Monthly Archives

July 2011

MELT w/ DROP THE LIME, AC SLATER, HELLFIRE MACHINA, & STAR EYES!

By | In The News

ATL get ready, Hellfire Machina will be invading the city this Friday July 22 alongside Drop the Lime, AC Slater, and Star Eyes.

Discounted $10 Pre-Sale Tickets can be purchased online right NOW by clicking the following link:
http://www.quad.wantickets​.com/events/ShowEvent.aspx​?eventId=90707

Friday July 22, 2011

Household Management & QUAD are proud to present:

MELT

Household Management and QUAD come together to up the ante yet again, and bring you what will undoubtedly be THE most talked about weekly event in the history of Atlanta. MELT. MELT will not be your normal “weekly”, as we will be throwing a MASSIVE event every Friday Night. Although it will be occurring weekly, each Friday Night event will be able to stand on i’s own as a typical legendary Household Management party. Expect the biggest headliners in the world to be making appearances at MELT, along with unsurpassed lighting and sound production. This will be the ONLY place for Bass Lovers to be on Friday Nights in Atlanta!

With the invasion of the one and only TROUBLE & BASS crew!

DROP THE LIME
Trouble & Bass, Ultra Records // New York City, New York
Everyone comes from somewhere, but some people wear the cities they’re from like badges of honour. Drop the Lime is Luca Venezia, one of those people whose identity is intrinsically connected to his hometown – New York City. And while many have only just heard of the magic of Drop The Lime, Luca has been honing his craft for years. From humble beginnings in a gospel choir to a childhood obsession with 50s rock’n’roll, the 26 year old has been experimenting with sound for years. His influences range from Brian Eno to rockabilly (he’s well known for his 50s doo wop and soul sets) to Sonic Youth to Wu Tang. He also runs Trouble & Bass, an influential New York club night and label since 2006. The Trouble & Bass crew are the DJs who are defining a new New York sound. As Luca says himself – “Having a crew from NYC behind you, pushing the sound you produce, is essential in creating a movement. We’re all producers and DJs so sometimes we’ll collaborate on production—or I’ll have one of them help out with one of my basslines – since they understand my sound better than anyone else.” 2009 was a big year for Drop the Lime. He released two huge club hits, Devils Eyes and Set Me Free, the combined force of which helped him topple the likes of Phoenix, Florence & The Machine and The XX as “Most Blogged Artist on the Planet” (Hype Machine). Luca took his unique style of DJing around the globe, farther afield than ever before, crisscrossing North America many times as well Europe, China, Singapore and Australia. Videos of kids losing their minds to his unique sets, mixing rockabilly and club music with live vocals on top are all over youtube. 2011 sees him continue his quest to be one of the world’s leading DJ/producers, with a slew of singles and debut album about to hit in a big way. Keep your eyes on the Elvis Presley of dance music!

