clubmaster

The king of the discs - Avicii is going to perform in Las Vegas at the Encore Beach Club. Get set to put your hands up in the air as the artist is all set to make you groove.

Rob Base, Debbie Deb and Lisette Melendez will perform live in concert at the Ultimate Miami Bartender & Dessert competition where South Florida’s most talented bartenders and pastry chefs will compete for a cash prize of $5,000 and the distinction of Ultimate Miami Bartender or Dessert. The Ultimate Miami Series features local finalists competing in front of a live audience, paired with performances by nationally known entertainers.

The crowd erupts over and over in a state of frenzy with every little tug of their string by DJ Dan, who is a master at eliciting such responses." (All Music) Long before periodicals like URB and BPM Culture began sponsoring annual surveys of the world's favorite DJs, dance music lovers had already spoken, loud and clear, in favor of DJ Dan. From his rise through the early '90s Los Angeles rave scene, to his non-stop international agenda today (he traveled 135,000 miles in 2004 alone), Dan has continued to thrill audiences wherever he goes, from Sydney to San Paulo, Taiwan to Toronto. He has sold over 300,000 mix CDs in North America alone, been featured prominently on MTV and network television, rocked a crowd of over 50,000 LA New Year's Eve revelers in 1999, and was one of the first American DJs to play China. How does Dan account for his far-reaching appeal in such a mercurial genre? "One thing a lot of people have said is that I'm consistent," Dan observes. "In my programming, my mixing, and in the way I play to the party." When artists and labels want to be sure their records get heard by discerning listeners, they bring them to Dan – and when clubs and promoters want a headline act who is guaranteed to satisfy their patrons, he's the one they call. No wonder DJ Dan has been anointed "America's Favorite DJ" by URB, as well as "The Hardest Working DJ In America" and "The People's DJ" by other publications. Dan was selected as the #1 DJ in LA by Los Angeles Times in 2002, and DJ of the Year by Raveworld in 2001. Keeping a firm finger on public tastes and new sounds, without being sidelined by fleeting trends, has allowed Dan to remain ahead of the pack for over ten years, playing a staggeringly diverse array of venues internationally: Coachella, the Love Parade, Creamfields, Fabric, Ministry of Sound. Comrade-in-wax Carl Cox handpicked Dan to join him on his 2000 Phuture tour of Africa and Europe, while Moby recruited him to join an all-star line-up including David Bowie, Busta Rhymes, Tiesto, and John Digweed on the Area2 Tour. Music by DJ Dan features prominently on MTV programs Road Rules and The Real World, while Dan himself appeared on the MTV reality show The Club. "DJ Dan has become one of the most well-known and renowned house DJs on the planet." (About.com) When not behind the decks, Dan doesn't rest on his laurels, as fans of his enduring club hits and remixes can attest. In 2005, he's lent his production to a slew of international smashes, including remixes of two different tracks for New Order, and a reworking of "Don't Cha" by the Pussycat Dolls that topped the Billboard charts (for three weeks in a row) and was used by the girls for their appearance on The Tonight Show with Jay Leno. He was recently tapped to interpret Depeche Mode next single, "Precious." And be sure to ask him about updating "Give Peace A Chance" for Yoko Ono – you'll get to hear him use a lot of words like "shivers" and "goosebumps" when describing the feeling of manipulating John Lennon's original vocal tracks. But it comes as no big surprise that visionaries like New Order, Depeche Mode, and ONO reach out to DJ Dan… because he is a kindred spirit, a pioneer in the musical as well as geographical sense. Dan was one of the first DJs to champion the breakbeat sound, and, later, funky house, and one of the earliest bastions of the LA scene invited to travel extensively outside his home turf. And with good reason. He may lend his unerring taste and refined mixing skills to an ever-evolving palette of sounds – Dan has never been one to be hemmed in by genres – but Dan always delivers a top-notch night out. "There are dance-floor superstars, and in this upper stratosphere of big beats, Los Angeleno DJ Dan is a stealth bomber." (New Times Miami) Dan originally hails from Olympia, WA, where he grew up with nine siblings. While still in his teens, he jerry-rigged the family stereo to facilitate making homemade mixes; he also became interested in fashion, and would go on to graduate with honors from the Thomas Edison School of Design in Seattle. "A lot of people bitch about the weather in the Pacific Northwest," recalls Dan of his tenure in Washington state, "but I found the rain very artistically inspiring." In the early '90s, Dan attended his first big rave, in Los Angeles, and was smitten. He soon relocated to California, and quickly refined his mixing skills. He hooked up with fellow DJ Ron D Core, and, as the LA rave scene blew up, was at the forefront of the movement; when it began to taper off, he and Ron seized the initiative and began the successful No-Doz party. Dan's increased prominence in the City of Angels inspired promoters outside the region to book him more, particularly in San Francisco, where he eventually relocated for a period. Working with the groundbreaking Funky Techno Tribe, he continued to expand his stylistic parameters, embracing an increasingly diverse range of tempos, timbres, and musical styles. "DJ Dan forced the sounds and energy of rock and funk deep into his music, a style that eventually became known as west coast house." (Beijing Weekend) As demand for his DJ skills continuing coming in from the four corners of the globe, Dan also dedicated more time to original productions. His 1995 single, "Loose Caboose," by the Electroliners (a collaboration with Jim Hopkins), proved one of the definitive tracks of the breakbeat era; later, his 1998 classic "That Zipper Track," by DJ Dan Presents Needle Damage, put a fresh, funky new spin on the genre. He delivered celebrated remixes, too, for diverse artists including Groove Armada, Filter, Keoki, and A Tribe Called Quest. His 1999 remix of Orgy's cover of "Blue Monday" earned him his first Platinum record. More recent DJ Dan singles, like "Put That Record Back On" (2000) and "That Phone Track" (2003) – the latter a #1 Billboard Club hit – have shown a marked maturation in his production aesthetic. "I used to be content with a simple, straightforward sound: Get a jam going, lay down the samples, slap the track together, and call it a day. Now I'm using a lot more effects, the bass lines are deeper, the layers and dimensions are much more intense. I'm really focused on creating a very harmonious mix." His audience has continued to expand with each project; most notably, in 2003, he composed new theme music for the Transformers cartoon. Since 1996, Dan has release ten full-length commercial mix CDs, for respected labels like Sm:)e, Kinetic, Moonshine, and Kinkybeat; in North America alone, he has sold over 300,000 records. To program his most recent, the multi-faceted Lift, Dan reviewed which tracks had rocked the hardest in his travels worldwide over the past 18 months, loaded up his crate with those cuts, and cherry-picked judiciously. "I didn't base my mix around what the newest tracks of the week were, but rather, what would make up a great set that captured the vibe of not only where I'm at musically, but also the diversity that inspires me," he insists. "I love playing house, techno, electro, old school, breaks, and I want to represent all of those sounds."

