clubmaster

["Plan B with special guest Baby Rasta Y Gringo at the Belasco Theater in downtown Los Angeles", "Plan B with special guest Baby Rasta Y Gringo at the Belasco Theater in downtown Los Angeles"]

Ushuaia at SLS Hotel South Beach Presents Miami Music Week 2014 Pool Parties: Wednesday, March 26: LUCIANO & Friends Thursday, March 27: AVICII & Friends Sounds by Avicii, Arty, Cazzette, Rebecca & Fiona, Spencer Brown & Syn Cole Friday, March 28: ANTS Featuring Joris Voorn & Nic Faniculli Saturday, March 29: NERVO & Gareth Emery Sunday, March 30: DIMITRI VEGAS & LIKE MIKE with Special Guest Chuckie

Covering the EDM spectrum from electro house to dubstep,*Kill the Noise*is one of the projects from Rochester, New York-based producer*Jake Stanczak. After finding dancefloor success under the name*Ewun,*Stanczak*launched the spacier and more dubstep-oriented*Kill the Noise*in 2008 with the album Kill Kill Kill. Successful remixes of the hit*Estelle*and*Kanye West*track "American Boy" followed, while 2010 found him working with*Jon Gooch*on the*Feed Me's Big Adventure*EP, which was released by*Deadmau5's label Mau5trap. In 2011 he partnered with*Skrillex*and co-produced two tracks forKorn's dubstep-oriented album*The Path of Totality. A year later, focus switched to*Kill the Noise's front-facing career, with both the Roots Remixed and*Black Magic*EPs dropping in 2012. ~AXS

with Alex Grey & Allyson Grey, Mimosa, Star Slinger, Opiuo, Thriftworks, Andreilien, Kalya Scintilla, Love & Light, Insightful, KittyD and Tiger Fresh Doors at 7:00pm

Here we go, let’s take the Caravan for another tour. Same Palace, with a brand new customized flavor. On the shelves and on the road. The surprise breakout band of the last decade, the apostles of Electro Swing and precursors of a laidback yet terribly upbeat trend, is coming up with an evocative second album: Panic! This time, Caravan Palace takes us even farther than their first album (that sold more than 150 000 copies) and continues an amazing adventure almost started by accident. Their strength lies in their common passion for electronic music. Charles, Arnaud and Hughes, the initial trio, dig swing, especially gypsy jazz, and try their hands at the genre’s traditional instruments: guitar, double bass and violin. That’s where this peculiar mixture of classical Django and new trendy electro comes from. And it’s far better than those retro futuristic sounds… because it swings. A few myspace posts later and they have almost doubled in size, enrolling Chapi and the boisterous Colotis in the band. They start touring long before they even think about releasing an album. And everything clicks in 2007, during the Django Reinhardt Festival in Samois. Terrified to be part of the gypsy jazz pantheon, they gather speed and steam and create a real posse (not unlike hip-hop) that follows them everywhere. The word is out, their breakout song, Jolie Coquine, is playing everywhere. The record is released a year later, and it’s an immediate hit. They soon tour France and Europe. The show peaks at the Olympia. The room is packed, people go crazy… listening to swing. This has never happened before. But during the autumn of 2010, they stop and take a month off to start thinking about the new album. How do they come up with new songs? Every member of the band works in his own musical lab before exchanging files at night. The same process starts over the next day. And when the others react instinctively, it’s generally a good sign. The basic rhythm of the first album has mutated into sophisticated beats, less gimmicky, more varied and enriched with sounds flirting with the frontiers of trip-hop. They still love Massive Attack, they still dig the creative minds of Ninja Tune, Isolée’s minimal electro vibe or Gorillaz’s grand hip-hop rock bazaar. Only the best of the best. But they also rediscover thirties and forties swing jazz, artists like Fletcher Henderson, or the less mainstream musicians like Charlie Chavers and Mildred Bailey. Six months later, forty-something titles pile up. It’s time to regroup in the studio… where fifteen vintage keyboards are waiting. Tirelessly, the band tries new things, merges styles and makes creative decisions. Fourteen titles are soon emerging. The petulant voice of Colotis is booming again and the old friend Cyrille-Aimée is back on two songs. And don’t forget to include Toustou in the Caravan. And now, here comes the list! Clash * It opens up on a… fun and raging note! A surprising mix of up tempo swing with a bunch of hacked-up sounds, technologic and flirting with rock’s golden past, back in the day when it was called bop (let’s forget all those labels!). From the get go, this sounds like a huge leap forward from Caravan Palace’s first generation. June 12 th 3049 * A ballad with a deliciously slow yet vivid tempo, samples from the grand old age, the vibraphone and the spiraling springs stretching out time. Given the title, we know we’re entering a new futuristic territory. Beatphone * A frantic beat that takes its time, an amazing clash with a cascade of breaks to catch one’s breath, barely… before the beat starts again. Cotton heads * A pop escapade showing the breadth of Caravan Palace’s new horizons. An ethereal tune, flirting with weightlessness, and branded with a twist of swing, rooted in the tempo and the impulsive keyboards. Dirty side * Yes, dirty, the dark side of the Caravan, frantic and frenzied, chemical, destroy… Listen to this borderline sardonic voice coupled with the mocking piano. And the Lionel Hampton vibe from the vibraphone. Enough to upset any musical compass! Dramophone * Dear God, the Andrew Sisters are back. With synthetic glitter. This one is coming from Cyril-Aimée Daudel, a talent temporarily attached to the Caravan. This is clearly the song that bridges best the two albums. Glory of nelly * A London promenade, another sweet escape from the Caravan, with a special song… eh, I beg your pardon… toast, from Sista Colotis. The unlikely and fleeting mix of swing and ragga, with a dominant background of brass and strings. Maniac * A hint of Gorillaz, a drawling voice, a few touches of seventies synthesizer (à la François de Roubaix), a pinch of Django guitar, almost included by accident. Mix up and listen… Newbop * Both new and bop. An acrobatic scat with a solid anchor, multiple breaks, like sturdy inviting steps. And don’t forget the boisterous guitar. Panic! * ~AXS

