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The Herbaliser and The Qemists @ Rock For Churchill 2013

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The Herbaliser and The Qemists @ Rock For Churchill 2013

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It's not every day that you come across a duo like Jake Wherry and Ollie Teeba. They've been working together for over a decade and continue to progress and improve, to excel in the competitive world of hip hop production and beyond.

Jake Wherry grew up in South West London. A diet of jazz and James Brown provided the soundtrack of his childhood and teenage years, before he naturally found himself getting into rare groove and old school hiphop and played guitar and bass in many jazz, funk and rock bands. Ollie Teeba, meanwhile, was strictly about the hip hop. He began DJing at 15, was playing out in London within a year and, in between, was to be found collecting sneakers.

Despite knowing of each other's rep at sixth form college it was only to be years later that they would convene at Jake's now legendary studio, Traintrax, to start their beat making careers. The guys immediately hit it off and began working on material of their own, utilising the skills of seminal collobrators DJ Malachi, Kaidi Tatham (Bugz In The Attic) and Ralph Lamb (Easy Access Orchestra). Wherry had played in school bands with PC (DJ Food) and when he heard the early Herbaliser demos, he was quick to introduce them to Ninja Tune; just in time for the mid-nineties explosion of hip hop jazz breaks.

As they explain: "Our instrumental style was born of a necessity to produce hip hop music, but without access to rappers we had to develop a new approach".

Their first album, the classic 'Remedies', was released by Ninja in October '95, a sharp hit of hard breaks, jazz sampledelia and funk, a record that could only have come out of the UK. 1997's 'Blow Your Headphones' added more vocals to the mix, in particular introducing the world (outside of the New York Underground scene) to the talents of What What (now Jean Grae).

Counteracting the prevalence of a couple of DJ's and a bongo player being the most common 'live' presentation of dance music, and inspired by the great funk bands of the previous decades, Wherry and Teeba decided it was time to take the musicians they worked with out on the road. With Tatham, Lamb and Patrick Dawes (percussion) already on board, it was a small step to making a seven piece whose blend of hip hop rawness and funk band tightness made them a major fixture at festivals across Europe.

The experience also caused Jake and Ollie to re-think the process of making a record. For 1999's 'Very Mercenary' they also began sampling their own playing partners, originating new grooves and then splicing them in the sampler as if they were off a piece dusty rare vinyl. It also featured a stellar cast of guests, What What this time being joined by Bahamadia, Blade, and Roots Manuva. But it was the musical breakthrough that fascinated them most and allowed them to indulge a love of sixties soundtrack and library records without merely chopping and looping the originals. Hence, whilst 'Something Wicked This Way Comes' (2002) featured another fantastic batch of guest vocalists, including MF Doom (long before his current deification) and Rakaa Iriscience (Dilated Peoples), it was as music that it really fascinated, a dark psych-funk underpinning being revealed.

The band went back out on the road and the record's commercial and critical success saw The Herbaliser rising to headline status at many key UK and EU festivals, with a live show that by now left most others for dead. Unsurprisingly, perhaps, the boys leapt at the chance to produce last year's "Solid Steel: Herbal Blend" mix and reassert their prime skills as mixers and hip hop heads. Meanwhile, their self-evident production chops got them gigs making music for everyone from Motorola to Guy Ritchie ('Snatch'), from PlayStation ('Tony Hawks Underground') to writing NFL's theme for the primetime 'Sunday Night Football' on ESPN.

All of which leads us to 'Take London'. As you'd expect, the record shows further refinement and expansion in sheer technique, while tracks like 'The Generals' show that the boys have lost none of their edge, or sheer enjoyment of fucked up, crazed hip hop tomfoolery. And talking of the Generals (the most unusual group to come out of US hip hop in a good few years), it's great to see this album putting back one woman centre stage. What What may have morphed into Jean Grae, but her skills have gone superhuman. But then The Herbaliser have always been about progression. That and being dope...

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[image_upload_id] => 14052 [label_id] => 1 [twitter_username] => theherbaliser [instagram_id] => 16194463 [instagram_username] => theherbaliser [link] => [listed] => 0 [sortname] => Herbaliser [created] => 2010-07-17 22:15:58 [modified] => 2014-03-06 10:16:17 [slug] => the-herbaliser [fuga_id] => [description_clean] =>

It's not every day that you come across a duo like Jake Wherry and Ollie Teeba. They've been working together for over a decade and continue to progress and improve, to excel in the competitive world of hip hop production and beyond.

