**TONIGHT** We experience Heaven On Earth!! 🤘🏽👼🏾👼🏽👼🏼👼🏿👼🏻👼🤘🏽RAHBI presents... Strange Fruit VII "All RockStars Go To Heaven!" 💯👍🏽 Doors 7pm 👁🦄🔥👅🍑👯 #OdeToMusicRoyalty
Presented by Together at Last & Full Circle
In 2014, she won the 'Best International Newcomer of 2013' at the UK Glitch-Hop Award.
Her tracks defy genres, oscillating between Glitch-Hop, Trip-Hop, Future Bass and World Bass. She created her own place in the glitch community, thanks to a unique, highly surprising style mixing powerful basslines, funky off beat percussion, world instruments and emotional cinematic sounds. Her recent track ‘Koto’ (Otodayo Records) is about to reach 900k plays on Soundcloud in 6 months, and already more than a million views on YouTube in only 2 months.
A musical identity which led her to play in the USA (more than 45 dates in 2014/2015, including the festivals Coachella, Camp Bisco, Sonic Bloom, Enchanted Forest, Farm Fest…) but also in Canada, India, Germany, Ukraine, and more than 30 different cities in France, alongside artists like Bonobo, Gramatik, Chet Faker, Pretty Lights, TOKiMONSTA, Tipper, GRiZ, Phutureprimitive, Big Gigantic, Papadosio, Stwo…
Runner-up of several remix contests (launched by artists Mr. Bill, Asian Trash Boy, Crazy Daylight, Daenine...), CloZee was spotted by respected labels such as Gravitas Recordings, Glitch Hop Community, Otodayo Records, Adapted Records, Digital Whomp…
with The 200s
Entropy's Purple Reign
w/ The 200s
Entropy has been a force in southern-bred funk, soul and hip-hop for over fifteen years. They released two full studio albums, Live+Rebel+Funk+Love (2004) and Crawl (2007), plus several live EP's over the course of a decade, garnering critical praise and a rabid fanbase. From 1999 to 2009, Entropy played over 1500 shows and toured the entire United States many times over, further cementing themselves as a lasting and influential funk ensemble in today's music scene. In 2009, Entropy began an extended hiatus to focus on other music projects and their growing families, but has reunited occasionally over the past several years for special performances and events. They are currently back in the studio working on their third full-length album "A.F.R.O. (Allied Funk Revival Operation)", slated for a late fall release in 2016. Wake up and enforce da funk!!
with Trillitary, Double Nil, Juju Beats
Chris Reed, also known as Plastician (formerly Plasticman), is a DJ / Producer from Thornton Heath in the London Borough of Croydon.
Plastician is unique in that he is respected as one of the true pioneers of both the Dubstep and Grime genres born out of London in recent times. Always with his ear to the ground for what is new and groundbreaking, he continues to discover and represent new artists in his DJ sets, across various genres and tempos, with a lean towards anything bass oriented.
He plays a prime time weekly radio show on Rinse FM, having been on the station for 11 years he is the longest standing DJ on the station, representing them from their humble roots as a London pirate station, and helping them on their way to legal status. In 2006 he spent 18 months as part of BBC Radio 1's "The Residency", which then became "In New DJ's We Trust". It was the first time grime and dubstep was represented in a specialist show on national radio anywhere in the world. His passion for pirate broadcasting was so strong however, that during this time he returned to Rinse, broadcasting under the alias "Blue Stripe" with his friend MC Nomad taking control of mic duties! In 2007 when his time at the BBC came to an end, he returned to the Rinse airwaves under his more regular moniker.
Thursday September 1
Jade Cicada & Bogtrotter
Presented by Together at Last X Full Circle
$13 ADV // $15 DOS
Skyler Golden (aka Jade Cicada) is an electronic music producer, sound designer, and mastering engineer who lives in Lenox, MA. As a kid he studied classical clarinet and eventually evolved towards electronic music. As a Berklee College of Music graduate, he was trained in advanced jazz theory as well as many forms of sound design. His music combines original sound design, high quality production value, and an innate sense of harmony and rhythm. If one had to generalize his style, it would be a combination of garage, 8 bit, ambient, glitch, neuro, drum and bass, and hip hop.
Bogtrotter holds true to his name, providing psychedelic swamp-step to the masses; focusing on deep liquid-laser textures, seamlessly colliding with heavy and hard hitting percussion. His vibe and unique style easily stands out, even among an ocean of talent in the scene. Influenced by dubstep, psytrance and various other musical sources, as well as his own mind-expanding psychonautical experiences.
