Dates
Simon Green, AKA Bonobo, is an artist very much at the peak of his powers. His 2013 album The North Borders was the high watermark of his career to date: a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.
An artist that constantly pushes himself outside of his musical comfort zone, Bonobo’s ranging personal tastes and regularly expanding range of synthesizers and instruments continue to take his productions to new levels. This outlook has earned him a reputation as one of the most pioneering figures in electronic music, in both his solo DJ sets and 12-piece live band shows.
All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and myriad great ones.
It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.
His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as 2010’s Black Sands. 2012 saw him take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth album. The North Borders was another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.
Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and The North Borders saw him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at.
Since the album’s release, Green has gone on play over 140 sold out shows across four continents and 25 countries, selling over 500,000 tickets and wowing audiences with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 will see him and his band play both the iconic Coachella festival, and his largest UK show to date at Alexandra Palace in November…
It’s a full schedule and then some, but one that’s constantly rewarding for his fans, and perhaps proves that Bonobo is not only one of the world’s hardest working artists in electronic music, but also one of its best.
[links] =>Facebook
Twitter
Soundcloud
Instagram
Simon Green, AKA Bonobo, is an artist very much at the peak of his powers. His 2013 album The North Borders was the high watermark of his career to date: a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.
An artist that constantly pushes himself outside of his musical comfort zone, Bonobo’s ranging personal tastes and regularly expanding range of synthesizers and instruments continue to take his productions to new levels. This outlook has earned him a reputation as one of the most pioneering figures in electronic music, in both his solo DJ sets and 12-piece live band shows.
All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and myriad great ones.
It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.
His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as 2010’s Black Sands. 2012 saw him take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth album. The North Borders was another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.
Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and The North Borders saw him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at.
Since the album’s release, Green has gone on play over 140 sold out shows across four continents and 25 countries, selling over 500,000 tickets and wowing audiences with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 will see him and his band play both the iconic Coachella festival, and his largest UK show to date at Alexandra Palace in November…
It’s a full schedule and then some, but one that’s constantly rewarding for his fans, and perhaps proves that Bonobo is not only one of the world’s hardest working artists in electronic music, but also one of its best.
[links_clean] =>Facebook
Twitter
Soundcloud
Instagram
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.
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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] => ) ) ) [2] => Array ( [Event] => Array ( [id] => 12410 [date] => 2014-03-08 [artist] => Young Fathers [city] => Amsterdam [state] => [country] => NL [venue] => Paradiso [promoter] => [description] => [ticket_url] => http://www.paradiso.nl/ [image_upload_id] => 18945 [created] => 2014-01-14 12:04:19 [modified] => 2014-01-14 13:05:18 [year_slug] => 2014 [month_slug] => mar [day_slug] => 8 [slug] => young-fathers-amsterdam-paradiso [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18945 [media_type] => image [artist] => Young Fathers [title] => UK / EU Tour Poster 2014 [credits] => [buy_link] => [filename] => images/young-fathers/DEAD-TOUR-POSTER-UK-EUR-2.jpg [checksum] => 394ff701aa7f1f304ee975757ff05c9e [mime_type] => image/jpeg [size] => 1399343 [external_url] => http://media.ninjatune.net/images/young-fathers/DEAD-TOUR-POSTER-UK-EUR-2.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => young-fathers [slug] => uk-eu-tour-poster-2014 [created] => 2014-01-13 16:08:26 [modified] => 2014-01-13 16:10:10 [embed] => ) [Country] => Array ( [id] => 234 [name] => Netherlands [longname] => Netherlands [numcode] => 528 [iso] => NL [iso3] => NLD [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 465 [rght] => 466 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 198 [name] => Young Fathers [description] =>From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.
Along the way, they have dropped pearls: Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century. Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of. Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.
Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011. TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations. Wildly urban.
Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two. With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.
2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.
Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.
Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.
A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.
They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks. Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational. Without passports.
[links] => [image_upload_id] => 18859 [label_id] => 2 [twitter_username] => youngfathers [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Young Fathers [created] => 2013-10-18 16:52:18 [modified] => 2013-12-04 13:36:31 [slug] => young-fathers [fuga_id] => [description_clean] =>From the UK via Liberia, Nigeria and Scotland, Young Fathers have pursued a unique trajectory, from mid-teen hip hop trio via psych-pop rap to where they are now, on their own original island thrown up by a pop volcano, tectonic plates of genres rubbing up against each other like under-sea dirty party-people; seams of molten pop history spewing lava more fertile than guano, upon which the rich foliage of hook, rhythm and bass grow immodestly in the sun.
Along the way, they have dropped pearls: Straight Back On It, from their unreleased debut album Inconceivable Child... Conceived, is the telescoping of Tommy Boy into the 21st century. Featured performances with Simian Mobile Disco and Stanton Warriors gave glimpses of the kind of light bulb shattering energy they are capable of. Several tours, many festivals, honing a live presence which often looked like the vision of a boy band through the bottom of a glass of crystal meth.
Finally, having left their original production company and moved out on their own, Young Fathers dropped their first mixtape/mini album at the end of 2011. TAPE ONE showed them in a darker place, a natural pop progression, the kind documented in the David Essex films, That'll Be The Day and Stardust, reaching shamanistic levels of call, response, lyrical invocations. Wildly urban.
Signing to American west coast pulse-finder label, Anticon in 2012 they released TAPE TWO, even dirtier and louder than TAPE ONE (of course!) but also its natural side two. With tracks like Queen Is Dead (which had the honour of being temporarily 'banned by the BBC' - literally, 'in case the Queen of Britain died') tapping into a Swazi initiation ceremony cut up by Gyson's scissors, to I Heard, full of that sweet, soul pain, holding hands with Curtis and Marvin over a dystopic beatbox.
2013 saw them venture to America, a natural target, where they mystified and blew away jaded SXSW regulars, then more tours around Europe and the UK, each time touching a few more innocents, passing through Reading and Leeds and creating thunder at the In The Woods festival.
Here they are then, alternating spells in the basement creating with alchemy massive bass on sheets of flash and mantronik steel, forged in an African fire, their new full length album entitled DEAD, due out on Anticon and Big Dada in the new year.
Loquacious Alloysious Massaquoi, lithe and graceful on stage, can take it from down and dirty to beatified choir boy in a musical phrase; growling and whispering 'G', gazing into the spotlight, transfixed by his own rhythms, pleading with the crowd to just, get it; exploding Kayus, whose overproof rapping can rip holes in walls without a microphone, hinting at dark deeds known and done, Ole Dirty Bastard's bastard son.
