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Fink @ Paradiso Grote Zaal, Amsterdam

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Fink @ Paradiso Grote Zaal, Amsterdam

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

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

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

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

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

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

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

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

[links] =>

Fink Website

Facebook
Twitter
Soundcloud

[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] => 2015-03-16 17:46:48 [slug] => fink [fuga_id] => [description_clean] =>

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

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

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

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

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

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

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

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

[links_clean] =>

Fink Website

Facebook
Twitter
Soundcloud

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"DJ Kentaro may be a turntablist - a world-beating turntablist, in fact, having taken the DMC World Championship title in 2002 - but that doesn't mean that only spotty geezers in puffas and baseball caps need to look out for him. Because hip hop and scratching represent merely one side of Kentaro's multi-faceted musical persona." - IDJ Magazine

"More than just a technical DJ, Kentaro is a performer, inciting the crowd into a frenzy while titillating the scratch fetishists. Starting with the Roots and winding up with Pharcyde, Wayne Marshall and Sizzla - with cut and juggle excursions through all the other artists from all over the world, hip-hop, reggae, drumn' bass, house, electro and jungle - he slid easily to a second victory." - Blast Magazine

On September 18th 2002, DJ Kentaro (Kentaro Okamoto) re-tried for the DMC World Championship and claimed the title with the first ever perfect score in DMC World history. Dedicating his winning 6 minute set to his "no walls between the music" ethos, DJ Kentaro finally took 2 gold Technics 1200s and a matching Technics DJ mixer to its home country.

Kentaro's blend of hip-hop, breaks, drum & bass and turntablism is untouchable. He is a mad dexterous surgeon, who slices and dices beats into a breathtaking sonic concoction in his Sendai laboratory and at events all over the world. When Kentaro is behind a set of 1200s and a mixer, he's on stage: sometimes he's shy, sometimes he's sassy, but we've never heard him be anything short of absolutely splendid.

Where some turntablists are content to fill their routines with the same ol' thang, Kentaro uses his awesome technique to move beyond the crab scratch and has catapulted drum 'n' bass and dance music into a realm that nobody else has yet to explore. 'My Favorite Songs' - Kentaro's first ever mix CD - stands as a testament to his pioneering vision of melding the mentality of a battler with the street smarts and savvy of the hip-hop elite.

Lauded for years by hip-hop aficionados, Kentaro has won the respect of Japan's 'Hip Hop Best Artists' (tied winner was Eminem) which explains why revered Japanese labels like Endeavor Entertainment, W + Kennedy Tokyo Lab, Artimage and Jazzysport, Undiluted and Virus have presented him with exclusive tracks you won't be able to hear anywhere else. And let's not forget Kentaro's exclusive turntablist cut ups - mind blowing pastiches that are all ahead of its time. Kentaro is moving at the speed of vox. Sleep on his skills and he's gonna leave you in the dust.

DJ Kentaro, number one DJ in the world, and it's just the beginning...

[links] =>

www.djkentaro.jp

Facebook
Twitter
Soundcloud

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"DJ Kentaro may be a turntablist - a world-beating turntablist, in fact, having taken the DMC World Championship title in 2002 - but that doesn't mean that only spotty geezers in puffas and baseball caps need to look out for him. Because hip hop and scratching represent merely one side of Kentaro's multi-faceted musical persona." - IDJ Magazine

"More than just a technical DJ, Kentaro is a performer, inciting the crowd into a frenzy while titillating the scratch fetishists. Starting with the Roots and winding up with Pharcyde, Wayne Marshall and Sizzla - with cut and juggle excursions through all the other artists from all over the world, hip-hop, reggae, drumn' bass, house, electro and jungle - he slid easily to a second victory." - Blast Magazine

On September 18th 2002, DJ Kentaro (Kentaro Okamoto) re-tried for the DMC World Championship and claimed the title with the first ever perfect score in DMC World history. Dedicating his winning 6 minute set to his "no walls between the music" ethos, DJ Kentaro finally took 2 gold Technics 1200s and a matching Technics DJ mixer to its home country.

Kentaro's blend of hip-hop, breaks, drum & bass and turntablism is untouchable. He is a mad dexterous surgeon, who slices and dices beats into a breathtaking sonic concoction in his Sendai laboratory and at events all over the world. When Kentaro is behind a set of 1200s and a mixer, he's on stage: sometimes he's shy, sometimes he's sassy, but we've never heard him be anything short of absolutely splendid.

Where some turntablists are content to fill their routines with the same ol' thang, Kentaro uses his awesome technique to move beyond the crab scratch and has catapulted drum 'n' bass and dance music into a realm that nobody else has yet to explore. 'My Favorite Songs' - Kentaro's first ever mix CD - stands as a testament to his pioneering vision of melding the mentality of a battler with the street smarts and savvy of the hip-hop elite.

Lauded for years by hip-hop aficionados, Kentaro has won the respect of Japan's 'Hip Hop Best Artists' (tied winner was Eminem) which explains why revered Japanese labels like Endeavor Entertainment, W + Kennedy Tokyo Lab, Artimage and Jazzysport, Undiluted and Virus have presented him with exclusive tracks you won't be able to hear anywhere else. And let's not forget Kentaro's exclusive turntablist cut ups - mind blowing pastiches that are all ahead of its time. Kentaro is moving at the speed of vox. Sleep on his skills and he's gonna leave you in the dust.

