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clubmaster

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  1. Event: Mr. Oizo at Mezzanine, Sat, Mar 29 9:00p

    in San Francisco

    Posted

    with DJ Dials, Richie Panic, MPHD Mr. Oizo (pronounced ‘Monsieur Wah-zoh’) is the nom de plume for French music producer Quentin Dupieux. Dupieux is most famous for his electro track “Flat Beatâ€, which became a hit all across Europe in 1999 for being featured in a series of Levi’s jeans TV advertisements. Dupieux also directed the ad, which featured a yellow puppet named Flat Eric nodding his head to the sound of the track while riding in a pickup truck. Flat Eric later appeared in the music video for “Flat Beatâ€.Dupieux released his first EP’s “#1†and “M-Seq†on F Communications in 1997. After “Flat Beatâ€, Oizo released his first album in 1999, Analog Worms Attack, featuring a single of the same name.In 2005, Oizo released his second album entitled Moustache (Half a Scissor). In 2006 and 2007, Oizo produced remixes for Kavinsky, Jamelia, Cassius, Scissor Sisters and, most recently, Calvin Harris.In January of 2012 he started a music project with Boys Noize called Handbraekes. In April of 2012 Mr. Oizo released an EP called Stade 3, which is available for free on the Internet. He also directed the Stade 3 Teaser where Flat Eric is starring again.

