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”.
Eprom is known for his diverse, funky and energetic sets, which cross the lines between live remixing and manipulation of hiphop and breaks with his own obscenely bass-heavy neurocrunk transmissions. EPROM has played alongside artists like Modeselektor, Vibesquad, Ooah, Boreta, Bassnectar, Kraddy, edIT, and many others. EPROM is fusing his own brand of telekinetic crunksauce in the form of the new hybrid genre, Psyphy.
Future is an understatement when describing Mad Zach’s dark and heavy style, lying at the intersection of hip hop, glitch, dub and trap, while remaining uniquely its own.
Mad Zach combines sonic influences from hip-hop, glitch, dnb, and dub and trap, yet still remains unique in his own right. His most recent EP, Quantum Shock, features collaborations with G Jones and Sayer as well as remixes from Bleep Bloop, Amp Live, Conrank, and Pixelord. He has also produced for bass labels such as Saturate Records and Robox Neotech.
Zach’s live sets fuse the elements of controllerism, finger drumming, and DJing into one. He is strongly endorsed by production tech companies Native Instruments and Ableton and his performance videos for them and predominant DJ blog, DJ Tech Tools, have garnered over 10 million views on YouTube. Zach is set to release his next EP in 2017.