11-11 Agency: A Full Service Boutique Talent Agency
Circa 2010 - 2014
ALL BLACK EVERYTHING
11:11 Agency was a full-service boutique talent agency supporting post-genre electronic bass music artists.
This was their website.
Content is from the site's 2010 - 2014 archived pages
N0 Acts can be booked through this site.
About 11:11 Agency
Eleven Eleven Agency is a full-service boutique talent agency supporting post-genre electronic bass music artists.
Founded January 2010 and based in Los Angeles, Eleven Eleven Agency specializes in the experimental spectrum. Our artists are musical pioneers who’ve traveled past the speed of modern sound to reach it’s genesis point, where genres are undefined, rules have yet to be created and “sonic boom” is the destination.
Our goal is to share this sound with the world.
-Sara Ajiri, Founder & Agent
-Shilo Urban, Media & Marketing Manager
I read in Media Beat that Rev Sales' manager got him listed here as a joke, but then there were so many inquiries for his services that the site got overloaded within hours. This was all triggered by this post about Bob Sakayama, who Rev comically suggests may not exist, even though it is widely known that Bob and Rev are partners in the NYC search consultancy TNG/Earthling. Bob is well known not only as an SEO expert, but also for his years long project reverse scamming the Nigerian 419 scammers, and this is what everyone wanted to know more about. Read the incredibly funny stories that stem from this crazy project to understand the demand for more. This listing made 11-11 Agency famous for a short while eclipsing their more serious clientele. [Juan Valdez II]
Artists
Annapurna
Computer Jay
Crimekillz
Mary Anne Hobbs
Mono/Poly
Oicho
Ras G
Raz Mesinai (Badawi)
RYAT
Samiyam
Strangeloop
Sweatson Klank (Take)
Teebs
Vaccine
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King Cannibal
PLEASE NOTE – Due to a ferocious new sound & a new sound differing from ventures past, KING CANNIBAL is the newest alias of ‘ZILLA,’ South London based electronic producer .
Whilst ‘ZILLA’ sleeps at the bottom of the Pacific, KING CANNIBAL IS KING OF THE DANCEHALL
Art school dropout ZILLA (government name Dylan Richards) began working on his own brand of super-evolved mixes towards the latter end of the nineties as a reaction to the glut of uninspiring mix compilations that had began to flood the industry. The first salvo against conformity was A Friendly Game of Chess , a self-funded, hand-sprayed, highly under-the-counter mix project with Lex Records DJ and friend Buddy Peace. The highly stylised conceptual expression of work that combined a rich fusion of textures together with strong themes and motifs began to ignite more than their own imaginations, selling out in just 48 hours and earning high praise on a global scale.
A Friendly Game Of Chess was swiftly followed by solo mixtape strike One Foot In The Fire, One Fist In The Air which earned numerous comparisions to Coldcuts 70 Minutes Of Madness’. Comprised of almost 100 tracks from Autechre to Britney Spears, interviews and spoken word interludes, the CD sold-out in a day, attracted attention from all corners and ended up in many a Best of 2004 list. Among those with their ears to the ground were Trash supremo Erol Alkan, notorious London promoters Wheels Instead of Hooves and the heads of both Ninja Tune and Warp Records.
After 2 appearances on the legendary Solid Steel radio show, the honour of being the first unsigned act to play at Strictly Kev & D.Ks Solid Steel clubnight, 4 sets with Buddy Peace at Dedbeat 04 in the course of one weekend and a number of European dates, Warp Records stepped in and invited Buddy Peace & ZILLA to compile a retrospective of the label. Released late September 2004 as part of the ‘WARP VISION The Videos’ DVD, the mix entitled ‘Watch And Repeat Play’ was a startlingly original tour de force, over 70 minutes the two DJs re-worked and re-wired the label’s back catalogue, twisting the already twisted into sonic maelstrom.
The Warp Vision Audio Visual / Resfest Tour followed, with appearances alongside artists such as Plaid, Chris Cunningham, Seiji, Mike Paradinas and Funkstorung and invitations to play at the Glade Festival, Trash, The Warp Summer Ball and The Poke Xmas Rave. It was these shows and the experience of playing live that inspired ZILLAs latest mixGrinted Teeth & Brawlsville , a year in the making, it was a more uptempo and aggressive yet challenging body of work that manages to find the link between party starting crunk of Lil’ Jon and the dancefloor destroying sonics of The Aphex Twin.
Once again the great and the good were suitably impressed with praise coming from the likes of Kid 606, Knifehandchop and, again, Erol Alkan. The success of Grinted Teeth and ‘ZILLA’s growing reputation led to Domino Records inviting him to remix the final single from Test-Icicles, ‘Biggest Mistake’, a remix which has been rapturously received by everyone from Laurent Garnier to Lo Recordings Jon Tye.
Punishing remixes of Black Grass (Catskills), and New Flesh (Big Dada) have followed as ‘ZILLA’ perfected his twisted industrial take on dancehall, dubstep & drum n bass and in late 2006 he was asked to produce an EP for kid606′s Shockout label. Recieving massive support from Amon Tobin (Ninja Tune,) Combat Recordings and Rag And Bone Records, the results were so good that the one EP quickly became two, under ZILLA’s brand new new alias KING CANNIBAL. Recent highlights from the past few months have included the ‘ZILLA’/Autechre remixes of Unique 3 ‘s The Theme (Fat! Records),Premier At Last featuring on The Chap‘s The Chop EP. and King Cannibal’s – Beneath The Surface on Uncharted Audio‘s new Signals imprint.
2008 was a year of true Cannibal Carnage due to massive radio support in the form of the recent Scorn Vs King Cannibal Soundclash Special and Aragami Stylereceiving HEAVY rotation both on Mary Anne Hobb’s Radio 1 show , planned collaberations with Bong-Ra, remixes for Ghislain Poirier and Ebola a number of releases for Combat Recordings (including Scorn and Komonazmuk remixes) the debut EP on Bong Ra’s Kriss Records entitled ‘Devil In The Dancehall’ and an appearance at Scotland’s Triptych festival.