A stream of self-conceived and directed videos, a tie-in with Ch4 and Lemonade Money for the short films broadcast in 2013 featuring them and their music, hosting a friday night tombstone slot through October on BBC R1xtra, curating a monthly night in Glasgow at Broadcast (Back Off Devil), this plus upcoming tours of France, where TAPE TWO has been greeted with the classic Gallic understanding of all things dark-rocknroll (where Jim Morrison is apparently buried), touring the UK and the rest of Europe in the new year, all means that Young Fathers will hardly have time to think, let alone roam the gothic streets of old Edinburgh, hanging with friends.
They are committed, on course, irrefutably aligned with the stars, set to sail the globe like a ghost ship, bringing dread and joy to safe harbours and dangerous docks. Traveling with sails tattered and billowing from a mistral, channeled from the west coast of Africa to the east and the north of Britain, unfettered and multinational. Without passports.
[links_clean] => ) ) ) [3] => Array ( [Event] => Array ( [id] => 12575 [date] => 2014-03-08 [artist] => Kid Koala [city] => Minneapolis [state] => [country] => US [venue] => Target Center [promoter] => [description] => [ticket_url] => http://www.ticketmaster.com/Arcade-Fire-tickets/artist/946978 [image_upload_id] => 19078 [created] => 2014-02-20 14:08:02 [modified] => 2014-02-20 14:08:02 [year_slug] => 2014 [month_slug] => mar [day_slug] => 8 [slug] => kid-koala-minneapolis-target-center [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 19078 [media_type] => image [artist] => Kid Koala [title] => Tour Flyer 2014 [credits] => [buy_link] => [filename] => images/kid-koala/KKwithAF-FINAL-V01.jpg [checksum] => 9a67c5b524356f17b0e311ef82472bb4 [mime_type] => image/jpeg [size] => 360995 [external_url] => http://media.ninjatune.net/images/kid-koala/KKwithAF-FINAL-V01.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => kid-koala [slug] => tour-flyer-2014-3 [created] => 2014-02-20 13:54:20 [modified] => 2014-02-20 13:55:50 [embed] => ) [Country] => Array ( [id] => 122 [name] => United States [longname] => United States of America [numcode] => 840 [iso] => US [iso3] => USA [currency] => USD [active] => 1 [parent_id] => 117 [lft] => 241 [rght] => 242 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 38 [name] => Kid Koala [description] =>Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.
In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.
While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.
Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.
In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...
Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.
In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.
[links] => [image_upload_id] => 4006 [label_id] => 1 [twitter_username] => kidkoala [instagram_id] => 209219810 [instagram_username] => realkidkoala [link] => [listed] => 1 [sortname] => Kid Koala [created] => 2010-07-17 22:15:58 [modified] => 2013-05-03 14:51:56 [slug] => kid-koala [fuga_id] => [description_clean] =>Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.
In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.
While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.
Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.
In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...
Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.
In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.
[links_clean] => ) ) ) [4] => Array ( [Event] => Array ( [id] => 12510 [date] => 2014-03-08 [artist] => Martyn [city] => Amsterdam [state] => [country] => NL [venue] => 5 Days Off [promoter] => [description] => [ticket_url] => [image_upload_id] => 16712 [created] => 2014-01-28 14:41:15 [modified] => 2014-01-28 14:47:12 [year_slug] => 2014 [month_slug] => mar [day_slug] => 8 [slug] => martyn-amsterdam-5-days-off [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 16712 [media_type] => image [artist] => Martyn [title] => Martyn Artist Shot Mar '12 [credits] => [buy_link] => [filename] => images/martyn/martyn-bloodworth-500.jpg [checksum] => 6f68fef961671edef7322dd2a6a7b84e [mime_type] => image/jpeg [size] => 56005 [external_url] => http://media.ninjatune.net/images/martyn/martyn-bloodworth-500.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => martyn [slug] => martyn-artist-shot-mar-12 [created] => 2012-03-20 10:12:45 [modified] => 2014-01-09 12:21:55 [embed] => ) [Country] => Array ( [id] => 234 [name] => Netherlands [longname] => Netherlands [numcode] => 528 [iso] => NL [iso3] => NLD [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 465 [rght] => 466 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 152 [name] => Martyn [description] =>Martyn’s unique strand of bass defies easy categorisation. Yet no matter the genre, tempo or drum pattern, there always remains that immersive, intricately detailed and rhythmically precise sound: to his fans and admirers, it’s known simply as ‘Martyn Music’. A unique character that’s become emblematic for all that’s forward thinking in dubstep and techno, a defiant out-of-the-box mentality is pushed into his every artistic venture, side-stepping convention and continually stepping forward towards what’s new. Or, more often than not, what’s next.
Throughout the many turns and layers of his winding career, the Holland native (and now Washington DC resident) Martijn Deijkers has always stood in a scene of his own. Never a complete outsider but never one to fit in, each of his releases is a progression on from where he left off, and an evolution into where the electronic world is likely to move in the near future. His first releases in 2005 (on Play:Musik and Marcus Intalex’s Revolve:r imprint) indicated a tendency towards the dub end of the spectrum. Drawing on his roots in techno and house, as much as a still fertile dubstep scene, his Broken EP on Revolve:r in ’07 blurred the lines entirely. And though his releases that followed on Tempa, Applepips and Hessle Audio (including his scene-altering remix of TRG’s "Broken Heart") made thorough rounds in dubstep circles, there was a distinct nod to future 4/4 explorations, and served as a tip-off that he was on his way to forming a new, uncharted genre altogether.
“I was always interested in the technology side of things - synthesizers and science fiction and lazers and transformers and robots...that was really my thing. I have been buying music for as long as I can remember, really; as soon as I got a weekly allowance I spent it on 7” singles and albums. When I was studying I went clubbing a lot, there were a couple of clubs that I used to frequent, and I just got drawn to the music, really. In the early 90s, I heard Chicago house and Detroit techno for the first time in a club; from then onwards that was kind of my thing, but I kept following bands as well, so for me not all music was electronic. I never thought I would play a role in music myself.”
Equal parts unpredictable and electric, as a DJ Martyn’s is a style that is equally as uncategorizable as his production style. His encyclopaedic knowledge of music and rarities is aptly matched with an ability to mix the most unlikely of sounds: a raw J Dilla cut gets paired with a rare Jamie Principle house edit one moment, New Wave vocals get thrown down with the percussive fills of Shed the next. His seamless sets have crossed countries and stages, playing iconic venues the globe over, including Berghain/Panoramabar, The Roxy in LA and DMZ at Mass. There’s also his all-inclusive festival circuit, which has included Sonar, Mutek, Airwaves, Decibel, Electric Zoo, Bestival, Lowlands, Pukkelpop, The Big Chill, Elevate in Austria and Unsound in Poland.
