场场售空的 Nightmares on Wax 即将抵达中国！

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Nightmares on Wax 全球巡演日程

他的档期已经排到明年3月底了～

他过去的演出场场售空～🈳️🈳️🈳️

中国站 

☟☟☟

2018年11月30日 @DADA Shanghai

2018年12月1日 @DADA Beijing

现场票100元，先到先得！！！

Door Ticket Price: 100RMB 

First come first served！！！

原文链接：http://www.electronicbeats.net/10-things-need-know-about-nightmares-wax/

来自英国利兹的 George 在充满hip-hop和b-boy氛围的八十年代末期成立了Nightmares On Wax。在成为DJ前，他是一位嘻哈舞者。最终，George 与音乐制作专家John Halnon和音乐人Kevin Harper成为了团队，但在仅仅出了一张专辑后，他们两人便离开团队去发展各自的音乐项目，留下George 独自一人继续以Nightmares On Wax的名义探索音乐。在Warp Records厂牌下发行了首张专辑 A Word Of Science (The 1st and Final Chapter)后，George 接连推出了七张选自无数全球DJ演出的工作室专辑。

视频：Nightmares on Wax - You Wish

George 是最早将风靡1990年代早期的downtempo和trip-hop用于音乐制作的推广人。他通过融合jazz, hip-hop, reggae和在英国80年代末90年代初极为流行的rave sounds制造出独特的声音。

这个周末，Nightmares On Wax将出现在我们在布加勒斯特为期两天的音乐节上，我们同时也将发布全新的罗马尼亚版的Telekom Electronic Beats线上杂志。

借着Nightmares On Wax在为他的新专辑Shape The Future巡演的机会，我们将帮助你梳理他涉猎广泛的音乐。它们是为家中的沙发而不是夜店制作的最精致的电子乐。所以放轻松，让自己沉浸在这美妙的有着funk风格舞蹈律动的电子乐中吧！

A Word Of Science (The 1st and Final Chapter)无疑是Nightmare On Wax最独特的一张专辑——这也是唯一一张三人组合共同参与的专辑。尽管John Halnon和Kevin Harper并没有直接制作和参与专辑的巡演，但在1991年专辑最终在Warp问世之前，他们两人在音乐编曲上发挥了巨大的影响。这张专辑融合了funk和downtempo house风格，比如“Nights Interlude” 和 “Biofeedback”。同时它又是充满风格和节奏变化的。

视频：Nightmares On Wax Boiler Room Sheffield DJ Set

2013 年 Nightmares On Wax 在伦敦的Boiler Room视频在Youtube上已经有超过715万的浏览量了，它是大师级的有趣又易懂的house音乐。是阳光明媚的日子和朋友小聚的完美音乐。同时也让我们再次回到那被喧嚣和混乱侵占前的Boiler Room。加入了诸如Diana Ross的《It’s My House》和 Kaytranada对Janet Jackson的《If》的混音等经典音乐片段，它是纯粹的groove音乐，同时也可以用于黑胶DJ教程。

在Carboot Soul专辑中，Nightmares On Wax以他最出名的那首《Les Nuits》开场。尽管有时会被指责说他的音乐中缺乏那种前卫浮夸的元素，但在这里George 在他的曲子中加入了爵士乐元素。在创作时，与其他所有Nightmares On Wax专辑相比，它加入了最多的现场乐器演奏。最引人注目的也许是Robin Taylor-Firth演奏的键盘。近二十年之后，它的高质量水准仍然是funk音乐中最重要的作品之一。轻柔的pad 声音渐入渐出，配上一些刚刚能听出来就消失的微弱的人声，足够牢牢抓住你的注意力。

Smokers Delight 被认为是他最出色的专辑，是超越了它的所有制造人的存在，是所有现存downtempo风格专辑中最为人所知的一张。它浓缩了1995年chill-out音乐的历史，优雅地穿梭在hip-hop、house、dub和一系列迷人的采样。这时候Nightmares On Wax已开始DJ了，在已经制作了各类音乐，现场演出远离编曲了一段时间。他在Warp发行的第二张LP专辑也是刚刚重回制作领域后，成为了电子乐最让人难忘的专辑之一。

到2006年为止，George 已经帮助创立了trip-hop以及chill out的音乐运动风潮。在发布第一张专辑的十五年后，他已经拥有了属于自己的个性的风格，在In A Space Outta Sound中更是证明了自己是流派中仅存的仍然愿意精心制作的音乐人。像Passion和The Sweetest这样的单曲从一开始就很好地传达了他25年以来一直想要表达的东西。

