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LABEL
1-800 Dinosaur
NATIONALITY
English
TERRITORY
France

1-800 Dinosaur

1-800 Dinosaur

LABEL
1-800 Dinosaur
NATIONALITY
English
TERRITORY
France
BIOGRAPHY







AGENT
anthony.ferrat(@)miala(.)fr

MUSIC


VIDEOS




LABEL
PIAS
NATIONALITY
BELGIUM
TERRITORY
FRANCE

2MANYDJS

2MANYDJS

LABEL
PIAS
NATIONALITY
BELGIUM
TERRITORY
FRANCE
BIOGRAPHY

For those of you who don’t know anything about Soulwax or2manydjs….Their musical history is checkered with highlights. The sons of a noted Belgian radio DJ, the pair formed a rock band named Soulwax, who released several acclaimed records and toured extensively. At this time the brothers were also concurrently DJing under the names The Flying Dewaele Brothers & 2manyDJs to rapturous response both in clubs, on Belgian radio and beyond. In 2002 their massively acclaimed debut mix album 2manyDJs – As heard on Radio Soulwax Volume 2 was released on an unsuspecting world. It changed the face of dance mix compilations forever simply by splicing hundreds of rock, electro, dance, hip hop and other classics from the depths of their vaults together. It was also fun!!! And somehow they had managed to do what so many had failed to do previously – bring that fun and chaos from the club into your home.

500,000 + sales & 8 years later it remains a must have for house parties, holidays and individual experiences the world over. Their sound and style has been mimicked and imitated a million times (but never bettered) and not to mention pretty much every mix they have ever done has been bootlegged and sold at extortionate prices on by opportunists in every corners of the earth. Now Radio Soulwax sees them taking the concept of the mix album and re-inventing it yet again.

They’ve also since become two of the busiest, most in demand DJs/ Remixers/ Musicians /Producers in the world with far too many credits to list here (see below Wikipedia link if you are so inclined). They have also toured consistently, both as a live electronic rock band and as 2manyDJs (and often both at the same time), headlining tour after tour, festival after festival, year in year out throughout the world. 2011 will be no exception with UK headline slots already confirmed at Lovebox & Reading/Leeds. The past few years have seen them perform in front of millions of people across the globe and their schedule shows no signs of letting up. In 2007 they created their much loved Soulwaxmas event which now takes place annually in the UK, France, Belgium, Germany, Italy & Spain in the run up to Christmas, and which this year saw them perform to 15,000 rabid fans in London alone.

This isn’t even including their two studio albums 2004’s Any Minute Now or its 2005 companion album Nite Versions- the entire opus remixed for the dancefloor or for that matter their mighty compendium of remixes of other artists. In 2008, the chaos of their Radio Soulwax events, the passion of their fans and the frenzy of their live performances was beautifully captured in Part of The Weekend Never Dies, a film by acclaimed young director Saam Farahmand. It also helped to show firsthand the unquestionable work ethic of the Dewaele brothers.

Between 2008-2011, Alongside their hectic live & DJ schedules the Dewaele’s have been developing and building a very special secret project. “Radio Soulwax” – An online radio station with a massive twist that will launch on www.radiosoulwax.com. Watch this space for more details.








AGENT
bertrand[.]delasnerie[@]miala[.]fr

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LABEL
Four Music
NATIONALITY
GERMANY
TERRITORY
FRANCE

ACE TEE

ACE TEE

LABEL
Four Music
NATIONALITY
GERMANY
TERRITORY
FRANCE
BIOGRAPHY

»Bist du down?« was a wave – and turned into perhaps the biggest pop music sensation of the year 2017. Seemingly out of nowhere, the song went around the world when it arrived, a once-in-a-decade feat for German-language music. But while the click count went through the roof, the creative mind behind it kept its feet on the ground: Ace Tee simply continued to do her thing. Now, she’s gearing up for the release of her first EP. It shows that there’s much more to the Hamburg-born artist with Ghanaian roots than the season’s most stylish video. Hers is a story about self-love and about living one’s dreams.

In 2016, Tarin Wilda was just about ready to give in to what is sometimes so easily termed »reality.« She had decided to take on an apprenticeship as a hairdresser. But before it would come to that, she resolved to shoot her shot. After all, the song was already written, the video had been planned for six months and the beat was just too bangin’. So she drummed up her friends and got hold of a drone to shoot her very first video in Hamburg-Altona, which she thought would possibly also be her last. »Everybody was there because they had love for the song. Everyone was in good spirits. They were all dancing and looked awesome. It already dawned on us in the process of shooting that this was going to be something special.« Looking back on it today, a year after the fact, Ace Tee and her crew have been proven right. All of a sudden, a new path to a different future had opened up for her.

What almost sounds too cheesy to be true quickly became very real. Thousands, ten thousands, hundreds of thousands of clicks. A month after the upload, in January 2017, the hype around Ace Tee finally developed a life of its own. Media around the world posted the video, from Vogue to The Fader, NPR and The Guardian. Normally, 99 red balloons are more likely to fly over Ramstein, than for a German hip-hop song to take it this far. The fans hopped on for the ride. Not surprisingly, since »Bist du down?« perfectly tapped into the current wave of ‘90s nostalgia while also sounding – and looking – wholly original. That back-in- the-days groove of the beat effortlessly matched the pulse of today. Add to that a flow straight from the heart, without concessions to the rules of the industry, and you’ve got yourself a vibe that’s right on the money.

The story of this song, however, starts years earlier on the other side of the city. In Jenfeld, to be exact, where the sun shines even less than in other parts of Hamburg. There, Ace Tee grew up as the daughter of Ghanaian parents – trilingually and rather traditionally. Weekends meant going to Sunday School and attending church services. Nevertheless, Michael Jackson, Bobby Brown and 2Pac tapes were part of her household, too, later joined by those of Missy Elliott, Aaliyah and Da Brat. Tee soaked up these grooves instinctually, which can still be heard in her music today. Her parents eventually gave her a Fisher Price mic, with which she started to record herself, and later also a keyboard.

»I even took lessons,« she recalls. »But reading music was never really my thing. I’ve always worked by instinct and I still do.«

Discovering Pharrell Williams and the Neptunes was what really got her hooked for good. »He totally made me curious, in terms of beatmaking. I wanted to find out what that was and how it’s done.« So she acquired a MacBook and got into Logic, until she felt comfortable enough to start showcasing her accomplishments. »Not bad for a girl,« was a common reaction she would face – which only made her want to prove even more just how bad this girl can get. This meant more hours in front of the laptop, more loops, more fire. The results from that time can still be dug up on Soundcloud today, where Tee amassed a decent following under the name MEDUZV. Her frame of reference was different then – murkier, more Memphis than R&B, more lo-fi than high-life – but her artistic approach already began to crystallize. »It wasn’t about a particular sound for me. It was about exploring the realm of my abilities.«

The same still holds true today. While Ace Tee has developed from an obsessive, self-taught laptop musician into one of the biggest hopes in the usually so male- dominated landscape of German rap, her own well-being still remains paramount to her. Egos or bank accounts do not factor into the equation. Only her truest self – the expression of which seems to be part of her destiny. »I’ve always had the desire to express myself – whether it was through krumping in my youth or my apprenticeship as a tailor. I’ve also worked as a model, but that wasn’t for me. I need to be creative myself. I just love being free. «You hear it on the songs of »Tee Time.« They all came together around the time of »Bist du down?« On some of them, Ace Tee worked together with her brother from another mother, Kwam.e, in the storied art space of German rap legend Samy Deluxe. DJ Vito, man of the house and Samy’s musical sidekick, was also involved. Above all, Tee’s songs are products of the moment – impulsive, emotional, and extremely personal. Musically, »Tee Time« maneuvers between today’s post-internet-R&B, the warped funk of J Dilla, and explicit references to New Jack Swing and soul-infused ‘90s hip-hop. Ace and Kwam.e (who appears as featured artist on every song) always lace their verses with rawness, intensity, positivity and originality. Industry rules, flow trends and trending hashtags play no roles in their game. Ace Tee does not do what the others are doing. She simply does. »I embody flow,« Tee proclaims boldly and fittingly. »I don’t care for overly structured songs. I can do what I want. If it’s a wave, it’s a wave. That’s my motto. »

»Tee Time« is, of course, a play on words. It’s hip-hop, sure: You know what time it is. But tea time also signifies a ritual of contemplation, of readjustment, a sense that is also reflected on this record. The cover art of the EP shows a pattern that suggests a relation to street art, a West African take on Keith Haring, perhaps. But it actually depicts a traditional Ghanaian sign system. The symbols represent Greatness, Cooperation, Harmony, Intelligence, Adaptability, Beauty, Learn From The Past, Strength, Supremacy of God, Transformation, Support, Mortality, The Earth Was Weight. That’s more than a list of words for Ace Tee, who describes herself as a spiritual person. Without acknowledging this side of her, her music eludes comprehension. When she sets that bottle of Grey Goose on the table on »Hamburg City Life«, describes her look on »Nice aus«, or lights one up for hip-hop on »Bounce auf den Beat«, it’s always more than just party music. It’s also about confidence, knowledge of self, determination – living life, rather than just talking about it. »Bist du down?« was originally conceived to empower her entourage as well. The fact that you can get jiggy to it with an ice- cold drink in your hand, only speaks to the universal quality of the music.

»So many people let themselves be lulled and pushed into a particular direction,« Tee says. »They hate so many things about themselves. I believe that life is about getting to know yourself, being honest with yourself and loving yourself. Just let it out. Just let it flow.«

Ace Tee herself is just letting it flow into multiple directions at once. On the one hand, there’s her own H&M collection (no biggie?!). On the other hand, there’s her debut album, scheduled for early 2018. Through all of this, she never loses sight of her crew: Kwam.e, Louisa and Limon, who also assisted on »Hamburg City Life.« Her choreographer, Gifty Lartey. Her girls Cynthia, Lorèl and Naomie. »I am so grateful for everything that’s happening right now. I know exactly that there’s also gonna be downs, not just ups. But that means the next up will be three times as high. It just depends on what I’m doing for it.« Ace Tee feels no rush, no pressure. Smash hit this, expectations that. »I’m gonna continue on the same path that got me here.«

What else could we ask for?








AGENT
arnaud(.)meersseman(@)miala(.)fr

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LABEL
Vice Music
NATIONALITY
American
TERRITORY
France

Action Bronson

Action Bronson

LABEL
Vice Music
NATIONALITY
American
TERRITORY
France
BIOGRAPHY

Action Bronson is a purveyor of delicious unexpectedness. Before he’s a heralded rap artist, who shares the same Goliath management as Eminem, Atlantic Records label as Boosie Badazz and facial hair with Rick Ross, he’s Arian Asllani, a Queens New York-bred, Albanian and Jewish culinary chef with his own cooking show. Fans of the stage and stove, can easily find the impresario shopping stateside for heirloom tomatoes or overseas for samples. His fresh herb affinity ranges from cilantro to sour diesel. His commanding presence leans more towards a concerto tenor than master of ceremony, but his 14 karat rhyme bars exorcise wordsmiths like Kool G. Rap. Verses are delivered with the recklessness of a black market AR15, yet come bejeweled with sharp wit and highbrow hilarity. This isn’t your father’s favorite rapper. In a new world where rap fans are colorless and the Internet dictates TV, Action Bronson is a super hero whose physique ironically resembles a Viking warrior.

Since entering rap’s ring four years ago, Bronson has operated in large and cohesive fashion. His introductory appetizers began his penchant for having entire compositions produced by a single maestro. The break beat-powered, Tommy Maas-produced Dr. Lecter established Action as an MC purist focused on adding to the art form, while the Statik Selektah-scored Well Done showcased the early respect its author accrued via guests like Lil Fame. After dropping the audio feast that was the 2012 mixtape Blue Chips (co-piloted by Fools Gold Records DJ/production duo Party Supplies), the renaissance scribe inked a management deal with Eminem’s partner and manager Paul Rosenberg, then landed his first recording contract with Warner Bros via VICE’s label. The result would be more collaborative projects (AB and Alchemist’s Rare Chandeliers) major performances (Coachella 2013) and accolades (XXL Magazine’s Freshman class cover).

After switching from Warner to Atlantic Records mid-2013, Action released his first EP Saaab Stories, produced entirely by Harry Fraud, with premium guests like Raekwon and Wiz Khalifa. While taking 2014 to construct his debut LP, Bronson would expand his brand by launching his online cooking show, Fuck, That’s Delicious. The program not only placed a larger spotlight on Action’s certified kitchen skills, but his infectiously vivid personality as well. To keep the Bronson rap faithful snacking until the entree, a second installment of the Blue Chip mixtape was released to overwhelming acclaim––both Rolling Stone and XXL placed it in the top 5 of their Best Mixtapes of 2013 list. Now the main course has arrived.

Action’s first full-length release Mr. Wonderful is a culmination of every ingredient that’s made his discography delectable, then taken levels higher. The album blends the MC’s influences––from Cam’ron’s Purple Haze to Hendrix’s––then colors a currently tope rap game with red-eyed global perspective. The musicality is grade A; live instrumentation turns Mr. Wonderful into a wonderland of sonic discovery. “A Light In The Addict,” featuring Party Supplies and Fools Gold vocalist Black Atlass, and “City Boy Blues,” which boasts the bottom production of 88 Keys and top coating of Party Supplies, both soar with gorgeous orchestration. The latter track in such a zone that Bronson doesn’t spit a single bar, instead letting his vocals ride the wave of soulful rock.

Rare Chandeliers co-conspirator, Alchemist assists with much of the album’s jazz vibe. On “Galactic Love,” over silky bass play, Bronson is on the phone with mom and in his comfort zone of comedic randomness (“Took a meeting up at Paramount/type-casted as a romantic lead”). But it’s Al’s lush setting for “Terry” that is Action’s favorite beat on his album. The thirteen-year chef even contributes to his album’s soundscape. It was he who brought the great Mark Ronson (Amy Winehouse) and Statik Selektah, a heavenly slice of Billy Joel’s “Zanzibar” to birth the sterling “Brand New Car.” In fact, hand written letters from Bronson and Ronson to Mr. Joel secured the sample clearance.

Although Zane Lowe pops in to co-write the melodic hook for the Chance The Rapper-featured “Baby Blue,” when it’s time to remind planet Hip-hop who’s one of the new school’s toughest mic wielders, Bronson commands his pen to camel clutch the production of Noah “40” Shebib (Drake) and Omen (Ludacris) on the single “Actin’ Crazy,” while getting cinematic on its predecessor “Easy Rider” and flexing super lyrical for pure sport on “Only In America” (“Barry Bonds Barracuda Chattanooga…”).

Once again, Action Bronson’s latest work is his best. Mr. Wonderful’s balance of aggressive flows and easy listening instrumentation, trippy sounds under dead-arm punch lines, make for hip-hop 2015’s finest cuisine. “I gave this my most incredible effort,” says Bronson of his debut. “If you listen to everything I’ve put out and then listen to this you’ll hear the steps that I’ve taken to go all out and show progression.”








AGENT
arnaud(.)meersseman(@)miala(.)fr

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LABEL
Kompakt / Hotflush / Ellum
NATIONALITY
French
TERRITORY
France

Agoria

Agoria

LABEL
Kompakt / Hotflush / Ellum
NATIONALITY
French
TERRITORY
France
BIOGRAPHY

Contrairement à la première génération de producteurs de Techno, Sébastien Devaud aka Agoria est trop jeune pour avoir grandi avec les groupes de pop électronique comme Depeche Mode ou New Order. Son adolescence est plutôt marquée par l’explosion de la scène de Detroit et les grandes heures de la House américaine.

À douze ans, en 1988, la découverte sur une radio locale de “Good Life”, l’imparable classique de Kevin Saunderson, s’impose comme une véritable révélation. Il passera les après-midis suivants à laver les voitures de ses voisins pour pouvoir s’acheter le maxi d’Inner City. Quelques années plus tard, vif et curieux, il assiste près de Lyon au dj set de Jeff Mills: « C’était la première fois que je voyais un dj utiliser trois platines et une boîte à rythmes. Il avait réellement réussi à créer quelque chose de nouveau, sans se contenter de juste passer des disques. Et la manière dont il bougeait, sa précision et sa vitesse m’ont vraiment impressionné ! »

Agoria se lance alors dans l’apprentissage du mix et il s’entoure de quelques amis pour organiser les soirées Agora (‘lieu de rencontre, de rassemblement’ en grec ancien), qui donnera également naissance à son nom d’artiste.

En 1999, il commence à produire ses propres titres et connaît ses premiers succès dès 2001 avec “La Onzième Marche”, suivi d’une série de maxis sortis chez Pias et d’un premier album, Blossom, en 2003 largement salué. Parfois musclé, ce premier opus lorgne vers l’Electro-House sur “Stereolove” ou “Spinach Girl”, quelques années avant l’explosion de la French Touch 2.0. Séduit par les expérimentations en studio du jeune producteur, Tricky finira même par poser ses vers sur le trip-hop habité de “2Thousand3”.

Trois ans plus tard, c’est au tour de The Green Armchair de voir le jour. Si la techno décomplexée de “Code 1026” enflamme les pistes de danse, Agoria réveille aussi les voix de Peter Murphy, leader charismatique de Bauhaus, et de Neneh Cherry. Avec des productions plus intimistes intégrant des textures classiques, il rencontrera un beau succès avec “Les Violons Ivres ”.

En 2008, Luc Besson et Olivier Van Hoofstadt confient la bande originale du film Go Fast à ce passionné de cinéma. Il y décline une sensualité nouvelle teintée d’ambient, de musique expérimentale et de sonorités organiques. Il invite Scalde sur “Dust” et “Solarized”, pour deux morceaux au confluent de la Pop et de la House Modern Classic.

En parallèle à ses propres productions et en l’espace de quatre exercices, Agoria s’est imposé comme un nouvel expert des compilations mixées. Qui aurait osé mixer le thème de Mulholland Drive avec l’“Experimento” de Carl Craig, une pièce de Raymond Scott et un morceau d’Onur Ozer, le “Loud Loud Loud” des Aphrodite’s Child avec des samples de French Kiss et LCD Soundsystem ? Cette ouverture à toute épreuve et cette curiosité perpétuelle sont devenues la marque de fabrique de chacun des projets d’Agoria.

Agoria participe à la création et au développement du festival Nuits Sonores à Lyon ainsi que du label InFiné. Deux projets qui revendiquent sa liberté et son éclectisme : ouverts à de nombreux genres musicaux et défricheurs de tendances. Ayant pour vocation d’assurer le développement de nouveaux talents des quatre coins du monde, le catalogue d’Infiné englobe aussi bien le pianiste Francesco Tristano, Danton Eeprom, Rone et Bachar Mar-Khalifé.

Début 2011, il revient avec son quatrième album, Impermanence, applaudi par la critique. Disque ténébreux et inclassable sur lequel Carl Craig nous excite avec le sensuel ‘Speechless’, Seth Troxler nous balade sous acide sur ‘Souless Dreamer’, Kid-A étourdie avec le Björkien Heart Beating et Panta Reï nous rappelle à des échos Kraftwerkiens.

Deux ans plus tard, en compositeur affranchi il revient avec Scala sur le label Allemand phare Innervisions, fondé par Dixon et Âme. Un voyage house et éthéré qui sera un hit en 2013. L’année suivante il livre un nouvel EP sombre et dansant, Hélice, sur le label techno anglais Hotflush (Scuba, Recondite, George Fitzgerald,…) ainsi que deux remix remarqués pour Moby et Metronomy.

Agoria explore aussi d’autres univers : le cinéma avec Jan Kounen (Il joue aussi chaque année au Festival de Cannes), le sound design avec Nicolas Becker (Gravity, collaborateur de Philippe Parreno) ainsi que l’art contemporain.

De retour avec l’EP “Independence”, dévoilé en octobre 2015 sur le label du non moins célèbre Maceo Plex, Ellum, le maestro français lance son projet “Agoria Invites” et de nouvelles collaborations artistiques.

 


 

EN

Sébastien Devaud, aka Agoria, entered the world of electronic dance music at a peculiar moment in time. Unlike the first generation of techno producers, he’s too young to have been actively listening to early 80’s electronic pop by groups such as Depeche Mode or New Order. But unlike younger DJs and musicians, he’s been exposed to house and techno more or less since the start of these genres.

Living in rural France, Agoria first got hooked to electronic music through listening to Kevin Saunderson’s classic “Good Life” on the local radio as a twelve-year-old kid in 1988. He was so impressed by the Inner City hit that he spent the following afternoons washing his neighbours’ cars to earn enough money to buy his first 12´. His next revelation came a few years later when one of the first DJ sets he experienced happened to be from Jeff Mills in nearby Lyon. « It was the first time that I saw a DJ using three turntables and a drum machine. He really created something completely new rather that just playing records. And the way he moved, his precision and speed,impressed me. »

Agoria started out as a DJ himself, quickly followed by organizing his own parties together with a group of friends (who also gave Séb Devaud his artist moniker loosely named after Agora – the title of their party series, meaning “meeting place” in ancient Greek).

He started producing and releasing his own tracks in 1999 and first gained international recognition with a series of 12´s on Pias recordings in 2002, which were followed by the acclaimed album Blossom a year later. Since then, Agoria has released tree more long-players The Green Armchair (2006), soundtrack Go Fast (2008), Impermanence (2011) all showcasing Agoria’s talent for creating deep, stripped-back, melodic, techno tracks.

In addition Agoria has compiled four mix-cds that present his unique ability in pairing tracks of very different origins and layering them in creative, sometimes even awe-inspiring ways. Deservedly so, Resident Advisor named his contribution to the At The Controls series from 2007 as one of the best mix-cds of the past decade.

Apart from his own work as a DJ and producer, Sébastien Devaud has also founded Nuits Sonores, one of the best European festivals and the label Infiné. Its releases – from Francesco Tristano’s piano treatments to Danton Eeprom’s sensual productions or Bachar Mar-Khalifé’s dramatic arrangements – continue to surprise and have made InFiné a platform for new music that always challenges and excites it’s listeners.

Recently, Agoria has released several EP on the best techno labels ( Innervisions, Kompakt, Hotflush) and remixes for artists such as Moby or Metronomy.

Nowadays, he is working on his 5th album and experiments other arts space : Cinéma with the Film director Jan Kounen (he also plays every years at the Cannes Films Festival), sound design with Nicolas Becker (Gravity & Phlippe Parreno’s team) and contemporary art.








AGENT
morgane(.)jorge(@)miala(.)fr

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LABEL
Universal Music
NATIONALITY
Dutch
TERRITORY
France

Alex Vargas

Alex Vargas

LABEL
Universal Music
NATIONALITY
Dutch
TERRITORY
France
BIOGRAPHY

Pour Alex Vargas, l’idée d’être décrit comme un chanteur prometteur est plutôt amusante. Il est vrai que de nombreuses personnes découvrent seulement aujourd’hui ce genre d’électro-pop empreint de soul, mais ça fait 16 ans qu’il se produit. « J’ai fait ça plutôt bien durant la moitié de ma vie, » dit-il. « A part quelques jobs bizarres, c’est le seul travail que je connaisse. Je me sens comme chez moi sur scène. C’est vraiment ma vocation. »

Aujourd’hui âgé de 28 ans, Vargas est un artiste chevronné, mais il a une toute nouvelle liberté, celle d’un artiste qui a découvert la musique qu’il veut vraiment faire. L’EP de ce chanteur-compositeur danois sorti en 2016, ‘Giving Up The Ghost’ combine son oreille « Stevie Wonderesque » à travers la mélodie des choeurs à une production progressiste et sa marque de fabrique, un falsetto ensorcelant. Le single ‘Giving Up The Ghost’, avec son clip offrant une image touchante sur fond de patinage, constitue l’hymne poignant de l’EP. D’autre part, dans la balade caverneuse et minimaliste ‘Wear Your Demons Out’, il confronte la difficile réalité de vivre et d’aimer lorsqu’on est en dépression.

L’honnêteté brute des paroles de Vargas est ancrée dans une vie qui a été un véritable tourbillon, plus que pour la plupart des gens. Ayant grandi au Danemark, il n’avait jamais vraiment été intéressé par l’école, et il trouva sa véritable vocation lorsqu’il fut choisi pour jouer dans une production de ‘Treasure Island’ quand il avait 12 ans. « Je me rappelle encore comment je me suis senti lorsque j’ai marché sur scène pour la première, » se rappelle-t-il aujourd’hui, « J’ai été mordu par la scène. J’avais faim de plus. » Enthousiaste, il auditionna pour plus de rôles, et les décrocha. A l’âge de 15 ans, il eut sa propre guitare, et sa passion pour le spectacle se transforma en un désir de se lancer dans ses propres hommages indie à Kurt Cobain. A l’âge de 17 ans, Vargas avait son propre manager, et déménagea en Angleterre pour poursuivre son rêve de devenir un musicien à plein temps. Il ne regarda jamais en arrière depuis.

Au début, Vargas travailla avec le hitmaker des Girls Aloud, Brien Higgins, à la maison de production de pop music Xenomania, pour écrire son premier album. Ayant trouvé quatre musiciens pour compléter le lineup, le projet devint un groupe appelé Vagabond, qui sortit un premier disque – ‘You Don’t Know The Half Of It’ – en 2009, et partit en tournée pour assurer la première partie de James Morrison et de the Script, suivi de deux dates à Glastonbury. Les morceaux de Vagabond étaient décalés, c’était des chansons marquées par les guitares et synthés pop, mais avec du recul, Vargas savait que son cœur n’y était pas. Il décida de dissoudre le groupe avant d’enregistrer le second album, préférant jouer en solo et miser le tout pour le tout.

Pour Vargas, qui a grandi au son du rock classique avec Pink Floy, Queen, Jeff Buckley, le style de la maison de production de pop music n’était pas un choix naturel. Il avait confiance en son écriture – « J’avais écrit chaque mot de cet album, chaque émotion invoquée vocalement venait de moi » – mais il voulait le faire à sa façon. Il commença alors à apprendre comment produire ses propres chansons à Logic, tout en travaillant le falsetto auquel il avait attaché beaucoup de valeur lorsque c’était encore un jeune artiste. Vargas passa du temps à L.A., élaborant des balades acoustiques qui lui permirent de passer une étape difficile pour permettre à sa voix perçante de briller.

Progressivement, alors que des éléments plus bruyants et électroniques se glissaient de plus en plus dans ses démos, il commença à trouver son son : un genre de soul plus spacieuse, plus moderne, qui se cale très bien aux côtés de Rosie Lowe, BANKS et Seramic. Ses chansons gagnèrent une énergie sombre et confuse; ce qui étaya ‘Giving Up The Ghost’, et qui s’amplifia avec l’extatique ‘Higher Love’ sorti en 2016. Ce son, qu’un ami qualifia de « bruit soul », formera l’épine dorsale de son premier album en bonne et due forme, dont la sortie est prévue pour 2017.

Avec ce nouveau souffle, Vargas a plus que jamais de l’aisance pour écrire avec son cœur. « Il y a assurément du chagrin dans cet album, » dit-il. « La plupart des morceaux ont été très difficiles à écrire. » En fait, l’un des titres les plus fracturés et touchants, ‘Tidal’, a été écrit en un jour, après qu’il eut reçu un e-mail très émouvant à mi-parcours de la réalisation de l’album. Dans l’ensemble, les chansons fluctuent avec des élans de passion : comme les concerts live de Vargas, les moments calmes créent une telle tension que vous pouvez vous sentir respirer, alors que les crescendos sans fin s’envolent.

« Ma perception du succès a changé au fil des années », nous raconte Vargas. Sa seule préoccupation aujourd’hui est d’écrire de grandes chansons. « Il s’agit de reconnaître exactement ce pour quoi vous êtes fait. Alors que j’avais touché le fond, et que j’ai décidé de continuer à écrire de la musique, j’ai réalisé – Je dois faire ça. Il n’y a pas d’autre option. Même si les gens n’écoutaient pas, je serais encore en train de faire de la musique. »


 

​To Alex Vargas, the idea of being described as an up-and-coming performer is pretty funny. It’s true that many are waking up to his brand of soul-drenched electronic pop now, but he’s been performing for 16 years. “I’ve been doing this well over half my life,” he says. “Other than a couple odd jobs, it’s the only job I’ve ever known. I feel so at home on stage. This is what I’m meant to do.”

Now 28, Vargas is a seasoned performer, but he has the newfound liberation of an artist who’s discovered music he truly wants to make. The Danish singer-producer’s 2016 EP G​ iving Up The Ghost combines his Stevie Wonder-esque ear for a chorus melody with forward-thinking production and his trademark, haunting falsetto. Lead single “Giving Up The Ghost,” together with its touching figure skating-based video, provides the EP’s heart-swelling anthem. Elsewhere, on the cavernous, minimalist ballad “Wear Your Demons Out,” he confronts the difficult reality of living and loving with depression.

The raw honesty of Vargas’s songwriting is plumbed from a life that’s been more of a whirlwind than most. Growing up in Denmark, he was never too interested in school, and found his true calling when he was cast in a local production of​ T​ reasure Island as a 12-year-old. “I still remember how it felt walking on stage at the premiere,” he recalls now. “I got bitten. I was hungry.” He eagerly auditioned for more roles, and won them. As he turned 15, he got his own guitar, and that passion for performing turned into a desire to bash out his own indie homages to Kurt Cobain. By the age of 17, Vargas had his own manager, and moved to England to pursue his dream being a musician full-time. He hasn’t looked back since.

Initially, Vargas was paired with Girls Aloud hitmaker Brian Higgins, at the pop production house Xenomania, to write his debut album. Finding four musicians to complete the lineup, the project became a band called Vagabond, who released their record​ You Do​ n’t Know The Half Of It in 2009 and toured as support for both James Morrison and The Script, and played Glastonbury twice. Vagabond’s songs were quirky, guitar and synth-inflected pop songs, but looking back, Vargas knows his heart wasn’t in it. He dissolved the band before recording a second album, choosing instead to go solo and go for broke.

For Vargas, who grew up on classic rock from Pink Floyd to Queen to Jeff Buckley, the pop production house style wasn’t a natural fit. He believed in his writing — “I’d written every single word on that record, every single emotion evoked vocally was me” — but wanted to do it his own way. He began learning how to produce his own songs in Logic, and nurturing the falsetto he’d prized as a kid performer. Vargas spent time in L.A., crafting acoustic ballads that laid a stark stage for his piercing vocal to shine through.

Gradually, as the noisier, left-field electronic elements crept more into his demos, he began to find his sound: a spacious, modern kind of soul that slots alongside Rosie Lowe, BANKS, and Seramic. His songs gained a dark, shadowy energy; that was what underpinned G​ iving Up The Ghost, and what swelled through the ecstatic 2016 “Higher Love.” The sound, which a friend labeled “noise soul,” will form the backbone of his debut album proper, set for release in 2017.

With his new lease of life, Vargas is finding it easier than ever before to write from the heart. “There’s definitely sorrow on this album,” he says. “A lot of it was very tough to write.” In fact, one of the album’s most fractured, moving moments, “Tidal,” was written in one day, after he received an emotional email mid-session. Overall, the songs ebb and flow with surges of passion: like Vargas’s live shows, the quiet moments create such tension you can feel yourself breathing, while the epic crescendos soar.

“My perception of what success is has changed over the years,” says Vargas. His only concern today is writing great song​s. “It’s about recognising exactly ​what you’re in it for. When I hit rock bottom, and ​ decided to continue doing music, I realised — I h​ ave to do this. There isn’t another option. Even if people weren’t listening, I’d still be making music.”








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arnaud(.)meersseman(@)miala(.)fr

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SecondState/Lyase/Elevate
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belgian
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AMELIE LENS

AMELIE LENS

LABEL
SecondState/Lyase/Elevate
NATIONALITY
belgian
TERRITORY
France
BIOGRAPHY

There is no need for a romantic tale of musical heritage to be told here. Presumably most promising artists have deeply rooted feelings for what they do anyway. Let us only speak of the known facts. The personal vita.

Amelie Lens is a very discerning belgian, she has an obsession for telling stories through radical cones of sound. She exhausts search engines looking for new material to create the narrative. Constantly defining the parameters within resources and time, she plots to unleash well-timed, dramatic and super-tense climaxes. She relies only on herself for the dispersion of these decisive moments, but subconsciously it spreads like a virus throughout the crowd which makes everyone an accomplice in a way.








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morgane.jorge(@)miala(.)fr

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Republic Redords / UMG
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USA
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AMINÉ

AMINÉ

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Republic Redords / UMG
NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

Né à Portland, Oregon de parents erythréen et éthiopien, il faut remonter à juin 2016 pour réellement comprendre le phénomène Aminé, propulsé en nouvelle star du rap après que son hit ‘Caroline‘ envahissent les ondes américaines et atteigne la 11e place des charts au classement Billboard Hot 100.

Récemment Aminé était de retour avec un clip hilarant pour ‘REDMERCEDES‘, avec un remix où l’on retrouve Missy Elliott.








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arnaud(.)meersseman(@)miala(.)fr

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Androma

Androma

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NATIONALITY
French
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World
BIOGRAPHY

Tristan Thoraval, alias Androma, est un jeune producteur originaire de Nantes et vivant à Paris. Fils de mélomanes, il a pratiqué la batterie, la trompette et le violon en conservatoire avant de découvrir la musique électronique vers l’âge de 16 ans. Premières platines, premières productions, le talentueux Androma construit rapidement son univers musical peuplé de beats dansants et de mélodies oniriques : une véritable invitation au voyage mariant sonorités « deep house » et cuivres groovy.
C’est sur internet qu’il rencontre le succès d’abord avec son titre « Gunjule » 
(3,5 millions de vues sur Youtube) puis avec « Kaya » (2 millions de vues)
Depuis, sa communauté de fans ne cesse de croître, tant sur Facebook que sur son Soundcloud qui comptabilise à ce jour presque 2,5 millions d’écoutes.
Son premier EP est (impatiemment) attendu pour l’automne, ainsi qu’une série de remixes. Un talent à suivre !


Tristan Thoraval, aka Androma, is a young producer from Nantes who now lives in Paris. Son of music-lovers, he practiced drums, trumpet and the violin at the conservatoire before his discovery of electronic music at the age of 16.
First turntables, first productions, talented Androma quickly builds his own musical universe filled with danceable beats and dreamy melodies : a true invitation to the voyage, bringing together deep house sounds and groovy brass.
It’s on the web that he finds success, with his track « Gunjule » first whiwh hits 3,5 millions views on Youtube, and also « Kaya » (2 millions views).
Since, his community of fans keeps growing, both on Facebook and his Souncloud which count up to 2,5 millions plays.
His first EP is (eagerly) expected for this Fall, along with a serie of remixes. 
A talent to be followed !








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mathilde.vanhassel(@)miala(.)fr

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Diez Music
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Arigato MassaÏ

Arigato MassaÏ

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Diez Music
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french
TERRITORY
world
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Arigato Massaï, A.M., Amplitude Modulation ou les 2 premières lettres du mot AMour.

C’est Raphael Aucler et Victor Belin qui produisent de la musique électronique, cherchant au plus profond d’eux-mêmes des mélodies et des sons nouveaux. Un romantisme digital, français dans l’âme et anglais dans le texte, chargé du passé et de leurs expériences personnelles.
D’abord producteurs pour d’autres musiciens, ils se tournent rapidement vers la production de leurs mor- ceaux, puis imaginent et inventent leur univers. Névropathes obsessionnels du matériel de musique : instru- ments acoustiques, électriques, synthétiseurs, micros, équaliseurs etc. : tout leur est devenu collection. Spécialement les synthétiseurs et autres petites boites à sons qui sont chacun pour eux le point de départ d’une nouvelle composition. La collectionnite s’est également étendue sur le vinyle, les playlists YouTube spécial sampling et autres sources de sons en physique ou sur le Web.
Arigato Massaï a investit un studio dans Paris (19eme) où tout est branché, allumé en permanence, la borne d’arcade inclue.
Ah oui aussi, ils adorent les chats, la culture Japonaise et pensent que la musique du futur vient d’Afrique. C’est en 2015 que leur premier EP “Waifu Material” voit le jour.
Les Arigato Massai ont également fait parler d’eux avec un remix de « All in You » de Synapson featuring Anna Kova.
Leur 2ème EP sortira à la rentrée.








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morgane.jorge(@)miala(.)fr

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Bad Records
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Bad Sounds

Bad Sounds

LABEL
Bad Records
NATIONALITY
English
TERRITORY
France
BIOGRAPHY

They’re yin and yang, good cop and bad cop, Andre and Big Boi. Distinct and opposing characters that shouldn’t compliment each other, but undeniably do. Ewan Merrett, the pessimistic hip-hop junkie and documenter of everyday miseries, and his brother Callum, the happy-go-lucky hook lover with dreams of a Flaming Lips-level stage spectacular. Together they’re the magical dichotomy at the heart of Bad Sounds. By which, of course, they mean good.

“Ewan can be kind of a sulky bitch and he can get caught up in the mundane,” Callum explains. “I guess I’m more escapist when it comes to being creative. I find the everyday kind of boring, but Ewan finds it fascinating. Somewhere between the push and pull of those two outlooks there’s a balance that defines what we’re doing.”

As sibling musicians growing up in a house in Chippenham full of the sounds of Beck, De La Soul and Sly & The Family Stone, the pair first dabbled with playing together in school bands, but found themselves on very different paths. Ewan was keen on making hip-hop beats, Callum was more engrossed in the soul, pop and R’n’B of Michael Jackson, Marvin Gaye and D’Angelo – “I’m into all the original music that early hip-hop sampled,” he says. So they started making music separately, but would often play each other their songs for support and advice. It was only when they saw the 2010 film Scott Pilgrim Vs The World, though, that they got serious about playing in a band together. “The band in the film is so cool,” says Ewan. “Beck wrote all the songs for it, and it’s got that vibe of young kids in a band – it rekindled my love for bands.”

Their first song was called ‘Bad Sounds’ but only the name remains. As they wrote, they found that they each had their individual aspects to add; Ewan was the musical wunderkind while Callum had a knack for earworm hooks and visual pizzazz. “I’m a child that gets too excited about a cool hook or a dope sound,” Callum says, “and a lot of the visual stuff, the branding, the art, the stage performance. That’s something I’m massively passionate about.” When they struck musical gold with ‘Living Alone’ in 2013 they knew they were on to something – a hip-quaking amalgam of Jungle, Beck, Metronomy and 70s disco about how the Instagram generation fake lives of “wild circuses of excitement” online to seem more alive. “Everybody looks as though they’re doing something better than you on social media,” Ewan says, “but you know deep down that everyone’s putting on a façade to make it seem like their life is better and just showing you the best bits. At the same time you can’t shake that feeling that you’re the only one in on a Friday night.”

