Nightowl with Huxley
Saturday 10th May 2014
Zeus, 20 Hosier Street, Reading, RG1 7JL, United Kingdom
Nightowl may have only been hosting events in Reading since the end of 2013 but already have a number of sell out shows under our belt with the likes of MK, Steve Lawler, Hot Since 82, Breach and Route94. We now welcome one of house music's fastest rising producers, Huxley, to Zeus for a night of quality house and techno.

Huxley has delivered releases for an enviable roster of labels (Tsuba, Morris Audio, Fear of Flying, Hypercolour and 20:20 Vision for starters) and has stayed true to his robust, bass-led strain of house music that reflects his formative interests in UK and US Garage, with critics, punters and peers lapping up each release and remix.

As a remixer, the Herfordshire man is hugely in demand, turning his hand to major label talents with as much flair and skills as he does underground cornerstones like Lee Burridge or Maya Jane Coles. Completing the picture is his Djing, another perfect string to his bow that sees him tour his open minded and deftly programmed music selections in clubs and festivals across the world on a weekly basis!

This event is expected to sell out in advance and early purchase of tickets is recommended.

Line up:
HUXLEYPlus support


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Coming up on the #DrawingRoom: US jazz academic & drummer Josh Duffee answers who invented #jazz? Was it Jelly Roll Morton? Or someone else?






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### *Nickodemus & Osiris Feat. Mino Cinelu ‎~ Free Souls*

DJ Nickodemus NYC


### *Nickodemus & Osiris Feat. Mino Cinelu ‎~ Free Souls*

DJ Nickodemus NYC



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### *Nickodemus & Osiris Feat. Mino Cinelu ‎~ Free Souls*

DJ Nickodemus NYC


ONE LOUDAH!Classic Rock & Blues power trioFeaturing Maria Ferrara on guitar!You've seen her play at the Blue Rock with
The Blue Rock Cafe, 5827 Darrow Road (Route 91)
LIKE them on Facebook at https//www.facebook.com/OneLoudah One Loudah! is a band from the Akron area that specializes in groove music--w hether you want to dance or just enjoy the concert, we're playing it.  Al l members are veterans from various local groups (Aquarius Rising, I-Tal , Blues Sisters, Kent State Jazz Bands) that have joined together in orde r to make you dance and perhaps melt some faces with our sweet, sweet mus ic. Set List Sampling: Feelin' Allright, You Can Leave Your Hat On-Joe Co cker                             Take Me To The River- Al Green                              I Got A Line On You- Spirit                             Mother's Daughter- Santana                             Knock On Wood- Eddi e Floyd/Wilson Pickett                             5:15- The Who                              I Saw The Light- Todd Rundgren                              ...and a whole lot more of the songs you love, forgot you loved... an d yes, Mustang Sally too! 'Well most amps go up to 10 right?' 'Right but see these go up to 11--that's One Loudah, we're One Loudah' 'Why don't yo u make 10 louder and have it go up to 10?' 'But...these go up to 11!' We s uggest watching the rockumentary Spinal Tap sometime for full reference... For booking info contact: Maria Ferrara-- OneLoudah@hotmail.com Blue Rock Cafe Click here to see us on Facebook! Click here to see our full music s chedule at www.BlueRockCafe.com 5827 Darrow Road (Route 91) Hudson, OH  4 4236 (between Zeppe's & Brubaker's) www.BlueRockCafe.com   330.650.2222

Philly 360° Music Guide: Where To Listen To Jazz In Philadelphia

Philly is definitely serious about two things ? our history and our music.Philadelphia has been called home by some of the greatest names in the history of music, like jazz legends Billie Holiday, John Coltrane, Ethel Waters, Dizzie Gillespie and Charlie Parker, just to name a few.

Luckily for us, our city's rep as a great music destination doesn't stop with our deep jazz roots. Every day, stellar Philly-based musicians like Jeff Bradshaw, Laurin Talese, Ernest Stuartand others keep our local jazz scene moving and on the map. And, pretty much any day of the week, you can find a live jazz set going down in one of Philly's many popular music venues, includingChris' Jazz Cafe, TimeandWarmdaddy's.

Ready to experience the feel-good vibe of the local jazz scene firsthand? Great ? because Philly 360 has you covered. We've pulled together a roundup of some of best places to experience all that Philly jazz has to offer. Check it out!

Watch our "Philly's Got Jazz" video and then check out The Official Philly 360 Guide to Jazz!

