 SWEATSON KLANK formerly know as TAKE
www.sweatsonklank.com
www.twitter.com/sweatsonklank
www.facebook.com/takeisme
www.instagram.com/sweatsonklank
BOOKING INQUIRIES:
USA: sweatsonklank@gmail.com
EUROPE :  aine.devaney@projectmooncircle.com
Management: jesse@lvlmgmt.com
Press/Publicity: press@youhumitwesingit.com 

Mgmt & Inquiries: management@djshadow.com

Pioneers of Colorado’s electronic music explosion, Break Science soars ahead of the curve, with a decade-plus trendsetting the game. Steeped in filial traditions of East Coast hip hop, and futuristic soundwaves of the now, the Denver-based duo continues to scale creative mountains. Comprised of keyboardist/producer/jazz pianist Borahm Lee (Pretty Lights Live Band) and funk/hip-hop drummer extraordinaire Adam Deitch (Lettuce), Break Science traces roots to the embryonic seeds that flowered the electro-soul movement. The pair have consistently ascended the cutting edge of live dance music culture with an array of blistering live performances in any number of settings or configurations.

Borahm Lee’s masterful use of Ableton Live and prowess atop an assortment of analog synths, Fender Rhodes, and digital plug-ins propel Break Science’s towards the new frontier. Lee has worked with cultural icons like Kanye West and The Fugees, he is well versed in reggae/dub vibrations. Adam Deitch keeps it thorough with classic boom-bap, and inventive patterns that employ his rhythmic wizardry, be it electronic drum programming or a traditional trap-kit. Deitch has worked with hip-hop legends like Redman, Pharoahe Monch and members of the Wu-Tang Clan, he’s manned the drum seat for jazz luminaries like John Scofield (Uberjam). Both members of Break Science bring classic hip-hop, dub, drum n’ bass, dancehall, jazz, funk, and genre-defying elements to coalesce in modern electronic soundscapes.

The sum of these parts has evolved Break Science into an amalgam of styles authentic, and an artistic aesthetic wholly their own, heard in the highest of definition on their titanic 2018 full-length LP Grid of Souls. For ever-further explorations in sound, the duo will form like Voltron, combining with several members of Lettuce for the wildly-kinetic Break Science Live Band. Whether the essential dynamic duo or a full-fledged ensemble, they continue to break down the science & move the arena, one gridlocked soul at a time.

Giorgio Moroder - the father of Disco

Casablanca Records

Genres and Styles:
Disco, Electronic, Hi-NRG, Synthesizer, Pop, Rock, Dance, EDM

Moroder is frequently credited with pioneering synth disco and electronic dance music.

Soundtracks: 
Metropolis, Scarface, Midnight Express, Cat People, Electric Dreams, American Gigolo, Flashdance, The NeverEnding Story, Top Gun, Over The Top, Grand Theft Auto III (Flashback FM), Grand Theft Auto: Liberty City Stories (Flashback FM), Racer

Giorgio collaborated with Daft Punk in 2013
(My name is Giovanni Giorgio, but everybody calls me Giorgio - "Giorgio by Moroder"),
he is officially the oldest DJ in the world and currently working on his new album called "Déjà Vu" featuring Britney Spears, Sia, Charli XCX, Kylie Minogue, Mikky Ekko, Foxes, Matthew Koma, Kelis and Marlene.
Stay tuned.

#74isthenew24
#Righthererightnow
#Dejavu
#Diamonds
#Dontletgo

[CA: himmelfarb@feldman-agency.com]
[MGMT: management@skratchbastid.com]

youtube.com/@antwontv2.0


If ANTWON didn’t exist, no one could have invented him. The former hardcore punk, unabashed hedonist, and Nature Boy leader is what you’d get if Bad Brains spent their summers balling on a budget. ANTWON isn’t a contradiction; he’s a man of complexity. You might catch the San Jose native flexing in BMWs chauffeured by freaks, but he’d prefer to be low-key in a Prius. You might catch him in the club sipping tea and smoking the highest caliber of weed. He isn’t weird isn’t for the sake of being weird. He’s weird for the sake of being raw as fuck.

The former member of power-violence punk outfit, Leather, ANTWON first burst onto the scene in the early years of this decade, blending slightly nostalgic fluorescent raps with gritty industrial dirges, and live shows so rowdy the bruises still haven’t healed. He’s collaborated with Wiki, Heems, and Lil Ugly Mane, Suicideyear and Pictureplane—effortlessly shifting between styles and genres without losing the lecherous wit that made him instantly stand above from the sea of Tumblr struggle rap.

With his lo-fi druggy summer anthems, ANTWON emerged as the missing link between Kid Rock and the Great Rock N’ Roll Swindle, The Misfits and Martin Lawrence. He was ostensibly too raunchy for the punks, too punk for the hip-hop traditionalists, and not chill enough to be chillwave, but he still built a die-hard cult—one of music’s true originals, idiosyncratic, off-beat, blunted, and always with a bad chick hanging off of him.

The Fader said, “ANTWON has a gift for making filthy-fun-times rap songs with people who don’t usually produce rap.” Spin compared him to like a teenaged Biggie in that famous street-corner freestyle resurrected as an ex-hardcore dude.” Pitchfork claimed, “ANTWON’s heavy voice mourns the people whose lives are growing stagnant and not progressing…like Death Grips if they showered up and decided to write the vast majority of their songs about oral sex.”

He’s too smart and self-aware to try to be the voice of his generation, but his raps embody the spirit of the masses that refuse to fit into any classification. He’s the music nerd and the class clown, the punk and the pervert, emotional and aloof, the rap kid sampling Metallica, old funk, and 80s synth-pop.

After a handful of mixtapes and one solo album, he’s signed to Anticon—the ideal fit for a label that never catered to obsolete notions of genre or what a rapper could or couldn’t be. ANTWON couldn’t give a fuck even if he wanted to—an original artist that’s always evolving, swerving recklessly in the lane that he built.

dead ringer is following