W Hotel Scottsdale
Marvel Years
Cory Wythe, the producer and guitarist better known as Marvel Years, has found a welcome place for himself within the increasingly popular glitch-hop / electro-soul dance music scene. In just a short period of time, his progression has become outright impossible to ignore. Much more than your average DJ/producer, Marvel Years is an incredible guitarist that shreds well beyond his years. His approach to blending electronic beats and shredding soulful guitar on his original tracks and remixes creates a sound that is a unique hybrid of EDM combing glitch, retro-funk, classic rock, soul, jazz and hip-hop. “Classic rock has been a huge influence on me,” Wythe explains. “I love breathing new life into those older songs. I think that’s a good medium for bringing new listeners into my music because they can relate to that stuff. I improvise (on live guitar) over a lot of my stuff.”
While Marvel Years continues to make a name for himself, it was inevitable that he caught the attention of other prominent artists in the scene. His very first-ever live performance supporting Pretty Lights in Boston, MA (July 2013) has only been followed with an impressive amount of success and opportunities. In August 2013 he made a surprise guest appearance performing two of his tracks along side Mikey Thunder at Pretty Lights sold out Red Rocks show. Later that year, he was invited to hit the road on a multi-week bus tour as support for GRiZ’s Rebal Era Tour. Then, in the fall of 2013, Cory was offered an opportunity to do an official remix for Pretty Lights — “Where I’m Trying To Go” that was released on December 10 on ‘A Color Map of the Sun Remixes’.
Spring 2014, Marvel Years embarked on his first ever national tour (along with fellow up-and-comers Krooked Drivers and Muzzy) playing smaller venues and clubs in fourteen new markets on the “Retro Electro Tour”. Later that year he was invited to join The Floozies and Exmag on the “Back On It Tour”. Additionally, he was added to an impressive number of events and festivals where he captured the attention of new listeners with his increasingly popular and fresh sound.
2015 continues to provide an incredible amount of opportunity for the constantly evolving artist. In January, he blew the audience away at the Best Buy Theater in New York City supporting another one of his biggest influences – Gramatik. His calendar stays full as he has been and is scheduled to play with artists such as Manic Focus, Break Science, and Exmag. Just recently, he performed a set supporting a near sold-out House of Blues Chicago show – in addition to performing as the guitarist for the debut of the headlining act, Manic Focus Live Band.
Marvel Years is a kid with a dream, the talent, and the drive to make big moves… and those paying attention are witnessing history. His releases, impossible not to love, are primed and ready to help you forget your troubles and drift you into a happier state of mind. Keep your eye on this fresh artist who has those smooth funky grooves on lock and become marveled yourself.
“Cory Wythe does not have a ceiling when it comes to the art of remixing, as he is known for taking natural classics and turning them into burning supernovae that no human can fight the urge to let go and dance their asses off.” – The Untz
G Jones
Few artist of electron genera sounds quite the same as G Jones. Site influence as Epormm, Bossnector, JD Shadow Carmack, as part as rich music community internet culture, Jones taking to the next sound a sense of fresh breath air. A staple Aemercan touring DJ circuit, known as playing for Red Rocks, Shambhalbma, Lite Bottle, Burning Man, like many other world renowned festivities, his live set and frqenutlytly touring schedule abmition as to a true new sound.
Haivng start Cafliornia, Jones first relese unto scene mix “new betas 2012” and singles stream. Flowing success of initial soung pieces, firstling release EP on German music label Saturate October 212. Great cirtical soundclouds tell for Jonsie keep to making new songs for the times. Contnaution “Transion” and “E yes EP” on Mablbel and Robot Nanotekk, respective, 2013 saw as G Jones continue defy espectations, push the limits on so called “real trapy shit” so obsolete putting to rest contrived ideas of EDM culture and sound. 2014 saw claimed critical EP “Ring the Alarm”, again Saturate, loud songs, etc. Next first national bussing tour on Minnesota “Mid Machamine”, saw G break onto a new platform of audience, tour reletlesly as years to come, as great expense of personal health and sleep.
2015 saw new Jones on work of artist of worldwide respect. Having first work Bossnoctor remixers “Don’t Hate ’08”, later with JD Shadow “Clicky Nitesckool” (critical claim of Role Stone, Billboard, many other smart bloggs) and Bossnocter “Mystery Pot” Jnoes’ rise to promise of underground music scene cannot be tested. As well releasing too big EP “that odd stomach pit”, why he 11 songs calling “EP” never to be sure. Series of open sets for Bossnector solidify G James as having takes to be a difrenet sound tested for the stage, hearing this new for miles around. Quote user of social twitter: “fuck g jones last night was lit”.