Jazz Festivals:

Center City Jazz Fest

When: Saturday, April 19 Where: Various venues More info: Clickhere.

It?s back! Center City Jazz Fest returns with 16 incredible acts performing at four local music venues, including Fergie?s, Chris? Jazz Cafe, Time and Milkboy Philly. Catch some of the city?s top jazz talents ? Ernest Stuart, Justin Faulkner, Joanna Pascale and Mike Kennedy ? lay it down like only Philly musicians can. One ticket gets you access to all of it.

Longwood Gardens' Wine & Jazz Festival

When: Satuday, June 7
Where: Longwood Gardens,1001 Longwood Road, Kennett Square, PA More info: Clickhere.

Three-time GRAMMY winning jazz vocalist Dee Dee Bridgewater, along with the Delfeayo Marsalis Quintet and the Jazz Orchestra of Philadelphia, lands at Longwood Gardens for their annual Wine & Jazz Festival. Fine wine, smooth jazz and Longwood's picturesque gardens collide for an unforgettable experience for music lovers of all ages.

Summer Solstice Salsa Party @ Morris Arboretum

When: Saturday, June 19 Where: Morris Arboretum, 100 E. Northwestern Avenue More info: Clickhere.

Celebrate the longest day of the year with some Latino flavor, as Morris Arboretum presents its Summer Solstice Salsa Party featuring Latin jazz group Cafe Con Pan Band. Insider tip: Get there early to practice your moves during their free pre-show salsa lesson.

Philadelphia United Jazz Festival and Celebration

When: Saturday, September 20
Where: South Street between Broad & 16th Streets More info: Clickhere.

The Philadelphia United Jazz Festival and Celebration returns with another round of outstanding Philly jazz. Produced by the Lifeline Music Coalition, the event features two stages and various venues along Philly's famous South Street.

Jazz Clubs & Venues:

Chris Jazz Cafe

1421 Sansom Street


Down Beat Magazine got it right when they named Chris? Jazz Cafe one of the ?100 Great Venues Around the World to Hear Jazz.? In addition to a dope lineup of local, national and international talent, Chris' also has a menu that offers budget-friendly food and drinks.


1400 S. Columbus Boulevard


With its waterfront location, down-home southern comfort food and a regular lineup of Philly-fresh music, Warmdaddy's is a must-hit in Philly's music scene. Be sure to keep an eye on Warmdaddy's monthly music calendar to stay up-to-date on their solid mix of jazz, soul, hip-hop and blues performances.


1315 Sansom Street


Tucked away on Sansom Street, Time has quickly become a favorite drop-in spot for Philadelphia's young, emerging jazz talents. In addition to the main dining room, which features a nightly lineup of jazz and soul, Time also houses a small whiskey bar on the first floor and a second floor absinthe lounge and dance floor.


7152 Ogontz Avenue


Although it?s only open on Sundays, Mondays and Wednesdays, LaRose Jazz Club in Philadelphia?s Germantown neighborhood is considered one of the most authentic jazz clubs in town. Jazz purists will appreciate this venue's dedication to presenting "true" jazz in a caberet-like setting.

Paris Bistro

8229 Germantown Avenue


Recently opened beneath the Chestnut Hill Hotel, Paris Bistro is a 50-seat jazz cafe offering performances Thursday through Sunday nights. Patrons can enjoy full food and drink lists while taking in hour-long performances from Philadelphia?s hottest jazz musicians.

The Philadelphia Clef Club of Jazz

738 S. Broad Street


The Philadelphia Clef Club works to present jazz ? past, present and future ? through workshop, classes, lessons and, of course, a stellar lineup of concerts. Keep an eye on their monthly programming for a great selection of open mic sets and shows featuring local headliners.

Showcase & Concert Series

Sittin' In @ The Kimmel

When: Check website for details.
Where: Kimmel Center for the Performing Arts, Broad and Spruce Streets
More info: Click here.

Check out the new faces of Philly music, during theKimmel Center'smonthly artists showcase, ?Sittin? In.? Headlined by a different rising star each month, this event is a look at the new "who?s who" in Philly's booming music scene ? and the perfect place to dance, party and mix and mingle with the local creative scene.

Who Got The Jazz?

When: See website for dates.
Where: World Cafe Live, 3025 Walnut Street More Info: Click here.

Each month,Veteran FreshmanandThe Philadelphia Jazz Projectreturn to World Cafe Live with a new edition ofWho Got The Jazz?This classic Philly music showcase features a lineup of young, emerging jazz musicians laying down some serious sounds. Check out World Cafe Live's website for information on featured performers.

