Sat, Jun 24
Sun, Jun 25
Mamby On The Beach 2017 - 2-DAY
MGMT, Walk The Moon, Local Natives, Flying Lotus, MisterWives, Green Velvet, Miike Snow, Cut Copy, Marian Hill, Todd Terje, Raury, Thundercat, Sango, The Magician, Justin Martin, Sam Feldt, MK, Saba, Klingande, Phoebe Ryan, MUTEMATH, Ravyn Lenae, strfkr, Quinn XCII, Muna, Justin Jay, lee foss, Will Clarke, Latmun, BJ The Chicago Kid, SIR THE BAPTIST, Louis Futon, Gavin Turek
4100 S Lake Shore Dr
Chicago, IL, 60615
Doors 12:00 PM / Show 12:00 PM
This event is 17 and over
Watch & Listen
Mamby On The Beach
Mamby On The Beach, Chicago’s only beachside-summer-music-festival, yields a majestic experience unlike anything else in the city. The two-day event stands as an all-inclusive patchwork of diverse performances with artists representing every genre in the music spectrum all the way to its most central pillars.
The goal of Mamby extends beyond simply curating a unique lineup, as it strives to preserve and celebrate the rich history of Chicago while immersing concertgoers in the its unparalleled beauty and summertime sensations. For attendees who want to take a dip in the lake, a barefoot stroll through the sand, or a musical romp alongside the festival’s exhilarated fans, Mamby provides the perfect, sun-soaked getaway.
"MAMBY" IS OUR PATH:
To Mamby is to celebrate, share, and embrace our finest values.
We Accept the warmth of cultures both home to us and those not known before.
We Imagine the growing and changing world; allowing ourselves to be in awe of our possibilities.
We Strive to understand and appreciate our mutual journey through self- and collective-expression
We Enjoy each other and welcome our surroundings with bright eyes and open ears; reveling in the company of friends old and new.
THE BEACH IS OUR DESTINATION:
It is the conduit that fulfills our grandest fascinations and reinforces our better nature. A memento of our common history and the horizon of the burgeoning future. We invite you to experience the festivities on our shores and to bring the memories made here where ever you go.
Cosmic forces were at work when MGMT's co-founders, Andrew VanWyngarden and Ben Goldwasser met over ten years ago at Wesleyan University. Drawn together by a mutual love of mystic paganism, the duo signed to Columbia Records in the eve of 2006. On a mission to sprinkle the music industry with weirdness and unpredictability the band delivered their debut album "Oracular Spectacular" in 2008. The record garnered the band three Grammy nominations, along with numerous accolades across the globe, including landing at #18 on Rolling Stone magazine's Top 100 albums of the decade.
2010's "Congratulations" was conceived even before "Oracular Spectacular"'s release! The "musically adventurous" eclectic mixture of tracks may have sounded a little confusing to some, but that's only because MGMT's unconventional pop structures reflect the chaotic vibrations of the world -- and who can realistically make sense of that? "Congratulations" debuted at #2 on the US Billboard 200 and #4 in the UK, going on to become one of the most talked about albums of the past decade.
Performing live as a five piece, MGMT continue to entertain through multiple TV appearances (including covering Pink Floyd's "Lucifer Sam" on Jimmy Fallon in while decked out in hardened fisherman's gear), a steady stream of music festival performances around the world, curating the latest edition of the "Late Night Tales" music compilation, and remaining precocious and curious under-30 wunderkind. Via their recorded music medium, the endlessly experimental and spontaneous duo have stayed true to their precarious nature.
In November 2011, MGMT performed two nights at the Guggenheim Museum in New York City, creating a unique musical performance to coincide with the opening of Maurizio Cattelan's career retrospective All -- an installation of over 100 art pieces dangling from the museum's ceiling through its legendary inner spiral space.
Last year MGMT conquered South America with their live show and in September Ben and Andrew performed as a two-piece for the first time in a decade, as part of the legendary Joshua Light Show. Listening in on the universe's stream of consciousness for inspiration, the duo are currently completing the third MGMT album due for an early summer release. As a band that exists in its own space and time, and is constantly defying expectation, there is no saying what magical gifts MGMT will bestow.
Walk The Moon
"We're venturing into unmarked regions of the map with these songs," says guitarist Eli Maiman, "but we're leaving breadcrumbs along the way so people can follow us."
WALK THE MOON's new album, 'TALKING IS HARD', is a bold statement from the band known for their blissful, quirky brand of rock and roll. Fueled by years on the road and now emerging from months in the studio, WALK THE MOON are clearly unafraid to bear their hearts and their ambition.
Formed in Cincinnati by singer/keyboardist Nicholas Petricca, WALK THE MOON built up a devoted following on the strength of their ecstatic live show and their undeniably infectious single "Anna Sun.” A relentless touring machine with an ever-snowballing family of fans, the band quickly graduated from Ohio club scene favorites to an international force to be reckoned with. They hit the late-night TV circuit with performances on Letterman, Fallon, Conan, and Carson, played for massive crowds at Bonnaroo and Lollapalooza, and joined the likes of fun., Pink, Panic! At The Disco, and Fitz and the Tantrums on the road in the US, UK, and Europe.
In concert, it’s clear that WALK THE MOON’s live show is not a spectator sport. Instead, it’s an interactive celebration of life and love, a communal commitment to joy and living in the moment. Onstage, Petricca leads audiences in a mass exorcism of the things that bring them down, casting out the demons of doubt and insecurity with hands raised to the sky.
But when the band finished touring in support of their self-titled 2012 RCA debut, Petricca found something entirely new on his hands: time.
"We went from three years of constant movement on the road to having six weeks where we could set everything else aside and focus strictly on writing,” he explains.
The band holed up in a repurposed Masonic Lodge in Dayton, KY, which housed graffiti artists, screen printers, and photography, not to mention secret rooms, ghosts, and taxidermy.
"It was like an art-commune-rock-and-roll-b&b," says drummer Sean Waugaman. "There were old artifacts the Masons left behind. The place looked like something out of 'Eyes Wide Shut.'"
Setting up directly beneath a massive spotlight that had once shone down on a ceremonial altar, WALK THE MOON launched into writing an entire album from scratch for the very first time as a band. Clocking in 14-hour days for weeks on end, the band pushed themselves beyond any previous creative limits with an audacious sense of abandon.
“We’d never had an opportunity like this before,” bassist Kevin Ray points out. “We were able to live and work in a really creative space - just the four of us.”
After six weeks of these marathon writing sessions, the band relocated to North Hollywood, where they entered the studio with producer Tim Pagnotta (Neon Trees, Tokyo Police Club). What followed was more than two solid months of recording, the band eager to reach new heights with the album's production.
"The drive to do something special was so intense that we actually started a song at 6pm our last day of tracking," remembers Maiman. "We ended up working through the night because everyone felt like what we were doing was so important. We didn’t leave the studio until after the sun came up."
The results speak for themselves. Lead single "Shut Up And Dance" is an undeniable pop-rock anthem. An ode to freeing yourself from the shackles of self-consciousness and embracing the present, it's already a live favorite, with a sing-along chorus that works audiences up into a frenzy.
But, as the band warns, listeners who delve deeper into 'TALKING IS HARD' will find themselves in wild, uncharted territory. Raw vocal performances, heavy rock riffs, new wave quirks, and stylish percussion make for a futuristic marriage with lyrical themes of self-empowerment, growth, and survival. "Work This Body" howls defiantly for physical and mental relentlessness with Mercury-like flamboyance, while "Down In The Dumps" shouts "tough love!" in the face of depression on a careening robot-rock runaway train. Meanwhile, in a hushed voice, "Aquaman" tenderly tells the story of a reluctant, victorious romance. Finally, on "Up 2 U," perhaps the band's most adventurous - and ferocious - song to date, Petricca examines a non-romantic relationship: ours with the planet.
"What we've ended up with is a bunch of really committed, confident shouts into the darkness," says Petricca.
As they return to the road, WALK THE MOON is finding that the darkness is full of eager fans and soon-to-be-converts, all shouting back, singing along until the lights come up.
Refraction and Rebirth: The New Rise of Local Natives
Let's think about our musical heroes for a second. How few of our favourite artists rose from a burst of brilliant light and then rode that one, simple wavelength across an entire career. Those who have truly built a lasting lot, one with arcs, evolution, and focus—the icons who hold up the mirror to nature and push themselves to grow and change and persevere, and who challenge us, the listeners and fans, to follow them on their glorious, circuitous paths—those are the heroes who will truly live forever.
In 2010, Local Natives galvanised a musical scene in Southern California, crafting a sound that they loved, and that others flocked to in turn, with the breakout success of their debut album, Gorilla Manor. The five-piece from Los Angeles featuring Taylor Rice, Kelcey Ayer, Ryan Hahn, Nik Ewing, and Matt Frazier have since created a series of different cathartic chapters informed by their constantly changing surroundings.
