miguel_myriad
New Member
- Joined
- Nov 23, 2007
- Messages
- 303
Bacardi B-Live returns with ‘Cassius’ in the house’. Phillipe Zdar and Hubert return with a new album ’15 Again’ and will bring their sultry mix of funky, stylish house music to the POD Complex for a long overdue DJ set.
Joining them on the May Bank Holiday Sunday will be A-Trak, one of the best hip-hop turntabilists in the world who has played with Kanye West on his international stadium shows.
Complimenting the bill is Flosstradamus, the renowned Chicago DJ duo with their tag-team DJ sets (3 turntables, 2 mixers)
Boasting an eclectic mix of cutting-edge international artists and local talent. To date Bacardi B-Live has featured the likes of Hot Chip, Tony Allen, Mr Scruff, Bugz in the Attic, Claude Von Stroke and The Presets.
POD Concerts in association with Bacardi presents
BACARDI B-Live
CASSIUS DJ SET
(PHILLIPE ZDAR & HUBERT)
A-TRAK
FLOSSTRADAMUS
DJ COOL C
Bank Holiday Sunday May 4th
POD/Crawdaddy & Lobby Bar – 3 rooms
Doors – Club 10pm til late, bar from 8pm
Tickets €22.50 available from Ticketmaster, Road Records, City Discs, Sound Cellar and usual outlets. www.ticketmaster.ie
www.blive.ie
www.bacardibliveradio.com/blive.html
www.cassius.fm
www.myspace.com/cassius15again
www.djatrak.com
www.myspace.com/djatrak
www.myspace.com/flosstradamus
CASSIUS
For anyone who was 20 years old in the ‘90s, the decade will remain the one in which a handful of French pop artists set themselves apart on the market and international dance floors. These successes might have been isolated, but the French DJs and electronic artists of the ‘90s – like Daft Punk and Cassius – were part of a collective wave that stamped the covers of newspapers and magazines around the world with that “French touch.”
As hard rock and funk fans, Zdar (Philippe) and Boom-Bass (Hubert) first made their mark producing and engineering the sound sought by hip-hop artists - their great passion of the early ‘90s. But the raves Zdar attended converted him to house music and, with Etienne de Crécy, he founded Motorbass. British media opinion surveys chose Motorbass’s “Pansoul” as one of the year’s best albums, all styles combined.
BoomBass was soon infected by the techno speed-up, and hooked up with Zdar for a new project, called Cassius. The duo’s first album, 1999, is a collection of instrumental tracks recorded over the two previous years. It pulses with impact and style and reconnects with the black roots of house and techno music, while evoking the heart-pounding funk of a Prince.
Utopia
Au Rêve, which followed three years later, is the duo’s confession, an effort to build a “musical monument.” It was “a utopia, into which we put a lot of time and resources – maybe too much," say the duo today.
As if reacting to that “superproduction” – which didn’t earn unanimous approval just as the French house music scene was disintegrating into a series of new cliques - Zdar and Boombass each went back home to compose solo projects. But it soon became obvious that the sum of the parts each had composed could provide the material for a new duo album. To retain the songs’ freshness and spontaneity, Zdar and Boombass established rules worthy of a Lars Von Trier Dogma production: exile to a house in Ibiza with scaled-back technology and a firm eight-hour time limit for each piece to help keep them focused on essentials.
After the luxury of Au Rêve, returning to the home studio lifted the two musicians’ morale, as revealed by 15 Again. This new album, with its near-manifesto of a title, is in sync with the homemade, garage sensibility of today’s youth.
Wacky
Fans from every corner of dance culture won’t be disappointed. Infused with a rave edge, Toop Toop starts things off with a Popcorn-like sequence, a Clash-style guitar riff and Zdar’s voice, shouting into a megaphone. Three tracks have a more definite electro edge. The title song, 15 Again, features acid house sequences, sung as a duet with Gladys. Cactus takes us back, rendering homage to Soulsonic Force. The strange poetry of Cria Cuervos offers an electro-ambient counterpoint.
But the Ibiza influence demands a splash of reggae-funk colour. See Me Now, suggests Gil Scott Heron as he might sound with Alec Sadkin as producer – it’s unquestionably African and jazz, but in a slimmed-down version, with the pop-flavoured All I Want.
Jack Rock a devilishly danceable, subtle yet shifting homage to a great house classic. Finally, La Notte, carries that sensual melancholy of after-hours clubs in the Balearic paradise.
