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FLUX PAVILION, DOCTOR P & HELLFIRE MACHINA AT BEST BUY THEATER NYC!

By | In The News

Bass Fueled Mischief present FLUX PAVILLION, DOCTOR P. & HELLFIRE MACHINA
FLUX PAVILION (UK)
https://www.facebook.com/f​luxpavilion

DOCTOR P (UK)
https://www.facebook.com/d​octorpcircus

+ Special Guests

HELLFIRE MACHINA
https://www.facebook.com/H​ellfireMachina

SOUNDKEEPERS
http://www.facebook.com/So​undkeepersMusic

WHEN:
Friday August 5th, 2011

WHERE:
Best Buy Theater
1515 Broadway at W. 44th Street
New York, NY 10036

::SOLD OUT::

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

NOW BOOKING FM OFFICIAL AFTER PARTYS::I AM STILL MUSIC TOUR

By | Shows & Events

Lil Wayne Extends I Am Still Music Tour Through Summer, Second Leg Of Tour To Feature Rick Ross, Keri Hilson, Far East Movement & Lloyd

Due to popular demand rapper and label owner, Lil Wayne, is extending his 2011 North American tour, I Am Still Music and heading back out on the road in July through September.

The second leg of the I Am Still Music Tour featuring performances in nearly 40 cities will move from arenas to amphitheatres, with a reported outdoor festival feel.

Rick Ross will be joined by Keri Hilson and Far East Movement (aka FM), whose single, “Like A G6,” reached triple platinum-plus status and the top spot on Billboard’s Hot 100 making them the first Asian-American group with a #1 single in the country.

The tour will also include Lloyd, who is set to release King of Hearts June 2011, his first album in partnership with award-winning producer Polow Da Don’s Interscope-distributed Zone 4 Records.

Lil Wayne’s I Am Still Music tour produced by Live Nation/Haymon Ventures, kick off in Hartford, CT on July 13, 2011 at the Comcast Theater and end September 11, 2011 at the Woodlands Amphitheatre in Woodlands, TX.

Tickets in select markets will go on sale through Live Nation.com starting the weekend of May 20th.  Fans should also visit their area venue website for additional ticket purchase details.

Lil Wayne recently released “6 Foot 7 Foot”, the first single off his heavily anticipated The Carter IV album, slated for a June 2011 release via Young Money/Cash Money/Universal Motown.

Second leg of I Am Still Music Tour Dates:

DATE CITY VENUE
7/13    Hartford, CT     Comcast center
7/15    Ralegh,NC          Walnut Creek
7/16    Bristow, VA        Jiffy Lube center
7/17    Mansfield,MA    Comcast center
7/19    Scranton,PA       Toyota Pavillion
7/20    Saratoga,NY       Performing Art Center
7/22    Cuyahoga,OH     Blossom Music center
7/23    Pittsburg,PA       First Niagara Pavillion
7/24    Buffalo,NY          Darien Lk, Arts Center
7/26    Holmdel,NJ       PNC Bank Art center
7/27    Hershey,PA        Hershey Pavilion
7/29    Camden,NJ        Susquehanna Bank
7/30    Virginia B,VA    Farm Bureau
8/2     W. Palm, FL         Cruzan Amp
8/3     Tampa, FL           1-800 Ask Gary Amp
8/6    Atlanta, GA         Aarons @ lakewood
8/7    Charlotte,NC       Verizon Wireless Amp
8/9    Milwaukee,WI      Marcus Amp
8/10  San Antonio,TX    Magic Mountain
8/11   POWER 106         Los Angeles
8/12   MACEY’S             Chicago
8/13   Tinley, IL             Midwest Amp
8/14    Noblesville,IN    Verizon Wireless Amp
8/16    Ottawa, ON          Scotia Bank Place
8/17    Montreal, QC       Bell Centre
8/19    Toronto,Ont         Molson Amp
8/20    Clarkston,MI      DTE Energy Theater
8/21    Maryland,MO     Verizon Wireless
8/23    Kansas, MO        Sprint Center
8/25    Phoenix,AZ         Ashley Furniture
8/26    San Diego,CA    Cricket Wireless
8/27    San Ber, CA        Glen Helen Pavilion
8/30    Denver,CO         Comfort Dental
8/31    Albuqerque,NM Hard Rock Pavilon
9/2     Mnt View, CA      Shoreline Amp
9/3     Maryville, CA      Sleep Train Amp
9/4     Auburn,WA        White River Amp
9/7     Omaha,NE          Qwest Arena
9/9     San Antonio,TX   ATT Center
9/10   Dallas, TX           GEXA Energy Pavilion
9/11    Woodlands,TX    Woodlands Amp

http://www.fareastmovement.com

CONTACT JESSE ROMAN FOR MORE INFO:

jro@stepupworld.com

Iceage New Brigade (What’s Your Rapture?)

By | Music & Reviews

Not long ago, a Danish daily deemed them “teenage punks full of anger and anxiety,” a line galvanized by bloody post-show photos of smiling audience members published on their blog. Questions like “Are they the saviors of punk music?” have been posed, as though punk music needs saving. They just played their first show in the U.S. this past weekend, in Brooklyn. It sold out. The New York Times and The New Yorker have weighed in. They’re set to return to Roskilde this summer. As you may have already realized, there’s a swirl of information and interest surrounding this band right now, at the heart of which is their music.