Jake Wherry grew up in South West London. A diet of jazz and James Brown provided the soundtrack of his childhood and teenage years, before he naturally found himself getting into rare groove and old school hiphop and played guitar and bass in many jazz, funk and rock bands. Ollie Teeba, meanwhile, was strictly about the hip hop. He began DJing at 15, was playing out in London within a year and, in between, was to be found collecting sneakers.

Despite knowing of each other's rep at sixth form college it was only to be years later that they would convene at Jake's now legendary studio, Traintrax, to start their beat making careers. The guys immediately hit it off and began working on material of their own, utilising the skills of seminal collobrators DJ Malachi, Kaidi Tatham (Bugz In The Attic) and Ralph Lamb (Easy Access Orchestra). Wherry had played in school bands with PC (DJ Food) and when he heard the early Herbaliser demos, he was quick to introduce them to Ninja Tune; just in time for the mid-nineties explosion of hip hop jazz breaks.

As they explain: "Our instrumental style was born of a necessity to produce hip hop music, but without access to rappers we had to develop a new approach".

Their first album, the classic 'Remedies', was released by Ninja in October '95, a sharp hit of hard breaks, jazz sampledelia and funk, a record that could only have come out of the UK. 1997's 'Blow Your Headphones' added more vocals to the mix, in particular introducing the world (outside of the New York Underground scene) to the talents of What What (now Jean Grae).

Counteracting the prevalence of a couple of DJ's and a bongo player being the most common 'live' presentation of dance music, and inspired by the great funk bands of the previous decades, Wherry and Teeba decided it was time to take the musicians they worked with out on the road. With Tatham, Lamb and Patrick Dawes (percussion) already on board, it was a small step to making a seven piece whose blend of hip hop rawness and funk band tightness made them a major fixture at festivals across Europe.

The experience also caused Jake and Ollie to re-think the process of making a record. For 1999's 'Very Mercenary' they also began sampling their own playing partners, originating new grooves and then splicing them in the sampler as if they were off a piece dusty rare vinyl. It also featured a stellar cast of guests, What What this time being joined by Bahamadia, Blade, and Roots Manuva. But it was the musical breakthrough that fascinated them most and allowed them to indulge a love of sixties soundtrack and library records without merely chopping and looping the originals. Hence, whilst 'Something Wicked This Way Comes' (2002) featured another fantastic batch of guest vocalists, including MF Doom (long before his current deification) and Rakaa Iriscience (Dilated Peoples), it was as music that it really fascinated, a dark psych-funk underpinning being revealed.

The band went back out on the road and the record's commercial and critical success saw The Herbaliser rising to headline status at many key UK and EU festivals, with a live show that by now left most others for dead. Unsurprisingly, perhaps, the boys leapt at the chance to produce last year's "Solid Steel: Herbal Blend" mix and reassert their prime skills as mixers and hip hop heads. Meanwhile, their self-evident production chops got them gigs making music for everyone from Motorola to Guy Ritchie ('Snatch'), from PlayStation ('Tony Hawks Underground') to writing NFL's theme for the primetime 'Sunday Night Football' on ESPN.

All of which leads us to 'Take London'. As you'd expect, the record shows further refinement and expansion in sheer technique, while tracks like 'The Generals' show that the boys have lost none of their edge, or sheer enjoyment of fucked up, crazed hip hop tomfoolery. And talking of the Generals (the most unusual group to come out of US hip hop in a good few years), it's great to see this album putting back one woman centre stage. What What may have morphed into Jean Grae, but her skills have gone superhuman. But then The Herbaliser have always been about progression. That and being dope...

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[counter_player] => [counter_biog] => ) [1] => Array ( [id] => 68 [name] => The Qemists [description] =>

“Sometimes, it’s easier to describe The Qemists by saying what we’re not,” laughs Liam Black. “We’re not a ‘standard’ Rock band, we’re not ‘standard’ Drum & Bass producers, and we don’t try to be those things. But describing what we are, that’s more tricky...”