Gesaffelstein aka Mike Levy stands apart from the current techno scene in Paris. At the moment when techno and dubstep are producing new heroes amongst a handful of French DJs, Mike Levy has chosen a different route for his musical expression. His energizing techno, dark and obsessional, works the dance-floor yet at the same time continues to mine emotional landscapes and powerful atmospheres. Born in Lyon in 1985 – the year that saw the birth of Chicago House (Marshall Jefferson’s ‘Move Your Body’) and legendary releases by electronic new wave and EBM (Electronic Body Music) artists like ‘No Shuffle’ by Front 242 – it was in fueling his musical references from the 90s that this young French producer infused his dance music and remixes (for Cassius, Lana Del Rey, Moby, Rebotini, ZZT or Boys Noize..) with a particular tension. Inspired by Kraftwerk but also electronic music born from Punk and New Wave, Gesaffelstein mixes current techno with cutting rhythms and dissonant tones from pioneers like DAF, Front 242 or Nitzer Ebb; a kind of ‘dance metal’. July 2012 sees Gesaffelstein releasing a two tracks EP, ‘Rise Of Depravity’ on Bromance Records, the independent imprint of Brodinski and Manu Barron. Track one ‘Depravity’ rides on twisted keyboards and despotic synths while floor-killer track two ‘Belgium’ plays homage to the Belgian creative scene in the where in the 80s and early 90s, new forms of electronic jacking hypnotized crowds. A private character who very rarely talks to the press, Gesaffelstein talks at length on his journey as a producer, his influences and work: Since your beginnings in 2008 you’ve spoken rarely about your music and given few interviews, why? When I began it wasn’t that I consciously decided to refuse interviews, things with my music just happened very quickly, there was a lot of information about me and my work in the press and I didn’t see the point in repeating what was already being said. So it wasn’t that you wanted to stay anonymous like other musicians from the world of electronic music? No, it was never that, that kind of thing doesn’t really work anymore but also it’s pretty difficult to stay anonymous these days anyway. To be honest staying silent was also often a response to the kinds of questions I was being asked like “when were you last off your head in a club?†“which is your favourite airport?†“do you buy MP3s or vinyl?†None of that has anything to do with the music itself…. Can you talk a bit about the pseudonym you’ve chosen? Well first of all I chose an unknown name, I wanted something unique that worked with what I wanted to do. It’s a mix of two names ‘Gesamkunstwerk’ and ‘Einstein’. The first is a German word that means ‘total art work’, a concept that was used by Dopplereffekt for one of their albums in 1999. Maybe that seems pretentious but I found the idea super interesting where a work of art is used in different mediums like sound, images and set door. At the same time I was just really into science and I’d read a bunch of cool stuff about Einstein. What musical influences did you grow up on? In the beginning I’d never thought of doing music, I was always more into art but it always seemed like an inaccessible goal for the long-term. I started to do design but when I started veering towards music all that changed. The first time I heard techno was when I was around thirteen or fourteen years old, listening to CDs that I found in my sisters bedroom. It wasn’t a sudden thing but little by little I began buying records, not mixing yet as that came through a friend who had decks at his house. At around sixteen I began to get interested in production. Being a producer was something that I could see a future in for myself. I left Lyon for Paris when I was eighteen, I didn’t know anybody and found myself alone. I’d left school early, didn’t finish my studies, I did a lot of stupid things in my youth and hadn’t really done anything with my life so when I found this thing, music, I said to myself that I had to concentrate on it because I was passionate about it. Pretty quickly I got into techno and immediately wanted to know about its origins. I was interested in disco but I really fell in love with New Wave and industrial music from the 80s. When I discovered all this music it felt to me like techno was simply the current incarnation of these origins. Which albums or artists made their impression on you? From techno I listened to guys like Green Velvet, I was guided by all of his references and discovered he was a fan of EBM. I quickly got into people like Front 242, Nitzer Ebb and wanted to discover what else existed in the genre. One of the main albums for me was also Computer World by Kraftwerk (1981) which for me still stands as the basis for everything that’s going on today, everything is in that album. After that ‘Geography’ the first album by Front 242 (1982) which for me is the equivalent of Kraftwerk but on a darker side. That’s also the vibe that I loved about Nitzer Ebb though they did it in a way that was more dance. For me, their track ‘Join In The Chant’ (1987) was a perfect representation of this notion of Electronic Body Music, music of the body. In discovering them I thought, ‘this is interesting, they’re using the codes of Kraftwerk with a colder vibe and more dance.’ That’s what I wanted to do from that moment on. Dopplereffekt and Drexciya, a concept like Underground Resistance, all of this seemed richer to me than a techno record that had no soul, tracks that might be perfect for the dancefloor but have nothing more to offer beyond that. For my productions I’m not searching for concepts, I prefer not to have to explain things, I prefer seeing what people get from the music and what audiences project onto the music themselves. I love all of that but also the feeling that I’ve communicated something by my music. I like leaving people to find their own thing in the music, it’s as if I’ve introduced an idea, put a simple emotion into the air and then, see what happens. So the music that you make could be described as modern techno with roots in the history of industrial and electronic? Exactly. I’ve always said to myself that techno isn’t really a genre of music of itself. I’ve always considered it more as a platform that allows the mix of loads of musical genres like disco, jazz, funk or soul. All of these disciplines can be adapted by techno. In rock or jazz we see less of a mix, they’re styles that are relatively complete even if there are artists within these styles that take certain risks. I don’t think that these styles of music are destined to die but to become hybrids, that’s the future and that’s the future of techno too. In industrial music there’s a tough element, certain aesthetics that reference figures of domination, tyranny or morbid themes. Do these dark figures say anything to you creatively? I think it’s a shame that these days imagery is left to one side in techno. That’s what always fascinated me about EBM, you can’t disassociate the music or ambiance that they proposed with the images that were created in the spirit of the music they were listening to. But personally no, I’m not particularly interested by the morbid side of lots of productions from the era. Even if my music seems dark I’m a happy person, I lead a happy life. When I’m composing though I’m not really interested in expressing my daily life, love, happiness or joy, I try to explore things that are totally exterior to my personal life. My music does reflect however my vision of the darker side of life. ‘Viol’, ‘Crainte’, ‘Errance’, ‘Conspiracy’, ‘Depravity’, the titles or themes of these tracks evoke fierce emotions . It’s more about creating or putting into musical form intense emotions that we rarely experience in daily life and that I’m feeling at the moment that I’m composing. For me sounds often provoke particularly strong emotions in me that are foreign to my normal life. Was your new EP ‘Rise Of Depravity’ written like this? The same vibe but expressed in a more violent and frank manner than before. ‘Belgium’ was inspired by the Belgian scene, New Beat and EBM. ‘Depravity’ is more an ode to depravity (laughs). In the beginning that was a track that I performed live and until now I never wanted to release it. Every time I play this track live on stage, I always get this strange impression that the track is provoking something unhealthy in the audience. It’s a vision that came to me on tour, it seems to kick-start scenes that feel something like the end of the world, total debauchery within the confines of partying and depravity. You’ve said that your productions are like the stones of one and the same bigger building…. I don’t see my tracks as single elements, every title is inspired by the previous one and I try to create a link between all the tracks, continue ideas or sounds. I’m looking for something homogenous, it’s as simple as that, you can’t start a building with a red brick and finish with a black brick. I look for coherence, I see my music as a huge building made brick by brick. Objectively all of my tracks could be gathered into an album, I like that, the album format doesn’t receive a lot of interest these days. Regardless of that I’m working on an album anyway, it’s a format that allows you to take risks and go further than techno or confines of the dance floor. I’m working on an album but not with a rigid time-frame or anything, there’s no release date but maybe we could have something ready in 2013. You have talked about architecture and sculpture in sound… Like every architect, artist or cinema, I believe in foundations. When I make something, its sound should be unique, I spend a lot of time perfecting or working just on a sound without an eye on composing, I’m looking for my own language. Nowadays it’s possible to construct sounds, sculpt and polish them in the same way as a sculptor works with a block of material. The look of the artwork you choose to go with your tracks is quite striking…. I chose the images of sculpture that illustrate the series ‘Conspiracy’ (2011, Turbo). I find that these images express themes of domination, hate and anger really well in a kind of static way. For the six titles ‘Conspiracy remixes’ (2012, Turbo) we chose an image of a sculpture by Sthane Vigny who’s a contemporary artist. His sculpture mixed neon with chandeliers, which symbolized for me the union of two eras which is exactly what I try to do with my music. All of this comes together to create a universe, a personality and coherence which comes together in my work. Which are the artists with whom you share the most references? Meeting Brodinski was an important moment for sure but we don’t really have the same influences as he’s really into rap and techno, the more dance side of things. The person I share the most influences with is definitely Michel Amato, alias The Hacker. When I started to make music, I realized that I was pretty alone in the kinds of music that I was obsessed with, which made it harder to envisage what it was I wanted to do because nobody was doing it. Luckily though I met Michel when I was twenty, I followed him musically and understood that he was alone in what he was doing too. Since then we’ve become close friends, he definitely made a big impression on me in terms of musical influences. I’m twenty-six years old and he is thirty- one, a bit of a music dad of sorts. He helped me a lot and taught me how to make music without being preoccupied or swayed by trends. He helped me to progress further than the sum of my influences. He made me listen to lots of things, he was definitely a driving force behind the development of my music culturally. We share the same vision, sometimes we have difficulty finding words for what it is we want to do but we always manage to understand each other in the end. I think there’s a phrase that says ‘where words stop music startsâ€, I think that this is closest to summing up where my music’s at. Discography Modern Walk, Good Life, 2008 Vengeance Factory, OD Records, 2008 The Operator, Zone, 2009 Variations, Turbo, 2010 Conspiracy Part 1 & Part II, Turbo, 2011 Gesaffelstein/Brodinski, Bromance, 2011 Conspiracy Remixes, Turbo, 2012 Rise of Depravity, Bromance, 2012 ~AXS