His purpose is to translate the strange and foreign worlds his mind has taken him to, into an intense auditory journey. In addition to his original music, his live performances along visionary artists such as Tipper, Eoto, Mumukshu, Shwex, Mindbuffer, Mr. Bill, and Love and Light, have earned him respect among the psychedelic bass community.
Presented by The Bowery
The Bowery Presents:
On Sale: Friday, May 20
Tickets: $12 adv/ $14 dos
The Suffers are Houston's award-winning 10-piece ensemble that have redefined the sound of Gulf Coast Soul. Established in 2011, The Suffers’ lineup was curated by bassist Adam Castaneda and vocalist/keyboardist Pat Kelly, who brought on trumpet player Jon Durbin, trombonist Michael Razo, guitarist Kevin Bernier, percussionist Jose “Chapy” Luna, and drummer/vocalist Nick Zamora. Jazz saxophonist Cory Wilson and guitarist/vocalist Alex Zamora filled out the rhythm section, while frontwoman Kam Franklin topped off the group with soaring vocals. Last year brought the band to new heights, as they played 150+ shows across North America, visited NPR in Washington, DC for a Tiny Desk Concert, and made their national television debut on Late Show With David Letterman. This year, the band officially released their much anticipated self-titled album in February and performed on The Daily Show with Trevor Noah and Jimmy Kimmel Live. The Suffers have quickly progressed from packing Houston venues to accepting invitations for featured performances at notable festivals and events, while remaining a local Houston favorite, accepting 20 Houston Press Music Awards in the last three years. The Suffers’ album is now available on iTunes, Amazon & Spotify. For further information on The Suffers, please visit:www.thesuffers.com. Videos KEXP https://youtu.be/NcqS5TSzTWY Kimmel https://youtu.be/w8SNT0Ov0o0 NPR's All Songs Considered Sweet 16 Party https://youtu.be/7sZYd9eHMK0 NPR's Tiny Desk Concerts https://youtu.be/RM3hj-6F1pk Letterman https://youtu.be/Ak0N3tyutrg Quotes "If you can't do this, get out of the business!"- David Letterman "Much like Sharon Jones and the Dap-Kings, Franklin and The Suffers can own a room... it won't be long before people are making room for The Suffers" - Buzzfeed "They're the sort of neo-retro group you never knew music was so badly missing" - SPIN "‘Make Some Room,’ opens with a blast of classic-sounding R&B horns and spends the next four and a half minutes subtly shifting from slinky to soaring and back again.” - The New York Times
A person who is always travelling or visiting a place for pleasure. That's how William Phillips' name defines his adventures as a musician. "It allows me to write whatever I want. My writing takes me to lots of places: electronica, garage, piano. I want to write anything, and the name Tourist lets me do that." And it’s through channeling that freedom that he became one of Hype Machine’s most blogged about acts, solidified as a young producer who crafts his beats like kinetic sculptures. Now, as 2016 begins, he’s a Grammy winning songwriter on the verge of releasing his debut album.
Growing up with three sisters meant Phillips had to find his own entertainment as a child. He found his kicks in music, and more specifically the piano. "Those were my earliest musical memories" begins William, who is still in his early twenties. “I played the piano for a long time. I tried to have lessons, but I couldn't stand the thought of some old fart talking me through D major scale".
Soon, the internet arrived, home computers became MS-DOS beacons of endless opportunity and William started experimenting with music software. The combination of a fascination for piano and an affinity for technology soon saw him discover dance music, and with it came Pete Tong's Radio 1 show, Ministry of Sound's 'The Annual' compilations, and the acquisition of a midi keyboard. "I was an 11 year old listening to dance music. I couldn't go and experience it, but I loved it through a child's eyes. As a result, I still have a naive view of the communal culture of dance music. Even now, I see it as something I listen to in my bedroom."
This inverted relationship with dance was evident on the early Tourist EPs. They championed an introspective and solitary brand of electronic music, full of melodic emotion and affected vocals. His Placid Acid EP oozed electronica; the Tonight EP combined woozy R&B with shadowy 2-step, but both had one thing in common: they had next to no intentions for the dancefloor. There was no pounding kick drum, and no monotonous build and drop. "That's the thing" explains William, "I write dance music for people who don't dance.”
Last year’s Patterns EP, on Disclosure’s Method label, certainly marked some changes in the Tourist sound. He brought in vocalists, in the shape of Lianne La Havas and Will Heard, and suddenly the dancefloor found itself right in his cross hairs. ‘Together' - an emotive deep house track with pitch-shifted vocals and whispers of electro - paid testament to this beefier approach, but it was the stripped back club-pop of ‘Can't Keep Up' that struck a key with his growing fan base, becoming a highlight during live shows at Pitchfork Paris and the Annie Mac Presents UK tour, and amassing over 3.2 million plays on Soundcloud.
