Tag: Lollapalooza

 

Despite going through a number of lineup changes throughout the years, the New York-based jazz outfit New York Electric Piano, currently comprised of founding members Pat Daughtery (piano) and Aaron Commes (drums), who’s best known for his work in the Spin Doctors, along with newest member Richard Hammond (bass), initially formed in 2003 as a piano jazz trio, based around the Fender Rhodes electric piano sound featuring founding members Daughtery, Comess and Tim Givens (bass). Interestingly, that collaboration can trace its origins back to when the founding trio met, playing in various bands in the NYC music scene during the 90s.

Their eponymous 2004 debut effort was critically applauded and was a commercial success, as it cracked the Top 20 of the CMJ Jazz Charts. 2005’s Citizen Zen and 2006’s Blues in Full Moon were also released to critical praise. And adding to a growing profile, the band began a long residency at the Cutting Room, which featured their tradition of inviting dancers on stage with them. However, by 2008, the band expanded into a sextet as they added Deanna Kirk (vocals), Till Behler (sax) and Leon Gruenbaum (keys), who’s best known as a member of Vernon Reid’s backing band — and as a sextet, they released the critically applauded King Mystery, which found the members of the then-sextet expanding upon their sound and approach with material that shifted between dance rock, jazz and wild freak outs.

By 2010, the band expanded once again as they added Teddy Kumpel (guitar), known as a member of Joe Jackson’s backing band and Erik Lawrence (sax), known as a member of the legendary Levon Helm‘s backing band. And as a nonet, New York Electric Piano began a long and very successful run at Zinc Bar, which they followed with arguably their most commercially successful effort to date, 2011’s double album Keys to the City, which spent a month in the Top 10 of CMJ’s Jazz Charts and received critical praise from the likes of PopMatters, Sea of TranquilityJazz Times, Drumhead and All About Jazz among others.

And although the band received quite a bit of commercial and critical success as a large ensemble, they reverted to the original format a trio — recruiting the aforementioned Hammond with whom they released Black Hole In One, an album which featured alternating instrumental compositions and vocal tracks. Unexpectedly, for the members of New York Electric Piano, the album received international attention, thanks in part to album single “Party On.” As the story goes, “Party On” was pushed by an Australian DJ, and eventually the New Zealand National Rugby Team, the All Blacks adopted the song as their theme song during their Rugby World Cup Championship run. Along with that, Lollapalooza artist Norton Wisdom did a live action painting to the song, and the video and song became the subject of a climate change conference at Penn State University. Adding to the unexpected attention on the album, album single “Who Wants to Know” features a verse about Crazy Horse. One of his descendants heard the song and sent it to family members, who were protesting the Dakota Access Pipeline — with the song becoming something of a rallying cry.

Recently, the members of the band have been playing monthly gigs at Rockwood Music Hall, and their extended, free-flowing jams were met with such tremendous audience approval that Aaron Comess immediately suggesting that they needed to try to capture the energy and vibe of their Rockwood shows on their next album — State of the Art, which is slated for a January 12, 2018 release through Fervor Records.

State of the Art‘s latest single “Road to Joy” is a loose and free-flowing jam that displays the trio’s uncanny simpatico, in which they all push and pull upon the other, teasing out ideas from one another, and much like the incredible Xylouris White, there’s a sense that the trio, musically speaking are dancing — with each member knowing exactly when to lead, follow. And although the composition begins with some stuttering discordance, the trio quickly finds a sustained, funky groove reminiscent of 70s era jazz fusion but with a contemporary touch.

 

 

 

 

Currently comprised of Kyle Morton (vocals, piano, guitar), Tony Tanabe (bass, vocals), Dave Hall (guitar, vocals), Shannon Steele (violin, vocals), Jef Hufnagel (violin, vocals), Pieter Hilton (drums, vocals), Alex Fitch (drums, vocals), Tyler Ferrin (horns, guitar, piano, vocals), Ryan McAlpin (trumpet, vocals), Eric Stipe (trumpet, vocals) and Devin Gallagher (percussion, ukelele, vocals), the 11 member Portland, OR-based indie act Typhoon has received attention for a sound that meshes elements of indie rock, baroque pop  and orchestral pop as their material is rooted around complex arrangements and lush orchestration, as well as a penchant for restless experimentation with various styles including classic sea shanties, Country and Western, Eastern European folk and others. And unsurprisingly, they’ve drawn comparisons to Frightened Rabbit, Bright Eyes, Beirut and Arcade Fire among others. Along with that, they’ve received attention for live sets that routinely feature 12 (or more) musicians performing on stage. However, with the release of Hunger & Thirst and A New Kind of House EP the collective’s material revealed an increasingly consistent sound paired with a greater attention on crafting a thematic through-line — with much of their material based around a preoccupation with mortality, based primarily around (and making references to) Morton’s childhood struggles with Lyme Disease.

