"K.R.Y.T.I.C was born in Uganda and raised in Zambia, he is the perfect mixture of both worlds and so is his music. Having met him in person, he is a quiet person and there is just something about him, I wouldnt say anti-social but One can question. He sure is no doubt a lovely person. Once you hear his music, you understand why they say HipHop is poetry.

With a rap that goes well with the African legend songs and the rythme of unbeatable beats, swagga of a college kid and talent of a hiphop Legend fits his name.

K.R.Y.T.I.C is sure headed for greatness." states Lillian Elidah.

The track record is impeccable, the flow is malicious, the future of African hip hop is finally secure. Thanks to one Anthony Victor Muligisa...more commonly known as Krytic.

Weighing in at three years of none-stop good music, two mixtapes deep, and a much anticipated album, entitled Best Before Forever, Krytic is set for nothing but greatness.

Born August 9th in the small town of Jinja, Uganda. Krytic is the first of four. Due to all the civil unrest in his home country, his family relocated all across the Nile, for about two years, finally settling down in Zambia in '89. There is totally nothing cliche about this guy...because as much as everyone claims they got introduced to music at a tender age. Anthony was just your average kid next door and the girl next door would soon learn, a rather cute one at that.

There was nothing...not even his witty nature...that would have hinted the brightly lit future he now faces. His earliest experience with music were Michael Jackson's 'Dangerous' album, a tape that he got off his dad. He dabbled in writing slight poetry and by the time he got to his teens, his writing was getting the attention of high school poetry competitions.

Him and music finally made the connection when he overheard his neighbors recording verses over beat box instrumentals. He was instantly drawn towards the witty rhyme patterns, the kick, the snares ,the punchlines that make up the art form he now fights so passionately to defend.

Staying up late nights,sacrificing school grades and social activities...the young poet fought day and night to sharpen his skills on the mic.

After five years he tried his luck in a recording session and recorded his first track...Club It Out...produced by Didi, a resident producer that was causing a riot on the underground scene. The song didn't do very well on the local circuit, but it managed to get the attention of one Defenze, a rival rapper Krytic had taken a stab at on the ride out of the track. A small feud grew off this stab and things were set to heat up until Krytic and Defenze met at his old high school and sorted out their differences. That afternoon, what Krytic defines as "one of the most educative friendships of my life" was born.

The unlikely duo, Krytic and Deffy, took to the mic with insane ferocity, churning out Ndola city underground classics like: How Cold It Gets, Helping Hands, Silence remix and much later...Move featuring Steve.

For a while Krytic and Deffy seemed set to hold down Ndola City for eternity, but then...a wild card was introduce. A wild card called Calamity. Mulu, the producer Deffy had introduced to Krytic (and produced the previously mentioned songs) passed away. Both having been close to Mulu, Krytic and Deffy took his death really badly, and for a moment both seemed ready to give up the hip hop dream, now having nowhere to record. This however changed when Krytic met Steve, another MC that was coming up and getting major air play on radio. Steve introduced Krytic and Def to Bezariel Mwanza, his producer. Unlike anyone Krytic had ever worked with, Bez was more of a mellow producer, whose niche was live instruments. The combination with Krytic's lyrics brought about arguably one of Zambia's most soulful projects.

Seeing the future in him, Bez signed Krytic to his label and began working on his first album,THE NINETH LETTER. However, calamity had other plans, and this time they were closer to home.

On 31st October '06, Krytic's father passed away, leaving behind a wife, four troublesome children and a landslide of bills. Left to be the man of the house,for the first time in his life Krytic began to see the music thing as a means of paying the bills. His pain could be felt on "Shadows of a Glass" a song he wrote for his father.

As though pushed on by the new development, Krytic worked double time on the lyrics, at the same time enrolling in Law school in the capital city. Loaded with a CD of his promo, he took on the capital, and not before long he had got one of his songs on heavy rotation on Q fm. Endorsed by Dj's like Thrill, Chepa, Honey and Drex, the buzz was just sickening.

He began to work with other upcoming rappers from the big city, expanding his listenership in large bounds. His first mix tape...The Eleventh Letter-Mind of a Mad Black Man, included appearances such as Slap d, Dope Ghetto, J.rox and even a sampled verse from 2pac. As usual his spins were massive and "My Best Friend" off the mixtape, soon became a local favorite.

