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Multigenre music producer.

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New LP! https://linktr.ee/timismag


DJ support from :

Excision, The Crystal Method, Modestep, Rusko, Destroid, Chasing Shadows, Borgore, Torqux, Zomboy, Dodge&Fuski, Stinkahbell, Sluggo, Krewella, Adventure Club, Vaski, Nicon, MRK1, 6blocc, Starkey, Genetix, Annie Nightingale, Reid Speed, Point.Blank, Quartus Saul, 501, Pixel Fist, Bar 9, Cookie Monsta and many others

Temperamental Cats - March 14, 2025:
Vinyl pre-order: http://gtly.ink/proleter
Digital pre-save: https://open.spotify.com/prerelease/32Edq0ZpDkeWh1bRJw5unh?si=a7bbc273544349a0

I don't check my Soundcloud mailbox, so please for requests, inquiries or anything else mail me at proleter.beats@gmail.com THX

Management: contact@langlaisben.com
Booking: axel@faceb-booking.com

PLEASE DO NOT USE MY MUSIC AS BACKGROUND FOR YOUR YOUTUBE VIDEOS -  My TRACKS ARE NOT COPYRIGHT FREE - Thanks for your understanding

just a dude who likes drums and bass and stuff
UKF/Pilot/Hospital Records/Drum&BassArena
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enquiries: jc@coreartists.us

“I use my gut, and my gut don’t lie to me” is more than just a lyric in Twin Forks’ exuberant “Something We Just Know,” it is a kind of mission statement for the quartet. If you’ve ever been to a musical performance that made you lose all sense of time and place and give in to the cathartic feeling of clapping and dancing and singing along, you’ve already visited the sweet spot where Twin Forks have made it their mission to reside. “Whatever makes the audience stomp their feet and sing at the top of their lungs, that’s what I want to be doing,” says singer/guitarist Chris Carrabba. “I want to be generating that spirit from the stage.

Carrabba figured out the guiding principle for Twin Forks before he even knew exactly what the project would sound like. During recent solo tours, Carrabba -- whose Dashboard Confessional grew from an intimate solo-acoustic affair to a bona fide arena rock band during the mid ‘00s -- says he was reminded how important that audience connection had always been to him as a performer.

He also knew he wanted to craft a sound closer to the music he’d loved as a kid -- classic folk, country and roots music. Growing up outside Hartford, Connecticut in an area he describes as “half-rural, half-city,” Carrabba developed an early fondness for acoustic singer-songwriters he heard on the radio -- Cat Stevens and John Denver and Gordon Lightfoot -- as well as the more obscure Townes Van Zandt, Bob Dylan and Guy Clark LPs he found in his mother and step-brother’s record collections. “At the beginning of Dashboard, I wanted to write an acoustic record, but every time I played a D,C, or G chord -- which are called the ‘cowboy chords’ -- I would think about how Tom Petty or Cat Stevens or John Denver or Gordon Lightfoot did this already,” says Carrabba. “That’s when I started tuning my guitars all to hell and back, just so they sounded weird to me. I was probably playing DCG anyway, but I didn’t know anything about guitar, and that was how I could get myself feeling like I was in new territory.”

“When I started playing acoustic-based music, I wasn’t trying to avoid traditional folk because I didn’t love it -- I just loved it so much and didn’t wanna do an injustice to it,” Carrabba notes. “And I had other influences and I thought, why can’t I combine this punk and hardcore feeling with this classic folk feeling -- because they were both such massive loves of mine. But right now I’m more excited about utilizing the age-old, time-tested thing and trying to excel within the parameters of a traditional template.”

He still wanted to be in new territory, though, so when he started writing songs for the project that would evolve into Twin Forks, he wanted to add a new twist. So Carrabba spent three years teaching himself traditional fingerpicking technique. “There’s magic in that kind of playing, where you’re managing two guitar parts,” he says. “I have always found it fascinating and it just seemed like it was calling to me.” Equipped with that new set of skills, Carrabba started writing his most delicate, musically articulate compositions yet, temporarily setting them aside for he-didn’t-know-what. In the interim, making his 2011 covers album, “Covered In The Flood,” gave him the chance to explore his relationship with songs by some of his favorite folk and country artists, both classic and contemporary, including Clark, John Prine, Justin Townes Earle and Corey Brannan. He then worked up those covers for a performance at San Francisco’s Hardly Strictly Bluegrass festival.

