clubmaster

with TYR, Tasty Treat, G-Wayt, + special guest to be announced Doors at 8:30pm K Theory is the trio of Malcolm Anthony (vocals), Dylan Lewman (sampling, live conducting), and Dustin Musser (Keys, sampling). This San Francisco based group has made serious waves and played shows all over the continent. With chart topping singles and major label released remixes, they are heavily respected amongst the intelligent bass and hip hop scenes. With an unbelievably unique live show, the act has sold an astounding number of tickets in 2013 and played many major festivals. With top releases on OWSLA, Simplify and their own homegrown K Theory Music label, they have spread their music to all corners of the globe and created an impenetrable brand.

with Lisa Delux, DJ China G and Ms. Jackson Dedicated to the beat movement the talented Lisa De Lux has no borders when it comes to delivering the hype. Trekking from the beautiful mountains of British Columbia this beat bandit has made her sound heard on a global intercom. With her worldly music selection and innovative mixes Lisa has brought every inner ear a dance rhythm and a floor sweep. Influenced by House, Break Beat, Dubstep, Funk and Hip Hop Lisa has mad love for all genres in which she reveals through her original mashups and remixes. A strong advocate on breaking barriers for female dj’s Lisa has shown her versatility through her imaginative style and sound. Always recognizing her Canadian roots and what allowed her to become the renegade mixstress, Lisa has traveled all over the Untied States headlining in major cities including Atlanta, Honolulu, Las Vegas, Los Angeles, San Francisco and Oakland. She is a teacher at one of Canada’s Premier DJ & Audio Production Schools “The School Of Remix†and is currently working in her studio producing her very first LP.

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.

Ability, originality and accomplishment. In Michael Woods' short career he has managed to touch on every cornerstone, leaving proof of his musical competence at producing big room, progressive and tech-house tracks, along with a discernible motivation to better the quality of music being distributed. This has not gone unnoticed with DJs like Pete Tong consistently throwing props his way. From Argentinean & Guyanese decent, he was born and raised in Hackney London which he still calls home and runs his studio from there. Classically trained in a range of instruments at an early age provided Michael with a catalogue of creative skills including the keys (which he learned to play at the tender age of 3), guitar, drums and trumpet, practically making him a one man band. When not in the studio messing around with Logic, developing his craft, he would be found at Pimlico's Trinity Music College where he contracted a love for musicality, often using his spare time orchestrating with the percussion section of the London Symphony Orchestra.

Saturday, March 8th at Royale Nightclub BostonVIPList and The Royale Family Present: PARTY ANIMALS Grab your wildest friends for a Roaring good time at Royale this Saturday! Free Cover on the Guestlist before 11pm! Sounds by DJ Braun Dapper PARTY VIP STYLE For Guest List, Reduced Cover and VIP: BostonVipList@gmail.com Sunny @ 617-335-5582 Follow us! www.BostonVipList.com @BostonVipList Facebook.com/bostonviplist ROYALE | 279 TREMONT ST | BOSTON

Saturday, April 26th 2014 The Mid and React present.... :: CAZZETTE :: [ www.cazzette.com ] :: NATHAN SCOTT :: [ www.facebook.com/djnathanscottfanpage ] Buy Tix Here-> http://bit.ly/1cGZ3WQ call 312.265.3990 For Tables and Birthday Packages The Mid 306 N Halsted Chicago, IL. 60661 10pm-5am | 21+ 312.265.3990 (info/table reservations) Strict Dress Code Rules Apply No Gym Shoes, No Hats, No Sports Attire, No Graphic Tees, No Shorts Dress to Impress - Collared Shirts Recommended

Steve johnson is a singer-song writer who plays with the Annapolis-Baltimore band the Kings of Crownsville, who have played throughout the Mid-Atlantic region, including An Die Musik. This time, however, Johnson steps on to the stage without his musical buddies to play stripped down versions of the songs they have performed and recorded over the last 10 years. Spending half his childhood in Jackson, New Orleans and Memphis , Johnson’s musical brain woke up somewhere in the Deep South and still returns there for inspiration. Indie Music describes his Americana songwriting as “extremely melodic, passionate and highly entertaining,“ while Chesapeake Taste Magazine says the Kings “have to be heard to be believed because New Orleans blues has no business sounding so good so far north.†On Sunday Steve will play what he plays for the Kings before they make his song their own.

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

Performed by David Byrne, Alexis Taylor, Pat Mahoney, Kele Okereke, The Lijadu Sisters, Joshua Redman, Money Mark, Sinkane, and More! Doors at 7:00pm Little is known about William Onyeabor, and that's the way he likes it. Sure, you might hear something about him if you go to Enugu, a rural and isolated town in Eastern Nigeria, where he lives in a hidden palace in the woods. As a crowned High Chief of his Igbo village, he is arbiter of his community. He also rejoices in expanding Nigeria's energetic Christian music scene. The man is not in hiding. But he has turned his back on the music that made him a star to Enugu youth in the turbulent 1980s. What makes a man turn his back on his past? William Onyeabor is a powerful man and yet he chooses to remain a mystery. It is as if Onyeabor, in the prime of his force, has chosen to forget the work of his youth...the stinging Afro-funk; tickly wah-wah; searing jazz synth keyboard; runs suggesting spaceships leading into helium-voiced choruses singing in a jingle-jangle; tuning from the faraway stars; and that particular nostalgic sound found when the first electronic drum machines arrived to tantalize drummers everywhere.

