clubmaster

ANNIE MACAnnie Mac is Radio 1's Queen of dance music. On Friday nights from 7pm-9pm over 1 million listeners tune in to hear Annie kick-start the weekend with her dazzling selection of the best new dance music. Annie then heads back to Radio 1 towers again on Sunday nights to provide the wind down soundtrack to the end of the nation's big weekend. Her 10pm -12am ‘Musical Hot Water Bottle’ slot is known forsoothing listeners’ ears with a rich selection of brand new music that leans to the more mellower side of Annie’s musical taste.*Annie’s disarming friendliness, and discerning knack for championing new music’s crème de la crème, has earned her a diverse and trusting fan base. It’s a fan base that not only listens to her radio show, but is also willing to travel far and wide to see her DJ live at some of the best clubs and festivals on the international dance music circuit. Over the past year alone her popularity as a DJ has led her to a main stage slot at Global Gathering, a coveted DJ set alongside Fat Boy Slim at the Amex Stadium, a whirlwind tour of Australia to play Stereosonic Festival and a nationally broadcasted midnight DJ set for Channel 4’s New Year's Eve ‘House Party’.*On top of her hugely successful radio shows and live DJ career, Annie has also established her own much-loved events brand Annie Mac Presents, known to fans as the aptly abbreviated ‘AMP’. The concept, which features fresh and exciting line-ups that Annie personally curates, has grown from humble roots in the small third room of London's Fabric club into a formidable force in the world of dance music. AMP is now a global events brand hosting stages at major international festivals and clubs including Bestival, Creamfields, Miami’s Ultra Music Festival, London's Lovebox, a 2,500 year old fort at Dalt Vila in Ibiza and a long-standing residency at Camden's KOKO.*AMP also releases an annual compilation album of Annie’s favourite tracks of the year, bringing together an eclectic mix of established and emerging artists. The 2013 album has just recently topped the iTunes album chart, which is the second time the AMP album has hit the number 1 iTunes spot after 2012 did just the same. The 2013 compilation, which is the 5th album in the series, has also been released by Virgin/EMI Records in America and Australia for the first time.

As one of the most truly innovative, versatile, and sought-after producers in dance music, Seven Lions is on the rise to international prestige. By garnering the attention of well-respected artists Above & Beyond, Paul van Dyk, Skrillex, and Ellie Goulding, it is clear that his powerfully emotive, visionary brand of bass-driven electronica has broken through.

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.

Eclipse is a brand new monthly dance night at Arc Nightclub & Lounge near Kenmore Sq. Featuring 3 DJs playing EDM, Goth/Industrial & Dark Alternative music. Bringing you the best underground DJs, event photographers, and sexiest dancers the Greater Boston area has to offer. 21+ $10 10pm-2am Dress code: Club Attire Preferred, Creativity Encouraged. No sports clothes or street wear. www.EclipseBoston.com Facebook.com/EclipseEDMBoston Eclipse: Embrace the uncommon!

with Natasha Kmeto, DJ Dials, Sleazemore, Richie Panic Spanning 4 Four Tet studio albums, remixing, and outstanding live shows amongst many other things, Kieran Hebden’s career remains rooted in all kinds of musical camps. In the past couple of years Four Tet has released his fourth album “Everything Ecstaticâ€, a DVD of music videos working with directors/artists such as Woof Wan Bau and Jason Evans, a DJ Kicks compilation as part of K7’s legendary series, a compilation of his remix work, and has toured the UK, Europe, US and Japan extensively. His work with legendary jazz drummer Steve Reid during this period has been a significant milestone in Hebden’s career – what began as a handful of live collaborations (early shows in London and Paris in 2005 gave a glimpse of the great things to come), soon developed into something on a far grander scale. The fruits of a profound artistic connection that has produced 3 critically acclaimed albums for Domino records. Four Tet’s remixing skills remain fully flexed in recent months having already produced a number of remixes for artists such as Explosions in the Sky, Thom Yorke and Steve Reich.