He met 2wo-1ne at a recording studio and the synergy was just insane. From this friendship came the much acclaimed, BURG CITY ON LOCK ONE mixtape, a venture which not only put a new face to local hip hop, but also solidified Krytic's position as 'lyricist of the year' which he got voted later that year. There is no end to the number of insane punchlines that he brings forth. And he says he Is just getting warmed up. With a solid past, a bright future and a thousand plus fans behind him, Krytic doesn't seem to even be slowing down.


When asked what he thinks about the buzz around him he replies, with a smirk "I THINK I WELL EARNED IT."

The fight is at hand, the fighter is ready.


From two of the four corners of this little island on which we dwell comes an army. From the north and the south, putting differences aside, 5 of the mightiest warriors lead the assault.The nobel, Sir Mikey of Doherty, the holy overseer, Lord Jack of Carroll, the all powerful Kush Kushington, the deadly killer for hire, the Hassasin OE and the rogue, Kishi de l'Allebone. Bound together through circumstance, their goal is one of noble cause. To destroy the haters and miserators and establish the final empire of chill....
-----------------------------------


The Going Goods are a contradiction. They make hip hop for people who don’t really like hip hop, sing blues that sounds kind of happy, are an acoustic band with a beatbox percussion…

It’s a contradiction that works. Based almost slap bang in the middle of England the five piece was formed in 2012 by four university friends and a postman.

Their debut EP, Blame it On The Week, was released the same year. It found an instant audience thanks to its combination of uplifting acoustic guitar, soulful melody and easy going rap chat.

The Going Goods flow with a catchiness that will have their tunes looping inside your head. Add to this an infectious feel good factor that comes with their live performances. The band have been touring extensively since the release of follow up EP, Sunshine Mantra.

Championed by Beans on Toast, they have supported Gentleman’s Dub Club, The Stranglers and The Boomtown Rats to name just a few.

Once described as a ‘festival curveball - an acoustic band with a new twist”, live gigs at legendary venues like The Monarch in London and Festival stages along with quirky videos have helped to build a loyal fan base.

The band connects with its audience in a way few others do, having a knack for bringing the buzz to where there was once an empty dance floor. Plans for 2015 include a new album, summer festival dates and a European tour.


SAT 01 SEP @ Raum ( Berlin,GER)
FRI 07 SEP @ secret location ( Berlin,GER)
WED 12 SEP @ Thirteen (Mykonos,GR)
THU 13 SEP @ secret location (Mykonos,GR)
SUN 23 SEP @ Elvis After Rework (Thessaloniki,GR)
SAT 29 SEP @ Elvis  birthday mix (Thessaloniki,GR)
SUN 7 OCT @ Natali cinema open air w echonomist/maria s only w invitation (Thessaloniki,GR)
FR  26OCT @ Elvis  (Thessaloniki,GR)
FR  23 NOV  @ Elvis  w DJebali (Thessaloniki,GR)
SUN 9 DEC @ Elvis  w Tigerskin(Thessaloniki,GR)
SAT 29DEC @ Morlox Club (Berlin,GER)
NYE @ Private Basement (Berlin,GER)
THU 10 JAN @ Le Batofar club(Paris,FR)
SUN  10 FEB @ Elvis Mariasguestlist(Thessaloniki,GR)
SUN 24 FEB @ Elvis Mariasguestlist(Thessaloniki,GR)
THU 28 FEB @ Madame Crystal (Florina,GR)
FRI  15 MAR @ Elvis w Boot Slap/Berlin (Thessaloniki,GR)
SUN 24 MAR @ Elvis/Delay on tour II/The greek marathon w Pit Spector(minibar,FR)

A local hero and a true vinyl lover born and raised in Thessaloniki/Greece.

As known around the surroundings for his unique style of mixing and the finest collection of tracks, from deep house to techhouse, he also surprises his crowd often with some nice techno and untypical underground tunes.