Pulling together a full band from local friends in September 2014 – first drummer Olivia Dimery came on board, followed by Charlie Pitt (guitar) and Sam Hunt (bass) – they quickly recorded the track with producer James Dring in Hackney and started playing live. They didn’t feel like an overnight success; their first gig involved spraying a crowd of five people with a home-made glitter cannon that Callum had fashioned from a leaf-blower. But once ‘Living Alone’ emerged that November, they very nearly were. The track was picked up by Radio One and hit the blogosphere like a hip-pop hurricane.

Then, for a full year, no Sounds. Realising there was work to be done to make the most of such a big break, Ewan and Callum set about writing a song a week for the next two years, while learning to play as a band and recording more songs at Dring’s studio in Hackney and with Duncan Mills at Shoreditch’s Strongrooms. The idea was to release songs as and when they were finished with no set plan for an album, so come November 2015 they unleashed the euphoric fuzz-pop of ‘I Feel’ and then, in March 2016, their breakthrough track ‘Avalanche’.

Sounding as though it had wandered casually off the back of Beck’s ‘Midnite Vultures’ album talking about its boring day job, ‘Avalanche’ was about someone Ewan used to work with “who came in one day and told me about this thing she watched on TV with her dad about some people who got stuck in an avalanche”. According to Annie Mac, though, it was the scintillating sound of the future, and her support of the song catapulted Bad Sounds onto the Glastonbury bill (they played dolorous disco on the morning of the referendum result and “the Brexit blues were very apparent”) and into action.

September brought the fanfare-festooned glory pop of ‘Wages’ – part Charlatans shuffle, part peak Blur, part A Tribe Called Quest and hip-hop horn breaks, part being too sober to dance at a wedding disco – a riotous UK support tour and a sync on a Google Pixel advert for ‘Living Alone’ that has allowed them to continue recording without the need for label interference for now. “We felt like the luckiest band in the world,” Ewan says. “Everything has led into the next thing very organically, getting bigger each time.”

Rounding off 2016 with their first headline shows in London and their spiritual hometown of Bristol showed them just how far they’d come. The shows were sold out, and their stage show had evolved to include their own light-up dancefloor, balloons and party-poppers – “We want to throw a party and invite people, rather than say ‘come and watch us play in front of you for half an hour’,” Callum explained in their first NME interview. And the pair made schizophrenic hosts, Ewan the chilled focus while wild-child Callum flailed gleefully across the stages.

2017 is set to be bigger still, with a five-date UK tour in March and the release of next single ‘Meat On My Bones’, a song about, well, a dead dog tattoo. “All the lyrics are conversational,” says Ewan. “I’m a big fan of small talk. It started from my friend telling me about this tattoo she got when her dog died. I struggle with death in general.”

So there is some deep emotional stuff going on in your songs?

“Yeah,” Callum nods, “but don’t tell anyone…”








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bertrand(.)delasnerie(@)miala(.)fr

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BISHOP NEHRU

BISHOP NEHRU

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NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

Bishop Nehru is the stage name of an American rapper and producer originating from Rockland County, NY. His real name is Markel Scott: he also edits and directs music videos. Promoters are booking Bishop Nehru for being a fresh air for hip-hop. Bishop used several stages names since a very young age. At the tender age of 13 he would make jazz music and hip hop instrumentals by the stage name of “Kelz Scot” as he grew a year older he decided to change his name to Kile Kamvas. He made use of various forums like Odd Future, Hypebeast, Skateboard-City and Lookbook to release his musical works of his early ages. The forum known as Odd Future Talks is the one which provided him with the most number of listeners. His 8-bar freestyle of Mos Def’s classic “Mathematics” helped him gain the title of Youth Rap Talent of the week in July 2008 by the Off Future Talk, WorldStarHipHop. Nehru was also on the Hot97.com in their Who’s Next part of the cover which informs viewers about the rappers who will be the next big thing soon. His song was also a part of 105.1’s New NY with Jovonn “The Don” in the February of 2013. Nehru also sang the opening for the 20th Anniversary European tour of Wu-Tang Clan.

His unique stage name is a combination of a character played by Tupac from the movie Juice where the Bishop is the one who inspired in him the desire to go out and get the respect of his fellows. His last name Nehru comes from the ex prime minister of India Jawarharlal Nehru who worked in collaboration with Gandhi whose peacemaking efforts were legendary. His first debut mix tape was released when he was just 15. It was titled Nehruvia and included 13 songs which also had the productions from J. Dllla, MF Doom, DJ Premier, Maslib and many more. The famous personality of New York radio Peter Rosenberg along with the UK DJ Semtex presented his next mix tape titled strictlyFLOWz. The booking price for Bishop Nehru would rise as a result of this. There were rumors in the August of 2013 that collaboration is going to occur between MF Doom and Bishop Nehru which would result in the release of a project by Lex Records and Noisy Cricket. After the Kendrick Lmar show held in Brooklyn, Cali emcee was captured on screen praising and advising Bishop Nehru. Nas’ Mass Appeal Records had its first signing on 22nd May 2014 which comprised of Bishop Nehru, Fashawn and Boldy James. A free collaborative EP was launched titled BrILLiant Youth EP which was collaboration between Bishop Nehru and Dizzy Wright. LRG was reported to make the statement that the Summer 14 Campaign had Bishop Nehru and Dizzy Wright not just on their lookbook but they also joined the lot in the studios to record a 3 songs EP which features the production by 9th Wonder, which the brand ambassador of LRG.

23rd September 2014 was the day announced by Bishop Nehru as the release date of NehruvianDOOM, this he announced on his Twitter page on 22nd July 2014. Twitter was again utilized by Nas as his means of communication to inform his fans that the forthcoming album of Bishop Nehru would feature Nas as the executive producer.

When you are ready to book Bishop Nehru for your event, we are ready to work with you in acquiring him for your event. He is one of the fastest rising artist on the scene, and he has a voice that represents a new energy in hip-hop.








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arnaud.meersseman@miala.fr

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Profil de Face
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Bleu Toucan

Bleu Toucan

LABEL
Profil de Face
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

Bleu Toucan est un duo ailé créé par Emmanuel et Léonard. Les deux musiciens possèdent un passeport pour un pays lointain, un état souverain et indépendant qui voue un culte sans borne à un dieu mythique : le Toucan Bleu.

L’éloge à l’oisiveté est une injonction qui semble dominer cette étendue de terre bordée de lacs et de torrents. La musique de Bleu Toucan transcrit une sensation de sérénité infinie, tendre et parfois même lascive. Ils sont les missionnaires de ce monde mystérieux. Venez chercher votre laissez-passer pour vivre l’expérience de ce projet onirique.


Bleu Toucan is a winged duo created by Emmanuel and Leonard. The two musicians have a passport to a far-off country, a sovereign and independent state which worships boundlessly a mythical god : Le Bleu Toucan. The eulogy to idleness is an injunction that seems to dominate this stretch of land bordered by lakes and streams. Blue Toucan’s music transcribes an infinite feeling of serenity, gentle and sometimes lasciviousness . They are the missionaries of this mysterious world . Pick up your “laissez-passez” for the experience of this oneiric project.








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mathilde(.)vanhassel(@)miala(.)fr

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Capitol / Universal
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BRANN

BRANN

LABEL
Capitol / Universal
NATIONALITY
french
TERRITORY
world
BIOGRAPHY
BRANN est un pseudonyme celte, terre d’adoption de ce producteur Français. Influencé par sa culture celtique et l’océan durant sa jeunesse, ce DJ producteur passionné démarre le piano à l’âge de 10 ans. Il fût vite attiré par la nu-disco, la new wave et le funk.
Quelques années plus tard, il découvrit la House music : ce fût la révélation.
Plusieurs artistes ont ainsi bercé ses envies tels que Pete Tong, Annie Mac, Nic Fanciulli, Lucianoet bien d’autres.
Suite à plusieurs projets aux influences variées, Brann décida récemment de retourner à ses premiers amours avec un son résolument House. Par conséquent, après avoir été un DJ expérimenté et réputé pendant plusieurs années dans un autre style, il écuma plus récemment de nombreux lieux plus trendy à Paris comme le Baron, le Fantôme, le Showcase ou encore le Faust.
En parallèle, afin de lancer sa nouvelle identité en 2015, BRANN démarre fort le projet avec un remix du célèbre titre ‘Goodbye’ de FEDER, signé chez Warner Music / Big Beat, suivi d’une reprise deep-house du titre ‘The Curse’ d’Agnès Obel, et enfin avec la sortie de son premier EP ‘JOA (God Yu Tekem Laef Blong Mi)’. Cette dernière, signée sur PANAM/ 96 Musique, présenta des statistiques sans précédent : plus de 650 000 vues sur Youtube en quelques mois, le titre fût classé 10 semaines consécutives dans le Top50 Shazam France ainsi que dans le Top10 Future Hits (+215 000 écoutes), et playlisté par de nombreuses radios. Vous pouvez vous attendre à de nouveaux titres originaux et remixes de BRANN dans les prochaines semaines, tout comme des dates de tournée qui seront annoncées très bientôt.







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alex.pacotte(@)miala(.)fr

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RCA Records / Sony Music
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U.S.A.
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BRYSON TILLER

BRYSON TILLER

LABEL
RCA Records / Sony Music
NATIONALITY
U.S.A.
TERRITORY
France
BIOGRAPHY

With the release of his second album, True to Self, Bryson Tiller will continue to captivate fans following the success of his 2015 album, T R A P S O U L. Tiller’s debut album reached significant milestones,

including RIAA Platinum certification with over 2.1 billion streams in the U.S. Album tracks “Don’t” and “Exchange” are certified Triple Platinum, “Sorry Not Sorry” is certified Platinum and “Rambo” and “Overtime” are certified Gold by the RIAA. Among his many accomplishments, Tiller was nominated for a GRAMMY (Best R&B Song for “Exchange”), won two BET Awards for Best New Artist and Best Male R&B/Pop Artist and has sold-out 47 shows on his T R A P S O U L tour in both the U.S. and

Europe. Bryson will return to the Staples Center to take the stage once again at the 2017 BET Experience concert on Friday, June 23rd where he will perform fan favorites from T R A P S O U L and True to Self.








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arnaud(.)meersseman(@)miala(.)fr

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Pelican Fly
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Canblaster

Canblaster

LABEL
Pelican Fly
NATIONALITY
French
TERRITORY
France
BIOGRAPHY

Cédric Steffens, alias Canblaster, est la wild card de Club Cheval. Il grandit à Douai dans les années 90. Ses parents mélomanes l’inscrivent dès l’école primaire avec ses sœurs au conservatoire de la ville, où il étudie le piano classique. Il suivra également une année en section jazz qui lui permettra plus tard de se familiariser avec le langage du R&B, une de ses principales influences aujourd’hui. Parallèlement, Cédric passe un temps fou sur sa Sega Saturn et se montre particulièrement sensible à la musique des jeux vidéo, ainsi qu’au soin accordé aux différents bruitages. Des titres musicaux comme Beatmania ou Freqency, qui offrent la possibilité d’intervenir sur des claviers virtuels, lui donnent envie de faire ses propres sons. Il découvre au même moment – soit au début des années 2000 – les classiques de la musique électronique mainstream : Daft Punk, Cassius, Chemical Brothers, Prodigy, Fatboy Slim, et surtout Basement Jaxx, condensé hyper dense d’influences extrêmement variées. Détail important, il fétichise les albums et adore accumuler les CD, gravés ou achetés d’occasion. Il apprécie la liberté offerte par ce format et s’intéresse davantage aux interludes et aux plages moins rythmiques que les tubes. Son oreille n’est ainsi pas encore tournée vers les clubs, mais plus vers l’écoute au casque, à la place arrière de la voiture.

Avec l’explosion French Touch 2 de 2005-2006, il ose finalement le club en se convertissant au son de labels comme Ed Banger ou Institubes, et se plonge de plus belle dans l’histoire de la dance music hexagonale, produisant notamment des morceaux qui imitent maladroitement Alan Braxe ou Vitalic. Il rencontre Myd en BTS audiovisuel, qu’il aidera occasionnellement dans son groupe de l’époque.

En 2008, ses productions arrivent à maturité lorsqu’il ajoute à ses influences l’Angleterre (garage, dubstep) et les Etats-Unis (rap de club, B-More, Diplo). Des influences qu’il découvre en faisant la connaissance de Panteros666 et Sam Tiba, déjà amis de Myd. Bientôt, les quatre garçons lancent ensemble Club Cheval. Le premier vrai EP de Canblaster, Jetpack, en 2010, définit déjà la singularité de sa patte : une efficacité robotique techno mêlée de sentimentalité mélodique romantique et nippophile. Alors qu’un son très percussif domine la scène club, il est convaincu de faire un bide. Mais très vite le titre est joué par le DJ anglais Sinden, puis en France par Tekilatex. Et on lui demande aussitôt d’enchaîner les remixes (Rusko, Drop the Lime, Tekilatex & Para One, Style of Eye, Spoek Mathambo, etc), qu’il décide d’envisager bien plus que comme de simples commandes : son obsession du détail et sa tendance à la surproduction, nées de sa passion pour Basement Jaxx, et son admiration pour le côté « exercice de style » des premiers remixes de Justice, rendent souvent l’original méconnaissable, et font mouche à chaque fois. Il sort ensuite en 2011 son deuxième EP, Master of Complication, chez Nightshifters, qui tourne autour de l’idée du temps, et confirme son goût pour les structures accidentées, baroques, ludiques – un esprit « megamix » issu des jeux vidéo de son adolescence, mais aussi de cassettes d’eurodance, écoutées encore plus jeune. Un autre EP, Totem, sort ensuite sur Marble, le label lancé par Para One, Surkin et Bobmo. Cette fois-ci, il s’agit de trois mixes différents d’un seul et même track, chose dont on ne se rend pas forcément compte quand on les écoute sans le savoir, et qui prouve bien l’aisance créative et technique du jeune Nordiste. Son esthétique sonore synthétise miraculeusement tendresse romantico-nerd et complexité architecturale : tout bouge, tout tourne, tout remue sans cesse, mais tout se tient, comme un gigantesque et parfait manège pour adultes en communion.

Quand il joue, Canblaster mélange la house et la techno aux tracks truffés de micro-ruptures, de montées en trompe-l’œil, de paradoxes harmoniques ou rythmiques, mais tient quand même toujours à faire danser les gens avant tout. Guettez donc ses DJ sets, toujours plus nombreux et grisants, et attendez-vous de sa part à des productions sans cesse plus époustouflantes.

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Cédric Steffens, aka Canblaster, the wild card of the Club Cheval crew, grew up in Douai, Northern France, in the 1990s. While in elementary school, his music-loving parents sent him at the local music conservatory with his two sisters, where he learnt classical piano. He also later followed a one-year jazz course, that’ll give him, several years after, the theoretical basis to understand R&B, which is now one of his main influences. As a teenager, the young Cédric also spent loads of time playing Sega Saturn and developed a fondness for the aural aspect of video games – both the music and the sound design. Music games like Beatmania and Freqency, which afford the gamer to play virtual keyboards, show him the way to music-making. At the same period – the early noughties –, he got into mainstream, album-based electronic music classics like Daft Punk, Cassius, Chemicals, Fatboy Slim and most specially Basemnt Jaxx, whom he revered the ability to concentrate multiple influences in a very tight manner. One has to mention Cédric has always been an album CD fiend, burned or bought second-hand. He loves the freedom allowed by the format, and often rather listens to interludes, skits or drum-less tracks than the hits. For a long time, his ear has been much more oriented towards the car-backseat-with-headphones experience than the dancefloor.

When French Touch 2 broke through around 2005-2006, Cédric finally decided to try producing club material after hearing labels like Ed Banger and Institubes, dug deep into the brief history of French dance music and actually happened to make tracks clumsily emulating Alan Braxe or Vitalic. He then met fellow Club Cheval member Myd, while the both of them were in audiovisual school, and sometimes helped him out for technical issues in his then-band Sexual Earthquake. Canblaster’s work eventually came to blossom around 2008, when he chose to incorporate British (garage, dubstep) and American (club rap, B-More, Diplo) influences to his sound. Those new scenes were introduced to him by two of Myd’s friends, Panteros666 and Sam Tiba. The four boys then feel they have to launch their own crew, and Club Cheval was born.

His first EP, called « Jetpack », came out in 2010 and immediately defined his very own touch : techno’s mechanical proficiency melt with a nippophile, romantic melodic sentimentality. But because the club scène was then dominated by an agressive-percussive sound, he didn’t really believe in the power of this first release. Hopefully for him and us, « Jetpack » soon was played by major UK DJ Sinden, then by French DJ/vocalist/A&R Tekilatex. Cédric was then quickly commissioned plenty of remixes – for Rusko, Drop the Lime, Tekilatex & Para One, Spoek Mathambo or Style of Eye, just to name a few. To him, a remix is much more than just a commission work : his Basement Jaxx-inspired obsession for detail and tendency to baroque overproduction, and his admiration for early Justices remixes often make him radically rework the originals, and the final products always sound magical.

In 2011 came a second EP, « Master of Complication » on the Nightshifters label, based around the concept of time. It confirms his taste for playful, sophisticated, start-stop structures – there’s a megamix thing going on there, probably coming from his gaming days but also from old eurodance cassettes he used to listen as a young kid. A few months later, he released a third EP on Marble, the label created by former Institubes mainstays Para One, Surkin and Bobmo. « Totem », as it was called, had three (very) different mixes of one same track – except you didn’t really realize the similarity if you’re not told about it. Canblaster now more than ever masterizes his tools and imagination, and his aesthetic miraculously fuses spacey nerd romanticism with architectural complexity : everything moves and goes round and round, but stands still, as a dream-carrousel for entranced kids and grown-ups. As a DJ, Canblaster mixes straight house and techno to tracks teeming micro-breaks, trompe l’œil rushes, harmonic and rhythmic paradoxes, and most definitely wants people to get down. So check out his intense and exhilarating DJ skills if he comes in your local area, and expect more and more stunning tracks from him in a near future.








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mathilde.vanhassel(@)miala(.)fr

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Ed Banger / Interscope
NATIONALITY
French
TERRITORY
France

Cassius

Cassius

Live / DJ
LABEL
Ed Banger / Interscope
NATIONALITY
French
TERRITORY
France
BIOGRAPHY

Depuis 1988, date de leur première rencontre dans un studio d’enregistrement, Philippe Zdar et Hubert BoomBass, n’ont pas cessé d’occuper les dancefloors et de tordre dans tous les sens la notion de French Touch, qui au milieu des années 90 a replacé la France sur l’échiquier musical mondial.

 

Après s’être fait les mains sur les quatre premiers album du rappeur Mc Solaar, le duo est repéré par James Lavelle du subliminal label Mo’ Wax. Avec La Funk Mob, excursion mentale et tripée dans les fondations du hip-hop, Philippe et Hubert laissent infuser leurs influences, en forme de grand écart : le funk, la disco, le rock et, évidemment le rap.

Mais avec l’explosion de la house et de la techno, les débuts de la french touch, les premières raves, le développement de la club culture et le DJ comme nouvelle star, le duo décide d’abandonner La Funk Mob pour Cassius (hommage à leur héros, Cassius Clay) qui les rapproche du centre névralgique de la musique : le dancefloor, où ils laissent s’exprimer leur science du mélange à coup de beats house, de samples de disco filtrée, de groove funky et de références au hip-hop, mais aussi à la douceur de la pop californienne des seventies.

 

Avec quatre disques sous le coude en une quinzaine d’années (« 1999 » (référence à leur idole, Prince), « Au Rêve », « 15 Again » et « Rawkers » qui signe leur arrivée sur le label Ed Banger) et une succession de singles-tubes (« Foxxy», « The Sounds of Violence », « Toop Toop », « Eye Water », « I Love You So »…) Cassius n’a pas changé sa formule, celle d’une house music diaboliquement funky capable de faire le grand écart entre Ibiza, Berlin, New York et la côte ouest de la Californie, de s’aventurer vers la techno minimale ou le baléaric, le r’n’b ou la pop chantée, comme de se souvenir de la grande époque du disco…

Mais Cassius est resté aussi étonnamment fidèle à l’esprit de la house music, refusant de céder aux sirènes de la dance commerciale, des DJ’s de stade et de la célébrité facile, choisissant leurs sets ou leurs performances avec attention, des petits clubs qui comptent aux festivals qui comptent les choses sur la carte de la dance-music.

Et puis, Hubert et Philippe en ont profité pour enchaîner les projets, en solo ou en duo, et multiplier les rencontres. Zdar en créant son studio, le fabuleux Motorbass Recording en plein cœur de Pigalle, s’est imposé comme le producteur le plus couru de ces dernières années via sa participation au « Wolfgang Amadeus Mozart de Phoenix, mais aussi aux albums des Beastie Boys, de Cat Power, Jackson, Chromeo ou Kindness…

Après 5 ans d’absence, Cassius est de retour avec « Ibifornia », pour un album double-face où se retrouve toute leur bande de potes (Pharrell, Cat Power, Mike D des Beastie Boys, M…), surnommé affectueusement par le duo comme leur Cassius and Family Stone. Un « Ibifornia » en forme de double effet kiss-cool, avec une face A en forme de virée exaltante et trépidante sur les traces d’un afro-disco-funk qui n’a pas fini de faire trembler les dancefloors. Et une face B mutée en road trip mélancolique à l’ombre des palmiers de la côte ouest. Un album parfaitement en phase avec son époque, à la fois complexe et jouissif, référencé et inventif, où résonnent les deux principales obsessions de Cassius : l’hédonisme d’Ibiza et la douceur de vivre de Californie. Bref, on a connu pire !

 








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antoine.kraft(@)gmail(.)com / alex.pacotte(@)miala(.)fr

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TURBO
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BELGIAN
TERRITORY
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CHARLOTTE DE WITTE

CHARLOTTE DE WITTE

LABEL
TURBO
NATIONALITY
BELGIAN
TERRITORY
FRANCE
BIOGRAPHY

For all the emphasis on good times and euphoria in clubland there’s always been a dark side to electronic music, a side that 24 year old DJ/producer and one of Belgium’s most exciting new talents Charlotte de Witte has readily embraced.

“I love the darkness you find in electronic music,” explains de Witte, “especially within Techno. I find melancholic music so much more interesting and dark sounding Techno really attracts me. When I look at the main stages of some of the world’s most famous festivals and I see everyone dancing to this commercial, happy music, I don’t really understand it.”

“Dark music contains much more emotion. When I’m DJ’ing I want to try and touch the crowd and tell a story with the music. Of course I want them to party, get loose and have fun but at the same time I want them to remember the music long after the lights go up.”

Growing up with Belgium’s rich history of Electronic de Witte would discover Electro and Techno in her teens and was soon captivated by the hypnotic sounds she heard in the clubs around Ghent. By the age of 17 she had already made her debut behind the decks and her aggressive Techno sets soon caught the ears of some of Belgium’s biggest promoters, earning de Witte prime sets at festivals such as Pukkelpop, I Love Techno, Dour and Tomorrowland.

Today de Witte can include parties and festivals in the US, South Africa and all across Europe on her CV. Still her heart remains tied to the both the underground Techno scene and Belgium where she can be found championing new talent both on her Saturday night radio show, ‘Playground Charlotte de Witte’ on Studio Brussels, Belgium’s leading radio station, and at KNTXT de Witte’s new residency at Brussels Techno institution Fuse.

Having moved into production de Witte has wasted no time in establishing herself as a serious talent in the studio as well as behind the decks. But whilst a Charlotte de Witte DJ set is guaranteed to get you moving, Charlotte’s own music has provided her with a chance to reveal another side.

“Making music really gives me a chance to tap into the more emotional side of electronic music that I love. Music that has that melancholic side to it, I just find it so much more interesting, whether DJ’ing, producing or just listening myself at home.”

Her debut release as Charlotte de Witte on Tiga’s Turbo Recordings received called “Weltschmerz EP” with the follow up “Sehnsucht EP” gained massive national and internatonal support. Same goes for her latest EP on OFF Recordings called “Trip EP”, that got supported by the world’s leading techno artists such as Ben Klock, Slam, Truncate and many, many more. For now, her upcoming releases, her ongoing radio show, Fuse residency and a packed tour diary de Witte shows no sign of slowing down. Despite her love of all things dark, the future for Charlotte de Witte looks very bright indeed.








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alex.pacotte(at)miala.fr

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french
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world

CHINE LAROCHE

CHINE LAROCHE

LABEL
NATIONALITY
french
TERRITORY
world
BIOGRAPHY

Chine Laroche écoute de tout sans modération et sans apriori. Ses grandes révélations : Pink Floyd et Aretha Franklin. Elle s’est nourrie de Jazz (Bill Evans, Art Tatum, Georges Benson…), de Rock, bercée par la B.O. d’Easy Rider, les Who et cette “Génération Woodstock” que connaissait son père qui lui a transmis cette culture musicale et humaine.

Elle s’est aussi intéressée au classique (ses coups de coeur: Liszt, Debussy, Rachmaninov…), aux comédies musicales (Rocky Horror Picture Show, Un Américain à Paris et tant d’autres…), ainsi qu’à de nombreuses musiques du Monde (notamment Ahmad Jamal), au Rap U.S. et Français, s’inspirant de Kendrick Lamar comme de The Streets, en passant par Biggy ou Ry Cooder.

Pour son premier EP, Chine Laroche se tourne ici vers un projet électro aux sonorités

hypnotiques, mêlant pop, hip-hop et mélodies tourbillonnantes; à la fois accessible et subtile, s’inspirant de vagues plus récentes comme Darius, Lido, The Code (Gravity ft G- Eazy)…

Dans ce projet, on retrouve également des sonorités plus californiennes, dans les guitares et dans l’ambiance créée, dans le live, dans la profondeur de certains synthés; ainsi qu’un réel éclectisme musical, dans une ambiance cohérente et un univers singulier.

Dans ses textes, Chine Laroche évoque sa vie personnelle, l’amour (comme dans On My Mind), son regard sur le monde, sa critique sincère, sensible et personnelle de la vie, (Girl In Paris) ou le rôle que nous menons personnellement dans ce système, noyés dans un monde moderne particulier.








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morgane.jorge(@)miala(.)fr

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LABEL
Exploited
NATIONALITY
German
TERRITORY
France

Claptone

Claptone

Live / DJ
LABEL
Exploited
NATIONALITY
German
TERRITORY
France
BIOGRAPHY

“Dans un monde désormais oublié, il y a des generations de cela, une forme d’oiseau émergea de l’obscurité des bois, flottante, voguante comme une rêve.
Baignée d’un halo de lumière iridescente, l’indéchiffrable forme portait un éblouissant masque doré.
Cette créature mythique fut nommée Claptone par ceux qui l’avaient vu.”

Le mystérieux Claptone fit son entrée en scène en 2012 avec un EP, “She Loves You”, qui comporte 4 tracks d’une house éloquente, proche de la perfection.

Nébuleux et profond, le “son Claptone” allie la comédie à la tragédie, les ondes positives et la mélancolie pénétrante. Jusqu’ici, les releases de Claptone ont vu le jour chez le label allemand Exploited, mais qui ou quoique soit Claptone, cette entité est bien vivante, avec une vie propre, évoluant et explorant de nouveaux sons en permanence.
Une seule constante : son inspiration vient d’un monde occulte, et puise sa force dans des terres oubliées.

Un artiste à suivre, définitivement.

In a now long forgotten world, many generations ago, a bird like shape emerged from wooded darkness, floating and fluttering, drifting and dreaming. Backlit by a bright glow of iridescent light, the undecipherable form wore a dazzling golden mask.
Its long beak swooped down like an inverted horn and since then, people have referred to the mythical being simply as Claptone. 

The mysterious Claptone first burst onto the scene in 2012 with an EP titled “She Loves You” featuring 4 tracks of soulful house perfection.

Deep and woozy, the Claptone sound pairs theatre with tragedy, feel good vibes with acute melancholia and imbues each groove with a Rhodes laced funk, an organic string hook and myriad earthy elements. Up to the present day, Claptone releases have been birthed on Germany’s influential Exploited label but who or whatever Claptone is, it is alive, with a life of its own, evolving and revolving in equal measure, exploring new sounds naturally and forever taking inspiration from long gone and occult worlds.

 Definitely an artist worth following.








AGENT
arnaud.meersseman(@)miala(.)fr

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Bromance
NATIONALITY
French
TERRITORY
France

Club cheval

Club cheval

Live / DJ
LABEL
Bromance
NATIONALITY
French
TERRITORY
France
BIOGRAPHY

Posez la question à n’importe quel groupe, la réponse sera la même. Oui, il y a toujours une part de magie quand des producteurs se réunissent pour composer. Canblaster, Myd, Sam Tiba et Panteros666, quatre acteurs de la foisonnante scène club française, mêlent leurs influences et mettent leurs idées nouvelles au service d’un défi : fusionner les micro-genres : house, r&b, techno, etc… pour n’en faire qu’un.

Ils se rencontrent à Lille pendant leurs études, unis par une volonté commune de création et d’expérimentation. Cette rencontre donne dans un premier temps naissance à quatre carrières distinctes, plateformes d’expérimentations et de développement des esthétiques propres à chaque membre. Ces expériences solos renforcent l’identité du groupe.

Club cheval se fait connaître grâce à deux EPs sortis sur Bromance, le label de Brodinski, et à quelques remixes pour Rihanna, Underworld, Two Door Cinema Club, Usher, ou encore plus récemment The Do.

Unis dans leur goût pour les premières productions de Timbaland – pensez à One In A Million d’Aaliyah, ou au premier album de Missy Elliott – ils sont aussi très sensibles à l’énergie novatrice de Soulwax, un groupe qui a su défier les catégories et appréhender la culture dance dans son ensemble. D’autres artistes comme Frank Ocean ou Jai Paul sont également parvenus, à leurs yeux, à repousser les limites de leurs genres et de leurs influences, en tirant le meilleur de leurs idées.

Chaque membre de Club cheval a un domaine de prédilection. Panteros666 est une drum machine humaine, Canblaster prend soin des mélodies, Myd excelle dans le sampling et l’ingénierie sonore, et Sam Tiba se concentre sur les voix et leur traitement. Mais c’est au moment où les quatre se réunissent en studio que la magie opère. « On s’est dit que la meilleure chose à faire c’était justement de ne pas tous faire la même chose, de conserver notre identité individuelle, pour qu’il puisse y avoir un échange et qu’on puisse chacun influencer l’autre avec notre propre connaissance et notre propre musique » affirme le groupe.

Les ambitions de Club cheval prennent forme sur Discipline, leur premier album.

Carte de visite du son Club cheval, l’album revisite un grand nombre d’influences – aussi bien r&b que house, ou encore techno – et puise dans l’expérience solo de chaque membre du groupe.  « Ce que vous devez garder à l’esprit, c’est que nous avons presque tous commencé par produire de la musique pour les clubs », explique Club cheval. « Au début, on voulait juste faire danser les gens, mais ça a évolué vers de vraies chansons. On a des influences électro et des influences R&B. On a aussi quelque chose de pop, un genre de musique qui est compréhensible mais totalement unique. »

« Le R&B est l’un des genres les plus complet et innovant qu’on ait aujourd’hui » ajoutent-ils. « Une grande part de la “folie” musicale actuelle, de la pensée avant-gardiste et de l’expérimentation vient de ce genre.»

La rencontre avec DJ Kore a été déterminante pour Club cheval. Il a apporté un regard extérieur et une vision solide et expérimentée pour tirer le meilleur de leurs idées et garantir une direction musicale cohérente. « C’est le mec qu’il nous fallait.  Quand il a entendu notre démo il a immédiatement su ce dont on avait besoin. Son rôle a été de nous faire garder le cap, et de mettre en valeur l’essence de Club cheval. Il nous a aidé à rendre l’album plus simple à comprendre. »

Le R&B est un genre qui peut vivre ou mourir sur le choix d’une voix. Club cheval a ainsi réalisé une partie des morceaux de l’album avec Rudy, un chanteur de R&B basé à Miami et dont la voix donne au son « Club cheval » une résonance plus universelle.

La voix de Rudy illumine Discipline, en particulier sur le titre provocateur Young, Rich and Radical. “You‘re so invincible, down with your self-control,” chante-t-il, accompagné de pianos et des chants obsédants d’une chorale d’enfants.

« On a appelé l’album Discipline parce qu’on voulait quelque chose de motivant et grand. Le titre Discipline est aussi un rappel à Underworld, on voulait faire quelque chose dans cette veine – plein de vie, de liberté et de sentiment d’émancipation. »

From The Basement To The Roof, un autre point marquant de cet album, est l’exemple même de la capacité de Club cheval à repousser les limites de genre. En contraste avec ses précédentes productions, exubérantes et breakées, Club cheval explore ici des territoires deeps et vaporeux, soutenus par les paroles énigmatiques de la chanteuse californienne Phlo Finister… « Nous voulions une voix féminine pour renforcer la sensualité et le romantisme du morceau. », précise le groupe.

La volonté de Club cheval d’innover, de se perfectionner et de continuer à grandir s’étend également au live. Le groupe explique : «  le show live est aussi important que l’album » et promet d’apporter quelque chose de « complètement différent » lorsqu’ils seront sur scène. Ils ajoutent : « l’album est fait pour être écouté à la maison, dans la rue, dans la voiture. Le live sera plus fun et plus imprévisible. »

Adapter, innover, mélanger, créer. C’est ça Club cheval. Comme ils le disent si bien,  « l’évolution est dans l’ADN de notre musique. On est toujours en train de découvrir de nouveaux genres musicaux, en fonction de nos émotions et de ce que l’on vit, et on les partage autour de nous.  Nos vibes musicales sont en constant changement. »

 

Ask any great group and they will tell you the same; there is something magical that happens when they get in a room together and make music. Club cheval are no different. When Canblaster, Myd, Sam Tiba and Panteros666 – each one a unique visionary from across the varied and vibrant French club music scene – come together they bounce off one another, daring each other with new ideas and striving to better one another.

Together the four have created Club cheval, a place where genres melt together and become one; only making sense when put in order by the four members of the group.

To understand their future, you have to understand Club cheval’s past. They first met as students in Lille, Northern France and quickly bonded over a love of music and a desire to experiment. From there they branched out, making gains in their own solo careers but always returning to the group – each time with new ideas and styles at their fingertips.

Their first release came via Brodinski’s essential Bromance label and was followed by a second one, “ Decisions”. Working out of a Paris based studio, the four members of Club cheval have also remixed artists as diverse as Rihanna, Underworld or Two Door Cinema Club – giving each one the mythical Club cheval energy.

United by an appreciation of early Timbaland productions – think Aaliyah’s One In A Million and early Missy Elliott, they also appreciate the ground-breaking energy of Soulwax : a group who similarly defied categorisation as they bent dance culture to their own will ten years ago. Meanwhile, Frank Ocean, a man who inverts the expectations of his genre in order to create something fresh and vital, is another kindred spirit.

While it’s hard to place just what it is that makes Club cheval work – Panteros666 is best with rhythm and percussion; Canblaster caters for melodies; Myd excels at cutting and sampling; and Sam’s focus is on the vocal production – it’s the moments in which they crossover which really provides something special.

They trust each other to be honest about the music one another makes. “We told each other that the best thing to do was not all do the same thing, that was we can cross-fertilise with our knowledge and our music,” says the group.

Club cheval’s mission statement is presented in their debut album, Discipline. It’s an album that is quintessentially packed full with R&B jams and old school influences but given a modern day update by the music each member of the group has dug up in the underground French club scene.

“What you have to keep in mind is that most of us started producing music for the club,” explains Club cheval. “At first we just wanted to make people dance but that has evolved into something more like actual songs. We have electronic influences, R&B influences. We have a pop thing going on, it’s music that’s understandable but completely unique.”

They’re not wrong. Discipline is an album that takes the tradition in French dance music to blend one genre with club music and does the same thing with R&B. “R&B is one of the most complete and innovative genres that we have today,” they say. “All the craziness and technique, the forward thinking and experimentation.”

Club cheval met DJ Kore, who provided an external and solid mind to maximise their ideas and safeguard their musical vision. “He is the perfect guy. When he heard our demos he knew instantly what was needed. His role was to keep the right direction for the album, and to keep the essence of Club cheval. He makes the album easier to understand.”

R&B is a genre that lives and dies on a vocal. Luckily, Club cheval met the right man for the job. Enter Rudy, a Miami-based R&B singer and the voice that gives Club cheval’s unique soundscapes a universal language.
Rudy’s voice illuminates Discipline, in particular the provocatively titled Young, Rich and Radical. “You‘re so invincible, down with your self-control,” he sings over a warm synth bed and the haunting chants of a children’s choir.

Discipline’s title track, meanwhile, is an instant smash filled with pitch shifted vocals and exuberant beats. “We called it Discipline because the way we wanted something uplifting and big and it’s called Discipline because we wanted to make something like Underworld – full of freedom and life and feeling empowered.”

Another highlight from the album, From The Basement To The Roof is typical of Club cheval’s ability to throw the doors wide open and shed light on their music. It also sees the introduction of LA-based singer Phlo Finister to the party. As Club cheval explains, “her voice gave the track the mellow and sentimental touch we were looking for. It reminds us of an Air track”.

Club cheval’s desire to innovate, to improve and to continue getting bigger extends into the live world too. The group explains that “the live show is as important as the album” and promises that when they get on stage things will be “really different.” They add: “The album is designed for home listening – on the streets, in your car. The live show will be more fun and unpredictable.”

Adapt, innovate, combine, create – this is the Club cheval way. As they say so perfectly, “Evolution is in our music’s DNA. We’re always discovering new types of music that go with new emotions, new things we experience in life, and we share them among us. Our musical vibes are ever changing.”








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mathilde(.)vanhassel(@)miala(.)fr

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Mute Artists Limited
NATIONALITY
Canadian
TERRITORY
France

Cold Specks

Cold Specks

LABEL
Mute Artists Limited
NATIONALITY
Canadian
TERRITORY
France
BIOGRAPHY

En 2011, Al Spx, nom avec lequel elle est surnommée, a sorti son premier single « Hollande ». Peu de temps après, l’artiste a été invité à présenter deux des thèmes de la pianiste Jools Holland sur la BBC, se jetant ainsi dans le marché international. En mai 2012 elle a publié le premier album « I Predict a Graceful Expulsion », qui a été nominé pour le Polaris Music Prize. Après ce premier EP largement salué par la presse comme Pitchfork ou Fader, Ladan Hussein a.k.a. Cold Specks n’a pas chômé, enchaînant les collaborations avec Moby (sur son album « Innocent »), Massive Attack (« Dead Editors »), ou encore Roots Manuva (« Ritual Spirit » EP).