DJ Kentaro, number one DJ in the world, and it's just the beginning...

[links_clean] =>

www.djkentaro.jp

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
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

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Amon Tobin DJ Set @ Electraglide 2012

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Amon Tobin DJ Set @ Electraglide 2012

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Brazilian-born Amon Tobin first emerged between 1994-1995 with a string of 12" singles on the small London-based record label 9Bar Records. The album that followed, Adventures In Foam, paved the way for a whole generation of electronic productions and prompted his signing to the prodigious Ninja Tune in 1996. He has since gone on to record seven critically- acclaimed albums under his own name on Ninja that have since helped define the label as a force in musical innovation and diversity. In addition, Amon has produced a small number of radically diverse original scores ranging from George Palfi's cult cinema oddity Taxidermia to Tom Clancy's video game blockbuster Splinter Cell: Chaos Theory.

The depth and scope of Amon Tobin's work have had a far-reaching influence. From the Kronos Quartet to Diplo he has garnered respect amongst artists both within and outside electronic music. Amon has established a reputation for musical ingenuity that is unconfined by genre and over a fifteen-year-long career remains among one of the most visionary electronic artists of a generation.

The 2007 album Foley Room explored the role of found sound in modern day music. Documented on film, the process of recording minute insects to lions, wolves, engines and foley performances culminated in a much- lauded performance at the birthplace of musique concrete, the GRM Theatre in Paris. More recently, the famed London Metropolitan Orchestra performed selected works from a cross-section of his musical repertoire at the Royal Albert Hall.

An Acronym for "Invented Sound Applied to Music"ISAM was an experiment in synthesizing field recordings and transforming them into new physically playable instruments to create unique sound palettes. From Amon's own voice gender-modified to the sound a of a creaking chair mutated into a string ensemble, ISAM directs an academic approach in audio manipulation to a purely emotional musical context. This contrast is central to the album and represents a pivotal moment in Amon's personal musical development. Sound design techniques previously used in film, as pioneered by the likes of Ben Burt (Star Wars, Wall-E) were utilized along side new ones Amon developed specifically for ISAM and applied in an unprecedented approach to music production.

The specific nature of the album demanded new thinking in terms of how to present it live and this in turn lead to an entirely new kind of music performance. ISAM Live is a hybrid of interactive cinema and a concert experience in which sound determines a narrative. Much like the album, the live show adapted existing and emerging technologies to new contexts. Projection mapping, which had up to then been largely the domain of static mostly corporate visual showcases, was configured for the first time to narrate the musical performance of an entire album. A giant cubic structure was built housing a control booth from which Amon could perform while providing an intricate canvas on to which a story was told as an audio reactive, three dimensional visual interpretation of the music being played.

ISAM Live reshaped audience's expectations of electronic music concerts for years to come selling out the worlds most prestigious venues. From the Sydney Opera House to the Olympia in Paris to the London Hammersmith and LA's Greek Theater ISAM Live received universal acclaim as a landmark in audio visual performance.

In May of 2012, Amon Tobin and Ninja Tune released the Amon Tobin Boxset: a strictly limited edition release and that came in the form of a beautiful high quality bolt fastened mechanical 'press' and included 6 x 10" vinyls, 7 CDs, 2 DVD's and several posters. Most of the material is unreleased, almost none of it has ever been available on a physical format before. It includes new music, unreleased dub plates and a wealth of archive material, Amon Tobin's earliest audio experiments (never been played in public before), film and television score work, unreleased score work, deleted bootlegs, ISAM live show DVD, ISAM live audio album, remixes, cover versions and re-interpretations of the ISAM album, remixes Amon has produced for others, a recording of the (November 2010) Royal Albert Hall orchestrations of Amon Tobin and more.

Concurrent to ISAM Live's final run around the globe, in October 2012, Stunt Rhythms, the sophomore release from Amon's beat-orientated alias Two Fingers dropped. A double CD and triple LP release, Stunt Rhythms is as much body-popping beats as it is raw synth energy. The Two Fingers project is in parallel with Amon's more esoteric musical excursions. A furious vent between exploring the outer reaches of sound.

Post ISAM, Amon returned to playing DJ sets, and exploring the dancefloor end of his sound as Two Fingers. 2014 saw him settle back into the studio to begin experimenting on new album material. That experimentation was instantly fruitful, as can be heard on 2015’s brand new Amon Tobin release Dark Jovian. Initially presented as a Record Store Day exclusive, this EP is a collection of stunning new music; momentous and elemental, and epic in scope.

[links] =>

www.amontobin.com

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[image_upload_id] => 15363 [label_id] => 1 [twitter_username] => AmonTobinHQ [instagram_id] => 10218717 [instagram_username] => amontobin [link] => [listed] => 1 [sortname] => Amon Tobin [created] => 2010-07-17 22:15:58 [modified] => 2015-03-19 14:30:23 [slug] => amon-tobin [fuga_id] => [description_clean] =>

Brazilian-born Amon Tobin first emerged between 1994-1995 with a string of 12" singles on the small London-based record label 9Bar Records. The album that followed, Adventures In Foam, paved the way for a whole generation of electronic productions and prompted his signing to the prodigious Ninja Tune in 1996. He has since gone on to record seven critically- acclaimed albums under his own name on Ninja that have since helped define the label as a force in musical innovation and diversity. In addition, Amon has produced a small number of radically diverse original scores ranging from George Palfi's cult cinema oddity Taxidermia to Tom Clancy's video game blockbuster Splinter Cell: Chaos Theory.