The band's second album, 2013's brooding and lovely Hummingbird, was born out of a period of darkness, a time spanning loss, grief and change. It was, as Rice calls it, an "existential nightmare" and a difficult writing process, but is remembered fondly by its authors as a beautiful and honest representation of who and where the band was at the time. After a multi-year tour that required the group to relive the dark introspection night after night within the explosive enthusiasm of their stage show, Local Natives were ready to transition into their next phase and to begin writing a new record with an entirely fresh perspective.
As the band began to grow, so too grew its lens, and suddenly the "indie rock" lens cap did not seem to fit any longer. These 30-year-old Los Angelenos had seen the world and heard its sounds, and knew, deep down, that there was more in them. And, as in the style and paths of those arcs of our heroes, when Local Natives filtered this whole new layer of influences through their spectrum, the result is an everywhere-you-turn showcase of vision and virtuosity and their grandest statement yet: their third album, Sunlit Youth.
"Coming out of Hummingbird, I think we took our time," Rice says. "Part of that was to hit a reset, but also the whole process of this new album was very different. We made sure we were connecting to the joyfulness of making music and what inspired us, and we let that lead us. These songs have this outward effusiveness to them. We threw out our band rulebook and tried to push our dynamics and to think differently."
The first step in this leap of faith was their songwriting process. As opposed to culling song ideas from jamming together as a group as in the past, the band's core trio of songwriters Rice, Ayer, and Hahn each produced songs on their own more frequently than ever before, rendering each writer prolific and vastly increasing the number of songs brought to the group space. "That just made us so much more productive," Rice says. "It was more fun and more free. We wrote fifty songs for this album. I think the record shows that it was chosen from a much larger batch of songs."
"It took us a second to get used to the idea that no matter how much you slam your head against the wall, a song isn't going to be great unless everything truly comes together," Ayer says. "We just focused on the good ideas and knew what to chase. I think getting better at writing songs means knowing what to grab and what to throw away. It's better to see potential. This record is definitely a testament for us that if you write fifty songs, you're gonna get ten or twelve that you really love."
The kick-start album-opener "Villainy" signifies the band's unbridled new energy and huge ambitions. As Rice sings "I want to start again / sunset's new babbling man," electronic notes sputter and swirl, rising and setting as drums pound and keys light the path. It heralds more of a focus in that energy—something the band has had in spades since the beginning—than a change in direction, and the way it reaches beyond the rafters and straight into the sun points the way for the tracks to follow.
As Hahn says, "We've gotten older and gotten better at our instruments. There's a confidence in that, and a confidence to be selfish. You start thinking, 'What do I want to hear?' Forget about what we've done and what people expect. This is a song that I would want to hear. Selfishly, within the band, if we like this, it doesn't matter if anyone else does. 'Villainy' was born out of listening to sounds that I would have never listened to for Gorilla Manor. We just wanted all the new stuff to have a different energy, and to challenge ourselves to do something different each time."
Across the album, the band does just that, delving into dancier, poppy moments on "Past Lives" and "Masters," Fleetwood Mac-inspired dark pop on "Dark Days", blue-eyed-soul stomp on "Coins," and prospective anthems on "Fountain of Youth" and "Call Me On." And while this is new ground for Local Natives to some degree, the sound never loses those qualities that made us fall in love with them in the first place, an accomplishment the band endears to simply following their desire to please themselves.
What has always been there for Local Natives is their meticulous crafting of musical elements while constantly pushing and pulling melody, harmony, and rhythmic components from within their construct and out into the cosmos. Their method lends to a dynamic beyond cerebral execution and into pure, unbridled emotional and energetic territory. As the hedges grow higher in our minds, the band has tapped into that which got the seeds planted in the first place, and the result is an empowering concept of eternal life embodying what Sunlit Youth is all about.
"The record is optimistic and does suggest this feeling that we—as individuals, as society—have the power to take life wherever we want. It's exuberant and joyful but I think we have a self-awareness in this world now that you can't have when you're twenty years old and making your first record. We're realising that there's a cyclical nature to it all and there's always a new perspective. I think it's this optimistic vision of how the world works, and this album is about facing those realities. A concept like 'Fountain of Youth' isn't an individual, selfish desire to live forever, it's more the kind of regenerative way that the world is made over and over again. We can do our small part, even if you don't know how it's going to affect the change. That is what optimism and changing the world into what you want is. It's a metaphor. We could connect each of these songs to that feeling of empowerment. 'Sunlit Youth' evokes that feeling. It feels like a nice wrapping-up of this trilogy of who we are: these Southern California kids who grew up feeling like the world was this endless possibility. We make music for a living. It's the most insane thing that any of us would have imagined."
Looking back upon their own youths yet constantly moving forward to the future, Local Natives have embraced their evolution and made what could be seen as the most Local Natives-sounding album of their young careers.
Sunlit Youth is out September 9 on Loma Vista Recordings
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.
Artists will often retreat somewhere exotic in order to find inspiration, whether it be deep in the countryside or some isolated tropical paradise where undisturbed their creativity can flourish. However, for MisterWives, (Mandy Lee [vocals], Etienne Bowler [drums], William Hehir [bass], Marc Campbell [guitar], and Jesse Blum [keys, trumpet, accordion]), in order to record their debut full length album 'Our Own House' [Photo Finish/Republic Records] all they had to do was take a short trip to Riverdale, NY and start by going back to basics.
"I wrote a lot of the songs in this tree house Etienne built," smiles Mandy. "It's in his parents' backyard, and it's unbelievable. I was in this little house with only the birds chirping outside. It's like I was quarantined. My band mates would hand me food under the door! It's a big part of the album. When I first saw it, I thought the Bronx turned into Narnia."
The tree house not only provided inspiration but acted as a place of continued peace and tranquility as 2014 proved to be a whirlwind breakout year for MisterWives. Their critically acclaimed 'Reflections' EP yielded a hit in the form of the title track, which would go on to exceed a staggering 15 million streams online, sell over 100,000 downloads and clinch the #1 spot on Billboard's Emerging Artist chart. The band also crisscrossed the country multiple times while touring with bands like Bleachers, twenty one pilots and even made their national television debut, performing on "Jimmy Kimmel LIVE!"
All of this served to bring the members of MisterWives even closer together, both personally and creatively. "It's like we found the secret to life," says Will. "You find what you're passionate about and find people you love to do that with."
"The phrase 'Our Own House' is symbolic because we're literally and figuratively creating our own house and movement for music," says Mandy Lee. "This is a declaration of who we are as individuals. We made our own little MisterWives world."
The album reflects a broader horizon for the group and effortlessly combines aspects of indie rock, soul, funk, ska and pop music. The title track "Our Own House", with resounding piano keys and an unshakable chorus punctuated by swooning horns, welcomes listeners into MisterWives' funky danceable world.
Elsewhere on the album, the girl power anthem "Not Your Way" swings and shimmies from style to style, while the song "Best I Can Do" will make you dance with its horn-driven power. "Hurricane" captures the creative swell of a generation tired of waiting their turn to break out and "Queens" is a soulful ode to life, family and the hometown that left an indelible mark on Mandy Lee. Every song on 'Our Own House' does its part to create an album that showcases MisterWives as a band succeeding through the judicious application of their own unique brand of alchemy.
Ultimately, MistwerWives' 'Our Own House' is one that is meant to encourage and inspire all who seek shelter. As Etienne says "we don't have any boundaries on our music."
"All of the songs have good messages," concludes Mandy. "These are real emotions that every human feels at some point in their lives. When someone connects to a song, it's incredible. That's all we want. We hope everyone has a good time and dances their asses off as much as we do."
'Our Own House' was released February 24, 2015. Currently MisterWives are headlining a sold out US tour and have continued to make their mark on national television performing on "Good Morning America," "Late Night with Seth Meyers" and "LIVE with Kelly and Michael" the week 'Our Own House' was officially released.
For an international audience reawakening to the influence of Chicago house during the 1990s, Curtis A. Jones acted as quite a renaissance leader. Besides donning his straightahead house guise Cajmere and a flamboyant, neon-haired acid-house alter-ego named Green Velvet for several of the most memorable underground house tracks of the decade (including "Preacher Man," "Answering Machine" "Brighter Days" and "Flash"), Jones helmed the two most respected labels in the new school of Chicago house, Cajual and Relief. Though artist-owned labels had become the norm in Detroit, Chicago occurrences were frustratingly rare, despite the fact that the two major house imprints of the 1980s, Trax and DJ International, had continually bilked their artists out of money. Cajmere went a long way towards rectifying that situation, releasing records by a diverse cast of producers old and new: DJ Sneak, Glenn Underground, Paul Johnson, Gemini, Tim Harper and Boo Williams, among others.
