Sat, Oct 8
Sun, Oct 9
III Points Music, Art & Tech Festival
LCD Soundsystem, M83, Thievery Corporation, DIXON, Flying Lotus, Method Man & Redman, DIIV, Black Coffee, Flight Facilities, Ta-Ku, Maya Jane Coles, Earl Sweatshirt, DJ Koze, Dusky, Kink, Oneohtrix Point Never, DJ Tennis, Thee Oh Sees, Ben UFO, Junior Boys, Andy Stott, Danny Daze, Pantha du Prince, Sophie, Vince Staples, Machinedrum, Chrome Sparks, Satori, Bedouin, David Marston, Behrouz, Arthur Baker, Museum of Love, Viken Arman, Little Simz, Lapalux, Leon Vynehall, Amtrac, Poorgrrrl, Lazaro Casanova, Steven A. Clark, Jesse Perez, Denzel Curry, Jacques Greene, DJ Craze, Jessy Lanza, ESTA, Dawn of Midi, Joe Kay, Helado Negro, The Whooligan, Brika, Uchi, DZA
318 NW 23rd St
Miami, FL, 33127
III Points Festival
In the studio, LCD Soundsystem is just James Murphy and his multifarious musical, vocal and production skills. But, onstage, LCD Soundsystem is a quintet of similarly funk, punk and art—obsessed friends – featuring Pat Mahoney (drums); Nancy Whang (keyboards, vocals); Tyler Pope (bass – also of H! And Outhud); and Phil Mossman (guitar, percussion, keys, bass – ex-Sabres Of Paradise) – all striving to make you dance while challenging the tired rules and predictable poses of live rock. As James explains, ‘LCD is like a laboratory for experiments on what a band should be. There are issues of ego and presentation that I don’t like about touring bands. But I love the power and the potential. I once saw some footage of Black Sabbath setting up to play on French television in 1972. They’re not really that professional at it, but then they play and they’re just unbelievable. Then you ﬁgure that Black Sabbath now would be sixteen trucks, fourteen buses, a crew of 200 and some guy tuning up thirty guitars. It’s all very false, and safe and protected and corporate and vapid. This system is imposed on bands when they’re young and it kills creativity. There’s no magic.
M83 is one Anthony Gonzalez, hailing from Antibes France, residing in Los Angeles for the last 6 years. His sixth album, 2011's Hurry Up Were Dreaming, placed M83 in the direct current of the mainstream, gaining acclaim as Gonzalez's masterpiece summation of all the elements and influences of his epic space-age future pop. It would also become the record that cemented M83's mainstream breakout, driven by the global hit single "Midnight City." Other standout tracks like "Outro" and "Wait" from Hurry Up… also became pop-culturally ubiquitous, taking on a life of their own as musical accompaniment for numerous TV shows and Hollywood blockbuster trailers.
Over the past few years, Gonzalez has become in demand as a soundtrack composer for hire, clarifying the promise of M83's already cinematic sweep in actual movie theaters with scores for 2013's Tom Cruise sci-fi blockbuster Oblivion and his brother Yann's 2014 directorial debut You and the Night. New original M83 tracks also received prominent placement in the soundtracks to the hit film series Divergent. 2016 will see a new album and more touring around the globe for M83. Stay tuned, it it sure to be an epic ride.
Spend a day with Thievery Corporation's Eric Hilton and Rob Garza and you might hear them make reference to David Cope, the university professor who studies music and artificial intelligence, or mention Garza's travels to Sudan and Nepal, or explain why The Clash's London Calling may just be the best-produced album in rock history. So it's not surprising that Hilton and Garza's thoughtful curiosity about the world finds its way into their sophisticated, impeccably crafted musical soundscapes that reflect not only their broad appreciation for diverse styles of music (everything from Brazilian bossa nova and Jamaican dub reggae to vintage film soundtracks and psychedelic space rock), but also their take on the complicated times in which we live.
Since banding together 16 years ago, these two independent thinkers have taken a DIY approach to their musical and cultural interests, which has led to the formation of their own record label, ESL Music, through which Thievery Corporation release recordings by a slew of international artists, such as Federico Aubele, Ursula 1000, and Thunderball, as well as their own recordings. The label is run out of the basement of a Gothic-style three-level townhouse in Washington, D.C., that is also home to Thievery Corporation's recording studio, which is filled with the latest high-tech gear as well as vintage guitars and Moog keyboards. The studio is where the two songwriters and producers have crafted their own output: six studio albums, three compilations, and numerous EP's and singles — an impressive body of diverse work that has made Thievery Corporation one of the most influential and respected names on the electronic/dance music scene.
In June, the duo will release its sixth studio album, Culture of Fear — a cinematic-sounding inquiry into space rock that straddles the sweet spot between funk and soul, with a bit of dub and reggae thrown in for good measure. The title track, featuring vocals/lyrics by rapper Mr. Lif, comments on the fact that, nearly 10 years after 9/11, "everyone is afraid of everything," Hilton says. "People are living like wimps. The terror level is always at orange. Now we've got body scanners in airports. Somehow the whole country's been spun into this pointless web of fear." Adds Garza: "People have learned to be subservient to the system, automatically taking their shoes off at airports. Our message with this album is that there really is nothing to fear. The things we're being told to fear aren't what we should fear. The intrusion into your day-to-day rights and privacy are a whole lot scarier."
Culture of Fear continues to address the socially conscious themes that Thievery Corporation have explored since 2002 when they released their third studio album, The Richest Man in Babylon, which incorporated protest music into their sound. They followed Babylon with 2005′s The Cosmic Game, which featured politically minded collaborations with Perry Farrell, Flaming Lips frontman Wayne Coyne, and David Byrne. In 2008, the duo paid homage to people's resistance movements around the world with Radio Retaliation — setting a think-for-yourself agenda to eclectic sounds from Jamaica, Latin America, Asia, and The Middle East. The album, which questioned the profit-driven mentality of corporate media, earned Thievery Corporation a Grammy Award nomination for Best Recording Packaging. (An image of Mexican revolutionary Subcomandante Marcos appears on its printed cardboard sleeve cover.)
"We're probably more radical in our political beliefs than most of the hardcore punk bands," Hilton says, "but at the same time, we're realistic about what we can actually do. We feel like our role is to be commentators." Adds Garza: "The best thing we can do is try to open people's minds." For both Hilton and Garza, the seeds for their shared philosophy were sown while growing up near the nation's capitol, which has spawned an abundance of progressive punk bands over the years, such as Bad Brains, Minor Threat, and Fugazi. "We're influenced by that mentality, but the music doesn't need to be about super aggressive guitars or hard-charging beats to convey that feeling," Hilton says. "Sometimes you can just break things down and be more subtle." Instead, the duo reveal their globally aware mindset by setting their lyrical diatribes to a lush mélange of international grooves, inviting vocalists and musicians from around the world, including Nigerian Afrobeat heir Femi Kuti, Persian singer Lou Lou, and Jamaican reggae toaster Sleepy Wonder, to appear on their recordings. As the L.A. Weekly put it: "Thievery Corporation's dance hall is a delectably subversive refuge for dissent, a multilingual broadside against complacency and the powers that be."
Thievery Corporation was hatched in 1995 when Hilton and Garza were introduced by a mutual friend at Washington, D.C.'s Eighteenth Street Lounge — a popular gathering place for musicians and nightlife seekers that is co-owned by Hilton. Hilton had been producing parties and various music events before opening the Lounge with a fellow DJ in the top three floors of a turn-of-the-century mansion just below Dupont Circle. He also had a recording studio, where Garza had once done some music production work, but the two had never met until the night Garza walked into the Lounge.
"I was really impressed by what Eric had built," Garza says. "The music they were playing and the whole mood of the place was very inspiring." The two discovered that they shared The Clash and D.C. punk label Dischord as a formative musical influence, that they both loved '60s and '70s Brazilian music, "and that we were both interested in talking about stuff that other people aren't interested in talking about," as Hilton puts it. They decided to try to make some original music together.
In 1996, Thievery Corporation launched itself with two underground hit vinyl singles, "Shaolin Satellite" and "2001 Spliff Odyssey," followed by their debut album, Sounds from the Thievery Hi-Fi, and soon became loosely associated with the "trip-hop" scene that had emerged a few years prior in the U.K. In 2000, they released Mirror Conspiracy, which introduced live vocalists, including Bebel Gilberto and the late Pam Bricker into the mix. (Bricker sings on Thievery Corporation's breakthrough hit "Lebanese Blonde," which was included on the Grammy Award-winning soundtrack to the 2004 film Garden State.) Following The Richest Man in Babylon and The Cosmic Game, the duo released 2006′s Versions, featuring their remixes of songs by such artists as Sarah McLachlan, Astrud Gilberto, Anoushka Shankar, and The Doors. By then, Garza and Hilton were itching to evolve past their reputation as ambassadors of the "downtempo" scene, and began to conjure up more subversive recordings that reflected their interests in social activism, as can be heard on Radio Retaliation and, now, Culture of Fear.
Over the years, Thievery Corporation has also become known for the carnival-esque atmosphere of their live shows, during which they bring out a 15-member live band of musicians and vocalists. The group has sold out shows at such famed venues as the Hollywood Bowl, London's 02 Shepherds Bush Empire, and the Theatro Vrahon Melina Merkouri in Athens, Greece, among many others. "To see Lou Lou, a Persian singer singing in Farsi, as America debates on a war with Iran, on stage with band members from all corners of the earth singing in Spanish, Portuguese, French, and so on, it makes people wonder," Garza says. "And if you can get people to question the things around them, even just a little bit, that's not such a bad thing."