A regular at London’s clubbing institution Fabric from early in his career, towards the end of 2009 Martyn was approached to mix their landmark 50th mix CD. Released the following January on the fabric series (rather than the bass-heavy FABRICLIVE series), the mix set off 2010 with an audible buzz, sparking reviews that hailed the appearance of one of the finest mixes in the fabric collection’s long and illustrious history. Employing an adventurous tracklisting, and bringing back the old school vinyl feel of classic techno mixtapes, the CD added yet further to his reputation as a multifaceted artist.
As an artist, a sharp sense of integrity and imagination is thematic throughout Martyn’s every move. He opts to work with genre-crossing musicians that are as unorthodox and innovative as himself, as seen in his extensive remix work (for the likes of Flying Lotus, Maximo Park, Fever Ray, Tiga, Kode9 and Shed, among many others). His art-led mentality shines brightest through the output of his vibrant 3024 label. Launched in 2007, he teamed up with old friend Erosie (one of Europe’s most celebrated street artists) to create a visionary stack of releases, with a roster that keeps building from strength to strength: including the deep sounds of Mancunian Illum Sphere, the housier feel of Altered Natives and the rhythmically led 2562, and remix work from Ben Klock, Zomby, Flying Lotus, Redshape and Roska. Forthcoming releases in 2011 include an interesting mix of Martyn’s across-the-board taste, including Julio Bashmore, Addison Groove and Instra:mental. Released in April 2009 on his 3024 imprint, Martyn’s debut album cemented the path of his next expansion: Great Lengths set a new standard in the fragmenting dubstep scene (if not all of electronic music) for long players. Showcasing every distinct element of Martyn’s sound, the album’s refusal to sit with any identifiable genre resonated far beyond bass culture, repeatedly occupying top 10 spots in end-of-year polls (including #2 on Mixmag’s ‘Albums of the Year’ chart), and leading to releases on the experimental Aus Music and with Berlin’s 4/4 stalwarts Watergate Records and Ostgut Ton.
Intent on continually finding ways to merge different arts, in the summer of 2010, Martyn starred in a beautifully poignant and moving short film by Dutch director Ramon Gieling called Great Lengths. Soundtracked with 2 tracks off the album, the dream sequence is a duet between film and music: vimeo.com/14451792. "It was a great experience putting my music in a different context, and working with someone as creative and visionary as Ramon. It felt like the music and the images gelled together perfectly." Towards the end of 2008, Flying Lotus invited Martyn (alongside frequent DJ partner Kode 9) to the first Brainfeeder shows in Los Angeles and San Francisco. Ever since, he’s become a resident for the esteemed family, playing increasingly legendary sets for Brainfeeder events from NYC to Barcelona. With a close friendship and intuitive artistic alliance, in 2010 Flying Lotus asked Martyn to release his hugely anticipated second album, Ghost People, on Brainfeeder. In leading up to the release of Ghost People, starting in June 2011, Martyn began taking his performances - and his musical creations - to the next level, by merging his sounds and Erosie’s visuals into an extraordinary live show that has been touring the festival rounds. Martyn and Erosie additionally have a series of album launches planned, which will be a “full live manifestation of the album.”
With Ghost People, which will be released on Brainfeeder this autumn, Martyn takes his sound into astral heights, paving his way towards perhaps the most unexpected direction yet. Adjective-heavy journalists and genre-name creators be warned: that next sound is here.
[links] => [image_upload_id] => 16712 [label_id] => 7 [twitter_username] => MARTYN3024 [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Martyn [created] => 2011-06-29 15:37:25 [modified] => 2013-01-08 14:59:10 [slug] => martyn [fuga_id] => [description_clean] =>Martyn’s unique strand of bass defies easy categorisation. Yet no matter the genre, tempo or drum pattern, there always remains that immersive, intricately detailed and rhythmically precise sound: to his fans and admirers, it’s known simply as ‘Martyn Music’. A unique character that’s become emblematic for all that’s forward thinking in dubstep and techno, a defiant out-of-the-box mentality is pushed into his every artistic venture, side-stepping convention and continually stepping forward towards what’s new. Or, more often than not, what’s next.
Throughout the many turns and layers of his winding career, the Holland native (and now Washington DC resident) Martijn Deijkers has always stood in a scene of his own. Never a complete outsider but never one to fit in, each of his releases is a progression on from where he left off, and an evolution into where the electronic world is likely to move in the near future. His first releases in 2005 (on Play:Musik and Marcus Intalex’s Revolve:r imprint) indicated a tendency towards the dub end of the spectrum. Drawing on his roots in techno and house, as much as a still fertile dubstep scene, his Broken EP on Revolve:r in ’07 blurred the lines entirely. And though his releases that followed on Tempa, Applepips and Hessle Audio (including his scene-altering remix of TRG’s "Broken Heart") made thorough rounds in dubstep circles, there was a distinct nod to future 4/4 explorations, and served as a tip-off that he was on his way to forming a new, uncharted genre altogether.
“I was always interested in the technology side of things - synthesizers and science fiction and lazers and transformers and robots...that was really my thing. I have been buying music for as long as I can remember, really; as soon as I got a weekly allowance I spent it on 7” singles and albums. When I was studying I went clubbing a lot, there were a couple of clubs that I used to frequent, and I just got drawn to the music, really. In the early 90s, I heard Chicago house and Detroit techno for the first time in a club; from then onwards that was kind of my thing, but I kept following bands as well, so for me not all music was electronic. I never thought I would play a role in music myself.”
Equal parts unpredictable and electric, as a DJ Martyn’s is a style that is equally as uncategorizable as his production style. His encyclopaedic knowledge of music and rarities is aptly matched with an ability to mix the most unlikely of sounds: a raw J Dilla cut gets paired with a rare Jamie Principle house edit one moment, New Wave vocals get thrown down with the percussive fills of Shed the next. His seamless sets have crossed countries and stages, playing iconic venues the globe over, including Berghain/Panoramabar, The Roxy in LA and DMZ at Mass. There’s also his all-inclusive festival circuit, which has included Sonar, Mutek, Airwaves, Decibel, Electric Zoo, Bestival, Lowlands, Pukkelpop, The Big Chill, Elevate in Austria and Unsound in Poland.
A regular at London’s clubbing institution Fabric from early in his career, towards the end of 2009 Martyn was approached to mix their landmark 50th mix CD. Released the following January on the fabric series (rather than the bass-heavy FABRICLIVE series), the mix set off 2010 with an audible buzz, sparking reviews that hailed the appearance of one of the finest mixes in the fabric collection’s long and illustrious history. Employing an adventurous tracklisting, and bringing back the old school vinyl feel of classic techno mixtapes, the CD added yet further to his reputation as a multifaceted artist.