LABEL: Ninja Tune
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OICHO
Artist Details
Location: Los Angeles
Performance Type: Live (Laptop)
Available for Booking: Yes
Artist Bio
With a list of credentials as long as a laser beam, OICHO aka David Harrow aka James Hardway has been neck-deep in the electronic arts for the greater part of his life. This multi-talented producer now turns his attention to a new endeavor: video mapping,created live under the moniker OICHO and hitting the dance floors around southern California with smashing success.
Elusive yet always on the cutting edge , David has been making records since 1984. Producing, performing, remixing and arranging for the likes of Salmonella Dub, ATR, Anne Clark, Lee Perry and Dreadzone, amongst many others.this busy artist has been flipping fat beats all over the world in a wide variety of sounds and styles. From defining new wave classics and moody dance music to hard-hitting techno and swinging Drum n Bass. David Harrow has left an indelible mark on electronic arts culture and brought together artists and fans with his keen production skills.
Today this versatile artist has cultivated a new outlet for creative expression: video mapping. OICHO’s cutting-edge visual party chops have made him one of the go-to guys in Los Angeles for this fresh new type of video art. A form of spatial media, video mapping projects mutating images, shining hallucinations and brilliant displays of color onto nearby surfaces (such as bass bins) for a thrilling multidimensional experience of digital art.
OICHO will be on eye-popping duties for the new weekly event Screwface hosted by Pure Filth, one of LA’s top underground crews known for saturating the senses with thick and heady shows. Also on the visual tip for Thavius Beck’s Ableton workshops at the Downtown Independent and at UCLA’s Summer Nights at Hammer Museum, OICHO is in high demand as more and more promoters and venue owners realize the hugely positive impact of video mapping and other exciting visuals on the party experience.
After dozens of releases and decades in the business, David Harrow now brings his new moniker OICHO to light. This multimedia producer and video mapper will no doubt continue his successful path as an ongoing contributor to the international electronic music community and as an engineer of artistic evolution.
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Vaccine
Artist Details
Location: San Diego, CA
Performance Type: Live (Laptop)
Available for Booking: Yes
Artist Bio
Vaccine is the production alias of Christine Clements. Having been involved with the promotions end of the industrial rock and IDM music scenes since she was a teenager, and running drum & bass and dubstep record labels with her husband, ASC, writing her own music was a logical progression.
Drawing inspiration from synaesthesia and her melting pot of musical influences ranging from Portishead to Skinny Puppy, Vaccine’s style has been recognized as being considerably more melodic and not necessarily as dance floor-orientated as her male cohorts. XLR8R magazine noted her “subtle melodies and echoed vocals”, as well as stating that “(Vaccine’s) constructions aren’t necessarily main floor rave fodder, but rather, comedown music for the 6 a.m. afterhours.” She is also notable for being the first female producer signed to a label in dubstep, Hotflush Recrodings, within what was up until then a genre whose producers were almost, if not entirely, male. Her DJ mixes as well have attracted attention for their careful commitment to precise blends, mixing in key, and unexpected multigenre inclusions.
Never one to be confined by formulas or tempo, as evidenced by her DJ mix selection, Vaccine has recently been slinging her talents further afield partnering with elusive but lauded fashion designer Ernte on music for his runway shows, and garnering praise 30 bpm faster writing the melodic, IDM style of drum & bass popularized by Instra:mental and dBridge’s Autonomic Podcast series. Additionally, Renoise, her sequencer weapon of choice in both the home studio and live PA setting, has been pushing her as the face of their site on their music player.
LABELS: Nonplus Records, Hotflush, Offshore Recordings
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Dr. Strangeloop
Artist Details
Location: Los Angeles, CA
Performance Type: Live (Laptop)
Available for Booking: Yes
Artist Bio
David Wexler (aka Dr. Strangeloop) is a live audio-visual performance artist most well known for his work as Flying Lotus’s live-video counterpart for his live shows. He is signed to Lotus’s essential imprint Brainfeeder, and has performed visual sets for such artists as : Kode 9, Hudson Mohawk, Gas Lamp Killer, Mary Anne Hobbs, Edit, 16-Bit, Emalkay, Dorian Concept, Skream, Nosaj Thing, Samiyam, N-Type, Ravi Coltrane, Martyn, Tipper, to scratch the surface. Strangeloop’s award-winning experimental films and audio-visual sets have been showcased at events such as Telluride Film Festival, the Amsterdam Film Experience, Turner Classic Movies, American Movie Classics, and on the BBC. His live audio-visual performances, featured at events like the Brainfeeder Sessions : Sonic Warfare Edition with Kode 9, the Anne Arbor Film Festival, Cosmogramma Release, etc. His performance has been called:
“…the next step in the evolution of performance, fusing sonics, narrative, and visuals into an overwhelming hyper-sensory experience.” - Mary Anne Hobbs of BBC1
He is available for live audio bookings as well as live event visual support.