"A Brighter Side of Day" the tribute to Billie Holiday starring Kathy Sledge (Sister Sledge) is a musical journey of an American icon of her day who rose to become a social phenomenon in the 1950s. Holiday's soulful, unique singing voice and her ability to boldly turn any material that she confronted into her own music made her a superstar of her time. Today, Kathy Sledge celebrates Billie's masterpieces, creativity and vivacity, through the channeling of her songs, which are as well known today as they were decades ago. Travel back with Ms. Sledge as she delivers a reincarnation of Lady Day's poignant voice: A style still considered to be one of the greatest jazz voices of all time.

Imagine the love child of the Misfits and Daft Punk; the act of conception would be grisly, but what a mighty offspring their union would generate. A formidable figure a la Sir Bob Cornelius Rifo, the polymath and producer behind the Bloody Beetroots. While Bloody Beetroots burst on to the scene in 2007, Sir Bob Cornelius Rifo did not spring forth from the godhead fully formed. Born in Bassano del Grappa, Italy, in 1977, our hero started young, studying classical guitar and learning to sight read via the traditional solfge method (you know â€" like "Do Re Mi" in The Sound of Music). But his imagination was fired by other sources: The raw energy of punk and rockabilly music; the vibrant images and outrageous storylines of comics by Max Bunker, Benito Jacovitti, and especially Tanino Liberatore, creator of the cyberpunk RanXerox. "The secret is tying up thoughts and visions via the process called music," says Sir Bob Cornelius Rifo of his distinct aesthetic. "I'm a grown child who enjoys reading comic books of the 1970s, who never stops dreaming, and listening to punk and classical music. I'm disciplined and undisciplined at the same time." These contradictions allow him to change at a moment's notice, and eschew established patterns. "Unlike many of my colleagues, I hate to read biographies of those who did music and arts," he adds. "I prefer to watch, understand, and analyze the world by myself. My taste has to be influenced by something that is not art. I love to be struck by life." Nevertheless, as a youth Sir Bob Cornelius Rifo served his time in the culture trenches. After years of studying Chopin, Beethoven, and Debussy, he cast off the straightjacket of classical music-while still retaining its hard-earned lessons-and turned his attention to reconciling the new world of samplers and electronic music with his affinity for punk and '80s new wave. Pushing himself as a budding producer, performer and multi-instrumentalist, he embarked on a decade of variegated projects that Rifo now affectionately refers to as "exercises." Starting with his 1997 debut, a production for Northern Italian hip-hop stars Da Fam, he tore through genres like a child shredding gift wrap on Christmas morning: Film soundtracks, house, drum and bass, trip-hop, and more. As the climax of this dizzying string of well-received collaborations, he initiated his first genuine solo project, an electro-punk band with revolutionary visual style: Bob Rifo's Gang. At the instigation of his colleague Tommy Tea-his on-stage partner and longtime minister of propaganda- Sir Bob Cornelius Rifo then created Bloody Beetroots, an artistic alter-ego that would draw on all Rifo's experiences to date. Initially conceived as an all-inclusive way to package the live thrills of Bob Rifo's Gang with the excitement of dancing-till-dawn DJ after-party, the producer set to quickly establishing the Bloody Beetroots as a electronic musical entity in its own right. First up were "French Touch" icons Alex Gopher and Etienne de Crecy, who let Bloody Beetroots put their edgy, acid stamp on the respective tracks "The Game" and "Funk." With other French artists like Rin™Žrâ„¢se lining up for his services, within a single year Rifo cranked out 28 Bloody Beetroots remixes. But not to mark territory, so much as to respond to fellow artists from around the world, and poise Bloody Beetroots as a truly international sound. Sir Bob Cornelius Rifo is determined that this goal will remain central as the Bloody Beetroots star ascends, and their fame travels the globe. "I want to sit at the table with a Chinese person one day, and the next with an African, and the day after with a Vietnamese, and absorb their different cultures, to learn and to inspire myself and my music." In 2007, two pivotal releases pushed Bloody Beetroots to the next level. First, a vigorous overhaul of "Maniac," the percolating 1983 electro-pop smash from the soundtrack of Flashdance, an homage so inspired it won accolades from original composer Michael Sembello. Next up was "Discommunication," a futuristic disco redux of Timbaland's "Miscommunication." As original music and remixes by Bloody Beetroots began to bubble up in pop culture, via placement in episodes of CSI: Miami and prominent use in videogames, peers like Justice, Mstrkrft, Adam Freeland, and Martin Solveig were singing their praises in the press. Dim Mak founder Steve Aoki was an early, and passionate, convert: " The Bloody Beetroots is my favorite project right now. Bob’s remixes are some of my biggest bangers in my sets." He lost no time in snapping up Bloody Beetroots to release their Us debut, the Rombo Ep (with a full-length slated to follow soon). "The Ep summarizes much of my world," says Rifo. "You hear classical music, electronica, pop, fidget, punk. And the album will be even more comprehensive, because I want to incorporate new elementsÉ all my musical components. I need that." Like so many things in the universe of Bloody Beetroots, the creative impetus behind Rombo came from idiosyncratic sources. "My inspiration comes from events affecting my day-to-day life, and my creative process takes place outside the studio," emphasizes Rifo. "For example, when while I was creating Rombo, I was also studying the Italian Futurists." To translate the innovations of composer and theorist Luigi Russolo (author of the 1913 treatise The Art of Noises), one of the earliest pioneers of electronic music, into a 21st century context, he recruited an outside observer: Fool's Gold recording artist Congorock. "I chose him because he is synonymous with bass. And while he opened the oscillators, I closed my eyes and tried to find that special sound. Once I had it, I opened them and mixed madly. Rombo was ready in an hour. This is what happens-I follow the moment." History has shown that the most provocative moments in art-the 1913 premiere of Stravinsky's Le Sacre du primtemps, the notorious 1981 show by Public Image Ltd. at the Ritz in NYC-can provoke civil unrest. The Bloody Beetroots inspire that same brand of revolutionary fervor, yet with exuberance, not outrage. There's a riot goin' on, and you're all invited. By " Kurt B. Reighley " ~axs