AC SLATER
Trouble & Bass, Party Like Us Records // New York City, New York
Mixtapes. It always starts with a mixtape somewhere. And in a small town in West Virginia, a 14 year-old AC Slater started rummaging through his dad’s music collection and laying down his own sweet mixtapes on a TDK D-C60. AC (real name Aaron Clevenger) upped the ante and threw in some big hip-hop and rap beats to his mixes, mastered the art of DJing and BOOM – he became the king of the decks at high-school block parties for miles around. Now AC commands the party crowds from underground dens in New York, the grimy warehouse raves of east London to the throbbing super-clubs in Tokyo with his high-octane mix of twisted electro and dance-driven beats. Can we call him a musical hijacker? We’d like to think so, as his relentless tour schedule sees him in a world-wide whirlwind, touching down in the heart of the party scenes across the globe. Here, he cherry-picks the tracks from the centre of the hardest, fastest and freshest clubland vistas and remixes and reloads them to fire back out at his ever-growing audience. With a background in hip-hop and rap, it took an “eye-opening” Chemical Brothers gig that sent AC charging into the dance world at the age of 16. “It became this big discovery process for me,” he says. “I was already into hip-hop, rock and punk, but the Chemicals was the first ever rave I went to. After that, I just went to my local record store and bought up every electronic dance record I could find.” While AC plays driving dance-floor beats, it’s his ability to fuse the underground with the overground that sets him apart from his contemporaries. He says: “I’m all about getting my music out to a wide audience, but making sure it has that fresh, underground edge.” So while his tracks like Jack Got Jacked blew up the blogosphere by harnessing the (then) underground electro sound in 2008, AC wants people to see the funny side too. No wonder, from the guy who once wanted to be a comedy writer – check out the lyrics to his dubstep, big-beef tune with Udachi, Calm Down (sample: “Yo why you take my sandwich on my birthday?/You know I’m on a diet/I need that multi-grain”). “Fans quote it to me. It was just a joke but people really enjoyed it. Sometimes people get too serious. Music needs to have a humorous edge.” And behind every great man, well, there may be a woman, but there’s also a crew. Falling in with the turn-it-up-to-11, bass-hungry party-starters Trouble & Bass, in New York City 2008 caused AC to not only up his game in writing, producing and performing, but also gave him a bona fide urban family too. “It was funny – I’d been to some of the parties they were putting on in Brooklyn, and one day I was Djing and I looked up and the three of them were just standing there at the back of the room, like real menacing looking,” he says. Thankfully, they weren’t there to tell him to get off their patch, but instead welcomed him with open arms and made it official with the infamous T&B pendant. “It just works,” AC adds. “We’re all really close. I consider them my best friends.” It was through the T&B crew that AC started working with Drop The Lime, a long-time collaboration which has resulted in tracks like Creepin’ (2010) and numerous back-to-back sets at “if-you-can-remember-it-yo​ u-weren’t-really-there” parties. Then there’s his other musical partner-in-crime, rapper Dell Harris. Their hip-hop odyssey into the underbelly of NYC’s nightlife, album Right Now (2011), already causing a stir. AC’s also been setting the clubs alight and making a name for himself as one of the hottest remixers around, with a back catalogue reading like a How To Dance manual. Boys Noize (Yeah), Crookers (Cooler Couleur), Moby (Stars) and Steve Angello and Laidback Luke (Show Me Love) are just some tracks in a long list of dance-floor bangers sparking out from his deft hand. In fact, Moby was so blown away he labeled AC’s remix as ‘a perfect song’ and one of his top ten songs of the decade, yep, there’s your night’s playlist sorted right now. Then there’s AC’s record label, Party Like Us, set up in 2009 and named after his eponymous bass -romper track. The label’s become the go-to name for the most cutting-edge musicians scouted by AC on his travels and currently includes a roster of bright young things Kry Wolf, Udachi and B Rich. And the mixtapes – they’re still going strong. Bigger, better and hyped by the likes of Toddla T, Annie Nightingale (BBC Radio 1), KISS FM and a million and one muso-blogs. The mixes have catapulted AC a long way from a West-Virginian bedroom, but the ride’s created one hell of a soundtrack.

STAR EYES
Trouble & Bass // New York City, New York
Brooklyn’s heavy-bass queen Star Eyes is known for throwing down raw, dirty underground tracks, from grime bangers to ghetto house, Miami bass classics to speaker-rattling dubstep stormers. This 15-year DJ veteran has always loved low-end—she was one of first female drum & bass DJs in the US (and a resident of S.F.’s long-running Eklektic night) as well as half of the Syrup Girls (called “New York’s best-kept secret” by New Yorker music critic Sasha Frere-Jones). Star Eyes has played all over the world, from the Vans Warped Tour to London’s famed Fabric nightclub, from clubs in Cape Town to Berlin squat parties, and opened for such acts as Diplo, Moby, The XX, The Streets, and Girl Talk. Since 2006, she has been a part of the world famous Trouble & Bass crew, which also includes Drop the Lime, AC Slater, and The Captain, along with affiliates worldwide. In June 2009, the Trouble & Bass label released her first EP, Disappear, featuring a mix of goth and rave influences whipped into a style she calls “haunted house.” She has also released remixes for Michna, Creep, Hussle Club, Hanuman, Riviera, Lil’ Tal, and more. Her new EP will be out on Trouble & Bass in June 2011. Her vocals also appear on tracks by John B (Beta Recordings) and Passions (Kitsuné), and she is the former editor-in-chief of the music magazine XLR8R

