Joep Beving has been one with the piano from an early age. He was forced to end his musical studies at the conservatory and instead continued at university to get a degree in public policy and public administration. However, his love for his instrument never perished. Where once his goal was to hit as many notes per minute as physically possible, his style of playing has changed over the years, searching for a particular aesthetic essence. His path was illuminated by a piano that Beving inherited from his grandmother when she passed away in 2009. This German instrument insisted on a more gentle touch and a gracious pace, which eventually led Beving to adapt to a more classical vocabulary to tell his story.⁣⁣
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This story started to manifest itself relatively late in life, when in 2014 at age 38, he was forced to stay home from work and decided to answer the draw of his piano. In search of tranquility of mind and some form of essence, music started to present itself that he had never played before in his life. Minimal pieces that he later once described as ‘simple music for complex emotions’.  Turned down by the only label he approached, Joep decided to self release his debut album Solipsism in 2015.⁣⁣
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The sound of his piano found its way to the ears of Deutsche Grammophon’s A&R manager Christian Badzura when visiting his favorite Bar in Berlin. This led to the signing of Beving to the world's foremost classical label and consequently the release of equally successful sophomore album ‘Prehension’ in 2017, making Joep one of the most listened to living pianists in the world at that time.⁣⁣
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He has attributed much of his music’s broad appeal to the stream of consciousness in which some of the pieces were conceived. Claiming that the music is already out there and that one has to ‘just’ create the circumstances for it to land. In 2018 he took this idea one step further with the release of ‘Conatus’ of which he said:  “If you see music as a living organism then it is not unthinkable that it has its own innate inclination to continue to exist and enhance itself.” On Conatus, Beving sees compositions from his first two albums travel through the minds of artists he admires (a.o. Suzanne Ciani, Collin Benders, Andrea Belfi), resulting in new pieces of music adding new layers and dimensions which would serve as the upbeat to his next major solo project as would become apparent in April 2019.⁣⁣
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As part of the art piece ‘Franchise Freedom’ by acclaimed artist duo Studio Drift, Joep travels to Burning Man at the end of 2018 to perform in the desert of Black Rock City in front of his largest audience to date. Inspired by the display of human creativity and inclusivity he returns home to finish his third solo album.⁣⁣
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April 2019 sees the release of HENOSIS, Joep Beving’s closing chapter in a trilogy of albums – marking the end of an intensely personal four-year spiritual and philosophical exploration.⁣⁣
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On HENOSIS the Dutch composer continues his minimalist and at times romantic style of writing, but this time explores new territories. It sets off where his sophomore album Prehension left us, the warm intimate sound of the Schimmel piano. With the help of producer Gijs van Klooster and through collaborations with Cappella Amsterdam, Echo Collective, and Maarten Vos, Joep Beving opens up new musical worlds using orchestral and electronic sounds alongside the familiar piano.⁣⁣

OFFICIAL BIO
Regarded upon his 2006 arrival as a promising beatmaker looming in the shadows of J Dilla, Madlib, waterfalls and Dabrye, Steven Ellison -- known as Flying Lotus -- nullified all comparisons only two years later with Los Angeles. On that album, his first of five for the Warp label, Ellison distilled a uniquely crisp, spasmodic, and heady sound with elements of hip-hop, avant-garde jazz, IDM, and dubstep. While the abovementioned producers fueled Ellison, he had also been excited as a youngster by the '90s West Coast rap classics that combined programming and live instrumentation. His sound continued to develop as he put his own twist on the approach, recording with a crop of jazz musicians including the indispensable likes of bassist Thundercat and strings master Miguel Atwood-Ferguson. This process began with the turbulent 2010 set Cosmogramma and peaked in terms of acclaim in 2014 with You're Dead!, which crashed the Top 20 of the Billboard 200 and spawned the Kendrick Lamar collaboration "Never Catch Me," a Grammy nominee for Best Dance Recording. Ellison devoted a few years to various forms of film work and the operation of his revered Brainfeeder label, and returned in 2019 with Flamagra, his second consecutive album to top Billboard's Dance/Electronic chart.

“Belgian with Congolese roots, Tanguy Haesevoets tells intimate stories with a über-modern pop vibe, mixing soul, hip hop and afro elements. Simply gorgeous.” Laurent Hoebrechts/Focus Vif

本音 (True Feelings)

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Bio:
Residing in the Netherlands, Jonathan Tan AKA Wantigga, has been making beats in his hometown Deventer since he was a boy. Growing up in a churchgoing household, he was raised with lots of gospel, soul and jazz music. As an autodidact, he taught himself to play several instruments, but his interest turned quickly to electronic music and hiphop.

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