LABEL: Brainfeeder
Real life: After graduating from RISD in animation, my goal was to get a job at the Strangeloop Studios out in CA. I was really into David Wexler live audio-visual performances as an undergraduate and when I learned about STRANGELOOP STUDIOS his visual content production company that is focused on working with other creatives to explore new media and audience experiences, I just knew that was the place where I wanted to be. Living in LA is a trip. My room mates are plain out weird and super great. We have three cats and four dogs that sleep just about anywhere they want. I finally decided that enough is enough and started looking online for a circular designer dog bed which was recommended in Vogue. I found this upscale site that sells these round cushion dog beds in different sizes with washable covers - truly luxury dog beds that are also practical. But what really sold me on the dogs beds were the designer fabrics they use. Really, toile fabrics, chinoise designs. Totally high end and perfect for my parents traditionally decorated home over looking Bar Harbor in Maine. I bought a large size dog bed for my parents English setter who is getting a bit old now. My mother's note was one of delight. The dog loved the bed and she loved the fact that it didn't look like a typical dog bed. The fabric I chose was perfect and was also available as an accessory bandana. Thank you, Thank you, and all that. Now for the three cats and four dogs in my shared digs, I decided to just move in with my new girlfriend whom I met while working at SLS (yup, I got a job there as an animator) on the organic and digital motifs for Bonobo’s 2017 world tour. She has only a parakeet who mimics her voice to a T as it repeats silly nursery rhymes. Life is good.
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Take
Artist Details
Location: Los Angeles
Performance Type: Mixed
Available for Booking: Yes
Artist Bio
As the electronic music world lifts an interested eyebrow towards the West Coast’s burgeoning “Beat Scene,” Take aka Sweatson Klank has risen to the top as one of the new generation’s finest producers. In a musical landscape that is quickly becoming overcrowded, Take fuses his own brand of future-flung electronics with elements of avant-garde jazz, subharmonic melodies and a mean hip hop bounce.
A multi-instrumentalist and frequency fanatic with ten years of releases and live performance experience, Take’s formula is ever-evolving and his productions clearly sprinkled with his unique sonic vocabulary. Constantly growing, Take uses engaging melodies, non-linear development and a multi-strata slump to communicate a fresh feeling of movement in every track. Embracing his geographic legacy in the thriving LA experimental beat community but still very much his own player, Take makes music that charts its own course through a gurgling fuzz of rich layers and textures. His sound has always been about pushing forward, breaking ground and laying a new path for producers to walk.
Take’s musical catalog includes releases for labels like All City, Eat Concrete, Circulations, Buttermilk, Poobah, Inner Current, Swedish Brandy and Astro Lab, as well as remixes and compilation tracks for the likes of Warp, Plug Research, Power Shovel Audio, Dublab, Circulations, and many others.
Take has been championed on various influential radio programs by the likes of Mary Anne Hobbs, Benji B, Giles Peterson, Carlos Nino, and Garth Trinidad. He has performed at the some of the most highly regarded club nights and festivals around the world such as Low End Theory, Sonar Music Festival and The Loud Minority amongst others. Take has also shared the stage with the likes of Flying Lotus, Ras G, Glitch Mob, SamIYam, Nosaj Thing, Kode 9, Busdriver, Mos Def, Prefuse 73, Mike Slott, Hudson Mohawke and more.
2010 saw the highly anticipated release of Take’s full-length album, Only Mountain, on the highly acclaimed label Alpha Pup Records on April 20. High in psychedelic pulp and littered with gritty layers of electronic emotion, the new endeavor has been described as “a roiling pot of old school IDM, ’90s R&B percussive elements, dubstep bass-derived doom, and ethereal melodies” by Chris Martins of the LA Weekly. In addition, Take will drop a 10″ EP on All City Records, an EP for Japanese label Circulations and another record for Netherlands-based label Eat Concrete during 2010- quite the busy year indeed.
Describing his music as “rooted in hip hop but on a spaceship headed for a new and better place…somewhere out there,” Take may not know exactly where his beats will end up- but he is taking us along for the ride.
LABELS: All City, Alpha Pup, Buttermilk Records, Dublab, Eat Concrete, Poo-Bah
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Lorn
Artist Details
Location: Middle of Nowhere
Performance Type: Live (Laptop)
Available for Booking: Yes
Artist Bio
Beauty created from desolation is one of the last refuges of human hope, and behind an exceptionally moving musical expression of this truth stands a man of brooding intensity and emotional fearlessness, whose clear conviction shines through a shroud of mystery and beats sworn to black.
Unafraid and unhinged, Lorn’s music is exquisitely dark and ominous, simmering with anger that churns forcefully against a furtive longing. Yet Lorn passes far beyond this evocative brutality and plunges head first into the absurd; he draws not only a portrait of shadowy struggle but also arouses a dynamic universe of sentiments using deconstructed sounds and skills built from the ground up.
Lorn’s debut full-length album Nothing Else, released on Flying Lotus’ Brainfeeder label, has stirred the minds of listeners and rattled the keyboards of critics around the world, accumulating praise from musical authorities such as Pitchfork and the BBC, as well as bloggers and the online underground alike.
The Milwaukee-based producer hails from the future of music as do his Brainfeeder contemporaries, however this young artist also forges a connection between the current exploding beat scene and its roots in the experimental scratch community born many years ago. Sharing his music online with other explorers of new software technology, Lorn cultivated a global following with his original scratch beats and traveled to play in the UK, Europe and Canada before ever releasing an album.
At age 23, this art school dropout has already been making beats for almost a decade, and with the release of Nothing Else has moved his mastery of emotion to a new level. Influenced by the sounds of metal, drum and bass, ambient, classical, early hip hop, funk and the inherent pain of human existence, the music that pushes itself out of Lorn’s head is uncompromising to the point of defiance, sharply reflecting his commitment to his craft that has inspired so many others.
Lorn, left behind no more, is an impassioned performer who commands the crowd, with a stage presence that parallels the extreme emotional output of his music. Expect no less than greatness from this artist; certitude and concern is a potent combination for the creation of beauty, and from the unconquerable will of one shall no doubt emerge profound musical experiences for many.
LABEL: Brainfeeder
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Samiyam
Artist Details
Location: Los Angeles
Performance Type: Live (Instrments)
Available for Booking: Yes
Artist Bio
Since the year 2004, Sam has been the proud owner of two midi cables. They are currently in his closet under some other shit.
