SCHED* SXSW 2011

Michael Avishay has been writing and recording in his bedroom under the name Ghost Animal since he was 15. In his dorm room in the winter of 2009 Michael began experimenting with a more lo-fi, fuzzed out, punk-rock aesthetic, inspired by best friend Marisa Rowland who introduced him to artists as diverse as My Bloody Valentine, Jesus and Mary Chain, the Pixies, the Gun Club, and Phil Spector, as well as contemporary acts like No Age, Wavves, and Zola Jesus. In April of 2010, having no live band and an upcoming house show to perform at, Michael asked his Marisa to fill in on drums, an instrument she'd never played but picked up quickly, playing upright a la Moe Tucker and Bobby Gillespie, and Ghost Animal was expanded from a solo bedroom project into a two-piece. Ghost Animal's first physical release, a cassette entitled Summertime in Heaven (mostly recorded by Michael in Los Angeles between June and August, released in September 2010), was put out as a collaborative effort between the cassette labels of Coma Cinema's Mat Cothran (Summer Time in Hell) and Foxes in Fiction's Warren Hildebrand (Orchid Tapes). Michael is from Los Angeles and Marisa is from Berkeley; they both attend Reed College in Portland, OR. Ghost Animal also has a cassette entitled Youth out on Kill/Hurt, and two projected 7"s in early 2011 from AMDISCS and The Spooky Town, respectively, as well as a split 7" with Tan Dollar on the San Diego label Trivial Pursuit. They are working on writing and recording a full-length LP for a hopeful fall 2011 release.
http://schedule.sxsw.com/events/event_MS12964

To call Innerpartysystem's "Never Be Content" epic might be an understatement. Sonically huge and thematically expansive, its origins comprise a saga as well. The EP is the story of a band lost and found, a mission refined. The EP tracks a movement, a survey from a space of uncertainty and flux to one of artistic surety and contentment. Its nominal paradox ' contentment found through never arriving at a static state of satisfaction -- is reflected in the perfectly calibrated tension and release of the six songs contained therein, with as many sneers as messages, a well-earned rest for every barrage of beats. After two years relentlessly touring behind their self-titled major label debut, Innerpartysystem returned to their Mohnton, Pennsylvania home depleted, seeking refuge in the band house. œWe were definitely in a place at the end of 2009, wondering whether we were going to keep going. It wasn't the happiest time for us, explains drummer Jared Piccone. œIt was definitely slow at first. When the band found itself without a label at the beginning of 2010, lead singer Patrick Nissley simply hunkered down and continued to amass his musical arsenal. œI just kept making music, and I didn't have a set mindset. I just kept doing what I've always been doing. Over the next year, the band would relocate their studio from their suburban roots to the decidedly more metropolitan Hoboken, New Jersey. Both the change in venue and the freedom from major label strictures played a part in the renewed crackle on Never Be Content. œThe album is a reflection of the things I've been going through, says lead singer Patrick Nissley. œEither the tone of a song, or the attitude of a song, or the mood ' I can pinpoint, listening back to it, what I was going through at the time. That the three members come from various musical backgrounds only strengthens the band's latest effort. Piccone's experience on the post-hard-core scene, synth-guitarist Kris Barman's obsessive house listening, and Nissley's encyclopedic knowledge of everything from '70s funk to '90s hip-hop all inform the record, though it's primarily an electronic odyssey. œIt isn't a new direction, explains Barman of the more house sound of Never Be Content. œIt's more of a 45 degree turn than a 180. œWe leaned more toward the programming and technical things, Nissley says. œI feel like this record isn't even pushed that far, but it's a good progression in the right direction, to where I want it to go. The result is both sophisticated and danceable, a technical progression with universally relatable themes. Album centerpiece œAmerican Trash marks a true progression for the band. Muted beats give way to a synth squawk, and Nissley's vocals, equal parts menace and salve, perfectly encapsulate the voice of the Ugly American ' self-concerned and myopic. Gleaned from the years spent observing American culture both here and abroad, Nissley is careful to note that the song is about a specific stance, and not Americans in general. œSome people have the worst priorities, he explains. œSometimes I watch TV and I can't believe what people are doing. I feel people are better than that. œMoney is a dirty, attraction-repulsion ode that features Nissley's tongue-in-cheek lyrical assault laced with an unrelenting pulse, punctuated by cash registers and heavily distorted vocals. œPatrick made this beat one night ' this crazy glitched out beat, Barman explains of the song's origins. The band's work ethic is evidenced in the refining process they go through ' Barman counts eight versions of œMoney since its inception. All songs were conceived with an eye to their explosive live show, which alchemizes the energy of a DJ set with the structure of song formula. œIt's why the music came out the way it did, explains Nissley. In the two years the band spent touring, Nissley and crew made a study of the impact certain things had on a crowd. œWhen people mix stuff just right, there's a crazy energy there, says Piccone. Fittingly, the EP plays from start to finish like a 30-minute set. Not only a band who can produce dance beats, Innerpartysystem's fresh approach to electronic music, both in their innovative recording and performing techniques, only scratches the surface of their vast artistic palette. From their mesmerizing hand-programmed light show to the cutting edge hand-manipulated effects live on stage, to the EP's one-of-a-kind album art, their passion for interactive art, both in the aural and visual realms, is a vital part of their creative aesthetic. True to form and the title of the EP, Innerpartysystem have already begun work on the next album. œYou have to keep setting challenges for yourself, or your life becomes stagnant repetition, Nissley says. œYou have to keep progressing and moving. If you don't, you get stuck doing something every day. And maybe it's for some people, but it's not for us.
http://schedule.sxsw.com/events/event_MS14677

Black Cherry 'Synthesizer boogie with lashings of murder, insecurity and raw promise. Somebody sign them soon'. Q Magazine 'First and foremost the stage presence and power of vocalist Megane Quashie is staggering'. Gigwise Black Cherry are Megane Quashie and Gui Fraisse. Together they make gorgeously crafted guitar and synth driven pop gems. Megane Quashie's soulful and eeringly provocative vocals have captivated audiences wherever she has performed. Last year none other than Glastonbury's Michael Eavis named Black Cherry "the best looking band of the festival" prior to profile appearances at Rockness and the Isle of Wight festivals. Following on from their critically acclaimed EP 'Preface' the band have been putting the finishing touches to their forthcoming album 'White Gold' of which the single 'One Another' will be released via Playground Records in May 2011. Eagerly anticipated interest around the band is already taking root as one their tracks 'Modern Lover' has been chosen for a Primark viral campaign, an invitation has been accepted to perform at this year's SXSW in Texas and plans for a UK/European Tour are set to be announced shortly.
http://schedule.sxsw.com/events/event_MS12434

