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The above image is Hud Mo's bedroom at his mum's house in a basement in Glasgow's West End - circa 2006 around the same time that "Hudson's Heeters" was released. We used to go round here to steal his decks before playing parties when we were at the art school. We were all friends making music and playing small shows together. The Blessings (Dominic Flannigan & Martyn Flyn) continue to run the label. Martyn came up with the name "LuckyMe". It was his idea to release the new hybrid music that we’d started to make on cracked software, throwing it up on Myspace. Around that time Hud Mo had partnered with Mike Slott under the name Heralds Of Change to put out a couple records. And the scene in Glasgow was starting to come together. We were playing parties alongside Rustie and all the guys who went on to become Numbers. We started the label to put out the first Hudson record with the help of Rub A Dub Distribution. Called "Hud Mo Says Ooops!", it sold out every time we repressed it. Enough to keep us doing it.

We started to tour, becoming friends with like-minded promoters, artists and scenes across the world. In Amsterdam there was Rush Hour, Patta, Cinnaman & Tom Trago. In Los Angeles there was Fly Lo, Brainfeeder & Dublab. In Vienna there was Dorian Concept, CID RIM & Affine Records. In New York we got to know Kingdom, Machinedrum and the artists hanging around the Dante’s Fried Chicken parties. In London there was Deviation, Benji B, & Patchwork Pirates. And most significantly for us in Montreal, where the promoter of our first show was an 18 year old called Philippe Aubin-Dionne, now known by Jacques Greene. The support act that night was Lunice.

Dominic and Martyn both moved back to Scotland, dedicated to turning this label into a business while holding down day jobs in clothing stores. We’d started to get press and were being written about as a hot new sound but we never felt comfortable with all the made up genre names thrown at us. We diversified the sound associated to LuckyMe by signing a rock band called Americanmen. Members of the band still record for us as Sevendeaths and Claude Speeed. We were introduced to Eclair Fifi around this time through Konx Om Pax and friends in Glasgow. She was one of the few DJs playing brand new music across genre, blended into great techno and electro. Our favourite DJ, we started working together.

Calum (Spencer) at Numbers was head of digital at Warp at the time and was instrumental in bringing Hud Mo and Rustie to the label. They both put out their debut albums. We reached out to Travis Stewart aka Machinedrum and signed him just before we played a takeover at Sonar Festival. S-Type had already been producing rap records and was known on the scene of the Louis Den Beat Battles. It took him a while to start working with us but we kept hounding him. He was always the best doing it.

We followed a whole genre of young labels who hosted shows on Rinse FM, travelling down to record shows in London beside Hessle Audio, Night Slugs & Hyperdub. Joe Coghill’s club in Glasgow Baller’s Social Club had placed LuckyMe acts alongside a lot of the best talent in the world coming through the city, connecting us to so many artists and DJs. In 2012 Dominic moved down to London to live with Hud Mo. It meant when our friends were touring they had somewhere cheap to crash and not long after moving down, Lunice came over for a week of shows. At the time Hud Mo was renting a tiny studio from MJ Cole and in just two days Lunice and Mo had made the TNGHT record. We approached Warp to ask permission to release Hud Mo’s music outside of their contract, and we made a hand shake agreement to put out the TNGHT ep together. A 50/50 release. That record blew up. Enough to keep us doing it.

We were sat in the hotel room before TNGHT's first ever show at SXSW, and I was sent a demo which I played out on my laptop. Mo shouted through from the other room "gimme that I'll play it tonight?". It was from a kid called Baauer. I'm standing side of stage at the gig while TNGHT play the song in their set and a young music manager ran over to me like "this is my artist's song how do you have this?". We signed Baauer. That started a run of releases which saw us open up the label in the US: from Baauer's debut ep, S-Type's smash "Billboard", and the debut CID RIM release.

