clubmaster
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Description XS Las Vegas presents *Friday, April 18th* * ARTISTS Zedd* Kris Nilsson* * *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 instagram.com/xslasvegas
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Description XS Las Vegas presents Steve Angello, Saturday April 19th * * ARTISTS Steve Angello* Kris Nilsson* * * *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
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These show are SOLD OUT, tickets can be found on Stubhub. with guest DJ Rapid Fire Shaking the Habitual, the album, lays the groundwork for this show. Based on the artistic and political ideas therein, we play with the expectations and question habits of the concert, the dance performance, the club and the music festival. Working within a highly commercial, professionalized and male-dominated music industry, we strive to twist and strangle hierarchies to find other ways of organizing work and its conditions. Disrespecting borders between digital and analogue, fake and real, professional and dilettante, star and cast, experimental acts and glamorous shows, nature and culture, audience and artist, blood family and chosen family, dance and action, a Buchla and bongo and the sound of a hit and a kiss.
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Mustard Pimp and Run DMT come to Boston on April 17 for a once in a life time performance together at Rumor. Show starts at 8pm and is 18+
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Boy George Put on the spot on a TV show and asked the title of his next album, Boy George blurted out This Is What I Do. It wasn't as random as this story suggests, the title was one of a few being mulled over, but the decision was instant and it has stuck.* The simple statement of fact -- This Is What I Do -- is telling and significant because so much has gone on over the years to actually obscure what George does and who he is.* "It's about re-establishing myself musically to say this is what I do. I was at the Brits a couple of years ago and some unexpected people were giving me name checks, like Cee Lo Green and Arcade Fire. It made me think, a lot of people know who I am and have this affection for me but they don't really know why they like me. I had to ask myself, well who and what are you?"* George is famous enough for all of us to have an opinion and think we know who he is. On This Is What I Do we are likely to be confounded. Close your eyes, empty your mind, and as another '80s pop star once said, listen without prejudice. This may be the best record he's ever made. It's the record he's always had the promise to make but only now through life experience has been able to find a direct line to his muse.* In the process he freed his spirit to explore not just his own psyche but the diverse influences that have inspired him over the years -- from dub to rap, Woolwich to Jamaica, glam rock to country, mean streets to sunny uplands.* "I went back to the soul, the essence of what I do. That's been important for me. There have been a few periods over the years where I didn't listen to music. It was almost like the birds stopped singing. I can measure my own wellness by how much I listen to music.* "With this record we were playing lots of stuff in the studio, random things that weren't anything to do with what we were doing, but to get a feeling. We were listening to lots of what I call baggy music, music that is not programmed, slightly out of time, a bit loose, has its own footprint. I do a lot of dance stuff as a DJ and in collaboration with other people and I wanted to step away from that and do something more organic. I know that's clichéd, but that's what I was after." The list of listening ranged from early Bowie and the Stones to Cockney Rebel, Nico and Lou Reed.* "The album was easy to make. There's a lot of love on it, a lot of love, and people I've worked with over the years came and contributed." Just that statement, to those who knew George in his Culture Club days is shocking in itself. Recording sessions were always filled with drama and George hated the studio environment virtually being dragged in to do his vocals and running out as fast as he could.* "Making albums has always been a drama for me, but this was just beautiful and if I do another Culture Club record it has to be fun. It doesn't have to be a headache. We get paid to do what we love. It's such a pleasure to do what we do.* "The album started off with reggae as the template but then it branched out into other things. We didn't want to restrict ourselves because you've got to honour the song, so if a song has a certain type of energy you can't force it into a genre.* "We went back to the '70s, which was the time that shaped me as a musician and a person. The '70s was such a bonkers decade, everything from the Sex Pistols to The Goombay Dance Band. Even though Culture Club were associated so much with the '80s, our roots were in the '70s -- reggae, glam rock, punk rock, disco, electro. I think this record is very '70s."* George has stretched his musical repertoire while retaining his soulfulness and pop sensibility. He's found his inner rock god on "My God," explored country swing on "It's Easy," entered a dream-like altered state on "Any Road," gone sultry and wistful on "Death Of Samantha," and reminded us, and maybe himself, of his playful side on "Nice And Slow."* The exploration of his musical roots mirrors the personal journey of self-discovery he has embarked on since becoming sober in 2008. Another milestone was turning 50 two years ago.* "It was a huge turning point for me. I thought I've got to get my s~~t together, I've got to focus, this is important. I just felt I'd wasted a lot of time. I looked at myself and thought, God, I've done nothing. I know I've done a lot, I've always worked, I've grafted and always made money, but a lot of it was pointless because no one knew what I was doing."* He changed management, got a new DJ agent and set out on the path to show the world the real Boy George, the one who had been obscured in a haze, some of it his own doing, some of it simply the myths that had built up around him.* There is a growing acknowledgement that George is one of those artists whose reputation needs to be reappraised. There has been a steady stream of these over the years. Antony Hegarty paid his tribute to George when they duetted on "You Are My Sister" in 2005. In 2010, Mark Ronson invited George to sing on "Somebody To Love Me." Earlier this year George was a guest of Yoko Ono at the Meltdown festival.* This Is What I Do is set to further enhance that reappraisal and show the world that George is not only back, he's an important artist with an irrepressible zest for life. When you connect your ears will quiver, your soul will shiver and you'll want to dance like Saint Vitus.