DJ for over 15 years playing for numerous events and festivals around the surroundings like REWORKS & VERSIONS which involved artists like Antony Rother, M. Mayer, Modeselector,Martinez, Woody, Bent, Swayzak,The Gaslamp Killer,Sven Vath...and also playing with artists like Aril Brikha,Tom Clark,Maya Jane Coles,Charles Webster,John Dimas,Stassy,Kabale und liebe,Pit Spector and many others..

Dim.Ad was playing in most famous clubs & bars of his Homebase & abroad like:Le Batofar (Paris-FR),Morlox(Berlin), Raum(Berlin),Elvis,Block 33,Art house,Daily, Buzz (Thessaloniki- GR), Loop,Astron( Athens-GR ), Naupigeio (Creta-GR ), Sound bar & Red room -Airport's Club(GER),Tresor(Berlin),Thirteen,Aroma(Mykonos GR),KOO beach,Almyra,La Roca beach,Riva(Kavala-GR)....

Nowdays and during the last years mostly you can catch him up behind a dj booth with his black gold collection and his partner in crime Jaymod,as he loves to play B2B all night long!

In the last years, Dim.ad also started to produce with Nicko Drana and the results were realeased on labels like,My First Love Record(ROM/ES),Woo.ble Recordings(UK),High Strings(GR) and Tapas recordings(GER).

Just stay tuned and keep an eye on his upcoming works during the future!There is more to come for sure..
links:
http://myspace.com/andronikou
http://www.residentadvisor.net/profile/dimad
http://thedjlist.com/djs/DIM_AD
http://www.facebook.com/Dim.ad76
contact &amp; booking : dim.ad76@hotmail.com

Sneaking into his older brother’s bedroom to borrow a beat-up nylon string guitar is what gave birth to Brent Warren’s obsession of then commandeering his parent’s vinyl and 8-track collection back to his own bedroom, with said guitar in tow. A recovering, early 80’s headbanger, Brent was rehabilitated and educated from his bedside by the likes of Chuck Berry, Scotty Moore, Luther Perkins, and Duane Eddy. Brent’s love of history then led him in two directions. ‘Where did these guys get this stuff from?'; and, 'Where did it go from here?’. The answers he uncovered, along with the new questions these answers brought, landed him at the doors of, among others: Hubert Sumlin, Jimi Hendrix, Django Reinhardt, Lightnin' Hopkins, Ry Cooder, & Robbie Robertson. 

As Winnipeg’s burgeoning blues scene in the late 80s and early 90s coincided with Brent’s 18th birthday, it was time to pull the car out of the garage. Becoming a regular on the blues jam circuit, he gained confidence from being encouraged by the likes of Big Dave McLean, Ben Sures, & Luke Doucet. After diversions into alt-rock, gypsy-jazz, & experimental music, Brent returned to his 'roots' when he was asked to join one of Winnipeg’s premier blues bands, The Blues-O-Matics. So began a kinship with vocalist/harmonica player, Brian Ellis, which lasted almost 15 years. 

After largely retiring from public performance for 5 years, Brent resurfaced in 2008, playing sideman to local singer-songwriter, Kerri Woelke. While comfortable and excited with a sideman role alongside the likes of Matt Epp, The Stumblers, or Jesse DeNatale, it is Last Ditch On The Left that now garners Brent’s full artistic attention and energies.