SOUNDS LIKE: Got a gun, screwdriver, knife and shank – plus I break face bones with my platinum rings.
Soulful joker Samiyam of the Brainfeeder clan has garnered an international following for his shifty, slouchy, street-infused beats. Originally from Ann Arbor Michigan, Samiyam is part of the independent producers movement and rose to prominence from inside his bedroom walls, through beats shared on a global level between producers, DJs and fans hungry for his laid-back sound.
Funky and disjointed, Samiyam’s music thumps with a hip hop backbone and swaggers into the future through a smoky cloud of jazz influences and a twisted sensibility from an artist who uses a “platinum midi toaster oven” as equipment and hand-designed each individual album cover for his last release- on porn pages.
With a wide sweep of inspiration from video games to Italian horror movies to Michael Jackson, Samiyam unravels sounds then shoves them back together in clever new ways. His music mutates and then takes shape into a hard and sloppy sonic experience, textured by wet beats that drip with soul.
Samiyam was Hyperdub’s first U.S. signing and has also released on a plethora of highly respected labels including Warp Records, Ninja Tune, Poo-Bah and Brainfeeder. His first full-length album, Rap Beats Vol. 1, was a copious collection of deconstructed delights that showcased this young producer’s quick thinking and keen ear for unusual combinations.
Now a resident of Los Angeles and an integral member of the local beat community, Samiyam collaborates with Flying Lotus under the name FlyamSam and has plans to release a full-length album this fall on Brainfeeder. Like concrete smashing through a dirty window, the sound of Samiyam shatters expectations, and if you listen closely to the fragmented shards of bouncing street bass- you can hear his swag.
LABELS: All-City, Brainfeeder, Hyperdub, Ninja Tune, Poo-Bah Records, Warp
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Teebs
Artist Details
Location: Los Angeles
Performance Type: Live (Laptop)
Available for Booking: Yes
Artist Bio
As music from the Los Angeles area thrives and swells across the globe, one of it’ s most beloved and deeply rooted members steps out with an LP full of infectious melodies, subtle hip-hop and akaleidoscope of sound. Music for the imagination.
Ardour is the debut album by long time running My Hollow Drum, Dublab, and recent Brainfeeder artist,Teebs. Born in New York to Malawi and Barbados origins, Mtendere (pronounced “ ten-de-ra” ) (Chichewa for “ Peace” ) Mandowa, is a 23 year-old producer who bounced around the East Coast
before finally planting his feet in the Southern California suburb of Chino Hills.
A city known for it’ s rolling hills and FBI ranking of one of the safest in the United States, Teebs developed his artistry right outside Los Angeles’ county line and just south of the Orange County beach community. Music may have come by accident, literally. A skateboard injury sidelined Teebs, which led to a concentration on art.
Through great focus and vision, Teebs made a name for himself as a skilled painter. His artwork found on canvases of all form, from walls to record covers, become imbued with vibrant color, energy, and shape.
From paint and brush, Teebs slowly found himself in the world of music making.
Early in his musical pursuits, Teebs joined a group of like-minded friends and producers who went by the name ‘ My Hollow Drum’ . Within this crew, he was able to build new ideas, share works and perfect his production craft. Intrigued with what was going on in Los Angeles’ evolving electronic scene, he never expected to fall directly into it.
He began interning for the acclaimed online radio stream, Dublab. This sparked his self-expression, spirit and growth as an artist. Being around music, art and a creative atmosphere while brushing shoulders with the artists he admired from the area.
Teebs was accepted into the Red Bull Music Academy for their 2008 edition in Barcelona, Spain. Upon arrival back home, Teebs became even more focused on his music and art. A chance meeting with Flying Lotus led to his involvement and joining of the newly founded Brainfeeder collective. Having previously heard from local producers and DJs about this new up and comer, Lotus didn’ t hesitate to take Teebs under his wing after hearing some of his earliest beats. Ardour began to bloom.
Ardour was made during two major periods of his life. Having just lost his job and with little to no money, Teebs moved into the same apartment complex as Flying Lotus and shared living quarters with another Brainfeeder affiliate, Samiyam. It was here that the beginning stages and one-half of Ardour were created. Before Teebs was aware his album was showing itself, his father who had been terminally ill, passed away. He moved back home and stopped making music.
Back home, Teebs finished where he left off.
Ardour, two years in the making, is the result of Teebs’ journey thus far. More than the music, it’ s the feeling he wants to convey. The idea of hearing something you really love, the moment you know something is really special. Flying Lotus said, “ Teebs music sounds like an island vacation…The way Avatar looks.” What’ s often said about Teebs’ sound is the warmth it has on the listener. It’ s only fitting that a title like Ardour, which is defined as “ great intensity and warmth” is used to represent this essential chapter to the ever-growing puzzle of Los Angeles.
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Mary Anne Hobbs
Artist Details
Location: London, UK
Performance Type: DJ (CDs)
Available for Booking: Yes
Artist Bio
Mary Anne Hobbs is best known as an evangelist for underground music, a BBC Radio1 host and an international live DJ.
Her ‘Dubstep Warz’ show for BBC Radio1 is widely regarded at the show that broke the dubstep sound globally. Mary Anne also makes films, presents on tv and writes. She released a trilogy of definitive underground electronic compilations for the Planet Mu label.
Mary Anne has curated her stage four years for Sonar Festival in Barcelona, including the historic 2007 UK dubstep showcase with Skream, Oris Jay, Kode 9 & The Spaceape, bringing the sound out of boutique clubs for the very first time and onto an international festival stage in front of 8.5 thousand people.
Mary Anne left school at the age of 16 and went to work in an egg packing factory for the princely sum of £39 per week. She quickly ran away to London with a hard rock band and lived on a bus with them in a car park in Hayes, Middlesex for 12 months, working as their lighting engineer, record sleeve artist, wardrobe designer and mechanic. Her great ambition was to become a music journalist, and she figured the next logical step would be to produce her own fanzine Krush.