Along with the Lords Of NYC Dubstep:

HELLFIRE MACHINA
Rocstar, Brap Dem, Bass Fueled Mischief, http://soundcloud.com/hell​firemachina // New York City, New York
Since the projects birth, late 2008, Hellfire Machina have literally exploded into the worldwide bass culture scene. From A&R and production credits on last years Wu Tang Enter The Dubstep album – 30 plus single releases and remixes – Running the biggest dubstep monthly in New York City – Holding down DJ residencies all over the country – To recently producing 6 tracks for Brand Nubian’s latest project Enter The Dubstep volume 2. It’s now 2011 and already these guys don’t seem to be showing any signs of slowing down. This is the age of the machine with Hellfire firmly at the controls!

And local support from:

COBRA CORPS
DADDYDOUGH

Location:
QUAD
714 Spring Street NW
Atlanta, GA. 30308
404-870-0040
http://www.quadatlanta.com​/

Details:
Doors: 10pm-3am
Age 18+ to enter

Tickets:
Discounted $10 Pre-Sale Tickets can be purchased online right NOW by clicking the following link:
http://www.wantickets.com/​events/ShowEvent.aspx?even​tId=90707

DJ HYPE @ METROPOLIS ‘Sunday Sessions’ with AJAPAI + Guests

By | In The News
If your in NYC on Sunday be sure to check out Metropolis @ Highline Ballroom. This fresh D&B party is back in full effect.
Tickets now available: http://www.ticketweb.com/t​3/sale/SaleEventDetail?dis​patch=loadSelectionData&ev​entId=3769105

SUNDAY JULY 24th see’s the return of METROPOLIS and the launch of the new Sunday Sessions at the Highline Ballroom.

::Presented by Bass Fueled Mischief::

DJ HYPE (UK)
http://www.facebook.com/hy​pehypehype

AJAPAI (Japan)
http://www.facebook.com/dj​ajapai

+ Some very special guests.

DJ DARA (NYC)
http://soundcloud.com/dj-d​ara

CHRISTIAN BRUNA (Camouflage, Liquid Brilliants, NYC)
http://soundcloud.com/chri​stian-bruna

ALEX ENGLISH (Girls & Boys)
http://www.facebook.com/al​exenglishhh

LENVI & CASANOVA (Bass Squad)
http://www.deadRABBITcultu​re.com/

Hosted by MC Posi-D
http://www.twitter.com/pos​iD

BASS MONSTER TOUR W/ REID SPEED, FS & CYBEROPTICS @ Girls & Boys meets BFM

By | In The News
Girls & Boys meets Bass Fueled Mischief present:

BASSMONSTER TOUR!
with Reidspeed, Cyberoptics, and FS
and Hellfire Machina
with resident DJs RekLES and Alex English

WHEN:
Friday July 15th at Webster Hall

WHERE:
Webster Hall: 125 E11th St between 3rd & 4th Ave.s
Doors 10pm. 19+ w/I.D.

