SPRACI

   
spraci.info

Hiphop

 
Post
Ben Sims

via Twitter For Iphone

2 days ago
Catch me to tonight on the mighty @RinseFM midnight session!

RinseFM




From early formative days earning his stripes spinning hip hop, house and rave on pirate radio, and at parties around Essex and East London, through the 90?s as an ever more in demand DJ, and on into the new millennium as a label boss, producer and internationally recognised techno legend in his own right, Ben Sims has spent all his conscious lif...




Post
weekend #longread: @cmolanphy's I Know You Got Soul: The Trouble With Billboard?s R&B/Hip-Hop Chart

Articles: I Know You Got Soul: The Trouble With Billboard?s R&B/Hip-Hop Chart




A new methodology has rendered Billboard's R&B chart a shell of its former self, replete with dubious racial and cultural ...




Post
New album from Johann Johannsson
A real mix feast with this program, but no Easter eggs. You'll hear the latest from my favourite Icelandic composer; three pieces sent in from the audience; some Khmer pop meet local hip-hop; and other dark treats.


Post
Hip-Hop Culture and the Growing Threat of Police Violence #WakeUp http://www.counterpunch.org/?p=65704


Post
Pitchfork

via Web

6 days ago
I Know You Got Soul: The Trouble With Billboard's R&B/Hip-Hop Songs Chart, by @cmolanphy

Articles: I Know You Got Soul: The Trouble With Billboard?s R&B/Hip-Hop Chart




In its heyday, Billboard's R&B chart credibly reflected the tastes of the genre's core fans, paving the way for artists ...




Post
RedBullMusicAcademy

via Tweetdeck

7 days ago
Best thing you'll read today: @noz talks to the founder of hip hop's greatest underground mag. http://www.redbullmusicacademy.com/magazine/murder-dog-interview

Image/photo

Interview: Murder Dog?s Black Dog Bone on Hip Hop?s Most Successful Underground Magazine | Red Bull Music Academy




The Sri Lankan founder of Murder Dog tells how a small Bay Area magazine became one of hip hop?s most influential reads.




Post
Vive Hip Hop #ClassWar http://www.indybay.org/newsitems/2014/04/08/18753811.php


Post
RedBullMusicAcademy

via Tweetdeck

1 week ago
In the midst of turbulent political times, Mali's rappers are the country's loudest voices -- http://www.redbullmusicacademy.com/magazine/mali-rap-feature #mag #Grin223

The Voice of the Voiceless: An In-Depth Portrait of Mali?s Hip Hop Scene | Red Bull Music Academy




At a moment when music?s political value seems like a thing of the past, hip hop in Mali is at the center of a discussion about democracy, globalisation and tra




Post
RedBullMusicAcademy

via Tweetdeck

1 week ago
"We're the voice of the voiceless." An in-depth portrait of Mali's hip hop scene -- http://www.redbullmusicacademy.com/magazine/mali-rap-feature #mag

Image/photo

The Voice of the Voiceless: An In-Depth Portrait of Mali?s Hip Hop Scene | Red Bull Music Academy




At a moment when music?s political value seems like a thing of the past, hip hop in Mali is at the center of a discussion about democracy, globalisation and tra




Post
Urthboy

via Web

1 week ago
No good bloody hip hop guys and their cancer research.


Post
Hau Latukefu

via Web

2 weeks ago
Yeah bro, lock in! RT @KingFD3S Oh shit hiphop show is on, tuning into @hauiebeast on @triplej


Event
Scooter @ Manor West
2014-04-12
Manor West, 750 Harrison St.,
Scooter started DJing because of his love and passion for music. That passion soon turned into a full-time career. Scooter?s signature vibrant style is a genre-bending, mind-blowing mix that always is fresh and exciting. Scooter has mastered both hip hop and house and has been producing house music for over fifteen years. He is one of the few DJs who can spin for a hip hop crowd and the next night play for an electronic crowd, rockin? both parties easily and with amazing prowess.

