November 9th & 10th
Brooklyn Electronic Music Festival, Gold Panda, Nicolas Jaar
Jackmaster, KINGDOM, NGUZUNGUZU, INPUT | Nick Hook @ Output, Omar S, Pearson Sound, SHLOHMO, Baths, Photek, Toddla T, Onra, Brenmar, Benji B, Nadastrom, XXYYXX, Salva, Hiawatha, Drop The Lime, Sabo, Blass, Groundisalva, Jubilee, Fantasy Thrilla, Mori$$, Mess Kid, Uproot Andy, Geko Jones, Lazy Brow
Various locations throughout Williamsburg
This event is 21 and over
Brooklyn Electronic Music Festival
Hailing from Chelmsford in Essex, but newly located to Hamburg, Germany, Gold Panda started writing beats and collaborating a few years ago, working with the likes of Infinite Livez and Shuttle (both Ninja Tune) as well as creating his own material.
Having spent downtime behind the counters of various establishments he consolidated the rest of his hours creating archives of electronic music; each track different from the other, incorporating multitudes of styles and disparate influences and obscure samples and base material. Having sated the need to create these volumes of material, he poked his head into the world by way of a collection of instantaneously raved-about remixes, that quickly found the interested of various labels, blogs and taste makers, leading to requests for him to re-edit the likes of Little Boots, Telepathe, Bloc Party, Simian Mobile Disco, Health and The Field.
In the meantime, Gold Panda began culling his back-archive of material for a series of low key releases: the first was 'Miyamae', a 12" on Various, followed by the 'Quitters Raga' 7" on Make Mine, and the third, 'Before' was released digitally and on 250 limited CDs via Puregroove. Now having essentially cleared the decks.
In October 2010, Gold Panda released his debut album Lucky Shiner. A culmination of years of work spent refining his sui generis sound, the record was released to huge critical acclaim. An artist at ease traversing genre boundaries in search of new auditory frontiers – whether mixing dissected Hip Hop beats or the pulsating flourishes of minimal Techno – this apropos release will cement the foundations laid by previous output and visions whilst expanding his canon to unparalleled limits. As electronic music gradually arcs into a period of unprecedented successes, Lucky Shiner pits GP firmly at the forefront of a new wave of artists unafraid to challenge preconceptions of what music can be.
Mixed by Simian Mobile Disco's sonic veteran James Shaw and recorded in two session spent in the shady retreat of the English countryside – at his Aunt and Uncle's Essex home – after, as GP explains "they went away over Christmas for two weeks and asked me to look after their dog. I'd walk Daisy in the morning and then make tunes till she pestered me to take her out again, I'd bounce down what I'd done, stick my headphones on and walk her; get ideas and repeat the process." The end result is an album as influenced by family as it is by the quickly flashing topography that stretches out of train windows. GP's mesmerising attention to sound and detail means each beat resonates as past, reflects the present and looks forwards to the potential futures of the individual; listener and artist alike.
Having been nominated as one of the BBC's sound of 2010 contenders, he spent the year playing shows around the world with Caribou, Health, SMD and Autolux, finding himself on magazine covers in the UK, US, Japan and Europe. 2011 has seen further shows in Australia, US and Europe. The rest of this summer will see Gold Panda playing at the likes of Glastonbury (UK), Roskilde (BE), Latitude (UK), Sasquatch (US), Melt (DE) and Primavera (SP).
Lucky Shiner's the piece that completes the picture. Originating in crystal clear vision, the nuance and frenetic cadence of life and the mind's constant disequilibrium means its final realisation stands as a product that'll provoke thought as much as enjoyment; pathos as much as praise. "Lots of factors affected the way it came together." Gold Panda explains, "touring, mixing, moving house and splitting with a girlfriend. Family, friends and lovers related, places I've never been".
Decamping to an idyllic retreat also means the album bears trademarks of a pastorally hued Englishness, whist's also coloured by GP's two years spent studying Japanese culture, language and history at the School of Oriental and Asian studies in Japan. 'You', 'Parents' (featuring a field recording of GP helping his grandma push a wheelbarrow in the garden ), 'Marriage'. Lucky Shiner overflows with life. Disengaging with the need for vocal, GP intimates, makes intimate idea's immeasurably expressive and does so whilst always retaining an unfettered ear for melody. "I didn't want to write 'beats'" he says about the album, "I didn't want bangers. I wanted songs with structure."
