#111 - DMVU
#111 - DMVU

#111 - DMVU

@asiel21

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<p> </p> <p>Better known by his musical alias DMVU, Denver based producer Matthew Phillpot-Jones continues to etch his own indelible mark into the future of electronic music.  From a young age, Jones’ always displayed an unmistakable inclination towards music. An only child of two musically gifted parents, Jones grew up in an environment in which he was constantly exposed to a diverse selection of music, and quickly learned to play the piano and drums very early on in his adolescent years. Infatuated by the hip hop culture of the late 90s and early 2000s, Jones traded in the drumsticks for a copy of FL Studio, hoping to test his hand at emulating the beats that were so instrumental during his teenage years.  Citing unmistakable influence derived from the rich underground dance music scene native to Colorado, Jones soon graduated from hip-hop and redirected his artistic focus on producing bass music - a critical turning point in his ascent that ended up proving to be pivotal in the project’s life cycle. </p> <p><br></p> <p>After the project’s inception in 2015, it didn’t take long before Jones’ began to see the fruits of his labor.  In late 2016, Jones’ received the co-sign of dubstep legends TRUTH, releasing the ‘Bloccd EP’ on their <em>Deep Dark &amp; Dangerous</em> imprint.  The title track from that release, Bloccd, instantly made waves across the dance music genre and became a festival circuit anthem moving into the Summer of 2017.  Among the acclaim gained from the Bloccd release was recognition from Circus Records label heads Doctor P and Flux Pavillion, resulting in Jones becoming the first North American producer to ever release on the London based label. While continuing to release his regular share of dancefloor bangers across labels such as Wakaan, DMVU quietly directed his attention to a new creative endeavor - writing his first solo studio album.  These efforts culminated in <em>Two Pairs of Eyes, Gazing Only at Each Other</em>, released on Dome of Doom in April 2020.  This body of work served as a t

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kaye_Moore

kaye_Moore

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