MANAGEMENT : 
quentin@purposeprod.com
info@the-magician.be

EUROPE, ASIA BOOKING :
themagician@allaroundagency.fr
Info@the-magician.be

AMERICA BOOKING :
quentin@purposeprod.com
info@the-magician.be

NEWS : https://linktr.ee/themagician

DJs, producers, selectors — all these terms pertain to Round Table Knights, the eclectic, highly skilled duo of Biru Bee and Marc Hofweber, so why don’t we just call them artists? Hailing from Switzerland, these warriors against the mundane have fought hard in the realm of house music to keep things fresh and support the new in their productions and DJ sets, as well as at their venue, Club Bonsoir. They present the tried and true anew while searching for the untested. 

Beginning with a taste in hip-hop, jazz, and electro, Biru and Marc have since paid their dues in the record bins and diversified their mixing palette even further. A deep knowledge spread across years and genres has brought them across the globe to respected venues and festivals such as Panorama Bar, Sónar, Igloofest, and Creamfields. These crowd-whisperers mix for the body and the mind, deftly juxtaposing the cutting-edge and the classic, always locked in the groove. 

Meanwhile, their production style has been more or less refined to the realm of house, with a clear inflection of all those other styles they so love. Their tracks bump with an unpretentious experimentalism, devoid of obvious weirdness and bursting with musicality. Say What?!, their debut album released on Made To Play Records, set a high standard that they’ve been chipping away at with a number of killer singles and EPs dropped on an international range of discerning labels.

Even with such a broad base of experience, Round Table Knights remain wholly un-jaded and still have a long road to travel. Equipped with sharp ears, rich knowledge, and a distinctive catalogue of work, it’s clear that they’ll always move forward and never lose the crowd along the way.

bookings: ap@annabellepain.com


10 weeks, 10 songs, 10 cities
https://linktr.ee/Fredagain

Four years have passed since Swedish producer, songwriter and musician Andreas Kleerup was named as one of the world’s hottest producers by NME. The reasons were obvious: his self-titled debut album was a Top 10 hit in his homeland, but its influence impacted upon a tidal wave of artists who desperately tried to recreate Kleerup’s ability to meld retro elements into a pop sound that was both futuristic and innately melancholic. It resulted in him winning big at the Grammis with the prestigious awards for Newcomer of the Year, Producer of the Year and Composer of the Year. Even Lady Gaga was enamoured by Kleerup, and subsequently commissioned him to remix her track “Alejandro”.

His collaboration with Robyn, ‘With Every Heartbeat’, kick-started the trend – a huge international hit (#1 in the UK and a Top 10 hit in numerous other territories) that also won the adoration of discerning music fans. Other guests on the album ranged from the then newcomer Lykke Li through to the legendary Neneh Cherry. Not only did Kleerup demonstrate a surfeit of talent in his own right, but he could expertly judge and apply it in others too – and his ability to combine those two traits is a rare and compelling strength.

A common trait amongst other like-minded musicians is a desire to explore every possible facet of their creativity. It’s something which Kleerup shares. He could’ve simply taken the easy route and watered down his approach for the masses, but as the kind of guy who can reference both King Crimson and Boards of Canada in the same sentence it can’t have been too appealing an idea. Instead, he scored a stage adaptation of former Nobel laureate Harry Martinson’s sci-fi poem “Aniara”, the accompanying album of which earned him a Grammis nomination, and also fronted his Fleetwood Mac and Thin Lizzy-inspired country-rock sextet My and My Army on their debut collection “Thank God For Sending Demons” which garnered yet another Grammis nomination. 

Kleerup had spent the early part of 2014 experimenting on new ideas and technology, and had begun to sketch out some basic ideas. But then tragedy stuck with the death of his mentor Christian Falk. “He really was like family, friend and mentor – he was everything,” sighs Kleerup. A year prior, Kleerup had hit upon the sort of bouncing, insistent bass groove that Falk himself had mastered so well. Perhaps as a subliminal way of addressing his loss, Kleerup revisited the idea and soon had something strong enough to share with kindred spirit Susanne Sundfør (Björk, Röyksopp, M83) who added the mesmeric topline. And so the upcoming single “Let Me” In was born – a song which captures the adventurous spirit of Kleerup’s earlier work while pushing the Eighties influence to a new level.

alexander-rydfjord is following