The Chicago native began clubbing and buying records while studying at the University of Illinois. He later graduated with a degree in chemical engineering (and even attended several years of grad school at UC-Berkeley), but then returned to his hometown in 1991 with a drive to begin recording and DJing around the area. His first track "Coffee Pot (It's Time for the Percolator)" was released in 1992 as Cajmere on Clubhouse Records. That same year, Cajmere worked on production for "Get With U" by Lidell Townsell, then hooked up with another Chicago vocalist, Dajae. After the pair recorded a breakout single named "Brighter Days," Cajmere decided to form his own Cajual Records to release it. "Brighter Days" ascended to the number two position on the dance charts and became an international smash; it was the perfect remedy to Chicago's quickly deteriorating fortunes, a track which looked back to the '80s boom years but updated the sound with heavier beats, low-end synth and up-to-date programming.
Subsequent Dajae/Cajual collaborations like "U Got Me Up" and "Day by Day" followed, and Cajmere eventually set up his Relief label in 1994. After deciding that the house scene needed a bit more showmanship, he created the alias Green Velvet for live gigs and DJ events. A kind of digital-age Bootsy Collins with impeccable fashion sense, Green Velvet hit the club charts with a trio of anthems from 1995 to 1997: "Flash," "The Stalker" and "Answering Machine." While no full-length appeared from either Cajmere or Green Velvet during those years, Cajual/Relief compilations like The Many Shades of Cajual, A Taste of Cajual and Relief: The Future Sound of Chicago collected all of his best productions.
Miike Snow is – are – in a playful mood. The second, somewhat orchatronic, album by the three-headed-band with the one-man-name and mysterious Jackalope symbol is called Happy To You. Why?
"It's a sign in the studio," shrugs tattooed Swedish producer Christian Karlsson. "An old mis-spelt phrase postcard from Thailand. Nothing to do with any of the songs…but it sort of stuck."
The band that should never have worked have turned a new corner, and turned myriad new tricks. Miike Snow's second album is a triumph of tunes, set to burn up airwaves and dancefloors and festival-fields through 20 12 and beyond.
"Before this album, we were an idea," reflects Pontus Winnberg. "This time we were a band. And this time, we had paid our dues – we'd toured in 27 countries for 18 months. When we came in to make Happy To You, we came in as a unit, and emotionally for us that makes a huge difference. And hopefully you can hear it."
"Miike Snow is kinda like this playground," says long-haired American singer-songwriter Andrew Wyatt. "I don't think Miike Snow functions inside of a genre. A few people wanted us to be more properly in the dance world, but I don't think this record is. Even our 'dance' songs aren't really clubby…"
So how do they define the follow-up to 2009's 200,000-selling self-titled debut?
"Fun-da-mental," suggests Wyatt with an arched eyebrow. " 'Cause it's da mental." (Not pictured: hip hop hand gesture.)
Breaking from a secret session designing the new live show, band member, producer and keys player Pontus Winnberg commented... "It's like much of our stuff – we don't really wanna tell people what the titles are about, or the lyrics, or what our thoughts are about. We'd prefer them to put them in their head and their lives and make their own interpretation. It's nice to keep a little bit of mystery."
Happy To You and happy to be here: Miike Snow are back with a big, bold, bright, colourful album bristling with tunes and (break)beats and ideas and more tunes – yes, that is an orchestra, and fo' sure, that is a marching band – and it's not so long since they were last here. They had started the band as an ad hoc side-project between other jobs – Wyatt had been working with Mark Ronson; as producer-writers Bloodshy & Avant, Winnberg and Karlsson had been cranking out the dancefloor hits such as Britney Spears' 'Piece Of Me' and 'Toxic.' They ended up with an album that was synced over 200 times in Hollywood and beyond.
But the out-of-the-box success of the ubiquitous 'Animal,' 'Black & Blue' and 'Silvia' – still playing on a radio or computer game or film soundtrack near you now – kinda took them by surprise. They toured the world for 18 eye-watering months in support of the album, their global performance schedule stretching endlessly before them, a yellow-brick-road of adventure, as the Jackalope galloped away with them. Miike Snow did some 260 shows, initially lugging their own gear into a shitty van but eventually gliding round the world with crates of cutting-edge gear in a shiny hover-bus with wings (or something).
The trio went from the dizzy foothills of Later… With Jools Holland. "The first time on the show we played with Smokey Robinson," recalls Wyatt, "and you can't get higher up on the mountain than Smokey. Then there was Yoko Ono, Eric Clapton, The Dead Weather, Basement Jaxx. Now that was competition.
They scaled the giddy heights of 3000 capacity clubs in Columbia and Chile, "hundreds of people singing along to every song," remembers Karlsson. "And that was before the record was even out!"
And they crested the peaks of some of the world's greatest festivals, from Coachella to Glastonbury.
But finally, Miike Snow came off the road last spring, and went straight into the studio in Stockholm. They thought it would take a year. They didn't care.
"We were starving to be in the studio again," says Karlsson, "because before Miike Snow we were in the studio every day for ten years. So being on the road was very new to us."
"The studio is kinda like our home," adds Winnberg. "Prior to touring with Miike Snow, from about 15 years old I think I was in the studio pretty much every day – more than I was at home. So it's a little bit of a safety zone. And also, after touring with the band, it felt we had so many ideas about how to move on musically. So we had that added urge to begin fucking around with that."
The writing and recording of their debut had taken place in fits and starts. Wyatt would fly back and forth between Stockholm and New York for a few snatched weeks at a time. "Nobody really had any expectations with the first album," admits Wyatt. "We knew we wanted to make a record but we didn't know anything beyond that. We didn't know if we would find anyone who would want to manage us as a band or put our record out."
But this time, buoyed by the success of that accidental album, things would be different. Wyatt relocated to Stockholm. The move made sense musically, and also personally.
Bunkered in their own studio – named Robot Mountain, and housed in the stables of a hundred-year-old former fire station – Miike Snow were fired by the spirit of inventiveness. The songs came thick and fast. They worked together, and alone, and in rotation.
"We passed the torch in a different way this time," says Karlsson. "We were working on more than one song at a time, and working together on everything. I liked that – then you're able to experiment when no one else is around. I'd get there in the morning and Andrew had been there all night, and I could continue. Then when I leave he comes back… It definitely changed the dynamic of the songs and the songwriting."
Says Winnberg: "For all three of us, it's a very vague difference between songwriting to production to mixing to recording – everything is just happening in a big blur. So there was definitely action going on all around the clock."
Another factor adding to the carnival whirl of inventiveness: Miike Snow actually had three recording studios on which to work, including an old place used by ABBA in the Seventies. Winnberg: "It was full of old recording equipment, and we recorded the drums and acoustic instruments in there. It added a kind of classic environment to the whole album. And it was vibey; we hung out there a lot."
The wee-hours after-party vibe of all those months on tour fed into the rippling Italo-house piano of two giant tracks. The punchy, dramatic 'Devil's Work' was aired by Zane Lowe on Radio 1 in early December, and instantly shot to Number One on the Hype Machine chart. The infectious, shouty 'Paddling Out,' set to be the first single, from Happy To You, is, according to Winnberg, an homage to a kind of dancefloor disco-inferno he's not heard in too long. Similarly, the early Nineties breakbeat of 'Pretender' was a nod to the music Karlsson grew up with.
They called in strings and brass and woodwind, and they called in a marching band – the mighty 'Devil's Work' might also be called "orchtronica", 'Bavarian#1' has an irresistible percussive pound, and 'God Help This Divorce' possesses a rich classical sweep to match a devastating lyric. "It talks about what actually happens when a couple split," says Wyatt of a song that marks the closest Miike Snow have ever come to a ballad. "It's the slowest song we've ever done."
A notch up the bpm scale is 'Vase,' a quietly epic techno-soul singalong. There's more inventiveness in 'Black Tin Box,' a burst of songwriting brilliance so robust it effortlessly marshals dark, throbbing beats, steel drums, ghost-in-the-machine singing from Wyatt and a "witchy" guest vocal from Swedish pop-sorceress Lykke Li.
"We know how to do a lot of different things, so why do the things that you've already done?" says Wyatt, explaining the ceaseless sense of adventure on Happy To You – organic meets electronic, whistling meets raving, and no guitars allowed. "I think sometimes you can gain from taking away options… And it's nice to try do some weird things – juxtapose things that shouldn't work on paper."
Maybe not. But Miike Snow's "song" songs are epically, tunefully wonderful. The jackalope is back, with extra horns (and strings and trumpets and glockenspiels and the rest).
Sometimes things have to get worse before they get better. While the two summers of love were birthed from burdening times, Vietnam and 10 years of Thatcher's reign, they were one hell of a party. Unprecedented explosions of youth culture which tore down the walls of perception through communal elation and celebration. Cut Copy's Free Your Mind creates a fantasy of the next youth revolution, binding the two epochs without the negative baggage. An event told in three dimensions. Turn on, tune in…
Participating in the forms of cultural practice that develop in and around the club, the quartet discovered a portal to the UK acid house movement through Melbourne's booming subterranean dance community. Interacting on the dancefloor without uttering a word, jointly reaching a higher state, feeling involved in a secret society and ultimately becoming one with the music. A sanctuary that's seemingly only a few degrees away from a bygone era which connected the dots with warehouse locations revealed by hotlines, pirate FM radio and baggy uniform.