像Mark Farina这样的DJ一样，Nightmare On Wax的hip-hop灵感来源是显而易见的。他在DJ Kicks专辑中将其带到了一个新的高度。2000年发布在 !K7 厂牌下的DJ Kicks mix 无疑是在赞颂舒缓的hip-hop伴奏和绝妙的管弦乐器 (想象一下当A Tribe Called Quest遇上了Kenny Dope)。这也是他告别唱盘主义的一个标志。不久后，像Final Scratch和Traktor这样具有开创性的科技永远地颠覆了DJ mixes的制作方式和音效。尽管对于一些人来说，制作专门用于在家享受的音乐过于新奇，Nightmares On Wax证明了他所经历的足以让他有能力把音乐带到任何方向。

在DJ Kicks问世三年后，这次George 果断地以爵士乐风格开头。这样缓慢徘徊的气氛伴随着雷鬼breakdown的结尾已经成为了Nightmares On Wax的标签。在世纪之交，Dub风格的jazz似乎成为了trip hop消亡后的唯一方向。George 用这一系列的动作捍卫者这种音乐形式的存在。在DJ Kicks对迥然不同的音乐风格尝试的基础上，他的LNT正酝酿着一系列有品位又热辣的探索，比如加入Dusty Springfield的Spooky等等经典，这样的音乐适合所有粘腻的夏季夜晚。

Nightmares On Wax自从80年代晚期发布了第一个12寸 Dextrous后一直保持多产的状态，但在1999至2006年之间，他可以说是精力极其充沛。两个混音和一张专辑紧接着又发了Mind Elevation， George 在2002年发布了这个舒缓音乐的集合。在Mind Eye中低沉有瑕疵的鼓乐配上说唱式的人声及接近4/4的节奏。但也别忘了他那标志性的令人放松的舒缓灵魂的pad声音。其他像Thoughts这样的音乐则以更自然、更爵士的方式结尾。

Da Feelin和195 lbs这样的音乐既不背离In a Space Outta Sound，但也绝不雷同。很多在Thought So里的音乐都类似，营造出不断重复节奏的dub氛围。但是，在Pretty Dark和Moretime中，它那迷人的funk曲风又证实了这张专辑的长期价值。

视频：Nightmares On Wax - Shape The Future

Nightmare On Wax在最新的 Shape The Future中，将清晰的鼓乐节奏放到了中心位置，同时搭配上平稳而贯穿其中的人声，在主打曲中最为明显。而其他的比如Back To Nature则更专注于缓慢的dub和福音演唱风格的音乐。从某种程度上，这张专辑比以往的任何一张都更值得让人反思，而与诸如加拿大饶舌歌手Allan Kingdom和驻扎在伦敦的歌手Mozez的合作则让这张专辑跟上了2018年的节奏。

翻译：Pepper Qin

校对：JunoY

解毒剂 呈现 

NIGHTMARES ON WAX 

(Warp Records / Wax On / UK) - DJ set

2018年11月30日@DADA Shanghai

2018年12月1日@DADA Beijing 

门票：100元

上海站 Support DJs 助阵嘉宾

Damacha

Cruel Buddhist (live set) 

DJ Jarrad Cleofe (San Francisco)

werwer

Antidote presents...NIGHTMARES ON WAX (Warp Records / Wax On / UK) - DJ set

Friday, Nov. 30, 2018 @DADA Shanghai

Saturday, Dec. 1, 2018 @DADA Beijing
Door Tickets:100RMB

Leeds native George formed Nightmares On Wax in the late ‘80s in a scene teeming with hip-hop and b-boy culture. He got his start dancing before eventually beginning to DJ. Eventually, George  formed a crew in the form of production specialist John Halnon and musician Kevin Harper. But after only one studio album, the others parted to develop their respective solo projects, leaving George on his own to pursue Nightmares On Wax. Following his debut on Warp Records, A Word Of Science (The 1st and Final Chapter), George unleashed seven more studio albums, a selection of mixes and countless DJ gigs across the globe.

George was one of the original purveyors of the downtempo and trip-hop approach to production that took over the early 1990s. He crafted a unique sound built on a fusion of jazz, hip-hop, reggae and the early rave sounds that could be heard across England in the late ‘80s and early ‘90s.

This weekend, Nightmares On Wax will headline our two-day festival in Bucharest that will launch our new Romanian edition of Telekom Electronic Beats online editorial.

As Nightmares On Wax makes his rounds on tour for his new album, Shape The Future we helped you sort through his extensive catalogue. It’s some of the finest electronic music ever fashioned for the couch and not the club. So sit back, relax and indulge yourself with some of electronic music’s finest funk-flavored dance grooves.

