Zeds Dead, Gareth Emery, Beats Antique, Lotus, Bonobo, Bro Safari, DVBBS, BoomBox, DVS, Eminence Ensemble, Jessie Andrews, Koan Sound, Late Night Radio, Luke the Knife, The Floozies, Keys N Krates, Simon Patterson, Singularity, tyDi, MitiS, The Motet, Sunsquabi
Carson Creek Ranch
04/25/2014 12:00 PM CDT
$89.00+
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Zeds Dead
DC and Hooks are Zeds Dead.
They first hooked up in 2004 and formed Mass Productions. Influenced by the digging in the crates sampling school of hip hop, Mass Productions released one independent album in the summer of 2007 entitled Fresh Beetz. It was their first and only release.
In the summer of 2009, the two launched their second collaboration - Zeds Dead - turning up the bpm and aiming the bass-lines at the dance-floor. Soon after Zeds Dead (alongside the Killabits) founded a weekly party in Toronto called BassMentality. Guests have included Nero, Skrillex, 12th Planet, Borgore, Mary Anne Hobbs, Plastician, Netsky, and many more.
Two of the hardest workers in electronic music, Zeds Dead's tireless efforts have earned them an excellent reputation amongst a new generation of producers as artists without borders - genres hold no bearing over their music as they transcend style and form with ease. By pulling from a vast array of source material (Radiohead, The Rolling Stones, The Moody Blues, Sublime), and molding it into their unique brand of dance-floor classics, They have established themselves as a dominant force in EDM circles and have received recognition and praise from tastemakers worldwide.
Gareth Emery
Most DJ/producers don't crack into the DJMag Top 100 before the age of 30. Most of them don't shun major label attention. Most of them don't have them don't have the balls to call out the scene that they belong to when it's failing to deliver the goods. And some don't even produce 'their' own tracks. Gareth Emery, with his potent blend of trance, house, electro and techno, however, is not your average major league artist.
He was a prodigious talent in his childhood, teaching himself to play the piano from the age of 4, and continuing his invaluable classical education until he began playing guitar in an indie band at 15. Neither of these were false starts for his eventual electronic conversion; instead, both paths giving him essential experience and understanding of music and songwriting and how to convey emotion through his sounds. His baptism of fire came on a chance trance trip to Ibiza in 1998, which was followed by three years of learning the machinations of electronic music making. At the age of 22, he created a track on a laptop while on holiday in France. That track was the instant classic Mistral; a stunning debut which soon had unsuspecting pundits and clubbers alike eating out of his hands. From here onwards his career ascent was impressively - and deservedly – rapid.
"I guess it's just good, melodic dance music," he says of his musical style. "One of the most positive things about the scene over the past few years has been the gradual breaking down of genre barriers and the cross-pollination of sounds. I just look for records that I enjoy musically and also work well in a club. The genre is unimportant". He's not afraid to meld his bold, scintillating electronic motifs with more organic flavours, with his crisp, sharp leads and basslines frequently married to soaring vocals, traditional songwriting prowess and what some might call 'proper' instruments.
While he's spent record-breaking stints at the top of Beatport's Trance sales chart, and while trance will always be a part of what he does, he won't let the sound ultimately define him. "I've realised that my strength is in music and melodies that touch people. I'm a music guy. It just happens to be that the music I make is electronic. That realisation has allowed me a lot more creative freedom, then when I felt I had to write music for a certain 'scene'." It's this very decision which has helped him to garner such widespread acclaim and which has ensured that he's never boxed as simply a trance DJ/producer. His ambitions are bigger than any one sound or scene, and his eclectically flavoured output is testament to that fact. "The longer I've been producing, the less I see myself as a dance music producer and more as an artist and musician" he explains of this approach to production. "I always start a track with the music, rather than the beats, and I found the dance scene after classical piano training and years of playing guitar in bands, so I guess in a way I've come full circle."
