Artist Profile

Joker

Label:
Agent: Rebecca Prochnik

In 2007, with the underground in the midst of grime exploding nationwide and dubstep beginning to show new possibilities for UK bass music, a then 16-year old Joker was making his first contribution to the scene he’d later go on to help define.
 
Against the backdrop of Bristol’s rich musical heritage, he was well placed to thrive. After releasing his debut, the Kapsize EP (named after his late cousin, a tribute he has continued with, being the name of his label too), he went on to release five more 12”s in 2008. Included among them were splits with peers Jakes, TRG and Rustie.

Acquiring new equipment and rapidly honing his production skills with each release, it was this set of records that created the template for Joker’s sonic DNA. True to form, 2009 began with ‘Digidesign’, a landmark release on Kode9’s celebrated Hyperdub label, which was met by both critical and commercial acclaim. Awarding the track Best New Music, Pitchfork pithily observed that Joker was “enjoying one of those 18-month runs of one-classic-single-after-another.” Such was the case, when ‘Digidesign’ appeared, Joker had muscled his way to the forefront of British dance music.
 
That same year, Joker also collaborated with fellow Bristolian Ginz on the track ‘Purple City’, an in-joke about the “purple sound” tag and Joker’s apparent synaesthesia, in which he claims the colour helps him make music. Continuing with that association, he ended the year with a free mixtape, The Purple Wow Sound, collecting together his own music along with Ginz and fellow purple sound players, Guido and Gemmy.
 
With such a wealth of releases behind him, it’s hardly surprising that Joker’s music escapes easy characterisation. Keen to avoid generic formalism, he has even publicly distanced himself from being labelled ‘dubstep’. It’s understandable, since his music runs deep with R&B, funk and soul influences combining with his trademark pounding bass wobbles and ascending crystalline synths. Also apparent is an affection for computer games; no more evident than on the Sega throwdown album track ‘Level 6 (Interlude)’ and on ‘Snake Eater’, one of his finest moments which was built around the Metal Gear Solid 3 theme.
 
Forward to now and having signed a deal with 4AD, he finally appeased his waiting public in late-2011 with the release of his debut album, The Vision. Having premiered it at Glastonbury Festival with the numerous vocalists involved, it represents five years of hard work. Old fans were pleased that trademark instrumentals are there in abundance, from the Vangelis inspired album opener (‘Intro’) to established classics ‘Tron’ and ‘My Trance Girl’, which showcase the muscular synths and sharp drum snaps for which he has become renowned to the warmth of the heady height of summer album closer, ‘The Magic Causeway’, performed with Ginz.

These were complimented by a number of startling vocal collaborations that also show just how far his sound has come; with inspired contributions from fellow rising stars like Jessie Ware on the Radio 1 playlisted ‘The Vision (Let Me Breathe)’, Jay Wilcox on ‘Electric Sea’ and Silas from Turboweekend and William Cartwright on forthcoming singles, ‘Slaughter House’ and ‘On My Mind’. He also found the time to round up Buggsy, Shadz, Scarz and Double (KHK-SP) to record ‘Back In The Days’, the definitive Bristol track he’s been promising to make.