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Hiphop

 
Event
No Tomorrow Presents Donaeo
Saturday 26th April 2014
Cameo Bournemouth, Firvale Road, Bournemouth
No Tomorrow brings one of the UK's biggest Urban artists Donaeo to the South Coast to Party Hard.

Donaeo will be perform a live set of his club anthems in the basement including 'I'm Fly', 'Devil In A Blue Dress' and of course 'Party Hard'

Experience the ultimate weekend and experience with 4 rooms of the very best DJ talent and top entertainment.

From the delicious Myu Bar cocktails, sing-a-long classics in Disco, the Bump Grind of the Basement to hands in the air moments in the Club, on Saturday we party like there is no Tomorrow.

The Club: Commercial, Chart, House and BassThe Basement: R'n'B, Hip-Hop and UrbanDisco: Party PopMyu Bar: Bar Grooves House

Drink Offers: £3 - Jungbombs

Admission Information:
Free entry before 11:00pm via Myu Bar£6.50 entry on the door

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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.


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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 ...




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RedBullMusicAcademy

via Tweetdeck

5 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

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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.




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


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


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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

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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




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No good bloody hip hop guys and their cancer research.


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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




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Hau Latukefu

via Web

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


Event
Apr 5th 14 - SATURDAY APRIL 5TH: PLAY BALL! CUBS VS
2014-04-05
Saturday APRIL 5TH: PLAY BALL! CUBS VS SOX Party! Starring DJ JEM

RSVP DEAL: Ladies FREE All Night | Men 10pm - 11:30pm Reduced After

Who is the BEST Chicago baseball team? The Cubs? The Sox? Wear your favorite Chicago baseball team's jersey & show your pride! Dance the night away to the sultry sounds of the uber-talented DJ JEM! 2 floors of music will have you and your crew dancing til 5am! Did we mention the sexy Nikki Dolls will wear their baseball gear? Don't Miss it!

2 Floors of Music! LIVE Video-Mixing!
Starring: DJ JEMPlus Residents: WRECK | DJ TRAKO & IVANMAIN ROOM: Progressive House | Electro | Top 40 | Trap | Hip-HopVIP SUITE: Top 40 | Global, Tropical Beats

PROPER ATTIRE IS A MUST | DRESS CODE STRICTLY ENFORCED
(Gym shoes, work boots, baseball caps, plain t-shirts or polo shirts, shorts, flats, flip-flops or baggy attire will not be permitted).
Dress code restrictions are at the discretion of the Door Manager and pertain not merely to articles of clothing: but more importantly to style and execution. Dress code subject to change without prior notification.