The Qemists are, in many ways, something of a Qonundrum. They’re Rock kids seduced by the dancefloor, Dance kids equally happy playing live instruments or building tracks on the computer, Drum & Bass aficionados who believe their hurtling breakbeats sound best under muscular metallic riffs. Their debut album, 2009’s 'Join The Q', juggled Junglist Metal monsters like ‘Stompbox’, gonzoid Techno throbbers like ‘S.W.A.G.’, and wall-shaking Dancehall boomers like ‘Dem Na Like Me’ with a diverse guest-list including ex-Faith No More frontman Mike Patton, Grime legend Wiley and Drum & Bass chanteuse Jenna G.

On paper, such a soundclash seems like a trainwreck in the making. However, pumped as loud as your hi-fi will allow, or booming through the PA at one of their live shows, The Qemists make glorious sense. Having already won a fevered following across the globe for their fearless genre-mashing, their ballistic body music, they return with 'Spirit In The System', a second album that’s bolder and broader than its predecessor, their next evolutionary step in their fusion of Rock, Drum & Bass and everything else that they love.

The story begins a decade or so ago, in a barn on the rural outskirts of Brighton, where schoolkids Liam Black, Dan Arnold and Leon Harris began making music together, as an escape from the mind-numbing boredom of their sleepy village. Even then, their work ethic was fearsome, meeting up to rehearse three nights a week, and all day Sunday. Drawing initial inspiration from the brawny Rock groups of the day –Soundgarden and Nirvana, RATM and the Chili Peppers – they kept their ears open and listened without prejudice. When they weren’t rehearsing in the studio or out at gigs, you could find them tooling along to raves with their friends, DJ Hype mixtapes blaring on the car stereo, or losing themselves at Drum & Bass nights, finding the same energy and dynamism that they loved in Rock music alive in Jungle tracks.

Soon they were spending their days studying music production and technology and building Trip Hop and Drum & Bass tracks on the computer, and their nights and weekends rehearsing in the studio. A slew of lead singers filtered through the ranks, until the boys decided it was best to remain as a trio, and to begin fusing their electronic ideas with their work as a live group. “We thought, fuck the politics of being ‘a band’,” remembers Dan. “We could be producers, we could be the band, we could play any kind of music we wanted to, and people would just have to accept that.”

Locked away in their studio, they were fiercely productive, honing their sound and recording many albums’ worth of material, which they’d play to friends but never send to record labels. They recorded two 12”s for Mastermind Records in 2004, but their career truly began when Liam began working as an intern for Coldcut’s Jonathan More, who invited the trio to remix ‘Everything Is Under Control’, the lead single off Coldcut’s 2006 LP 'Sound Mirrors'. Their high-octane rebuild became a regular highlight of Coldcut’s world tour in support of 'Sound Mirrors' – “They emailed us from the road, saying ‘Oh my god, your track’s just demolished Japan!’” grins Leon – and The Qemists signed to Coldcut’s record label Ninja Tune, to record the debut album – 'Join The Q' – that would make sense of their riot of influences and styles.

Spirit In The System, then, is The Qemists’ second chapter, drawing confidence from their debut’s success, and from slaying audiences across the globe with their bionic hybrid-noise. “We tested our music out by playing it live and DJing all around the world,” says Liam, “and got a better understanding of what people like about our music, and how they respond to the different things we do. It’s great to see how emotionally affected people can be by Dance music; they can have their best, deepest experiences on a dancefloor. We wanted to capture that range of emotions on the album.” They again enlisted an impressive and eclectic roster of vocal talent, to help them tap that deep vein of emotion. “We just said to the vocalists, ‘think about the emotion, sing about what matters to you’,” says Dan. “We wanted feelings on this record. We got one of the most emotional tracks from Jenna G, who returned for ‘Hurt Less’. She knew us so well from touring with us that she was totally unafraid to give it everything, and sing what she really felt.”

