Acroyear is Luis Tataje.Creating sonic landscapes in Portland, OR and San Francisco, CA since 1998. Dark, visceral , and sonically challenging the aural senses. Creating dubplates for the former Portland based dub label BSI Records(Systemwide/Muslimgauze/BeWa/Twilight Dub Circus) to doing various remixing projects local and abroad. Member of the PAN-ZEN KONSPIRACY NETTWYRK  "BLUDGEONING BASS AND BREAKS" - PORTLAND MERCURY "RIB-CRACKIN' BASS AND LUSH ATMOSPHERICS TO BE HAD" - BSI RECORDS "LESS BEAT DRIVEN BUT FORMING BIGGER SOUND WAVES ACROYEAR'S CREATIONS SWIRLED OVER THE OFTEN CLOSED-EYED, HEAD - NODDING AUDIENCE" - THE OREGONIAN.  (I ALSO PERFORM AND RELEASED MUSIC AS PART OF THE ENSEMBLE : JAZZTRONICA W/DEREK SIMS. HERE IS AN EXERPT FROM THE OREGONIAN: Jazztronica started as a concept, then a live performance series in Portland and now, apparently it's a band AND the name of an album. The constant is trumpeter Derek Sims, who a few years ago actively hated electronics, even electric Miles Davis. Accidentally walking into a one-man performance by Auditory Sculpture (Keith Schreiner) changed Sims' musical life. The subsequent collaboration opened new worlds to both. The combination was irresistible: Schreiner's hip-hop beats and electronic samples and Sims' mostly muted trumpet which, as they progressed, mutated into electronically enhanced trumpet. Sims began a similar collaboration with Cellotronik (Skip von Kuske) and started a series at the Blue Monk, alternating in duet between the two and adding Acroyear (Luis Tataje) and keyboardist Clay Giberson when the series moved to Pi-Rem. Although always in duet, whomever Sims teamed with sounded like a whole band, with Sims' modal swooping, punctuating, sometimes soaring, always inside the storm around him. Recorded live at Pi-Rem, the duets on the album present a unified concept, each partner adding his own contribution within it: Schreiner the melodic, von Kuske the cello lyricism, Giberson the jazz edge and Tataje the rhythmic frenzy. There is a generational divide between those who have never not heard hip-hop beats and those to whom those beats are an anathema. Perhaps this will bridge the gap between the two genres in the same way Miles Davis' "A Tribute to Jack Johnson" did for jazz and rock.

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Regarded upon his 2006 arrival as a promising beatmaker looming in the shadows of J Dilla, Madlib, waterfalls and Dabrye, Steven Ellison -- known as Flying Lotus -- nullified all comparisons only two years later with Los Angeles. On that album, his first of five for the Warp label, Ellison distilled a uniquely crisp, spasmodic, and heady sound with elements of hip-hop, avant-garde jazz, IDM, and dubstep. While the abovementioned producers fueled Ellison, he had also been excited as a youngster by the '90s West Coast rap classics that combined programming and live instrumentation. His sound continued to develop as he put his own twist on the approach, recording with a crop of jazz musicians including the indispensable likes of bassist Thundercat and strings master Miguel Atwood-Ferguson. This process began with the turbulent 2010 set Cosmogramma and peaked in terms of acclaim in 2014 with You're Dead!, which crashed the Top 20 of the Billboard 200 and spawned the Kendrick Lamar collaboration "Never Catch Me," a Grammy nominee for Best Dance Recording. Ellison devoted a few years to various forms of film work and the operation of his revered Brainfeeder label, and returned in 2019 with Flamagra, his second consecutive album to top Billboard's Dance/Electronic chart.

Hello, it's me.

My new album "The Work" is out now on City Slang. 

thanks x

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