presented by PURA CLUB Party this and every Saturday at the Bay Area's hottest upscale Latin nightclub! Featuring the Bay Area's Best Latin DJs playing a mix of all your favorite music including Reggaeton, Merengue, Salsa, Bachata, Cumbia, Hip Hop Top 40 y mas! Every Saturday - Todos Los Sabados! 10pm - 3am 21+

Rasa Vitalia performs at DIVA or Die Burlesque with many acts. Burlesque! Circus! Variety! More! Info: http://www.theexit.org/divafest/happening/performances/burlesque/

DJ Hype with Armanni Reign Deinfamous, RenderOne

Zak aka DVS1(devious one), is one of the most prominent figures in the Midwest/US dance music landscape today. A local DJ favorite since the mid nineties, DVS1 continues to move floors with a combination of deep musical knowledge, unparalleled enthusiasm, and a vinyl collection of more than 10,000 records. Zak's deep roots and his bold and uncompromising nature have won him great respect as a passionate and outspoken defender and promoter (Hush) of quality music. Zak began DJing in New York in the early nineties, focusing on the acid sounds of that time. After relocating to Minneapolis in the mid 90's, his style evolved, like that of techno itself, into something more complex, something deeper and more rhythmic. Since then, he has branched out into a wide variety of sounds—from hard and fast, to deep and hypnotic, to slow and soulful. Rather than giving limiting names to the genres he plays, he describes the music as beats, rhythms, textures, and colors. His philosophy is that the genre distinctions themselves aren't important—the emotional content of the music is. This focus is readily apparent in the way he moves crowds—both literally and figuratively—by fusing together sounds that paint coherent, evocative, and powerful moods that are always appropriate for the time and place he is playing. His range and emotional focus explains why as a DJ, Zak has garnered unique respect locally, around the U.S., and now worldwide. A consummate performer, Zak never maps out his sets ahead of time, opting to craft sets spontaneously from within the context they are intended for. He does this the old-fashioned way—with bags of wax carefully assembled from his massive record collection. This improvisational element makes each of his sets a one-of-a-kind personal expression, never again to be repeated, in which the audience's mood and energy level always plays a notable role. Unsurprisingly, DVS1's sets tend to draw large and enthusiastic crowds. In the past, he has shared the booth and been asked to open for some of the world's most acclaimed DJ/Producers. As a producer, DVS1 makes music that is simple, effective and captures the feeling of the moment. DVS1's first release, on Ben Klocks label Klockworks (kw05) was released in August 2009 and was immediately charted by heavy weights such as Derrick May, Samuel Sessions, Luke Slater, James Ruskin, Stephan Goldman, Funktion, Dj Deep, Tommy Four Seven, Tamo Sumo, Martin Landsky, Efdemin, Dustin Zahn, Dario Zenker, Ryan Elliot, Insideout, Jonass Kopp, Par Grindvik, Marcel Fengler, Kevin Gormann, Tobi Neumann, Monika Kruse, Dos Santos, Kevin Saunderson, Mike Shannon, Ben Klock, Rejected, Camea. With his second vinyl release on the legendary Transmat label(MS98 Love Under Pressure Ep) DVS1 once again stakes his claim and cements his position among current electronic music tastemakers. Similar to his first release, Love Under Pressure has been received with equal acclaim and charting from his peers. The track "Pressure" was licensed to the infamous Berghain club for Ben Klocks most recent mix CD (Berghain 04).

“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

Guest Artist: DVBBS Canadian natives Chris and Alex Andre Hit the EDM scene in 2012. Their greatest hit, Tsunami, Charted worldwide on iTunes, reaching #1 in the Netherlands, Belgium, Austria, Denmark and Germany. They have performed with Calvin Harris, Deadmau5, Tiesto, Steve Aoki, and several other #1 EDM DJs. Check them out before they hit the stage At several music festivals this summer! Click HERE For Tickets! RSVP to: bostonviplist@gmail.com Sunny @ 617-335-5582

A true house music legend and taste-making DJ of many years who started out in Leeds in northern England.