Art After 5 @ PMA

When: Weekly on Fridays Where: Philadelphia Museum of Art, 2600 Benjamin Franklin Parkway More info:philamuseum.org

Each and every Friday, the Philadelphia Museum of Art's Art After 5 showcase and mixer features live jazz and a cash bar in the Great Stair Hall. This popular performance series focuses on on jazz, but regularly includes a selection of world music, soul, R&B and hip-hop. It's a must-hit event.

Friday Night Jazz @ Woodmere

When: Friday nights through April 25 Where: Woodmere Art Museum,9201 Germantown Avenue More info: Click here.

Back for another season, Friday Night Jazz at Woodmere Art Museum returns with awe-inspiring musical tributes to iconic musicians like John Coltrane and Jimi Hendrix. Sip some complimentary wine and listen to live music, while enjoying Woodmere's collection.

Smooth Jazz Summer Nights

When: TBA Where:RiverStage/Great Plaza at Penn?s Landing,Columbus Boulevard at Chestnut Street More info: Click here.

What could be better than a waterfront seat and smooth jazz under the Philly sky? Open to jazz fans of any age, this free, popular outdoor music series returns to the Riverstage at the Great Plaza on Penn's Landing. Stay tuned for more details.

Jazz and R&B Happy Hour

When: 1st and 3rd Fridays Where: Reserve Wine Bar & Lounge More info:

Every 1st and 3rd Friday, Reserve Wine Bar & Lounge explodes with the sounds of Philly's hottest jazz talents. Hosted by jazz musicians V. Shayne Frederick and Kevin Valentine, this twice-monthly series regularly includes surprise guest musicians, vocalists and poets. It's always a can't-miss event.

VCMG - Omiero
I'm currently working on an album of latin/latin jazz Gameboy tunes. This song kinda went crazy in the middle there and it completely filled up 2 (!) lsdsng files in LSDJ. It's kind of a mess now, but I hope with a little more work it'll be an absolutely glorious mess when I release the album. 2014 Creative Commons CC Attribution Noncommercial Share Alike (BY-NC-SA)


NYC's Roseland Ballroom Closes Its Doors
In 1919 a venue opened in NYC's midtown Manhattan called the Roseland Ballroom that quickly became a mecca for ballroom dancing. Often referred to as the "world's greatest ballroom," the Roseland's stage was visited by a who's who of both dance and jazz legends over the next few decades before its owners moved the venue one block north in the '50s to its current location on West 52nd Street. At the new location Roseland continued as a dance hall for many years before it opened its doors to rock acts. The ballroom has seen acts such as Phish, Gov't Mule, Nirvana, Metallica, Guns N' Roses and Oysterhead play its stage over the last 25 years. On Monday night the venue hosted its last concert as Lady Gaga brought a seven-show run to a close.

Roseland wasn't the best place to watch live music in NYC. If the show was sold out, attendees would be packed into the venue with little space to move let alone dance. Yet it hosted so many wonderful concerts over the years, it was hard to avoid. Plus, there were little tricks, like trying to obtain tickets for the usually uncrowded balcony, that made Roseland much more bearable. Like many things in life, NYC music fans won't know what they had until it's gone.

We want to share a handful of videos from memorable concerts at Roseland:

One For Woody - 9/21/2000

Nirvana - 7/23/1993

Radiohead - 9/29/2011

Phish - 5/23/2000

Blues Traveler - 4/12/1991

Flaming Lips - 10/29/92

Rage Against The Machine - 8/17/96

Metallica - 11/24/98

Phil Lesh Quintet - 4/30/2001

Caravan Palace
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, Isole?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-Aime 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-Aime 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 ( la Franois 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


Drew Gragg "Metroplex Theme"

With an academic background in electroacoustic composition, jazz guitar, and orchestral composition, Montreal-based musician Drew Gragg and his recently released Over-Under EP are an exceptional fit for for Nicolas Jaar's Other People label. From that record, "Metroplex Theme" is a minimal trek through colorful, reverb-heavy synths and muffled percussion. The drum patterns are eventually taken out of the last stretch of Gragg's composition, as it's left to concentrate on the voluminous and somewhat somber sonics of the ambient keystrokes present throughout the piece. The rest of the up-and-coming Canadian artist's Over-Under EP can be streamed in its entirety after the jump.

