southern Gothic sublimity. Taking the material to yet another level was Gabriel “Bosco Mann” Roth of Sharon Jones & the Dap-Kings, who added string and horn parts to four songs. “He’s such a talent,” Swaby enthuses.
The Glorious Dead also represents the first time The Heavy’s members – which in addition to Taylor and Swaby include Spencer Page (bass) and Chris Ellul (drums) – chose to produce themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing our vision,” Taylor says. “It’s our third record, which is when you’re judged if you’re here to stay, or sliding off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.”
[links_clean] => ) ) ) [5] => Array ( [Event] => Array ( [id] => 10649 [date] => 2012-11-10 [artist] => Kid Koala [city] => Calgary [state] => [country] => CA [venue] => The Republik [promoter] => [description] => [ticket_url] => http://www.primeboxoffice.com/concert/tickets.aspx/kid-koala/Calgary/1178 [image_upload_id] => 15028 [created] => 2012-10-03 11:49:35 [modified] => 2012-10-03 11:49:35 [year_slug] => 2012 [month_slug] => nov [day_slug] => 10 [slug] => kid-koala-calgary-the-republik [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 15028 [media_type] => image [artist] => Kid Koala [title] => Artist Press shot [credits] => [buy_link] => [filename] => images/kid-koala/KidKoala-artistpress-72dpi.jpg [checksum] => 8ad0decd0d63ce1c44ca2a8f3f249d01 [mime_type] => image/jpeg [size] => 104060 [external_url] => http://media.ninjatune.net/images/kid-koala/KidKoala-artistpress-72dpi.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => kid-koala [slug] => artist-press-shot-4 [created] => 2011-01-05 10:49:18 [modified] => 2011-01-05 10:49:18 [embed] => ) [Country] => Array ( [id] => 119 [name] => Canada [longname] => Canada [numcode] => 124 [iso] => CA [iso3] => CAN [currency] => CAD [active] => 1 [parent_id] => 117 [lft] => 235 [rght] => 236 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 38 [name] => Kid Koala [description] =>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] => [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] => ) ) ) [6] => Array ( [Event] => Array ( [id] => 10679 [date] => 2012-11-10 [artist] => Offshore [city] => Bristol, UK [state] => [country] => GB [venue] => The Exchange [promoter] => [description] => [ticket_url] => [image_upload_id] => 15919 [created] => 2012-10-23 15:33:51 [modified] => 2012-10-23 15:33:51 [year_slug] => 2012 [month_slug] => nov [day_slug] => 10 [slug] => offshore-bristol-uk-the-exchange [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 15919 [media_type] => image [artist] => Offshore [title] => Offshore - Press Shot 2011 [credits] => [buy_link] => [filename] => images/offshore/OffshorePresspic-jenniehancock.png [checksum] => e5fa93c7923323826c5d2369a2d0641b [mime_type] => image/png [size] => 757754 [external_url] => http://media.ninjatune.net/images/offshore/OffshorePresspic-jenniehancock.png [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => offshore [slug] => offshore-press-shot-2011 [created] => 2011-07-06 14:26:17 [modified] => 2011-07-06 14:26:23 [embed] => ) [Country] => Array ( [id] => 208 [name] => United Kingdom [longname] => United Kingdom of Great Britain and Northern Ireland [numcode] => 826 [iso] => GB [iso3] => GBR [currency] => GBP [active] => 1 [parent_id] => 191 [lft] => 413 [rght] => 414 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 130 [name] => Offshore [description] =>Mutli-talented Ewan Robertson aka Offshore was a celebrated graphic designer as well as a musician. His first release came on the legendary Scottish label, Stuff, leading him to be tied into the scene of Scottish beatmakers spearheaded by Rustie and Hudson Mohawke. Robertson's work, though, perhaps owes as much to the moors, mountains and even folk tunes of his home country as it does to hip hop and inner city London, where he lived until his sad and untimely death in 2012.
After two EPs for the label, Robertson released the "mini-album" "Bake Haus" in 2012. With his remarkable art for the label as well as his beautiful, subtle music, Ewan Robertson will be missed by us all for a long time to come.
[links] => [image_upload_id] => 17744 [label_id] => 2 [twitter_username] => offffshore [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Offshore [created] => 2010-11-05 14:58:29 [modified] => 2013-02-26 13:22:54 [slug] => offshore [fuga_id] => [description_clean] =>Mutli-talented Ewan Robertson aka Offshore was a celebrated graphic designer as well as a musician. His first release came on the legendary Scottish label, Stuff, leading him to be tied into the scene of Scottish beatmakers spearheaded by Rustie and Hudson Mohawke. Robertson's work, though, perhaps owes as much to the moors, mountains and even folk tunes of his home country as it does to hip hop and inner city London, where he lived until his sad and untimely death in 2012.