Rustie played a BBC Essential Mix which won lots of awards and became a sort of fabled mix of exclusives. He first played many of our acts releases including Baauer's 'Harlem Shake' alongside Sam O.B. aka Obey City and Cashmere Cat. Not long after that mix, Harlem Shake went viral on YouTube. The song aligned with a change in chart rules that qualified streaming, and Baauer went number one and double platinum. He graced the cover of Billboard Magazine, ushering in the era of streaming. We helped the team answer emails and synch requests. Wild stuff like requests from The Simpsons and Good Morning America. Baauer toured and travelled the world in the year that followed.

Meanwhile we worked with Mass Appeal to put out an official remix project for Pusha-T, featuring Tyler, The Creator. As the label grew, we started to work with more major hip hop artists and Hud Mo penned a production deal with Def Jam / G.O.O.D Music, working as a principle producer and engineer. That same year he worked on Drake's album, earning platinum plaques for 'Yeezus' and 'Nothing Was The Same'. He worked in a few days for Frank Ocean. And started to send demos back and forth with Anohni fka Antony & The Jonsons. Mo has since gathered a number of Grammy nods, namely for his work on 'The Life Of Pablo' and 'Anohni'. Despite staying completely independent we’ve been able to bring some amazing talent to our own artist’s releases. To date we've featured Future, Rae Sremmurd, Travis Scott, G Dragon, Yung Lean, Denzel Curry, Roc Marciano, Lil Wayne, Fetty Wap, Skepta, Miguel, Young Thug & many more...

Back in Scotland, Martyn opened up an office at The Summerhall in Edinburgh and we started new companies to look after management and art direction for music clients. Dominic had worked on 'Cruel Summer' in Hawaii and 'Yeezus' in Paris, alongside Stephen Christian, Virgil Abloh, Es Devlin and Matt Williams. He became ‘International A&R Manager’ at Warp in late 2012, looking after Mo, Rustie and projects for Boards Of Canada, Autechre, Aphex Twin, Mark Pritchard, Clark and many more. In 2015 we signed a worldwide distribution deal with Warp to release albums with the roster we'd grown up with. We started working on bigger campaigns for Baauer, Jacques Greene, Lunice, Sam O.B. & Cid Rim.

While Eclair Fifi undertook a 6 week residency on BBC Radio One she premiered SOPHIE and early PC Music releases back when they had just joined soundcloud. She had just found them online but we became friends and played a number of shows together in London and the US, including the premiere of QT at SXSW, and a large Boiler Room event for the launch of Hud Mo's 'Chimes'. At this time in Edinburgh, we signed a three-piece art school band called NAKED who consequently moved to London, became a duo and started making noise sets in supports for Merzbow and Thurston Moore.

One night Jacques Greene hit us with a link to these kids in Ontario who had put up a reactive music video hosted on a fake Tumblr. It was Littlebabyangel. After years of working with producers and DJs it felt like a logical next step to work with a vocalist. This year we distributed his debut mixtape 'GADA' via a chain letter: exploring ways of bypassing the editorial structures of streaming services. Since the start of LuckyMe we've sought to freely distribute music and we're proud of the idea of being a "web-label", creating numerous microsites dating back to 2008. We continue to release free valentines mixes by Hud Mo and an annual "Advent Calendar Giveaway" - the first advent calendar for music on the internet.

Our artists continue to be known for creating bootlegs of their favourite records, from the dawn of LuckyMe on 'Hud Mo Says Ooops!' to Jacques Greene's 'Another Girl' which was recently named one of Pitchfork's "Tracks Of The Decade". In 2017 we released a project in tribute to the original Otomo Akira series, with an album called 'Capsule's Pride' by Berlin-based techno, trance and house producer Nathan Micay fka Bwana. The record is available via an animation and "free download here" .

