Martyn and Erosie will combine forces with Collider on March 15th at the Technical University of Eindhoven.

Collider is an entirely new audio-visual experience that surrounds the audience with a new dimension: surround music and synchronised surround visuals. Collider artists perform together with innovative musicians and visual artists. Collider uses a self-developed unique installation consisting of an 8.1 PA system (speakers from 8 directions) that delivers the sound, and an array of 4 to 16 beamers that project the full surround visuals. Each layer of the sound and visuals come from different directions and move independently. With the use of a self developed instrument, spatial effects are added to each sound layer, and projections fill the entire room.

International electronic musician Martyn started his 3024 record label in 2007 with his close friend from Eindhoven, Erosie, the revered artist who blends images and visual styles in the same unorthodox way that Maryn combines sounds. Erosie and Martyn have been working together since 2002, with their respective careers unintentionally mirroring one another along the way. Martyn’s sophomore album, ‘Ghost People’ (released on Brainfeeder in October 2011) was a music/art collaboration between the two artists: the artwork for ‘Ghost People’ is the 9th mural from Erosie’s ‘Horror Vacui’ series, painted 18m high in Poland.

In an hour-long music and visual installation, on March 15th Martyn and Erosie will show a different side of their work. The artists will control the 8.1 surround sound environment and 3D projected visuals in the most affective manner. The musician and visual artist will work closely together: the projected visuals react to the music live, in real time.

Martyn will perform an exclusive live alternative set based on the artwork for ‘Ghost People.’ Vastly different from the beat-filled energetic live sets Martyn’s been performing across Europe the last few months, this set will be a sound collage inspired by the city within which it’s performed, and filled with music that references the electronic revolution in the city of Eindhoven. Erosie, meanwhile, will interact with him, drawing live and projecting these drawings around the room; a real-time interaction, improvisation and collaboration. In a way, it will be a digital version of Martyn and Erosie’s ‘Ghost People’ launch in London in September 2011.

For more information:

http://www.studiumgenerale-eindhoven.nl/sg/en/zoeken/martyn-en-erosie/martyn-en-erosie/2/276/martyn

Tickets:

http://www.kaartjesreserveren.nl/sg/order.aspx?project=29

Links:

http://www.collider.nl/

http://www.rot8ion.com/

Spine TV – Martyn & Erosie ‘Ghost People’ Launch: http://www.youtube.com/watch?v=ZmHRxj2Ioxw

Brownswood Recordings is delighted to announce that the second volume of its ‘Worldwide Family’ series comes courtesy of LA native Kutmah, London’s newly transplanted DJ, NTS show host, producer, visual artist and eternal beat-seeker. Kutmah is a king amongst cratediggers; a true musical iconoclast. Not content with simply curating the sonics, Kutmah has painstakingly created all of the artwork for ‘Worldwide Family 2’ – the fruits of numerous all night sessions with pen, ink and sketchbook – collaborating with his good friend Brandy Flower (Hit+Run LA).

.artist. Kutmah
.title. ‘Kutmah Presents Worldwide Family Vol. 2′
.label. Brownswood Recordings
.catalogue no.BWOOD082
.format. CD / 2LP / Digital
.distribution. PIAS (US: Traffic // Japan: Beatink)
.release date. 26th March 2012

For the underground music and arts community of Los Angeles (and a worldwide legion of supporters) Kutmah is one of their most mercurial creatives, leading the city’s inimitable artistic renaissance. Starting his Sketchbook Sessions in 2004 at Little Temple alongside Take, Eric Coleman (Mochilla) and DJ Nobody, LA’s first instrumental beats and art night paved the way for the likes of Low End Theory and Brainfeeder.

As a DJ, one Kutmah mix can lead to hours of discovery afterwards. His devotion to the art form borders on obsessive and his energy is infectious. Perpetually ahead of the pack, his DJ sets and NTS Radio playlists are crammed with new heat harvested from his Worldwide Family. His passion and commitment to the discovery and promotion of new talent mirrors that of Brownswood Recordings in quite a synergistic way.