Deep house and club-pop aside, behind this polished and digitally produced sound, still lurks a very pure musical soul, that boy who played the piano. This comes through on tracks like ‘Illuminate’, which stole the Guardian Guide’s ‘Track of the Week’ and ending up on Radio 1’s B-list, with its glittering and spiralled synth hooks embossed by the vocals of Years & Years Olly Alexander. Annie Mac summed it up pretty concisely when she said ‘Illuminate’ just sounded “absolutely massive on the radio.”
Reminiscent of those early Tourist tracks that seem to find their way as you’re listening to them, his track ‘Wait’ opens like a garage tune, but the beats disappears, plunging into a hot bliss of warped time signatures that are distorted by scarce hi-hats, warbling subs and minimalist piano. It all creates a black hole-like soundscape from which your only escape is the thundering final two minutes, so fierce they sound like Tourist’s own London take on the Berlin techno of Monkeytown.
As a remixer he has helmed huge rewords for Years & Years, Haim, Chvrches and more.
Phillips’ musical contributions stretch even further than Tourist, co-writing songs for Jessie Ware, Kacy Hill, MNEK and with kindred writing spirit Jimmy Napes. Together, they co-wrote ‘Stay With Me’ for Sam Smith; to date his most successful single, which scooped a Grammy for “Song of the Year” and cemented Phillips as a vital new British artist.
But it’s the Tourist project that will be his entire focus this year, as he’s poised to release his debut album U on May 6th 2016. First single ‘To Have You Back’ premiered on Annie Mac’s Radio 1 show and online via Pitchfork, and his next single ‘Run’ is due on March 11th with ‘Too Late’ to follow.
With a live show already locked in and a May UK tour in the diary, and with festivals including Coachella, Glastonbury and Sonar all under his belt, this is the year Tourist picks up the baton of that deep London electronic pop sound and takes it off the scale.
In little under two years, blue-eyed soul duo HONNE have become the band to fall in love with, and to. “There’s a lot of women at our shows,” says co-songwriter and multi-instrumentalist James Hatcher, “and a lot of couples.” Unsuspecting frontman Andy Clutterbuck – often witness to more than he bargained for as the band’s sensual grooves ripple through certain pockets of the crowd – senses it, too. “We get a lot of people coming up to us afterwards telling us that a track has soundtracked their relationship, from meeting online to their first date, and from break-ups to having babies.” In their very British, buttoned-up appearance, HONNE don’t strike you as the type to open up about anything this intimate, which is precisely the point – ‘Warm On A Cold Night’ is an album where expressing feelings may not come naturally, but one which nonetheless strives for real love in the digital age.
A term with no Western equivalent, the origins of HONNE lie in the Japanese word meaning ‘True Feelings’ (it’s often twinned with ‘tatemae’, roughly translated as the contrasting behaviour or opinions you display in public). It was this fascination with Japan that offered the pair an early porthole into how to transmit their most personal moments into music. Their own backgrounds, of course, were far less culturally exotic: having met on the first day of University, the pair had unknowingly grown up around 45 minutes from another in the South West. Andy’s childhood was farm-life, his youth spent introspectively in a spare room filled with his dad’s clutter (a drum kit, old record players, and musical ephemera that looks like junk but feels like magic to the right imaginative eye). “On your first day at college,” says James “you arrive nerve-wracked about what’s going to happen. Am I going to make any friends? Will they be alright? I instantly knew Andy was sound. He played me a whole album he’d written and put up on online. It was more developed than anything I’d heard from anyone my age.”
Matched at first-sight, HONNE began making music that same night. “It was 2 in the morning,” says Andy, “it was completely pitch black and we just had a microphone set up. We felt immediately relaxed around each other, there was no-one laughing and no-one was being judged.” The perfect environment, it turned out, for the emotional honesty which followed. And as these dusky songs kept coming, their after-hours conversations turned towards the future, to travel, and in particular to Andy’s time in Japan (where he was in a long-distance relationship). During a midnight re-watching of ‘Lost in Translation’, it became apparent that this sense of a partner at a loose end - of wandering through a strange environment, and struggling to convey what you mean - was just as relevant to their lives off-screen. When James found the word ‘Honne’ later on, he knew it was theirs. “I came across it, saw the meaning and was like ‘I can’t believe no-one is called this.’”
