Little People

Little People

You could be forgiven for thinking that growing up in the Swiss alps in the 90′s wouldn't exactly be the best place to be exposed to some of the best underground hip hop New York had to offer at the time. 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 past 4 years it has however turned into something of a sleeper 'hit' – gathering fervent support in the US and slowly climbing the US iTunes electronic chart in the process. Laurent seems to have timed the release of his second album perfectly – due to drop in Spring next year just as the interest in his first album is peaking.

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.

Little people's upcoming album sees Laurent shift his focus away from what he feels is the over reliance of samples in his genre, towards composition and the use of organic instrumentation – whilst keeping the trademark warmth of an old piece of vinyl. However rest assured, the beats and the synth bleeps are still very much on the menu.

Marley Carroll’s humble origins as a classically-trained pianist and percussionist were shattered after he took top honors at a statewide DJ battle at the prodigious age of 17. The experience catapulted him into notoriety, pitting his skills against DJs twice his age and quickly catalyzed his path towards career musicianship. In the intervening years he has completed a transformation into a dynamic electronic music producer, world-class turntablist and captivating live performer.

As a producer, Carroll’s early experiments wove the stuttering precision of mid-era Warp with the gauzy emotional haze of shoegaze, culminating in the well-loved debut LPMelanaster. His follow-up, 2013’sSings, revealed a more rhythmically-driven version of Carroll’s vision, influenced by the galvanic dance floor energy of larger live audiences. A densely-propulsive electronic journey rooted in shadowy forest imagery,Singsreceived universal critical acclaim, drawing praise from tastemakers like Pitchfork, Rolling Stone and Stereogum, and was honored with an album-of-the-week nod at Bandcamp.

With his new album Flight Patterns, Carroll has tuned his instruments skyward and infused his unique style of subtle and compelling dance music with samples and textures from the natural world. Bird songs, field recordings, gongs, deep basses, wooden percussion and plaintive analog synths provide the substrate for expansive instrumental songs with the kind of three-dimensional depth that invites immersive, intentional listening. Released in November 2018, Flight Patterns has already captured the attention of leading outlets like XLR8R, This Song Is Sick, and KCRW’s Morning Becomes Eclectic and represents a new high watermark for the veteran producer.

Onstage, Carroll brings a more raw and improvisatory adaptation of his music to rapt audiences, combining live sampling, drum pads and looping with stunning and often unorthodox turntable skills. He has shared the stage with similarly-minded peers like Floating Points, Bonobo and DJ Shadow and has appeared at groundbreaking music festivals across the country (Coachella, Decibel, Moogfest).

“A lot of artists working to merge dance music’s propulsive complications with straightforward songwriting structures aim for something as simply excellent as this, and they often fail; however, Carroll hits a direct bullseye with “The Hunter”, and when the tart synth winds in about halfway through, it’s one of those eye-widening moments that should happen more often.” — Pitchfork

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