After two EPs for the label, Robertson released the "mini-album" "Bake Haus" in 2012. With his remarkable art for the label as well as his beautiful, subtle music, Ewan Robertson will be missed by us all for a long time to come.
[links_clean] => ) ) ) [7] => Array ( [Event] => Array ( [id] => 10700 [date] => 2012-11-10 [artist] => Slugabed [city] => Creil [state] => [country] => FR [venue] => La Grange A Musique [promoter] => [description] =>Facebook Event link https://www.facebook.com/events/267191096723575/
[ticket_url] => http://bit.ly/TU7Q7U [image_upload_id] => 16726 [created] => 2012-10-26 09:53:43 [modified] => 2012-10-31 15:39:13 [year_slug] => 2012 [month_slug] => nov [day_slug] => 10 [slug] => slugabed-creil-la-grange-a-musique [description_clean] =>Facebook Event link https://www.facebook.com/events/267191096723575/
[products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 16726 [media_type] => image [artist] => Slugabed [title] => Slugabed Artist Shot 2012 [credits] => [buy_link] => [filename] => images/slugabed/slugabed-trevortraynor.jpg [checksum] => 514c883ade8dc42810f9b75945117f48 [mime_type] => image/jpeg [size] => 105218 [external_url] => http://media.ninjatune.net/images/slugabed/slugabed-trevortraynor.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => slugabed [slug] => slugabed-artist-shot-2012 [created] => 2012-03-26 14:24:49 [modified] => 2012-03-26 14:24:56 [embed] => ) [Country] => Array ( [id] => 229 [name] => France [longname] => France [numcode] => 250 [iso] => FR [iso3] => FRA [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 455 [rght] => 456 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 141 [name] => Slugabed [description] =>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.
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.
Drew Lustman aka FaltyDL was born and grew up in New Haven, Connecticut. It’s a place best known as the home of top Ivy League establishment Yale University. Other than that, Lustman explains “it’s a big ghetto.” The young Lustman found himself bouncing between these two worlds, not entirely comfortable in either. “i was a shitty student,” he explains. “I barely graduated, did a lot of drugs, and ended up in rehab at 16/17. Music was my way to get out of it.” He started off playing in jazz and rock bands, but by 19 he’d decided to go it alone and named himself FaltyDL.
There followed a few years of intensive music making interpersed with attempts to find a home for what he was making. Eventually Mike Paradinas of the legendary Planet Mu said he’d release the young producer’s records, “a huge moment,” Falty remembers. Shortly after, he relocated to New York and it was here that his musical career really took off. “My good friend Boxcutter advised me to the slow the BPM down to like 130BPM and was sending me a lot of garage-influenced stuff like Horsepower and El-B, and I started making "Love is a Liability."” Since then, Lustman has looked to expand and evolve his signature sound over two albums, an EP and three singles for the label. In addition, he has released an afrobeat-inspired 12”, “Mean Streets Pt 1” with Loefah’s Swamp81 label, a single on Ramp backed with a remix from Jamie XX and begun releasing collaborations with Machinedrum online. An in-demand remixer, he has made versions for the likes of Seun Kuti (Fela’s son), Mount Kimbie, The XX, Scuba, Photek, Anthony Shake Shakir and others. Recently he supported Radiohead in New York and topped Thom Yorke’s office playlist. In additon to all this, he set up his own label, Blueberry Records, named for both the fruit and the Blueberry Hill he used to climb near his grandmother’s house.
But if FaltyDL was known for his own twisting of the garage template (a music which had crossed the Atlantic, mutated, and now come back to be twisted again) his new music signals another change. “I've moved completely away from that sound,” he says. “Production-wise it’s the best thing I've ever done. It’s about getting sounds I hear out of my head onto the software/synths I’m writing on. Filtering through the sounds in my subconcious. This is the closest I've ever got." Partly the changes are down to that old black magic, love. Lustman met his girlfriend mid-way through the writing of the record (shortly after signing to that cupid amongst labels, Ninja Tune!) and she “became my muse. I didn't make this album with the intention of sharing all of it. Of course some of it, but most was made for one person in particular.” And, more than anything else, that honesty and intimacy shines through.
[links] => TumblrDrew Lustman aka FaltyDL was born and grew up in New Haven, Connecticut. It’s a place best known as the home of top Ivy League establishment Yale University. Other than that, Lustman explains “it’s a big ghetto.” The young Lustman found himself bouncing between these two worlds, not entirely comfortable in either. “i was a shitty student,” he explains. “I barely graduated, did a lot of drugs, and ended up in rehab at 16/17. Music was my way to get out of it.” He started off playing in jazz and rock bands, but by 19 he’d decided to go it alone and named himself FaltyDL.