When Dixon entered the Berlin club circuit in the early 90's, he established his name on the strength of djing. Back then, confidence or experience based on putting out mixes on the Internet did not matter as much as it does now. You had to do your practice, of course, but when your thing was good and tight enough to take it to the clubs, there were opportunities to do so. But those opportunities meant responsibilities. A residency did not mean playing the same club every once in a while, it meant playing the same club every week. The crowd did not consist of people that wander in and out of club nights and its guest djs as the weekly hype commanded them, it consisted of people which headed straight to a certain club night because they were sure its resident dj would deliver the goods this week as he did last week, and the next weeks to come. As long as that happened, there was no need to move on. You made your decision to return out of good experience and you stuck to it as long as it lasted.
In such a context, there is no way to learn quicker how to become a very good dj than by making people dance throughout a set that lasts the whole night, on a very regular basis. If you can't hold the crowd for hours then, you fall through. It is learning by doing, the hard way. Dixon did not only learn very quickly, he loved every moment of it. Starting out low, slow, unfolding the flow, working towards a peak, then working towards another, turning up, turning down, to find the exact point from which to swing moods, to find the perfect way to end what should be a lasting experience. Once you passed your exams in the nightclub school of that era with distinction, you can rely on it forevermore, and Dixon surely did. His residencies then and now are obviously schooled on the stylistic and technical versatility and skills, attitude, stamina and experience based on countless nights honing ways to direct a loyal crowd on the dance floor at will. Hours spent to find and select the right music to achieve the levels of intensity necessary, hours spent to plan the imminent night's structure and proceedings, and then hours spent putting it into action. Dixon was always more than happy to spend this much time on his nights, because he takes his profession seriously. It is exactly what matters most to him. He has always been and he always will be a dj first. This is the mission he embarked on, no end in sight.
You see, no one likes talking about death, but Flying Lotus has never been one to lead the people on a simple journey.
With You're Dead! he has managed to create a shamanic pilgrimage into the psychedelic unknown of the infinite afterlife. At once reflective, restless, heart wrenching and joyous, this is a melodic ode to those who have died young, suddenly and unexpectedly – those who have passed away into another realm completely – while also existing as a comfort to those mourning the loss of a loved one, those left behind in our here and now. You're Dead! serves as an exploration, a eulogy and a portal between these parallel domains. "My perspective comes from having lost a lot of people. A lot of my family members passed, but a lot of my colleagues passed away too soon," says Flying Lotus. "I felt like in my own experiences, I wanted them to have this same sense of self." Musically, the album treats death as a transition from one experience to another, from one dimension of sound to another. Masterfully, Flying Lotus bathes death in the sensitive, affectionate light of a storyteller.
Flying Lotus takes listeners on a consciousness-fracturing journey as they follow those who've passed away as they embark on their tender new existences "on the other side." This life in the new dimension is rife with excitement, adjustments and reconciliation for some who are struggling to make sense of how they got to the other side in the first place.
"The album isn't about the end," says Flying Lotus. "It's really the beginning. It's the beginning of a new experience," he says. "It's not hey you're dead," he says somberly. "It's hey you're dead!" he says with an uptick of enthusiasm. "To me it's a celebration of the next experience. Also, it's the transition and the confusion," he adds. You're Dead! is a hefty undertaking, but Flying Lotus aptly creates an engaging sonic delight, part spiritual carnival, part melancholic symphony, all the while coaxing listeners out of their fears of the unknown – and sometimes indulging those same fears. This aural procession through the afterlife does not trade on our clichéd catalog of pop-culture references to extinction. You won't find grim reaper-referencing rote drama, or the pallid somber palette of reverential muzak. This is a sonic, visual and metaphysical fusion of technological innovation and technical virtuosity that amounts to a transcendent, mind-expanding plasm that could only exists between our world and another.
Method Man & Redman
Method Man & Redman (A.K.A Red & Mef, Mef & Red, Mr. Mef and Funk Doc or Funk Doc and Johnny Blaze), are a hip-hop duo, composed of rappers Method Man (of Wu-Tang Clan) and Redman (of Def Squad). They are signed to Def Jam Recordings as the duo as well as solo artists. While they had been collaborating since 1994, it was not until 1999 that they released a full-length collaborative effort, Blackout!. The follow-up album,Blackout! 2, was released in 2009.
Method Man often gives a shout out to Redman on tracks that do not feature Redman; this usually comes in the form of "What up, Doc!" referring to Redman's alias "Funk Doctor Spock". In 2001, they both stared together in the comedy/stoner movie titled "How High". The duo have both said a sequel will be released, a date for filming and release has yet to be announced.
The duo have known each other long before signing with Def Jam. While at Def Jam, they reunited in 1994 on tour and met again in 1995 in the recording studio of the late Tupac Shakur. They recorded "Got My Mind Made Up" for Shakur's multi-platinum album "All Eyez On Me". After this they had friendly battles freestyling with each other on Yo! MTV Raps! which ultimately led to their collaborative debut single "How High" In 1999, the two rappers appeared together on "Rap Phenomenon" along side with The Notorious B.I.G on his posthumous album "Born Again"
On May 7, 2009, in promotion for their second studio album, Method Man & Redman released a mixtape titledLights Out, which was hosted by DJ Green Latern. In 2013, Method Man and Redman previewed a new track called "Lookin' Fly Too" featuring Ehikmostz. They continue to record together with both eyeing careers beyond DefJam.
Method Man recently put out his 5th studio album titled "Meth Lab". With a follow up slated to come this summer. Redman put out the "Muddy Waters 2 Mixtape" last year, as well as his album "Mudface". Redman will also be releasing the sequel to his highly acclaimed album "Muddy Waters" in 2016 titled "Muddy Waters 2" a date has yet to be determined for release.
DIIV is the nom-de-plume of Z. Cole Smith, musical provocateur and front-man of an atmospheric and autumnally-charged new Brooklyn four-piece.
Recently inked to the uber-reliable Captured Tracks imprint, DIIV created instant vibrations in the blog-world with their impressionistic debut Sometime; finding it's way onto the esteemed pages of Pitchfork and Altered Zones a mere matter of weeks after the group's formation.
Enlisting the aid of NYC indie-scene-luminary, Devin Ruben Perez, former Smith Westerns drummer Colby Hewitt, and Mr. Smith's childhood friend Andrew Bailey, DIIV craft a sound that is at once familial and frost-bitten. Indebted to classic kraut, dreamy Creation-records psychedelia, and the primitive-crunch of late-80's Seattle, the band walk a divisive yet perfectly fused patch of classic-underground influence.
One part THC and two parts MDMA; the first offering from DIIV chemically fuses the reminiscent with the half-remembered building a musical world out of old-air and new breeze. These are songs that remind us of love in all it's earthly perfections and perversions.
A lot of DIIV's magnetism was birthed in the process Mr. Smith went through to discover these initial compositions. After returning from a US tour with Beach Fossils, Cole made a bold creative choice, settling into the window-facing corner of a painter's studio in Bushwick, sans running water, holing up to craft his music.
In this AC-less wooden room, throughout the thick of the summer, Cole surrounded himself with cassettes and LP's, the likes of Lucinda Williams, Arthur Russell, Faust, Nirvana, and Jandek; writings of N. Scott Momaday, James Welsh, Hart Crane, Marianne Moore, and James Baldwin; and dreams of aliens, affection, spirits, and the distant natural world (as he imagined it from his window facing the Morgan L train).
The resulting music is as cavernous as it is enveloping, asking you to get lost in it's tangles in an era that demands your attention be focused into 140 characters.
Considering his meteoric rise to fame, it would be easy to stereotype Black Coffee as just another black diamond, a BEE beat magnet out to mine the insatiable upwardly mobile urban house-party market. But as he proved on his South African Music Award-winning album Home Brewed, this DJ and producer defies convention. Sidestepping Afro-house clichés and stage-managed highs in favour of restrained sophistication, Black Coffee's penchant is for true Afropolitan house: home-brewed but trendsetting, fashion-conscious and future-focused. Expect almost sculptural balance and beauty.
If one heard a clamour and ululating emanating from the eastern provinces of South Africa, Kwazula Natal and the Eastern Cape, announcing the recognition of a cultural phenomenon……and their role in the development of this cultural phenomenon…one could not argue were that clamour and ululating to be in respect of one……that is the soul, spirit, talent and vision of Nkosinathi Innocent Maphumulo, one who most know as "Black Coffee".
Secret identities, aeronautical puns, mixtapes and releasing music in single format is what we know of Flight Facilities so far. Releasing 6 original tracks to date, 'Crave you', 'Foreign Language' 'With You', 'Clair De Lune' I Didn't Believe & most recently the uptempo 'Stand Still.' The only similarity drawn from all Flight Facilities tracks is that each features a very talented guest: Giselle Roselli, Jessica Higgs, Rob Smoughton aka Grovesnor and Christine Hoberg, Elizabeth Rose & Micky Green.
While Flight Facilities don't like to be pigeonholed by genre, they are vocal about their influences. They have drawn inspiration from acts, past and present, such as ELO, Jamiroquai, Daft Punk, Chic, Mylo and more.
Their YouTube page already has over 25 million views,. The first video is the New York-shot 'Crave You' directed by Moopjaw (Golden Filter, Neon Indian, Peaches), featuring the styling of Christian Joy (Yeah Yeah Yeah's / Karen O's costume designer). Flight Facilities' second single brings fans to a Hawaii 5-0-esque throwback by French director, Dimitri Basil, shot amongst some of Sydney's most iconic landmarks and venues. The animation for "With You" combines Astroboy, Megaman and Daft Punk-inspired anime from young animator Benjamin Drake (also known for his animated work with Gotye), and most recently, Flight Facilities worked with Foals main videographer Dave Ma to shoot the almost-8-minute short film for 'Clair De Lune' & 'Stand Still; both shot in California.
