clubmaster

Made In SF a showcase of local DJ's, Performers, Food Vendors & More. Various Tasty Treats brought to you by ZeroCater MARK Farina (House set) DJ's Pleasuremaker & Senor Oz (Afrolicious) 29th Street Swingtet Uni & her Ukelele. Food, Performances and Entertainment from 5pm-9pm We will keep a few few vendors around until late night. DJ's starting at 9:30 in the main room. Presales $13-15 for folks showing later. Door Price will be $5 til 8:30, $10 til 10:30 and then $15-$20 at the door for Mark Farina set.

Made In SF a showcase of local DJ's, Performers, Food Vendors & More. Various Tasty Treats brought to you by ZeroCater MARK Farina (House set) DJ's Pleasuremaker & Senor Oz (Afrolicious) 29th Street Swingtet Uni & her Ukelele. Food, Performances and Entertainment from 5pm-9pm We will keep a few few vendors around until late night. DJ's starting at 9:30 in the main room. Presales $13-15 for folks showing later. Door Price will be $5 til 8:30, $10 til 10:30 and then $15-$20 at the door for Mark Farina set.

with Psychedelic Journey Tour This is an 18+ Eventidentification: For Us citizens, a valid DMV-issued photo Id or USA passport is required. For international guests, a valid passport is required. *

On the day we meet in a West London pub, La Roux's 'In For The Kill' has just risen up the charts to number two. Two days later, it'll go up again to the top. By that point it had already spent a month in the higher reaches of the chart, gradually transforming itself from a debut single to a bona fide public phenomenon.* Of all the pop debutantes perched on the edge of success as 2009 began, La Roux AKA 21 year old South Londoner Elly Jackson is currently the only one to be commanding such genuine mass crossover appeal. Her music is as likely to appear on urban blogs, as it is to be blazing out of cars and over summer parks from Radio 1 or pounding out of Shoreditch clubs. This spring she headlined the sold-out NME Radar tour, which, considering the previous year's headliners were art-punk dilettantes Crystal Castles, pays great testament to both La Roux's credibility and broad appeal. After all, not many artists headline an alternative music tour while sat at the top of the charts.* This self-possessed young girl, poised beneath an extraordinary gravity defying hair sculpture, making music that looks backwards to leap forwards, has leapt beyond her electropop contemporaries with the raw confessional quality of her songwriting and the sharp sophistication of her through-the-looking-glass 80s aesthetic. La Roux seems to know exactly who she wants to be and is fully aware she's already achieving it with ease.* So at this point perhaps it's worth a quick recap:* The music that's sending her onto pop's big table may be channeling the spirit of The Human League and Yazoo, but Elly Jackson as she's known off stage first discovered music in her dad's Neil Young and Nick Drake records. From here she picked up a guitar and started writing her own music, debuting early versions of future electronic hits like 'Quicksand' on the South London folk scene. "Well," she corrects, "there's not really a scene, just a bunch of people calling each other sell-outs. All they'd listen to was Jeff Buckley, and I thought it was so boring I couldn't stand it. I'm not the kind of performer who likes to sit still with a guitar, but that was all I had." Fortunately, as she strummed away at one house party, a songwriter called Ben Langmaid was watching and soon they were studio partners. "One day me and Ben were working on a song and starting playing with some of the synths lying around at Ben's. We put a synth line over the acoustic track we had been working on and it just took off. From that day the guitar started to seem a little obsolete to us."* Discovering a shared love of the polish and poise of eighties synth pop, Elly and Ben worked together for over a year before news started to filter out to record labels that something special was happening. "Out of nowhere there was suddenly loads of interest," Elly remembers. "But some of the labels wanted to split us up and wanted me to go and work with other people and I was like 'this is stupid, it doesn't make any sense, you said you loved the demo's and you loved what we'd done together and then you wanna go rip it up and tear it apart, I don't understand how that works', we were both baffled by it. Just because he wasn't a known name in the industry and he wasn't a known writer, or a known producer, no-one kind of trusted him, no-one wanted to take the risk, and we just started getting really fed up with it. So he said, "Why don't we make it a band and then they can't do anything?" and so that was the way we did it." And so La Roux was born, culling their name from a book of French baby names found in a skip. "I opened it, and on the first page was La Roux the red headed one" For the part-French Elly it was perfect. "We write together, but all the songs are about me and my experiences. There are no throwaway lyrics on the record, everything is there for a reason, though I don't like going into it too much, I don't want to tell people what they're supposed to think about my songs."* In a corporate pop world of international songwriters for hire, La Roux's debut album is written and produced solely by Jackson and the publicity-shy Langmaid. Together they have lovingly produced an album free of commercial consolidation, but still full of songs with the wit, romance and heartbreak to appeal far beyond underground bloggerati. 'In For The Kill' may have been her breakthrough moment, but it's far from her only triumph. The elegant and plaintive finale, 'Armour Love' is an open hearted account of abandonment which sits in a cradle of stripped back electronics more fitted to the avant garde world of The Knife than the tearful bedrooms of British teens. 'Colourless Colour' is a warm and witty re-imagining of 2-step's ecstatic bounce. 'Fascination' is an unplugged piece of euphoria, equal parts Devo, Annie Lennox, and Daft Punk, while 'Tigerlilly' is an arch, threatening love-song, as brash and confident as the woman herself and retuning Whitetown's bedroom beats, and Thriller's gothic voguing into something tribal and dystopian. At its heart, new single 'Bulletproof'' is an amyl nitrate blast of disco seemingly culled straight from the dancefloor of Heaven or The Saint circa 1983, while the electro drama of 'I'm Not Your Toy' is surely a future smash.* Combining both visual glamour and sonic drama, La Roux have made the oddest of things, a populist album which doesn't patronize the populous and is undoubtedly one of the debut albums of the year. ~AXS