Somewhere between a soundtrack suited for a long desert drive and electronic stadium grandeur, lives Cruel Black Dove. Since forming in 2007, the Brooklyn-based group has taken its time and care in getting under the skin of a fickle music scene. Cruel Black Dove is not a flash-in-the-pan blog band, and the band's growing fanbase knows it. The foursome and their sound is a steady and heavy force that is chooses to last. Aesthetically and based on trajectory, Cruel Black Dove has more in common with the Portishead and Blonde Redheads of the world than the average band-of-the-moment. The band uses their explosive live appearances to remind everyone they're here for a while. The band has self-released its two EPs, Full Powers and The Myth and the Sum, and is currently recording their debut full-length album.
http://schedule.sxsw.com/events/event_MS13774

A Place to Bury Strangers had a simple goal for their first proper studio album, the exquisitely-damaged Exploding Head: "The original idea," says vocalist / guitarist Oliver Ackermann, "was to create the craziest, most fucked-up recording ever." How crazy, you ask? Enough to justify that Cronenberg-channeling title, for one, as dollops of distortion and flecks of feedback deliver enough controlled chaos to derail a turntable. And if vinyl isn't your thing, well, let's just say you'll be checking the levels on your living room stereo from the second "It Is Nothing" sucks everyone in earshot through a vortex of groove-locked rhythms (hammered out by drummer Jay Space and bassist Jono MOFO) and back-spun power chords. Pain as pleasure, if you will, a beautiful feeling that's maintained for 43 mesmerizing minutes, from the paranoid android pop of "In Your Heart" and gorgeous gate-crashing melodies of "Keep Slipping Away" to the Chinese water torture chords of "Lost Feeling" and sputtering percussion of "Everything Always Goes Wrong" Not to mention the apocalypse now effects of "Ego Death" the sinewy, slightly sinister overtones of the title track, and the firework finale flare-ups of "I Lived My Life To Stand in the Shadow of Your Heart". A Place to Bury Strangers has an illustrious touring history including supporting Nine Inch Nails at arenas, large venue tour with MGMT in Europe a full US tour with Holy Fuck and shows with some of their heroes and influences including The Jesus and Mary Chain, Brian Jonestown Massacre, Dandy Warhols and Chapterhouse. They have been touring non stop since the release of Exploding Head, doing three full scale US tours of the US and UK/Europe including shows with the Big Pink, Japandroids, Darker My Love and Dead Combo. They are now hard at work on the follow up to Exploding Head with an eye toward a Spring 20011 Release. A Place To Bury Strangers have often been called "the loudest band in New York". This may very well be the case, but unlike much so-called "loud" rock and roll that's out there, APTBS is not loud simply for the sake of it. The sonically overdriven sound they've accomplished is no clumsy accident, but a carefully cultivated and well-maintained entity all its own, fostered by an unbridled passion that's clearly evident in every live show they play and each recording they make. A Place To Bury Strangers does not so much play songs as allow them to pour out. They are songs about longing, heartbreak and confusion played extremely well and at a passionately loud volume...
http://schedule.sxsw.com/events/event_MS13878

With a sound that bridges the gap between the underground sludge/doom movement and mainstream metal, World Beneath World stands alone at the forefront of Metal's next wave. Stemming from the success of last year's debut EP, with extensive support from internet radio around the world, as well as terrestrial airplay on KNAC in Los Angeles and KLAQ in El Paso among others, the end of 2010 saw World Beneath World travel to New Orleans at the special request of thrash/groove metal pioneers, Exhorder, to serve as main support. Their full-length follow-up CD, "Nein", expertly produced and engineered by Sterling Winfield (Pantera, Mudvayne, Damage Plan, HellYeah) is set for release early this year soon to be followed by a tour in support of Exhorder and Texas metal legends Rigor Mortis. 'Nein' builds on the sonic architecture of its predecessor and displays World Beneath World, coming into their own, as the sole purveyors of the new sludge sound.
http://schedule.sxsw.com/events/event_MS13873

Energetic, powerful, passionate and supreme live performances, joyful & dancing concert atmosphere, good sense of humour, hundreds and hundreds concerts around the Europe, USA & Canada and with Pixies, Beastie Boys, Queens of the stone age... created their reputation of genuine concert attraction. Overflow is Croatian indie punk rock band, one of the most successful and exciting bands coming from the teritory of south-east Europe. They started playing as children in ethno orchestra where they met and started DIY band. They released five full lenght albums "Through Department Store", "Dorothy", .."Extremely perverted fantasies of the mad milkmans disordered mind".., .."Unbreastfed 69".. and .."Live" at...parties", number of singles and compilations with Nofx, NoMeansNo, The Hives, Over it, MDC, The Ex, Bambix...Their music has been distributed in Europe, Canada, Australia and USA. Overflow was first Croatian band broadcasted on MTV International and on cult show «120 minutes». They played in Austria, Belgium, Canada, Czech Republic, France, Germany, Hungary, Italy, Macedonia, The Netherlands, Serbia, Slovakia, Slovenia, Switzerland, USA... at number of festivals: Exit festival (SER), South by southwest (USA), Frequency (A), Canadian Music Week, CMJ Music Marathon (USA), Fontenay le Compte (F), Popkomm (D), Hodokvas (SK), Woodrock (A), RegiON Live (HU) and at biggest festival in their region: Radar festival, Spancirfest, TrnFest, Dirty Old Festival, Njoki Summer Festival, Pula film festival...They performed live on national tv & radio in Croatia, Slovenia, Netherlands, Austria, Serbia and Macedonia. Overflow played with many great bands: Pixies, Beastie Boys, Queens of the stone age, Placebo,No Use For A Name, New Bomb Turks, Kaiser Chiefs, NoMeansNo, Beatsteaks, The Exploited, Millencolin, Lagwagon, Les Thugs, The Bell Rays, Donots, MegaCity4, DOA, CSS, Dead Moon, Burning Heads, Posion Idea, Urge Overkill, Boo Radleys... Overflow recently recorded new album "Hit me" in famous Studio 150 in Amsterdam and will be premiering at SXSW 2011.
http://schedule.sxsw.com/events/event_MS10959

