Para fãs de: Eletrônico e Jazz.
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Son to a well-known sculptor and a social worker, Simon grew up in Manhattan, New York and immersed himself in the lyricism and music of hip hop. His first musical endeavour came as the group the Overground where Simon and friends first made music in their early teens. In 1994 Simon enrolled at Boston University, though the producer dropped out after only a year, it was in Boston he met Aesop Rock. Also a student at Boston University, Simon and Aesop Rock began working together after which Simon dropped the idea of becoming an MC and focused his time on producing.
In 1999 Simon made his production debut on the Aesop Rock track “1,000 Deaths” from his “Appleseed” album and produced the majority of his subsequent releases including the album “Float” in 2000, “Labor Days” in 2001 and a number of tracks on his 2002 album “Daylight”. The producer has also worked with the rappers Cage, Hangar 18 and Open Mike Eagle and is a member f the comedy hip-hop group Party Action Committee.
In 2004 Mush Records asked Simon to create an entirely instrumental album and as a result the producer crafted “Music by Cavelight”. After its completion however Mush Records stopped returning his calls and Simon sent into to other labels before Ninja Tune offered to release it. The release has led to a string of similar material including “Downtown Science” in 2005, “Uncle Tony’s Coloring Book” in 2007, “The Music Scene” in 2009, “Interludes After Midnight” in 2012 and “Bells and Whistles” in 2014.
James Anthony “Tony” Simon, also known as Blockhead, is an American hip-hop producer based in Manhattan, New York. He has got a very hefty CV in that he has worked with some huge names in music, working with the rappers, Cage, Hangar 18, Open Mike Eagle and Murs. He is a member of Party Fun Action Committee. Apparently he got his name from the shape of his head which isn’t quite square, but it’s not far off. Tonight he is due to deliver an hour long set compromised of material from his five studio albums, mainly “Interludes After Midnight”, but he brings out his big singles from the last ten years. The gathering get a little bit restless upon the introduction to Alright which was release in 2006, but of course it is just like yesterday to this hip hop hungry audience. “Expiration Date” is another nostalgic trip. It is nice to hear songs exactly as you know them and exactly as you hear them on the recording but sharing the experience with a thousand other like minded people.
Many people would call Eliot Lipp an electronic artist but when his influences stretch from Detroit Rap to Chicago post-rock, it’s not surprise that his sound is a little harder to pin down. Taking the helm behind a Midi Controller that looks more difficult to operate than performing open heart surgery, Eliot leads crowds through a high energy set that is more than just a simple mix or two.
His sound is a fusion of ethereal synths and skittering trap drums that can easily segue from pure hiphop to borderline techno at any moment. His sets are full of surprises and are best enjoyed in a cramped club like L.As Low End Theory where you can’t avoid the infectious energy of the crowd as they bounce away under moody lights. Eliot leads the party hunched over his laptop, convulsing to the beat as he manipulates the tunes, evoking a chaotic unpredictability as he suddenly adds some new effect or trick to the track. Eliot plays music to really loosen yourself up to and I’d recommend doing just that at one of his sets as soon as possible.