Production wise, Flight Facilities are slowly building a reputation for delivery on every remix. With a selective approach to their remixes, they have tastefully retouched the likes of Jagwar Ma, Holy Ghost!, Cut Copy, Foals, The C90s, Miike Snow, Bag Raiders, The Lowbrows, Sneaky Sound System and Toecutter. In late 2012 they tackled 4 decades of music and historical moments through four one hour mixtapes. Chronologically placing everything in order of release and time of event.. Mixmag called it 'one of the most ambitious mix series of all time,"
The journey is only just beginning; sit back, relax and enjoy your flight.
With an intimidating body of work amassing, spearheaded by the current Bandcamp charting release Re-Twerk, Perth's Ta-ku is showing no signs of slowing down with co-signs from Gas Lamp Killer, Salva, Baauer, Shigeto, Flosstradamus, Nina Las Vegas, JJJ Next Crop, Nosaj Thing to name a few.
The Red Bull Music Academy alumni quickly captured the world's attention and with the amount of releases he has clocked up for labels like Brownswood, HW&W, Project Mooncircle as well as collaborations with Chet Faker and remixes for Hermitude and Snakadaktal, Ta-ku looks set to continue with a crackling schedule set for 2013 already locked in.
From an early output of dusty beat samples, this disciple of The Ummah can cut and chop Hip-Hop beats in his sleep, yet it is his current material which shows a dancefloor edge not yet heard from the producer but already clocking up runs on the board like the inclusion of many tracks from Re-Twerk on man of the moment Baauer's (Lucky Me/Mad Decent) new mix for RINSE FM.
Available for DJ sets and Production panels and with a live show in the works, Ta-ku will soon emerge from the studio to be one of the most formidable live Producer acts in the country.
Maya Jane Coles
By the age of 24, Maya had already played in over 30 countries racking up gigs at the likes of Panorama Bar (Berlin), Womb (Tokyo), Fabric (London), Trouw (Amsterdam), WHP (Manchester), Spy Bar (Chicago), Watergate (Berlin), Home (Sydney), Verboten (NYC), Zouk (Singapore), Lux (Lisbon), Fuse (Belgium) and Social Club (Paris). Not to mention taking control of the decks at Ibiza's most renowned clubs Space, Pacha, Amnesia, and Ushuaia.
In April 2012, Maya's position as one of the world's top DJs was solidified with the release of her multi-award winning edition to K7's legendary DJ Kicks mix series which gained international chart success and massive critical praise.
Maya released the tracks 'Not Listening' as Maya Jane Coles and 'Meant to Be' under Maya's 'Nocturnal Sunshine' moniker as exclusive tracks from the compilation. The mix also included tracks by the likes of Phil Kieran & White Noise Larse, Marcel Dettman and T.Williams and has proved to be one of the biggest commercial successes since the series began with the mix hitting the home pages of major sites such as Deezer, Aol Spinner and MTV Iggy.
Club smashes "Getting Freaky" on Heidi's Jackathon Jams label and a return to her original label home Dogmatik with the release of "Watcher" followed later in the year as well as her Ushuaia set broadcasted live as part of BBC Radio 1's famed Ibiza Weekend.
Maya's final original release of 2012 was Maya's much lauded genre defying release 'Easier to Hide' coming out her own I/AM/ME label in December hinting at what may be to come with the inclusion of album track "Easier to Hide" leading the EP.
With her debut album having dropped in July 2013 Maya will have played in around 40 countries worldwide by the end of year taking in festivals like Fuji Rocks (Japan), Coachella (USA), Sonar (Spain), Ultra (USA), Lowlands (Holland), T in the Park (UK), Pukkelpop (Belgium), Bestival (UK), Creamfields (UK) and Summadayze (Australia) amongst countless others all around the world. Having previously played at Les Transmusicales (France), Melt (Germany), Benicassim (Spain), Electric Zoo (USA), Global Gathering (UK), Detroit Movement (USA) and Exit (Croatia) amongst others.
Thebe Neruda Kgositsile (born February 24, 1994), better known by his stage name Earl Sweatshirt, is an American rapper and member of the Los Angeles-based hip hop collective Odd Future. He is signed to Columbia Records, as well as his own label, Tan Cressida. Earl gained recognition and critical praise for his debut mixtape, Earl. Following its release, he was sent to a boarding school in Samoa by his mother until his eighteenth birthday. On August 20, 2013, he released his debut studio album, Doris.
DJ Koze B2B Matthew Dear (All Night Long)
As You Like It (AYLI) is the result of a shared taste for quality electronic music, late nights and experiences that focus on cutting-edge sounds by today's most driven artists, while striving for and acknowledging timelessness.
Stefan Kozalla aka DJ Koze lives and works in Hamburg as a club DJ, musician (International PONY, Adolf Noise) and remixer for Chicks On Speed, Bob Sinclar, Justus Koehncke and more of the finest German bands and projects and successful producer and KOMPAKT recording artist.
Within only a few years, DJ Koze has slowly worked his way up through the German Hip-Hop scene. With his band Fischmob, he has released several successful records, steadily building up a strong fan base of young left-oriented
With their mixture of straight-up Hip Hop skills (and none too subtle poiltical content), dry humor, crazy spoken samples, prank phone calls, etc... the band has found their own niche in Germany's ever-growing Hip-Hop scene. And although he's not afraid to throw down & rock the mike , it's behind the decks where DJ Koze really shines. He's got a light, subtle approach and feel which belies the fact that he took home the Runner-Up prize at the DMC DJ Championships a scant few years ago.
With their album ''Power", and various smash singles, Fischmob found their way into the German pop charts with the corresponding video enjoying a month-long, high-rotation run on both MTV & VIVA.
Although DJ Koze has had a taste of pop success with Fischmob, he's always been equally interested in experimenting with other forms of electronic music from ambient to break beats to wild sound collages from a myriad of musical genres.
An especially notable voyage in to uncharted musical waters, Adolf Noise (produced and performed by DJ Koze and his buddy Marcnesium) turned many a head around. Taking the artist into a deeper Electronic direction, "Adolf Noise" features a far more abstract and unusual use of samples and grooves while keeping the listener on his / her toes by incorporating liberal usage of football commentary, television show snippets, radio plays, and telephone terror with drug-delinquents.
It was this record, that made people, that were normally more into Techno or Electronica, sit up and take notice and it is now these people who are his biggest fans on dance floors between Tokyo and Hamburg - a development of successfully melting a world of musical styles with the power-blending strength of Club Culture.
The year 2002 made DJ Koze the deck wizard of Hamburg trio International Pony, whose debut album 'We Love Music' (Skint/Sony) was received to critical acclaim.
As a live DJ, Koze builds his sets on house and disco tracks and uses his well-honed Hip Hop skills blending it all together in a furious mix, making it seem that the term " House Rocking" was coined with him in mind.
The readers of Germany's trend-setting SPEX magazine correctly voted DJ Koze the DJ Of The Years for 1999 - 2004 - a well earned title, playing numerous shows all over the country and in different parts of the world. He was
also one of the nominees as best German DJ at 2003´s German Dance Awards.
Please take a look at his discography and check out his massive releases for Kompakt, Cologne´s finest in terms of smashing, heartwarming, minimal house. Amongst them a very deep dj mix called: "All People Is My Friend".
Depending on whom you ask, Matthew Dear is a DJ, a dance-music producer, an experimental pop artist, a bandleader. He co-founded both Ghostly International and its dancefloor offshoot, Spectral Sound. He's had remixes commissioned by The XX, Charlotte Gainsbourg, Spoon, Hot Chip, The Postal Service, and Chemical Brothers; he's made mixes for Get Physical's Body Language and the Fabric mix series. He maintains four aliases (Audion, False, Jabberjaw, and Matthew Dear), each with its own style and distinct visual identity. He straddles multiple musical worlds and belongs to none—and he's just hitting his stride.
Matthew Dear's 2003 full-length debut, Leave Luck to Heaven, is a suite of sparse, wickedly funky house laced with Dear's deep, distinctive vocals, and includes the much-loved single "Dog Days" (voted one of Pitchfork's Top 100 Songs of the Decade). The record was met with rapturous acclaim from both the dance-music establishment and the critical press, including a four-star review in Rolling Stone. The 2007 follow-up, Asa Breed, is a considerable departure from Heaven's dancefloor excursions, incorporating the polyrhythms of Afrobeat, the irreverent pop sensibilities of Brian Eno, and the austere beauty of Krautrock. More four-stars reviews followed (Q and Mojo magazines), and Dear subsequently began touring with a live three-piece band, Matthew Dear's Big Hands, in which Dear acted as frontman, commanding the stage with a Bryan Ferry-like swagger and a gentleman's grace.
Today, Matthew Dear finds himself in a unique position. His highly anticipated third album, 2010's Black City, is the culmination of years of hard work and experimentation, a darkly playful sound-world that envelops the listener like the arms of a malevolent lover. After over a decade of exploring pop's outer limits, Matthew Dear now inhabits a rarefied corner of the musical universe: no longer tethered to any one genre, respected by his peers, and blessed with a bottomless well of creative energy. Now is Matthew Dear's moment, and it sounds like nothing else.
Dusky are London production duo Nick Harriman and Alfie Granger-Howell. In just three years, the fast-rising duo have asserted themselves as leaders of the UK underground. BBC Essential Mix of the Year contenders, DJ Magazine cover stars, headliners everywhere from Berlin's Panorama Bar to London's
Fabric, Dusky's story so far is one of constant forward motion and a uniquely universal appeal.