Ruby Skye & Spundae present Candyland & Kill Paris Friday, April 11th Kill Paris *brings new meaning to a live DJ and Producer. Utilizing the capabilities of Ableton Live and his own custom controllers, Kill Paris plays and loops Bass, Guitar, Synth, and drum beats all while mixing in and out of songs. His live show has been described as something never seen or experienced before. Currently affiliated with 3 different labels (Mode-2, Samoa Good, and Masv), Kill Paris has already had numerous releases on Bea tport and other top Digital download fronts. Fusing together Electro-House, Dubstep, and Guitar/bass Funk, Kill Paris is definitely one to keep your ear on. Santa Barbara natives Ethan and Josie aka* Candyland *began producing their own original songs back in April of 2011. After becoming the first act to win back-to-back Beatport remix contests (Skrillex "Make it Bun Dem" & Bingo Players "Rattle") and racking up over 5 Million Soundcloud plays, they released their debut album "Bring the Rain" on Spinnin Records (Jan 21st 2013) which charted: #3 on the Beatport Overall Releases Top 100 #1 on Dubstep Top 100 #1 on Electro House Top 100 #1 Drum N Bass Top 100 #1 Glitch Hop Top 100 Candyland continues to pave their own lane bridging the gap between Trap, Dubstep, and House music with every original and remix they release.

This duo of genre-bender pride has made a name for itself on the Bay Area scene by successfully mixing spiritualism and hip-hop. Oakland's MC Zumbi and DJ/producer Amp Live blend hip-hop and trip-hop beats with lyrics focused on a message of unity, hope, and spiritual awareness. After a couple of indie hits, the duo slowly made inroads while opening for rap royalty like De La Soul, Rakim, and Run-D.M.C. Their debut album, Mind Over Matter, was released in May of 2000 and features collaborations with fellow Bay Area rappers Rasco, Planet Asia, and the Grouch. Although Zion I operates out of Berkeley, the group was originally formed in Atlanta, making their music difficult to classify as strictly West Coast hip-hop. Their musical style makes them even harder to define. With a style that borrows from hip-hop, trance, drum'n'bass, and reggae, Zion I's style is equally mystical and mystifying.

Miami Music Week 2014 join us for A Juicy Music Night with Robbie Rivera at Mokai Lounge in Miami Beach.