Adding to a rapidly growing local and national profile, they’ve had their music appear on SyFy’s Being Human, NBC’s Chuck and the major motion picture Veronica Mars, and they’ve opened for the likes of The Thermals, Quasi, Yann Tiersen, Explosions in the Sky, The Decemberists, Belle and Sebastian and The Shins and have toured with Lady Lamb the Bee Keeper, Portugal, the Man and Grouplove. Thanks in part to the success of album single “The Honest Truth,” which was ranked #3 in Paste Magazine‘s Top 50 Songs of 2011 List, and 2013’s White Lighter, which reached #105 on the Billboard 200, #2 on the Heatseekers and was 37 on Paste’s Best Albums list, the members of the collective played sets at 2014’s Lollapalooza and Outside Lands.

After the release of 2015’s live album, Live at Crystal Ballroom, which features the band playing material from off Hunger & Thirst and White Lighter, Morton released his solo debut What Will Destroy You — and during that time, the members of the collective spent time working on the material, which would comprise their soon-to-be released fourth album Offerings. Thematically, the album is centered on a fictional man, who is losing his memory — and in turn, his sense of self.  “I’ve always been preoccupied with memory, losing memory, and trying to recapture memory. I wanted to explore the questions: What does a person become if they don’t know where they came from? What is the essential quality of the person if you strip away all memory?” explains singer/songwriter Kyle Morton in pres note

As the story goes, motivated by his own preoccupation with “losing it,” Morton was inspired by the films of David Lynch, Christopher Nolan’s Memento and Fellini’s 8 1/2, as well as several different books on his nightstand, including Samuel Beckett’s famed Three Novels — in particular, Malloy. “It made it a much darker album for sure,” Morton says in press notes.  Structurally, the album is divided into four different movements — Floodplains, Flood, Reckoning and Afterparty — meant to represent each of the four mental phases the main character goes through when he first realizes that something is wrong, then struggles through the chaos of his situation, and finally moves into acceptance before succumbing to a terrible and unimaginable fate.

Musically, the band evokes an impending doom and chaos that’s supposed to mirror the main character’s sense of fear and anxiety. And to set the set the tone, Morton and company decided to write the material with much more guitar than horns and string arrangements.  “I wanted it to be a darker, more intense rock record, so it’s very guitar-based. It’s going back to my rock roots before Typhoon,” says Morton. But along with that, the material parallels the contemporary world. “I was also reading historian Timothy Snyder and was inspired by his take on how America is at risk of losing their sense of history. If we haven’t learned the lessons of our past, historically, we can’t recognize when elements come back to haunt us, which is what’s happening right now,” Morton adds.

Interestingly, Offering‘s latest single “Darker” is from the album’s third movement, and as Morton explains, the song details some of the final stages of the album’s main character’s memory crisis in which he loses the critical distinctions separating self from other. And naturally all kinds of chaos and confusion ensue. And while the arrangement balances a hook laden arena rock friendliness with a sweeping, cinematic quality, it possesses a tense and creeping anxiousness of someone, who’s fully aware of something horrifying happening to them and that they’re utterly powerless to stop it — but along with that, there’s the strange recognition that whatever it was that it was happening to them is something they’d have a difficult time explaining to someone else. Personally, what makes the song interesting is that Morton as a songwriter has revealed himself to have a novelist’s attention to psychological detail, capturing the fractured thoughts and uncertain emotions of someone slowly losing it all.

 

The band will begin 2018 with a lengthy US and European tour, and it includes a January 27, 2018 stop at The Music Hall of Williamsburg. Check out the tour dates below.