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["Digital (Every Monday)Monday, April 21, 2014grand Launch Party!Eclectic Grooves & Sin Factory Records Present:\"Digital\" A Weekly Series Featuring", "Digital (Every Monday)Monday, April 21, 2014grand Launch Party!Eclectic Grooves & Sin Factory Records Present:\"Digital\" A Weekly Series Featuring"]
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These show are SOLD Out, tickets can be found on Stubhub. Shaking the Habitual, the album, lays the groundwork for this show. Based on the artistic and political ideas therein, we play with the expectations and question habits of the concert, the dance performance, the club and the music festival. Working within a highly commercial, professionalized and male-dominated music industry, we strive to twist and strangle hierarchies to find other ways of organizing work and its conditions. Disrespecting borders between digital and analogue, fake and real, professional and dilettante, star and cast, experimental acts and glamorous shows, nature and culture, audience and artist, blood family and chosen family, dance and action, a Buchla and bongo and the sound of a hit and a kiss.
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with Rooz and Bo Art Department is the brainchild of Canadian techno/house Legend Kenny Glasgow and Canada’s fastest rising star and No.19 label owner – Jonny White. As individuals both Kenny and Jonny have released countless critically acclaimed records and are regarded internationally as two of the most forward thinking, relevant underground producers out of North America. Kenny’s credentials date back to the late 80’s and include productions on Narcotic, Jinxx, his own Method 11/11 label and Turbo. Whilst White’s revered No.19 Music label along side a blindingly fast – growing discography have seen him rapidly rise to the forefront of the international scene.
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When the Grammy Award winning group Dirty Vegas was founded; the mold of the electronic fused bands was broken. Not a mere two turntables and a microphone Dirty Vegas are true musicians. Founded by Paul Harris, Steve Smith and Ben Harris the group has become one of the most recognizable names in EDM. The band's 2001 debut single “Days Go By†appeared in a now-iconic television advertisement for M ... itsubishi and became a benchmark that set a new model for the marketing music in advertising. The single with its magnetic original video catapulted Dirty Vegas to Grammy success winning the group Best Dance Recording in 2003; the first year the award was given in that category. The two years that followed were a roller coaster that included the release of their eponymous debut album and headlining their own worldwide tour supported such like-minded artists as Moby, Underworld and Groove Armada. Dirty Vegas also went on to sell over 1 million albums and was named Electronic Artist of the Year by Playboy Magazine in 2002. Since then Dirty Vegas has gone on to release two more albums; 2004’s ‘One’ and 2011’s 'Electric Love'. The group has continued to gain numerous accolades and awards including a No. 1 hit on the Billboard Dance Chart, as well as being featured in major film and TV shows like ‘The O.C’, ’One Tree Hill’ and ‘Running Scared’. Dirty Vegas have also licensed music to a plethora of projects such as ‘Goal!’, HBO’s hit series ‘Girls’, Lucas Films ‘Star Wars Kinect’ and‘ The Boys and Girls Guide to Getting Down’. Of course when Dirty Vegas is not in the studio creating their masterful works they are touring the world. From DJing some of the most famous nightclubs to their live performances at the most prestigious festivals, including appearances at Ultra Music Festival, Coachella and SXSW. Thought a highlight for Dirty Vegas was becoming "unplugged" playing an intimate acoustic performance with a 30 piece Orchestra at the New World Symphony Hall in Miami during the Winter Music Conference. In 2011, Ben Harris felt that he had fulfilled all that he could as part of the Dirty Vegas project and parted ways with fellow bandmates Steve Smith and Paul Harris to pursue other interests, including his recently launched Pulse Locker, a cutting edge music library for the DJ set. Despite this, Ben, Steve and Paul remain friends and enjoy getting together when their paths cross. With the new Dirty Vegas emerging the now duo are always writing and creating new sounds and styles to play with. And though busy schedules often keep the Steve Smith and Paul Harris busy with their solo performances technology has enabled them to co-produce music apart more than ever. “With us being in different countries most of the time, most of our writing comes together by working remotely,†says Steve Smith. “When we meet up for shows, we’re able to dissect what we like/don't like and bring the best to the new recordings. Electronic music has finally arrived in modern terms and we're excited by the scope and range of styles out there, we hear new music that inspires us and makes us want to keep pushing ourselves†In a career that started over 10 years ago, the Grammy winning duo of Steve Smith and Paul Harris are ready for the next step in the evolution of Dirty Vegas. They have spent the first half of 2013 working on new material,and have completed their next official release; an EP titled Let The Night that will be released towards the end of the year. In the US, Let The Night will be the band’s first release self-released independent record, an exciting opportunity that was not a reality when any of their previous albums. Let The Night will be represented for sync-licensing in the US by Pig Factory and will be released on Rostrum in North America and D:Vision Records in the rest of the world. ~AXS
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BostonVIPList presents: The Third Annual Cinco De Mayo Party Cruise! What better way to kick off the summer than CINCO DE MAYO on the first bash of the season! Party with over 1000 PEOPLE in what has been Boston’s #1 Party Cruise for 3 years! Location: 200 Seaport Blvd, Boston, MA Boat: The Provincetown II Boards @ 6:00pm SHARP *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 boat for new users!