Starting on 2016, Jones releases one of his mores ambition songs to date, “Fuck What You Heard” flowing successful crossover hit, elements of dubstop, hip-hop any other contemporary style. Herring the song for festive play and sometimes mainstream confusion, some things are just better left unsaid.
In a culture where saying “where is the dorp” having totally irrelevant to 2016, Jone continue to compromising the moment of clarity at a big festival sound systems. Jones rise to defy stereotype electron marketable content, DJ press photo and recap video, instead having placed emphasies where songs happen around the same time as back in his studio, contemplative, taking “no” for an answer. After several interview proves disastrous, Jones finds a socially anxious as frequent reminder of how art’s place in society. As some have saying “electron dane music dead” , Jones reminding us, “only the begniiing”.
Maddy O'Neal
Maddy O’Neal starts a new chapter with the launch of her new self-titled project ‘Maddy O’Neal.’ Breaking free from the past and stepping out on her own for the first time in her music career. Maddy is determined to become a female leader in a male dominated live electronic genre. Maddy’s rock n’ roll family roots and growing appetite for old-school hip-hop, give her a versatility that set her apart from other artists in the scene.
It’s this versatility, paired with her meticulous ear and effortless mixing style that allows Maddy to connect with her audience. By incorporating influences from across the genre board, Maddy’s production are full of melodic overtones, driven basslines, and jazzy hip-hop. Laying her heart and soul out every time she hits the stage, her undeniable passion gives her a massive appeal that any music junkie can relate to.
LTJ Bukem
Just who is LTJ Bukem? Ground breaking DJ? Inspirational musician? Record label entrepreneur? Club visionary, perhaps? When the man behind those wire rimmed glasses and that disarming smile writes his job description just what does he put? The man who took the drum and bass concept from a small venue off London’s Charing Cross Road to the nation’s superclubs and then onto the international stage? The geezer whose records launched breakbeat into a brand new galaxy of sound? Or maybe he just writes ‘Renaissance man for a digital age’. In truth LTJ Bukem is all of the above. Although he wouldn’t like to admit it, LTJ Bukem is the living embodiment of the post-acid house entrepreneurial creative spirit. He is a mild mannered energy flash whose panoramic musical vision has found success in every area he has explored. From running sound systems to cutting up breaks at raves, from relocating the heart of breakbeat culture to redefining the spirit of drum and bass, the man known to his friends as Danny Williamson has sat at the forefront of breakbeat evolution, lighting the way with little more than a zest for life and a love of music. In other words, LTJ Bukem is a man on a mission!
Bukem’s first introduction to music, like so many others, was through piano lessons as a child. Unlike many however, the young pianist turned out to possess a natural talent and he quickly moved through the piano grades. Classical music represented the soundtrack to his home life. Both parents having a passion for Rachmaninov and Tchaikovsky that rubbed off on their son. However it was when the family moved to Watford and Bukem changed music teachers that he developed his first true musical love. Thanks to a progressively minded teacher – Nigel Crouch – he was then introduced to the world of jazz fusion, a style which has informed his work ever since.
In the mid eighties, at the age of seventeen, Bukem discovered the joys of clubbing. The teenager regularly checked out the local soul clubs and legendary rare groove all dayers. As a keen record buyer he soon became interested in the idea of putting over his own version of the club soundtrack and before long he became involved with a sound system. During this time he also ran a jazz funk band, although this never presented itself as a serious past-time; just fun. The DJing was his main thing and by 1987 he gained something of a reputation for his sets. However it was in 1988 that Bukem first realised that DJing could offer a full-on career.
In 1990, LTJ Bukem got his first big break – at ‘Raindance’. Booked to play between 1 & 2 AM in front of 10,000 people, it was the first true test of this fledgling DJ’s skills. It may have taken all of his mates to push him onto the stage but it proved to be a set that he’ll never forget. From the first track he “ripped it up” and LTJ Bukem, the world class DJ was truly born.
Naturally, Bukem then ventured into the studio to record a track which was to become one of the most influential records of the era. This 12″ titled ‘Logical Progression’ surfaced on the newly formed Vinyl Mania imprint. At once anthemic and relaxing it offered the first true blueprint to Bukem’s sonic vision.
