Young Academic is ecstatic to announce that the one and only DJ Shadow will again be gracing Warehouse Project with his presence after being added for the WHP X RBMA bill. As any WHP fans from last year will remember, the hip-hop star gave an epic performance last year when he opened Store Street’s farewell season making his appearance at the bigger and better Trafford Park truly exciting.
One of the pioneers in the sphere of instrumental hip-hop, Shadow has been at the cutting edge of electronic music for nearly two decades. Its fitting that he joins this show, alongside Flying Lotus — the most prominent modern exponent of a scene that Shadow played a huge part in creating. It took the organisers six years to convince DJ Shadow to pay WHP a visit and it’s big news that he’s returning in 2012 for this very special show.
Take a look below at Young Academic’s in depth look at what is a truly unique collection of artists, coming together for one very special night in Manchester.
FRIDAY 9TH NOVEMBER
WHP X RBMA
Plus very special guest:
DJ SHADOW— DJ SET
HESSLE AUDIO & FRIENDS:
SHED — LIVE
RBMA GUESTS TBA
This event is in association with The Red Bull Music Academy
20:00 – 04:00
One for the heads tonight. The most evasive, unpredictable, fascinating and talked about artists of the modern day steps up for an all too rare UK performance. Flying Lotus is (finally) in the house. Whether you read NME, or Resident Advisor, or Pitchfork Steve Ellison’s alter ego is always somewhere hidden in the column inches. Whether collaborating with Thom Yorke, or pumping out all manner of psychedelic hip-hop mentalism this man is one of the defining artists of the last few years. If he wasn’t so difficult to pin down he’d be a fixture on the WHP programme every year. But that makes it feel all the more special when it finally comes around. While the whole line-up tonight is a collecton of the current movers and shakers of the electronic underground, the other man at the top of the bill is a true originator… Flylo’s labelmate at the iconic Warp label Squarepusher is also present here with his jaw-dropping assault on your senses. For a little taster of what he’s got in store check the video out here (he’s going to melt your brain.). Watch out for a special update coming on this show over the next few weeks.
Los Angeles-based producer Flying Lotus has carved out a reputation as one of the most innovative and influential figures in his scene, both as a producer and DJ, and has scheduled the release of ‘Until The Quiet Comes’, the long awaited follow-up to 2010’s Cosmogramma and his third on Warp Records, for a worldwide release this October. Featuring guest appearances from Erykah Badu, Laura Darlington, Niki Randa, Thundercat and Thom Yorke, the album was composed, according to Flying Lotus, as “a collage of mystical states, dreams, sleep and lullabies”, Until the Quiet Comes has the distinct feel of this nocturnal trip. From the twitching descent into a subconscious state and the out-of-focus time-ether of the journey that follows, the sound is an unhinged, yet elegant evolution of the melodic and rhythmic interplay that is woven into the DNA of Flying Lotus’ aural personae.
All this stylistic mingling and genre-melting has contributed significantly to shift music in a direction that makes intellectual leaps without forsaking the all-important heft of a bassline or unimpeded ‘swing’ of a drum beat – the same way so many masters of soul music have infused their songs for lovers and dancers with brilliant and heady subtext for decades. Until The Quiet Comes follows this tradition while clearing a path distinctly it’s own, which is a mark of a classic.
Releasing ‘Ufabulum’ this year through Warp Records, Squarepusher continues to develop and deepen the Drum n Bass and Acid sounds that have become his calling card since 1996 debut ‘Feed Me Weird Things’. The Essex producer has described his latest release as a result of his thinking about ‘pure electronic music again’, and marks a new ‘very melodic, very aggressive’ style. Based on a more confident, brash sound with lush, large synths throughout, ‘Ufabulum’ is accompanied by a visual show which adds a stunning new dimension to an already exceptional release.
As one third of The XX, Jamie Smith has created some of the most delicate and fully-formed crossover electronic music of recent years, with the group’s debut self-titled album winning the Mercury Music Prize in 2010 and since being ceritified Platinum. The group have announced their return with second album ‘Angels’ this summer. Solo, Jamie’s production and DJ skills have become widely renowned, and he has recently emerged as a hugely important artist in his own right. Turning down established producers such as Diplo to produce his band’s debut himself, his understated approach perfectly suited the bands ethereal and haunting sound, and the album received unanimously glowing reviews in the media. His reworking of Florence and The Machine’s You’ve Got The Love was one of the standout remixes of the last decade, a stunningly original take on the song that encompassed UK garage, dubstep, Detroit techno and glitchy electronica into one unified whole, a startling re-imagining of a simplistic pop song. Further remixes of the XX’s own Basic Space and Adele’s Rolling In The Deep this year demonstrated the young producers’ gift for recontextualising music. He completely reworked Gil Scott Heron’s I’m New Here into a new album in its own right, We’re New Here, released on XL this year. He also recently compiled a breath-taking two hour mix for 6music, displaying why he has become one of the most sought after DJs in the country. His haunting single For Nearer, released on Jackmaster’s Numbers label earlier this year, displayed his talent for combining delicate melodies, melancholy vocal samples and gentle loops with harder-edged, bass driven percussive elements.