Maloonatic, hailing from Gabberdeen originally (Aberdeen, Scotland to normal folks), but now living in Perth Australia, started djing in 95'.  He was initially drawn to dance music after hearing The Prodigy - "Everybody in the Place" in 91'.  In the mid to late 90's Maloonatic played a few gigs in Scotland under the aliases 'The Assassin', & 'HollowPoint' (after finding out there was already a Dj Assassin, changed to HollowPoint) playing support for dj's/producers such as Gabberdeen, Lenny Dee, M-Zone, Smurf, Bass Generator, Chosen Few, Paul Elstak, Sharkey, Force & Styles, Ultimate Buzz, Scott Brown, and the usual local lineups every scene has.
Maloonatic moved to Australia in 2003 and initially began making in-roads to the breaks scene as on the surface there did not seem to be much hardcore around in Perth (How wrong he was!). Maloonatic found the Breaks scene very cliquey to break into and quickly became disenchanted with it. Luckily a friend of Maloonatic, MC Partee, came over to Australia around that time (also from Aberdeen) for a few years and was a bit more pro-active in searching out the Hardcore Massive in Perth and thus found F.O.R.C.E. Entertainment. After introducing Maloonatic to Dan F.O.R.C.E., Maloonatic played a set at 'A.W.O.L. Oldskool' and was consequently made a F.O.R.C.E. resident. That was around 2008, since then he has played at nearly all the F.O.R.C.E events, also featuring regularly at Perth's (now defunct), Hardest club night "Dominate".  
Over the last few years, Maloonatic has supported internationals D-BLOCK & S-te-Fan @ Magic City (Perth), SMURF (UK), TOMMYKNOCKER (IT), Art of Fighters (IT) & ANTRAX (NL) in Perth, & NOIZE SUPPRESSOR (IT) in Sydney & Perth,. Maloonatic also played at Defqon.1 Australia 2013, on Black stage, alongside internationals Anime, Mad Dog, Endymion, & Partyraiser!
In 2014 Maloonatic made his Dutch debut, closing the Rookie stage at Decibel Outdoor Festival after winning a spot against 500 other entrants across all genres around the world.

Sept 2011 saw his first release on The Harder View Digital THV011, a remix EP of Cytosynes track 'Lost'.

Jan 2012: Fuck That Shit ft Slap N Tickle MC on UK based label Deton8 Digital, which reached #6 in the TrackItDown Dutch Hardcore charts.

May 2013: Way of the Dead 2 tracker EP on Toxic Sickness Digital TSD003
A: The Way (also reached #6 in TrackItDown Dutch Hardcore charts)
B: Stories of the Dead
You can catch a Maloonatic set on UK based online radio station "Toxic Sickness" monthly on the last Wednesday of the month.

http://www.toxicsickness.com

A Maloonatic set will be dark, hard, devoid of any cheesy melodies (if there is a melody it will usually be quite moody) and between the range of 160 - 220bpm. It will be more than just a dj set, doing things most dj's wouldn't dare think of doing live. Bringing the set to life with beat juggling & scratching (both of which he is renowned for) , and one of, if not the only hardcore/gabba dj in Australia (at least in Western Australia), using a blend of Vinyl, Traktor with Vinyl Timecodes (where applicable, at times has to make do with CDJ's), and the X1 controller.
You can witness the energy & passion in a Maloonatic dj set and can hear it in his own tracks which have been breaking shins & causing MC's to fall of stages all over Perth! A set not to be missed.

"Perelman is one of the great saxophone virtuosi and exponents of spontaneous composition to have emerged in the past three decades" Jazzwise 

"Ivo Perelman is perhaps the greatest living musical artist of our time" @CriticalJazz

"a modern day saxophone colossus.. a true improviser.." Echoes, UK

"“one of the world's most prominent avant- garde jazzmen” Hot House

"One of the leading tenor sax players of his generation, Perelman has been described as a unique genius by no less than Gunther Schuller" Jazzwise

"..supreme..brilliant..passionate abstractionist, Ivo's playing reconcile the emotional charge with technical agility and intellectual sophistication with a rare grace" Free Jazz Alchemist

"sublimely structured, perfectly dosed music that excels in the use of dynamics, feeling for the timbre and rhythmic smoothness. Intimate, clear music portraying huge beauty, all the while being witty and able to touch your heart" Jazzflit

"the tenor saxophone you hear is miraculously unique. ..piercing, burning, meaningfully warm, lyrically expressive, dream-awakening sounds that explode with an unrivalled urgency..Extremely rare, and just perfect!! orynx-improvandsounds.blogspot.com

" Daring and beautiful music...forceful, passionate, droll, incendiary, and ultimately satisfying...outstanding...an emotionally cathartic mini-masterpiece" All About Jazz

"the volcanic intensity of Ivo's playing hooked to his impassioned ‘spontaneous composing’ style, singles him out as one of today’s most ferociously creative saxophonists." Jazzwise

"Perelman is following in the footsteps of the great masters of the tenor sax..The lively and winding interweaving of the sax within the musical foundation constructed by pianist Matt Shipp produces fascinating results" Culture Jazz.