With ‘Kutmah Presents Worldwide Family Vol. 2’, Kutmah brings back the art of being a selector in every sense. So much so, he decided to create a compilation with his fellow DJ in mind. This is not a 60min Ableton mix, with fast, easily digestible soundbites of songs – in fact, it’s not mixed at all. It’s a wonderfully deep collection of tracks that each merit your undivided attention and appreciation.Choosing 21 adventurous, idiosyncratic songs, most of which have never officially been released, each record here is a push-pull journey in itself.

A truly epic culture clash, ‘Worldwide Family Vol.2’ is not only a genuine reflection of Kutmah’s deep-seated LA roots and his new home in London, but it is symbolic of the reciprocal flow of ideas that ignites mutual inspiration in these two cultural capitals. His family in Los Angeles stand strong, proudly contributing exclusive jam after exclusive jam from the likes of Mono/Poly, Dibia$e, FlyLo, Samiyam, Jonwayne, Seven Davis Jr., The Darkhorsemen. Arriving in London little more than a year ago (via a US Detention Centre and a short stay in Manchester), it seems UK bass culture has seeped into the LA exile’s subconscious, too – just listen to the way ESMK’s ‘Blunt Hopes’ flips into its twitchy UKG cadence, or the rise and fall of fLako and Dirg Gerner’s eerily beautiful opus ‘Lonely Town’.

The textures are also visceral throughout ‘Worldwide Famil Vol.2’: Doc Daneeka and Abigail Wyles’ ‘Tobyjug’ sounds as if it’s been dipped in honey –hot and sticky, and slightly bittersweet – yet it still maintains Doc Daneeka’s quirky and playful production style. Seven Davis Jr (‘Thanks’), who’s been appropriately deemed a cross between Sa-Ra and J*Davey, plays from the grittiest end of a bassbin, and Dakim’s ‘Type of Blue’ breeds a smooth roughness slightly reminiscent of Aphex’s ‘Ambient Works’, with frenetic drums pounding erratically over lush melodies, warm pads, abstract voices and harp melodies. A strong hip-hop vein pulses and bumps within the 21tracks, wandering through the lyrical wonderlands of The Darkhorsemen and Shash’U, and the cosmic diamonds of Dibia$e. ‘Are You Feelin’ Hot’ is classic HudMo: even though it was released on the legendary ‘Hudson’s Heeters’ beat tape in 2005, it’s still ahead of its time now.

‘Worldwide Family Vol. 2’ is a hypnotic backspin through shuffling beats, smoky ideas, moonlit melodies and colourful bass landscapes that leave the listener filled with curiosity. The tracks Kutmah selected are all so intriguing, in fact, that we predict you’ll fall into a deep rabbit hole of Googling each producer to find out more…just as we did.

01 Mo Kolours – ‘Ridda Mountain’
02 Groundislava – ‘Creeper Shit’
03 ESMK – ‘Blunt Hopes’
04 Seven Davis Jr. – ‘Thanks’
05 Slugabed – ‘Sex’
06 Sam Irl & Ritornell – ‘Three’
07 Dibia$e – ‘Remind Me Somethin’’
08 Hudson Mohawke – ‘Are You Feelin’ Hot’
09 Tehbis – ‘Higher’
10 Lapti – ‘Leaving Home’
11 Shash’U – ‘LA’
12 The Darkhorsemen – ‘Taking Over Empires’
13 Samiyam – ‘Medallion’
14 Mono/Poly – ‘With Grace’
15 Bruce Haack – ‘Ancient Mariner (Jonwayne Remix)’
16 Tadd Mullinix – ‘Exchanging Modes’
17 Flying Lotus – ‘Samsfav’
18 Dakim – ‘Typeofblue’
19 Doc Daneeka & Abigail Wyles – ‘Tobyjug’
20 Gaby Hernandez - ‘Twin Flame’
21 fLako feat Dirg Gerner – ‘Lonely Town’

We’re celebrating the release of ‘Worldwide Family Vol.2’ with a very special launch party on 9th March in London that reunites Kutmah with his old Sketchbook compadre The Gaslamp Killer and his blood brothers Hit+Run. A celebration of the LA > LDN axis of experimentation and innovation.