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6 Events To Kick Off Spring In Philly

Spring Events:

Friday, April 4 ? Art After 5 With Cosmo Baker

Kick off your weekend right with the Philadelphia Museum of Art?s popular Friday night mixer, Art After 5. The first April installment features a hot playlist courtesy of in-demand turntablist Cosmo Baker. A Philly native, Baker got his start spinning alongside powerhouse DJs Questlove and Rich Medina and now rocks dance floors across the globe.

Sunday, April 13 ? The Winners Circle II

Step into The Winners Circle II with Philly?s freshest R&B acts as they rock Sigma Sound with a night of unstoppable music. Round two of this dope R&B showcase features performances by a serious lineup of talent, including Motown recording artists MPrynt, blazing hot girl group Good Girl, soulful crooner Jeremy Isaac and sultry R&B/pop diva Phoenix. This event will definitely be a sellout, so buy your tickets now.

Friday, April 18 ? Sanctuary LIVE! Featuring Jacqueline Constance & Ganou

It?s about to go down in the Sanctuary once again. This month, up and coming Philly vocalists Jacqueline Constance and Ganou will show Sanctuary LIVE!-goers why they?ve been generating some serious buzz on the local music scene. Stop through for a night of soulful vibes.

Saturday, April 19 ? Center City Jazz Fest

It?s back! Center City Jazz Fest returns with 16 incredible acts performing at four local music venues, including Fergie?s, Chris? Jazz Cafe, Time and Milkboy Philly. Catch some of the city?s top jazz talents?Ernest Stuart, Justin Faulkner, Joanna Pascale and Mike Kennedy?lay it down like only Philly musicians can. One ticket gets you access to all of it.

Saturday, April 19 ? Philly Loves Def Jam

It?s been 30 years since Def Jam landed on the scene, bringing us game-changing artist like LL Cool J, Beastie Boys, Public Enemy, Big Daddy Kane, DMX, Kanye West and Jay-Z. And that?s just naming a few. On April 19, Philly Loves Def Jam hits Johnny Brenda?s with Chill Moody as host, opening sets by Mike Nyce and Mr. Sonny James and a special appearance by DJ Scratch of EPMD.

Thursday, May 1 ? Ledisi: The Truth Tour With Robert Glasper

R&B/soul songstress Ledisi is hitting the road this spring with a 30-city U.S. tour to promote her latest album The Truth. And of course, she?s stopping through Philly to show her fans some love. You can catch Led along with GRAMMY-winner Robert Glasper at the Tower Theater on May 1. Grab your tickets soon because you definitely don?t want to miss this one!

Philly 360 Spotlight:

Philly 360 Rewind: Aaron Camper & Friends

Last month, Aaron Camper came, saw and conquered the stage during his show at popular Philly music venue World Cafe Live. Joined by Eric Roberson, Kontraband215, Phoenix, DJ Aktive and Astronauts Really Fly, Camper tore down the house in the name of Philly-fresh music. Watch our recap video here.

Homesick Philly SXSW Takeover

Mission accomplished. Philly 360 was there when dozens of artists from our local music scene descended on Austin, Texas for a SXSW takeover. Get a behind-the-scenes look at Philly phenoms like Chill Moody and Cheers Elephant holding it down for their hometown. Check it out.

Guide To Philly Tech Week

Techies, this one?s for you. From April 4 to 12, Philly Tech Week returns for another round of innovative, tech-driven events. Kicking off with the largest game of Tetris known to man, PTW 2014 includes over 100 mostly free events. Check out our guide for a few must-hit events.

On The Red Carpet With Brad Smith

Philly 360 followed along as Philadelphia Eagles wide receiver Brad Smith hit the red carpet for the Lux Menswear Runway Show during Philly Fashion Week. We caught some of the city?s top designers, stylists and entertainers stepping out in their very best to check out the hottest trends in Philly fashion. Watch the video here.