".. transcendent beauty.. quite remarkable..Perelman’s wide tenor sound with its slight vibrato contrasts beautifully with the acerbic, mordant response of the strings..all too rare in music of this kind.. a rather touching lyrical quality to it.." Jazzwise

"sensitive, flavourful and intelligent tenor sax with a unique sound..Perelman is unequaled or perhaps only equal to David Ware, a young Archie Shepp, Evan Parker and just a few others" Orynx

"An artist of real stature..a lyricism that is largely achieved by the considerable sensuality of Perelman’s approach..the performance is mercurial with the constant shifts in texture and pulse quite gripping..his tone, possessed of a steam heat solidity, and phrasing, bears marks of distinction." Jazzwise

"Perelman goes far deeper than any saxophonist to come before him. Ivo can see past the music with a zen like approach of focus, intensity and the appreciation of the stunning grandeur of silence when appropriate. Ivo Perelman has done but what a mere handful of jazz musicians have done. Some musicians are said to be "technically proficient" while others are "artistically gifted." Ivo Perelman is the best of both worlds." @CriticalJazz

"Perelman is one of the nowdays rarely encountered all-round geniuses..Ivo is also considered an internationally renowned painter, whose works adorn museums in New York and Amsterdam" Jazzpodium

"Perelman’s startling if unorthodox virtuosity..mastery with which the post-freedom saxist interwove his remarkably lyrical wails..uncanny command of the instrument’s upper-register 
squawk tones”.." Best in jazz 2012, Examiner.com

"emotional power and technical prowess in equal measure.Ivo is is as indebted to the un-categorisable invention of his compatriot Hermeto Pascoal as he is to the spiritual invocations of Albert Ayler... an episodic richness that marks him out as a soloist who wants to unwind a narrative thread in the most unexpected way" Jazzwise

"Perelman is a master craftsman at deconstructing his own creative force with a special twist..Ivo continues to inspire with work unmatched by his contemporaries.. an artist with the rare gift to transcend.. this is the genius of Ivo Perelman"@CriticallJazz

"complete virtuosity…Perelman can freely articulate any musical thought he hears..like an unstoppable force of nature..he's expressing microtonal melodies that are like condensed forms of the flurries of notes he lets fly in the tenor's middle register" Culture Catch

"Perelman extended the avant-garde innovations of the 1960s into the 21st century, creating a roadmap for todays new 'new thing.'"All About Jazz

" it’s people like John Coltrane, Albert Ayler and now Ivo Perelman..not only expanding boundaries but creating his own..Ivo has tackled just about every jazz inch capable of being heard by the human ear..mesmerizing" Goldmine

""Perelman is one of the most innovative musical artists in present times.. an examination of truth and intensity in music" Jazzpodium

"Ivo Perelman is an impressive musician. He is skilled technically and expressive musically. Besides, his creativity has no limits..He is incarnated measureless creativity." www.soundofmusic.nu

"Perelman plays like a man possessed, with a broad and attractively wobbly sound..a tour de force of instant composition..luminous and vigorous improvisations..serious listeners will want to tune in to Perelman and Shipp’s unique soundworld." Stuart Kremsky, Mr. Stu's Record Room

"the deep connection between Perelman and Shipp, both masters of improvisation, is a real clairvoyance..their empathy is amazing”AAJ

"Ivo's virtuosity and individual sound tremendously lyrical has created a world within the Avant-garde that is all his own, unlike of anybody else." Gary Giddins, author, critic - The New York Times, Village Voice, The Sun

"One of today's most prolific and adventurous tenor saxophonists. A master of extended techniques with a robust tone, his supple embouchure and intrepid virtuosity facilitates a wide range of expression - from altissimo glissandi and flutter-tongued chromatics to percussive slap-tongue and staccato split-tones - all seamlessly integrated into tortuous motifs....majestic ...sensitive romanticism ...hearty, abstract lyricism ...epic, stream of consciousness cadences" All About Jazz

"The epitome of the searching artist. A conceptual instrumental visionary pushing the envelope of the creative idea. Perelman is an incredibly lyrical player that can touch an individuals soul while setting their hair on fire at the same time. He plays on and from a different artistic plane than most, a perfect marriage of the visceral and cerebral ,the extension and ease of transition as performed by Perelman is unparalleled. Think Albert Ayler on steroids." @CriticalJazz