As an artist, a sharp sense of integrity and imagination is thematic throughout Martyn’s every move. He opts to work with genre-crossing musicians that are as unorthodox and innovative as himself, as seen in his extensive remix work (for the likes of Flying Lotus, Maximo Park, Fever Ray, Tiga, Kode9 and Shed, among many others). His art-led mentality shines brightest through the output of his vibrant 3024 label. Launched in 2007, he teamed up with old friend Erosie (one of Europe’s most celebrated street artists) to create a visionary stack of releases, with a roster that keeps building from strength to strength: including the deep sounds of Mancunian Illum Sphere, the housier feel of Altered Natives and the rhythmically led 2562, and remix work from Ben Klock, Zomby, Flying Lotus, Redshape and Roska. Forthcoming releases in 2011 include an interesting mix of Martyn’s across-the-board taste, including Julio Bashmore, Addison Groove and Instra:mental. Released in April 2009 on his 3024 imprint, Martyn’s debut album cemented the path of his next expansion: Great Lengths set a new standard in the fragmenting dubstep scene (if not all of electronic music) for long players. Showcasing every distinct element of Martyn’s sound, the album’s refusal to sit with any identifiable genre resonated far beyond bass culture, repeatedly occupying top 10 spots in end-of-year polls (including #2 on Mixmag’s ‘Albums of the Year’ chart), and leading to releases on the experimental Aus Music and with Berlin’s 4/4 stalwarts Watergate Records and Ostgut Ton.
Intent on continually finding ways to merge different arts, in the summer of 2010, Martyn starred in a beautifully poignant and moving short film by Dutch director Ramon Gieling called Great Lengths. Soundtracked with 2 tracks off the album, the dream sequence is a duet between film and music: vimeo.com/14451792. "It was a great experience putting my music in a different context, and working with someone as creative and visionary as Ramon. It felt like the music and the images gelled together perfectly." Towards the end of 2008, Flying Lotus invited Martyn (alongside frequent DJ partner Kode 9) to the first Brainfeeder shows in Los Angeles and San Francisco. Ever since, he’s become a resident for the esteemed family, playing increasingly legendary sets for Brainfeeder events from NYC to Barcelona. With a close friendship and intuitive artistic alliance, in 2010 Flying Lotus asked Martyn to release his hugely anticipated second album, Ghost People, on Brainfeeder. In leading up to the release of Ghost People, starting in June 2011, Martyn began taking his performances - and his musical creations - to the next level, by merging his sounds and Erosie’s visuals into an extraordinary live show that has been touring the festival rounds. Martyn and Erosie additionally have a series of album launches planned, which will be a “full live manifestation of the album.”
With Ghost People, which will be released on Brainfeeder this autumn, Martyn takes his sound into astral heights, paving his way towards perhaps the most unexpected direction yet. Adjective-heavy journalists and genre-name creators be warned: that next sound is here.
[links_clean] => ) ) ) [5] => Array ( [Event] => Array ( [id] => 12536 [date] => 2014-03-08 [artist] => Busdriver [city] => New Haven [state] => [country] => US [venue] => Stella Blues [promoter] => [description] => [ticket_url] => http://www.stellabluesbar.com/livemusic.asp [image_upload_id] => 4230 [created] => 2014-02-07 16:26:54 [modified] => 2014-02-10 15:33:35 [year_slug] => 2014 [month_slug] => mar [day_slug] => 8 [slug] => busdriver-new-haven-stella-blues [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 4230 [media_type] => image [artist] => Busdriver [title] => Busdriver - Promo Pic (Migrated) [credits] => [buy_link] => [filename] => images/busdriver/busdriverpic2.jpg [checksum] => 5583b5db5510df17bff73a9dc455792f [mime_type] => image/jpeg [size] => 1524895 [external_url] => http://media.ninjatune.net/images/busdriver/busdriverpic2.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => busdriver [slug] => busdriver-promo-pic-migrated [created] => 2010-11-24 04:21:55 [modified] => 2010-11-24 04:21:55 [embed] => ) [Country] => Array ( [id] => 122 [name] => United States [longname] => United States of America [numcode] => 840 [iso] => US [iso3] => USA [currency] => USD [active] => 1 [parent_id] => 117 [lft] => 241 [rght] => 242 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 28 [name] => Busdriver [description] =>Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today.
As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more.
A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando.
His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush.
Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard.
And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself:
"I don't love hip hop.
I don't even like it.
Let me break it down into its smallest form for everyone in your college dorm.
I don't love it, I don't dedicate hours every day to writing sappy poetry in its name.
Okay, maybe I do."
- "Rap Sucks"
Facebook
Twitter
SoundCloud
Dorner Vs. Tookie Mixtape
Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today.
As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more.
A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando.
His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush.
Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard.
And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself:
"I don't love hip hop.
I don't even like it.
Let me break it down into its smallest form for everyone in your college dorm.
I don't love it, I don't dedicate hours every day to writing sappy poetry in its name.
Okay, maybe I do."
- "Rap Sucks"
Facebook
Twitter
SoundCloud
Dorner Vs. Tookie Mixtape
The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...
King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer.
The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later.
From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more…
Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva).
"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)
All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour.
"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug
Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga.
But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae.
The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue.
The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode).
Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen.
[links] => [image_upload_id] => 4101 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2012-06-22 11:04:26 [slug] => the-bug [fuga_id] => [description_clean] =>The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...
King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer.
The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later.
From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more…
Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva).
"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)
All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour.
"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug
Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga.
But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae.
The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue.
The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode).
Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen.
[links_clean] => ) ) ) [7] => Array ( [Event] => Array ( [id] => 12311 [date] => 2014-03-09 [artist] => Bonobo (Live Set) [city] => Brussels [state] => [country] => BE [venue] => Cirque Royale [promoter] => [description] => [ticket_url] => http://bonobotickets.sandbag.uk.com/Store/DisplayIndividualItem.html?ID=713 [image_upload_id] => 18845 [created] => 2013-12-04 10:53:10 [modified] => 2013-12-09 11:04:42 [year_slug] => 2014 [month_slug] => mar [day_slug] => 9 [slug] => bonobo-live-set-brussels-cirque-royale [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18845 [media_type] => image [artist] => Bonobo [title] => Brussels 9 March [credits] => [buy_link] => [filename] => images/bonobo/Brussells-9March.jpg [checksum] => 1ee2086621cef652e72defc25c7e3d77 [mime_type] => image/jpeg [size] => 253527 [external_url] => http://media.ninjatune.net/images/bonobo/Brussells-9March.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => bonobo [slug] => brussels-9-march [created] => 2013-12-03 15:51:41 [modified] => 2013-12-03 15:52:56 [embed] => ) [Country] => Array ( [id] => 228 [name] => Belgium [longname] => Belgium [numcode] => 56 [iso] => BE [iso3] => BEL [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 453 [rght] => 454 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 55 [name] => Bonobo [description] =>Simon Green, AKA Bonobo, is an artist very much at the peak of his powers. His 2013 album The North Borders was the high watermark of his career to date: a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.