Map


Event
The Bloody Beetroots
29th May 2014
The Regency Ballroom, 1300 Van Ness Ave.,
Imagine the love child of the Misfits and Daft Punk; the act of conception would be grisly, but what a mighty offspring their union would generate. A formidable figure a la Sir Bob Cornelius Rifo, the polymath and producer behind the Bloody Beetroots. While Bloody Beetroots burst on to the scene in 2007, Sir Bob Cornelius Rifo did not spring forth from the godhead fully formed. Born in Bassano del Grappa, Italy, in 1977, our hero started young, studying classical guitar and learning to sight read via the traditional solfge method (you know ‚?" like "Do Re Mi" in The Sound of Music). But his imagination was fired by other sources: The raw energy of punk and rockabilly music; the vibrant images and outrageous storylines of comics by Max Bunker, Benito Jacovitti, and especially Tanino Liberatore, creator of the cyberpunk RanXerox. "The secret is tying up thoughts and visions via the process called music," says Sir Bob Cornelius Rifo of his distinct aesthetic. "I'm a grown child who enjoys reading comic books of the 1970s, who never stops dreaming, and listening to punk and classical music. I'm disciplined and undisciplined at the same time." These contradictions allow him to change at a moment's notice, and eschew established patterns. "Unlike many of my colleagues, I hate to read biographies of those who did music and arts," he adds. "I prefer to watch, understand, and analyze the world by myself. My taste has to be influenced by something that is not art. I love to be struck by life." Nevertheless, as a youth Sir Bob Cornelius Rifo served his time in the culture trenches. After years of studying Chopin, Beethoven, and Debussy, he cast off the straightjacket of classical music-while still retaining its hard-earned lessons-and turned his attention to reconciling the new world of samplers and electronic music with his affinity for punk and '80s new wave. Pushing himself as a budding producer, performer and multi-instrumentalist, he embarked on a decade of variegated projects that Rifo now affectionately refers to as "exercises." Starting with his 1997 debut, a production for Northern Italian hip-hop stars Da Fam, he tore through genres like a child shredding gift wrap on Christmas morning: Film soundtracks, house, drum and bass, trip-hop, and more. As the climax of this dizzying string of well-received collaborations, he initiated his first genuine solo project, an electro-punk band with revolutionary visual style: Bob Rifo's Gang. At the instigation of his colleague Tommy Tea-his on-stage partner and longtime minister of propaganda- Sir Bob Cornelius Rifo then created Bloody Beetroots, an artistic alter-ego that would draw on all Rifo's experiences to date. Initially conceived as an all-inclusive way to package the live thrills of Bob Rifo's Gang with the excitement of dancing-till-dawn DJ after-party, the producer set to quickly establishing the Bloody Beetroots as a electronic musical entity in its own right. First up were "French Touch" icons Alex Gopher and Etienne de Crecy, who let Bloody Beetroots put their edgy, acid stamp on the respective tracks "The Game" and "Funk." With other French artists like Rin‚?ĘŇĹr‚?Ęse lining up for his services, within a single year Rifo cranked out 28 Bloody Beetroots remixes. But not to mark territory, so much as to respond to fellow artists from around the world, and poise Bloody Beetroots as a truly international sound. Sir Bob Cornelius Rifo is determined that this goal will remain central as the Bloody Beetroots star ascends, and their fame travels the globe. "I want to sit at the table with a Chinese person one day, and the next with an African, and the day after with a Vietnamese, and absorb their different cultures, to learn and to inspire myself and my music." In 2007, two pivotal releases pushed Bloody Beetroots to the next level. First, a vigorous overhaul of "Maniac," the percolating 1983 electro-pop smash from the soundtrack of Flashdance, an homage so inspired it won accolades from original composer Michael Sembello. Next up was "Discommunication," a futuristic disco redux of Timbaland's "Miscommunication." As original music and remixes by Bloody Beetroots began to bubble up in pop culture, via placement in episodes of CSI: Miami and prominent use in videogames, peers like Justice, Mstrkrft, Adam Freeland, and Martin Solveig were singing their praises in the press. Dim Mak founder Steve Aoki was an early, and passionate, convert: " The Bloody Beetroots is my favorite project right now. Bob?s remixes are some of my biggest bangers in my sets." He lost no time in snapping up Bloody Beetroots to release their Us debut, the Rombo Ep (with a full-length slated to follow soon). "The Ep summarizes much of my world," says Rifo. "You hear classical music, electronica, pop, fidget, punk. And the album will be even more comprehensive, because I want to incorporate new elements√? all my musical components. I need that." Like so many things in the universe of Bloody Beetroots, the creative impetus behind Rombo came from idiosyncratic sources. "My inspiration comes from events affecting my day-to-day life, and my creative process takes place outside the studio," emphasizes Rifo. "For example, when while I was creating Rombo, I was also studying the Italian Futurists." To translate the innovations of composer and theorist Luigi Russolo (author of the 1913 treatise The Art of Noises), one of the earliest pioneers of electronic music, into a 21st century context, he recruited an outside observer: Fool's Gold recording artist Congorock. "I chose him because he is synonymous with bass. And while he opened the oscillators, I closed my eyes and tried to find that special sound. Once I had it, I opened them and mixed madly. Rombo was ready in an hour. This is what happens-I follow the moment." History has shown that the most provocative moments in art-the 1913 premiere of Stravinsky's Le Sacre du primtemps, the notorious 1981 show by Public Image Ltd. at the Ritz in NYC-can provoke civil unrest. The Bloody Beetroots inspire that same brand of revolutionary fervor, yet with exuberance, not outrage. There's a riot goin' on, and you're all invited. By " Kurt B. Reighley " ~axs