 

 

TOUR DATES:
01.10 – URBAN LOUNGE – SALT LAKE CITY, UT (TICKETS)
01.12 – GOTHIC THEATRE – ENGLEWOOD, CO (TICKETS)
01.14 – THE WAITING ROOM – OMAHA, NE (TICKETS)
01.17 – TURF CLUB – SAINT PAUL, MN (TICKETS)
01.18 – MAJESTIC THEATER – MADISON, WI (TICKETS)
01.19 – THE METRO – CHICAGO, IL (TICKETS)
01.20 – EL CLUB – DETROIT, MI (TICKETS)
01.23 – LEE’S PALACE – TORONTO, ON (TICKETS)
01.25 – PARADISE ROCK CLUB – BOSTON, MA (TICKETS)
01.26 – UNION TRANSFER – PHILADELPHIA, PA (TICKETS)
01.27 – MUSIC HALL OF WILLIAMSBURG – BROOKLYN, NY (TICKETS)
01.31 – 9:30 CLUB – WASHINGTON, DC (TICKETS)
02.01 – CAT’S CRADLE – CARRBORO, NC (TICKETS)
02.02 – TERMINAL WEST – ATLANTA, GA (TICKETS)
02.03 – EXIT IN – NASHVILLE, TN (TICKETS)
02.06 – THE MOHAWK – AUSTIN, TX (TICKETS)
02.08 – THE CRESCENT BALLROOM – PHOENIX, AZ (TICKETS)
02.10 – MUSIC BOX – SAN DIEGO, CA (TICKETS)
02.11 – TERAGRAM BALLROOM – LOS ANGELES, CA (TICKETS)
02.13 – THE INDEPENDENT – SAN FRANCISCO, CA (TICKETS)
02.16 – THE CROCODILE – SEATTLE, WA (TICKETS)
02.23 – CRYSTAL BALLROOM – PORTLAND, OR (TICKETS)
02.24 – RICKSHAW THEATRE – VANCOUVER, BC (TICKETS)
02.28 – THE DEAF INSTITUTE – MANCHESTER, UK (TICKETS)
03.01 – BROADCAST – GLASGOW, UK (TICKETS)
03.02 – THE LEXINGTON – LONDON, UK (TICKETS)
03.07 – LE PETIT BAIN – PARIS, FRANCE (TICKETS)
03.08 – BOTANIQUE – BRUSSELS, BELGIUM (TICKETS)
03.09 – PARADISO – AMSTERDAM, NETHERLANDS (TICKETS)
03.10 – KNUST – HAMBURG, GERMANY (TICKETS)
03.13 – VEGA – COPENHAGEN, DENMARK (TICKETS)
03.14 – MUSIK & FRIEDEN – BERLIN, GERMANY (TICKETS)
03.15 – FLUC – VIENNA, AUSTRIA (TICKETS)
03.16 – GARE DE LION – WIL, SWITZERLAND (TICKETS)
03.18 – ROYAL – BADEN, SWITZERLAND (TICKETS)
03.20 – ARTHEATER – COLOGNE, GERMANY (TICKETS)

New Video: The Mischievous and Surreal Visuals for Sigrid’s Club Banging, New Single “Strangers”

Sigrid is a 21 year-old, Ålesund, Norway-born, Bergen, Norway-based pop artist, who with the release of her acclaimed debut EP Don’t Kill My Vibe earlier this year, has quickly become an international pop sensation — her EP has amassed more than 100 million streams globally, and as a result she’s played a number of major festivals, including Glastonbury, Latitude, SXSW, Life is Beauriful, Lollapalooza and Pitchfork Paris. Adding to a growing profile, the Norwegian pop artist was chosen as Apple’s Up Next Artist.

The Norwegian pop sensation ends 2017 with the Martin Sjolie-produced single “Strangers” and the track pairs a slick, club-banging yet radio-friendly production featuring layers upon layers of arpeggiated synths,  tweeter and woofer-rocking beats and a soaring hook, paired with Sigrid’s gossamer vocals. Lyrically, the song looks at a a relationship and its inevitable end with a stark and startlingly mature honesty, as the song’s narrator recognizes that love in real life, is never like the movies — that it can be fumbling, awkward and ambivalent, leaving you with more unanswered questions than you ever expected; and that worst yet, despite the connection you may have had with that person, once that relationship is over, you’ve become strangers, much like when you first met that person.

Directed by Ivana Bobic, the recently released video follows the young Norwegian pop artist as she performs the song on a stark yet surrealist set, which spirals and reforms with completely different and strange scenery throughout the video. As Sigrid explained to i-D about the video.”It was a joy making it. We wanted to take the feeling of seeing differently to what they really are. The one thing that is realistic is me dancing around in my usual way.”
 