A Word Of Science (The 1st and Final Chapter) is arguably Nightmare On Wax’s most unique album—and it’s the only one where the entire trio was involved. John Halnon and Kevin Harper, while not present for the production and touring of this debut album, exerted a significant influence on its composition prior to its release on Warp in 1991. The album comprises a mixture of funk-laden, downtempo house on tracks like “Nights Interlude” and “Biofeedback”. It also navigates a space of constant change in both style and tempo.

The Nightmares On Wax Boiler Room London mix from 2013 has amassed over 7 million views on YouTube. It’s a master-class of fun, easy-going house music. Perfect for those sunny-day-hangs, it’s a nostalgic look back at Boiler Room before it was dominated by exclusively funny moments or pure mayhem. Featuring classic cuts like Diana Ross’s “It’s My House” and Kaytranada’s remix of Janet Jackson’s “If”, it’s a bona fide groove session. It helps that it could be used as a vinyl DJing tutorial, too.

With Carboot Soul, Nightmares On Wax opens up with one of his most recognizable productions, “Les Nuits”. Sometimes accused of not peppering his albums with more musically avant-garde flamboyance, here, George sprinkles his track with jazzier keys. At the time of its creation, it was recorded with the most live instrumentation of any Nightmares On Wax album. Most notable, perhaps, is the work of keyboard played Robin Taylor-Firth. Almost two decades later, it remains one of the most important works in the funk music canon for its deeply meditative quality. Soft pads drift in and out of the album, with vocals just recognizable enough to hold your attention before they drift away again.

Widely regarded as his Magnum Opus, Smokers Delight has almost transcended its creator all together. Instead, it’s considered to be among the most notable downtempo albums ever released. Gracefully navigating hip-hop, house, dub and a mesmerizing array of samples, it’s a history lesson in 1995 chill-out music. By this point in his career, Nightmares On Wax had already begun DJing, had produced a variety of tracks, played live and taken time away from composing. For his second LP on Warp and his first back in the production game, he dropped one of electronic music’s most memorable albums.

By 2006, George had already helped to create the trip-hop and chill-out movement. A decade and a half after the release of his debut album, he had developed a characteristic style, and In A Space Outta Sound proved that one of the few producers left in the genre was content in continuing to craft it. Tracks like “Passion” and “The Sweetest” succeed in conveying his message from the onset. It’s one he’s been delivering for over 25 years.

Similar to DJs like Mark Farina, Nightmare On Wax’s hip-hop inspiration here is plainly evident. He takes it to the next level with this DJ Kicks mix. Released on the iconic !K7 label in 2000, it’s an ode to slow-chugging hip-hop instrumentals and great horn sections  (think A Tribe Called Quest meets Kenny Dope). It’s also a sign of departure from the great examples of recorded turntablism. Shortly afterwards, pioneering technology like Final Scratch and Traktor would shift the method—and sound—of DJ mixes forever. While for some it’s still a novelty to craft a home-listening mix, Nightmares On Wax proves that he’s experienced enough to take it wherever he wants.

Coming three years after his DJ Kicks effort, this mix starts off decidedly jazzy. Its slow and brooding vibes are now something of a Nightmares On Wax trademark, only with an eventual reggae breakdown. Dub-tinged jazz seemed like the only real direction to head after the so-called demise of trip-hop at the turn of the century. In the eighth installment of the series, George helps assert that the DJ mix is not dead. Taking note of his wildly different style on the DJ Kicks effort, his LNT contribution simmers and patiently builds a collection of tasteful, humid and hot takes. It’s framed with classics like Dusty Springfield’s Spooky, and it’s fitting for any sticky summer evening.

Nightmares On Wax has been producing in prolific fashion since he released his first 12-inch, Dextrous, in the late ‘80s. But between 1999 and 2006, he was particularly energetic. Mind Elevation follows two mixes and an album. George dropped this collection of patient, meandering melodies in 2002. Low-slung, imperfect drum patterns on tracks like “Mind Eye” mingle with hip-hop-inspired vocals and an almost 4/4 tempo. But don’t forget about those signature soul-soothing pads. Other tracks like “Thoughts” end things with more natural, jazzed-up flair.

Tracks like “Da Feelin” and “195lbs” don’t signal a departure from the mood of In a Space Outta Sound, but they don’t stick with it either. Many of the songs on Thought So chug along, building groove-oriented dub. But it’s mesmerizing funk cuts like “Pretty Dark” and “Moretime” that prove the album’s long-term worth. 

Nightmare On Wax’s most recent effort, Shape The Future, puts clean drum patterns at center stage. Evelyn also relies on a steady vocal presence throughout, and especially on the title track. Others, like “Back To Nature,” focus on slow, roots-forged dub music and gospel-style singing. Thematically, it proves a more reflective LP than its predecessors, and its featured collaborations with artists like Canadian rapper Allan Kingdom and long-time London-based singer Mozez brings this album right up to speed in 2018.

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