"Perelman is a master of linear development and control with a Romantic streak as wide as Ben Webster’s vibrato". Ed Hazell , Point of Departure.org

"Perelman's music happens to be quite courteous, elegant and artistic, the sound of his saxophone can be charmingly beautiful and romantic, sometimes too beautiful as for an expressionist..pure music that is quite rare to see nowadays.." Music and Time

"Ivo is a heavyweight champ who, at
times, moves mountains via his colossal sound 
and brusque attack. However, Perelman can also wind it down a few notches when delving into chamber jazz formats or exploring modern mainstream and bop. 
Indeed, he's a multitasking machine." - All About Jazz

" Perelman’s sax proves the man’s willingness to reach for the uppermost pinnacles of lyricism..He travels across various stages of shamanic liberation from the body, pushing his vision at the borders between coherent stoicism and consuming catharsis" Touching Extremes

"Perelman's broad, sweeping tenor seduces the listener with his patented mixture of strongly etched melodic lines mixed with well-placed cries and screams…he's clearly his own player" Cadence

"Perelman has the powerful voice, strength and melodic development that only great artists own..he has reached considerable artistic maturity with an impressive variety of techniques on the tenor sax" All About Jazz.

"Perelman is a master at improvising on melodic themes and at using this technique to deconstruct then rebuild statements already made.He is a decidedly idiosyncratic tenor player with a forcefully dramatic performing style. He has often been favourably compared with David Murray and Albert Ayler and as with those and othertop-flight musicians he is usually at his best when playing with artists of the same rank" . Jazz Views

“Perelman may well be one of the fiercest tenor players you will ever hear and the most unique" Digital Jazz news

"Perelman belongs to a lineage of aesthetically ambitious humanists like Duke Ellington, Charles Mingus, John Coltrane and Henry Threadgill." James C.Hall, author, New College Director, University of Alabama

"Perelman is a jazz/world treasure, always surprising, creative.....stupendous even…a wonderful sound journey....well worth the trip"
Mike Pettengell.. kkfi.org

"Perelman 's solos are grounded in the rich soil and rare earths of saxophone history, but they can also prove shockingly mercurial; they traverse that history in swift flights from zephryrous melody to supersonic yawps. He plays with an abandon – a fury, even – that can belie his natural inclination (to find order within the seeming chaos of free improvisation)".
Neil Tesser, award-winning jazz journalist

"a free jazz feast which epic eloquence will blow away any mind that’ll dare to listen..striking similitudes to the gloriously generosity of output of Perelman' s great predecessor, John Coltrane" David Cristol, Jazzman

"another masterpiece…creativity always an inexhaustible constant ..Perelman confirms that the message of freedom in jazz of the `60s has not been in vain" Vittorio Lo Conte, www.musiczoom.it

"Ivo Perelman makes the saxophone live and breathe. He has complete control over his instrument..He is the saxophone..he touches the reed with all the strokes of the world's greatest artists in wordless communication and poetry..intensely talented, creative he is a wordless poet, and without limits..A sweet middle register, beautiful spontaneous melodies, pleading high notes, somber low notes.His control of pitch is vocalized internally so completely, that he is not limited by the traditional 12 tones of the chromatic scale..it is his contribution to moving us just a bit further ahead as a civilization" Ken Radnofsky (Professor of Saxophone at New England and Boston Conservatories, Boston University and Longy School of Bard College). 

"To say Perelman is a strong player is an understatement. His tone is huge (and beautiful). His ideas are huge and multi-faceted." Cadence

"One might fear that tenor saxophonist Ivo Perelman may begin to repeat himself. To put it succinctly – not a chance.” All About Jazz

"...an entire new school of jazz..., unique genius..." Gunther Schuller, composer, conductor, jazz historian 

"One of the most distinctive and imposing tenor sax voices to come along in years." DownBeat 

"...a sound as passionately effusive as Ivo Perelman's is at once original, uncommon, and undeniable." AAJ 

"Ivo Perelman is undoubtedly one of the great modern tenor players, a leather-lunged monster with an expressive rasp, who can rage and spit in violence, yet still leave you feeling heartbroken." The Wire