ENTRY:
$5 ‘TIL MIDNIGHT WITH RSVP http://gbhtv.com/signupbas​smonster.html
$15 ADVANCE TICKETS AVAILABLE SOON

‘LIKE’ http://www.facebook.com/gi​rlsandbass [Girls & Boys meet Bass Fueled Mischief] to get these updates automatically

http://www.facebook.com/event.php?eid=107966499295246

DJ LO DOWN LORETTA BROWN IN OTTAWA

By | In The News

DJ LO DOWN LORETTA BROWN aka ERYKAH BADU x REAP & SEW 2YR ANNIVERSARY

Sat Jul 09 2011 at 10:00 pm
Venue : Ritual nightclub, 137 Besserer (corner of Dalhousie), Ottawa, Ontario, Canada

DJ LO DOWN LORETTA BROWN

aka ERYKAH BADU

w/ special guest

DJ ILLO

EH! Team – Stylusts

+++++++++++++++++++++++

RAY RAY in the lounge

2 ROOMS – 1 PARTY

Tickets: $20 in advance – more at the door

Available at: http://www.ticketweb.ca

& local shops

Reap & Sew – (613) 562-4545

Norml – (613) 562-2043

Top of the World – (613) 237-4797

Vertigo Records – (613) 241-1011

The Record Shaap – (613) 321-0564

Fall Down Gallery – (613) 421-3269

Ritual – 137 Besserer St – Ottawa, ON – (613) 680-7661

Doors: 10pm – 19+ event

Captain Planet – “Dame Agua” (Bastard Jazz)

By | Music & Reviews

Captain Planet returns with “Dame Agua”, a hot Latin number spiked with pounding salsa horns and an irresistible beat from his upcoming EP, The Ningané.

Captain Planet follows up his hugely successful 2009 EP, Speakin’ Nuyorican, which scored multiple TV show pick-ups, with a new EP, The Ningané, releasing next Tuesday via Bastard Jazz. The title track of the new EP spotlights the vocal talents of Congolese singer Fredy Massamba, while the tune that we’re premiering today, “Dame Agua”, is a hot Latin number spiked with pounding salsa horns and an irresistible beat. This EP is something of a teaser for more great things to come from Captain Planet later this year as he plans the release of the full-length Cookin’ Gumbo this coming September.

Pitbull Planet Pit (Sony)

By | Music & Reviews

“I’m involved in the music business,” crows Pitbull on his sixth album. That’s both an understatement and a credo. Since his 2004 debut single, “Culo,” the Miami MC has made good business of music, turning out records with a ruthless devotion to formula. Planet Pit plays a bit like a business plan. There are guest spots by R&B stars (Chris Brown) and Latin lovers (Enrique Iglesias). There are baldfaced rewrites of the Black Eyed Peas’ “I Gotta Feeling” (“Give Me Everything”) and Eminem’s “Love the Way You Lie” (“Castle Made of Sand”). But there’s something charming about Pitbull’s enthusiasm – he sounds most like himself when he’s promoting his brand. In “Give Me Everything,” he uses his song to advertise his billboards: “Me not working hard?/Yeah, right, picture that with a Kodak/Or better yet, go to Times Square/Take a picture of me with a Kodak.

By Jody Rosen

Arctic Monkeys I Suck It and See (Domino)

By | Music & Reviews

A gang of surly teenagers gives away music for free online, makes light of the industry’s established byways, and somehow manages to sell records at a time when overall album sales continue to dwindle. It’s a familiar storyline these days, but when Arctic Monkeys’ precociously jaded Whatever People Say I Am, That’s What I’m Not became the fastest-selling UK debut ever, back in early 2006, the idea of a “MySpace band” was still something new. Now, with News Corp. reportedly trying to sell MySpace and other sites such as Bandcamp and Tumblr taking the struggling social network’s place in music think-pieces, the Sheffield band’s latest is a throwback in a more classic sense.

Suck It and See, the Arctics’ fourth and most rewarding album so far, is not music to blog to. Listen while updating your Facebook status or crafting the perfect tweet, and you’re probably going to miss something crucial. Actually, you’re probably going to miss something anyway: For instance, the title, while no doubt partly intended as a provocation toward American audiences, is mostly just easily misunderstood Brit-speak for “give it a try.” But the record itself brims with endlessly replayable details, some goofy and some poignant, both in frontman Alex Turner’s always keenly observed lyrics and in the band’s ever-proficient music, the latter of which ranges here from muscular glam-rock to chiming indie pop balladry. Cowboy movies and humdrum observations about the weather conceal thoughtful contemplations on romance and coming of age.