You never forget your first love. For Ben Drew, there was a brief flirtation with the He-Man cartoon character around the age of six, but the plastic figurines were forgotten a year later when he heard Michael Jackson. Ben loved the videos, loved the voice, loved the dancing and the artful blend of soul, funk and pop. "He was my first idol," he smiles. "I was obsessed with Michael Jackson." Later, there was Ian Wright and Arsenal FC. There was jungle music and hip hop, The Prodigy and punk, and wanting to be a rebel like Johnny Rotten. There was trying to fit in at school and never quite succeeding, then learning to put on a hard front to protect himself: "Growing up in London, you've got to be pretty tough, you've got to let people know that they can't f**k with you." But a part of Ben always stayed faithful to the soul he'd first heard. He loved listening to classic Motown tunes on the radio, or singing along to cheesy R&B acts like Boyz II Men. "I just found I could sing that stuff naturally, so when I first started writing songs seriously, and teaching myself how to play guitar, it was soul song after soul song. Just pure love songs. I was 14, I'd never been in love, but I had a good understanding of what love might be. And almost every song had the word 'love' in its title!" Ben wanted to be heard, but no one wanted to listen to a white boy from Forest Gate singing silly love songs. He began to rap, but that didn't fit either. Then Eminem came along, and taught him it was OK to be himself, to rap in the voice of a white boy from London's East End. "He was brilliant, he changed the whole game. He didn't just influence white rappers, he influenced everyone. He showed that hip hop that didn't have to be about the rings and the money and the hos." Rapping and singing in his own accent, playing his guitar, Ben began to tell stories about the world he'd grown up in. Some songs were written from personal experience (Mama Loves A Crackhead), but most involved characters he'd invented (like Kidz, inspired by the murder of south London schoolboy Damilola Taylor). "Kidz was the first song that I wrote that was character-based. It wasn't pre-meditated, I heard the beat and it just started coming out. But it felt right. When I'm trying to make a statement in my rap lyrics, I never really pull it off. I'm able to get a message across better when I tell a story. From then on, I wanted every song to be like a different short film." His raw, incendiary debut album, Who Needs Actions When You Got Words broke new ground for UK hip hop in 2006, a loud, proud, obscenity-riddled scream of anger and pride from the estates of East London. It also led to acting roles, with Ben playing a bad boy from the estates in Noel Clarke's Adulthood in 2008, then another hoodie thug opposite Michael Caine in British thriller Harry Brown. "I enjoy playing a horrible nasty character!" says Ben. "It's boring being the good guy, and maybe it's also a kind of release. As I've got older and got involved in the music industry, I can't be fighting any more. I had to try and keep things under control. Now the film roles are the only place where I can let go of that anger." His involvement in the film Harry Brown also gave Ben his first top 10 hit in the shape of 'End Credits', a collaboration with drum'n'bass duo Chase and Status recorded for the film's soundtrack. When it came to working on his own follow-up album, however, the soul he'd put aside kept bubbling back up. It started with the sweet, sexy Love Goes Down. "That song just happened organically. It was just me sitting down at home, playing a couple of chords and making love to the music. All the lyrics are basically pillow talk " chatting up the music, basically." He enjoyed playing the song with his band at sound-checks when they were on tour, but didn't think it could work for Plan B. "I thought someone like Craig David could use it, maybe." But the soul songs kept coming, and the film that began to plot itself out in his head was a full-length feature this time. F Finally he gave in to it, recording songs which tell the story of Strickland Banks, a sharp-suited British soul singer who finds fame with bitter-sweet love songs like Love Goes Down and Writing's On The Wall but loses everything when he ends up in prison for a crime he didn't commit. It's as if Marvin Gaye went from his early Motown love songs to What's Goin' On in just one album, then had it all remixed by London grime artists. "He's a version of me, an alter-ego," says Ben of his creation. "Strickland is my age. He looks like me, and he's from the East End. But he's a bit more on the sensitive side, whereas Plan B is quite dark. He's a chance for me to not have to be so serious, to go with my love of soul music. It was about creating a character that I could destroy, as well. So that I could still do my whole storytelling thing." Over the past few months, Ben Drew has barely stopped. He released iLL Manors - the movie, filmed a BBC3 documentary, toured the UK and also appeared at a selection of festivals including BBC's Hackney One Big Weekend. He's now starring in a remake of The Sweeney with Ray Winstone and performed as one of the headliners of this year's iTunes Festival 2012. ~AXS

