By Jacob Katel
By Karli Evans
By Jose D. Duran
By Pablo Chacon Alvarez
By Kat Bein
By Abel Folgar
By Laurie Charles
Jervis concurs that it's boring and sometimes tedious to watch someone just push buttons. He's always on the lookout for electronic artists who are making an effort to adapt their work into dynamic live performances. He points to Detroit electro-fusion DJ and producer Jeremy Ellis (a.k.a. Ayro), who released his second album, The Lotus Blooms, on Ubiquity in February. "Ellis is amazing live," says Jervis. "He programs beats and percussion on the PC, then he's working the bass and keys, and then he starts singing, jumping around, and getting the crowd into it."
"Yeah, I'm even playing with my elbows and my chin," adds Ellis, laughing, "and I'm slapping the drum pads with my hands like it's a booty."
Obviously Ayro and Ubiquity probably won't be ubiquitous like, say, Fatboy Slim and Astralwerks or even Kanye West and Def Jam. But, as Ayro puts it, "the [Ubiquity] name actually carries some weight." He notes that he sees Ubiquity product wherever he travels, especially in Europe, so the label appears to be successfully getting the music out there. At the same time, the label gives the artists the opportunity to indulge in the one thing that makes it all worthwhile: freedom.
"They sign you for who you are, not for who you have the ability to be," says Waajeed. "With other labels, motherfuckers are trying to tell you what your art is or what it can be, but Ubiquity would never do that."