Boston after-hours debut Henry Saiz is an electronic music artist who transcends trend and formula to create a musical language that can be difficult to describe. The Madrid-native DJ & producer soon attracted the attention of UK giants such as Renaissance, Global Underground and Bedrock, & his own label Naturasonoris won best label of 2011 by deejay magazine and his standout remix of Guy J’s ‘Lamur' brought him his first "essential new tune" from Radio 1's Pete Tong.

The 20/20 Experience Tour

This day we honor the French for their independence from the Aristocracy as only the Irish can. There will be no shortage of drinking and dancing here at The Irish Bank. Think St. Patrick's Day and substitute the green white and gold for blue white and red. There will be 2 alleys allocated for this fun block party with outside bars, foodtruck, and musical stage starring DJ's and a super Red White Blue ball drop. This event is from 5PM-Midnight however it will be only free from 5PM-6PM so get there before 6PM otherwise you will have to wait in line and pay $10. As people remember this line was all the way to Kearny street for the St. Patrick's day Party. Come dressed in Red, White, and Blue and keep the San Francisco Block Parties Alive! VIVA La France!

Friday, July 18th at ROYALE Boston VIPList Presents... Guest Artist: LIL JON TURN DOWN FOR WHAT?!? Fresh off his European tour, The King of Crunk brings his beats to Boston! Spend your Friday night bumping and grinding To the hottest sounds in the industry For what is sure to be an unforgetable night! Get your tickets HERE! For Guestlist RSVP to: bostonviplist@gmail.com Sunny @ 617-335-5582 Follow us! www.BostonVipList.com @BostonVipList Facebook.com/bostonviplist