The depth and scope of Amon Tobin's work have had a far-reaching influence. From the Kronos Quartet to Diplo he has garnered respect amongst artists both within and outside electronic music. Amon has established a reputation for musical ingenuity that is unconfined by genre and over a fifteen-year-long career remains among one of the most visionary electronic artists of a generation.

The 2007 album Foley Room explored the role of found sound in modern day music. Documented on film, the process of recording minute insects to lions, wolves, engines and foley performances culminated in a much- lauded performance at the birthplace of musique concrete, the GRM Theatre in Paris. More recently, the famed London Metropolitan Orchestra performed selected works from a cross-section of his musical repertoire at the Royal Albert Hall.

An Acronym for "Invented Sound Applied to Music"ISAM was an experiment in synthesizing field recordings and transforming them into new physically playable instruments to create unique sound palettes. From Amon's own voice gender-modified to the sound a of a creaking chair mutated into a string ensemble, ISAM directs an academic approach in audio manipulation to a purely emotional musical context. This contrast is central to the album and represents a pivotal moment in Amon's personal musical development. Sound design techniques previously used in film, as pioneered by the likes of Ben Burt (Star Wars, Wall-E) were utilized along side new ones Amon developed specifically for ISAM and applied in an unprecedented approach to music production.

The specific nature of the album demanded new thinking in terms of how to present it live and this in turn lead to an entirely new kind of music performance. ISAM Live is a hybrid of interactive cinema and a concert experience in which sound determines a narrative. Much like the album, the live show adapted existing and emerging technologies to new contexts. Projection mapping, which had up to then been largely the domain of static mostly corporate visual showcases, was configured for the first time to narrate the musical performance of an entire album. A giant cubic structure was built housing a control booth from which Amon could perform while providing an intricate canvas on to which a story was told as an audio reactive, three dimensional visual interpretation of the music being played.

ISAM Live reshaped audience's expectations of electronic music concerts for years to come selling out the worlds most prestigious venues. From the Sydney Opera House to the Olympia in Paris to the London Hammersmith and LA's Greek Theater ISAM Live received universal acclaim as a landmark in audio visual performance.

In May of 2012, Amon Tobin and Ninja Tune released the Amon Tobin Boxset: a strictly limited edition release and that came in the form of a beautiful high quality bolt fastened mechanical 'press' and included 6 x 10" vinyls, 7 CDs, 2 DVD's and several posters. Most of the material is unreleased, almost none of it has ever been available on a physical format before. It includes new music, unreleased dub plates and a wealth of archive material, Amon Tobin's earliest audio experiments (never been played in public before), film and television score work, unreleased score work, deleted bootlegs, ISAM live show DVD, ISAM live audio album, remixes, cover versions and re-interpretations of the ISAM album, remixes Amon has produced for others, a recording of the (November 2010) Royal Albert Hall orchestrations of Amon Tobin and more.

Concurrent to ISAM Live's final run around the globe, in October 2012, Stunt Rhythms, the sophomore release from Amon's beat-orientated alias Two Fingers dropped. A double CD and triple LP release, Stunt Rhythms is as much body-popping beats as it is raw synth energy. The Two Fingers project is in parallel with Amon's more esoteric musical excursions. A furious vent between exploring the outer reaches of sound.

Post ISAM, Amon returned to playing DJ sets, and exploring the dancefloor end of his sound as Two Fingers. 2014 saw him settle back into the studio to begin experimenting on new album material. That experimentation was instantly fruitful, as can be heard on 2015’s brand new Amon Tobin release Dark Jovian. Initially presented as a Record Store Day exclusive, this EP is a collection of stunning new music; momentous and elemental, and epic in scope.

[links_clean] =>

www.amontobin.com

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Ex-art teacher Jonathan More and computer programmer Matt Black have been a team since the mid-eighties. Both Matt and Jonathan had been building their DJ reputation on the nascent rare groove / warehouse party scene. Jon had a show on the then pirate station Kiss FM and worked in Reckless Records in Londons west end, where he sold Matt a bootleg of 'Across The Tracks' by Maceo & the Macks. Matt came back the next day with 'Say Kids, What Time Is It?' and suggested they work on it together. Meanwhile Jon helped Matt onto Kiss FM and they soon started the joint 'Solid Steel' show (still running to this day). 'Say Kids...' was released in 1987, becoming the UK's first sample-built record. In the same year the duo defined the term 'remix' on Eric B and Rakim's 'Paid in Full', cutting and pasting Israeli singer Ofra Haza's vocals in a notorious reworking which became a worldwide classic. Coldcut's talent was recognized by a BPI 'Producers Of the Year' award in 1990, while their debut album, 'What's That Noise', went silver. 

 The concept of setting up an independent label took shape during a trip to Japan where Matt and Jon made a discovery: "We found a book about cut-out-and-keep Ninjas. They build these amazing houses where they have special traps so they can disappear and reappear somewhere else. They were all about artifice and hidden identity." Tiring of the juggernaut marketing ethic of major labels, this stealthy philosophy seemed appealing. They wrapped up their involvement with the Big Boys in 1993 with the album 'Philosophy' and plunged into the establishment of Ninja Tune, though not before their ambient cover of 'Autumn Leaves' had kickstarted the easy listening movement. 