"As an innovator in extended techniques, Perelman has few peers.Make all the comparisons you want: saxophonist Ivo Perelman has his own distinctive sound." All About Jazz

"One of the greatest colorists of the tenor sax." Ed Hazell, Boston Globe 

"Perelman just keeps on pumping out recordings bound to stand the test of time." All Music Guide

"...like the best free jazz tenors, Perelman's playing is shot through with a tenderness that stays just the right side of sentimentality." BBC (British Broadcast Company)

"The most important and distinctive tenor sax voices in recent years." Theiceberg.com

"Perelman is a monster with a tenor in hand, and I often feel that his music points out new directions in freejazz. His music is really complex, and he plays with a seemingly endless stream of ideas." Fire and Flux

"...the most intense, disturbing, tormenting sax player alive." Françoise Couture, Delire Actual

"Not since Coltrane duos with Elvin Jones and Rashied Ali have I experienced a sax/drums assault as powerful as Perelman's Soccerland." Los Angeles Weekly

"...fires with intensities rivaling those of John Coltrane." Chuck Berg, Lawrence Journal

"Perelman has a tenor tone worthy of Coleman Hawkins and Sonny Rollins- one that is virtually unrivaled today in its purity and beauty." Cadence

"... innovative genius...a new approach to jazz. " Ejazz news

"...Perelman is reassessing the power of genius." Touching Extremes

"One of the most impressive tenor players of his generation." Musings

"One of the most innovative approaches to emerge during the current decade." Avant

"One of the pre-eminent tenor sax-players of our time." Option

"One of the most vital voices in the rejuvenation of free-jazz." The Ottawa Citizen

"One of the world's most remarkable jazz musicians." Buffalo News

"One of the most interesting of the new one-world breed of jazzman." The Herald

"One of the most arresting tones heard on tenor sax." Bob Rusch, Cadence

"...the most innovative saxophonist to emerge in the last 15 years." CD Review

"Among the most risk-taking jazzmen of the 1990s." All Music Guide

"Tenor sax player of immense power and grace." Oprobium, New Zealand

"On tenor Perelman is a dominant voice possessed of a big sound that is capable of great flexibility and expressiveness." Cadence

"Incendiary." CMJ

"The world-class saxophonists to come from Brazil can be ticked off on one hand. Ivo Perelman is one of that rare breed." Jazz Times

"Perelman produces music of absolutely mesmerizing grandeur." Cadence 

"Jazz didn't get anymore scorching in the Nineties than Perelman's Seeds, Vision & Counterpoint." AMG

"To say that nothing new is happening in jazz is to be ignorant of Ivo Perelman." The Philadelphia Tribune

"Reinventing the spirit of Brazil's music." The Boston Phoenix 

"After two decades of musical stultification, Perelman's buzz saw brashness is a breath of spring."DownBeat 

"Revolutionary!" The Toronto Star

"...nothing less than miraculous... no one in the USA is playing and composing jazz with as much cross-cultural imagination as Mr. Perelman... a vital contribution to jazz history..."Norman Weinstein, ASCAP Award Critic

"Words cannot begin to convey the immediacy of Perelman. Listen!" Lawrence Journal 

"Thank God for albums like this one." (Children of Ibeji) Straight No Chaser "

...album like these (Man of The Forest and Soccerland) are desperately needed today." CD Review 

"Just when you thought that fire had died of contemporary jazz." Utne Reader

"Perelman is one of the few who reminds listeners that one of the most crucial elements in Albert Ayler's influential '60s work was a sense of almost unbridled fun." Aaron Cohen, Down Beat
Born in 1961 in São Paulo, Brazil, Perelman was a classical guitar prodigy who tried his hand at many other instruments – including cello, clarinet, and trombone – before gravitating to the tenor saxophone. His initial heroes were the cool jazz saxophonists Stan Getz and Paul Desmond. But although these artists’ romantic bent still shapes Perelman’s voluptuous improvisations, it would be hard to find their direct influence in the fiery, galvanic, iconoclastic solos that have become his trademark. 