As the late Oscar Wilde once said: “life is too important to be taken seriouslyâ€, an ethos that Justin Martin is sticking with despite achieving soaring success over the last decade as a producer and international DJ. Feeding off the energy of the San Francisco underground and mentored by fellow super producer Claude VonStroke, Justin was intrinsically involved with the development of dirtybird records, appearing on its first four releases. Justin was soon ready to take flight, releasing a string of solo EPs which flaunted a very unique sound and garnered still more respect among fellow DJS and heavyweight's of the scene. Demand for Justin's skills behind the decks skyrocketed too with his bookings schedule constantly crammed to capacity. With dates everywhere from Panorama Bar (Berlin), Fabric (London), and Space (Ibiza), its no wonder Justin's diary is reading like the dreams of a professional raver. Stateside he continues to be a regular fixture at the dirtybird events in San Francisco and beyond. He remains as enthusiastic as ever to be involved in the scene. When recently questioned by Resident Advisor on what he'd be doing if he wasn't a DJ or dance music producer he just replied: “Wishing I was a DJ or music producer.†Fellow pizza lover and Dirtybird resident Justin Martin is bringing booty shaking back to BASE on Thursday June 19! $5 with guest list before 11pm, $8 after // $10 without // $8 advance tickets valid all night.

The Bootie Boston crew and A+D present Boston's premiere all-mashup dance party, spinning only the finest in bootlegs and bastard pop. Join and celebrate our HUGE 6 Year Anniversary. Special Guests MixmstrStel and Tom Boates Everybody. Resident DJ's McFly, Spencer4Hire and Jabulani are rocking the decks with tons of mashup goodness. Free 'Bootie Boston' CDs to the first 50 people!

Borgore at Club Cinema

*Lucent*Dossier Experience presents* "Solstice of the Dreamers" * Calling all the dreamers, the magic makers, the ones who are alive or need to be reborn! *Come experience the succulence of this crimson night! A ballroom filled with strange and wonderful characters, a wild and bizarre new stage performance by the Los Angeles based, world renowned performance troupe,*Lucent*Dossier Experience. * * Let c aptivating live and electronic music, ecstatic dance, unique aerial arts and* futuristic clowns lift you away in their newest show, " Solstice of the Dreamers"! **The*year*is*2037. The earth has seen great wars and destruction. For those who have prevailed a new world has arisen with new possibilities.*In two cities,*on the Winter Solstice, the darkest nights of the*year... come shine your light....**** * Attendin g a*Lucent*show is like stepping into the surreal and then calling it yours.*It's an opportunity to wear the emperors cloak, to be the clown, to be*the mystic and forever relive the story. The story that is*Lucent, the freedom,*the joy, the playfulness lives inside of us.* * Birthed in 2004 in the heart of the LA underground art and music scene,*Lucent*Dossier is*a live performance experience that*uses original music, performance, imagery, projection, and costumes. From their explosive beginnings to performing, touring and/or sharing the stage with icons such as the Black Eyed Peas,*Beats Antique,*Motley Crue, Panic! at the Disco, The Flaming Lips, David Guetta, The Crystal Method, Christina Aguilera and more...They have captured the hearts and minds of their diverse audiences. Recognized as one of the unstoppable pioneers of an artistic revolution sweeping the globe, their unique fashion, wild and completely innovative style of performance can be seen interwoven in the hip cultural landscape that is now enchanting mainstream America and the world. They* have received international praise for their shows at Coachella, the Grammy's Celebration, Electric Picnic Festival in Ireland, Summer Sonic in Japan, Optimus in Portugal, and the Scream Awards*in Los Angeles with private shows for Google, Paypal, Twitter, MTV, VH1, *E! Television and many more. ~AXS

Aaron Funk a.k.a. Venetian Snares hails from Winnipeg in Canada. Since his debut 12 inch in 1999 on a small Minneapolis label he has risen out of the drill'n'bass/breakcore mire to become one of the most astonishing and popular musicians working in the experimental electronic sphere including Squarepusher, Aphex Twin and Boards Of Canada. With a slew of releases on Planet Mu from 2001 – 20011, and his most recent releases on his own Time Sig imprint, Snare's is a producer you can never put your finger on – infamously unpredictable and ever-challenging Mr. Funk never fails to blow minds and keep blasting until the bitter end.

Created in the fall of 2012 by vocalist and composer Raquel Rivera, Amethyst has brought together six of Boston’s up-and-coming young musicians for a unique project. The members of Amethyst have joined their love of contemporary jazz, acoustic pop, and various Latin genres with skill and taste. Each unique voice enriches improvisational arcs throughout every performance. Featuring Rivera’s originals as well as collaborative cover arrangements, this group delivers accessible interpretations of human feeling.

Steve Bug At Flash

DJ Marky with Kjell And Will Miles At Flash

For an international audience reawakening to the influence of Chicago house during the 1990s, Curtis A. Jones acted as quite a renaissance leader. Besides donning his straightahead house guise Cajmere and a flamboyant, neon-haired acid-house alter-ego named Green Velvet for several of the most memorable underground house tracks of the decade (including "Preacher Man," "Answering Machine" "Brighter Days" and "Flash"), Jones helmed the two most respected labels in the new school of Chicago house, Cajual and Relief. Though artist-owned labels had become the norm in Detroit, Chicago occurrences were frustratingly rare, despite the fact that the two major house imprints of the 1980s, Trax and DJ International, had continually bilked their artists out of money. Cajmere went a long way towards rectifying that situation, releasing records by a diverse cast of producers old and new: DJ Sneak, Glenn Underground, Paul Johnson, Gemini, Tim Harper and Boo Williams, among others.

