Management: Moe Shalizi
Moe@TheShaliziGroup.com

Bookings: 
shunt@teamwass.com
mdiamond@teamwass.com
sgoodgold@teamwass.com
Europe:
obi.asika@unitedtalent.com

♬ @joytimecollective

Pre-save CRY BABY with Anne-Marie & David Guetta, out 9th August
https://CBxAMxDG.lnk.to/CryBabysb

Never Washed / Always Conditioned

Management: Adam Alpert - adam@disruptorrecords.com

Booking: thechainsmokers@caa.com

Promos: thechainsmokerspromo@gmail.com

New album 'Rx' out NOW 💊
https://galantis.komi.io

Galantis is the dance music project of Christian Karlsson (aka Bloodshy). RIAA gold-certified debut
album Pharmacy reached No. 1 on the Billboard Dance album chart on the strength of gold-certified
single “Peanut Butter Jelly” and 3x platinum certified smash “Runaway (U &amp; I)” – the latter of which
earned a GRAMMY nomination for “Best Dance Recording” – while 2017’s sophomore album The Aviary
(featuring platinum-certified single “No Money”) saw a top 10 debut in 23 countries. The third Galantis
album, 2020’s Church, featured the chart-topping gold-certified single “Faith” with country music icon
Dolly Parton featuring Mr. Probz, which saw a #1 debut on Billboard’s Dance/Electronic Chart before
quickly reaching #1 on the Dance/Mix Show Airplay Chart where it remained for 5 weeks. Meanwhile,
gold-certified collaborative single “Heartbreak Anthem” with David Guetta &amp; Little Mix proved a global
sensation, spending 10 weeks on the Billboard Global 200 chart and 13 consecutive weeks in the top 10
on the UK Official Chart. Latest album, Rx, is Karlsson’s most deeply personal creation to date – featuring
pop banger “Lighter” with Guetta and 5 Seconds of Summer which landed No.1 on the US Dance Radio
chart. Galantis has received over 7.3 billion cumulative worldwide streams and over 1.9 billion video
views to date.
Karlsson has been at the helm of Galantis since 2009 before officially debuting the project at 2014’s
Coachella Valley Music and Arts Festival. His career has spanned across the musical genres of punk-
rock, hip-hop and pop – including work as one half of acclaimed production duo Bloodshy &amp; Avant and
one third of indie pop band Miike Snow. Karlsson’s songwriting/production credits have included the
likes of Madonna, Kylie Minogue, Katy Perry and extensive work with Britney Spears (including “Toxic”
which earned a GRAMMY for “Best Dance Recording” and her widely acclaimed 2007 album Blackout).
As Galantis, he has crafted remixes for the likes of Coldplay, Selena Gomez, Ed Sheeran, Sam Smith &amp;
more. Declared “pop’s mastermind producer” by UPROXX, “eternally effervescent” by Billboard and
“one of the most influential and untamed voices in modern music” by GRAMMY.com, the Swedish-born
artist continues to evolve and push the boundaries of songwriting within the world of dance music and
beyond.

Adventure Club is:
Christian Srigley &amp; Leighton James

www.WeAreAdventureClub.com

Management: <a href="mailto:robbie@stndrdgrp.com" rel="nofollow" target="_blank">Robbie Sabato at The Standard Group</a>

My newest project The Bedroom Tour Playlist now available on iTunes. http://smarturl.it/bedroomtourpl http://niykeeheatonmusic.com

Follow Me On Twitter/IG: @NiykeeHeaton
Booking: JZ@wmeentertainment.com
All Other Inquiries: NiykeeInquiries@gmail.com

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.

ANGEL IS OUT NOW!! ⬇️ 

https://linktr.ee/nghtmre

Beats and bad dreams 🔮
@gudvibrations

http://www.nghtmre.com

Text Me: +1 (323) 305-4959

-MANAGEMENT-
steven@prodigyartists.com
will@prodigyartists.com

-BOOKINGS-
North America/AUS/NZ: ben.hogan@unitedtalent.com
Asia: david.gordoni@unitedtalent.com
EU: paul@primarytalent.com

@the13thgrade

paulina is following