The album also includes collaborations with Grime MC Maxsta and Drum & Bass MC ID, Danish Doom-rockers Kellermensch, Chantel from Invasion (who Liam describes as “a Death Metal band fronted by a soul singer”), along with some of the cream of modern UK Rock talent. “We got in touch with Rob Hawkins of The Automatic because we’d heard them all over the radio,” says Leon. “He’s just got a fantastic voice; it’s really versatile, so we had him sing on ‘Apocalypse’, which is a real dance track.” Enter Shikari, meanwhile, took The Qemists along as support for their 2009 European Tour, and are, Liam says, “our favourite rock band in the whole world. We wanted more than just a guest vocal from their singer Rou; we worked with Rory on guitar as well, to make 'Take It Back' a true collaboration and it was a brilliant experience”

Aided by these guests, The Qemists deliver a decisively powerful, nuanced set, balancing balls-to-the-wall bangers like ‘Apocalypse’ and ‘Your Revolution’ – where the galloping break-beats and blasts of sub-bass send the listener hurtling on a sonic roller-coaster ride – with powerfully emotional tracks like the yearning, desperate ‘Hurt Less’ and the melancholic pulse of ‘Fading Halo’. The music contained on 'Spirit In The System' might defy definition, but it does so boldly, proudly and brilliantly, fusing the dynamics of Rock with the muscular tempos of Drum & Bass and the visceral rush of Rave into a sound that’s fearlessly all their own.

The answer to the Qonundrum is this: The Qemists sound like the sort of music The Qemists want to hear, and their ears are too adventurous to heed petty generic borders. “The younger members of our audience know its okay to be into all different kinds of music, that you don’t have to limit yourself in your creativity,” says Liam. “Yeah, we’re a band; no, we don’t have a lead singer; yes, we do have singers on some tracks; yes, we do DJ; and yes, we play live. It’s okay to be this new cross-breed, to do what you want; it’s the way forward, creatively. And I don’t see how anyone else does it any other way, to be honest. It would be terrible, we couldn’t ever limit ourselves like that.”

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[image_upload_id] => 4232 [label_id] => 1 [twitter_username] => theqemists [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Qemists [created] => 2010-07-17 22:15:59 [modified] => 2014-03-06 10:20:47 [slug] => the-qemists [fuga_id] => [description_clean] =>

“Sometimes, it’s easier to describe The Qemists by saying what we’re not,” laughs Liam Black. “We’re not a ‘standard’ Rock band, we’re not ‘standard’ Drum & Bass producers, and we don’t try to be those things. But describing what we are, that’s more tricky...”

The Qemists are, in many ways, something of a Qonundrum. They’re Rock kids seduced by the dancefloor, Dance kids equally happy playing live instruments or building tracks on the computer, Drum & Bass aficionados who believe their hurtling breakbeats sound best under muscular metallic riffs. Their debut album, 2009’s 'Join The Q', juggled Junglist Metal monsters like ‘Stompbox’, gonzoid Techno throbbers like ‘S.W.A.G.’, and wall-shaking Dancehall boomers like ‘Dem Na Like Me’ with a diverse guest-list including ex-Faith No More frontman Mike Patton, Grime legend Wiley and Drum & Bass chanteuse Jenna G.

On paper, such a soundclash seems like a trainwreck in the making. However, pumped as loud as your hi-fi will allow, or booming through the PA at one of their live shows, The Qemists make glorious sense. Having already won a fevered following across the globe for their fearless genre-mashing, their ballistic body music, they return with 'Spirit In The System', a second album that’s bolder and broader than its predecessor, their next evolutionary step in their fusion of Rock, Drum & Bass and everything else that they love.

The story begins a decade or so ago, in a barn on the rural outskirts of Brighton, where schoolkids Liam Black, Dan Arnold and Leon Harris began making music together, as an escape from the mind-numbing boredom of their sleepy village. Even then, their work ethic was fearsome, meeting up to rehearse three nights a week, and all day Sunday. Drawing initial inspiration from the brawny Rock groups of the day –Soundgarden and Nirvana, RATM and the Chili Peppers – they kept their ears open and listened without prejudice. When they weren’t rehearsing in the studio or out at gigs, you could find them tooling along to raves with their friends, DJ Hype mixtapes blaring on the car stereo, or losing themselves at Drum & Bass nights, finding the same energy and dynamism that they loved in Rock music alive in Jungle tracks.