Qayaas is the first progressive alternative rock band from Pakistan, a country where traditionally music has been looked down upon rather than being celebrated as an art form. This gives our music a sense of rebellion and a rallying cry for pathos. We are confident that we’ll be able to start a new chapter in the country’s rock and roll history. Qayaas has won the best rock band in Pakistan at the Jack Rock Awards, India and will be performing in New Delhi on December 16, 2010 and also collect the award. Qayaas literally translated as deliberation is not only the name of our band but the essence that encapsulates the entire philosophy behind our music. It is the coming together of individual deliberation on inspirational moments, relationships or life in general that take the form of musical notes. Our music and the words that frame them are essentially a spontaneous overflow of powerful emotion. But that is just the beginning of the journey. The idea or feeling taking birth in one band member’s mind is developed and brought to fruition by collective deliberation or Qayaas by the whole band. Five different people, their different moods, outlooks and music philosophies harmoniously blend to form compositions that reflect a coming-together of creative energy. We strongly believe that this creative energy should flow through our compositions and reach our listeners; unadulterated in this wondrous journey by commercial concerns or other shortcuts. Most of our music tends to explore emotions, specific moments, certain relationships and particular events which resonate powerfully as we try to understand ourselves and the world around us. We do not aim to have a large body of musical compositions but only put through quality pieces governed by unique ideas and techniques. Each melody is a different journey, starting with something personal and then refining it to create a certain mood. It helps that the different band members resonate very well with each other and are able to recognize and work upon a good idea. As a whole, Qayaas is an accumulation of musicians from quite diverse backgrounds; thriving in an underground community where combined they satisfy their musical abilities. Hence, all members have been, and still are, part of projects that serve as vent for musical expression. Qayaas has released two music videos “Tanha” and "Pukar" which are currently doing the rounds on all the Pakistan music channels namely MTV, Aag, ARY Musik, Oye and Play TV. Our debut album comprising of 13 songs is complete and we are in the process of releasing more singles, teasers promos and brainstorming over videos. Qayaas is based in Islamabad, Pakistan and consists of: Umair Jaswal: Lead Vocals. Khurram Waqar:Guitars, Arrangement & Audio Production. Sarmad Abdul Ghafoor: Guitars & Audio Production. Shaheryar Ghayas: Bass Guitar. Salman Rafique: Drums/Percussions. Umair Jaswal is the youngest of the lot, at the age of 21 and is a unique vocal talent. He shares mature musical ideas with the rest of the band. Famous for his stage presence and covers of Guns N’ Roses with his other band ‘SilverSmoke’, he is a student of geophysics but still very determined to do music professionally. Khurram Waqar (a.k.a. kW) is a multi talented musician with guitars being his main forte. He has been playing the instrument for the last 17 years and has been a part of various bands from the 90’s (‘Fantazia’, ‘Entity’) to the current year(‘kNuMB’, ‘Qayaas’). With an IT degree from Carnegie Mellon University (one of the best in the world), one would have imagined him to be a geek but he is the total opposite. He not only recorded a whole instrumental album with his band ‘Cocytus’ in USA while doing his Masters but also performed regularly in the Pittsburgh circuit. After returning to Pakistan in 2003, he formed a progressive rock band ‘kNuMB’ (www.knumb.com) who are known for their live performances across Pakistan and are the only band in the country to play a unique mix of songs and guitar instrumentals. He has been a part of two G3 inspired guitar instrumental concerts featuring the prominent guitarists of Pakistan and has just finished writing material for the new instrumental album. He formed ‘Qayaas’ in the summer of 2008 to fulfill his desire to make Urdu songs in the alternative (grunge) and progressive domain and they have just finished recoding their album. He also has a passion for audio production and has his own state of the art studio set up (Rootgate Studios) in Islamabad where the current ‘Qayaas’ and ‘kNuMB’ albums have been tracked. Having built his repertoire as a technical guitar player with solid theoretical knowhow, he is also a respected guitar teacher in Islamabad. He works as an IT Manager in a company based in Islamabad. Sarmad Abdul Ghafoor (a.k.a Sarmad) started off with his passion for producing music sixteen years ago. An accomplished guitar player and a regular session player for Atif Aslam, he has been a part of various rock bands in the country for the last decade. In 2008, he became a full time member of ‘Qayaas’. He showcases his artistry as multi-talented composer, guitarist and music producer. He has not only produced Atif Aslam’s 2 solo multi platinum albums but has also continuously produced music for various rock bands in the country. He works as a full time musician in Islamabad. Shaheryar Ghayas (a.k.a Sherry) is a solid musician playing in 3 bands at the moment. He is playing bass with Islamabad based Metal band ‘Surge’ for the last 5 years. With Grunge and Progressive Rock as part of his pulse, he has also been playing rhythms for a progressive/instrumental rock band ‘kNuMB’ for the last 3 years. Still weaving intricate melodies with the band, he’s now a part of ‘Qayaas’ where he again assumes the role as a bass player. He works as a Creative Manager in an Advertising Agency in Islamabad. Salman Rafique (a.k.a. Fifu) has been playing guitars for the last 18 years, and drums for the last 6. With influences ranging from Rush to Pantera, Fifu has been a prominent part of the local underground circuit; contributing as the guitar hand or the drum hog for many bands, studio and live. He is known for his famous drum solos during concerts and is a technician when it comes to execution and music theory. Fifu has many bands to his credit, ‘Surge’, ‘kNuMB’ and now ‘Qayaas’. He is a Software Product Manager in an IT Startup based in Islamabad. We realize that the while on the surface the situation in the country threatens art disruption, it is also breeding ground for rebellion. Historically, some of the most poignant criticism of war and violence has come from rock musicians and songwriters providing an outlet for the sentiments of public at large. The cathartic quality of rock music that has given voice to the anguish and torment of generations finds a most fitting context in our country. Music can be used as a motivation for the advocacy of a common cause. Our singles “Umeed”, “Tanha” and “Inquilab” do exactly that. They utilize the ability of music as a potent medium of communication and a form of political activism. We feel that music can go a long way in healing the heartache of our war torn nation and emphasize the importance of unity and keeping a positive outlook in times of struggle (Umeed meaning hope), Anguish (Tanha meaning alone) and the way forward (Inquilab meaning revolution).
http://schedule.sxsw.com/events/event_MS10910

Swords of Chaos is a thrilling Icelandic four piece that has attracted local admiration with neck-breaking performances all over Reykjavík. They started out in 2008 and have played concerts all over Iceland. Their music can be described as hardcore rock and influences range from Sunn0))) to Converge to Fennesz. They are signed with Kimi Records and their first releases has recently been released.
http://schedule.sxsw.com/events/event_MS12296