The Dusky story began back in 2011, with the birth of their new alias on the beautifully diverse 'Stick By This' LP - an album that quickly found a vocal champion in Radio 1's Pete Tong. But the duo's breakthrough track was undoubtedly 2012's killer 'Flo Jam'. Signed by the label that broke Maya Jane Coles (Dogmatik), its devastating deep grooves were hammered by everyone
from Loefah, Joy Orbison and Boddika to Disclosure, Jamie Jones and Sasha, with even Calvin Harris getting in on the act. An underground anthem that crossed over many barriers, it eventually earned the unexpected accolade of iTunes Dance Single Of The Year.
Since those formative releases marked them out as talents destined for the top, Dusky have pushed their sound forward every step of the way - refusing to stay stationary and acknowledge the status quo. There have been rugged warehouse techno excursions on Loefah's School, quirky scene-defining house bangers on Aus and classy melodic grooves like 'Mr Man' on Anjunadeep. But whatever musical sub-strain Dusky turn their hands to, there
is always a strong common thread - a signature depth and detailing. A stamp of quality, that makes for an instantly recognisable 'Dusky' sound.
Now with the launch of their 17 Steps label, the duo are taking control of this unique identity and giving it the unrestricted platform it deserves.
The eclectic, well-honed outlook is the result of absorbing two decades of global dance music, digging back beyond and a shared production career that has spanned nearly 10 years. Sift through Nick and Alfie's personal record collections and you will find everything from Polish orchestral music and Ahmad Jamal's soulful jazz, to Justin Martin's "Sad Piano" and Daft Punk's
formative French house, with stacks of vintage garage and drum & bass 12"s propping the whole selection up.
With all these influences and so much more bleeding into the current Dusky studio alchemies, the journey is just beginning for the London duo.
Strahil Velchev a.k.a KiNK is not Josh Wink`s brother, he isn`t Aphex Twin`s room mate and definetly not Larry Heard`s son. He is simply an innovative, uncompromising producer and captivating DJ / live performer from Bulgaria, who incorporates the best examples of the underground dance music in his production.
At the age of 12 – jumping up & down to acid, techno and early rave tracks; at 20 – his touch with the fist modular software synthesizer and couple of years later – his first vinyl release. These are a few things that shape Strahil as an accomplished electronic artist with his own signature sound. "Take the soul and the groove of house and techno, the futurism and detail of experimental electronica and the raw energy of acid" – this is how Strahil defines his style.
KiNK is no stranger to the underground house scene since his first appearance on vinyl in 2005 on the UK based label Odori: His acid-house track "Same Old Thing" was noticed by DJs like David Duriez and Laurent Garnier, the track was re-released on the French imprint RZ later in 2006. KiNK`s remix of Eviljack from the same vinyl appeared at the Essential mix of Francois K. and numerous dj sets. His tracks and remixes could be found on 10 vinyl releases so far and few digital ones, he produced music for labels such as Odori, Rush Hour, RZ, Rebelone, Endless Flight, Boe, Spatula City, and more. KiNK worked with different artists like the producer / label boss from Berlin – Stefan Goldmann (under the name "Vinyl") and the UK based producer Neville Watson. KiNK`s record with Neville did an impact on the underground dance music scene in the middle of 2008, the collaboration track "Inside Out" appeared at Josh Wink`s top 10 chart under #2, it was heard at Glastonbury, played by Hercules & Love Affair and it landed at Steve Bug`s prestigious "Bugnology vol. 3" mix compilation, released on Pokerflat later in 2008. Steve Bug says at Beatport interview the b-side of "Inside Out" – KiNK`s "traffic" tune is his ultimate bassline weapon and "it rocks every place from a small club to a big festival floor". KiNK`s most recent release – "Get Nervous" vinyl, on Boe recordings (UK) had a great reactions from many djs, such as Jimpster, Jeff Samuel, Hipp-e, Luke Solomon and it entered the TOP TUNE section in IDJ magazine with 5 / 5 points. Other artists, supporting further KiNK tracks are: DJ Sneak, DJ Rolando, Osunlade, James Ruskin, Ken Ishii, Llorca, Funk D'Void, Terrence Dixon, Samuel L Session, Paul Woolford, Chris Duckenfield, Crookers and more.
Unlike other recording artists – KiNK behind the decks is not spinning mainly his own tracks or current label`s sound, he is a skilful and versatile dj, who played house and techno alongside Laurent Garnier and Andy Cato / Groove Armada as well as underground hip-hop, funk and downtempo alongside Olie Teeba / Herbaliser and Scratching Perverts. KiNK does live p.a. in very rare occasions but he managed to impress the audience and the headliner (Audion) at his first notable live p.a. session at the techno stage of Wilsonic festival 2007 (Slovakia).
KiNK`s studio time now is separated between production for Bulgarian pop artists and tracks for the fans of underground dance music worldwide. He is looking forward to the release dates of his 2 x 12" debut album on Kolour recordings with remixes from Abacus, Men At The Top, his next collaboration record with Neville Watson on Rush Hour, an e.p. on Spatula City and his most popular track (never released so far) – "The Big Payback", also known as "Gipsy" signed on Minority Music.
Oneohtrix Point Never
Oneohtrix Point Never is musician, composer and producer Daniel Lopatin. Active under the moniker since 2007, Lopatin has released numerous EPs and fulllength albums with the most recent being his upcoming album, Garden of Delete , due in November 2015.
Lopatin founded Brooklynbased Software Recording Company and has collaborated with a multitude of talented artists and musicians. As he has risen to prominence, his catalogue has grown to include pieces commissioned by museums and esteemed organizations and festivals, as well as film scores and production credits. His unique approach to composition and creation has proven him to be an influential and significant figure of the modern soundscape.
DJ Tennis is Manfredi Romano. Born in the 70's and raised between New Jersey, Sicily, and Parma in a family where music was such a small thing. He had no relatives that played musical instruments, nothing to play on at home, and no one giving music any considerable amount of love. Despite this, his creative and artistic attitude have always centered on music - singing, playing and collecting weird and noisy musical instruments at every turn. In 1988, before starting computer science studies at Pisa University (to please his grandfather) he was already playing and singing in college bands and had an indie rock radio show on a local radio station in Palermo.
Recording bands, organizing parties, and DJ'ing at the tennis club where he used to play as a semi-pro player (the Tennis moniker comes from his passion for that sport) all became his way to support the costs of his studies. But when he graduated he never imagined he would turn that hobby into his career. Still he became a DJ, while focusing first on promoting new underground music in his country. Manfredi is responsible for founding and developing some of the most important Italian underground musical events such as the Elita Festival in Milan, the Dissonanze Festival in Rome, and creating new marketing concepts around Italian clubbing.
During the last 2 decades Manfredi started producing music for theatre, movie soundtracks, and TV commercials. His production skills are eternally inspired from the psychedelic, dark, and melancholic sounds of the 60s, straight through to early 2000s IDM. A few of Manfredis influences include: Beach Boys, The Who, Talk Talk, Ultravox, XTC, Fugazi, June of 44, Suicide, Radiohead, Godspeed You Black Emperor!, Aphex Twin, Boards of Canada, and Plastikman.
In 2010, tired of the output of the current musical scene he collected all of his musical works and, with Thugfuckers Greg Oreck, started a new techno and pop label called Life and Death. The name of the label has a specific meaning, inspired by the Socratic maieutic process to give subtle and dead elements a new life as well as referring to the benefit and hypnotic power of music used in the mesmeric processes for brain therapy.
Tennis is based in Berlin where he also shares label experience and a studio with the innovative deep electronic duo Tale of Us. He has worked hard to create a crew of young and inspired musicians like Clockwork and Esperanza, among others.
Thee Oh Sees
Thee Oh Sees are the latest incarnation of songwriter, singer, and guitarist John Dwyer's ever-evolving pop-folk psychedelic group. Dwyer, who hails from Providence, RI, has been active on the San Francisco indie scene since the late '90s, working with several bands, including the Coachwhips, Pink & Brown, Yikes, Up Its Alive, and Swords & Sandals, among others, and he formed OCS (which is an acronym for Orinoka Crash Suite, Orange County Sound, or whatever Dwyer decided it was on any given day) initially as a vehicle for the experimental instrumentals he was producing in his home studio.
Hailing as one of the co-founders of UK-based dance music label Hessle Audio, Ben UFO has been responsible for some of the most ground-breaking releases of recent years. Ben UFO's musical taste was shaped primarily by having been immersed in the dubstep scenes of London and Leeds in 2005. Known as
one of the first DJs to play material by Joy Orbison and Blawan, in addition to heading up a biweekly slot on London's ex-pirate radio station RinseFM, Ben UFO has accumulated a stellar reputation throughout the bass music scene; going on to create mixes for Red Bull Music Academy, Resident Advisor, XLR8R and Fact Magazine. Listen to Ben UFO's RMBA Acetate Session at http://www.rbmaradio.com/shows/ben-ufo-acetate-session.
Junior Boys have announced their return with Big Black Coat, their first album in almost five years and also the first for City Slang, who will release it on 5 February 2016. They've also shared lead single 'Big Black Coat', a decidedly wintry track that sees them embracing their love of techno while simultaneously refining their soul pop sensibilities.
A strikingly energised and intuitively dynamic set of songs, Big Black Coat is shaped by what Jeremy Greenspan and Matt Didemus have been doing in the five years since their last release. The Hamilton, Ontario duo have racked up four albums since they formed in 1999, including their 2004 debut Last Exit and 2006'sSo This Is Goodbye, two rapturous – and rapturously received – records that were as poignant as they were impeccably produced, and prefigured the digital R&B so beloved of many an artist in the last few years. Two albums followed, the last being It's All True in 2011.
