(Friday) February 10, 2017 - 22:30
Shinobi - 105-107 Beverley Road (Map)
609 people attended
Early Birds: £10 - SOLD OUT
1st Release Tickets: £12 - SOLD OUT
Final Release Tickets: £14 - ON SALE NOW
FRIDAY 10TH FEBRUARY 2017
15 YEARS OF SHINOBI!
WELLY CLUB - HULL
Main Room - Shinobi
Room 2 - Get Down
SIMMA ALL NIGHT
Room 3 - Crystal Clear
Friday 10th February 2017
10:30pm - 4am
Welly Club - Hull
Tickets: £10/£12/£14 from hullboxoffice.co.uk, skiddle.com and Chinese Laundry. MOTD
Tickets on sale at 10am, Wednesday 7th December
Original, emotional, visceral. These are all words that are used to describe Noisia's music and each is more than justified. In less than a decade the Dutch trio, renowned for their unparalleled technical skill, has gone from releasing drum & bass on now defunct independent labels to crossing multiple genres, scoring for triple A video games, having their music used on trailers for Hollywood blockbusters and producing and remixing tracks for some of the world's biggest artists.
Working from their studio in their hometown of Groningen Nik Roos, Martijn Sonderen and Thijs de Vlieger have gradually developed and cultivated a sound that's all their own; a sound that's obsessed with production techniques; a sound that's instantly recognisable whether you're hearing three minutes of a Noisia track dropped at a festival or three hours of it while playing 'Devil May Cry 5'. Having pushed the envelope and successfully managed to blend incredible sound design with unrelenting and uncompromising beats and basslines, Noisia's sound is undoubtedly unique.
In 2003 the trio released their first forays into drum & bass on underground labels such as American label Shadow Law Recordings and Glasgow-based Nerve. From there it wasn't long before those at the top of the D&B scene began to take notice, as legendary imprints like Moving Shadow, Renegade Hardware, Subtitles and DJ Friction's Shogun Audio all lining up for the latest Noisia release. In just two years the young Dutchmen had become the go-to producers for hard and heavy beats and had remixed one of the D&B scene's biggest anthems, Konflict's 'Messiah'.
Taking the next logical step, the group decided to set up their own label. Having gained their name by reading an upside down VHS tape with the word 'vision' written on it, Noisia re-inverted polarities and Vision Recordings was born. Vision has played host to a series of Noisia's best singles and EPs, including the anthems 'Stigma', 'The Tide', 'Dustup' and KRS One vocalled 'Exodus', meanwhile the group began forays into remixing the likes of Pendulum, Moby and Amon Tobin and producing tracks for other artists such as Foreign Beggars' 'Contact' an incredible bass music/hip hop fusion which was way ahead of its time: All of which led to the release of their debut album 'Split The Atom' in 2010.
'Split The Atom' was a departure from the norm, featuring a wide range of sounds and styles, but all with that distinctive Noisia sound. This was a culmination of seven years of studio knowledge and musical experimentation and it was received with such resounding success that deadmau5 picked it up for a Special Edition re-release on his own mau5trap label. Packed with dance floor anthems and more subdued moments, 'Split The Atom' was a milestone in Noisia's already glittering career.
Enlisted by the likes of Skrillex, Labrinth, deadmau5, Mark Knight ft. Skin and The Prodigy for remixes, Noisia's career continues to grow as the Dutch trio have become one of the hottest DJ - production outfits around; a fact confirmed by numerous awards, including being voted Best D&B Act three times at the Beatport Music Awards. Noisia were commissioned to write three tracks for Korn's album 'The Path of Totality' and have written and licensed music to video games including 'Devil May Cry 5', 'Wipeout 2048', 'Gran Turismo', 'Ridge Racer' and 'SSX Snowboarding' and blockbuster movie trailers, including the launch trailer of 'Transformers 3: Dark of the Moon'.
Meanwhile the group continue to pay homage to their roots by signing and developing some of the most exciting bass music artists to their Vision, Division and Invisible labels, travelling the globe and destroying some of the biggest festivals and arenas in the world - from Coachella to their own Noisia Invites events at Amsterdam's infamous Melkweg and their own hometown of Groningen. No matter what Noisia's vision is clear, these incredible producer's producers will always stick to their guns, pushing an uncompromisingly original, emotional and visceral sound.
As 2016 sees DJ Hazard‘s ‘Bricks Don’t Roll’ win Best Track at the Drum and Bass Awards (two years following its release!) it is clear that the timeless, musical masterpieces of Hazardous production makes him one of DnB‘s most treasured artists.