Jared Lucas is a 24 year old DJ/Producer based outside of New York City. Initially recognized for his signature*EDM/top 40 bootlegs that tailor to the college scene, Kap Slap now begins a new chapter of his career. Now that he has graduated from Lehigh University, Jared has the time and resources needed to pursue his dream and create his own original productions. His substantial fan base gained through mashups anxiously await his debut single, which is sure to exceed expectations. Having a younger sister with cerebral palsy and mother with breast cancer caused Jared to mature at an early age. He turned to music as an outlet for his creativity, mastering the guitar, bass, and drums and recording songs in his basement. Due to space limitations while pursuing his Integrated Business & Engineering degree at Lehigh University however, he was forced to bring this musical passion to the virtual world. Although initially started as a hobby, Kap Slap’s mashups procured for him his first gig by Junior year, 2011. He managed to finish out the year with an impressive 25 show tour while still a full time student, mastering everything about Ableton along the way. This flurry of success caused Jared to seriously consider his future career; should he play it safe and get a job like all of his friends or throw caution to the wind and dive into an industry that he knew almost nothing about? In the end he decided to produce music and tour the country full time, letting his passion for music fuel his life. Kap Slap approaches the transition to original production with both an appreciation for how far he has come as well as an unbridled anticipation for the auspicious future that awaits him. With his upcoming release on the horizon, he looks forward to establishing his musicianship to the world and bringing a frisson of excitement to his fans through dance music that connects people throughout the world. ~AXS

Adventure Club is a Dubstep Duo hailing from Montreal. Formed in early 2011, Adventure Club is a production outfit / DJ duo birthed by local musicians Christian Srigley & Leighton James. After a blitz in the studio, they've released 5 tracks with an upcoming Ep to hit the scene shortly, with remixes ranging from 1950's classics, post-hardcore rock to the sweet electronic sounds of Today. Headhunterz BIOGRAPHY Headhunterz’ career is a performance. Rising at the vanguard of the rapidly expanding hard dance scene in his native Holland, Headhunterz has quickly claimed a position in the upper echelons of the dance music world internationally with a series of hit releases - including three albums and several chart topping anthems and remixes - and a slew of acclaimed shows and festival performances, not to mention his leading, genre-defining, hardstyle podcast named Hard with Style. On top of his musical career and extensive credentials comes a strong character, which is evidenced in a massive and completely engaged following worldwide and on the web.* ~AXS

Super Duper Alice Cooper is the creation of Scot McFadyen and Sam Dunn at Banger Films. Alice's story is told not only by the man himself, but through exclusive interviews with members of the original Alice Cooper band, Elton John, Iggy Pop, John Lydon, and Dee Snider. After screening the film, Alice will take the stage for a panel discussion.

Richie Hawtin And Paco Osuna Presents Enter Miami WMC2014! To save $$$ on tickets enter promo code " Rick C " at Icepalace.wantickets.com Friday March 28th

Glow Washington DC presents: Carl Cox Nic Fanciulli Saturday April 19, 2014 Doors *9PM | No dress code | Ages 18+ Bottle Service: Tables@echostage.com | 202.503.2331 Echostage • 2135 Queens Chapel Road Ne • Washington, DC Tickets Go On Sale Friday 3.7.14 At Noon Est!!!! * OH Yes OH Yes! * ;-) The legendary *Carl Cox *is finally back in the nation's capital!*A professional DJ since his early teens. A musical ambassador and a veteran of acid house and a champion of techno – you name it, Carl's been there and done it, never losing sight of his passions – playing music, breaking tunes and celebrating life. Nic Fanciulli *is a DJ, producer and label owner who has remained one of the UK’s finest exports in electronic music throughout the last decade. One of the last DJs to break through to international acclaim on the strength of his DJ’ing alone, Nic has since gone on to establish his own imprint, Saved Records, a label that remains proudly at the forefront of electronic music today. *But it is his genuine and unreserved love for the scene and bringing through new talent that has given Nic the longevity to remain at the top for so long.