All this is wrapped up in HONNE’s mission-statement of a debut track, ‘Warm On A Cold Night’, a widescreen take on late-night lust far removed from the South West student-life the band emerged from. The transatlantic tone first rooted in Japan extends to the song’s West-Coast, US-inspired groove: musically, HONNE take heavy influence from the late 70s/early 80s soul and funk of Quincy Jones, together with crooning, contemporary electro-R&B like James Blake or Frank Ocean. ‘Warm On A Cold Night’ introduced a sound which has become instantly-identifiable as HONNE’s. In Andy, too, the band have a singer of remarkable depth, whose emotional restraint and veneer of self-control would mirror the keep-calm-and-carry-on attitude underlining their snapshots of modern romance.
Over 20 million Spotify streams, several Hype Machine number 1s and sell-out worldwide tours later, HONNE are writing songs which feel both quintessentially of the moment yet charmingly gentleman-like in their worldview. Their debut album captures, they say, “the good days and bad of relationships in 2016” - a time where we’re told to settle for nothing less than a soulmate and yet risk treating dating like any other online experience, browsing endlessly, swiping left or right, and weighing up any of the overwhelming number of choices all around us. “We were terrible at being single,” the band say now. “It’s always been about the search for something more meaningful.”
There are songs, then, about trying to make that connection - the silky, sepulchral ‘All in The Value’ (“I never thought that I’d have the nerve to / tell you my world is crushed now without you”) - and others about the difficulty nowadays of doing that (see recent single ‘Gone Are The Days’, which suggests you go and find someone who’ll appreciate you instead). The gospel-tinged uplift of ‘Good Together’ celebrates that honeymoon-period - however long it lasts –on an album whose sleepy sexuality often lies just beneath the surface, comfortable in its own skin: ‘The Night’ is the sort of attitude-heavy, simmering slow-jam few would dare put into a text, let alone song. And it’s this tension between your public self and what you might privately want to tell someone which is threaded into this debut album, blurring that line where “Honne” meets “tatemae”.
A record so positive in its view of point-of-view on relationships lends itself naturally to a female voice: first with JONES, a fellow online-favourite who the band teamed up with on beautiful EP track ‘No Place Like Home’. Then came a collaboration with Izzy Bizu, with whom HONNE released breakout collaborative single ‘Someone Who Loves You’ this summer: they met over Twitter (where else?) and soon produced a track fundamentally about forbidden love, “but from both sides of the story.” And it’s this empathetic quality, neither Alpha nor Beta, which led to tracks like ‘Woman’, which describes this sense of “knowing you are cared for and care for the ones around you, whether that’s a girlfriend, a mother, or a best friend.”
Here are sincere but never-saccharine songs written for the right reasons, and in the shape of Andy, HONNE have the sort of figurehead that you would almost dub an anti-frontman (a theme which is picked up on in ‘One At a Time Please’, based on their smalltown upbringing). “I feel like there’s a lot of pressure in what people think a frontman should be,” he notes, “and that they should perhaps have an arrogance about them.” James thinks about this. “I don’t think it would be right for someone with arrogance to sing our songs. Andy’s the kind of person who’ll do anything for you, but his parents will ask me privately what’s going on in his life because he wouldn’t tell them. This is about us – and people like us – getting better at expressing themselves.”
And if such openness – inspired by everything from Japanese culture to US hip-hop, all in the sometimes-brutal dating climate – feels unnatural to guys like HONNE, it’s not entirely out of character. “My mum told me only the other day,” says Andy, “that when I was a child I always used to say to my friends ‘I’ll end up in your record collections one day.’” Turning that rare moment of immodesty into a reality has resulted in an album which “isn’t about one ex, cataloguing where things went wrong, or writing something completely devotional either. But when these songs are about relationships, they’re hopefully about the good aspects – trying harder or doing more for the other person, so as to ultimately find something rewarding.” For all its forward-thinking electronics and online noise, then, ‘Warm On a Cold Night’ is ultimately a back-to-basics album - of old-school romance, timeless songwriting, and two very modern souls.
with Helms Alee
Presented by Tight Bros
Tuesday October 4 @ Aisle 5
9pm | $18adv /$20dos | All Ages
Since 2004, Chicago’s Russian Circles has been crafting heavy, transcendent and melodic soundscapes. Russian Circles has tirelessly brought its masterful live show around the world, sharing the stage with artists such Tool, Deafheaven, Pelican, Isis, Boris and many more.