Brutally catchy punkrock/metal with a taste of groovy darkness! 2010 has really been a good year for Kvelertak. Their self-titled debut album (produced by Kurt Ballou, artwork by John Baizley) was released in Europe during the summer, supporting Converge and Kylesa on their first European tour. They did their first headliner tour this fall, and another European tour with Coliseum late 2010. Kvelertaks received great reviews. Labeled ”the best Norwegian debut album of all time” by Norwegian rock authority Asbjørn Slettemark and «the best Norwegian band since A-Ha» by Simon Young of Kerrang. They’ve also been portrayed in European magazines with reviews including: 9/10 Metal Hammer 8,5/10 Terrorizer 88/100 Aardschok 4/5 Kerrang! 4/5 MetalSucks 9/10 Decibel 9/10 Rock Hard 4/5 Zero Tolerance In addition to this, they recorded a live session for BBC Radio 1 and played festivals like Sonisphere and Leeds & Reading. They are doing Eurosonic for the second time this spring, along with more European touring. Kvelertak shamelessly draw inspiration from every corner of something that could fit into their idea of good hard-hitting and catchy rock'n'roll. Regardless of genre, but always truthful to the basic idea of the band; good songs performed with the tongue-in-cheek attitude of their punk-rock pioneers. Unlike the majority of heavier bands they sing in their native language – adding even more character to their already unique sound.
http://schedule.sxsw.com/events/event_MS11043

MUTINY ON THE BOUNTY has seen the light of day in april 2004. Their sound can be described as urgent, straight mathy, time-signature-laden indierock with post hardcore appeal, combining organic angularity with a taste for captivating melodies. Bands like At The Drive-In, Minus The Bear, The Fall Of Troy, The Blood Brothers and North Of America may cross your mind when you listen to their sound. They love the epic, the sombre, the tragic, the geekship and the hispano flair. On stage MUTINY ON THE BOUNTY is a force to reckon. They have played about 300 shows since their inception, of which they shared stages with Coheed And Cambria, Cancer Bats, Maps And Atlases, Engine Down, Portugal The Man, These Arms Are Snakes, Russian Circles, Pelican, 65 Days Of Static, Sleeping People, This Will Destroy You, Fear Before The March Of Flames, Dead Meadows, The End, Red Sparowes, Callisto, 31 Knots, Akimbo in countries such as England, Scotland, Denmark, Norway, Belgium, Germany, France, The Netherlands, Switzerland, Austria, Czech Republic and Luxembourg. After 4 UK tour and 5 European tours with Cinemechanica (US), Blakfish(UK), Maps And Atlases(US) and And So I Watch You From Afar (Eir), MUTINY ON THE BOUNTY has gained maturity in sound and stage presence and left many crowds tongue-tied. In 2005, they’ve self-released a 1000 copies split ep with TREASURE CHEST AT THE END OF THE RAINBOW in Europe, which contains the very debut songs. The split ep has mainly been sold at shows and is currently sold out. By the end of 2005 the canadian label NEW ROMANCE FOR KIDS Rec. released and distributed another 1000 copies in Canada, the U.S.A. and Japan In June 2009, Mutiny On The Bounty returns with their first full length album called “Danger Mouth “(June 2009 on the English label Big Scary Monsters and on the German label Redfield Records). The album is a collection of eleven songs where technical virtuosity and masterful songwriting intertwine for an astonishing result. Between despair and rage, the catchy melodies mingle with tempo and complex rhythms bordering on hardcore, while incorporating a strong technical aspect and vocal lines sitting between fracture and melody. Mastering has been done by Allan Douches (Converge, Dillinger Escape Plan, Fall Out Boy..) at West West Side Studios New York.
http://schedule.sxsw.com/events/event_MS12423

Evergreen Terrace has been blazing their own path through the melodic hardcore scene for over a decade. Anchored by guitarist/singer Craig Chaney's clean vocals and catchy hooks, punctuated by lead singer Andrew Carey's viciously screamed vocals and bonded by Josh James' unique guitar style, the Florida-born five-piece never depended on anyone to push them forward. ET added drummer Caleb James (Casey Jones) in 2010. With their blistering combination of melodic hardcore, metal and punk rock, Evergreen Terrace has toured the world with As I Lay Dying, August Burns Red, Hatebreed, Rise Against, Circa Survive, Every Time I Die, Strung Out, Agnostic Front, Katy Perry, New Found Glory and more. They have played Sounds of the Underground, Vans Warped Tour, Persistence Tour, Hell on Earth Tour, Thrash and Burn Tour and Soundwave Festivals. ET worked with producer Jason Suecof (August Burns Red, All That Remains) on their latest release: Almost Home. It cracked the charts in its debut week. Almost Home landed at #17 on Billboard's Heatseeker chart, #52 on Billboard's Hard Music chart and #53 on Billboard's Independent Albums chart. Almost Home also enjoyed success in Canada, making it at #55 on the Nielsen Soundscan Independent chart and #76 on the Hard Music chart. The single "Sending Signals" was the third Evergreen Terrace video to be exclusively released on MTV2. After Almost Home the band released a cover of Foo Fighters "Everlong" exclusively on iTunes in March 2010. Evergreen Terrace is currently touring the world and will start preparing for their 6th full-length album winter 2010.
http://schedule.sxsw.com/events/event_MS12729

Diva Gash from Bogota one of most important independent rock bands in Colombia. A particular blend of classic genres from 70's and 80's such as; Funk, Disco, Punk and Retro Rock, among Electronic beats, Latin Grooves, Metal riffs and Hip-Hop rhymes, make them shine as pioneers of the Latin American avant-garde musical movement. Their refined look and strong live show may well amuse people of all ages, and all backgrounds. Born in 1997 with the objective of creating a project that would distinguish from all musical contexts developed in Colombia around folklore and with a clear intention of building a cosmopolitan sound. Have toured in Europe, Mexico, USA, Argentina, Colombia and Venezuela
http://schedule.sxsw.com/events/event_MS14618