With Yan & Menace Cartel, two of Lit's best resident DJ's, headlining Saturday the club is poised for a HUGE night! With our link below you're one click away from a 2 Hour Open Bar with a $500 tab limit. For the promotion we ask for you to bring at least three friends who'll pay a $20 cover at the door. You walk in FREE. http://guestflo.com/events/10190/1451

The brainchild of Beni G (Mixologists) and Plus One (Scratch Perverts), Jack Beats represent part of the new wave of British house music. Wobbly basslines, big breakdowns and edgy accapella’s are cut, copied and pasted together to create a floor-filling brand of house.Citing influences as diverse as Timbaland, Rage Against the Machine, A Guy Called Gerald and SebastiAn, this British duo demanded our immediate attention after their gob-smacking take on Boy 8-Bit’s anthem Fogbank dropped earlier this year.*What followed were bass-heavy collaborations with Deekline and Wizard, bombastic refixes of Trip’s guitar-driven Who’s That? and The Black Ghosts classic I Want Nothing and the unforgettable transformation of Epic Last Song by Does It Offend You, Yeah? into a classic pop-dance tune.Now the newest member of the Cheap Thrills ranks (home also to Sinden, Herve, Detboi, Machines Don’t Care) and a firm-favourite for lovers of all things glitchy and fidgety.

Warp records sensational band, DARKSTAR, make way to SF for a special live performance. Since their latest release, ‘News From Nowhere,’ they've been heralded as an instant classic across the board! "Every place warrants a story. No matter where it is, how quiet, remote or disconnected. There are moments in people’s everyday lives, no matter how subtle, that can be documented and talked about in great detail. The instances spiral and ascend and take on their own course, altering the perception of how even the slightest change in a day can be felt deeply." — Darkstar Darkstar first coalesced in the underground, electronic thrum of London’s nascent grime and dubstep sphere in the middle 2000’s, growing from attending the now-fabled early FWD club nights to releasing a pair of game-changing 12†singles on Kode 9’s fledgling Hyperdub label. These were marked departures at the time, fusing unique sonic futurism with an avant-garde pop sensibility that immediately set the duo of Aiden Whalley and James Young apart from the glut of producers emerging at the time. What followed was a fitful and productive period culminating in a discarded album’s worth of tracks, the crucial introduction of vocalist James Buttery to the fold and, finally - the release of their debut full-length North, to wide acclaim.

Visit the Exploratorium and join artist, musician, and composer Jem Finer as he performs "Original Soundtracks #5," which inverts the usual supporting role of the soundtrack, and "Starfield," which is based on the unique spectrum of light frequencies found in every star.

with Green Velvet + MORE TBA! 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.â€

with The Hail Marys, Castles In Spain and The Unfortunate Bastard Doors at 8:00pm Annabella Lwin, at the tender age of fourteen, was one of the most photographed, talked about and popular vocalists in the early 80’s with her band, Bow Wow Wow. Her unique vocals, which swung between sweet fourteen and a banshee, defined the sound of a new and energetic pop culture; her memorable performances influencing and inspiring a brand new wave of up-and-coming artist such as the Chili Peppers and No Doubt. She continued to perform and develop her songwriting throughout the 90’s, assembling her second band The Naked Experience’, as well as collaborating with other musicians and songwriters such as Billy Steinberg (Madonna, Divynls) and Ellen Shipley (Belinda Carlyle), releasing classics like ‘Carsex’ and dance hits like ‘Do What U Do’, produced by Steve Lironi (Hansen). As well as writing and recording original material as a solo artist, she has also been a featured vocalist on numerous transatlantic dance favourites with superstar producers like Tony B (LA’s hottest radio dance DJ) and the Utah Saints (England's’ most innovative and popular DJ Duo). Her songwriting talents brought her into partnerships with Guy Chambers (songwriter for all of Robbie Williams’ chart hits) and the well seasoned Michael Lattanzi (producer of Mariah Carrey, Paula Abdul, Sly & Robbie, Anastasia). Performing low-key shows on both sides of the Atlantic, as well as large promoted concerts with Bow Wow Wow, the new millennium found Annabella also expanding and employing her talents as a songwriter in new commercial, as well as spiritual, directions. She performed several concerts for global charities like UNICEF and Save the Children Fund, raising hundreds of thousands of dollars for needy children. She has also recently worked on a Nike commercial, as well as writing songs for several movies such as ‘Desperate But Not Serious’ (starring Claudia Shiffer and Henry Rollins): here partnering with Mike Bradford (producer of the hits ‘Follow Me’ by Uncle Kracker, ‘You Get What You Give’ by the New Radicals, ‘American Bad Ass’ by Kid Rock); as well as writing and recording a song for the soon to be released movie ‘Phoenix Point’ (starring Angelo Moore of ‘Fishbone’ and Cecilia Noel, the Salsoul Queen). Her current and ongoing Buddhist retreats continue to enhance and inform her artistic sensibilities, giving birth to new mature and romantic songwriting. This new solo direction still retains Annabella’s familiar hard-core dance groove, beat-heavy anthemics married now to new harmonies and a hint of eastern tinged melodies. Her vocal range has never sounded better, and the spirit of her songs confirms her ongoing celebration of life and music.