Soon they were spending their days studying music production and technology and building Trip Hop and Drum & Bass tracks on the computer, and their nights and weekends rehearsing in the studio. A slew of lead singers filtered through the ranks, until the boys decided it was best to remain as a trio, and to begin fusing their electronic ideas with their work as a live group. “We thought, fuck the politics of being ‘a band’,” remembers Dan. “We could be producers, we could be the band, we could play any kind of music we wanted to, and people would just have to accept that.”

Locked away in their studio, they were fiercely productive, honing their sound and recording many albums’ worth of material, which they’d play to friends but never send to record labels. They recorded two 12”s for Mastermind Records in 2004, but their career truly began when Liam began working as an intern for Coldcut’s Jonathan More, who invited the trio to remix ‘Everything Is Under Control’, the lead single off Coldcut’s 2006 LP 'Sound Mirrors'. Their high-octane rebuild became a regular highlight of Coldcut’s world tour in support of 'Sound Mirrors' – “They emailed us from the road, saying ‘Oh my god, your track’s just demolished Japan!’” grins Leon – and The Qemists signed to Coldcut’s record label Ninja Tune, to record the debut album – 'Join The Q' – that would make sense of their riot of influences and styles.

Spirit In The System, then, is The Qemists’ second chapter, drawing confidence from their debut’s success, and from slaying audiences across the globe with their bionic hybrid-noise. “We tested our music out by playing it live and DJing all around the world,” says Liam, “and got a better understanding of what people like about our music, and how they respond to the different things we do. It’s great to see how emotionally affected people can be by Dance music; they can have their best, deepest experiences on a dancefloor. We wanted to capture that range of emotions on the album.” They again enlisted an impressive and eclectic roster of vocal talent, to help them tap that deep vein of emotion. “We just said to the vocalists, ‘think about the emotion, sing about what matters to you’,” says Dan. “We wanted feelings on this record. We got one of the most emotional tracks from Jenna G, who returned for ‘Hurt Less’. She knew us so well from touring with us that she was totally unafraid to give it everything, and sing what she really felt.”

The album also includes collaborations with Grime MC Maxsta and Drum & Bass MC ID, Danish Doom-rockers Kellermensch, Chantel from Invasion (who Liam describes as “a Death Metal band fronted by a soul singer”), along with some of the cream of modern UK Rock talent. “We got in touch with Rob Hawkins of The Automatic because we’d heard them all over the radio,” says Leon. “He’s just got a fantastic voice; it’s really versatile, so we had him sing on ‘Apocalypse’, which is a real dance track.” Enter Shikari, meanwhile, took The Qemists along as support for their 2009 European Tour, and are, Liam says, “our favourite rock band in the whole world. We wanted more than just a guest vocal from their singer Rou; we worked with Rory on guitar as well, to make 'Take It Back' a true collaboration and it was a brilliant experience”

Aided by these guests, The Qemists deliver a decisively powerful, nuanced set, balancing balls-to-the-wall bangers like ‘Apocalypse’ and ‘Your Revolution’ – where the galloping break-beats and blasts of sub-bass send the listener hurtling on a sonic roller-coaster ride – with powerfully emotional tracks like the yearning, desperate ‘Hurt Less’ and the melancholic pulse of ‘Fading Halo’. The music contained on 'Spirit In The System' might defy definition, but it does so boldly, proudly and brilliantly, fusing the dynamics of Rock with the muscular tempos of Drum & Bass and the visceral rush of Rave into a sound that’s fearlessly all their own.

The answer to the Qonundrum is this: The Qemists sound like the sort of music The Qemists want to hear, and their ears are too adventurous to heed petty generic borders. “The younger members of our audience know its okay to be into all different kinds of music, that you don’t have to limit yourself in your creativity,” says Liam. “Yeah, we’re a band; no, we don’t have a lead singer; yes, we do have singers on some tracks; yes, we do DJ; and yes, we play live. It’s okay to be this new cross-breed, to do what you want; it’s the way forward, creatively. And I don’t see how anyone else does it any other way, to be honest. It would be terrible, we couldn’t ever limit ourselves like that.”