L’année suivante, son travail a finalement été reconnu avec le prix gagnant « Female Artist of the Year » (Artiste Féminine de l’Année) décerné par SiriusXM Indies Awards.

Elle revient donc cette fois avec son oeuvre la plus personnelle à l’heure actuelle. L’artiste qui a déjà été reconnue pour ses textes à l’enthousiasme déroutant et sa voix soul est allée chercher loin jusqu’à ses racines. À l’intérieur de sa nouvelle pièce maîtresse intitulée « Fool’s Paradise », Cold Specks explore intimement sa propre identité de femme somali-canadienne. Elle se dévoile et s’autorise à étendre sa palette de thèmes. La dureté qui a valu à Cold Specks l’étiquette de « dark soul » s’est révélée cathartique, éclairant ses cicatrices d’une lumière éclatante.

“…eerily beautiful”​ – ​The Guardian

“…summons the cosmopolitan gothic blues of the latter day Bad Seeds”​ -​ MOJO
“…gospel invocations set against frosty guitar and skeletal drums”​ -​ NME








AGENT
bertrand(.)delasnerie(@)miala(.)fr

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WARP RECORDS
NATIONALITY
USA
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FRANCE

DANNY BROWN

DANNY BROWN

LABEL
WARP RECORDS
NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

Danny Brown is a Detroit MC who embraced his unique hood/hipster personality, took full advantage of social media, and — fueled by his experiences with drug dealing and drug taking, as well as a wicked sense of humor — delivered some of the most vivid and side-splitting rhymes of his era. Brown (real last name: Sewell) surfaced during the mid-2000s as a member of Reser’vor Dogs. The group advanced far enough to get the attention of the Roc-A-Fella label; a deal was not struck, but an A&R rep assisted Brown with the recording and release of a mixtape, Detroit State of Mind. New York recording sessions placed him in the company of several contemporaries, including G-Unit’s Tony Yayo. In 2010, Yayo and Brown released Hawaiian Snow, while Brown also released The Hybrid, among other mixtapes, such as additional volumes of the Detroit State of Mind series. While it was rumored that Brown would be signing to G-Unit, label head 50 Cent allegedly balked due to the rapper’s fashion sense (including a preference for skinny jeans). Brown eventually linked with the Fool’s Gold label, where he issued XXX, his highest-profile mixtape up to that point. At the end of 2012, Brown announced that the follow-up to XXX had been recorded. Originally titled ODB, it was continually pushed back by the label, with Brown tweeting in August 2013 that he would consider leaking the release. In October, the retitled album — now called Old — appeared with guest appearances from A$AP Rocky, ScHoolboy Q, and others. A tour with co-headliner A-Trak, the Double Trouble tour, followed, then in 2015 he sang the theme for the U.S. television sitcom Fresh Off the Boat. The single “When It Rain” was released a year later, while the MC also made a guest shot on RiFF RAFF’s Peach Panther album.








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arnaud[.]meersseman[@]miala[.]fr

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Roche Musique
NATIONALITY
French
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France

Darius

Darius

LABEL
Roche Musique
NATIONALITY
French
TERRITORY
France
BIOGRAPHY

Darius est un artiste français connu pour faire partie des adeptes d’un nouveau genre de House, mouvement qui a pris ses racines en France et qui s’est rapidement propagé partout dans le monde. Inspiré par les sonorités Disco et Funk, Darius ajoute une certaine complexité à sa musique, ce qui l’installe aux côtés des célèbres producteurs de House. Après son premier joyau «Maliblue», Terence N’Guye a été élément clé de la venue de Cherokee sur la scène internationale. Ne se considérant pas comme un super-héros, Darius se concentre maintenant sur son projet solo. Dans ses EPs «Velour», «Romance» ou plus dernièrement «Helios» dans les remixes réalisés pour ses amis DJs, en duo ou en solo, en France ou ailleurs, tout le monde veut entendre l’emprunte Darius.


 

Darius is an uprising French artist, known as an inaugural player of a recent House music movement taking its roots in France and quickly spreading around the world. Infused by the uplifting beats of Disco and Funk, Darius adds a certain underground intricacy to his music, setting himself alongside his successful house compatriots. After his standard-setting jewel Maliblue, Terence N’Guyen was a key part in bringing Cherokee to the international scene. No superhero but still as good without a sidekick, hi is now garnering attention for his solo act. Either in its «Velour», «Romance» and more recently «Helios» EPs or in his remixes of fellow DJs, as a duo or solo, in France or America, everybody wants to hear the distinctive Darius touch. Darius is currently working on new materials, be on the lookout for him in the coming months.








AGENT
mathilde.vanhassel(@)miala(.)fr

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Zef Recordz
NATIONALITY
SOUTH AFRICA
TERRITORY
FRANCE

DIE ANTWOORD

DIE ANTWOORD

LABEL
Zef Recordz
NATIONALITY
SOUTH AFRICA
TERRITORY
FRANCE
BIOGRAPHY

FRENCH

Faut-il encore présenter Ninja et ¥o-landi alias Die Antwoord ? Depuis sa création en 2008, le duo sud-africain n’en finit pas de surprendre tant par sa musique qui mêle rap et rave avec une énergie débordante, que par son esthétique inédite, qui fait la part belle à la contre-culture afrikaans ‘’zef’’’. Originaire de Cape Town, le groupe rassemble sans conteste toutes les luttes d’une jeunesse en quête de ‘’La Réponse’’. Après avoir fait plusieurs fois le tour des plus belles scènes du globe, Die Antwoord est de retour avec un quatrième album ‘’Mount Ninji and Da Nice Time Kid’’, et promet de secouer une nouvelle fois la planète avec une force vitale sans pareille.

 


 

ENGLISH

Do we still need to introduce Die Antwoord ? Since their founding in 2008, the South African duo keeps surprising everyone with its music brimming with an incredible energy between rap and rave, as much as their astounding style pioneering the Zef-(counter-)culture. Originally from Cape Town, the band unites whithout a doubt all the struggles of a youth looking for ‘The Answer’. After several world tours on the best stages in the world, Die Antwoord are back with a fourth album, ’Mount Ninji and Da Nice Time Kid’, and promise to rock the planet once again with a crazy and unique strength.








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arnaud[.]meersseman[@]miala[.]fr

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Pelican Fly
NATIONALITY
Belgian
TERRITORY
World

DJ Slow

DJ Slow

LABEL
Pelican Fly
NATIONALITY
Belgian
TERRITORY
World
BIOGRAPHY

Derrière chaque grande équipe se trouve un chef emblématique, et dans le cas du label belge Pelican Fly il s’agit de son patron,

Dj Slow. Portant la double casquette de directeur artistique et premier DJ du label, il veille à ce que la source de bonnes vibes ne tarisse jamais. Tout cela ne serait rien si DJ Slow n’était pas un sélecteur de talent et un digger expert. Elu deux années consécutives DJ n ° 1 par Brodinski pour le DJ MAG TOP 100 (même s’il n’était pas dans la liste), il parvient à trouver un équilibre entre la musique urbaine nord-américaine et la sophistication européenne.

Il réussit par exemple à mélanger rap d’Atlanta avec Jersey Club en les mixant avec de la House, de la Techno ou encore du Grime anglais, le tout en conservant une structure parfaitement cohérente.

If DJ Slow was a barbecue, he’d be pulled pork. If he was an over-the-counter medicine, he’d be cough syrup. Behind every great crew lies a head honcho, a shot caller and for Beligum’s Pelican Fly label it’s DJ Slow who’s playing the role of figure head, CEO of the groundbreaking label.

Acting as the label’s A&R and head DJ, making sure the fountain of vibes is well maintained. All of this would be nothing however if DJ Slow wasn’t an expertly skilled selector and digger. Voted two years in row as DJ #1 for the DJ MAG TOP 100 by Brodinski (even if he wasn’t in the list).

He manages to find a tasteful balance of North American Urban Club music with European sophistication. For example, blending the far reaching sounds of ATL rap with Jersey club into House Music into sleazy Techno and the rawness of UK Grime into a perfect cohesive structure.








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alex.pacotte(@)miala(.)fr

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Mad Decent
NATIONALITY
French
TERRITORY
France

DJ Snake

DJ Snake

Live / DJ
LABEL
Mad Decent
NATIONALITY
French
TERRITORY
France
BIOGRAPHY

De son vrai nom William Grigahcine, DJ Snake, est un DJ et producteur français de musique électronique. Il a notamment travaillé avec Lady Gaga et s’est fait connaître du grand public par le clip  « Turn Down For What », sorti en 2013.

Il travaille avec les plus grands !
DJ Snake, après avoir été nommé aux Grammy Awards en 2012 pour sa participation en tant que producteur à l’album « Born This Way » de Lady Gaga, a été invité au mois de juin dernier par la superstar Diplo à mixer dans son émission en Angleterre.
En 2013, il a continué à travailler avec Lady Gaga sur son album « Artpop », signant les titres « Applause », « with White Shadow », et « Do What U Want ».
DJ Snake est aussi connu pour ses talentueux remix. Il a notamment remixé Kanye West, Major Lazer ou encore Duck Sauce !
La terre entière fan du clip de « Turn Down for What » !
Le dernier clip de DJ Snake, « Turn Down For What », en duo avec Lil Jon, a fait fureur sur Internet ! Le titre, sorti chez Columbia Records, a été choisi pour la publicité Sol Republic et est entré directement dans le top 10 des charts US au mois de décembre.
Son dernier single « Get Low », composé avec Dillon Francis et Diplo, est sorti en février 2014.







AGENT
arnaud.meersseman(@)miala(.)fr

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INNERVISIONS
NATIONALITY
USA
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EAGLES & BUTTERFLIES

EAGLES & BUTTERFLIES

LABEL
INNERVISIONS
NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

English born, LA based producer Chris Barratt aka Eagles & Butterflies reaches all boundaries of the electronic music spectrum with his productions. From Downtempo to Techno to House, with releases on Innervisions, Exit Strategy and his new imprint Art Imitating Life, remixing the likes of Underworld, RY X, Agoria, Moby and Ludovico Einaudi, its clear to see why he is playing around the world at events such as Circoloco, Awakenings, Sacred Ground, Secret Garden Party and many more.

Eagles and Butterflies has taken storm in electronic wonderland” – Boiler Room 2016








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alex.pacotte[at]miala.fr

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LABEL
Forever DNB
NATIONALITY
French
TERRITORY
World

Elisa Do Brasil

Elisa Do Brasil

LABEL
Forever DNB
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

Née sous le soleil brûlant de Brasilia, ELISA DO BRASIL arrive très jeune en France où elle trouvera dans les musiques électroniques ses premières amours passionnelles. Oscillant entre les mouvements DRUM’N’BASS et Free Party, EDB redessine son ADN en s’impliquant dans ces deux musiques… au point d’en devenir l’une des figures de proue alors qu’elle a tout juste 20 ans. En 1999, elle devient résidente du mythique REX CLUB avec ses soirées « MASSIVE » (qui accueillera Laurent Garnier ou MC Verse, entre autres légendes internationales) et créée un appel d’air considérable qui va façonner le futur de la scène Drum & Bass en France. Son acharnement autant que son talent viscéral lui donnent des ailes et pendant plus de 10 ans, entre 2000 et 2010, elle va participer à quelques-uns des plus importants festivals français et européens (Outlook, Dour, Fusion, Garorock, Solidays, Astropolis… ) Pendant cette même période, elle sort en parallèle chez UWE deux CD mixés « Massive Party » en 2004 et « So Massive » en 2006, puis deux albums chez X-Ray : « First Stroke » en 2009 et « Rolling the dice » en 2012, ainsi qu’un morceau sur le fameux label anglais Viper. Elle se fait également remarquer pour ses « All Night Long », nuits durant lesquelles elle dévoile l’étendue de sa sélection musicale et de son talent aux platines. En parallèle, Elisa Do Brasil noue une forte relation avec les sports extrêmes, et se produit notamment en tournée avec Rip Curl ou O’Neill, ou encore au Natural Games. En 2013, elle revient habitée d’une nouvelle force et relance sa résidence au Rex Club avec les soirées « Forever DNB » où elle invite certaines des plus grandes légendes du mouvement Drum & Bass (Andy C, Randall, DJ Storm, DJ Marky, MC GQ) mais aussi certains des talents les plus en vue de la scène (Skeptical, Kings Of The Rollers), fière d’une nouvelle identité, plus proche de ses influences premières et de la culture sound-sytem, qui lui tient tant à coeur. Forte de nouveaux projets et d’un album en cours, 2017 sonne le grand retour d’Elisa do Brasil sur le devant de la scène !


Born under Brasilia’s burning sun, ELISA DO BRASIL moves to France at a very young age, where she will find a passionated love for electronic musics. Oscillating between the Drum & Bass and Free Party movements, EDB rewrites her own DNA by fully dedicating herself to those sounds, becoming one of their leading faces at the young age of 20. In 1999, she starts a residency at the mythical REX CLUB with her « MASSIVE » parties (welcoming some legendary names such as Laurent Garnier or MC Verse) which will significantly shape the future of the French Drum & Bass scene. Her fury and her visceral talent give her wings for over 10 years (2000-2010), and brings her to participate to some of France’s and Europe’s most importants festivals (Outlook, Dour, Fusion, Garorock, Solidays, Astropolis…). Meanwhile, she releases two mixed CDs on UWE, « Massive Party » in 2004, and « So Massive » in 2006, and two LPs on X-Ray : « First Stroke » (2009) and « Rolling the Dice » in 2012, as well as a track signed on the British label Viper Recordings. She also stands out with her « All Night Long » sets, nights during which she reveals the full extend of her talent behind the decks and sharp selection. In parallel, Elisa Do Brasil develops a strong relationship with extreme sports, and tours with Rip Curl, O’Neill, or at the Natural Games Festival. She returns in 2013 to launch a new residency at Rex Club with her parties « Forever DNB », where she regularly invites Drum & Bass legends (Andy C, Randall, DJ Marky, DJ Storm, MC GQ) but also some of the scene’s younger talents (Skeptical, Kings Of The Rollers), proud of a new musical identity, closer to her first influences and to the sound-system culture that mean so much to her. With new projects and a forthcoming album, 2017 resonates as Elisa Do Brasil’s comeback to the front of the scene !








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morgane.jorge@miala.fr

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Moshi Moshi Records
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UK
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EMMY THE GREAT

EMMY THE GREAT

LABEL
Moshi Moshi Records
NATIONALITY
UK
TERRITORY
FRANCE
BIOGRAPHY

La talentueuse songwrittter à la voix angélique Emmy The Great dévoile son dernier album “SECOND LOVE” après déjà deux autres albums studio intitulés “First Love” et “Virtue”. Un véritable voyage dans des contrées lointaines à l’ambiance solennelle entre pop, folk, electronica et synthpop.

 








AGENT
arnaud.meersseman[@]miala.fr

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LABEL
CAPITOL
NATIONALITY
AUSTRALIA
TERRITORY
FRANCE

EMPIRE OF THE SUN

EMPIRE OF THE SUN

LABEL
CAPITOL
NATIONALITY
AUSTRALIA
TERRITORY
FRANCE
BIOGRAPHY

Alt/Electronic pioneers Empire Of The Sun have been making waves across the world with their phenomenal live shows. Across multiple countries, touching over 65 cities in the last 18 months, Empire of The Sun’s dynamic performances are like nothing else on earth.

Empire Of The Sun have sold over 2 million copies of their albums Walking On A Dream and Ice On The Dune, and have reached Multi-Platinum selling status with global singles Alive, We Are The People and Walking On A Dream.

2014 and 2015 have been huge years for Empire Of The Sun with standout performances at the likes of Coachella, Ultra Music Festival and Governors Ball. A just-completed US West Coast tour culminated in a spectacular sold-out headline performance at the legendary Hollywood Bowl venue in front of over 17,000 fans.

Empire of The Sun are currently working on music for their third album due for release in 2016.








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arnaud.meersseman@miala.fr

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LABEL
Tealer Records
NATIONALITY
French
TERRITORY
World

Epic Empire

Epic Empire

LABEL
Tealer Records
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

Fabrice, alias Epic Empire a grandit en Corse. Familiarisé très tôt à la musique soul et jazz par ses parents, il commence le solfège et le piano à l’âge de 7 ans. Il glisse naturellement vers d’autres influences, s’essayant à la guitare puis à la batterie.

Il découvre le mouvement Electronique des 90’s et se fait surprendre par cette nouvelle vague. Il quitte Lille et entame un marathon des découvertes. Il achète ses premiers vinyles et commence à partager avec le public ses premiers sets.

Curieux par nature, il passe à la production et se façonne une identité au fur et à mesure de ce qu’il compose. Fabrice s’exerce d’abord au hardware puis passe petit à petit au digital. Il forme avec un ami son premier projet dans le milieu des années 2000. Très vite repéré sur la toile et fort de rencontres aussi bien amicales, professionnelles que rocambolesque, ils feront profiter de leurs musiques dans les clubs et festivals du monde entier durant 7 ans.

Nous sommes en 2013, la scène « club » évolue à vue d’œil. Se retrouvant artistiquement de moins en moins dans ce qui devient le mouvement « edm » et poussé par sa créativité, il songe à entamer une carrière solo en parallèle.

Le projet Epic Empire est lancé début 2014. La ligne directrice est de confronter les styles et les influences qu’il s’est forgé en laissant libre court à l’imagination. Mêlant ses compétences en beat making et une conception plus intimiste, sa musique nous plonge dans un univers qui lui est propre. Besoin insatiable de repousser les limites track après track, ses EP’s et remixes ont vite été repérés de part leurs originalité et leur set audacieux.








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alex.pacotte(@)miala(.)fr

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LABEL
Four
NATIONALITY
French
TERRITORY
France

Faul & Wad

Faul & Wad

LABEL
Four
NATIONALITY
French
TERRITORY
France
BIOGRAPHY

FAUL

Faul signifie littéralement « paresseux » en Allemand, terme qui ne s’applique certainement pas à ce jeune artiste. Au contraire, il s’apprête à côtoyer les étoiles grâce à une éthique de travail sans faille et un travail studio pointu. Mais pour que sa musique trouve tout son impact, il s’éloigne des gimmicks des studios qui ont pollués tous les dance-floors du monde et créé son propre univers bien particulier.

Ce jeune français dévoile des sons deep d’une beauté astrale enrobés dans des mélodies entêtantes sans jamais faire appel à des basses distordues, beats surproduits et autres « drops » dont abusent certains artistes. Ses premières tracks Changes et Happy Endings sont taillées pour un coucher de soleil sur une plage de sable fin, jazzy et soul à la fois.

Ce talentueux jeune homme de 21 ans pourrait être l’homme à composer la bande-son de l’été. Ses beaux jours arrivent car, avec son délicieux mélange de genres croisant les influences passées et entrevoyant les sons du futur, il ne saurait rester dans l’ombre.

Alors laissez de côté toute la rudesse et le gras de la distorsion, FAUL s’apprête à vous faire danser, rêver et profiter de l’âme de la musique… à sa manière.

WAD AD

Il doit y avoir quelque chose de terriblement contagieux dans l’air français en ce moment. Un grand nombre de nouveaux talents émergent chaque mois du pays béret-baguette, apportant une vague de la Deep House la plus subtile. WAD AD est l’une de ces étoiles montantes redéfinissant l’approche de leur pays face à la musique de club.

Au lieu d’utiliser des tonnes de filtres et des effets de distorsion, Wad Ad aka Camille Meyer préfère des sons chauds, naturels et mélancoliques.

Jouant du violon dès ses 6 ans et tombant amoureux de la musique électronique à l’âge de 13 ans, les notes et les instruments ont toujours fait partie de sa vie. Il commença à expérimenter sa propre musique à l’aide de platines et d’Ableton Live.

Sa passion pour la Deep House commença plus tard, à l’âge de 21 ans. Mais la maturité subtile de ses premières tracks est ahurrissante, on pourrait croire qu’il s’agit du trvail d’un homme qui a des années d’expériences qu’il utilise pour sculpter des sons d’une incroyable finesse.

Answers, Changes feat Faul et Astroluv sont les trois premiers morceaux sortis par ce petit génie. Ces trois productions ont une identité propre à chacune, qui pourrait être qualifiée de « Wad Ad sound »

On attend de voir jusqu’où il nous emmènera. Mais une chose est certaine, le voyage sera confortable et plein de sérénité du début à la fin








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mathilde.vanhassel(@)miala(.)fr

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BMG / SUOL
NATIONALITY
ALLEMAND
TERRITORY
FRANCE

FRITZ KALKBRENNER

FRITZ KALKBRENNER

Live / DJ
LABEL
BMG / SUOL
NATIONALITY
ALLEMAND
TERRITORY
FRANCE
BIOGRAPHY

With his new, fourth solo-album »Grand Départ«, Fritz Kalkbrenner travels further in the direction he took two years ago with his previous, successful album »Ways Over Water«. The singer, producer and composer from East-Berlin outdoes himself with masterful arrangements and weighty-analog soundscapes, creating precise sound-design to lose yourself into.

The »Grand Départ« is the first day of the Tour de France, and for Fritz Kalkbrenner it stands for the starting shot of taking an idea and turning it into a Gesamtkunstwerk – thus a deserving name for an album. Kalkbrenner’s thinking goes against the grain: For years, people – especially those in the electronic music genre – have been heralding the death of the album format, but he can’t and will not let go of it. Even today, in the age of the self- curated playlist, he is obsessed with getting the track order just right.

The album title also references French cinema of the late 1960s – the heavy, smoky and earthy sounds of woodwind and brass brings the listener into the Film-Noir feel of the Melville classics like »Le Samouraï« with Alain Delon and the “stains, on the napkins and curtains in smoker-yellow”, as Kalkbrenner jokingly adds. Exactly this aesthetic is carried on in the cover artwork for »Grand Départ«. Looking at Kalkbrenner’s album titles, from »Here Today, Gone Tomorrow« to »Sick Travellin’«, and »Ways Over Water« to »Grand Départ«, all are joined by the common themes of movement and change, using travel as a metaphor for the journey from birth to death.

Over time Fritz Kalkbrenner’s sound has moved on from the techno and house genres. His biggest hits like »Get A Life«, »Facing The Sun« or »Back Home« – the latter even reaching gold status in Germany and Switzerland – were based on soft, soul-infused house-beats with guitar and vocals. As a teenager Kalkbrenner discovered his love for hip- hop and house-music and started to pick out samples in the musical-collages. He loved the groove, but also the musical craftsmanship, the endless search for perfection by soul- musicians in the late sixties and early seventies. Nowadays two hearts beat in Fritz Kalkbrenner’s chest – that of a producer and songwriter, but also that of a singer and lyricist. From album to album the vocals have played a larger part, and on »Grand Départ« the vocals make up a good two thirds of the music, the instrumental parts only taking up the last third. On the deluxe-version you can hear alternative »Versions«: Not soulless instrumentals, but quasi-dub version of all of the tracks, where Kalkbrenner has replaced a large part of the vocals with instruments and shifted the arrangements accordingly.

Deep house meant something very different in Kalkbrenner’s youth – the “deep” dance music created by African-American producers from Chicago and Detroit. Now the term has experienced a fundamental shift in its meaning. Talking to Kalkbrenner about the development of electronic dance music, you can feel a kind of melancholy. He barely listens to modern club music, “and if I do, then purely from an academic viewpoint, but that’s probably got to do with the landfill character it has. Let’s be honest: Having to choose between EDM and guitar-house isn’t a great choice.” Whatever his connection with club music, it’s purely formal: The straight 4 to the floor bass drum is still there on »Grand Départ«. “You’ve got to keep something for the dancefloor”.

Kalkbrenner’s music is about keeping up the bar he set, something that only a handful of his contemporaries in electronic music concern themselves with. “From the ether into solidity” is how his vision for the sound on »Grand Départ« developed: Bugle. Trombone.

Trumpet. Flugelhorn. Organ. Viola. Violin. Cello. Double bass. Woodwind and brass, varying drums, sounds, and above all else, texture. “A lot of the time it’s about the texture rather than what’s actually been played. Three notes on a half-ton organ sound much better that Brahms on a Casio keyboard.” In his new work, Kalkbrenner mixes melancholy with powerful “party and bullshit”, as late The Notorious B.I.G. would have put it.

Fritz Kalkbrenner is a music-lover, but not an artist who loses himself in his love for music. “My music was never difficult, complicated or impenetrable”, he says. “I don’t make music that’s purposely hard to get into”. Quite the opposite, songs like »Again« or »Hearts & Hands« are pieces on »Grand Départ« that think big, are thought-through and well- composed enough to appeal to a large audience. They don’t, however, rely on a one-time recipe, and if there was one, it would be simply based on the quality of the song.

»Grand Départ« is a big album, a statement from a non-conformist who out of principle doesn’t live in the past – but who at the same time isn’t ready to lower the bar out of indifference. Kalkbrenner always quoted a phrase when chatting about music with his peers: “He who doesn’t go with the times, goes in time”. The quote is still relevant to him, but his point-of-view has changed. “Maybe I will actually go at some point”, he laughs. “But that time has nowhere near come.” »Grand Départ« bears witness to this.








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arnaud.meersseman@miala.fr

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Atlantic Recordings
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SWEDEN
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GALANTIS

GALANTIS

LABEL
Atlantic Recordings
NATIONALITY
SWEDEN
TERRITORY
FRANCE
BIOGRAPHY

With a hit album, headlining major shows, and two Grammy nominations under their belts, producers/DJs Christian Karlsson and Linus Eklöw of Galantis had a stellar 2015. But the duo show no signs of slowing down in 2016.

Galantis’ debut album, Pharmacy (Big Beat/Atlantic Records), was released June 2015. Since then, the album reached No. 1 on the Billboard Dance album chart on the strength of hit singles like “Peanut Butter Jelly” and “Runaway (U & I),” went gold in three countries and has streaming numbers upwards of 430 million.

Galantis’ popularity continues to grow after every live show thanks to their infectious energy, and their fans’ fascination of The Seafox (the mysterious creature who encompasses all things Galantis). Standout shows include Electric Daisy Carnival in Las Vegas, Coachella in Indio, CA, Miami’s Ultra Music Festival, Lollapalooza in Chicago and NYC’s Electric Zoo.

The story of Galantis started back in 2009. Working as Bloodshy, Karlsson’s songwriting collaborations included Madonna, Kylie Minogue, Katy Perry and Britney Spears (whose “Toxic” earned him a Grammy award), but only reached out to Eklöw (as Style of Eye, who produced Icona Pop’s hit single “I Love It”) to remix “Animal,” a single from Karlsson’s band Miike Snow. Shortly after, the two started hanging out, playing each other songs and sharing bits of ideas in the recording studio.

As Galantis, Karlsson and Eklow released the self-titled EP in 2014. The duo’s transcendent sound, encapsulated in singles like “Smile” and “You,” won over the likes of fellow DJs/producers Pete Tong, Diplo, Tïesto, Porter Robinson, Kaskade and A-Trak. The overwhelming feedback from the two singles was enough proof that Karlsson and Eklöw were onto something. “We felt the urge to fill the dance world up with songs and with songwriting,” Eklöw says. “We realized, this is Galantis, this is our band,” Karlsson adds.

That like-minded thinking helped create Pharmacy. “It’s almost like telepathy,” says Eklöw. “You get it from being in the studio together for a long time, but we also share a lot of common interests in music.” “Finally, I have someone who works like me,” says Karlsson.

The duo’s shared philosophy has earned them two Grammy nominations from their work on Pharmacy. “Runaway (U & I)”-which hit No. 1 on the iTunes Dance Charts in 15 different countries-is nominated for “Best Dance Recording” and “Best Remixed Recording” for its Kaskade remix.

Galantis has truly been a phenomenon in dance music. With a synergy yet unrivaled by any Dance artist, the duo’s inspirational sound and riveting on-stage performance will continue to resonate with fans worldwide.








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arnaud(.)meersseman(@)miala(.)fr

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Gang of Youths

Gang of Youths

LABEL
Mosy Recordings
NATIONALITY
Australian
TERRITORY
France
BIOGRAPHY

“bold-yet-brooding music akin to Alligator-era the National”Stereogum

“poignant cello-led ballads and explosive bar rock”Pitchfork

“one of the most thrilling and emotive live acts in music today”NME

One of Australia’s most talked about bands of the last year, Gang Of Youths, are returning to North America to tour this June. The band are returning off the back of a 3 show residency in New York playing 2 sold out nights at the Mercury Lounge followed by a performance at Rough Trade.

Regarded as one of Australia’s best live acts, Gang Of Youths will be previewing material from their upcoming sophomore album, which is the follow-up to their highly praised debut album ‘The Positions’. The band are no stranger to these shores, having both lived in Nashville, and recorded their debut album in New York with Kevin McMahon (Swans, Rhett Miller, Titus Andronicus), which was mixed by Peter Katis (The National, Local Natives, Frightened Rabbit).

Their debut record landed at #5 on the Australian album charts (ARIA charts) and notched five ARIA Award nominations, including “Best Rock Album.” The Positions received acclaim internationally from The Guardian, Stereogum, Rolling Stone Australia, Neon Gold, and more as the band supported the likes of Vampire Weekend, Sky Ferreira, and Manchester Orchestra on the road. They have since followed this record up with a new EP titled ‘Let Me Be Clear’ in July 2016 which landed at #2 in Australian charts.

To date the band have clocked up over 10,000,000 Spotify streams, they have been selling out some Australia’s most prestigious venues, and have played festivals across the world including Splendour In The Grass, Southbound Festival, Laneway Festival, Primavera, The Great Escape, and SXSW.








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mathilde(.)vanhassel(@)miala(.)fr

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Sodai
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Gardens of God

Gardens of God

LABEL
Sodai
NATIONALITY
Lithuanian
TERRITORY
France
BIOGRAPHY

Gardens Of God has established himself as a key player in the world of house and techno. After a groundbreaking two years of vital releases and global touring, the classical trained artist continues to deliver surprises. Releases on Maceo Plex’s Ellum, chart topping remixes, stand out EP’s in the shape of ‘Gluk’ & ‘Zulu’ have cemented the producer as one of the strongest emerging artists in electronic music. He was selected as BBC Radio One’s debut artist to head the new Future 12 mix series with 5 DJ mixes appearing on Friday nights over as many weeks. Like his mixes, the production also delivers a mature, exciting and accomplished sound. Weaving somewhere between house, techno and electronica, it’s hard to place Gardens Of God in any one specific genre, except one of marked ‘musical’. Having touched down at events such as SX, BPM and Sun City Music festival in 2016, his vast and wide sounds set to fill only bigger stages in 2017.








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mathilde[.]vanhassel[@]miala[.]fr

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Bromance
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GENER8ION

GENER8ION

LABEL
Bromance
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

Bromance est fier de présenter GENER8ION, sa nouvelle signature, avec le premier single :
“The New International Sound”.
Universel mais radical, audacieux et contemporain, The New International Sound est un hommage post-moderne à notre société pluri-culturelle.

Un hymne au présent, au-delà des genres et des scènes musicales.
GENER8ION est un projet multi-disciplinaire, à l’intersection de la musique, l’art et la mode.

Bromance is proud to introduce GENER8ION with the first single: “The New International Sound”.
Universal but radical, “The New International Sound” is a post modern tribute to our multi-faceted world.

An anthem to the present, expanding beyond genre and scenes.
GENER8ION is a new pluridisciplinary entity, at the crossing of music, art and fashion.








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mathilde.vanhassel(@)miala(.)fr

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Parlophone / Warner
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Gesaffelstein

Gesaffelstein

Live / DJ
LABEL
Parlophone / Warner
NATIONALITY
French
TERRITORY
France
BIOGRAPHY

C’est sous le pseudonyme Gesaffelstein, nom formé par l’association de « Gesamtkunstwerk », terme allemand désignant « œuvre d’art totale » et Albert Einstein, symbole absolu de l’intellect humain, que le musicien et producteur Mike Levy choisit, non sans une certaine dose d’audace, de réconcilier la techno avec ses racines industrielles.

Reprenant les sons fondamentaux de Front 242, Nitzer Ebb et DAF, Mike Levy utilise le langage techno et electro comme des outils lui permettant de développer un univers sonore autonome, riche et intrigant, à la croisée des rythmes et des styles, qu’il livre sans compromis sur son premier album, « Aleph ».

C’est en Belgique que lui vient l’idée du nom Gesaffelstein. « C’est un nom ambitieux qui reflète exactement ma conception de la musique. Je veux que ma musique soit un art, qu’elle raconte une histoire mais qu’à l’image de la physique quantique elle soit aussi entendue comme l’arrangement d’éléments infimes dont la précision et les détails feraient toute la différence. Einstein remettait sans cesse en question ses théories pour faire évoluer ses idées et c’est ainsi que je conçois le processus de création ».

Mike Levy est connu du grand public principalement pour sa collaboration récente avec Kanye West sur deux titres de l’album « Yeezus » sorti en 2013 : le très abrasif « Send it up » et « Black Skinhead » morceau glam-punk rap coproduit avec les Daft Punk et son ami Brodinski. Mais c’est depuis la fin des années 90 que Gesaffelstein se forge une réputation auprès d’un public techno plus exigeant. Des premiers EPs sortis sur OD, Zone et Bromance où il livre son style unique, noir, oppressant même, aux remixes de Lana de Rey, Justice, The Hacker, Laurent Garnier et ses héros Depeche Mode, Mike Levy construit une musique et une atmosphère qui dépassent les attentes du dancefloor, un son à la fois violent et impitoyable mais sublime et à l’architecture précise et délicate.

C’est avec le single « Pursuit », morceau rythmique et entêtant, et son saisissant clip robotique que Gesaffelstein continue son ascension. Réalisé par Fleur & Manu, la vidéo superpose, avec une esthétique clinique exacerbée, des images de guerre, de nudité et de sexe dans une ambiance néo-

victorienne où se croisent enfants, robots et humains. Faisant écho de manière cryptique et inquiétante à nos pulsions les plus sombres, on y voit des symboles multiples : la lutte des classes, l’obsession du gain et de la richesse, l’omniprésence de la technologie et la déshumanisation du monde.

Ce single est particulièrement annonciateur du ton d’ « Aleph », premier album très attendu qui propose une techno nouvelle, dérangeante, qui bouscule les codes et la scène actuels, parfois trop uniforme, et n’est pas sans rappeler le son de Skinny Puppy, Human League, Colourbox et même Kraftwerk à leurs débuts. L’ex-chanteuse du groupe Battant (Kill the DJ) basée à Londres, la magnétique Chloé Raunet, qui entame aujourd’hui une carrière solo, a notamment composé les textes et posé sa voix sur une poignée de titres. Rageuse, rêveuse, les nerfs à vif, elle apporte une touche newbeat féminine et séductrice à une tempête d’électro primale, sombre et fiévreuse.

« Je ne sais pas d’où vient mon attirance pour les sons noirs » admet Mike Levy. « C’est un peu comme si vous faisiez un film sur l’amour » explique-t-il. « Ce n’est pas votre vie que vous racontez, mais vous créez une fiction, une œuvre d’art qui se nourrit de vos sensibilités. Il en va de même pour ma musique. Bien qu’il n’y ait rien de sombre dans ma vie, j’ai une capacité à comprendre les pensées noires ».

Mike Levy est né à Lyon en 1985, la même année que les premiers grands succès de la house music. Il découvre la techno à 15 ans lorsqu’il trouve un CD dans la chambre de sa sœur et tombe sur le morceau « Flash » de Green Velvet aux sons à la fois techno et disco. « C’était mon premier contact avec la musique électronique et j’étais quasiment obsédé par ce morceau » se souvient-il. « J’avais presque honte d’admettre que j’aimais cette musique. C’est ce son à la fois primal et grave qui m’a séduit. J’ai gardé cela pour moi pendant des années ».

Puis, un voisin lui prête ses synthés. Le contact avec la machine lui plaît immédiatement et sera la première étape, fondamentale, de son parcours initiatique. Avant de s’intéresser à la musique à proprement parler, il se passionne pour la modulation, les fréquences et tous les aspects physiques du son à l’état pur. « J’étais fasciné par les bruits blancs et le son analogique » dit-il. A 18 ans il quitte Lyon pour Paris et démarre sa quête du son, sortant une poignée d’EPs qui seront le reflet d’un cheminement intellectuel et sonore très personnel.

« Il a fallu que je travaille et retravaille pour trouver mon propre son » dit-il. « J’ai eu une révélation quand j’ai sorti « Variations » sur Turbo en 2010. J’ai réalisé à ce moment-là que j’avais fabriqué la première pierre de l’édifice ».

Aujourd’hui Mike Levy s’intéresse autant à l’héritage sonore de Cabaret Voltaire et Clock DVA qu’à Derrick May ou Derrick Carter. Il n’a jamais été un collectionneur de disque assidu, et ne fréquente que rarement les concerts et les clubs. « Si la musique est vraiment bonne, je préfère être assis pour l’écouter ». Il ne s’intéresse ni à la télévision ni au cinéma. « Lorsque je vois le travail créatif des autres je me sens parfois dépassé ».

En revanche, il n’en va pas de même de l’art et du graphisme. Sensible aussi bien aux peintures « outre-noir » de Pierre Soulages dont il admire la « maitrise » absolue, Mike Levy est également fasciné par la grandeur et le néoclassicisme de Jacques-Louis David et ses représentations épiques de Napoléon sur son cheval.

Le design de l’album, sobre et numérique, à l’instar du « Gesamtkunstwerk » dont Mike Levy s’inspire pour sa musique, est le fruit d’une collaboration avec le graphiste Manu Cossu. «Il a les mains, j’ai les mots » dit Mike Levy. « La pochette est à la fois pure et complexe et rappelle l’idée de l’Aleph, ensemble infini bien ordonné, objet d’une beauté absolue, représentant à la fois la naissance et la renaissance ».

Mike Levy approche le métier de DJ avec la même intransigeance. Ses sets, impitoyables et sans concession sont autant de matière sonore qu’il arrange selon ses humeurs, toujours avec une incroyable précision. Reconnu et acclamé dans tous les clubs, du Boiler Room de Berlin à l’Electric Zoo de NYC, il parcourt également les festivals, notamment Sonár à Barcelone et Bestival en Angleterre. « Le métier de DJ peut être difficile » dit Mike Levy, qui n’est pas clubber par nature. Lorsqu’il sort dans un club techno et que la musique le prend par les tripes, il préfère l’écouter plutôt que danser.

