Om X The Bug (DJ Set) - Bremen

Wir brechen ab vor Stolz euch die großartigen OM präsentieren zu können!!!! Der Desertfestheadliner kommt im Juli zurück auf Tour und wir präsentieren euch das Stoner-Drone-Doom Trio exklusiv in Norddeutschland!
Es gibt limitierte Hardtickets für Sammler und Liebhaber. Der VVK ist offen, also haut besser rein bevor die Dinger weg sind.


Doors 19h
Stage 2015h
VVK - 23€ zzgl. Gebühren
AK - Mal abwarten...


OM ist ein Trio bestehend aus Al Cisneros (Sleep) Emil Amos und Tyler Trotter.

Wo "GOD IS GOOD" der erste Schritt in eine kunstvollere und anspruchsvollere Richtung für OM war, erreicht "ADVAITIC SONGS" eine Kompositionsstufe, die nicht vorhersehbar gewesen wäre.
Es bleibt die Singularität des Zwecks, die der Kern aller OM-Platten ist, aber kein einziger Grund kann diese umfassende Natur ihrer Entwicklung erklären.

Auf diesem Album bleibt der primäre Kernsound von OM erhalten, doch alles reicht weiter und wird mehr es selbst. Welches Drone-Doom-Lager auch immer, in das OM zuvor gesteckt worden ist, wurde durch die schiere Phantasie und die expansive Qualität dieses Albums dezimiert. Für eine Band, die kontinuierlich ihren eigenen Weg gegangen ist und in ihrem Sound und Ansatz allein stand, ist "ADVAITIC SONGS" mit Sicherheit das fokussierteste und progressivste Dokument der Band.


The Bug (DJ set - Black Wax Attack dub session)
The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions. Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites) etc,

Down the years Martin has collaborated with an insanely impressive list of musical pioneers...The Rootsman, noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Burial, Dylan (EARTH) Carlson, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far too many to list here. Name checked by confirmed fans as diverse as Aphex Twin, Four Tet, Grace Jones, Trent Reznor, Fuck Buttons, Death Grips, Thom Yorke, Daddy G (Massive Attack) and more. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic originator and not some come-lately producer.

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label, it was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later.

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more…

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva).

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capital’s urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour.

Post London Zoo, The Bug alternated between live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound. 2012 saw a re-emergence 7" style with his Acid Ragga imprint series. With a Roland TB-303 in hand he found the missing link between classic acid techno and digital dancehall. It was no second coming of acid/summer of love celebration. It was raw digi-grinds with the likes of Daddy Freddy, Warrior Queen, Copeland, and Miss Red up on them.

2013's "Filthy" EP marked the first rumblings of a new full length record. And 2014 Angels & Devils fell upon us. For this album Kevin Martin enlisted the familiar and smashed open the idea of what The Bug is. Grouping the results in two different distinct themes of Angels & Devils under the same conceptual banner. Both a year zero of sorts for The Bug, yet drawing on what has been before. Indeed The Bug is the only producer who can bring in the likes of Liz Harris (of Grouper), Copeland, Miss Red, Gonjasufi, Flowdan, Justin Broadrick (Godflesh/Jesu), Mala, Death Grips, and Warrior Queen and make it seamless. End times need a soundtrack to prep for what's above and below, and ‘A & D’ was it. A very memorable trip to sonic heaven and hell.

After that visceral assault, the stark, cinematic ‘Concrete Desert’ album dropped heavily in 2016. Alongside Kurt Cobain’s best mate and Doom metal inventor Dylan Carlson, The Bug constructed a noirish, jazz tinged ambience, as he set his sights on capturing the bleak wilderness of Los Angeles superficial dreaming. A kaleidoscopic instrumental grind welcomed JK Flesh(Godflesh) to breathe fire on two additional tracks and increase the madness still further on this ear catching release. On this album, Martin decided to break from The Bug’s obsessive study of groove, tone and texture, and think more cinematically. The result is a wondrously visual album, akin to finding oneself wandering amongst the rocky red hills of the Californian deserts. In fact, he said, the album could be understood as reflecting a ‘mistrust of “Hollywoodisms,” and the shadow of Hollywood fantasy that looms large over life in LA, and the USA in general. “Dylan’s a master at amplifying the flavour of America,” Martin says, “but not the side we see in this Trump climate.” For Martin, the “American dream is like a nightmare under Trump” but Dylan captures the “best side of that dream, a utopian openess.” “I hear the writing of Cormac McCarthy in his music. His playing conjures deserts, and wide open spaces.’ In “Concrete Desert,” Earth’s sonic landscapes, its far horizons and vast spaces, are underpinned and propelled by Martin’s ear-worming rhythms and percussive genius.

Subsequently in 2017, The Bug scurried back into clubland for some heavy hitting singles to cause dance floor pandemonium.. Teaming up with D Double E for ‘Box’ and Riko Dan for the ‘Iceman’ single before triggering TNT on the Beyonce/Jay Z endorsed/licensed ‘BAD’ 12” with Flowdan.

And if being a production workaholic wasn’t enough, Kevin Martin ignited his own label, PRESSURE, in 2018, with a deeper than thou collaborative single alongside BURIAL. Following that up with a full album link with Miss Red, and then releasing Japanese anarcho dub punks G36, The Bug has with PRESSURE, constructed a futuristic home for “Dub, Dancehall, Grime and Dirt” and set up his own PRESSURE club nights across Europe, specialising in playing the label's releases on HUGE, reggae inspired sound systems for maximum bass heavy. impact. Definitely on a mission to find a new sonic vocabulary for a fresh, virulent form of electronic Dub.
Also 2018 took a surreal turn when Beyonce/Jay- Z licensed ‘BAD’ by The Bug ft Flowdan. for their world tour and dropped it every night in th emidddle of their show..

Predictably, consequently following an opposite path, 2019 has witnessed Kevin Martin resurrect King Midas Sound, for a desolately bleak poems and drones album entitled ‘Solitude’. Receiving rave reviews in Pichfork, Resident Advisor, The Quietus etc, The monochrome album is a testament to Martin’s shapeshifting skills and sonic craftsmanship, as it lays out a weightless dub treatise on melancholy, yet still sucks you into its vortex with virtually no signature Bug beats or baselines. "it is one of the bleakest testaments to heartbreak in the annals of recorded sound. Its atmosphere resembles that of a collapsed star—black, isolated, unfathomably dense.“(Pitchfork). In fact, 2019 promises to be the busiest year yet for Kevin, as he has just released his first ‘solo album under his own name Kevin Richard Martin - ’Sirens’ for Lawrence English Room40 label. The album’s mix of disturbing ambience, beatless doom and drone has got him rave reviews in Resident Advisor and Pitchfork(Who compared the record to Eno and Aphex Twin’s ’Selected ambient works 2’ release.
The year will close with Martin’s unveiling a new group with long term soul brotherJustin Broadrick. The pair will release an album under the name ZONAL for Relapse records in October, as they combine their love of hip hop, noise and drone to devastating effect.


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