TONY PRICE IS A PRODUCER, ENGINEER, AND DJ FROM GREEKTOWN, TORONTO.
HIS WORK ON L.I.E.S. RECORDS, TELEPHONE EXPLOSION, AND MAXIMUM EXPOSURE SHOWCASES FEARLESS EXPLORATION ACROSS GENRES—CLASSIC HOUSE, FUNK, ELECTRO, AND THE OUTER LIMITS OF ELECTRONIC JAZZ AND MUSIQUE CONCRÈTE.
SINCE 2017, TONY HAS RELEASED EIGHT FULL LENGTH LPS AND SEVERAL EPS INCLUDING: CELICA ABSOLU (MAXIMUM EXPOSURE, 2018), 86’D (MAXIMUM EXPOSURE, 2019), LA VIE (MAXIMUM EXPOSURE, 2019), INTERVIEW/DISCOUNT (TELEPHONE EXPLOSION, 2020), MARK VI (TELEPHONE EXPLOSION, 2022) IBM CONTRA (L.I.E.S. RECORDS, 2022), BAIL BONDS EP (MAXIMUM EXPOSURE, 2022) AND HIT PIECE (TELEPHONE EXPLOSION, 2023). THIS STRETCH OF RECORDS IS A MASTERCLASS IN UNCOUTH PRODUCTION TECHNIQUES, GENRE-MELDING AND SONIC SATIRE, A SET OF SKILLS THAT PRICE HAS DEVELOPED OVER 15 YEARS OF RECORD PRODUCTION EXPERIENCE.
IN 2017 HE FOUNDED MAXIMUM EXPOSURE INC., A RECORD LABEL, CREATIVE SERVICES UNIT AND MUSIC PRODUCTION COMPANY THAT HAS LICENSED RECORDINGS, PROVIDED BESPOKE MUSIC COMPOSITION, AND AUDIO PRODUCTION EXPERTISE TO A WIDE RANGE OF CLIENTS IN THE WORLDS OF MUSIC, FASHION, AND MEDIA. RECENT CLIENTS INCLUDE: 4AD, ESTĒE LAUDER, VICTORIA’S SECRET, GLOSSIER, COACH, BOTTEGA VENETA, PAT MCGRATH LABS, AMAZON, VICE MEDIA, VOGUE, DOVER STREET MARKET, STELLA MCCARTNEY, VANS AND OTHERS.
TONY PRICE’S DJ AND LIVE HARDWARE SETS LIGHT UP DANCEFLOORS WITH A COMBUSTIBLE BLEND OF CLASSIC HOUSE, ELECTRO FUNK, AND ACIDIC DISCO GROOVES.
USING A VARIETY OF SAMPLERS, DRUM MACHINES AND EFFECTS UNITS, TONY’S LIVE HARDWARE SETS SHOWCASE A MASTERFUL KNACK FOR SONGCRAFT AND AN EXHILARATING SENSE OF IMPROVISATION.
TAKING INSPIRATION FROM THE LIKES OF EARLY CHICAGO HOUSE RADIO DJS LIKE THE WBMX HOT MIX 5 CREW, EARLY NEW YORK HIP HOP MIXTAPES AND THE DUBBED-OUT ECLECTICISM OF LARRY LEVAN’S “SATURDAY MASS” AT PARADISE GARAGE, NIGHTS ON PRICE’S DANCEFLOORS ARE ALWAYS AN ECSTATIC, PARTY-ROCKIN’ HAPPENING.
TONY PRICE - “RAW” LIVE ON CIUT FM 89.5 TORONTO
TONY PRICE BROUGHT THE FUNK TO TORONTO RADIO AIRWAVES WITH THIS LIVE HARDWARE SET THAT WAS ORIGINALLY BROADCAST IN JULY 2023.
USING A VARIETY OF SAMPLERS, DRUM MACHINES AND SYNTHESIZERS, THIS RECORDING FINDS TONY IN HIS FINEST FORM, PERFORMING TUNES FROM HIS RECENTLY RELEASED “HIT PIECE” LP.
STOMPING FUNK, BUSTED HOUSE LOOPS AND SCORCHING ACID IMPROVISATIONS…ABSOLUTELY RAW.
THE MAXIMUM EXPOSURE POWER HOUR VOL.1 WITH DJ TONY PRICE
ONE HOUR OF EARLY HOUSE, SLAMMIN' FREESTYLE AND SIZZLING ELECTRO
NEGLECTED REMIXES, OBSCURE DUBS AND FORGOTTEN HITS
TORONTO PRODUCER TONY PRESENTS ONE HOUR OF HOUSE CLASSICS FROM BIGSHOT RECORDS.