Currently comprised of founding member Jonathan Russell (vocals, guitar, percussion), Matt Geravis, Charity Rose Thielen (violin, guitar, vocals), Chris Zasche (bass), Kenny Hensley (keys) and Tyler Williams (drums), the Seattle, WA-based indie folk/indie rock act The Head and the Heart can trace their origins to a series of open mic nights at Ballard, WA-based Conor Byrne Pub back in 2009. At the time Russell, who had relocated from Richmond, VA and the band’s other founding member Josiah Johnson (vocals, guitar, percussion), who had relocated from Southern California were relatively recent transplants. Russell and Johnson met Hensley, who also was a relatively recent transplant, who had relocated the previous year to pursue film score writing. Thielen, was the next member to join, and she had recently returned from a year abroad studying in Paris. Williams had been a member of Richmond, VA-based band Prabir and The Substitutes, but after Russell sent him a demo of “Down In The Valley,” Williams quickly relocated to Seattle to join the new band. The last member of the original line, Zasche was a bartender at the Conor Byrne and was member of Seattle-based bands The Maldives and Grand Hallway. Interestingly enough, as Johnson explained the band’s name came from an relatable situation in which “Your head is telling you to be stable and find a good job, you know in your heart that this [the band] is what you’re supposed to do, even if it’s crazy.”

Since their formation the band has released three full-length albums — 2010’s self-titled and initially self-released debut (which later caught the attention of Sub Pop Records, who re-issued it), 2013’s Let’s Be Still and 2016’s major label debut, Signs of Light with each record seeing greater attention and the band building a growing profile; they’ve opened for Vampire Weekend, The Walkmen, Dr. Dog, Dave Matthews, The Decemberists, Iron & Wine, My Morning Jacket, Death Cab for Cutie and Tom Petty and The Heartbreakers among a lengthening list of acclaimed acts. Along with that, the band has seen quite a bit of critical and commercial success — their self-tiled debut reached #110 on the Billboard 200 and stayed on the chart for 10 weeks with  Let’s Be Still landed at #10 on the Billboard 200 and each album has been well received, to boot.

Now, if you’ve been frequenting this site over the course of the summer, you may recall that I mentioned that this year may arguably be one of the bigger years in the band’s history, as they’ve played the historic Newport Folk Festival and Coachella, and are in the middle of an extensive tour that includes stops at the Red Rocks Amphitheater, Lollapalooza and Central Park SummerStage last night.

Tonight the band is taking part in an Audience Network Concert Special, which will air at 9:00 ET/PT on DIRECTV (Channel 239) and U-verse (Channel 1114) and DIRECTV Now, and  to build up buzz for the special, as well as to celebrate what has been a successful tour so far, the band has just released a gorgeous and fairly straightforward cover of Crowded House’s “Don’t Dream It’s Over,” one of my favorite Crowded House songs, and arguably one of the best songs of the 1980s; of course, there are subtle differences — The Head and the Heart rendition has a slightly folky twang, Charity Rose Thielen sings the song’s second verse, which adds a slightly different perspective; and the organ solo at the song’s bridge is truncated by a number of measures; but considering the band’s history, covering Crowded House’s breakthrough hit here in the States is fitting, as the song focuses on persisting in the face of all odds. More important, their cover should remind everyone that Neil Finn is an exceptionally gifted songwriter, who has written a handful of songs that have held up 30+ years after their initial release.

As I mentioned the band is in the middle of a lengthy tour, check out the tour dates below.

Tour Dates:
9.22.17 – The Fillmore – Philadelphia, PA *
9.23.17 – Thompson’s Point – Portland, ME *
9.24.17 – Green at Shelburne Museum – South Burlington, VT *
9.26.17 – Massey Hall – Toronto, ON *
9.28.17 – Iroquois Amphitheater – Louisville, KY *
9.29.17 – Ascend Amphitheater – Nashville, TN *~
9.30.17 – Thomas Wolfe Auditorium – Asheville, NC *
10.1.17 – The National – Richmond, VA *
10.2.17 – Red Hat Amphitheater – Raleigh, NC *
10.4.17 – Alabama Theatre – Birmingham, AL *
10.5.17 – Coca Cola Roxy Theatre – Atlanta, GA *
10.8.17 – Austin City Limits – Austin, TX
10.10.17 – Cain’s Ballroom – Tulsa, OK *
10.11.17 – Orpheum Theatre – Memphis, TN *
10.12.17 – The Pageant – St. Louis, MO *
10.13.17 – The Blue Note Outdoors – Columbia, MO *
10.15.17 – Austin City Limits – Austin, TX
10.27.17 – The Anthem – Washington, D.C. *+
10.27 – 10.29.17 – Voodoo Music + Arts Experience – New Orleans, LA
1.31 – 2.4.18 – Hard Rock Hotel – Riviera Maya, MX