There followed a few years of intensive music making interpersed with attempts to find a home for what he was making. Eventually Mike Paradinas of the legendary Planet Mu said he’d release the young producer’s records, “a huge moment,” Falty remembers. Shortly after, he relocated to New York and it was here that his musical career really took off. “My good friend Boxcutter advised me to the slow the BPM down to like 130BPM and was sending me a lot of garage-influenced stuff like Horsepower and El-B, and I started making "Love is a Liability."” Since then, Lustman has looked to expand and evolve his signature sound over two albums, an EP and three singles for the label. In addition, he has released an afrobeat-inspired 12”, “Mean Streets Pt 1” with Loefah’s Swamp81 label, a single on Ramp backed with a remix from Jamie XX and begun releasing collaborations with Machinedrum online. An in-demand remixer, he has made versions for the likes of Seun Kuti (Fela’s son), Mount Kimbie, The XX, Scuba, Photek, Anthony Shake Shakir and others. Recently he supported Radiohead in New York and topped Thom Yorke’s office playlist. In additon to all this, he set up his own label, Blueberry Records, named for both the fruit and the Blueberry Hill he used to climb near his grandmother’s house.
But if FaltyDL was known for his own twisting of the garage template (a music which had crossed the Atlantic, mutated, and now come back to be twisted again) his new music signals another change. “I've moved completely away from that sound,” he says. “Production-wise it’s the best thing I've ever done. It’s about getting sounds I hear out of my head onto the software/synths I’m writing on. Filtering through the sounds in my subconcious. This is the closest I've ever got." Partly the changes are down to that old black magic, love. Lustman met his girlfriend mid-way through the writing of the record (shortly after signing to that cupid amongst labels, Ninja Tune!) and she “became my muse. I didn't make this album with the intention of sharing all of it. Of course some of it, but most was made for one person in particular.” And, more than anything else, that honesty and intimacy shines through.
[links_clean] =>Tumblr
Facebook
Twitter
Soundcloud
Instagram
Emika's forthcoming sophomore album, Dva, is a return to the music of her roots, a triumph of keenly felt and brilliantly expressed reflections of oppression and freedom, be it political, sexual or artistic. Dva is an exploration of self-expression and sound, taking dark dub pop, sound design inspirations and melding them with classical music of her upbringing, taking Emika's production a giant step forward.
By way of announcing an album we can hardly wait for you to hear, we offer you Emika's version of "Wicked Game", a classic Chris Isaak song not many performers have dared to take on. "Wicked Game" is a gift to her fans allowing further insight into Emika's artistic universe. The blues-drenched, introspective atmosphere of the original is retained, but its palette is effortlessly updated via deep dub textures, addictive drums and fragile, echoing melody. Like all the best covers, it matches the original by understanding it enough to do it justice. Enjoy.
[links] => [image_upload_id] => 17890 [label_id] => 1 [twitter_username] => emikatwit [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Emika [created] => 2010-07-17 22:15:59 [modified] => 2013-03-14 15:16:23 [slug] => emika [fuga_id] => [description_clean] =>Emika's forthcoming sophomore album, Dva, is a return to the music of her roots, a triumph of keenly felt and brilliantly expressed reflections of oppression and freedom, be it political, sexual or artistic. Dva is an exploration of self-expression and sound, taking dark dub pop, sound design inspirations and melding them with classical music of her upbringing, taking Emika's production a giant step forward.
By way of announcing an album we can hardly wait for you to hear, we offer you Emika's version of "Wicked Game", a classic Chris Isaak song not many performers have dared to take on. "Wicked Game" is a gift to her fans allowing further insight into Emika's artistic universe. The blues-drenched, introspective atmosphere of the original is retained, but its palette is effortlessly updated via deep dub textures, addictive drums and fragile, echoing melody. Like all the best covers, it matches the original by understanding it enough to do it justice. Enjoy.
[links_clean] => ) ) ) )| Artist | Date | City | Venue | Buy |
|---|---|---|---|---|
| Fink | Saturday, Nov 10th | Zurich, CH | Komplex 457 | |
| Bonobo (DJ Set) | Saturday, Nov 10th | Charlotte, NC, US | Bojangles' Coliseum | |
| Mr. Scruff | Saturday, Nov 10th | Bournmouth, GB | O2 Academy | Buy |
| Spokes | Saturday, Nov 10th | Newcastle, GB | Star and Shadow Cinema | |
| The Heavy | Saturday, Nov 10th | Zurich, CH | Plaza | Buy |
| Kid Koala | Saturday, Nov 10th | Calgary, CA | The Republik | Buy |
| Offshore | Saturday, Nov 10th | Bristol, UK, GB | The Exchange | |
| Slugabed | Saturday, Nov 10th | Creil, FR | La Grange A Musique | Buy |
| FaltyDL (festival) | Saturday, Nov 10th | Brooklyn, New York, US | Cameo Gallery | Buy |
| Emika | Saturday, Nov 10th | Budapest, HU | Aquarium Club |