Heaters all night this Friday! The Sound Of Tomorrow Tour with @Soulection greats @joekay,… http://t.co/mlKEdcXUw1 http://t.co/L6NbS9trjD
Ready 4 @BeatsByESTA? Here's a taste of what's to come at @Soulection's Sound of Tomorrow tour on Friday... https://t.co/wJftjSGgVz
.@digitalismofficial had the dancefloor on FIRE last Friday. Dope #regram from @ariel528mehttp://t.co/VwuW3y4Fze http://t.co/NpvuNM0Gzg
Digging @Soulection's new Love Is King Compilation... We're so pumped to have the crew here this Friday! https://t.co/zPWn9r4dc3
RT @spencetron: V RARE #QT SIGHTING #pcmusic #DRINKQT 🙏🔥🙏🔥🙏 #latergram sophie agcook @ 1015 Folsom https://t.co/9kITLdq16j
RT @zuhreenuh7: Whoever is in charge of booking for @1015sf is killin' it right now. These next couple of months look amazing: http://t.co/…
  • Apr
    Euphonic Conceptions & 1015 Folsom present the SOULECTION TOUR
  • Apr
    Ankh Marketing, We Nightlife, Social SF, The Authority, Matr3x, & 1015 Folsom present
    performing live
    Following the deaths of Tupac Shakur and the Notorious B.I.G., DMX took over as the undisputed reigning king of rap. He was that rare commodity: a commercial powerhouse with artistic and street credibility to spare. His rapid ascent to stardom was actually almost a decade in the making, which gave him a chance to develop the theatrical image that made him one of rap's most distinctive personalities during his heyday. Everything about DMX was unremittingly intense, from his muscular, tattooed physique to his gruff, barking delivery, which made a perfect match for his trademark lyrical obsession with dogs. Plus, there was substance behind the style; much of his work was tied together by a fascination with the split between the sacred and the profane. He could move from spiritual anguish one minute to a narrative about the sins of the streets the next, yet keep it all part of the same complex character, sort of like a hip-hop Johnny Cash. The results were compelling enough to make DMX the first artist ever to have his first four albums enter the charts at number one.
  • Apr
    Euphonic Conceptions, DJ Dials, Ankh Marketing, & 1015 Folsom present
    Wu-Tang's Iron Man sums up his move to Def Jam succinctly: "Same music, different label." For Tony Starks's legions of fans, those four words should bring dope music to their ears-literally. Yep, Ghost is back with his fourth solo LP, The Pretty Toney Album, and ain't nothing changed but the imprint. Nearly three years have passed since 2001's Bulletproof Wallets, and Ghost is anxious to inject his lyrical wizardry back into the rap game. "When you get something real vintage and out of the ordinary, best believe that shit gonna stand out," says the Staten Island native. "That's how I try to keep my music."

    A quick check of his resumé makes it clear that Ghostface's music always makes a splash. From his 1996 debut Ironman, to 2000's epic Supreme Clientele, to his last release Wallets, Ghost has more front-to-back classic albums than most rappers have singles. Add his appearances from the Wu-Tang galaxy of hits on songs like "Can It Be All So Simple," and "Ice Cream" and it's no idle boast when Ghost describes himself as "one of the most creative niggas in the game." What sets the Wally Champ apart from other MCs is his inimitable style. "I'll make a n'gga cry in a minute. I'll make you happy. I'll make a bitch wanna fuck you," says Ghost. "Those are my techniques. And that's the advantage I have over a lot of MCs, because a lot of them is stuck so much in one way, once they try to come out of that realm, people might not take them seriously. I'm a universal rapper."

    On The Pretty Toney Album, Ghost's mastery of ceremony is on full display. For the RZA-produced scorcher "Run," featuring Jadakiss, Ghost concocts an incredibly vivid chase scene while finding inspiration from a fellow Clan member on the hook. "I always loved Cappadonna's 'Run.' When I heard the RZA beat and I wrote a few verses to it, it just seemed like I was running from the cops," he says. "Great minds think alike."

    As in his past classics, Ghost digs deep in the crates for "a lot of old fly shit" by acts like The Moments and Sylvia Robinson on various Pretty Toney interludes. "Those are the records that turned me into the man I am today," says Ghost. "I wish the niggas that made those beats would make beats for me nowadays, because that's real soul."

    Ghost gets his wish on the mixtape favorite "Holla," where he unveils a new style by rapping over the Delfonics' ballad "La La Means I Love You"-not a sample, but the entire song. "'That's another one of my babies," he says. "It goes beyond the words. I rhymed over them without being distracted."