The designer Daniel Riveros baptized his musical project as Gepe inspired by the name of a red box for photographic inputs at his house in San Miguel’s commune. This name transformed him into one of the most important voices of his generation raising excellent critics from specialized press due to the combination of folklore with elements of popular Chilean music and electronic music as well. Since 1999, his name began to sound as a distinctive soloist and instrumentalist thanks to his role as drummer and singer of the duet Taller Dejao. The bassist, Javier Cruz; Daniel’s schoolmate completed this duet. They both gave life to a very particular sound marked by the five strings of Cruz and the folkloric drumming from Gepe. The work of the couple remains immortalized on the album “El Brillo que Tienes es lo Humano que Queda”, this work was really praised by local press and also, nowadays, is really hard to catch a copy from this album. Parallel to the popular shows with Taller Dejao, Gepe figured as bassist of the known singer Chilean singer: Javiera Mena and joined her in the choirs of “Sol de Invierno” song. At the same time, Gepe maintained a pretty much active work with Jacobino Discos, an independent showcase bounded to experimental music. Under this collective-label he edited and released his first album as soloist in 2005 under the name of “5x5”. This mythic blue EP of handcrafted production compound by 7 songs had the collaboration of Pablo Flores and Sebastian Sampieri, some part of the band that accompanied Gepe in his first shows. Gepinto Since the “5x5” release, Gepe appeared as a composer and soloist performer of must-go shows. Songs as “La Enfermedad De Tus Ojos”, “Namás” or “Multiplicación” where transformed into really known pieces from his repertory, all of them remain registered in the album Gepinto from 2005 edited by Quemasucabeza. During those months, his presentations with Taller Dejao were growing in public but every time where turning more and more sporadic, ending in the disappearance of this project. “Gepinto” launched him as a young promise from Chilean music. The disc explored folk sounds but also added some pop shades and a little dose of experimental. Since its release in a full Master room from the Radio of the University of Chile, the album began to grow from mouth to mouth backed up by applause of Chilean press; also the album was causing attention in countries like Argentina and Spain. In early 2006, Gepe participated with Icalma, Holden, Javiera Mena and Vicente Sanfuentes (a.k.a Original Hamster). The relationship with Sanfuentes began to grow almost instantly consolidating a new duet for the birth of Gepe’s second album: “Hungría” by middle 2007. In this plate Gepe counted with the technical advice from Vicente Sanfuentes as producer, thanks to all his musical knowledge and his know-how in electronic music, he guided Gepe to the new sound he was looking for. Hungría “Celosia” was the first single from this album. The song maintained Gepe’s vocal and lyrical richness and also amazed with some electronic touches bounded to indietronic. The single maintained a constant rotation in local radio raising high expectations about the whole album. In a full Normandie Cinema Art, Gepe released “Hungría” accompanied by Milton Mahan (Denver) in the bass and Danae Morales (Golden Baba and World Music) in the choirs. The show mixed some old songs with the new album’s repertory: “Esgrima”, “Gracia”,” No te mueras tanto” o “Hebra Prima”, this mixture amazed the audience because of the presence of keyboard and programming’s and also because of acoustic guitars with the folkloric touch that was held on Gepe’s compositions. In May 2008, the singer participated on the first edition of ‘Festival de Solistas en Solitario’, where he highlighted between the new litter of Argentinean and Chilean soloist performers- songwriters invited. By these days, Gepe was celebrating the publication in Japan of a recompilation of his two albums: “17 Minerales” under the sign of Art Union. A year later the singer edited for free the EP “Las Piedras” available at www.quemasucabeza.com. In this mini disc, Gepe continued exploring the pop shades from “Hungría”, this time stranded out the song that gave name to the album and also “Victoria Roma”, ballade which video was recorded in Santiago and New York. The work from Christopher Murray and Ignacio Rojas, the makers of Victoria Roma’s music video obtained the first place in the Festival del Video clip 2009. After the success of Hungría and Las Piedras EP, Gepe turned into one of the most wanted Chilean musicians by Argentinean and Mexican producers, while in early 2009 Daniel participated in three concerts in New York City: in the America’s Society, Piano’s and The Dumbo General Store. In a growing process of Internationalization of his career, Gepe has delighted Argentinean audience in numerous and well-attended shows, from the popular Compass parties to the Ciudad Emergente Festival organized by Buenos Aire’s government. Parallel, Gepe has visited Mexico for many show presentations in different locations, getting to be the special guest of Carpa Intolerante in the Festival Vive Latino in 2009. During his last visit to Mexico City, he edited the compilation of Hungría + Las Piedras EP which was distributed by Intolerancia Records. Also for Mexican audience, Gepe made a successful tour in December 2009 having presentations at Teatro de la Ciudad and Museo de la Ciudad de México Back in Chile, Gepe managed to amaze the audience once more during 2009 due to his participation in Ciclo de Musica Movistar of channel 13, where he fulfilled the SCD de Bellavista Room. At the same time, the singer began a good musical relationship with Manuel García and Chinoy. Together they filled Victor Jara’s stadium making a show mixing their repertories. This same experience was repeated in other capital shows; as a result they gathered pretty good critics and the backup from all age audience. Later, on December 2009 Gepe performed in Concierto Expo Shanghai scenario which gathered the main characters from Chilean music scene in a show that took place at Cerro San Cristóbal. By end of 2009, the musician also participated in the Take Away Show by the French documentary maker Vicent Moon (known for his work with La Blogoteque) made in Valparaiso, Chile. In other activities and invited by Philippe Boisier (leader from the Chilean- French band Icalma) Gepe recorded a cover from Los Bloops called “Los Momentos”, main song from the Chilean movie “Turistas” by Alicia Scherson. This new version performed by Gepe really captivated the audience for its intimate and modern