“It was very raw and emotional,†says Georgia Nott, referring to a rough draft of the BROODSsingle “Bridges,†which the singer wrote in her beachside hometown of Nelson, New Zealand. “We took it to the studio and created a song that’s a little more light-hearted, a little more of a release.†The beat-spliced ballad left a deep impression with the duo’s burgeoning fanbase, selling more than 400,000 digital copies since its February release and setting the tone for a self-titled EP, viral video (a high concept reflection of the heart-sinking hooks in “Never Gonna Changeâ€), and sold-out shows in San Francisco, New York and L.A. While BROODS could have rode that initial wave out for the rest of the year, Georgia and her brother Caleb are already busy planning a spring tour and developing their debut album with GRAMMY-winning producer Joel Little (see also: Lorde’s Pure Heroine LP). “We’re still finding our own niche,†explains Caleb, “still experimenting.†“And since we know what we like,†adds Georgia, “the album’s going to be true to us—always developing, always evolving. When you stop evolving, you stop living.†That explains why the Nott’s left their last group (The Peasants) not long after it won New Zealand’s national Smokefreerockquest prize, a fierce competition that’s catapulted the careers of local artists like The Naked and Famous, Evermore and Ladyhawke. The way Caleb remembers it, everyone had different ideas of where that project should go, so he and Georgia embraced their electronic pop tendencies on their own. Before they knew it, BROODS “just kind of happened.†And since they’re not exactly strangers when it comes to collaborating—Georgia and Caleb won their first talent show way back in elementary school—working out parts like the manic melodies and ‘XX-esque’ interplay of “Pretty Thing†have only gotten easier with time. “We like the idea of writing without boundaries,†says Georgia, “Every time we go into the studio, it’s like, ‘This is what we should be doing.’ Music’s one of those things you have to figure out for yourself.†~AXS

Stockholm-born, Berlin-based, The Field a.k.a. Axel Willner sprung into existence in 2003 when Axel took to Buzz – a software program he still uses to make music today – to construct his ambient techno based on a stoic motorik and a perpetually rotating hook. He was picked up by Kompakt just a year later. His track ‘Love vs. Distance’ provided an early demonstration of how the Swede could take just four bars of sound and deftly deconstruct, alter and rebuild them to create a constantly changing canvas. His follow-up 2006 EP ‘Sun & Ice,’ imbued a sense of wandering expanse with tracks like ‘Over The Ice’ skipping along like skimmed stones over water. It all came together in 2007 on the phenomenal success of debut LP From Here We Go Sublime, receiving a 9.0 and a place inside the Top 200 records of the decade by Pitchfork, as well as accolades from NME and the BBC. The Field embarked on his first tour including Pitchfork Music Festival, ATP, Sonar and Oya, trotting the globe armed with just a laptop. Come May 2009’s follow-up Yesterday & Today, Axel was joined by Dan Enqvist on bass, and Jesper Skarin on drums and went back on the road, including a first ever UK headlining circuit, a US tour support with The Juan Maclean and festival slots at Bestival, Roskilde and OFF Festival. So to 2011 and the release of third album Looping State Of Mind, a release that came across as Axel’s most accomplished to date. “All the old influences are still there,†he admits, “but we’ve made a real attempt to grow the sound.†2013 seen the release on Cupid’s Head, hailed by Resident Advisor as “one of Willner’s most affirming and beatific creations to dateâ€.

Description XS Las Vegas presents Morgan Page Sunday, July 20th * ARTISTS Morgan Page * *PLEASE Read Full Disclaimer* Wanticket guests are required to printed copy of the scannable ticket and e-mail confirmation, a valid photo I.D., and the credit card that the ticket was purchased. These tickets are print at home. Please print out and bring the scannable ticket as well as the e-mail confirmation, Id, and Credit Card to the club by 10:30pm and follow the signage to the Wanticket area. * All patrons must be 21 years of age with valid Id Us residents must bring state or federal issued Id foreign residents must have passports no copies or paper ID's will be accepted. The door and management reserve all rights to decline entry of any guest not in proper dress code. XS reserves the right to decline entry due to capacity issues, guests will be asked to wait until doors re-open. Visibly intoxicated guests will not be admitted to the venue. XS is a 21 venue, no minors will be admitted. Any disregard of the previously stated rules will invalidate your ticket / entry. xslasvegas.com Facebook.com/xslasvegas www.twitter.com/xslasvegas instagram.com/xslasvegas