    On records like "Holla" and "Tony's Masquerade," where producer K-Def creatively flips the David Porter sample that Biggie made famous on "Who Shot Ya," Ghost drops the type of eccentric lyrical gems that have earned him status as a cult favorite. "When I paint the picture, you're seeing my mind right there. Muthafuckas might not understand what I say, but I rhyme for myself before I rhyme for the people," says Ghost. "'Cause yo, this is my art. I sat here and did this. All I need is the music. With the right music in my face, I can do anything."

    And as 2000's club hit "Cherchez La Ghost" proved, Ghost can move more than just your mind. He wrote Pretty Toney's booming lead single, "Toosh," with a certain club diva in mind. "I heard the record and it sounded real big to me, so I damaged that shit and begged Missy to get on it," says Ghost. "She loved it the first time she heard it, and she just went in and did it."

    Whether it's heard in the club or in your headphones, The Pretty Toney Album proves that Ghostface's run of instant classic is far from over. "I'm not going nowhere for a minute," says Ghost. "I see myself rhyming until I'm 70... not saying I'm gonna be putting out records and all that, but this is a gift from God." And like a star player traded to a new team, Ghost is ready to show and prove for Def Jam. "I ain't finish balling out yet," he says with a smile. "This is the beginning."
  • Apr
    DJ Dials & 1015 Folsom present
    GESAFFELSTEIN (dj set)
    Gesaffelstein aka Mike Levy stands apart from the current techno scene in Paris. At the moment when techno and dubstep are producing new heroes amongst a handful of French DJs, Mike Levy has chosen a different route for his musical expression. His energizing techno, dark and obsessional, works the dance-floor yet at the same time continues to mine emotional landscapes and powerful atmospheres.
  • Apr
    DJ Dials & 1015 Folsom present
    It’s three years since SBTRKT first came to wider attention with his debut self-titled album. Since then, he’s toured the world, and received global acclaim for his soulful, textured take on electronic music. If we didn’t know the face behind SBTRKT for a long time – with him preferring to obscure his identity behind a mask – then we always knew the heart. Now he’s back with a new LP, and its title is perfect. Wonder Where We Land is an experimental, inquisitive, magical record, the result of off-the-cuff inspiration and surprise collaboration.
    This time around, SBTRKT has expanded his palette, creating an album inspired by classic LPs of the past, by the Beatles, Pink Floyd or Radiohead. As ever, he’s looking to go beyond the usual categories and trends of electronic music. To this end, while composing and producing the entire album himself, he’s also called on an even bigger roster of collaborators; not to create a sequence of “featured” tracks, but to keep pushing the envelope as far as possible. So alongside returning artists like Sampha and Jessie Ware, the album features contributions from Ezra Koenig, Caroline Polachek, Koreless and A$AP Ferg, plus exciting new voices like Raury and Denai Moore. “The essence of collaboration is to build something stronger than you can individually,” he reasons. “That has always been my goal.”
    The album highlights SBTRKT’s improved confidence in all areas of music-making, from composition to mixing and mastering. As ever, analogue instrumentation is mixed with digital sounds, with SBTRKT making little distinction between the two. The recording process was “all about not being a slave to the sequencer,” he explains. “It was about making it more freeform, then reining it back in afterwards.” So – is there a SBTRKT “sound”? “I’ve never really wanted that – any SBTRKT ‘brand’ has always been made up more of the aesthetic of it, than the production sound of it”.
    What we are left with is a layered and powerful record, filled with sonic invention and leftfield storytelling. It veers from the eeriness of Look Away, laced with Polachek’s keening vocals, to Koenig’s irrepressible, bouncy rap on “NEW DORP. NEW YORK”, to the soulful leanings of “Temporary View” – another classic Sampha collaboration. But Wonder Where We Land is still remarkably cohesive. And with good reason: the album first took shape during fixed, intensive recording sessions, first on Osea Island, off the Essex coast, and later in Los Angeles, and then downtown New York.
    “I was toying with finding a studio in London,” he says. “And the more I thought about it, it just felt like I’d be in a cold, dark, soulless box”. He has no desire to be just a laptop musician – an artist who uses only digital sounds, or fires off instrumentals by email. Live instruments, and live collaboration, are vital. “I was watching documentaries of the Police recording in Montserrat in the early 1980s, in George Martin’s studio – they were creating a certain distinct palette of sound, just because they were in that space,” remembers SBTRKT now. His models were artists who insisted on a sense of place, so that this place permeated the music.