Event
Caravan Palace
2014-04-12
The Regency Ballroom, 1300 Van Ness Ave.,
Here we go, let?s take the Caravan for another tour. Same Palace, with a brand new customized flavor. On the shelves and on the road. The surprise breakout band of the last decade, the apostles of Electro Swing and precursors of a laidback yet terribly upbeat trend, is coming up with an evocative second album: Panic! This time, Caravan Palace takes us even farther than their first album (that sold more than 150 000 copies) and continues an amazing adventure almost started by accident. Their strength lies in their common passion for electronic music. Charles, Arnaud and Hughes, the initial trio, dig swing, especially gypsy jazz, and try their hands at the genre?s traditional instruments: guitar, double bass and violin. That?s where this peculiar mixture of classical Django and new trendy electro comes from. And it?s far better than those retro futuristic sounds? because it swings. A few myspace posts later and they have almost doubled in size, enrolling Chapi and the boisterous Colotis in the band. They start touring long before they even think about releasing an album. And everything clicks in 2007, during the Django Reinhardt Festival in Samois. Terrified to be part of the gypsy jazz pantheon, they gather speed and steam and create a real posse (not unlike hip-hop) that follows them everywhere. The word is out, their breakout song, Jolie Coquine, is playing everywhere. The record is released a year later, and it?s an immediate hit. They soon tour France and Europe. The show peaks at the Olympia. The room is packed, people go crazy? listening to swing. This has never happened before. But during the autumn of 2010, they stop and take a month off to start thinking about the new album. How do they come up with new songs? Every member of the band works in his own musical lab before exchanging files at night. The same process starts over the next day. And when the others react instinctively, it?s generally a good sign. The basic rhythm of the first album has mutated into sophisticated beats, less gimmicky, more varied and enriched with sounds flirting with the frontiers of trip-hop. They still love Massive Attack, they still dig the creative minds of Ninja Tune, Isolée?s minimal electro vibe or Gorillaz?s grand hip-hop rock bazaar. Only the best of the best. But they also rediscover thirties and forties swing jazz, artists like Fletcher Henderson, or the less mainstream musicians like Charlie Chavers and Mildred Bailey. Six months later, forty-something titles pile up. It?s time to regroup in the studio? where fifteen vintage keyboards are waiting. Tirelessly, the band tries new things, merges styles and makes creative decisions. Fourteen titles are soon emerging. The petulant voice of Colotis is booming again and the old friend Cyrille-Aimée is back on two songs. And don?t forget to include Toustou in the Caravan. And now, here comes the list! Clash   It opens up on a? fun and raging note! A surprising mix of up tempo swing with a bunch of hacked-up sounds, technologic and flirting with rock?s golden past, back in the day when it was called bop (let?s forget all those labels!). From the get go, this sounds like a huge leap forward from Caravan Palace?s first generation. June 12 th 3049   A ballad with a deliciously slow yet vivid tempo, samples from the grand old age, the vibraphone and the spiraling springs stretching out time. Given the title, we know we?re entering a new futuristic territory. Beatphone   A frantic beat that takes its time, an amazing clash with a cascade of breaks to catch one?s breath, barely? before the beat starts again. Cotton heads   A pop escapade showing the breadth of Caravan Palace?s new horizons. An ethereal tune, flirting with weightlessness, and branded with a twist of swing, rooted in the tempo and the impulsive keyboards. Dirty side   Yes, dirty, the dark side of the Caravan, frantic and frenzied, chemical, destroy? Listen to this borderline sardonic voice coupled with the mocking piano. And the Lionel Hampton vibe from the vibraphone. Enough to upset any musical compass! Dramophone   Dear God, the Andrew Sisters are back. With synthetic glitter. This one is coming from Cyril-Aimée Daudel, a talent temporarily attached to the Caravan. This is clearly the song that bridges best the two albums. Glory of nelly   A London promenade, another sweet escape from the Caravan, with a special song? eh, I beg your pardon? toast, from Sista Colotis. The unlikely and fleeting mix of swing and ragga, with a dominant background of brass and strings. Maniac   A hint of Gorillaz, a drawling voice, a few touches of seventies synthesizer (à la François de Roubaix), a pinch of Django guitar, almost included by accident. Mix up and listen? Newbop   Both new and bop. An acrobatic scat with a solid anchor, multiple breaks, like sturdy inviting steps. And don?t forget the boisterous guitar. Panic!   ~AXS

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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
Apr 19th 14 - SATURDAY APRIL 19TH: GLITTERATI STARRIN
2014-04-19
Saturday APRIL 19TH: GLITTERATI Starring DJ METRO!

RSVP DEAL: Ladies FREE All Night | Men 10pm - 11:30pm Reduced After

There's a place where only the fashionable party. The trendsetters. The who's who of nightlife. This is the GLITTERATI, and they all come to play at NIKKI! Join the nightlife elite and mingle with the city's beautiful crowd while dancing to the sexy sounds of DJ METRO! Get your hottest outfit ready. It's going to be a night you'll never forget ;)

2 Floors of Music! LIVE Video-Mixing!
Starring: DJ METROPlus Residents: WRECK | DJ TRAKO & IVANMAIN ROOM: Progressive House | Electro | Top 40 | Trap | Hip-HopVIP SUITE: Top 40 | Global, Tropical Beats

PROPER ATTIRE IS A MUST | DRESS CODE STRICTLY ENFORCED
(Gym shoes, work boots, baseball caps, plain t-shirts or polo shirts, shorts, flats, flip-flops or baggy attire will not be permitted).
Dress code restrictions are at the discretion of the Door Manager and pertain not merely to articles of clothing: but more importantly to style and execution. Dress code subject to change without prior notification.


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

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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."

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Event
Jeremy Ellis and 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.