She sent a couple of issues along with a demented CV detailing her adventures to the Editor of Sounds music paper and landed a job with them at the age of 19. At 21, having been profoundly influenced by snapshots of Metallica & Motley Crue, Mary Anne sold all her worldly goods and bought a one-way ticket to Hollywood, where she lived in a garden shed.
She spent a year as Sounds US correspondent in the dark underbelly of LA writing about the fledgling thrash metal scene.. Jane’s Addiction.. Guns N’ Roses et al. At Sounds Mary Anne met fellow teenager James Brown (legendary writer and publisher, not the Godfather of soul) who became a lifelong friend.
James moved to NME as Features Editor and when Mary Anne returned to London from LA, he promptly poached her to work with him at NME. Mary Anne spent three years on the news desk and also worked as a major feature writer there, writing cover stories on everything from Nirvana to Lollapalooza.
She went on with James Brown to form part of the original team he put together to launch Loaded magazine. She worked there as Music Editor, and also writing major undercover stories about private detectives, cocaine dealers to the stars and most notoriously a Soho sex club.
Mary Anne got her break in radio at BBC GLR on Sunday mornings alongside Mark Lamarr. She presented groundbreaking shows on XFM for 5 years during their trail broadcasts, which helped to win their license. She was poached by Radio 1 in 1997 after a particularly confrontational interview with Radio 1′s then Head Of Production (Trevor Dann) was bootlegged around the BBC and found the desk of the Controller of the day, Matthew Bannister.
Mary Anne’s time at Radio 1 has been hectic… she has hosted shows from all the major award ceremonies: Brits, Q, NME, Kerrang, Mercury Music Prize… and made documentaries about artists as diverse as David Bowie, Slipknot and The Sex Pistols. She championed comedy god Ricky Gervais in his pre-Office days… hosted a movie review show with Mark Kermode called Cling Film… founded and fronted the award-winning Radio 1 Rock Show for five years from 1999-2005.
TV… there’s quite a lot, M.A. hosted a season of live coverage of the World Superbike Championship for British Eurosport.. she made a series about global biker culture in India, Russia, Japan, the US and Europe for BBC Choice called Mary Anne’s Bikes… fronted 27 hours of live coverage at Glastonbury Festival for the BBC… and has guested on everything from BBC2’s Never Mind The Buzzcocks to John Peel’s Record Box for Channel4.
Now leaving BBC Radio 1, Mary Anne Hobbs has an infinite ocean of exciting new possibilities ahead of her, and the bass music world waits with bated breath to see what this pioneer, champion and icon will dream up next.
Mary Anne can ride any motorcycle you care to park in front of her.
LABEL: Planet Mu
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Homies
- Alpha Pup
- Brainfeeder
- DanceFever5000
- Friends of Friends
- GridLife
- Low End Theory
- Pure Filth
- Shaun Bloodworth Photography
Shaun Bloodworth. Location Photographer working for Advertising, Design and Editorial Clients from a
base in Sheffield England .
More Background On 11-11Agency.com
11-11Agency.com was the online home of Eleven Eleven Agency, a small Los Angeles talent-booking company created to represent artists working within experimental electronic music, bass music, instrumental hip-hop and audiovisual performance. Active primarily during the early 2010s, the agency occupied a distinctive place in an underground music culture that was attracting worldwide attention while remaining difficult to define using conventional genre labels.
The agency was not designed as a broad entertainment company representing mainstream singers, actors or celebrity DJs. It described itself as a full-service boutique talent agency supporting “post-genre electronic bass music artists.” That description identified both its specialization and its larger purpose. Eleven Eleven Agency represented performers whose music frequently crossed between dubstep, abstract hip-hop, ambient electronics, drum and bass, glitch, experimental dance music and sound art.
Founded in January 2010 and based in Los Angeles, the agency emerged during an especially important period in the city’s musical history. The Los Angeles beat scene was developing an international reputation through clubs such as Low End Theory, record labels including Brainfeeder and Alpha Pup, independent radio platforms such as Dublab, and a community of musicians who treated beat production as an experimental art form.
Eleven Eleven Agency helped transform that creative activity into touring opportunities. Its website functioned as a roster, promotional platform and booking resource for artists whose work might otherwise have been difficult to categorize or present to conventional concert promoters.
The original agency is no longer operating through 11-11Agency.com, and performers cannot currently be booked through the website. The domain now functions principally as a historical record of the agency and the musicians it represented.
Ownership and Leadership
Eleven Eleven Agency was founded by Sara Ajiri, who also served as an agent for the company. Ajiri’s professional background connected her directly to the underground electronic and bass-music communities that the agency served.
Public professional information identifies her as the founder of Eleven Eleven Agency beginning in January 2010. She also worked as a booking agent at Surefire Agency, another organization associated with bass music, dubstep and experimental electronic performers. This background suggests that Eleven Eleven was not an outside business attempting to capitalize on a fashionable genre. It was created by someone already connected to the performers, promoters and audiences involved in the scene.
The agency’s archived materials also identify Shilo Urban as its media and marketing manager. This indicates a compact operation in which artist representation, publicity, communications and marketing were handled by a small team rather than by the separate departments found at major entertainment agencies.
LinkedIn has described the company as self-owned, operating in the musicians and entertainment field, with an estimated size of two to ten employees. That scale is more credible than inflated business-directory estimates that have attributed hundreds of employees and extraordinarily high revenue to the agency. Those automated estimates appear inconsistent with the company’s own presentation, its boutique positioning and the available professional records.
Eleven Eleven Agency was therefore best understood as a small, independently operated talent agency with specialized knowledge of an emerging musical community.