The years since then have been filled with nourishing independent pursuits. Greenspan released two solo singles and a collaborative EP on Jiaolong, the label run by his old friend and fellow Hamiltonian Dan Snaith (aka Caribou,Daphni – Greenspan also mixed several songs from Swim). Greenspan also co-wrote and co-produced Pull My Hair Back, the acclaimed 2013 album from Hamilton singer, songwriter and producer Jessy Lanza (more recently the pair remixed le1f). Meanwhile, Didemus – who's now based in Berlin – started releasing solo tracks under the name Diva and launched his own label, Obsession. This shift in both Boys' focus was crucial to the making of Big Black Coat.
"One of the nice things about doing the solo stuff," Greenspan explains, "and in particular the album with Jessy, because it did so well, was that I could stop thinking about Junior Boys as being the thing I do and start thinking about it as athing I do. That meant I could work on Junior Boys music with the same spirit as I did when it was new. It was hugely liberating and invigorated me, because I was doing things I felt really good and confident about. I was really happy with the last two Junior Boys albums, but if I look back on it, they were challenging records to make, in a way that this one absolutely wasn't."
This renewed vigour surges through Big Black Coat. It's what carries its overall sharp mix of sounds. It's what encouraged the pair to strip their original "complicated" version of 'Love Is A Fire' down to its compellingly looped bare bones and made Greenspan experiment with vocal treatments, as he does on the idiosyncratically Auto-Tuned 'Over It'. But it's the title track that sets the album's scene. 'Big Black Coat' gradually warms and spreads light as it builds over seven minutes, nodding to Yellow Magic Orchestra ("their records are so strange," reckons Greenspan) and Plastikman as it goes. It also features a conceptually crucial percussion sound, made with a modular synth. "To my ears, it's the sound of fabric swishing," Greenspan says. "That day, I bought a coat – in fact, a big grey coat, but singing 'big black coat' worked better. And it really encapsulated everything I was thinking about when I made the album, so I wanted that as the title."
The previously released 'What You Won't Do For Love' sees Junior Boys revising Bobby Caldwell's over-easy soul track from 1978, adding a subtle undercurrent of UK bass to what is only their second ever cover. Elsewhere, there's an acknowledgement of ESP's 1986 proto-house tune 'It's You', which uses an ultra-rare Synton Fénix synth ('M + P') and a ballad that reignites Greenspan's love affair with the hushed, soulful pop of Prefab Sprout, 10cc andScritti Politti, via contemporary R&B ('Baby Don't Hurt Me'). Detroit is a strong undercurrent flowing through the record too, with nods to heavyweights Robert Hood, Dan Bell and Richie Hawtin throughout.
Fusing disco and soul with the industrial pop and techno of Greenspan's formative teens is what makes Big Black Coat so distinctive and compelling. It's the sound of Junior Boys both cutting loose and reconnecting. As Greenspan sees it: "The fact that we haven't put out an album in a long time has been liberating, in that we haven't been so phenomenally successful that everyone knows who we are. With this album, a lot of people will be hearing us for the first time. There's a freedom that comes from that."
Andy Stott made his debut for the Modern Love label in 2005 with the 'Replace EP' - a 4 track exposition of his uniquely slanted production style taking in Chi-Town and Motor City influences with an obtuse genetic code at its core. In the years since he has released over a dozen EPs and three albums, remaining loyal to his Manchester roots and sticking with Modern Love for all recordings. Refusing to settle, his output has veered from deepest Techno to broken Garage, slowed down House, hyperactive Footwork, analog Grime and wavey/pop mutations- always referencing his unique stylistic signatures: deep, complex and oddly beautiful.
2011 saw the release of two EPs 'Passed Me By' and 'We Stay Together' - companion pieces which saw a shift of sound into ever more frayed territory, slowing the tempos down for a set of tracks that grabbed the attention of many and ended up on countless year-end charts. The following year produced what is by now regarded as a landmark album 'Luxury Problems', - a record that introduced new elements; most notably the vocals of Alison Skidmore, Andy's piano teacher from back in his school days. A combination of accessible yet inherently deviant tropes and a production style which has become more individual and identifiable with the passing of time has attracted a huge amount of interest, with countless features in publications as diverse as Pitchfork, Vogue and the New York Times, as well as appearances at numerous festivals and shows including SXSW, Unsound, Mutek and PItchfork MOMA events continuing to expose his work to an ever-growing and often bewitched audience.
Heavily praised for his versatility, DJ and producer Danny Daze continues to smash expectations with an omnivorous groove rooted in Detroit Techno, Italo Disco, and Miami Bass. Daze's freeform selecting and mercurial mixing guarantees the only thing audiences can expect is a musical experience where everything is up for grabs. Combined with his entrepreneurial acumen, Daze's touch has made him one of his generation's most compelling artists.
Steeped in Miami's B-boy culture, Daniel Gomez adopted his Daze moniker early on at his mother's suggestion. Practicing on a set-up she bought him, Danny Daze was spinning at weddings by age 14, funneling his earnings into vinyl to play raves on the side. Danny's esoteric sets quickly attracted adventurous and loyal crowds. Pushing himself to the next level, Danny produced his first tracks on a cracked version of Fruity Loops in 2004 and jumpstarted a techno white label a year later. In 2011, the School of Audio Engineering valedictorian broke through with "Your Everything" featuring kindred rebel, DJ and producer Louisahhh on vocals.
Pitched down, woozy, and dark, "Your Everything" went on heavy rotation all summer, landed on many discerning year-end lists, and led to output on vanguard labels Kompakt, Ellum, Ultramajic, Phantasy, Turbo and Murk. Described by Michael Mayer as having a "rough and muscular" sound, Daze went on to remix and collaborate with the likes of Maceo Plex, Daniel Avery, Tiga, Jori Hulkkonen, Gui Boratto and Jimmy Edgar, among others. In 2014, while presently living in Berlin, he released several singles and remixes, including Murk's "Dark Beat (Addicted to Drums)", Gui Boratto's "Take Control" and three solo EPs – Silicon (Ultramajic); Freeze (Kompakt); Flange (Ellum). Daze also launched an extensive worldwide tour and announced plans for a new music label. "I've ran a label before and feel its time to begin curating another. I'm not after a selfish agenda built around me. The label must be about the artist being released first." Danny says.
Daze is quick to point out the various colors in his sound pallet. "My music production is synonymous with my DJ sets, which range from Electro to Italo Disco, to playing some sort of downtempo instrumental right in the middle of the set. The wider the spectrum, the better," says Daze, himself inspired by artists as diverse as folk crooner Jose Gonzales, industrial rocker Trent Reznor, hip-hop pioneers Outkast, synthpop darlings Little Dragon, dub-punk icon Andrew Weatherall, and Icelandic electronic musician Ruxpin.
Whether spinning solo or in back-to-back sets, as he often does, Daze's own risk-taking maps a unique journey through music's full spectrum, reaching far beyond techno and house. This dedication to innovation resonates with DJ culture's experimental roots and, more importantly, it is the essence of what it means to be a musician for Daze. "As an artist, I've always believed in doing what you do and not conforming nor being influenced by what others think about you. I'd like to be doing projects that are completely outside the box, whether it's creating a single recognizable noise for the new MacBook, or a more ear-friendly vocal album with popular artists I truly respect," says Danny, who counts iconoclasts like controversial director Gaspar Noe and modernist painter Mondrian amongst his influences.
Danny Daze's trifecta of taste, skills, and vision set him apart from most DJs who stick to one style or focus on one angle of the business. Daze's radical approach to preserving music's integrity while breaking its boundaries may seem volatile, but it's not random. "Everything I'm doing comes from within. There isn't much difference between Daniel Gomez and Danny Daze."
Pantha du Prince
Hendrik Weber once lived in the same woods that the Brothers Grimm fairy tales were based in, which perhaps explains the frequently strange and magical atmospheres to be found in much of his music. Under the pseudonym Pantha Du Prince, he fuses house, techno, shoegazy electronica and psychedelic electro-acoustic soundscapes into music that is at once both beautiful and bewitching.
Hendrik has released several recordings to date, through the respected German label Dial Records, which is run by and for it's artists. His previous album 'This Bliss', a bitter sweet take on techno, appealed to both dancefloors and living rooms alike and was hugely successful and as a result he has recently been remixing tracks for amongst others; Depeche Mode, Animal Collective, Bloc Party, Phantom/Ghost, The Long Blondes and several underground house acts.
SOPHIE presents a precise sonic assault of pop hooks, hyperreal sound design and club rhythms, synthesized and sculpted live from raw waveforms on hardware equipment. Super sweet sugar candy hooks over visionary bass driven productions for the easyjet generation. Shake it up and make it fuzz.