The Disco Biscuits are an entirely different band today than they were when they first broke out of Philadelphia in the mid-90s. That's not to say that they've abandoned their foundations, switched gears entirely, or set sail for distant shores. The Disco Biscuits are still very much the trailblazers of "trance-fusion" that they've always been, bridging the gap between electronic music and jam bands. They remain rock pioneers whose soul belongs as much to marathon dance parties as it does to live improvisational journeys. They still employ emerging technologies to help them create music that is 100 percent human, although perhaps not entirely of this earth. But after spending the past three years in the studio during breaks in touring they've resurfaced with Planet Anthem, a record that is undeniably unlike anything else they've ever created before. "Our only goal was to make a great album," says keyboardist Aron Magner. "That was the only concept from the very beginning." But Planet Anthem is more than a great album it's about to become a reference point for a whole set of new weapons in the Disco Biscuits' arsenal. "It's all about making sure that you have the material that you feel confident is, without a doubt, going to make a difference in your career," bassist Marc Brownstein explains. "We want to have this album be a game changer for us." In the past, the Disco Biscuits would try to convert their most recent live songs into studio versions, but with Planet Anthem the band is eagerly attempting to do the opposite taking new studio compositions and making them a seamless part of their live repertoire. It's a challenge that will no doubt shape the new face of Disco Biscuits jams. Indeed, now that Planet Anthem is finally complete, the Disco Biscuits can at long last return to their primary function as one of America's most in-demand live jam bands. And the new material will make the trek with them, adapting at every turn. Says Brownstein: "People might hear a new song like 'Loose Change' and be a little freaked out that it's a pop song, but we're going to take that song live and we're going to jam the s~~t out of it." In other words, meet the new Biscuits, at once much evolved yet still much the same as the old Biscuits. This is still the band that hosts Camp Bisco each summer, a three-day festival which they anchor while bringing the "trance-fusion" style to life with back-to-back sets by some of the world's top electronic acts, jam bands, MCs and DJs. They will continue to headline prestigious venues like Red Rocks, tear up stages at world-renowned festivals like Japan's Fuji Rock, and embark on tours during all four seasons. But Brownstein is right Planet Anthem is going to be a game changer. It's a game where everybody wins, but the Disco Biscuits remain firmly in the lead. ~AXS

This day we honor the French for their independence from the Aristocracy as only the Irish can. There will be no shortage of drinking and dancing here at The Irish Bank. Think St. Patrick's Day and substitute the green white and gold for blue white and red. There will be 2 alleys allocated for this fun block party with outside bars, foodtruck, and musical stage starring DJ's and a super Red White Blue ball drop. This event is from 5PM-Midnight however it will be only free from 5PM-6PM so get there before 6PM otherwise you will have to wait in line and pay $10. As people remember this line was all the way to Kearny street for the St. Patrick's day Party. Come dressed in Red, White, and Blue and keep the San Francisco Block Parties Alive! VIVA La France!

Thursday, July 17th 2014 The Mid and React present.... :: DAVID SOLANO :: [ www.facebook.com/davidsolanomusic ] call 312.265.3990 For Tables and Birthday Packages The Mid 306 N Halsted Chicago, IL. 60661 10pm-4am | 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

On Saturday, July 12th at MIGHTY... It’s the return of TORTURED SOUL (Live!), as SALTED is happy to welcome them back for another memorable night along with residents MIGUEL MIGS and JULIUS PAPP.

Mr Scruff swims through currents like a ninja tuna. Known for extended sets of the rarest vinyl, Scruff will play a Six Hour set at Public Works on August 16, kicking off to an empty house at 9pm and playing until the sweat drenched masses fall down at 3am. Along the way you may hear every type of music under the sun, all from wax, and all expertly mixed by one of the most uncompromising perfectionists ever to stand behind the decks. Scruff will reconfigure entire DJ booths, rebuild turntables, and Eq a club soundsystem, all during soundcheck. Then for 6 hours he will reprogram our minds. Oh yeah, and he will design his own posters in that "Potato Style" stick cartoon fashion that has brought comedy to dance music since he began his journey. Supporting him are some of SF's finest Scruffheads, including J.Boogie, Platurn, DJ Dials and Robbie "Mopo" Kowal. Buy now... while you can...

