Benji B is one of the world’s most respected music curators. He maintains an unrivalled level of credibility as a radio broadcaster, a DJ, a record producer and musical director. Benji has held one of the most influential radio shows in the world since the early 2000s, and his global connections span across genres and generations. He has had the honour of conducting significant interviews with culturally revered artists and creatives, some of which are no longer with us. 

Considered a key international tastemaker, Benji B has toured the world as a club DJ for 20 years. He is currently a regular fixture at Circoloco and Manchester’s Warehouse Project. Benji runs the legendary Deviation club nights, since 2007, and has had guests such as A$AP Rocky, James Blake, Kaytranada, Moodymann, Skepta, Travis Scott, Virgil Abloh. Each year, the brand brings its signature sound and energy to Notting Hill Carnival, hosting a highly anticipated stage on the Sunday in collaboration with Killerwatt Soundsystem. 

Benji has also worked with many established recording artists including the likes of Kanye West (‘Yeezus’, ‘Life of Pablo’, and Sunday Sessions), Miles Davis and Bashy.With every project he works on, Benji B ignores dated genre boundaries and celebrates the connections between different musical worlds. He flies the flag for music’s deep history, while also encouraging the new artists who are pushing it forward.

Within fashion, Benji B worked with Phoebe Philo for a number of years on the Celine runway music until her final season and was the music director for Louis Vuitton Mens during Virgil Abloh’s tenure,where he considers some of his most special work in this space to have been created.  Currently, Benji B is the musical director for Burberry, Carven, Jil Sander and Lacoste. Music direction for both runway and film has since become a big part of his multi disciplined work in music.

accounts@benjib.com

Musician and Hammer Dulcimer maker Tim Manning has been making Dulcimers and other instruments professionally since about 1995.


http://itsmyurls.com/thebeatnuts
The Beatnuts are a New York-based Hip Hop group and production duo from Queens, New York City. @PsychoLes & @JunkyardJuJu . JuJu (born Jerry Tineo on December 4, 1968) is Dominican American from Corona and Psycho Les (born Lester Fernandez on April 10, 1972) is a Colombian American from Jackson Heights. The Beatnuts are the only Latino members of the Native Tongues collective. Although only peripheral members, they are routinely acknowledged by Q-Tip. The Beatnuts were originally a trio before Kool Fashion, now known as Al' Tariq, left the group to start a solo career. The Mighty V.I.C. (Groove Merchantz, Ghetto Pros) was also a member of The Beatnuts' production team for a while.

Psycho Les is an American rapper and producer from Queens, New York and 1/2 of @The-Beatnuts.

The Beatnuts Production Credits:

Al’ Tariq
MC Lyte
Common
Mos Def
Fat Joe
DJ Honda
Mad Skillz
Stereo MC’s
Chino XL
Non Phixion
Masta Ace
Chi-Ali 
Naughty By Nature
Pete Nice
Supreme NTM
Da Youngsta’s
Bas Blasta
Down South
Kid N Play
Kurious
Triflics
Screwball
The Madd Rapper
Nigo
Prince Paul
Shazzy
Da Lench Mob
PMD
No I.D.
Soulive
Mondo Grosso
Shinji Takeda
Rhymester

Contact losangeles@stonesthrow.com

Stones Throw Records
2658 Griffith Park Blvd # 504
Los Angeles CA 90039

Red Pill is the patron saint of a poisoned world. The blue-collar Michigan MC writes spiteful chants for the permanently scarred, death letters for the forgotten, surly hymns for charcoal lungs. Think Bukowski on an eloquent bender, swapping wine for whiskey, a notepad for a glowing LED screen, the race track for the recording booth. These are anthems for the irate, over-educated and under-valued. 

Over his last three albums ("Look At What The World Did To Us," "Instinctive Drowning," "Day Drunk") Ferndale's Chris Orrick has embodied the idea that all great art is a form of complaint. Before the alienation of the Midwestern working class became a top political cliche of 2016, the pundits could've learned everything from a quick study of his back catalogue. Pill made the generational manifestos of an ex-machinist in his mid-20s, saddled with crippling debt, substance addictions, depression, and dim job prospects. Thoreau's quiet desperation turned into a bitter yawp. He makes hip-hop to give Horatio Alger a stone cold stunner. He prophesized an American dream that swiftly turned dystopian. Then he'll balance it out by rhyming "listening to Bitches Brew," with "eating chicken vindaloo." Somehow, it puts the fun back in dysfunction.   

As Pitchfork said, "his pain never feels like a put on." XXL declared "if Red Pill is not on your radar, it's time to change that." He combines the emotional chaos of early Atmosphere with the incisive satire of Open Mike Eagle. If escapism is our most sought-after currency, this is the opposite. It's serious as a third-degree burn, real as roadkill, poignant chronicles of our domestic failures. The late night conversations you have with your closest friends, your defenses down, glass bottles and cigarette boxes stacked, infidelities and flaws openly admitted. 

We need artists like Red Pill and don't let anyone tell you otherwise. In a world of constant lies and artifice, his music cuts through the banality and reveals what's most important -- the search for meaning in the meaningless, the notion that there has to be something better than this, the idea that despite of all this madness, we can find fleeting shards of solace. He'll tell you a story about chronic genetic alcoholism and then offer a toast, write songs about certain death but allow for the possibility of healing through music. He understands the complexities and contradictions of life as well as anyone, but would never openly admit that. As for everything else, that's fair game.

Rowan Springfield is following