185k+ Soundcloud plays #1 charted on Billboard's 'Emerging Artists' chart (29 July) #1 most blogged Artist on Hype Machine (1st Aug)
FEATURED i-D, DAZED, SUP MAG, BBC RADIO 1, XLR8R
"'Lemonade' is a bouquet of ephemera, and we shouldn't be surprised that SOPHIE hid a firecracker in the bundle." Pitchfork
"Like SOPHIE's best stuff to date, it sounds like literally nothing else in the world." Pretty Much Amazing
"It is, once again, one of the best things I've heard all year." Stereogum
"SOPHIE is currently responsible for some of the most unclassifiable future-pop music out there right now" CMJ
"From the start, 'Lemonade' shows that it's far from prototypical with its bizarre sample choices, including the sounds of underwater bubbles and a tea kettle whistling. Later, song veers off the rails when it abruptly changes tone from hypnotic and beat-heavy to saccharine, overblown pop. Overall, it's a crazy but thrilling listen." Consequence of Sound
"A sharp, sugary tang. The rush of bubbles up the nose. That fizzy feeling . . . At under two minutes, it's all over in a flash but the aftertaste lingers like Haribo Tangfastics: a sweet 'n' sour sugar crash that fogs up the brain, then has you dipping back in to kick your system back into gear." The FADER
"SOPHIE always manages to make my favorite single of the summer." Impose Magazine
"SOPHIE BIPP tune of the summer" DIPLO
"on closer inspection, "Bipp" is a classic case of an artist scrambling conventions and creating a next-level, irresitably fun club track in the process." PITCHFORK BEST NEW TRACK
"Bipp has experienced underground music's equivalent of going straight in at number one. Pitchfork made it a best new track, almost all the top magazines and blogs got in there, BBC Radio 1 played it on prime time, and Diplo said it was his "tune of the summer". But not only does Bipp have that almost unattainably rare combination of high inventiveness and popular success, it's one of the best signs yet of a new surge of life in the UK's dance music underground." DUMMY MAG
A member of the group Cutthroat Boyz, rapper Vince Staples surfaced in the early 2010s with a spate of promising appearances on Odd Future-related recordings -- including Earl Sweatshirt's "epaR," Mike G's "Moracular World" and Award Tour EP, the Jet Age of Tomorrow's "Lunchbox," and Domo Genesis' "Elimination Chamber" -- as well as the 2011 mixtape Shyne Goldchain. In 2012, the rapper released Winter in Prague, a mixtape issued as a free download with the production work handled entirely by Michael Uzowuru. A darker, more introspective mixtape, Stolen Youth, arrived in 2013 with a co-billing to Larry Fisherman (a Mac Miller alias) and verses from Ab-Soul, Schoolboy Q, Mac Miller (as Mac Miller), and Cutthroat Boyz partner Joey Fatts. Staples then performed as the opening act on Miller's Space Migration tour. Among Staples' assists in 2013 were verses on Earl Sweatshirt's Doris and Jhené Aiko's "The Vapors." The rapper continued his steady ascent in 2014 with a fourth mixtape, Shyne Goldchain, Vol. 2, and contributions to Common's Nobody's Smiling -- specifically on the key single "Kingdom," as well as on the deluxe edition bonus track "Out on Bond." His debut album, Summertime '06, landed in 2015 with production from Clams Casino and No ID. ~ Andy Kellman
North Carolina-born artist Travis Stewart AKA 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 through his solo work and with collaborative projects Sepalcure, JETS and Dream Continuum, Travis delivers his signature on every thing he touches; from his 2013 'Vapor City' LP for Ninja Tune, to his production work for the likes of Azealia Banks, Jamie Liddell and Jesse Boykins II, which has made him widely recognised as a producer's producer, a pioneer of many styles, and a master of his craft.
Inspired by a background in classical percussion and an obsession with synthesizers, Jeremy Malvin creates music under the name Chrome Sparks. Jeremy grew up in Pittsburgh, then went to music school at University of Michigan in Ann Arbor. Two years later, he left school and went on extensive tours as the drummer for Stepdad, Miniature Tigers, and Rich Aucoin. Jeremy currently resides in Brooklyn, where he spends his time working on music in his bedroom, often leaving it to play DJ sets. Although Jeremy works on the recordings alone and has not done many live performances, the Chrome Sparks live realization has had many different incarnations, ranging from a one man show to an eight piece band. Currently, Jeremy does live performances with two dear friends.
Satori is inspired to capture electronic world music, where he combines endless blends of seductive trance and mind-altering earthy tones. It is not deﬁned by any-one genre. Satori is here to satisfy any meditative music-lover by provoking a spiritual journey through his infinite sound-garden. Listen as you take on new dimensions of his musical world, where movement, dreaming and creativity are endless. Let the sound live in your heart, harvesting every last memory of dance and rhythm. Satori’s sound is more than just a switch on a soundboard; he is the man behind the instrument, creating melodies from the piano, kora, kalimba,and guitar in combination with a deeper form of electronic music.
Bedouin is a Brooklyn-based production & DJ partnership between nomads Rami
Abousabe and Tamer Malki who are creating their own idiosyncratic spell of melodies and rhythms.
Together they share an eclectic sonic vision that pulls from diverse influences owing to their Middle Eastern heritage, Western upbringing, and world travels. Their combined musical backgrounds and ever-evolving taste captures the sensibility of imagination and constantly explores the connection between ourselves and the future.
Musician/Producer/DJ from Kingston, Jamaica.
San Francisco native and Miami transplant Behrouz has brought his world famous Pure Behrouz party to audiences on all continents since the early parts of the '00s. Its concept started with the host performing solo all night, taking audiences on a multi hour musical journey. With this format Behrouz was able to span the entire spectrum of dance music, from deep house to techno; making audiences forget they are witnessing the performance of a single DJ.
Only a select few have achieved what Behrouz has managed in his two decades in the scene. Through hard work and determination, as well as a natural ability to rock rooms of all sizes he has amassed a career of achievement with no sign of slowing. 2010 see's one of Behrouz' busiest years to date. In addition to his endless gigs around the world he has also released Pure Behrouz as a 2 hour Sirius XM radio show (airing every Saturday night from 12 am to 2 am EST on Area 38 on Sirius and XM 80). Also, keep a look out for an abundance of new studio work and his newest compilation Pure Behrouz: San Francisco on Nervous Records out soon.
Arthur Baker, songwriter, producer, DJ, and known to some as one of the founding fathers of both hip-hop and
dance/electronica, introduced the art of remixing into the pop mainstream. Baker produced Afrika Bambaataa’s “Planet
Rock“, a watershed in hip-hop’s early evolution, “Walking On Sunshine” from Rockers Revenge, and “Breakers Revenge” in
the classic hip-hop movie “Beat Street”. He also remixed wildly popular tracks for many well-known artists like Cyndi Lauper
and Bruce Springsteen early on in his career. Following these successes, he paired up with New Order and produced the
classic club hits “Confusion” and “Thieves Like Us”. He also worked with Hall & Oates on their album Big Barn Boom, helped Bob Dylan complete his Empire Buriesquealbum, and wrote/produced international hits “The Message Is Love” from soul star Al Green and “With Every Beat of My Heart” by Taylor Dayne.
Museum of Love
Longtime friends Pat Mahoney ( LCD Soundsystem ) and Dennis McNany (Jee Day/Juan MacLean) started Museum of Love over a love of music and museums. Their debut album was released on DFA RECORDS last year, and the duo have been touring ever since. They'll be DJing at Good Room with their friends in true DFA party style.
Mahoney is a key figure in the DFA stable, and a founding member of LCD Soundsystem as well as one half of duo Special Disco Version with that band's James Murphy—not to mention an accomplished DJ in his own right. McNany, on the other hand, is the head of Run Roc Records and produces under the Jee Day alias, releasing on imprints like DFA and Beats In Space.
Viken Arman is a french producer, born and raised in Paris. He considers music as the mirror of his feelings. Versatile and
elusive, he doesn’t restrict himself to a unique musical universe. His inﬂuences as varied as surprising, such as Erik Satie,
Trent Reznor, Thomas Newman, Avishai Cohen, Jay Dilla, Herbie Hancock, Ricardo Villalobos, Trgran Hamasyan,
Trentemoller, but also a lot of oriental musicians, represent an inexhaustible source of inspiration for this artist who started
electronic music at the age of 13.After several years building his own experience in different Parisian night clubs, he
co-founded in 2009 the french collective Minimal Trip. He actively participates in promoting young and talented international artists by inviting them to Paris for their very ﬁrst performance. Raising more and more attention, this collective gives Wken Arman the opportunity to demonstrate his vast talent during each one of his live performance. He has shared the stage with great artists such as Marc Romboy (Systematic), Joris Voom (Cocoon), Stimming (Diynamic), NOze (Circus Company). Frivolous (Cadenza), Acid Pauli (Clown & Sunset/ Bar25), Tube & Berger (Kittball Records), Rampa & Re.You (Keinemusic), Niconé (Stil Vor Talent), Avatism (Vakant), Saschienne
(Kompakt), Steve Rachmad (100% pure), Terranova (Kompakt), Nico Stojan (Katennukke/Baﬂ5), Valentin Stip (Clown &
Sunset), to name few… Thanks to his work and his creativity which are more and more recognized, Vrken Arman is now working on his debut album and collaborates with great artists. With his very unique own style he always remains in a contrast and surprising perspective.
Born and raised in North London, the young wordsmith known as Little Simz brings a new level of intelligence, creativity and musicality to the global Hip Hop arena.
At just 20 years of age, nothing could have prepared Little Simz for her meteoric rise over the past year. Charismatic, fierce and lyrically mature, the rapper and musician caught the attention of JAY Z's Life + Times platform in 2013, seeing them premiere her FOURTH mixtape BLANK CANVAS and Simz catapulting into a whole new stratosphere. That recognition subsequently won her an invite to support Schoolboy Q on his Oxymoron tour and saw her tipped to become raps next great hope by Complex, High Snobiety, XXL, Variety, The Independent and The Guardian to name a few.
But even with a growing line of high-profile stars queuing up to collaborate and offers from many a major label, Little Simz decided to head back to her bedroom studio to follow the mixtape with her debut EP E.D.G.E and release it on her own label AGE 101 in the summer of 2014.
The critically acclaimed offering (an acronym for Every Day Gets Easier) which married entirely original soundscapes with Simz' stellar wordplay, flow and content, shunned easily accessible big name features and only featured her Space Age collective, a young clan of North London creatives who Simz grew up with.
After a whirlwind year, which also saw her release three instalments in her AGE 101: DROP Series of mini-EPs, Simz can now count Andre 3000, Snoop Dogg, J.Cole, Kendrick Lamar, Kano amongst many more as fans while her tracks continue to be spun by the likes of Zane Lowe, Gilles Peterson, Huw Stephens, Annie Mac, Mistajam and many more.