With, as he say's, "two tracks made from a broken Yamaha organ bought for 99p off Ebay. A lot of the drum sounds just vinyl crackle turned really loud", and one featuring almost solely guitar, "I don't play guitar", the album's a concrete introduction to an artist willing to slip mercury like through constraints of genre, form and concept. And the title's origins? "Lucky Shiner is my grandmothers name. Sometimes I think she knows exactly how I feel without me even mentioning anything to her." Deeply personal then, Gold Panda's at odds to express that unequivocally on the album. Instead, he say's it "would be nice if people could hear the tracks and attach their own significance to them".
Over forty tracks eventually extricated into eleven, cohesion found through the unified fragments that "went together. I wanted a beginning, middle and end" – feelings eventually became sounds, visions graduated into awareness. Do what the artist wants and attach your own significance, if meaning is in nature indeterminate, personal experience can do ought but help.
Lucky Shiner went on to be one of the most lauded records of 2010, culminating in the winning of the Guardian newspaper's prestigious First Album Award – following on from the inaugural claiming of that trophy by the XX. New material is set to follow in 2011.
Nico has spent his youth wandering. The Chilean American artist was born in New York, but raised between Santiago and SoHo. At seventeen, he began releasing music on the Brooklyn imprint Wolf + Lamb, and was catapulted into the Atlantic dance music scene.
But Nico always wanted to slow down and grow roots as an artist. Instead of finding a new creative home, he decided to make his own. On his nineteenth birthday, Nico founded Clown & Sunset. The label extended his collaboration with Soul and Nikita, and became an outlet for his most honest work.
Over the last two years, Nico has composed for the Sunset of a Clown series, Russian Dolls, WOUH and Inès. He co-founded Clown & Sunset Aesthetics (CSA), a production company to house his record label among other artistic endeavors, meanwhile also completing his first album, Space is Only Noise. Nico then finally returned home to New York City where he will reveal his latest work, and continue choreographing Clown & Sunset and CSA.
Congratulations to Jackmaster who won DJ Magazine’s “Best breakthrough DJ award” 2010.
Fade to Mind label founder, LA-based Kingdom, is known for bringing an extra dose of sultry to his genre-blending tracks. We love Kingdom's vibe, from his cutting remixes to his thumping productions, he's always welcome to do it up with us!
Daniel Pineda and Asma Maroof, a k a Nguzunguzu. The group, which takes its name from a traditional Solomon Island figurehead used to protect against supernatural forces during canoe trips, offers a unique blend of R&B, house, cumbia and tribal music. They are known for improvising with, well, really weird sounds achieved through electronic instruments and a room full of synthesizers, as well as for an energy that Hanratty says is “incredible.”
INPUT | Nick Hook @ Output
Heavily responsible for the grimy techno-soul of NYC’s Cubic Zirconia and the greasy bass of Drop The Lime’s live show, DJ and producer Nick Hook has been “twisting knobs” (self-description) for a minute now. He is no stranger to the dark underbelly of the late-night clubs, having played in some of the finest temples of boom the world over. His unique strain of acid-fried basslines and vintage drum machines have kept him in demand amongst a smorgasbord of musicians, including Men Women & Children and Head Automatica and he is currently working with El-P of Company Flow,L-Vis 1990 of Night Slugs and is the engineer behind everyone’s favorite Azaelia Banks EP. He also has red hair, which is a plus in our books. Look for is upcoming solo EP with Scion dropping in October!
Detroit’s Omar-S (Alex Omar Smith; aka DJ Snotburger, DJ Snotinburg) emerged in 2003 as an underground techno/house maverick, releasing rigidly funky productions, made with analog gear, on his FXHE label. Though his 12″ releases were pressed in small quantities with handwritten labels (and with run-out etchings like “Techno music is my heritage — techno is not dead DAMN IT!” and “Thanks toRick Wilhite — I know I get on your nerves”), it wasn’t long before his releases reached specialty shops in the U.K. and Germany. Though he was building a cult following and was often placed by writers within the same context as fellow Detroit natives Moodymann and Theo Parrish, it wasn’t until 2009 that he truly strayed from his low-profile, self-sufficient mode. Parrish’s Sound Signature label released his “Blown Valvetrane” 12″, and shortly after that, Smith provided the 45th mix for London club Fabric’s self-named mix series. The majority of Smith’s output was released on vinyl, but he also has full-length CD titles to his credit, including 2004′s Collaborating (billed as Oasis, co-produced by Smith and the possibly nonexistent Shadow Ray) and 2005′s Just Ask the Lonely. The latter was reissued on FXHE in 2009.