Friday, February 21st at ROYALE Guest Artist: DJ MICHAEL WOODS 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. Click HERE For Tickets! RSVP to: bostonviplist@gmail.com Sunny @ 617-335-5582

Air London & Minimax join forces during Miami Music Week 2014 for an all star lineup of artists in Miami's true home for artists, Wynwood. It might take a Wrong Turn to get here... but you will arrive somewhere magical!Special performances all night including some back to back performances:Matt Tolfrey Thugf~~ker Francesca Lombardo Fur Coat Nick CurlySimon Baker jozif Robert James disCerN aka Silky & Jonny CruzSignal Flow ATAXIAJeremy Ismael

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.

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.

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.

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

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.

with MatrixxmanDoors at 7:00pm It’s been going on for nearly a decade: Under cover of darkness, Matthew Dear slips out of his usual guise as pop-music innovator and exorcises his dancefloor demons through his constantly shifting alter-ego, Audion. Over the years, Dear has steered the Audion sound from grime-flecked minimalism to sinewy funk to relentless floor-fillers and back, but Audion’s core remains constant: an itchy forward momentum, an eye-popping visual aesthetic, and a dedication to high-class body music.Audion first appeared in 2004 with two EPs, Kisses and The Pong, which offered a harder-edged counterpoint to the crisp microhouse of Dear’s eponymous tracks at the time. 2005’s full-length Suckfish unveiled the full scope of the Audion sound, as tracks like “Just F~~king†and “Your Place or Mine†presented an aggressive, sonically serrated side of Matthew Dear few had seen before. In 2006, Audion’s subversive club anthem Mouth To Mouthan ever-ascending work of art with a distinctive “swarm of beesâ€climaxbecame the toast of that year’s DEMF. That track, still in heavy rotation among the world’s top DJs, was the pivot point, cementing Audion as a genuine force in the world of dance music. In 2009, Audion re-emerged with a retooled approach: seven sleek, propulsive singlesfrom the slow motorik pulse of “I Am the Car†to the hands-in-the-air energy of “Look At the Moonâ€released over the course of the year, culminating in Hecatomb, Audion’s acclaimed worldwide A/V tour.Since 2009, it’s been relatively quiet in the Audion camptwo critically acclaimed Matthew Dear records and endless live-band tours notwithstanding. Regardless, the wait is over: Matthew Dear has reassumed the Audion mantle. 2013’s Audion X retrospectiveincluding Dear’s hand-picked favorites from the last ten years along with two new singlesis just the beginning. A new full-length album and dazzling live A/V tour is in the works. If history is any indication, it’s going to be a long night.

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

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.

I t’s been going on for nearly a decade: Under cover of darkness, Matthew Dear slips out of his usual guise as pop-music innovator and exorcises his dancefloor demons through his constantly shifting alter-ego, Audion. Over the years, Dear has steered the Audion sound from grime-flecked minimalism to sinewy funk to relentless floor-fillers and back, but Audion’s core remains constant: an itchy forward momentum, an eye-popping visual aesthetic, and a dedication to high-class body music. Audion first appeared in 2004 with two EPs, Kisses and The Pong, which offered a harder-edged counterpoint to the crisp microhouse of Dear’s eponymous tracks at the time. 2005’s full-length Suckfish unveiled the full scope of the Audion sound, as tracks like “Just F~~king†and “Your Place or Mine†presented an aggressive, sonically serrated side of Matthew Dear few had seen before. In 2006, Audion’s subversive club anthem Mouth To Mouthan ever-ascending work of art with a distinctive “swarm of bees†climaxbecame the toast of that year’s DEMF. That track, still in heavy rotation among the world’s top DJs, was the pivot point, cementing Audion as a genuine force in the world of dance music. In 2009, Audion re-emerged with a retooled approach: seven sleek, propulsive singlesfrom the slow motorik pulse of “I Am the Car†to the hands-in-the-air energy of “Look At the Moonâ€released over the course of the year, culminating in Hecatomb, Audion’s acclaimed worldwide A/V tour. Since 2009, it’s been relatively quiet in the Audion camptwo critically acclaimed Matthew Dear records and endless live-band tours notwithstanding. Regardless, the wait is over: Matthew Dear has reassumed the Audion mantle. 2013’s Audion X retrospectiveincluding Dear’s hand-picked favorites from the last ten years along with two new singlesis just the beginning. A new full-length album and dazzling live A/V tour is in the works. If history is any indication, it’s going to be a long night. ~AXS