A3C has partnered with DJbooth to bring hip-hop's Top Prospects to 2016 A3C Festival & Conference.
DJbooth launched Top Prospects a couple years ago to identify and spotlight artists on the come-up that are going to be making great music for a long time. This is NOT a list of future pop-stars. This is a list of the most talented artists on the rise.
Free entry with VIP, A3C Festival & Conference or A3C Festival Pass.
OR $15 Advance / $20 At Door
Presented by Zero Mile Presents
Lemaitre is an electronic duo hailing from Oslo, Norway. Formed in 2010 by longtime friends Ketil Jansen and Ulrik Denizou Lund, the bandmembers named themselves after Belgian priest Georges Lemaître, father of the big bang theory.
Presented by Terminal West and The Bowery
M O T H X R is a four-piece formed in Brooklyn, NY, though the music is made wherever they meet. Traveling with minimal analog recording gear, they spent four weeks recording an album between Los Angeles, Chicago and New York. City shape sound. The band's debut album, Centerfold, will be out in early 2016 in North America on Washington Square and worldwide on Kitsuné. Producer Jimmy Giannopoulos (Lolawolf, Reputante) and vocalist Penn Badgley, neighborhood friends for years in New York, waited patiently for a sound to manifest beyond their bond based upon an odd pop aesthetic. Bassist Darren Will (Rathborne) was always orbiting, always an obvious partner when the time came. The three finally decided to hole up in a little Bungalow in East LA to record for eight days without anything written, without expectation. Seeking a microphone, they found in the neighborhood one-time-Brooklynite and New Zealand ex-pat Simon Oscroft, who proved to be the guitarist they weren't looking for. The spontaneous quartet recorded five songs in five days before taking a breath to see they had, in fact, started a band.
Presented by The Bowery
The Bowery Presents:
Matt Wertz + more TBD
On Sale: Friday, June 3 10am
Tickets: $18 adv/ $20 dos
A self-made singer/songwriter, Matt Wertz spent years creating soulful, feel-good pop music on his own terms. Nashville — a city that doubled as his muse and adopted hometown — always played a big role in that creation process. It was the place where Wertz wrote his songs, the place he recorded his albums, the place he'd return after touring the country with songwriters like Jason Mraz, Maroon 5, Parachute and Gavin DeGraw.
Something changed after 2014's Heatwave, a record that shone a neon light on Wertz's appreciation for '80s pop music. Wertz realized he'd grown perhaps a bit too comfortable in Nashville, where he'd been making music for more than a decade. Looking to write an album that tackled contemporary pop music from a different angle — literally — he headed to Los Angeles, where he spent several months writing songs for his ninth album, Gun Shy. Fueled by infectious, 90’s-inspired beats, lush textures, and soaring air-tight pop melodies, Gun Shy fires twin barrels of modern pop and synthesized R&B, finding new life in old-school influences.
"I realized I'd been making records in a similar way in the same geographic area," Wertz admits, "and I wanted to get away from that comfort zone. I personally was needing a fresh approach — to pull the clip on the grenade and blow things up and start over. I'm a fan of current pop music, and L.A. is very much about what's happening now. I wanted to see how my music fit into that space."
Filled with left-field love songs about guarding yourself, opening your heart to new possibilities, and wrestling with the sacrifice and vulnerability that love requires of everyone, Gun Shy finds Wertz urging his listeners — and, perhaps, himself — to continue taking leaps. It's an album about stepping into unfamiliar situations, armed with the courage to fail and the drive to succeed. On "Committed," the album's kickoff track, Wertz rededicates himself to the artistic struggle, and with "Slow Motion," he focuses his attention on a loved one by clearing away the clutter and distractions of everyday life. Later, during "Hold On To Me," he channels his inner Michael Jackson on a song that poses some of the biggest questions of his career: why we're here, who put us there, and what it all means. A longtime member of Nashville's songwriting community, Wertz teams up with some of L.A.'s A-list pop writers for Gun Shy, including Ian Keaggy (Hot Chelle Rae, Cody Simpson), Ben Romans (The Click Five, Carly Rae Jepsen), and Seth Jones (Greg Holden, Tyler Bryant).
More than a decade into a career filled with commercial success and touring milestones, Matt Wertz remains proud to be an independent singer/songwriter. But don't mistake Gun Shy for the sort of intimate album you'd hear at your local coffee shop. These are not acoustic guitar songs. They're songs built on laptops and driven forward by dance beats. Songs that move you physically and emotionally. Songs that splash Wertz's super-sized hooks across the backdrop of the Los Angeles skyline, creating their own brand of scenery along the way.