Map


Event
Stacey Pullen at Monarch, Sat, Apr 12 9:30p
2014-04-12
Monarch, 101 Sixth St., San Francisco
Stacey Pullen is the Kosmik Messenger. An innovator from the Second Wave of Detroit techno, he grew up under the mentorship of Detroit's legendary three: Derrick May, Juan Atkins and Kevin Saunderson. Still continuing to produce his characteristic atmosphere laden electronic sound, Stacey Pullen compounds his reputation as a producer with that of being one of the world's most in demand DJs, playing weekly across the globe year in, year out. With a font of passion for music and performance that never dries up, Stacey Pullen still plays every gig from the heart seeking to surprise and engage, to provide an unforgettable experience, to offer up his unique catalogue without predictability - defying expectation. Above all, from his earliest attempts to the current day Stacey Pullen has stayed true to his one goal: to become and to always be an Innovator. Sp From the age of 9, playing flute in his school band, Stacey has always been playing musical instruments. Throughout his school years, he developed a fantastic groundwork in analogue instruments and performance, moving from flute to his self-taught next choice of percussion. In his final years at school he found himself traveling around to a lot of cities in the USA playing in school bands, which gave him a taste of ? and preparation for ? the traveling involved in life as a musician. He had also seen and been prepared for a musician's life from watching his father who was in a Motown band called the Capitals in the 1970's, filling much of Stacey's childhood with observations of a life dedicated to music and travel. Around 1985, while Stacey was still drumming and traveling with his high school band, the Detroit Techno movement was born, and provided a revolutionary sound to the youth of Detroit. The Electrifying Mojo filled the airwaves with this radicalism through new electronic rhythms, and showed a generation or more of musicians and DJs what true musical eclecticism means. Jeff Mills began to take musical technology to new levels redefining the borders between DJing and production in a way which had never been done before. DJs in Chicago like Farley Jackmaster Funk, Ralph Rosario and JM Silk were spinning proto-Chicago tunes on WBMX and Hotmix: they were the leaders of the new school of black music. The youth of Detroit, including Stacey, were listening and learning. Stacey Pullen and some friends from his band took their cue from these musical leaders and began to experiment with turntables and a mixer. He would ? as have many aspiring DJs since ? spend his allowance on records and go hungry, going straight from school to the house of his friend who had equipment. He also started clubbing around the age of 15, the first club he frequented was called 'The Primadonna', the first DJ he remembered was a local legend called Alan Ester and the first music he was clubbing to was called 'Progressive Music' ? not in the sense of the word that we currently understand, but because, in Stacey's words "back then the music we called house music, techno, was also called progressive music ? the meaning of 'progressive' was a futuristic way of thinking about music. That was what we called progressive. Back then for party music in Detroit only hip hop was big - music like techno was progressive then." His first DJing gig came in May 1985. It was also his first high school party and his first ever drink of beer. Stacey doesn't remember much about the music, but he certainly does remember the experience: "It was that gig that let me know how tough it was to be a DJ. We set up the whole thing, brought the sound system, rented the hall, loaded in, loaded out and went home with 20 bucks a piece in our pocket. But it was more than money, to have that outlet - to have that power and make people respond to the music that we played." Stacey graduated and went to university in Tennessee, which was devoid of the progressive sounds of Detroit, and artists like MC Hammer reigned. He DJed at a few gigs, playing Model 500 and Rhythm is Rhythm and clearing the floor. He would make the eight-hour trip home at weekends to go to legendary Detroit club 'The Music Institute', and get his fix during the week with tapes he would share with fellow Chicago and Detroit students also left high and dry in Tennessee. In 1989, while still at university, Stacey bought his first drum machine ? a Yamaha RX7, he thinks. Between the excitements