The story of Ninja Tune is another whole chapter and has been told elsewhere. It perhaps suffices to say that the organisation has grown into one of the classic independent labels to emerge in the '90s, providing a welcoming home to a range of acts including Mr Scruff, Cinematic Orchestra, Herbaliser, Kid Koala and Wagon Christ, as well as the likes of Roots Manuva and Ty through the later-established Big Dada imprint. As befits a pair of DJs who seem to believe that the whole world is there to be cut and pasted, "we mix things, over as broad a spectrum of activities as possible." 

Hence the duo's label-running activities in the early and mid-nineties were augmented by a plethora of other endeavours: the Stealth club night (Club of the Year in the NME, The Face and Mixmag in 1996), the pioneering Pipe website initially written by Coldcut themselves in 1995 and a variety of multimedia experiments with Rob Pepperell as Hex. Fired up by the possibilities presented by digital interactivity, Coldcut and Hex began developing toys and art installation pieces ranging from the 'Top Banana' computer game to the  'Generator' for the Glasgow Gallery Of Modern Art and 'Synopticon' for the JAM, a major exhibit at London's Barbican. While spending the early 90s building this diverse, avant-garde collage of activities, Coldcut were maniacally preparing their own musical breakout. In 1997 they unleashed their fourth album, 'Let Us Play', the first on their own label. The album featured collaborations with highly political ex-Dead Kennedy Jello Biafra, legendary funk drummer Bernard Purdie, poet Salena Saliva, and - one of Coldcut's biggest inspirations - Steinski. Both album and classic single 'More Beats and Pieces' reached the UK Top 40. And, as important as the art was, the politics - tracks like 'Timber' and 'Atomic Moog 3000' - set out an anti-corporate, ecological, anti-authoritarian vision that found its technical expression in the group's continuing interest in interactivity with their audience. 

At the same time, Coldcut were still doing their 'Solid Steel' show on Kiss every Saturday, keeping up the traditional mixed bag and stacking up plaudits such as the Sony Award for Best Specialist Show. All of which led to their 'Journeys By DJ' mix album, '70 Minutes of Madness', which was released to rave reviews and declared the Best Compilation of All Time in Jockey Slut, 1998. By 2000, though, the culture at Kiss has become too commercial for Black and More and they moved the show to BBC London Live, although their main focus was on building its profile as an internet station. Prior to the release of 'Let Us Play', Matt Black was pioneering the concept of VJing at diverse parties such as the legendary Telepathic Fish, Sabresonic and The Big Chill, with the first fruits of this collision of audio and video to be found on the free CD-Rom which accompanied the 'Let Us Play' CD. 

It was, however, only with the tours that followed the record's release that a wider audience began to get an idea of what Coldcut were up to. To promote their work live, Coldcut designed their own VJ software, VJamm, allowing the live re-creation of whole audiovisual pieces. Video could now be jammed or scratched with as easily as sound and audiences were blown away by this new direction. Coldcut called the show CCTV and have presented it everywhere from Sonar in Barcelona, the Montreux Jazz Festival, the Glastonbury Dance Tent, Roskilde, the Queen Elizabeth Hall (as part of John Peel's Meltdown), Steve Reich's remix project launch party in New York and the Darklight Digital Film Festival in Dublin - to name but a few. John Peel, incidentally, was a staunch fan of the group and, in addition to three Sessions during his lifetime, Matt and Jon were chosen to introduce the DJ section of the John Peel Memorial BBC concert night. 

1999 saw the release of remix album 'Let Us Replay', featuring contributions from Cornelius, Carl Craig, Shut Up And Dance and Ryuchi Sakamoto amongst others. Coldcut's politics came to the fore again in 2001, when they released 'Re:volution' to coincide with the British general election. Characterised by Matt Black as a "celebration/diss of UK politics and the 2001 election, an audivisual PARTY political broadcast cutting up your fave enemies over a steaming punk jungle (pungle?) stomper", it led to a campaign involving a mayhem-packed double decker bus ride round Westminster in the company of Brighton's Free Party and the Church of Bob. 

It also inspired American activists to ask Coldcut to become involved in a project for the 2004 US Presidential election. Revusa.net allowed people to download over 12Gb of footage from the last 40 years of US politics and then use them to create a cut-up over a Coldcut beat. The result was Coldcut v. TV Sheriff, 'World Of Evil', widely acclaimed and somehow regularly shown on MTV. 

Alongside the headline-grabbing releases, there has been smaller, more grass-roots activity, too. Piratetv.net was run from Coldcut's Spacelab studio in London and viewed all over the world, pioneering what Black describes as "guerilla netcasting". Special guests on the show ran from Radiohead to the Surveillance Camera Players. Coming from another angle, Vjs.net has focussed on educational activity. Matt is also heavily involved with Nowthemovie.org which aims to make a 21st Century montage documentary in the spirit of 'Sans Soleil' or 'Baraka', using footage uploaded to the site by people all over the world. And the art projects continue apace; Gridio (a collaboration between Coldcut and Headspace) is an "interactive responsive environment" originally commissioned by the Pompidou Centre in Paris which has toured all over Europe. 

2004 saw Coldcut produce a play in conjunction with renowned young author Hari Kunzru for BBC Radio 3 (incidentally, also called 'Sound Mirrors'). A collaboration with the British Antarctic Survey (BAS) has led to the short film 'Wavejammer', and running parallel to this, the remix and production work has continued apace. 