The embryonic stage of Free Your Mind saw frontman Dan Whitford take a new approach to songwriting, roughly sketching a song per day for a 4 month period before presenting the fruits to the band and realizing their full potential together. While the album's themes are at the foreground of the completed work, it was never intended as a concept record; rather ideas buried deep beneath the mind's eye, unlocked by the collective consciousness of Whitford, Tim Hoey, Ben Browning and Mitchell Scott. Unity in effect.
Recorded in various locations in close proximity to Melbourne's finest coffee houses, the album was largely an in-house affair before the band enlisted the sonic ear of Dave Fridmann (Tame Impala, MGMT, The Flaming Lips) for mixing duties. Given the psychedelic nature of dance records, Dave Fridmann seemed the perfect match. Pilgrimaging out to his secluded forest base in upstate New York, both parties formed an immediate connection.
Whitford explains "we would cook communal meals for the band, Dave and studio staff, sleep upstairs at the studio and even play badminton on a makeshift court out the back. It had a real feeling of being part of some utopian artist commune, which I guess fitted right in with the feeling of the record."
Free Your Mind launched in unconventional fashion with a lathe set up at Pitchfork Music Festival, literally cutting and copying 120 dubplates Let Me Show You for the lucky few who were at the right place at the right time. Like an illegal press manufacturing X-TC for the global rave, the experiment gave random youtube user debaser22 the keys to share the experience with fans all over, uploading a crude document of his 1st listen. For two weeks this muddy bootleg was the only reference of the track's existence, before the band developed a hypnotizing autostereogram that put viewers into the seat of an altered state, setting the tone for a record that invites participation, activates all senses and enlightens the mind.
From using Asger Carlsen's absurd figure manipulations as press shots, the non-traditionalists have forged further to subvert expectations. Placing huge billboards displaying the phrase "Free Your Mind" in remote areas of the Californian desert, Chile, Western Australia, Mexico City, Wales and Detroit, the band utilized their individual art backgrounds to communicate this mysterious catch cry of an unidentifiable movement.
Whitford adds that Cut Copy are not preaching an agenda, interpretation is left to the imagination, "whether the billboard sits in decrepit suburbs of Detroit, the mountains of Chile or the Aussie outback, people come back with a totally different impression of what it might mean. It's open ended, with infinite interpretations. I think the concept of freedom is one that's universally positive and timeless, and whatever each person's version of that freedom is, it's a good thing to be reminding people or even just ourselves to be "free".
Act One, the debut full-length from songwriting duo Marian Hill, was written and produced in its entirety by Jeremy Lloyd (music/lyrics/production) and Samantha Gongol (music/lyrics/vocals). The multi-talented duo, who have been collaborating in one form or another since high school, have shifted the classic paradigm of a woman on a stage and a man with a piano to a woman on a mic and a man with a laptop -- and the results are seductive and vivid. Tempting paradox with a blend of blues and bass, acoustic and digital, classic and modern, Marian Hill have arrived.
Two years ago Sam and Jeremy wrote and recorded "Whisky" over spring break in Jeremy's parents' basement. When they released it for free on Soundcloud later that summer it was the only song they'd written for the project, and in a little over a year's time they had recorded their first EP in a bedroom, amassed millions of plays on various platforms, sold out shows across the country and featured in high profile commercials. They signed to Republic Records in early 2015, released the Sway EP, and settled in to write and record their debut album over the course of the following year with a plan to push their unique sound to its fullest potential.
For the first 50 seconds of "Down" you might think you're at a supper club in the 1920s, but when the bass drops out of nowhere you couldn't be anywhere but 2016. Act One then takes you on a journey through the complexities of modern relationships, with each song inhabiting a specific and charged
relationship lyrically, melodically, and sonically. "I Know Why" constantly transforms and reinvents itself as the vocals grapple with a secret while "Mistaken" is the hardest of sax trap with a classic songwriting backbone. "Same Thing" is the saddest part of the album, a haunting ballad depicting serene resignation of a doomed relationship, but castanets rise from the ashes as "I Want You" closes out the night in a pure moment of optimistic electricity, a glance across a crowded room that changes everything.
Marian Hill's one of a kind sound is present throughout — blues harmonies blend with sparse hip hop drums, horns blast under classic vocal melodies, and soloistic vocal chops sit side by side with clear, intimate lyrics. You've never heard this before, yet it's surprisingly familiar. And it's only the beginning. The duo grew up together and their chance meeting in middle school, starring opposite each other in The Music Man as Marian Paroo and Harold Hill, now serves as the basis for their name. While pursuing separate musical paths, the two began writing together over college breaks, spending hours together perfecting lyrics and melodies — in the last of these sessions they wrote and recorded Whisky. Jeremy blindly emailed Whisky to sixty blogs and within 2 weeks the track had climbed to the chart on Hype Machine. The buzz grew, the label calls began, and in early 2015 Marian Hill signed with Photo Finish / Republic Records.
"Got It" sees sexy vocals sail above early-Neptunes-era glitchy beats and handclaps before a melody transfixes, singing a mantra to individuality veiled in sly innuendo. The beat's sparse backbone came to Jeremy on a bus ride home to Philadelphia for a writing session, and the song was completed by the end of the following day. On "One Time" finger-snaps and a bass boom keep time as Samantha's voice casts a spell, twisting the old one-night stand into a song of female empowerment.
Their sound has just started to percolate throughout the zeitgeist at large, soundtracking numerous promotional campaigns, television shows, and packed nightclubs. Now prepping their debut full-length debut, they seek to push the limits of their content and sonics even further.
"We love the control you have in modern songwriting, because it's not just music and lyrics – it's everything. We're writing an album of true, focused songs – where every component, from the choice of snare drum to the choice of lyric, is driven by one specific idea."
Todd Terje, born Terje Olsen, arrived on the Scandinavian dance scene in 2004 and, in short order, became one of its prominent figures beside early supporter Prins Thomas and Hans-Peter Lindstrøm. Terje channeled a voracious appetite for several styles of music -- including dub, disco, synth pop, house, and techno -- into warmly received edits of tracks by Bee Gees, Michael Jackson, and Santana. He also made a splash in 2005 with "Eurodans," one of his own productions, released on Thomas' Full Pupp label. By 2006, it was difficult to keep tabs on all of Terje's remix work, though the man's looks at Lindstrøm's "Another Station," Studio's "Life's a Beach!," Kaoru Inoue's "The Secret Field," and Dølle Jølle's "Balearic Incarnation" weren't easy to avoid in discerning DJ sets. On Remaster of the Universe, released on 2010 through Permanent Vacation, Terje served up a collection of his edits and remixes in the form of a continuous DJ mix. A year later, he released one of his most popular tracks, "Snooze 4 Love," on Gerd Janson's Running Back.
"A hip-hop-generation shaman with an alert sense of musical history and a fearless humility, Raury isn't interested in rejecting the hard-fought innovations of the generations just above him, but rather has mainlined them so thoroughly that he's able to remold them.
"All We Need," his second album, is full of confidently expressed delicateness. This is folk music refracted through hip-hop sensibilities, an aesthetic that suggests that not all the post-rap tributaries have been explored yet."
-The New York Times
Bassist/songwriter/vocalist Stephen Bruner, aka Thundercat, has music deeply rooted within. His father, Ronald Bruner, Sr., is an internationally renowned jazz drummer who played with the Temptations, Diana Ross, Gary Bartz and Gladys Knight. His brother Ronald Bruner, Jr., a Grammy-winning drummer, has played with the likes of Roy Hargrove, Stanley Clarke, and Wayne Shorter. Stephen joined his brother as a member of West Coast punk vets Suicidal Tendencies, playing bass on their worldwide tours while still in high school. He also toured through Japan with Stanley Clarke at the age of 16.
As Thundercat, Bruner takes his jazz roots and works with a mix of artists that suit his wildly experimental sensibilities – ranging from Flying Lotus, Erykah Badu, and Stanley Clarke, as well as more recent collaborations with Wiz Khalifa and Earl Sweatshirt, to name but a few. After meeting and touring with Flying Lotus, the two artists collaborated on Lotus' 2010 LP 'Cosmogramma' on the track 'MmmHmm.' Their kindred sense of musicality led to Thundercat's 2011 solo debut 'The Golden Age of Apocalypse,' co-produced by Flying Lotus, which opened Bruner up to a new stratosphere of songwriting and artistic exploration.
In 2013, Thundercat teamed up with executive producer Flying Lotus once again, to form a profound body of work for his second album, 'Apocalypse.' Forthcoming on Lotus' Brainfeeder imprint this July, the album straddles lines and pushes genres further, blurring the confines of pop, funk, electronica and prog rock, and creating something else entirely. Both vulnerable and fearless, a comedy and tragedy, 'Apocalypse' is an intimate portrait of an artist who will continue to take music to a new place; the beyond.
