clubmaster

presented by 1015 Folsom & DJ Dials with Djemba Djemba + More TBA! Tickets: After purchasing a ticket through Eventbrite, you will receive an email with your tickets attached as a PDF. Please Print out your tickets and bring them with you on the night of the event. All events are 21+ | Please bring valid identification | No Refunds

featuring Blond:ish, Catz ‘n Dogz, Danny Daze, Dixon, DJ Tennis, Harvard Bass, James Holden, Joy Orbison, Justin Martin, Kill Frenzy, Maceo Plex, Magda, Maya Jane Coles, Michael Mayer, Tale Of Us, and Thugfckr

Together Festival is an annual celebration of music, art and technology, based in Cambridge, Massachusetts. Robert Hood with Jackmaster Doctor Jeep GYS (LIVE all hardware + improv techno set) Robert Hood distinguishes himself with a sparse, minimalist sound that has shaped modern techno in many ways. The element of surprise is crucial to Jackmaster's sets: from the lost Dance Mania gems he spends his time unearthing to forgotten Disco tracks to straight-up house and techno sets.

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.

Wednesday, June 18th 2014 The Mid, React and Silver Wrapper present.... ::KYGO:: [ www.facebook.com/kygoofficial ] call 312.265.3990 For Tables and Birthday Packages The Mid 306 N Halsted Chicago, IL. 60661 10pm-4am | 21+ 312.265.3990 (info/table reservations) NO DRESS CODE

RISE's big Together weekend begins with German progressive house and trance-master Jerome Isma-Ae. Jerome's sound often tops the Beatport charts and has even conquered the U.S. Billboard Dance Chart as well. Between Miami and the Russian Federation, be sure to catch Jerome Isma-Ae while he's here in Boston. The always dynamic duo Glowkids & Fuse get the party started right; Boston's Deezy & Embee keep it deep and funky downstairs. words: Sarah Ikerd

Join us this Friday night for a special preview of San Francisco's newest nightclub! Origin is the new hotspot for a new kind of nightlife experience. R.S.V.P. on the guestlist for free admission before 10:30 p.m. If you're celebrating a special night, call to ask about our VIP Table Reservations. A VIP Table Reservation comes complete with your choice of bottle(s), unlimited mixers, condiments and ice that are served table-side. Call or Text (415) 825-0338 to reserve your VIP Table today!

Where and When We Died (Où et quand nous sommes morts) by Riad Gahmi Translated by Rob Melrose Check out the full schedule of fantastic events going on throughout the Des Voix festival, including new play readings and translations, new French films, and the spectacular Bal Littéraire, at www.desvoixfestival.com!

PANTHA DU PRINCE (Hendrik Weber) once lived in the same woods that the Brothers Grimm fairy tales were based in, which perhaps explains the frequently strange and magical atmospheres found in much of his music. He fuses house, techno, shoegazy electronica and psychedelic electro-acoustic soundscapes into music that manages to be both beautiful and bewitching.

Get excited - As part of the 2014 Together Festival, RISE is hosting an iconic DJ and Producer, one of the original greats from the UK. He rode the first golden wave of progressive house in the early nineties and has maintained his superpower status in the dance music world. Who is that powerhouse mixologist of Global Underground and Renaissance, former editor of Mixmag, the boss producer and Selador Recordings label-owner who's still cranking out massive tunes? Dave Seaman.

Armin Van Buuren at Marquee Nightclub. Guests are required to present eticket, credit card used for purchase and valid photo identification upon arrival. The door reserves the right to decline entry of any guest not in proper dress code. Marquee reserves the right to decline entry due to capacity issues. Visibly intoxicated guests will not be admitted to the venue. Marquee is a 21+ venue. No minors admitted. *

We invite you to get Hypgnotized Friday 05/09/14 @ The Social Lubricant in the heart of Wynwood. Enjoy the full-service bar featuring friendly drink and bottle prices,and various flavored hookah... Residents Face In The Dark https://soundcloud.com/faceinthedark Almost Human http://www.mixcloud.com/almostmuzic/ Special Guest DJ's Philip Chedid https://soundcloud.com/philipchedid Yander Delgado

with Mossmoss, Max Gardner and John Kaberna Visuals by allofitnow! Joris Voorn is a record producer and Dj from Rotterdam, Netherlands. Raised in a musical family, music naturally became an intrinsic part of Voorn

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.