  3. Event: Kill The Zo Tour with Kill the Noise and Mat Zo at The Regency Ballroom, Thu,

    in San Francisco

    Posted

    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

  4. Event: Miami Music Week at The SLS Hotel South Beach at The Bazaar at SLS Hotel South

    in Miami

    Posted

    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

  6. Event: The Glitch Mob at Club Nokia, Sat, May 10 9:00p

    in Los Angeles

    Posted

    “If our last album was introverted, then the new one is definitely extroverted,†Justin Boreta explains of one of 2014’s most anticipated electronic-music albums: The Glitch Mob’s Love Death Immortality, to be released February 11, 2014. Boreta represents one -third of The Glitch Mob’s core members, alongside Ed Ma (aka edIT) and Joshua Mayer (aka Ooah). Together, this supergroup trio of instrumentalist/producers have in Love Death Immortality created the ideal follow-up to The Glitch Mob’s 2010 debut full-length LP, Drink The Sea. That album proved the group’s breakout: Drink The Sea spent numerous weeks atop the iTunes’ Electronic chart – and still remains in its top 10, nearly three years since its release. Put out completely independently on the group’s own Glass Air imprint (which will also handle Love Death Immortality), Drink The Sea would go on to sell over 80,000 copies and counting. In the wake of the success of Drink The Sea and its 2011 follow-up EP We Can Make The World Stop, the group propelled to the upper echelon of dance-music touring acts. In addition to key spots on major-festival lineups spanning Coachella and Lollapalooza to Electric Daisy Carnival and Ultra, The Glitch Mob also headlined their own major tours across the U.S., Europe, and Australia – selling out prestigious venues ranging from New York’s Terminal 5 to Colorado’s legendary Red Rocks Amphitheatre. It was that experience on the road that led to the bold, inviting approach infusing The Glitch Mob’s new material. “Drink The Sea was a personal, introspective, headphone-listening experience, whereas we wanted our second album to be a record made to be played live,†Ma notes. “After touring for two years, we learned what worked best on stage. It’s our same sensibility, but designed to bang on a festival sound system in front of 50,000 people.†“We spent a couple years soaking up the fans’ reaction to our live show, and Love Death Immortality is what came out of that,†Boreta adds. “It’s not so much different as it is a sequel exploring new characters and narratives. Where Drink… was more our personal journey, this one is more inclusive and universal, telling the story of the collective Glitch Mob experience.†Indeed, that experience has found The Glitch Mob and its devoted, passionate fanbase moving from underground club parties like Los Angeles’ famed Low End Theory alongside Flying Lotus and Nosaj Thing to stadiums and major festivals – in the process becoming what Chris Martins of the LA Weekly called “[the act] that undoubtedly found the largest audience of any L.A. beat scene artist yet.†Initially coming together in 2006, The Glitch Mob forged a unique sound transcending EDM trends and genres, “pairing the richness and headiness of the best dance music with the head- nodding backbeats of hip-hop,†as The Los Angeles Times noted. After a series of acclaimed remixes and mixtapes (“Grab the Crush Mode mixtape…. One of the first things to really get my blood going,†raved New Yorker critic Sasha Frere-Jones), The Glitch Mob redefined their sound anew on Drink The Sea, merging live instruments, psychedelic textures, and expansive arrangements into an intimate yet epic widescreen vision. After that success – which, in addition to sold-out shows and impressive album sales, resulted in ubiquitous song placements spanning GoPro Cameras to Captain America, and beyond – The Glitch Mob went into artistic hibernation, occasionally emerging to experiment with new songs and styles on official remixes for the likes of Daft Punk, TV on the Radio, The Prodigy, and Bassnectar. Work on what would become Love Death Immortality began in earnest, however, during a month-long songwriting pilgrimage to Joshua Tree, California, where the group made field recordings of desert ambience and cranked out the blueprints for nearly 50 songs. “In Joshua Tree, we wanted to explore new territory,†Boreta says. “In the end, we sorted through all the sketches we’d done and rebooted our sound.†Despite its fresh approaches, Love Death Immortality remains pure Glitch Mob in its essence. That’s clear from the album’s first single, “Can’t Kill Us†– which combines loping, 75 bpm breakbeat crunch and a speaker-shredding bass throb with rock swagger. “‘Can’t Kill Us’ represents the classic Glitch Mob style,†Mayer says. “Of all the new songs, it’s the connective tissue to our earlier material.†“It’s the perfect bridge from our past to now,†Boreta adds. “You can tell it’s still us, but it prepares you for what’s about to happen.†Other signature touches include the use of live instruments – from the distorted guitar feedback that launches the album’s epic opening statement “Mind of a Beast†(“Just pure attitude,†says Ma) to the floating Rhodes keys percolating through the coda of the soaring, cinematic “Skytoucher.†“Using real guitars, pianos, and horns humanizes things a bit,†Ma says. “Texturally, it’s what makes what we do trademark Glitch Mob – a nice juxtaposition to the face-melt aggression.†The signature instrumental motif of Love Death Immortality ultimately proves to be what Ma calls the “glory leadâ€: bold, screaming synth lines that generate infectious hooks straightaway. “The majority of the songs have this keyboard – created melody right upfront in the mix,†Ma says. “They create an element you want to hum and sing straight away.†Where Love Death Immortality really breaks ground, though, is its embrace from jump of rhythms and tempos new to the Glitch Mob sonic arsenal. As such, “Mind of a Beast†erupts from a surprising 140 bpm drum-and-bass break into a slamming half – beat grind. “The song does a total 180,†Mayer says. “Right off the bat, that strong contrast let’s the listener know not to get too comfortable.†Elsewhere, tracks like “Skullclub†– which Ma calls “our ode to Daft Punk,†with its pulsing sidechained synths and vocoders – and “Carry The Sun,†experiment with 4/4 cadences; meanwhile, “I Need My Memory Back†and “Fly By Night Only†incorporate fully mirror-balled disco funk. “‘Yacht Sex’ was actually the working title for ‘Fly By Night Only’ – that’s kind of the vibe,†laughs Boreta of the song featuring seductive vocals from upcoming artist Yaarrohs. “We wanted to explore something a little more fun and soulful amidst all the serious intensity. Contrasting that with something more sexy keeps everything from going full testosterone.†That balance is clear from the album’s featured vocal collaborators, all of whom are female – a decidedly purposeful choice. “When the music gets really aggressive, that injection of female sensibility provides a crucial balance,†Ma says. “Becoming Harmonious,†for example, flaunts the eerie tones of Bay Area avant-darkwave chanteuse Metal Mother. “She’s got the whole weird, Oakland Goth-psych thing on lockdown,†Ma says. “What she did on that song is both evil and angelic at the same time; it plays with your head.†Album closer “Beauty of the Unhidden Heart,†meanwhile, forges connective tissue to the vintage downtempo feel of Drink The Sea favorite “Between Two Points,†highlighting the dreamy, ethereal voice of Terra Lopez of Pitchfork favorites Sister Crayon. The most significant collaboration on Love Death Immortality, though, comes from Aja Volkman of L.A./Las Vegas rockers Nico Vega, who appears on both the alluring dancefloor filler “I Need My Memory Back†and the driving uptempo anthem “Our Demons†(for which she recorded initial vocals on the tour bus while Nico Vega was on the road opening for her husband Dan Reynolds’ band, Imagine Dragons). “Aja’s singing is so raw, gritty, and powerful,†says Ma. “She doesn’t have a traditional EDM voice, which we loved.†In an era of disposable dance-music singles, Love Death Immortality is, like Drink The Sea, created with the intent to flow as an album – one designed to be listened to from start to finish, taking the listener on an aural voyage in the process. However, it’s clear from the songs’ dynamism that The Glitch Mob is itching to take Love Death Immortality to its natural home on the stage, in all its crowd-pleasing glory. That’s exactly what’s going to happen when The Glitch Mob kick off their biggest tour yet in March 2014: accompanied by massive production from Martin Phillips of Bionic League – who’s developed staggering concert visuals for the likes of Daft Punk, Kanye West, and Deadmau5 – expect the Mob to dominate festivals and large venues well throughout the new year. “We’re taking a more hands-on approach to the live show this time around,†says Ma. “The whole experience is going to be personally curated by us. We’re designing really cool video -interaction apps to integrate the experience, really letting the audience in on what we’re doing onstage.†That immersive approach – combining massive technological scale with deeply emotive themes of redemption and triumph – expresses the overriding Glitch Mob philosophy that permeates Love Death Immortality. “It’s in the title – everyone is touched by love and loss,†Boreta says. “What we do is personal, but meant to be shared by our community. We want to take people somewhere else, beyond their everyday experience. People have written us to say how our music helped them get through the death of a loved one; a soldier in Afghanistan sent us an email saying he was considering suicide, but our music turned him around. That really touches us, and informs everything we do.†“You know when you get a new Glitch Mob record, or go to one of our shows, it’s not going to be the standard fare,†Ma adds. “You’re going to get transported to another world. We work hard to take the listener to a different place that’s all our own.†~AXS