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

The tale of Danny Tenaglia's love affair with music, and the world's subsequent romance with him, is one of the critical veins in the body of dance music. He is every dancer's secret discovery; a random purchase at the record store, a reluctant night out that unexpectedly turned magic. Explosive success came not behind a major label release, or a world tour, or a radio hit remix: It happened when enough people had the private Tenaglia experience for themselves. The momentum started building in early '70s New York, when a barely 10-year-old Danny first got the feel of vinyl in his hands. Enthralled by the music of artists like Philly Soul's The Trammps, Motown's Marvin Gaye, African trumpeter Hugh Masekela, and disco producer Giorgio Moroder, he started to collect records, plumbing the depths of each one, and frequently finding that he preferred the B-side to the A. It was 1979 when he discovered legendary nightclub Paradise Garage, where DJ Larry Levan's rich, genre-less blend of music seemed to mirror his own "no boundaries" policy. It was here where Danny found the club model he would one day emulate: Levan's bold style, the venue's plain décor, and the party's warmth and inclusiveness. Danny left New York in 1985 and launched a successful DJ-ing career in Miami as a resident at Cheers nightclub. There he schooled the locals in classic New York and Chicago house, but five years later he returned home, tired of only playing other people's music. He started to assemble an impressive roster of remixes, including Right Said Fred's "I'm Too Sexy" (1991), Jamiroquai's "Emergency on Planet Earth" (1993), and Madonna's "Human Nature" (1994). But his first epic was The Daou's "Surrender Yourself" (1993): With the kick in the bass and the underlying rhythm as the foundation, Tenaglia blanketed Vanessa Daou's wispy vocal with grand, thick chords, a combination of classic groove and modern club-ready depth that was, at the time, entirely new. The title of his 1995 debut artist album on New York's Tribal Records described it perfectly: Hard & Soul. But even if the cocktail was his own, Tenaglia never hesitated to declare how heavily his influences weighed in his productions - everyone from Patti LaBelle to Kraftwerk, with countless lesser-known Soul, R&B, Latin, Samba, and Disco artists in between. In 1996, after a brief stint at New York superclub Roxy, Danny landed a Saturday night residency at white-hot Twilo, a position that upped his profile but didn't satisfy his expanding artistry as a DJ and producer. While New York swooned for big-room diva anthems, Danny was turning his ear toward the more minimal, tech-y grooves originating in European production studios. This period produced solid remixes like Grace's "Not Over Yet" (1996) and Janet Jackson's "The Pleasure Principle" (1996), but by the time he moved to Tunnel in 1998, Danny had already created "Elements," an instant classic that caused the dance scene's collective jaw to drop. With his own warped voice providing the narration, "Elements" (one track off full-length Tourism) walked the listener through the different components of a dance track in real time, going from kick to drum loop to snare hit, letting each layer over the other until the track exploded with dark, drum-heavy energy. Next to ostentatious radio anthems, its simplicity was a revelation. It was around this time that the murmurs started to get louder: Who is this Danny Tenaglia, and just what does he do to people? Clubbers reported seemingly inhuman mixing capabilities, booth-to-floor telepathy, and the grittiest "modern yet classic" grooves they had ever heard come out of a speaker. A trio of label compilations - Mix This Pussy (1994) and Can Your Pussy Do The Dog? (1995) for Tribal, and Gag Me With A Tune (1996) for Maxi - were the first Tenaglia sets clued-in clubbers could take home to dissect, but the release of his first installment in the UK-based Global Underground series of DJ mixes, titled Athens (2000), lit the international fire. Athens (meant to reflect