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The Nightmares on Wax story is one that spans decades and genres. The moniker of George Evelyn, he stands as Warp Records’ longest serving artist with both celebrating their 25th anniversary in existence this year. To mark this occasion NOW is releasing N.O.W. Is The Time, a 2-disc best of release comprising the greatest hits as well as a special edition box set Deep Down: Remixes & Rarities which also features unreleased material, new and classic remixes, and a book of memorabilia and interviews. Nightmares on Wax came up in the 80s UK B-Boy and graffiti scene enamored with New York Hip Hop and was an innovator in merging those sounds and feelings with the popular sounds of the UK at that time to pioneer what became dubbed ‘trip-hop’. Releasing classic albums such as Smoker’s Delight and Carboot Soul and working with the likes of De La Soul and Roots Manuva established NOW as one of the definitive purveyors of hip hop, funk, dub and soul. 25 years on his fanbase is still growing. His recent Boiler Room DJ set (
) has over half a million views and after his successful US tour following the release of his most recent record Feelin’ Good, he is about to embark on his largest US tour to date. ~AXS -
TIGA The origins of Montreal born DJ-producer-incipient Teutonic legend Tiga lie to the vague and troubling East, where he was weaned on the nefarious milk of the notorious 1980s Indian club scene.“To the unforgiving eye,†he says of the sybaritic night-kingdom,“a world of filth and decadence is revealed. For example, I’m fairly certain that more than a few club owners had an unsavory arrangement with the man who brought the folding chairs. I was at once appalled and enraptured. After that, I had no choice in the matter.†* In 1990 Tiga and a few friends started throwing small parties and street promotions in Montreal that evolved into a cult following. Having bought DNA records in 1994, the nightclub SONA was then conceived in Montreal in 1996, with Tiga having a major role to play in the creation of the dance scene at the time. A few years later in 1998, Tiga founded Turbo Recordings, which went onto release records such as Peter Benisch’s “Soundtrack Saga,†Christopher Handlebar’s “To a Time of Asia†along with Tiga’s own “Mixed Emotions†and “American Gigoloâ€. The recording studio secured global distribution with Prime, Intergroove and Caroline. * In 2001, Tiga entered the studio with producer Zyntherius to record a rendition of Corey Hart's solo song, “Sunglasses at Night.†The track also made it to number two on the UK Dance Chart, number 23 on the UK National Singles Chart and held down number one on the MTV Dance Chart for over six weeks. Between 2001 and 2005, Tiga completed remixes for the likes of Martini Bros, Alipinestars, Telepopmusik, Felix da Housecat, Fischerspooner, r Depeche Mode, The Vests, Moby, LCD Soundsystem and many more. During this stint, he commanded the most attention attention of the scene with a mix CD for K7’s legendary DJ Kicks series, followed by the release of Tiga’s version of Nelly’s “Hot in Herre,†which was licensed in the UK by Skint and Warner Music Germany. * 2006 marked the release of Tiga's debut album, Sexor, which won the 2007 Juno Award for Dance Recording of the Year and he quickly followed the success of the album with the hit "Mind Dimension" in December 2008. And after the huge successes of his iconic debut and enormous single, the release of Tiga's second album, Ciao! took place in 2009. Collaborators included serious heavy hitters the likes of Soulwax, Jesper Dahlbäck, Jori Hulkkonen and Jake Shears, as well as James Murphy of LCD Soundsystem, and Chilly Gonzales. And most recently in November 2012, Tiga released his first single in 6 years, Plush on Different Recordings, which was then remixed by Ame, Jacques Lu Cont and Sinichi Osawa. He also compiled a mix CD called Tiga Non Stop, which features songs by Duke Dumont, Jacques Greene and Locked Groove. * Since 2006 there are few DJs or producers that have remained as prolific as Tiga, as he has remained incredibly active on the tour scene, performing more than 300 concerts from then until now and creating hits along the way.
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French Horn Rebellion are Robert and David Perlick-Molinari, two brothers born and bred in Milwaukee, Wisconsin, currently residing in Brooklyn, NY. In 2007, younger brother Robert was playing French horn in the Chicago Civic Orchestra, and decided to make hot beats instead. After telling the conductor that Mahler isn’t fun anymore he asked his bassoon-toting brother, David to join with him. And so it was, a French Horn Rebellionbegan.
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Stacey Pullen is the Kosmik Messenger. An innovator from the Second Wave of Detroit techno, he grew up under the mentorship of Detroit's legendary three: Derrick May, Juan Atkins and Kevin Saunderson. Still continuing to produce his characteristic atmosphere laden electronic sound, Stacey Pullen compounds his reputation as a producer with that of being one of the world's most in demand DJs, playing weekly across the globe year in, year out. With a font of passion for music and performance that never dries up, Stacey Pullen still plays every gig from the heart seeking to surprise and engage, to provide an unforgettable experience, to offer up his unique catalogue without predictability - defying expectation. Above all, from his earliest attempts to the current day Stacey Pullen has stayed true to his one goal: to become and to always be an Innovator. Sp From the age of 9, playing flute in his school band, Stacey has always been playing musical instruments. Throughout his school years, he developed a fantastic groundwork in analogue instruments and performance, moving from flute to his self-taught next choice of percussion. In his final years at school he found himself traveling around to a lot of cities in the USA playing in school bands, which gave him a taste of – and preparation for – the traveling involved in life as a musician. He had also seen and been prepared for a musician's life from watching his father who was in a Motown band called the Capitals in the 1970's, filling much of Stacey's childhood with observations of a life dedicated to music and travel. Around 1985, while Stacey was still drumming and traveling with his high school band, the Detroit Techno movement was born, and provided a revolutionary sound to the youth of Detroit. The Electrifying Mojo filled the airwaves with this radicalism through new electronic rhythms, and showed a generation or more of musicians and DJs what true musical eclecticism means. Jeff Mills began to take musical technology to new levels redefining the borders between DJing and production in a way which had never been done before. DJs in Chicago like Farley Jackmaster Funk, Ralph Rosario and JM Silk were spinning proto-Chicago tunes on WBMX and Hotmix: they were the leaders of the new school of black music. The youth of Detroit, including Stacey, were listening and learning. Stacey Pullen and some friends from his band took their cue from these musical leaders and began to experiment with turntables and a mixer. He would – as have many aspiring DJs since – spend his allowance on records and go hungry, going straight from school to the house of his friend who had equipment. He also started clubbing around the age of 15, the first club he frequented was called 'The Primadonna', the first DJ he remembered was a local