Grown and Sexy
Friday 2nd May 2014
Rise Nightclub, 1 Leicester square, London, WC2H 7NA, United Kingdom
This is a personal invitation for YOU to come have a drink and shake a leg at London's FINEST nightclub. GROWN and SEXY is more than a rave! It is a gathering of London's SEXIEST people who love to party to GREAT music, sip QUALITY alcohol and experience UNFORGETTABLE vibes. Party connoisseurs see you there!

Mix CD

Pics from previous events

Your DJs giving you a GROWN and SEXY vibe playing the best in; Sexy RandB, Hip-Hop, House, Dancehall, Vocal Garage, Afrobeats, Soca, 80/90s Walkman Classics and Slow Jams will be


ADMISSION and DRESS CODEStandard tickets £10: More on the door: Valid government I.D essential: Last entry 2am with or without ticket

Absolutely no Denim, Hats, Hoods, Sportswear, Designer Trainers, Pradas, Guccis, Vans, Converse

Pictures of Cakes/Tables

It's said we have the best party packages in London so if you're celebrating anything between the 27th April, 10th May then look no further!

Celebrate in STYLE with our exclusive packages which include? V.I.P Table: Booth: Personalised Cake: Champagne: Wine: Spirits: Nibbles: Sweets: Chocolates: Professional Photography: Disposable Cameras: Personal Hosts: Helium: Balloons: Decorations: Card: Poppers: Sparklers

Packages can be tailored to your own bespoke needs. To party in style contact JUNIOR on 07572 433 672: PIN:24DF8987

07939296977: 07572433672: 07908893250
PIN:221161D8: PIN:24DF8987

Facebook: http://atnd.it/9320-2Tickets: http://atnd.it/9320-0


via Web

2 weeks ago
Rock/Britpop Review: Elbow-The Take Off and Landing of Everything


#rock #pop #musicreviews #music

Write A Music Review: Rock/Britpop Review: Elbow-The Take Off and Landing of Everything

Music Reviews & News Release Date: March 11, 2014 Label: Concord Website Elbow is another case of a band that is extremely well known in the UK, but is relatively unknown in the US. The band has released six studio albums dating back to 2001, all of which have been in the top 15 on British album charts. In 2008 they won the Mercury Prize for The Se...

“Kavisha sings with the voice of a heartbroken angel” - Victoria Laurie The Austral
4th May 2014
Camelot Lounge, 19 Marrickville Road Marrickville NSW 2204

Equus. There is new excitement in Australia's burgeoning world music patch! The buzz is all about the new band EQUUS, which is the Latin root of the word 'equine'. A gathering of 5 musicians of very diverse musical and cultural backgrounds, Equus' debut album Dakshin Khun (Southern Man) focuses on the traditional music of Mongolia, sung by world renowned Mongolian throat singer Bukhu, fused with Middle Eastern strings and wind and a dynamic rhythm section, with a strong component of improvisation to making each performance a new experience, the result is often hard to define, but always spectacular and unique. Joined by well known Blue Mountains musicians Andy Busutill (sax, middle eastern winds), John Robinson (oud, Turkish Baglama) and Peter Kennard (Percussion), as well as Double bass extraordinaire Bertie McMahon. This music is about meetings, of people and traditions, and of musics. EQUUS is a bold, imaginative music project that succeeds in the formation of an entirely new sound.

These are the traditional songs of Mongolia played as you have never heard them before. Described as "one of the most evocative albums I have heard ...This is pure musical pleasure, exciting, fun and challenging, all at once." Music Forum magazine.

Tix $18+bf presale or $20 on the door.
Doors 6.30pm, Show 7.30pm
Bookings close at 6pm on the day. Tickets may be purchased at the door subject to availability.
Delicious food (including pizza!) available. Fully licensed €“ NO BYO
Please book carefully - as no refunds, credits or exchanges on tix!
All ages welcome (but under 18€s must be accompanied by an adult)

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...

Collectibles Convention in Cleveland on 05/16/14
16th May 2014

21st April 2014
Camelot Lounge, 19 Marrickville Road Marrickville NSW 2204

Oud news! Really really oud news! The World-music event of the year!

2 of the world's foremost Oud virtuosos..
Together for the 1st time...
1 unmissable night!

In Australia to perform with the Jerusalem Project at the SOH, In his only intimate Sydney show It€™s Iraqi/Israeli Oud-player/violinist YAIR DALAL, with his percussionist EREZ MONK!