It is a tribute to Coldcut's standing as well as the sheer diversity of their output that the last few years have seen them re-work the theme to Dr Who, the music of Herbie Hancock and the Trojan catalogue, that they returned to the South Bank's Meltdown festival for a live audiovisual dub with Lee 'Scratch' Perry, Mad Professor and Headspace. That they have assembled a group of artists as diverse as Jon Spencer, Robert Owens, Saul Williams, Soweto Kinch and Roots Manuva to appear on their new record. That musically, they have continued to refine and develop both their skills and their style so that, after a twenty year career at the forefront they can honestly claim that this is their best, most complete album to date, utterly contemporary, as fresh as the day they started. Maybe they've remained masters by remaining unruly schoolchildren. Who knows? All that matters is that the masters are back.

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Most people come into music, do the same thing for a few years, slowly sink back into obscurity and spend the rest of their life collecting publishing royalties and re-forming for tribute tours. Their biographies can afford to be quite short - most of us aren't that interested in golf or angling. The problem with Coldcut is that, despite their veteran status, they act like two unruly children who just won't sit still. Which is why even a brief trawl through their various activities looks like a large chapter of a big book. 

Ex-art teacher Jonathan More and computer programmer Matt Black have been a team since the mid-eighties. Both Matt and Jonathan had been building their DJ reputation on the nascent rare groove / warehouse party scene. Jon had a show on the then pirate station Kiss FM and worked in Reckless Records in Londons west end, where he sold Matt a bootleg of 'Across The Tracks' by Maceo & the Macks. Matt came back the next day with 'Say Kids, What Time Is It?' and suggested they work on it together. Meanwhile Jon helped Matt onto Kiss FM and they soon started the joint 'Solid Steel' show (still running to this day). 'Say Kids...' was released in 1987, becoming the UK's first sample-built record. In the same year the duo defined the term 'remix' on Eric B and Rakim's 'Paid in Full', cutting and pasting Israeli singer Ofra Haza's vocals in a notorious reworking which became a worldwide classic. Coldcut's talent was recognized by a BPI 'Producers Of the Year' award in 1990, while their debut album, 'What's That Noise', went silver. 

 The concept of setting up an independent label took shape during a trip to Japan where Matt and Jon made a discovery: "We found a book about cut-out-and-keep Ninjas. They build these amazing houses where they have special traps so they can disappear and reappear somewhere else. They were all about artifice and hidden identity." Tiring of the juggernaut marketing ethic of major labels, this stealthy philosophy seemed appealing. They wrapped up their involvement with the Big Boys in 1993 with the album 'Philosophy' and plunged into the establishment of Ninja Tune, though not before their ambient cover of 'Autumn Leaves' had kickstarted the easy listening movement. 

The story of Ninja Tune is another whole chapter and has been told elsewhere. It perhaps suffices to say that the organisation has grown into one of the classic independent labels to emerge in the '90s, providing a welcoming home to a range of acts including Mr Scruff, Cinematic Orchestra, Herbaliser, Kid Koala and Wagon Christ, as well as the likes of Roots Manuva and Ty through the later-established Big Dada imprint.

As befits a pair of DJs who seem to believe that the whole world is there to be cut and pasted, "we mix things, over as broad a spectrum of activities as possible." 

Hence the duo's label-running activities in the early and mid-nineties were augmented by a plethora of other endeavours: the Stealth club night (Club of the Year in the NME, The Face and Mixmag in 1996), the pioneering Pipe website initially written by Coldcut themselves in 1995 and a variety of multimedia experiments with Rob Pepperell as Hex. Fired up by the possibilities presented by digital interactivity, Coldcut and Hex began developing toys and art installation pieces ranging from the 'Top Banana' computer game to the  'Generator' for the Glasgow Gallery Of Modern Art and 'Synopticon' for the JAM, a major exhibit at London's Barbican.

While spending the early 90s building this diverse, avant-garde collage of activities, Coldcut were maniacally preparing their own musical breakout. In 1997 they unleashed their fourth album, 'Let Us Play', the first on their own label. The album featured collaborations with highly political ex-Dead Kennedy Jello Biafra, legendary funk drummer Bernard Purdie, poet Salena Saliva, and - one of Coldcut's biggest inspirations - Steinski. Both album and classic single 'More Beats and Pieces' reached the UK Top 40. And, as important as the art was, the politics - tracks like 'Timber' and 'Atomic Moog 3000' - set out an anti-corporate, ecological, anti-authoritarian vision that found its technical expression in the group's continuing interest in interactivity with their audience. 

At the same time, Coldcut were still doing their 'Solid Steel' show on Kiss every Saturday, keeping up the traditional mixed bag and stacking up plaudits such as the Sony Award for Best Specialist Show. All of which led to their 'Journeys By DJ' mix album, '70 Minutes of Madness', which was released to rave reviews and declared the Best Compilation of All Time in Jockey Slut, 1998. By 2000, though, the culture at Kiss has become too commercial for Black and More and they moved the show to BBC London Live, although their main focus was on building its profile as an internet station.

Prior to the release of 'Let Us Play', Matt Black was pioneering the concept of VJing at diverse parties such as the legendary Telepathic Fish, Sabresonic and The Big Chill, with the first fruits of this collision of audio and video to be found on the free CD-Rom which accompanied the 'Let Us Play' CD. 