legend called Alan Ester and the first music he was clubbing to was called 'Progressive Music' – not in the sense of the word that we currently understand, but because, in Stacey's words "back then the music we called house music, techno, was also called progressive music – the meaning of 'progressive' was a futuristic way of thinking about music. That was what we called progressive. Back then for party music in Detroit only hip hop was big - music like techno was progressive then." His first DJing gig came in May 1985. It was also his first high school party and his first ever drink of beer. Stacey doesn't remember much about the music, but he certainly does remember the experience: "It was that gig that let me know how tough it was to be a DJ. We set up the whole thing, brought the sound system, rented the hall, loaded in, loaded out and went home with 20 bucks a piece in our pocket. But it was more than money, to have that outlet - to have that power and make people respond to the music that we played." Stacey graduated and went to university in Tennessee, which was devoid of the progressive sounds of Detroit, and artists like MC Hammer reigned. He DJed at a few gigs, playing Model 500 and Rhythm is Rhythm and clearing the floor. He would make the eight-hour trip home at weekends to go to legendary Detroit club 'The Music Institute', and get his fix during the week with tapes he would share with fellow Chicago and Detroit students also left high and dry in Tennessee. In 1989, while still at university, Stacey bought his first drum machine – a Yamaha RX7, he thinks. Between the excitements he felt playing and the experiences he was having on the weekends, Stacey was left wanting more than he could fit into his university life. He decided to quit school and return home to Detroit and make a life of music. His parents, with his father's own musical history, supported Stacey's decision and he returned home, moved back in with his parents, and quickly started to develop his musical ambitions. Sp001 Almost living at the Music Institute, Stacey quickly got to know the leading lights of Detroit's underground: Alton Miller, Chez Damier, Derrick May. Alton was living in the same building as the club, and showed Stacey a lot of the background activity, including watching Derrick May making his tapes for his weekly radio show. Stacey approached Derrick, and told him that he made music - Derrick invited him to play some to him. From here, Stacey started hanging out at the Transmat studios and became friends with Jay Denham, who was recording on Transmat sub label Fragile as 'Fade to Black'. Jay was the main studio engineer for Transmat, and had full access while Derrick May was away. Stacey watched Jay work, and absorbed a lot of knowledge. Stacey started putting more sophisticated beats together, making his first real tracks. He played some to Derrick who told him " it's cool but you need to work harder". This pushed Stacey to become more thorough, to understand music better. He says: "It was a good thing. It made me work harder, it made me realise that it's not just about making music. It's more than that: the passion you needed to have, the innovation we needed to have, what it is to be an artist." A couple of years later, in 1992, Derrick suggested that a good way to develop his skills would be for Stacey to do some remix work with Kevin Saunderson. Stacey began to work with Kevin on remixes including one for Karen White - 'The Way I Feel About You' and some which never made it to print, including one for the Prodigy. While Kevin was originally commissioned, he asked Stacey to do his own remix. The Prodigy liked it, but their label didn't. Stacey kept the backing track without the Prodigy samples, and turned it into his first track which was later released through a subsidiary of KMS in 1993. After some more time perfecting his craft Stacey again played some original sounds to Derrick, who agreed to release his first Silent Phase track 'Ritual Beating System' as the 'Bango EP' on Fragile, which was Derrick's experimental label. Stacey was also invited to submit this track to a compilation of new Detroit artists on KMS. At this point Stacey truly became part of the Transmat/Metroplex/KMS team – the three studios worked very closely together, and were housed on different floors of the same building in downtown Detroit. Stacey now felt he had truly arrived as an artist: "It made me feel really well, once we released Silent Phase I felt I was part of the crew. I had respect amongst my peers, so I didn't care how much money it made. That record introduced Stacey Pullen to the world." This was true – quite literally – as in early 1993 Derrick, who was spending most of his time outside the USA at that time, started encouraging Stacey to play gigs in Europe to widen his audience and support the single. He invited Stacey to join him in Amsterdam for a month – that month became a year. He spent twelve months both as a teacher – educating Europeans as Electrifying Mojo had educated him about the electronic sounds of Detroit – and as a student – learning to DJ in a very small and competitive scene. He moved in with Derrick and together they toured Europe every weekend playing Detroit techno to what Stacey remembers as an enthusiastic and interested audience. Amongst the greats of US electronic artists he would play his own unreleased joints, and learned how audiences received his own creations as well. It was an intense education into the world of DJing, and had its share of disasters including Stacey's very first European performance: "My very first DJ shows in Europe, I showed up with no records because my luggage got lost! I had to borrow other people's records. It was a testing time for me but I learned a lot from it. It wasn't the best gig, but it was exciting more than anything. Imagine – my first gig ever - not showing up with my records! I had been DJing in the bedroom since 85 and this was 1993 but I think the guys that brought me over were so excited that I was there. Being in Amsterdam, DJing was the thing that kept me going. Amsterdam was and still is a very competitive market for DJs. We were at record stores every day, buying records. As outsiders Derrick and me were very competitive, it was a good competitive spirit that made me develop my skills. I learned a lot, I learned how to play different styles. I was hearing a lot of music that wasn't coming to Detroit, I was going into different record stores and listening to different styles of music." Stacey began to play high profile gigs at clubs like London's Ministry of Sound and Paris's Rex Club and began meeting the DJs and artists that worked in Europe, like Laurent Garnier, Frank De Woolf and more. He talked with all who would listen about Detroit music. Paying attention was Renat and Marcus Salon from Belgian super label R & S, who invited Stacey into the studios to make a record, which ended up becoming the first Silent Phase album, 'Theory of Silent Phase' in 1994. Stacey met many techno artists through this time at R & S including CJ Bolland, The Advent's Cisco Ferreira, and Robert Leiner. But it was Marcus Salon who was most influential: during the making of Theory of Silent Phase he showed Stacey a lot of new technical knowledge at the vastly bigger and very well equipped R & S Studios. Coming from the makeshift Detroit studios, there was a lot to learn! After a year, Stacey moved back to Detroit, ready to establish himself and start his own label. However, what he had started in that year in