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

Description XS Las Vegas presents Fedde Le Grand, Sunday June 29th* * ARTISTS Fedde Le Grand Miss Nine * * * *PLEASE Read Full Disclaimer* Wanticket guests are required to printed copy of the scannable ticket and e-mail confirmation, a valid photo I.D., and the credit card that the ticket was purchased. These tickets are print at home. Please print out and bring the scannable ticket as well as the e-mail confirmation, Id, and Credit Card to the club by 10:30pm and follow the signage to the Wanticket area. * All patrons must be 21 years of age with valid Id Us residents must bring state or federal issued Id foreign residents must have passports no copies or paper ID's will be accepted. The door and management reserve all rights to decline entry of any guest not in proper dress code. XS reserves the right to decline entry due to capacity issues, guests will be asked to wait until doors re-open. Visibly intoxicated guests will not be admitted to the venue. XS is a 21 venue, no minors will be admitted. Any disregard of the previously stated rules will invalidate your ticket / entry. xslasvegas.com Facebook.com/xslasvegas www.twitter.com/xslasvegas

Friday, May 9th at ROYALE Guest Artist: PETE TONG Boston VIPList and Evolution 101.7 Present: It’s All Gone Pete Tong! The scene’s most important DJ Descends upon Royale this Friday with Opening set by Andrea Oliva For Guestlist list RSVP to: bostonviplist@gmail.com Sunny @ 617-335-5582 *We’ve teamed up with Uber! Sign up @ https://get.uber.com/go/bostonviplist with promotion code “Bostonviplist†for a *FREE ride to and from the club for new users! (Not valid on UberTaxi)

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 Raquel Rivera’s originals as well as collaborative cover arrangements, this group delivers accessible interpretations of human feeling.

Description XS Las Vegas presents David Guetta Saturday, May 3rd * ARTISTS David Guetta * * *PLEASE Read Full Disclaimer* Wanticket guests are required to printed copy of the scannable ticket and e-mail confirmation, a valid photo I.D., and the credit card that the ticket was purchased. These tickets are print at home. Please print out and bring the scannable ticket as well as the e-mail confirmation, Id, and Credit Card to the club by 10:30pm and follow the signage to the Wanticket area. * All patrons must be 21 years of age with valid Id Us residents must bring state or federal issued Id foreign residents must have passports no copies or paper ID's will be accepted. The door and management reserve all rights to decline entry of any guest not in proper dress code. XS reserves the right to decline entry due to capacity issues, guests will be asked to wait until doors re-open. Visibly intoxicated guests will not be admitted to the venue. XS is a 21 venue, no minors will be admitted. Any disregard of the previously stated rules will invalidate your ticket / entry. xslasvegas.com Facebook.com/xslasvegas www.twitter.com/xslasvegas

Drai's Beach Club Presents: Eric Prydz Saturday, June 21st, 2014 * Please Read Disclaimer All patrons must be 21 years of age with valid Id. Us residents must bring state or federal issued Id foreign residents must have passports. No copies or paper ID's will be accepted. * Proper Nightlife Attire Required. Management Reserves All Rights.* Drai's reserves the right to decline entry due to capacity issues, guests will be asked to wait until doors re-open. Visibly intoxicated guests will not be admitted to the venue. Wanticket guests are required to printed copy of the scannable ticket and e-mail confirmation, a valid photo I.D., and the credit card that the ticket was purchased. Any disregard of above disclaimer will invalidate ticket. Tickets are non-refundable. * Let’s Get Social. Website:* www.draislv.com Facebook:* http://www.facebook.com/draislv Twitter:* http://www.twitter.com/draislv Instagram:* http://www.instagram.com/draislv