FOUNDED IN 1988 BY LEGENDARY TORONTO PRODUCERS NICK FIORUCCI AND ANDREW KOMIS, THE LABEL RELEASED MUSIC FOR A BRIEF PERIOD OF TIME BEFORE SHUTTING DOWN OPERATIONS ONLY TWO YEARS LATER. WITHIN THIS TIME, BIGSHOT RELEASED A SERIES OF RECORDS THAT WOULD QUICKLY AND GREATLY INFLUENCE THE BURGEONING SOUNDS OF UK RAVE, FUNDAMENTALLY ALTERING THE SOUND OF DANCE MUSIC WORLDWIDE FOR DECADES TO COME.
THE BIGSHOT SOUND IS MOODY, DARK AND FUNKY AS HELL. ALONG WITH PRODUCERS LIKE RON ALLEN AND LEN GRANT, FIORUCCI AND KOMIS CONNECTED THE DOTS BETWEEN TORONTO AND THE NASCENT DANCE MUSIC SCENES IN NEW YORK CITY AND THE MIDWEST. ELEMENTS OF CHICAGO HOUSE, DETROIT TECHNO, AND NEW YORK ELECTRO, GARAGE AND FREESTYLE ARE PRESENT WITHIN THE NECK-SNAPPING 808 SNARES, BLISTERING VOCAL PERFORMANCES, POINTED FM BASSLINES, SCORCHING 303 SEQUENCES AND DUBWISE MIX TECHNIQUES THAT MAKE UP THESE PRODUCTIONS.
THIS IS THE SOUND OF TORONTO HOUSE.
DUBLAB GUEST SESSION WITH DJ TONY PRICE
TWO HOURS OF MUSIC THAT INSPIRED TONY PRICE’S “MARK VI” LP.
CELICA RADIO WITH DJ TONY PRICE
1 HOUR OF PARANORMAL GARAGE JAZZ, TECHNO-CONSPIRACY FUNK, AND ESOTERIC ELECTRONICS THAT INFLUENCED TONY’ PRICE’S ‘CELICA ABSOLU’ LP.
LATE-NIGHT LYSERGIC DESERT DRIVING MUSIC. COAST 2 COAST. EARLY CIRCUITRY PRINTED ON TECHNISCOPIC SKYWAYS. PLASMATIC HIEROGLYPHICS DISPLAYING ANCIENT CODES. FREQ. MOD. INTERFERENCE RELAYING UP TRANSMISSIONS FROM A DEAD CHROME NETWORKS FROM THE NECROPOLIS.
FEATURING: TONY PRICE, CARL CRAIG, HI-BIAS RECORDS, JOE HENDERSON, TRANSMAT INTERVALS, RYUICHI SAKAMOTO, POPULATION ONE, PIERRE HENRY, LUC FERRARI, MASARU IMADA TRIO, TANGERINE DREAM + MORE.
LA VOIX PSYCHÉDÉLIQUE WITH DJ TONY PRICE
ONE HOUR OF EARLY ELECTRONIC MUSIC AND PSYCHEDELIA FROM EUROPE
NOVALIS, VANGELIS, EDGAR FROESE, PIERRY HENRY, CHRISTOPHE, FAUST, DASHIELL HEDAYAT + MORE
CYBERNETIC MINDPHASER MUSIC & DUSTED TRANSISTOR CIRCUIT RELICS
TONY PRICE **IBM CONTRA **
(LP)
©2022 L.I.E.S. RECORDS
PRODUCED, ARRANGED, MIXED, MASTERED AND DESIGNED BY TONY PRICE FOR MAXIMUM EXPOSURE INC.
ARTWORK, LAYOUT AND DESIGN BY TONY PRICE FOR MAXIMUM EXPOSURE INC.
BOOMKAT:
“‘IBM CONTRA’ IS THE BEST YET BY TONY PRICE, THE PROLIFIC TORONTO LABEL BOSS BEHIND MAXIMUM EXPOSURE AND PRODUCER BEHIND FOUR SLICK ALBUMS, PLUS BUSY STUDIO ENGINEER IN HOME CITY AND BEYOND. EFFECTIVELY HIS DEFINITIVE OPUS, ‘IBM CONTRA’ OSCILLATES INFECTIOUS ELECTRO AND DEEP HOUSE-ADJACENT STYLES WITH PROPERLY REALISED BEATLESS SYNTH/JAZZ PARTS STARRING DEAN HURLEY COLLABORATOR ALEX ZHANG HUNGTAI, AND COLIN FISHER, THAT DON’T FEEL LIKE THE USUAL, TACKED-ON INTERLUDES, BUT PROPER PIECES IN THEIR OWN RIGHT THAT REALLY EMPHASISE AND TEMPER THE ALBUM’S GRIPPING NARRATIVE QUALITIES.