    Which takes us to Osea Island – the perfect starting point for the album. Located off the British east coast, it’s barely inhabited, and only accessible when the tide is out, with SBTRKT first arriving there in the dead of night. It’s here that he created the album’s title track, a moody, minimal affair with Sampha on vocals. It was composed at 3am, in total darkness, while Jerome’s mini-projector screened clips from Rene Laloux’s cult animated films, across the glass walls. No wonder Sampha wrote that key line: ‘I wonder where we land?’ Spontaneity and surprise are the essence of each collaboration. “Every track I ever create with a collaborator is done on the spot – it’s never pre-written,” he reminds us.
    If each collaborator is given total freedom to write whichever lyrics they like, they’re inevitably guided by the music SBTRKT makes, and the context they record in. Composed at a time of huge emotional upheaval, the result is a rich, heartfelt music. SBTRKT may be a fine producer, but he didn’t want the album to sound too slick or knowing. “Generally, the stuff I like the most is the stuff I feel like I haven’t ‘written’; it feels like it just happened. That, for me, feels like I’ve succeeded – because if I feel like I remember every part of it, it probably sounds a bit too produced.”
    Osea Island’s weird atmospherics also played a part in “Look Away”. The tone was set when Polachek missed her window for getting across to the island – and had to go find a sailor in the local pub who might be able to row her over to the island – by fishing boat. The off-kilter tune she and Jerome then created, may be surprising (“it sounds like something you’d hear in The Ring”) but it’s typical now of a SBTRKT track. “When you listen back to it, you realise how many genres and spaces fit into the space of those five minutes. It goes from something sounding very techno, to something that sounds a bit contemporary hip-hop, to something which is more esoteric. It’s that combination of things which I feel makes up SBTRKT.”
    Over in America, he carried on in the same vein. A pitstop in Los Angeles, jamming with Warpaint, bred the riff for album closer “Voices In My Head”. He’d first come up with it on Osea, when he was trying to write something with “a sombre, iconic piano hook”. In LA, Stella from Warpaint helped add some drums, and then in New York, A$AP Ferg laid down his own paranoid, hypnotic verses.
    At the other end of the spectrum is Koenig’s cheeky rap on “NEW DORP. NEW YORK”. The song evolved from a conversation the pair had about making a track with an early 80’s, spoken-word, New York feel. So when they hooked up in the studio, Koenig ended up using a lyric he’d had in his head for a while; a cheerily eccentric skit about the Big Apple, and New Dorp (which does exist – it’s a town on Staten Island), involving “gargoyles garglin’ oil”.
    Wonder Where We Land also sees a shift in SBTRKT’s visual identity. While the mask remains on the producer himself, there’s a new visual emphasis with the introduction of the spirit animal that, on the album’s cover, sits calmly in the palm of an open hand. And during the ever-expanding SBTRKT live experience, the same creature provides a dramatic focal point, towering over the performers and crowd alike. This beast is inspired by the Alebrijes, sculptures from Mexico which were born of an artist’s mad, hallucinogenic dream in the 1930s. It invokes the tribal theme of SBTRKT’s previous artwork, and captures the same paradox: something colourful and vivid and demanding attention, but also mysterious, hard to pin down – “keeping away from having to be known, or named”, as he puts it.
    And so, here we have Wonder Where We Land; a kaleidoscopic and experimental record that features the whole spectrum of sound and emotion. Unlike many of his peers on the electronic music scene, “I’m not someone who’s trying to improve one single formula”, says SBTRKT. As this album proves, that’s some understatement.
  • Apr
    DJ Dials & 1015 Folsom present
    It’s the hottest day of the year. Slender bodies swaying in the heat haze. You’re on a beach, but it’s more than a beach – the colours are brighter, the sunlight warmer, the cool sea a more psychedelic shade of turquoise. And somewhere nearby there’s a band playing…

    This is where Jungle want to take you. An infinite holiday, a place called bliss, a great escape from the grey and the everyday – because, as aesthetes from Oscar Wilde to Pharrell Williams knew, there is nothing so serious as fun and nothing as subversive as happiness.

    There is no blueprint to Jungle’s irresistible, life-enhancing, report-to-the-dancefloor sound but there are many ingredients. It’s P-Funk and ‘Grand Theft Auto’, it’s Curtis Mayfield and ‘Tron’, it’s the Beach Boys and Joy Division and Marvin Gaye and Can, all cut up and refracted in a London neighbourhood where anything can happen.

    Those with long memories might detect a resurrection of A Certain Ratio or Chakk’s fractured funk here. But for most of Jungle’s growing and increasingly fanatical crowd it’s not about the history. It’s about a remedy for overstuffed pop and bloated stadium house and dull social realist rock. It’s about getting back to the groove.