Doors at 7:30pm If you’d spent the last few years of your life wrapped up in an album like Star Of Love, you’d go looking for a little respite, too. Crystal Fighters’ debut was the product of minds made manic by a deluge of fresh experience, both in the studio and on the road. It was inspired by an opera written by a man whose sanity disintegrated before he could finish it. It seemed to be influenced just as much by traditional Basque music from the 18th century as it was modern-day clubland, and contained residual traces of every genre, scene, style or party that had existed in-between. But if album one was the sound of haywire electronic loops frantically kept spinning like plates on sticks, then album two is the story of Crystal Fighters mastering control of those rave repetitions, withdrawing from the chaos of the club to carve their music into the shape of songs. To write the album, Crystal Fighters retreated to the Basque hills that they consider to be their spiritual home. Their music has always born traces of the local sound –traditional instruments like txalapartas and txistus vying in the mix with razor’s edge guitars and percolating techno synths – but the purpose of this mission was different. Immersed in their creative cradle, they wanted to tap into something beyond their immediate experience, to uproot themselves from temporal bounds in order to write timeless songs. These methods proved to be spectacularly successful – Crystal Fighters wrote Cave Rave in its entirety during this two-month spell. There followed a quick detour to Los Angeles to produce the tracks, but after this it was still the songs written in the Basque country that remained most audible – only now the melodies found there had been sharpened into hooks, songs exploded into towering anthems. This revelatory process also exposed the band to a new way of thinking: a realisation that even the cultures they considered traditional are comparatively new. The album draws deeper into universal, history-permeating themes of love, death, insanity and hope; using Basque culture as a stepping stone backward to the spiritual and primal. The musical influences have widened too. Star Of Love was a manic, genre picking rush yet Cave Rave expands the sound palette even further. The beating hearts of Hispanic and African dance and Mexican electronic music 3bal now sit alongside folk and psychedelia, each artfully interpreted and united by the band’s unconfined vision. If Crystal Fighters have surrendered to the power of the song, they haven’t run up the white flag in terms of energy. What’s here is still an adrenal rush, and there is an awful lot here: the grandstanding of American road rock, the sweat of disco, the fervent initiative of punk, the house of Iberian twilights that anticipates everything coming very soon, all at once. What’s changed is Crystal Fighters’ ability to control those surges – and as such Cave Rave feels a considerably more thoughtful and contemplative album than its predecessor. Nevertheless, it has at its heart the same tension that provides all great records their emotional traction. Sebastian Pringle, Gilbert Vierich, and Graham Dickson are the three core members of Crystal Fighters, around whom a larger cadre of vocalists and instrumentalists revolve. They’re the kind of people whose brains seem to be bubbling pots, all intensely preoccupied with anthropology, time travel, spirituality and their place in the universe, even as they’re attempting to create the kind of cohesive sonic pieces that really connect and move people. They seem passionate about creating music that can make people dance, but that is equally adept at finding its way beneath a listener’s skin. With Cave Rave, they Pringle, Vierich and Dickson have managed just that. The melodies, hooks and refrains of the album are so compelling it’s almost as if Crystal Fighters had to devise them simply to navigate a way across the landscapes of their own avid genrelessness, to remain as masters of music that itself seems to be a disputed territory. Here you have a band hell-bent on locating their own musical heaven, a place beyond petty genre parameters, where all that remains, finally, is song, rhythm and sentiment, bursting in vivid colour from the dark of the silent Basque night.