  7. Event: 2014 The Las Vegas DJ Show at Las Vegas Convention Center, Mon, Sep 8 8:00p

    in Las Vegas

    Posted

    The Current Audition Magazine announces the 2014 Conference will be in Las Vegas, Nevada, Sept 7-10 2014. The Las Vegas DJ Show is offering discounted passes to Anyone that signs up before March 8th 2014 you can buy your pass at the 2011 Adja Member price of $49 regardless of being an Adja member or not! This represents a tremendous value for everyone. We are out to build the biggest and best conference in the DJ Industry! Get your tickets today at TheLasVegasDJShow.com/registration/ The Las Vegas DJ Show is proud to announce the continuation of the CPS Summit to the Conference Line up. The CPS Summit is the premier gathering for digital DJs using computers or digital media players as playback devices. This Summit brings the best & brightest of the digital DJ gurus to the stage. This is the event that you don't want to miss. All included in your $49 pass to the Las Vegas DJ Show. . Our Platinum sponsor the American DJ Family of companies will once again be hosting a poolside reception & party Cool by the Pool on the 3rd floor pool deck of the LVH from 4-8pm Tuesday night. It will be the perfect way to unwind after a day of learning from the best & brightest. The pool will be warm & American DJ will have free drink tickets on a first come first served basis for the first 250 passholders to hit the Cabana. This is the best way to watch the sun go down on Las Vegas! All free with your conference pass. Courtesy of American DJ ! The incomparable Las Vegas Marquee Night Club will play host to show attendees on Monday night! Normally this is a $50 cover, but with your show badge you get in Free! Not to mention that for the first hour, they are giving every show attendee an open bar with their show pass. The Marquee has a dress code so dress to impress, this is the A-List club in Las Vegas, You never know who you might run into there. Now that's first class treatment. It's everything you have come to expect from The Las Vegas DJ Show & the Marquee Night Club ! A designated networking cafe with tables & seating & you have a first class conference provided to you at a bargain price. Now add to it over 80 exhibitors offering the hottest deals on the latest gear & value, well it just becomes explosive! Nobody brings you value, more education, more networking, More entertainment & More Fun that The las Vegas DJ Show! Sign up today! TheLasVegasDJShow.com Be sure to follow us on Facebook & Twitter!

  8. Event: Damian Lazarus at Monarch, Fri, May 16 9:30p

    in San Francisco

    Posted

    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.

  9. Event: Martin Buttrich at Public Works, Sat, Apr 5 9:00p

    in San Francisco

    Posted

    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.

  10. Event: Dennis Ferrer at Monarch, Fri, Apr 11 9:30p

    in San Francisco

    Posted

    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.

  11. Event: Duke Dumont at Mezzanine, Thu, Apr 17 9:00p

    in San Francisco

    Posted

    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.

  12. Event: Crystal Fighters at The Independent, Thu, May 29 8:00p

    in San Francisco

    Posted

    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.

  13. Event: Annabella Lwin at Brick & Mortar Music Hall, Fri, Apr 4 9:00p

    in San Francisco

    Posted

    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.

  14. Event: Tiga at 1015 Folsom, Wed, Apr 16 10:00p

    in San Francisco

    Posted

    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€

  16. Event: Darkstar at 1015 Folsom, Thu, May 1 9:00p

    in San Francisco

    Posted

    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.

  17. Event: Jack Beats at Ruby Skye, Thu, May 1 9:00p

    in San Francisco

    Posted

    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.

  19. Event: Carl Cox with Nic Fanciulli at Echostage, Sat, Apr 19 9:00p

    in Washington DC

    Posted

    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.

  23. Event: Adventure Club at Club Nokia, Thu, Apr 17 9:00p

    in Los Angeles

    Posted

    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

  24. Event: Kap Slap at El Rey Theatre, Sat, May 10 9:00p

    in Los Angeles

    Posted

    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

  25. Event: Plan B at Club Nokia, Thu, Apr 24 9:00p

    in Los Angeles

    Posted

    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

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