This Saturday, four of Boston's most notorious DJ/producers take the stage at RISE. Each is tremendously accomplished in their own right, and together they form the Optimus Prime of late-night untz. Main Floor: Andres Escallon & Pat Fontes Lounge: The Wig & Alan Manzi

RISE and Rabbit Revolution have teamed up once again to host the Anime Boston after-party. Featuring: Bamboora, Greg Ayres, LIL INTERNET B2B Dev/Null, Mark5, Jay K The DJ, Damien Paul, Daft, Bermanji, Deadpool, Eludis, Smakker

HAZE keeps the Spring Break fun flowing Friday night with a dynamic DJ set from San Diego’s Scooter & Lavelle. Expect the unexpected when college girls are involved. It’s not a proper Spring Break in Vegas until you’ve partied it up at HAZE. DJs: Scooter & Lavelle, DJ Loczi

Copenhagen based musician Anders Trentemøller

Come enjoy creations from sixteen mixologists and sixteen liquor brands as we celebrate the biggest cocktail competition in Las Vegas. The crowd get unlimited creations from all sixteen cocktail cabana experiences and votes fro their favoties. The night concludes with a perfromance from nationally receognized DJ, Diplo. Special guest dj, Paper Diamond.

Following the screening, Being Dionne Warwick, GRAMMY Foundation and MusiCares Vice President Scott Goldman will lead a panel discussion, featuring Warwick, reflecting on the film. Other panelists include Paxton Baker, Executive Vice President & General Manager of Centric/BET Bright Music Records/Caroline/EMI/Capitol and Leota Blacknor, Vice President, Label Urban Relations & Acquisition for Virgin Records.

Shaun Reeves Subb-an Kevin Saunderson Matt Tolfrey jozif Bloody Mary Nitin and Nick Curly "official" Air london and Nick Curly team up to present the first Miami edition of our Trust series

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

The Kraftwerk project was started in 1970 by Ralf Hütter and his former partner Florian Schneider at their Kling Klang Studio in Düsseldorf, Germany. Within a few years Kraftwerk had achieved international recognition for their revolutionary electronic "sound paintings" and musical experimentation with tapes and synthesizers. With their visions of the future, Kraftwerk created the soundtrack for the digital age. Their compositions, using innovative looping techniques and computerised rhythms, have had a major international influence across a entire range of music genres. Their use of robotics and other technical innovations in live performance illustrates Kraftwerk’s belief in the respective contributions of both man and machine in creating art.

Outbreak At River Watch Restaurant.

In less than two years, this enigmatic young house producer from Montreal has given the current musical landscape progressively deeper ideas of what house music can mean in the new decade. With a slew of remixes and original releases that haven’t skipped a beat, the talented songwriter has already collaborated with Radiohead, Katy B, and Jimmy Edgar among others. As new artists compete with each other so brutally for attention these days. Jacques simply toured. Playing top European venues such as Fabric Live, Plastic People, Panoramabar and major festivals like Sonar, MUTEK, the Bloc Weekender and Bozar Electronic Weekender, he steadily conquered each crowd with his undeniably potent songs and infectious demeanor. With “Another Girlâ€, all the hype came to him. Tearing down the gate with two EPs on LuckyMe and Nightslugs, and nothing short of an anthem on the latter’s Allstar compilation, he grew as the best artists do. With quality releases and unforgettable live shows. As the initial disbelief at how young he was, his love of heart aching RnB, his mys- terious appearance, and what he uses to record begins to sink further and further back into the pages of Google, the initial hype will be followed by better and better music. Limited run white labels, a jaw-dropping analog live show, and the launch of his own imprint Vase- already heralded for its brilliant releases- have further esta- blished his vision. A new EP “Ready†for Martyn’s label 3024 and a North American tour run opening for The XX has kept his name and aura spreading. This plan was a long time coming.

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.

Copenhagen based musician Anders Trentemøller

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.

Sonic love travels in many dimensions—through visceral pathways of the senses, as a uniting force on dance floors everywhere, in movements spanning entire eras to unify—whether souls, states or nations. And as sonic love relates to house music, Marques Wyatt is a seminal pioneer.

After the “Once in a Lifetime†experience of the LCD Soundsystems vs Talking Heads show selling out, Sunset SF is proud to be back at the loft at the Public Works SF for our fourth installment of Electric Nostalgia. With literally hundreds of remixes to his credit, Mojo Filter (AKA The Benz) is a regular at European festivals and will be making his San Francisco debut. He will grace us with a three hour set of his finest creations, focusing on the music of Fleetwood Mac and The Rolling Stones. Immediately following, Motion Potion will play a three hour set of sweet originals and rockin’ remixes of Fatboy Slim. Don’t miss this one, tickets start at $6 so get yours before they’re sold out!