Harpoon Harry Thursday Night Live With Mohi, Ol' Mate Mango, Setwun

Harpoon Harry Thursday Night Live w/ Mohi, Ol' Mate Mango, Setwun
When:
15 Jun 2017
19:00 - Midnight
Location:
40/44 Wentworth Ave, Surry Hills NSW 2010
Venue:
Harpoon Harrys

Harpoon Harry will be bringing the beats and their makers to Thursday Night Live tonight with some of Sydney's best local producers hauling their gear into our cuban style mansion. On the line-up are Mohi, Ol' Mate Mango and Setwun, all known throughout Sydney circles for their musical prowess with influences ranging from Flying Lotus to Madlib, MF Doom to Mark Pritchard. 

Mohi is a drummer, beat maker and producer whose love of music was nurtured by his jazz musician parents. He has been experimenting with the combination of an MPC 2500 and turntables since 2004; sampling, recording and building his repertoire. Mohi has recorded with Okenyo, Rainbow Chan, Ngaiire and Jonti and has put together tribute bands to The Avalanches, J Dilla and D'Angelo. He has recently begun working on his solo material, which has been in the works for quite some time and has just released his first beat tape 'Lawn Scorpio'. 

Ol' Mate Mango is a producer, DJ and multi-instrumentalist from St Peters whose roots are drenched in hip hop and jazz. Mango experiments with hip-hop, dubstep, jungle and psychedelic music mostly sampled from the fruits of his record collecting and has recently released a mixtape 'Mango Beats (Vol 1-3)' featuring Lord St Collective, iO, Space Funk and The Keggles MC. House music is currently occupying his brain as he is finding himself making making spaced out rhythms and jazz infused sounds that stretch the boundary between hip-hop and electronic music. 

Setwun is a musical project from yet another multi-instrumentalist, producer and record enthusiast, Josh Panakera-Molony. Developing an interest in aspects of ethnomusicology from a young age, Setwun's productions are a culmination of lounge room recordings, sampling and electronic programming that aim to connect the dots between all things soulful, drawing from the dense instrumentation and production style reminiscent of recordings from the late 60s to the mid 70s.