« Quand je sors je dois oublier les aspects techniques du son et essayer de m’amuser » dit-il. « Etre DJ peut aussi être amusant, en particulier quand je mixe avec Brodinski. On est amis donc c’est plutôt un plaisir de jouer avec lui. Mais au final on ne fait que passer les disques des autres donc je préfère les lives car c’est là que mon travail s’exprime pleinement ».

Consacrant les principes de son art, les lives de Gesaffelstein sont plus qu’une série de morceaux mis bout à bout. Les principes du classicisme techno sont scrupuleusement respectés : rien n’est laissé au hasard, chaque son et chaque silence jouent un rôle défini, et adhèrent les uns aux autres selon une logique d’ensemble.

Jouant depuis un autel en marbre customisé, il contrôle tout, lumières, son, et peut ainsi échanger directement avec le public. « J’ai un rapport immédiat avec les gens » dit-il. « Je peux monter ou descendre la pression, augmenter la tension et la relâcher, faire basculer les gens, les emmener loin dans la musique. C’est dans ce rapport direct que je prends du plaisir à jouer ».

Lorsqu’on lui parle de techno française Mike Levy reste dubitatif. Dans l’ère du digital qui ne connait pas de frontières, un musicien du Sud de la France peut aujourd’hui faire de la techno de Detroit avec un son authentique sans qu’on puisse faire la différence. Qui sait d’où vient le son d’origine et en quoi est-ce important au fond ? Et pourtant, on peut trouver dans la musique de Gesaffelstein une certain mélancolie qui rappelle l’étrange tristesse de Gainsbourg ou de Air ou encore les qualités mélodiques des musiques de films des années 60/70 composées par François de Roubaix.

C’est ainsi que Gesaffelstein revient une fois de plus à la mélancolie, thème récurrent pour l’artiste qu’il exploite à travers des rythmes exaltés, chargés, agressifs, renouant avec une techno industrielle absente depuis trop longtemps et repris dans le symbolique « Aleph ». Cet Aleph, premier caractère de l’alphabet hébreu mais aussi nom donné au mystérieux recueil de données dans l’ouvrage cyberpunk « Snow Crash » de Neal Stephenson, ou encore lettre qui donne la vie au Golem dans la kabbale, revêt bien d’autres sens encore.

« Je possède la clé de ma musique et elle restera un secret, mais j’ai beaucoup de plaisir à voir les autres la découvrir ».








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antoine.kraft(@)gmail(.)com / simon.bierlaire(@)miala(.)fr

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GOLDLINK

GOLDLINK

LABEL
NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

Where the intersections of the DMV collide, GoldLink is a direct product. The first time 21-year-old GoldLink picked up a mic was only three years ago in his hometown and he has no intentions of putting it down. The emcee is piloting the “Future Bounce” genre, accruing over one million plays on his Soundcloud and capturing the attention of an entire industry with this first project, The God Complex, which released in late spring of 2014.

GoldLink’s sound is densely weighted with shimmering polyrhythmic sounds, constructed with formidable producers like Kaytranada, Lakim and Louie Lastic. His sound milks nostalgic cuts of 90s hip-hop and R&B and the area’s natural go-go heritage with transcending circadian drops of EDM and Afro-Caribbean drum patterns. GoldLink’s raps are calculated, tackling them with a roller-coaster delivery, with a distinct voice and unmeasurable cadence. With his unyielding charm, Goldlink tackles his own battles of social and cultural injustice, pursuing a relatable voice of romantic instability. Without relying on talent alone, GoldLink has studied rap’s hierarchy, building his biting flow that’s quicker than a sales- man and fouler than a sailor. Citing Edgar Allan Poe, Grimes, and Pink Floyd as his main influences, GoldLink’s subject matter highlights dealing cocaine, gun-toting friends, an absent father, and the general hardship of growing up in the ghetto.

With only one full project (The God Complex) under his belt, he has still been able to receive the support of outlets like FADER, Complex, Noisey, Shade 45 and VSCO––which documented GoldLink’s meeting with Def Jam co-founder Rick Rubin at his Malibu-based Shangri La studio. The recognition spread further than the web, as GoldLink played several showcases at SXSW, including one alongside the future-bounce conglomerates at Soulection, touring with electronic-producer SBTRKT and now is now finally headlining his own US tour in summer 2015. The short career of GoldLink thus far has shown him relative success, winning crowds over with his explosive energy that’s engaging at each live show. As he prepares for his follow-up project, we are all excited to watch, experience, and dance to his progression.








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arnaud.meersseman@miala.fr

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Jo & Co
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French
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GREG JUNE

GREG JUNE

LABEL
Jo & Co
NATIONALITY
French
TERRITORY
WORLD
BIOGRAPHY

Ce qui frappe en premier chez Greg June, c’est sans doute sa fraîcheur, son charisme simple et sa “gueule” hors des standards de la pop actuelle. Vient ensuite cette voix chaude et légèrement rocailleuse qui habille ses productions très personnelles. Car Greg June a une patte, une empreinte : il compose, écrit et interprète ses chansons. Mais pas seulement. Multi-instrumentiste précoce, il apprend le piano avant de lire, il donne naissance à des productions complètes, il imagine les arrangements, réalise ses chansons comme des instantanés de sa vie.

 

Dans le secret de son studio, qu’il a coutume d’appeler son bac à sable, il travaille pendant 8 ans avant de laisser sortir ses créations. Patient et perfectionniste, il se nourrit de son “autre vie” pour raconter. Les voyages d’abord, baroudeur curieux, il s’imprègne des influences anglo-saxonnes (Coldplay, Queen, Ed Sheeran, Sia…) qu’il rencontre à Londres où il s’expatrie et durant ses voyages en Europe, Asie et Australie. Puis de la vie des “vrais gens” pendant enfin de ses rencontres musicales, Steve Forward (réalisateur de Ray Charles, Paul Mc Cartney, Miossec…), John Watts, Paul Breslin (guitariste de Jacques Higelin, Serge Gainsbourg…), et Franck Authié (réalisateur d’Irma et Grégoire) qui le guident pour structurer sa musique.

 

Cette musique, Greg June la définit comme Pop/Folk mais il ne cache pas aimer jouer avec des touches urbaines et électro qui lui donnent une certaine modernité. Il est riche de ces références multiples et cela se sent dans sa musique si explosive. Celui qui instinctivement a décidé de chanter en anglais, fait définitivement partie de cette génération multicodes, sans barrières, qui change au gré des émotions et des expériences.

 

Après avoir conquis le public et les médias avec son premier single “We can never talk”, il en dévoile plus dans “One”, un EP acoustique sorti le 9 octobre 2015. On y redécouvre “We can never talk” dans sa version guitare/voix, ainsi que 2 titres du futur album : “Hey” et “Unify” qui célèbrent l’amitié et le mélange des cultures. Complété par une reprise de “Where is my mind” de The Pixies, cet EP sonne comme le premier pas d’une carrière prometteuse.








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mathilde.vanhassel(@)miala(.)fr

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DIEZ MUSIC
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HAUTE

HAUTE

LABEL
DIEZ MUSIC
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

Chez HAUTE, tout va de pair.
Duo frenchy entre r’n’b électronique et pop soulful, Anna Majidson & Blasé partagent plus d’une analogie. Nés en France mais ayant tous deux grandi de l’autre côté de l’Atlantique, le duo cultivent un background culturel commun, entre tradition et patrimoine familial made in France et une adolescence rythmée par la pop culture US et tout spécialement le hiphop et le r’n’b.

Il était écrit que c’est au Québec et bien entendu à Montreal que les chemins des deux futures HAUTE se croiseront. En 2013, tous deux s’inscrivent à l’université Mc Gill étudiant notamment la musique et la philosophie. Même cursus, même influences, le hasard voudra qu’ils habitent la même rue… Cependant, comme tout bon fairy tale des années 2010, la rencontre se fait via internet et un groupe facebook musical créé par Blasé. C’est finalement à Paris que la rencontre IRL a lieu, encore une fois par une opportune coïncidence.

Le nom HAUTE reflète ainsi “leurs origines ainsi qu’une certaine grandeur et élégance à la française tout en restant pertinent dans un univers anglophone”. C’est aussi la rencontre des influences, des genres, des cultures et des talents. Blasé et Anna travaillent main dans la main sur chacun des morceaux : ils composent à deux, écrivent à deux et enregistrent à deux en symbiose. Repérés par les Hôtels Sofitel, ils composent « Rêverie », le titre signature de la célèbre marque et l’immortalisent dans une session live. « Rêverie est diffusé dans tous les hôtels de la chaîne à travers le monde.

Haute revient aujourd’hui avec « Shut Me Down », un titre qui se distingue par l’association subtile de nappes de synthés vaporeuses, de riffs de guitares funky, de percussions entrainantes et d’une interprétation suave du duo. Tous ces éléments donnent naissance à un morceau sensuel au grosse irrésistible.








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morgane.jorge(@)miala(.)fr

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Moshi Moshi Records
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Hercules & Love Affair

Hercules & Love Affair

LABEL
Moshi Moshi Records
NATIONALITY
American
TERRITORY
France
BIOGRAPHY

Hercules & Love Affair have always known how to tear the roof off a festival dance tent but their new live set-up takes things to a whole new level. Hercules main man Andy Butler’s love of classic disco and house remains central but his growing affection for tougher-edged techno sounds and moody ‘80s synth-pop only adds to the band’s appeal. For 2017, there are new and astounding live visuals from a host of artists, created across various mediums, and commissioned by video director supremo David Wilson, that augments arguably one of electronic music’s finest live performances. “It’s all being reworked,” says Butler gleefully, “Not only is there a different visual language but we’ve sonically injected new life into everything, reworking the dynamics.” From his teenage years, DJing at underground leather nights in his native Denver, to his escape to New York, home to the original wild gay nightworld that gave birth to rave, to inventing Hercules & Love Affair as an outlet for his songs, music was always at the heart of Butler’s universe. Throughout three albums – the retro-futurist Paradise-Garage grooves of the eponymous 2008 debut, the thoughtful elegiac songwriting of 2011’s ‘Blue Songs’, and the bumping, grittier pulse of 2014’s ‘The Feast of the Broken Heart’ – Hercules & Love Affair have nailed a body of work that bridges the dance floor and the home listening experience. Butler’s songs are unique creatures, capable of swaying clubs but also boasting a punctilious attention to orchestration and lyrical bite. This perfectionism began with his opening shot, the 2008 classic ‘Blind’, featuring his friend Antony “ANOHNI” Hegarty on vocals, and continued through later material with John Grant and Bloc Party’s Kele Okereke. In the live arena Butler ensures there’s no shortfall in vocal talent. Indeed one review in The Guardian had the headline ‘Who Needs Guest Stars With Vocalists This Good?’. Andy’s also dived wholeheartedly into the music of his early teens, whilst exploring the record stores of his new home in Belgium. “I pick up 20 records at a time in Ghent,” Andy enthuses, “New Beat from the ‘80s, acid gems from ’88, Detroit-sounding techno, recently I’ve been aesthetically interested in early 80s electronic dance – Cabaret Voltaire, Front 242, Telex and lots of noisier older music.” All this has flavoured his fourth album and adds a fresh dimension to the Hercules & Love Affair sound. Details of the new album to be announced soon. Butler and the band are hitting the road, toned, trained and ready to perform a vibrant new show exploring those extremes which Andy Butler is so keen on. There has never been a better time to catch them.








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bertrand(.)delasnerie(@)miala(.)fr

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HOODIE ALLEN

HOODIE ALLEN

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LLC
NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

Putting a bit more pop into the pop-rap of folks like Asher Roth and Sam Adams, rapper Hoodie Allen went from Internet favorite to charting artist with the release of his 2012 EP All American. Born Steven Markowitz and raised on Long Island, Hoodie was frat-rap from the beginning, having met producer RJF during an Alpha Epsilon Pi-hosted party at the University of Pennsylvania. The two would release the street albums Bagels & Beats and Making Waves and win MTV’s Best Music on Campus Award in 2009, but his big hit came with the 2010 track “You Are Not a Robot,” which sampled Marina and the Diamonds’ hit “I Am Not a Robot” and landed on his popular mixtape Pep Rally. A headlining tour across the U.S. followed before Hoodie made his official debut with the All American EP in 2012. Released on his own label, the EP debuted at number ten on Billboard’s Top Albums, and was followed in 2013 by the acoustic EP Americoustic. His debut album, People Keep Talking, arrived a year later, featuring the singles “Movie” and “Dumb for You” along with guest appearances from Ed Sheeran and Alex Wiley. It climbed to number eight on the Billboard 200 albums chart, and was followed by the EPs All American (2012) and Americoustic (2013). The sophomore effort Happy Camper landed in 2016 and while it only climbed to number 28 on the Billboard 200, it did top the magazine’s rap chart. ~ David Jeffries, Rovi

Source : Billboard








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arnaud(.)meersseman(@)miala(.)fr

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InClose

InClose

Live / DJ
LABEL
DDM Recordings
NATIONALITY
FRENCH
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INCLOSE n’est plus un inconnu. Trois ans qu’il parfait sa musique en studio et sur la route, trois ans qu’il assure les premières parties d’artiste électroniques de renom tels que Rone, Agoria ou Thylacine. A 22 ans, il sort désormais son second EP – Synchronized – avec lequel il assume la volonté de présenter un projet davantage électro.

Plus sombre, plus électronique, plus impulsif, Synchronized est un virage résolument brut, qui marque le début d’une nouvelle histoire pour le producteur. InClose est un amoureux des synthétiseurs analogiques, et cela s’entend. Point de départ de ses compositions, les machines s’assemblent pour constituer un laboratoire, source de ses rêveries, de ses mélodies, de ses arrangements et de la qualité de ses productions.

Sa musique se veut dancefloor, un équilibre entre le plaisir de faire danser et celui de faire voyager l’auditeur dans son univers singulier, aux textures et au grain particulier.

Originaire de Besançon, INCLOSE a débuté le piano au Conservatoire à l’âge de six ans. Mais l’envie de se tourner vers la production électronique le prend très tôt. C’est son premier EP, Candy, au single du même nom, qui l’a fait réellement éclore, accompagné du dessinateur et réalisateur de talent Milan Thévenin, aux commandes de ses clips et de son univers visuel. Les créations du dessinateur sont bien souvent à l’origine des morceaux du musicien, partant d’un imaginaire illustré pour en composer une bande-son. On retrouvera le personnage d’INCLOSE dans ce second chapitre avec un clip hallucinant.

Lorsqu’il est sur scène entouré de toutes ses machines, INCLOSE appartient à sa planète et peut enfin exprimer sa créativité débordante, libérer ses émotions, et transporter le public au cours d’un périple électronique jonché de montées, de nappes, d’un groove transcendant dont lui seul à le secret, pour les fans de Rone, Âme, David August ou encore Max Cooper. Le musicien aura la chance de défendre son nouveau Live très bientôt sur la route.

INCLOSE est prêt au décollage, espérons que vous aussi.








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alex[.]pacotte[@]miala[.]fr

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Full Time Hobby
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Jacco Gardner

Jacco Gardner

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Full Time Hobby
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Dutch
TERRITORY
France
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To call Jacco Gardner a daydreamer may not be as farfetched as he’d have you believe. Its meaning may refer to a fear of sleep, but with ‘Hypnophobia’, the brand new album from “baroque pop” prince and Dutch producer / multi-instrumentalist Gardner, he’s all set to cast a majestic and vibrant psychedelic spell that will hypnotise listeners at the point dreams and reality meet.

“I came up with the title ‘Hypnophobia’ while falling asleep and part of my brain just didn’t turn off,” explains Gardner. “I often have trouble letting go of reality, even though I prefer the world in my dreams… ‘Hypnophobia’ comes from a place where fears, darkness and creativity collide, like a slightly scary lucid dream. Fearing a loss of control definitely plays a big part of it.”

If there’s one thing ‘Hypnophobia’ hasn’t lost, it is control. Since unveiling his ‘Cabinet of Curiosities’ in 2013 (released on the Trouble In Mind label), tastemakers and fans alike have been drawn deeper into Jacco Gardner‘s fantastical fairytale kingdom. Between clocking up the miles all over the world, playing as member of band The Skywalkers, being enlisted by California’s Allah Las to moonlight on keyboards, and jamming with studio auteur Frank Maston, Gardner has honed and refreshed his intoxicating sound with meticulous precision; “Touring all over the world has completely changed me,” he says. “I’ve seen places I’d never seen before or didn’t even know existed. I think ‘Hypnophobia’ has got some of its adventurous character from all those amazing experiences.”

Capturing a true sense of exploration, ‘Hypnophobia’ combines Gardner‘s newfound love of travel with his continued passion for collecting and playing vintage instruments. A stunning exhibit of lush instrumental tracks as well as songs that boast lyrics worthy of any great pop number, the record features a Wurlitzer electric piano that was purchased on tour, waltzing alongside mellotrons, harpsichords, an Optigan, and an antique Steinway upright piano sold to Gardner by a local church. Akin to the sonic boom of maverick contemporaries John Maus, and Tame Impala, his is a sound that holds fast next to fellow paisley performers Syd Barrett and Curt Boettcher, with the airy dynamics of Stereolab or Simon & Garfunkel. Yet what truly marks Gardner from his musical ancestors and accomplices is his forward-thinking, hi-tech approach; “‘Hypnophobia’ is the next step into an alternate reality influenced by the present. I’m so inspired by today’s technology that many things I do were not possible in the past.”

Fusing fantasy with sublime twisted reality, ‘Hypnophobia’was recorded in its entirety at Gardner‘s ‘Shadow Shoppe Studio’ oddly juxtaposed in the heart of an industrial estate located midst the village of Zwaag, 30 miles north of Amsterdam. “In Zwaag, everyone leaves after office hours so it’s perfect for music recording… there’s also lots of beautiful green meadows, water and trees close by so it’s not hard to find a quiet place to think.”

As drum beats throb whilst trucks come and go, and ethereal vocals ricochet between corrugated factory units, swirling instrumentals such as the cinematic ‘Grey Lanes’ (an earlier incarnation of which included lyrics about changes in Gardner‘s hometown following months spent abroad) and the harpsichord sound of ‘All Over’ weave alongside ‘Before The Dawn’s cosmic eight-minute prog-out epic whilst ‘Face To Face’s airy drones only complement lyrics that resemble 80s film classic ‘Tron’.

Matching these new sonic explorations with the album art, Gardner only had one man on his mind – Julian House – who is best known for his art for Stereolab and Broadcast, co-owner of the Ghost Box label and as a musician with The Focus Group. “I’m a big fan of his stuff and really like the album he did together with Broadcast called ‘Broadcast And The Focus Group Investigate Witch Cults Of The Radio Age’. That record was a big inspiration for me and the direction of the new album so it was amazing when he agreed to do the artwork.”

For most tradition enthusiasts, it’d be all too easy to rehash the past. But that’s where Jacco Gardner‘s differences lie. Playing all instruments except for drums (provided by live band member Jos van Tol and latest addition Nic Niggebrugge) ‘Hypnophobia’ brilliantly captures a unique artist and future-vintage aficionado operating at a far higher state of consciousness.

‘Hypnophobia’ is released on 4th May 2015 on Full Time Hobby.








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bertrand(.)delasnerie(@)miala(.)fr

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JACQUES

JACQUES

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Pain Surprises
NATIONALITY
FRENCH
TERRITORY
WORLD
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Jacque + Jacque = Jacques est une équation qui synthétise bien la personnalité protéiforme de cet artiste capillairement perturbé.

Venu de Strasbourg à Paris à 19 ans, il fonde le collectif Pain Surprises avec lequel il organise des soirées folles et monte un label.

C’est sur ce label qu’est publié, en 2015, son premier EP intitulé « Tout Est Magnifique ». Jacques y tricote des guirlandes de bruits créées à partir des sons de la nature et des choses et objets du quotidien. Les 4 titres de cet EP dévoile une musique au croisement de la techno et de la musique concrète, c’est la techno « transversale ».

Les titres « La Tournure des Choses » et « Faites Quelque chose » sont rythmés par le son mécanique et métronomique d’une horloge comtoise autour duquel s’articule une mélodie faite de craquements de boiserie, de crépitements de feu, de respirations haletantes et de bris de verre.

Dans « Tout est Magnifique », les cris de mouettes mêlés aux doux violons amènent Jacques à nous avouer « quil y a quelque chose (quil) ne comprend pas ».

On a pourtant bien compris que Jacques, en taillant dans la matière des bruits, créée un mouvement de sons et libère ainsi une poésie sonore inédite.

 

Pour reconstruire ses décors sonores en live, Jacques invite le public de ses concerts à amener des objets du quotidien (des gobelets en plastique et des clés mais pas de chaussures ni de sandwichs) pour faire du bruit à partir duquel il improvise en enregistrant et bouclant les sons en direct.

Organisées au début dans des squats parisiens qu’il a lui même fondés, tels le Point G et le Wonder, les performances de Jacques piquent vite la curiosité des foules.

Chaque concert est unique : Parfois Jacques offre une performance intimiste durant laquelle il invite son public, muni de casques audio, à une écoute concentrée de sa musique ; parfois Jacques délivre un live taillé pour des entrepôts surexcités comme aux récents festivals de Dour et Sonar en 2016.

 

Aujourd’hui, Jacques revient du futur où il s’est fait plein de contacts. Il élargit le champ des possibles en chantant dans son nouveau titre sorti en juin dernier « Dans la Radio ».

Bricolé à la Maison de la Radio, Jacques y poursuit sa quête philosophique du Vortex en proclamant qu’ « On écoute tous la même chanson mais on lentend pas de la même façon ». A méditer !

Crédit photo : © Alice Moitié


 

Jacque + Jacque = Jacques is the perfect equation that summarizes the multifaced identity of this artist with a disturbed haircut.

Born in Strasbourg, he came to Paris at 19 years old where he founded the collective Pain Surprises with which he has organized wild parties and created a record label.

His first EP « Tout est Magnifique » was released through Pain Surprises in 2015. On this record, Jacques knits garlands of sounds from the noises of nature and everyday objects that he has collected. The 4 songs of this EP reveal a music at the crossroads of techno and concrete music: the « transversal techno ».

The tracks « La Tournure des Choses » and « Faites Quelque Chose » are cadenced by the metronomic mechanism of an old clock and structured around a melody made from creaking wooden floors, fire crackling, rapid breathing and glass breakage.

On « Tout est Magnifique », the cries of the seagulls mixed with the soft violins bring Jacques to admit that « there is something that (he) doesn’t understand ».

Actually, we do understand that Jacques sculpts his music in the noise material he collects and delivers an unexpected and original sound poetry.

 During his live shows, Jacques invites the public to bring everyday objects (plastic cups and keys are accepted but no shoes nor sandwiches, according to him) to construct exciting tracks live on stage. He makes a techno beat by looping sounds taken from the everyday objects and then creates melodic patterns together with guitar and vocals.

At first, his confidential performances were organized in Parisian artistic squats that he co-founded himself, such as Point G and Wonder, but soon his fascinating live sets attracted bigger crowds, curious to meet the man.

Every set is unique: Sometimes Jacques’s performance is intimate, the audience receives headphones and is invited to an attentive listening session close to meditation; Sometimes Jacques’s performance is based on powerful techno tracks built for huge warehouses like at Sonar and Dour Festival this year.

Today, Jacques is back from the future where, as he said, he met a lot of smart people and made a lot of contacts. He has released a new single last june « Dans la Radio » and is currently pursuing his philosophical quest of the Vortex singing « We all listen to the same song but don’t hear it the same way »; let’s meditate on that !

Photo credits : © Alice Moitié








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alex.pacotte(@)miala(.)fr

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Armada Music
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Jan Blomqvist

Jan Blomqvist

Live / DJ
LABEL
Armada Music
NATIONALITY
German
TERRITORY
France
BIOGRAPHY

Jan Blomqvist, born in the 80s (not in Sweden) is a Berlin-based solo-artist and bandleader. It was him who invented concert techno: dreamy vocals and simple beats. With his band BLOMQVIST he’s into dancy electro-pop, as a solo-artist, he plays clubsoul.

As a kid Jan never cried, just sang. His hippie parents approved and bought him his first guitar. Just as he had learned to play like Keith Richards, he realized he’d rather be like Mick Jagger. He formed/founded his first band in a little village in lower Saxony, Germany.

Then comes Punk: “musically rather destructive, but more or less character-building.” The first money earned was spent on an amp. The school band didn’t want him as a member. Their music was shitty anyway. At the age of 21, being an aerospace technology student, he gets acquainted with techno. DJs. It dawns on him that music could be a profession. “Being a teacher is riskier if you don’t like to get up in the mornings.”

In the daytime, he sleeps. At night, he constructs his tracks for hours on end. He earns (is earning) money as a bartender at weekend club and spends it on ‘educational trips’: Radiohead open-air concerts, Bar25, After Hours. Someday it’ll work: “to shatter the boredom in the clubs, to bring a concert feel to their dance floors, with simple vocals and minimal beats. Rock ‘n’ Roll in the club. Everything kept simple with finesse en detail.”

And then, boom: In 2011, a gig at fusion festival in front of 3000 people, releases on the Dantze and Stil vor Talent. “The more the merrier.” In 2012 a rooftop concert at weekend club; the YouTube clip is going to be seen by millions. 350 gigs in three years. Jan remembers them all: New York, Moscow, Paris, Istanbul, Los Angeles, Rome, San Francisco, Mexico City, Copenhagen, Brussels, Amsterdam, Milan, Athens, Budapest, Beirut, Tunis, Naples, Bucharest, Warsaw, Zurich, Marseilles, Montpellier, Thessaloniki, Munich, Vienna, London… For his first album he’s taking as much time as he needs. He loves half beats but hates half measures. For him, being in the studio is/means to draw from his experience playing live (live experience).

And now, bang, there’s REMOTE CONTROL. With it’s immediate deep and characteristic JB feel. Radically democratic world hugging electronics. Bleep, bleep! To dance on a rooftop terrace while the sun’s setting behind dark clouds. Electro in drizzling rain. To ride the U-Bahn, feeling lost. Only to realize that you’ve already started nodding along long ago. In 13 tracks Jan blomqvisted his own musical journey: a pinch of Portishead, a dash of r ’n’ b, Radiohead of course, and the minimal sound of the noughties: Breathy melodies, souly vocals, clear and obscure lyrics. “Hey, whine at home.” The dancefloor is the transformer who turns melancholy into electricity and infects everyone: The concert lover and the raver bully, the escapist and the glitter girl. “The fucking rainbow has no gold”, Jan sings. His music helps us to get over it.

Solo artist and bandleader Jan Blomqvist’s orchestra: Christian Dammann, drummer. Felix Lehman, pianist. Ryan Mathiesen, lyricist. “To turn the incomplete into character sounds: emotional, honest, authentic, bass-dominated, two-toney, rarely in text book fashion. Because it’s the minimally sloping sound that gives you goose pumps.”








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mathilde(.)vanhassel(@)miala(.)fr

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Def Jam Recordings
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American
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Jhené Aiko

Jhené Aiko

LABEL
Def Jam Recordings
NATIONALITY
American
TERRITORY
France
BIOGRAPHY

Grammy®-nominated singer/songwriter Jhené Aiko was already more than a decade deep in the music game when she arrived at Def Jam in 2011; having been featured on singles, albums and mix tapes by A-listers Kendrick Lamar, Wale, Big Sean, Logic, J. Cole, Drake, and many more. Jhené made history when Sail Out, her phenomenal #1 debut EP of 2013, became the biggest-selling EP in Def Jam history. The EP’s success was propelled by her sizzling BET Award-winning and Grammy®-nominated #1 platinum crossover hit “The Worst” (over 108 million combined YouTube views to date). The momentum kept up when she joined Drake on his 39-city North American Would You Like A Tour? She appeared with him on NBC’s Saturday Night Live, which led to her own solo dates on TBS’s Conan, CBS’s The Late Showwith David Letterman, and NBC Universal’s The Ellen DeGeneres Show. Jhené’s brilliant solo album of 2014, Souled Out entered the Soundscan R&B chart at #1, containing “The Pressure,” described by Billboard as “an otherworldly neck-snapper” (over 11 million combined YouTube views to date). The release of Souled Out was celebrated on NBC’sThe Today Show. In 2016, Jhené collaborated with fellow multi-platinum Def Jam superstar Big Sean on their debut duo project, TWENTY88.








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arnaud.meersseman@miala.fr

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Jim Henderson

Jim Henderson

LABEL
Anteprima Productions
NATIONALITY
Belgian
TERRITORY
France
BIOGRAPHY

Jim Henderson est un jeune producteur bruxellois de musique électronique issu d’une grande famille de musiciens. “Dès l’âge de 14 ans à la place de regarder la télé après les cours je m’enfermais dans ma chambre et restais scotché devant mon ordinateur à expérimenter sur mon logiciel de musique.” “Avec mes parents musiciens j’ai baigné dans le jazz, la soul, le funk et j’ai ensuite découvert la musique électronique puis étudié la musique classique, et le jazz, c’est surement ce qui explique que mon écriture ne suit pas un cahier des charges. Ca ne veut pas dire qu’elle est inaccessible mais plutôt universelle. Je suis belge, et vis à Bruxelles carrefour de nombreuses cultures, c’est un atout selon moi” Cette écriture riche et diversifiée permet à Jim de signer, dès 2014, son premier EP « Never Ending » sur le label Moodfamily. Puis un second « Dreamcatcher » sort quelques temps après sur le label bruxellois Play Label Records. En 2015, de la rencontre avec Stereoclip naitront plusieurs morceaux et un EP remarqué sur le label Atmosphere Records « Dance Machine ». Sa personnalité musicale séduit aussi la chanteuse Yaël Naïm qui l’invite à remixer un titre sur son dernier album Older (revisited) sorti en 2016. “Quand je compose je n’ai pas d’idées préconçues, elles viennent naturellement. On me dit souvent que ma musique est à la fois sombre, agitée, calme et apaisante. J’imagine que c’est le reflet de ma personnalité” Pour son nouvel EP « Controversial », Jim Henderson s’affirme en tant que producteur exigeant au service d’une musique imagée et magique. Les 4 titres « Nightfall », « Breathing Underwater », « Controversial », « Artificial Freedom » décrivent chaque partie de l’univers si particulier de Jim. “Breathing Underwater est une référence poétique à mes rêves d’enfance, ça fait écho à Nightfall c’est un clin d’oeil au fait d’être un producteur de la nuit. J’ai aménagé mon studio dans un garage. Il n’y a donc pas de lumière du jour, parfois, je n’ai pas la notion du temps. Ce que j’aime dans la musique électronique c’est qu’on peut faire ce qu’on veut et les éléments peuvent arriver subtilement par plein de moyens différents. J’aime beaucoup l’idée du temps qui s’étire et la déconnexion par rapport à ce qui nous entoure” “Sur Artificial Freedom, je fais référence à la société dans laquelle on vit. La plupart des gens se croient libre de penser et d’agir mais ne voient pas qu’ils sont manipulés. Ou alors ils se voilent la face et je trouve ça encore plus triste. J’aime le fait que la musique aide à voyager, à s’élever, à s’affranchir de certaines normes, pressions… En triturant des sons j’essaye à ma manière de faire ressortir ce que j’ai de plus intime au fonde moi même. Ce n’est pas forcément un message clair ou politique, mais plutôt un ensemble de sentiments qui m’aident à m’affirmer en tant qu’humain.”

Publishing : Anteprima Prime / Alter K Label : Anteprima Productions


Jim Henderson is a young Brussels electronic music producer who comes from a big musical family. “Since the age of 14 years instead of watching TV after school I shut myself in my room and stayed glued to my computer to experiment on my music software.” “With my parents musicians, I bathed in jazz, soul, funk, and then I discovered electronic music and studied classical music and jazz. This is probably what explains why my writing does not follow specifications. It does not mean it is inaccessible, but rather, universal. I am Belgian. Living in Brussels, a crossroads of many cultures is an asset to me.” This rich and diverse writing allows Jim to sign, in 2014, his first EP “Never Ending” on the label Moodfamily. Then a second “Dreamcatcher” was released shortly after the Brussels Play Label Records. In 2015, the meeting with Stereoclip was born in several pieces and an EP on the notice Atmosphere Records “Dance Machine”. His musical personality also attracted the Yael Naïm singer, who invited him to remix a track on his latest album “Older (revisited)” released in 2016. “When I compose I have no preconceived ideas; they come naturally. I’m often told that my music is at once dark, choppy, calm and soothing. I guess it reflects my personality.” In his new EP “Controversial”, Jim Henderson asserts that acting, as a producer requires the service of pictorial music and magic. Four titles (“Nightfall”, “Breathing Underwater”, “Controversial”, “Artificial Freedom”) describe each part of the particular world of Jim. “Breathing Underwater” is a poetic reference to my childhood dreams; it echoes “Nightfall” is a nod to being a producer of the night. I laid my studio in a garage. In there, there is no daylight. Sometimes, I have no sense of time. What I love about electronic music is that you can do what you want and elements can happen subtly in lots of different ways. I love the idea of time stretching and disconnecting from what surrounds us.” “On Artificial Freedom, I refer to the society in which we live. Most people think they are free to think and act but do not see that they are handled. Or they veil their faces, and I find it even sadder. I like the fact that music helps to travel, to rise, to overcome some standards, pressures … trituration sounds. I try in my own way to highlight what I have as a more intimate basis of myself. It’s not necessarily a clear or political message, but rather a set of feelings that help me to assert myself as a human.”








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morgane(.)jorge(@)miala(.)fr

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JOEY BADA$$

JOEY BADA$$

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Cinematic Music Group
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U.S.A.
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France
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Plus de deux ans après son premier album, le représentant de Brooklyn Joey Badass est de retour avec son très attendu deuxième album, ‘All-Amerikkkan Badass’. Et comme le suggère le titre, il inclut une bonne dose de thèmes sociaux et politiques.

‘All-Amerikkkan Badass’ traite de la criminalité, des brutalités policières, de la présidence Trump, tout en délivrant un message d’espoir. Et on y retrouve des pointures telles que Schoolboy Q, J. Cole, ou Styles P…








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arnaud[.]meersseman[@]miala[.]fr

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WOH
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Joris Delacroix

Joris Delacroix

Live / DJ
LABEL
WOH
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

Été 98, une boum de fin de colo bat son plein ; dans un coin, un gamin timoré regarde les autres s’amuser. Sur les premières notes de Da Funk (Daft Punk), miracle : la fille dont il est secrètement amoureux vient l’inviter à danser. Joris Delacroix vient de découvrir le pouvoir du dancefloor. Très jeune déjà, il apprend le piano, puis, ado, se rêve en Axl Rose avant de renouer avec ses premières amours house dans les clubs de Montpellier.

Au Bar Live, où défilent les fers de lance des mythiques labels Kompakt, Border Community ou encore Get Physical, la techno minimale lui ouvre les bras. Si eux parviennent à faire transpirer la foule, pourquoi pas lui ? Pour tromper l’ennui et l’isolement dans son petit village du Gard, il se lance dans la production.

Tandis que doucement grandit sa notoriété, Joris, le jour, fait griller des steaks chez McDo. Sa musique finit par attirer l’attention de Greg Delon, DJ résident du Bar Live DJ résident du Bar Live, qui le signe sur le label nîmois WOH Lab. La suite : Air France, premier succès en 2011, qui attire l’attention d’Antoine Kraft (à l’époque associé de Savoir Faire).

En 2014, il entre chez Universal, puis s’en suivra en 2015 une tournée avec The Avener, Feder et Synapson qui, après quelques remises en question, lui ouvre de nouveaux univers musicaux. Tout en affinant son langage, Joris, perfectionniste, se remet au piano, potasse les compositeurs classiques, en particulier Bach, où il puise de nouvelles inspirations harmoniques.

Aujourd’hui, le garçon timide de jadis est à la tête du label qui l’avait découvert et traque à son tour les talents au sein de Way Of House. Son nouvel album, Night Visions, réussit la jonction entre transe électronique et poésie mélodique.

 








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morgane.jorge(@)miala(.)fr

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JOYCE MUNIZ

JOYCE MUNIZ

LABEL
EXPLOITED / 2020 VISION
NATIONALITY
BRASILIAN
TERRITORY
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BIOGRAPHY

Unless you’ve been living under a rock of late, you would have definitely caught wind of the talented, sultry Joyce Muniz. The buzz around one of Vienna’s brightest exports can be felt around the globe; and Joyce’s jack-of-all trades persona is definitely to blame.

Brought up on the ‘Sound of Vienna’ and enjoying a hugely successful partnership with GStone, her work as vocalist on her own, plus an array of industry stalwarts’ productions – including featuring on Munk’s recent album, a single for Cusmos and more – has resulted in Joyce leading the way as one of the main players of the new generation of Vienna. Her work as producer has extended past her own projects to artists such as Louie Austen; whose album she worked on extensively and still considers to be a true test of her skills as a producer. As if that wasn’t enough, Joyce prides herself on being a great performer from the moment she steps on stage, exuding an infectious energy into her audience.

It is little wonder then that, in a mere 3 and a bit years from her entry into the house scene, Berlin’s and London’s top labels Exploited & 2020 Vision would come knocking. The union would bring about Joyce’s first knock-out tune “Party Over Here”, to critical acclaim from both the industry & fans alike. A string of standout releases followed, with “Back In The Days” feat Bam from the Legendary Jungle Brothers; showcasing Joyce’s natural ability to pair the right vocalists with the right tracks, and insta-classic, groove-filled “Warriors” on Exploited and “Sleepless” on Warung Records. Remixes for the likes of Steve Bug, Munk, Shonky, Stereo MCs, on esteemed labels such as K7!, Pokerflat, Get Physical and Gomma, have served to further cement Joyce’s standing in the scene.

Simply labeling her as ‘one to watch’ doesn’t seem fitting in this instance, with industry support from heavy-weights Richie Hawtin, SKREAM and Maya Jane Coles, but you would be a fool to take your eyes and ears off the talent that is Joyce Muniz.








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morgane.jorge(@)miala(.)fr

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Rinse / Virgin EMI Records
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KALI UCHIS

KALI UCHIS

LABEL
Rinse / Virgin EMI Records
NATIONALITY
COLOMBIA / USA
TERRITORY
FRANCE
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Breakout vocalist, songwriter and producer Kali Uchis debuts a new single today—listen to “Nuestro Planeta,” featuring Reykon and produced by The Rude Boyz (Shakira, Maluma), here. Recorded inMedellin, Colombia, the track is Uchis’ first sung entirely in Spanish. Uchis’ debut album is set for release this fall.