And...they will be joined by world-renowned Egyptian/Australian ARIA-Award winning duo JOSEPH TAWADROS (Oud) & JAMES TAWADROS (Req)
This night will be a glorious celebration of Middle-Eastern musical traditions, together with extraordinary & inspired improvisation €“ in the hands of four of the most brilliantly exciting exponents of this music in the world today...

Doors €“ 7.00pm, show 8.00pm
Table bookings for groups of 8 or more only €“ email us for table reservations AFTER you have prebooked€
Delicious food (including pizza!) available.
Fully licensed €“ NO BYO Please book carefully €“ as no refunds, credits or exchanges on tix!
All ages welcome (but under 18€s must be accompanied by an adult)

Jazzgroove presents ......8pm&l
22nd May 2014
Foundry616 Jazz Club, 616 Harris Street Sydney NSW 2007

Foundry616 welcomes back this sizzling quintet, featuring some of Sydney's most dedicated jazz musicians, bringing to you an absolute classic music show of Charlie Parker that tributes the master saxophonist and genius mind who changed JAZZ music forever.

Charlie Parker - 'Bird', innovated a whole new approach to the way jazz music was played, not only on the Saxophone, but all jazz instruments. His approach to improvisation provided 'freedom' from the pop culture of swing music as Bird represented musicians for the first time as intellectual artists rather than entertainers.

This is an all star Bebop Quintet line up playing all your favourite tunes that are still cherished today - including 'Billies Bounce,' 'Ornithology,' 'Now's The Time' and more!

Will Endicott (Trumpet)

Stas Radzievskiy (Saxophone)

James Heazlewood Dale (Double Bass)

Daren Sirbough (Keys)

Phil Lombardo (Drums)

Comic Book Convention in Wilmington on 05/23/14
23rd May 2014

8th May 2014
Camelot Lounge, 19 Marrickville Road Marrickville NSW 2204

Be quick coz Camembert at Camelot always sells out!!

The best night out in Sydney!!! With sensitivity, virtuosity, & extraordinary energy, Triple ARIA Award winning band Monsieur Camembert brilliantly weaves Gypsy music with other World Music styles, to create a truly original and intoxicating blend€from Russian Gypsy songs, to tango and klezmer, from Gypsy swing to Latin grooves, Monsieur Camembert is at the forefront of Australia€™s GYPROCK Scene! €œ

€œ€they pick you up and carry you on a wave of energy, excitement and poignancy that never relents€€ (John Shand, Sydney Morning Herald)

Doors 7.30pm, show 9pm
Table bookings for groups of 8 or more only €“ email us for table reservations AFTER you have prebooked€Bookings close at 6pm on the day. Tickets may be purchased at the door subject to availability.

Delicious food (including pizza!) available. Fully licensed €“ NO BYO
Please book carefully - as no refunds, credits or exchanges on tix!
All ages welcome (but under 18€s must be accompanied by an adult)

Pink Bubble Pop Up
Date: Tuesday, April 1st, 2014 to Monday, April 7th, 2014
Time: 10:00 - 20:00
District: Nicosia
Venue: €.‡.
Categories: Art Exhibitions | Fashion


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

(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.

FABELS - Against It single launch (26 Apr 2014)
27th April 2014
107 Projects,107 Redfern Street, Redfern NSW 2016
Fabels FABELS - Against It single launch

Sydney tow piece Fabels have just released their new single Against It and are starting their international tour at 107 Projects. Playing in support on the night are River Man and Horus.

Their successful debut album Zimmer last year, gained them a lot of attention internationally for its intriguing and original take on loop/ drum machine based pysch pop.

The new single Against It carries these ideas with a hint of krautrock and shoegaze.

Fabels is Ben Aylward on guitar, vocals and drum machine + Hiske Weijers on bass, keys, vocals and loops.

For more information visit:

Tickets $10 at the door
Doors 8-11.30 pm

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

(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.

Be quick coz Camembert at Camelot always sells out!! The best n
10th May 2014
Camelot Lounge, 19 Marrickville Road Marrickville NSW 2204

May 10 is a rare opportunity to catch Australian blues legend Dom Turner, founding member and key songwriter of the blues group The Backsliders, performing withDom Turner and Supro.