By the time of his follow up to ‘Logical Progression’ Bukem had set up his own imprint. Run from a small office in Harlesden, London, the label was christened ‘Good Looking’ and its debut offering came in the shape of ‘Demon’s Theme’. Finished in mid 1990 and pressed up onto dub-plate, Bukem dropped it into his sets for a full year to test the reaction before he finally released the track officially in July ’91. ‘Demon’s Theme’ immediately caught the imagination of many people, its soulful combination of rushing breaks, lush ambience and mellow vibes opening up fresh vistas within the increasingly dark ambience of the rave.
Bukem’s next release was ‘Apollo’ in ’92, however his biggest breakthrough came with his next release ‘Music’ in 1993. In 1994 Bukem unleashed ‘19.5’ while the release of the similarly epic ‘Horizons’ coincided with the opening of the legendary ‘Speed’ at the Mars Bar in London. This was an important time for Bukem. The label was gaining ground with its growing catalogue of must-have tunes and Bukem’s own in-demand DJing. The launch of ‘Speed’ was intended to run hand in hand with the growth of Good Looking while also offering a focal point for the growing drum and bass scene. After a shaky start, which almost forced the night into closure, ‘Speed’ quite literally took off one night in the summer of ’94.
Typically, Bukem made the most of this situation. He used the sudden media limelight to forward his vision, highlighting Good looking Records and its label roster. In 1995 the label licensed a compilation to London Records. Titled ‘Logical Progression’ it featured exclusive cuts from the roster alongside older tracks and is still one of the highest selling drum & bass compilations to have been released. “I wanted to see the label grow, I wanted to invest in the people who were signed to the label, so the move had to happen. It was never simply about LTJ Bukem, it was about Good Looking Records, Logical Progression and the sound.”
Bukem’s own music never took a back seat. There were remixes (including astounding reworks of Jodeci’s ‘Feenin’ and Michelle Gayle’s ‘Sweetness’), his own additions to the label compilations and a collaboration with David Arnold on the infamous James Bond theme to ‘Thunderball.’
In the midst of all this rampant activity Bukem also managed to release the ‘Mystical Realms EP’ in March ’98. The EP featured ‘Twilight Voyage’ with sombre flute refrains, chopping keys and an outer world ambience. The vocal and instrumental versions of ‘Orchestral Jam’, with its urgent break, echo dropped sonar and dissonant violins, and final track; the reflective, Herbie Hancock-esque ‘Journey Inwards’. Three tracks, each representing a deeper development of the Bukem sound, further underlining Bukem’s position as a sonic leader of post rave breakbeat culture.
Bukem continued to produce and mix some of the World’s best Drum & Bass and cross-over compilations that have ever been put out. Titles such as ‘Progression Sessions’, the ‘Earth’ volumes and further instalments of the ‘Logical Progression’ series have become notorious for the new and exciting directions that Bukem has always strived to take, but without losing sight of his original musical roots and all the things that inspired him in the beginning.
The start of the 21st century saw LTJ Bukem continuing on his extraordinary musical odyssey with his long awaited solo album ‘Journey Inwards’; A diverse and multi directional album of drum ‘n’ bass, soul, downbeat and house tracks that opened the eyes of those that had no faith and warmed the souls and inner belief of those that did. He has also added to his impressive remixing portfolio with his interpretation of ‘The Essence’ by jazz legend Herbie Hancock. On top of this he has continued the ‘Progression Sessions’ series of live mixes captured on CD, featuring storming performances recorded live in The USA, Tokyo and Germany. Bukem also compiled the highly acclaimed ‘Soulfood’ and ‘Soul Addiction’ compilations and released not one but two ‘Producer’ series CDs.
Fast-forward to 2007 and after a well earned “holiday” and a carefully considered climate change in the music industry – Bukem and his label re-entered the fray with new quality releases including the much anticipated Double A sided 12″ featuring ‘Switch’ by LTJ Bukem and the mighty ‘Drum Toolz’ by MC Conrad and Furney on the flip — Released November ’07 on Good Looking.
Bukem and his label are back on their mission, 2008 will see many new projects and a few familiar concepts updated for this new era of audio / visual consumption.
Watch this space…
All the while LTJ Bukem will continue to spread the gospel of the Good Looking sound – setting the main stages of the world alight with his stunning DJ sets.