lecture of one of the most popular classics from Chilean culture. The music video maintained a constant rotation thought the metro lines of the capital thought 2009. Audiovision Restless, Gepe worked during 2009 in the mix and postproduction of “Audivision”, his third album with Quemasucabeza. “Por La Ventana” was the first single of this album. The song has rotated with full success in Chile and Mexico-thanks to the good sponsorship brought by local radio station, Radio Ibero at Mexico City. Digitally released in May 2010 in www.portaldisc.con, “Audiovision” shows Gepe’s evolution to organic pop, where the use of different instruments overcomes electronic details. At the same time, Audivision stands out for the presence of special guests such as Jorge González from Los Prisioneros who adds his voice to “Salon Nacional de Tecnologías”; Javiera Mena again collaborated with Gepe in “Lienza; Danae and Felicia Morales recorded French horn and cello, respectively; Pedro Subercaseaux (known as Pedropiedra) recorded electric bass and electroacustic guitar for “12 Minerales”, Cristian Heyne, the disc producer, manager of programming’s and choirs in “Alfabeto”, plus Pamela Sepúlveda (Fakuta) and Valeria Jara (Gordi) incorporated their voices in different moments of the album. In less than six months, Gepe has released “Audiovision” in Mexico, Spain and China- country where he performed twice during Expo Shanghai 2010-, captivating the audience with his mixture of Lat
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Ximena Sariñana When Mexican vocalist Ximena Sariñana released her debut solo album, Mediocre, in 2008, Rolling Stone gave it four stars and praised it as “one of the strongest debuts from a female singer-songwriter since Norah Jones’ Come Away With Me.” Recording the Spanish-language album was a natural step for Sariñana, who had risen to fame in her homeland as a child actress and had fronted a successful indie band for four years. “In Mexico, people believed in me as an artist,” says the fully bilingual 25-year-old. So when she began thinking about recording an album in English she was confronted with a tough decision: “Either stay in my country, where everyone knows who I am, or start from scratch and convince people that I’m worth it.” She chose the latter. The result is a collection of songs that showcase her deep, striking voice, smart, thoughtful lyrics and offbeat personality. “I think of albums as Polaroid pictures of who I was at that given moment,” says Sariñana. “All the songs are a bit dark. They capture a sort of general doom that I try to compensate with humor,” she says. The lead single, “Different,” opens with a playful whistle but is really an apology to listeners “about maybe not expressing myself clearly because of my different nationality,” while “Bringing Us Down” was inspired by the poem “Candles” by Greek poet Constantine P. Cavafy and deals with growing older and looking back at the fading past. The album not only reflects Sariñana’s wise-beyond-her years demeanor, but also the kind of sonic growth and experimentation expected from a risk-taker. “Everything was about forcing myself out of my comfort zone,” says the singer, having leapt beyond her usual stripped down, mellow arrangements and into more daring musical territory. “I wanted quicker, bigger sounding songs and more bass and electronic instruments,” says Sariñana, who plays the piano throughout. “I needed to be able to move to it on stage.” To help accomplish this, she enlisted producers Greg Kurstin (Lily Allen, Devo, The Bird and the Bee), Dave Sitek (TV on the Radio, Yeah Yeah Yeahs) and Natalia Lafourcade. Recorded in Los Angeles, the songs are indeed snapshots; vignettes of events and emotions ornamented by lush arrangements and lightened by occasional whimsy. “Common Ground” is exalted with bells and space drums and “Wrong Miracle” includes circuit-bent children’s toys and footsteps on gravel. “Echo Park,” one of the last songs recorded, was built around a Casio drum machine and the need for a little comic relief. “I wanted to write something that was going to make me laugh. I didn’t want to go too deep or serious like I usually do,” says Sariñana. “I decided to make fun of how girls, especially in my world, always fall for guys in a band.” “Tu Y Yo” (You and Me) is the only song on the album sung entirely in Spanish. “My mother language and the country where I live in is such an important part of who I am,” says Sariñana, who was born in Guadalajara and raised partly in LA before moving to Mexico City. Raised in a highly creative family—her mother is a screenwriter and her father is a film director and producer—instilled a love of the arts in her early on. “I was four years old when I started acting,” says Sariñana, a natural-born entertainer who became a household name in Mexico by appearing in 11 films (among them box office hit Amar Te Duele and film festival winner Dos Abrazos) as well as three prime time telenovelas. An early discovery of jazz greats like Ella Fitzgerald ignited her love of music, and at age 15 she began studying at Mexico’s Academia de Musica Fermatta. At 17, she honed her vocal skills during a five-week program at Boston’s renowned Berklee College of Music and then began fronting a jazz-funk fusion band called Feliz No Cumpleaños (Happy Un-Birthday) which “made a bit of noise in the underground,” as she puts it. She also brought together her loves of film and music on occasion, co-writing and singing three songs on the Amar Te Duele soundtrack (which stayed on the Top 10 Soundtracks list in Mexico for 10 years) and acting as music supervisor for several films. By the time Mediocre was released, Ximena’s status as a artist was already cemented; the record debuted at number one in Mexico and went platinum soon after. Mediocre reached #10 on the Billboard Latin Pop Chart, #38 on the Billboard Latin Album Chart and Ximena was the only Latin artist in iTunes Best 10 Albums of 2008. She won the Best New Artist Award in the Premios MTV Latinoamerica 2008 (Latin MTV Awards) and received three Latin Grammy Nominations for Best New Artist, Best Alternative Song and Producer of the Year. Mediocre also received a Grammy nomination for Best Latin Rock or Alternative Album. Despite her successes, Sariñana has no expectations when it comes to her English-language debut. “It’s my first record to a lot of people. I just hope listeners can hear the honesty in the album,” she says. “I titled it after myself because my name keeps it close to me and who I am as an artist and a person.” It’s a name many will come to recognize soon enough.
http://schedule.sxsw.com/events/event_MS14047