And it turns out that New Brigade is a refreshing and extraordinary debut. These four have located a punk-rock sweet spot: mixing the black atmosphere of goth, the wild-limbed whoosh of hardcore, and the clangor of post-punk. It’s a feat made all the more impressive by one very important intangible: energy. While they still have room to grow as songwriters, the energy in every atom of New Brigade‘s charred, sub-25-minute rush is seductive. From the moment “White Rune” starts to quake until those last tangles of guitar conk out on closer “You’re Blessed”, there’s little escape from this record’s grip. Even the foreboding mash and march of “Intro”, its wordless, 46-second pulse of a prelude, is enough to make you feel like you need to fling yourself in the direction of someone else.

That said, despite the typically direct, blunt-object nature of “punk,” much of New Brigade is also impressionistic. Elias Rønnenfelt’s words (sung in English rather than Danish) are largely unintelligible, leaving a lot up to the heart and imagination. Rønnenfelt finds an effective way of sharing just enough room for listeners to fill in the blanks. As if mimicking the motions of his own guitar, he scythes his way through each song, usually to anthemic heights. That you can hear in the gasp of “Collapse” and starry-eyed bounce of “Remember”. Even more so in aforementioned climax “You’re Blessed”, a song that sounds like a more irritable cousin to the poppy, post-hardcore emo that came of age here in the 1990s.

The album’s grit has nothing to do with fidelity. While Iceage employ decidedly abrasive no-wave textures, New Brigade was recorded in a proper studio. The result is a recording whose snare hits and basslines announce themselves with real fury. And though a lot of this music might seem from a distance like a dozen ideas thrown together in the space of a single song, what they’ve done here is deceptively precise and exists on a deeply personal, unfiltered plane. All these lurches and groans and crashes and bangs and stutters and roars come together to form one consistently rousing, emotionally immediate whole. From them to you.

David Bevan, June 29, 2011

Junior Boys It’s All True (Domino)

By | Music & Reviews

Junior Boys started out making ridiculously complex music that had the intimate feel of a bedroom-based indie project. They’d mastered the intricate rhythmic syncopations of UK garage and Timbaland-style R&B, genres that had turned inventive and impossibly tricky rhythm programming into a game of pop oneupsmanship. Which is hardly the sort of thing that you’d want to hear an amateur’s take on. But JBs’ music was presented as if it were something fragile, homespun, made on a shoestring, full of negative space where the pop fizziness should be. It added an interesting, affecting friction to a sound that had defined glossy marquee pop around the turn of the millennium, like the difference between a love song written to please millions and one aimed at a special someone.

Pretty quickly, though, on 2006’s So This Is Goodbye and especially 2009’s Begone Dull Care, the JBs music started sounding like a million bucks, whatever it cost to make. This wasn’t necessarily a bad thing. There had always been an element of slick soulful 1980s synth-pop in their sound, and when they jettisoned the new millennium R&B touches, it was shocking and enjoyable to find out they actually had the production chops to mimic that 1980s opulence. But what about that one-on-one intimacy that had originally made them stand out? In that sense, Its All True sounds like the album the Junior Boys have been moving toward their whole career. It’s got the same low-key mixtape-from-a-lover charm as Last Exit, but sacrifices none of the appealing slickness of their last few albums.

Opener “Itchy Fingers” is actually a bit of bait-and-switch. It’s the most deliriously dense tune on the album– multiple basslines, stuttering R&B breakdowns, Art of Noise vocal stabs, zapping rave riffs, gleaming Japan/Duran-style guitar– a master class in just how much you can squeeze into a track without its seeming cluttered. It recalls the carefully plotted textural overload of UK funky producers like Ill Blu, even if the feel is still more disco-house smooth than frantic Jamaican ragga. But “Itchy Fingers” is more or less an anomaly. Its All True mostly dials back the sonic excess in favor of more streamlined grooves. Thankfully, the album also corrects the lack-of-hooks problem that occasionally plagued Begone Dull Care. “Second Chance” is still stuffed with whirling video game noises, and some glorious creamy vocal multi-tracking, but what stands out on first listen is that naggingly catchy bassline. Plus Jeremy Greenspan gives us his best batch of choruses in quite a while, and good thing, too. While this is still headphone music par excellence, all those gleaming little sonic gewgaws and sneaky ear-worm off-beats are often pushed to the back of the mix, meaning the bright lounging-on-the-yacht electro hooks and Greenspan’s voice both have to do a lot more work here.

Greenspan’s singing is the best it’s ever been on Its All True, proving the band’s mixing desk skills aren’t the only thing that’s matured over the past eight years. Where he initially sounded wounded and winsome, almost hiding his voice behind the stark beats, here he displays a bouncy, strident sense of playfulness. Just check the ecstatic peak-after-peak outro on “Banana Ripple“. There’s also a new subtlety to his breathy just-out-of-bed tenderness that weirdly reminds me of Sam Prekop, no faint praise considering Prekop is the reigning master of this sort of thing. And speaking of subtle and tender, along with the large helpings of dancefloor joy, some of the album’s most immediately arresting moments are its sparsest and most fragile. “The Reservoir” is an ultra-delicate experiment in seeing how far a rhythm can be stripped back– something that would have fit perfectly on Last Exit, though it sounds far richer here, with Greenspan pulling off a falsetto he never would have been able to in the old days. Despite a few curveballs, like the pinpoint precise homage to Kraftwerk and the bleep techno Kraftwerk inspired on “Kick the Can”, there’s not much “new” here if you’ve been following the Junior Boys’ sound over the last decade. But considering they seem to have perfected that sound here, it’s hard not to feel like they should keep making albums like Its All True for a long, long time.

Jess Harvell, June 13, 2011