Following a momentous year of releases in 2010 and having concentrated his output under the Pearson Sound moniker, David Kennedy’s following 12 months have been just as busy; but for different reasons.
Releasing a critically acclaimed FABRICLIVE compilation in March he’s since remixed and opened for one of music’s most respected acts, Radiohead, in New York. Having travelled across Europe on the first Hessle Audio tour of the continent he’s also DJd on the London Eye, lectured at Red Bull Music Academy in Madrid and he’s constantly finding himself in new and interesting positions; whether that’s following Moodymann on a Sunday afternoon in a London basement or pre-empting Rusko at an open air festival.
Still very much a key component in the running of the Hessle Audio label, whose ‘116 & Rising’ compilation managed to emphatically collate their history whilst simultaneously looking to the future and their imminent 20th release, Kennedy’s output as Ramadanman may have ceased, but his subsequent work as Pearson Sound and as Chicago house ‘legend’ Maurice Donovan commands much the same level of gravitas with long sold out white label releases and a 12” on Night Slugs.
Musically, he’s looking forward, refusing to sit still or be easily categorized. And with his latest productions feeding more from the classic notions of 4×4 dancefloor music and his sets retaining every inch of precision and his selection spreading out further as his knowledge of music grows he has established himself as one of the UK’s most in demand artists
L.A. native Henry Laufer, the 21-year-old producer better known as Shlohmo, is a lo-fi beat junkie and field-recording enthusiast, whose crackling, low-BPM compositions update Boards of Canada's filmstrip-soundtrack wooziness.
An LA native, Laufer grew up listening to "stuff like DJ Shadow, Amon Tobin, M83 stuff with some sort of cinematic vision." He started making beats when he was 14, but "didn't really do it with any sort of purpose until I was like 17 or 18." That was also around the time he and his friends, already fans of Flying Lotus, discovered Low End Theory. Shlohmo has rocketed onto our radar screen in recent months with his lo-fi, psychedelic mix of abstract hip-hop, bouncy synth-funk, breezy trip-hop, and what sounds like lost Mo' Wax gems from an alternate future.
His tracks swarm from dirty textures, strange sounds and obscured samples. It's not hip-hop what you hear, but the echoes are clearly there.
He also part-runs the WEDIDIT Collective.
His Shlo-fi EP is available for free download at Error Broadcast label website.
In 2011, Laufer released a full length LP called "Bad Vibes", which was drenched in the obscure sounds as his first EP. However, it was evident that Laufer refined his sound and created a more atmospheric environment for his listeners. The tracks have a more definitive beat and rhythm as well as barely audible sounds which become the center of the track itself. Most reviews of "Bad Vibes" have raved about how this young, talented DJ is really making a mark in this genre whilst finding his own sound simultaneously.
For mercurial L.A. music-maker Will Wiesenfeld, Baths has been a long time coming. The 21-year-old has spent the better part of his days living amidst "pleasant" and "unremarkable" in the suburbs of the San Fernando Valley, so perhaps it's due to a general lack of local inspiration that Wiesenfeld's own work has never fit into a prefab box of its own. Over the last six years, under the handle of [Post-Foetus], Wiesenfeld has gainfully explored the intersections and outer reaches of both electronic and acoustic music. With Baths, his eclecticism finds its greatest focus yet, in a hail of lush melodies, ghostly choirs, playful instrumentation and stuttering beats.
Wiesenfeld's trip began at age 4, when he willed his parents into enrolling him in piano lessons. (The family upright, purchased that same year, sits in his bedroom today.) By 13, he'd begun recording his own music using Digital Performer and a MIDI keyboard - a brief, ill-advised foray into Eurobeat that was set right when Wiesenfeld heard Bjork for the first time. Mind blown, he quickly boned up on viola, contrabass, and guitar and took the name [Post-Foetus], stringing together countless live configurations to execute his increasingly inimitable compositions. [Post-Foetus]' fourth album - a Dntel-ish, song-based melange dubbed The Fabric - was released on Mu-Nest in January.