“Fantasizing about being with the person you thought someone was rather than the person they are now, without all the other factors and drama that got in the way of that fantasy,” says Uchis of the track’s themes.

Uchis’ North America headline tour kicks off September 12 in Boston with further shows in SeattleLos AngelesAustinNashvillePhiladelphiaNew York and more. Visit kaliuchis.com for more information.

The new track follows “Tyrant,” streamed more than 6 million times to date. Watch the video, filmed in Paris and directed by Helmi, here.

“Tyrant” is receiving widespread critical praise:

“It’s glittery and danceable, but brutal in its honesty… ‘Tyrant’ is a romantic banger flecked with self-awareness. It skillfully portrays love in the age of rumbling dystopia: a boudoir anointed by something pure even though its walls may shake with the unrest outside. ” —NPR Music

“We have finally been blessed this week with new music from Kali Uchis. After nearly a year without new music, the Colombian-American songbird makes a strong return with Jorja Smith in this tropical tune.” —NYLON

“A simmering, sensual listen” —Consequence of Sound

“The singer, songwriter and producer’s dual language track delights with layers of sonic effervescence atop a bouncing beat.” —Cool Hunting

Raised in Virginia and her parents’ native Colombia, Kali Uchis’ debut studio project, Por Vida, was released in 2015 to acclaim from the likes of The New York Times, Rolling Stone, NPR, Pitchfork and The FADER, whose cover she graced this year. Uchis has collaborated and shared stages with Gorillaz, Diplo, Major Lazer, Tyler The Creator, Snoop Dogg, Kaytranada, Leon Bridges and more.








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arnaud(.)meersseman(@)miala(.)fr

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KCPK

KCPK

Live / DJ
LABEL
PIAS
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

” Nous ne sommes pas des musiciens, des artistes, pas des chanteurs, photographes, pas vraiment des DA ni des DJ’S mais en fait nous sommes un peu tout çà à la fois” KCPK

Groupe à géométrie variable, incubateurs de la scène rémoise révélant des artistes tels que The Shoes, Yuksek, ALB, Brodinski tout en créant des expériences inédites mercantiles avec Woodkid, The Chemical brothers, Two Door Cinema Club, Phoenix, Justice, Agoria… et fait le tour du monde avec leurs soirées PANIK. Manipulateur de tendances, aujourd’hui le vaisseau amiral KCPK apporte une nouvelle réponse esthétique: il se met à flot pour son propre compte en sortant ce second EP, devoilant de nouvelles facettes où l’electro EDM flirte avec le hip hop et fait la part belle aux jeunes pousses pour les remixes.

————————————————————————–

« We are not musicians, we are not artists, we are neither singers nor photographers, not really AD and not DJs, but we are all of it. » KCPK

A multi-faceted band, one of the main incubator of the world wide known « Remoise » scene with – The Shoes, Yuksek, Brodinski- while creating unique experiences with Woodkid , Neneh Cherry, The Chemical Brothers, Two Door Cinema Club, Phoenix, Justice, Agoria… They also traveled the world with their PANIK nights. Trend catchers, today, The KCPK flagship brings a new aesthetic answer. Landing by itself with a second EP, showing new faces where EDM meets Hip hop while promoting young artists with remixes.








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alex.pacotte(@)miala(.)fr

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Loma Vista Rec.
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KHALID

KHALID

LABEL
Loma Vista Rec.
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USA
TERRITORY
France
BIOGRAPHY

Khalid released “Location” before his high school graduation and it garnered over 1.52 million plays in less than two months, which led to his major label deal with Right Hand Music Group/Columbia Records. Khalid’s debut album, American Teen, has received mass critical acclaim with praise from The New York Times, TIME Magazine, Billboard, NYLON, and many more. Billboard stated, “…effortlessly excellent…the kid is still so young, but this body of work is beyond his years”. Khalid has also performed on Jools Holland, The Tonight Show Starring Jimmy Fallon, The Ellen DeGeneres Show, Good Morning America, The Late Late Show With James Corden, and at this year’s SXSW where he won MTV’s Woodie To Watch Award. Additionally, Khalid embarked on his first-ever headlining tour in both the U.S. and select European cities where he sold-out every single date before the album was even released. Khalid has over one billion streams worldwide across all partners, and he is one of two solo teenagers to reach the top 10 on the Billboard 200 in the last 12 months. Khalid is currently the face of Forever 21’s Summer Digital Campaign, #F21xMusic, Men’s Line, and was named MTV Push: Artist to Watch for the month of July. He was nominated for a 2017 BET Award for Best New Artist, and has recently been nominated for a Teen Choice Award for Choice R&B/Hip-Hop Song for “Location”, and winner of the MTV VMA for Best New Artist award. “Location” is certified double platinum in the US and Canada and platinum in Australia, and New Zealand. American Teen is also certified Gold in the U.S and Canada.








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arnaud[.]meersseman[@]miala[.]fr

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Warner Bros.
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New Zealand
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France

KIMBRA

KIMBRA

LABEL
Warner Bros.
NATIONALITY
New Zealand
TERRITORY
France
BIOGRAPHY

Kimbra a déjà fait un petit bout de chemin depuis ses premiers tubes indé comme ‘’Cameo Lover’’ ou ‘’Settle Down’’ qui l’ont lancée sur le devant de la scène dès 2010, lui faisant remporter le prix de l’International Songwriting dans la catégorie Pop, et engranger des millions de vues sur YouTube.

Vous la connaissez certainement via son tube incontestable ‘’Somebody I used to Know’’ avec Gotye qui s’est hissé à la première place dans près d’une douzaine de pays, dont les Etats-Unis et la Grande-Bretagne.

Depuis, deux albums sont parus, ‘’Vows’’ en 2011 et ‘’The Golden Echo’’ en 2014, qui ont confirmé la stature pop incontournable de la chanteuse néo-zélandaise jusqu’à aujourd’hui.

Entre-temps, on l’aura vue sur les plus belles scènes du monde entier, de Coachella à Rock en Seine, de Rio à Singapour.

Cette année marque son grand retour sur scène et en tournée, avec de nouvelles surprises à la clé. Rarement vue en France, son concert le 26 novembre à la Maroquinerie s’annonce déjà comme un événement !








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arnaud(.)meersseman(@)miala(.)fr

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KREPT & KONAN

KREPT & KONAN

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MERCURY
NATIONALITY
UNITED KINGDOM
TERRITORY
FRANCE
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The duo Krept and Konan otherwise known as “Play Dirty” are two very talented artists from south London who are killing the UK underground scene with their music, crazy punch lines and metaphors that are out of this world which attracted a huge fan base. Due to their versatility they create variations of good creative music,Therefore cannot be put into 1 genre as they have done such a variety from,rap, hip hop, grime, house and pop.

The two artists started doing music from a very young age as a hobby in their own local neighbourhoods, Krept from Norwood, and Konan from Thornton Heath. As time went on Krept and Konan became friends outside of music and in due time realised we both had a musical talent in mc/rapping. It was then only a matter of time when they both came together to make a few songs for the fun of it. The songs had the streets going crazy, everybody had them on their phones, it is then when they realised their music potential. The two then started doing music videos, freestyles and mix tapes, and during this time the success grew massively. Now they have a massive fan base, millions of views on YouTube, an award winning C.D “Tsunami” which climbed to #2 in the itunes hip hop chart and can still be purchased from itunes. They have worked with a variety of successful artist from Chipmunk, Wretch 32, Wiley, Giggs and many more. It is about time they take their music that 1 step further into the mainstream.

Like this page to keep up to date with the unstoppable duo and their path to success!








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arnaud.meersseman@miala.fr

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Jaydone Ltd
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Scottish
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KT Tunstall

KT Tunstall

LABEL
Jaydone Ltd
NATIONALITY
Scottish
TERRITORY
France
BIOGRAPHY

KT Tunstall préfère vivre et créer dans le moment présent. Cette impulsivité se retrouve dans ses accomplissements et performances, définissant des classiques avec ses titres nominés en 2004 aux Grammy Awards ‘Black Horse &The Cherry Tree’, ‘Suddenly I See’, ‘Hold On’, ‘Saving My Face’ et bien d’autres.
De retour en 2013 elle part en retraite en Californie et au Nouveau Mexique afin de puiser son inspiration, et de là est né un nouvel album, « Invisible Empire//Crescent Moon » produit par Tony Hoffer (Beck, Air, The Kooks) et très bien accueilli par le public.

« C’est de la pop tapageuse, anti-mielleuse, pro-sauvage, et émotionnellement psychédélique. » dit-elle à propos de sa nouvelle musique. « Je laisse mes chansons s’évader tout en gardant un pied dans l’écriture traditionnelle. »
Se gorgeant exclusivement des musiques de Fleetwood Mac, Tom Petty, et d’artistes plus récents tels que Tame Impala et Devendra Banhardt, elle ajouta petit à petit à son répertoire des accents de musique psychédélique californienne battue par le vent et de mélodies pop tout droit venues de la côte.


KT Tunstall chooses to live and create in the moment. This impulsivity courses through her catalog and performances, defining classics like the GRAMMY Award®-nominated ‘Black Horse & The Cherry Tree’, ‘Suddenly I See’, ‘Hold On’, ‘Saving My Face’, and many more. This urgency also drives the Scotland-born and now Los Angeles-based songstress’ forthcoming fifth full-length studio album—to be released in fall 2016 on Virgin Records UK.

“It’s rambunctious, anti-slick, pro-wild, psychedelic emotional pop,” she says of her new music. “I’m allowing these songs to misbehave while still staying rooted in traditional songwriting. I feel I’ve finally cut myself free from a disempowering, disabling search for approval which has been heavy baggage for me for a long, long time. It’s a return to a sort of innocence. I’m being honest, and I’m having a load of fun.” She likens this journey to a “Joy-Phoenix, rising from the ashes.” 2013’s ‘Invisible Empire//Crescent Moon’ came to life during one of the most tumultuous periods of her life, as she lost her father and went through a divorce. A change of scenery proved restorative, revitalizing, and reinvigorating. “I never imagined moving to LA, but as soon as I found Venice Beach, I thought, ‘OK, I get it.’ I felt like setting my bag down. There was a balance I’d been missing between working hard and enjoying my life, and I’ve found that here.”

Fueled by a heavy audio diet of Fleetwood Mac, Tom Petty, and more recent artists such as Tame Impala and Devendra Banhart, windswept Californian psychedelica and widescreen coastal pop melodies found their way into her own repertoire.

Following this West Coast muse, KT embarked on a series of writing retreats to Joshua Tree and New Mexico. “The Southwest has a powerful pull,” she goes on. “Venice Beach, Joshua Tree, and Taos all played a huge part in how this record feels and sounds. I holed up in a beautiful Joshua Tree cabin, sat outside, and played the new songs to the rock formations and stars with a blanket around me. In New Mexico, I got up, chopped wood, built a fire, and sat there for six or seven hours a day, just writing while the snow fell.” Returning to Los Angeles, she teamed up with powerhouse producer Tony Hoffer [Beck, Air, The Kooks] to carve out and create what she feels is her best and most visceral work to date.

Simultaneously, she also drew on her recent experience studying film score composition at the Sundance Film Institute Composers Lab at Skywalker Ranch in Northern California.

“I feel that the album communicates something beyond the lyrics,” she admits. “It’s born from a very real feeling of experiencing a new life and having a wider view of that. So much has changed, and there’s a deep fulfillment in knowing that I own that change. Many of these new songs are full on in their energy. When I play, I have realized that I really have to sweat to deliver what I’m best at – which is going out on stage and creating a physical and emotional experience for a room full of people. It’s primal, tribal, and when it’s really good, it feels transcendent. You share life together, all the good, all the bad. It opens you up.”

It’s a blossoming that began with her outstanding breakout 2004 debut, ‘Eye to the Telescope’, carried through the RIAA goldcertified ‘Drastic Fantastic’, to 2010’s unanimously acclaimed ‘Tiger Suit’, and most recently, the similarly excellently-received ‘Invisible Empire//Crescent Moon’. She won a BRIT Award, an Ivor Novello, and received GRAMMY Award® and Mercury Prize nominations. Her music has featured prominently in film and television including ‘The Devil Wears Prada’, ‘Ugly Betty’, and ‘Grey’s Anatomy’. She has penned songs for films such as Disney’s ‘Million Dollar Arm’ – co-writing with the legendary AR Rahman, ‘Winter’s Tale’ for Warner Brothers, and the soon-to-be-released, highly anticipated movie, ‘About Ray’.

Now, KT begins the brightest phase of her journey yet. “My fans have been so brilliantly loyal,” she leaves off. “They want the truth. They’re not interested in some bullshit puppet dancing around pretending that life is a movie, they want something real. They want good songs. They want joy. They want to feel. That’s what I’m giving them on this album.”








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arnaud(.)meersseman(@)miala(.)fr

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LEMARQUIS

LEMARQUIS

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NATIONALITY
FRENCH
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WORLD
BIOGRAPHY

S’inspirant de la French Touch, LeMarquis se joint le collectif Discothrill et commence à faire parler de lui avec un remix de Phoenix – Fences qui atteint rapidement le sommet des charts hypemachine fin 2013.

Influencé par Kaytranada, Flume, SBTRKT, les labels Soulection et Roche Musique entre autres, il se laisse petit à petit séduire par le courant de la future beats, mêlant des mélodies groovy, basses appuyées et sonorités house, tout en jouant sur diverses influences RNB.

Ses derniers remixes de Whitney Houston, Indeep ou Ludacris, ont chacun rapidement dépassé le million d’écoutes.

Partageant successivement des scènes prestigieuses telles que le Social Club avec Breakbot et Chromeo, le Yoyo avec Birdy Nam Nam, le Showcase avec The Magician, Klangarussell ou encore le festival TheSoundYouNeed à l’Electric, LeMarquis prépare aujourd’hui la sortie de son 1er EP, et de futurs passages sur la scène électronique française.








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mathilde.vanhassel(@)miala(.)fr

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LEWIS DEL MAR

LEWIS DEL MAR

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NATIONALITY
USA
TERRITORY
FRANCE
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Lewis Del Mar is a duo from Rockaway Beach in Queens, NY. The project is two lifelong friends, Danny Miller and Max Harwood, who have crafted a sound as challenging as it is comforting. Lewis Del Mar’s sonic hybrid blends barefaced bedroom recordings of acoustic guitars and soulful vocals over a rich soundscape of complex live and sampled percussion. A riveting tension exists as their sound calls upon inspiration ranging from latin folk to The Beastie Boys Paul’ s Boutique and J Dilla.

In June of 2015 the duo made their presence known with the independent release of their first single “Loud(y).” The reaction was instantaneous and overwhelmingly positive; the New York Times claimed “Loud(y)” to be a “clattering profane mixed-media anthem.” Indie Shuffle, Pigeons & Planes, Consequence of Sound, KCRW and CMJ all hailed the song as one of the best of the year, while “Loud(y)” made the iTunes “Best Songs of 2015” list after only two weeks on the platform and landed top 5 on the Spotify Viral charts.

Humility and passion are brimming on the band’s debut album. There is a uniquely human element to their sound and message – undeniably relatable while it continues to keep you guessing, peering curiously around the corner to get a glimpse of what’s next.








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Lewis Ofman

Lewis Ofman

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NATIONALITY
France
TERRITORY
World
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Fièrement auto-produit, Lewis OfMan s’inspire de bandes originales de films italiens des années 70. Ses mélodies témoignent d’un univers profond, enclin à la mélancolie, au frisson et à l’apaisement. Les compositions aux accords lunaires et aux percussions léchées de ce batteur de formation, transcrivent la volonté d’emmener son auditoire dans une sphère d’émotivité partagée. Tranchant avec ses traits juvéniles, Lewis s’avance en précurseur.


With tints of youth and at the same time hints of 70’s Italian film soundtracks, Lewis OfMan’s music creates a shivering atmosphere where melancholia meets elevation and joy. He started music as a drummer and then learnt the piano and guitar by himself. His songs, with sophisticated jazzy chords and polished up percussions, have the will to take his audience along in a shared emotionalism sphere. With his youthful features, Lewis steps forward as a precursor.








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alex(.)pacotte(@)miala(.)fr

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Def Jam Recordings
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U.S.A.
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LOGIC

LOGIC

LABEL
Def Jam Recordings
NATIONALITY
U.S.A.
TERRITORY
France
BIOGRAPHY

 

FRENCH

Après deux albums studios et cinq mixtapes, tous encensés par la critique et le public, le rappeur américain de 27 ans revient avec un tout nouvel album intitulé Everybody ! Sorti au début du mois de Juin, Everybody se classe directement à la première place du Top Billboard 200.

Aux cotés de Kendrick Lamar, Joey Bada$$ ou encore J. Cole, LOGIC accorde toujours autant d’importance aux textes et à son univers. Everybody traite donc de questions de société qui nous affectent quotidiennement, de l’anxiété à la dépression, jusqu’aux liens entre communautés. Pour Everybody, Logic a fait appel à de nombreux artistes venant d’horizons divers tels que Neil deGrasse Tyson, Killer Mike, Chuck D, Alessia Cara ou encore Khalid. Nul doute que cet album sera le succès le plus important de la carrière du rappeur.


 

ENGLISH

Logic – the 27-year-old rapper born Sir Robert Bryson Hall II  – burst onto the music scene through a series of mixtapes that led to a significant, rabid underground fan base. His tapes -Young, Broke, and Infamous; Young Sinatra; Young Sinatra: Undeniable; Young Sinatra: Welcome to Forever – garnered millions of downloads and streams, jumpstarting a worldwide tour all before signing a record deal with Def Jam Recordings in 2014.

With his debut album Under Pressure in 2014, the Gaithersburg, Maryland bred MC, broke free from the pack and established himself as one of the brightest young stars in music.  The project was hailed as one of the year’s finest hip-hop debuts, with press noting Logic’s superior lyricism, cinematic storytelling and important message of peace, love and positivity. The Huffington Post crowned Under Pressure “2014’s Best Hip-Hop Album So Far,” iTunes named it “Best Hip Hop Album 2014,” Artist Direct called it “The Best Debut of 2014,” and MTV News nominated it as “Rap Album Of The Year Contender.”  The buzz earned Logic performances on The Tonight Show starring Jimmy Fallon, Jimmy Kimmel Live!, Lollapalooza, Wireless Festival UK, Governor’s Ball, and a headline world tour.

Logic’s sophomore effort was the 18-track long-player The Incredible True Story (November 2015), which crafted a sci-fi space odyssey script that developed throughout the interludes on the album, and cemented Logic’s status as one of music’s most creative young MCs.  After the album debuted at #1 on the US R&B/Hip Hop Chart, he embarked on the 2016 Incredible World Tour across the U.S. and Canada from February through April.  “Bobby Tarantino,” his summer 2016 mixtape, upped the ante, as Billboard declared “Logic heats up the summer with a new banger,” as Logic co-headlined a massive summer amphitheater and arena tour.

In 2017, Logic continues to raise the bar with the release of his third full-length album Everybody. The album touches on societal issues that affect us all on a daily basis, including anxiety, depression, race relations and more. Everybody features a wide-array of artists and personalities including Neil deGrasse Tyson, Killer Mike, Chuck D, Alessia Cara and Khalid and has become his most commercially successful album to date.








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RAAR
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American
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Louisahhh

Louisahhh

LABEL
RAAR
NATIONALITY
American
TERRITORY
France
BIOGRAPHY

Louisahhh est une artiste multi-facette.

Débutant sa carrière aux États-Unis, elle a tout aussi bien officié en tant que productrice au sein du duo NYCPARTYINFO, qu’exercé ses talents de chanteuse et de compositrice au côté de Danny Daze.

Propulsé en haut des charts par les hits clubs « Let the Beat Control Your Body » et « Nobody Rules The Streets » sortis sur Bromance Records au côté de Brodinski, Louisahhh est peu à peu devenue l’une des figures féminines majeures du paysage techno imposant sa verve singulière oscillant entre techno maitrisée et sensualité destructrice. Elle s’est notamment distinguée par ses collaborations avec l’artiste Maelstrom aboutissant à la sortie de trois EPs et à la création du label RAAR sanctifiée par deux opus dont le dernier, « Listen/Hurry » est sorti en 2016.

Officiant aussi en solo, ses deux EPs techno, « Transcend » et « Shadow Work » sortis sur Bromance Records, sont un condensé d’émotion, qui à l’image de ses DJs sets sont délivrés avec une technique irréprochable.

Après une résidence sur BBC Radio 1 et une tournée internationale, Louisahhh est de retour avec un nouvel EP “A Trap I’ve Built”, et une nouvelle collaboration avec Dave Clarke dans son prochain album The Desecration of Desire. Louisahhh est maintenant en train de finaliser son premier album qui sera dévoilé en 2018.


Raised in an atmosphere bursting with passion for music, Louisahhh started writing songs, singing and playing instruments at an early age before discovering a passion for DJing.

While sneaking into New York City’s underground clubs with fake IDs, Louisahhh started to make a name for herself as a DJ during the years 2000.

After two solo EPs (Transcend 2013 and Shadow Work in 2016), Louisahhh has quickly risen as one of the most promising artists within the club scene. Amidst this whirlwind of excitement, the fateful meeting of French producer Maelstrom spiraled into a fast friendship and eventual collaboration on several records and what would later become RAAR, the record label they founded in 2015.

In addition to being a respected songwriter, Louisahhh has been committed to the craft of DJing over the years. In 2016, she made it to the cover of DJ Mag UK and quickly after, BBC Radio 1 welcomed her as a resident DJ. In 2017, she’s back with a new EP, A Trap I’ve Built, and a new collaboration with Dave Clarke on his long-awaited album The Desecration of Desire. She’s now putting the final touches to her debut album which is set to come out in 2018.








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simon.bierlaire(@)miala(.)fr

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REMember Music, Warner
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MAC MILLER

MAC MILLER

LABEL
REMember Music, Warner
NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

FRANÇAIS

En 2010, un jeune rappeur de 18 ans à peine originaire de Pittsburg arrive sur le devant de la scène avec un style old school qui trompe tout le monde sur son âge. Il n’allait pas tarder à se faire un nom : Mac Miller s’est rapidement fait une solide réputation à coups de mixtapes et de vidéos relayées sur le web. De son vrai nom Malcolm McCormick, il a d’abord rappé sous le blaze de ‘Easy Mac’ qu’on retrouve sur sa toute première mixtape ‘But My Mackin’ Ain’t Easy’ en 2007. C’est sa mixtape K.I.D.S. qui le fait réellement percer à sa sortie en août 2010, lui donnant toute l’attention des blogs hip-hop, et permettant à Mac Miller de signer un contrat chez Rostrum Records. Ainsi sortent son premier EP ‘On and on and Beyond’, et son premier album ‘Blue Side Park’ en 2011, qui arrache une première place sur le Billboard 200. Beaucoup plus expérimental, ‘Watching Movies with the Sound Off’ sort en 2013, avec les meilleurs featuring du hip-hop alternatif du moment comme Action Bronson, Earl Sweatshirt, et même Flying Lotus qui y pose sa patte. Un an plus tard, Miller signe chez Warner et lance sa propre écurie, REMember Music, sous l’aile de la major. ‘GO :OD AM’ suit en 2015 avec Lil B, Chief Kief et Piguel sur la guest list de l’album.

Cette année, Mac Miller est de retour avec un nouvel opus, ‘The Divine Fiminine’, sorti en 2016, sur lequel apparaissent les noms d’Anderson Paak, Kendrick Lamar et bien d’autres… Un retour qui se fera également sur les meilleures scènes de l’été !

 


 

ENGLISH

Coming on the scene with a throwback style that betrayed his years, Pittsburgh-based rapper Mac Miller had just turned 18 when he spent 2010 making his name through mixtapes and video-sharing websites. Born Malcolm McCormick, Miller first used the alias “Easy Mac,” a name referenced on his debut mixtape, 2007’s But My Mackin’ Ain’t Easy. His K.I.D.S. mixtape became his breakthrough when it was released in August of 2010, earning plenty of attention from hip-hop blogs and landing Miller a recording contract with Rostrum Records. Rostrum released his debut EP, On and on and Beyond, and his debut album, Blue Slide Park, in 2011. The album debuted at number one on the Billboard 200. The more experimental effort Watching Movies with the Sound Off followed in 2013, with left-field hip-hop names like Action Bronson, Earl Sweatshirt, and Flying Lotus lending a hand. A year later he signed with Warner Bros. and launched his own imprint, REMember Music, under the major label. GO:OD AM followed in 2015 with Lil B, Chief Keef, and Miguel on the album’s guest list. His next full length, The Divine Feminine, is set to be released on September 16, 2016, featuring appearances by Anderson .Paak, Kendrick Lamar, and many more.

 

 








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Maelstrom

Maelstrom

Live / DJ
LABEL
RAAR
NATIONALITY
French
TERRITORY
France
BIOGRAPHY

Depuis ses débuts, Maelstrom a su gagner le support de Teki Latex & Orgasmic, têtes du label Sound Pellegrino chez qui il fait ses preuves avec son célèbre EP USSR , puis Boys Noize qui lui offre deux sorties sur son label Techno BNR Trax avant d’être adopté par The Hacker et Gesaffelstein chez Zone, grâce auxquels il sort trois EP.

Sa musique modernise les sonorités de la Techno classique de Detroit avec classe et sophistication : des basses profondes et des percussions complexes faites pour les hangars, taillées dans le béton de ses premières raves.

Depuis 2013, ses productions en collaboration avec Louisahhh!!! sont aussi signées par Bromance. Deux parcours distincts, convergeant vers l’exploration de nouveaux territoires, au croisement de l’electro et du punk, alliant la sensibilité de la deep house aux vibrations industrielles.

Il a joué dans les plus grands clubs et festivals de musique électronique de la planète tels que le Fabric à Londres ou le Sonar à Barcelone et continue aujourd’hui de faire le tour du monde avec ses Dj Sets.

 


 

Though his name suggests total chaos, Maelstrom’s music belies intention, focus and precision. Often marked as ‘exciting newcomer’ to French techno, Maelstrom has actually been making music for over fifteen years. With a cryptic history of aliases and side projects, illegal raves thrown in warehouses and fields and basements, the artist has really come into his own under this moniker.

With releases on BNR Trax, Sound Pellegrino and an undeniable staple of the Zone Records family, Maelstrom’s sound has matured from ferocious electro bangers to knee-buckling techno over the last half-decade. Not one to pigeonhole himself, the artist also flexes a stirring ambient muscle, working as deftly at a pensive 100 beats-per-minute  as at a roaring 135. As capable behind the decks as he is in the studio, Maelstrom has graced the decks at Berlin’s legendary Berghain and Boiler Room, Paris’ Rex Club and packed clubs in Asia and Australia.

2015 brings an exciting development in Maelstrom’s partnership with oft-collaborator LOUISAHHH!!! as they launch RAAR, a ‘punk rock label for techno heads, or a techno label for punk rockers’. Similarly, Maelstrom and fellow Frenchman Djedjotronic are exploring new sonic realms with their live machine project, Lost Echoes, which debuted at Festival Scopitone in September 2015.

It is clear that Maelstrom’s storm is only beginning to brew, and that this artist is one to watch as he continues to create controlled chaos in the wild, bright future.

 








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MANSIONAIR

MANSIONAIR

LABEL
Glassnote
NATIONALITY
Australia
TERRITORY
France
BIOGRAPHY

Mansionair have had a whirlwind three years since releasing “Hold Me Down” in early 2014 to millions of Spotify streams and widespread praise for the mesmerizing and genre-defying track from tastemakers including NME, The Guardian, Stereogum, BBC Radio 1 and Pigeons and Planes. The song caught the attention of CHVRCHES who then released the Hold Me Down EP on their own Goodbye Records imprint, which led Mansionair to open for their Every Open Eye Tour. Mansionair has sold out headline shows, played the coveted Laneway Festival and Splendour in the Grass, and shared stages with the likes of Florence and the Machine, Alt-J, and The Temper Trap. Mansionair has since signed with Glassnote Records and Liberation, who have released their Pick Me Up EP and newest single, “Easier”.








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MATOMA

MATOMA

LABEL
PARLOPHONE
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NORWAY
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BIOGRAPHY

We exist in an era of music in which success is easily quantified—an artist becomes a sensation based upon on an ever-higher number of views, followers, plays and likes.

By this standard, Norwegian artist Matoma has certainly done big things in a short amount of time, aggregating hundreds of thousands of online followers, and incredibly, seeing his remixes garner millions of plays in just five months. His standout hip hop meets tropical house single “Old Thing Back” currently has over 100 million plays on Spotify.

His true achievement, however, is about more than a numbers; it’s about depth, feeling and and that magical symbiotic relationship between the performer and the crowd. In this sense, Matoma, the 24-year old artist born Tom Lagergren, has accomplished something special.

His signature sound is a summer-ready mix of tropical house, breezy funk and classic hip-hop, with influences including Ice Cube, Xzibit and The Notorious B.I.G. While these styles may seem disparate, Lagergren has fused his influences into an infectiously feel good sound, as heard on his remixes and mashups of artists as varied as Snoop Dogg, Eminem, Will Smith, Maroon 5 and Axwell.

Rather than choosing a single genre label, Lagergren prefers to simply call his output the future of pop music. His skills as a producer have indeed gained high-level attention from the pop world, with this past May’s “Try Me,” a collaboration with Jason Derulo and Jennifer Lopez, receiving a warm critical response and 50 million more plays so far. Vibe called the track a “perfect tune for drop-top weather” and SPIN labeled it the best song of Lopez’s career.

Matoma’s spring 2015 Midnight Sun tour of the United States was largely sold out. “People were screaming, ‘Matoma,’” Lagergren recalls of those shows, “and I was like, ‘Shit, this is my dream.’” It’s appropriate then, that his current string of dates spanning the United States and Canada has been dubbed the Living the Dream tour.

It’s a dream that has been years in the making, beginning when Lagergren was a music-oriented kid learning to play classical piano. When he tired of the instrument, he began producing music on a laptop in his bedroom. After a stint in the military, he went to University in Norway, got his bachelor’s degree in music production, and assumed he’d become a music teacher. As it turned out, however, life went in another direction after Lagergren started putting his remixes on Soundcloud.  He was surprised, and thrilled, to find his music celebrated by listeners around the world.

“Remixing was a really good opportunity to show people my skills,” he says. “I did that for fun, and my Soundcloud profile started growing. I got really inspired and kept going.”

In time, Lagergren became a resident DJ at his university, began playing out around town and gained industry attention. This led to the aforementioned Midnight Sun tour and earned him summer festival dates, clubs and A-list events including Bonnaroo, Electric Forest, Camp Bisco, Hard Summer and CRSSD. His recently released single “Feeling Right (Everything Is Nice)” which features Popcaan & Wale is already getting major traction, and a more substantial Matoma project is slated for release in early November.

For the time being, Lagergren is soaking up the opportunity to play for crowds around the world, flexing his diverse knowledge musical knowledge and making ever-larger audiences feel the same infectious vibrancy that’s instilled in his music. “There’s too much shit going on in the world,” Lagergren says. “I just want people to listen to my music, be happy and feel my love through the music.”

Matoma’s success thus far proves that audiences are indeed feeling that love, and loving him right back.








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Molécule

Molécule

Live / DJ
LABEL
Mille Feuilles
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

Enfant, Romain Delahaye avait pris coutume d’observer la mer. L’inlassable roulement des vagues ne cessait alors de nourrir l’imaginaire de ce jeune parisien né en 1979, souvenirs indélébiles de vacances dans la maison familiale en Bretagne, à Cancale. Comme une drôle de prémonition, c’est à quelques kilomètres de là, à St Malo, que ce natif de Grenoble « et ses vallées trop étriquées » à son goût,  prend le large un matin d’hiver 2013 sur le chalutier Joseph Roty II, pour un voyage bien particulier. A bord de ce colosse de 90 mètres de long, le musicien emporte plusieurs centaines de kilos de matériel, 6 claviers, 2 guitares, 3 micros, 7 pédales d’effets, un ordinateur, une table de mixage, des enceintes et une boite à rythme, le tout pour aller composer, jouer, enregistrer et mixer entièrement un album au beau milieu des caprices de l’Atlantique Nord.

Après 34 jours sans escales, 4896 miles et des déferlantes de 17mètres de haut, 60°43’Nord (sa plus haute position enregistrée dans l’océan, à 230km des côtes écossaises) apparaît comme une quête artistique (créer dans des conditions extrêmes) et personnelle (être enfermé dans un espace confiné sur un horizon sans fin) aux allures d’anthropologie sonore (il est embarqué avec une soixantaine de pêcheurs portugais, polonais et français), une œuvre composite hors norme. Imaginez Matthew Herbert et François de Roubaix sur un bateau décrit Pedro Winter qui flasha littéralement sur le projet et décida d’éditer un vinyle collector sur son label Ed Banger en 2015.

Si l’entreprise de Romain Delahaye alias Molécule impressionne, c’est parce qu’elle initie un processus de création inédit, mêlant à la fois les sons industriels d’un chalutier en mer (le moteur, les câbles, la pêche, le bruit de la coque contre les vagues) et ceux du grand large (la houle, le vent, les déferlantes)  dans une traversée technoïde oscillant entre ambient immersive et rave berlinoise au milieu de l’océan.

Homme libre, toujours tu chériras la mer clamait Baudelaire. Dès lors, Molécule n’a pas terminé de regarder l’inlassable oscillation de la houle et nous sommes loin d’avoir fini de suivre les odyssées musicales de Romain Delahaye.

 

60°43’NORD : LIVE AUX TRANS

5 décembre 2015, 4h45 du matin. A la proue de ses synthés (Buchla, Analog Four et Mini-moog), de sa boite à rythme TR-8 ainsi qu’un écran d’une quinzaine de mètres le surplombant, Molécule plonge l’immense hall 9 du Parc des expos rennais dans les méandres furieux de l’océan Atlantique, bien connu des bretons. Dans ce Zénith éphémère, rempli de 7500 spectateurs, la foule prend alors en pleine face un live sans relâche où les images tournées lors du périple se percutent et se fondent aux beats et boucles puissantes du musicien. “Les Transmusicales de Rennes, c’est un véritable mythe, raconte t-il, un passage marquant dans la carrière d’un artiste. Faire la première de 60°43’Nord en clôture du festival devant une foule aussi énorme, c’est une charge émotionnelle dingue !”








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Mr Scruff

Mr Scruff

LABEL
Ninja Tune
NATIONALITY
English
TERRITORY
France
BIOGRAPHY

As a DJ, Andy Carthy aka Mr. Scruff plays across the board, flitting between soul, funk, hip hop, jazz, reggae, latin, african, ska, disco, house, funk, breaks, soundtracks and loads more. As a producer he makes music that draws on these influences, with a large dose of cheek and good humour. His cartoon drawings illustrate gig flyers , record sleeves and CD covers, and usually accompany him at gigs as live animated visuals.

Carthy’s first encounter with mixing was as a 12 year old in late 1984, when a friend played him some of his uncle’s electro records, notably theStreetsounds LP Crucial Electro Volume 1, opening his eyes and ears to the art of mixing records . Soon after he was constructing his own crude pause-button mixtapes, inspired by the electro compilations and various radio shows on stations such as Piccadilly, Radio Lancashire & Southside that exposed him to electro and hip-hop, soul, reggae and early house music. Shouts toJohn Peel (of course), Greg Wilson, Robbie Vincent, Richard Searling, Stu Allan, Lee Browne, Ranking Miss P, Scotty, Tony the Greek, Steve Barker, Gary Hickson, Sam Brown & Waxmaster.

Little by little Andy was building a collection fuelled by this knowledge, all the while improving his DJ skills. By 1987 he was proficient at turntable mixing and editing, although he was still using primitive home hi-fi gear. His first break came in 1994, when he met Barney Doodlebug, a DJ/Doodler who gave him his first Manchester gig, on a Sunday night in a venue called Dry Bar. He also passed on a demo tape to local label Rob’s Records , which resulted in them releasing the first Mr. Scruff 12″ single.

A regular on the Manchester scene through ’94-’95, he released a string of 12”s on Rob’s Records subsidiary Pleasure, as well as sides for Echo Drop, Grand Central & Cup of Tea. His work for Grand Central with Mark Raeinspired some four-deck club performances, including friendly “battles” with DJ Food, which introduced him to the Ninja Tune fold. Gigging across the UK (with Electric Chair, Off Centre, Fat City and Tru Thoughts) and Europe (with Grand Central), Mr. Scruff signed to Ninja Tune in 1998. His debut album Keep It Unreal arrived a year later, featuring the certified classic “Get A Move On”, kick-starting his Manchester club night of the same name, borne of a desire to play exactly what he wanted, rather than having to fit in with the music policies of other club nights.

These were the beginnings of his famed “all-night-long” DJ sets cheerfully spanning blues, jazz, soul, funk, 60s R&B, disco, boogie, deep house, reggae, ska, rocksteady, dancehall, electronica, electro, hip hop, African, Latin, drum & bass, breakbeat… and bolstered his standing as a passionate, digger, collector and, above all, an unrivalled selector of the good stuff.

Trouser Jazz (2002); the epic mix CD Keep It Solid Steel (2004); and Ninja Tuna (2008) cemented Scruff’s rep as a premium freaker of frequencies, the latter featuring collaborations with the likes of Quantic, Danny Breaks, Alice Russell, Andreya Triana, Pete Simpson, Kaidi Tatham and Roots Manuva.

A fistful of EPs and singles populated 2009-2013 including Wobble Control(2011), Feel It / Bounce (2011) and Be The Music (2012).

In 2010 Big Chill Festival invited Mr. Scruff to host his own tent, testament to his inimitable raw dancefloor magnetism as are his regularly rammed-to-the-rafters Keep It Unreal sessions at Band On The Wall (Manchester) and KOKO (London).

After receiving a mighty nudge by the giant elbow of Ninja, the majority of 2013 was spent in the studio recording new album Friendly Bacteria, featuring Denis Jones, Matthew Halsall, Phil France, Vanessa Freeman & Robert Owens.








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MY BABY

MY BABY

LABEL
Glitterhouse Records
NATIONALITY
NETHERLANDS
TERRITORY
FRANCE
BIOGRAPHY

MY BABY goes back to “Prehistoric Roots”

It hasn’t taken long for Amsterdam based psychedelic, shamanic trio MY BABY’s swampy blues and funk-inflected sound to cast a formidable spell, taking the world by storm.