Locos Por Juana is a bilingual Latin band most notably recognized by their energetic live performances and their unique fusion of Latin styles and influences. The band formed in Miami, Florida in the year 2000, though their lineup has undergone personnel changes and their style evolved over the years. The present lineup consists of vocalist Itagui Correa, guitarist Mark Kondrat, drummer Javier Delgado, percussionist Daniel Ferrer, and a horn section led by Lasim Richards on Trombone, though at times as many as five to seven guest musicians may join onstage for shows and tours. The group's sound is a distinct one, drawing not only from the members' own diverse backgrounds, but from other countries' musical styles as well. Still, the heart and soul of their hybrid style emanates from Colombia, the South American country's traditional styles everpresent in Locos Por Juana's unique modern take. Also integral to Locos Por Juana's style is the musical influence of the Caribbean islands, in particular reggae and dub from Jamaica. Funk also plays a crucial role in their music.
http://schedule.sxsw.com/events/event_MS12607

CHICO TRUJILLO Cumbia Chilombiana The superheroes of cumbia have a name. And that name is Chico Trujillo. Now celebrating its 10th anniversary, the band is at the peak of its powers. They play parties. They play stadiums. They play festivals. They play all over the world. And they can’t be stopped. While the outfit’s contagious, recklessly danceable sound is rich in drive and colorful instrumentation, it’s not like the cumbia from Argentina or Peru or any other place you can think of. It’s not a social expression of proletarian vigor or some regional or ethnic identity. Instead, it’s a pure cultural phenomenon. Its fans are not the Southern Hemisphere equivalent of folk revivalists; they’re rock and rollers. ------- Born as a “side-project” from the legendary punk-ska band La Floripondio, Chico Trujillo has quickly vaulted in popularity to become the most talked about band in the southern cone, taking over stages across their native Chile and around the world. And it’s all due to their live shows--in which they use all the energy and chaos of their punk predecessors, mixed with more tropical and Latin sounds from Chile and beyond--that keeps fans young and old dancing from the first horn solo to the third encore… It all started after La Floripondio returned from a tour through Germany at the turn of the century, and lead singer and guitarist Macha decided to try a few new ideas out. Mixing traditional cumbias and boleros with renewed and inspired texts and emotions, the group quickly caught on in Chile in a powerful way. Young rockers flocked to their music, as they loved the re-interpretation of their parents’ songs with a modern twist. But it wasn’t only the hip youth that was going to see Chico Trujillo play. As their new sound slowly spread, the whole country was realizing that the band was also good. Perhaps they still dressed like punks (although now sporting more guayaberas in a nod to the tropical bandas that inspired them) and kept their fiercely independent streak, but something in their energy and re-working of the classics, as well as banging new original songs, began appealing to Chilenos of all ages, and soon to the world abroad. Producers in Chile caught on to the underground, popular buzz, and they were invited to the most prestigious and popular festivals around the country, alongside the legends of Chilean cumbia, as well to play at rock festivals in front of tens of thousands of youngsters. And then their music was carried to Germany, where they have taken-up residence every summer for the past 5 years at the infamous Café Zapata, playing for Latino immigrants but as well a growing hip German youth. Soon Spain was calling, and Switzerland, and Sweden wasn’t far behind. Whether they were making thousands dance in Berlin’s public squares during World Cup 2006 soccer games, in packed basement clubs in Montreax, or in stadiums in Chile, the spin-off band from the tiny town of Villa Aleman was taking an extraordinary course to spread a little Chilean cumbia across the globe. Your parent’s cumbia this definitely isn’t. “Cumbia Chilombiana” – a mix of Chilean and Colombian cumbia -- is one way the band has described it, in the title of their 2007 album. By taking the traditional cumbia base, infusing it with punk energy, ska horns, and a bit of Chilean folk, Chico Trujillo has created an urban mix of the popular Latin classic that seemingly everyone loves. And as cumbia—the real musica popular uniting all of Latin America, the one sound you hear from the Rio Grande all the way to the Straits of Magellan—is seeing a worldwide renaissance, it is mostly on the back of slick DJ remixes, electric flourishes, or more traditional re-creations of the oldies. Chico Trujillo forgoes all those fashions and of-the-moment creations, and just does what has always been the true essence of a great live cumbia band: they rock, and the people dance and dance and dance.
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"Profetas create a niche of identification for all Latin America, from 8th street down to Ushuaia. A mix of Afro-Latins, mestizos, Indians, whites, mulattoes and other races that make up this multi-ethnic America. Profetas is the new blood that runs through the sonorous veins of a Colombian hip hop scenario, thirsty for identity, novelty and urban reality." Rolling Stones, September 2006. Since 1997 Profetas has become one of the essential groups to understand the new urban music in Latin America. The fusion of Afro-Colombian music, reggae, rock and a strong basis of hip hop has helped the band to get a good number of followers in Latin America and some European countries such as Germany and Austria. The duo composed of the African singer Antombo Langangui and the Colombian MC Pablo Fortaleza, has received outstanding comments by music critics: already in 2001, the Colombian newspaper EL TIEMPO presented them as the revelation of Colombian hip hop, after the band's live presentation at Hip Hop al Parque (the most important hip hop festival in Latinoamerica with around 100.000 visitors). PROFETAS, a multicultural band with members of different origins and with different musical backgrounds, have so far participated in festivals such as Hip Hop al Parque 2001 and 2005, Rastazo Bogota 2005, La Fete de la Musique in Medellin 2004 and 2005 and in Bogota 2006, Rock al Parque 2009, Reggaejam Germany 2008, European Summer University Germany 2008. In addition they have shared the stage with Gondwana from Chile, Junior Reid, Michael Rose and Tanya Stephens from Jamaica, Culcha Candela from Germany, Alborosie from Italy, Los Cafres from Argentina, and Method Man (Wutang Clan) from the USA, among others. In 2008, PROFETAS toured Europe twice, first in spring as opening act of Culcha Candela's “Hamma” tour and later in summer participating in recognized festivals like the Reggaejam in Germany, the Reggaebenefiz, the Afrolatin Day in Berlin, and the Summer University Convention organized by ATTAC in Saarland, Germany. During these tours PROFETAS played 25 concerts in more than 20 cities all over Europe. In addition, PROFETAS won the German version of the European Reggae Contest, competing with more than 400 European bands. In 2009, PROFETAS supported the Latinamerica Tour of the famous American rappers METHOD MAN and RED MAN, and promoted their new single BAILA on radio stations and at live concerts around Colombia. In 2010 Profetas began the Baila World Tour with 25 concerts in Europe ( alemania, austria , Suiza), the tour have dates in NYC (LAMC) and 8 concerts in Denmark . After the success of their first record Amor y Fortaleza (Love and Strength), PROFETAS are preparing BAILA, their new groundbreaking album!
http://schedule.sxsw.com/events/event_MS14090

Meistro, Deep Sang and DJ Stylus have all spent years immersed in the Washington DC dance music, nightlife and live music scenes, making names for themselves in every niche from underground hip-hop to reggae to electronica. It was only a matter of time before their paths crossed often enough to consider teaming up to do something together. The DJ trio was fortunate enough to connect with percussionist Hermon Farahi, the funk weapon that completes the Sol Power experience. A mutual love for the sounds of the African diaspora was the spark for the crew coming together. The Sol Power selection arsenal draws from samba, salsa, afrobeat, cumbia and other deeply rooted genres as well as their modern electronic versions. Whether it's a classic Dominican merengue or a driving afro-latin deep house track, Hermon Farahi's expansive vocabulary of rhythms on percussion binds it all together. The Sol Power All-Stars were in monthly residence from 2009 through 2010 in the bustling Adams Morgan nightlife district of Washington DC and also put together a day long block party to bring Sol Power to an all-ages audience. In November of 2010 the crew moved on to their current residency at the world famous Eighteenth Street Lounge.
http://schedule.sxsw.com/events/event_MS13614

Hotly tipped NYC-based producer Brenmar's fun, forward thinking productions have been causing a stir in his city for months, and early 2011 sees him taking his sound to London, SXSW and Miami before the end of March. His Rihanna bootleg caused a minor riot online, when he announced that the track would be available as a free download via his facebook page, FACT Magazine have put him on their "Producers to Watch for 2011" list, and he counts Brodinski, Sinden, and J-Wow of Buraka Som Sistema among his fans and supporters. All signs point to yes! FACT Magazine summed it up: "There's an unmistakably global feel to Brenmar's work – a natural affinity for working with influence drawn on an international scale, from the breathless ghetto-house of his native Chicago to his synth-torn take on UK Funky. A sound indicative of just how interesting the bond between the underground club scenes on either side of the Atlantic is becoming." Expect addictive, bass heavy club tracks with catchy RnB hooks and a dirty twist, exemplifying the club aesthetic of 2011.
http://schedule.sxsw.com/events/event_MS14220