His ground-breaking podcast started back in 2006, marking him out as one of the key early adopters of the now ubiquitous format. Nominated several times for the Miami IMDA Best Podcast award, it's been a seriously important calling card for his career. "I got lucky basically. But I also never had any musical rules about the show; it was always whatever tracks I liked that week, regardless of whether they fitted my sets. Down the line that allowed me to be more innovative and varied with my DJ sets." He's consistently voted inside the DJMag Top 100 DJs Poll - peaking at Number 7 - with his burgeoning Garuda party selling out Manchester's legendary Sankeys four times in a row and spawning a critically acclaimed compilation, The Sound Of Garuda. Building a musical brand around his name in record shops, download stores, radio and clubland has given him an all-encompassing reputation in dance music which is rivalled by few.
His 2012 is off to a huge start, with latest single Concrete Angel premiered on Judge Jules' Radio 1 show , and its video added to the prestigious MTV Dance playlist as well as racking up 1 million YouTube plays in its first three weeks online. He's been chosen as a resident for Las Vegas's Marquee - one of the most outstanding club venues in the world in the city that everyone's calling the new Ibiza - while he's also playing the enormous Ultra Music Festival and taking Garuda to Space Miami. Clocking up air miles like nobody's business, he's massively in demand across the globe, his continually evolving sound gaining him bookings at an impressive variety of clubs and festivals the world over.
As you can probably tell, Gareth Emery is a man of hard-graft and sizeable ambition. His ambitions are impressive, with a view to produce bands and other artists in the future. His focus for the foreseeable future is on building further on the huge platform that Garuda sits on, taking his club nights and new show across the globe, while continuing to create more slices of 'anti-genre' dancefloor gold.
Beats Antique
"Come with us on a trip through your inner dimensions…."
Electronic/World fusion dance trio Beats Antique brings you their new album and multi-media touring show A Thousand Faces, a journey beyond the sonic realm that's part odyssey, part genre-warping rock opera. The album is an epic two-volume adventure that follows every stage of Joseph Campbell's hero's journey with sweeping and lushly textured new compositions. While the fully immersive show will carry audiences through the complete journey, A Thousand Faces – Act 1 represents just the first half of the monomyth, with the second volume due out next spring.
"A Thousand Faces is meant to be an adventure for the audience, a wild ride that takes them through these mystical lands all across the globe," says David Satori, who formed the Bay Area-based group with fellow musician/producers Tommy Cappel and Zoe Jakes in 2007. A Thousand Faces – Act 1 features a carefully curated ensemble of guest artists, including PRIMUS vocalist/bassist Les Claypool, Sarod player Alam Khan (son of legendary classical Indian musician Ali Akbar Khan), and vocalists Morgan Sorne and long-time collaborator Lynx.
For Beats Antique—who have fused genres as disparate as flamenco, afro-beat, and French Gypsy jazz since their 2007 debut Tribal Derivations—taking on a musical interpretation of the monomyth was a prime opportunity to deepen their exploration of faraway cultures. "In Beats Antique we're always trying to cross cultures and weave together a lot of different sounds," says Satori. "So we were very much drawn to the fact that Joseph Campbell had studied traditions all over the world and found a link between so many different mythologies, from Native American to African to Southeast Asian." Not only embodying the spirit of cross-cultural connection, A Thousand Faces merges a spectrum of musical styles—from Indian classical music to Balinese fusion to EDM—in a manner that's both seamless and endlessly surprising.
That sense of sublime synergy was also a key factor in bringing to life the concept at the heart of A Thousand Faces. "As we were writing the album, everything from the music to the ideas for the stage show and video and choreography all came together in an amazing way," says Jakes. Dubbing A Thousand Faces their most intensely collaborative effort yet, Beats Antique designated a diagram of the hero's journey as their guide for the initial stages of songwriting and composing—then let their experimental side take over and flourish as they delved further into the creative process. "Making the album was incredibly organic from thought to actual completion, right down to the guest musicians who joined us," says Cappel. So charmed was the creation of A Thousand Faces, he adds, that within a day of deciding to ask Alam Khan to appear on "Kismat" (the album's spellbinding second track), Khan contacted Cappel and told him he was interested in working together.