he felt playing and the experiences he was having on the weekends, Stacey was left wanting more than he could fit into his university life. He decided to quit school and return home to Detroit and make a life of music. His parents, with his father's own musical history, supported Stacey's decision and he returned home, moved back in with his parents, and quickly started to develop his musical ambitions. Sp001 Almost living at the Music Institute, Stacey quickly got to know the leading lights of Detroit's underground: Alton Miller, Chez Damier, Derrick May. Alton was living in the same building as the club, and showed Stacey a lot of the background activity, including watching Derrick May making his tapes for his weekly radio show. Stacey approached Derrick, and told him that he made music - Derrick invited him to play some to him. From here, Stacey started hanging out at the Transmat studios and became friends with Jay Denham, who was recording on Transmat sub label Fragile as 'Fade to Black'. Jay was the main studio engineer for Transmat, and had full access while Derrick May was away. Stacey watched Jay work, and absorbed a lot of knowledge. Stacey started putting more sophisticated beats together, making his first real tracks. He played some to Derrick who told him " it's cool but you need to work harder". This pushed Stacey to become more thorough, to understand music better. He says: "It was a good thing. It made me work harder, it made me realise that it's not just about making music. It's more than that: the passion you needed to have, the innovation we needed to have, what it is to be an artist." A couple of years later, in 1992, Derrick suggested that a good way to develop his skills would be for Stacey to do some remix work with Kevin Saunderson. Stacey began to work with Kevin on remixes including one for Karen White - 'The Way I Feel About You' and some which never made it to print, including one for the Prodigy. While Kevin was originally commissioned, he asked Stacey to do his own remix. The Prodigy liked it, but their label didn't. Stacey kept the backing track without the Prodigy samples, and turned it into his first track which was later released through a subsidiary of KMS in 1993. After some more time perfecting his craft Stacey again played some original sounds to Derrick, who agreed to release his first Silent Phase track 'Ritual Beating System' as the 'Bango EP' on Fragile, which was Derrick's experimental label. Stacey was also invited to submit this track to a compilation of new Detroit artists on KMS. At this point Stacey truly became part of the Transmat/Metroplex/KMS team ? the three studios worked very closely together, and were housed on different floors of the same building in downtown Detroit. Stacey now felt he had truly arrived as an artist: "It made me feel really well, once we released Silent Phase I felt I was part of the crew. I had respect amongst my peers, so I didn't care how much money it made. That record introduced Stacey Pullen to the world." This was true ? quite literally ? as in early 1993 Derrick, who was spending most of his time outside the USA at that time, started encouraging Stacey to play gigs in Europe to widen his audience and support the single. He invited Stacey to join him in Amsterdam for a month ? that month became a year. He spent twelve months both as a teacher ? educating Europeans as Electrifying Mojo had educated him about the electronic sounds of Detroit ? and as a student ? learning to DJ in a very small and competitive scene. He moved in with Derrick and together they toured Europe every weekend playing Detroit techno to what Stacey remembers as an enthusiastic and interested audience. Amongst the greats of US electronic artists he would play his own unreleased joints, and learned how audiences received his own creations as well. It was an intense education into the world of DJing, and had its share of disasters including Stacey's very first European performance: "My very first DJ shows in Europe, I showed up with no records because my luggage got lost! I had to borrow other people's records. It was a testing time for me but I learned a lot from it. It wasn't the best gig, but it was exciting more than anything. Imagine ? my first gig ever - not showing up with my records! I had been DJing in the bedroom since 85 and this was 1993 but I think the guys that brought me over were so excited that I was there. Being in Amsterdam, DJing was the thing that kept me going. Amsterdam