An artist that constantly pushes himself outside of his musical comfort zone, Bonobo’s ranging personal tastes and regularly expanding range of synthesizers and instruments continue to take his productions to new levels. This outlook has earned him a reputation as one of the most pioneering figures in electronic music, in both his solo DJ sets and 12-piece live band shows.
All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and myriad great ones.
It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.
His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as 2010’s Black Sands. 2012 saw him take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth album. The North Borders was another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.
Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and The North Borders saw him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at.
Since the album’s release, Green has gone on play over 140 sold out shows across four continents and 25 countries, selling over 500,000 tickets and wowing audiences with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 will see him and his band play both the iconic Coachella festival, and his largest UK show to date at Alexandra Palace in November…
It’s a full schedule and then some, but one that’s constantly rewarding for his fans, and perhaps proves that Bonobo is not only one of the world’s hardest working artists in electronic music, but also one of its best.
[links] =>Facebook
Twitter
Soundcloud
Instagram
Simon Green, AKA Bonobo, is an artist very much at the peak of his powers. His 2013 album The North Borders was the high watermark of his career to date: a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.
An artist that constantly pushes himself outside of his musical comfort zone, Bonobo’s ranging personal tastes and regularly expanding range of synthesizers and instruments continue to take his productions to new levels. This outlook has earned him a reputation as one of the most pioneering figures in electronic music, in both his solo DJ sets and 12-piece live band shows.
All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and myriad great ones.
It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.
His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as 2010’s Black Sands. 2012 saw him take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth album. The North Borders was another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.
Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and The North Borders saw him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at.
Since the album’s release, Green has gone on play over 140 sold out shows across four continents and 25 countries, selling over 500,000 tickets and wowing audiences with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 will see him and his band play both the iconic Coachella festival, and his largest UK show to date at Alexandra Palace in November…
It’s a full schedule and then some, but one that’s constantly rewarding for his fans, and perhaps proves that Bonobo is not only one of the world’s hardest working artists in electronic music, but also one of its best.
[links_clean] =>Facebook
Twitter
Soundcloud
Instagram
Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today.
As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more.
A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando.
His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush.
Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard.
And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself:
"I don't love hip hop.
I don't even like it.
Let me break it down into its smallest form for everyone in your college dorm.
I don't love it, I don't dedicate hours every day to writing sappy poetry in its name.
Okay, maybe I do."
- "Rap Sucks"
Facebook
Twitter
SoundCloud
Dorner Vs. Tookie Mixtape
Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today.
As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more.
A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando.
His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush.
Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard.
And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself:
"I don't love hip hop.
I don't even like it.
Let me break it down into its smallest form for everyone in your college dorm.
I don't love it, I don't dedicate hours every day to writing sappy poetry in its name.
Okay, maybe I do."
- "Rap Sucks"
Facebook
Twitter
SoundCloud
Dorner Vs. Tookie Mixtape
Simon Green, AKA Bonobo, is an artist very much at the peak of his powers. His 2013 album The North Borders was the high watermark of his career to date: a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.
An artist that constantly pushes himself outside of his musical comfort zone, Bonobo’s ranging personal tastes and regularly expanding range of synthesizers and instruments continue to take his productions to new levels. This outlook has earned him a reputation as one of the most pioneering figures in electronic music, in both his solo DJ sets and 12-piece live band shows.
All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and myriad great ones.
It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.
His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as 2010’s Black Sands. 2012 saw him take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth album. The North Borders was another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.
Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and The North Borders saw him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at.
Since the album’s release, Green has gone on play over 140 sold out shows across four continents and 25 countries, selling over 500,000 tickets and wowing audiences with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 will see him and his band play both the iconic Coachella festival, and his largest UK show to date at Alexandra Palace in November…
It’s a full schedule and then some, but one that’s constantly rewarding for his fans, and perhaps proves that Bonobo is not only one of the world’s hardest working artists in electronic music, but also one of its best.
[links] =>Facebook
Twitter
Soundcloud
Instagram
Simon Green, AKA Bonobo, is an artist very much at the peak of his powers. His 2013 album The North Borders was the high watermark of his career to date: a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.
An artist that constantly pushes himself outside of his musical comfort zone, Bonobo’s ranging personal tastes and regularly expanding range of synthesizers and instruments continue to take his productions to new levels. This outlook has earned him a reputation as one of the most pioneering figures in electronic music, in both his solo DJ sets and 12-piece live band shows.
All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and myriad great ones.
It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.
His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as 2010’s Black Sands. 2012 saw him take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth album. The North Borders was another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.
Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and The North Borders saw him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at.
Since the album’s release, Green has gone on play over 140 sold out shows across four continents and 25 countries, selling over 500,000 tickets and wowing audiences with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 will see him and his band play both the iconic Coachella festival, and his largest UK show to date at Alexandra Palace in November…
It’s a full schedule and then some, but one that’s constantly rewarding for his fans, and perhaps proves that Bonobo is not only one of the world’s hardest working artists in electronic music, but also one of its best.
[links_clean] =>Facebook
Twitter
Soundcloud
Instagram
Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today.
As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more.
A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando.
His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush.
Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard.
And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself:
"I don't love hip hop.
I don't even like it.
Let me break it down into its smallest form for everyone in your college dorm.
I don't love it, I don't dedicate hours every day to writing sappy poetry in its name.
Okay, maybe I do."
- "Rap Sucks"
Facebook
Twitter
SoundCloud
Dorner Vs. Tookie Mixtape
Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today.
As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more.
A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando.
His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush.
Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard.
And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself:
"I don't love hip hop.
I don't even like it.
Let me break it down into its smallest form for everyone in your college dorm.
I don't love it, I don't dedicate hours every day to writing sappy poetry in its name.
Okay, maybe I do."
- "Rap Sucks"
Facebook
Twitter
SoundCloud
Dorner Vs. Tookie Mixtape
Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.
In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.
While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.
Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.
In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...
Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.
In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.
[links] => [image_upload_id] => 4006 [label_id] => 1 [twitter_username] => kidkoala [instagram_id] => 209219810 [instagram_username] => realkidkoala [link] => [listed] => 1 [sortname] => Kid Koala [created] => 2010-07-17 22:15:58 [modified] => 2013-05-03 14:51:56 [slug] => kid-koala [fuga_id] => [description_clean] =>Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.