FRIDAY, 9 MARCH
Earnest Endeavours x Sketchbook x Hit+Run Present…
‘Kutmah Presents Worldwide Family Vol. 2’ Album Launch:
with Gaslamp Killer, Kutmah, Darkhouse Fam, Patchwork Pirates

At N1 Warehouse – Location will be announced ASAP.

With certified bangers from start-to-finish, the EP is engulfed by a hot boxed funk, created by collaborations with the legendary vocalist / producer Om’Mas Keith from notorious hip hop dynasty Sa-Ra Creative Partners (previous credits include Jay-Z, Dr. Dre, Erykah Badu) on ‘Take On The World’; West Coast funkadelic baller, EE’s B. Bravo (on ‘Like No Other’); and Cardiff’s own Vanity Jay on the sublime soul bump of ‘Sticky Trees’ alongside further evil beasts ‘Red Leather’, ‘Snaggletooth’ and ‘Tartan Paint’.

.artist. Darkhouse Fam
.title. ‘In & Out’ EP
.label. Earnest Endeavours
.format. 12″ Vinyl & Digital
.distribution. Kudos Records
.release date. 27th February 2012

Following their breakthrough debut EP “Family Trees” on Fat City (hosted on the landmark “Producers” series alongside compadres and luminaries Dabrye, dBridge, Mosca and Julio Bashmore) Darkhouse Fam’s triumphant “In & Out” EP is an accomplished blaze of guttural, syrupy, synth-addled hip hop with an old school approach re-appropriated into a new school vision.

Although Darkhouse Fam might be a new name to some, Don Leisure (Aly Jamal) and Metabeats (Che Ahmed) have definitely paid their dues, with over a two decades worth of music production experience under their collective belts. Whilst the Barry-based Metabeats was a local garage star, with a Cardiff residency and Ibiza stints DJing with The Dream Team at 16-years-old, Cardiff’s Don Leisure has grown from a Rephlex-inspired electronica producer to drum ‘n’ bass badman, working at Valve alongside Dillinja and Lemon D. The duo met through both gaining and spotting each other’s mutual press in 2008 and started banging out pure danger music together as Darkhouse Fam. They’ve since played Glastonbury, supported Ghostface and made their US debut in San Francisco alongside Mary Anne Hobbs, Gonjasufi and Joy Orbison.

Darkhouse Fam channel that musical heritage into this heavyweight, year-in-the-making EP, crafted through late night sessions at Don’s The Leisure Centre and Meta’s Soul Glo Studios. A cinematic, psychedelic musicality underpins their low rider rhythms that bounce around the smoked-out bomb shelter with almighty bass drops. Check Snaggletooth and Red Leather… evil beasts. Protect your neck, son!

DJ support comes from both sides of the Atlantic; Gilles Peterson has dropped ‘Take on The World’ 3 weeks in a row on Radio 1 and Kode 9, Mary Anne Hobbs, Sinden, Kutmah, Gaslamp Killer, Salva, Jonwayne and Daedelus are all certified fans.

Darkhouse Fam run with a Welsh collective of fellow forward thinking producers who are blowing up out of Cardiff that includes colleagues C.R.S.T, Monky, Stagga, Mr Healan, Hekla Kosh and Organ Grinder.

“There’s a proper community here. The place is too small for politics, so everyone supports each other, everyone is making really good music and people are embracing it. It’s healthy for us down here, good times.”

SOUNDCLOUD PREVIEW: http://soundcloud.com/earnestendeavours/darkhouse-fam-in-out-ep-teaser

In 2008, Kissey and TK Wonder first met at a show at The Knitting Factory in Tribeca. They were separately performing – Kissey with Ty and TK with Taylor McFerrin. TK Wonder had a prior history of being a celebrated name in the poetry slam circuit, as well as being a bonafide star-to-be in the hip hop world (sharing the stage with the likes of Nas, Erykah Badu, Raphael Saadiq, Duffy, Talib Kweli and J*Davey). Kissey was also an international performer already, splitting lineups with artists such as The Roots, Dizzee Rascal, Guilty Simpson and Black Milk. As a singer, besides releasing her neo-soul/broken beat solo album (‘Plethora’ on R2, as Kissey Asplund) in 2008, she’d also created vocals for Zed Bias, Dorian Concept, Rustie and Machinedrum, to name a few.