Planet Pop
The influence of the Neptunes’ founder can also be heard on Rock Number One. Its couplets recall Chaka Khan’s electro-jazz period, and the refrains suggest Britney Spears produced by Outkast. Weed smokers will savour the drums in the savannah and the synthetic crickets of A Mile From Here, with its irresistible electro caravan rhythm. Finally, the entire pop planet is called to arms for The Song. Together, the falsetto voices, synthesizers à la Prince swinging to a cold wave beat, rhythmic accidents, tonality diffractions and abrasive and rubbery resonances, deliver a powerful hit, a freaked-out classic, ironic and jubilant.
A-TRAK
“No longer is it a crime to mash a hip-hop acapella into a techno track. In this arena, A-Trak, aka Alain Macklovitch, leads the pack. The 25 year-old Montreal native rides the line between hip-hop and electronic beats in a refreshing hybrid of everything ass-shaking.” (BPM Magazine, issue 86)
Very few DJs can jump from club sets to high-profile festival performances, to Kanye West’s larger-than-life stadium shows with ease. In today’s DJ culture, A-Trak holds a truly unique place. He founded 2007’s most buzzworthy label, Fool’s Gold, with a mission to merge all aspects of club music. Such a fusion was outlined earlier in the year with a mixtape manifesto: Dirty South Dance, which set the tone for Trizzy’s very own production. In a matter of months, his signature remixes were gaining support from the likes of Busy P, DJ AM, Annie Mac, MSTRKRFT and Boys Noize.
Not bad for a kid who many viewed as a 90’s turntablism prodigy. Indeed, Alain’s career began at age 15 when he won the 1997 DMC World Championships and proceeded to take home every other DJ title known to man. He then toured the globe, first alongside Q-Bert’s Invisibl Skratch Piklz and then with Craze and the Allies. In 2004, he was hand-picked by Kanye to be his tour DJ.
The last couple of years have seen him headlining tours with Diplo, The Rub, DJ Mehdi and Kavinsky, and of course his older brother’s band Chromeo. Add to that production for Chicago rap sensation Kid Sister and a strong, audible influence on Kanye’s Graduation album.
FLOSSTRADAMUS
Flosstradamus, the oft-mentioned Chicago DJ duo comprised of J2K (Josh Young) and Autobot (Curt Cameruci) have been dominating the party scene nationwide with their tag-team DJ sets (3 turntables, 2 mixers) for just over a year and show no signs of slowing down.
Coming soon will be a full length Flosstradamus LP with J2K and Autobot on production duties, a mixtape with up and coming rappers The Cool Kids, and a European tour with A-Trak and Kid Sister.
Download their “3 Peat” Mix here: http://www.zshare.net/audio/3-peat-mix-mp3-hcq.html
Joining them on the May Bank Holiday Sunday will be A-Trak, one of the best hip-hop turntabilists in the world who has played with Kanye West on his international stadium shows.
Complimenting the bill is Flosstradamus, the renowned Chicago DJ duo with their tag-team DJ sets (3 turntables, 2 mixers)
Boasting an eclectic mix of cutting-edge international artists and local talent. To date Bacardi B-Live has featured the likes of Hot Chip, Tony Allen, Mr Scruff, Bugz in the Attic, Claude Von Stroke and The Presets.
POD Concerts in association with Bacardi presents
BACARDI B-Live
CASSIUS DJ SET
(PHILLIPE ZDAR & HUBERT)
A-TRAK
FLOSSTRADAMUS
DJ COOL C
Bank Holiday Sunday May 4th
POD/Crawdaddy & Lobby Bar – 3 rooms
Doors – Club 10pm til late, bar from 8pm
Tickets €22.50 available from Ticketmaster, Road Records, City Discs, Sound Cellar and usual outlets. www.ticketmaster.ie
www.blive.ie
www.bacardibliveradio.com/blive.html
www.cassius.fm
www.myspace.com/cassius15again
www.djatrak.com
www.myspace.com/djatrak
www.myspace.com/flosstradamus
CASSIUS
For anyone who was 20 years old in the ‘90s, the decade will remain the one in which a handful of French pop artists set themselves apart on the market and international dance floors. These successes might have been isolated, but the French DJs and electronic artists of the ‘90s – like Daft Punk and Cassius – were part of a collective wave that stamped the covers of newspapers and magazines around the world with that “French touch.”
As hard rock and funk fans, Zdar (Philippe) and Boom-Bass (Hubert) first made their mark producing and engineering the sound sought by hip-hop artists - their great passion of the early ‘90s. But the raves Zdar attended converted him to house music and, with Etienne de Crécy, he founded Motorbass. British media opinion surveys chose Motorbass’s “Pansoul” as one of the year’s best albums, all styles combined.
BoomBass was soon infected by the techno speed-up, and hooked up with Zdar for a new project, called Cassius. The duo’s first album, 1999, is a collection of instrumental tracks recorded over the two previous years. It pulses with impact and style and reconnects with the black roots of house and techno music, while evoking the heart-pounding funk of a Prince.