was and still is a very competitive market for DJs. We were at record stores every day, buying records. As outsiders Derrick and me were very competitive, it was a good competitive spirit that made me develop my skills. I learned a lot, I learned how to play different styles. I was hearing a lot of music that wasn't coming to Detroit, I was going into different record stores and listening to different styles of music." Stacey began to play high profile gigs at clubs like London's Ministry of Sound and Paris's Rex Club and began meeting the DJs and artists that worked in Europe, like Laurent Garnier, Frank De Woolf and more. He talked with all who would listen about Detroit music. Paying attention was Renat and Marcus Salon from Belgian super label R & S, who invited Stacey into the studios to make a record, which ended up becoming the first Silent Phase album, 'Theory of Silent Phase' in 1994. Stacey met many techno artists through this time at R & S including CJ Bolland, The Advent's Cisco Ferreira, and Robert Leiner. But it was Marcus Salon who was most influential: during the making of Theory of Silent Phase he showed Stacey a lot of new technical knowledge at the vastly bigger and very well equipped R & S Studios. Coming from the makeshift Detroit studios, there was a lot to learn! After a year, Stacey moved back to Detroit, ready to establish himself and start his own label. However, what he had started in that year in Amsterdam was a way of life which has never stopped to this day: almost every weekend since then Stacey has flown out of Detroit to a location somewhere in Europe ? or elsewhere ? to DJ for crowds wanting to taste a never dry appetite for new electronic and techno sounds. Throughout 1994 he commuted between Europe and the USA, finishing the Silent Phase album at R & S and DJing. He also made his first trips to Japan, South East Asia and Australia to DJ. By then he was busy enough to require an agent, and was being booked by Transmat's agent Laura. His association with Transmat was a red carpet to gigs all over the world. By then he had released another Fragile track 'The Sphinx' as Bango, and the first Silent Phase album was ready for release on Transmat in association with R & S. Not without its difficulties, mostly caused by recording on both sides of the planet and having to keep the sound consistent where possible between two analogue based studios, 'Theory of Silent Phase' was well received, although today he has regrets about the mastering, and Stacey played a lot of dates that year in support of the album. Flooding in after the album release were a lot of offers for Stacey to record on other labels, including one from Mr. C to record on his UK label Plink Plonk. Stacey had met Mr. C a long time before when the Shamen invited him and Kevin Saunderson to remix The Shamen in another never-released project. This resulted in a couple of releases on Plink Plonk by the alias 'Kosmik Messenger' ? 'Eye to Eye' and 'Flash' - both released in 1995. He was also DJing a lot of dates at The End and around Europe, which continued non stop until 1997. Through his releases on Plink Plonk, Stacey was then invited to release on the new Belgian label 'Elypsia' as 'Kosmic Messenger', which led to the release of his second LP 'The Kollected Works of Kosmic Messenger', which Stacey recollects as a 'straight up techno album' for him, after the more spiritual first album on Transmat. He had 100% control over the album from the tracks to the artwork, which was produced by himself and his girlfriend at the time as a conceptual art project. Sp-05 In 1998 Stacey was invited to produce his very first major label release on Virgin Records, and at the same time was planning to open the label he had wanted to start for about three years 'Black Flag'. He also recorded a more conceptual LP 'Today is the Tomorrow You Were Promised Yesterday ' for Virgin imprint 'Science', the first under his own name. He was very much influenced by his research into the history of Jazz, and ? with the support of Virgin ? used unorthodox ideas including the inclusion of an Opera Singer on one track 'Vertigo'. His release featured remixes from influential artists of the time like Dave Angel and 4 Hero. Stacey felt proud of the album, but its' release brought him a mixture of happiness and disappointment. "This album gave me respect from avant garde purists, who love music other than techno. The only thing I was not happy with is that it never got a proper US release