 

*w/ The Shelters
^w/ The Lone Bellow
~w/ Dr. Dog
+w/Phosphorescent

New Video: An Intimate Portrait of Life on the Road with The Head and the Heart in New Visuals for “City of Angels”

Currently comprised of founding member Jonathan Russell (vocals, guitar, percussion), Matt Geravis, Charity Rose Thielen (violin, guitar, vocals), Chris Zasche (bass), Kenny Hensley (keys) and Tyler Williams (drums), the Seattle, WA-based indie folk/indie rock act The Head and the Heart can trace their origins to a series of open mic nights at Conor Byrne Pub back in 2009. At the time Russell, who had relocated from Richmond, VA and the band’s other founding member Josiah Johnson (vocals, guitar, percussion), who had relocated from Southern California were relatively recent transplants. Russell and Johnson met Hensley, who also was a relatively recent transplant, who had relocated the previous year to pursue film score writing. Thielen, was the next member to join, and she had recently returned from a year abroad studying in Paris. Williams had been a member of Richmond, VA-based band Prabir and The Substitutes, but after Russell sent him a demo of “Down In The Valley,” Williams quickly relocated to Seattle to join the new band. The last member of the original line, Zasche was a bartender at the Conor Byrne and was member of Seattle-based bands The Maldives and Grand Hallway. Interestingly enough, as Johnson explained the band’s name came from an relatable situation in which “Your head is telling you to be stable and find a good job, you know in your heart that this [the band] is what you’re supposed to do, even if it’s crazy.” 

Since their formation the band has released three full-length albums — 2010’s self-titled and initially self-released debut (which later caught the attention of Sub Pop Records, who re-issued it), 2013’s Let’s Be Still and 2016’s major label debut, Signs of Light with each record seeing greater attention and the band building a growing profile; they’ve opened for Vampire Weekend, The Walkmen, Dr. Dog, Dave Matthews, The Decemberists, Iron & Wine, My Morning Jacket, Death Cab for Cutie and Tom Petty and Heartbreakers among a lengthening list of acclaimed acts. Along with that, the band has seen quite a bit of critical and commercial success — their self-tiled debut reached #110 on the Billboard 200 and stayed on the chart for 10 weeks with  Let’s Be Still landed at #10 on the Billboard 200 and each album has been well received to boot. 

2017 may be arguably be one of the bigger years in the band’s history as they’ve played the historic Newport Folk Festival and Coachella, and are in the middle of an extensive tour that includes stops at the Red Rocks Amphitheater, Lollapalooza and a bunch of other stops. (Check out the tour dates below.)  In the meantime, the band’s latest single “City of Angels” will further cement the band’s growing reputation for a sound that  simultaneously nods at 70s era Fleetwood Mac, 60s psych folk and pop, arena rock and contemporary indie rock, but with a swooning earnestness; after all, their latest single like all of the preceding singles is written from a sincere place; in this case, a bittersweet longing for a home you’ve left some time ago — but underneath there’s a growing sense that you may never be able to come home again. 

The recently released video was directed by Claire Marie Vogel, and its an charming and  intimate, fly-on-the-wall like portrait of the band that captures them in a variety of moments both big and small. As the director says in press notes, “When The Head And The Heart asked me to join them on the road to make a video for ‘City of Angels,’ there were many moments, big and small, that made it a trip of a lifetime. Record store shopping in a thunderstorm, backstage birthday parties, a summer ski lift through Catskills mountains, all night bonfires on a California beach, surprise songs in a Charlottesville bar, mini golf beside a river. It was a thrill to be a welcomed fly on the wall and treated as one of the gang. I knew ending the trip at the Monterey Pop Festival would be special, but when we found ourselves in a charmingly odd practice room – the band rehearsing with Michelle Phillips of The Mamas & the Papas, and Lou Adler, a founder of the festival throwing his two cents in on their arrangement — it felt utterly surreal.”

