Tickets now available! Over the past 15 years, Canada’s own Skratch Bastid has been spreading his skills and name around the world, one sweaty crowd at a time. What first started [...]
Tickets now available!
Over the past 15 years, Canada’s own Skratch Bastid has been spreading his skills and name around the world, one sweaty crowd at a time. What first started at DJ competitions like DMC, ITF, and Scribble Jam where he became a certified entertainer and show favorite has now affected the four corners of the globe, establishing him as a “DJ’s DJ” and a true master of the craft recognized by the best in the game.
At the rate of over 150 shows a year over the last decade, his reputation as one of the hardest working DJs in the world comes as no surprise. Increasingly heralded for his comfort and versatility in different styles – hip hop, funk, disco, club, rock and just about anything that makes people dance- the Bastid has rocked dance floors in Asia, Europe, Down Under and everywhere in between. With an incomparable hold in his country where he has become a staple of Canadian DJ history, he now celebrates his culture and community in his home base of Toronto and throughout Canada with the annual Bastid’s BBQ held every summer.
His collaborations at the concert series The Flex as well as his cross-country live A/V show Skratch Of All Trades have kept him one step ahead of the competition by pushing the boundaries of live DJing. In 2011, he officially began his ambassadorship of the widely-popular Red Bull Thre3style competition and has since been an integral part of its international success, touring with it globally.
This relentless approach to live performance always gives him a leg up as a producer, helping him craft some of the most critically-acclaimed production work in Canadian hip hop including the Juno nominated Situation album with Buck 65 and Shad’s Flying Colours, among others. His own remixes and blends have also amassed millions of plays and become supreme ammo for selectors around the world.
The turntable champion and crowd favorite is steadily taking his craft to new heights and bringing his audience along for the ride. Having rocked the bar many times, Skratch Bastid is always the first one to raise it.
(Wednesday) 9:00 pm
http://www.delhi2dublin.com/ https://www.facebook.com/delhi2dublin https://twitter.com/delhi2dublin https://www.instagram.com/delhi2dublin/ https://soundcloud.com/delhi2dublin Delhi 2 Dublin was a happy accident [...]
Delhi 2 Dublin was a happy accident born out of Vancouver’s Celtic Fest in 2006. Their sound started as an electronic fusion between bhangra beats and Celtic fiddle and has since grown into anything from dub reggae to breakbeats to just straight up happy dance music. File under… best.
Founded by Tarun Nayar (of Beats Without Borders cred), Sanjay Seran (at the time hailing from live bhangra act Signia), and Ravi Binning (a professionally trained bhangra dancer and dhol player), it was obvious D2D had something people wanted. Word spread about their ridiculously energetic live show, and these road-warriors have been touring constantly since: mesmerizing crowds at many of the top festivals across Canada and the US, blowing people away in the UK, Australia, Germany and Malaysia as well as performing to awe-filled audiences in Hong Kong, Taiwan and Dubai.
The band’s new release of “We’re All Desi” looks to be their strongest album yet. Eschewing the sterility of writing songs in the studio, and embracing the musicianship of new members James Wallace (guitar) and Serena Eades (fiddle), the band has based their new material entirely on jam sessions in their rehearsal space. Heavily influenced by their favourite Bollywood records from the 70s, their love for funk music, and produced by Nick Middleton (of The Funk Hunters), the results combine the high energy of their signature live shows with a newfound studio polish.
Described by one magazine as the “United Nations of rock ‘n’ roll”, the last 9 years of incessant touring have seen Delhi 2 Dublin become one of Canada’s most buzzed-about bands – and this was not just a happy accident.
(Thursday) 8:00 am
Website: https://www.katetempest.co.uk/ Facebook: https://www.facebook.com/Kate-Tempest-85226185974/?fref=ts&ref=br_tf Twitter: https://twitter.com/katetempest Instagram: https://instagram.com/katetempestofficial Urban poet, musician and cultural figurehead Kate Tempest’s Let Them Eat Chaos is more than an album: Styled as a [...]