Over the past 3 years, Dutch brother-sister-duo Sheik (drums) and Cato van Dyck (vocals) and New Zealand
guitarist Daniel “daFreez” Johnston have had their mojo working overtime and are now ready for the release of their third album “Prehistoric Rhythm”. With their new album, the band aim to channel a primal awareness amidst hypnotic beats, shimmering soulful vocals and psychedelic riffs on the back of rootsy blues and dubbed out funk.

Daniel Johnston: “Over the past two or three decades’, electronic dance music has become a huge part of our culture. It’s hard to fathom just how many people connect and celebrate life by going to dance parties and raves. These gatherings are quite similar to tribal celebrations and rituals that have been around for thousands of years across all cultures in the world. The desire and need for those rituals remains and has become a fascination for us and we have made that trance-like hypnotic groove an essential part of our live performance, but it is also prevalent on a lot of the album. It’s funny to think of it. Going back to prehistoric times, people dancing round a fire together! It’s in our DNA.”

MY BABY’s music has been influenced by the power of spiritual music (gospel and voodoo spirituals) and the entrancing hypnotic quality found in music accompanying shamanic rituals. The roots of these phenomena can be traced back thousands of years, so can the music. This ‘tracing’ has become an important part of the ‘personal’ vision of the band and is a central theme on the upcoming album ‘Prehistoric Rhythm’. The band has delved into some of those rituals, some of which exist to this day, and reflect on how a lot of contemporary culture has inherited from the past, that its cultural activity stems from these ancient traditions.

First single “Love Dance” is an African inspired trance-like evocation of a tribal ritual involving the search for identity, love and spirituality. The protagonist is at peace after transcending the desire to feel complete through the presence and appeasement of others.

Joost van Dijck: “We recorded this album primarily on a ‘4-track ampex deck’ from the fifties. We wanted it to sound old so you feel as though you experience something not linked to the present, but rather like traveling through different era’s”

With the release of their new album, MY BABY endeavours to take the audience on a shamanic
influenced musical journey. And pose to develop a theatrical mythopoetic yet danceable form of music that can entice, uplift and engage the listener in a way that it allows us to discover something that resides within our collective consciousness just as the characters in the songs are forever searching for a heightened spiritual and primal awareness amongst the turmoil of our modern-day society.








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NICO & VINZ

NICO & VINZ

LABEL
Warner Brod. Records Inc.
NATIONALITY
NORWAY
TERRITORY
FRANCE
BIOGRAPHY

Over time, bonds strengthen through experience.

Since their emergence in 2010, the union of Nico & Vinz has evolved in lock step alongside the Norwegian duo’s music. 2014’s “Am I Wrong” introduced the pair on the global stage, going RIAA triple-platinum and capturing #4 on the Billboard Hot 100. As their full-length debut Black Star Elephant [Warner Bros. Records] earned critical acclaim, they picked up “Best New Artist” at The Soul Train Awards and performed everywhere from Dancing with the Stars to the iHeartRadio Music Festival and ESSENCE Festival, in addition to global tours with Bruno Mars and Usher, as well as a Vancouver one-off with Taylor Swift. Meanwhile, the boys utilized their platform to promote change, gracing the stage of UNICEF’s Snowflake Ball, the UN AIDS Gala in Switzerland, South Africa’s World AIDS Day, Glamour’s “The Power of an Educated Girl” in front of First Lady Michelle Obama and Academy Award® winner Charlize Theron, and the 2014 “National Christmas Tree Lighting” at the behest of the First Family. 2015 saw their Cornerstone EP garner praise from Vice, Mashable, Vibe, Huffington Post, and more in between spawning the hit “That’s How You Know” [feat. Bebe Rexha & Kid Ink], which amassed 105 million Spotify streams and counting.

However, their friendship began to feel the pressures of a two-year personal and professional whirlwind…

“We were playing some of the biggest events in the world with one of the biggest songs of the in the world, but when we went backstage, we couldn’t even talk to each other or look one another in the eye,” admits Nico. “There was so much going on that nobody would dare address. These problems suffocated us for too long. We finally got together alone and talked. It was about opening up that communication and fixing it. In the aftermath, we felt stronger and more comfortable than before. We’ve grown a lot in these past two years, and the music started growing and getting better with us.”

“After we got those conversations going, we wondered, ‘Where do we take this now?’,” recalls Vinz. “Initially, we saw this hidden potential of Nico & Vinz being bigger than the both us individually. We got on the same page and asked, ‘How can we create something that people need to hear and they aren’t getting anywhere else?’

During 2016, they quietly set about accomplishing that goal. Nico & Vinz became galvanized by shared Spotify playlists featuring everything from Phil Collins, Alpha Blondy, and Kings of Leon to Method Man, Kendrick Lamar, and Sam Smith. They also made a decision to personally handle the bulk of the writing as Vinz hopped in the producer’s chair for the first time on a handful of tracks.

“On Cornerstone, we let a lot of people contribute and write for us,” Vinz continues. “We were really experimental, and it worked for the EP. With this project, we wanted to take control 100% and just do what we felt like. It was about making something unpredictable and fun.”

That brings us to Elephant in the Room. Comprised of three four-song EPs, this collection proudly ushers in the next phase of Nico & Vinz. Brightening their signature sonic collage of pop, urban, rock, and African styles, the vision invariably pushes boundaries yet again. The first single “Intrigued” builds from a guitar lick and airy beat into an energetic verse punctuated by tribal flare and rap bounce. Everything culminates on the soulful hook’s admission, “There is something more to you than what I usually see on this side, I’m intrigued by you.

“It happened very organically and fast,” says Nico. “Sound-wise, it’s something that we haven’t touched on. There’s a hip-hop vibe in the verses and a classic, almost stadium rock element in the hook.”

“Lyrically, we’re approaching this record from two angles,” adds Vinz. “We’re looking at it from attraction beyond the surface. At the same time, we all try to achieve this feeling of intrigue in a relationship. You want to maintain that for as long as you can. We also both have strong mothers and were raised around empowered females. On the song, we speak to women with a different tone than much of the mainstream does in pop culture. There’s usually a focus on the ‘ratchet’ party girl. However, I believe a girl can have the time of her life at the club and then wake up and study, go to church, or read the next day. We want to address this other side.”

That intrigue carries throughout Elephant in the Room and ultimately translates to listeners with everything the group does.

Nico leaves off, “It’s important to be as authentic as possible. It’s scary to be yourself and find comfort in your own skin. I never found peace until I followed my own path though. We attacked the Elephant in the Room within our relationship, and we’re being ourselves. For a song to feel like us, it has to be real. If we happen to inspire someone along the way, I’d be very happy.”

“I hope everybody can hear how much effort we put into this,” concludes Vinz. “We took a risk. Every detail was carefully adjusted. We pushed harder than ever. It’s handcrafted with a lot of good energy, and it represents who we are together.”








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Nicolas Monier

Nicolas Monier

LABEL
NATIONALITY
French
TERRITORY
Worldwide
BIOGRAPHY

Du Matignon Paris, au Gotha club Cannes en passant par le Theatro Marrakech ou le Baroque Genève, Nicolas fait danser les plus prestigieux clubs de la planète. Une technique et des choix musicaux irréprochables l’amènent à se produire lors d’évènements tels que la fashionWeek Paris ou encore le Festival de Cannes. Proposant toujours une musique festive de qualité, il est soutenu par son meilleur ami The Avener, le DJ/Producteur numéro 1 des ventes en Europe qui l’invite régulièrement à s’exprimer à ses côtés lors de tournées internationales.








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Overcoats

Overcoats

LABEL
Arts & Crafts Productions Inc.
NATIONALITY
American
TERRITORY
France
BIOGRAPHY

Overcoats, c’est un duo de New-Yorkaises formé par Hana Elion et JJ Mitchel. Leur premier album YOUNG capture un son empreint de minimalisme et de mélodie : des chansons de connections et de tensions, abordant les profondeurs de l’amour et les défis de la vie de famille.

La musique d’Overcoats fait ressortir la force de la vulnérabilité, trouvant la lumière à travers l’obscurité, et faisant ressortir la catharsis d’une écriture simple et honnête. YOUNG parle de transformation : le passage à l’âge adulte, chanté par l’expérience commune de deux meilleures amies.

Leur palette se compose de sonorités électroniques discrètes et simples, avec des insertions de folk, de pop et de bluegrass. Avec une gamme allant de Sylvan Esso à Simon & Garfunkel, Overcoats crée de la musique profondément enracinée dans l’émotion, et guidée par la recherche des expressions naturelles à travers la voix et l’électro. Des chansons qui ont germé dans leurs chambres, chez elles, pour s’épanouir en des productions riches mais modérées, avec une réalisation soigneuse illuminant la nuance de l’écriture unique d’Overcoats.


Overcoats is the New York-based female duo of Hana Elion and JJ Mitchell. Their debut album YOUNG captures a sound rich in minimalism and melody: songs of connection and tension, on the depths of love and challenges of family.

Overcoats’ music draws strength from vulnerability, finding light through darkness, and the catharsis of simple, honest songwriting. YOUNG is about a transformation: the passage into womanhood, sung through the shared experience of two best friends.

On their first single “Hold Me Close,” Hana and JJ’s melodies are purity in unison, providing two distinct but entwined perspectives on the complexity of love. In their words, “the song is about finding solace in the present when the future and past seem impossible to understand. It’s about loneliness and disillusionment that we can feel in relationships, and how we must persevere anyway in hopes of finding the beauty in love.”

Elion and Mitchell were drawn to each other when they first met in 2011, finding connection in their diverse love of music and an immediate closeness that verges on sisterhood. Their meeting was transformative emotionally as well as creatively. Both halves of Overcoats describe the first time hearing each other sing as an epiphany: the harmony of their voices leading to personal, individual discovery. This bond forms the foundation of Overcoats, and it fills the ecosystem of YOUNG with its stunning sound and sentiment.

Album opener “Father” unfurls in clouds of three-dimensional sound: a cathedral of echo over waves of delay and the din of incidental noise. There is a rare resonance in Overcoats evident from these opening tones: between their separate (but inseparable) voices, flawlessly intuitive performance, and sublime musical production. Their harmonies slide from brassy to silken with elegant ease, floating over muted rhythms wrapped in lush swells of synthesizers.

YOUNG was written by Overcoats and co-produced by Nicolas Vernhes (Daughter, The War On Drugs, Dirty Projectors, Cass McCombs) and experimental R&B artist Autre Ne Veut, with additional production from Myles Avery and mixing by Ben Baptie (Lapsley, Lianne La Havas, Lady Gaga, Mark Ronson).

Their palette is stealth and simple electronics, with traces of folk, pop, and bluegrass embedded within. Like a spectrum from Sylvan Esso to Simon & Garfunkel, Overcoats creates music deeply rooted in emotion, and guided by the search for its innate expression through voice and electronics. Songs that began as bedroom creations flourished into rich but restrained productions, with careful craft illuminating the nuance of Overcoats’ unique songwriting.

On YOUNG, Overcoats creates music of mutual empowerment, at once synthetic and organic, wistful and uplifting, triumphant and subdued.

“The Fog” is a bay of lonesome, oscillating synth chords: its boundaries defined by the reflection of echoic finger snaps. Elion and Mitchell find clarity through a lovers’ haze, their stoic verses liberated by resounding chorus: Freedom is when I’m without you / When the fog lifts I’m the only one I see.

“Leave The Light On” layers looped and transposed vocals over thumping two-step 808 and punctuations of club-ready brass. Showing the true breadth of influence, songs like “Little Memory” and “Smaller Than My Mother” are laced with gospel and jazz, strands woven in with Vernhes’ and Autre Ne Veut’s natural touch.

YOUNG has a clear, vertical ambience that lets the topical vibration of the music shine through. This is the arrival of a magical collaboration: a rare unification of two hearts under one imagination. Elion and Mitchell are bound by absolute belief in one another, and the confidence that every creation is compelled by shared purpose.

Like its arc of transformation, from “Father” to album closer “Mother,” Overcoats captures the notion that we are the intersections of our parents’ greatest fantasies and biggest follies. YOUNG is a startlingly wise portrayal of these complexities: of love, on inspiration, and the legacy of family.








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mathilde(.)vanhassel(@)miala(.)fr

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Diversions/8bit
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Oxia

Oxia

LABEL
Diversions/8bit
NATIONALITY
French
TERRITORY
France
BIOGRAPHY

OXIA is one France’s most respected DJs and producers, with a career spanning over twenty years and intensive touring on all continents. With an impressive list of remixes and releases on famous imprints (8bit, Hot Creations, Saved, Knee Deep in Sound…) in addition to his own label, Diversions Music, and a string of collaborations with high-profile artists such as Agoria or Miss Kittin. The year 2017 is particularly promising, as illustrated with the re-release success, ‘Domino remixes’, of his worldwide classic smash hit on Agoria’s label, Sapiens and by his recent remix of Moby’s classic ‘Why does my Heart Feel so bad’.

Olivier Raymond AKA OXIA got into music in his early teens, with a predilection for Funk and disco, and a debut on a local Funk radio show. Olivier already had started mixing, influenced by a large spectrum of music styles: Funk, Italo-disco, New Wave and the early House scene. He met in high-school his future musical partner, Stephane Deschezeaux with whom he bought his first bits of equipment and started to compose music in the early Nineties. Not too long after that, Olivier became a resident DJ at a club in his hometown Grenoble, jumpstarting a career in electronic music. By 1994, Stephane and Olivier’s live act ‘OXIA’ was born.

In 1995, they met The Hacker, Alex Reynaud and Kiko; that same year Olivier created Ozone records together with Kiko, where OXIA released their first EP.

Olivier went on in 1998 to create a new label with The Hacker and Alex Reynaud, christened ‘Goodlife’ in homage to the mythical Inner City track.

Stéphane and Olivier then parted ways in the early 2000s; the latter continued with the OXIA moniker as a solo DJ act. He’s continued sound evolution, by now heavily focusing on groovy techno, gave birth to a series of EPs & remixes on Goodlife but also on labels such as Intec, Terminal M, and many others. In 2004 he released his debut solo album ‘24 HEURES’ on Goodlife, a vibrant homage to, amongst others, the Detroit techno scene.

‘Domino’, initially released on Kompakt, became a worldwide hit in 2006. Today, this track has become a classic, still regularly played around the world, boasting more than 20 million views on YouTube.

In 2008 OXIA scored second & third spot in the Beatport Music Awards for ‘Best Remix’ (with his remix of Butch’s track “On the Line”) and Best ‘Techno Artist’.

2009 saw the track ‘Whole Life’ (8Bit) win the Beatport Music Awards’ second place in the ‘best tech-house’ category. It was also Number One on Resident Advisor’s Annual DJ Charts.

Many remixes & original tracks followed throughout the following years for SCI+TEC, Tsuba, Soma, Time Has Changed, etc. As well as two mix compilations (5 years of Systematic, 5 years of 8Bit).

In 2012 OXIA released his second album ‘Tides Of Mind’ on French label Infiné Music, on which he collaborated guest singers Miss Kittin, Mesparrow and Scalde. Deep and melodic sounds gave a diversity of tracks, from dancefloor to downtempo.

Later on, OXIA completed numerous remixes and tracks for Visionquest (collaboration with Agoria), Noir Music (collaboration with Nicolas Masseyeff), Clarisse Records, Moan, Material… OXIA’s ‘Perception EP’ was released two years later on Saved records. A mix CD compilation for Club Kyo in Singapore followed. In 2015 Several remixes & EPs were released on highly respected imprints such as Hot Creations, Saved, Knee Deep In Sound…

In 2016 OXIA went back to 8bit and released his ‘Unity EP’. Summer of 2016 also saw him perform multiple times for Music On at Amnesia Ibiza for the third year in a row, including notably its closing. In July of the same year, together with his close friend Nicolas Masseyeff, OXIA founded Diversions Music. The label’s first release was ‘Connivence EP’, a three-tracker by the duo themselves. October saw Diversions’ second release, ‘Secret Point EP’, another tight trio from OXIA himself.

2017 saw OXIA’s classic worldwide smash hit ‘Domino’, which had recently celebrated its ten-year anniversary, re-released on Agoria’s new label, ‘Sapiens’. ‘Domino Remixes’ features a reworked version by its creator, as well as remixes by Frankey & Sandrino, Matador and Robag Wruhme. OXIA remixed Moby’s 1999 classic hit ‘Why Does My Heart Feel So Bad ?’, released on Spanish label Suara in March. In April, his Stefano Noferini’s remix “Exposure” was released on Italian label Moan.








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morgane.jorge(@)miala(.)fr

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Bromance
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French
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World

Panteros666

Panteros666

Live / DJ
LABEL
Bromance
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

Producteur et DJ de musique électronique, Panteros666 est l’un des quatre membres de Club cheval aux côtés de Sam Tiba, Myd et Canblaster. En 2016, ils sortent ensemble leur premier album « Discipline » sur Parlophone. En solo, Panteros666 s’épanouit mêlant dans ses réalisations mélodies entêtantes et esthétique sonore innovante. Il sort son premier EP en 2011 sur Sound Pellegrino, puis atteint le top des ventes en 2013 avec l’hymne techno « Baby F-16 » sorti sur Bromance Records. Le mini-album « Hyper Reality » sorti sur le même label définit véritablement sa marque de fabrique et sa vision de la musique: une utopie protéiforme. Panteros666 réalise l’ensemble de ses visuels et de ses expériences graphiques au côté de sa collaboratrice Ines Alpha. Avec sa brigade d’artistes 3D, ils s’associent au « Creators Project » de VICE afin de créer sa propre réalité augmentée reproduite par le biais de performances live : « Hyper Reality Live show ». En 2016, à l’occasion de la sortie de son nouvel EP « Clear » en collaboration avec Woodkid, le duo Panteros666 et Inès Alpha réalise le clip vidéo éponyme, aux accents DIU-Ridley Scottesque. Toujours en compagnie d’Ines Alpha, Panteros666 travaille actuellement sur son nouveau projet, HYPER ALLIANCE: une coalition d’artistes 3D spécialisés dans les nouveaux médias et se donnant pour mission d’associer la culture club et l’art digital sous différentes formes.


Producer and DJ of electronic music, Panteros666 is one of the four creators of Club cheval alongside Sam Tiba, Myd and Canblaster. They released their first album ‘Discipline’ in 2016 on Parlophone. In parallel, Panteros666 is also at ease working solo merging the lines between anthemic melodies and innovative sound design. Releasing his first EP in 2011 on Sound Pellegrino, he topped the charts in 2013 with the techno anthem ‘Baby F-16′ released on Bromance Records. Then comes ‘Hyper Reality’, a 7 tracks mini-album released on the same label and which defines Panteros666’s trademark club sounds and his vision of music: a multifaceted utopia. Panteros666 directs all his visuals and web experiments with collaborator Inès Alpha. With his 3D squad they teamed up with VICE’s Creators Project to create his own augmented reality performance: “Hyper Reality Live show ». More recently, they directed the DIY-Ridley Scottesque video for “Clear”, a track in collaboration with Woodkid. Panteros666 has now revealed his new project #HYPERALLIANCE: a coalition of 3D and New Media artists bringing together club culture and digital art, led by him and Ines Alpha.








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mathilde.vanhassel(@)miala(.)fr

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Transgressive Records Ltd
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American
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France

Peter Silberman

Peter Silberman

LABEL
Transgressive Records Ltd
NATIONALITY
American
TERRITORY
France
BIOGRAPHY

While Impermanence is Peter Silberman’s first solo album, it could easily be thought of as a continuation of the emotional-spiritual odyssey begun through his work in The Antlers over the past decade. It travels some of the thornier terrain of the trio’s previous albums Hospice, Burst Apart, and Familiars, while carrying the conversation further down the path.

But much of what distinguishes Impermanence from its forebears can be attributed to an unexpected injury, which imposed upon the musician considerable time and space to ponder the finite.

A few years back, Silberman developed a hearing impairment in his left ear that resulted in a temporarily total hearing loss, extraordinarily loud tinnitus, and an excruciating sensitivity to everyday noises. The condition required extensive rest and quiet, and in order to get that, he left his Brooklyn apartment for a more secluded setting in upstate New York.

Though the first manifestation of his condition wasn’t deep silence, but a constant static. “Years of playing loud shows had me familiar with the high-pitched whine of tinnitus, but this was more like a Niagara Falls in my head,” explains Silberman. “When the brain isn’t correctly receiving and interpreting signals, it seems to produce its own placeholder sound. It’s as if the careful organization of sonic elements becomes jumbled and disordered.”

“Once silence ceased to be available to me, I came to think of it as the luxury of well-calibrated perception. We mistakenly perceive it as nothing, but it’s a precious, profound entity. It became obvious to me why many prayers are silent, performed in immaculately quiet spaces.”

“For those several weeks, I was so sensitive to my own voice that I couldn’t talk or sing. I had to consider my life without music, to accept the loss of what was central to my being,” says Silberman. “It became painfully clear that I needed to turn the volume down, and I began to consider how I might continue to perform without doing further damage to my hearing.”

“As the sensitivity began to subside, I gradually re-introduced sound into my world, gently playing nylon-string acoustic guitar and whisper-singing. This once-solid element had become so fragile and tenuous, and I began to suspect that nothing was quite as stable as I’d believed it to be.”

“I’d come across the notion of impermanence through a number of authors— Alan Watts, Thich Nhat Hanh, Pema Chödrön, and Chögyam Trungpa— but it wasn’t until this experience that the idea resonated strongly, and felt so widely applicable,” he explains.

“Writing Impermanence became my effort to meditate on what had happened, and grasp what it had taught me: about my mortality, compassion, and change.”

Over the course of a few months, songs emerged from the deep quiet— ”Karuna”, “New York”, “Gone Beyond”, “Maya”, “Ahimsa”, and “Impermanence”— each sparse, and minimal, like scraps of Tibetan prayer flags. The musician was scrupulous about only saying what needed to be said.

“I wanted to avoid crowding the central message with high-density lyrics. Instead, the songs are anchored by simple mantras, leaving room for contemplation,” explains Silberman.

The six songs have an economy of expression, the spaces between the words as important as the words themselves. Like the infamous Miles Davis quote: “It’s not the notes you play, it’s the notes you don’t play.”

As the writing neared completion, Silberman linked up with his long-time friend and collaborator, Nicholas Principe of Port St. Willow. Over the course of a few winter months, Principe engineered the album in his upstate People Teeth studio, contributing production throughout. Together, they carved out a sacred sonic space, elongating the distance between notes, between chords, utilizing minimal arrangements to allow breathing room.

But the album goes beyond experiments in ambience. It actually traces the stages of healing, as Silberman experienced them.

“The sequence charts a circular course between distress and peace,” he explains. “The final track returns you to the mood of the first by a wormhole through a single breath, split in half across the last and first seconds of the album. It mimics the cyclical nature of facing unexpected obstacles.”

“I hope Impermanence can provide comfort to people grappling with transition, while remaining honest about it. There’s no remedy for the unpredictable, and I want this record to reflect that, to offer an alternative way to think about changing circumstances.”








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mathilde[.]vanhassel[@]miala[.]fr

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Warner Music Group
NATIONALITY
German
TERRITORY
France

Robin Schulz

Robin Schulz

Live / DJ
LABEL
Warner Music Group
NATIONALITY
German
TERRITORY
France
BIOGRAPHY

Black sunglasses, a baseball cap flipped backwards and a laptop: His visual trademarks simultaneously serve as his most important tools. Those and his keen sense for superhits that generate 9-digit streams and have so far enabled him to move crowds across the globe for the past one and a half years. The young man from Lower Saxony is actually more the reserved type, who would much rather stand behind his decks and let his music do the talking. Robin Schulz: A picture perfect career. Making his way from a local secret to the nation’s ‘next big thing’ and finally to an internationally acclaimed mega star. At age 28 the producer and DJ has already established himself as the most successful German club act to date and is now set to lay forth his sophomore album. Robin Schulz began playing smaller clubs as a DJ somewhere in rural Lower Saxony. Meanwhile, he has travelled the world: Osnabrück, New York, Tokyo. And more importantly, the world knows him. His 2014 breakthrough single, the multiplatinum certified Top 1 remix of “Waves (feat. Mr. Probz)” was a first sign of things to come. Though not even Schulz himself could have predicted last year’s incredible snowball effect and the extent of his current success. 2014 marked the start of a fairytale summer that knew just one name: Robin Schulz. His internationally goldand platinum-certified follow-up single “Prayer In C (feat. Lilly Wood & The Prick)” went on to become a global hit and write history, with Schulz as the first-ever German artist to reach the #1 spot of the global Shazam charts. Subsequently “Prayer In C” was officially named the “Summer Hit of 2014” and rightfully so. Building on this success, Schulz went on to release his now gold-certified debut album “Prayer” in autumn 2014, along with the song “Sun Goes Down (feat. Jasmine Thompson)”. Meanwhile Robin Schulz has sold several million records of “Prayer In C”, “Sun Goes Down” and the first single “Headlights” off his new album “SUGAR”, while generating 9-digit streams on Spotify as well as receiving numerous gold and platinum certifications. Numbers, digits and rankings that offer but an abstract image of the global pop phenomenon that is Robin Schulz. After performing at renowned events such as London’s iTunes Festival, the Belgian Tomorrowland, Mayday, the Nature One Festival, Miami’s Ultra Music Festival and the Ultra Festival in Japan as well as doing sold-out tours throughout Europe, America, Asia and Australia, the rather introverted artist has already joined the ranks of the greats. It is no longer uncommon for Schulz to play for 100,000 euphoric party people, sending crowds into a temporary frenzy, wherever he mans the decks. The notorious shades-wearer was even nominated for a coveted Grammy earlier this year among the US entertainment industry’s who is who and went on to take home the German ECHO award as “Best Dance National”. All of these moments have left their mark on his new album “SUGAR”. Thousands of new experiences, thousands of impressions and thousands of inspirations that Schulz has now channeled into 15 new songs. On “SUGAR”, Robin Schulz performs a uniquely delicate balancing act between electronic and pop music, like few of his peers. Schulz embodies the zeitgeist initially summoned by the worldwide club scene, but which has now outgrown dance culture in its pure form and evolved into a hybrid, at home in specialized press and features sections alike. Whatever passes through his hands is turned into precious metal in record time. Robin Schulz has created his very own, genre-transcending and highly recognizable sound: Deep house with organic instruments, always accompanied by a certain melody. Though Schulz doesn’t see himself as much of a melodic type. “SUGAR” is Schulz taking the next step and delivering his own brand of sweetness to the dancefloor. While his debut “Prayer” featured various remakes of songs by other artists, “SUGAR” is composed of his own productions. Schulz uncut. Robin Schulz has expanded his sound and finetuned it to create the greatest possible diversity, ranging from catchy radio tunes to danceable club tracks. “I created these songs all over the world,” Schulz explains his intercontinental production on “SUGAR”. “I try to recreate most of my ideas on my laptop. First I make a beat, then a framework and then we try to find the fitting songs and vocalists, before heading to a larger studio to produce. I could have named by new album ‘Lufthansa’. That’s how much time I’ve been spending on planes lately. Sometimes I even fell asleep, while working, only to wake up a few hours later with the beat still playing on my laptop…” Superstar overtime that has already paid off with tracks such as the album’s first precursor “Headlights (feat. Ilsey)”, which saw Robin Schulz quickly enter the Top 10 in Germany. His current single was equally quick to reach gold: “Sugar (feat. Francesco Yates)” is the third #1 single by the Osnabrück-born artist that also entered the German single charts, streaming charts, airplay charts and iTunes charts at #1, besides generating several million Spotify streams and counting. The song’s official music video is currently ranked among the most-watched clips on YouTube and was recently voted one of the “5 Best Dance Videos Of The Week” by music service Shazam, while Robin Schulz’s YouTube channel is officially the most successful German YouTube channel in the area of music. But that’s just for starters. Next to Ilsey and Francesco Yates, “SUGAR” features an array of extraordinary vocalists: Must-watch-talents including J.U.D.G.E. or soFLY are joined by the New Zealand singer/songwriter and actor Graham Candy, US hiphop artist Akon, German producer and fellow DJ Moguai and last but not least, electronic pioneer Moby, with a super rare feature: “I really wanted that to happen,” reveals Schulz, eyes shining. “Seeing as my manager knows his manager quite well, it actually happened quite easily. He was really nice and uncomplicated. As a matter of fact, that is also my favorite track of the album…” Despite his success and countless air miles, this modest statement comes from someone standing firmly with both feet on the ground. That’s Osnabrück tradition for you. Asked what he’s most proud of, Robin Schulz responds: “I’m proud that I still have the same friends and that I’m able to show that in music, everything is possible.”








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arnaud(.)meersseman(@)miala(.)fr

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LABEL
Run The Jewels, Inc.
NATIONALITY
USA
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FRANCE

Run The Jewels

Run The Jewels

LABEL
Run The Jewels, Inc.
NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

El-P and Killer Mike, two of the most distinctive and celebrated names in rap, might have seemed like an unlikely pairing on paper, but the duo subverted and pulverized all expectations with their critically lauded Run The Jewels collaborative LP. Tapping into the creative synergy they’d discovered in 2012 on Mike’s R.A.P. Music album (produced by El-P) and El’sCancer 4 Cure album (featuring Mike ), plus subsequent tours together, Run The Jewels cemented their musical alliance with an album of uncompromisingly raw, forward thinking hip-hop and garnering limitless critical accolades.








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arnaud[.]meersseman[@]miala[.]fr

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RUSS

RUSS

LABEL
NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

“I’ve been at this shit nine years and now they start to call,” Russ sings on his breakout single, “What They Want.” Don’t confuse this as idle boasting from the eclectic Atlanta phenom; it’s a reminder that his rapid ascent was anything but accidental.

As the truism goes, there are 10 years of hard work behind every overnight success. In an industry filled with plants and manufactured hype, Russ did it all himself. No deep-pocketed managers funded his ascent. No co-signs propelled his rise.

Since 14, the Atlanta native has dedicated himself to music with a passion you usually only see in Tour De France champions and fictional whaling captains. His music boasts the diverse tastes of someone who grew up everywhere: New York, New Jersey, North Carolina, Kentucky and Ohio, and eventually Georgia.

You can detect those regional influences in his hooks of the artists he grew up with—a rich gumbo that resembles 50 Cent passing blunts with Jim Morison; The Allman Brothers jamming with Drake; The Beatles with George Martin swapped for Outkast; the middle ground between 2Pac and Dipak (Chopra).

Early in his teenaged years, his family eventually settled 20 miles outside of Atlanta. Around that same time, he began making beats. Towards the end of high school, he picked up a mic, and taught himself how to play the piano, guitar, and drums. After dropping out of Kennesaw State as a freshman, Russ formed his DIEMON Crew. They shot their own videos, made their own merchandise, and mostly recorded in isolation. At the age of 23, he’s emerged as a DIY pioneer.

When most of his peers mimic the most popular disposable art, Russ has created an uncategorizable style—one almost as brilliantly alien as history’s finest ATLiens. No exact analogues exist. Russ doesn’t slip back and forth from hyper-melodic inspirational guitar anthems to raw East Coast hip-hop—they’re all effortlessly combined in the same song. There are hints of hammock-rocking reggae, whiskey-soaked Southern rock, and soul-scarred R&B. No gimmicks, just eclectic fusion at its most advanced.

Russ made all the beats. He wrote all the raps and the hooks. He engineered and mixed and sang the songs, played the guitar, programmed the drums, and delved deep into his soul to figure out who he is and what he wants out of life. Then he wrote manifestos like “Do It Myself” to outline the road map for others to follow.

If the true mark of a rebel is to resist accepted falsehoods, speak up for what they believe, and go against the grain, Russ owns that description. Take his current hit, “What They Want.” Sure, the beat is hard and there are bars about girls and his rise to success, but it goes much deeper. He’s the one pulling the strings and pointing out the puppets. He’s savvy and attuned to the demands of the music industry.

This is a business and he’s aware that a sought-after commodity but refuses to fall into the clichéd pitfalls. Russ waited to sign to a major label until he had the leverage to fulfill his vision. No one can ever be the boss of him. He’s desirous of money but wary of it—nothing can compromise his integrity.

Consider “Pull the Trigger,” a song that questions accepted wisdom, rejecting fear, inspiring those on the fence to jump over it and get what they believe they deserve. The drums slap, the piano lines are menacing, the hooks as sticky as Southern humidity. Or “Losin Control,” a forlorn rap ballad as elegantly constructed and artfully sung as anything to ever come out on OVO.

This is heartfelt, truthful music for self-empowerment. Real soul. It’s hard but melodic, sophisticated but with a direct emotional message. There is a quote from the Alchemist, “and, when you want something, all the universe conspires in helping you to achieve it.” Russ internalized that message, actualized it, and now, this story’s really about to begin.

 








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arnaud[.]meersseman[@]miala[.]fr

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SECRET SONGS
NATIONALITY
CANADA
TERRITORY
EUROPE

RYAN PLAYGROUND

RYAN PLAYGROUND

LABEL
SECRET SONGS
NATIONALITY
CANADA
TERRITORY
EUROPE
BIOGRAPHY

Ryan Playground is a producer and songwriter from Montreal. She released her debut EP Elle in 2016 via Ryan Hesmworth’s imprint Secret Songs. Since then she has played the Canadian festival circuit (Osheaga, Wayhome, Montreal Jazz Fest, Field Trip, Escapade) and been featured on Vogue.com. Her album is due out early 2017.








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alex.pacotte@miala.fr

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LABEL
Huble Records
NATIONALITY
France
TERRITORY
France

SABRINA & SAMANTHA

SABRINA & SAMANTHA

LABEL
Huble Records
NATIONALITY
France
TERRITORY
France
BIOGRAPHY

Sabrina et Samantha est un nouveau projet né de la rencontre entre Julien Briffaz (Bot’ox) et Laurent Bardainne (Poni Hoax/Limousine).
Producteurs confirmés, ils se sont donné comme objectif de créer une techno à la fois musicale et dansante, influencée autant par les sonorités tribales que la techno la plus radicale (rassurez vous, didgeridoo prohibé.).








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alex[.]pacotte[at]miala.fr

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LABEL
Big Beat
NATIONALITY
German
TERRITORY
France

SAINT WKND

SAINT WKND

LABEL
Big Beat
NATIONALITY
German
TERRITORY
France
BIOGRAPHY

Deep in the hub of Germany, the raw sound of 21 year old Maximilian Seethaler’s tycoon SAINT WKND is fusing danceable mixture of deep, tech and house beats with a subtle tropical-like inspired round of evocative chilled indie sounds.

In less than a year he reached an impressive 18 million unique Soundcloud plays and scored multiple #1 spots on the all acclaimed Hype Machine with remixes for Australian future-beat boss Chet Faker, indie group Saint Motel and his first solo release “Lost(Runaway)” feat. Inglsh.

Inspired by artists such as Pharrell Williams, Daft Punk, Jay Z and with his love for underground music, the SAINT WKND phenomenon is nothing short of a future and unique musical experience, which will be hard to forget.

With his bags fully packed and ready to go, SAINT WKND invites you to join his world of bass infused indie music and dance the night away.

 

——–

 

Au cœur de l’Allemagne à tout juste 21 ans, Maximilien Seethaler alias SAINT WKND, fusionne deep, tech et house, en incorporant des teintes tropicales inspirées des sonorités décontractantes propres à la musique indie.

En moins d’un an, il a atteint un nombre impressionnant de 18 millions d’écoutes sur Soundcloud et de multiples #1 sur Hype Machine, plateforme reconnue du monde musical, grâce à des remixes de Chet Faker, boss australien du future-beat, ou du groupe indie Saint Motel. Sa première sortie solo “Lost (Runaway)” feat. Inglsh a bien évidemment participé à ce succès.

Inspiré par des artistes comme Pharrell Williams, Daft Punk, Jay Z et grâce à son amour pour la musique underground, le phénomène SAINT WKND n’est pas moins que le futur d’une expérience musicale unique au monde qui est vouée à marquer les esprits.

Avec ses bagages en main et prêt à décoller, SAINT WKND vous invite à le rejoindre pour danser toute la nuit sur sa musique indie aux basses envoutantes.








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mathilde.vanhassel(@)miala(.)fr

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Bromance
NATIONALITY
French
TERRITORY
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Sam Tiba

Sam Tiba

LABEL
Bromance
NATIONALITY
French
TERRITORY
World
BIOGRAPHY
Quand il ne mûrit pas ses réflexions électroniques au sein du Club cheval, Sam Tiba rêvasse seul dans des univers en technicolor, quelque part entre Paris et les paradis perdus.
Il cultive à la fois un goût prononcé pour les genres oubliés, de la jersey club au bubblin, et une éducation débutée sur les bancs du conservatoire où Il optera pour le trombone, un choix intriguant à l’image du personnage. En 2009, il fonde le très sélect Club cheval, prêts à marteler le dancefloor entre rythmes up-tempo, réminiscences rave et R&B, dans l’attente d’un premier album prévu pour janvier 2016.De son côté, Sam s’essaye en solo sur Marble, le label des complices Para One, Surkin et Bobmo, dans un premier EP intitulé Black Eyed Weed en 2011, avant de faire escale deux ans plus tard sur Pelican Fly, maison de Cashmere Cat, pour The Saddest Show in Town. C’est sur Bromance qu’il atteint sa destination, auprès de son frère Brodinski, pour son EP triptyque Samuel sorti en 2014 talonné de près par Not Dead Yet annoncé pour octobre 2015, aux esthétismes fantasmés par Nick & Chloé. Il ne délaisse pourtant pas ses amours de jeunesse et continue de produire de nombreux rappeurs, Bricc Baby Shitro, Bloody Jay et Jeff Chery entre autres.Quoiqu’il en soit, il est bien décidé à poursuivre ses insolences, empruntant autant à la musique classique qu’à la frénésie des rythmes de Timbaland, à la soul comme à la pop mélancolique. Et, n’en déplaise à certains, il n’est pas prêt de s’excuser pour ça car si les esprits s’égarent, les pieds, eux, restent sur le dancefloor.When he is not busy maturing some electronic reflections with Club cheval, Sam Tiba daydreams of worlds in technicolor, somewhere between Paris and paradise lost.
He developed a strong taste for forgotten genres such as jersey club and bubblin at the same time as he started learning music at conservatory, where he would pick the trombone — a puzzling choice, perfectly fitting his persona. In 2009, he founded the highly select Club cheval, rushing headlong to hammer the dancefloor with its up-tempo rhythms, rave remembrance and R&B, and a debut album expected for January 2016.