The experience was a major awakening. “Onstage at HSB, we were elated. All I want to be is elated while I’m performing. Why else should we be getting onstage? We’re not up there to be some good-time charlie band, but we are not hiding the fact that we are elated to be onstage with you and we’re choosing the songs that are giving us the best edge to be able to do that.”

After Hardly Strictly Bluegrass, Carrabba returned home with a new sense of purpose and a clarity of vision for Twin Forks. In the previous two years, he had been sticking to a temporary rule he’d imposed on himself as a songwriter: “I had made this rule that I would not say ‘love’ or ‘heart’ in my lyrics,” he explains. “I would talk about those things but I wouldn’t say them. So when I came home from that festival and I did write the first song and it did say both ‘love’ and ‘heart,’ they felt like the right words, after not having used them for so long. I let the songs happen and found a tempo that suits what Twin Forks became.”

“Something We Just Know” came to him first, and then, the flood -- another eight songs in the following eight days. Twin Forks began tracking the new songs whenever they could, between tours with other projects, in a multi-purpose space Carrabba had converted into a studio. Over the course of several weeks starting last fall, they managed to record more than twenty tracks that they plan to whittle down to eleven or twelve for the debut LP they plan to release later this year. “We tracked everything live, and I have this tendency to get really excited about what everyone is doing and I’ll make a little hoot or shout, and you can hear all those things in the final versions of the songs,” says Carrabba. “On ‘Scraping Up The Pieces,’ everytime I listen to it and hear Suzie laughing, I’m dying to remember what could have been so funny. Then we additionally multi-track, which we figured was a thoughtful way of approaching the record. You get the error-prone thing that has all the magic in it, but that doesn’t mean you can’t chase a little more precision. But the goal is always to do our best to get it right in the same room with each other, looking at each other, laughing with each other. I think you can feel that all over the songs.”

Originally recorded with musician friends including mandolin player Suzie Zeldin, bassist Jonathan Clark and drummer Ben Homola, Twin Forks has evolved as a live band to include Kimmy Baranoski on backing vocals, Kelsie Baranoski on mandolin and Shawn Zorn on drums.

Instinctive, Proficient, Creative… in three words, you can summarize the immense work of Los Angeles-based Producer/Actor, Cryptex. 

Born Tyler Chase in Boston, MA, raised the smoky mountains of North Carolina, crafted in the halls of London, and cultured by the streets of Los Angeles - Cryptex has had an artistic edge since his youth. Growing up in public schooling, and eventually deciding to home school and graduate early to jump-start his acting path, Tyler’s childhood was blessed with myriad musical and creative influences. The son of two radio professionals, they would listen to everything from Sting, Nora Jones, Michael Jackson, to more recent acts like Missy Elliot, even a broken Nelly CD that he and his mother found in a parking lot. 

With a passion for the acting, Tyler didn’t start out as most of his fellow producer peers. His first acting role was at the age of 11. Tyler went on to be featured in dozens of film and television appearances —  most notably a recurring role on AMC’s, “The Walking Dead” and guest star role on FOX’s, “Sleepy Hollow”. It wasn’t until 2008 when he heard edIT’s track “Crunk De Gaulle,” that Tyler first heard the ticking of BPMs inside of his head, that would eventually become Cryptex. The tune was unlike  anything he’d ever heard--  it went so deep into his bones that he spent the next few days going through every track of edIT’s, Glitch Mob, and dozens of others just to keep this feeling alive. This moment is when 
Tyler knew he was destined to make music, to create what he feels within and to bring out the world inside his soul. 

His first big break came in 2014, when MTV hired Cryptex to assist Patrick Claire and his team at Elastic.tv to create remixes for every nomination category for the 2014 MTV VMAs. 

Most recently, Cryptex released his debut album, “End Silence” capturing the ears of glitch enthusiasts the world over. With a glitchy precision, Cryptex is set to debut his sophomore EP, “ Nightwatch” releasing  this November on Friday the 13th, via his own label, Orphic Recordings. 

Be ready to have your head twisted with glitched and cut melodies and vocals, along with ultra-heavy beats and rhythms. . Up first is the single, “The Fall,”  releasing October 27th. Till then, stay connected on Facebook, Twitter and Instagram

http://www.cryptexofficial.com

Orphic Recordings: orphicrecordings.com


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