Multilink: https://linktr.ee/yareimolina
Contact: yarei.bat@gmail.com

Yarei Molina plays with TIMPAHN, YM, Oleos, Sitrama, Eterea and Serac, has also played with Ordre Etern, Qa’a, Infinite Piton and many others. Molina is a multidisciplinary artist although born in Barcelona he grew up in Tarrega (Lleida), where he studied drums, percussion and guitar with Carlos Molina and piano with Maria Angeles Sánchez. Later, in Barcelona, he studied Industrial Design at Elisava University, 1 year of Transport Design at IED Barcelona, drums with Quim Solé and Jordi Ulibarri at L’Aula de Música, Production of electronic music at Microfusa Madrid and Videomapping with Vj Eletroiman.

He has participated in 8 musical publications. Three of them where self produced, 2 LP, 2 CD and a digital single edition. He has performed in more than a 100 concerts including Sonar Festival (Barcelona), LEM Festival, Film in Girona, Sala Apolo, Razzmatazz 2, Sidecar, NIU (in Barcelona), Festival Estrany (Banyoles), Embarrat Festival (Tàrrega) . More than 50 concerts in Europe: Incubate Festival (Holland), Klangbad Festival (Germany), Saint Guetto Festival (Switzerland), Audioscope Festival (UK), MS Stubnitz (Germany), Les Ateliers Claus (Belgium), Zoro Fest (Germany), OCCII (Holland), LPM 2017 (Amsterdam), and many others.

He is member of the visual collective TKlab (Telenoika) and MANA.DA. With TKLab he has colaborated Vjing at Estrany festival 2017 (Banyloes, ES). He also made the visuals for Sitrama, Timpahn, Serac and Oleos.

Gondwana Records is an Independent record label based in Manchester, UK. Founded by Matthew Halsall in 2008 the label has gone on to release music by Allysha Joy, Caoilfhionn Rose, Dwight Trible, GoGo Penguin, John Ellis, Mammal Hands, Matthew Halsall, Nat Birchall, Noya Rao, Phil France, Portico Quartet and STUFF.

Red Baraat is a pioneering band from Brooklyn, New York. Conceived by dhol player Sunny Jain, the group has drawn worldwide praise for its singular sound, a merging of hard driving North Indian bhangra with elements of hip-hop, jazz and raw punk energy. Created with no less a purposeful agenda than manifesting joy and unity in all people, Red Baraat’s spirit is worn brightly on its sweaty and hard-worked sleeve. 
“Their infectious rhythms roll over the audience like a hurricane and let the audience breathe only in a short ballad pause.”
— RHEIN MAIN PRESS (GERMANY)
Red Baraat’s June 2018 album release, “Sound The People”, hit the top 10 on the World Music Charts Europe and was heralded in the US as the anthem soundtrack for the South Asian diaspora by US hipster, indie-rock magazine.
“The album is full of moments that hit with the force of a spiritual awakening…The funk, ska-punk, and other American forms that make their way into the music are layered intricately within the same threadwork as the ragas on which these songs are pulled from. Each piece is a gesture of cultural harmony, rendering not only genre irrelevant, but the geographic placement of those sounds.”
— STEREOGUM
2018 also saw the band touring Kazakhstan, Abu Dabhi, US, Canada and Europe. They headlined the renowned WOMAD Festival in Cáceres, Spain in front of 10,000 people, performed the Vienna Konzerthaus (Philharmonie) in Austria and had the crowd jumping at Rudolstadt Festival in Germany. The release of Red Baraat’s 2nd album in 2013, Shruggy Ji, debuted at #1 on the Billboard World Music charts in USA and propelled the band on a world tour that has yet to stop. They’ve performed at Bonnaroo, Austin City Limits, WOMAD, globalFEST, Lincoln Center, New Orleans Jazz Fest, along with clubs, theatres, and arts centers. Along the way they sold out rooms as diverse as the Luxembourg Philharmonic and the New York City’s legendary rock club Bowery Ballroom, and performed at the request of The White House (Obama), TED and Olympic Games.  
“This year’s ‘discovery’ [WOMAD UK Festival], though, was Red Baraat, a cacophonous bhangra funk band from Brooklyn. Think Punjabi weddings, Delhi street brass bands, modern jazz and rock.”
— THE TELEGRAPH (UK)
But even as it’s clear that Red Baraat has built a startling history of performances in iconic settings, the band’s bread and butter remains the sweaty clubs, festivals, packed performing arts centers, and college auditoriums that keeps the band on the road all over the world the last several years. It’s here where Red Baraat does what it does best - communing with their audience in a joyful, near hedonistic celebration of music and dance, which tellingly, draws a crowd even more diverse than the players on stage. The universality of what Red Baraat does is undeniable. And this is no happy accident. It is the product of intention and design. Says Jain, “The band…our songs…are addressing the multiplicity of viewpoints,” says Jain. “There’s ‘Zindabad,’ which means ‘Long Live’ in Hindi. In that song, we’re saying that we celebrate life, we celebrate devotion — but we also celebrate agitation and revolution. If we can unite people of all backgrounds and ethnicities to partake in the exuberance of life through the universal language of music, then life is that much sweeter.”

Batoi, un projecto aleatorio musical de A Lag, un musico de alguna parte de Mexico.

Batoi, some random music project from A Lag a musician from some place in Mexico.

contact: lindsay@waxflower.co

Voice in the Silence EP out now

New Single "Hot Brown" OUT NOW!
Listen--> https://tauk.ffm.to/hotbrown

Full length album 'Somewhere Between Here And There' Out September 5th!
Presave--> https://tauk.ffm.to/somewhere

TAUK has been painting with sound for nearly a decade now, pushing boundaries and reinventing themselves every chance they get. Founded by Dolan, Jalbert, and Carter, who began playing together as middle schoolers on Long Island, the band landed on its present incarnation in 2012, when college pal Teel joined full time.

Since then, the quartet has gone on to tour with the likes of Umphrey’s McGee, Widespread Panic, and Lettuce, landed festival slots everywhere from Bonnaroo to Electric Forest, racked up millions of streams across platforms, and garnered extensive critical praise with a series of widely lauded studio and live albums. The Washington Post hailed the band’s music as “a hard-charging, often melodic fusion that—thanks to a penchant for improv—offers limitless possibilities,” while Keyboard Magazine declared that their sound “doesn’t adhere to a single genre but, instead, creates its own,” and Relix dubbed them “an incredibly impressive ensemble of talent.”

MGMT: erwin@regimemusicgroup.com

BatoI is following