Sango is the truth, Ruth. The Seattle-raised, Michigan-based producer has been silently amassing a strong repertoire of remixes for the likes of Drake, Little Dragon and The Weeknd. As a signee to the Soulection label, he infuses a great blend of funk and international influences into an innovative sound. Not to be outdone, both SPZRKT and the criminally underrated CRL CRRLL are Sound Select bands that are worthy of your attention on a "I saw them before they broke big" level. Not familiar? Listen to their music below:
The Magician is the alias of talented DJ/Producer, Stephen Fasano.
One night not so long ago, he appeared from a place between space and time. Apparently he stepped into this world, materializing in a cloud of crystal stars and soft pink smoke. Some claim he's a former airline pilot who crashed an afterparty – some say it's all just an illusion, a well performed hoax.
Previously a member of revered Balearic disco duo, Aeroplane, he disembarked that flight and boarded his own magical carpet ride in 2010. He released his debut single 'I Don't Know What To Do' on Kitsune in 2011, then joined forces with Peter (aka Yuksek) for three furthers EPs (Twist , Memory and On My Brain). However, most fans will probably know of The Magician for his killer remixes. Especially his re-work of Lykke Li's "I Follow Rivers" in 2011 (which has had over 36 Million views on Youtube and chart topping placings across Europe) and Clean Bandit's " Rather Be" earlier this year.
Recently signed to Parlophone / Warner Records and joining the Machine Management roster of artists in late 2013, The Magician made his label debut with single "When The Night is Over" and is now set to release his biggest hit to date in the form of the euphoric club anthem "Sunlight" feat Years & Years.
The Magician "Sunlight"
During this whole time he has also been capturing the imaginations of music fans with his Magic Tapes on Soundcloud. Every month he sifts through new music - exclusives from other artists plus music from fans - crafting these tracks into new DJ mix tapes. He's up to an impressive 44 so far and along the way gaining a cult following of disco, pop and house fans. All of which is supported by a busy touring schedule throughout 2014. Everywhere The Magician DJs people come under his spell.
Justin initially pricked the ears of the electronic music community in 2003 with his first record 'The Sad Piano' on Ben Watt's Buzzin' Fly label. Everyone in the electronic music food chain got involved, from the A list DJs like Derrick Carter and Pete Tong that were playing the track, to the international music press that were raving about it. It even translated to the German underground, with Poker Flat licensing it for Steve Bug's 'Bugnology' compilation. Like someone that goes bowling for the first time and gets five strikes and a turkey, Justin couldn't really have hoped for a better entrance.
Feeding off the energy of the San Francisco underground and mentored by fellow super producer Claude VonStroke, Justin was intrinsically involved with the development of dirtybird records, appearing on its first four releases. Justin was soon ready to take flight, releasing a string of solo EPs, which flaunted a very unique sound and garnered still more respect among fellow DJs and heavyweight's of the scene.
In 2010, such respect prompted an invitation for Justin to DJ mix Pete Tong's infamous "Essential Mix" series and also landed his felicitous placement on the front cover of DJ Magazine. Justin continued to roll out two further killer EPs on dirtybird, which were collaborations with his protégée Ardalan. "Mr Spock" earned recognition from major digital news outlet NPR as "surrounding sounds with tactful little details: the hissing white noise; that chubby, wet bass kick. This is music that doesn't need to be heard on the dance floor, though it does work awfully well there". What followed was "Lezgo", which knocked down the genre walls and pretty much remained a firm fixture in every DJ's box throughout 2011.
As well as his formidable arsenal of original productions, Justin is now equally known for his collaborations with his brother Christian as The Martin Brothers, producing such hip-hop influenced hits as 'Duckface', 'Stoopit', 'Dum'. Justin has also made his mark remixing such bona fide classics as Radiohead's 'Nude', Marshall Jefferson's 'Mushrooms', TG's 'Revox' and remixes for labels such as Fools Gold and Greco Roman, firmly establishing himself as the man to make big tracks even bigger.
2011 found Justin in the perfect position to work on his boldest project to date, his debut artist album and he couldn't be more enthusiastically happy with the results. "Ghettos & Gardens" long player will be released on dirtybird late spring 2012, with a string of stunning singles to support the release.
Demand for Justin's skills behind the decks has skyrocketed with his bookings schedule constantly crammed to capacity. With dates everywhere from Panorama Bar (Berlin), Fabric (London), Space (Ibiza) and a full album tour for summer and fall 2012, its no wonder Justin's diary reads like the dreams of a professional raver. Stateside he
continues to be a regular fixture at the Dirtybird events in San Francisco and beyond.
Music journalists typically describe Justin's sound as 'melodic and tough' with his music encapsulating both melody and emotional depth yet always with enough undeniable ass shaking properties to translate to the floor.
He remains as enthusiastic as ever to be involved in the scene. When recently questioned by Resident Advisor on what he'd be doing if he wasn't a DJ or dance music producer he just replied: "Wishing I was a DJ or music producer."
By all accounts, it's hard to tell him to wipe that smile off his face.
While only in his early twenties, Dutchman Sam Feldt has become quite the deep house tastemaker of his day. With amazing remix work as well as solid hits like the early 2015 release 'Show Me Love', which proved to be his definite claim to fame, he's one of the DJs to watch when it comes to a new sound flooding the scene.
Sam Feldt is definitely not a stranger to the house music scene. After working behind the scenes as a producer for a long time, perfecting his musical talents, he decides to show the world what he's capable of by uploading his first tunes by the end of summer '13. Within a year Sam signs with Spinnin' Records and releases his first track on the label.
It doesn't take long for the young producer to get censed by international dance media as part of a new exciting wave of melodic deep house. With almost two million plays on SoundCloud and 250.000 plays in one week as well as a #1 Hypem spot for his remix of the Sander van Doorn & Firebeatz release 'Guitar Track', Sam can surely be seen as the rookie of the year 2014.
Besides releasing his first original tracks with De Hofnar, the widely popular 'Bloesem' and a cool bootleg of the Fleetwood Mac anthem 'Big Love', he also presents catching remixes for folk band Mumford And Sons ('I Will Wait', together with Bloombox), Naxxos ('New Orleans'), I Am Oak ('On Trees And Birds And Fire') and Jose Gonzalez ('Stay Alive', which reaches #1 on Hypem).
Yeah, Sam is getting on a roll. By the end of 2014 the instant classic summer tune 'Hot Skin' comes out, made with fellow producer Kav Verhouzer, building up to over 800.000 YouTube views after its release. It marks he's beyond the stage of being a rookie, Sam Feldt is already a known name delivering big tunes on a regular basis.
That's some way to start 2015. By now, Sam has played all around the world, sharing the stage with the biggest names in the industry like Kygo, Robin Schulz, Thomas Jack, Alle Farben, Kölsch, Steve Rachmad and Benny Rodrigues. His sound is characterized by beautifully built melodies, loads of atmosphere and emotion packed in a tantalizing, often laidback groove.
It's a sound taking over more and more dancefloors these days, culminating in Sam's brand new release 'Show Me Love' in February 2015. The track is a unique take on the eponymous 90s dance classic, completely re- structured with the vocals used in a completely new way. It receives massive DJ support, scoring over 4 million SoundCloud plays in a month, marking Sam Feldt's definite arrival as headlining artist.
Meanwhile, the Dutchman explores the wide world of this fetching new deep house sound with his regular mix tapes. Released on SoundCloud these sets count hundreds of thousands plays every time, some of them even reaching over a million plays.
Following this success, Sam drops a new tune together with Amsterdam duo The Him by the end of March. As it happens, 'Midnight Hearts' turns out another claim to fame for the young DJ, making him more than a household name in 2015's deep house scene. A new flame has come, and it's getting brighter by the day.
Marc 'MK' Kinchen is an artist-producer who straddles boundaries as few others can. On the one hand, he's revered by lovers of house and garage music worldwide. His classic 90s productions such as Burning, Always, K.E.L.S.E.Y's Boy and 4th Measure Men's For You remain floorfillers to this day, as do his 200-plus unmistakeable remixes for artists ranging from Bizarre Inc to Blondie, not least his mix of Nightcrawlers' Push The Feeling On, which became one the biggest house crossover hits of the decade. He's cited as an influence by countless leading producers – including, significantly, Todd 'Godfather of UK Garage' Edwards. This pre-eminent status is reflected in the fact that he's the latest artist to be featured in Defected's House Masters series.
" Sound to me is music. I'm one of those music nerds who thinks that there is something beautiful in all music, and I feel like there is music in all sound. Sound is really vibration, and to me good vibration is the most important thing in the universe".
At a Saba show, when vibrations boom and sharp-witted verses start to permeate the crowd, you better have your hands up and mind in full focus. Tahj Chandler, better known as Saba, the 20-year- old rapper and producer from Chicago's West Side, joins the city's new wave of bubbling talent with an aggressive delivery and unmistakable production.