Dom Turner and Supro are a mixture of three-parts blues, two parts surf-rock, a heavy spoonful of dub laced with a splash of Tabasco-spiced New Orleans funk, all blended with a helping of Tex-Mex jalapenos, salt, reverb and voices from the dead. Traditionally served with your choice of ice-cold beer.

Dom Turner and Supro have rocked audiences at numerous festivals including East Coast Blues Festival, the Australian Blues Festival and the Wangaratta Festival of Jazz.

Joining Dom in live mode are legendary drummer Rosscoe €œStinger€ Clark (The Foreday Riders, Lynwood Slim), the amazing Dave €œHitman€ Harding on bass (Lynnwood Slim, Eugene €œHideaway€ Bridges) and sensational keyboardist Johnny G (Johnny G and the E Types, Ed Kuepper, Leonardo€™s Bride).

Check them out: http://domturner.com.au/dom-turner-and-supro/

As a special treat Johnny G & The E Types will deliver a mind-blowing instrumental performance showcasing the Memphis soul classics of Booker T & The M.G.€™s, the Jamaican reggae hits of The Upsetters and the funk gems of The Meters.

Johnny G & The E Types are legendary keyboardist Johnny G on Hammond and Piano (Ed Kuepper, Leonardo's Bride), Nick Meredith (Cotton Keyes & Morris, Tim Finn, Matt Finish) on guitar, drums from Antero Ceschin (Continental Blues Party, The Mighty Reapers), Dave €œHitman€ Harding (Eugene "Hideaway" Bridges, Red Rivers, The Foreday Riders) on bass.

Check them out: http://johnnygandtheetypes.com

This is a rare, not to be missed double bill show for all lovers of Blues, Tex-Mex, Soul, Funk, Surf Rock and Dub-Reggae.

Presale $15 +bf, Door $20
Doors 7.30pm, Show 9.00pm

Bookings close at 6pm on the day. Tickets may be purchased at the door subject to availability.
Delicious food (including pizza!) available. Fully licensed €“ NO BYO
Please book carefully - as no refunds, credits or exchanges on tix!
All ages welcome (but under 18€s must be accompanied by an adult)


1 month ago
Tequila Tuesdays

$5 Tequila Shot & $2 Taco Tuesdays All Day: $4 Well margarita, Corona, $5 1800 shots, $6.50 all other tequilas. Everyday Special: $12 pitchers. Choice of Mai Tai, Sangria, Margarita, or Long Island.

Longest Happy Hour M-F 10am - 7pm $4.50 Wells, $5 Miller Pitchers, $4.50 Barefoot Wines, $1 off Calls, Premiums, Supremes, $1 off Bottled Beers, $5.50 Mai Tai, Bloody Mary.

Free Acoustic Live Music: 6-9pm JESSE & GJ Pop | Rock | Hawaiian | Originals. All Request Music | Video night 9pm-close; .

LIFE DRAWING - Every Wednesday (02 Apr 2014)
107 Projects,107 Redfern Street, Redfern NSW 2016
Life Drawing


107 Projects presents life drawing in the comfort of our performance space every Wednesday eve.

Hosted by life drawing teacher and enthusiast Antoinette Starkiewicz.

Some weeks will coincide with a new exhibition opening so pop in early for some inspiration and a glass of wine before the life drawing starts.

Bring your own paper and supplies, some easels and leaning boards will be provided.

EVERY WED 8pm - 10pm, $15 / $10 (student & concession)

Waldo Fabian is a bassist, composer, singer and producer who has worked with many outstanding pop, Latin and jazz bands
3rd May 2014
Foundry616 Jazz Club, 616 Harris Street Sydney NSW 2007

Foundry616 welcomes back pianist Chris Cody, who after living in Paris for over 20 years, recently returned tolive in Sydney. Already performing widely,Chris and his group will beplaying his latest compositions.

While in France Chris worked extensively in clubs and festivals around Europe with a wide range of musicians including Rick Margitza, Herb Geller, Sunny Murray, Marcel Azzola, Glenn Ferris, Annie Whitehead, Barry Altschul, Carla Bruni, and Michel Jonasz. Aside from appearing on numerous CDs as both leader and sideman, he has also written and produced music for theatre, television and film in Europe, North America and Australia.

Cody€™s music reveals not only his deep love of the jazz and classical traditions, but also the influence of contemporary French and African musicians he has encountered in Paris, and its warmth, sense of space and humour touch a wide and diverse public around the world while receiving rave reviews from the critics.