Amsterdam was a way of life which has never stopped to this day: almost every weekend since then Stacey has flown out of Detroit to a location somewhere in Europe – or elsewhere – to DJ for crowds wanting to taste a never dry appetite for new electronic and techno sounds. Throughout 1994 he commuted between Europe and the USA, finishing the Silent Phase album at R & S and DJing. He also made his first trips to Japan, South East Asia and Australia to DJ. By then he was busy enough to require an agent, and was being booked by Transmat's agent Laura. His association with Transmat was a red carpet to gigs all over the world. By then he had released another Fragile track 'The Sphinx' as Bango, and the first Silent Phase album was ready for release on Transmat in association with R & S. Not without its difficulties, mostly caused by recording on both sides of the planet and having to keep the sound consistent where possible between two analogue based studios, 'Theory of Silent Phase' was well received, although today he has regrets about the mastering, and Stacey played a lot of dates that year in support of the album. Flooding in after the album release were a lot of offers for Stacey to record on other labels, including one from Mr. C to record on his UK label Plink Plonk. Stacey had met Mr. C a long time before when the Shamen invited him and Kevin Saunderson to remix The Shamen in another never-released project. This resulted in a couple of releases on Plink Plonk by the alias 'Kosmik Messenger' – 'Eye to Eye' and 'Flash' - both released in 1995. He was also DJing a lot of dates at The End and around Europe, which continued non stop until 1997. Through his releases on Plink Plonk, Stacey was then invited to release on the new Belgian label 'Elypsia' as 'Kosmic Messenger', which led to the release of his second LP 'The Kollected Works of Kosmic Messenger', which Stacey recollects as a 'straight up techno album' for him, after the more spiritual first album on Transmat. He had 100% control over the album from the tracks to the artwork, which was produced by himself and his girlfriend at the time as a conceptual art project. Sp-05 In 1998 Stacey was invited to produce his very first major label release on Virgin Records, and at the same time was planning to open the label he had wanted to start for about three years 'Black Flag'. He also recorded a more conceptual LP 'Today is the Tomorrow You Were Promised Yesterday ' for Virgin imprint 'Science', the first under his own name. He was very much influenced by his research into the history of Jazz, and – with the support of Virgin – used unorthodox ideas including the inclusion of an Opera Singer on one track 'Vertigo'. His release featured remixes from influential artists of the time like Dave Angel and 4 Hero. Stacey felt proud of the album, but its' release brought him a mixture of happiness and disappointment. "This album gave me respect from avant garde purists, who love music other than techno. The only thing I was not happy with is that it never got a proper US release because it wasn't Aphex Twin or Chemical Brothers. At that time, this was an album that needed to be heard. It was inspired by jazz, roots and culture but wasn't nerdy music or breakbeat music. It was too fast forward, and not getting a proper release still bugs me to this day." Stacey Pullen was spending very little time in the US, despite his home in Detroit. He spent the next few years DJing, developing his taste and his ideas about himself, every so often coming home to his proudly self-built studio in downtown Detroit. He also started Black Flag with his partner of that time, and started releasing records as 'Black Odyssey', starting with 'Sweat' in 1998 and then 'The Stand in 2000'. Around that time, as vinyl started to look a little shakier and after 8 years of consecutive releasing and touring, Stacey took a break from recording. Despite the number of offers he was receiving Stacey has always wanted to be conservative with his releasing schedule – keeping an audience attentive and wanting more rather than being over saturated. He preferred to aim for timeless music so Stacey felt that he would be better to have a break from recording rather than release anything less than classic. He began to ramp up his DJing schedule even more, and spent the next 4 to 5 years concentrating mainly on furthering his own musical education. "I thought that maybe I needed to get back out in the DJ circuit and find out what was going on. I made it a point to go to places I've never been before and see people's responses to what I played, and I've been doing that until now. It has been a good ride so far." Black Flag went on hiatus in 2001 and Stacey let the world of production – very much in flux in the early 21st century – take its course for a little while, while he concentrated on DJing. As one of the very few Detroit DJs traveling to Europe, he has still felt the need to provide some education about new underground electronic music – from Detroit and otherwise. Through this time, Stacey's reputation as a DJ became as much of a draw card as his reputation as a producer, and he became renowned for long, experimental, adventurous and soulful journeys through music that lasted at least 5 hours. For Stacey 2 hour gigs are just a warm up! He sees each set as a 'best of' all dance music through time – there is no one style he prefers, Stacey just plays the best of everything, with an emphasis on passion and innovation: no two sets are alike. 2007 sees Stacey still on the road DJing each and every weekend, bringing his signature eclecticism to some lucky part of the planet, however many things have changed in the last 5 years in terms of a Stacey Pullen show. More opportunity to provide spontaneity and personalisation than ever exists, because of new technology, and Stacey is taking advantage of all of it! Many tracks he will play on any given night are e its he has created while traveling to a gig during that day! He DJs original tracks from vinyl, but many of his own edits and tracks are freshly burned to cd – edits of tracks he has made, he has been sent by other artists, promos, tracks he has bought. As a result, every set becomes more personalised, more unique, and indisputably a window into Stacey's musical passions. Spad The lure of this technological innovation has also brought Stacey back to the studio, making his own tracks and executive producing other artists. Also, excitingly, he has rekindled his Black Flag label and has been preparing new releases using a mixture of analogue equipment and digital post production which he thinks are amongst his best ever work, plus plans to release older material which has never been heard before. These days the DJing and the production go hand in hand in terms of his enjoyment and inspiration. "I'd say I'm one coin with 2 sides. Heads and tails can't have one without the other. I have built my reputation more on being a good DJ, but the music I have put out and created has been well received. I have always strived for longevity, and I think right at this moment, my fans haven't heard the best of what I have to offer. I've also got loads of unreleased material that will be released, from 8 years ago and it sounds like it was made 2 weeks ago. It's going to be coming out on Black Flag in summer time here: June or July. Right now all I'm doing is sitting in the lab making the masterpiece. The future of music for me is exciting and will be an adventure, I'm excited about it and this is just the tip of the iceberg."