“Oh, in five years’ time, will it be, ‘Who the fuck’s Arctic Monkeys?'” That was Turner five years ago. Fittingly, Suck It and See is something of a reboot for the band. 2007 sophomore effort Favourite Worst Nightmare, the Arctics’ first album with Simian Mobile Disco’s James Ford producing, found the group enriching its palette both emotionally and sonically, while musically toughening up. 2009’s Humbug paired the group with Queens of the Stone Age’s Josh Homme, leading to predictably brawny, unwound results. Elsewhere, Turner’s once-shouty voice ripened into a honeyed croon with 2008 side project the Last Shadow Puppets, and his recent solo soundtrack for Richard Ayoade film Submarine allowed him to unplug. The new record, produced by Ford but with a burly backing vocal from Homme on the churning “All My Own Stunts”, sounds informed by each of these experiences, distilling them all into the unit’s next phase: confident, melodic, and as expertly played as ever.

Turner has been talking up country greats Johnny Cash, George Jones, and Patsy Cline as lyrical influences on this album, along with Nick Cave, the Byrds, Nick Lowe, David Bowie, and Leonard Cohen. When he’s at his clearest (which is still pretty heavy with ambiguities), Suck It and See has a bleak sense of humor to prove he’s not kidding. That’s fleshed out by bandmates whose tastes run more toward Black Sabbath stomp or Stooges aggression. Musically, drummer Matt Helders remains the Arctics’ not-so-secret weapon, capable of lizard-brain freakouts or deceptively innocent waltzes; Sean Combs has invited him more than once to sit in with Diddy Dirty Money.

So hardly a verse goes by without an instant quotable or two, and the backing is elegant enough that at first you might not even notice. “Don’t Sit Down ‘Cause I’ve Moved Your Chair”, a swaggering boogie worthy of its title, lists off dangerous ideas that are all presumably less dangerous than sitting down (“Do the Macarena in the devil’s lair”– you know, the usual). Plucky ode “Reckless Serenade” has a hell of an opening line: “Topless models doing semaphor/ Wave their flags as she walks by and get ignored.” Other times, Turner keeps his cards so close to the chest that trying to puzzle out literal meanings would probably be impossible, though his disconnected imagery is usually still pretty compelling. These songs tend to be heavier, more fuzzed-out: Butch Cassidy and the Sundance Kid nod “Black Treacle”, which envisions “belly-button piercings in the sky at night” (how careful are Turner’s word choices? This careful: “Now it’s getting dark, and the sky looks sticky/ More like black treacle than tar”); “The Hellcat Spangled Shalalala”, which juxtaposes memorably impressionistic verses with searing, yes, sha-la-la-la choruses; “She’s Thunderstorms”, as tempestuous and captivating as its female subject. Only jagged, mathy “Library Pictures” fails to hold interest.

For a band whose breakthrough hit was called “I Bet You Look Good on the Dancefloor”, Arctic Monkeys have always been perhaps unexpectedly great at gentler moments. On that score, Suck It and See is a thing to behold. The heart-wrenching “Love Is a Laserquest” addresses a lost love every bit as unsparingly as past Arctics slow burners “Do Me a Favour”, “Cornerstone”, or “A Certain Romance”, picking up a lyrical theme that also runs throughout an album by a very different band, Fleet Foxes’ Helplessness Blues: “Do you still feel younger than you thought you would by now?” Finale “That’s Where You’re Wrong”, in the steadily escalating two-chord format of LCD Soundsystem’s “All My Friends”, furthers this concern with the passing years: “Don’t take it so personally, honey/ You’re not the only one that time has got it in for.” Now there’s something you don’t see every blog-second: a group that grew up too fast, aging gracefully.

Marc Hogan, June 9, 2011