with Sleazemore, Richie Panic, MPHD Before 2012 Duke Dumont was known as a ‘producer’s producer’. He was the name on a 12†record the DJ knew to reach for when he wanted to please the crowd, without them knowing who had constructed the mesmerising sonic confection they were dancing too. In 2012, two EPs on Tiga’s Turbo Recordings (with whom Duke has had a long standing relationship) changed all that. ‘For Club Play Vol. 1 & 2’ offered up sweet ecstatic deep house & UK bass cuts that have united people across the spectrum of music, from early club adopters like Annie Mac, Erol Alkan, Diplo, Martyn and Jackmaster to Fearne Cotton on daytime Radio 1, Trevor Nelson on 1xtra and even podcasts by Tiesto and Avicci. On some nights in Duke’s beloved Fabric London, you would hear the anthemic ‘The Giver’ being played in all three rooms at the same time. Duke’s early career was mentored by Switch (last sighted producing for Beyoncé) and he made his name as the ‘go-to’ man to remake a pop song for the dance floor (Lily Allen and Bat For Lashes were notable clients). In 2011, he moved out of London to the countryside (Hertfordshire, where his studio overlooks a forest) to focus on his original material. Co-written by teenage wonder-kid MNEK (who recently sung on Rudimental’s ‘Spoons’ with Syron) the Duke released ‘Need U (100%)’ on his newly minted Blasé Boys Club label. ‘Need U (100%)’ features 17 year-old starlet AME on singing duties. With a chunky low-end, funky stabs and silky vocals this is like an early 90s house classic couched in 2013 techno techniques. In 1988 Inner City would have been jealous of this one.

Right place, right time. It's an old cliché, but it's one that's been the definition of Dennis Ferrer's musical career. Just as the dance music world was heading into the world of afro-centric house, Ferrer was there. And then, when it began to embrace the mix of tech and soul, Ferrer was there again, leading the way with his impeccable productions. As Ferrer goes, it seems, so does electronic music. And, as someone who's never content to do the same thing twice, it's clear that he'll be staying on top for years to come. Ferrer burst back into the consciousness of most dance music heads with the release of "Sandcastles," (Ibadan) his collaboration with Jerome Sydenham in 2003. A throwback to his techno roots as producer of the first ever release on Synewave in 1994 and mixed with a healthy dose of soul, the track was a massive hit for the duo. But, to his credit, Ferrer didn't simply repeat the formula afterwards. Instead, whether it's been the gospel house sounds of his remix of Blaze & Barbara Tucker's "Most Precious Love" (Defected) or the deeper-than-deep rework of Fish Go Deep's "The Cure & The Cause," (Defected) Ferrer has continued to push a variety of genres all at once. It's clear that Ferrer isn't content to rest on his laurels: he's too busy dreaming up new ways to shock and delight audiences. Of course, we do say "back" into the consciousness of dance music heads because Ferrer has been around for far longer than 'Sandcastles'. He was crafting techno records in the mid-'90s as Morph and then had success in the Afro and gospel house scenes with releases via his Sfere label, an imprint he began alongside Kerri Chandler. "Sandcastles" merely marked his return to techno phase - and broadened his appeal to a new audience largely unfamiliar with his past work. But it's this past work that gives his new productions such resonance: unlike many of this house peers, Ferrer's techno experience has given him an edge that you can hear in his recent work. "Son of Raw," (Ibadan) "Church Lady," (Defected) "Underground Is My Home," (King Street Sounds) and "Touched the Sky" (King Street Sounds) have all been huge dancefloor anthems and all show a different side of the Ferrer personality. As he's said in interviews, "It doesn't matter if it's gospel house, Brazilian house, jazz house, or whatever. As long as it's got soul and moves people, that's all that matters." Collected on his full-length The World As I See It (King Street Sounds), it's a sound that reached many different audiences. "Transitions" and "P2DaJ" were huge in the techno world, while the beautiful ode "How Do I Let Go" was a hit in the gospel house scene, the success of which has become bittersweet considering the recent passing of its vocalist, KT Brooks, one of Ferrer's favorite vocal collaborators. Ferrer released the piano driven summer smash "Sinfonia Della Notte" on Strictly Rhythm in May 2009 which fans and press alike bugged over. DJ Mag said the single was leading the charge for a piano chord driven house music revival but we know Ferrer is just flexing one of his many skills. Just how much more was revealed in mid November (2009) when Ferrer unveiled his single "Hey Hey" for Objektivity which immediately caught on with DJs and with Mixmag UK who gave it a Big Tune review. UK radio DJ Pete Tong helped the noise too saying the record 'gives me goose bumps, it's quality from start to finish; it's a return to the finest virtues of house music, this is brilliant.' The single is also notable for having received one of the most rapid reactions in recent dance music history - shooting immediately to #1 on Beatport where it's still holding over four weeks in something no other house track has achieved recently. It's also been #1 at Juno and #1 at Black Market in Soho, London. Perhaps part of the appeal here is "Hey Hey" is vocal driven and so it's appropriate that Dennis has just been nominated for a Grammy for another vocal driven tune - his "Dennis Ferrer Objektivity Mix" of Dido's "Don't Believe In Love" (Arista). But vocals aren't all that's appealing with "Hey Hey" it's been drawing attraction for the superb production standards - something Dennis made even clearer when he decided to reveal part of the technical process behind the tune on his myspace blog (and single press release) - Resident Advisor's reviewer commented - "even a novice like me can often hear how ridiculously sharp his productions are." "The Red Room", 2010, marked Ferrer's follow up to "Hey Hey", has received accolades from the top DJs around the world. The unique vocal was cut during a wild studio session where the vocalist repeated one of the lines "Welcome To The Red Room Honey" which after some editing became the hook of the tune. Remixed by the Detroit prodigy Kyle Hall and "tech dubbed" by The Martinez Brothers & Jerome Sydenham, The Red Room became yet another modern classic. Next up: "No Difference", a 2011 collaboration with Andre Hommen, yet another young talent, discovered by Ferrer. Deceptively simple, "No Difference" features retro drum pattern and repetitive vocal lines while also incorporating a warm, synth-fuelled groove. It's the smattering of piano keys and the the jacking groove that truly bring the funk though, ensuring Ferrer's latest is draped in vintage Objektivity characteristics. Dennis Ferrer isn't known as a prolific remixer, but when he does turn his hand to something you can be sure that the result will be worth the wait. His November 2012 remix of "Underground" has been hammered across Ibiza all summer long, and for good reason. Developing the chords of the original beautifully and adding a devastatingly infectious organ lead-line, Ferrer builds and builds before unleashing huge, pounding keys for a truly breathless finale, shooting the track straight to Nr. 1 on the Beatport Deep House chart. Ferrer has brought his 'anything goes' approach to his label, Objektivity. Celebrating its 8th anniversary in 2014, the imprint has thus far focused itself on vocals, featuring often unlikely turns from indie heroes like Ane Brun and Télépopmusik. Low slung and deep, Objektivity is a cutting-edge label in touch with its time, putting a uniquely American spin on the deep house revival that is currently making waves in Europe. Objektivity is a living, breathing thing - one that's set to drop bombs on the dance floor for years to come. While Ferrer closes out 2013 with "Mind Ur Step" (Defected), "Mind Ur Dub" (Objektivity) and a remix of Coyu - "Salvation" (Noir Music), the best is yet to come. With a deep knowledge of the past and a constant push for the future, Ferrer remains one of the true greats of house music - a leader and innovator whose enjoying the buzz around him but keeping on pushing the limits. Stay tuned.