Though Baths represents the next evolution in Wiesenfeld's oeuvre - which also includes the excellent ambient project Geotic - it came together under nigh-opposite circumstances. Last September, [Post-Foetus] was invited by L.A. electronicist Daedelus to share a bill with a handful of local Beat Music luminaries. Witnessing a burgeoning movement firsthand sparked something in Wiesenfeld that the 'burbs never could. In a fit of inspiration, Baths was born, though not into a preexisting scene. As is to be expected, this music goes its own way: fueled by spontaneity, tempered by Wiesenfeld's background in classic songwriting. Those two influences collide in glorious ways on Cerulean, Baths' stunning debut.
Photek stands mercilessly on the edge. A sonic scientist, pushing both his sounds and fans’ expectations to the outermost limits since 1994, he floods the footnotes of electronica like MP3s clutter up your hard drive.
He was there when Goldie declared it drum & bass but to this day he still prefers the term jungle. He chats regularly with James Lavelle, wondering what would’ve become if his remixes of Attica Blues had led to a more affirmed relationship with the agenda setting Mo Wax. His major label link with Virgin is the blueprint of how things once were; endless time and budget-free worries led to ‘Modus Operandi’. A conceptual experiment of time and emotive atmospherics, it pushed the drum & bass template to the edge. Previously misinterpreted as a lone paranoid soldier, a conspiracy theorist and a man from Ipswich, Rupert Photek Parkes is none of the above. Each tale you’ll be regaled with elsewhere online is based on a spec of truth that’s exploded beyond proportion. May the real Photek please stand up…
2011 will see him drop a series of sounds that reflect the truest perception of him once and for all. Driven by his years of studio discipline; sharpened by an acute awareness that he’ll be received by the heads that know him well and ears that don’t know him at all, Photek’s new sound carries all the barbed motifs and icy atmospherics you’ll know from seminal cuts such as ‘Seven Samurai’ and ‘Hidden Camera’ all tied up tight with his own take on today’s contemporary genre-breaking melting pot.
Ardent displays of his eclectic method were there from the very beginning. The seeds had been sewn back in the dancefloor’s most formative days, attending early raves, pretty much in his school uniform, and hearing DJs like Jumping Jack Frost fire their way through everything from Derrick May to Phil Collins. These influences are clear from his first EP on Metalheadz with the drum & bass meets downtempo ‘Into The 90s’… ‘Yendi’, the flipside to the ‘Modus Operandi’ 12″, was a prototype for dubstep while ‘Mine To Give’, a sassy slab of sexed up house coated in Robert Owens’ iconic soul, set the foundations for the genreless battlefields well trodden by the likes of Commix and Mount Kimbie.
A list of his big screen scores should follow, but it won’t. Photek carelessly yarns his years in LA as ‘doing this and that’, but it wasn’t. Hived in the western world’s most creative hub, his time since 2007′s ‘Form & Function Volume 2′ has been a creative whirlwind. Collaborations with Nine Inch Nails and troubled troubadour Ray LaMontagne; sell out TekDUZ shows with 12th Planet and DJ Craze; the evening commute down Sunset Boulevard with Fab & Groove on Sirius reminding him of the UK bass culture he helped develop… Photek stands undeniably on the edge of undiluted inspiration.
Destination tomorrow: Photek’s decorated past and diligent work ethic leads us here. The new music you’ll hear this year is yet another chapter in a life spent overdosing on sonic nuances and boundary testing. An exultant voyage in a life that’s shaped the very foundations of the sounds we love, these are sounds that he’s teased at since the techno tickles of his 2000 album ‘Solaris’ Take his collaboration with Switch, ‘Avalanche’; a low-swung modulator, its half-step march belies the crafty subversion of a well known rave sample. Take ’101′; its icy peripheries suggest a Photek we’ve known since time while kidnapping the principals of classic electro and booting them effortlessly into the 23rd century. Take ‘This City’; a lolloping load of filters and reverse athletics, its somnambulant sounds make it a literal house dream.
2011 has already seen Photek’s new material remixed by the brightest young stars of dance music – Boddika, Falty DL, Addison Groove and Breach to name a few. With international support from tastemakers such as Benji B, Gilles Peterson, Skream, Annie Mac, Zane Lowe and more for February’s ‘Avalanche EP’, you can be sure that whatever sound Photek drops on his next EP, ‘Aviator’, it won’t fail to to get the world’s attention. A busy summer of live shows also awaits Photek, including the legendary Glastonbury and Glade festivals and London’s Lovebox.