Born to a family of musical talent, Saba grew up to the sounds of soul, R&B, and jazz thanks to his father, Chandlar. He began to play piano at the age of seven, and soon after he started to experiment with his sound on beat making software. However, it wasn't until the young Chandler first heard the legendary Bone Thugs-n-Harmony and other burgeoning Midwest talents that he found his true musical niche and emcee calling, "Hands down my biggest influence was Bone Thugs-n- Harmony. They're the ones who actually made me like rap and want to do it," he says. At age 16, Saba joined the open mikes at YouthMedia Center and Young Chicago Authors, which he credits with giving him the confidence and charisma to perform onstage. With all these tools in his arsenal Saba has developed a career sound with appeal that spans from the staunchest old-school hip hop heads to a new generation of rap fans.
Saba dropped his first full length project, GETCOMFORTable, in December 2012, featuring production from Thelonius Martin, DJ Such N Such, Ikon, and the rising spitter himself. Soothing, serene, and soaring, the mixtape reflects a coming of age and showcases a catalogue of young Chicago talents who join Saba in trying to make sense of themselves as rising adults in today's world.
In 2013, Saba joined fellow Windy City talent Chance the Rapper with a standout guest verse on the highly acclaimed track "Everybody's Something ft. BJ the Chicago Kid", from Acid Rap. That same year Chandler would began work on his sophomore debut, ComfortZone, produced in conjunction with J.U.S.T.I.C.E League's Cam Osteen (Acid Rap and Vic Mensa's Innanetape), Chicago trio NAiMA (Dylan Frank, Cory Grindberg, and Ken Ross), and featuring a slew of notable talents such as MC Tree, Eryn Allen Kane, Legit, Jamila of M&O.
ComfortZone was released in July of 2014, and was received with critical enthusiasm and public praise. The 14-track collection is both autobiographical and reflective, a bittersweet window into the young emcee's upbringing in a culturally rich yet troubled city. With innovative production and hard-hitting lyrics, Saba tries to make sense of his surroundings while maintaining a positive outlook and mindset. Standout tracks include, "Burnout" featuring songstress Eryn Allen Kane ("It's the aural equivalent to a freshly baked apple pie" - Noisey, and DJ Booth's Hook of the Year), as well as "Butter" ("Saba is up next." - Billboard) and "401K", ("Certain songs are bigger than music." - Potholes In My Blog). ComfortZone not only captured Saba's undeniable growth as an emcee, but also as a producer, and young adult.
After hitting #1 at Hype Machine, receiving over 5 million views at YouTube and an additional 1.5 million plays on Soundcloud, French duo Klingande's 'Jubel' is already a huge success in Germany after debuting at #5 at iTunes and reaching #1 at Shazamthey are now #1 in overall charts since a few weeks in Germany, Switzerland, Austria, Luxembourg and coming in Italy, Belgium, Sweden…
Commencing with a simple percussive introduction, 'Jubel' gradually layers together textures of sound before the track's inimitable saxophone hook bursts to the fore to create a euphoric summer house atmosphere. The song also features sultry vocals from an unnamed guest singer.
"With 'Jubel', we wanted to bring love, happiness and this summer feeling to people," they explain. "We love using the saxophone because it's a powerful instrument with a warm sound that expresses different emotions and feelings."
Both Klingande and 'Jubel' are named after Swedish words due to the duo's love of the nation's house music: 'Jubel' meaning joy, and Klingande taken fron the word for sounding.
Formed in December of last year, Klingande consists of childhood friends Cédric and Edgar, two 22-year-olds from Croix in northern France who formed the duo after being united by their love of electronic artists such asKlangkarussell, Bakermat and Nico Pusch.
Cédric studied music theory as a child, but later became immersed in electronic music as a teenager; initially a DJ, he soon also began to work on his own original productions. Edgar first started playing the piano at the age of sixteen and was so enamoured that he spent four years studying the instrument. The pair first met at school at the age of ten, but reconnected late in 2012 when Cédric returned from a spell in London and made fresh contact with his old friend.
Klingande have spent much of the year touring throughout Germany, Sweden, France, Belgium, Switzerland, Ireland, Austria, Romania and the Netherlands. Their new single to be released in mainland Europe is 'Punga', another track which features their distinctive house-meets-saxophone sound and also earned a huge online following.
Songwriter turned solo artist Phoebe Ryan's star is set to burn brighter than ever in 2015. A powerful voice in every feature, Phoebe's energy and charisma strikes frequent comparison to the likes of Tove Lo and other Scandinavian pop artists. Her cover mash of R.Kelly and Miguel quickly climbed to the #1 spot on Hype Machine and now counts almost 150k plays on Soundcloud. Now Phoebe's ready to share her personal sound and the first taste is "Mine".
"Mine" is upbeat and clever, dancing on the line between electronica and pop and backed by explosive instrumentals and memorable melodies. Phoebe's knack for great hooks and boldly feminist lyrics prove she's ready to bring new life to the pop genre.
If art aims to capture those childlike epiphanies we all had after discovering something new about the world, then the best and most-enduring music comes from somewhere near that place. When a song captures in just three-and-a half minutes, that feeling of awe at everything, then the music—the art—has done its job. It is this "vital" place MUTEMATH needed find again. And they needed to find it on their own. The greatest gift to MUTEMATH might just be that this time out, there is no label, there was no management, no producer. There was no "executive opinion" before the music was fully formed.
"You want to always rediscover the reason you started doing this in the first place," says MUTEMATH's singer and primary songwriter Paul Meany. "This album is the one we've been dying to make all along. We found the album that is right for this band and for this band now."
"We knew we had to self-produce this one," says Darren King, the band's drummer. "This was an album for us that couldn't happen properly unless we were willing to roll up our sleeves and dive into all of the creation and sculpting that comes with bringing an album from its inception to the very end. It was really important for us to give ourselves a chance to find the sounds and songs that represent where we are right now."
"Now" is a word that comes up again and again when speaking with the four members of MUTEMATH. Now, if you ask any one of them, is precisely where they've been reaching for all along.
"I feel it's a rebirth, for sure", says Roy Mitchell-Cárdenas, the band's guitarist, and most-often bassist. "I'm extremely excited and proud of how Vitals came out. It's some of our best songwriting. We're really shooting for a higher level with this record."
But with MUTEMATH, this genuine all-or-nothing approach is so abundant everywhere on this, the band's fourth full-length, that even a newcomer to the band will sense the urgency and the high stakes. You don't even have to take their word for it. You can hear it in every single note of the songs they've made.
Nothing has been particularly easy on the band these past four years since 2011's Odd Soul. They parted ways with their label, they changed management, and replaced a band member. Add to that the marriages, births, deaths, and an eventual panic attack that had Meany hiding in the bathroom of his own home as his wife and newborn daughter slept. Thankfully, that night led to a song instead of a hospital visit.
Meany sings above thick, oceanic synth swells of "Composed" sounding every bit like the undulating undertow he fought off that evening to swim and find the far shore: "I have said to myself in a mirror's company/Who's that panicked stranger on his knees?" He arrives at gratitude and awareness for the thing's he has and pledges, finally, to keep moving forward: "You keep my head composed/You keep my head afloat."
Whether he is addressing his wife and daughter, or the music that has provided him his life's purpose for so many years (or all three) the evidence of triumph is all over Vitals, an album of stadium-sized hooks designed to reach rafters, yet delivered from deep within the smallest caverns of this band's very soul.
"I feel completely drained and completely relieved," Meany says, with Vitals completed and on its way out into the world. "It's an extremely rewarding experience. We don't take this lightly and I don't think we're very flippant with what it means for the people that want to hear this music. We try to deliver our best. We put our all into it. And even though this record takes a chance for us, it stays true to where and why we started".
Everyone in the band agrees that Vitals became an album the day they wrote "Monument." It's a song that rejoices in the present, refusing to wait for something to be gone in order to celebrate it. It is the center that holds this ambitious collection together.
"A monument usually signifies a memorialization for what is no more," Meany explains. "This song is about taking control of the moments we still have, while we still have them together. The threat of an ending is nothing to be afraid of, but something that can be turned into beauty and serve as a vibrant means to keep moving forward."
MUTEMATH's Vitals is the sound of a band reborn, rediscovering just why they must make music by making it for themselves, above and beyond the interference of anyone (or anything) else. A collection of songs that would not exist if it were not for the four members of the band demanding only the best of themselves so that what they deliver to the world isn't just more noise, but something that does nothing less than find a certain harmony in the world and in themselves.
The only thing left is for you to hear it, knowing that you provide the final piece that completes this long labor of struggle and eventual triumph. All art is a gift. Vitals by MUTEMATH is for you, me, everyone. This time out, the band is unafraid, refusing to hide behind unnecessary subtleties and striving for that universal chord that resides in us all. Sometimes it takes a decade. Sometimes it never happens. For MUTEMATH, it happens now.
The 16 year old who just last year went by the name of Ravyn Washington is now known to the world as Ravyn Lenae. "The Beautiful Red Head" Coming from Chicago's southside. You might have heard of her this past year when she dropped her single Greetings produced by Oz which quickly became a household favorite. Gaining the likes from many pioneers in the music industry. She caught the attention of Lyrical an A Zae Production's interest from Lyrical Eyes Management. Previous manager of Tink, Lil Durk an a host of others. Shortly after Ravyn Lenae signed with them.