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An experimental and self taught singer and songwriter originally hailing from South East London, Andreya Triana grew up submerged in a multicultural atmosphere. A unique vocalist, Andreya began singing at the tender age of 7, taking influence from the sights and sounds of inner city London. Her early love and passion for music would see her locked in her bedroom for hours on end writing poetry, making homemade mix tapes and recording tracks - utilising two battered cassette decks to record harmonies. Her early love of improvisation would warp and change over the years, hugely influencing her 'Freeflo Sessions' - a hypnotic one woman show using a sampler to loop vocals, percussive sounds and beats live. To date she has taken her Freeflo Sessions worldwide, dazzling audiences far and wide with her cutting edge and soulful performances. 

 2006 saw her selected from thousands to take part in the Red Bull Music Academy in Australia where she further developed her style for improvisation and secured links with some of the best producers and musicians on the music scene. Multiple collaborations ensued daily at the Academy, with 'Tea Leaf Dancers', a collaboration with glitchy hip hop producer Flying Lotus (released on Warp Records), was a product of this and has been her most successful musical venture to date. Hailed as a classic while getting rave reviews from Benji B and Gilles Peterson while getting airplay on Annie Mac's Radio One show, it was this track that also caught the attention of Ninja Tune stalwart Bonobo. 

2009 has been an eventful year for Miss Triana, touring America and Canada with the Bonobo live band, playing on the BBC Introducing stage at Glastonbury showcasing new material and signing a three album deal with Ninja Tune Records. 2010 saw the release of her album 'Lost Where I Belong', produced by Bonobo, with fellow Ninja Tune singer and songwriter Fink also stepping up to co-write two tracks for the album. 'Lost Where I Belong' is a beautifully honest album combining Soul, Folk, Jazz and Bonobo's cinematic magic in a highly anticipated and hotly tipped debut... watch out for Andreya Triana!

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Soundcloud [image_upload_id] => 4234 [label_id] => 1 [twitter_username] => andreyatriana [instagram_id] => 5689105 [instagram_username] => andreyatriana [link] => [listed] => 1 [sortname] => Andreya Triana [created] => 2010-07-17 22:15:59 [modified] => 2014-08-14 10:40:39 [slug] => andreya-triana [fuga_id] => [description_clean] =>

An experimental and self taught singer and songwriter originally hailing from South East London, Andreya Triana grew up submerged in a multicultural atmosphere. A unique vocalist, Andreya began singing at the tender age of 7, taking influence from the sights and sounds of inner city London. Her early love and passion for music would see her locked in her bedroom for hours on end writing poetry, making homemade mix tapes and recording tracks - utilising two battered cassette decks to record harmonies. Her early love of improvisation would warp and change over the years, hugely influencing her 'Freeflo Sessions' - a hypnotic one woman show using a sampler to loop vocals, percussive sounds and beats live. To date she has taken her Freeflo Sessions worldwide, dazzling audiences far and wide with her cutting edge and soulful performances. 

 2006 saw her selected from thousands to take part in the Red Bull Music Academy in Australia where she further developed her style for improvisation and secured links with some of the best producers and musicians on the music scene. Multiple collaborations ensued daily at the Academy, with 'Tea Leaf Dancers', a collaboration with glitchy hip hop producer Flying Lotus (released on Warp Records), was a product of this and has been her most successful musical venture to date. Hailed as a classic while getting rave reviews from Benji B and Gilles Peterson while getting airplay on Annie Mac's Radio One show, it was this track that also caught the attention of Ninja Tune stalwart Bonobo. 

2009 has been an eventful year for Miss Triana, touring America and Canada with the Bonobo live band, playing on the BBC Introducing stage at Glastonbury showcasing new material and signing a three album deal with Ninja Tune Records. 2010 saw the release of her album 'Lost Where I Belong', produced by Bonobo, with fellow Ninja Tune singer and songwriter Fink also stepping up to co-write two tracks for the album. 'Lost Where I Belong' is a beautifully honest album combining Soul, Folk, Jazz and Bonobo's cinematic magic in a highly anticipated and hotly tipped debut... watch out for Andreya Triana!

