lucky13

I'd wanna go to see Sander, Chus & Ceballos, and DT...I'd take a pass at the others

I highly doubt that anyone here would want to go to any of those places that you mentioned. Most of us are into parties w/ substance (read: good music and vibe)...something that you're not gonna find at those "trendy" clubs. Do youself a favor and check out Sander K. and Demi on Friday night.

it's 21+

Sucks that this is his last party @ Crobar in 2005, and I won't be able to make it. If any of you guys decide to go, get there early for Demi; guy is really good.

Well Twilo was the original Sound Factory before it was Twilo...The only reason that Tunnel didn't reopen as another club is b/c the landlord won't lease the space out to anyone who wants operate a nightclub there.

why do people feel the need to bump up threads that are months old?

Can't believe that Morillo's album is on that list. Possibly one of the worst mixes I've heard all year.

Here's a good article that should help you out: http://www.plasmatvbuyingguide.com/plasmatvreviews/plasma-vs-lcd.html

Maybe you confused him w/ Boris?

Everybody on Tour is definately a good choice. Disc 1 is Sander's mix which features a nice mix of funky, progressive house beats w/ some electro thrown in as well. Track selection could have been slightly better, but I think it's an excellent mix nonetheless. I seem to like it more and more everytime I hear it. Lee's disc has more of a minimal/tech/electo sound. It has a darker feel to it. I think that his mix is excellent as well, just has a different sound that Sander's.

I never said that JP and Junior weren't still popular. I said that they are past their prime. JP's prime was during his SF residency and Junior's was during his time at the original Sound Factory and Twilo.

That's cause both of them are past their prime

Ferry's party is 21+. You guys can always hit up Webster...LOL

I heard that the secret word you need to get in is "K-hole"

I actually watched the entire thing........hilarious!

Only people who are insecure about their own sexuality would worry about how a certian kind of animal is going to reflect on how others perceive them.

Just picked up the third installment of Sander's Everybody series today for $15.99 @ Best Buy. He teams up w/ Lee Burridge this time, who mixes the second CD. Excellent funky progressive house beats w/ some electro thrown in here and there. Definately worth checking out. Disk 1 (Sander's Disc) Pony - Our House (Papa Mix) Mylo Feat Freeform Five - Muscle Car (DJ T Mix) Chris Lake - Until She Rises Lower Eastside - Swordfight (Trent Cantrelle Mix) Jon Gurd - Lemon Sherbert Bodyrox - Yeah Yeah (Pearn & Bridges Dub) Groovefire - Earthquake (Dan Sanders Mix) West London Deep - Dark Matter Armin Van Buuren Feat DJ Remy - Bounce Back MV - Mr Roboto 2 Bit Pie - Nobody Never (Hamel & Jamieson Audio Magnetics Mix) Serge Santiago - Atto d'Amore (Dub) Robert Babicz - Look (Dub) Disk 2 (Lee's Disc) Ada - Livedriver (Sascha Funke Mix) Tresca - Easy Ride Riton Vs Howdi - Closer Dinky - Acid In My Fridge Must - Extra Stop (Klaus Lindblad & Hendrik Schwarz Mix) Dum Dum - One Earth Beat (Gardner & Star Rave Lizard Mix) Soul Mekanik - Wanna Get Wet (Buick Project Mix) DB Vs Tim Paris - Future Now (Tim Paris Mix) Dirk Technic - I Love You Yoshimoto - Du What U Du (Trentemoller Mix) Francisco Feat Adam Bourke - Esplanade '97 Afrilounge - The Dude Michicoan - 2 Bullets

I sleep in a drawer

Nice to see some new names on the list (Desyn, Chus & Ceballos, and Luke Fair), as well as some old favorites of mine (Sander K., Lee Burridge, and Howells).