On his end, Sam went solo with Marble, Para One, Surkin and Bobmo’s label, releasing his first EP Black Eyed Weed in 2011, before a halt on Pelican Fly for The Saddest Show in Town disclosed two years later. He finally reached land on the label Bromance, founded by Brodinski under the sign of brotherhood, for his tryptic EP Samuel released in 2014 closely followed by Not Dead Yet — with another artwork fantasized by Nick and Chloé — expected for October 2015. Yet, he did not turn his back on his first loves and carried on producing rappers such as Bricc Baby Shitro, Bloody Jay and Jeff Chery, to name a few.

Anyhow, Sam Tiba is not ready to slow the pace of his impudence, borrowing both to classical music and to Timbaland’s frantic rhythms, with soul and melancholic pop always in mind. And he’s absolutely unapologetic for that because if souls are roaming free, feet remain on the dancefloor.








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mathilde.vanhassel(@)miala(.)fr

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Parlophone Records
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Seramic

Seramic

LABEL
Parlophone Records
NATIONALITY
English
TERRITORY
France
BIOGRAPHY

Seramic is quickly building a reputation for capturing the irrepressible, moment-seizing optimism of soul to create pop with a timeless feel. The ‘Found’ EP together with his recent tracks ‘Same Mistakes’, ‘I Got You’ and ‘Greg’s Love’ (featuring Parliament-Funkadelic legend Bootsy Collins) have inspired a flood of glowing, cross-generational comparisons with artists such as Prince, OutKast and Sly & The Family Stone.

Given the nature of his rich, electronic-powered soul songs it feels fitting that the artist behind Seramic is also a sculptor. Marcus Foster’s three-dimensional artworks are somehow playful and at the same time imposing: he favours dramatic, lively colours and surreal forms. In his off-kilter pop songs, you’ll find the same exuberant quality, a mixture of the familiar and the eye-poppingly uncanny. There are few other artists who can boast that they have both performed with The Roots on Jimmy Fallon’s late night show and been exhibited at the prestigious Saatchi Gallery.

But Seramic is a new name and a new era for Foster. Combining his visual and musical sensibilities, it’s his most fully realised project to date. It’s also a fleshed-out live experience, incorporating up to five performers in total.








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bertrand(.)delasnerie(@)miala(.)fr

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Tri-Angle Records
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American
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France

Serpentwithfeet

Serpentwithfeet

LABEL
Tri-Angle Records
NATIONALITY
American
TERRITORY
France
BIOGRAPHY

Aujourd’hui, serpentwithfeet, artiste énigmatique aux multiples talents de chez Tri Angle Records, vient d’annoncer des dates Européennes où il jouera en tant que headliner ainsi qu’une première partie de la tournée américaine de Pretium Genius. Sa tournée Européenne sera la première occasion pour le public en dehors des Etats-Unis d’assister au live show enchanteur de serpentwithfeet, puisqu’il sera en représentation à Londres, Paris, Berlin et Rotterdam.

serpentwithfeet va également sortir une version vinyle de son premier EP ‘blisters’, une collection de chansons et de vidéos qui l’ancrent fermement dans l’agenda culturel, encensé par la critique. Cet EP sera disponible à la vente le 19 Mai.

serpentwithfeet (aka Josiah Wise) est un chanteur classique et musicologue de 27 ans basé à Brooklyn, NYC. Sa musique est un accord divin entre chants gospel et musique électronique symphonique, et avec sa performance live qui défie les lois de la scène, serpentwithfeet is l’un des artistes les plus saisissants de sa génération.


Today, Tri Angle Records’ enigmatic and multitalented, serpentwithfeet announces European headline dates and Perfume Genius US tour support slot. The European tour will be the first time for audiences outside of the US to witness serpentwithfeet’s entrancing live show as he takes his show to London, Paris, Berlin and Rotterdam.

serpentwithfeet will also release a physical vinyl version of his debut EP “blisters”, a collection of songs and videos which put him firmly on the cultural agenda with critical acclaim. The EP will be available to buy on May 19th.

serpentwithfeet (aka Josiah Wise) is a 27-year-old classically trained vocalist and musical scholar based in Brooklyn, NYC. His music is a heavenly pairing of gospel vocals and symphonic influenced electronica and with a live performance that defies the rules of the stage, serpentwithfeet is one of the most arresting artists of this generation.








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arnaud(.)meersseman(@)miala(.)fr

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KUUKOU RECORDS
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ROMANIAN / CANADIAN / BERLIN
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SIMINA GRIGORIU

SIMINA GRIGORIU

LABEL
KUUKOU RECORDS
NATIONALITY
ROMANIAN / CANADIAN / BERLIN
TERRITORY
FRANCE
BIOGRAPHY

Roumaine de naissance mais élevée à Toronto, au cours de ses dix ans de carrière Simina Grigoriu a reçu de nombreuses distinctions. Elle commence en tant que DJ mais passe bientôt à la production et lance son propre label Kuukou – repère pour la techno de pointe – dont elle dirige tous les aspects. Entre-temps, elle déménage à Berlin, ville qui est devenue sa maison et sa source d’inspiration principale – une inspiration aussi variée que ses influences.

La passion de Simina pour la musique est profondément enracinée dans son enfance, lorsqu’elle étudie le violon classique et le clavier. Ajoutez-y l’héritage musical de ses parents et sa passion pour le freestyle hip hop au cours de son adolescence, et vous obtiendrez les bases de son style, un parcours qu’elle ne cesse d’explorer.

En acquérant de la visibilité dans les clubs de Toronto – les mêmes où se sont produits des personnages tels que Jeff Mills, Josh Wink et Juan Atkins – le style de Simina se développe constamment et devient le son techno unique et énergétique que nous connaissons aujourd’hui.

Ses premières productions prennent vie sous le label berlinois Sonat Records et poursuivent chez Phrase Insane Records en Espagne, et chez Intelectro Vibe, Urban Sound e Frequenza Records en Italie. Et enfin, son premier album : Exit City grimpe dans les classements de Sususmu Records.

En 2016, après un an de pause où elle oriente ses efforts sur la maternité tout en restant active en studio, Simina ouvre sa maison de disques Kuukou avec l’EP « Techno Monkey ». Peu après, sous le label de Popof, FORM, elle lance « Matching Numbers », un EP qui devient immédiatement un succès et qui inclut un incroyable remix de Julian Jeweil. Simina distribue ses productions sur Kuukou et sur FORM, tout en travaillant en parallèle sur d’autres remix et collaborations avec d’autres labels techno.

Globetrotteuse active, Simina est toujours en tournée et surprend son public dans les festivals et les clubs du monde entier. Il n’est donc pas étonnant qu’elle ait appelé son label Kuukou (aéroport, en japonais) ! Ses productions incluent des DJs tels que Torsten Kanzler, Alfred Heinrichs, Martin Books et Daniel Boon, sans oublier le support d’artistes majeurs pour les remix.

Récemment, en 2017, Simina part en tournée en Asie ; elle joue au Strawberry Festival et au G-Festival, ainsi qu’à l’Elevator Shanghai et au « Lantern », le meilleur club techno de Pékin – appelé aussi le « Berghain » de Pékin.

Il va sans dire qu’au cours des mois prochains, l’une des femmes les plus dynamiques de la scène techno vous attend avec des productions, des performances et des surprises incroyables.

 








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morgane[.]jorge@miala[.]fr

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Diez Music
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SIRIUS TREMA

SIRIUS TREMA

LABEL
Diez Music
NATIONALITY
FRENCH
TERRITORY
FRANCE
BIOGRAPHY

Sirius Trema gratte déjà ses premières cordes à l’age de 5 ans alors que sa mère a la bonne idée de lui offrir une guitare. Il embrasse totalement son instrument, le maîtrise, avec nonchalance. Adolescent, il fonde son premier groupe avec des amis d’enfance. Suite au départ de la chanteuse, Sirius se retrouve interprète, sans trop savoir pourquoi, ni comment : alignement de planètes. Petit à petit, des idées fleurissent, des chansons naissent dans la tête de Sirius qui décide de se mettre à fond dans la musique. Il explore différents styles, de la pop au reggae en passant même par l’électro-flamenco. Il fréquente les Cours Florent Musique, et rencontre le duo Synapson avec qui il collabore sur le titre « Control ». Coup de foudre, tout s’enchaîne, il intègre le live band du groupe en tant que guitariste et déverse son énergie et son flegme à travers toute la France pendant 2 ans.

Sirius s’imprègne de tout ce qu’il écoute. Aussi éclectique dans ses réalisations que dans ses gouts musicaux, son projet s’inspire de l’électro, du rap, et compte parmis ses influences : Eric Clapton, Seu Jorge, Daft Punk comme Snoop Dog, The Game, Young Thug ou SCH et Nekfeu.

Sirius Trema arrive les mains dans les poches dans le paysage des musiques urbaines francophones avec «Summer Weed». Cette ode entêtante à l’oisiveté rythmée de nappes mélodiques planantes est parsemée de références à la culture pop, de Ribery à Michael Jackson. Les paroles sont sans prise de tête, aussi légères et chaleureuses qu’un dernier rayon de soleil en été.








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LABEL
OWSLA
NATIONALITY
American
TERRITORY
France

Skrillex

Skrillex

LABEL
OWSLA
NATIONALITY
American
TERRITORY
France
BIOGRAPHY







AGENT
antoine.kraft(@)gmail(.)com / simon.bierlaire(@)miala(.)fr

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TORN CLEAN
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USA
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SLEIGH BELLS

SLEIGH BELLS

LABEL
TORN CLEAN
NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

Leur nouvel album “JESSICA RABBIT” est radicalement différent de tout ce qu’a pu faire Sleigh Bells auparavant, ni aucun autre groupe tout compte fait.
Imaginez des sonorités explosives, rayonnant au sein d’un chaos splendide et ordonné. Espiègle mais sombre, caustique mais coquet, exubérant mais franchement sinistre.
Alexis Krauss prend, elle, de la hauteur et met de côté sa voix adolescente pour faire place à un chant surpuissant, comblant le manque de force des dernières sorties du groupe.
Les changements de tempos fréquents allongent les morceaux et ne laissent aucunement le temps de s’en lasser.
Jessica Rabbit est un album unique en son genre par ses sonorités et sa raison d’être : un parti pris sans crainte d’un groupe qui a fait de la critique populaire de la Pop Music une de ses plus grandes forces.

 


 

It’s an album that does not sound like anything Sleigh Bells has ever done – or anyone has ever done, for that matter. It is the sonic equivalent of firing synapses, with melodies zig-zagging in different directions in a beautiful and ever-modulating controlled chaos. It is playful but darkly so; flirtatious but caustic; ebullient but downright sinister. Singer Alexis Krauss has moved from the baby coo of the band’s earlier material into full powerhouse mode, singing with a visceral urgency that was absent from previous releases. Tempo changes stretch the songs in different directions, like an attention span gone haywire. It is a record that is wholly unique in sound and purpose, an unabashed and unafraid statement from a band that has made offending rote conceptions of pop music their signature and greatest strength.

 








AGENT
arnaud[.]meersseman[@]miala[.]fr

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PIAS
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BELGIUM
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SOULWAX

SOULWAX

LABEL
PIAS
NATIONALITY
BELGIUM
TERRITORY
FRANCE
BIOGRAPHY

For those of you who don’t know anything about Soulwax or2manydjs….Their musical history is checkered with highlights. The sons of a noted Belgian radio DJ, the pair formed a rock band named Soulwax, who released several acclaimed records and toured extensively. At this time the brothers were also concurrently DJing under the names The Flying Dewaele Brothers & 2manyDJs to rapturous response both in clubs, on Belgian radio and beyond. In 2002 their massively acclaimed debut mix album 2manyDJs – As heard on Radio Soulwax Volume 2 was released on an unsuspecting world. It changed the face of dance mix compilations forever simply by splicing hundreds of rock, electro, dance, hip hop and other classics from the depths of their vaults together. It was also fun!!! And somehow they had managed to do what so many had failed to do previously – bring that fun and chaos from the club into your home.

 

500,000 + sales & 8 years later it remains a must have for house parties, holidays and individual experiences the world over. Their sound and style has been mimicked and imitated a million times (but never bettered) and not to mention pretty much every mix they have ever done has been bootlegged and sold at extortionate prices on by opportunists in every corners of the earth. Now Radio Soulwax sees them taking the concept of the mix album and re-inventing it yet again.

 

They’ve also since become two of the busiest, most in demand DJs/ Remixers/ Musicians /Producers in the world with far too many credits to list here (see below Wikipedia link if you are so inclined). They have also toured consistently, both as a live electronic rock band and as 2manyDJs (and often both at the same time), headlining tour after tour, festival after festival, year in year out throughout the world. 2011 will be no exception with UK headline slots already confirmed at Lovebox & Reading/Leeds. The past few years have seen them perform in front of millions of people across the globe and their schedule shows no signs of letting up. In 2007 they created their much loved Soulwaxmas event which now takes place annually in the UK, France, Belgium, Germany, Italy & Spain in the run up to Christmas, and which this year saw them perform to 15,000 rabid fans in London alone.

This isn’t even including their two studio albums 2004’s Any Minute Now or its 2005 companion album Nite Versions- the entire opus remixed for the dancefloor or for that matter their mighty compendium of remixes of other artists. In 2008, the chaos of their Radio Soulwax events, the passion of their fans and the frenzy of their live performances was beautifully captured in Part of The Weekend Never Dies, a film by acclaimed young director Saam Farahmand. It also helped to show firsthand the unquestionable work ethic of the Dewaele brothers.

Between 2008-2011, Alongside their hectic live & DJ schedules the Dewaele’s have been developing and building a very special secret project. “Radio Soulwax” – An online radio station with a massive twist that will launch on www.radiosoulwax.com. Watch this space for more details.








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arnaud[.]meersseman[@]miala[.]fr

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Diez Music
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French
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Synapson

Synapson

Live / DJ
LABEL
Diez Music
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

SYNAPSON un nom, une musique, une philosophie, et un style marqués par l’éclectisme.

ELECTRO DANDYSME

D’origine parisienne, ce duo composé d’Alexandre et de Paul revendique un état d’esprit «dandy chic » et décalé, qui se manifeste au travers d’une musique teintée de jazz, et proche de la Deep House. Un style qui n’est pas sans nous rappeler les pères fondateurs de la musique électronique. « Notre musique est électronique mais mélodique,

elle n’est pas minimaliste. Alexandre à 20 ans de piano derrière lui, du coup il apporte toutes les mélodies à nos compositions » explique Paul. « Nous défendons la mélodie. Notre musique peut être jouée en club afin de faire danser les gens, mais elle n’est pas trop rapide ni agressive. Elle diffuse des sentiments et des émotions », renchérit Alexandre. Si le duo est parisien, c’est pourtant du coté de Biarritz qu’il s’est formé. Paul et Alexandre y passaient leurs vacances enfants. Passionnés de musique, ils se sont naturellement trouvés, puis perdus, avant de se retrouver sur la capitale. Dans la ville lumière, ils décident de matérialiser une vieille idée qui leur trottait à tous deux dans la tête : créer un groupe « pour le plaisir » affirment-ils à l’unisson, par passion pour la musique. C’était il y a quatre ans, et depuis, le duo a fait du chemin.

CARRIERE PROMETTEUSE

Après la sortie d’un premier maxi en 2010, les choses se sont en effet accélérées pour le duo. Ce qui n’aurait du être que du « plaisir » s’est transformé en début de carrière prometteur. Pour s’en convaincre, il suffit de visionner le clip de leur titre « Another Man » en featuring avec les Temptations, mais aussi d’assister à l’un de leur set au Baron à Paris ou au Lavo NYC, un club réputé de New York, où des Dj comme Steve Aoki, et A.Trak ont élu résidence. Signés sur le label DIEZ Music et coproduits par Victor Production, suite au buzz sur les réseaux sociaux, généré par leurs productions, les SYNAPSON sortent enfin leur premier album Stendhal Syndrome disponible le 5 novembre. Un 11 titres accompagné d’un maxi 3 titres, de clips vidéos, et dont l’univers graphique sera assuré par Julien Sistart, un directeur artistique Montréalais, à qui l’on doit l’image épurée et graphique des SYNAPSON. Electronique, mélodique, influencé par différents courants musicaux le style musical du duo, se veut intergénérationnel et ouvert sur le monde.

Le premier album des deux producteurs de Synapson, Stendhal Syndrome, se veut mélodique et éclectique à l’image de leur génération toujours prête à découvrir de nouveaux univers, de nouvelles inspirations. Avec ces 11 titres, ils explorent les différentes nuances de la musique électronique, avec des morceaux inspirés du hip hop, de la pop, du rock. Plusieurs influences se mélangent et donnent un résultat moderne sans se cantonner à un seul genre musical.

UNE MUSIQUE POUR TOUS

L’ambition du duo est de s’adresser au plus grand nombre, car la bonne musique n’a pas de frontières. C’est sans doute pour toutes ces raisons que le duo c’est produit durant toute la durée du festival de Cannes 2012, du 16 au 28 mai. DJ officiels de ce rendez-vous incontournable des cinéphiles du monde entier, les SYNAPSON ont habillé musicalement la montée des marches chaque jour. Paul et Alexandre ont assuré les soirées officielles du festival, notamment celles du court métrage et de la soirée de clôture. Une fête en forme d’apothéose, qui a donné l’occasion au duo d’exprimer aux platines l’étendue de sa créativité. « Dans nos sets, on retrouve Maceo Plex, Nicolas Jaar, Rolling Stones, nos propres remix. On peut aussi passer du Otis Redding ». Mais au fait d’où vient le nom SYNAPSON ? « De l’époque où nous étions en seconde. On étudiait le système nerveux, et notamment les synapses, en cours de science et vie. La synapse, c’est une zone de contact qui s’établit entre deux neurones, ou entre un neurone et une autre cellule (récepteur sensoriel, cellules musculaires). Nous sommes un peu pareils, sauf que nous établissons une zone de contact entre le public et la musique. Nous sommes un Synapson, une synapse musicale, en quelque sorte. Notre but est de faire une musique de qualité qui puisse plaire au plus grand nombre, sans que cela soit péjoratif. De la bonne musique pour tout le monde » concluent Paul et Alexandre.








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mathilde.vanhassel(@)miala(.)fr

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TALIB KWELI

TALIB KWELI

LABEL
NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

The Brooklyn-based rapper earned his stripes as one of the most lyrically-gifted, socially aware and politically insightful rappers to emerge in the last 20 years. His travels around the globe as one of rap’s most in-demand performers combined with his conversations with political activists and his genre-straddling work with Idle Warship and others caused Kweli to realize that he was limited in a sense, a prisoner of sorts of his own success as one of the world’s best rappers with something significant to say.

“My music has been associated with those types of causes, with positivity, spirituality, intelligence and being thought-provoking and such,” he says. “I think sometimes people get caught up in that part of me as an artist and don’t necessarily understand the musicality or fully appreciate the music and the entertainment value behind what I do. I tried to stretch my wings a little bit and bring something that was less beholden to the world of hip-hop and more existing in the world in general.”

The result of this artistic growth and exploration arrives with Kweli’s dynamic Prisoner Of Conscious AKA P.O.C., an artistic tour de force that signals the start of the next chapter of Kweli’s remarkable career. The BK MC spent more time working on Prisoner Of Conscious than any of his other albums, a three-year journey that found him exploring new vibes, joining in some unlikely collaborations and taking him to foreign lands.

Produced by Symbolyc One (Kanye West, Ghostface), the title track’s alternatively rap and rock-based beat provides a distinctive platform for Kweli to deliver rhymes that detail his artistic awakening, while producers Sean C & LV (Jay-Z, Raekwon) created a Marvin Gaye-esque vibe for “Come,” a cut featuring Miguel that showcases Kweli trying to convince a series of women to do things his way.

Then there’s the dramatic, piano-driven “Before He Walked,” which showcases passionate vocals from singer Abby Dobson and includes a verse from possibly the most noteworthy guest on Prisoner Of Conscious: Nelly. Both Kweli and The St. Louis rapper recount the importance music has had in their lives on the stirring song, which was an outgrowth of conversations about music and life Kweli and Nelly had at Kweli’s Los Angeles residence.

“Nelly is somebody I’ve known and have been friendly with throughout the years in this business,” Kweli says. “Nelly has always been an example for me because a rising tide raises all boats. Nelly is an artist who is polarizing at times because of the ‘Tip Drill’ video to the boycotts he’s endured at colleges, but I know him as a person, and he’s a great person.”

Elsewhere, the driving “Ready Set Go” with singer Melanie Fiona features Kweli’s ever-impressive clever verbal gymnastics, which are also on display on the stark Busta Rhymes-guested and RZA-produced “Rocketships.”

Kweli shifts gears on “Favela Love.” Inspired by and created during a trip to Sao Paulo, Brazil, the breezy song features crooning from Brazilian singer and actor Seu George (City Of God, The Life Aquatic with Steve Zissou). Kweli and George met in the studio, leading Kweli to deviate from his original concept for the song.

“The song went from being about a woman to be being about Brazil, about the favela, about loving to come there,” he reveals. “The woman is really a metaphor for the place. That’s why it’s called ‘Favela Love.’ When I was telling Seu George about that, he started singing about how much he loves Brazil and where Brazil fits in the world.”

After nearly 20 years of releasing mesmerizing music, Talib Kweli stands as one of the world’s most talented and most accomplished rappers. Whether working with Mos Def as one-half of Black Star, partnering with producer Hi-Tek for Reflection Eternal, releasing landmark solo material or collaborating with Kanye West or Madlib, Kweli commands attention by delivering top-tier lyricism, crafting captivating stories and showing the ability to rhyme over virtually any type of beat.

In particular, Kweli showed his artistic reach in Idle Warship. Teaming with longtime collaborator and acclaimed singer Res, Kweli began getting out of his sonic and creative comfort zone on the group’s 2009 mixtape Party Robot and its debut album, 2011’s Habits Of The Heart.

Idle Warship’s music challenged Kweli and led him to a new artistic space. “I like the position I’m in,” he says. “I feel like I’m a connector, a leader. I feel like I’ve led by example and I want to continue to do that. I like the fact that I’m in a position where cats who are coming out and making music that I enjoy are interested in my music and are interested in my influence. It’s a great feeling.”

Kweli also has the high-powered Attack The Block mixtape with DJ Z-Trip set to arrive and will be focusing on making his Javotti Media (which released his 2011 album, Gutter Rainbows, and is named after his paternal grandmother) into a media powerhouse that releases music, films and books.

But for now, Prisoner Of Conscious arrives as an artistic triumph, a collection that embodies Talib Kweli’s robust creative vision. “I wanted to put out an album that really can support the artist that I’ve become,” he says. “I’m a touring artist. I’m an artist that’s internationally known. I’m not just a local artist at this point in my career. I’m cognizant of the fact that what I do is beyond where it started. I’m trying to reach the apex of where I am now, but without turning my back on or dismissing what I’ve done before.”








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arnaud.meersseman@miala.fr

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Vapor Records
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CANADA
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TEGAN AND SARA

TEGAN AND SARA

LABEL
Vapor Records
NATIONALITY
CANADA
TERRITORY
FRANCE
BIOGRAPHY

Propelled by the conviction of reinvention, Tegan and Sara’s 8th studio album, Love You To Death, is the latest sonic chapter in a celebrated 17-year career. Produced by Greg Kurstin (Adele, Sia, Beck, Ellie Goulding), Love You To Death delivers 10 new Tegan and Sara tracks more vibrant and visionary than ever.

Tegan and Sara explored a transcendent pop sheen for the first time on 2013’s Heartthrob, which deftly balanced critical acclaim with mainstream ambitions. They follow it up here with an equally explosive production, but one that casts darker shadows and lingers longer in the psyche. Taking a page from dramatic non-fiction, Love You To Death finds Tegan and Sara mining their own lives to investigate complex relationship dynamics. At one moment the subject is their own inescapable relationship as twin sisters (100x, White Knuckles), while at another it’s a romantic relationship that drives the protagonist to mournful regret (“That Girl”). Secret relationships (“Boyfriend”) give way to social judgment about passion and transience (“Faint of Heart”). Marriage is eloquently questioned as a barometer for commitment (“BWU”), while commitment itself is questioned with a deliberately self-conscious anti-love-song (“U-turn”). With each album their writing grows in precision and vulnerability, and differing lyrical voices continue to sharpen their respective identities – Tegan’s unapologetically clear word choice in evaluating romance (“Stop Desire”) is balanced by Sara’s poetic reflections on anxiety (“Hang on to the Night”).

Even as they’ve been embraced by the mainstream, Tegan and Sara consciously operate to the left of popular culture – their lyrical and social wisdom comes from an outside vantage looking in. Paradoxically, the essential message that underpins their worldview and identity is inclusion. So it is only fitting that these two self-described outsiders have ultimately found acceptance from such a diverse amalgamation of cultural forces. This is a band that can perform comfortably alongside Katy Perry or Neil Young, Taylor Swift or The Killers. You may have seen them in the dusty desert at Coachella or on the pristine stage at the Academy Awards. Few other contemporary artists can cross boundaries of genre and culture so effortlessly.

Twin sisters born in Calgary, Alberta and now residing in Vancouver, BC, Tegan and Sara’s career numbers are impressive – over 1 million albums sold, 7 Gold certifications, 1 Double Platinum certification, 3 Juno Awards, 2 Polaris Prize nominations, and a Grammy nomination. But even more impressive is the conviction that has driven Tegan and Sara’s relentless evolution as artists. Transitioning from acoustic roots to indie rock royalty in the mid 2000s, with widely-acclaimed albums So Jealous (2004) and The Con (2007), they began the path of reinvention that continues to inform their creative identity today.

If the highest intention of the artist is to self-actualize, Tegan and Sara have given their devoted audience the gift of a front-row seat to their lifelong process of evolution. Love You To Death, featuring the first single “Boyfriend,” will be released on Warner Bros. Records on June 3, 2016.








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arnaud[.]meersseman[@]miala[.]fr

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ROCH MUSIC
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TEZ CADEY

TEZ CADEY

LABEL
ROCH MUSIC
NATIONALITY
French
TERRITORY
france
BIOGRAPHY

In this day and age, where dance and pop are more and more intertwining, it should be of no surprise that new talents with an understanding and knowledge of both musical worlds touch people of these once opposed scenes.
Their music must reflect this newfound diversity and open-mindedness, which was not given in past times.
The young French producer Tez Cadey already has this astounding ability at his tender age. His songs are melodic and catchy on one hand, thoughtful and profound on the other.
His track “Seve” is surely one of those magical tunes, which will not only work in the club after sunset, but also at the beach, in the forest or on top of a mountain.
Tez Cadey, a name to remember for all lovers of limitless and beautiful music…








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mathilde.vanhassel(@)miala(.)fr

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Capitol / 96 Musique
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French
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world

The Avener

The Avener

Live / DJ
LABEL
Capitol / 96 Musique
NATIONALITY
French
TERRITORY
world
BIOGRAPHY

Fade Out Lines, énorme succès international, annonçait l’album The Wanderings Of The Avener, manifeste d’une électro raffinée dans l’esprit du sampling nu-jazz de St Germain et de son Boulevard, à mi-chemin des démarches de Moby et de Wankelmut, de King Britt et de Cassius…

Ghost producer pour beaucoup de tubes de club, Tristan est devenu The Avener en retournant au plaisir de la musique pour elle-même, à son amour de jeunesse pour le piano et la mélodie, à sa culture musicale touffue, variée, profonde… mais aussi à la deep house, antidote à la froideur mécanique qui a envahi l’électro depuis quelques années.

The Avener compose, mais il déambule aussi dans les allées secrètes de sa mémoire : il reprend Sixto Rodriguez, John Lee Hooker, Mazzy Star, The Be Good Tanyas, Andy Bey, Adam Cohen – blues séminal, folk underground, pop nocturne, rock iconique, artistes oubliés des années 70 et 80…

Sa patte délicate et radieuse sonne à l’étranger comme une touche d’élégance so French, tout en s’affirmant partout comme la redécouverte du chaînon manquant entre l’émotion harmonique et la pulsion de danse. L’engouement de Fade Out Lines se confirme avec The Wanderings of the Avener, son 1er album prévu le 19 Janvier 2015.

 

The single Fade Out Lines was a huge international success, offering a foretaste of The Avener’s upcoming album, The Wanderings Of The Avener, a sophisticated electro manifesto in the spirit of St Germain and his Boulevard’s nu-jazz sampling, reconciling the styles of Moby and Wankelmut, King Britt and Cassius…

The ghost producer of many club hits, Tristan became The Avener when he decided to re-embrace the pleasure of music for its own sake, his early love of piano and melodies, his rich, eclectic, multilayered musical culture and deep house – an antidote to the mechanical chill that has crept into electro over the last few years.

The Avener not only writes, but also explores secret paths of memory, covering Sixto Rodriguez, John Lee Hooker, Mazzy Star, The Be Good Tanyas, Andy Bey and Adam Cohen in a mosaic of seminal blues, underground folk, nocturnal pop, ironic rock and the work of forgotten artists from the 70s and 80s.

All around the world, his delicate, radiant style has been welcomed as a So French Touch of Elegance, a rediscovery of the missing link between harmonic emotion and the urge to dance. The triumph of Fade Out Lines looks set to be repeated by his 1st album, The Wanderings of The Avener, out on January 19, 2015.








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morgane.jorge(@)miala(.)fr

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Dim Mak / Ultra
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Italian
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France

The Bloody Beetroots

The Bloody Beetroots

Live / DJ
LABEL
Dim Mak / Ultra
NATIONALITY
Italian
TERRITORY
France
BIOGRAPHY

If you’ve been monitoring and hopefully dancing your ass off to the ascent of electronic dance music over the last few years, you know the name The Bloody Beetroots and its mastermind Sir Bob Cornelius Rifo have become synonymous with everything great about the genre. There’s the festival-highlight live and the SBCR DJ shows, the tastefully hyperbolic tracks with their redlining builds and floor-rinsing drops, championed by the likes of Etienne De Crécy, Alex Gopher and Steve Aoki, which culminated in 2009’s Romborama. With the second ‘The Bloody Beetroots’ album HIDE, Rifo, the former Italian garage punk prodigy with “1977′′ on his chest and the mask on his face, in his punkest effort yet, embraces contemporary music to the point of throttling it.

Featuring collaborations with Paul McCartney, Penny Rimbaud of Crass, Tommy Lee, Peter Frampton, Chromeo’s P-Thugg, electronic producers TAI and Bart B More as well as very different soul sensations Sam Sparro and Theophilus London, HIDE shows Rifo re-envisioning BBR as a complete musical operating system spanning time, genres and, most of all, preconceptions. Especially, he says, about dance music. “Bloody Beetroots is about electronic contemporary music,” Rifo says. “My challenge is to give values and colors to contemporary music.”

With 2015 comes SBCR, the brand new side project of Sir Bob Cornelius Rifo aka The Bloody Beetroots.

SBCR is the name of an evolution, a new era and a new mask. With this project, the internationally renown musician and dj, was able to start from scratch and go back to the beginning of his creative process, in order to gain new freedom in this ever changing dimension we call electronic music.

Bob Rifo created SBCR to focus on a more club-oriented kind of production and that’s when SBCR & Friends Vol.1 came to life. This is only the first of three Eps that will be released by the end of 2015. For these releases it felt natural to join forces with Dim Mak Records and its founder Steve Aoki, who fully supports this new raw musical journey.








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alex.pacotte(@)miala(.)fr

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WOLF TONE / CAROLINE INTERNATIONAL
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THE HORRORS

THE HORRORS

LABEL
WOLF TONE / CAROLINE INTERNATIONAL
NATIONALITY
UNITED KINGDOM
TERRITORY
FRANCE
BIOGRAPHY

Recorded over 15 months in The Horrors east London studio-laboratory-bunker with co-producer Craig Silvey, it’s the follow-up to the band’s 2007 debut ‘Strange House’, the Mercury-nominated ‘Primary Colours’ (2009), and the critically-acclaimed ‘Skying’ (2011) – a record that entered the charts at #5, featured prominently in the end-of-year magazine/newspaper polls, and was anointed NME‘s ‘Album Of The Year’.

‘Luminous’ is trailed by ‘I See You’, which received its first broadcast earlier tonight on Zane Lowe‘s BBC Radio 1 show. The seven-and-half-minute synth anthem was recently unveiled at The Fly Awards in London, where The Horrorswere joined onstage by Thurston Moore.

Album pre-orders are available from midnight on iTunes, with ‘I See You’ available as an instant grat track to anyone ordering ‘Luminous’‘I See You’ is also available to buy as a standalone track. This Friday 28th February, The Horrorsplayed their first full show since last summer at the inaugural 6Music Festival in Manchester, where they headlined Stage 2.

‘Luminous’ is an album that, for once, merits that over-used phrase “keenly-anticipated”. Tipped to be one of the biggest British albums of 2014, it follows the breakthrough success of the silver-selling ‘Skying’, an album beloved of heroes and peers such as Bobby GillespieAlex Turner and Trent Reznor and that also brought The Horrors into the world of the BBC Radio 1 A-list and ‘Later… With Jools Holland’.

Tasking themselves with, as ever, moving onwards, The Horrors determined to make an album that was brighter, more positive, more electronic.
“We’ve refined our sound,” affirms lead singer Faris Badwan“and in terms of songwriting it is the record I’m happiest with.”Or, in the words of bass player Rhys Webb“it’s not so much about heavier guitars as a heavier potency… We want to make music you can dance to, music that elevates…”
‘Luminous’ by name, ‘Luminous’ by nature: this is an album radiating light and energy. These songs are The Horrorswriting at their instinctive, intuitive and accessible best.

By way of explaining the intense but unhurried writing and recording of the album, the frontman says that, “If you’re happy with one record I think you always have those fears that you’ll somehow never be able to write a good song again. But I think between us we would never allow something that we weren’t happy with to be released. I can imagine it taking us 10 years to finish something – but I’d rather that than be a band who regress with each release.”

Shedding some light on the intra-band, in-studio creative process, keyboard player Tom Furse mentions a an ever-evolving playlist featuring “so much, the usual – Beatles, Sabbath, Kraftwerk also Eno, J Dilla, Metroplex/Trax Records…but as always psychedelic music from all over the world, soul, funk, dub…”

Further input came from producer Paul Epworth (AdelePaul McCartneyFoster The People) on the track ‘Falling Star’. There was also a crucial role for a new piece of kit. Badwanreveals that Richard Russell, boss of their label XL“had the pyramid synth from our ‘Changing The Rain’ video built for us.”

The Horrors are:
Faris Badwan (vocals)
Joshua Third (guitarist)
Tom Furse (keyboards, synthesisers)
Rhys Webb (bass)
Joe Spurgeon (drums, percussion)








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arnaud(.)meersseman(@)miala(.)fr

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SOMEWHAT DAMAGED
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NEW ZEALAND
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THE NAKED AND FAMOUS

THE NAKED AND FAMOUS

LABEL
SOMEWHAT DAMAGED
NATIONALITY
NEW ZEALAND
TERRITORY
FRANCE
BIOGRAPHY

In 2010, Auckland, New Zealand’s Thom Powers, Alisa Xayalith, Aaron Short, David Beadle, and Jesse Wood arrived at the forefront of the international indie pop scene with the sweltering The Naked and Famous debut, Passive Me, Aggressive You. Riding on the feverish heights reached by singles like Young Blood, Punching In A Dream and Girls Like You the album thrust the band into the limelight and onto the airwaves.

Touring incessantly, the band settled permanently in Los Angeles to create the follow-up, 2013’s In Rolling Waves. The sophomore effort cast a darker shadow over their sound, straying from the synch-heavy formula that had ripped up radio charts yet patiently showcasing their unique skill, talent, and scope as artists.

TNAF set off to tour In Rolling Waves but after just a few months on the road, there were storm clouds on the horizon. Alisa and Thom’s relationship was the foundation of the band. As they said, “We started writing songs for The Naked and Famous the moment we got together at age 18.” Eight years later, their relationship was in turmoil and soon so was the band.

“It was awful,” says David. “People were unraveling pretty fast. The shows were tight but no-one was in a good space. People were trying to get off the bus, dragging their suitcase down the road in the middle of the night in the middle of nowhere! When the tour bus finally stopped, everyone made for the exit and didn’t look back.”

The tour ended, Thom and Alisa separated, and TNAF became a group in ambiguous and painful hiatus. For the next year they barely saw one other. Los Angeles is a big enough place to get lost in.

“We weren’t talking about whether we’d broken up the band because we were so broken as individuals,” says Aaron.

Every band has its leader and source creator. It’s no secret that Thom Powers drives this band.

“I have a constant fear of failure,” he says. “My childhood dream was to be a musician and I’m not about to take this for granted. I feel lucky to have fans. I wake up and feel like any moment that I’m not working is time wasted.”

So in early 2015, it was no real surprise to find a batch of new demos from Thom’s Echo Park home studio in the band dropbox and a first TNAF meet-up in many months was convened.

“The best thing you can learn as a producer and a writer is to stop being precious. To get a grip, to let go and to learn how to embrace other people’s opinions,” says Thom. “We all came to this place with a little more maturity and it felt – tentatively – like we had a new path to follow.”

It was eventually agreed that working on a new album would become a regular Monday through Friday gig, the proper turning point coming in August of 2015 when they secured a small studio in Downtown LA to work in.

Assistance on the album came from only a handful of individuals. Sombear (Brad Hale) has worked on other projects with Thom and contributes production to Higher and My Energy. Carlos de la Garza engineered and Ken Andrews (Paramore) mixed the record. Thom still produces with input only from the other band members.

“We’ve ended up with a bright and very vocal album,” explains Thom. “TNAF has always naturally straddled the line between pop and alternative. Like most acts today though, when we talk about pop we’re only referring to production, arrangement or mixing. The lyrical content comes from a personal place.”

“There’s pain and passion behind this art,” says Alisa, picking up this theme.
“Pop techniques are all about maximum impact. And it’s not like this is an album of bangers but it’s the most immediate thing we’ve ever done.”

Thom reveals the album title came from a lyric in the first song that was finished. Within the song Falling, it’s a contradictory statement he says – “We’re made in simple forms.”

“Being a functioning human means living in a constant state of delusion about the simplicity and order of the world. I like summing up the album in this way. There is no singular message. No unity of emotion. The irony also being that an album is a brutally curated collection of ideas.”

And true to the complex and contradictory nature of being in a band, it is not a name they could all agree on. “Simple forms reminds me of the DMV,” says Jesse. “But I get what Thom’s saying.”

Being a band that can fight with and for each other is not so unusual but that doesn’t mean it is not a triumph to produce a record like Simple Forms at this point in TNAF’s career.

“We’re still incredibly self-sufficient,” says Alisa. “We’re lucky to have this. We’re lucky to still have one another.”