On Friday June 20th, Club 1994 wants to sex you up! That’s right – we’re bringing the one and only 90s RnB hit makers Color Me Badd (live)! As usual, our DJs will be spinning Classic Hip Hop + Cheesy Pop + RnB Slow Jams + plus all the Boy Bands & Girl Groups you can handle. We’ll have a 90s themed Photo Booth, Slap Bracelets, Yo MTV Raps cards, and plenty of surprises to keep you entertained throughout the night. So get out that amazing little 90

Doc Martin Sublevel Music | Nervous Records | Classic | Music For Freaks | NRK | Moonshine | Shaboom | Siesta | Greyhound | Imperial Dub | Leaf | Sublevelcalifornia.com | Los Angeles, Ca Doc Martin's live sets truly bring people together and the variation in his style of music is virtually endless. What makes him so different from the rest? It's his unique ability to spin everything from deep house vocals that have so much depth and meaning to us all in some way and his funky tribal bass lines mixed with threads of acid; his passive collection of classics and rare records that are only to be heard at his gigs. He has releases out on every major house music label such as; Sublevel Music, Nervous Records, Classic, Music For Freaks, NRK, Moonshine, Shaboom, Siesta, Greyhound, Imperial Dub, & Leaf, there is no doubt Doc Martin has developed the respect as a house DJ that so many of us admire. It is this respect that keeps him constantly touring, from New York to London, Japan and everywhere in between. Doc has rocked dance-floors and played at venues and events like… Coachella Festival, Fabric (London), Panorama Bar (Berlin), Womb (Tokyo), Club Heaven (Seoul, Korea), Faith 10 Year Anniversary (Garden Festival), Trouw (Amsterdam), Secret Sundaze (London), Full Circle (Uk), How Sweet it is, JuJu beats (Los Angeles), The End (London), Cielo (New York), Back to Basic (Leeds), Yellow (Japan), Pacha (New York), Viper Room (La), Club 5 (DC), Sound Bar (Chicago), Santenera (Playa Del Carmen), Ghost Bar (Las Vegas), Club Minc (Dallas), Vinyl (Denver), La Sereta (Juarez), Ruby Skye (San Francisco), Twilo (New York), Sublevel (Los Angeles), Perfecto with Paul Oakenfold at The Palms (Las Vegas), The End Up (San Francisco), Kudeta (Bali), Café Del Mar (San Francisco), The Love Parade (San Francisco), Nocturnal Wonderland, (San Bernadino), Demf (Detroit), Temple (San Francisco), Democratic Convention 2008 at Town Hall (Denver), PS1 (New York), Santa Fe Music Festival and Seven in Australia. Doc was also the featured artist on The Bassment Jaxx & Daft Punk tour Australian tour.

Magda is an artist who can never be pinned down, no matter the timeframe or time signature. Any one of the Detroit-raised artist’s DJ sets or productions breeds a rare feel of mystique and discovery. “I’m really obsessed with finding a line between things – between sounds and between genres. My influences come from a life spent in very different environments, which plays a huge role in the way I connect with music.†Dramatic sounds and eccentric basslines carry her multilayered sound, which veers everywhere from funked-out space disco to the intricately-programmed, metallic feel of Detroit to stripped down techno, all the way to Italian horror film soundtracks. The only thing that remains consistent is the element of surprise.

Guest Artist: UMMET OZCAN From his 2011 #1 hit “Reboot,†which spent 7 weeks at #1 on Beatport, to this recent genre-*

Join us on June 18th as we host Kill Paris, MartyParty, Lindsay Lowend, and Morillo at the El Rey! Pre-sale tickets are now on sale! Preview the music: http://bit.ly/KillParisDoLaB2014 About the Artists * Kill Paris * Kill Paris can sweep the listener from guitar-driven blues moves to downtempo-tronica without, so to speak, skipping a beat, yet kills with equal aplomb through instrumental hypnosis and vocally endowed songcraft. His versatility allows for a multi-faceted, kaleidoscopic exploration of groove-giving that give his hooks more variety than all the lonely-couple-in-a-car urban legends combined could hope to muster. “My sound is constantly evolving,†he says. “I really dislike falling in a niche and doing what is easy. The more I challenge myself, the more prosperous my music becomes.†And yet his central personality is never lost in the shuffle; focus remains no matter how far Kill Paris ranges in the quest to find fresh ways to make heads bob and unite bodies and rhythm into oneness. * Martyparty * Whether performing as a member of PANTyRAiD, or through solo performances as MartyParty, Martin Folb brings a fresh breath through the Edm community with his musically diverse, all-original live shows that have been widely regarded as some of the best in the business. The South African-born Brooklyn native has been storming festivals and clubs through North America with his original style of seductive and melodic bass that crosses over the genres of hip hop, trap, dubstep, and Edm. The result is an amusement park ride through a symphonic purple odyssey that explodes into a one-of-a-kind live experience. “I just want to make kids freak out and let loose – we all came to party – I make a party – you have no choice but to get into it – young and old – one thing is for sure, you’ll be going nuts.†– MartyParty * Lindsay Lowend * What do you get when you mix bass music with jazz fusion and a Super Nintendo? Meet Lindsay Lowend, a 20-year old bass music prodigy from Washington, D.C. Describing his sound as "neon music", this young artist is largely inspired by video games such as Dance Dance Revolution and Beatmania Iidx. His production methods prove to be just as interesting which stem from the demoscene/tracker music scene. While extremely computer and programming driven, each of the tracks on his debut Ep pack an enormous amount of soul and depth. He has built his own unique soundscape of bright synthesizers, chords, and melodies overtop very rhythmic and often times unpredictable beats. * Morillo * Zach Morillo is a walking, living, breathing beat machine. Since age 7 when he first sat down at a set of drums and stepped into the world of making music, he has been fiercely dedicated to perfecting his passion for captivating audiences with infectiously deep, funky beats. Now having produced for and performed live with multiple international artists such as Childish Gambino, Kat Deluna, Jahfe, and Sounduo, Zach has mastered his ability to captivate audiences on massive stages around the world. With his debut solo project, Morillo, Zach has begun to deeply immerse himself into sculpting and perfecting his own style of music, which he describes as a dance-floor ready, world-music influenced blend of hip hop, dub, and bass. Through his performances, Morillo strives to create a globe-spanning, rhythm-and-bass fueled tribal dance party that will leave his audiences in a sweaty euphoria. The Details June 14th 2014 9pm-2am Venue: El Rey Theatre 5515 Wilshire Blvd., Los Angeles 90036 This is an All Ages event. Preview the music: http://bit.ly/KillParisDoLaB2014 We'll see you on the dance floor soon Los ANGELES! Refunds and Exchanges All ticket sales are final. Before purchasing tickets, carefully review your event and (if applicable) seat selection. Policies set forth by our partners, including venues, theaters, and artists generally prevent The Do LaB from issuing exchanges or refunds after a ticket has been purchased or for lost, stolen, damaged or destroyed tickets. Event cancellation or rescheduling In the incidence of a complete event cancellation, we will credit the card holders' accounts, of all fans who purchased tickets, for the face value of the tickets purchased. All service fees are non-refundable. For events that are rescheduled or the venue is changed after your order has been completed, your ticket(s) will be honored on the new date and/or at the new location. To cancel your order upon a date or venue change, contact us with your confirmation number. All service fees are non-refundable.