A short while after Kissey and TK crossed paths at Knitting Factory, in the middle of ’09 Kissey started to learn the art of beat-making for her new self-produced solo project. With instant chemistry and mutual respect for each other’s work, last year Kissey had the idea to ask TK to sing on some of her unused productions. In the autumn of 2010, TK journeyed from Brooklyn to Kissey’s home studio in the Upper West Side. The moment she heard the beats Kissey had been cooking up, she couldn’t jump to the mic fast enough; a flurry of ideas came in the shape of razor-sharp words and fluorescent synths. A few BPM’s later, Wonderkiss was born.

♦ Kissey (formerly Kissey Asplund) : Manhattan via Sweden : www.kissey.co
♦ TK Wonder : Brooklyn via Baltimore : www.reverbnation.com/tkwonder

Wonderkiss (noun)
def: The kind of fantastical kiss that fills you with curiosity and daydreams.

.artist. Wonderkiss (TK Wonder + Kissey)
.title. ‘Heartfukk (Part 1)’
.label. None
.format. Digital FREE EP
.release date. Right Now.

Note: WONDERKISS (TK WONDER + KISSEY) HAVE DECIDED TO GIVE THIS TO THE WORLD FOR FREE. PLEASE PASS THIS LINK AROUND, AND SHARE IT WITH GOOD PEOPLE. A KISSEY-DIRECTED VIDEO WILL FOLLOW SOON.

FREE DOWNLOAD:
http://www.facebook.com/tkwonderkissey?sk=app_190322544333196

EMBED CODE:

<object width=”100%” height=”225″><param name=”movie” value=”https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F1542839″ /> <param name=”allowscriptaccess” value=”always” /> <embed type=”application/x-shockwave-flash” width=”100%” height=”225″ src=”https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F1542839″ allowscriptaccess=”always”></embed></object> <span><a href=”http://soundcloud.com/tk-wonder-kissey/sets/heartfukk-part-1″>HeartFukk (part 1)</a> by <a href=”http://soundcloud.com/tk-wonder-kissey”>TK Wonder : Kissey</a></span>

Last September, the internet discovered that Kissey has completely redefined herself over the past two years – her ‘Cry’ single (given as a free download) was the first showcase of her production skills. She composed, produced, wrote the lyrics, sang and mastered the entire track on her own. It also became clear that she’s quite adept at creating beautifully haunting music videos.

With ‘Heartfukk (Part 1)’ Kissey has come correct with her second showcase of production/mixing/mastering, with all lyrics and vocal courtesy of the vibrant TK Wonder. Together, Wonderkiss has created a future-pop sound that takes in slamming poetry and the slamming 4/4 sound of the underground simultaneously.

The moment ‘Get Down & Dirty’ starts, there’s a distinct feeling of anticipation. A loud key strikes, the drums start to pound and then bam: out of nowhere you’re hit with Wonder. That smooth, rhythmic flow she’s known for. As the percussion builds, her rapid-fire lyrics stunt, taunt and definitively prove who’s boss. TK’s smooth vocals slide through Kissey’s heavy, bouncing synths and slabs of bass with ease, ranging from mellifluous multi-layered choruses to fierce double-time rhymes: “Who gave you a right to say (that) / If you don’t know don’t play (that) / Saying things out of blue, I say who the hell are you / Baby think you’re cooler than May(bachs).”

On ‘Don’t Break Me Off,’ TK’s condemning lyrics attack straightaway. Drifting quickly over a hefty bass hit, her voice hypnotizes with eloquence and cadence. Delicate yet raw as it gets, her vocals gain heat just as Kissey’s electric synths start to weigh in. The song builds to a wild climax, drifts into a daydreamy breakdown filled with layered pads and floating vocals, and then comes right back into the storm, as every good argument does. Hold tight for the end; it’s worth the wait.

Wonderkiss interview available at: www.facebook.com/tkwonderkiss

It’s so on. We’re excited to announce a new monthly art and music night for 2012, a collaboration with our homies Kutmah (and the re-birth of his stalwart Sketchbook LA night) and the screenprint and art crew HIT+RUN.