In 2007 Toddla T (aka Tom Bell) was working in a shoe shop in his hometown of Sheffield, then just 19 and living at home with his parents, he DJ’ed at weekends and was producing beats and tracks as Small Arms Fiya.
Five years on and Toddla T has a weekly Radio 1 show, (allowing him to explore the depths of his influences and beyond,) is making the finishing touches to his second album to be released on the legendary Ninja Tune label, (an edit based release of the critically received ‘Watch Me Dance’ LP from 2011,) and has just completed a sold out tour with his new ‘live’ project ‘The Toddla T Sound,’ supporting Major Lazer. As a show The Toddla T Sound allows Toddla to bridge the gap between his two albums ‘Skanky Skanky,’ and ‘Watch Me Dance,’ via influential tracks and straight up classics with guest vocalists including Shola Ama, Serocee and host MC DRS live on stage.
As a DJ he has toured the globe, has a slew of remixes under his belt, (Hot Chip, Gyptian, Gorillaz, Major Lazer for starters) is a star of his own Toddla TV channel online and has worked in studios from Kingston Jamaica to Kingston upon Hull. Not to mention the recent launch of his Girls Music Label which, after only 3 releases has already featured productions by British dance music heroes Sticky
Onra (Arnaud Bernard) is a music producer from Paris, France. Mostly from a Hip-Hop background, his inspirations vary from genres such as Soul, Funk, Jazz, Reggae, Boogie, Modern Soul, RnB, Dub, World, Prog Rock, to name a few.
He first appeared on the collab-album Tribute in 2006 with French producer and friend, Quetzal, a Hip-Hop tribute to Soul music which was played several times by Gilles Peterson, Benji B and received critical praise on Okayplayer.com.
At the same time, he started collaborating with Byron The Aquarius, an American keyboard player from Alabama. Together they released an album under the name of The Big Payback in 2007, on japanese label Circulations. A project full of different influences such as futuristic hip-hop, nu-soul and broken beat. They also appeared on highly praised compilations such as Beat Dimensions and New Worlds.
In 2006, year of his first trip to Vietnam, the land of his grand-parents, he managed to bring back some Chinese and Vietnamese vinyls out of which he created a hip-hop instrumental album called Chinoiseries. The stand-out track The Anthem has been included on various compilations, and also covered for TV ads.
He has been selected to attend the prestigious Red Bull Music Academy in 2008, and played at the Sonar Festival the next summer.
His project called 1.0.8, made out of Bollywood samples, has got the Internet buzzing over once again in 2009, and had been elected as album of the week by many different shops across Europe.
Brooklyn by way of Chicago based DJ and producer, Brenmar, represents a strange musical paradox. Somehow defying the odds, he marries the artificial gloss of commercial R'n'B with the urban grittiness of underground styles like Chicago footwork and UK bass. His releases on the Discobelle, Grizzly, and Enchufada labels have taken him to both coasts of the U.S., Canada Japan, and the EU – frenzying crowds with his up-tempo, neon-drenched tunes. Brenmar's more 'unofficial' online releases have also been gobbled up by the taste-making blogs and DJs of the world. His recipe for success? Take a pinch of Mannie Fresh snares, a handful of DJ Rashad toms, a dose of basslines from the UK, a generous portion of Hot 97 vocalists, poach it all in a synthesizer broth, and garnish with some Timbaland sheen. You're getting close.
Benji B is one of the UK’s most respected DJs. Renowned worldwide for his radio shows and club sets alike, he’s amassed a fanbase who have come to see him as a leader in the future and soulful music movement, mixing the genres of hip hop, house, soul, funk, dubstep, and more, seamlessly taking his audience from one genre to the next.
For the past eight years he’s being doing his own show on BBC 1
Xtra playing the latest and greatest music from dubstep and hiphop to house and soul and everything in between, while inviting some of the very best artists to the show for interviews and exclusive mixes ranging from Juan Atkins to J Rocc and Dorian Concept to Kode 9.
When 1Xtra launched in 2002 he was asked to present a show on Thursday nights. It soon became essential listening for music fans around the globe. Recently Benji made the move to Sundays and has recently been given an extra hour and will now broadcast from 10 pm until 1 am every Sunday night.
In October 2010, he made the move over to BBC Radio 1, where you can now catch him every Wednesday night / Thursday morning 2-4am.
As a DJ it is easier to count the countries Benji hasn’t DJ’ed in than the ones he has. Every weekend he is in a different part of the world and is one of the UK’s most international specialist DJs, playing regularly in the USA, Japan, the Middle East, Asia and Australia as well as all over Europe.
