Balloon Pop featuring Wax Tailor (DJ Set), Blockhead, Little People, Yppah, Natasha Kmeto, Arms and Sleepers, & CNJR

Future Archive Recordings and EC Present

Balloon Pop featuring Wax Tailor (DJ Set), Blockhead, Little People, Yppah, Natasha Kmeto, Arms and Sleepers, & CNJR

Fri, September 20, 2019

Doors: 8:00 pm / Show: 9:00 pm

$15 Early Bird / $20 Advance / $25 Day of Show

This event is 16 and over

First 50 to purchase tickets receive a limited edition post from Future Archive Recordings.

Wax Tailor
Wax Tailor
French trip hop/hip hop producer (born 19 July 1975 in Vernon, Eure).
Blockhead
Blockhead
Tony Simon, a/k/a Blockhead, has been making and releasing utterly distinctive, funky and emotive music for the last two decades. 

Blockhead grew up in downtown New York City. As the son of an artist, surrounded by visual culture, he early on found that his passion was for music, for the sonic. A fan of a whole range of sounds, especially hip-hop, Blockhead steadily built a tremendous collection of tapes and later CDs from innumerable artists, a quiet accumulation of knowledge and know-how. 

After a brief stint as a rapper, he realized his calling was behind the boards and not on the mic – and from there he began to produce beats. Since making that decision, he's kept pretty busy: carving a niche as a sought-after underground beatmaker that people call when they want something special. 

Blockhead produced nine tracks on Aesop Rock's critically acclaimed album “Labor Days.” Additionally he produced half the tracks on Aesop's follow up EP, “Daylight.” He has also worked with other indie giants Atmosphere, Murs, Mike Ladd and Illogic. In between, he found time to complete a break beat album entitled “Blockhead's Broke Beats,” with ten hard-hitting instrumental tracks, which was released on Mush Records, the US home of cLOUDDEAD.

To understand Blockhead’s Stateside presence and gravitas – look no further than the fact that he has also contributed three tracks (including the first single) for Cage’s “Hell’s Winter” on Def Jux. The other producers on the project are DJ Shadow, El-P and RJD2. 

All this occurred simultaneously to his debut album on Ninja Tune, “Music By Cavelight,” described as “one of the most fantastically good albums you’re going to hear this year” (Sunday Telegraph) and “a beautiful record” (Metro), with Blockhead himself tipped as “definitely one to watch” (Touch.) 
Blockhead returned in 2005 with “Downtime Science,” another set of deep, emotional instrumental hip hop tracks, this time dedicated to the downtown area of Manhattan where he grew up and has lived his entire life, encompassing all the attitude, anger and edginess of the neighborhood. This expansive album also features some melancholy reflections upon failed relationships and the promise of future loves.

"The Music Scene," was released in 2009 to both critical acclaim and commercial success – launching Blockhead on a global string of headlining dates ranging from Pittsburgh to Poland – where he participated in the world famous Zubroffka festival, providing a live score for some of Charlie Chaplin’s earliest films. Blockhead followed this album with “Interludes After Midnight,” further showcasing his development as a solo artist with a unique voice.

This brings us to the present, and 2014 is the year of “Bells and Whistles,” the latest release from Blockhead and a bold artistic statement unlike his previous work. According to Blockhead – the naming of the album speaks to emerging trends in music he is seeking to address: “The whole idea behind the album is that music has gotten so far away from just being music. I think that whole way of thinking, relating to music and art in general, is bullshit. I don't want to use those tactics to distract people or create a buzz that's separate from my album. I want to be judged purely on the music itself – just well constructed songs with no frills...thus ‘Bells and Whistles.’”

The album unfurls to the listener deliberately, unspooling twisted melodies and building emotions through many of the delicate tricks Blockhead has loaded into his arsenal over the years. From the artist: “Some of my favorite moments are the more minimal ones. Like on "Sacrificial Santa,” the ominous beginning really gets a mood across. On "FTW,” the way it builds is exactly how I saw it before making the song. I think, in general, this album shows my slow but steady progression. I'm never going to veer off and start making trap music or dub step but I feel as though, with my last few albums, I've created my own lane, as far as sample based instrumental hip hop.”

As 2015 gears up, and Blockhead charges on, keep your eyes online as he updates his fans daily through all means of Social Media – whether on his blog www.phatfriend.com, or Facebook, Twitter & Instagram. This aspect of his career has become more and more important – and isn’t something Blockhead takes lightly: “I don't have that thing in me where I feel I'm above just shooting the shit with people. With things like Twitter and Facebook, I'll respond to most questions. I'd like to think it makes the fans form more of a connection and recognize you as a normal person, as opposed to a foreign being who makes music they like.”
Little People
Little People
You wouldn’t think that growing up in the Swiss Alps in the 90′s would be the best place to be exposed to some of New York’s best underground hip hop. However anglo-swiss producer Laurent Clerc, AKA Little People, argues he couldn’t have been in a better place. Thanks to the forward thinking programming of Laurent’s local radio station and a DJ with his finger on the pulse of a golden age in the making in New York – Laurent’s musical education in all things hip hop was of the highest order. An old Mac and a stack of old LPs were mere catalysts for Laurent to try and emulate the sounds from across the pond.

A subsequent move to the UK introduced electronica to his broadening taste and influenced his own sound. Then followed work soundtracking short films and theater productions which added a cinematic element to his repertoire. Following a disheartening stint doing some production work for a Paris based hip hop label convinced Laurent that he should be doing things on his own terms. A self released EP led to being picked up by Illicit Recordings in London – through which “Mickey Mouse Operation” was eventually released. This was 2006 and his debut album only made a very modest splash. Over the subsequent years, however, it turned into something of a sleeper ‘hit’ – gathering fervent support in the US and slowly climbing the US iTunes electronic chart in the process.