Preview: Secret Solstice Festival 2017

With its inaugural run back in 2014, Reykjavik, Iceland’s Secret Solstice Festival has quickly become one of Iceland’s largest music festivals, featuring a diverse and eclectic array of established and internationally recognized artists, locally renowned acts and up-and-coming artists from all over the globe, performing in one of the most unique backdrops in the entire world – the roughly 72 hour period of near constant daylight Iceland experiences during the Summer Solstice, because of its proximity to the Arctic Circle. (After all, Reykjavik is the northernmost capital and administrative region of the northernmost country in the entire world.) Building upon its growing reputation as one of the world’s most unique music festivals, the fourth edition of the festival may arguably be one of the biggest and most diverse lineups to date as it includes Foo Fighters, Rick Ross, the UK electronic act The Prodigy, The Verve’s former frontman Richard Ashcroft, Pharoahe Monch, Chaka Khan, Foreign Beggars, Dubfire, Novelist, Rhye, Dusky and Chicago house music artist Kerri Chandler. Along with those artists, some of Iceland’s renowned acts, including Högni, Úlfur Úlfur, Amabadama, Emmsjé Gauti, GKR, Tiny, Aron Can, KSF, and Alvia Islandia will be performing. And adding to the 72 hour party vibe, the festival’s organizers have planned a series of electronic dance music takeovers and showcases featuring some of the world’s best party crews – including Ibiza’s Circoloco, Above & Beyond Records’ deep house imprint Ajunadeep Records’ dance floor collective Crew Love, ATG and Dubfire’s SCI+TEC among others.
Interestingly, for the second consecutive year, Secret Solstice is currently the only major music festival in the world to be certified CarbonNeutral®, as the festival sources almost all of their power needs from the use 100% renewable geothermal energy, hybrid vehicles provided by Toyota Iceland – and from offsetting any residual emissions through the purchase of high quality, verified carbon credits. Unlike any other festival I’ve attended or heard of, festivalgoers and artists alike can know that they’re being environmentally responsible while partying and catching some of the world’s most interesting artists. Of course, during a multi-day festival like Secret Solstice, it’s difficult and damn near impossible to catch everyone and everything, so consider me as a helpful guide – with some information on artists I’d love to catch while in Reykjavik.

Comprised of two childhood friends, who discovered that they had independently embark on electronic music careers while in college, the mysterious, Chicago-based electronic production and artist duo The White Panda have dominated the electronic music blogosphere with the release of five, critically applauded full-length albums — all of which have resulted in 35 #1 singles on Hype Machine, over 60 million SoundCloud streams and 25 million YouTube plays while being dubbed “the mash-up kings” by Vibe Magazine, and “a veritable party-mashup machine” by Entertainment Weekly. (At one point, The White Panda was one of SoundCloud’s top five most played artists — ever.)

Adding to an already immense and growing national profile, the duo has headlined several US tours, have played some of the country’s largest festivals including LollapaloozaFireflyElectric Zoo, and Bamboozle, and have opened for the likes of Flo RidaWale, NellyTwenty One PilotsDispatchSteve Aoki, TiestoMac MillerMike Posner, Benny BenassiMGMT and others. And while working on their own original production work, the duo had also spent their time working on and releasing a number of remixes including a gigantic, festival rocking rework of Powers‘ “Beat of My Drum,” that I wrote about a couple of years ago. Now, it’s been some time since I’ve personally written about them; however, the Chicago-based duo have been rather prolific since then, including their latest single, a sultry, club-rocking and anthemic cover/re-work of The 1975‘s “Somebody Else,” that features a guest spot from Brooklyn-based singer/songwriter Verite — and while being a bold, tweeter and woofer rocking rework, the cover manages to retain the atmospheric original’s ache and longing.

 

New Video: The Trippy and Stylistic New Video for Chet Faker and Marcus Marr’s “The Trouble With Us”

  London-based DJ, producer, electronic music artist and multi-instrumentalist Marcus Marr is an internationally recognized artist, who has released a number of critically acclaimed singles through renowned electro pop/dance music/dance punk label DFA Records. His two best known […]