because it wasn't Aphex Twin or Chemical Brothers. At that time, this was an album that needed to be heard. It was inspired by jazz, roots and culture but wasn't nerdy music or breakbeat music. It was too fast forward, and not getting a proper release still bugs me to this day." Stacey Pullen was spending very little time in the US, despite his home in Detroit. He spent the next few years DJing, developing his taste and his ideas about himself, every so often coming home to his proudly self-built studio in downtown Detroit. He also started Black Flag with his partner of that time, and started releasing records as 'Black Odyssey', starting with 'Sweat' in 1998 and then 'The Stand in 2000'. Around that time, as vinyl started to look a little shakier and after 8 years of consecutive releasing and touring, Stacey took a break from recording. Despite the number of offers he was receiving Stacey has always wanted to be conservative with his releasing schedule ? keeping an audience attentive and wanting more rather than being over saturated. He preferred to aim for timeless music so Stacey felt that he would be better to have a break from recording rather than release anything less than classic. He began to ramp up his DJing schedule even more, and spent the next 4 to 5 years concentrating mainly on furthering his own musical education. "I thought that maybe I needed to get back out in the DJ circuit and find out what was going on. I made it a point to go to places I've never been before and see people's responses to what I played, and I've been doing that until now. It has been a good ride so far." Black Flag went on hiatus in 2001 and Stacey let the world of production ? very much in flux in the early 21st century ? take its course for a little while, while he concentrated on DJing. As one of the very few Detroit DJs traveling to Europe, he has still felt the need to provide some education about new underground electronic music ? from Detroit and otherwise. Through this time, Stacey's reputation as a DJ became as much of a draw card as his reputation as a producer, and he became renowned for long, experimental, adventurous and soulful journeys through music that lasted at least 5 hours. For Stacey 2 hour gigs are just a warm up! He sees each set as a 'best of' all dance music through time ? there is no one style he prefers, Stacey just plays the best of everything, with an emphasis on passion and innovation: no two sets are alike. 2007 sees Stacey still on the road DJing each and every weekend, bringing his signature eclecticism to some lucky part of the planet, however many things have changed in the last 5 years in terms of a Stacey Pullen show. More opportunity to provide spontaneity and personalisation than ever exists, because of new technology, and Stacey is taking advantage of all of it! Many tracks he will play on any given night are e its he has created while traveling to a gig during that day! He DJs original tracks from vinyl, but many of his own edits and tracks are freshly burned to cd ? edits of tracks he has made, he has been sent by other artists, promos, tracks he has bought. As a result, every set becomes more personalised, more unique, and indisputably a window into Stacey's musical passions. Spad The lure of this technological innovation has also brought Stacey back to the studio, making his own tracks and executive producing other artists. Also, excitingly, he has rekindled his Black Flag label and has been preparing new releases using a mixture of analogue equipment and digital post production which he thinks are amongst his best ever work, plus plans to release older material which has never been heard before. These days the DJing and the production go hand in hand in terms of his enjoyment and inspiration. "I'd say I'm one coin with 2 sides. Heads and tails can't have one without the other. I have built my reputation more on being a good DJ, but the music I have put out and created has been well received. I have always strived for longevity, and I think right at this moment, my fans haven't heard the best of what I have to offer. I've also got loads of unreleased material that will be released, from 8 years ago and it sounds like it was made 2 weeks ago. It's going to be coming out on Black Flag in summer time here: June or July. Right now all I'm doing is sitting in the lab making the masterpiece. The future of music for me is exciting and will be an adventure, I'm excited about it and this is just the tip of the iceberg."