The mix-master wizard for Monterrey Mexico's Hip Hop en Español Pioneers Control Machete, created a whole new hybrid by mixing mexican soundscapes with contemporary urban riddims. As a Music Producer and Remixer, Toy Hernández has been working with a long list of artist, bands and comtemporary music friends as: Calle 13, M.I.A., Morrisey, Manu Chao, Diplo, Sinden, Eminem, Thievery Corporation, Cypress Hill, Nortec Collective, Kinky, Plastilina Mosh, Paulina Rubio, Federico Aubele, Café Tacvba, Sergent García, Don Omar, Gustavo Cerati, Celso Piña, Notch, Juanes, Julieta Venegas, Alejandro Sanz, Molotov, Babasónicos, Dj Blass, Los Tetas, División Minúscula and many others. Lately he has been galloping rural rhythms of Colombian-Mexican Cumbias, Reggae, and other urban and caribbean styles creating his own trademark sound and collective called Sonidero Nacional. During 2008 and after a collaborative relationship with Diplo, MAD DECENT, the label and crew announced the incorporation of Toy Selectah to their international Urban Global roster. He now lives in Monterrey, Mexico and resides as Creative Director, A&R and CEO of Sones del Mexside his own production company and boutique label, home of recently top ranked Mexican rock band División Minúscula.
http://schedule.sxsw.com/events/event_MS13523

Nacey is one third of Nouveau Riche, a monthly dance night in Washington, DC. In 2008, the party was awarded Best Dance Night in the City Paper's Best of DC issue. Nacey is known for his melodic sensibility and has shared the stage with the likes of The Count & Sinden, Kill the Noise, Nadastrom, DJ Craze, MSTRKRFT and Blaqstarr to name a few. In 2010, Nacey's remix of La Roux's "Bulletproof" was featured as the first track on Major Lazer & La Roux's mixtape LAZERPROOF on Mad Decent Records. Shortly after, his deconstruction of M.I.A.'s single "Steppin' Up" earned the #1 standing on Hype Machine's popular list. Nacey's productions have been regularly featured on Fool's Gold label head Nick Catchdubs' tour mixes and have gained support worldwide by touring DJs Beatacue, Diplo, and Teki Latex. His single "Work for This" (T&A records) made Turntable Lab's top selling list in the first month of its release. Steve Starks is one third of DC's legendary dance night, Nouveau Riche. As a DJ and producer he's know for his banging procussive stylings and high energy sets. Starks has shared the stage with Sinden, MSTRKRFT, Blaqstarr, Tittsworth, and AC Slater to name a few. His latest release, Git Em (T&A Records) has receieved support from Drop the Lime, Torro Torro, Tittsworth and others. His previous release Lydia (T&A Records) has become a DC sing along and recieved massive support and even a Moombahton remix from Nadastrom. With a handful of remixes in the bag and another EP in the works the sky is the limit for Steve Starks.
http://schedule.sxsw.com/events/event_MS13660

Dre Skull is a Brooklyn-based producer and DJ whose boundary-pushing conceptual attitude towards music and culture has been receiving critical acclaim since 2007. Multiple tours around the world and collaborations with artists as far reaching as Sizzla, Lil Scrappy, Sissy Nobby and Vybz Kartel have established him as an ambassador of culture and a producer with a pop touch. In 2009, Dre Skull founded Mixpak Records as an outpost for both his own productions and the work of other artists and producers from a variety of different scenes and cultures. Mixpak's growing roster represents his singular vision that connects dancehall and southern rap legends with unknown teenage techno producers and female rock bands. Dre Skull has been featured by magazines such as XLR8R, Clark, Fader, Tsugi, and Vanity Fair, produced singles that have received strong radio play in Trinidad and charted in Jamaica and received support from artists such as Annie Mac, Sinden, Switch, Drop the Lime, Diplo, Stretch Armstrong and Hot Chip's Joe Goddard. He continues to hone his craft and up the ante, and with frequent recent trips to Kingston, Jamaica he is finishing up producing an upcoming Vybz Kartel full length set for release in Spring 2011.
http://schedule.sxsw.com/events/event_MS14218

Zuzuka Poderosa is the new queen warrior of her own special brand of baile funk. Funk carioca, originating in the favelas of Rio de Janeiro, borrows heavily from Miami bass but with an added sense of urgency and brutal lyrics. Born in Victoria, Brazil, Zuzuka Poderosa grew up in Rio (with a stint in the West Indies) and later moved to Brooklyn, NYC to study jazz vocal improvisation. For the past few years, she's been building up the underground baile funk scene in New York while working on her debut EP. She raps and sings in Portuguese over boomy electric kick drums and Latin percussion. Her sound is fierce and fun, conjuring images of hot summer dance parties.
http://schedule.sxsw.com/events/event_MS14214

SABO is a Dj internationally known for the last 14 years for his signature 'funky music to make you feel good' style, which is a rhythmic combination of House, Latin, Brazilian, Afrobeat, Disco, Reggae, Cumbia, Dub, Miami Bass, Hip Hop, and Tropical Bass. SABO was nominated in 2006 to URB's 'Next 100', and has also been featured and mentioned on popular websites and in magazines like Rolling Stone, The Fader, XLR8R, Generation Bass, Frank 151, Groovailizacion, Mundovibe, RE:UP, and Ghetto BassQuake. A native of New York City for the last 14 years, SABO has enriched his community by teaching at the Scratch DJ Academy and managing the Lower East Side's staple record store, Turntable Lab. For the last 12 years SABO has been a special guest DJ at Turntables on the Hudson and has DJ residencies in NYC at Bembe, The Standard Hotel, Submercer, Sweet n Low, Nublu, and also has a monthly Global Beats radio show on 91.5 FM. SABO has performed with international artists Yerba Buena, Brazilian Girls, Antibalas, The Pimps of Joytime, Forro in the Dark, Chico Mann, Si*Se, The Herbaliser, and Kokolo Afrobeat Orchestra. As a producer for the last 7 years, SABO established his own independent label, Sol*Selectas, where he has released 15 Eps, two 12 EPs on DJ Nickodemus' Wonderwheel Recordings, a 6 song EP on nu-cmbia label Bersa Discos, and a full album co produced by Zeb, called 'Global Warmbeats'on Irma Records 2008. He has remixed tracks for artists and DJs Dennis Ferrer, Daniel Haaksman, J-Boogie, Nickodemus, The Kokolo Afrobeat Orchestra, Los Monos, Pacha Massive Sound System, Balkan Beat Box, Los Empresarios, and DJ Sun. In 2010, SABO also became one of the pioneering producers for a new genre called Moombahton, established the party Moombahton Massive with creator Dave Nada, released 2 free EPs, and has over 20 remixes available for free download on his http://soundcloud.com/djsabo page. œA vital conduit for the dissemination of sounds DJ Umb, The Fader, April 2010 "New York Sabo's "Esa Loca Cumbia" turns a 1940's cut into a global bass anthem." Rolling Stone, June 2010
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