San Francisco's #1 Club with the Top DJs of the world Sign-Up at http://www.solylunasf.com/ Guest Lists are published Thursday the week of the event **Excludes certain special events

Friday July 4th 10th Annual IndepenDANCE Beach Party * Showcasing Miami Beach's Largest Firework Show Colombia Vs. Brasil World Cup Watch Party at 4pm * STEVE Lawler . Boris . Oscar G * Patrick M . Cocodrills . Edgar V Alx . Renato Lopez . Mark Boson * * * * * VIP Reservations *305-498-4692 *I *VIP@AMPMPRESENTS.COM* Indepen Dance *INFO Line 305-974-1434* Mon-Fri 11am-6PM HTTP://INDEPENDANCE.COM* *

It’s the hottest day of the year. Slender bodies swaying in the heat haze. You’re on a beach, but it’s more than a beach – the colours are brighter, the sunlight warmer, the cool sea a more psychedelic shade of turquoise. And somewhere nearby there’s a band playing… This is where Jungle want to take you. An infinite holiday, a place called bliss, a great escape from the grey and the everyday – because, as aesthetes from Oscar Wilde to Pharrell Williams knew, there is nothing so serious as fun and nothing as subversive as happiness. There is no blueprint to Jungle’s irresistible, life-enhancing, report-to-the-dancefloor sound but there are many ingredients. It’s P-Funk and ‘Grand Theft Auto’, it’s Curtis Mayfield and ‘Tron’, it’s the Beach Boys and Joy Division and Marvin Gaye and Can, all cut up and refracted in a London neighbourhood where anything can happen. Those with long memories might detect a resurrection of A Certain Ratio or Chakk’s fractured funk here. But for most of Jungle’s growing and increasingly fanatical crowd it’s not about the history. It’s about a remedy for overstuffed pop and bloated stadium house and dull social realist rock. It’s about getting back to the groove. And behind the rising buzz – the* BBC *Sound of 2014 nomination, the 4 millions plus plays of the ‘Platoon’ video, the US tour that sold out on the back of their* SXSW *appearance before Jungle even had an official record out in America – it’s a* DIY *story. Working from their home studio in Shepherd’s Bush, the core Jungle duo known only as J and T set out their store long before they came on any label’s radar with a brace of handmade mini-classics. A couple of singles – ‘The Heat’’s supple 4am soul snap, the ice-cold search-and-destroy beats of ‘Platoon’ – connected 2014 and 1974, London with Rio and New York, the feet with the unconscious mind. Adding to the buzz and mystique were game-changing videos, made by the band and their mates, featuring skaters the High Rollaz and a stunning 6-year old breakdancer called Terra. They racked up major views on YouTube and spread the word far beyond the music hardcore that here was something different. Inscrutable press photos compounded the intrigue, suggesting that there might be two people in Jungle or there might be thirty. Who could tell? Like their sonic ancestors Public Enemy or The Art Of Noise, Jungle were a delicious riddle, an enigma with attitude. Now perhaps some explanation is in order. We can reveal that J and T are a pair of sound obsessives called Josh and Tom, sharp and meticulous West Londoners who each play “pretty much everything†and tend to finish each other’s sentences too. “The initials weren’t a big deal, they’re just our nicknames,†explains T. “We weren’t trying to hide ourselves, but we didn’t want the whole thing to be about us. We wanted it to be about at the music. †They’ve known each other they were ten years old, when J moved in next door to T’s house in Shepherd’s Bush back in 2000. T lived a mere stone’s throw from the legendary Townhouse Studios where (omens ahoy) everyone from* ABC *to Frank Zappa recorded. J climbed over T’s back garden wall and they’ve stayed friends ever since, from the time he tried to sell T his first guitar for £20 (Tom: “it was brokenâ€) through roller-skating to sharing music – Red Hot Chili Peppers, Jehst, Braintax – to their first experiments with making their own. “You know what it’s like,†says J. “You get a guitar and a busted old PC, then you find a bit of software on the Internet and suddenly you’re actually doing it. Even when we were kids the idea was, Yeah, we can do that. You don’t need a label or expensive equipment to make music. You just need to have a go.†Their interest in sound became an obsession. At school T spent a year dissecting Marvin Gaye’s ‘What’s Going On’ and the Beach Boys’ ‘Pet Sounds’ until he knew them inside out, two records he still adores for their marriage of recording technology with pure joyous emotion. Shepherd’s Bush gave them a musical identity before they even knew they wanted one – that stew of hip hop, rock, electronica, soul and reggae that comes from a true culture collision. “We love it round there,†says T. “All of our mates are there. It’s one of those parts of London that’s kept its identity.†A brief spell in a mate’s band confirmed that the worn-out strictures of indie rock weren’t for them. Specifically it made them realise that if you’re going to make music at all, it’d better be your own – something that you can pour your heart and soul into, something that you can up stand for, something you’re proud of. “Jungle brought us closer together,†says J. “It made us realise why we’re best friends, and why we wanted to make music that’s fun and honest and true to itself.†So they threw themselves into finding a sound that only they could make. Something epic and rhythmic, euphoric and sexual. “It’s always been visual for us,†explains the enthusiastic J. “We want the feel of a video game or a cartoon landscape, a hyperreal, colourful, surreal place. We want everything to be realer than real.†Half recorded at home and finished in the studios of their new label XL, where The xx made their own first album, Jungle’s intoxicating self-titled debut delivers all that and more. There’s technique and care in these seemingly weightless tracks but above all it feels effortless, a breath of fragrant fresh air, a touch of psychedelic sweetness for sour times. Meanwhile things are gathering pace for Jungle. They’re hearing covers of their stuff, rappers rhyming over ‘The Heat’. The shows get bigger. They had to break off recording for a quick tour with Haim, and the expanded seven-piece Jungle live band keeps swapping instruments, reworking songs on the fly, getting better and better. “When people come to see us we want to shock them and surprise them,†says T. “Getting people’s hips and bodies moving is what music should be about.†“This stuff started out as escapism for us,†adds J. “Now anyone can escape into it.†Damn right they can. Get your swimsuit together, lose those grey urban perspectives and begone, dull care. Underneath the pavement, the infinite beach of the mind awaits. And you know who’s playing there – tonight, and every night. http://junglejunglejungle.com ~AXS