In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.
While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.
Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.
In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...
Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.
In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.
[links_clean] => ) ) ) [12] => Array ( [Event] => Array ( [id] => 12313 [date] => 2014-03-11 [artist] => Bonobo (Live Set) [city] => Tilburg [state] => [country] => NL [venue] => O13 [promoter] => [description] => [ticket_url] => http://bonobotickets.sandbag.uk.com/Store/DisplayIndividualItem.html?ID=1495 [image_upload_id] => 18841 [created] => 2013-12-04 10:55:00 [modified] => 2013-12-09 11:05:34 [year_slug] => 2014 [month_slug] => mar [day_slug] => 11 [slug] => bonobo-live-set-tilburg-o13 [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18841 [media_type] => image [artist] => Bonobo [title] => Tillburg 11 March [credits] => [buy_link] => [filename] => images/bonobo/Tillburg-11March.jpg [checksum] => d91b996ba0e19cbe84f9d520a679102c [mime_type] => image/jpeg [size] => 252427 [external_url] => http://media.ninjatune.net/images/bonobo/Tillburg-11March.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => bonobo [slug] => tillburg-11-march [created] => 2013-12-03 13:35:27 [modified] => 2013-12-03 13:36:40 [embed] => ) [Country] => Array ( [id] => 234 [name] => Netherlands [longname] => Netherlands [numcode] => 528 [iso] => NL [iso3] => NLD [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 465 [rght] => 466 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 55 [name] => Bonobo [description] =>Simon Green, AKA Bonobo, is an artist very much at the peak of his powers. His 2013 album The North Borders was the high watermark of his career to date: a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.
An artist that constantly pushes himself outside of his musical comfort zone, Bonobo’s ranging personal tastes and regularly expanding range of synthesizers and instruments continue to take his productions to new levels. This outlook has earned him a reputation as one of the most pioneering figures in electronic music, in both his solo DJ sets and 12-piece live band shows.
All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and myriad great ones.
It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.
His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as 2010’s Black Sands. 2012 saw him take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth album. The North Borders was another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.
Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and The North Borders saw him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at.
Since the album’s release, Green has gone on play over 140 sold out shows across four continents and 25 countries, selling over 500,000 tickets and wowing audiences with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 will see him and his band play both the iconic Coachella festival, and his largest UK show to date at Alexandra Palace in November…
It’s a full schedule and then some, but one that’s constantly rewarding for his fans, and perhaps proves that Bonobo is not only one of the world’s hardest working artists in electronic music, but also one of its best.
[links] =>Facebook
Twitter
Soundcloud
Instagram
Simon Green, AKA Bonobo, is an artist very much at the peak of his powers. His 2013 album The North Borders was the high watermark of his career to date: a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.
An artist that constantly pushes himself outside of his musical comfort zone, Bonobo’s ranging personal tastes and regularly expanding range of synthesizers and instruments continue to take his productions to new levels. This outlook has earned him a reputation as one of the most pioneering figures in electronic music, in both his solo DJ sets and 12-piece live band shows.
All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and myriad great ones.
It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.
His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as 2010’s Black Sands. 2012 saw him take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth album. The North Borders was another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.
Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and The North Borders saw him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at.
Since the album’s release, Green has gone on play over 140 sold out shows across four continents and 25 countries, selling over 500,000 tickets and wowing audiences with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 will see him and his band play both the iconic Coachella festival, and his largest UK show to date at Alexandra Palace in November…
It’s a full schedule and then some, but one that’s constantly rewarding for his fans, and perhaps proves that Bonobo is not only one of the world’s hardest working artists in electronic music, but also one of its best.
[links_clean] =>Facebook
Twitter
Soundcloud
Instagram
Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today.
As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more.
A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando.
His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush.
Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard.
And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself:
"I don't love hip hop.
I don't even like it.
Let me break it down into its smallest form for everyone in your college dorm.
I don't love it, I don't dedicate hours every day to writing sappy poetry in its name.
Okay, maybe I do."
- "Rap Sucks"
Facebook
Twitter
SoundCloud
Dorner Vs. Tookie Mixtape
Coming on like a cross between John Hendricks, Lord Buckley, Bone-Thugs-N-Harmony and a TV continuity announcer, Busdriver is one of the most original voices in hip hop today.
As a performer, Busdriver grew out of the LA Underground scene based around the Goodlife Café that also nurtured the Freestyle Fellowship, the Pharcyde, Jurassic 5, Abstract Rude and many, many more.
A frequent collaborator with many of Los Angeles' hiphop elite, Busdriver has worked with Aceyalone, Abstract Rude, Mikah-9, 2Mex, Xololanxinxo, Fat Jack, Daddy Kev, Paris Zax, Omid and Nocando.
His 2002 self-released album "Temporary Forever" made it into many underground hip hopper's records of the year (with the Village Voice describing his rap styles as "a syncopated giggle") and it was closely followed by his collaboration with producer Daedalus and Radioinactive as The Weather on Mush.
Since then he has collaborated with Awol One on "Slanguage," worked with Daddy Kev on "Cosmic Cleavage," released "Fear Of A Black Tangent" via Big Dada and Mush plus put out two albums via Epitaph, "RoadKillOvercoat" and "Jhelli Bean." In between, he's guested all over the place, toured like a lunatic, formed the band Physical Forms and generally made himself heard.
And every the he comes through with a unique mixture of humour, discrete social commentary and snapping on the pretensions and foolishness of both those around him and himself:
"I don't love hip hop.
I don't even like it.
Let me break it down into its smallest form for everyone in your college dorm.
I don't love it, I don't dedicate hours every day to writing sappy poetry in its name.
Okay, maybe I do."
- "Rap Sucks"
Facebook
Twitter
SoundCloud
Dorner Vs. Tookie Mixtape
North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.
His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.
Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.
The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.
His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.
Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.
[links] => [image_upload_id] => 18456 [label_id] => 1 [twitter_username] => machine_drum [instagram_id] => 182228626 [instagram_username] => machine_drum [link] => [listed] => 1 [sortname] => Machinedrum [created] => 2013-03-15 14:40:02 [modified] => 2014-02-18 10:36:19 [slug] => machinedrum [fuga_id] => [description_clean] =>North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.
His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.
Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.
The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.
His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.
Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.
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His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.
Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.
The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.
His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.
Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.
[links] => [image_upload_id] => 18456 [label_id] => 1 [twitter_username] => machine_drum [instagram_id] => 182228626 [instagram_username] => machine_drum [link] => [listed] => 1 [sortname] => Machinedrum [created] => 2013-03-15 14:40:02 [modified] => 2014-02-18 10:36:19 [slug] => machinedrum [fuga_id] => [description_clean] =>North Carolina-born artist Travis Stewart known as Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music's true Renaissance man.