After years in the making here at last is Illumination, the fully realized debut album from Australia's favourite psychedelic indie-electronic adventurers Miami Horror. With Illumination, Miami Horror has delivered on the promise of two years of teeth-cutting live shows and an ever escalating wave of buzz that's made the group bonafide blog darlings the world over. But what's most amazing about the grand arrival of Illumination is that the roots of the record stretch back countless moons to when Miami Horror began as just one synthesizer-obsessed producer huddled over a laptop in a bedroom-come-studio and the album itself just a spark waiting to be lit. Kick started by Ben Plant, Miami Horror was created out of a love of Roland keyboards and French house, landing the young producer on everyone's radar overnight with a slew of sharp remixes and productions in his arsenal. Yet it was while Ben was punching out 2008's epochal Bravado EP that Miami Horror took off in a completely new and different direction thanks to the recruitment of Josh Moriarty, the wiry guitarist and dexterous vocalist that would become Miami Horror's powerhouse frontman. Together the two cut the lushly organic summer jam Sometimes with Josh on croon duties and the idea to drastically alter Miami Horror's genetic makeup into a crowd-swelling live entity was born. "It started out that I didn't want to have any guitar on the album besides a little funk guitar or disco bass," Ben grins while explaining the turning point for Miami Horror's evolution. "But then Josh came in and started playing all these other parts that sounded amazing. Paired with what I was working on, nobody was doing anything like it, so I knew we had to turn those sounds into a live thing and just go wild." With Ben and Josh wanting to flex their creative muscles and avoid the limitations of being stereotyped as simply a dance or electro act, the pair rewired Miami Horror's future, deputising two new talents with Dan Whitechurch taking up the keys and drummer and co-production whiz Aaron Shanahan completing Miami Horror's live transformation. Since the switch Miami Horror has launched into dizzying new stratospheres, their well-polished chops as a live group making for some unmissable sets at Australia's biggest festivals leading to sell-out shows in Rio, Mexico City, New York and Los Angeles – the latter of which Miami Horror will call home when they relocate in September '11. "I think we have a lot of energy live and people seem to really resonate with it," Josh explains of Miami Horror's live allure. "I've always been disappointed by that side of electronic music that's just two guys behind computers triggering samples with no connection with an audience. This is a real live rock band. I just want to excite people and make them have a great time at our shows," he adds when quizzed on his firebrand onstage persona. "People have, and always will love showmanship and it's something I always try to add to the performance." All this time Ben had been further noodling away at Miami Horror's long-awaited debut disc and with the vision for a fully-blown and creatively shared band now fulfilled Miami Horror was able to pour all of their energy into Illumination, the record that's taken Miami Horror years to perfect and Ben a whole lifetime to get right. Bunkering down in Ben's own studio in Melbourne, Illumination was recorded in typical Miami Horror fashion with the band opening themselves up to new styles and approaches which saw them call in a cast of guest stars including Swedish singer MAI, Melbourne based chanteuse Kimbra, Dappled Cities' wordsmith Tim Derricourt for a lyrical assist and also Neon Indian and Vega prodigy Alan Palomo who flew out from the US to add his distinctive haze to multiple tunes. As well as crafting a truly classic album that begs to be consumed from beginning to end to fully uncover all the layers and engrossing sonic textures of each tune, Ben says the aim with Illumination was to present an accurate portrait of the band's current core and not make things too "glossy" and "hi-fi", with Ben himself producing and engineering the album from the confines of his bedroom. As such, listening to Illumination is like a guided tour of Miami Horror's combined minds, with enormous flying grooves gliding through the speakers alongside nods to the deities of French house and vintage synth explorers like Giorgio Moroder and Jan Hammer, all mixed and muddled up with slabs of melting, fuzzy psychedelica, some wandering kraut rock bass-lines, enough star-gazing hooks to make Electric Light Orchestra blush, plenty of ear-catching pop swagger and Ben's own studied cinematic aesthetics. Never content to stand still, Miami Horror ambitiously test their boundaries across the album, experimenting with lush, almost chillwave instrumentals (see the gorgeous Infinite Canyons), futuristic disco gems (I Look To You), summer-bound party jams (Holidays) and anthem-sized synth epics (Sometimes). Although all four members of the band admit to a serious case of perfectionism with months spent, refining, tweaking and endlessly perfecting Illumination, Ben explains the process was worth the time and energy invested. "We spent about ten months alone mixing the album, which is a process that should normally take two weeks," Ben laughs. "We always just said 'f**k it, we have to make the album that we want to make' and this is it. We made it." Yes, this is their moment. And though it seemed like an electro-dreamer's distant fantasy four years ago, Miami Horror's same excited sense of wonder has only ballooned from then to now. If you haven't already heard the gospel, expect to be converted to the cause any second now.