Location and Proximity to Los Angeles Music Culture
The agency was based in Los Angeles, although surviving public records do not consistently provide a street-level office address. Its location was important because Los Angeles was becoming one of the principal centers of experimental beat music in the United States.
During this period, much of the city’s activity revolved around clubs, warehouse events, record stores, galleries, radio studios and independent labels rather than major commercial venues. One of the most important gathering places was Low End Theory, the weekly event founded by Daddy Kev at The Airliner in Lincoln Heights.
Low End Theory helped establish Los Angeles as a meeting point for instrumental hip-hop, electronic experimentation, jazz-influenced beat production and bass-heavy sound-system culture. Flying Lotus, Nosaj Thing, Daedelus, the Gaslamp Killer, Teebs, Samiyam and many other producers became closely associated with the event or its surrounding community.
The Airliner was located northeast of Downtown Los Angeles, within reach of neighborhoods such as Echo Park, Silver Lake, Chinatown and the Arts District. Other relevant venues and cultural organizations included The Echo and Echoplex, the Downtown Independent theater, the Hammer Museum in Westwood, Dublab and numerous temporary warehouse spaces.
Being situated in Los Angeles allowed Eleven Eleven Agency to work close to artists, labels and promoters rather than attempting to represent the scene from a distant corporate office. The company existed within the same creative network as many of its clients.
Los Angeles also served as a bridge between American and international bass music. British dubstep had influenced local sound-system events such as Pure Filth and Smog, while Los Angeles producers were developing a distinct style built from hip-hop rhythms, jazz harmony, psychedelic textures and unconventional sampling. Eleven Eleven’s roster reflected both sides of that exchange.
Goals and Agency Philosophy
The agency’s stated goal was direct: to share the sound of its artists with the world.
Its language was more poetic than the descriptions normally used by booking agencies. Eleven Eleven portrayed its artists as pioneers traveling beyond modern sound to a point where genres were undefined and rules had not yet been created. That phrasing captured the identity the company was attempting to establish.
The term “post-genre” was especially significant. Electronic music was already divided into numerous categories, including dubstep, IDM, drum and bass, glitch-hop, ambient, breakbeat, left-field hip-hop and experimental techno. Many artists on the Eleven Eleven roster drew from several of these styles at once.
The agency’s challenge was to market musicians whose appeal came partly from refusing conventional classifications. A mainstream agency could present an artist as a house DJ, a rock band or a pop singer. Eleven Eleven often represented performers whose shows combined laptop production, live instruments, manipulated video, unusual projection systems and abstract sound design.
Its mission therefore extended beyond obtaining dates on a calendar. The agency had to explain what the artists did, identify appropriate venues and connect them with audiences receptive to experimental work.
This curatorial approach was one of its defining characteristics. Eleven Eleven was effectively telling promoters that the roster represented a particular standard of originality, even when the individual artists sounded very different from one another.
Website Structure and Navigation
The original 11-11Agency.com appears to have been structured as a practical artist-booking website rather than a large editorial publication. Its principal areas included information about the agency, artist listings, detailed performer profiles, contact or booking functions and links to affiliated organizations.
The most important menu area was the artist roster. Individual pages commonly provided details such as:
- The artist’s name and location
- The type of performance offered
- Booking availability
- A biographical description
- Record-label affiliations
- Career highlights
- Media recognition
- Touring or performance experience
Some performers were listed as live laptop acts, while others offered DJ sets, mixed performances or audiovisual programs. These distinctions were useful to promoters because the technical and production requirements for a DJ appearance could differ greatly from those of a synchronized audio-and-video performance.
The website also contained a “Homies” or friends section linking the agency to organizations such as Alpha Pup, Brainfeeder, Friends of Friends, Low End Theory, Pure Filth and photographer Shaun Bloodworth. These connections positioned Eleven Eleven within a recognizable cultural network.
The visual and editorial character of the site emphasized underground credibility. It did not present the roster as conventional nightclub entertainment. Artist descriptions were often highly stylized, humorous or dramatic, reflecting the personalities and musical language of the performers.
The Artist Roster
Eleven Eleven Agency represented a varied group of producers, DJs, visual artists and experimental musicians. Surviving rosters identify names such as Annapurna, Computer Jay, Crimekillz, Mary Anne Hobbs, Mono/Poly, OICHO, Ras G, Raz Mesinai, RYAT, Samiyam, Strangeloop, Sweatson Klank, Teebs and Vaccine. Other archived profiles included King Cannibal, Lorn and Take, the earlier performance identity associated with Sweatson Klank.
The roster was notable not only for individual talent but also for the connections among the artists. Several were associated with Brainfeeder, Alpha Pup, Low End Theory, Dublab or related Los Angeles creative communities.
Teebs
Teebs, born Mtendere Mandowa, became one of the most recognizable musicians associated with the Los Angeles beat scene. In addition to producing music, he worked as a visual artist, giving his career a multidisciplinary quality that fit Eleven Eleven’s philosophy.
His debut album, “Ardour,” was released by Brainfeeder in 2010. Its warm, hazy melodies and intricate rhythmic construction differed from the more aggressive forms of bass music becoming commercially popular at the time.
Teebs had also participated in the Red Bull Music Academy and worked with Dublab. His connection to Flying Lotus and Brainfeeder placed him within one of the era’s most influential experimental labels.
For Eleven Eleven Agency, Teebs represented an ideal post-genre artist. His music could be discussed as instrumental hip-hop, electronic composition, psychedelic beat music or ambient sound, but none of those descriptions fully defined it.
Samiyam
Samiyam, originally from Ann Arbor, Michigan, became another important figure within the Los Angeles beat community. His productions combined hip-hop rhythm, unusual samples, humor and deliberately off-center structures.
He collaborated with Flying Lotus as FlyamSam and released music through labels including Hyperdub, Brainfeeder, Warp, Ninja Tune and Poo-Bah. His association with Hyperdub was especially noteworthy because the label was central to the development and international recognition of dubstep and related experimental music.