We are pleased to have him back here and urge you to come and check out his music.

The pianist€™s compositions reflect the diversity of his tone: a touch both firm and singing, a deliberately rapid phrasing, but that never loses sight of the melody, a taste for full fleshed harmonies sometimes close to gospel € it unfolds tenderly and majestically, seduces you to the charm of an inspired interpretation of which the atmosphere will haunt you a long time. Magical".Piano Magazine , France

Some of the best musicians of the moment €a feast of melody€an inspiration never at fault€a facility for improvisation that leaves you stunned € an absolute mastery€everyone expresses himself marvellously on the compositions of Cody who is an excellent pianist€another example of a jazz that knows the evolution towards the avant garde but stays anchored on lasting values, and privileges feeling, beauty and melody.JazzHot, France

"The sound of midnight in Paris"John Shand, Sydney Morning Herald, ****

This Weekend in NYC Nightlife
4th October 2014

Featured Party of the Week:

Verboten's Zeitgeist: Felix da Housecat, Metro Area DJ set, Kate Simko, Clarian

New York€™s new underground party playground, Verboten, has been bringing amazing, talented artists to their much deserved new club space and permanent home in Williamsburg since it opened last month. The April lineup is in full swing; this weekend we are ecstatic to see electro house/disco don, Felix da Housecat make his debut at Verboten€™s new digs.Last year, after a four-year hiatus, he released a new studio album, concocted a top-notch BBC Radio 1 Essential Mix, and has made his highly-anticipated return to the club scene.

He's joined by Metro Area, who's last DJ set for Verboten's StageONE was jam-packed with highquality boogie and cutting edge house and techno tunes. The duowas born out of mutual love of the classic, soulful R&B, disco, and minimalistic deep house.Also performing tonight areKate Simko, who is helping to bridge the gap amongst thedeep-house/techno divide, bringing hermelodic, Chicago-infused take on house and techno, andFootprintz'sClarian, who went solo last year and will be wrapping up the night with his emotive,poignant sounds for a low-key underground ambiance. Oh, and a man with serious DJ talent, you might know him asPaul Raffaelewho throws killer parties that you don't want to miss (The Dog and Pony Show) will be playing a set for us as well.

Verboten continues to elevate Brooklyn€™s underground art and music scene with a variety of culture programming including the launch of "Art is Verboten" by Mike Dreeland, Wasabassco at Verboten: Danger!, Music Unites: Youth Music Education, and PopGun presents Adult.

The first art show will be kicking off tonight in the Cabaret Bar; €œArt is Verboten€ by NY pop artist Mike Dreeland. The art show is from 8:00PM-11:00PM, some come early... there's a sponsored bar by Belvedere Vodka, Jameson, and Veuve Cliquot.

Defined as a 21st century artist by the nature of his work, Dreeland introduces a pop art style that mixes basic acrylics and techniques from old masters with hi-tech tools of the present and future. Modern technology, with the use of graphic design programs, has allowed Dreeland to spotlight a unique step and repeat style by using multiple layers and common objects. Thick paint and bold colors characterizes Dreeland€™s work. Dreeland collaborates with the music and lifestyle team at Verboten on the launch of their eponymous nightlife venue in Williamsburg, Brooklyn to display custom Dreeland pieces within the venue.

Verboten has some pretty fantastic shows coming up, including Carl Craig (Somewhere in BKN), Kenny Larkin and Davide Squillace,a celebration of 20 years of Josh Wink€™s Ovum label, and much more. Stay tuned for more visual art and live music cultural highlights at Verboten to be announced soon!

If you aren't feeling Verboten tonight, here are some other nightlife events going on in and around the city...

Weekend Agenda NYC

Friday 4/11/14

Lavo €“ Autoerotique

Madison Square Garden €“ Armin Only: Intense

Marquee €“ Blond:ish with Sleepy & Boo

Output €“ The Bunker presents Minilogue/ Eric Cloutier with Daniel Wang/ Mike Servito/ Wrecked

Pacha €“ DJ Snake

Pachita (Pacha) €“ 800lbs of Trance feat. Mike Saint-Jules & Brendan O€™Neill

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


April 28, 2014, 11:30 a.m. - Postwar Pairs: Exploring Abstract Expressionism, Neo-Dada, Pop Art, and Minimalism
28th April 2014
The Museum of Modern Art, 11 West 53 Street, New York, NY 10019