His debut as Machinedrum Now You Know, was released in 2001 on pioneering Miami-based Merck Records and gained worldwide attention and praise from musicians, fans and critics. Having a strong background in both acoustic and electronic instrumentation, he was quickly able to navigate those various elements on his early releases from field recording and vintage synth laden Urban Biology to his seminal production and mixing of This Charming Mixtape with MC Theophilus London and his critically acclaimed 2009 album Want To 1 2? 2010's Many Faces EP ushered the next phase of Machinedrum's career and a fruitful relationship with Glasgow-based label LuckyMe. Sepalcure, a duo launched with Praveen Sharma shortly after, became one of the most intriguing names in the bass music scene and a series of releases on bubbling imprint Hotflush has given the duo NYC ambassadorship of this UK-based genre.
Relocating to Berlin for a few years, Machinedrum maintained a steady flow of releases including the Alarmaa and SXLND EPs with LuckyMe and the critically-acclaimed Room(s) LP on Planet Mu Records, a fresh new exploration of juke, jungle, and drum&bass that garnered high praise across the music world.
The dance floor blitzkrieg JETS, his latest project with longtime collaborator Jimmy Edgar has kept him ahead of the curve once again, serving as yet another showcase for his musical evolution.
His biggest and boldest release came last year in the form of the full-length LP Vapor City on famed label Ninja Tune, a conceptual universe which included an interactive website, digital citizenship program for fans, and an art exhibit in NYC that launched with the album. With subsequent EPs, exclusive remixes from a series of heavyweights, and a critically-acclaimed world tour, Vapor City carried on his rich exploration of multimedia arts and music.
Delivering his signature on every thing he touches, through each solo album and EP, collaborations, or production work for the likes of Azealia Banks, Jamie Liddell, Jesse Boykins III and others, Machinedrum is now widely recognized as a producer's producer, a pioneer of many styles, and a master of his craft.
[links_clean] => ) ) ) [16] => Array ( [Event] => Array ( [id] => 12314 [date] => 2014-03-12 [artist] => Bonobo (Live Set) [city] => Weisbaden [state] => [country] => DE [venue] => Schlackthof [promoter] => [description] => [ticket_url] => http://bonobotickets.sandbag.uk.com/Store/DisplayIndividualItem.html?ID=1518 [image_upload_id] => 18840 [created] => 2013-12-04 10:55:35 [modified] => 2013-12-09 11:05:43 [year_slug] => 2014 [month_slug] => mar [day_slug] => 12 [slug] => bonobo-live-set-weisbaden-schlackthof [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 18840 [media_type] => image [artist] => Bonobo [title] => Weisbaden 12 March [credits] => [buy_link] => [filename] => images/bonobo/Weisbaden-12March.jpg [checksum] => a6f5b432390daf5d8e89009a4a5faf34 [mime_type] => image/jpeg [size] => 254047 [external_url] => http://media.ninjatune.net/images/bonobo/Weisbaden-12March.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 0 [processed] => 1 [artist_slug] => bonobo [slug] => weisbaden-12-march [created] => 2013-12-03 13:35:02 [modified] => 2013-12-03 13:36:21 [embed] => ) [Country] => Array ( [id] => 230 [name] => Germany [longname] => Germany [numcode] => 276 [iso] => DE [iso3] => DEU [currency] => EUR [active] => 1 [parent_id] => 226 [lft] => 457 [rght] => 458 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 55 [name] => Bonobo [description] =>Simon Green, AKA Bonobo, is an artist very much at the peak of his powers. His 2013 album The North Borders was the high watermark of his career to date: a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.
An artist that constantly pushes himself outside of his musical comfort zone, Bonobo’s ranging personal tastes and regularly expanding range of synthesizers and instruments continue to take his productions to new levels. This outlook has earned him a reputation as one of the most pioneering figures in electronic music, in both his solo DJ sets and 12-piece live band shows.
All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and myriad great ones.
It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.
His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as 2010’s Black Sands. 2012 saw him take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth album. The North Borders was another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.
Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and The North Borders saw him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at.
Since the album’s release, Green has gone on play over 140 sold out shows across four continents and 25 countries, selling over 500,000 tickets and wowing audiences with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 will see him and his band play both the iconic Coachella festival, and his largest UK show to date at Alexandra Palace in November…
It’s a full schedule and then some, but one that’s constantly rewarding for his fans, and perhaps proves that Bonobo is not only one of the world’s hardest working artists in electronic music, but also one of its best.
[links] =>Facebook
Twitter
Soundcloud
Instagram
Simon Green, AKA Bonobo, is an artist very much at the peak of his powers. His 2013 album The North Borders was the high watermark of his career to date: a masterful record, marrying Green's inimitable melodic genius to cutting edge electronics, bass and drums.
An artist that constantly pushes himself outside of his musical comfort zone, Bonobo’s ranging personal tastes and regularly expanding range of synthesizers and instruments continue to take his productions to new levels. This outlook has earned him a reputation as one of the most pioneering figures in electronic music, in both his solo DJ sets and 12-piece live band shows.
All this comes as the result of over ten years hard work, and five albums that have honed Green's skills. A born musician, Green - like many artists - expresses himself most articulately via his music. The result is that his work is always keenly felt, and always feels imperative. There are no wasted moments, and myriad great ones.
It's tempting to relate Green's yearning, emotive aesthetic to his upbringing in rural Hampshire. His move to Brighton is also an influence; his skill at drum programming perhaps harking back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop, Bonobo found an early education in music.
His first album - 2000's Animal Magic - was released via Tru Thoughts before being picked up by Ninja Tune. It announced him as a serious talent; able to bring a true musician's edge to electronic music, with all the freedom that skill allowed. His subsequent albums for Ninja, Dial M for Monkey and Days to Come, developed his sensibility, won him fans across the globe, and saw him develop his live show into a mesmeric re-working of his records.
He also worked hard as a DJ, a part of Green's arsenal that perhaps truly came into its own at the same time as 2010’s Black Sands. 2012 saw him take the uptempo, club re-edits of Black Sands from a seminal Boiler Room performance in London to dance floors across the world, and unveil a new light show that further enhanced the impact of these stunning songs. A remix album was released featuring reworkings by fans and peers such as Machinedrum, Floating Points, Mark Pitchard, Lapalux and FaltyDL.
Later the same year, he finally settled down in his New York studio to write his fifth album. The North Borders was another long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece. With vocal features from no less than Erykah Badu, as well as Grey Reverend (Cinematic Orchestra) and Cornelia (Portico Quartet) it's another finely balanced body of work, leaving room for the beautiful, rich productions themselves to breathe and shine.