Sixty Jazz Club - Season 1, Episode 3
2nd May 2014
The Founders Room, 77 Salamanca Pl,
Season 1, Episode 3 (S01E03) Tasmanian Whisky Tours presents Aly Patmore?s The Hobart Jazz Octet The Hobart Jazz Octet is a collective of professional musicians in Hobart interested in taking the small ensemble form to a new level, spirit and energy ? perfect for Sixty Jazz Club . The band plays original songs and arrangements from band leader / vocalist Aly Rae Patmore. The Duke Ellington ?Ebony and Ivory? project is the catalyst on a rolling sea of opportunity, creativity and expanse on ideas of original compositional works and arrangements in styles previously perfected by world class musicians. This new Hobart Jazz Octet plays songs and arrangements by the great Duke Ellington and his loyal instrumentalists and courtiers ie Billy Strayhorn, Juan Tizol, Cootie Williams and Johnny Hodges, these blues based melodies, are some of the finest creations in big band and vocal jazz! Alyson Patmore ? Vocals/Arrangements, Jeremy Williamson ? Trumpet, Spike Mason ? Saxophones/Arrangements, Alistar Dobson - Saxophones, Les Johnson ? Trombone, Kelly Ottaway ? Piano, Nick Haywood ? Bass, Alf Jackson ? Drums. Curated by Brett Steel, Matt Boden and Andrew Morrisby . We encourage you to dress Jazz. But we?re not entirely sure what that is, so we want you to define it. OK, here?s how this works ? There are sixty (60) seats - hence the name. 15 tables, 4 seats per table. This is jazz atmosphere. We want you to listen to the music and enjoy the sound. Doors and bar open at 7.30pm. First set is 8pm ? 9pm, followed by one hour drinking, talking, dancing, (smoking - in the Courtyard). There will be a lockout from 8.10pm, so please don't miss the start time otherwise we can't let you in until interval. Second set is 10pm-11pm. Doors close at midnight. It costs $15 (+booking fee). Buy a ticket online in advance. You can purchase a table of 4. Once it?s sold out, it?s sold out. 100% of the pre-sold ticket cost goes to the musicians who play on the night. 100%. We believe in paying our artists, hence we will be invoking a strict policy of no comp tickets, Ever! So please don?t ask us. These are professional musicians who deserve to be paid. There will be 5 extra tables a vailable for sale on the door on the night. These will be available from 7pm, first in best dressed, no reservations, please queue in the Wooby's Lane stairwe ll. But if you want to come, Please Book Online In ADVANCE. Cheese Platters from local provedore Bottega Rotolo are $35 for four cheeses and can only be purchased in advance through Eventbrite. We will have them ready for you on the night. Sixty Jazz Club is a place for local, interstate and international jazz musicians to play the music that they want to play. We will never tell them what to play and we hope this will lead to some great free-style jazz sessions and maybe even a place to hear a new sound. We can?t guarantee you?ll like it, but it might lead to something great. This event is presented by Tasmanian Whisky Tours and we will be selling premium wines, local beers and a variety of Tasmanian whiskies on the night, but don?t worry we?re going to make sure it?s still very affordable. So far we've sold out all gigs. We'll continue to do it every month until it doesn?t work. Sixty Jazz Club is about good jazz, good whisky and good society. Don't miss an episode. We can't be pirated.



1 month ago
Creative Jazz Club: Jamie Oehlers, NZ Quartet

Featuring: Jamie Oehlers - tenor saxophone Kevin Field - piano Olivier Holland - double bass Ron Samsom - drums Powerhouse Australian Tenor Jamie Oehlers is one of Australia€™s leading jazz artists and ...

Auckland | Wednesday, 2 April 2014


Peugeot Reveals Dubstep Horn Personalization Program - ZerCustoms


Peugeot Reveals Dubstep Horn Personalization Program
Peugeot announced today that they're going to offer a horn personalization program that will comes with various sounds, including Dubstep, Jazz Trumpet, Bach and bird songs. In fact, Peugeot is going to be able to make your car's horn sound like ...
Peugeot Personalized Horn Motorward