Recently winning the 'Breakthrough Act Of The Year' award at the highly respected 10th Annual Gilles Peterson Worldwide Awards and being nominated in two categories at the MOBO Awards (Best Hip Hop Act and Best Newcomer), where she also performed alongside veteran soul singer Candi Staton, all eyes are set on the young leader's next steps.
Recording artist on Brainfeeder and Pictures Music record labels.
Leon Vynehall has already proved himself to be that rare thing – an artist with his own agenda rather than a producer aping the sound of the day. To date his off kilter sounds have come in the form of EPs of labels like Brighton's Well Rounded Housing Project, George FitzGerald's ManMakeMusic imprint and Will Saul's Aus Music and have been carefully crafted things layered with musicality whilst never straying too far from a infectious groove.
As a listener of anything from post punk to classical, funk to disco, soul to techno, all these interests and more impact on the music Vynehall makes. His tempos, timbres and sonic palettes always vary with the end results being raw, expressive sounds with their own unique charm. And then there is his latest more dancefloor-focused project with A1 Bassline aka Laszlo Dancehall. Despite being in its infancy the duo have had a ubiquitous release on ManMakeMusic with much more to follow for those people waiting impatiently.
As a DJ, too, he has impressed, not only with much-loved podcasts but also an impressive turn in the Boiler Room. So too does he DJ around Europe on a regular basis and is as comfortable playing with Todd Edwards as he is Simian Mobile Disco or DJ Nature. Something of a media recluse, all we really know about Leon Vynehall we know from his music. So far it's proved a fascinating story.
Caleb Cornett was born and raised in the small town of Morehead, Kentucky. Bluegrass and psychedelic rock were key components of his early years in the South long before Daft Punk and Giorgio Moroder took over. "My dad was really into bands like Pink Floyd, Yes, and Tangerine Dream," says Cornett. In high school, his musical projects were modeled from the aesthetics of "more dramatic music" like Sigur Rós and Explosions in the Sky.
Cornett's exposure to indie acts, and eventually to house music, came from spending Friday nights watching MTV's Subterranean. During the half-hour chunk of indie programming, he fell in love with songs like Dirty Vegas' "Days Go By" and Prodigy's "Breathe" and the "kick drum… high hat… snare" notably absent from classic rock and folk. With the then-nascent Napster, Cornett feverishly downloaded and digested records from the likes of Fatboy Slim and the Chemical Brothers…Caleb had found the sound.
A decade later, a 25 year old Cornett is known to the world as Amtrac. With a few year's worth of incredibly diverse remixes and originals under his belt, Amtrac has come into his sound at the convergence of deep house, garage, and disco. The vibe is part poolside, part lounge, part mainstage, depending on where the needle runs. If you've ever warmed up to house from a cautious distance – Amtrac is an opening to rediscover the genre.
Poorgrrl is the creation of Miami performance artist Tara Long who took a character birthed on Instagram and turned her into a recording artist / local sensation garnering intrigue and attention from local and national media alike. Her debut performance at III Points Festival in Wynwood last October consisted of a troupe of B girls dancing around her, her squad blazing on a couch and Andrew Byrd her musical collaborator on the decks providing her tunes to rap and sing to. Noted to be one of the most memorable performances Poorgrrrl was even asked to grace the cover of the Miami New Times’ ( The Village Voice of Miami ) Art Basel Edition seen by tens of thousands of visitors from all over the planet. She went on to performing at the opening of the ICA during Basel as well as the Littlest Sister show at Spinello Projects. Poorgrrrl is hungry so I took her somewhere we could get her fed. It turns out she has an appetite for something so much more that cannot be bought in stores.
Lazaro Casanova is a full time groove-making producer, DJ, & petFood label owner. A brooklyn art school drop-out who was always deeply immersed in music one way or the other. Sailing from Miami, FL he has anchored himself to innovate and push forward thinking music while heavily borrowing that rare good feeling from the classic house days. Proven time traveler, skilled astronaut, and professional Cuban, expect to hear an eclectic array of sounds spanning from anywhere and everywhere.
Steven A. Clark
Outlaws and outsiders, road-trippers and lonely rollers; whether it's someone searching or someone who doesn't want to be found, we can't help but be drawn to the drifters. Singer Steven A. Clark is that next stranger to roll in from out of town, a restless artist recasting R&B. He's a straight-talker in a genre filled with wish-fulfillment, whimsy and cliched beats; think the Outlaw Josey Wales raised on N.E.R.D. and 808 & Heartbreak.
On his cinematic new album Lonely Roller, Clark's descriptions of emotions and bad breaks aren't just a set-up. It's personal identification set to song, new additions to a canon looking for fresh blood. At a time when artists are pushing back boundaries and making clean-cut definitions of R&B obsolete, Clark continues charting his own creative and confessional path.
"Rhythm and blues ain't all candy and hearts," he says. "There is real emotion, and lots of times, artists don't always go there. Tapping into the darker side helps make a song more real, and keeps things fresh."
Miami-by-way of Fayetteville and Little Rock, Clark's raw, confessional singing and personal stories pair with pulsing synthesizers and rhythms that hang in the air like a glowing grid of roadside neon. It's a means for the soft-spoken artist to process all the drama in his head. On songs such as "Not You," he flips a brutally honest breakup tale and draws emotions and empathy from being on the "right" side of the conversation. The title track uses a slinky, sensual beat to create a perfect backdrop to tell the story of a weekend-long tryst in Vegas. For a man of few words, his unadorned and uncomplicated lyrics hit home.
"I don't want to just be some guy trying to bring something back, but I always think there is room for a flawed character," he says. "The characters in the songs and me, they're often the same guy."
In the words of Mike Tyson "If they pay me enough, I'll get in the ring with Jesse Perez". Legend tells it that Jesse was born in a rundown motel in Little Havana (A small latin neighborhood in Miami) minutes after being conceived. Son to a Local Pimp, (who is oddly 10 years older than Jesse) Jesse was exposed to the art of Slangin' D as a young boy. His mother who at that time was a stage dancer for a popular local rap group called the "2 Live Crew", would work many shows for these artist and would sneak Jesse in as often as she could. Jesse's first exposure to Bass Music and Ass Clapping made a huge impression on him.
15 years later, Jesse applied his childhood experiences towards the development of a new visionary company known as "Mr. Nice Guy Records" . Considered as one of Miami's most promising, and forward thinking companies since Bang Bros. Jesse has managed to not only run this company but also star in several successful "Mr. Nice Guy" films including "How To Name A Porno", "Slangin That D", "Tales From An 8th Street Motel" and "This Hoe Gonna Get Some Dick". Homeboy don't mess around, he means business.
Straight from the depths of Blackland Carol City (Zone 3 to be exact), South Florida's own Denzel "Aquarius'Killa" Curry sometimes known as "Raven Miyagi" emerged on the underground hip hop scene with a vintage sound unheard of since the 90′s. After picking up the pen at age 12, He started taking his career seriously at age 16 releasing his first mix tape & Building his following online via his social networks. After headlining Miami's First Boiler Room, Performing at Coachella, & being featured on MTV's Rap Fix with Sway, Denzel recently released his debut album Nostalgic 64 independently on iTunes showcasing his versatility and growth from his previous projects.
Jacques Greene is a producer that has synthesized his own romantic divergent, version of house. Raised in the icy beauty of Montreal, his recording career spans 4 years where this 24 year old has carved out his own audio and visual space, attracting millions of Soundcloud plays, headline shows that enrapture thousands, Radiohead remixes, The XX tours and productions for voices like Tinashe and How To Dress Well.
If the first thing you know about Craze is that he's the only solo DJ to win the DMC World Championships 3 times over, prepare to get yourself schooled. From day one, every uphill battle he faced was met with intense adversity; every kick while he was down only served to help him rise up even stronger. You want proof? Fine. His family fled Nicaragua for the US when he was 3 in the midst of a civil war, suffered through Hurricane Andrew in '92, the US's costliest hurricane at the time, and was a total nerd through his teenage years. But while others would chalk this up to a lifetime of hurt, Craze let it fuel his passion. Instead of giving up, he slayed the DMC's when he was just 20. Two more DMC wins later, Time Magazine named him "America's Best DJ". Yeah, Time Magazine. He went on to rack up more than 8.5 million views on his Traktor YouTube videos alone, and THE Kanye West took him on tour as his own personal DJ. As if that wasn't enough, he started Slow Roast Records with Kill The Noise, an imprint of the infamous Fool's Gold Records (A-Trak, Kid Cudi, Danny Brown), and then headed out for a full US tour with Yelawolf in the last half of 2011. With two releases in 2012 – the Selekta EP, and Deeper with Codes, he's hasn't taken any time to slow down, instead focusing on a battle record with arguable the greatest scratch DJ of all time…Q-Bert. From Jamaica to Australia, Japan to Nicaragua, Craze has toured the world over, stunning audiences and DJs alike with his top-notch showmanship, and masterfully unique blend of rap, dubstep, and Miami bass. So when someone asks you, 'Whatchu know about DJ Craze?", feel free to let them know a thing or two.
Jessy Lanza's second album 'Oh No' is addressed to her own constant nervousness. The pressure of music making, which used to calm her nerves, has led to a whole new world of contingencies that stoke the anxiety mill. The exclamation 'Oh No', for Jessy, marks yet another incident of randomness interrupting her tranquillity. All of which seems at odds with the confidence and spontaneity of this second album as well as recent collaborationswith the likes of Caribou, DJ Spinn and Morgan Geist and his Galleria project.
An open-minded and loyal supporter of all music philosophies, esta maintains zero barriers in his meticulous method of danceable, yet sexy music production and arrangement. Based in Southern California and part of the Los Angeles-based Soulection imprint, esta is a rising star within the future music ecosystem, with a loyal, globally recognized support base.