Map


Event
Damian Lazarus
16th May 2014
Monarch, 101 Sixth St., San Francisco
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.

Map


Event
SHLOHMO
22nd April 2014
The Catalyst, 1011 Pacific Ave.,
"LA native Henry Laufer may be a young fella, but the 19-year-old producer, better known as Shlohmo, has rocketed on to our radar screen in recent months with his lo-fi, psychedelic mix of abstract hip-hop, dubstep-flavored wonk, bouncy synth-funk, breezy trip-hop, and what sounds like lost gems from the mid-'90s Mo' Wax catalog. Now splitting time between San Francisco and LA, in January Shlohmo will be releasing the Shlohmoshun Deluxe mini-album, so we decided to enlist him for the XLR8R podcast series now, before dude seriously blows up." --XLR8R

Map


Event
ERYKAH BADU OFFICIAL AFTERPARTY!
2014-04-17
Goodgod Small Club, 55 Liverpool St Chinatown, Sydney
ERYKAH BADU OFFICIAL AFTERPARTY! 11pmApril 17th, 2014 SOLD OUT! Danceteria BUY TICKETS ? FACEBOOK EVENT ? DJ LO DOWN LORETTA BROWN (USA) + MO?FUNK + DJ LIBREWhoa, this is a huge one! The universally regarded ‚€˜Queen of Soul‚€™, Erykah Badu, will swap her crown for party hat when she takes the stage under her moniker DJ Lo Down Loretta Brown at the official Sydney afterparty at Goodgod!With Badu‚€™s impressive discography having dominated the charts throughout her 16-year career and garnered multiple Grammy Awards, the multi-platinum selling artist can now be spotted jumping on the decks and tearing up the clubs under her mysterious moniker.Since the beginning of her reign ‚€“ singer, songwriter, producer, director, actor and now DJ ‚€“ Erykah Badu‚€™s unique approach to soul has redefined the genre, described as a mix of traditional soul vocals, staccato hip-hop rhythms and a laid-back jazzy groove. Her sharp-wit and social-conscious song-writing style is responsible for producing the hit songs ‚€˜On & On‚€™, ‚€˜Tyrone‚€™ and ‚€˜Window Seat‚€™.Following her headline show at The Star, she?ll be settling in for an unmissable, intimate DJ set. Don?t sleep on tickets, they?ll go FAST. Tickets are now SOLD OUT!‚™ę LISTEN: Erykah Badu 30 Minute Boiler Room Los Angeles DJ Set


Event

1 month ago
Mad Racket Presents Fred P AKA Black Jazz Consortium (NYC/Soul People Music) April 26th
26th April 2014
Marrickville Bowling Club
Mad Racket is very excited to anno unce that we have procured the ser vices of one of the most inspiring DJs going around, the one and onl y Fred P. Brooklyn-raised Fred Pet erkin has had a long and varied re lationship with music. He was heav ily into hip hop in the 1980‚€™s, first as a b-boy and later as an a spiring producer, as well as being an avid house music dancer at clu bs such as Red Zone, Sound Factory and Tunnel. A frustrating failed record deal for his hip hop materi al led Fred to leave the music ind ustry for most of the 1990‚€™s, wo rking as a security guard. In the late 90‚€™s he was introduced back into electronic music by a long l ost friend, and was again inspired to start making his own music. A self-released album came to the at tention of New York DJ Jenifa Maya nja, wife of Underground Quality‚€™ s Jus-Ed. Through Ed‚€™s guidance and support, Fred‚€™s music gained a much larger audience and the re st has been a journey from strengt h to strength. Fred‚€™s production s are deep, beautiful and otherwor ldly and his DJing is hypnotic and compelling. Don‚€™t miss this!!

MOSHTIX- http://www.moshtix.com.au /v2/event/fred-p/71053

Support fr om Racketeers Jimmi James, Ken Clo ud and Simon Caldwell on the full Bowl-O-Sonic rig.

First in less s tressed‚€¶

http://www.facebook.co m/events/1418453445072652/


Event
bigbox

via Spraci Events

4 weeks ago
Gottwood 2014
Thursday 19th June 2014
Announcing its full lineup for 2014 in a move that pits the likes of the prolific Gerd Janson, Margaret Dygas, DJ Format, DJ Die and Appleblim, up against Calibre, Crazy P Soundsystem, Dense & Pika, Max Cooper (live), Craig Richards, Kris Wadsworth, PBR Streetgang, Maribou State, Ralph Lawson and Tale of Us plus so many more in its intimate forest setting, Gottwood?s annual celebration of the electronic underground makes an indelible impression.

A well-kept secret with a real kick, Gottwood was the smallest festival with the biggest buzz in 2013, and with tickets flying for this year?s Fifth Chapter it?s looking like another sellout success. This year, Running Back label boss Gerd Janson joins the party and Berghain?s best kept secret Margaret Dygas invites us aboard her minimal low slung rollercoaster.