Other: Sony_fied by RTe
Hello Sony smiley

A samba/salsa latin jazz with Mori

Dennis Ferrer
Monarch, 101 Sixth St., San Francisco
Right place, right time. It's an old clich, but it's one that's been the definition of Dennis Ferrer's musical career. Just as the dance music world was heading into the world of afro-centric house, Ferrer was there. And then, when it began to embrace the mix of tech and soul, Ferrer was there again, leading the way with his impeccable productions. As Ferrer goes, it seems, so does electronic music. And, as someone who's never content to do the same thing twice, it's clear that he'll be staying on top for years to come. Ferrer burst back into the consciousness of most dance music heads with the release of "Sandcastles," (Ibadan) his collaboration with Jerome Sydenham in 2003. A throwback to his techno roots as producer of the first ever release on Synewave in 1994 and mixed with a healthy dose of soul, the track was a massive hit for the duo. But, to his credit, Ferrer didn't simply repeat the formula afterwards. Instead, whether it's been the gospel house sounds of his remix of Blaze & Barbara Tucker's "Most Precious Love" (Defected) or the deeper-than-deep rework of Fish Go Deep's "The Cure & The Cause," (Defected) Ferrer has continued to push a variety of genres all at once. It's clear that Ferrer isn't content to rest on his laurels: he's too busy dreaming up new ways to shock and delight audiences. Of course, we do say "back" into the consciousness of dance music heads because Ferrer has been around for far longer than 'Sandcastles'. He was crafting techno records in the mid-'90s as Morph and then had success in the Afro and gospel house scenes with releases via his Sfere label, an imprint he began alongside Kerri Chandler. "Sandcastles" merely marked his return to techno phase - and broadened his appeal to a new audience largely unfamiliar with his past work. But it's this past work that gives his new productions such resonance: unlike many of this house peers, Ferrer's techno experience has given him an edge that you can hear in his recent work. "Son of Raw," (Ibadan) "Church Lady," (Defected) "Underground Is My Home," (King Street Sounds) and "Touched the Sky" (King Street Sounds) have all been huge dancefloor anthems and all show a different side of the Ferrer personality. As he's said in interviews, "It doesn't matter if it's gospel house, Brazilian house, jazz house, or whatever. As long as it's got soul and moves people, that's all that matters." Collected on his full-length The World As I See It (King Street Sounds), it's a sound that reached many different audiences. "Transitions" and "P2DaJ" were huge in the techno world, while the beautiful ode "How Do I Let Go" was a hit in the gospel house scene, the success of which has become bittersweet considering the recent passing of its vocalist, KT Brooks, one of Ferrer's favorite vocal collaborators. Ferrer released the piano driven summer smash "Sinfonia Della Notte" on Strictly Rhythm in May 2009 which fans and press alike bugged over. DJ Mag said the single was leading the charge for a piano chord driven house music revival but we know Ferrer is just flexing one of his many skills. Just how much more was revealed in mid November (2009) when Ferrer unveiled his single "Hey Hey" for Objektivity which immediately caught on with DJs and with Mixmag UK who gave it a Big Tune review. UK radio DJ Pete Tong helped the noise too saying the record 'gives me goose bumps, it's quality from start to finish; it's a return to the finest virtues of house music, this is brilliant.' The single is also notable for having received one of the most rapid reactions in recent dance music history - shooting immediately to #1 on Beatport where it's still holding over four weeks in something no other house track has achieved recently. It's also been #1 at Juno and #1 at Black Market in Soho, London. Perhaps part of the appeal here is "Hey Hey" is vocal driven and so it's appropriate that Dennis has just been nominated for a Grammy for another vocal driven tune - his "Dennis Ferrer Objektivity Mix" of Dido's "Don't Believe In Love" (Arista). But vocals aren't all that's appealing with "Hey Hey" it's been drawing attraction for the superb production standards - something Dennis made even clearer when he decided to reveal part of the technical process behind the tune on his myspace blog (and single press release) - Resident Advisor's reviewer commented - "even a novice like me can often hear how ridiculously sharp his productions are." "The Red Room", 2010, marked Ferrer's follow up to "Hey Hey", has received accolades from the top DJs around the world. The unique vocal was cut during a wild studio session where the vocalist repeated one of the lines "Welcome To The Red Room Honey" which after some editing became the hook of the tune. Remixed by the Detroit prodigy Kyle Hall and "tech dubbed" by The Martinez Brothers & Jerome Sydenham, The Red Room became yet another modern classic. Next up: "No Difference", a 2011 collaboration with Andre Hommen, yet another young talent, discovered by Ferrer. Deceptively simple, "No Difference" features retro drum pattern and repetitive vocal lines while also incorporating a warm, synth-fuelled groove. It's the smattering of piano keys and the the jacking groove that truly bring the funk though, ensuring Ferrer's latest is draped in vintage Objektivity characteristics. Dennis Ferrer isn't known as a prolific remixer, but when he does turn his hand to something you can be sure that the result will be worth the wait. His November 2012 remix of "Underground" has been hammered across Ibiza all summer long, and for good reason. Developing the chords of the original beautifully and adding a devastatingly infectious organ lead-line, Ferrer builds and builds before unleashing huge, pounding keys for a truly breathless finale, shooting the track straight to Nr. 1 on the Beatport Deep House chart. Ferrer has brought his 'anything goes' approach to his label, Objektivity. Celebrating its 8th anniversary in 2014, the imprint has thus far focused itself on vocals, featuring often unlikely turns from indie heroes like Ane Brun and Tlpopmusik. Low slung and deep, Objektivity is a cutting-edge label in touch with its time, putting a uniquely American spin on the deep house revival that is currently making waves in Europe. Objektivity is a living, breathing thing - one that's set to drop bombs on the dance floor for years to come. While Ferrer closes out 2013 with "Mind Ur Step" (Defected), "Mind Ur Dub" (Objektivity) and a remix of Coyu - "Salvation" (Noir Music), the best is yet to come. With a deep knowledge of the past and a constant push for the future, Ferrer remains one of the true greats of house music - a leader and innovator whose enjoying the buzz around him but keeping on pushing the limits. Stay tuned.


