JON SPENCER
Jon Spencer has been an influential and innovative force in the independent music scene since the mid-80s. An acclaimed live performer, he has toured all the continents except Antarctica and has released over 25 albums.
He is the creator of fierce punk-influenced music that encompasses everything from American roots styles such as Hill-Country Blues and Rockabilly to Industrial Noise and Hip-Hop.
He has led the bands Pussy Galore, The Jon Spencer Blues Explosion, Heavy Trash, and Jon Spencer & the HITmakers as well as played in Boss Hog, The Honeymoon Killers, The Gibson Brothers, and Taxi Girls.
He has played and/or collaborated with Steve Albini, Add N To X, Nicole Atkins, Beastie Boys, Beck, Black Devil Disco Club, Bomb The Bass, R.L. Burnside, James Chance, Coldcut, Chuck D, Dan The Automator, Jim Dickinson, DJ Shadow, Doo Rag, Einsturzende Neubauten, Guitar Wolf, GZA, Tom Hazelmyer, David Holmes, Japanese Popstars, Dr. John, Calvin Johnson, Steve Jordan, Khan, The Micragirls, Moby, Money Mark, The Muffs, The North Mississippi All Stars, Powersolo, Prince Paul, Princess Superstar, Puffy AmiYumi, Eros Ramazzotti, The Sadies, Nancy Sinatra, Solex, Solomon Burke, Southern Culture On The Skids, Speedball Baby, Rufus Thomas, The Tremolo Beer Gut, UNKLE, Unloved, We Are Hex, Andre Williams, Workdogs, and Bernie Worrell.
He has produced albums for Cheater Slicks, King Brothers, Demolition Doll Rods, Experimental Tropic Blues Band, Perrosky, Mike Edison, Bikini Machine, D’NT, Mama Rosin, Jesper Munk, Sunshine & The Rain, The Bobby Lees, and Samantha Fish & Jesse Dayton.
IdleAires
"IdleAires are a communications service and information dissemination apparatus, operating as an art-punk rock and roll ensemble...
These agents have been formerly embedded with Short Vine sensations Bulgarian Nightlife, NYC punk-blues destroyers Chrome Cranks, and the legendary Barrence Whitfield and the Savages, among many others.
Having hit stages from Corryville to Cote d'Azure - and all points in between - the IdleAires remind you that in order to resist the spectacularized, post-millennium negation of style, it is imperative to dedicate an art to enacting - once again - an essentially situationist 'Style of Negation' -- "