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Soundcloud [counter_player] => [counter_biog] => An experimental and self taught singer and songwriter originally hailing from South East London, Andreya Triana grew up submerged in a multicultural atmosphere. A unique vocalist, Andreya began singing at the tender age of 7, taking influence from the sights and sounds of inner city London. Her early love and passion for music would see her locked in her bedroom for hours on end writing poetry, making homemade mix tapes and recording tracks - utilising two battered cassette decks to record harmonies. Her early love of improvisation would warp and change over the years, hugely influencing her 'Freeflo Sessions' - a hypnotic one woman show using a sampler to loop vocals, percussive sounds and beats live. To date she has taken her Freeflo Sessions worldwide, dazzling audiences far and wide with her cutting edge and soulful performances. 2006 saw her selected from thousands to take part in the Red Bull Music Academy in Australia where she further developed her style for improvisation and secured links with some of the best producers and musicians on the music scene. Multiple collaborations ensued daily at the Academy, with 'Tea Leaf Dancers', a collaboration with glitchy hip hop producer Flying Lotus (released on Warp Records), was a product of this and has been her most successful musical venture to date. Hailed as a classic while getting rave reviews from Benji B and Gilles Peterson while getting airplay on Annie Mac's Radio One show, it was this track that also caught the attention of Ninja Tune stalwart Bonobo. 2009 has been an eventful year for Miss Triana, touring America and Canada with the Bonobo live band, playing on the BBC Introducing stage at Glastonbury showcasing new material and signing a three album deal with Ninja Tune Records. 2010 saw the release of her album 'Lost Where I Belong', produced by Bonobo, with fellow Ninja Tune singer and songwriter Fink also stepping up to co-write two tracks for the album. 'Lost Where I Belong' is a beautifully honest album combining Soul, Folk, Jazz and Bonobo's cinematic magic in a highly anticipated and hotly tipped debut... watch out for Andreya Triana! ) ) ) [2] => Array ( [Event] => Array ( [id] => 11575 [date] => 2013-08-30 [artist] => Dorian Concept [city] => Pula [state] => [country] => HR [venue] => Outlook Festival [promoter] => [description] => [ticket_url] => www.outlookfestival.com/tickets/ [image_upload_id] => 14053 [created] => 2013-05-17 14:03:29 [modified] => 2013-05-17 14:03:29 [year_slug] => 2013 [month_slug] => aug [day_slug] => 30 [slug] => dorian-concept-pula-outlook-festival [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 14053 [media_type] => image [artist] => Dorian Concept [title] => Dorian Concept Press shot for Artist page [credits] => [buy_link] => [filename] => images/dorian-concept/dorianconcept-artistpress-72dpi.jpg [checksum] => ddbd2fae78632aa04df391202eaf563e [mime_type] => image/jpeg [size] => 568216 [external_url] => http://media.ninjatune.net/images/dorian-concept/dorianconcept-artistpress-72dpi.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => dorian-concept [slug] => dorian-concept-press-shot-for-artist-page [created] => 2010-11-24 12:12:41 [modified] => 2010-11-24 12:12:41 [embed] => ) [Country] => Array ( [id] => 213 [name] => Croatia [longname] => Croatia [numcode] => 191 [iso] => HR [iso3] => HRV [currency] => GBP [active] => 1 [parent_id] => 209 [lft] => 423 [rght] => 424 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 134 [name] => Dorian Concept [description] =>

There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

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[image_upload_id] => 19652 [label_id] => 1 [twitter_username] => dorianconcept [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Dorian Concept [created] => 2010-11-24 11:23:09 [modified] => 2014-07-03 16:52:53 [slug] => dorian-concept [fuga_id] => [description_clean] =>

There is a certain element of playfulness and wonder that can be heard in the music of the Viennese-born, self-taught multi-instrumentalist and producer Oliver Thomas Johnson, aka Dorian Concept.

After being exposed to hip hop in his early teens, he started to experiment with music production software on his parents’ computer at the age of 15. Around the same time, he picked up the piano, electric bass, and soprano saxophone, and since then he has been fascinated by combining the world of music production with the one of instrumental improvisation.

Dorian Concept started his career as a typical “bedroom producer” with a MySpace page in his late teens and enrolled in the University of Applied Sciences in Salzburg to study multi-media art in 2005. Just five years later, he was performing at the Royal Albert Hall with the Cinematic Orchestra, a group he had always admired, at the twentieth anniversary gala of Ninja Tune.