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Event
bigbox

via Spraci Events

3 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
Gizmo at The New Parish, Thu, May 1 9:00p
1st May 2014
The New Parish, 579 18th St.,
Most musicians wait a lifetime to share stages with their musical heroes. Hoping to accomplish such a feat while still racking up college credits would be considered nothing more than a pipe dream. But having performed with such esteemed artists as Meshell Ndegeocello, Talib Kweli, and Victor Wooten as well as serving as music director for such acclaimed artists as Bilal and Lalah Hathaway, it's safe to say that 21-year-old bassist Kenneth "Gizmo" Rodgers has been living that dream for quite some time now. With a wealth of experience that belies his years touting a vast array of musical influences spanning the realms of jazz, pop, funk, rock, Latin, and hip-hop, Gizmo is set to unveil his debut sonic masterpiece Red Balloon. Produced by bassist Derrick Hodge (Robert Glasper Experiment, Kanye West, Common) with glints of spoken word and soul, Red Balloon is a wondrous 13-track odyssey through the multi-faceted human experience. "When you see a little kid let a balloon go at a carnival, everybody kind of looks up at it as it floats away," explains Gizmo of the project's captivating central theme. "The balloon seems to float around, trying to find its way. I feel like that's how most people are. We're all trying to figure out who we are, what we want to do, and what we stand for. All striving to be special, loved, or valued in some kind of way. And everybody's kind of watching you as you float around this life. But if the pressure gets too high, it pops at some point." A labor of love recorded over the course of three years in Boston between gigs and classes at Berklee College of Music, the deeply personal album features an impressive cast of thousands including Casey Benjamin of the Robert Glasper Experiment, accomplished pianist/ Berklee professor George Russell, Jr, Downbeat magazine Rising Star drummer Jamire Williams and more. Reared in Philadelphia in a household brimming with the influences of his Puerto Rican and African-American heritage, Gizmo was introduced to the sounds of salsa and soul at an early age. Though his spectacular bass facility evokes the promise and the prowess of legends such as Jaco Pastorious and Stanley Clarke, the instrument was actually the Philadelphia native's second choice. "When I was in elementary, I wanted to play drums," says Gizmo. "But they said I had big hands, so I started playing bass. I just went from there." Yet it wasn't until being accepted into the highly competitive statewide Pennsylvania Governor's School for the Arts program at the age of 16 that Gizmo began to seriously contemplate music as a fulfilling career. Instructed by professors from Berklee and Julliard at the 5-week program, Gizmo was inspired to hone his talent and stretch out in the fertile musical environment. "I had five weeks where I practiced, played, and did music everyday. I was studying seriously. Compared to my peers, I always felt like I was behind because I started late. So I worked extra hard to get where I needed to be. From that point, all I did was play in jazz groups and hip-hop cover groups in Philly." While at the program, Gizmo was instructed by pianists Russell and George Burton (Ornette Coleman, Christian McBride, and Wayne Shorter). Burton recommended that the young jazz hopeful get in touch with his close friend Hodge for further tutorship. The two hit it off immediately. "I went over to Derrick's house for a lesson and was there for like three hours. We just had a really good connection. He's been like a big brother to me since that point." While his iPod playlist consisted of the illustrious catalog of jazz giants such as Herbie Hancock, Miles Davis, and John Coltrane, he was also introduced to the music of recording artist and fellow bassist Meshell Ndegeocello during this formative period. "That blew my mind. Her music helped me to start paying attention to lyrics. On a deeper level, her music helped me to be a more open human being. It helped to break down the stigmas that I had in my mind in terms of what type of music you're supposed to play if you're black." After a semester spent in the jazz program at the University of Miami, Gizmo set sail for the more expansive halls of higher learning at the Berklee College of Music. During his first semester at Berklee, Gizmo developed a rapport with Ndegeocello who came to the school for a musician's clinic. The two solidified a friendship while performing at a subsequent concert in Los Angeles with the Miguel Atwood-Ferguson Ensemble. By his second semester, Gizmo had assumed the role of music director of Berklee's Neo Soul Ensemble, began gigging across the globe as a music director, and became an in-demand musician at venues such as the world famous Blue Note. During his travels, he performed and developed bonds with such accomplished musicians as Benjamin, Marcus Strickland, Dana Hawkins, and Marc De Clive-Lowe. In addition, Gizmo managed to secure endorsements from an impressive list of bass equipment and accessories companies such as Aguilar Amplifications, Mono Case, Dean Markely Strings, and Levy Leathers. By the end of his first year at Berklee, Gizmo had broadened both his resume and his musical horizons exponentially. "Everything started picking up," he says. "It became more than just about playing bass at that point. It was about learning how to write parts for horns, strings, and harmonies for background vocals." As music director for the Neo Soul Ensemble, he'd successfully music directed shows by Bilal and Lalah Hathaway. Being surrounded by such an awe-inspiring group of successful artists and musicians, Gizmo was inspired to begin putting his experience and education to use by sketching out sonic ideas of his own. Three years and countless ideas later, Red Balloon is the grand result. "When I first started, it wasn't about me making a record. I was just recording stuff. I was just trying to write music for myself." Beginning his journey with the funky spoken word-influenced "Sleepblah," Gizmo eventually amassed an impressive collection of tunes culled from demos recorded in Puerto Rico, Los Angeles, and Philadelphia. Red Balloon also includes a little help from Berklee friends such as Nick Hakim, Darien Jovan, Derrick Cobbs, and BET's 106 & Park Wild Out Wednesdays featured artist Gwen Bunn. The album's expansive and mesmerizing title track will serve as the lead single. "That was one of the last songs I ended up recording," reveals Gizmo. "It's about shedding the anxieties and judgements we have about each other. It's about overcoming obstacles and accepting that seasons change. And above all that, continuing to try and fly." Hip-hop artist/ Berklee professor Brian "Raydar" Ellis drops rapid-fire verses on the funky head nod excursion "Invalid." Singer-songwriter Nick Hakim is featured on the album's brilliant second single "Lift Me Up." Penned by Hakim and co-produced by Gizmo, "Lift Me Up" exemplifies Gizmo's ability to condense his disparate influences into a soulful marvel of a gem. "The song is reflective of a place where most of us have been, in terms of questioning what decision to make and where we're going to end up," he explains. In addition to his own bass prowess, Red Balloon finds Gizmo contributing percussion, keyboards, and stepping behind the microphone for the first time as a singer. "My concept at first was to write these songs and have other people sing them," he admits. "But because of Meshell and Derrick saying, 'Nobody's going to have the same amount of emotional connection to the song as you will,' I just let myself go and recorded it." Following the advice of his mentors, Gizmo is featured singing lead vocals and reciting spoken word on cuts such as "Dancing," "Insane," and his enthralling rendition of the 2008 Kings Of Leon hit song "Use Somebody." Red Balloon will be released in association with progressive jazz boutique brand Revive Music. At the helm of the album's artwork is Roland Nichol, graphic designer of jazz bassist Esperanza Spalding's 2011 Grammy-winning album Chamber Music Society. Buttressed by the contributions of a vibrant collective of mentors, colleagues, and classmates, Red Balloon stands firmly as a dynamic undertaking by a promising young artist. Coalesced by Gizmo's own unique talent, it is a brazen statement from a new cadre of artists seeking to meld their formal jazz training with new sounds and modalities. It's clear that Gizmo and Red Balloon are representative of this group of artists in a chapter of change with an allegiance to the groove. "I definitely see it as a movement," says Gizmo. "It all stems from the idea of going with the moment. I've been struggling what to call my music, and I really don't know what to say. To me, in my heart, I feel like it's jazz - although we're not swinging. Some people might say it's alternative because I have some pop and some dubstep influences on there as well. But I feel like I'm just trying to make honest music, not doing something just because it's in style. I just let me influences fly free. It wasn't a conscious thought; it's just naturally what's inside me. There's just so much music in the world. But underneath all that, there's a solid groove."

