About

Deviant & Naive Ted are a one man experimental hip-hop duo currently residing in Limerick, Ireland.

Deviant came to prominence in the early 2000’s via residencies at legendary Galway club nights 091, GC Underground & Rootdown. He is a founder member of the Community Skratch Collective and skratch supergroup Vince Mack Mahon along with Jimmy Penguin, Mikey Fingers & Tweek (now Danny Deepo).

Deviant has played to crowds all over Ireland and beyond, receiving plaudits for a resolute dedication to alternative sounds in what can often be a conservative genre. Deviant has played tours & support slots with Wu-Tang, Danny Brown, Dabrye, D-Styles, Blah Records, Scroobius Pip, Daedelus & many more. His productions and skratches have graced the music of MurLi, Strange Fish, GI, Costello, 4Real & Grandeurs of Delusion.

As for Ted….? Ted’s Ted.

As a duo they have been releasing music since 2006. The early releases were based on a lo-fi aesthetic, built entirely from multi-tracked vinyl manipulations with a strict rule of ‘no programming, no FX’. In recent years they have co-opted more modern production methods, creating a hyper-contemporary yet dusty and dense catalogue of music.

Their music has featured on radio stations BBC Radio 1 & 4 (UK), WFMU (US), 2FM, SpinFM, Radio 1, Today FM (Ireland). In 2013, they were commissioned to create theme music for New Japan Pro Wrestling’s Bullet Club. The tune, ‘Last Chance Saloon’, soundtracked NJPW events all over Japan & the world for over a year.

Naive Ted has emerged from the shadows in the last 18 months with a flurry of live shows, quickly attaining a cult status as a unique performer. His debut album, ‘The Inevitable Heel Turn’, has gained many plaudits since its release, containing “heavyweight beats which smack you around the chops and make you stand up straight before capsizing you all over again” (Irish Times).

Press

“…crate-diggers with an ear for the weird and wonderful – their psychedelia-tinged singles to date on Alphabet Set have hypnotised this listener.”
(Cian o Ciobhain (RnaG) on nialler9.com, Dec. 2010)

 

“(Send in The Hounds) …is the most important Irish electronic/dance record ever”
(olwill.com, June 2011)

 

“At this years end I’m sure we’ll be seeing the ‘Orson Welles’ EP in a fair few lists and charts.”
(Rabble magazine, issue 5, Nov. 2012)

 

“…from avant (advanced?) garde beats to minimal accompaniment, wack-as-wtf cuts and vintage boom bap…. Definitely one for hip hop fans, even those who think they’ve heard it all.”
(Harmless Noise, “Orson Welles” receives “2012 EP of the year”, Dec. 2012)

 

“…the uniqueness in style on here makes pretty damn certain there shan’t be much in the way of imitators. Nothing out there sounds like the Flying Buttresses and in a time when rap oriented hip-hop is becoming more and more narrowly defined, such straying from the norm should get the praise it deserves.”
(State.ie, Oct. 2012)

 

“There’s an integrity to every angle of his game”
(mynameisjOhn on whatyouregoingtosee.com, Jan. 2015)

 

“…a gravestone-heavy set of boom-bap beats and live scratching…backs up his status as one of Ireland’s hip-hop heavyweights. No presumptions or fucking around here, just some great samples from all over pop-culture, dextrous turntablism, and a command of crowd control from behind the decks comparable to the luchadors he patterns himself after.”
(Thin Air Magazine, Feb. 2015)

 

“…madcap production…the whole thing is an alternative audio riot.”
(Nialler9, Irish Times – Album of the Week, July 2015)