WORKING SOMEWHERE IN THE SHADOWS OF DAVID KRISTIAN’S CANADIAN SYNTH WORKS, CRONENBERG OR MICHAEL MANN SOUNDTRACKS, AND PULPIER NOIR FORMS, THE 14 TRACKS BUCKLE UP A THRILLING, HIGHLY STYLISH RIDE FROM THE THE FURTIVE INTRO ‘EMPIRE’ TO THE PANORAMIC PEAL OF HUNGTAI’S SAX ON ‘ROOM 641A’, CLOCKING UP KILLER BITS OF GESLOTEN CIRKEL OR DJ OVERDOSE-LIKE ELECTRO ON ’TEMPEST’ AND THE TITLE TUNE, PLUS DELECTABLE DEEP ELECTRO-HOUSE IN ‘INFO’, AND A RUTHLESS VARIANT OF GHETTO-TECH SCUD AND FREE-JAZZ HEAT IN ‘CCTV’.
BANG ON THE DARK AND $£X¥ MONEY, THIS ONE.”
TONY PRICE **MARK VI **
(LP)
©2022 TELEPHONE EXPLOSION RECORDS
PRODUCED, ARRANGED, MIXED, MASTERED AND DESIGNED BY TONY PRICE FOR MAXIMUM EXPOSURE INC.
ARTWORK, LAYOUT AND DESIGN BY TONY PRICE FOR MAXIMUM EXPOSURE INC.
“PRODUCER TONY PRICE RETURNS TO TELEPHONE EXPLOSION RECORDS WITH HIS NEW “MARK VI” LP. AN ECLECTIC SET OF SONGS WITH A DISTINCTLY LATE-NIGHT FEEL, THE ALBUM FEATURES 16 TRACKS OF OBLIQUE DRUM MACHINE FUNK, SIZZLING ELECTRO DUBS AND FREAKY PUBLIC ACCESS TV ATMOSPHERES THAT SPILL INTO THE STREETS WITH THE COMBUSTIBLE ENERGY OF A LATE NIGHT RADIO DANCE PARTY BEFORE DISSOLVING INTO A MELT OF BIZARRO TECHNO-SURREALIST JAZZ BY ALBUM’S END.
THE RECORD IS NAMED AFTER THE 1981 LINCOLN CONTINENTAL MARK VI THAT MR. PRICE PURCHASED OFF OF A FORMER DETROIT RADIO DJ AND ARCHIVIST WHILE STAYING IN NEW MEXICO TOWARDS THE END OF 2020. THE TWO HIT IT OFF AND TONY LEFT WITH A NEW CAR AND A BAG OF CASSETTE TAPES FEATURING HOMEMADE MIXES AND RADIO RECORDINGS MOSTLY DATING BACK TO THE LATE 1980S. THE TAPES WERE ELECTRIFYING. HIS EASTBOUND DRIVE ACROSS THE COUNTRY WAS SOUNDTRACKED BY THE KINETIC CLANK OF DETROIT TECHNO, BOMBASTIC DEF JAM INSTRUMENTALS, TR-808 FREESTYLE WORKOUTS, JACKED- UP CHICAGO HOUSE AND HUNDREDS OF ADVERTISEMENTS FOR OUTMODED PRODUCTS AND REDUNDANT SERVICES.
UTILIZING AN ENSONIQ MIRAGE, VARIOUS DRUM MACHINES AND SYNTHESIZERS, TONY VENTURED TO CREATE AN ALBUM THAT CELEBRATED THE UNABASHED ECLECTICISM, FUTURISM AND EXPLOSIVE PRODUCTION TECHNIQUES OF THE MUSIC AND COMMERCIALS HE HEARD ON THESE TAPES; ARTIFACTS FROM A TIME JUST BEFORE THE FUTURE CEASED TO FEEL AS THOUGH IT WERE STILL IN FRONT OF US.”
TONY PRICE **INTERVIEW/DISCOUNT **
(LP)
©2020 TELEPHONE EXPLOSION RECORDS
PRODUCED, ARRANGED, MIXED, MASTERED AND DESIGNED BY TONY PRICE FOR MAXIMUM EXPOSURE INC.
ARTWORK, LAYOUT AND DESIGN BY TONY PRICE FOR MAXIMUM EXPOSURE INC.
“MADE UP OF TWO SIDE-LONG TRACKS, THE RECORD IS AN ELECTRIFYING COLLISION OF FRACTURED JAZZ- CONCRÉTE AND COMBUSTIBLE DOWNTOWN FUNK THAT CRUSHES THE ENTIRE CONTINUUM BETWEEN MINIMALISM AND MAXIMALISM INTO A HYPNOTIC WRECK OF METROPOLITAN SOUND MATTER.
FINDING INSPIRATION IN THE QUICKSILVER IMPRESSIONISM OF MODAL JAZZ, THE MANIC BOMBAST OF EARLY ELECTRO- FUNK AND THE NARCOTIC NON-LINEARITY OF 1970S MINIMALISM, PRICE ASSEMBLED A CREW OF JAZZ-FUNK HEAVYWEIGHTS AND FREE-IMPROV WIZARDS AND SET OUT TO CREATE AN AUDITORY REPRESENTATION OF THE SOUNDSCAPES OF NEW YORK CITY.”