It was, however, only with the tours that followed the record's release that a wider audience began to get an idea of what Coldcut were up to. To promote their work live, Coldcut designed their own VJ software, VJamm, allowing the live re-creation of whole audiovisual pieces. Video could now be jammed or scratched with as easily as sound and audiences were blown away by this new direction. Coldcut called the show CCTV and have presented it everywhere from Sonar in Barcelona, the Montreux Jazz Festival, the Glastonbury Dance Tent, Roskilde, the Queen Elizabeth Hall (as part of John Peel's Meltdown), Steve Reich's remix project launch party in New York and the Darklight Digital Film Festival in Dublin - to name but a few. John Peel, incidentally, was a staunch fan of the group and, in addition to three Sessions during his lifetime, Matt and Jon were chosen to introduce the DJ section of the John Peel Memorial BBC concert night. 

1999 saw the release of remix album 'Let Us Replay', featuring contributions from Cornelius, Carl Craig, Shut Up And Dance and Ryuchi Sakamoto amongst others. Coldcut's politics came to the fore again in 2001, when they released 'Re:volution' to coincide with the British general election. Characterised by Matt Black as a "celebration/diss of UK politics and the 2001 election, an audivisual PARTY political broadcast cutting up your fave enemies over a steaming punk jungle (pungle?) stomper", it led to a campaign involving a mayhem-packed double decker bus ride round Westminster in the company of Brighton's Free Party and the Church of Bob. 

It also inspired American activists to ask Coldcut to become involved in a project for the 2004 US Presidential election. Revusa.net allowed people to download over 12Gb of footage from the last 40 years of US politics and then use them to create a cut-up over a Coldcut beat. The result was Coldcut v. TV Sheriff, 'World Of Evil', widely acclaimed and somehow regularly shown on MTV. 

Alongside the headline-grabbing releases, there has been smaller, more grass-roots activity, too. Piratetv.net was run from Coldcut's Spacelab studio in London and viewed all over the world, pioneering what Black describes as "guerilla netcasting". Special guests on the show ran from Radiohead to the Surveillance Camera Players. Coming from another angle, Vjs.net has focussed on educational activity. Matt is also heavily involved with Nowthemovie.org which aims to make a 21st Century montage documentary in the spirit of 'Sans Soleil' or 'Baraka', using footage uploaded to the site by people all over the world.

And the art projects continue apace; Gridio (a collaboration between Coldcut and Headspace) is an "interactive responsive environment" originally commissioned by the Pompidou Centre in Paris which has toured all over Europe. 

2004 saw Coldcut produce a play in conjunction with renowned young author Hari Kunzru for BBC Radio 3 (incidentally, also called 'Sound Mirrors'). A collaboration with the British Antarctic Survey (BAS) has led to the short film 'Wavejammer', and running parallel to this, the remix and production work has continued apace. 

It is a tribute to Coldcut's standing as well as the sheer diversity of their output that the last few years have seen them re-work the theme to Dr Who, the music of Herbie Hancock and the Trojan catalogue, that they returned to the South Bank's Meltdown festival for a live audiovisual dub with Lee 'Scratch' Perry, Mad Professor and Headspace. That they have assembled a group of artists as diverse as Jon Spencer, Robert Owens, Saul Williams, Soweto Kinch and Roots Manuva to appear on their new record. That musically, they have continued to refine and develop both their skills and their style so that, after a twenty year career at the forefront they can honestly claim that this is their best, most complete album to date, utterly contemporary, as fresh as the day they started. Maybe they've remained masters by remaining unruly schoolchildren. Who knows? All that matters is that the masters are back.

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Brazilian-born Amon Tobin first emerged between 1994-1995 with a string of 12" singles on the small London-based record label 9Bar Records. The album that followed, Adventures In Foam, paved the way for a whole generation of electronic productions and prompted his signing to the prodigious Ninja Tune in 1996. He has since gone on to record seven critically- acclaimed albums under his own name on Ninja that have since helped define the label as a force in musical innovation and diversity. In addition, Amon has produced a small number of radically diverse original scores ranging from George Palfi's cult cinema oddity Taxidermia to Tom Clancy's video game blockbuster Splinter Cell: Chaos Theory.

The depth and scope of Amon Tobin's work have had a far-reaching influence. From the Kronos Quartet to Diplo he has garnered respect amongst artists both within and outside electronic music. Amon has established a reputation for musical ingenuity that is unconfined by genre and over a fifteen-year-long career remains among one of the most visionary electronic artists of a generation.

The 2007 album Foley Room explored the role of found sound in modern day music. Documented on film, the process of recording minute insects to lions, wolves, engines and foley performances culminated in a much- lauded performance at the birthplace of musique concrete, the GRM Theatre in Paris. More recently, the famed London Metropolitan Orchestra performed selected works from a cross-section of his musical repertoire at the Royal Albert Hall.

An Acronym for "Invented Sound Applied to Music"ISAM was an experiment in synthesizing field recordings and transforming them into new physically playable instruments to create unique sound palettes. From Amon's own voice gender-modified to the sound a of a creaking chair mutated into a string ensemble, ISAM directs an academic approach in audio manipulation to a purely emotional musical context. This contrast is central to the album and represents a pivotal moment in Amon's personal musical development. Sound design techniques previously used in film, as pioneered by the likes of Ben Burt (Star Wars, Wall-E) were utilized along side new ones Amon developed specifically for ISAM and applied in an unprecedented approach to music production.

