NEW FRANKY NUTS SOUNDCLOUD:
www.soundcloud.com/frankynuts

Noisia comprise Dutch producers Thijs, Nik and Martijn. Largely regarded as one of the most distinctive, powerful acts to emerge in bass music, their production techniques are referenced and praised across the entire electronic music scene. Their extensive body of work also includes the game Devil May Cry and the Foreign Beggars collaboration I Am Legion.

www.facebook.com/jrabbitmusic
www.twitter.com/jrabbitmusic
snapchat/IG: jrabbitmusic

contact: info@thrivemusic.com
booking: alex@warpathgroup.com


JRabbit first came into the scene in 2009, with his remix for B.Rich on Party Like Us Records. Shortly after he began working with Reidspeed and her label, Play Me Records, first with the ep I'm so Happy. Then again in 2010 with the Mustardayonnaise EP done with contributing artist Tremourz. He worked with Tremourz again in 2010, with his break through single, Sexy Party. The song gained lots of support from acts like Bassnectar, Excision, Skrillex and many more.
In 2011, JRabbit finished a bootleg of Benny Benassi's classic song, Satisfaction. The song gained lots support from acts such as Diplo,Laidback Luke,Benny Benassi and many more. The song's popularity lead to it's eventual, official release on Ministry of Sound's The Sound of Dubstep Vol. 3.
In later 2011, JRabbit joined Skrillex on his Mothership Tour. Playing alongside 12th Planet, Nadastrom, Dillon Francis, Knife Party and more. The tour covered the United States and Canada and was described by many "unforgettable" and "ground breaking".
In 2012, JRabbit started to blend genres, starting with his Ninja Step EP on Play Me Records. He had other successes with EPs and remixes in 2012 and a single on OWSLA but his next two breakthrough tunes, were his moombahcore bootlegs of Fresh Prince of Bel Air and Del the Funky Homosapien's Mistadobalina. Which gained lots of dj support and attention.
Also in 2012 he toured with Flux Pavilion and Brown and Gammon, on Flux's Standing on a Hill Tour and with Sluggo and Helicopter Showdown on the No Hostages Tour.
Later that year, JRabbit remixed Korn's Narcissistic Cannibal, which was a collaboration with Skrillex, Kill the Noise. The remix was later featured on UKF.
In early 2013, he tour with Big Chocolate on their American Hustle Tour.
he began to blend genres even more with releases on Buygore and Dim Mak. Also with remixes for Ali Love, Flinch, Helicopter Showdown and more. In the summer he released a bootleg of Tequila which gained huge support and popularity both online and at festivals. Now with over 4.5 million views on youtube it has not only become a jrabbit classic, but a staple in trap remixes.
In 2014, JRabbit toured with Terravita on their "Rituals Tour". Shortly after tour, JRabbit released an EP with Slow Roast Records, "Peyote Soda EP".
Now in 2015, after a brief hiatus, due to personal matters, JRabbit has teamed up with Thrive Records and is wrapping up his debut house album. "Give it to Me", the first single from the album, has been scheduled for release 6/30/15.

Redd Kross have always been too good, too perfect, too true, to believe. Mythic. Could this tuneful hardcore punk EP really be the work of a brother band with the 15-year-old on vocals and guitar and the 11-year-old on bass? Did Redd Kross really open for Black Flag? Could Jeff and Steve really have been born and raised in the Beach Boys’ hometown of Hawthorne, California, and did Jeff really see the Beatles live in 1966? Did one of them, dressed in Gene Simmons makeup, really kill a Bruce Springsteen impersonator onstage? Is that really their hair? Could Researching the Blues, their first studio album in 15 years, be not just the hottest thing since Cher went solo but the best start-to-finish Redd Kross record ever?

Somehow, the answer to all the above is improbably, wonderfully, beautifully YES. Long have Redd Kross rocked, and long have critics, devoted fans, Rodney Bingenheimer and fellow musicians from Seattle (Nirvana) to New York (Sonic Youth) to Driftwood, Texas (Butthole Surfers) to Hollywood (everybody) bowed before the Kross and their self-aware pre-spandex Glam bubblegum garage psychedelic Cheap Trick/Kiss/Revolver post-Kim Fowley rock and roll. Degenerate, sweet: tongues in cheek, song-long winks.

Commercial success may never have been theirs (if time and space had been aligned correctly, they’d have been blitzing ballrooms in the early ’70s instead of opening for Stone Temple Pilots in the early ’90s), but Redd Kross have endured and endeared because they’ve always had the best possible attitude: smarts, smiles, and total commitment to live hair-spinning showmanship.

Like fellow legendary Great American John Waters, they’ve devoted their career to making subversive entertainment in a high pop celebrity style, reintroducing in their especially golden late ’80s/early-’90s period such forbidden classic-rock tropes as melodies, harmonies, ripping musicianship, and primary colors-stuff that had (largely) been ditched in the underground rock’s post-punk, No Wave, hardcore, and sensitive-egghead scenes. Redd Kross then spent the ’90s making one great misunderstood record after another until enough shit had caked the fan that in 1997 they pretty much called it quits.

But you never quit being brothers. And so here’s the next Redd Kross album-produced and mixed by younger brother Steve earlier this year after it was mostly written by older brother Jeff in 2007-08, and recorded in that same period with the band’s current lineup, who’ve re-engaged in live performance since being lured back into action by an excitable Spanish promoter.

They’re too nice to say so themselves, but attention must be paid to this band, to this great album, Researching the Blues, which, like a pair of great pants, is tight and the perfect length. By the time you’re two minutes and 51 seconds into the second song, “Stay Away From Downtown,” and the band is breaking into the sha-la-las, you will be running around the room with your hands in the air. As the fourth song, the Brian Wilsonian “Dracula’s Daughters,” ends and the dynamic mid-’60s Beatles jingle “Meet Frankenstein” launches into its first chorus, you will be mass-texting all of your friends with the good news. By the final four songs-”The Nu Temptations” (Stooges-worthy riffs! Cowsills counter-harmonies! And more!), the “Surrender”/Noel ‘n’ Liam rockers “Choose to Play” and “Winter Blues,” and the stunning summer psychedelic power pop that is the closing “Hazel Eyes”-you will know the truth. You tried the rest-but now you’ve had the best. The McDonalds were educated at Rock ‘n’ Roll High, and they’ve stayed true to their school. Here’s to their beautiful reunion! Redd Kross Forever!

“DCX -- electro-club meets eurotrance stylish clash of an intergalactic level.”

 <a href="http://www.Thissongissick.com" rel="nofollow" target="_blank">Thissongissick.com</a> We like sick songs&#13;


Twitter / TikTok: Skrillex

F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3 out now: https://skrillex.lnk.to/fus


Get more music from Skrillex
Spotify: https://skrillex.lnk.to/Spotify
Apple Music: https://skrillex.lnk.to/AppleMusic
YouTube: https://skrillex.lnk.to/YouTube

Amy Leeman is following