Utopia
Au Rêve, which followed three years later, is the duo’s confession, an effort to build a “musical monument.” It was “a utopia, into which we put a lot of time and resources – maybe too much," say the duo today.
As if reacting to that “superproduction” – which didn’t earn unanimous approval just as the French house music scene was disintegrating into a series of new cliques - Zdar and Boombass each went back home to compose solo projects. But it soon became obvious that the sum of the parts each had composed could provide the material for a new duo album. To retain the songs’ freshness and spontaneity, Zdar and Boombass established rules worthy of a Lars Von Trier Dogma production: exile to a house in Ibiza with scaled-back technology and a firm eight-hour time limit for each piece to help keep them focused on essentials.
After the luxury of Au Rêve, returning to the home studio lifted the two musicians’ morale, as revealed by 15 Again. This new album, with its near-manifesto of a title, is in sync with the homemade, garage sensibility of today’s youth.
Wacky
Fans from every corner of dance culture won’t be disappointed. Infused with a rave edge, Toop Toop starts things off with a Popcorn-like sequence, a Clash-style guitar riff and Zdar’s voice, shouting into a megaphone. Three tracks have a more definite electro edge. The title song, 15 Again, features acid house sequences, sung as a duet with Gladys. Cactus takes us back, rendering homage to Soulsonic Force. The strange poetry of Cria Cuervos offers an electro-ambient counterpoint.
But the Ibiza influence demands a splash of reggae-funk colour. See Me Now, suggests Gil Scott Heron as he might sound with Alec Sadkin as producer – it’s unquestionably African and jazz, but in a slimmed-down version, with the pop-flavoured All I Want.
Jack Rock a devilishly danceable, subtle yet shifting homage to a great house classic. Finally, La Notte, carries that sensual melancholy of after-hours clubs in the Balearic paradise.
Planet Pop
The influence of the Neptunes’ founder can also be heard on Rock Number One. Its couplets recall Chaka Khan’s electro-jazz period, and the refrains suggest Britney Spears produced by Outkast. Weed smokers will savour the drums in the savannah and the synthetic crickets of A Mile From Here, with its irresistible electro caravan rhythm. Finally, the entire pop planet is called to arms for The Song. Together, the falsetto voices, synthesizers à la Prince swinging to a cold wave beat, rhythmic accidents, tonality diffractions and abrasive and rubbery resonances, deliver a powerful hit, a freaked-out classic, ironic and jubilant.
A-TRAK
“No longer is it a crime to mash a hip-hop acapella into a techno track. In this arena, A-Trak, aka Alain Macklovitch, leads the pack. The 25 year-old Montreal native rides the line between hip-hop and electronic beats in a refreshing hybrid of everything ass-shaking.” (BPM Magazine, issue 86)
Very few DJs can jump from club sets to high-profile festival performances, to Kanye West’s larger-than-life stadium shows with ease. In today’s DJ culture, A-Trak holds a truly unique place. He founded 2007’s most buzzworthy label, Fool’s Gold, with a mission to merge all aspects of club music. Such a fusion was outlined earlier in the year with a mixtape manifesto: Dirty South Dance, which set the tone for Trizzy’s very own production. In a matter of months, his signature remixes were gaining support from the likes of Busy P, DJ AM, Annie Mac, MSTRKRFT and Boys Noize.
Not bad for a kid who many viewed as a 90’s turntablism prodigy. Indeed, Alain’s career began at age 15 when he won the 1997 DMC World Championships and proceeded to take home every other DJ title known to man. He then toured the globe, first alongside Q-Bert’s Invisibl Skratch Piklz and then with Craze and the Allies. In 2004, he was hand-picked by Kanye to be his tour DJ.
The last couple of years have seen him headlining tours with Diplo, The Rub, DJ Mehdi and Kavinsky, and of course his older brother’s band Chromeo. Add to that production for Chicago rap sensation Kid Sister and a strong, audible influence on Kanye’s Graduation album.
FLOSSTRADAMUS
Flosstradamus, the oft-mentioned Chicago DJ duo comprised of J2K (Josh Young) and Autobot (Curt Cameruci) have been dominating the party scene nationwide with their tag-team DJ sets (3 turntables, 2 mixers) for just over a year and show no signs of slowing down.
Coming soon will be a full length Flosstradamus LP with J2K and Autobot on production duties, a mixtape with up and coming rappers The Cool Kids, and a European tour with A-Trak and Kid Sister.
Download their “3 Peat” Mix here: http://www.zshare.net/audio/3-peat-mix-mp3-hcq.html
