experimenting with sounds 


All mixes here: https://soundcloud.com/bakhus-mixes

Everything is NRG...🔋

Versatile DJ/Producer has made a strong impression amongst his peers since jumping into the scene. Best known for his siren-hitting sound ALRT finds most of his inspiration lies within the ‘90’s core culture of the electronic dance music scene, and his music draws major influence from acts like The Prodigy, Chemical Brothers, Groove Armada, Daft Punk and more.

Throughout the genre infusion, ALRT has pinpointed his “NRG” movement to be an inspiring feeling no matter the genre of choice. Having released on ULTRA, Musical Freedom, Deadbeats, STMPD, SONY, Confession, Gud Vibrations, Dim Mak, Insomniac, Universal, Welcome, and more. It is clear he has established himself as one of the most highly sought after producers around.
 
Praised by DJ Mag as one of “the latest and greatest DJs and producers rising to the top”, ALRT has continued to catch attention with anything he releases.

inquires : mgmt@alrtmusic.com

love is everything

ENQUIRIES: ellis@lookingfortrouble.club
BOOKING EUROPE: SJH@wmeagency.com
BOOKING AMERICAS: mallgrab@teamwass.com
BOOKING OCEANIA: swald@wmeagency.com

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

UK/EU • tom@clockworkartists.co.uk
AU/NZ • paul.azzopardi@tmrw.com.au 
NA/SA • ricky@visionarytalentgroup.com
MGMT • josh@stptmusic.com
💿💿💿

North/South America and Asia:
lhughes@teamwass.com
dhoffman@teamwass.com

Australia:
paul@posterchild.com.au

MANAGEMENT:
walkerandroyce@jet-mgmt.com

For Sam Walker and Gavin Royce, the question is the fundamental test of their studio output. Simple as it may sound, for this perfectionist pair it’s anything but. Their innate dance floor intuition, combined with years of experience behind the decks, drives them to create music that isn’t just playable — it’s irresistible.

First introduced by way of New York City's early-aughts dance music scene, Sam Walker and Gavin Royce first teamed up for a remix in 2011. The duo found early success on tastemaker labels like Crosstown Rebels, OFF Recordings, and Moda Black, scoring an Essential New Tune nod from Pete Tong with 2014’s “Sister.”  The indie dance and deep house sounds that informed Walker & Royce’s earliest work soon gave way to something different. Quirky accents and bouncy synths, previously deeper in the mix, leapt to the forefront, backed by a propulsive new energy. The success of their November 2015 “Bright Lights” remix was a clear indication that they were onto something.

In October 2017, Walker & Royce released their debut album Self Help on Dirtybird, which both showcased and expanded upon their now-signature sound. The guys enlisted numerous vocalists, including Green Velvet, Dances With White Girls, and Sophiegrophy, to make Self Help feel like a packed house party – while leaving no doubt about who was hosting.  Self Help was followed by further experimentation and growth. Sam and Gavin have collaborated with Claude Vonstroke, Ardalan, Chris Lake and VNSSA just to name a few as well as remixed Channel Tres, LP Giobbi, The Knocks, Justin Jay, Gorgon City, Mindchatter; and put out music on Relief, Black Book, HotBOi Records and more. Their Rave Grave EP was the inaugural release on Diplo’s house-focused imprint Higher Ground.  Continuing to push boundaries, they have launched their own label Rules Don’t Apply Records, with the ethos just as the name states…No Rules, just good music.

Walker & Royce have spent years honing in on their one-of-a-kind style, meticulously crafting the sounds they want their fans to hear in clubs, at festivals and in their headphones. The result is a cohesive, career-defining body of work that firmly places the duo at the forefront of dance music's future.

Blessed for eternity 🕊🕊🕊 
MGMT/Bookings: tom@audio-dealers.com

🌐 TANZPARTEI 🌐

https://atrip.komi.io

mgmt - tom@saltmusic.co.uk

UK/ROW - atrip@teamwass.com
US - atrip@unitedtalent.com

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