A year ago the three of us launched Kutmah’s “Two Soups & A Honeybun” exhibition (at 18 Hewett Street) and epic, sweatfest afterparty with Teebs, Dorian Concept and Jams F. Kennedy. Then there was The New Error mixtape release parties at Rough Trade and the awesome rooftop summer BBQ jam. And now we’re doing it again. Every month. Here in London. Earnest Endeavours vs Sketchbook vs HIT+RUN.

We kick off with a banger on February 2nd. An out-and-out Cali family love affair welcoming the UK debuts of two leading lights of the West Coast’s electronic scene, labelmates at Friends Of Friends and longtime Earnest Endeavours homies, Shlohmo and Salva. Will be a blast.

EARNEST ENDEAVOURS, SKETCHBOOK & HIT+RUN Presents…

SHLOHMO (Friends of Friends)
SALVA (Frite Nite)
KUTMAH (Sketchbook)
PATCHWORK PIRATES (Earnest Endeavours)

With Live Screen Printing by the HIT+RUN Crew.

TICKETS: http://bit.ly/eeshlohmosalva

**For those quick off the mark – the first 50 tickets bought will receive a FREE Hit+Run T-Shirt on the night. Feel free to bring your own garms to be printed live by the CREW. There will also be limited edition Hit+Run Tee’s available to buy.

Doors 8.30pm │ Adv Tickets £7.50
THURSDAY 2nd FEBRUARY @ City Arts and Music Project (C.A.M.P)
70-74 City Road, EC1Y 2BJ

***DOWNLOAD SHLOHMO’s BOOTLEG REMIXES ZIP*** http://bit.ly/zTep6p

The lovely folks over at Big Up posted a lovely mix from Silent Dust, who have just released their debut album. Read more about the LP here: http://hellotakako.com/silent-dust-silent-dust-lp

And keep reading for more on Big Up Podcast 52.

The second piece of music for you today is on entirely different vibe. Silent Dust – a talented duo from UK – previously known as Hobzee & Zyon Base in the dnb scene – now produce these beautiful arrangements of texturized dubstep, sonic base, and sound perfect for a film noir, what’s with all the cinematic vocals and dark imagery. They are releasing their self-titled album end of this month, and have graciously agreed to share the preview of the album material, including the very first song created for the album: “Marlow.” We’ll cut with the words now, it’s all about this music, preferably in the dark.

http://thebigupmagazine.com/blog/2011/10/big-up-podcast-52-silent-dust/

Leaping straight onto our radar with his opening combination of the ‘Square One / Nike’ 12’ and ‘Gold Bricks, I See You,’ it’s been a long-held ambition to work with a producer whose diversity has never once strayed into tokenism. Renowned for his glacial work rate, we bided our time as the Mosca sound veered off into new territories – and it’s with great pleasure we present the fruits of our patience here.

.artist. Mosca
.title. ‘Wavey’ EP
.label. 3024
.format. 12″ / Digital
.cat no. 3024-016
.distribution. ST Holdings
.release date. 7th November, 2011

Throughout 3024′s short history, the label has always carried a heavy trace of techno in its makeup: an inevitable reflection of its founder’s roots in early 90s warehouse parties. Our 15th release bears that influence out, and stands as the label’s most expansive release so far – a 4 track EP from the utterly inimitable Mosca.

Opening proceedings of Mosca’s ‘Wavey’ EP is ‘Dom Perignon‘, a cavernous roller with a gravity inverting bass drum and dub-infused atmospherics. Developing both the intricacy of its drum programming and the implicit tension of its arrangement towards the sunrise, it’s the perfect entry point for this new side of the Mosca sound.

‘Orange Jack‘ further develops this gloaming swing, both deeper into the recesses of aquatic frequency while simultaneously ramping up the groove into ultra loose woodblock territory as looped snatches of Hip Hop acapella drive out any lingering ghost’s. Tearing any hint of historical reverence away is a constantly warping bass part that is more fissure than line, and bubbling textures hinting at further shifts to come.