The specific nature of the album demanded new thinking in terms of how to present it live and this in turn lead to an entirely new kind of music performance. ISAM Live is a hybrid of interactive cinema and a concert experience in which sound determines a narrative. Much like the album, the live show adapted existing and emerging technologies to new contexts. Projection mapping, which had up to then been largely the domain of static mostly corporate visual showcases, was configured for the first time to narrate the musical performance of an entire album. A giant cubic structure was built housing a control booth from which Amon could perform while providing an intricate canvas on to which a story was told as an audio reactive, three dimensional visual interpretation of the music being played.

ISAM Live reshaped audience's expectations of electronic music concerts for years to come selling out the worlds most prestigious venues. From the Sydney Opera House to the Olympia in Paris to the London Hammersmith and LA's Greek Theater ISAM Live received universal acclaim as a landmark in audio visual performance.

In May of 2012, Amon Tobin and Ninja Tune released the Amon Tobin Boxset: a strictly limited edition release and that came in the form of a beautiful high quality bolt fastened mechanical 'press' and included 6 x 10" vinyls, 7 CDs, 2 DVD's and several posters. Most of the material is unreleased, almost none of it has ever been available on a physical format before. It includes new music, unreleased dub plates and a wealth of archive material, Amon Tobin's earliest audio experiments (never been played in public before), film and television score work, unreleased score work, deleted bootlegs, ISAM live show DVD, ISAM live audio album, remixes, cover versions and re-interpretations of the ISAM album, remixes Amon has produced for others, a recording of the (November 2010) Royal Albert Hall orchestrations of Amon Tobin and more.

Concurrent to ISAM Live's final run around the globe, in October 2012, Stunt Rhythms, the sophomore release from Amon's beat-orientated alias Two Fingers dropped. A double CD and triple LP release, Stunt Rhythms is as much body-popping beats as it is raw synth energy. The Two Fingers project is in parallel with Amon's more esoteric musical excursions. A furious vent between exploring the outer reaches of sound.

Post ISAM, Amon returned to playing DJ sets, and exploring the dancefloor end of his sound as Two Fingers. 2014 saw him settle back into the studio to begin experimenting on new album material. That experimentation was instantly fruitful, as can be heard on 2015’s brand new Amon Tobin release Dark Jovian. Initially presented as a Record Store Day exclusive, this EP is a collection of stunning new music; momentous and elemental, and epic in scope.

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Brazilian-born Amon Tobin first emerged between 1994-1995 with a string of 12" singles on the small London-based record label 9Bar Records. The album that followed, Adventures In Foam, paved the way for a whole generation of electronic productions and prompted his signing to the prodigious Ninja Tune in 1996. He has since gone on to record seven critically- acclaimed albums under his own name on Ninja that have since helped define the label as a force in musical innovation and diversity. In addition, Amon has produced a small number of radically diverse original scores ranging from George Palfi's cult cinema oddity Taxidermia to Tom Clancy's video game blockbuster Splinter Cell: Chaos Theory.

The depth and scope of Amon Tobin's work have had a far-reaching influence. From the Kronos Quartet to Diplo he has garnered respect amongst artists both within and outside electronic music. Amon has established a reputation for musical ingenuity that is unconfined by genre and over a fifteen-year-long career remains among one of the most visionary electronic artists of a generation.

The 2007 album Foley Room explored the role of found sound in modern day music. Documented on film, the process of recording minute insects to lions, wolves, engines and foley performances culminated in a much- lauded performance at the birthplace of musique concrete, the GRM Theatre in Paris. More recently, the famed London Metropolitan Orchestra performed selected works from a cross-section of his musical repertoire at the Royal Albert Hall.

An Acronym for "Invented Sound Applied to Music"ISAM was an experiment in synthesizing field recordings and transforming them into new physically playable instruments to create unique sound palettes. From Amon's own voice gender-modified to the sound a of a creaking chair mutated into a string ensemble, ISAM directs an academic approach in audio manipulation to a purely emotional musical context. This contrast is central to the album and represents a pivotal moment in Amon's personal musical development. Sound design techniques previously used in film, as pioneered by the likes of Ben Burt (Star Wars, Wall-E) were utilized along side new ones Amon developed specifically for ISAM and applied in an unprecedented approach to music production.

The specific nature of the album demanded new thinking in terms of how to present it live and this in turn lead to an entirely new kind of music performance. ISAM Live is a hybrid of interactive cinema and a concert experience in which sound determines a narrative. Much like the album, the live show adapted existing and emerging technologies to new contexts. Projection mapping, which had up to then been largely the domain of static mostly corporate visual showcases, was configured for the first time to narrate the musical performance of an entire album. A giant cubic structure was built housing a control booth from which Amon could perform while providing an intricate canvas on to which a story was told as an audio reactive, three dimensional visual interpretation of the music being played.

ISAM Live reshaped audience's expectations of electronic music concerts for years to come selling out the worlds most prestigious venues. From the Sydney Opera House to the Olympia in Paris to the London Hammersmith and LA's Greek Theater ISAM Live received universal acclaim as a landmark in audio visual performance.

