From the Kites Of San Quentin use various boxes and instruments old and new and make sounds come out of them. When the sounds turn into music we mash them together. You may call them songs if you wish....we call them experiments. Please enjoy responsibly. XX

Contact: cab.canavaral@gmail.com
Booking: booking@ludwigsound.com
Presskit: http://klubshwing.wordpress.com/digital-presskit-english/

Cab Canavaral is one of the pioneers of the viennese Swing/Electroswing Scene. He started to DJ in the year of 2007. He founded and hosted the „KLUB SHWING“ at Ost Klub. At first his sets contained traditional swing and Neoswing for Lindy Hop dancers. 2011 he digs deeper and deeper in the new and emerging genre called Electro Swing. He was invited to join the team of www.electro-swing.com one of the most relevant website for this genre. His productions and remixes received very positive feedback.  His tracks can be found on several compilations: Electro Swing Revolution Vol.2 & 3, Swing it!!! Vol.1 and Electro Swing VII, Ludwig Sound Boutique and ESE. He remixed and collaborated with Bart & Baker, Skeewiff, Extra Medium, Sound Nomaden, Grant Lazlo and many more .
In his DJ Sets he combines his high musical knowledge with his skills as saxplayer. For this reason his DJ-Sets become a real live-performance! As DJ and Saxman he has played very sucessfull many places abroad (Berlin, Dubai, Stockholm, Bukarest, Madrid, Geneva...)  and in Austria  (Flex, Pratersauna, Ost Klub, Leopold, Rote Bar, Hangar7,...) 
He is the founder and manager of Billybong Records (www.Billybongrecords.com)



The visceral thrill of music made in a moment that can never be repeated has become the Manchester-based musician’s calling card. It has taken him on tour across the world, from a mountain-top monastery in Switzerland, Nuremberg’s Museum of Modern Art and Le Botanique in Brussels to Vietnam, Canada, the States, Poland and Portugal. It has earned him support slots with Johan Johnasson, Can’s Damo Suzuki, to Massive Attack and Mr Scruff (on whose most recent album he collaborated on five tracks)
The immersive, in-the-moment nature of the complex soundscapes Denis orchestrates has seen him sought out for film soundtracks and plays. Last year, he was the sonic star of Scuttlers, a major theatre production about street gangs staged at Manchester’s Royal Exchange for a month, which summoned the city’s industrial past, largely through Denis’ highly acclaimed live score.
The Guardian devoted the entire first paragraph of its glowing review of Scuttlers to Denis’s “sonic poetry of motion”, praising his ability to both mimic vast and varied machinery at work and provide nimble accompaniment to the action. For nine performances a week, from a suspended platform, Denis created a unique soundtrack that involved ‘playing’ the venue. Inspired by David Byrne’s Factory installation, he fitted 24 tiny hammers which hit the theatre’s frame and rafters to evoke not only the cacophonous sound of an industrial environment, but its actual, physical feel.
In London in the early Noughties, Denis played acoustic gigs with pedals, cables and a glockenspiel and immersed himself in the glitch electronica scene, absorbing Four Tet’s first album and the Matthew Herbert classic Bodily Functions and learning how to sample live. 
Described by The Guardian's Laura Barton as “scuzzy Mancunian blues at its richest and most intriguing”. A multi-tasker both on stage and off, Denis designed the artwork, as he has done in the past with the visuals for his live show.
Denis’s first soundtrack was for an award-winning student film. In 2014, he was commissioned to score the Maik Reichert documentary Ostkreuz, which followed an East Berlin-based photography company that had documented the fall of the Wall, which appeared on the Arte network in Germany and France, supported by the Goethe Institute worldwide. Denis has since composed for films featuring Martin Freeman, Jose Long and Julian Barrett.
For the first time ever, Denis is recording songs that didn’t begin on stage.
“I’m going the opposite way,” he explains. “Instead of taking songs I’ve improvised live and trying to hone and condense them for recording, I’m writing music I may never perform live. The songs will be shorter, more dynamic and technically better, with tighter arrangements and built with technology I’ve never used before, including a laptop. I’m looking forward to including key changes that weren’t possible when I was restricted to the hardware.”
He will also have time to work on the lyrics, so expect the self-confessed big mouth to have plenty to say. 
Written by Lisa Verrico

Satirical spoken word poetry; be it based in reality, be it hyperbolic, it be meant
...or at least it's meant to be.

For bookings please contact sphelmvibes@gmail.com 

What do you do when your infamous underground post-metal band breaks up? Well, for Mike McKnight, formerly of Manchester's cult experimental rockers Cyril Snear, the answer is that you sell all of your equipment, and form an electronic-acoustic project with one of your oldest friends. Then, you grab your acoustic, and go out to play to the same post-rock, progressive metal and experimental rock audiences as the old band;
"For us what qualifies as a good show is when we manage to silence crowds, just from our guitar playing and harmonies. There's nothing more satisfying than hearing all the chatter at the beginning of the gig, and then complete silence."
Those hushed crowds speak volumes of the musical power that Sphelm boast. If at all possible, the same post-rock and math-rock feel remains despite the acoustic guitar and electronic instruments; music written as if for a modern progressive rock band re-imagined as electronica. If that sounds brilliant, that's because it is.
Some background; Mike formed Sphelm ("a term picked up from our home town of Mold in North Wales... it doesn’t really mean anything; we chose it because it reminds us of where we are from," he says) in 2013 as a creative outlet to explore a completely different side of his musical personality; "I started on the acoustic and that's what has always felt natural to me," Mike muses. As his main band wound down, Sphelm continued to take shape, with electronics and acoustic guitar taking the fore in a reaction to "all the pedals and loud amps" becoming "a bit of chore, [that] all felt too much." Tim Powell joined on guitar and keyboards after Mike's initial shows, and quickly became key to defining their sound.
"Our first release was written and recorded over a very short space of time," explains Mike, of 2014's 'Orenda' EP, released on Manchester label This City is Ours, "since, we've refined our sound, matured as musicians, and this time we've paid a lot more attention to the technical side of the recording in order to really bring out the sound and feel we were looking for."
Now, with debut LP 'These Roots Know No Boundaries' in the bag, 2016 is looking busy for the duo as they plot its release and touring to support it.

Ambient project for Richard Smithson

New release Pre Save here - https://distrokid.com/hyperfollow/delusi/sapiens

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