Immediately intensifying proceedings, ‘Jager‘s renewed urgency guides the EP back towards more conventional Techno, in form if not implementation. Huge phased hi-hats and gaseous sub frequencies push a Friedrichshain pulse relentlessly forward, briefly collapsing as a disembodied fire & brimstone host exhorts an unidentified audience (or maybe the track) back onto its feet and onwards with yet more resolve. Coiling and uncoiling elements of the arrangement in this second half, a single electric piano chord makes its appearance, providing an understated link back to the previous 2 tracks’ roots.

Available as a digital-only track, ‘Wray & Neph‘ takes the component influences of its 3 vinyl bound siblings and fuses them together as the track both hardest to classify – and also the most classically Mosca sounding. Queasy waves of synth are joined by tight hi hats and a dislocated kick before a clipped percussive swing emerges out of the haze. Marrying a defiantly 8 bar-esque bass rumble and sporadic fizzing synth breaks with shifts back into stripped down 4×4 Motorik it encapsulates The Wavey EP and all its murky splendor.

As ever, Erosie blesses 3024-016 with the latest sleeve in his ever evolving series of work for 3024, in the style that has defined the label as much as its A&R policy.

3024-016 Mosca – The Wavey EP by 3024world

A1 ◆ Dom Perignon
A2 ◆ Orange Jack
B1 ◆ Jager
B2 ◆ Wray & Neph

After the success of her debut album ‘Plethora’ on R2, Swedish-born Kissey (aka Tina Asplund, formerly known as Kissey Asplund) returns – with her first music in over two years.

Download ‘Cry’: http://kissey.co/music

Cry by Kissey

Over the last few years, jumping between her two current homes (Stockholm and New York City), Kissey dove deep into an enclosed world of bass-heavy speakers, songwriting and beat-making, even enrolling herself in a course in mixing/mastering taught by Grammy-award nominated Daniel Wyatt at New York production school Dubspot.

Kissey explains:
“These past two years, I’ve been locked in my studio in NYC, writing, singing and producing like a crazy person, developing my own sound. It’s been 14 hours a day in the studio, a lot of blood, sweat, (yes, tears), cursing, not hanging with friends, not that many parties and a lot of focus. The outcome is a lot of new music! And I want to share one of my new (unsigned) songs with you; ‘Cry’. I’m extremely excited to have finally nailed a sound that I’m proud of.”

On ‘Cry,’ as with all of her forthcoming material, Kissey wrote, sang, produced, mixed and mastered everything entirely on her own, playing every instrument and crafting every beat herself. Crescendos and climaxes abound, the track takes the listener through the challenging inward journey of an artist trying to find herself. The result is an intensely emotive and intricate electronic pop masterpiece, filled with deep swells and fuzzy percussive builds. Brave and experimental, and a song that ticks off a few genre boxes simultaneously, one thing is for certain: Kissey’s sound has been found.

Kissey will soon be unveiling more new music – keep an ear/eye on her website.

San Francisco’s B. Bravo aka Adam Mori, is cited by the likes of Dam-Funk as one of the driving forces of the West Coast Modern Funk Movement. B. Bravo is the consummate creative and multi-instrumentalist who has built on his experience as a member of the veteran Bay Area live funk 10-piece The Bayonics, into his inimitable solo productions and full force live shows (look out for the Starship Connection).

.artist. B. Bravo
.title. ‘Kiss ‘n’ Tell’ EP
.label. Earnest Endeavours
.format. 12″ / Digital
.cat no. EE001
.distribution. Kudos
.release date. 24th October, 2011

“I wanted to put together a release that represented the different styles I’ve been into recently,” introduces B. Bravo. “‘Kiss ‘n’ Tell’ is a hybrid between RnB and 140bpm bounce stuff featuring Zackey Force Funk from Tucson, Arizona. I wanted a male vocalist with that subtle, sensual style. He smashed it!” With its pimped out, G-Funk synth line, the EP’s lead track is a certified lowrider anthem with Zackey’s signature storytelling vocals hypnotic, and deep in the mix.

“‘Right on Time’ is a classic sounding, 80s funk jam with a modern soul and hip hop twist,” B. Bravo explains. “It features The Gent$, a trio from Chicago. I love their smooth, real classy confident style.” The effortless flow from the Chi-Town rappers rides a melodious thunk and late night, house party vibe. The wayward keys have a life of their own going back and forth with B. Bravo’s trademark, neck-snapping drum fills. Check out the ‘Synth Dub’ b-side version that wigs out even harder on the keys.