Alongside his weekly BBC show on Radio 1 Benji has been running his club night Deviation Sessions in the East London’s Gramaphone for almost two years. Each month he installs a bespoke soundsystem on which have played the likes of Flying Lotus, J Davey, Martyn and Skream to Moodymann, Dam-Funk and many more. It is now widely regarded as one of the very best club nights in London.
When the beat drops at a Nadastrom show, you better have your hands up. Dave Nada is known to stage dive while his DJ partner Matt Nordstrom squeezes the duo's most riotous beats through the speakers. It's a reminder Nadastrom aren't just pushing 21st century dance music toward the edge – they're jumping off it.
The D.C.-born, L.A.-based duo of DJ-producers come from different backgrounds, but share a ravenous appetite for extremes. As the prime architects of Moombahton – a sound Nada invented on the fly at a basement party by slowing Dutch house music down to the tempo of reggaeton – the duo have been praised in the pages of Spin and Rolling Stone, pumped on the airwaves of BBC Radio 1 and NPR, and revered at nightclubs and festivals across the planet.
Nada was born in Maryland, a first generation Ecuadorian-American surrounded by five brothers and the sounds of cumbia, Ecuadorian folk, salsa, merengue and reggaeton. As a teen, he gravitated toward Washington's legendary hardcore punk scene, playing in bands while learning to DJ on college radio. A move to Baltimore landed Nada in the second surge of Baltimore club music, where he DJed alongside club icons K-Swift, Rod Lee and DJ Technics, while producing acclaimed club tracks of his own.
Nordstrom grew up in Virginia on the other side of the Washington beltway where skateboarding provided a contact point with punk, metal and hip-hop. In the late '90s, he swapped the skateboard for turntables and switched his college major from psychology to audio engineering. Soon, Nordstrom was the resident engineer for esteemed D.C. house heroes Deep Dish and piloting recording sessions with the likes of Stevie Nicks and P. Diddy, even scoring a Grammy nod along the way.
When Nada and Nordstrom came together in 2007, the chemistry was instant and the music was colossal. The group signed to Switch's Dubsided label where their debut debut EP, "Pussy," immediately topped the charts on Beatport. Since then, Nadastrom have produced tracks for a slew of artists, including Kid Sister, and have done remixes for Kid Cudi, Benny Benassi, Christina Aguilera, Waka Flocka Flame, the Death Set and Alex Clare.
In 2010, the duo relocated from Washington to Los Angeles and hit the road, performing at the biggest festivals in dance music, including Australia's Creamfields festival with Deadmau5, the Disco Biscuits' Camp Bisco festival, Bass Island with Bassnectar, the Mad Decent Block Party with Major Lazer and the HARD Festival in Los Angeles with Ducksauce, Chromeo, BoysNoize and Odd Future. This fall, Nadastrom joins Skrillex and 12th Planet for more than 50 nights on the hotly anticipated Mothership Tour.
Meantime, Moombahton has become a movement of its own, with Nadastrom serving as the genre's leading ambassadors. Diplo's Mad Decent label dropped the acclaimed compilation "Dave Nada presents Blow Your Head Vol. 2: Moombahton" in May and Scion released Nadastrom's Moombahton EP "El Baile Diabluma" this fall.
"There are never any rules," says Nada of the duo's approach. "And Moombahton helped us realize that even more."
XXYYXX is the name of Orlando, FL's 16 year old producer, Marcel Everett. Marcel works out of his bedroom creating harmonious music that provokes emotion and transmits vivid images of peace and still sadness. His music has been featured on XLR8R, The Needle Drop, Earmilk, Indie Shuffle, BIRP and many more. His full-length releases are available for digital download on Relief in Abstract Records.
"Paul Salva is a funky motherf-cker," says The FADER. Beyond those who already know this, the rest of the electronic music world is catching wind of the 29 year old producer, DJ, promoter and label boss. Already heralded by the Numbers, Ernest Endeavors and LuckyMe crews in the UK, the Low End Theory residents in LA and his own Frite Nite label/crew in SF, Salva is primed as he preps the release of his debut album, Complex Housing for the Friends of Friends (FoF Music) label.
