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Noisia comprise Dutch producers Thijs, Nik and Martijn. Largely regarded as one of the most distinctive, powerful acts to emerge in bass music, their production techniques are referenced and praised across the entire electronic music scene. Their extensive body of work also includes the game Devil May Cry and the Foreign Beggars collaboration I Am Legion.

Love Songs With A Kick.
Booking: simon@podium.agency

Past & Present Works/

David Shaw And The Beat
Black Strobe (W/ Ivan Smagghe & Arnaud Rebotini)
Cardini & Shaw (W/ Jennifer Cardini)
DBFC (W/ Dombrance)
Siskid



There is no longer a mythology to invoke, no ghosts of the past to recall, no flames to rekindle. What remains is a solitary duel: that between tepid music and the instinctive, pure kind that emanates from the soul and heals personal chaos.

This latter path is the one taken by David Shaw, an artist for whom there is no plan B or compromise, just the necessity to set his guts on fire with a record production that asserts itself as one of the most personal and incendiary on the current scene. 

Born in Manchester and branded by the counter-cultures that collided during his teenage years (rave, punk, garage), Shaw has taken it upon himself as his only creed to create music outside of conventional formats and beaten paths. 

We have seen him produce electronic music under the alias Siskid, play guitars, bass & keys live and studio, on the album Burn Your Own Church (Beggars, 2007) by Blackstrobe (Ivan Smagghe & Arnaud Rebotini), and collaborate with Jennifer Cardini and Vitalic. 

He went solo under the name David Shaw And The Beat, whose album So It Goes gracefully married techno and new wave, and co-founded the band DBFC (with Dombrance), creators of a gem of synthetic rock with baggy and Madchester echoes. 

A punk at heart and a music club iconoclast, David Shaw has digested his influences, distancing himself from musical cliques and the very notion of crossover. His music resonates like his persona, fueled by self-sacrifice and a fierce refusal of artistic tepidity. His strong and total aesthetic universe also captivates the fashion world, with his tracks regularly accompanying brands and designers such as Ami, Chanel, Gucci, Lanvin, Pressiat, and Solène Lescouët.

Emotional, proud, and cunning, David Shaw’s songwriting took a new turn with the 2020 release of the EP Love Songs with A Kick Vol.1 a collection of refined tracks between post-punk for alley cats, and apocalyptic crooning.

Far from resting on his laurels, the musician has let inspiration flow in the wake of this new creative milestone. Over the past three years, he has composed and recorded about forty tracks, sixteen of which are now divided into two albums: 
Love Songs with a Kick Vol. 2 and 3. 

These projects were born from a feeling of urgency, a desire to counteract the passage of time and elevate even further a double ambition:of songwriting and production. They feature what has shined in his previous works: the balance between guitars and machines, punk vigor, and catchy gimmicks. He seems to deploy even more freely his desire to pervert the pop song, taking it on diverted paths, approaching it in a liberated and almost playful manner.

Love Songs with a Kick Vol.2 initially embodies the colder and more mechanical facet of David Shaw's music. 
The cold and industrial influences stand out like never before, the structures are more direct and leave room for explosive choruses and catchy gimmicks that have become one of the musician's signatures. His voice, with tones of icy glam, plays the dominatrix then distributes caresses, and regularly gives the tracks on this album a classic feel.

Love Songs with a Kick Vol.3 explores new territory in David Shaw’s music.
Characterized by more space, the tracks that compose it play a more narrative, evolving card, sometimes even bordering on cinematography. The writing relies on suspended climates and hallucinogenic ambiences. Punk, kraut, new wave, cosmic pop are catapulted into a hypnotic dream machine. It’s Lou Reed from Transformer sent into Blade Runner, Bowie locked in an industrial club grappling with misanthropic voodoo. 
The blinding white light regularly asserts itself in the interstices of these venomous and hedonistic tracks.

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.

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.

Brooklyn Heavy-Bass record label and party Est. 2006
Thank you to all who supported 9 wonderful years of Heavy-Bass music with us, May the memories live on. †

🚨REBORN✨ - New album out: http://linktr.ee/kavinsky

Official Store: http://store.kavinsky.com
> Varsity & satin jackets, t-shirts...

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