Washington-based Dutch producer Martyn has been a fixture in the electronic music scene since starting his career in 1996. Initially highly influenced by Drum n Bass, a chance encounter with Kode9’ ‘Sine Of The Dub’ track pushed Martyn in the direction of dubstep, and releasing his first 12” singles in 2005, the Dutchman incorporate elements of this new style, as well as techno and jungle. His first album, ‘Great Lengths’, was released in 2009 and 2010 saw the release of Fabric50, his addition to the brand’s mix series. Releasing his second studio album ‘Ghost People’ last year, Martyn is also responsible for the 3024 label, which has released the likes of Mosca, 2562 and Altered Natives.
Stuart Howard aka Lapalux has come up with something special for his first release with Cali’s finest, Brainfeeder. Having made his name with his cassette-only “Many Faces Out Of Focus” and acclaimed bootlegs and remixes he returns with a seven track EP of such poise and beauty, one listen is enough to know you’re onto something special. Lapalux bathes your brain in lush textures, surprising and explosive atmospheres set in unencountered, unearthly spaces, all somehow perfectly set against catchy rolling choruses informed by pop and commercial R&B. On the “When You’re Gone” EP he channels and refines his sound and shapes it into hazy, woozy emotion. Whether working with a singer like Py (on “Moments”), or deconstructing found samples and his own voice, Howard stretches, bends and warps sound to make soul – not plastic posturing but real emotion made of synthetic sound.
Los Angeles native Steve Brunner followed his collaborative work with Flying Lotus and Suicidal Tendencies with a statement of intent in the form of debut album ‘The Golden Age of Apocalypse’ released through Brainfeeder last year. A stunningly original first work, the album is built on thick slabs of analogue freedom and co-produced with Flying Lotus, it brings to mind the best aspects of the LA Brainfeeder label. Hugely melodic, loose jaunts through jazz, funk and soul come together in Thundercat’s production, while his live show brings together his studio work with a freestyle jam approach.
Manchester based Krystal Klear has made his name producing an amalgamation of Boogie, New Jack Swing, House and Hip-Hop, receiving support from Hudson Mohawke, Skream and Mary Anne Hobbs, amongst others. A resident at Hoya:Hoya, the mysterious producer released his debut solo EP ‘Tried For Your Love’ on All City at the end of 2010 and joined Eglo Records for a collaboration with Oliver Day Soul at the start of this year, before returning to All City for this February’s ‘We’re Wrong’ 12”, and being invited to put together a stunning half-hour mix for Benji B’s Radio 1 show earlier this year.
Founder of Manchester’s groundbreaking Hoya:Hoya clubnight and collective, Illum Sphere has been described as “one of the most special and unique artists to come out of the UK” by Hyperdub’s Ikonika, and with support from Mary Anne Hobbs, Benji B and Radiohead’s Thom Yorke – who chose Illum to remix the track ‘Codex’ from the band’s album ‘The King of Limbs’ for remix album ‘TKOL RMX’ – you’d be a fool to disagree. With five releases on local imprint Fat City, (including the ‘Illum Sphere Remixed’ EP, featuring reworkings of his tracks from the likes of Om Unit and Dabrye) and appearances on Martyn’s 3024 label and Pinch’s Tectonic, as well as bookings at Los Angeles’ Low End Theory and London’s Red Bull Music Academy, Illum is leading the UK’s electronic music scene and reinventing the Manchester underground.
Alongside Illum Sphere, Jonny Dub created Manchester’s Hoya:Hoya in 2008 with a simple aim of bringing together the varied producers and DJs that have influenced their own tastes, from Dubstep, Hip-Hop and Future Music to Boogie, 2-Step and Dancehall. Performing at everywhere from San Francisco to Croatia, including appearances at Los Angeles’ Low End Theory and London’s Plastic People, Jonny has shared a stage with the likes of MF Doom, Flying Lotus, Magnetic Man and many more. Check out our exclusive interview with Gentleman’s Dub Club here!