While the majority of our visual work is created in house at LuckyMe, we've been proud to work with some of the best visual artists, directors and designers of our time: Mauries Matos, Hiro Murai, Virgil Abloh, Thomas Rhazi, Peter Marsden, Shaniqwa Jarvis, Jonathan Zawada, Ezra Miller, Emir Eralp, Morey Talmor, Harry Mcnally, Konx Om Pax, Mathieu Fortin, Til Weideck, Teddy Fitzhugh, Nic Hamilton, Jase Coop, Astrid Anderson, Daniel Swan, Christina Kernohan, Sam Rolfes, Tim Saccenti, Braulio Amado to name but a few. Eric Hu redrew our logo this year. And notably Hassan Rahim's work for Jacques Greene's 'Feel Infinite' seemed to inform a thousand mood boards and club flyers over the last year.

We can't understate the value of the visual identity of the label. We're constantly building and destroying our branding relative to that of our artists. Our images are found on dsps, record stores and worn on peoples backs around the world and the aesthetic language we promote at LuckyMe is that of a post-modern exaltation of our influences to the level of institutional reverence. We answer to our artists, working for them to express the intent of their music. We're trying to make an exhibition of new culture in the real world, promoting black music, rap music, the legacy of hardcore, rave and dance music, skate, film, fashion and the avant garde. We know, it's a lot.

In 2018, we signed New Orleans producer Suicideyear. We first met James as he dragged his PC tower into the club at SXSW 2013 and we'd watched him grow on releases for Daniel Lopatin's Software label. His album "Color The Weather" has been a highlight of our year. Another new signing this year was Denzel Himself - a writer, rapper, producer and director from London who, although barely into his twenties, is fusing a lot of the music that was primary inspiration for this label. We put out a series of Baauer singles that featured the voices of AJ Tracey and virtual model Miquela - a statement on the internet and the predicament of modern algorithmically driven pop music.

A record by our Rinse-resident Inkke saw us strip it all back and focus on the real world. He shot and edited videos himself: raw black n white collages of hanging out around the skate spots and clubs in Glasgow. And we littered the city in Inkke stickers to let em know about it. In London, Eclair Fifi has continued to grow her radio show at NTS and has toured extensively this year, including a televised set to open the new V&A in Dundee. She featured high on The List's Hot 100 and has won Best Electronic Artist as the SSE Scottish Music Awards. It's been her busiest year to date. Next year we start a new imprint run by her. Specialising in electro, house and techno – the label is called River Rapid. Another dance record we worked on this year was the "Bloodline" album by Steven Julien aka Funkineven. We helped digitally distribute that one for Apron. We've known each other a long time.

Jacques Greene's 'Fever Focus' ep started out as an hour long YouTube mixtape and cassette sold on bandcamp. But as the music was finished we worked with Braulio Amado to create a double vinyl EP which speaks to the different formats of music available in 2018. The physical is a dance formatted double 12" with a lead A side single cut at 45RPM. The flip side has two other songs cut at 33.3RPM. You put both records together, lining up the artwork, to create a full EP. Digitally the record was released through 6 incrementally revealed singles. The music on 'Fever Focus' moved Jacques Greene yet deeper into his contemporary vision of dance music, a space so often concerned with conservatism and notions of authenticity. Of the music itself, Pitchfork wrote "...almost a decade since he released his first EP, he’s still finding new paths to euphoria."

All our original roster are still close and you're just gonna have to trust us, they've been busy doing impressive new projects for 2019. We've grown our clothing line and you'll see a lot of that come to fruit next year. We've written music video treatments and art directed for other artists we know and like. And we're working on new digital projects that hopefully put power back in the hands of young artists and DIY creators. We wanna stop musicians needing to feel they have to market themselves against politics on Twitter and aspiring-models on Instagram. We wanna make a place for new music. To conclude, we continue to grow this label. The artists and the staff are still close. We make influential records with the bravest new talent for an audience who aren't the type to leave a comment. The right people know about "LuckyMe". A lot more people know about our artists. And a lot more people than that have heard the influence of their music. Enough to keep us doing it.

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