Some of the important stations of Dorian Concept’s rise from a bedroom producer studying in Salzburg to a Royal Albert Hall performer date back to 2006, when he started uploading a series of short videos of himself improvising on synthesizers on Youtube ­ starting with "Fooling Around on MicroKorg” ­ that have garnered over a million hits. Within a year, BBC radio greats like Benji B, Giles Peterson, and Mary Anne Hobbs championed his early digital releases, and shortly thereafter he started touring internationally.

In 2008, he participated in the Red Bull Musical Academy and released his first EP Maximized Minimalization on the Viennese label Affine Records. This EP ­ along with the subsequent track “The Fucking Formula” ­ was his take on instrumental hip hop at the time. His single “Trilingual Dance Sexperience” became a beast of its own right, acknowledged as a landmark for that unique Dorian Concept sound. Boomkat described it as “what sounds like the culmination of the last 10 years of techno, grime, hiphop club music and cutting-edge electronics attempting to race each other to the finishing line of the decade.”

In 2009, Kindred Spirits/Nod Navigators released his debut album When Planets Explode, which enjoyed critical and underground acclaim. The next two years were a blur of different cities and stages that brought his live show to Australia, Asia, all over Europe, and the States, while playing keys as part of Flying Lotus’ live band in between. His improvisational skills and virtuosity on his trusty MicroKorg shine during his animated live performances.

Dorian Concept’s jazz-influenced beat concoctions reap havoc on the dance-floor but never lose their sense of musicality. Unconventional chord changes, expressive dynamics and quirky layers of counterpoint melodies are parts of his unmistakable musical voice. He dots effortlessly through different genres and styles: from sublime electronica to hyperactive garage to avant-garde dancehall. Therefore, it made perfect sense when the multifaceted imprint Ninja Tune invited Dorian Concept to contribute to its twentieth anniversary box set in 2010 with the standout track "Her Tears Taste Like Pears.” It was no surprise that Ninja Tune then added him to its roster, releasing an EP under the same title in 2011.

Shortly after the Ninja Tune EP, Dorian Concept decided to take some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. Joined Ends - his forthcoming album on Ninja Tune - showcases a new sound that reveals a radically different side of his artistic repertoire. A departure from rigid beat-making, he has chosen to concentrate on his intuition and his keyboard skills. Dorian Concept is also expanding his much lauded live show into a trio with touring planned for Autumn 2014 and beyond.

Joined Ends is his most deliberate, focused, and liberating work to date.

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[counter_player] => [counter_biog] => ) ) ) [3] => Array ( [Event] => Array ( [id] => 11811 [date] => 2013-08-30 [artist] => Walter Ego [city] => Pula [state] => [country] => HR [venue] => Outlook Festival [promoter] => [description] => [ticket_url] => http://www.outlookfestival.com/tickets/ [image_upload_id] => 17986 [created] => 2013-07-12 14:24:45 [modified] => 2013-07-12 14:24:45 [year_slug] => 2013 [month_slug] => aug [day_slug] => 30 [slug] => walter-ego-pula-outlook-festival [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 17986 [media_type] => image [artist] => Walter Ego [title] => Baby Benz Cover [credits] => [buy_link] => http://ninjatune.net/release/walter-ego/baby-benz [filename] => images/walter-ego/5021392831190.jpg [checksum] => 4552901f04daf1e8fa792364e0592982 [mime_type] => image/jpeg [size] => 718237 [external_url] => http://media.ninjatune.net/images/walter-ego/5021392831190.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => walter-ego [slug] => baby-benz-cover [created] => 2013-04-19 13:37:35 [modified] => 2013-07-18 12:22:47 [embed] => ) [Country] => Array ( [id] => 213 [name] => Croatia [longname] => Croatia [numcode] => 191 [iso] => HR [iso3] => HRV [currency] => GBP [active] => 1 [parent_id] => 209 [lft] => 423 [rght] => 424 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 171 [name] => Walter Ego [description] => [links] =>

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Artist Date City Venue Buy
The Herbaliser and The Qemists Friday, Aug 30th Vroutek, CZ Areal Buy
Andreya Triana Friday, Aug 30th Pula, HR Outlook Festival Buy
Dorian Concept Friday, Aug 30th Pula, HR Outlook Festival Buy
Walter Ego Friday, Aug 30th Pula, HR Outlook Festival Buy
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