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Borgore is the alias of Israeli dubstep producer Asaf Borger, who is currently releasing tunes through Shift Recordings, Terminal Dusk, Trill Bass, Zaudio, and Mad Decent. He is also a drummer for the death metal band Shabira, and part of the dubstep duo Alphamale Primates, which consists of him and tomba. He has recently finished a massive US tour to sold out dates everywhere and a plethora of positive reviews. He is now in the process of signing with a major label. Under one year this music lover has turned his passion into a career. ~AXS
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Spring Awakening is an Electronic Music Festival featuring the top DJs & Producers from all over the world.
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When it comes to a career the magnitude of Paul Oakenfold it’s hard to encompass one of the true legends of electronic music into just words. For over 3 decades he has elevated and shaped an entire genre and remains one of the leading forces in the global music scene today. His most recent works have taken him from the DJ booth of the worlds hottest nightspots and festivals to the studio producing soundtracks for Hollywood blockbuster movies. His diversity in artistry and ability has earned him accolades from critics and fans alike. Garnering him not 1 but 2 Grammy Nominations for his works. But lets take a step back. The son of a musician, Paul came up as a young DJ in the late '70s spinning Funk in Covent Garden. Not what some might have expected from one of Trances preeminent masters. But he knew then music would be his life. In the '80s 2 life-changing trips took place. The first in 1984 where he spent several months living in New York City working as A&R man for the famed Champion Records signing DJ Jazzy Jeff and the Fresh Prince, as well as Salt-n-Pepa. He also became promoter and British agent for the Beastie Boys and Run-D.M.C. The second trip and more contemporary influence was in 1987 which brought Paul to the White Isle of Ibiza. Here he discovered the Balearic sound that flowed through the Ibiza air at clubs such as Amnesia. Inspired, he took the music and experiences back to the UK and became its ambassador. Paul returned often holding residencies at Amnesia and Pacha in Ibiza. Around the same time Ministry Of Sound in London was opening and tauted Paul as their first resident. However it was his famed residency at UK super-club Cream in Liverpool that brought Paul global respect as a master of his art. It was some say the catalyst to what has made him a touring legend. This residency was celebrated through the Grammy nominated 2004 compilation ‘Creamfields’ (Paul went on to receive a second Grammy nomination in 2007 with his artist album, “A Lively Mind†and then again in 2009 for his production work with Madonna). Oakenfold’s stature as a DJ and entertainer has taken him beyond the normal club and festival circuit, playing landmark gigs that have changed the face of electronic music. Highlights include three worldwide tours warming up for Madonna and U2 (with both artists insisting on a DJ set from Paul instead of a support band); performing physically on the Great Wall of China and two sold out dates playing to 30,000 people at the Hollywood Bowl in California. A year after that first visit to Ibiza, Perfecto was born. Founded in 1988, Oakenfold’s groundbreaking Perfecto record label played an integral role in the birth of trance music, with Paul at the helm producing massive international hits such as “Not Over Yetâ€, “Bullet In The Gun†and “Southern Sunâ€. With countless high profile releases and remixes in its path, Perfecto Records is still the benchmark to which so many labels measure themselves. 20 years later, Perfecto remains as cutting edge and popular as ever, even resurrecting its Perfecto Fluoro sublabel in 2011. Probably Perfecto’s most notable release was the recent double album “Perfecto Las Vegas†which held the #1 spot on the US iTunes dance chart for several weeks. This release solidified Paul’s stronghold as an International DJ power player achieving the highest selling DJ compilation ever released in US history – with over half a million sales. Paul has produced for megastars such as U2, Madonna (including her latest release “Celebrationâ€) and The Happy Mondays. As well as three acclaimed artist albums under his own name. He has remixed Michael Jackson, The Rolling Stones and Justin Timberlake and released over 20 DJ mix compilations. In recent years Paul has also been responsible for creating some of the most breathtaking film scores and cues for a long list of Hollywood blockbusters – including The Bourne Identity, Matrix Reloaded, Shrek 2, Swordfish and Collateral. But his most anticipated release is yet to come. Paul Oakenfold’s newest artist album ‘Pop Killer’ is scheduled for imminent release featuring The Red Hot Chilli Peppers, Gnarls Barkley, OneRepublic and B.O.B. Astonishingly, despite all his success in the worlds of chart music and film, Oakenfold has found time to keep in touch with his roots as a club DJ. Over the past 3 years he has held a weekly residency at the legendary Rain nightclub in The Palms, Las Vegas. Planet Perfecto is a fully produced show with 75 circus performers, cutting edge visuals and special effects - giving the 3,000-strong crowd a truly unique experience. Whether you are listening to a CD, watching a commercial, going to a club or playing a video game; Paul’s omnimedia presence is felt everywhere. Paul Oakenfold is the sovereign of DJ culture and is its most recognizable icon. Paul Oakenfold’s: Perfecto On Tour radio show airs weekly on Sirius XM Satellite Radio’s - Electric Area Channels Saturdays at 8pm EST and rebroadcasts Wednesdays at 12 noon EST.