Bad Boy BILLIt wasn't very long ago that a bizarre and glorious new sound began creeping out of nightclubs in Chicago Before this future music captivated the world, before it spread to London and New York, before it was even given a name, this new sound captured the imagination of a young Chicago teenager who prior to coming out of his teens would have a name synonymous with Chicago House Music: That name was Bad Boy Bill.*Beginning his career when he was a freshman in High School, it was a time when most people hadn't even heard of House Music yet. But for Bill it was a fresh and amazing sound and he had to be involved. Influenced heavily by the Legendary Hot Mix 5, Bill spent day and night working on his craft eventually catching the eyes of the very radio stations he spent all of his time listening to. By the time he graduated high school Bill was a regular on the radio and one of the most popular DJ's in Chicago.*While only a teenager Bad Boy Bill was already releasing music on a label he founded with his friend Mike "Hitman" Wilson called "International House Records". Bills tracks were being played by DJ's all over the country while his DJ Schedule was getting so busy that he was booked almost every night of the week. It seemed that Chicago could not get enough of Bad Boy Bill and he gave them what they wanted working endlessly mixing on the radio, making mix Cd's, producing music and Deejaying at nightclubs clubs he wasn't even old enough to get in to.*Bill's passion for House Music and his astounding natural ability behind the turntables eventually led him to the competition scene where he would win numerous DJ Battles across the country including placing in multiple DMC Championships. Bill constantly pushed the envelope and came up with incredible style and techniques to punish his competition including a performance so infamous it was censored on the DMC contest video.*While still very young The Bad Boy Bill legacy continued to take off with his "Hot Mix" mix tape series. During a time when you couldn't drive down the streets of Chicago without hearing Bad Boy Bills Hot Mixes blasting out of someone's speakers, the tapes spread throughout the city as everyone had to have them as soon as they came out. Selling out of the trunk of his car and at local record stores, it became nearly impossible to keep up with the demand, which led Bill to his next venture of starting the record company Mix Connection Multimedia.*Mix Connection's first order of business was to make Bill one of the first DJ's to sell legal mix tapes at major retail stores. The fully licensed "Bangin the Box" mix series was the first of its kind and sold hundreds of thousands of copies in stores around the world. As Bill's mix-tape sales increased, so did Americas fascination with electronic music. Word began to spread throughout the country about Bad Boy Bill and he quickly started to get booked across America and abroad making Bill one of the earlier touring DJs and thus paving the way for what were to become todays "Rockstar" DJ's*As Bill's popularity increased, he kept his feet firmly rooted in Chicago's House scene, expanding the Mix Connection empire by forming the legendary labels Moody Recordings and re-inventing International House Records (Ihr). The labels were a huge success and allowed Bill to discover talent in Chicago as well as other parts of the world releasing some of the era's best house music including Paul Johnsons "Get Get Down" which was one of the highest selling house records of all time. Bill continued to expand the company forming additional labels under the Mix Connection Umbrella.*In the 2000's Bill continued his innovation, taking the concept of DJ mix to the next level with his "Behind the Decks" CD/DVDs. The DVD's again were the first of their kind and unlike the typical mix CD, came fully stocked with live show footage, incredible visuals and lots of behind the scenes footage which gave fans a chance to truly get a feel of what its like to be on the road and in the studio with Bad Boy Bill. Bills dominance of the House Music scene, his one of a kind mix releases, his incredible live shows (which now became some of the first DJ shows to include live custom visuals along with his own team of dancers) combined with the success of his record labels led Bill to be crowned as Americas Favorite DJ by BPM Magazine in 2003 as well as in 2006*Always one step ahead of the pack, it was in this same era that Bill foresaw the industry's shift to digital media, and teamed up with a small group of friends to co-found Beatport.com. Starting out as a small website Beatport quickly exploded and revolutionized the DJ world and has now become the worlds leading distributor of electronic music.*In 2009, after years of touring and industry innovation, Bad Boy Bill finally made time to accomplish his goal of producing his own album. Bad Boy Bill "The Album" was a long time coming and it did not disappoint the thousands of fans who eagerly awaited its release. The record was a huge success on multiple levels with singles such as "Falling Anthem" and "Do What You Like" topping dance charts all over the world while other tracks were quickly licensed for use on TV shows and Commercials.*While Bill continues to go strong with an intense tour schedule and countless hours in the studio working on upcoming releases; one thing that will not change is his fans demands for Bad Boy Bills signature Mix Cd's. The "Behind the Decks Radio show" a monthly podcast and free download became Bills answer to the swarms of fans that constantly asked him for new mixes. Unlike other podcasts the Behind the Decks radio show gives you the feel of a live Bad Boy Bill DJ set filled with exclusive tracks and Bad Boy Bill style mixing and scratching. Upon its launch the radio show was immediately picked up by radio stations across the world for syndication.*In an industry that's notoriously fickle, and regularly dethrones it's top DJs for the next big thing, Bad Boy Bill has consistently stayed ahead of the pack. His innovation has shaped the industry, not just behind the decks, but in every aspect of the business. Bad Boy Bill is the rare embodiment of past, present, and future. He will always be a legend for his contribution to the Edm world, he is lauded for what he's doing today, and the industry and his legions of fans are always wondering what he will do next.

