Management: 
contact@theastonshuffle.com

DJ Promos:
theastonshuffle@gmail.com

Bookings (AU/NZ/Asia)
Paul Stix
stix@undrctrl.com

DJ / Producer / @HeldeepRecords label boss / Weekly Radioshow @HeldeepRadio / HI-LO @official-hilo (My darker, more #Techno focused alter ego) / enjoy :)
More of my DJ sets are on my YouTube channel though:
https://www.youtube.com/channel/UCLLVQloTOSNkIF9uSdh_lWQ
@HeldeepRadio 
https://www.youtube.com/watch?v=lYC_nQJ9mAA&list=PLoVPdGdbdII3XrN-6CvLoHGRHM5jz_OGZ

Enjoy! :)

MGMT
Dave Frank 
heldens@milkhoneyla.com

BOOKINGS
N/S America: kevin.gimble@unitedtalent.com & matt.meyer@unitedtalent.com
ROW: jennifer.hammel@caa.com

🫧EDATS ON EDATS
🫧@DIMMAKRECORDS A&R
🫧LIVE DJ SERVICE

🫧BOOKING🫧 cory@worldlive.io
🫧MGMT🫧 justin@cardinalartists.com
🫧DEMOS🫧 benzi@dimmak.com


There's no doubt that Benzi is one of the most triumphant and prolific DJs on earth and a true master of the mixtape. Both his Girl Trapz and Get Right Radio series have achieved worldwide acclaim and praise from both fans and his contemporaries. There's no producer who wouldn't benefit from having their music showcased in the finely crafted and produced mixes. But that's not all that makes Benzi such a force in the world of electronic music, and verily, music in general. He's half of well known duo TWRK, with eSenTRIK and they racked up millions of streams with releases on Mad Decent and Capitol Records. BENZI then became the first resident DJ on Diplo & Friends on BBC Radio 1 and helmed his own show #BANGUERS with BENZI' that ran on Sirius/XM for three years. In recent times BENZI can be found looking to take over the music industry from the inside. He launched Parametric Records under the umbrella of Atlantic/APG and saw instant success with a string of big singles released all in the span of two years. This lead him to his current position at Steve Aoki’s DIM MAK Records where he serves as the main tastemaker and A&R.

French Kiwi Juice

New album "22_23 Live Sessions" out now: https://fkj.ffm.to/livesessions

Official Store: https://fkj.ffm.to/shop

Sign Up: https://fkj.ffm.to/newsletter

Management: info@verdigrismanagement.com

Bookings: 
North & South America: bowen@paradigmagency.com
Rest of World: michael.harvey-bray@paradigmagency.com

The Doomed Millennials Podcast.

Average young adults, navigating the world the best that we can't.

Collective 
@dbo_intuit 
@aeswaves 
@samog-3

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.

xx TOUR: www.drezo.com xx

xx MAIL: drezopromos@gmail.com xx

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