    And behind the rising buzz – the BBC Sound of 2014 nomination, the 4 millions plus plays of the ‘Platoon’ video, the US tour that sold out on the back of their SXSW appearance before Jungle even had an official record out in America – it’s a DIY story. Working from their home studio in Shepherd’s Bush, the core Jungle duo known only as J and T set out their store long before they came on any label’s radar with a brace of handmade mini-classics. A couple of singles – ‘The Heat’’s supple 4am soul snap, the ice-cold search-and-destroy beats of ‘Platoon’ – connected 2014 and 1974, London with Rio and New York, the feet with the unconscious mind.

    Adding to the buzz and mystique were game-changing videos, made by the band and their mates, featuring skaters the High Rollaz and a stunning 6-year old breakdancer called Terra. They racked up major views on YouTube and spread the word far beyond the music hardcore that here was something different. Inscrutable press photos compounded the intrigue, suggesting that there might be two people in Jungle or there might be thirty. Who could tell? Like their sonic ancestors Public Enemy or The Art Of Noise, Jungle were a delicious riddle, an enigma with attitude.

    Now perhaps some explanation is in order. We can reveal that J and T are a pair of sound obsessives called Josh and Tom, sharp and meticulous West Londoners who each play “pretty much everything” and tend to finish each other’s sentences too. “The initials weren’t a big deal, they’re just our nicknames,” explains T. “We weren’t trying to hide ourselves, but we didn’t want the whole thing to be about us. We wanted it to be about at the music. ”

    They’ve known each other they were ten years old, when J moved in next door to T’s house in Shepherd’s Bush back in 2000. T lived a mere stone’s throw from the legendary Townhouse Studios where (omens ahoy) everyone from ABC to Frank Zappa recorded. J climbed over T’s back garden wall and they’ve stayed friends ever since, from the time he tried to sell T his first guitar for £20 (Tom: “it was broken”) through roller-skating to sharing music – Red Hot Chili Peppers, Jehst, Braintax – to their first experiments with making their own.

    “You know what it’s like,” says J. “You get a guitar and a busted old PC, then you find a bit of software on the Internet and suddenly you’re actually doing it. Even when we were kids the idea was, Yeah, we can do that. You don’t need a label or expensive equipment to make music. You just need to have a go.” Their interest in sound became an obsession. At school T spent a year dissecting Marvin Gaye’s ‘What’s Going On’ and the Beach Boys’ ‘Pet Sounds’ until he knew them inside out, two records he still adores for their marriage of recording technology with pure joyous emotion.

    Shepherd’s Bush gave them a musical identity before they even knew they wanted one – that stew of hip hop, rock, electronica, soul and reggae that comes from a true culture collision. “We love it round there,” says T. “All of our mates are there. It’s one of those parts of London that’s kept its identity.”

    A brief spell in a mate’s band confirmed that the worn-out strictures of indie rock weren’t for them. Specifically it made them realise that if you’re going to make music at all, it’d better be your own – something that you can pour your heart and soul into, something that you can up stand for, something you’re proud of. “Jungle brought us closer together,” says J. “It made us realise why we’re best friends, and why we wanted to make music that’s fun and honest and true to itself.”

    So they threw themselves into finding a sound that only they could make. Something epic and rhythmic, euphoric and sexual. “It’s always been visual for us,” explains the enthusiastic J. “We want the feel of a video game or a cartoon landscape, a hyperreal, colourful, surreal place. We want everything to be realer than real.”

    Half recorded at home and finished in the studios of their new label XL, where The xx made their own first album, Jungle’s intoxicating self-titled debut delivers all that and more. There’s technique and care in these seemingly weightless tracks but above all it feels effortless, a breath of fragrant fresh air, a touch of psychedelic sweetness for sour times.

    Meanwhile things are gathering pace for Jungle. They’re hearing covers of their stuff, rappers rhyming over ‘The Heat’. The shows get bigger. They had to break off recording for a quick tour with Haim, and the expanded seven-piece Jungle live band keeps swapping instruments, reworking songs on the fly, getting better and better.

    “When people come to see us we want to shock them and surprise them,” says T. “Getting people’s hips and bodies moving is what music should be about.”

    “This stuff started out as escapism for us,” adds J. “Now anyone can escape into it.”

    Damn right they can. Get your swimsuit together, lose those grey urban perspectives and begone, dull care. Underneath the pavement, the infinite beach of the mind awaits. And you know who’s playing there – tonight, and every night.