Boy George
28th April 2014
The Fillmore, 1805 Geary Blvd.,
Boy George Put on the spot on a TV show and asked the title of his next album, Boy George blurted out This Is What I Do. It wasn't as random as this story suggests, the title was one of a few being mulled over, but the decision was instant and it has stuck. The simple statement of fact -- This Is What I Do -- is telling and significant because so much has gone on over the years to actually obscure what George does and who he is. "It's about re-establishing myself musically to say this is what I do. I was at the Brits a couple of years ago and some unexpected people were giving me name checks, like Cee Lo Green and Arcade Fire. It made me think, a lot of people know who I am and have this affection for me but they don't really know why they like me. I had to ask myself, well who and what are you?" George is famous enough for all of us to have an opinion and think we know who he is. On This Is What I Do we are likely to be confounded. Close your eyes, empty your mind, and as another '80s pop star once said, listen without prejudice. This may be the best record he's ever made. It's the record he's always had the promise to make but only now through life experience has been able to find a direct line to his muse. In the process he freed his spirit to explore not just his own psyche but the diverse influences that have inspired him over the years -- from dub to rap, Woolwich to Jamaica, glam rock to country, mean streets to sunny uplands. "I went back to the soul, the essence of what I do. That's been important for me. There have been a few periods over the years where I didn't listen to music. It was almost like the birds stopped singing. I can measure my own wellness by how much I listen to music. "With this record we were playing lots of stuff in the studio, random things that weren't anything to do with what we were doing, but to get a feeling. We were listening to lots of what I call baggy music, music that is not programmed, slightly out of time, a bit loose, has its own footprint. I do a lot of dance stuff as a DJ and in collaboration with other people and I wanted to step away from that and do something more organic. I know that's clichd, but that's what I was after." The list of listening ranged from early Bowie and the Stones to Cockney Rebel, Nico and Lou Reed. "The album was easy to make. There's a lot of love on it, a lot of love, and people I've worked with over the years came and contributed." Just that statement, to those who knew George in his Culture Club days is shocking in itself. Recording sessions were always filled with drama and George hated the studio environment virtually being dragged in to do his vocals and running out as fast as he could. "Making albums has always been a drama for me, but this was just beautiful and if I do another Culture Club record it has to be fun. It doesn't have to be a headache. We get paid to do what we love. It's such a pleasure to do what we do. "The album started off with reggae as the template but then it branched out into other things. We didn't want to restrict ourselves because you've got to honour the song, so if a song has a certain type of energy you can't force it into a genre. "We went back to the '70s, which was the time that shaped me as a musician and a person. The '70s was such a bonkers decade, everything from the Sex Pistols to The Goombay Dance Band. Even though Culture Club were associated so much with the '80s, our roots were in the '70s -- reggae, glam rock, punk rock, disco, electro. I think this record is very '70s." George has stretched his musical repertoire while retaining his soulfulness and pop sensibility. He's found his inner rock god on "My God," explored country swing on "It's Easy," entered a dream-like altered state on "Any Road," gone sultry and wistful on "Death Of Samantha," and reminded us, and maybe himself, of his playful side on "Nice And Slow." The exploration of his musical roots mirrors the personal journey of self-discovery he has embarked on since becoming sober in 2008. Another milestone was turning 50 two years ago. "It was a huge turning point for me. I thought I've got to get my s~~t together, I've got to focus, this is important. I just felt I'd wasted a lot of time. I looked at myself and thought, God, I've done nothing. I know I've done a lot, I've always worked, I've grafted and always made money, but a lot of it was pointless because no one knew what I was doing." He changed management, got a new DJ agent and set out on the path to show the world the real Boy George, the one who had been obscured in a haze, some of it his own doing, some of it simply the myths that had built up around him. There is a growing acknowledgement that George is one of those artists whose reputation needs to be reappraised. There has been a steady stream of these over the years. Antony Hegarty paid his tribute to George when they duetted on "You Are My Sister" in 2005. In 2010, Mark Ronson invited George to sing on "Somebody To Love Me." Earlier this year George was a guest of Yoko Ono at the Meltdown festival. This Is What I Do is set to further enhance that reappraisal and show the world that George is not only back, he's an important artist with an irrepressible zest for life. When you connect your ears will quiver, your soul will shiver and you'll want to dance like Saint Vitus.


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