Meticulous producer Max Cooper brings a live set, as does techno evolutionary Stephan Bodzin. Seminal drum?n?bass head Calibre will be joined by MC DRS, long standing Fabric mainstay Craig Richards makes an appearance, and techno tour de force Dense & Pika play live. 2020 Vision?s own Ralph Lawson, Berlin techno nuts Tale of Us, Detroit face Kris Wadsworth and resident of Berlin?s Panorama Bar Prosumer also get in on the action.

British hip hop luminary and turntablist DJ Format makes a stand, Munich techno prodigy Marco Zenker will play an analogue live show, Avatism brings his own brand of dark moody Italian electronica, high-energy collective Crazy P Soundsystem return, and Session Victim pull together jazz, hip hop and house influences in their live set.

Gottwood welcomes back the unstoppable Maribou State and online phenomenon and respected DJ collective Eton Messy for the second year in a row. Gang Colours provides ambient electronica, Bonobo tour support act Werkha brings a discerning selection of cuts, and catch James Welsh, beat fanatic and Compost Records star Jay Shepheard, heritage act Zero 7 (Dj) and XLR8R and Rinse FM linchpin Mr Beatnick in full effect.

The collaborative programming concept has allowed Gottwood to invite the finest and most influential promoters from around the UK and Europe to become a part of the festival. Two new hosts come to Gottwood, with London?s Percolate joining neighbours Future Disco, Nixwax and Tief, and Bristol?s Shapes joining the ranks alongside Hypercolour, Eton Messy, Fiftyone:27, Futureboogie and Real Nice. Then there?s SoC x Selective Hearing, and Hit & Run from Edinburgh and Manchester, Back To Basics, Brotherhood Soundsystem and Louche from Leeds, Waxxx from Liverpool, Newcastle?s Jaunt, Wigflex from Nottingham, Oxford?s Boxford, plus Munich?s SVS Records.

A unique and very special boutique festival celebrating some of the most diverse sounds of the underground, Gottwood is a jewel of a festival in the summer calendar returning in 2014 for Chapter Five.

It?s come a long way in the last four years, but Gottwood is still small, boutique and independent. Expect no sponsors, no corporate'ness' and no egos, just four days of underground electronic music in the depths of a Welsh forest?

See you there.


Event
Apr 7th 14 - MID INDUSTRY MONDAYS - RSVP
2014-04-07
Monday night is Industry Night at The Mid and takes place on the main floor with our world famous Funktion One sound system. This week we have local DJs have getting things done right with open format music which includes hip-hop & house.

This event is FREE w/ RSVP at www.clubtix.com (before midnight). Bottles specials are available upon request. Call 312.265.3990 for more information.

Strict Dress Code Rules ApplyNo Gym Shoes, No Hats, No Sports Attire, No Graphic Tees, No ShortsDress to Impress - Collared Shirts Recommended

Text "REACT" to 46786 to signup for React Presents text list. By signing up you will receive the hookup on many of our events, including ways to win free tickets.


Event
Jeremy Ellis featuring Applied Pressure
2014-04-12
Holy Mountain, 617 E. Seventh St.,
Jeremy Ellis has garnered attention across genres and continents, dazzling crowds with his unique live performances. In what has been described as the "greatest live use of a drum machine", Ellis is among the elite in live finger-drumming/pad-mashing. The Detroit native comes from a jazz-funk piano background that creeps out in his production as well. Jeremy Ellis pushes the envelope musically, both live and in-studio. For its 3 year anniversary, Applied Pressure has taken on a new project, recreating and reinterpreting DJ Shadow's iconic, "Endtroducing". Incorporating drums, synth, samples, bass guitar, and scratching into the live arena, the project is an extremely meaningful and ambitious one. "Endtroducing" is a common thread among the members, striking a chord as one of the first instrumental hip-hop records to break the boundaries of traditional, loop-based production. DJ Tats stands the test of time, as a pioneer in Austin's handfull of true turntablists. Dabbling in intrumental hip-hop, experimental, psych, IDM, prog rock, hip-hop, etc....Tats' sets are a true journey into sound.

Map


Log in to see more.