‘Substance’ features vocals from Lady Alma, the notorious Philly soul queen who laced 4 Hero’s ‘Hold it Down’ almost a decade back. “I’ve been a fan for years – since her work with Bugz in the Attic, Mark de Clive Lowe and all the broken beat and house classics. She brings that raw, uncut soul,” says B. Bravo. The track is a an ode to the good ole 808, with its house influences and bassy, dubstep girth.

B. Bravo’s more hip hop-inspired, (largely) instrumental offering is ‘Swang’. “This is the fun one with the swinging drum timing and funked out bassline,” he says of the smokey, vocoder-laced, West Coast Cali bump with its drop down cinematic bridge and gangster lean.

B. Bravo – Kiss ‘n’ Tell EP // Teaser by Earnest Endeavours

A1 ♦ Kiss ‘n’ Tell feat. Zackey Force Funk
A2 ♦ Right on Time feat. The Gent$
B1 ♦ Substance feat. Lady Alma
B2 ♦ Swang
B3 ♦ Right on Time (Synth Dub)

Lunice Fermin Pierre II has taken over the asylum because his sound is crazy, his vibe is inconceivable, and his appeal boundless. Here at EE we’ve long been friends with the dude they call Lunice and are proud to see he’s rightly captured the attention of the world. He’s a natural born entertainer who has the drive, sound, and dexterity to make you move. With still only a few releases to his name he’s managed to craft his own recipe which makes dance floors bump, and bass bins thump. With remixes for labels such as Mad Decent, Sony Music, XL Recordings, Young Turks and Big Dada, he’s recently released his second bruising EP for the LuckyMe crew entitled ‘One Hunned,’ bringing more of Lunice’s 80’s inspired, glitchy soul thizz to your ears. Not only is the music extraordinary, so is his larger-than-life stage persona. Lunice manages to capture audiences worldwide by dominating the stage and revitalizing dance floors with his quintessential energy and awe-inspiring charisma.

Joris van Grunsven, better known as Krampfhaft, produces his own brand of progressive electronic sound. We’ve got more excited about his music than most, and are tipping him for big things. Krampfhaft’s productions are packed with energy and rolling synths, making his music impossible not to bounce along to, but he also displays an affinity with deeper electronic emotion and sonic maturity. After putting a teaser of his ‘Spit Thunder‘ EPonline 8 months prior to its release date, he started to get acclaim and support from both local and international esteemed names such as Mary Anne Hobbs, Gaslamp Killer, Eprom, Om Unit and more and he’s now signed to Amsterdam’s Rwina Records with the forthcoming ‘Makin Magic‘ EP due for a release late September.

Darkhouse Fam (aka Metabeats and Don Leisure) are spearheading a new generation of beat makers; making tracks blessed with eerie samples, big beat half claps, strung together by a chaos of hi hats and vintage bleeps. The Cardiff based duo has released via Fat City Recordings – the ‘Family Trees‘ EP drew on 80’s boogie synths tangled with heavy bumping boom bap kicks and snares, while their taste for 808s and swollen bass are prevalent throughout their music. Darkhouse Fam are currently working on their debut EP release for Earnest Endeavours, with guest vocals contributions including Om’mas Keith (of Sa-Ra Creative Partners).

LUNICE
(LuckyMe – Montreal)
KRAMPFHAFT
(NL, UK Debut)
DARKHOUSE FAM
(Earnest Endeavours)
PATCHWORK PIRATES
(Earnest Endeavours)

WEDNESDAY 12th OCTOBER
Doors 8pm
City Arts and Music Project
70-74 City Road, London EC1Y 2BJ
£8, £10 Advance Tickets
[Tickets Available HERE]

LM009 – LUNICE – ONE HUNNED by LuckyMe Music Art Parties

Krampfhaft – Makin’ Magic EP [RWINA014] by Kr∆mpfh∆ft

Snaggle Tooth – Darkhouse Family by darkhouse family