Bonobo has a long history of unearthing new talent (Andreya Triana, Bajka) and The North Borders saw him do so once again. The startling vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at.
Since the album’s release, Green has gone on play over 140 sold out shows across four continents and 25 countries, selling over 500,000 tickets and wowing audiences with the hypnotic, extended live versions of his songs. He performed sold out shows at The Sydney Opera House and Brixton Academy, and his very own, day long festival at London’s Roundhouse. 2014 will see him and his band play both the iconic Coachella festival, and his largest UK show to date at Alexandra Palace in November…
It’s a full schedule and then some, but one that’s constantly rewarding for his fans, and perhaps proves that Bonobo is not only one of the world’s hardest working artists in electronic music, but also one of its best.
[links_clean] =>Facebook
Twitter
Soundcloud
Instagram
Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.
In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.
While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.
Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.
In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...
Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.
In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.
[links] => [image_upload_id] => 4006 [label_id] => 1 [twitter_username] => kidkoala [instagram_id] => 209219810 [instagram_username] => realkidkoala [link] => [listed] => 1 [sortname] => Kid Koala [created] => 2010-07-17 22:15:58 [modified] => 2013-05-03 14:51:56 [slug] => kid-koala [fuga_id] => [description_clean] =>Back in 1996, Kid Koala became the first North American artist signed to UK label Ninja Tune. In the years that followed Kid Koala released a string of remixes and toured North America with fellow Ninja artists: Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he was invited to join Money Mark’s band, and then went on the road to open for the Beastie Boys on their 'Hello Nasty' world tour.
In 2000, Ninja Tune released Kid Koala’s debut album 'Carpal Tunnel Syndrome', which received international praise by the press for having defied expectation. The album featured a video game and a 32-page comic illustrated by Kid Koala himself. Following the release of the album Kid Koala toured extensively in North America and Europe as a member of groups such as Deltron 3030, Lovage, Bullfrog and on his own, opening for some of his favorite artists, Radiohead and Bjork.
While on the road, Kid Koala kept busy with pen to paper, illustrating a 350-page book called 'Nufonia Must Fall', accompanied by a soundtrack that he composed on the piano. Shortly after the release of this book came the release of his second album, 'Some of My Best Friends are DJs' complete with a 50-page comic book and mini chess game. This album was supported by a cabaret-style tour known as 'The Short Attention Span Theatre', which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises. Following this tour Kid Koala performed DJ sets in Australia, Asia, Europe, Russia, North America and South America, all the while working on a new book.
Kid Koala's most recent release on Ninja Tune was 'Your Mom’s Favorite DJ' in 2006. On this record he shows that his chosen means of expression (the turntable) is used not as a way of showing that he can do faster crabs than anyone else, but as a way of telling stories. Although there is the romance, silent movie comedy and swing that your mother may well smile at and even shake her booty to, the enthralling deftness and complexity you’d expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars.
In 2009, Kid Koala put together 3 'Music to Draw To' performances in Montreal for which he basically invited people to come and draw while he played records. There was no dancing allowed, but people could enjoy a free cup of hot chocolate, purchase some treats and either draw or do some writing. These events were initially created just for fun, but they became a huge success. As the series progressed, he received more and more requests for us to take our event to other parts of Quebec, North America, Europe... Even South America and South Africa...
Later that year, Kid Koala embarked on another journey, that of presenting a project called 'The Slew' – live with the former rhythm section of Grammy Award-winning Australian rock band Wolfmother. Featuring drums, bass/keys and DJs working across a truly excessive six turntables, the set featured raw guitar cuts and heavy beats that set out as a one-time-only tour across North America. Due to the high demand by fans for a return and the amount of fun the band had playing together, they toured the North American Jazz Festival circuit and also appeared at SONAR Spain and Chicago. Somewhere in between their busy tour schedule the ex-Wolfmother rhyhtm section joined Kid Koala in the studio to lay down some new songs. Currently Dynomite D is working on the songs at his studio.
In late 2010, Kid Koala finsihed his latest graphic novel and soundtrack titled 'Space Cadet'. To work out the accompanying live show and gallery exhibition, he took part in an artist residence at MASS MoCA (Massachussetts Museum Of Contemporary Art) in December. The Space Cadet Headphone Concert and Gallery debuted on December 11 with 2 shows. The novel and soundtrack are set to be released during 2011 through Pigeon Press and a world tour will commence soon after.
[links_clean] => ) ) ) )| Artist | Date | City | Venue | Buy |
|---|---|---|---|---|
| Bonobo (Live Set) | Saturday, Mar 8th | Paris, FR | Casino de Paris | Buy |
| Mr. Scruff | Saturday, Mar 8th | Rotterdam, NL | Bird | Buy |
| Young Fathers | Saturday, Mar 8th | Amsterdam, NL | Paradiso | Buy |
| Kid Koala | Saturday, Mar 8th | Minneapolis, US | Target Center | Buy |
| Martyn | Saturday, Mar 8th | Amsterdam, NL | 5 Days Off | |
| Busdriver | Saturday, Mar 8th | New Haven, US | Stella Blues | Buy |
| The Bug | Saturday, Mar 8th | Bristol, GB | Motion | Buy |
| Bonobo (Live Set) | Sunday, Mar 9th | Brussels, BE | Cirque Royale | Buy |
| Busdriver with Hellfyre Club | Sunday, Mar 9th | Washington, D.C., US | DC9 | Buy |
| Bonobo (Live Set) | Monday, Mar 10th | Groningen, NL | Oosterpoort | Buy |
| Busdriver with Hellfyre Club | Monday, Mar 10th | Charlotte, NC, US | Snug Harbor | Buy |
| Kid Koala | Monday, Mar 10th | Auburn Hills, US | The Palace of Auburn Hills | Buy |
| Bonobo (Live Set) | Tuesday, Mar 11th | Tilburg, NL | O13 | Buy |
| Busdriver with Hellfyre Club | Tuesday, Mar 11th | Atlanta, GA, US | ||
| Machinedrum (DJ Set) | Tuesday, Mar 11th | Austin, US | SXSW - Spotify House | |
| Machinedrum (DJ Set) | Tuesday, Mar 11th | Austin, US | SXSW - Empire Control Room | |
| Bonobo (Live Set) | Wednesday, Mar 12th | Weisbaden, DE | Schlackthof | Buy |
| Kid Koala | Wednesday, Mar 12th | Pittsburgh, US | Consol Energy Center | Buy |
Calendar
Booking Artists
Details of artists booking agents can be found here
Please Note
This page only serves as a guide, please always check with venue/promoter first if booking travel as we cannot be held responsible for any last minute date changes or cancellations