Since the moment he spun his first record, Damian Lazarus's mission has been a clear and urgent one: to blow away the mediocre, the overinflated, the obsolete; to seek out and celebrate the energetic, the important, the new. Always rebelling, always going places, "…and to have fun in the process. Playing around with different styles and ideas is what I do best," Lazarus explains. Driven by an almost childlike curiosity, a vivid imagination and wicked sense of humor, he's used his role as a DJ, label owner and now musician to nurture and share the most exciting and experimental music on the planet. Drawn to the darkness, but buoyed by the light, ever ready to embrace new ideas and different perspectives on music and the dancefloor, Lazarus is always ahead of the curve, with a wry smile on his face and a neat trick up his sleeve, How many DJs do you know who've played 'Reviewing The Situation (from the Oliver! soundtrack, no less) half-speed to a jubilant crowd at DC10 in Ibiza. How many DJs do you know who've received a sitting ovation on the dancefloor? Lazarus was born in London, where he lived until last year, when he relocated to Los Angeles. During childhood, Damian was naturally drawn to classic pop music, and inherited from his grandfather an affection for showtunes which continues to exert itself in the strangest of ways. He spent his teens immersing himself in the sounds of hip-hop, electro, soul and funk, before discovering house, hardcore and jungle at university - sparking a love of twisted, innovative dance music which endures to this day. After working as Music Editor then Assistant Editor at Dazed & Confused, Lazarus joined London Records and in 2001 became head A&R of the City Rockers label. Here he helped sign and release some of the biggest tunes of the era, including Felix Da Housecat's 'Silver Screen Shower Scene' and Tiga & Zyntherius's 'Sunglasses at Night'; his Futurism and Futurism 2 compilations remain the definitive documents of electroclash, not only providing a snapshot of the underground at that crucial moment in time, but mapping its future too. Damian received a major Djing break in 2002 when he was invited to spin at Barcelona's Sonar Festival and by 2003 he had residencies at some of the best club spaces in the world. His tenure at Circo Loco (DC10 Ibiza) has become the stuff of legend and found him consistently breaking boundaries of sound and stamina, freaking out the dancefloor and taking those on it to places they never knew existed, and may never get to again. "I thought a lot about these dj sets when pre-producing the album; especially the idea of placing off and strange melodies within a 4/4 dance music structure. It's amazing what you can achieve when you're into weird stuff", he says. Inspired by the new energy and possibilities in international club culture and music, Lazarus founded Crosstown Rebels in 2003, the label's records offering all kinds of unique and twisted angles on cutting edge electronic music. Recent releases on Rebels from Jamie Jones, Seth Troxler and Riz MC have found the label consistently breaking new ground and the new imprints CDR (a digital only label) and Parkside Rebels (a more leftfield pop label) are set to change the rules once again. A year ago, Damian began Lazpod (http://www.lazpod.com), a monthly excursion into weird and wonderful sound, a radio show that draws influences and inspirations from all corners of the musical spectrum and is delivered in a fun and laid back style. With many thousands of fans across the globe, Damian uses the show to let listeners in a little closer to his experimental and eclectic tastes. "Lazpod is a great entry point for new listeners to my music", he says, "and has been setting off warning signals of what might be coming on my album for some time". A number of popular and critically acclaimed mix CDs have appeared in the last five years, charting Damian's personal development as DJ, listener and supporter of new artists: Rebel Futurism (2004), Rebel Futurism (2005), Bugged out presents Suck My Deck (2005), Get Lost (with Matthew Styles, 2006), The Other Side (2006) and Sci:Fi:Lo:Fi 2: Night of The Dark Machines (2008). Damian's hotly anticipated debut artist album, Smoke The Monster Out, is another expectation-confounding gesture from this restless musical mind. Released via Get Physical, the album boldly steps outside the realm of what one might hear in a Lazarus DJ set. Featuring his own vocals and riding a vast plain of influences - Neil Diamond to Photek, Bjork to Jeff Buckley - Lazarus demonstrates his keen ear and meticulous attention to detail in a collection of heartfelt, grievously honed tracks delivered straight from the soul. It's a sensitive record, a bold record and above all a celebratory record - one which revels in the pure pleasure, healing quality and dream-potential of music. "It took me a while to start producing", he says "but once the juices started to flow I knew immediately that this was to be the best musical project I ever created". A groundbreaking live set to accompany the album has been built from scratch, enhancing different elements and including new club versions of the more introspective album material. Featuring decks, effects (no laptops) and a live visual show, this club tour will debut at the legendary SXSW festival in March 2009, continuing onto Miami WMC with a DJ session at his own Crosstown Rebels party at Electric Pickle, and culminating in a live set for Get Physical's event at the Winter Music Conference. A subsequent live tour featuring onstage collaborations with producers Luke Solomon, Arthur Jeffes and vocalists Taxi Taxi is being developed for later in the year. Damian Lazarus is a believer in giving people something exciting, unusual and idiosyncratic. He lives life to the limit, always rebelling, always moving forward: that's Damian Lazarus.

Friday, May 9th 2014 The Mid and React present.... WHERE IS YOUR CHILD? :: BOYS NOIZE :: [ www.boysnoize.com ] :: ZEBO :: [ www.djzebo.com ] Buy Tickets >> http://bit.ly/Ob54jO call 312.265.3990 For Tables and Birthday Packages The Mid 306 N Halsted Chicago, IL. 60661 10pm-4am | 21+ 312.265.3990 (info/table reservations) NO DRESS CODE Follow us for updates/contests :: www.reactpresents.com www.facebook.com/reactpresents www.twitter.com/reactpresents www.instagram.com/reactpresents