Donald’s uncompromising style and innovation show no sign of slowing down any time soon. With the credit of 5 full-length CDs and numerous remixes under his belt, Donald has focused much of his time to production work. Producing such dance floor hits as “Get Up†and “Soul Cha Chaâ€. *As such, Donald has launched two record labels in which are causing rumblings in the industry. Eden Recordings, started with fellow DJ Rick V, and Durty Records, a collaboration with good friend Vince Lombardi.Donald’s 2005 release, “This is Me†(Moist Music), is a 35-track double CD that defines his creativity, sound and vibrant style. Since its release, Donald’s fans have been eager to hear what’s next from their favorite DJ. Fans will be pleased to know that Donald’s hard at work on another double CD, “For the People†(Moist Music), a live recording and original tracks produced by Donald himself. With the completion of this latest project, the world should be prepared to experience all sides of Donald Glaude: DJ. Producer. ARTIST.Continuing to be “The Hardest Working American Dj†Donald has many new projects planned for this upcoming year. *He has a tour scheduled with “America’s Most Beloved Dj†Dj Dan and he also has another new CD releasing in 2007. *Also expect new release from both of his labels Eden Recordings and Durty Records. *You have seen him use his musical talents from bring his experience in playing bass, percussion, violin and then moving on to the turntable just show us his grasp on music. *To mastering the turntable and then on to recently turned Serato user always expect the unexpected when you come see Donald Glaude………