Samiyam’s archived agency biography used intentionally absurd descriptions and irreverent jokes rather than standard publicity language. This reflected the artist’s personality and the informal culture surrounding independent beat production.
Lorn
Lorn brought a darker and more cinematic quality to the roster. His debut album, “Nothing Else,” was released by Brainfeeder in 2010 and received international critical attention.
His music combined heavy electronic rhythms with ominous atmospheres, distorted textures and emotional intensity. Although he shared a label and broad community with other Los Angeles-associated producers, his sound was markedly different from the warmth of Teebs or the relaxed humor of Samiyam.
Lorn’s inclusion demonstrated that Eleven Eleven’s roster was based on experimentation rather than a single uniform sound.
Mary Anne Hobbs
Mary Anne Hobbs was one of the agency’s most established and internationally recognizable clients. A British broadcaster, curator and DJ, she played a major role in bringing dubstep and experimental bass music to global audiences.
Her BBC Radio 1 program became an influential outlet for emerging producers. The 2006 “Dubstep Warz” broadcast is frequently credited with introducing a wider international audience to key figures in the developing British dubstep scene.
Hobbs also curated festival stages, released compilations through Planet Mu and performed internationally as a DJ. Her presence gave the Eleven Eleven roster a connection to the BBC, British club culture and major European festivals.
In 2011, Eleven Eleven Agency was associated with Mary Anne Hobbs’ Road Warrior Tour, presented with Dubspot. The itinerary included Los Angeles, New Orleans, Miami, Boston, New York, Philadelphia, Toronto and Montreal. Artists connected with the tour included Lorn, Take, Strangeloop and Gonjasufi.
This tour is one of the clearest public examples of the agency performing its core function: assembling a conceptually unified package of experimental artists and bringing it to multiple North American cities.
Strangeloop
David Wexler, known as Strangeloop or Dr. Strangeloop, represented the audiovisual side of the agency’s identity. He became widely known for creating live visual performances for Flying Lotus and other electronic artists.
His work combined animation, film, projection and sound. He performed visual sets for artists including Kode9, Hudson Mohawke, the Gaslamp Killer, Mary Anne Hobbs, Nosaj Thing, Samiyam, Skream and Dorian Concept.
Strangeloop’s profile illustrated why a specialized agency could be valuable. His appearance was not necessarily a standard concert or DJ set. It might involve live visual support for another musician, an integrated audiovisual presentation or an experimental film component.
OICHO and Video Mapping
OICHO was the multimedia identity of David Harrow, also known through work released as James Hardway. His agency profile emphasized video mapping, a technique in which projected imagery is adapted to physical surfaces and architectural forms.
Video mapping was becoming increasingly prominent in electronic performance during this period. Larger festivals were investing in synchronized visual production, while smaller underground events used projectors and improvised surfaces to create immersive environments.
OICHO worked within this developing field and was associated with Pure Filth events, Ableton workshops and programs at the Hammer Museum. His representation showed that Eleven Eleven considered visual artists and technical innovators to be integral parts of electronic music culture.
Vaccine
Vaccine was the production name of Christine Clements, an artist associated with the deeper and more melodic side of dubstep and experimental drum and bass.
She attracted attention for atmospheric compositions that were less oriented toward conventional peak-time dance floors. Her work incorporated subtle melodies, vocal fragments and carefully controlled low-frequency production.
Vaccine was also significant as an early female producer signed to Hotflush Recordings in a field then dominated overwhelmingly by men. Her work, mixes and technical approach helped broaden perceptions of who could participate in dubstep production.
Her presence on the roster gave Eleven Eleven another artist with cultural importance extending beyond individual releases.
Take and Sweatson Klank
Take was the recording identity used by Thomas Wilson before he became more widely known as Sweatson Klank. His productions combined electronic sound design, hip-hop foundations, jazz influence and bass-heavy rhythms.
His album “Only Mountain” was released by Alpha Pup in 2010. He also released music through All City, Eat Concrete and other independent labels, while receiving support from broadcasters and DJs such as Mary Anne Hobbs, Benji B, Gilles Peterson, Carlos Niño and Garth Trinidad.
Take performed at prominent venues and festivals, including Low End Theory and Sónar, and shared stages with artists such as Flying Lotus, Ras G, Samiyam, Nosaj Thing, Kode9 and Prefuse 73.
He exemplified the international touring potential of Los Angeles beat music even when the music remained outside mainstream pop categories.
Press and Media Coverage
Eleven Eleven Agency itself received limited mainstream business coverage. It was not the subject of extensive corporate profiles, financial reporting or agency rankings. Most of its public visibility came through artist announcements, tour listings, professional profiles and references within reporting about Los Angeles bass music.
One especially important source is LA Weekly’s 2013 history of bass music in Los Angeles. The article cited Sara Ajiri as a witness to an early event in the city’s drum-and-bass community and identified her as the founder of 11-11 Agency. This reference places Ajiri within the scene before the company was established and supports the agency’s credibility as an organization built from long-term community involvement.
Tour announcements also documented the agency’s participation in Mary Anne Hobbs’ Road Warrior Tour. Coverage of the Boston date at Together Festival identified Dubspot and Eleven Eleven Agency as presenters.
The artists represented by the agency received far more press than the agency itself. Publications and broadcasters including BBC Radio, Pitchfork, XLR8R, LA Weekly, Resident Advisor and international music blogs covered their albums, performances and labels.
This pattern is normal for boutique booking agencies. Their success is generally measured through the visibility and touring activity of clients rather than through consumer awareness of the agency’s name.
Popularity and Audience
No reliable public traffic records remain that would establish how many people visited 11-11Agency.com during its active years. The agency’s Facebook page accumulated several hundred followers, but social totals alone do not accurately measure its influence.
