To think the Klaxons once had visa issues that cancelled their initial Stateside tour. After the recent release of Myths of the Near Future, interviews galore, and a highly-praised appearance at this year's Coachella, Jamie Reynolds, James Righton, and Simon Taylor are headed for US soil again, hitting major cities, as well as the Pitchfork Music Festival. Here's to the boys reaching a wider audience and overcoming the hideous "new rave" label so often given to them.
In the graffiti underworld, there has been a motivational force exceeding DIY magazines and word of mouth. Its name is Graffiti TV. Since the late-’90s, Graffiti TV’s low-budget VHS series has featured some of the most ambitious and talented writers of this generation annihilating subway cars, scaling rooftops, and making enormous legal pieces seem like child’s play. Instead of hunting down the tapes from local hip-hop-friendly shops ’90s, kids can officially get the finest moments on DVD.
The US is finally catching up with the UK’s dubstep and grime precedent set by Digital Mystikz, Skream, etc. The leader of the American invasion may fall solely on the shoulders of Baltimore-based DJ Joe Nice. Credited with the “Best International DJ of the Year” by dubstep forum and responsible for the acclaimed Gourmet Beats radio show, Joe Nice is stepping into magnate turf.
Call him a jazz partisan. DJ, promoter, and label boss Nik Weston has played an important background role in fostering the growth and diversity of nu-jazz, broken beat, and other club sounds. Weston got his start operating the weekly Mukatsuku night at an upstairs restaurant in Chinatown, just as broken beat was emerging in London. The night featured fresh jazz sounds and DJs– an aesthetic he later brought to his Mukatsuku promotions company.
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