Glow Washington DC Presents: Afrojack Apster Friday*May 23, 2014 Doors at 9PM | No dress code | Ages 18+ Bottle Service: *Tables@echostage.com | 202.503.2331 Echostage • 2135 Queens Chapel Road NE • Washington, DC * Grammy award winning DJ and producer,* Afrojack, is one of most notable and iconic names in electronic dance music (EDM) today. At only 26 years old he has made a large impact on the music industry and is a key player in the worldwide explosion and popularity of EDM. In 2013,* Forbes *magazine crowned him as #7 on ‘The World’s Highest Paid DJs List’ and this year The Hollywood Reporter called him ‘’a global icon’’ set ‘’to conquer the *world.’’ *A talented producer and artist Afrojack is versatile and creative with his sound whether creating club hits or producing and remixing for the likes of Beyoncé, Pitbull or Madonna. Afrojack is adept at shifting between genres and playing with his sound and it’s easy to see why his skills are some of the most sought after in the world. Releases on labels like* Spinnin' Records, Afrojack’s Wall Recordings and Steve Aoki’s Dim Mak and remixes for Laidback Luke, Sidney Samson, the Bingo Players and Hardwell. All big achievements that make 26-year-old Abdesamad Ben Abdelaouid, better known as DJ Apster, definitely stand out from all the talented DJ/Producers that the Dutch house scene has to offer. * * *

Claude VonStroke does not scowl and look mean while he DJs. He does not pretend to know everything and he will be nice to you and your friends. He is grateful to be doing music for a living and he knows that the reason people go to parties is to have fun. If you want to act cool and not have any fun then please do not book him. The name "Claude VonStroke" was a random joke that caught on after a series of tracks grabbed the attention of underground dance music in 2005. His very first record, "Deep Throat," was an unusually quirky affair that caught fire worldwide and he has been blessed with similar success stories ever since. Claude's real name is Barclay Crenshaw, a guy raised in the suburbs Detroit who wanted to be a filmmaker but always had a knack for music. After several different film careers of varying success and with some help from his friends, VonStroke started the "dirtybird" label at the very late age of 32.

Led X Goldenvoice present... Borgore http://therealborgore.com/ https://www.facebook.com/Borgore https://soundcloud.com/borgore https://twitter.com/Borgore Borgore (Asaf Borger) is an Israeli producer and DJ who in the last few years has pushed and broken the boundaries of dubstep as we know it. Borgore destroys dancefloors with his heavy bass and dirty lyrics that keep his consistently sold out shows in a twerking frenzy of cake and sweat. Borgore knows how to bring out the fun, crazy and wild partier in all of us. Borgore might be one of the craziest live acts in the Edm scene right now, but he’s also known by those close to him as one of the hardest working producers, constantly trying new things and working on fresh music to push the boundaries of his genre even further. He’s been all over the past few years, collaborating with Cedric Gervais, Carnage, Dev, and Waka Flocka. Congorock http://www.congorock.com/ https://www.facebook.com/congorock https://soundcloud.com/congorock https://twitter.com/congorock From underground phenomenon to emerging star of the world’s biggest dance floors: one of the hottest fresh faces of international dance music hails from Italy: Congorock. In only two years, with the single Babylon, the remix of Somebody to Love (Boy George/Mark Ronson), and One (Swedish House Mafia), Rocco Rampino has earned the respect of the most famous names in the game, like David Guetta at the legendary Cocoricò of Riccione where he recently shared the console. The Leccese’s powerful electro-house sound and his tropical deejay sets have gained the support from Afrojack to Diplo, from Tiësto to Benny Benassi, from Martin Solveig to Duck Sauce and the Crookers. Hucci https://www.facebook.com/huccii https://soundcloud.com/hucci https://twitter.com/olliehucci Ollie O’Neill, better known under the alias Hucci is a Brighton-based trap producer and it's hard to believe that one of the UK's freshest is just 18 years young. With a few BBC Radio 1 features under his belt, this up-and-coming DJ is already sharing sound waves with the likes of Diplo, Flosstradamus and Brodinski. Influenced by acts such as Baauer, ScHoolBoy Q, Araabmuzik, and Joey Bada$$, Hucci produces mostly trap and hip-hop tracks. However he creates tracks that break away from generic trap music. Between his seamless transitions, fitting samples, and creative melodies, Hucci has a deep understanding of how to make catchy and unique tracks. Between the club bangers and chill sensual tracks, Hucci is definitely a rising star to watch out for. ___________________________________________________ The Warfield* http://www.thewarfieldtheatre.com/ https://www.facebook.com/warfield https://twitter.com/thewarfield ___________________________________________________ Led: www.myLifeEveryDay.com/ www.facebook.com/LEDpresents www.twitter.com/LEDpresents ___________________________________________________ Goldenvoice: www.goldenvoice.com/norcal www.facebook.com/goldenvoicesf www.twitter.com/goldenvoicesf www.instagram.com/goldenvoicesf