The website was aimed at a specialized professional and cultural audience that included:
- Concert and festival promoters
- Independent venue operators
- Electronic music journalists
- Record-label representatives
- Booking professionals
- DJs and producers
- Fans of Brainfeeder and Low End Theory
- Audiovisual artists
- University and museum programmers
- International bass-music audiences
Its importance was therefore based more on the relevance of its visitors than on mass popularity. A relatively modest number of visits from promoters, curators and festival organizers could generate meaningful opportunities for represented artists.
The agency’s roster also attracted an international audience. Mary Anne Hobbs connected the company to Britain and European festival culture, while artists such as Teebs, Samiyam, Lorn and Take developed listeners in Europe, Japan, Canada and elsewhere.
Reviews and Reputation
There does not appear to be a substantial body of conventional customer reviews for Eleven Eleven Agency. The company operated before platforms such as Google Reviews became standard tools for evaluating small entertainment businesses, and talent agencies are generally reviewed differently from restaurants, hotels or consumer services.
Its reputation is better evaluated through the artists it represented, the partners associated with it and the events it helped organize.
Connections to Brainfeeder, Alpha Pup, Low End Theory, Pure Filth, Dublab and Mary Anne Hobbs provided strong signals of credibility within experimental electronic music. The Road Warrior Tour demonstrated an ability to coordinate a multi-city program. The roster itself showed that respected artists trusted the agency with at least part of their booking representation.
No major industry awards for Eleven Eleven Agency were located. However, Strangeloop’s films and audiovisual work had been recognized at film and media events, while numerous roster artists received critical acclaim for albums and performances. The agency’s cultural value came from supporting award-worthy and critically respected creative work rather than accumulating corporate awards under its own name.
Known For
Eleven Eleven Agency was best known for several related qualities.
First, it represented experimental bass and electronic artists at a moment when that music was moving from small local gatherings to international festivals.
Second, it embraced the idea of post-genre performance. Its roster was not limited to one narrowly defined style.
Third, it treated visual artists and multimedia performers as part of the same creative ecosystem as producers and DJs.
Fourth, it was connected to the Los Angeles beat scene, Brainfeeder, Alpha Pup, Low End Theory and the wider community that developed around them.
Finally, it operated as a curated boutique agency. Its roster communicated an artistic viewpoint rather than merely displaying a large inventory of available acts.
Cultural and Social Significance
The cultural importance of 11-11Agency.com lies in the moment it documented.
By 2010, music production software and online distribution had dramatically lowered the barriers to creating and releasing electronic music. Producers could build international followings from home studios, share tracks through online communities and perform with laptops rather than conventional bands.
At the same time, established music-industry categories were struggling to describe what these artists were doing. Instrumental hip-hop overlapped with dubstep. Jazz harmonies appeared over fractured electronic percussion. Visual projection became part of the live composition. DJs, animators, painters and software users collaborated across disciplines.
Eleven Eleven Agency responded by creating representation around the artists rather than forcing the artists into a traditional category. Its “post-genre” language anticipated the increasingly fluid way listeners now discover and classify music.
The agency also helped preserve the human infrastructure behind an artistic movement. Scenes do not develop through musicians alone. They require promoters, booking agents, radio hosts, photographers, visual artists, sound-system operators, venue managers and independent labels.
11-11Agency.com made portions of that network visible. Its affiliated organizations and artist biographies documented how closely interconnected the Los Angeles community had become.
The roster also reflected gradual changes in representation within electronic music. Vaccine’s position as an early female dubstep producer challenged the genre’s gender imbalance. Teebs brought a multicultural background and a visual-art practice to the scene. Mary Anne Hobbs demonstrated how a broadcaster and curator could shape international recognition for underground artists.
Decline, Closure and the Domain’s Later Role
The exact date and circumstances of Eleven Eleven Agency’s closure are not prominently documented. Archived site material is associated primarily with the period from approximately 2010 through 2014, after which the business appears to have ceased operating through the domain.
Boutique music agencies can be difficult to sustain. Their income commonly depends on commissions from live bookings, while experimental performers may tour irregularly or work with different representatives in different territories. Artist careers also evolve. Some performers change names, move to other agencies, establish direct booking relationships or reduce touring activity.
The electronic music industry itself changed rapidly after 2010. Commercial EDM expanded into arenas and large festivals, while underground bass music divided into new subgenres and communities. The Los Angeles beat scene continued to influence musicians, but many of its participants developed individual careers that extended far beyond the local network that originally connected them.
The present version of 11-11Agency.com explicitly states that it is the former agency’s website and that acts can no longer be booked through it. It preserves historical descriptions, roster information and artist biographies.
As a result, the domain now has value as an informal digital archive. It captures how artists were described at a particular stage of their careers and how a boutique agency positioned experimental electronic music before streaming platforms and social media became the dominant centers of music promotion.
Legacy of 11-11Agency.com
Eleven Eleven Agency was a small company, but the scale of the business should not be confused with the importance of the culture it represented.
Its roster included artists who became enduring figures in experimental electronic music, beat production, broadcasting and audiovisual performance. The agency operated during the period when Los Angeles was emerging as a global center for unconventional beat music. It provided a professional bridge between underground creativity and the practical demands of touring.
The website also demonstrated an early understanding that electronic performance was becoming multidisciplinary. Producers were painters, animators, filmmakers and visual programmers. Concerts were becoming immersive media events rather than straightforward presentations of recorded music.
Eleven Eleven Agency did not become a major household entertainment brand, and there is no evidence that it sought that kind of recognition. Its purpose was more focused: to support innovative artists and help their work reach appropriate audiences.
Today, 11-11Agency.com is most useful as a window into that mission. It documents a boutique agency, a carefully selected roster and a Los Angeles music community at a moment when its influence was spreading around the world.