The Janky Barge & SunsetSF present Our 8th Annual Spring Fling FREQO DE MAYO 2014 featuring music by Krafty Kuts(Against the Grain - UK) WORTHY(Dirtybird Records - SFO) TROTTER(Royal Soul - Brazil) INFLUENCE(Strategik - SFO) Janky Barge residents: MOTION POTION, PHLECK, SHOUTS, SNARKLE, U9LIFT, FLYTRAP Silent Frisco will be bringing headphones for a dance party under the stars again! Friday, MAY 16, 2014 At MIGHTY 119 Utah St @ Alameda, SFO / 10pm / 21+

Please join Icee Hot on a journey to the furthest outer reaches of dance music courtesy of three visionary producers: Shackleton, Silent Servant, and Austin CESEAR. Leading the way on this vision quest is Shackleton, a producer best known for his work on Skull Disco and his own Woe to the Septic Heart, two labels which have consistently showcased his unique sound. His music is marked by impossibly heavy bass-weight, confounding African-inspired polyrhythms, and a suffocating sense of dread, all of which provide a counterpoint to his twisted, psychedelic arrangements. Recalling the vibes of early dubstep (like 2005-2007, before, well, you know) and the experimental sounds of Muslimgauze, Shackleton's work invokes some sort of alternate universe that copycats wouldn't dare imitate. He'll be performing Live and his set is guaranteed to be On Some Other S~~T. LA-based Silent Servant is another one of our co-pilots for the night, and he'll undoubtedly be veering things into murky, unknown territories with his DJ set. The Sandwell District affiliate can always be counted about to dip into industrial-strength techno, cryogenically frozen post-punk, and scruffy, unhinged house music. Finally, young Oakland shaman Austin Cesear will cast a spell with a Live Pa of dusty, blown-out rhythms and sounds that are are equal parts dub techno and atmospheric excursions. This will be his final set in the Bay Area before he relocates to Brooklyn, so make sure to catch him before he heads out of town. As always, Icee infidels Ghosts On Tape, Shawn Reynaldo, and DJ Will are going to be there too.

presented by Led X Goldenvoice present

As the USA’s dance music scene continues to come of age on a widespread scale and different styles proliferate and evolve, new talents are coming thick and fast. Only a few have the staying power to go the distance, however. Formerly known as Nick Terranova, U.S talent Starkillers has been cutting a swathe through the bolshier end of the global house music scene with his tough-edged, eclectic sou nd. Blending big hooks and riffs, soaring vocals, thumping beats and mind-bending effects trickery, his sound is the perfect blend of high-octane, fierce energy and accessible appeal. It’s truly at home amidst the contemporary sound of cutting-edge dance music. “I’m A.D.D†he explains of the hyperactive nature of his music. “I know people always say that, but I really am. I really try not to sound like anyone else or copy anyone. What’s the point in being in this biz if all you’re gonna do is try and sound like someone else? I do what I think is cool and don’t really care what people think. You’re either a fan or you’re not.†It’s not about subtlety or tradition; instead it’s a question of pushing technology and sound to their limits, and creating in-your-face tracks with plenty of charisma and attitude. There’s nothing mundane going on here. Pitch bending leads, rugged bass, mind-warping FX, huge builds and drops; everything in a Starkillers track is designed for maximum impact on the dancefloor, and his potent blend of electro house groove and sharp trance-laced breakdowns has seen his records signed to huge labels including Doorn, Ultra and Nervous. “I really just try to make my sound as crazy as I can without being too far left that people don’t get it†he says. “I try not to pigeonhole myself into one genre so I can change easily and so that it doesn’t come as a shock to my fans when I evolve.†It’s that versatility and open-mindedness that sees him continue to flourish and succeed for years to come, and that will ensure he outlasts less-imaginative peers. 2012 saw his profile rise to giddy new heights, with a new weekly radio show launched featuring guests including Gareth Emery, Morgan Page, Kryder and Stafford Brothers, and a Beatport Electro Chart No. 2 with his DJ Bl3nd collaboration Xception. Touring Brazil, the UK, Australia and Asia and capping it off with a sold-out show at St. Louis’ Europa in the US, his DJing schedule continues to grow in stature alongside his status as a prolific producer. Teaming up with vocalist Amba Shepherd and fellow producer Dmitry KO, Starkillers’ first official release of 2013, Let The Love, dropped on formidable Dutch imprint Spinnin’ Records. It was premiered by the UK’s BBC Radio 1 and DJ Tiësto, and notched up over 200,000 views within its first week on YouTube, kicking off the year as he plans to continue. His bootleg of Zedd feat. Foxes’ Clarity, posted on his Soundcloud in the first few days of the year, has also found huge success online, receiving a sizable 1200 favouritings on blog aggregator chart The Hype Machine. The rest of the year looks breathtakingly busy and exciting for Starkillers: remixes of Pitbull and Sandro Silva’s new singles, a party bus tour stopping by at the legendary Miami Winter Music Conference, singles featuring the likes of Hadley and Kai, and more collaborations with Kryder, Angger Dimas and Bl3nd. He’ll be playing to more fans in more countries than ever before, including a major tour of his home turf in the USA. “2013 is going to be an even bigger year for dance music. I’m so excited about how it’s still taking over the global mainstream. I plan to be a part of that journey this year!†Terms and Conditions: This event is 21 and over. Any Ticket holder unable to present valid identification indicating that they are at least 21 years of age will not be admitted to this event, and will not be eligible for a refund. Support lineup subject to change. No refunds will be issued for lack of identification or invalid identification. Fashionable Attire is required, no sneakers, shorts, tank tops, baseball hats or gym clothes. By purchasing a ticket, you will also receive weekly email blasts from Ruby Skye about upcoming events, guest lists and more.