Her career has taken the world by storm in such a short amount of time. She has dropped 2 visuals an 3 songs in just under 6 months. Songs released being Blossom Dearie produced by Monte Booker along with Mr. Sun produced by him as well. She has performed on numerous shows. Also just headlining the African Fest in Chicago on September 4,2015. She was also just noticed by Live Nation and was placed in Hype Magazine. Her fan base is constantly growing from all over. Which surprises her. She also was just booked in Iowa which will be her first out of town show along with another show in Atlanta in October. Her most recent accomplishment was becoming Verison and WGCI Big Break's Artist. Wgci being a clear channel station has gained her national attention. Not only that she just received a scholarship from her Highschool in Performing Arts. Her latest Ep dropped on August 25th entitled "MoonShoes" It was premiered on Fake Shore Drive and can be downloaded from her soundcloud or My Mixtapez. Her sultry sounds will surprise you.
She is a 16 year old with sounds that make your remember Jill Scott an Erykah Badu with just a twist of an island sound.
Get ready too constantly hear about this amazing young woman.
Since the release of their 2008 debut album, STRFKR have relentlessly toured across the globe, delivering to their fans a guaranteed non-stop dance party.
With three proper albums and another to come in 2016, the band has a wealth of dance party hits at their disposal and their career-spanning live set is a sweat drenched laser soaked affair highlighted by their home made light show.
STRFKR began as a vehicle for Josh Hodges songwriting but quickly transformed into a full-fledged band with members Shawn Glassford and Keil Corcoran.
Indie-pop artist Quinn XCII has emerged as one of 2015's most exciting new artists. Growing up in Detroit, Quinn XCII was raised on the city's Motown musical history, fueling a passion for myriad musical genres from rock to reggae to funk to hip-hop. Three years ago, as a sophomore at Michigan State University, Quinn XCII began to write and record his own music, quickly becoming a college mixtape sensation. Traveling frequently to Ann Arbor to record new material with his childhood friend producer ayokay, Quinn XCII began to craft his own laid-back sound that drew on hip-hop, electronic, and tropical influences. His debut EP Change of Scenery was released in May, garnering wide acclaim and millions of online streams. His first label release "Stung" came out on Atlantic Records / Taste & Tone in early October, and quickly went to #1 on HypeMachine's popular charts. Shortly after in January 2016 his collaboration with ayokay ,"Kings of Summer", soared to #1 on the Spotify Global Viral Chart. With his Sophomore EP "Bloom" set to release in February, Quinn's rising star seems poised to continue to elevate.
Katie Gavin (lead vocals/production), Josette Maskin (lead guitar), and Naomi McPherson (rhythm guitar/production), MUNA is a dark pop girl band based in Los Angeles, CA blending the brooding sensuality of R&B, rhythms of funk, and audacity of synthpop with raw, unbridled lyricism. MUNA is currently accumulating and slowly releasing a stockpile of sonic gems that lend themselves both to the dancefloor and to emo bedroom solitude. They hope you can put them to good use.
Launching his music career from his freshman dorm room, the Los Angeles-based 22-year-old producer/DJ, Justin Jay, has already seen success that extends well beyond his years, but he is surely not resting on any laurels as he further refines his expertise as a true artist. As the youngest member of the dirtybird family, Justin has seen support by the likes of Claude VonStroke, Jamie Jones, Disclosure, Tiga, and George Fitzgerald, among many others, while also being recognized as a "Future Star" by trusted tastemakers, such as Pete Tong, and fans alike. At the heart of his music, Justin Jay manifests his soul, funk, and jazz roots in a nostalgic, yet forward-thinking manner that yields his unmistakable brand of house music, which has won him releases on labels such as dirtybird, Culprit, Southern Fried Records, & Pets Recordings. His productions have also put him in the spotlight on club and festival stages across the globe, from LA's HARD Summer to the dirtybird residency at Sankeys Ibiza, where he held crowds in his grasp, taking fans on a rollercoaster of energy and music ranging from deep house to breakbeat to techno. Justin Jay is set to continue building his career one step at a time, not taking any shortcuts and remaining humble, earning his place as a leader in dance music.
Few DJs have made such a dramatic impact on the underground house and techno scene over the last two years as Hot Creations label owner Lee Foss. Described by DJ Mag as "one of the most talented new forces in modern dance music today" and by fellow future house innovators Art Department as their favourite producer, Lee has quickly catapulted himself into dance music's collective consciousness. Lee and his Hot Natured partner Jamie Jones currently spearhead a whole family of like-minded producers that includes Robert James, Russ Yallop, Richy Ahmed and most recently Danny Daze who are currently re-writing the rulebook of how to make evocative and emotive house music.
Born and raised in Chicago, the birthplace of house, Lee now lives between London and Los Angels. Lee made his name on both sides of the Atlantic playing at clubs like The Standard Rooftop (Lost Angeles), fabric (London), The Marcy Hotel (Brooklyn), Watergate (Berlin), Spybar (Chicago) and DC10 (Ibiza). Lee's rapid rise to prominence has been as much down to his unified but all-encompassing approach to DJing as it has to his pioneering take nu school house and synth-heavy techno, backed up by a string of hit releases on labels like No 19, Culprit, Wolf+Lamb and his own Hot Creations imprint. His unique sound, born out a lifelong love of classic house, 90s hip hop, 80s electro and Detroit techno, combined with fanatical grassroots support from clubbers in both Europe and North America, made him the highest new entrant in Resident Advisor's Top 100 DJs poll last December, coming in at number 36.
While growing up in Chicago, Lee cut his teeth on the clubs and raves of the late 90's, which sparked his interest in house and disco. However, it was a chance visit to Ibiza back in 2001, that changed his whole approach to music that helped steer his musical destiny for the next decade and beyond. It was in Ibiza that summer that he first became friends with Jamie Jones and the pair quickly formed a tight brotherly bond that has recently blossomed into their highly acclaimed Hot Natured partnership. Having spent several years abroad, and heavily inspired by time spent at seminal electro and deep house parties in Ibiza and East London, Lee decided to take all that he'd learnt in Europe and export it back to the USA.
After cutting his teeth in the competitive Chicago dj scene for the better part of a decade, Lee chose to uproot and set up in Los Angeles. Lee decided to work on music full time and soon fell in with Droog who were just setting up Culprit Records which became a platform for his early releases like 'h.e.a.d.s EP' in partnership with Jamie Jones. His bold move to Los Angeles soon started paid off as it helped draw international attention to both his DJing and production work. His real break through came with the release of 'Grinding' on Wolf+Lamb, a track that was picked up and played by DJs right across the spectrum of dance music.
Since then Lee has gone on to release a string of hits on a variety of labels including 'The Edge EP' 'Equilibrium', 'U Got Me' and most recently his 'Starfruit EP', all of which have been independently awarded 'Tune of the Month' in Mixmag at various points over the last year. In addition DJ Magazine voted 'U Got Me' as their number 4 favourite record of 2010, having already featured it in their 'Stone Cold Killers' section earlier in the year.
With this many accolades under his belt in such a short space of time, it would be easy for Lee to rest on his laurels but this couldn't be farther from the case. He's just about to unleash 'Forward Motion' his latest Hot Natured production with Jamie Jones, which was one of the breakout records of Miami this year and is shaping up to be one of the summer's biggest hits. In addition to this he's currently in the studio with Jamie Jones and 'Forward Motion' vocalist Ali Love putting the finishing touches on their forthcoming Hot Natured debut album, which he's producing alongside his own debut artist album due out later this year. With plans to turn Hot Natured into a fully formed live act and tour it globally in 2012, this is already shaping up to be a career-defining year for Lee Foss.
Like many artists Will Clarke's sonic palette comes his experiences and influences from home and afar. The roots of his sound stem from both his home town of Bristol, and his seasonal home in Ibiza, which have forged Will's style; a style that fuses the best of Bristol's bass elements with the upfront house music sensibilities of the white isle.
Having been committed to his studio for many years 2014 saw Will's productions step up a level and he has started gaining the notice his hard work deserves. Having previously released on labels such as Southern Fried and No Brainer among others, Will signed an EP to Worthy's Anabatic Records at the start of 2014. The EP featured a track titled 'Big Booty' that became an underground 'must play' record for many DJ's last summer. It became a regular track for Jamie Jones who opened his BBC Radio 1 'Live from Glastonbury' set with it. Further plays from MK, Seth Troxler, Eats Everything, and further BBC Radio 1Xtra plays from Mista Jam & Hannah Wants made sure that this was a track that had caught the attention of all the right players. With the hype growing 'Big Booty' was then picked up and licensed by Ministry of Sound Australia, who then organized Will a tour of Australia in the fall of 2014.