Moving to Boston in 1981, to attend Berklee College of Music, Perelman continued to focus on mainstream masters of the tenor sax, to the exclusion of such pioneering avant-gardists as Albert Ayler, Peter Brötzmann, and John Coltrane (all of whom would later be cited as precedents for Perelman’s own work). He left Berklee after a year or so and moved to Los Angeles, where he studied with vibraphonist Charlie Shoemake, at whose monthly jam sessions Perelman discovered his penchant for post-structure improvisation: “I would go berserk, just playing my own thing,” he has stated.

Emboldened by this approach, Perelman began to research the free-jazz saxists who had come before him. In the early 90s he moved to New York, a far more inviting environment for free-jazz experimentation, where he lives to this day. His discography comprises more than 50 recordings, with a dozen of them appearing since 2010, when he entered a remarkable period of artistic growth – and “intense creative frenzy,” in his words. Many of these trace his rewarding long-term relationships with such other new-jazz visionaries as pianist Matthew Shipp, bassists William Parker, guitarist Joe Morris, and drummer Gerald Cleaver.

Critics have lauded Perelman’s no-holds-barred saxophone style, calling him "one of the great colorists of the tenor sax” (Ed Hazell in the Boston Globe); “tremendously lyrical” (Gary Giddins); and “a leather-lunged monster with an expressive rasp, who can rage and spit in violence, yet still leave you feeling heartbroken” (The Wire). Since 2011, he has undertaken an immersive study in the natural trumpet, an instrument popular in the 17th century, before the invention of the valve system used in modern brass instruments; his goal is to achieve even greater control of the tenor saxophone’s altissimo range (of which he is already the world’s most accomplished practitioner). 

Perelman is also a prolific and noted visual artist, whose paintings and sketches have been displayed in numerous exhibitions while earning a place in collections around the world. 


"The Girl and Rhino"


The girl with eyes grey as dust, the girl with the speech impediment 
wants nothing more than to be loved -- to have playmates to kick around with 
throw jacks. skip rope. 



but those animal eyes, sounds 
get nothing but whispers and wary looks 




she spends most of her time in the attic, 
perhaps with a bit of crumble cake or a shortbread cookie 


mother is nice, but has her books 



 the rafters smell of damp cardboard, sour clothes 
life in the top of the house is static, and cold 




she listens and mimics perfectly the sounds of rain: 
the slap of a gust on the glass 
the trickle of a leak somewhere deep within the shingles 
(a sound that in fact, reminds her of the fountain by her father's headstone) 


she is distraught by this ease, this useless fluency 


Yes, there were small joys: in a corner she found a lonely leather glove 
thumbed her way through molded catalogues filled with things to lust -- 
couples hand in hand in glittering new watches 
children playing tag in deep veined corduroy 




and perhaps it was here, with this melancholy, 
this realization that even cloistered, you will still find an attic-tossed magazine 
and in it, the buzz and chatter of childhood will remind you of what you are, 
and what you are not 


yes, perhaps it was here, that she retreated into her young years, 
where growing up didn't interfere with fantasies drawn by a wondrous, 
flame-flickering mind. 


On the day the rhino first loomed out of the shadows, 


guiding its mass around a box of wooden hangers, its breath, a heavy, earthy sound 
she thought of asking it how it got here 
and if it lived off the crumbs of her crumble cake 

 but she knew the answers, 
and more importantly knew that it too couldn't speak so well, 


(in fact, not nearly as well as she) 

 instead, she watched it pivot and step, inching its way to her side 
and when they were eye to eye, she looked into its rubbery sheen 
and saw clever little thoughts that made her smile and bleat with laughter 

 a laugh that she usually tried to stifle with the fist of her hand -- 

 the gasping, grotesque, beautiful laugh that frightened and startled 
adults and children alike 


(a laugh that could kill a horse, as her mother once said) 
but the rhino did not mind the laughter and asked her nicely if they could be friends 


If you like, you can sit on my back and we can talk about things all day long. 


You'd be surprised, the rhino said, 
how many things there are that are interesting and funny to talk about 

 First off, the rhino said, without a word, let's talk about poetry, 
and what a wet waste of time it is for the writer and reader alike. 


The girl a bit winded from heaving herself sidesaddle 
onto the slate of the rhino's back, was amazed at such candor and wit 

 and without so much as a thought in her head, 
found herself laughing like a little girl… 

Layne Jennifer is following