In May of 2012, Amon Tobin and Ninja Tune released the Amon Tobin Boxset: a strictly limited edition release and that came in the form of a beautiful high quality bolt fastened mechanical 'press' and included 6 x 10" vinyls, 7 CDs, 2 DVD's and several posters. Most of the material is unreleased, almost none of it has ever been available on a physical format before. It includes new music, unreleased dub plates and a wealth of archive material, Amon Tobin's earliest audio experiments (never been played in public before), film and television score work, unreleased score work, deleted bootlegs, ISAM live show DVD, ISAM live audio album, remixes, cover versions and re-interpretations of the ISAM album, remixes Amon has produced for others, a recording of the (November 2010) Royal Albert Hall orchestrations of Amon Tobin and more.

Concurrent to ISAM Live's final run around the globe, in October 2012, Stunt Rhythms, the sophomore release from Amon's beat-orientated alias Two Fingers dropped. A double CD and triple LP release, Stunt Rhythms is as much body-popping beats as it is raw synth energy. The Two Fingers project is in parallel with Amon's more esoteric musical excursions. A furious vent between exploring the outer reaches of sound.

Post ISAM, Amon returned to playing DJ sets, and exploring the dancefloor end of his sound as Two Fingers. 2014 saw him settle back into the studio to begin experimenting on new album material. That experimentation was instantly fruitful, as can be heard on 2015’s brand new Amon Tobin release Dark Jovian. Initially presented as a Record Store Day exclusive, this EP is a collection of stunning new music; momentous and elemental, and epic in scope.

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Straight outta Toxteth, Elliott Egerton made one of the rawest, funniest debuts of 2012 with "[sic]" - an album which showcased a uniquely intelligent, angry and hilarious wordsmith. With live shows which lurch between chaos and silver-tongued, quick fire brilliance, Egerton is a born MC, his delivery effortlessly moving between the funny and the furious, as he spins yarns and nails metaphors that make rap sound new again.

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Straight outta Toxteth, Elliott Egerton made one of the rawest, funniest debuts of 2012 with "[sic]" - an album which showcased a uniquely intelligent, angry and hilarious wordsmith. With live shows which lurch between chaos and silver-tongued, quick fire brilliance, Egerton is a born MC, his delivery effortlessly moving between the funny and the furious, as he spins yarns and nails metaphors that make rap sound new again.

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Brendan Angelides aka Eskmo is a San Francisco based electronic music producer and live performer. His multi-genre compositions have been featured on influential labels like Warp Records and Planet Mu, though while Eskmo's tracks encompass a wide range of electronic styles, he avoids classification. Bleep.com called his tracks "masterfully produced...sophisticated, post-Dilla hip-hop funk" while sites like Boomkat describe his music as "[putting] Eskmo on his own electronic plateau.

In the past five years Eskmo has released over a dozen singles and EPs, most recently a collaboration with Amon Tobin as Eskamon, as well as touring as a live act throughout North America and Europe, opening for Flying Lotus, Amon Tobin, STS9, and The Glitch Mob amongst many others. Over time, he has come to be recognized by top-tier producers as having his own distinct 'Eskmo Sound'; as Pendulum said this in a recent interview, "There are good producers, then there are dudes who..you never catch..and don't even try. He's one of those guys."

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[image_upload_id] => 4225 [label_id] => 1 [twitter_username] => eskmowelder [instagram_id] => 4094917 [instagram_username] => eskmowelder [link] => [listed] => 0 [sortname] => Eskmo [created] => 2010-07-17 22:15:59 [modified] => 2014-03-06 10:15:19 [slug] => eskmo [fuga_id] => [description_clean] =>

Brendan Angelides aka Eskmo is a San Francisco based electronic music producer and live performer. His multi-genre compositions have been featured on influential labels like Warp Records and Planet Mu, though while Eskmo's tracks encompass a wide range of electronic styles, he avoids classification. Bleep.com called his tracks "masterfully produced...sophisticated, post-Dilla hip-hop funk" while sites like Boomkat describe his music as "[putting] Eskmo on his own electronic plateau.

In the past five years Eskmo has released over a dozen singles and EPs, most recently a collaboration with Amon Tobin as Eskamon, as well as touring as a live act throughout North America and Europe, opening for Flying Lotus, Amon Tobin, STS9, and The Glitch Mob amongst many others. Over time, he has come to be recognized by top-tier producers as having his own distinct 'Eskmo Sound'; as Pendulum said this in a recent interview, "There are good producers, then there are dudes who..you never catch..and don't even try. He's one of those guys."

[links_clean] =>

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Artist Date City Venue Buy
Fink Friday, Nov 23rd Amsterdam, NL (SOLD OUT) Paradiso Grote Zaal
DJ Kentaro Friday, Nov 23rd Makurai Messe, JP Electraglide
Mr. Scruff Friday, Nov 23rd Liverpool, GB Masque
Kid Koala Friday, Nov 23rd Philadelphia, PA, US Underground Arts Buy
Amon Tobin (DJ Set) Friday, Nov 23rd Chiba, JP Makuhari Messe Buy
Coldcut Friday, Nov 23rd Paris, FR La Bellevilloise Buy
Amon Tobin (DJ Set) Friday, Nov 23rd Makuhari Messe, JP Electraglide Buy
Bang On! Friday, Nov 23rd Lille, FR Call 911
Eskmo Friday, Nov 23rd Perth, AU Geisha Buy
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