Growing up in Chicago in the 80's, Salva cites early inspiration in all sorts of of electronic and sampled-based music ranging from electro, juke, analog house, ghetto house, underground hip hop and bass productions. With a strong foot in all of these idioms, Salva creates a future-leaning style of electronic dance music that is all his own. Shimmering synthesizers collide with funky vintage drum programming, heavy bass drops and rapid arpeggios to create an album that remain both listenable and danceable.
As Egyptrixx, David Psutka crafts warped UK funky for Night Slugs. In Hiawatha, his new collaboration with Ian McGettigan (Thrush Hermit, Camouflage Nights), the synthetic sheen remains, but the mood is decidedly different.
Hiawatha’s debut Language will be released on September 25 through Last Gang Records. Psutka describes Language as “a dichotomous record — an exploration of pessimism and optimism; success and failure; concussion and tranquility. This album is a friendly nod to every empty promise of a happy ending.” Judging by ‘Caring Less,’ we wouldn’t expect anything different.
Drop The Lime
The world knows Luca Venezia as a globetrotting DJ/producer and the founder of Brooklyn, New York's Trouble & Bass label. As Drop the Lime, he's been fearlessly casting spells over clubs and festivals around the world for years, as well as remixing the likes of Major Lazer, Robyn and Moby and producing for artists like, T. Mills, Spankrock and Bosco Del Rey. Venezia's name is synonymous with dance music in New York – born and bred in Manhattan, the glittering, grimy pulse of the city is the main inspiration behind DTL's now-infamous heavy bass sound.
Our protagonist is no stranger to clubland, but his new album Enter the Night reveals an obsession with rockabilly that's been burning in Venezia's heart since the age of seven. As influenced by Richie Valens as Richie Hawtin, the record finds Venezia marrying his blues guitar licks and unmistakably sultry croon to the sheer dance music wizardry that has become his trademark.
Mention the name Sabo to anyone familiar with the tropical end of EDM and the response will be unanimous: deep, unquestioning respect, tinged with a healthy measure of awe. For the past 15 years, the globetrotting DJ and producer, now based in Los Angeles after moving from his native New York, has set the benchmark for his peers, thanks to his unmistakable signature style: Funky music to make you feel good, as he describes it – an irresistible, resonant, Balearic fusion that draws upon house, tropical bass, latin, Brazilian, afrobeat, disco, reggae, cumbia, dub, Miami bass, hip hop, funk and soul. In a glowsticks era when the word uplifting has lost much of its meaning, Sabos productions, many released via his own Sol*Selectas label, are every bit uplifting as they are finely crafted and timeless. Its led him to performing alongside the likes of Sting, Erykah Badu, Chromeo, Brazilian Girls, and Aloe Blacc, while publications such as Rolling Stone, Spin, Mixmag and The Fader, through to tastemaker sites like XLR8R, Generation Bass and Highsnobiety have all queued up to acknowledge his talents.
It has also led him to become a pivotal part of the fast-growing moombahton scene, with the sounds creator, Dave Nada, openly crediting Sabos experiments with traditional latin cumbia and modern beats for Bersa Discos as a key influence on his Dutch house-reggaeton derived sound. Not only was he a major factor in its inception, Sabo remains one of the biggest influences on its ascent. Hes responsible behind many of the genres key tracks, hes a driving force behind the already legendary Moombahton Massive parties at Washington DCs U Street Music Hall and LAs Vibrate monthly, and as the compiler of the seminal Moombahton Massive EPs, has set the tone for a legion of producers.
Groundislava (a.k.a. Jasper Patterson) may hail from Los Angeles and hold a membership in Shlohmo’s Wedidit crew, but it’s hard to argue that the young beatmaker hasn’t carved out a sound all his own. Over the past few years, he’s dropped a steady series of releases, most recently this summer’s TV Dream EP. He pulls heavily from his own catalog, unearthing a few previously unreleased gems in the process, but he also seems to enjoy the work being created by his Friends of Friends labelmates. It’s a relaxed mix, one isn’t scared to stray from the dancefloor but never ventures into absolute abstraction. Much like Groundislava’s music, the podcast is hard to neatly pin down—perhaps that’s what makes it such an interesting listen.
Though now splitting her time between Miami and Brooklyn, XLR8R’s “artist to watch” Jubilee will always be Brooklyn’s bass sweetheart. Known for her rambunctious combination of upfront bass music, UK house, and tropical flavors, she has become a surefire remedy for ailing dancefloors around the globe.