With the hype growing around Will and 'Big Booty' other labels started to take notice, and it wasn't long before Exploited had signed 'Gunna Give You' which was released in November 2014. Finally to top off a great year, Claude VonStroke then contacted Will and signed 'Badness' to the 'Dirtybird 10 Years' compilation album that dropped in January 2015. Will was taken under the wing of the label and released his first Dirtybird EP 'The Boogie Woogie' in March 2015 drumming up plays on Annie Mac's BBC Radio 1 show, Nemone's BBC Radio 6 show and Shadowchild's Rinse FM show. Further releases are scheduled with the label later in 2015. To add to all of this, Will's remix of Azari & III's 'Reckless (With Your Love)' is set for release on April 20th on Tiga's label Turbo Recordings and later this summer you can expect to see Will's remix of Claude VonStroke's 'Never Forget' released.
Talking of his approach to productions Will says "I make music for clubbers, not DJs. I sample a lot of old school rave tracks from the 90s, with 21st Century production techniques." Then add those little influences from Bristol and Ibiza and you will understand why Will's music holds such a broad appeal and is often supported by the right DJ's.
Will Clarke is a talented, skilled, young producer who is making strides in the dance music business with his own sound. He has an impressive list of quality productions and remixes that is growing month by month and a great track record at his club residencies and guest gigs. You know you can trust him to come up with the goods in the studio and in the club. So if you love a Big Booty… Make some Noise!
BJ The Chicago Kid
Born, raised, and nurtured on the South Side of Chicago in the early 80's, B.J's childhood was a fusion of elements from both the streets and the church. With parents who served as choir directors,and brother/singer Aaron Sledge alongside of him, his passion and gift for creating beautiful music seemed inevitable.
"... thank you for lettin' me express my freshness" - BJ
Balancing out his drummer's skill with a soul-saturated voice and impeccable song writing ability, Bj moved to Los Angeles to further enhance his craft. As fate would have it, his new school-old soul musicianship captured the ears of noteworthy artists such as the Grammy award winning group, Mary Mary who were compelled to give Bj his first stint as a background vocalist. The demand for his unique sound & style led to other industry staples such as Stevie Wonder, Musiq SoulChild, Dave Hollister, Mario, Snoop Dogg, Mary J. Blige , Usher, Kanye West and a host of others.
Having God as his driving force and a hustler-like-character,Bj's successes have positioned him for stardom. Word for word,note for note, fans and new listeners can't help but to gravitate towards Bj's intangibly beautiful sound.
Soul music is back. Press play.
SIR THE BAPTIST
The Preacher's Kid
It is often said religious families birth the worst rebels. This cross-cultured fact has become the creative fingerprint for Sir the Baptist, and the inescapable thought of religion worldwide explains why he is an emerging artist with a universal market. Sir the Baptist, the son of a preacher, is an indie American renaissance artist noted as "one of the chosen ones" by Universal Music. If 2Pac was our first urban Prophet, he's our first glimpse at an urban hymnist with that same ghetto gospel. He is a religion rebel. In the 1950's, Ray Charles was rebuked by the church for bringing gospel music to the secular/pop world with his hit song "I Got a Woman". Sir is the second coming of that twisted faith. "Thank God real performers still exist", says Sean Dale of Power 92.3fm. He's a game-changing fusion of secular and sacred – with a message that is refreshingly progressive, delightfully innovative, and unapologetically necessary for today's socio-political climate. He has hip-hop's aggressiveness with a crooner's charm that paints the provoking imagery of a sinner who juggles desire for salvation and plotted bad habits.
The centuries spent branding religion makes his target easy, limitless… sometimes reminiscent of the world renowned Broadway musical "Book of Mormon" with his church stylistic comedy, while other times referencing the serious and thought provoking fire and brimstone teachings from his upbringings. Jeff Vaughn, of Warner Music Group, says "Sir blurs the line between Saturday night at the club and Sunday morning at church. Simply incredible." Sir's willingness to invoke both humanity's longing for redemption, and its lust for worldly practices is a surprisingly relatable exhibition of the human condition.
Sir the Baptist was born William James Stokes at the "Gateway of Jazz Heaven" also known as Chicago's historically artistic Bronzeville neighborhood, to Christian Apologist Dr. James Benton and Mission Ambassador Patricia Ann. The mystique of Sir's artistry is connected to the memories of his father's sermons and Chicago crime and drug infested ghettos. Dr. Benton had the great fortune of not only seeing the foundation of Bronzeville's rich musical community, but also was a part of its economic engine that pushed Bronzeville to keep giving back to its community, even after his death. His neighbors' residue was his inspiration. Ella Fitzgerald played at Bronzeville's Sunset Café, which today is where Ace Hardware resides. Lena Horne, Duke Ellington and Josephine Baker, Louis Armstrong and Nat King Cole along with countless others also were regular performers at Sunset Cafe. In addition, their Bronzeville homes have been deemed historical landmarks. Being a part of the same community as those greats before him made Sir the Baptist the genius he is today. Brandra Ringo, of Universal Music, proclaims "Amen! One of the chosen has arrived. Save music!" .
The world, although it may not always seem so, is ready for new points of view. "This is It", says Rex Rideout of Motown Records. Tunji Bungalow, of Interscope, simply states "Thank you for making good music". When asked what genre his music is, Sir says "It's Art Tatum boogie woogin' on an old upright piano in a small tavern with a choir and Andre 3000 or Pac at the mic," or simply put "church pub rap". Although this isn't remotely innovative, he has recorded with towering Steinway Composer Lee Musiker; who produced for the likes of Tony Bennett and Frank Sinatra Jr. This type of diversity has him leaving the studio with a Sinatra to recording "Familiar" with Chance the Rapper on Surf alongside King Louie and Quavo. From finales with Joffery Ballet to taking that same 8-piece horn section to RAGE venues with Travis Scott at Chicago's renowned venue "The Metro", Sir the Baptist a new voice in music to be reckoned with. From Pitchfork features for his trap production with his collective StokFord, to composing the theme for Dysfunctional Friends, a major motion picture, now featured on Redbox, Netflix, and international film outlets Sir the Baptist is an accomplished and versatile artist. An extended version of the film's theme also made it to Sir the Baptist's "PK" album. Rated as "one of the most diverse records of the year, welcome to church" by Grammy Governor and multi-platinum artists representative Daryl Jones.
Hailing from Philadelphia, 23 year old Tyler Minford AKA Louis Futon has risen to prominence over the course of only two years. Heavily influenced by Hip-Hop, Louis Futon is the only producer ever to create official remixes for Logic, Mos Def, G-Eazy, Future, Wiz Khalifa, and more.
Regardless of his influences, Louis rebelliously declares, "Genres don't define me." From creating Trap and Future Bass rooted originals to changing the very DNA of some of Hip-Hop's biggest hits, Louis is able to defy boundaries. Typically consisting of bright melodies and rhythmic electro-tones carried by Hip-Hop drums, Louis Futon has keenly carved out a genre that ironically adheres to none
It's impossible not to become infatuated with disco-pop princess Gavin Turek. The LA Native is always clad in a hand-made 70s fringe dress (she has one in every color) and armed with the best dance moves you've ever seen. It's easy to draw comparisons anywhere from Tina Turner to Beyoncé but really, Gavin is her own force to be reckoned with. Even the most apathetic concert goer leaves her shows revitalized and obsessed. Mayer Hawthorne was the first to take notice, not only inviting Gavin to open his sold out tours early on but also bringing her in as a guest vocalist for his latest project Tuxedo. (You may recognize her as the golden disco goddess gracing the stage with them this past year, everywhere from the legendary Hollywood Bowl to Japan).
2015 was an an unveiling of sorts for Gavin. After releasing her two disco tinged singles via iheartcomix/1nfity, she was named Spin named her Top Artist to Watch and her single "Don't Fight It" as one of the best tracks of 2015. Late last summer, she released a mini album "You're Invited," a collection of sexy electronic tunes with longtime collaborator and electro genius TOKiMONSTA. The girl power duo premiered the new music via a short series of sold out shows around the country and the album quickly became a favorite for tastemakers like NPR, The Fader, KCRW, and Beats1. This spring, Gavin will take her signature moves and voice across the West Coast to reveal new music and a new live show that is not to be missed.
GA $122.12 - VIP $199.99
SATURDAY: MGMT, LOCAL NATIVES, MISTERWIVES, MIIKE SNOW, MARIAN HILL, RAURY, SANGO, SABA, PHOEBE RYAN, RAVYN LENAE, QUINN XCII MIXMAG TENT: TCHAMI, THE MAGICIAN, SAM FELDT, JUSTIN JAY, WILL CLARKE, FANCY FUX, GROOVE ANIMAL
SUNDAY: WALK THE MOON, FLYING LOTUS, CUT COPY, TODD TERJE & THE OLSENS, THUNDERCAT, KLINGANDE, MUTEMATH, STRFKR, MUNA, BJ THE CHICAGO KID, SIR THE BAPTIST, LOUIS FUTON, GAVIN TUREK MIXMAG TENT: GREEN VELVET, JUSTIN MARTIN, MK, LEE FOSS, LATMUN, DJ HEATHER, DAJAE, STEVE GERARD