Funding his record collection by working as a dish washer-upper in restaurants, a pizza deliverer, and even by hard graft in factories, Hazard put everything he had into his love of Jungle and Drum and Bass; proving one thing to budding DJ‘s and producers worldwide: dedication and perseverance pays off.
From bedroom DJ to building solid foundations within the Birmingham club scene, DJ Hazard cemented his reputation with a regular radio show on the well-known Kool FM Midlands; where he was joined by MC’s Acapello and Biggie. From here, the move to production was inevitable.
Upon starting own labels Radius and Structure in 2001, word began to spread of DnB‘s rising star, with the already legendary DJ Hype smelling his soon to be success and snapping up the unique and uncontracted talent in an instant. Hazard became the first non Ganja Crew member to join the Playaz camp, becoming known to many as the king of Jump Up almost overnight.
After being recognised by Hype, Hazard became an unstoppable force. He booted down the door in the DnB production scene and made his grand entrance, soon presenting tracks that would send ravers crazy like 2008’s ‘Machete’, 2013’s ‘Time Tripping’, and not forgetting Jump Up’s most infallible dancefloor heaver ‘Mr Happy’ from 2007. All remain in constant circulation within the sets of a multitude of DJ‘s in the scene to this day and, with it not being uncommon to hear the latter dropped multiple times during the course of a night, it is easy to see why Hazard is a household name within the DnB scene.
North London trio Ivy Lab were brought together out of a shared enthusiasm for experimentations on the fringes of the Drum'n'Bass scene.
Several years on from that initial coming together, the collective go from strength to strength; propagating a new generation of sub-genres housed within the framework of their '20/20' project.
The middle of the noughties saw collective-elder Gove Kidao build up a sustained presence in as a Producer/DJ operating under the name Sabre, working on disparate interpretations of the drum and bass genre for labels ranging from Renegade Hardware to Metalheadz to Darkestral. In 2009 Critical Music served not only as the home for Sabre's debut long player, but also the debut track from an unknown young talent advocated by Sabre to the label. J Fogel a.k.a Stray enjoyed broad acclaim for his inaugural release 'Timbre', and began to work on further projects for Critical Music, including collaborating with Sabre himself. Unknown to them both, each had independently struck up a relationship with another emerging talent operating under the moniker Halogenix. Collaborating as separate duos soon expanded into combining into a formal trio, casting the foundations of the collective that exists today.
A string of standout singles and E.Ps for their principle label-partner Critical music with tracks like 'Live on your smile' and '20 Questions' have followed up on the groups melancholic, acid-tinged strand first showcased in the anthemic single 'Oblique' that initially brought the trio into the limelight. Additional support has come in the form of Goldie's Metalheadz recordings with the release of 'Make it Clear' and a string of remixes for acts and labels including Sub Focus (Universal), TC (3beat) and Anushka (Brownwood). With a secure reputation as purveyors of thoughtful, melodic drum'n'bass now affirmed, the group have increasingly been turning their attention to experiments in cross-pollination. The collective now find themselves heavily invested in the movement operating under the stop-gap monicker of 'Halftime' - A motley assortment of actors from across the bass music landscape applying their sonic-heritage to experiments with hip-hop and drum machine electronica. 2014 saw the birth of '2020'. Initially a London clubnight set up to act as a home for the halftime movement, the project is expanding to encompass a record label, 2020 clubnight appearances across the U.K, and the inclusion of a broader collective of artists both established and emerging.
By no means has the scope of the Ivy Lab venture put an end to solo endeavours from the collective's members. Stray has progressed to amass an impressive catalogue of music including work for Giles Peterson's Brownswood label, and a remix commission for Mercury Award nominee Kate Tempest. Perhaps his most celebrated projects have arrived under the stewardship of dBridge's Exit Records who have released several stand-out EP's with tracks such as 'Eazy Boy' & 'Matchsticks' garnering particular attention for their early-adoption of themes that have gone on to codify the 'Halftime' movement. Halogenix is the most recent of the collective to establish a solo presence. 2014 saw a notable upscaling in ambition commencing with 'Her Waves' featuring on Critical Music followed by his most impressive project to date in the form of the 'All Blue' E.P on Goldie's Metalheadz record label.
Ivy Lab head into the horizon not only with an anchored presence at the heart of the drum and bass landscape, but also a secured reputation as pioneers helping to develop the destiny of a newly enfranchised movement.
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