the set he played at the Greek capital's club King Size) remains one of the darkest, strangest, sexiest sets ever released, and its tame cover photo of a gentle-looking man in a Yankee cap just didn't seem to fit. DJ dates across Europe dispelled the mystery and started the spread of the infectious Tenaglia fever. Back in New York, Tenaglia was tiring of the cavernous gloom of Tunnel and longed for a weekly home that better resembled where the DJ bug first bit him - the Paradise Garage. He landed at Vinyl, a black-walled, single-environment, no-liquor club about one-quarter the size of Tunnel. He named the night "Be Yourself," after the self-affirming, heavy-bottomed vocal track he had recently recorded with Chicago's Celeda. And he took the name to heart: Without the pressure of bar minimums or an expectant crowd, Tenaglia spread his DJ wings. Next to new tracks by young producers like Rui Da Silva, Peace Division, and Saeed & Palash, he played the artists of his youth, with nary a beat dropped. If he wanted to launch into a two-hour set of straight-up techno, he did. If he wanted to play old Michael Jackson records, he did. If he wanted to get on the mic and tell the crowd the name of the sound he was about to play, or who next week's guest opening DJ would be, or just give everyone a "verbal handshake" to welcome them to the club, he did. And a city tired of drama embraced the barebones, music-centered night. The world caught up to Tenaglia in 2000. His annual party during Miami's Winter Music Conference outgrew its home at the cramped Groovejet and moved to just-opened superclub Space. DJ giants like Carl Cox danced on top of the speakers with the Deep Dish boys, Fatboy Slim mingled on the patio, and for a day the ego inherent to DJ culture evaporated: Tenaglia was hailed as the undisputed king, the "DJ's DJ." His roof-raising revamp of Green Velvet's "Flash" won "Best Remix" at the UK's Muzik Awards, where he was also awarded the "Best International DJ" prize. In the two years that followed, Tenaglia released another Global Underground installment (London); toured the world, took the party island of Ibiza by storm, remixed Billy Nichols' "Give Your Body Up To The Music" (a Garage anthem); got nominated for a Grammy (for his remix of Depeche Mode's "I Feel Loved," also nominated for Best Dance Song); returned to Twilo for two special gigs - a President's Day marathon with Carl Cox that shattered all its attendance records, and the club's sixth anniversary party with John Digweed, which turned out to be even more meaningful than it seemed at the time (Twilo was shut down permanently a week later); graced the cover of every major dance music magazine; and won a Dancestar Lifetime Achievement award... all while keeping Be Yourself buzzing every Friday. In 2003, Danny came full circle with the release of Choice: A Collection Of Classics, a two-CD mixed compilation that let him pay direct tribute to many of the artists who had influenced his sound and style. It featured everyone from Blaze to Adeva to Imagination, as well as hefty liner notes explaining the significance of each track, penned by the man himself. He also remixed another Garage classic (Yoko Ono's "Walking On Thin Ice," which became her first Billboard number one ever), opened another Space during Winter Music Conference (the new location down the block), and took another Dancestar award, this time "Best Party" for Be Yourself. Be Yourself took the same honor again in 2004, but this time the win was bittersweet. At the time of the ceremony, Vinyl, now called Arc, had already been sold to developers. Danny closed the classic club on Sunday, April 25, 2004, with an emotional set that lasted well into Monday afternoon, and culminated with his mix of Kings Of Tomorrow's paean to unending love, "Finally." And as in every year since his DJ odyssey began, all across the globe, from Acapulco to Tokyo, more people experienced their first night with Danny Tenaglia, that clubber rite-of-passage that forever changes how you listen to music, go out to nightclubs, and think about DJs.