Returning with new album ‘The Killer’, his first on Modeselektor’s 50 Weapons label and third in total, Berlin’s Shed has developed his sound from a reflection his numerous influences in an ambitious collection of techno, dubstep and ambient production into a more refined, singular techno vision. Following two well-received selections for the Berghain-based Ostgut Ton label, ‘The Killer’ is his most cohesive and complete collection to date, reflecting the gradually refining style that has seen him make huge appearances at Ibiza’s Pacha and London’s Fabric. as well as becoming a residency at Berghain.
Won’t you dance with me? This is of course a rhetorical question. There are few DJs that would rather get a yes. Since the Berliner-by-choice Prosumer lasciviously whispered this line on his second record and first genuine hit (The Craze for the revered Playhouse label), he grew to be one of the most impressive producers and DJs of today. His artist name stems from Alvin Toffler’s significant science-fiction book The Third Wave, which also inspired Juan Atkins to call his music “techno” and fuses “producer“ and “consumer” into one.
In reality, that’s what Prosumer does. He produces and consumes house music. Being the essence of his creative work, he deals with it in a way that is traditional, honest, up-front and most of all very personal. There are no limitations; stereotypes lose their impact and the supposedly very rigid formulary of house music, suddenly bears new entries. Of course, the base is rock-solid: Detroit, Chicago and New York are the twin cities that shaped his sound since he started playing records in the late nineties. But the former Panorama Bar resident always has been one to accept ricochets from all kinds of camps, times and systems. The only rule: emotionality trumps effectiveness.
As Pearson Sound, David Kennedy’s genre-spanning approach has seen him produce a combination of dubstep and house for labels such as Hemlock and Swamp 81, including remixes for MIA and Radiohead (for whose recent New York show he was a special guest DJ). Running the Hessle Audio label alongside Ben UFO and Pangaea, Kennedy has released James Blake, Cosmin TRG, Blawan and Peverelist, with the imprint also holding down a residency at London’s Fabric club and releasing the 2xCD ‘116 & Rising’ compilation in May 2011, while his contribution to the Fabric mix album series (Fabriclive56) was celebrated for its effortless mixing and unorthodox but intelligent track selection.
One-third of the team behind Hessle Audio with Pearson Sound and Pangaea, Ben Thomson (aka Ben UFO) has – like Jackmaster – carved a niche as a DJ without producing any of his own material. As the host of Hessle Audio’s Rinse FM show Thomson has contributed to the station’s compilation series (Rinse:16), with a mix described as “practically demand[ing]that you immediately start exploring further”. Meanwhile, his live sets move fluidly through house, techno and dubstep, often mining the depths of the extensive Hessle back catalogue.
Sam Shepherd aka Floating Points is one of the driving forces behind Eglo Records. As co-founder and the first artist to release on the label, its fair to say that Shepherd contributes a large piece to the Eglo puzzle. A neuroscientist by day, Dj/Producer/Composer by night, Floating Points knows no boundaries when it comes to creativity and expression; classically trained from a young age and with a strong passion for jazz, Floating Points has progressed into one of the world’s most exciting producers, as well as one of the club scenes leading DJs. His interest in all things analogue – from synths to drum machines, vinyl to tape – has shaped his sound and style into a warm and textured collage of past, present and beyond, genre-less in its nature, unpredictable and ever impressive, it’s not hard to see why Floating Points’ music stands out so much in today’s sonic landscape.
Benji B is a highly influential underground DJ. He presents on Radio 1 an 1Xtra and has developed a reputation over the last 9 years as a skilled DJ, important musical tastemaker and award-winning radio producer and presenter. Known to many as the “DJ’s DJ”, and for playing the tunes first that eventually end up in the boxes of the big names, he is about to show discerning clubbers the world over that it’s not just the industry insiders who deserve to witness his talents. In a career that has already seen him work closely with Gilles Peterson and travel through Africa and the USA to produce originally-researched radio documentaries, Benji is a renowned club DJ with previous appearances at the likes of Blue Note, Plastic People and the Ministry of Sound.
Moxie has been DJing since her early teens, and has made a name for herself, through her flawless mixing and her varied style, maintaining an element of soul whether spinning House, Disco, Detroit Techno, Dubstep or Grime. Sharing her extensive music knowledge and deep crates, she has been invited by Loefah to be the first female DJ to play the legendary DMZ clubnight, while appearances across the UK, Europe and alongside the ATG and Swamp81 crews in New York and LA have only increased her fast-growing reputation. Moxie runs the Deviation clubnight alongside Benji B and has appeared on Rinse FM and Kiss.