Map


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


Event

2 months ago
Construct ft. PAPER GARDEN
2014-04-05
The Gladstone Hotel
Following on from March's Big Bash party, Construct is teaming up wi th Sydney crew Paper Garden to ser ve you a night of Future Bass & Fu ture Beat delicacies.

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Pa per Garden is a collective focused on showcasing the best of Future Bass and Left Field.
Purveyors of fresh and refreshingly crisp tunes , that thread their way through lo ose-knit grooves and tightly-tooth ed rhythms, we are excited to welc ome back Paper Garden to party wit h the Construct family.
Showcasing some of Sydney's finest beatsmith 's, this should be one to warm you r insides.

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Outside - PAP ER GARDEN

Papertoy (Die High Reco rds / All G Records)

Jozz Scott ( The Frequency Lab)

Southpaw (Pape r Garden)

Kwze (Filthy Children)


https://soundcloud.com/iampapert oyhttps://soundcloud.com/jozzscot thttps://soundcloud.com/southpawb eatsauhttps://soundcloud.com/kwze

Inside - CONSTRUCT

Jnr (Qualia )

Lab5 (Qualia)

Actuator B2B Hat chscreen (Construct)

Gilsun B2B K ieran Helmore (Construct)

Flash H ubbard B2B Supertrivia B2B Moonboo t (AU Sound/SubFM)

Hosted by MC T VMPST (Swerve)

http://www.mixclo ud.com/AU_Sound/
https://soundclou d.com/lab-5

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* At the Gla dstone Hotel* O'Farrell lockout f ree - 3am close* 2 stages powered by DSS sound* Great vibe, no chu mps, be yourself* Free Entry all night, every time

http://www.face book.com/events/601326713275694/


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