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arnaud.meersseman@miala.fr

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Green United Music
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French
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The Shoes

The Shoes

Live / DJ
LABEL
Green United Music
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

Lorsque le premier album de The Shoes “Crack My Bones” sort en 2011, il est acclamé par la critique et le public, tout comme leurs premiers singles pop “People Movin’” et “Stay The Same”, puis l’incontournable “Time To Dance”. Désormais culte, le titre fait danser la planète entière avec son clip vu plus de 7 millions de fois qui met en scène Jake Gyllenhaal en tueur sociopathe. La vidéo rafl­e tout sur son passage, notamment 4 UK MVA et la distinction de Bret Easton Ellis, qui en fait sa vidéo de l’année. S’en suit une tournée aux quatre coins du globe qui les mènent de Bestival à Koko en Angleterre, à Summer Sonic et Fuji Rock au Japon, jusqu’aux Eurocks et aux Vieilles Charrues pour terminer devant un Olympia surexcité ultra-complet en juin 2012.

Ils réenfi•lent ensuite leur casquette (ou leur bob, c’est selon) de producteurs. Benjamin travaille sur l’album de Gaëtan Roussel et à la relecture de “Play Blessures” de Bashung, Guillaume produit “Louis XIV” de Joke et le premier EP du groupe Rocky. En paire, ils réalisent et produisent l’album de leur label’s mate Woodkid “The Golden Age” – aujourd’hui disque de platine – ainsi qu’une tripotée de remixes : on décompte notamment celui de l’hymne de Cerrone “Supernature”, en duo avec Beth Ditto, “Loca” de Shakira, “Hey Now” de London Grammar pour un fi•lm de Jean-Baptiste Mondino, ou encore l’incontournable “Happy” de Pharrell Williams.

En 2015, The Shoes reviennent avec Chemicals, qu’ils quali•fient de troisième album, sous l’emprise de la superstition… 10 morceaux composés entre les boîtes de pizzas et de sushis, Paris, Londres, New York et Reims.

Pour chanter, ils ont convoqué leurs potes Esser, Blaine Harrison (Mystery Jets), SAGE et Black Atlass entre autres, et placent ce nouvel album sous le signe de la pop.

Du côté des in­fluences, The Shoes piochent là où ils aiment : coldwave, trance UK des années 90, new wave et même EDM. L’idée est de décoller chacune de ces étiquettes afin de les (ré)assembler en un magistral puzzle électro pop. Composer des ballades tristes pour dire ô combien le monde est cruel ne les intéresse pas. The Shoes préfèrent s’amuser et voir s’il est possible de faire sonner Frankie Goes To Hollywood avec Aphex Twin, souffler le chaud et le froid, le rêche et le tendre ; rien à fiche si ce n’est pas homogène, tant que c’est cohérent.

L’univers de “Chemicals” est à son tour frappé par de puissants éléments visuels et une esthétique aiguisée – on se souvient des punks du premier album, signés Gavin Watson. On retrouve un jeune homme blondinet, mais cette fois-ci noirci et déterminé, mis en image par le photographe sud-africain Roger Ballen.

Pour leur grand retour prévu le 02 Octobre 2015, ils ne feront toujours pas la distinction entre le lino collant des dancefloors, le parquet laqué des salles de concert ou la moquette fatiguée du salon. Ça promet.








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antoine.kraft(@)gmail(.)com

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Brainfeeder
NATIONALITY
American
TERRITORY
France

The Underachievers

The Underachievers

LABEL
Brainfeeder
NATIONALITY
American
TERRITORY
France
BIOGRAPHY

The Underachievers are rappers’ AKTHESAVIOR and Issa Gold, both Flatbush, Brooklyn natives and members of the Beast Coast Movement who came together in 2012. Hailed as influential players in the new New York wave of rappers, the tag-team burst onto the scene with conscious rhymes in Oxford vocab over progressive beats while maintaining the true school era foundation they grew up on.

Issa and “AK” didn’t start rhyming together until years after they met. Fast forward from their first conversation, the two bonded about wanting to get into psychedelics – to Issa doing a feature for AK, who at the time was the sole Underachiever. “You guys need to rhyme together,” a producer told them. Being friends of fellow Beast Coast influencers, Flatbush Zombies, both rappers had witnessed the critical and collaborative attitude that permeated the group. They believed that finding that environment and willingness to work, would be the key to doing it right.

Now, The Underachievers boast three critically-acclaimed mixtapes (“Indigoism,” “Lords of Flatbush” and “It Happened in Flatbush”), their debut album “Cellar Door – Terminus Ut Exordium,” a popular “Clockwork Indigo” five-track EP with Flatbush Zombies, a sold-out headline tour across North America, Europe & Canada, and their sophomore album “Evermore – The Art of Duality” which portrayed a mature and auto-biographical manifesto of the UA lifestyle past and present.

Loved by fans and critics alike, the duo’s viral sensations “So Devilish”, “Gold Soul Theory”, and “Herb Shuttles” prove they’re hitting the mark between genre-bending and mass appeal dead on. They have become more ambitious in developing their craft and displaying the ability to convey their musings. Delivering their message over both head-banging and laid-back lyrical soundscapes, The Underachievers commands their music to do what they want it to do.

Sparking change, infusing the culture and inspiring their fans worldwide is what the duo sets out to do with each new release as anticipation builds for their next project “Renaissance” to come in April, 2017.








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bertrand(.)delasnerie(@)miala(.)fr

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The Paradise of Bachelors
NATIONALITY
Canadian
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France

The Weather Station

The Weather Station

LABEL
The Paradise of Bachelors
NATIONALITY
Canadian
TERRITORY
France
BIOGRAPHY

The Weather Station is the fourth—and most forthright—album by The Weather Station, the project of Toronto songwriter Tamara Lindeman. Her most fully realized statement to date, it is a work of profound urgency, artistic generosity, and joy. Self-titled and self-produced, the album unearths a vital new energy from Lindeman’s acclaimed songwriting practice, marrying it to a bold new sense of confidence.
“I wanted to make a rock and roll record,” Lindeman explains, “but one that sounded how I wanted it to sound, which of course is nothing like rock and roll.” The result is a spirited, frequently topical tour de force that declares its understated feminist politics, and its ambitious new sonic directions, from its first moments. On past records, Lindeman has been a master of economy. Here her precisely detailed prose-poem narratives remain as exquisitely wrought as ever, but they inhabit an idiosyncratic, sometimes disorderly, and often daring album that feels, and reads, like a collection of obliquely gut-punching short stories.
Her previous album Loyalty was recorded at La Frette Studios in France in the winter of 2014 with Afie Jurvanen (Bahamas) and Robbie Lackritz (Feist). Nominated for the 2015 Polaris Music Prize, it earned praise from The Guardian, Pitchfork, NPR Music, Uncut, and MOJO, among many others, who celebrated its delicate, carefully worded verse, filled with double meanings, ambiguities, complex metaphors, and rich details of the everyday.
Lindeman and her band have toured extensively in North America, Europe, Australia, and Japan, both as a headliner and as support for artists such as The War on Drugs, The Mountain Goats, Damien Jurado, Bahamas, and Basia Bulat.

“Timeless… Measured, perceptive storytelling. A singer with an unmistakable & communicative voice, able to convey hope & hurt with equal clarity.” – Pitchfork

“She writes literate songs with unusual precision & sings them in an understated, open-hearted way that lends good poetry the directness of conversation.” – Uncut

“Bob Dylan aside, the singer-songwriter I’ve listened to most over the past year, & to whom I expect to be paying attention for many more to come, is Tamara Lindeman, who, under the name the Weather Station, performs songs notable for a conversational fluency, a diarist’s powers of observation, & a quiet refusal of emotional simplicities.” Richard Williams, The Guardian








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bertrand(.)delasnerie(@)miala(.)fr

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They
NATIONALITY
USA
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THEY.

THEY.

LABEL
They
NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

THEY. are Drew and Dante. The two were introduced in Los Angeles through Dante’s production partner and best childhood friend ‘Big Drew’. At the time, Dante was churning out beats in the studio with the elusive producer, and now label mate, ZHU, and Drew had just relocated to LA from Maryland in search of a like-minded writing partner.

In an effort to move away from pop production towards something more boundary pushing, Dante saw Drew as the “golden boy” collaborator. Without even knowing it, they formed a group.

Influenced by the two-singer dynamic of Taking Back Sunday and the nursery rhyme simplicity of Kurt Cobain’s lyrics, Drew and Dante meld their diverse musical backgrounds to create songs without boundaries that push forward the cultural needle. Melodically, Dante and Drew have a mutual admiration for late 80s gems such as Babyface and New Edition; “The Ralph” even features as one of Drew’s many studio voices. The pair combine these influences with their own limitless and evolving sound to produce something that can’t be placed into a box labeled ‘Urban’ and filed away.

In terms of their label affiliation, this came about in a true THEY. moment of serendipity – Dante ended up playing their tracks for Mind of a Genius founder, David Dann, as he was leaving the studio that all the artists work out of. Two weeks later, the deal was penned. Four months later, the pair are releasing their debut ‘Nu Religion’ EP.








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arnaud[.]meersseman[@]miala[.]fr

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LABEL
HYLAS
NATIONALITY
Dutch
TERRITORY
WORLD

THOMAS AZIER

THOMAS AZIER

LABEL
HYLAS
NATIONALITY
Dutch
TERRITORY
WORLD
BIOGRAPHY

Thomas Azier’s story is a truly pan-European one: a Dutch guy singing in English moves to Berlin and ends up signing a deal in France. His sound bridges gaps between cultures as well. Combining factory sounds derived from the Dutch gabber and hardcore scene, the German electronic scene and the epic and profound emotions you would find in French artists, he may well have defined the sound of European Pop Music in 2014. With his debut album Hylas released, his own metamorphosis is complete – for now. The rough rock that turned into a plain monolith eventually became a crystal.








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antoine.kraft(@)gmail.com

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Luna-tone / Rise Records
NATIONALITY
USA
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TIGER ARMY

TIGER ARMY

LABEL
Luna-tone / Rise Records
NATIONALITY
USA
TERRITORY
FRANCE
BIOGRAPHY

Le groupe légendaire de punk-psychobilly, absent depuis plus de 10 ans des salles de concert européennes, entame une nouvelle tournée en 2017. Celle-ci fait suite à la sortie du nouvel album V•••- sorti en 2016.

Nick 13 est de retour après s’être consacré à quelques projets solo, ambiance country.

Le dimanche 5 mars sera l’occasion parfaite pour s’envoyer une bonne dose de Rock’n’Roll et de toutes les influences qui l’entourent !

___________________________

BIOGRAPHY
Source : Billboard

Southern Cal punksters Tiger Army have been honing their psychobilly twists since 1995, playing gigs around the Bay Area where Operation Ivy, Rancid, and Green Day made names for themselves. By 1997, Tiger Army dealt with departing bandmates as well as scoring recognition from Rancid’s Tim Armstrong. Singer/songwriter and guitarist Nick 13 was the only member left in Tiger Army yet still formed a union with Armstrong’s Hellcat Records. Two years later, Nick, AFI drummer Adam Carson, and Quakes bassist Rob Peltier headed into the studio to begin recording Tiger Army’s self-titled debut, which was issued in December 1999. By year’s end, Geoff Kresge was added to play standup bass. Tiger Army was finally becoming a band, and in 2001, they issued Tiger Army II: Power of Moonlite. Later that year, SoCal local Fred Hell joined on drums and Tiger Army hit the road in support of their sophomore effort as an official rock group. They shared dates with Dropkick Murphys, Reverend Horton Heat, and the Damned, as well as Hellcat’s first Punks vs. Psychos tour; a spot on Warped followed into 2002. As the band prepared for the recording of their third album in spring 2003, Hell was shot four times during a botched break-in at a friend’s apartment. He survived wounds to the back, chest, and head but was unable to physically play in the studio. Drum tech Mike Fasano temporarily stepped in for him while Hell remained present throughout the studio sessions. He made a triumphant return, as did Tiger Army, in mid-2003 for a short summer tour with Rancid. The psychobilly-powered Tiger Army III: Ghost Tigers Rise followed in June 2004. Kresge left the band after they had finished another Warped tour; he was replaced by former Cosmic Voodoo and Calavera member Jeff Roffredo. Drummer James Meza was added to the lineup before Tiger Army embarked on another tour, this time supporting legends Social Distortion. They spent part of 2005 touring Europe and Australia before coming home and headlining their own tour of the U.S. In 2006, they began recording sessions with veteran producer Jerry Finn and the result, 2007’s Music from Regions Beyond, proved to be the most diverse and commercial-sounding album of their career. The band went on to promote the record with a tour spanning almost two years, and marked the return of Kresge to the lineup. The year culminated in Octoberflame, a festival that the group launched in Southern California in 2008. The following year, Nick 13 launched a solo career. He released his debut self-titled solo album in 2011 via Sugar Hill Records, heralding a slight decline of activity in the Tiger Army camp. The ensemble, however, returned in 2016 with their fifth studio release, V. ~ MacKenzie Wilson, Rovi








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Tilka

Tilka

LABEL
Pantheon
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

Originaire de La Réunion, Tilka est le nouveau phénomène de la pop électronique. Sa musique hybride, énergique et positive, est un melting-pot d’influences et de rencontres, a l’image de son nouvel EP. Sur les cinq titres de ce disque, le jeune producteur conjugue ses influences électroniques – Flume, Major Lazer, Marshmallow, DJ Snake – et ses références guitaristiques – le rock vintage de White Stripes, le psychédélisme de Tame Impala – dans des morceaux aux rythmiques fortes en sensations.

Passionné par la guitare dès l’adolescence, Tilka apprend l’instrument par lui-même, étudiant un vaste répertoire qui réunit Eric Clapton et Slipknot, Nirvana et AC/DC. Il est alors également influencé par la musique qu’il entend dans les rues ensoleillées de l’île de La Réunion où il est né : musiques malgaches, reggae, dancehall. Il devient fan de Bob Marley, d’Alpha Blondy et de Kaya, un chanteur reggae de l’Île Maurice. « A La Réunion, il y a beaucoup de musique dans la rue. Avec des musiciens qui jouent de la guitare, des percussions. Et aussi des concerts sauvages un peu partout. Le reggae est une musique paisible qui colle parfaitement au cadre de vie et au rythme cool des îles. »

Durant ses années collège, qu’il passe en France, Tilka commence à découvrir la production électronique. De retour à La Réunion, il se perfectionne dans la fabrication de ses propres morceaux sur son ordinateur, utilisant des samples, des a cappella, fabriquant ses propres remixes. Cette période lui permet aussi d’enregistrer des parties de guitares et de les retravailler dans la vitalité de sa production électronique : ce qui va devenir sa marque de fabrique. « J’écoute aussi du hip-hop et Timbaland est ma plus grande influence dans l’approche de la production. »

Désormais installé à Paris, le jeune producteur a encore affiné ses compositions avant de se lancer dans le grand bain discographique. Tilka a sorti un premier EP durant l’été 2016. (Missing Home sur le label parisien Yunizon Records). Les cinq morceaux de cet EP – « Our Night », « Love », « Like I Do », « Road Of Loneliness » et « Missing Home » – ont été soutenus par des chaînes YouTube comme Majestic Casual, MrSuicideSheep, Cloudkid ou Chill Nation, ce qui leur a assuré plusieurs millions de vues. Cette exposition se complète par l’adoubement de Laurent Garnier en personne qui a playlisté à l’automne 2017 un de ses titres dans l’émission radio Is It What It Is. Ces derniers mois, Tilka a aussi été repéré par Will.i.am, le leader de Black Eyed Peas, alors qu’il participait à des sessions de production de morceaux avec Dany Synthé.

En pleine préparation de son nouvel EP à paraitre en 2018, Tilka a eu l’occasion de tester ses compositions en live dans plusieurs clubs de la capitale – Faust, Showcase, Les Bains, Wanderlust – et d’apprécier la réaction immédiate du public sur le dancefloor. Sur son nouveau disque, le producteur imagine une musique hybride et plurielle, aux influences et aux racines multiples (des mélodies indiennes ou asiatiques, des rythmes africains).

Le premier extrait de cet EP, ‘Stand Up’, est lancé par une guitare acoustique bluesy et porté par la voix atypique, légèrement rocailleux, d’Andy Balcon, le chanteur du groupe anglais Heymoonshaker. Ce titre entremêle phrasés de guitares vintage, voix captivante et chœurs fédérateurs. La rythmique électro transporte cette composition purement blues au 21e siècle.








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Downtown Records
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TOMMY GENESIS

TOMMY GENESIS

LABEL
Downtown Records
NATIONALITY
CANADA
TERRITORY
FRANCE
BIOGRAPHY

Tommy Genesis est le produit de son époque. Experte des réseaux sociaux, shootée sous tous les angles avec sa moue boudeuse et ses boucles bleachées, elle n’en est pourtant pas moins une rappeuse décapante qui sait cultiver le mystère. Originaire de Vancouver, la jeune artiste reste ainsi évasive sur son âge et sur ses influences. Signée sur le label Downtown Records, elle évoque dans ses textes très connotés l’adolescence, la sexualité, la quête d’identité, avec franchise et sans fausse pudibonderie. Et ça fait du bien !

 








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arnaud(.)meersseman(@)miala(.)fr

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Torb Trax
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TORB

TORB

LABEL
Torb Trax
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

Un grondement sourd, des câbles, des filtres, des boîtes à rythmes, enchevêtrés.
Torb est né au coeur de Motorbass Recording Studio, où ils fabriquent des synthétiseurs analogiques pour les coller sur un son originel, restituant la moiteur des années rave sans état d’âme.

Une techno volcanique et hyptonique, jouée live de préférence. Branche dissidente de la rue des Martyrs, Torb s’active dans l’ombre de ses machines élaborées sur mesure depuis un premier EP, “Mars Premier”.

En 2014, la magie opère sur un nouveau maxi de deux titres : “Fatohm & Fever”.

Torb was born in the heart of the Motorbass Recording Studio, where they use modular analogue synths to create their original magical sound, reminiscent of the rave age scene.

Volcanic and hypnotic techno beats from Torb surge for interwining cables, filters and drum machines, played preferably on live sets.
The hip dissidents from rue des Martyrs, Pigalle, been passionately and masterfully bustling in the shadow of their bespoke machines since the release of their first EP, “Mars Premier”.

In 2014, hear the magic of their forthcoming two new tracks entitled “Fatohm & Fever”, due out October 2014.








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Heavenly Recordings
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TOY

TOY

LABEL
Heavenly Recordings
NATIONALITY
UK
TERRITORY
FRANCE
BIOGRAPHY

It helps to understand that TOY don’t sleep. They’re indefatigable and this gives them both a searing clarity of vision and a shattered confusion of mind.

Clear Shot (released October 28th on Heavenly Recordings) sounds like a Beefheart corruption but this magnificent third LP represents the band’s fullest interrogation yet of more local, rain drenched and mushroom speckled Anglo-mystic roots… through Radiophonic Workshop, Comus and Fairport, COUM and Acid House all the way back to the druids, dragging stones and chanting under the astronomical symphony of early Time.

They broke with a self-titled debut in 2012 and cemented their reputation as the best alternative rock band in the country with Join the Dots at the end of 2013 [find ebullient praise below]. Now in the bad half of their twenties, they’ve had a personnel switch and grown up. The headlong motorik rush has been exploded to reveal gem-like shards of synthesizer symphonic and heart-bursting vocal harmony. These have been glued into strange and wonderful shapes by lilting 3 and 6/8 time signatures provided by drummer Charlie Salvidge. As is signalled deftly at the midpoint of its eponymous opener, Clear Shot marks a fracturing and a change of pace; transit conditions in their lives have fostered the best music they’ve ever made.

Such was its reception that TOY toured their second record for nigh-on two years, culminating in their biggest London show yet at  Shepherd’s Bush Empire in April 2014. The whole experience seems to have wreaked glorious if painful creative destruction upon the band’s relationships and ideas.

Resisting the centrifugal forces at work, they took inspiration from favourite bygone groups and bunkered down together. In a makeshift studio at guitarist Dominic O’Dair’s flat in Walthamstow, they laid out the first Clear Shot demos, splitting their time between there and a place in New Cross that singer Tom Dougall and bassist Maxim Barron had moved into. The sprawling, old house also contained Max Oscarnold of the Proper Ornaments, who they’d got to know through touring together, and his piano and acoustic, Byrds-leaning sensibilities bled into communion with TOY’s guitars and synths. At Dom’s, in something of an homage to the experiments of the Manson family, early Disney and Bowie’s Beckenham Arts Lab, they routed cables through each room to a bank of recording equipment. They’d been reading a lot and going out slightly less, and it had enabled some fertile experimentation.

“One of the books we all swapped around was Electric Eden by Rob Young,” says Barron, “The sound of folk music and how it progressed in a modernising world interested us and the idea that people were looking back to forms of music that were in danger of being forgotten, looking back at a golden age. Bands like Incredible String Band, The Langley School’s Music Project and The Wicker Man soundtrack were on quite a bit and I think that influenced the sound in some way.”

“Another book we were reading was Wreckers of Civilisation: The Story of COUM Transmissions,” says O’Dair, “I think their story has been an influence and is almost a continuation from the folk thing. The Death Factory where they lived is in Hackney.” The group, having grown up in sunny semi-utopian Brighton, have all lived in London for quite a long time and by now relate easily to the concept of Industrial Music and that experiment where all the lab rats ate each other.

This free thinking Ken Kesey stuff was going on when they weren’t gorging on film noir. The scores of Bernard Herrmann, John Barry and Ennio Morricone have seeped in just as much as the cannon of well-regarded UK avant freaks, and the tone of the record is acknowledged on its sweeping seven minute closer ‘Cinema’. Just as elsewhere a sense of epic spectacular confronts a keen intimacy. This feeling is helped no end by Chris Coady (Beach House, Smith Westerns, Yeah Yeah Yeahs) who mixed the album in LA, with some of the reverbs and vocal processors used on Purple Rain. They provide a sheen that complements Dougall’s melodies, which are particularly expressive this time around. TOY are working both in bigger colours and more minutely crafted detail, achieving an altogether higher level of artistry than before.

Recent outings between the alternating demands of tour van and studio have given slight nods to this expansive new direction. Prominently, there was the Sexwitch project with Natasha Kahn (Bat for Lashes), in which they refracted global psychedelic cuts to delirious effect, and their instrumental re-work Join the Dubs. In addition to tinkering on an MS20, a KORG Delta, a Phillacorda and a Farfisa, they’d lately become fixated with a Sequential Circuits Pro One, a Prophet 6 and reel to reel tape loops. Charlie Salvidge got deeply into field recordings and they had originally expected Clear Shot to sound more electronic than their earlier work. They were not unhappy when instead, the record started to take on a lushly cinematic, symphonic form. Strands of ideas appear, sink and re-emerge in an almost modal jazz manner; subject to some gnomic process, deep and stoned-sounding.

‘Dream Orchestrator’, all pulsing arpeggios building impossibly towards an infinite horizon, shows this genesis – a tune that dives fearlessly into gleeful manipulation and melancholic paranoia. It’s the standout lyric on an album littered with evidence of those special drawing rights on catharsis songwriters and listeners sometimes access when everything in their life is, for a moment at least, completely fucked.

Teaser ‘Fast Silver,’ comes out August 1st. A shoogle-y darked-out affair, it’s reminiscent of the best night driving music, that bends between cavernous minor and warmly radiating major sections. There’s an instrumental bridge that sounds like Amon Tobin and a middle 8 that sounds like The Stranglers’ Dionne Warwick cover. It’s utterly brilliant and truly weird. Sibling tracks on the record include ‘Jungle Games’ and ‘Spirits Don’t Lie.’ Peculiar, idiosyncratic creatures, they share something with the end-of-the-sixties, year zero feel of the Beach Boys’ Surf’s Up; somewhat broken and disillusioned, long shot of the urge to please.

‘We Will Disperse’ finds TOY on turf more comfortingly familiar to fans: it sounds like Pale Saints kidnapped on each chorus by Shintaro Sakamoto. ‘I’m Still Believing’ constructs a skipping interplay of guitar and pulsing keys with Johnny Marr-like delicacy in the verses, which it then purposefully undercuts, sliding into a gorgeously melodramatic sequence worthy of Rubber Soul.

‘Clouds That Cover the Sun’ is an elegiac but alive single in the mould of ‘As We Turn’ from Join the Dots. There’s a note of Portishead, ‘Pink Frost’ by The Chills, and the more probable direct influence of Tony, Caro and John.

The dual speed ‘Another Dimension’ might be my favourite; it restates lovers’ goodbyes in sci-fi langue, stepping as it does so into the atmosphere of Kevin Shields or J. G. Ballard and eliciting a seductive essence of self-destruction from a wreck-prone culture.

The tone is occasionally pretty dark but the band rode the fraying forces of 2015 gracefully. Alejandra Diez left in September but Max Oscarnold had been peripherally involved in the music and seemed like a natural replacement. By October they went to Farheath in Northamptonshire and properly demoed the album, before going to record with David Wrench at Eve studios in Stockport in late November – “lots of good old equipment in a weird, secluded house,” they report, having lived there, staying up to record and getting immersed to a level not previously possible.

Part of why this album feels so coherent and confidently arranged comes from a decision made, after a Christmas break and with reams of stuff recorded, to cut down to a ten track standard. The material that didn’t make it onto Clear Shot forms a bonus E.P., of which ‘Love Seeker’ stands out and will be released at the same time as the album.

PRAISE FOR JOIN THE DOTS

“A strong second album from a band in the ascendancy” – NME

“Another exhilarating leap… ever closer to the pantheon of greats” – MOJO

“Dazed and somnambulant, but thrillingly attains feedback-drenched vertical takeoff” – The Guardian

“Even the album sleeve seemingly aspires to conjure up Kreuzberg in 1972… Quality Product” – Time Out

“No matter what confection the band prepares, the melody is the cake and the trippiness the frosting, making Join the Dots one of the most non-head accessible psych rock records since Tame Impala’s breakthrough” – BLURT

“TOY get the balance exactly right here, perfectly mixing noise and melody” – Clash








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IN MY ROOM
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TRENTEMØLLER

TRENTEMØLLER

LABEL
IN MY ROOM
NATIONALITY
DENMARK
TERRITORY
FRANCE
BIOGRAPHY

Following the release of Trentemøller’s fourth full-length album “Fixion” he will tour Europe and North America.

In 2007 Trentemøller assembled his first full live band and has since played more than 300 shows around the world.
The Fixion Tour begins January 19th in Amsterdam and ends in Washington March 26th. It will take Anders and his band to no less than 48 cities in 19 countries.

Trentemøller is known for his unique live shows, both musically and visually, and this time is no exception. His 5 piece band consist of:

Anders Trentemøller: Keys, Percussion
Jakob Hoyer: Drums
Jakob Falgren: Bass, Synth
Jeppe Brix Sørensen: Guitar, Synth
Marie Fisker: Vocal, Guitar, Synth

Swedish artist Andreas Emenius, who is also responsible of the album artwork, and the director of 3 videos for the singles from “Fixion”, has designed the stage

BIOGRAPHY:
Copenhagen based musician Anders Trentemøller´s talent for heart wrenching melodic moments and exceptional productions, fused with his trademark sound somewhere between indie and electronic, has established him as one of the most respected and admired artists of this century. In 2006 Trentemøller released his groundbreaking debut album ‘The Last Resort’. High placements in several polls for best album of the year followed and established his name to a broader audience.
‘Into The Great Wide Yonder’ in 2010 and ‘Lost’ in 2013 followed “The Last Resort” and in September Trentemøller released his fourth album ‘Fixion’ on his own label “In My Room”.

With ‘Fixion’, Anders has crafted a logical successor to 2013’s ‘Lost’ – a record that in many ways managed to truly capture the visceral live experience of Trentemøller as a live band. In much the same manner that ‘Lost’ built on from the somber cinematic classic that was ‘Into The Great Wide Yonder’, ‘Fixion’ has embraced the Danish artist’s trademark melancholy and matured it into something uniquely melodic and darkly romantic.
Rather than attempting to completely reinvent himself, Anders has used his latest outing as an opportunity to highlight certain granular aspects of his signature sound and refine them into a much more organic – and at times perhaps more song-driven body of work. It’s a record that on first listen may seem less detailed but, as you’ll know by now, with Trentemøller, one should never be fooled by initial impressions. It’s the kind of record that will over time repeatedly unlock new intricacies and offer the listener an opportunity to understand the work differently upon each listen.
The album is still notably driven by the producer and multi-artist’s passion for experimentation and effortlessly succeeds in transcending a swathe of influences and unassuming genres­­ – yet all the while holding true to Trentemøller’s unique, and sometimes challenging vernacular. From the cascading minimalist synth-scapes to driving electro-punk, each and every track on ‘Fixion’ is bound together with a contemplative melodic complexity.








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False Idols
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UNITED KINGDOM
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TRICKY

TRICKY

LABEL
False Idols
NATIONALITY
UNITED KINGDOM
TERRITORY
FRANCE
BIOGRAPHY

Tricky returns with his 13th album, ununiform. It’s a delicate, storming, intricate album that sees Tricky take perhaps his most radical step yet – a journey into happiness and contentment. It’s a record that shows the legendary British producer confront his legacy, history, family – even death itself. And in all of this, he finds the strangest, least familiar thing – peace. Ununiform was conceived in Moscow and completed in Berlin, where Tricky has been living for the past three years – not lavishly, but instead leading a clean, reflective and positive life: “I don’t know anybody. I eat good food. I go for walks”.

 

Testament to Tricky’s dynamism, ununiform sees him further work with new, up and coming singers as well as collaborators of the past. ‘When We Die’, premiering today via www.trickysite.com, features Martina Topley-Bird, who first made an appearance on Tricky’s debut 1995 album, Maxinquaye – released a month before the pair’s daughter was born. They haven’t collaborated on one another’s output in almost fifteen years.

Eerie, haunting yet enveloped by a sense of peace and acceptance, ‘When We Die’ sees Tricky take hold of a new zest for life he has come to possess: “If you don’t accept death you don’t really accept life” says Tricky.

Highlighting Tricky’s typical genre-expansive sound, ununiform features a string of collaborators old and new. These include some of Russia’s most famous rappers such as Scriptonite, who features on ‘Blood Of My Blood’ & ‘Same As It Ever Was’, plus Vasily Vakulenko (Basta) who helped produce single standout ‘The Only Way’, and Smokey Mo also makes an appearance on ‘Bang Boogie’. Tricky confesses of a 20 year long love affair with Russian hip-hop, to which he has paid homage through recording these tracks in Moscow.

Ununiform also sees Tricky rekindle working relationships with the likes of Francesca Belmonte and Asia Argento, and flip expectations further with a cover of Hole’s 1994 single ‘Doll Parts’ performed by another bright emerging talent, Avalon Lurks. Meanwhile album highlight Running Wild features vocals from Mina Rose, who will also be joining Tricky’s touring party this year.

Interestingly, the effect of his new-found outlook, freedom and lifestyle has led to Tricky turning back to his classic sound – perhaps the final frontier for such an inveterate experimentalist. “I’ve got nothing to prove now, and I’m comfortable with referencing myself.” Indeed, he’s since described last month’s single ‘The Only Way’ as “Hell is Round The Corner, Part 2”. This sensation is perhaps a response to a wave of artists referencing Tricky’s ‘90s records and his approach, from The xx to boundary-pushing London rappers Gaika and CASisDEAD, the latter of which Tricky recently collaborated with. “I’ve got a really wide audience. So I’ve got nothing to prove. I feel like sometimes it’s OK to do it again.”

The first album that Tricky has released as a truly independent artist free from the pressure of debt and destruction, ununiform is a glorious, beautiful and intensely personal attempt to answer the simple question “What does Tricky sound like?”








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Ondulé Recordings
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UN*DEUX

UN*DEUX

LABEL
Ondulé Recordings
NATIONALITY
French
TERRITORY
World
BIOGRAPHY

Originaire de Vitry Sur Seine, UN*DEUX est un jeune DJ/Producteur possédant une large palette d’influences qui se reflète dans ses propres productions et ses DJ set, ou il n’hésite pas à croiser House, Techno et Hip Hop.

En juillet 2013, UN*DEUX a sorti «ON DRUGS » son premier EP avec le label TEALER RECORDS. Le clip du titre éponyme se trouve sur Youtube et possède plus de 200.000 vues.

Février 2014, Kevin accélère et dévoile « Roses » son deuxième EP. Ce dernier est beaucoup plus personnel et ne possède aucun sample, seulement de la composition.

En 2015, UN*DEUX joue partout en France aux côté des plus grands tels que Kolsh, Detroit Swindle, Xinobi, A-Trak, Kaytranada… et enchaine les remixes officiels et personnels comme pour R-ash et Missy Elliott.

En parallèle, il sort « Deep in Your House », un projet compilation Deep House avec le label Français Serial Records. Un retour aux sources avec que des tubes Deep House légendaires sorti sur le label.








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KLEAR
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Netherlands
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WANTIGGA

WANTIGGA

LABEL
KLEAR
NATIONALITY
Netherlands
TERRITORY
france
BIOGRAPHY

Residing in the Netherlands, DJ and Producer Jonathan Tan AKA Wantigga, has been making beats in his hometown Deventer since he was a boy. Growing up in a churchgoing household, he was raised with a lot of gospel, soul and jazz music. As an autodidact musician, he taught himself to play several instruments, but his interest turned quickly to electronic music and hip-hop. With Dilla as his big example, he combines Hip-hop, Bass and UK House with a thick layer of Soul on top. He made a name for himself with his flips of RnB classic, which got picked up by labels such as HW&W and Soulection.

 

As part of the KLEAR family in Amsterdam, Wantigga became acquainted with the Parisian Label Roche Musique on several occasions when he played together with Darius, Kartell, Zimmer and Roche Musique label-owner Cézaire. This became a new musical love affair, which resulted in Wantigga’s first ever EP Pillow Talk released on Roche Musique in February 2016.








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mathilde.vanhassel(@)miala(.)fr

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Way Of House
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French
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Wielki

Wielki

LABEL
Way Of House
NATIONALITY
French
TERRITORY
Worldwide
BIOGRAPHY

Alex aka Wielki est un producteur de musique électronique français. Initié au piano classique assez jeune, c’est grâce à un cousin de quelques années son aîné qu’il va plonger dans l’électronique. Ce dernier, avec qui il partage un goût prononcé pour les productions d’Eric Serra et Jean-Michel Jarre, lui offre son premier synthétiseur. Une véritable révélation. Il commence alors à expérimenter au clavier et par la suite se forme aux premières techniques de production assistée par ordinateur. Durant une adolescence marquée par l’émergence de la French Touch, il découvre également les rudiments du mix après l’acquisition de quelques vinyles, et tombe sous le charme de la culture club.

Son univers musical oscille aujourd’hui entre techno, house et électro. De l’époque des pionniers du synthé il a gardé le goût des mélodies simples soutenues par des harmonies profondes. Les structures ciselées de ses morceaux racontent toujours une histoire, entre énergie brute et mélancolie, tout comme ses sets. Une dimension épique, martiale et intense imprègne sa musique. Quoi de plus normal pour Wielki? (“Aleksander Wielki” signifiant “Alexandre Le Grand” en polonais, d’où l’origine de son pseudonyme).

Après une rencontre avec Joris Delacroix et Delon, il rejoint leur label Way Of House en 2016. Il partage avec eux une vision artistique commune autour d’une techno mélodique efficace et commence à jouer à leurs côtés au Rex, au Faust ou encore au R2.

Après une série de remixes pour notamment Fred Falke (“It’s A Memory”) et Feder (“Goodbye”, “Lordly”), son premier EP “Empire”, sorti avec des remixes de Joris Delacroix et de Time, est largement plébiscité par la scène underground. Way Of House confiera ensuite à Armada Music l’exploitation du titre à l’international. Son deuxième opus “Blanche EP” dévoile un peu plus son univers et confirme sa marque de fabrique avec 3 originaux et des remixes par Villanova et The Dualz.


Alex aka Wielki is a young French electronic music producer. He began a classical piano training at a very young age but his elder cousin introduced him to electronic music. They shared a marked taste for Eric Serra’s and Jean Michel Jarre’s productions. His cousin offered him his first synthesizer and it was a revelation to him. Then he started practising and learning the basic techniques of computer music. Heavily influenced by the French touch which rose in his teenage years, he also discovered the basics of mixing after buying a few vinyls, and fell in love with club culture.

His musical world flits between techno, house and electro music. From the era of synthesizer pioneers, he has kept a taste for simple melodies enhanced by rich harmonies. The crafted structures of his pieces always tell a story ranging from raw energy to melancholy. The same goes for his sets. His music is pervaded by an intense, martial and epic dimension. Nothing comes more naturally for Wielki (“Aleksander Wielki” means “Alexander The Great” in Polish, hence the origin of his stage name).

After meeting Joris Delacroix and Delon, he joined their “Way of House” label in 2016. They share the same artistic vision based on an efficient melodic techno music. From that time he started playing with them at the Rex Club, Faust or R2.

After a series of remixes for Fred Falke (“It’s a Memory”) and Feder (“Goodbye”, “Lordly”), he released his first “Empire” EP with remixes by Joris Delacroix and Time. This was widely acclaimed by the underground scene. Way Of House will then ask Armada Music to promote the track throughout the world. His second release “Blanche EP” reveals a bit more his universe and confirms his trademark with 3 original tracks and remixes by Villanova and The Dualz.








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WYCASAYA

WYCASAYA

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WYCASAYA est un duo de producteurs / DJ composé de Loova Novah & DaBoy Tisba.

Amis depuis plusieurs années et inspirés par le mouvement Hip-Hop avant tout, leur touche artistique peut se caractériser par un mélange de sonorités ethniques et tribales.

Ils lancent leur concept en Janvier 2014 et commencent par sortir différents remix et mixtapes afin de faire découvrir au public leur univers musical. S’enchaîne alors plusieurs collaborations avec des artistes anglophones tels que Travis Scott et Disclosure, des marques, agences et salons de coutures pour des défilés.








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YEUZ

YEUZ

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A Paris, Paul & Johan dessinent une techno épurée et puissante. Leur musique s’inscrit au coeur de leurs travaux de recherche en art interactif, réalité augmentée et holographie. En focalisant la composition sur un travail de matière et de résonance, Yeuz confronte la violence et la simplicité des sources dans une narration progressive. L’harmonie est induite et distillée pour offrir des éclats illuminant leur techno. Inspiré autant par l’oeuvre sculpturale de Tony Smith ou les mythes spatiaux, Yeuz joue avec un environnement musical codifié pour tourner autour du vide et du minimalisme.    .








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