Peugeot Reveals Dubstep Horn Personalization Program
Peugeot announced today that they're going to offer a horn personalization program that will comes with various sounds, including Dubstep, Jazz Trumpet, Bach and bird songs. In fact, Peugeot is going to be able to make your car's horn sound like anything ...

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.


Spotlight: Swans - The Seer
Swans - The Seer
A coruscating, compelling treatise on creation and destruction...

Clash€™s Spotlight series usually looks at albums marking key anniversaries, or that are being brought back into the public eye through special shows or some other industry-standard opportunity for reappraisal.

But with Swans set to release their 13th studio set, €˜To Be Kind€™, in May, we thought the moment was perfect to look and listen back to what is perhaps the most powerful studio statement in the Michael Gira-fronted New York experimental ensemble€™s catalogue so far: August 2012€™s incredible €˜The Seer€™, spread across six sides of vinyl and just as remarkable now as it was on release.

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Swans, €˜The Seer€™

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€œI see it all.€

€˜The Seer€™ reeks of the definitive, the platonic form of Swans made real, a hellish golem raised from magma and mud. It collects the produce of the American experimentalists previous 11 albums and craftily condenses them, distilling their dusky essences in the way of an alchemist or particularly dastardly perfumier. Propelled by a ferocious fervour, its unbridled, ecstatic, musical mania feels somehow inevitable €“ but considered and wiser than ever before.

Joining with an impressive cast of collaborators €“ including Yeah Yeah Yeahs€™ Karen O, Iceland-based noise merchant Ben Frost, members of Akron/Family and Low €“ is Gira€™s former partner in crime, Jarboe. Their respective inputs provide luxurious glossy highlights, the butter in the jus if you will. But they don€™t dilute a thing. Some passages initially make for excruciating listening, only to shift tone dramatically, whisking you a hair€™s breadth from danger and certain unbidden defecation to a plane of vibrant aural pleasure.

Constructed of distinct movements, €˜The Seer€™s is a symphonic piece clocking in at over two hours in length, with a half-hour title track. You don€™t listen to something so demanding overly regularly, which is possibly why over a year on it sounds as fresh as the very first time. It€™s an event, like a Wagnerian opera, a marathon dictating complete surrender €“ music so simultaneously cerebral and dynamically physical you can feel it in your muscles, your belly and bowels.

Its refusal to compromise is sometimes claustrophobia inducing, but this is what lends €˜The Seer€™ its sense of potency and emotional catharsis. The honesty and clarity of this record is rigorous and relentless. It is aggressive, reflective, dually awkward and elegant: an ordeal, but a beautiful one. The cover €“ a snarling/grimacing wolf leering out from the shadows €“ suggests both hunter and hunted. The perfect image, really, of a metaphysical monster in the dark.

Opening track €˜Lunacy€™ sets the tone. An unhinged voice, leeching out of darkness over a wave of percussion and guitar builds inexorably, expansively; drums froth like waves, violins crash against harpsichord. Eventually a chorus of voices begins to chime and soften, and order seems restored, the piece becoming a madrigal. But it€™s merely the calm before the storm of €œlunacy€ being chanted a hundred or so times. It€™s a dark, dense struggle sitting between Aleister Crowley, Led Zeppelin-style paganism and the secretive mysticism of the Knights Templar. In a final Songs Of Experience-period William Blake-style flourish Gira states: €œYour childhood is over.€ Is it ever.

