Young Croatian cellists Luka Sulic and Stjepan Hauser, known as 2CELLOS, achieved sensational success by taking the cello to a new level and breaking the boundaries between different genres of music. Their unique cello version of Michael Jackson's 'Smooth Criminal' took the world by storm. Within only a week, this YouTube video became a huge viral sensation leading to a record deal with Sony Masterworks and an invitation to join Elton John on his worldwide tour. 

Since then, the duo has appeared on major TV shows such as The Tonight Show with Jay Leno, The Ellen DeGeneres Show (multiple times), Lopez Tonight, TV Total with Stefan Raab and many others. 2CELLOS recently performed with the Red Hot Chili Peppers, and are releasing their second album IN2ITION in January 2013. The album was produced by the legendary Bob Ezrin (Pink Floyd, Alice Cooper, Kiss, Deep Purple) and features an eclectic group of vocal and instrumental guests including Elton John, Steve Vai, Lang Lang, Naya Rivera and Zucherro. 

Keep Out Recordings, a label born in 2008 by KRYN, dj and producer based in London. 
With the combine of many realities developed an innovative sound appreciate in a club that not follow market standards, but go a little bit more over... 
Defined by many producers as "Sparehead Label", our productions have influence of Techno music, but with Sinth that emphasize the groove, and also characterized by use of live instruments like batteries, guitars and, in some cases the voice. 

Modulating oscillator parameters, KRYN, producer, dj and sound technician, generates sounds using different techniques and tools for his own productions, from street sound recordings to live modulation recordings of effect and synthesizers.
He studied at the Nut Academy, a school for electronic music producers, where he formed the "O.H. 35 Live", the first live band that mixed Techno, rock and classical music. In 2011 they came second in a competition for the Universal Music in London .
Kryn then moved to solo electronic experimentation inspired by London nightlife. Always in love with vinyl, he also experimented with engaging electronic live set, improvised for the situation.
Owner of the Keep Out Recordings, he boasts collaborations with Greek, Japanese, English and German artists. He has released on labels such as the American Sheeva and the Canadian DTD.
Many of his songs are being played on radio and television, such as "Faces of Ibiza", "Hey Berlin" and "Maybe I'm Crazy". Their video clips were shot in Ibiza, Naples and Berlin.
In refined environments he is known for the "Hear The Pictures" project where he created original scores for paintings on display in art galleries.

Courses & Certificates:

*2009 "ELECTRONIC MUSIC PRODUCER and INFORMATIC LIVE PERFORMER" Certificated by NUT-ACADEMY Naples (IT)
-Basic Harmony with Gaetano Savio
-Mixing with Vinci Acunto
-Mastering with Antonio Ruggiero
-Recordings with Rosario Acunto
-History of Electronic Music with Gaetano Savio
-Reason 4 with Francesco Siano
-Subtractive synthesis and sampling with Luca Capozzi 
-Cubase 5 with Francesco Siano
-Ableton Live 8 with Giancarlo Lanza
-Acoustic and psychoacoustic with Antonio Ruggiero
-Self production and web marketing with Francesco Siano
﻿
*2010 "MIXING AND MASTERING" Course at MORLAY COLLEGE London
-Mixing & Mastering with Matt Stoke ( BBC )
﻿
Links:
www.beatport.com/artist/kryn/27127
www.soundcloud.com/daniel-kryn
www.residentadvisor.net/dj/kryn
www.komultimedia.co.uk/
www.youtube.com/danielkryn
www.youtube.com/KEEPMUSICOFFICIAL

LION BABE is Jillian + Lucas NYC x

New Album "House of LION BABE" out 3/22 on EVEN
https://www.even.biz/releases/house-of-lion-babe

Mike is currently busy working on the new D.O.T. album. Check if out on their website here: http://the-dot.net

DJ E.A.S.E
Producer/Writer/Spiritual Conductor/CEO of MY Life. In honour of creation xxx 
Enquiries: kr@endlessloveshow.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.

Dance music from Montreal, Canada&#13;
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Booking •
N/A + World > BGreenwood@wmeagency.com
EU/UK > Naomi@earth-agency.com + daniel@earth-agency.com
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Management •
mgmt@jacquesgreene.com
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http://jacquesgreene.com
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Thanks for listening

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