Beats & bass since 1999

www.techniquerecordings.co.uk

Hailing from Tacoma and now residing in Bremerton, Washington; I am a prospective philanthropist, philosopher, poet, producer, prodigy.

Entirely self-taught [gotta love YouTube], my musical background consists of a mere 3.5 years of drumming on a set I purchased around freshman year of highschool.


For the past decade, Mad Decent has been invading your ears with fresh sounds. With humble beginnings in Diplo’s Philadelphia studio, Mad Decent’s unwavering mission is to highlight underground, genre-blurring sounds. Mad Decent tops iTunes, Beatport and Shazam charts worldwide with #1 Dance tracks and albums with releases from artists like Major Lazer, Dillon Francis, Grandtheft, Party Favor, NGHTMRE and Yellow Claw. Mad Decent is also home to Good Enuff, a launchpad for artists breaking the norm; notable releases include Bauuer’s “Harlem Shake” and DJ Snake’s “Bird Machine.” As an extension of the Mad Decent sound, Mad Decent Block Party was established in 2006 and now spans across North America and India.

Le groupe est né en 2013 de la rencontre entre deux producteurs de musique électronique, Ganja White Night et Simon, chanteur aux fortes influences reggae. Les trois musiciens présents sur scène sont issus du Conservatoire Royal de Mons. 

Après plusieurs années de voyage au travers de genres musicaux divers et variés, ils se retrouvent à naviguer au confluent du hip-hop et du reggae.

Les beats cadencés et les synthés rugissent des mélodies puissantes qui donnent tout leur sens aux textes. Touchant et sincère, le groupe raconte avec tendresse sa vision d’un monde dur et brutal dans lequel il y a toujours de l’espoir. "Energique" est le meilleur qualificatif pour décrire leurs concerts qui transpirent les vibrations positives.

En été 2015, “Ganja White Night & Simon” devient “Vice Vertu”, dans un désir de s’affirmer et d’exister en tant que groupe à part entière, de passer d’une collaboration à une entité solide. Ce changement de nom sera accompagné d’un second album intitulé “Action Rédaction”, à paraître à la rentrée 2015.

During the uprise of Dubstep’s popularity over the last 15+ years, we’ve witnessed some of the biggest changes to music and popular culture in recent times. And along with it some of the most exciting and forward thinking music since the turn of the century. Deeply intertwined within that musical revolution is London based DJ and producer Alex Crawford, known musically as The Others.

The Others prolific work rate has seen him compile one of Dubstep’s most extensive and varied back catalogues, responsible for genre classics such as 'Africa VIP', ‘Funhouse', 'First Flight', ‘Gravity', ‘Fallout', ‘Close', as well as his acclaimed debut and genre defining 2012 album; 'Red Planet'. Along the way collaborating with a dizzying array of artists including Emalkay, Virtual Riot, Caspa, Joker, Breakage, Hatcha, Dread MC, Bare Noise, Subscape, J:Kenzo, Virus Syndicate, Bukez Finezt, Youngsta, Stamina MC, Trolley Snatcha, Proxima and N-Type.

The Others has and continues to work with some of the genre’s most ground breaking labels including DeadBeats, UKF, Disciple, Dub Police, Sentry, NSD: Black Label, Tempa, Wheel & Deal, Sub Soldiers, Boka, Ringo and Subway.

“oOo (that’s my type)” and “omg” out now

MGMT: 
af@loyaltmgmt.com

BOOKING:
N/S America, Asia, Australia: 
mmarquis@paradigmagency.com
max@amonly.com 

UK/Europe:
nick@codaagency.com 

Act One, the debut full-length from songwriting duo Marian Hill, was written and produced in its entirety by Jeremy Lloyd (music/lyrics/production) and Samantha Gongol (music/lyrics/vocals). The multi-talented duo, who have been collaborating in one form or another since high school, have shifted the classic paradigm of a woman on a stage and a man with a piano to a woman on a mic and a man with a laptop -- and the results are seductive and vivid. Tempting paradox with a blend of blues and bass, acoustic and digital, classic and modern, Marian Hill have arrived.

Two years ago Sam and Jeremy wrote and recorded “Whisky” over spring break in Jeremy’s parents’ basement. When they released it for free on Soundcloud later that summer it was the only song they’d written for the project, and in a little over a year’s time they had recorded their first EP in a bedroom, amassed millions of plays on various platforms, sold out shows across the country and featured in high profile commercials. They signed to Republic Records in early 2015, released the Sway EP, and settled in to write and record their debut album over the course of the following year with a plan to push their unique sound to its fullest potential.

For the first 50 seconds of “Down” you might think you’re at a supper club in the 1920s, but when the bass drops out of nowhere you couldn’t be anywhere but 2016. Act One then takes you on a journey through the complexities of modern relationships, with each song inhabiting a specific and charged relationship lyrically, melodically, and sonically. “I Know Why” constantly transforms and reinvents itself as the vocals grapple with a secret while “Mistaken” is the hardest of sax trap with a classic songwriting backbone. “Same Thing” is the saddest part of the album, a haunting ballad depicting serene resignation of a doomed relationship, but castanets rise from the ashes as “I Want You” closes out the night in a pure moment of optimistic electricity, a glance across a crowded room that changes everything.

Marian Hill’s one of a kind sound is present throughout — blues harmonies blend with sparse hip hop drums, horns blast under classic vocal melodies, and soloistic vocal chops sit side by side with clear, intimate lyrics. You’ve never heard this before, yet it’s surprisingly familiar. And it’s only the beginning.

Management: 
Loper@optimysticendeavors.com

Label: WAKAAN // SSKWAN

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