Syncopated drumming and a single panted refrain heralds €˜Mother Of The World€™: a spiralling arabesque of squalling, scissor-sharp guitars and a wailing, scatting Gira. It then shifts into unbridled glam rock: an incongruous Ziggy Stardust and the Spiders from Mars jam segueing into the sleaze of €˜Sister Midnight€™-era Iggy Pop. This is the beating heart and breath of the world, the universe, a diabolical Ohm. Gira€™s Gaia is the €œmother of senseless things,€ a disappointing human race, unbalanced in our consumption and living practices.

The title track is aptly grandiose. It€™s the voice of an oracle witnessing the horror and splendour of the divine in real time. It€™s Carlos Castaneda vibrating in the desert on a peyote-fuelled trip, or Samuel Taylor Coleridge€™s opium-induced near-death experiences. It€™s Swans€™ €˜The End€™ or €˜Set The Controls For The Heart Of The Sun€™. It builds and builds, tighter and faster, like a train derailing, an ever-crescendo-ing voice in the background. Around the halfway mark it is absolutely relentless €“ but just when it threatens to become too much, the monstrous becomes elegantly beautiful. A piano coda worthy of a Giallo horror soundtrack diffuses the endless repetition of €œI€™ve seen it all€. It€™s pretty much better than most bands€™ entire albums. However, Nietzsche has a point: €œWhen you gaze long into the abyss, the abyss also gazes into you.€ In other words, I wouldn€™t listen to it on repeat too much.

In its companion piece €˜The Seer Returns€™, the world is literally being torn asunder, perhaps ready for rebirth, a resurrection. Whispers of immortality flutter over its sand torn ribbon of desert sound. Then the record hurtles into batshit-crazy New York-style free jazz territory on €˜93 Ave. B Blues€™. Are those dolphins screaming beside the mild-mannered credit of the €œViolin type instrument€? This takes work. It€™s a punishing point of no return. Yet, for all the hair shirt qualities evident here, these musicians sound as if they€™re having big-time fun.

There are brief moments of relief, such as the Beefheart blues of €˜The Wolf€™,  €˜The Daughter Brings The Water€™ and the haunting, alt-country ballad €˜Song For A Warrior€™. Gira really has to give us a few of these songs. It would be difficult to make it through without them. They€™re the pause on a treacherous alpine pass, a respite from catastrophe.  The beautiful, King Crimson-recalling €˜A Piece Of The Sky€™ is still apocalyptic, however. The €œsun f*cks the dawn€ isn€™t a light hearted observation €“ it€™s redemption, Book of Revelation style.

Abiding influences can be heard throughout, the sinister soulfulness of Howlin€™ Wolf, the experimentalism of Can and the deep psychedelia of early Pink Floyd bubble under the surface. It may seem like spiritual flagellation in song but its actually closer to an aural meditation on the sublime: the danger, terror and beauty of boundlessness.

This struggle with the notion of the divine is heard on €˜The Apostate€™, as a struggle with truth. We may be on €œa ladder to god€ but it€™s definitely an Old Testament deity towards which Gira climbs. The song possesses the preposterous overblown arc of Van der Graaf Generator€™s €˜Man-Erg€™ but also the control of Steve Reich and other great minimalists and modernists.

This is an album that will be spoken about in decade-marking retrospectives as an epic exercise in American gothic. We may feel insignificant in our everyday lives, but music still allows us to bypass the mundane for the metaphysical if we are desperate to experience secular rapture or transcendence. As Gira himself states, €œLike anyone else, I want to experience ecstasy €“ something greater than myself.€ 

We may not fast, we may not meditate or dance ourselves into a trance and we may not imbibe large quantities of drugs (or we may) €“ but maybe we don€™t need to. Listening to this album is a portal allowing us to touch the fleshy membrane of something else. It€™s a Lovecraftian mountain, a Conradian odyssey, a Freidrichian ravine. It leaves you flayed, sensitised. It€™s ancient and authoritative, a coruscating, compelling treatise on creation and destruction. So it goes.

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Words: Anna Wilson

More Spotlight features

Swans€™ €˜To Be Kind€™ is released by Mute on May 12th. See the band live in the UK, supported by Jenny Hval, as follows€

22nd €“ Academy 2, Manchester 23rd €“ Hoult€™s Yard, Newcastle 24th €“ The Arches, Glasgow 25th €“ The Lemon Tree, Aberdeen 27th €“ Brixton Electric, London 28th €“ Trinity Community Arts, Bristol 29th €“ Sub89, Reading 31st €“ Supersonic Festival, Birmingham

1st €“ Cockpit, Leeds 2nd €“ Concorde 2, Brighton

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Stream 'The Seer' via Deezer, below...


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/

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