presented by PW & Deep Blue with Doc Martin & Francesca Lombardo Its a rare chance to see Martin play LIVE in the dark underground setting of Public Works on the crisp Function1 sound system. Because you usually have to catch Martin behind a 30 foot stage at a festival somewhere in Europe. Not to mention he get invited to play at all of the most sought after shows and clubs across the globe, from Circoloco, to Cocoon, to Music On, … In 2011, the house and techno industry voted for their top 20 LIVE Acts of 2011 on ResidentAdvisor.com and Martin Buttrich was voted #8: http://www.residentadvisor.net/feature.aspx?1420 The reason behind this is not only his imaculable productions but that Martin Buttrich has been one of the most talked about producers in the underground house and techno industry. His skills in the studio have left everyone in awe. In collaboration, he’s produced pop (The Sugarbabes), Italo house (Sounds of Life) and progressive (over one hundred collaborations with Timo Maas). He’s even been nominated for a Grammy (remixing Tori Amos ‘Don’t Make Me Come to Vegas’). But it wasn’t until 2006 that Buttrich came to prominence under his own name, releasing 12â€s on Four:Twenty, Poker Flat and Carl Craig‘s Planet-E (‘Full Clip’). In 2007 Martin and Loco Dice founded Desolat records which has been a massive success. Lately you can find Martin playing at the top festivals and events around the globe.

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.