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CROOKERSKnown for his earth-shaking live performances and cutting-edge albums, Francesco “Phra†Barbaglia has quickly become one of the most prominent djs working today. As the founding member of Crookers, he has shown the ability to not only create massive club hits but also a desire to push the genre forward through fearless innovation and a tireless work ethic. With numerous remix credits for artists ranging from the Chemical Bros to Kid Cudi, a recent, highly acclaimed live set at EDC and a new album in the works, Phra has shown no signs of slowing down.*Born in the quiet town of Omegna, Italy, Phra seemed destined to follow in the footsteps of his dentist-father until a family cruise at age 11 exposed him to the world of dj’ing. From that moment on, he was hooked. Initially focusing his attention on hip-hop, Phra began experimenting with his craft while working at a local club just minutes from his parents’ home. It was here that he began honing his sound, blending elements of house, bossa nova, jazz and funk together into mixes that were unlike anything else at the time.*Not content with simply playing what was “safe,†he continued to push the envelope, and it wasn’t long before he achieved his first major success when, in 2008, his remix of Kid Cudi’s “Day ‘N Nite†reached #2 on the UK sales chart. 2010 saw the release of Crookers’ debut album Tons of Friends. Featuring an all-star lineup that included the likes of Miike Snow, Pitbull and Major Lazer, Phra deftly combined elements from a variety of musical genres, receiving widespread praise from fans and critics alike. The 2011 follow up, Dr. Gonzo, proved to be another step forward for Phra, as he once again showcased his ability to produce catchy club beats without compromising his identity as a boundaries-breaking artist. Never one to sit still for very long, Phra has already begun work on his next album, with two tracks set to debut in October ahead of the planned 2014 release date.*When he’s not busy performing for sold out crowds at festivals around the world or working with some of the biggest names in music, Phra splits his time between his two record labels: Lucky Beard and Ciao Recs. Looking for a way to explore the limits of his profession while working with his friends, what started as a passion project has turned into one of the best sources for underground music available. With artists such as Anubi, Digi and Stabber among the current active roster, all signs point to Lucky Beard and Ciao Recs continuing to be industry leaders far into the future.
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Glow Washington DC presents: Cazzette Swanky Tunes Spencer Brown Saturday April 18, 2014 Doors *9PM | No dress code | Ages 18+ Bottle Service: Tables@echostage.com | 202.503.2331 Echostage • 2135 Queens Chapel Road NE • Washington, DC * Cazzette may have been part of the Swedish EDM explosion of 2012, but they quickly distinguished themselves from Dada Life, Swedish House Mafia, and the rest of the competition when they announced their official debut would be the first ever released exclusively on a streaming music site. Members Sebastian Furrer and Alexander Björklund were two Stockholm producers who joined forces in 2011. After meeting manager Ash Pournouri, the three combined two of the favorite strains of dance music dubstep and house for a sound they called "dubhouse." Bootlegs of Swedish House Mafia and Kanye West tracks introduced their dubhouse to loyal EDM fans, and through Pournouri, they were able to bring this sound to the masses when they made their official debut in 2011 with a remix of Avicii's single "Sweet Dreams." They were signed by Avicii's and Pournouri's management company, At Night Management, that same year and hired to do an official remix of Swedish House Mafia's "Save the World." Released at the same time, their bootleg remix of Adele's "Set Fire to the Rain" was nearly as significant, climbing to number one on*Hype Machine's chart of trending downloads. Gigs at XS and Surrender in Las Vegas, Ushuaia in Ibiza, and Radio City Music Hall in New York City followed, along with main stage slots at festivals like Creamfields, Ultra, and Tomorrowland. In 2012, they released their single "Beam Me Up," and the Strictly Rhythm label collected some of their best remixes and productions on the mix CD Strictly Cazzette. That same year, they made headlines when their debut EP became the first major debut issued exclusively to a streaming music site. The EP, titled Eject, appeared on Spotify in November of that year. Born in 1998 near Moscow, Swanky Tunes have always experimented with different electronic styles in pursuit of their own sound. At first, was techno, before moving into a distinctly big-beat influenced sound. Thanks to their solid musical culture and their outstanding studio skills, the Russian trio quickly managed to become one of the most looked after EDM band.*Apart from touring and performing the biggest stages, 2013 will be dedicated to Showland’s development. A new release will hit the charts each month and big collaborations are already set up. Showland is the perfect place for Swanky Tunes to have their best collaborations being revealed, with a very special eye on international upcoming talents. Showland is also the name of Swanky Tunes’s monthly podcast & radio show, already broadcasted all around the world. Everything’s set up to have Swanky Tunes hanging on top of the EDM world! *
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Hailing from Bergen, Norway, at only 22-years-old, Kygo, is a musical talent gifted beyond his years. Over the past few months we have seen the young star rise, turning in chart topping tracks, from taking on the likes of Passenger, Ellie Goulding, and The XX. With his roots in classical piano training and a desire to deliver unique sounds inspired by the the refreshing summer rays and carefree spirit of the summer-tide, Kygo is a climbing young talent with a repertoire of new music he is ready to present to the world over the next few months. ~AXS
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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