The M Machine is an electronic music trio hailing from San Francisco, CA. Formed in 2011 by Ben Swardlick, Eric Luttrell, and Andy Coenen, the group has quickly risen to prominence on the strength of their wholly original and forward-thinking sound. Transcending genre, the group effortlessly bounds between hard-hitting dance tracks and thoughtful, indie-styled vocal songs, tying it all together w ith a distinctly cinematic presentation. The group also designed, built, and performs its own live visuals in the form of a massive LED version of their iconic "M". It is this eclectic and all-encompassing approach towards their craft that has distinguished The M Machine as something very unique in the world of electronic music. The group achieved initial viral success with a teaser video for their two-part album Metropolis. The group's debut EP, Metropolis Pt. I, was released in April 2012 on Skrillex's OWSLA label. Inspired by Fritz Lang's seminal 1927 film Metropolis, the group created an entire mythology for the release, each song telling part of the story of the dystopian city of Metropolis. After an extensive run of official remixes for Bruno Mars, Passion Pit, Datsik/Kill The Noise, and Madeon, The M Machine returned to original production, elevating their craft to the rave reviews of their peers (read Skrillex, Porter Robinson, and Madeon). The second installment of their album, Metropolis Pt. II, released by OWSLA in February 2013, marked a new high water point in terms of the group's creativity and production. The Metropolis saga was completed with the release of Metropolis Remixed, a revamped retrospective of the previous two EPs that featured remixes from Kill The Noise, Digitalism, Robotaki, and more. Most recently the group remixed Dog Blood and Empire Of The Sun; both remixes were released to much fanfare. The M Machine has performed at high-profile festivals including Electric Daisy Carnival (Las Vegas & NYC), Tomorrowland, Outside Lands, South by Southwest, Nocturnal Wonderland, Electric Forest, Electric Zoo, and Camp Bisco. Other highlights include a support slot for the entire "Language Tour" with Porter Robinson, and a support slot for Skrillex at Red Rocks in Denver. With support from many of the world's most notable DJs, including Tiesto, Skrillex, Porter Robinson, Madeon, Markus Schulz, Benny Benassi, Zane Lowe, and Pete Tong, The M Machine continue to carve themselves a distinct niche in the ever-changing landscape of electronic music. Terms and Conditions: This event is 21 and over. Any Ticket holder unable to present valid identification indicating that they are at least 21 years of age will not be admitted to this event, and will not be eligible for a refund. Support lineup subject to change. No refunds will be issued for lack of identification or invalid identification. Fashionable Attire is required, no sneakers, shorts, tank tops, baseball hats or gym clothes. By purchasing a ticket, you will also receive weekly email blasts from Ruby Skye about upcoming events, guest lists and more.

Come out to one of Miami's hot spots an celebrate Independence Day with DJ Tito!

Cosmic Gate Andrew Rayel

Description XS Las Vegas presents Deadmau5, Friday August 1st ** * ARTISTS Deadmau5* Kris Nilsson * * *PLEASE Read Full Disclaimer* Wanticket guests are required to printed copy of the scannable ticket and e-mail confirmation, a valid photo I.D., and the credit card that the ticket was purchased. These tickets are print at home. Please print out and bring the scannable ticket as well as the e-mail confirmation, Id, and Credit Card to the club by 10:30pm and follow the signage to the Wanticket area. * All patrons must be 21 years of age with valid Id Us residents must bring state or federal issued Id foreign residents must have passports no copies or paper ID's will be accepted. The door and management reserve all rights to decline entry of any guest not in proper dress code. XS reserves the right to decline entry due to capacity issues, guests will be asked to wait until doors re-open. Visibly intoxicated guests will not be admitted to the venue. XS is a 21 venue, no minors will be admitted. Any disregard of the previously stated rules will invalidate your ticket / entry. xslasvegas.com Facebook.com/xslasvegas www.twitter.com/xslasvegas