In 2006, esta was introduced to the Fruity Loops music production software program by a close friend and says "my first beat took eight hours with no break in between and I've been hooked ever since". Seven years and many Fruity Loops beats later, esta joined the Soulection family, moved to Los Angeles from his hometown of San Diego and subsequently began performing as a DJ/Producer around the world. In less than two years, esta reached the east coast of the U.S., Canada, Asia, Europe and remains a staple in the Southern California music scene.
2013 marked esta's first appearances at both Coachella and the historic LOW END THEORY. Having played alongside acts like Gaslamp Killer, Sango, SOSUPERSAM, Mr. Carmack and Penthouse Penthouse, while pulling Inspiration from artists like Hudson Mohawke, Dilla, Cory Henry, 9th Wonder, Taylor McFerrin, M-Phases, D'Angelo, and Just Blaze, esta seamlessly fuses multi-dimensional genres into an atmospheric swing.
In 2015, esta released his etc. remix EP and continued his grueling touring schedule, with notable appearances at Circo, Applesap, Decibel and HARD Fest.
2016 marks the year of esta's first official album release.
Dawn of Midi
Dawn of Midi is a Brooklyn-based acoustic ensemble made up of Aakaash Israni from India on double bass, Amino Belyamani from Morocco on piano and Qasim Naqvi from Pakistan on drums. Formed in 2007, the band name was happened upon after Naqvi casually uttered the phrase by chance as a non sequitur for the improvised music the trio was making at the time, they had no idea that years later they would make an album like Dysnomia that would make their name appear fateful.
Having met at California Institute of the Arts in Los Angeles in 2006, the trio found their original rapport through late night tennis matches on the campus court. The chemistry they founded there eventually led them back indoors to improvise together; something they did in total darkness to deprive themselves of all their senses except the crucial one – their hearing.
With Dysnomia, Dawn of Midi abandon improvisation in favour of composition, utilising sophisticated rhythmic structures from North and West African folk traditions to weave a sonic tapestry of trance-inducing grooves. From close up one may see only dots, but when stepping back an undulating image reveals itself.
"We wanted to make a record that sounded both musically futuristic and sonically vintage," explains Israni, "and since the album never saw a proper international release, it is very exciting to see what might happen when more people are exposed to it. And to be aligned with Erased Tapes, whose enthusiasm for the music they release has done a lot for exposing unique instrumental and electronic music, makes it that much more interesting."
Having supported Nils Frahm on his sold-out North American tour in 2014, Dawn of Midi will be joining their fellow label artist throughout Europe in spring 2015. Dysnomia will be released worldwide on June 1, 2015 through Erased Tapes – available on 2x LP, CD and Download.
Joe Kay is the co-founder of Soulection, as well as host of Soulection Radio and an active DJ in the LA music community. As Head of A&R for Soulection, Joe oversees 20+ artists while always digging for the timeless "Sound Of Tomorrow." A lover of music and a visionary in his own right, Joe sees no obstacles in his path, creatively problem-solving as he approaches every situation with compassion and an open mind. Joe's commitment to increasing visibility for good music and educating the public is achieved through the weekly 3-hour broadcast of Soulection Radio (Rinse FM ~ 106.8 FM London) which was awarded "Best Of" by Mixcloud in 2011 and 2012.
A South Florida native, born to Ecuadorian immigrants and based in Brooklyn, Roberto Carlos Lange's upbringing provides essential elements to his songwriting, including his consistently bilingual – English and Spanish – lyrics. While citing the influence of electro and Miami-bass he heard on the radio in his youth, his diverse work as Helado Negro points to shades of kraut rock bathed in his mesmerizing rhythms, loops and hair-raising melodies. Known for his craftsmanship, Lange has cultured his identity, ideology and musical dexterity with constant artistic and introspective development, pouring his heart and full sincerity into his music. His fourth LP Double Youth released in 2014 garnered acclaim with Pitchfork naming it "the boldest and most intricate Helado Negro work to date." With a degree in Computer Art and Animation, Lange, a multifaceted creator, has worked with mediums such as video, sculpture, sound and performance. While Helado Negro is in a sense a one man band for the digital age, a constant collaborator, Lange has worked on projects with numerous artists including Sufjan Stevens, Julianna Barwick (as Ombre), Devendra Barnhart Mikael Jorgensen (of Wilco), Guillermo Scott Herren (of Prefuse 73) and Mouse on Mars
Helado Negro tours extensively and has performed in diverse venues from clubs to cultural organizations including the Wexner Center, Columbus; Indianapolis Museum of Art; Mana Contemporary, Chicago; Museum of Natural History, L.A.; Mass MoCA, North Adams, Marguilies Warehouse, Miami, Festival Centro, Bogota and Vive Latino, Mexico City. In 2015 he was the recipient of a Joyce Award and premiered an orchestral commission as part of the Liquid Music series during the inaugural festivities of the Ordway Center for Performing Arts in Saint Paul.
"Among the musicians currently redefining Latino culture worldwide, Helado Negro creates a sonic landscape that reflects 21st-century Latin America." – NPR
Born and bred in the Bay Area, DJ/Producer Julio Galvez aka "The Whooligan" is a rising tastemaker known for his love and dedication to music. Genres are not barriers for him, any language, culture or philosophy that resonates with the young visionary is fair game for inclusion. This type of diversity and variety has made The Whooligan a trusted source of insight and ground breaking music for parties, brands, labels and communities. The love for music began in his teens, but when he got a chance to work at the famed Amoeba Records, The Whooligan began constantly meeting new people and hearing new sounds. This naturally expanded and deepened his skills as a DJ and soon big homies like J-Boogie of J-Boogie's Dubtronic Science were encouraging him to keep rocking. Throwing his first party before he was legal, The Whooligan started rapidly gaining the respect of his local peers and was eventually getting booked to play alongside people he admired. Soon, news of this precocious talent spread far out and by his early 20's The Whooligan was being tapped by MTV to go on the road for extensive periods of time, opening up for then-new artists like Rick Ross and Lupe Fiasco. That experience forced him to become an adaptable selector, able to gauge an audience quickly and spin virtually all styles of music. Today, The Whooligan is a vital part of the Bay Area's music culture. His undeniable passion for his craft and his relentless work ethic have gained him fans worldwide. The Whooligan's workstation looks different everyday. One day he may be locked in his studio meticulously crafting musical Monet's and genre-defying mixes and the next, spinning classic cuts alongside some of the world's hottest DJ's. He's appeared on Mark Farina's Mushroom Jazz 7 and recorded with artists including Zion-I, The Park, Black Spade, Colossus, Jesse Boykins III and more. In 2009 his creativity and audacity as a DJ landed him one of the top 10 DJ sets at the Winter Music Conference in Miami along with heavy hitters like Rich Medina and Lil' Jon. He's performed at Outside Lands, SXSW, The Fillmore Jazz Festival and supported acts like Jazzanova, Daz-I-Kue, Jazzy Jeff, J. Rocc, Vikter Duplaix and tons more. Established brands like Microsoft, Sony, Island Def Jam and Myspace have sought out his services. The Whooligan is also a founding member of the critically acclaimed electronic soul group 40Love, who just released their"Dreams Don't Sleep"(2012) project and have already garnered attention from NBC, URB, Okayplayer and more. Whether blending two records in a new way or creating an original one of his own, the running thread in all his work is The Whooligan's passion for music and the people he spins it for. Truly a mix of the music, culture and people he's been exposed to, The Whooligan has his ear, and his heart, in the right place.
Brika can best be called a natural consequence of her unique surroundings. She was born and raised in Miami, a city known for its eclectic mix of musical influences, her music shows a categorical refusal to be boxed into any one genre or movement. Her body of work can be work characterized by simple, cryptic lyricism and minimalistic production, all of which are expounded on in fresh and innovative ways through the power of song. This is the result of her fruitful collaboration with producer/composer Julio Reyes Copello (Nelly Furtado, Ricky Martin, Jennifer Lopez, Marc Anthony), whose independent label/studio, Art House Records, provided a comfortable, productive environment to explore her intuitions and personality through music. Thematically, her mind seems attached to a few key fixations (loss, psychology, and the nature of truth), giving her work an intensely personal quality. As a result, her songs have become incredibly relatable with the general public without compromising or sacrificing their integrity.
Voice Memos, Brika's first album, is an auspicious debut indicative of this sonic journey, a manifestation of her astonishing development as a singer/songwriter. Brika's music has made waves across the Internet having: topped the top 5 of Hype Machine's Popular Chart over ten times leading to the site's exclusive premiere of the album at the end of 2014 and "Expectations" featured in their Zeitgeist 2014, accumulated millions of plays, been featured on Spotify playlists worldwide and by iTunes in their 'Must Listen To' List, and plus, Voice Memos debuted in the top 100 of CMJ's first Top 200 chart of 2015; all while receiving excellent critical notices and attention for its polished production, smooth vocals, and interesting mesh of electronic and organic elements.
And now, after creating buzz around the world with her distinct vision, and selected by tastemakers Indie Shuffle and HillyDilly as a Top 10 Artist To Watch in 2015, Brika is looking forward to share new songs and connect live with the followers across world.
In the beginning, there were sleepless school nights spent searching, discovering new music. These nights manifested in an opportunity to curate, to share her discoveries through a radio station, WVUM. Three years of hosting Dead Air allowed Uchi the time and space to explore her own aesthetic - dark voids, shimmering lights, and the sound of the space between them. As the illusion of boundaries faded, rules fell away and all that was left was this.
I play house music and other assorted goodies. I live in Philly, love craft beer, homebrewing and writing comedy with my partner Ian Vaflor as Junior Barnes.
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