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Rwith Pretty Lights, Daughtry, Justin Moore, Rebelution, Dirty Heads, Trombone Shorty, Supervision, Jilette Johnson and David ock N Roll Jesus is Kid Rock's most honest, eclectic, and soulful record to date. It's his State of the Union address, a deeply personal statement that looks at racism in America, empathizes with soldiers in Iraq (Rock visited the troops last Christmas) and also lays bare his tormented relationship with Pam Anderson. During their breakup, Rock assumed a low profile, focusing on his music for the first time in years. Initially, he teamed up with producer Rick Rubin, who gave him a much-needed jolt of confidence. "I told him, 'there are no classic American rockers right now, none,'" says Rubin. "'You can fill that gap. There's no competition, just get in there and do it.'" Rubin also encouraged Rock to step up his lyrics. "I said, 'Don't say your name in every song. You already covered all that "I'm Kid Rock, let's get drunk".'" Rock immediately wrote what he considers his best song ever, "Amen," in which he points his middle finger at "scumbag lawyers and wolves-in-sheep's-clothing pastors." With the release of Rock N Roll Jesus, Rock is calm and confident, considering what's at stake. Jesus is "a 'make it to the next level' record," he says. "That or go play county fairs for the next ten years." He believes this is his comeback. "It's the best record I've ever made, and it's going to move mountains. I feel more comfortable in my skin than I've ever felt. I know I'm a great performer. I've done that my whole life, but now I've come into my own as a songwriter and musician." Kid Rock released the album Rebel Soul on November 19, 2012, with "Let's Ride" as its lead single. This was his first mainstream album available for download from iTunes. A music video for the explicit "Cucci Galore" was released to You Tube. "Let's Ride" music video was released to AOL.com a week later. Kid Rock and TBT have also, already filmed two other music videos for the album, which are "Happy New Year", and "Redneck Paradise", a song he co-wrote with Eric & Jason Young of the southern rock group, The Young Brothers, for which his most recent "Chill'n The Most Cruise" destinations both 3 & 4 have been nick-named. He performed at several Mitt Romney rallies leading up to the Presidental Election. Nascar heavily promoted the album during the Race For The Chase, which ended in a live performance of "Let's Ride". He also performed "Chickens In The Pen " and " All Summer Long" on Good Morning America. He performed "Detroit,Michigan" at the 2012 Detroit Lions Halftime Show and George Clinton made a cameo appearance. He paid the high school that was working with him for the halftime show $2,500 dollars to pay for their expensives getting to and from Ford Field.The album debut at No 5 on the Billboard Hot 100 selling 146,933 copies. He will be performing "Let's Ride" on WWE's upcoming Tribute to The Troops special on NBC. ~AXS
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Crush 1 Year Anniversary> Presented by Lara Brasil and Surreal SF Music by: Late Night Science feat. Donald Glaude Special Support by Darin Epsilon Confident. Exuberant. Raw. Innovative. These are just a few of the words industry insiders and fans have used to describe the talent behind one of America’s favorite house DJs, Donald Glaude. Ranked 68 on DJMag.com’s Top 100 DJs List in 2005, Donald skyrocketed to 48 this year and his genius keeps on growing… Born in Tacoma, Washington, Donald’s love for music began at an early age. Originally a disciplined student of classical music, he was well-versed in the upright bass and violin. Any aspirations Donald had to continue in the classical vein vanished once he heard his first house record. With an ear for blending music already under his belt, and a love for the energy and soul of musical prodigies like George Clinton and Funkadelic, Donald began to amass a collection of house records which he taught himself to mix with a pair of mismatched turntables and a Radio Shack mixer.Before Donald few DJs had attempted to spin house records. Donald’s fine ear helped him give birth to a new style. After mastering his craft, Donald began DJing in various clubs around Tacoma and Seattle. During that time he made several important connections which would launch his music to the forefront of what was quickly becoming one of the largest underground movements since New Wave in the late-70s. Perhaps the greatest connection Donald made was with another aspiring DJ and friend, DJ Dan. Together Donald & DJ Dan sparked the rave scene in Seattle and developed large followings. Knowing that Donald possessed an energy and ability to work the crowd that was unparalleled to anyone else on the circuit, Dan convinced San Francisco’s legendary Funky Tekno Tribe to bring down his good friend Donald to play at one of their parties. Donald’s talents quickly made him a permanent fixture on F.T.T.’s roster.Some DJs seek commercial acceptance. Donald, on the other hand, has always preferred an emotional connection with his audience. For Donald, house music is not simply a mixed bag of sound, but rather an experience that provokes the soul. Apart from his mastery on the decks, Donald is best known for his dynamic showmanship. He enjoys his music as much as his audience does. Embracing their energy, it is not uncommon to find Donald pumping his hands in the air, jumping up and down and shouting back his love to the crowd. It is this powerful signature style which has led fellow DJ and musical producer, Dave Aude, to call Donald the “James Brown of DJs.†Donald also caused some stir in 2005 and 2006 with his residency at Ice Nightclub in Las Vegas. Donald’s uncompromising style and innovation show no sign of slowing down any time soon. With the credit of 5 full-length CDs and numerous remixes under his belt, Donald has focused much of his time to production work. Producing such dance floor hits as “Get Up†and “Soul Cha Chaâ€. As such, Donald has launched two record labels in which are causing rumblings in the industry... For VIP Bottle Service please contact: stella@templesf.com or call 415-978-9942 x 304 Birthday's, Bachelorettes or Any Large Group please contact: saeed@templesf.com $5 before 11pm with RSVP at www.templesf.com Or you can get tickets for $10 to get in all night at: http://www.eventbrite.com/e/donald-glaude-april-19th-crush-1-yr-anniversary-tickets-11028734241 TEMPLE Nightclub 540 Howard St. SF, Ca 21+ 10pm-4am
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Scooter started DJing because of his love and passion for music. That passion soon turned into a full-time career. Scooter’s signature vibrant style is a genre-bending, mind-blowing mix that always is fresh and exciting. Scooter has mastered both hip hop and house and has been producing house music for over fifteen years. He is one of the few DJs who can spin for a hip hop crowd and the next night play for an electronic crowd, rockin’ both parties easily and with amazing prowess.
Event: Hakkasan Mixology Party w/ Steve Aoki at Hakkasan, Thu, Apr 17 10:00p
in Las Vegas
Posted
Hakkasan Mixology Night featuring 90 Minutes of Complimentary Craft Cocktails Cocktail Throwdown (Hakkasan Mixologists vs. Cocktail City) Enjoy Four Complimentary Craft Cocktails • Check In Under Cocktail City Guest List • Complimentary Cocktails from Both Teams (Hakkasan vs Cocktail City) • Complimentary Cocktails from 10pm - 11:30pm • Guest Vote on their Favorite Cocktail • Collaborative Party with Nocturnal Lifestyle Complimentary Access to the After Party with Steve Aoki