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.

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 ...

Ben Sims

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11 hours ago
Catch me to tonight on the mighty @RinseFM midnight session!


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...

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.


via Web

5 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 ...

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

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


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.

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


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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


via Web

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


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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


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

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

Stacey Pullen at Monarch, Sat, Apr 12 9:30p
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."


Zion I
16th May 2014
The Independent, 628 Divisadero St.,
This duo of genre-bender pride has made a name for itself on the Bay Area scene by successfully mixing spiritualism and hip-hop. Oakland's MC Zumbi and DJ/producer Amp Live blend hip-hop and trip-hop beats with lyrics focused on a message of unity, hope, and spiritual awareness. After a couple of indie hits, the duo slowly made inroads while opening for rap royalty like De La Soul, Rakim, and Run-D.M.C. Their debut album, Mind Over Matter, was released in May of 2000 and features collaborations with fellow Bay Area rappers Rasco, Planet Asia, and the Grouch. Although Zion I operates out of Berkeley, the group was originally formed in Atlanta, making their music difficult to classify as strictly West Coast hip-hop. Their musical style makes them even harder to define. With a style that borrows from hip-hop, trance, drum'n'bass, and reggae, Zion I's style is equally mystical and mystifying.


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.


Jeremy Ellis and Applied Pressure
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.


Jeremy Ellis featuring Applied Pressure
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.


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.

Friday 18th , April 2014 - HOLIC with SoulPhiction LIVE, Linkwood & Tom Tam Club Vol.2 Release Party
SoulPhiction LIVE, Linkwood & Tom Tam Club Vol.2 Release Party


An Easter Special? 

HOLIC London parks its ride at South London's Corsica Studios for the first time ever on Good Friday 2014.

Having just celebrated its 7th year as a major promoter of all things Good and House, this edition continues HOLIC's penchant for bringing cutting edge underground musicians to London. 

SOULPHICTION a seasoned vet known for smashing floors with his dust-heavy grooves, bringing a rare LIVE SHOW and 20+ years experience on the MPC to tear down. LINKWOOD a leading light in the UK's electronic scene for going on a decade, whose productions have cut though house, jazz and hip-hop, but remain forever committed to the sweat. 

Rounding out Room1 will be label head TOMOKI TAMURA, whose no-nonsense kamikaze house should find a good home in the dense vibes of Corsica Studios. A mainstay of legendary sleazy disco night Love Fever?.. ROBERT OUTCH going back to back with longtime HOLIC resident and wax scientist LOOKLEFT of Pets Recordings. 

The HOLIC Easter Special will also see the release party of its newest vinyl release, a double LP featuring some of house music's freshest new artists. Room 2 will host DEATH ON THE BALCONY, BASLOW AKA BEARIGHT, ASHFORD and JAMES DEXTER. 

A wide variety of stompin' house this Easter Friday in London's finest music hall. 

Don't sleep!

Front Room

  • Soulphiction (live)
  • Linkwood
  • Tomoki Tamura (Doublet / HOLIC TRAX)
  • Robert Outch (Baastard) & Lookleft (Pets Recordings) 


Back Room / Tom Tam Club Vol 2 release party

  • Death on the Balcony
  • Baslow
  • James Dexter 




HTV003 out in APR.

Tom Tam Club Vol 2 - Compiled by Tomoki Tamura


18th April 2013 10pm-6am @Corsica Studios

4/5Elephant Road SE17 1LB Elephant & Catsle, London


  • Early bird£7.00 
  • 1st release£8.00 
  • 2nd release£10.00
  • 3rd release£12.00
  • Final release£14.00
  • £15 with concession
  • guestlist@holic-music.com
  • £20 OTD

Facebook Event Page



2 months ago
Construct ft. PAPER GARDEN
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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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


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/

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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