Deep Space party @ Cielo should be good

Sander Kleinenberg has taken the world by storm. Ever since the release of his Y.D.W. (You Do Me Wrong) single on New York's Critical Rhythm imprint, back in 1994, his star has been shining bright. His epic Four Seasons EP, which included the monster track My Lexicon, was hammered the world over and gave the young Dutchman from The Hague a mainstay spot among the international DJ/producer elite. Several other milestones followed, including his own Nu-Breed release on Global Underground and his own Everybody album series on the essential Renaissance imprint. Kleinenberg has been mentioned as the new Digweed, but has proven more versatile and sometimes unpredictable in his eclectic musical choices that set him apart further. The Flying Dutchman has explored technological boundaries while effectively remixing hip-hop stars, trance gurus and house anthems, giving each an explicit Kleinenberg twist. As Holland is still known the world over for a sound that caters for the masses, Kleinenberg's ability to create his own niche in the lowlands and beyond is his biggest accomplishment. His frivolous Everybody concept, but also his very own Little Mountain record label and global performances at least render one conclusion firmly in place: the young Netherlander, who has yet become a nurturing father as well, has plenty to keep him going. Nevertheless, he kindly gave up some of his valuable time to have a witty chat with 365Mag about his new album, his view on the future of DJ-ing and on what inspires him in life. Let's do it the Kleinenberg way! You have been active as a label boss, DJ, producer and a promoter... What role do you like best at the moment? Well, it all stems from an all-encompassing love for music. That has always been the main driving force behind what I do, and all the above are closely related to such a passion. If you don't like the music in the scene that you are active in, you simply cannot survive in this industry, it will drive you completely nuts. I am really convinced that holds for anyone who's successful in the business, including DJ's such as Tiesto and Armin van Buuren. You are well known as a promoter as well. Among other things, you were one of the founding fathers of Earth at Amsterdam's Melkweg. What happened since? In fact I have been throwing parties ever since high school. That led to several bigger initiatives, also together with Per which lead to Earth. Earth is now one of the longest running party concepts in the Netherlands, but you left it relatively at the beginning, why? Our vision at Earth was to throw parties on a global level. However, that did not fully materialise, perhaps due to the fact that there were too many behind the rudder, leading to compromises. I just wanted to do my own fresh thing, my own way, something that was not possible within the concept of Earth. That is what I do with Everybody, which rocks major clubs like NYC's Crobar, Ibiza's Pacha and the Ministry of Sound in London, which really is my own thing. You are respected the world over as an innovator. In fact, you were one of the first to test and integrate Pioneer's DVJ X1 (The world's first professional DJ DVD-CD player) in your live sets, could you tell us something more about this? Well, it is about giving something back to the audience, to justify the position you are in as a DJ. There should be a balance in what you take and what you give - opting for an easy way out is simply myopic and half the fun. I think you cannot simply come in, play a standard set and leave again with a load of money. That's not me. In my case, I have a long lasting fascination with visuals, and the introduction of Pioneer's DVD DJ player paved the way for a deluge of new possibilities. However, I ran into the problem of the availability of video clips. Usually, when I receive and decide to play a potential chart record, it will take about a year or even longer before it is even picked up in the mainstream. This basically means that you have to develop footage yourself. I am lucky to be able to afford hiring a visual partner who helps me to create imagery for the mainstay tracks in my record box. Developing a video for all my tracks is simply impossible, as the process is very time-consuming, so I choose tracks that are likely to stay in my case for several months, which amounts to about a quarter of the total. How do people react to it, is it the future? I wouldn't know where the trends would bring us, but for now it is an interesting twist to the experience. Although some people are skeptical and conservative, preferring perhaps to sit in a dark corner with a pill, reactions are generally very positive. Surprisingly enough in America, where they have come to see and acknowledge the added value of video in a live set, it's been a success. Europe seems to be lagging behind a bit, but people have to get used to it as well. Speaking of innovation, computer mixing in the form of Ableton Live or Final Scratch is taking the world by storm. Is their still a chance of survival for conventional, vinyl based DJ's? Well, I personally don't like mixing on a computer alone, but I am impressed what people like