Little people’s sound is part beats, bleeps and snippets of other people’s music. Stemming from hip hop, it effortlessly combines warm synths, intricate melodies and string arrangements. The cinematic quality of his sound led to his music being used on CSI and other shows in the US and UK.
Yppah
Yppah
Yppah (born Joe Corrales Jr.) has forged a career marked by ethereality and dynamism. Brought up on equal parts My Bloody Valentine and hip-hop, he has utilized a number of instruments and techniques in forging his place in the uplifting (yet firmly grounded) world his music inhabits. Previous records (2006’s You Are Beautiful At All Times, 2009’s They Know What Ghost Know, 2012’s Eighty One) have harnessed his cultural heritage and relentless curiosity to brilliant effect, landing placements in films (21), video games (Alone In The Dark) and television series (House, CSI) as well as taking him on tour around the globe.

Tiny Pause is informed in large part by shifts in Yppah’s life since his last work. Having toured the album, moved from Texas to Southern California and transitioned into more ambitious commercial work (for trailers, sound design and music libraries), Yppah soon found himself embracing hardware in a big way, experimenting with gear constantly while writing to find the best-suited combination for his workflow. The addition of two dogs to his home and a newfound hobby of surfing round out Yppah’s biggest influencers for the direction of the new record. And it all shows - the celestial dips and rises in “Occasional Magic,” the cascade of drums in “Little Dreamer,” the fractured ascent of “Spider Hands,” and the human-tinged glitches of “Neighborhoods” all point to an artist matured not only in sound but in perspective.
Natasha Kmeto
Natasha Kmeto
Natasha Kmeto (pronounced "kuh-meh-toe") is an electro hip-hop, singer-producer based in Portland, OR. With a rich musical background in jazz, r&b, electronic and hip-hop she likes to describe her music as "futuristic soul."

Kmeto was born and raised in California, playing and touring with bands of all genres since the age of 15. She completed the Keyboard Performance program at Musician's Institute in Hollywood and soon thereafter relocated to Portland in 2007. The move helped rekindle Natasha's creativity and passion for music which got lost in the bustle and industry of LA. Here, Kmeto was able to explore and take inspiration from her biggest influences, ranging from the cutting edge sounds of Flying Lotus to the classic soul hits of Carole King. As the Portland Mercury writes, "Kmeto's found a trance-ready spot that tugs at the sleeves of hip hop, IDM, and maybe even a tinge of goth, with a singing voice that keeps the digital zeroes and ones imbued with flesh and blood." -Ned Lannamann, The Portland Mercury, April '10

Kmeto released her debut EP, "9′′ and supplemental remix EP "√9′′ in 2009 and began playing live regionally in early 2010.

Currently, Natasha is set to release her first full-length album, "Expressor", which finds Kmeto delving further into experimental electronic music while staying rooted in hip-hop and R&B. "Expressor" shows a marked progression in Kmeto's production and songwriting.

Natasha is currently at work on her next release and continues to tour. She has started off the new year with bang, playing such events and venues as Low End Theory, Flux and The Roseland Theater while sharing the stage with such artists as Morcheeba, Meat Beat Manifesto, Daddy Kev, Nobody, Gaslamp Killer, D-Styles, Baths, Shlohmo, Shigeto and Austin Peralta.
Arms and Sleepers
Arms and Sleepers
Arms and Sleepers, composed of Boston duo Max Lewis and Mirza Ramic, revealed itself to the world almost a decade ago. In that time, the group has put out a total of 18 releases, collaborated with dozens of prominent artists (Tom Brosseau of Fat Cat Records, Philip Jamieson of Caspian, Ben Shepard of Uzi & Ari) and worked on numerous remixes (Caspian, Helios, Ef, Tape Deck Mountain, and others). The project has taken Mirza Ramic, the live performer of the duo, across North America, Europe and Asia over the past 8 years, attracting worldwide attention and garnering widespread appreciation from all corners of the industry.

2014 marks the beginning of a new chapter for Arms and Sleepers, with the release of their first new album in over three years – entitled Swim Team – scheduled for October 28th via Fake Chapter Records. Building on the ambient sound of their previous work while taking their music in a fundamentally new direction, Swim Team sees the duo taking bold creative steps and coming into full focus. “The album is definitely a departure from our previous releases – it has more to the point, concise compositions with a lot of focus on beats and different synth sounds,” says Ramic. And songs like Swim Team and Hurry Slowly perfectly embody the band’s new and amped-¬‐up sound.

Inspired by childhood obsessions in the 80s, Swim Team draws from instrumental hip-¬‐hop, R&B-¬‐influenced instrumentation and a wide range of electronic music to capture nostalgic moments. Despite a relatively short running time of 35 minutes, the album manages to deliver a wide range of intense emotions through its tapestry of intricate melodies and upbeat rhythms. More importantly, the new album fulfills the longing we have had for new music since the release of the band’s critically-¬‐acclaimed 2011 album The Organ Hearts. Swim Team is a compelling album characterized by a beautiful blend of lush textures, complex beats, and subtle harmonies which illustrate the duo’s growth and pursuit of invention and reinvention – becoming their most dynamic album yet.
CNJR
CNJR
Conjure (kon-jer) (verb): to affect or influence by or as if by invocation or spell. CNJR (kon-jer) (verb): Weaving the melancholic struggle in our discontent dreams.
Venue Information:
Cervantes' and The Other Side - DUAL VENUE
2637 Welton Street
Denver, CO, 80203
http://www.cervantesmasterpiece.com/