Urban poet, musician and cultural figurehead Kate Tempest’s Let Them Eat Chaos is more than an album: Styled as a series of vignettes, an unnamed street, at 4.18am, Kate guides you through the bedroom window of seven different people on the street, awake for their own different reasons. Questioning why these people are awake, who they are, what has brought them here. “It’s all set at this specific, time, just before dawn – there’s a vulnerability. I didn’t want to make an album of vaguely connecting songs.”
Playing the traditional part of the narrator, Kate interrupts the segue between the tracks with a narrative – tiny details of each person’s life, the way Pete holds a cigarette, moments of Alesha’s dream. “It was weird getting into every one’s room – but theatre is ancient, it’s conventional, introducing a narrative at the beginning. It’s like a play, a voice addressing you directly.” Stealing details from real life, her friends, her own, as well as people she’s never met, Kate takes moments of truth and uses her life up to that point – everyone she’s ever loved or hated, everything she’s ever seen or felt – and gives it an outlet. “I think every single person in the world needs to have some kind of creative moment just to get those things out,” she says.
Setting the scene in each room up with her near Shakespearean cadence, South London accent uncompromised, Kate sees herself as being in service to language. “I’m in love with language and literature and music. It’s the most beautiful thing in my life. It’s opened the universe to me and invited me into the world.” Her command of lyrics is unparalleled – “I generated loads of stuff and then ditched it all. This record was like a long, messy poem until I applied the same principles of editing a poem that I had learnt from my poetry editor.”
Working once again with producer and mixer Dan Carey (Bat for Lashes, Chairlift, Franz Ferdinand, Sia),Let Them Eat Chaos had a largely synergetic working process, with every lyric and beat being written together. “Dan hears an idea, a million drafts of the same lyric – over and over, my voice and the lyric instructs the beats he will make, and vice versa.” The album refines the duo’s previous work – beats worthy of an early Wu Tang album and places them with haunting, juddering synth lines, and big, sloppy bass sounds. Picking up where 2014’s Everybody Down, Let Them Eat Chaos leaves no room for choruses, with a much cleaner, sculpted sound – It’s much more London 2016, at times touching on the big, bold production values of Skepta or Wiley. It’s not just the music that has progressed. Kate, the youngest winner of the Ted Hughes Award, has spent the last two years working on her already muscular like use of language – flexing her ability to tell an intimate and heartfelt story without sounding trite with the antagonistic and uncompromising energy of a rapper, dealing with poverty, class, socio-economic issues, life, in a way that could just as easily be Nars or Cicero.
“The first batch of songs were not driven by character, We Die was originally dealt with death, but it wasn’t looking for the listener. It was about me, reaching in and purging.” The final song is a hymn to Alesha’s waking moments, filled with anxiety and depression, describing her bad dream – hearing the voice of a dead lover, who tells her that the point of living life is live, love and pass it on.
Pushing herself to constantly finesse her work – “each time you have an idea it should be a better idea, cleaner, sharper, more direct,” Kate’s 2016 novel The Bricks That Built The House, acted as way of instructing the narrative of the album. “You’re creating a universe, and it’s really fucking difficult. Writing a novel was instructive in terms of the journey you have to go on to be able to create a character. Getting to the end of writing a book made me realise how hard it is to begin.”
It wasn’t without poetic flow that the album was written: “I had a big outpouring of material but the concept wasn’t clear, the idea was there but it didn’t hold it’s shape. I spend long days, long nights and get everything out and then leave it to breath, work on something else; tour. You’re constantly nurturing an idea when you’re not with it: How can I get into these people’s rooms without interrupting the album. An idea is perfect, beautiful. The finished thing: Bollocks. But it’s what pushes you to have another idea and try again, there’s a very interesting moment of making the idea into the real thing, knowing that it will never be perfect. The difference between an artist and someone else is that the artist finishes the idea. Everyone has ideas but to actually have a finished idea, to have gone through the agony, that will teach you humility.”
At just 31 years old, the playwright, author, and poet has also been announced as the guest director of Brighton Festival – curating the three week event shows that her creativity is limitless.
(Friday) 6:00 pm