Sasha and Richie Hawtin can do with it. Nevertheless, I am convinced that it is really the output, rather than the instrument that is used that counts. It's about making people dance, about the simple principle of attracting a crowd of women to the dance floor, as no one likes a men-only party. Some people are really able to do magical things with vinyl, whereas many people using software mixers haven't got what it takes. It is a matter of a taste in music and a background. Take Sasha for example - we are talking about one of the most skilled vinyl/CD DJ's of the world who has now mastered the functionality of Ableton, and has gone a long way with it. Sometimes I tend to compare it to Mondriaan (a famous Dutch Painter, known for his minimalism). His career started with a fairly realistic period, which allowed him to master the refinements of the art of painting. It was the skill he developed in that period which unleashed the magic in his later efforts, hence the importance of the basics, the foundation. With regards to vinyl, it must be said that it still has some merits over digital audio, and I still play about a quarter of my tracks on it. Especially the sounds below 20 Hz and above 20khz, which are often filtered digitally, can give the beats that extra physical punch. Especially when I use my 'pimped' V6 (an audiophile super high quality mixer by Allen & Heath) that uses valves for amplification - vinyl simply sounds excellent. I try to bring it to most of my gigs, although the machine is really heavy. Your release, The Fruit revealed a more electro-oriented Sander Kleinenberg sound wise. What's the story? At a certain point I was sitting on my couch watching TV with a befriended producer, and I got the idea from a commercial for a yoghurt drink, which had the slogan "It's the fruit that makes the Fristi". We started working on some funny vocals around the concept, and that eventually led to the record. Initially, I wasn't sure about releasing it, but as it turns out, I finally did. Was it a strategic move to come up with such a sound at this time; you always seem to be slightly ahead of the game? Well, the idea for the track came eight years ago, so not really. With regards to a more electro-oriented sound, I must say that I am not completely in agreement with that term. For me, electro started in England as a clashy protest movement, and many things that we call electro today would not fall under that musical umbrella. It all started with house music as a guiding principle, so I would define it as that. Many subgenres have been created since, which led to 'specialization' by some DJ's, and that is something that I personally do not feel comfortable with. Fortunately, that is not the case as much lately, as the borders are fading a bit. But they will surely return in time. You seem to have moved out of the progressive scene over time. Your style actually seems to be hard to pinpoint - is there no strategy involved? I just want to spin and produce what I like, even if that would mean spinning Aphex Twin from tomorrow, for example. It is not a strategic process, although I do believe that today's sound has changed and has become more computerized. The time of 'conventional' hardware is over, as people can buy an excellent computer for little more than 1500 Euro and need little more than their own inspiration to create fantastic sounding audio. A new Everybody CD, the third in the series is up for release, what can we expect? Like previous editions, I have gone for a double disc format, but this time the release consists of a disc by myself as well as a mix by Lee Burridge, who above all is a lover of music. We have tried to capture the mood of the moment, the 'zeitgeist' in our mixes without resorting to the mainstream. It is better to avoid hit-records; moreover, it is an opportunity to present new talent to the audience, for example Yves Eaux - a fresh Dutch producer. When you pick up the CD a few years from now, and the track listing is full of anthems, people get the boring feeling of yet another hit CD full of clichés and toss it away. Our discs should retain a certain freshness, an enduring quality. It is a serious challenge though, as predicting whether a track will be a (mainstream) success or not is an intricate process and the margins are very thin. How was it to work together (with Lee Burridge)? Well, you have to express yourself on one disc only, which was a new challenge, and you have to compress even more. Fortunately Lee really 'lives music' himself, and is a fantastic person to work with so I am quite fond of the result, which really reveals two distinct musical views in one package. Sander's new Everybody CD will be out shortly - check 365Mag for a full review soon!

I agree that this poll doesn't hold much merit. It's nothing more than a popularity contest in which the majority of voters happen to be UK trance junkies which explains why 4 of the top 5 djs fall under the trance category. While I agree that PVD is certainly worthy of the top spot, some of the other rankings are laughable. For instance, Benny Benassi got ranked higher than Howells or DT.

Who's in?

Maybe the Cubs will win next year....