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I will be playing at a big label night happening on the 4th November at Rhythm Factory, London.

Lineup includes Deadboy, BNJMN, Kelpe, Spatial, Brey, Donga, Microburst, Gongon, Thunderloops, Andrea3000 and Anthony GDLI

Resident Advisor write up:

“God Don’t Like It presents a special one-off event showcasing two of the most talked about labels currently emerging on the electronic music scene. Both were founded in 2009, Svetlana Industries in Belgrade, Serbia, and Well Rounded Records in Brighton, UK. While Well Rounded is more committed to the god of House and Svetlana has followed a more eclectic path, including dubstep, beats and Detroit influences, both are united in their consistent and courageous promotion of talented new artists, many of whom are subsequently pounced on by bigger competitors.

With eleven artists across two rooms combining hard hitting party house with more quirky and eclectic selections in the second room all for a bargain £5 advance this promises to be rare, interesting, banging and big all round.

Representing Well Rounded are: the star of their first ever release, Deadboy, Spatial, one of the pioneers of the fusion of house/dubstep sound that now defines UK Bass, deep house sounds from new signing Gongon and a vinyl purist’s set from label founder Donga.

Representing Svetlana are: BNJMN, fresh from a fantastic 4.5/5 review in Resident Advisor for his recent album on Rush Hour, Brey, the hotly tipped experimental house producer, new signing Microburst, with a deep and original sound reminiscent of Fourtet and recently described by a London reviewer as “a revelation”, label founder Thunderloops and partner in crime Andrea3000, adding the only female element to the line-up. Kelpe steps in as a long time friend of the label with his brand of hard hitting Technicolor hip hop.”

Here is the event on Facebook

 

 

 

 

 

Great live review of my recent Lock Tavern gig, courtesy of Line Of Best Fit online music blog.

Microburst, meanwhile, is a revelation. Falling somewhere between a live performance and a DJ set, much of his show relies on a bank of faders, each of which is jabbed at furiously, offering a peak of another melody or a new rhythm section. The producer shifts between disparate elements with ease, introducing apparently incongruous new rhythmic ideas completely seamlessly. Some of his set brings to mind a slightly less scatty Lapalux, his focus falling more intently on crafting a perfect, rumbling bottom end than on quick-fingered Kaoss Pad work”

 

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