Co-opting her name from the X-Men character who shot fireworks out of her hands, Jubilee works similar magic when she steps into the DJ booth. But she’s also simply Jess, the one-time South Florida raver who grew up obsessively listening to Miami bass on the radio and dancing the night away at underground breaks parties. After making the move to NYC, she quickly infiltrated the DJ circuit and began turning heads with her knowledge of all things bass.
It’s the sweet mix of underground bass and tropical vibes that brings Jubilee from clubs and warehouse parties to the comfort of your own home. Her radio show Fireworks, on both Brooklyn Radio and Electric Soundstage (iHeartRadio’s new electronic station), continuously features fellow global producers such as Sinden, Bok Bok, Mike Q, and Star Eyes. Prior to Fireworks, she has DJed on East Village Radio and put together well received guest mixes for “The Mix Up” on Australia’s Triple J Radio and XLR8R Magazine’s esteemed podcast series.
Fantasy Thrilla is a newcomer to the bass music scene. A New Yorker by way of New Jersey, his influences range from hip hop to dancehall to UK hardcore styles, with a strong house backbone. Expect lots of regional club sounds, tropical rhythms and big grimey bass. His tracks have been featured in Cluster Mag and on the Mad Decent blog, as well as in mixes for Dis Magazine and Hipsters Don’t Dance.
As the Lex Luger-style trap-rap drum template becomes ubiquitous to the point of, well, just seeming unimaginative at times, there’s more opportunity than ever for artists to take that palette – huge 808 kick drums and sharp, rolling snares and hi-hats, usually accompanied by sort kind of ominous rising synth – and flip it in interesting, unique new ways. Morri$ seems to be someone doing just that.
Born in Riga, Latvia. Moved to Detroit, MI in 93′ and now a Brooklyn resident consistently turning out dancefloors.
Uproot Andy (Bersa Discos), along with Geko Jones, is the mastermind behind the wildly popular Que Bajo!? Party. He is the leader in tropical bass music, with releases in ZZK Records, Bersa Discos and more. His mezcla of Caribbean, African and Latin American sounds make for cutting-edge tracks in mashup styles such as cumbia nueva, tropical bass, African House and dancehall, which destroy dance-floors in their wake.
Geko Jones is a Brooklyn-based Puerto-lombian DJ/Producer and vibe springer. He is a founding member of both the New York Tropical and Que Bajo?! party franchises. He is also a partner and co-owner of the Dutty Artz record label with producer Matt Shadetek and DJ /Rupture. His mixes span the tropical hemispheres and collage together globally sonic hours of dancefloor mayhem. Renowned by top DJ's and producers of the digital cumbia scene in Latin America and European bass-pundits alike, Jones is one of the select few DJ's pushing forward the latin agenda in a world-wide tropical bass scene.
The man behind Friends of Friends. Hailing from Los Angeles, Lazy Brow is 1/2 of the Young Adults as well as big bossman at Friend of Friends. Real name Leeor Brown, he’ll be spinning a vinyl only assortment of goodies that make up the FoF way of life.
Founded in 2009, Friends of Friends Music is a diverse network consisting of artists, record labels, DJs, radio stations, social media formats, music publications and many other outlets focused on emerging talent. Based in Los Angeles, FoF connects acts and imprints like Shlohmo, Anticon, Daedelus, Salva, DJ /Rupture, Ernest Gonzales / Mexicans With Guns, Surefire Agency and many others from around the world.
FoF focuses on modern culture, technology, and modes of social interaction to share a personal narrative that contextualizes an artistic vision. It comes down to the music and the people that contribute to its existence. Whether as fans, artists, or somewhere in between, the goal is to humanize music and how people experience it, no matter how electronic it sounds. Know your history and work towards the future.
$15.00 - $65.00
The MeanRed produced, 5th Annual Brooklyn Electronic Music Festival (BEMF) comes to the heart of Williamsburg for a multi-night, multi-venue takeover on November 9 & 10, 2012! Taking place across 6 venues, BEMF will premiere the most talked about and about-to-break talents in electronic music in addition to presenting some of the dance world's veteran favorites.
Talent includes: Nicolas Jaar (LIVE!) * Gold Panda (LIVE!) * Baths * Jackmaster * Onra * Benji B * Nick Hook and more...
9pm - 4am // 21+
Music Hall of Williamsburg * Brooklyn Bowl * Glasslands Public Assembly * Cameo * Villain Loft
- Sorry, there are currently no upcoming events.