To build the lavish and intricate soundscapes heard throughout A Thousand Faces, Beats Antique blended the hypnotic rhythms and elegant melodies of traditional music with deftly crafted beats that reveal their affinity with EDM culture. An internationally regarded belly dancer who's heading up the choreography for the dance element of the Thousand Faces tour, Jakes notes that she also found much inspiration in classical Indian dance and its practice of using movement as a means of storytelling. For help in lacing together so many eclectic sounds and influences, Beats Antique recruited guest musicians like baritone sax and clarinet player Sylvain Carton and violinist Lila Sklar, in addition to Les Claypool (who lends his bass wizardry and vocals to the brilliantly twisted "Beelzebub") and singer/songwriter/beat-boxer LYNX (who appears on the breathtakingly ethereal "You the Starry Eyed"). From the serpentine splendor of "Pandora's Box" to the heady intensity of "Veil of Tears," the result is epic in scope yet intimate in its emotionalism.
Already renowned for their outrageous live performances, Beats Antique have dreamed up a grander show than ever before with the live component of A Thousand Faces. With technology and production helmed by Obscura Digital (a San Francisco-based company known for its work with Brian Eno, the Guggenheim Museum, and SF MOMA), the show will feature creative visual production by Ivan Landau (a filmmaker whose visual-effects credits include Æon Flux and Sin City). Also partnering with world renowned digital artist, Andrew Jones (who's art has been projected on the Sydney Opera House and done the majority of Bearts Antique's album covers). Also illustrator Leighton Kelly (who teamed up with Landau on the video for "Revival," a track off of Beats Antique's 2010 album Blind Threshold), the group has created a multimedia spectacle that's rich in sensory stimulation. "Instead of throwing out random visuals we're using video in a way that's very intentional and—combined with Zoe's choreography and our costumes and the music itself—ends up immersing the audience in the story that we're telling with the album," says Cappel.
As veterans of a vibrant Bay Area underground arts scene committed to pushing boundaries through collaboration, Beats Antique first and foremost strove to offer a uniquely communal experience with A Thousand Faces. "This is a universal story that's been told for thousands of years," notes Jakes. "We are each a spoke in the wheel of the monomyth, and there's a deep sense of unity in all of us sharing the same story." To that end, Beats Antique chose to tell the narrative that runs throughout A Thousand Faces from the perspective of the listener. "Our main ambition for the album and the show was to create an unforgettable experience for the audience," says Satori. "We're the characters they're encountering along the way, the scenery that's constantly changing all around them, and it's the audience members themselves who are the heroes on this journey."
Lotus
Lotus has crafted a unique musical style outside of simple genre limitations. On a given weekend the band could be the only group with guitars at an all electronic music festival and then the next night crash a traditional rock festival with their dance heavy beats, synths and samples. Equal parts instrumental post-rock and electronic dance, the band's distinguishing feature is the ability to maintain a decidedly unique musical voice and remain current while bucking passing trends.
No matter what the venue, the energetic joy and catharsis of a Lotus show is infectious. The band slowly built a devoted fan base through steady touring and the crowds have grown at an increasing pace. This grassroots growth has made the band in high demand for festivals including Bonnaroo, Outside Lands, Ultra, and Rothbury and earned the band sold out shows at the country's premier theatres and clubs.
Bonobo
"With the experimental warmth of '60s French films and the pizzicato flavor of horizontal hip-hop, Simon Green's Bonobo project established the welcome niche of a pretension-free, post-party intellectual chillout. An almost silent figure among Ibizian romanticists, Green began in Brighton, debuting in 1999 with a track on Tru Thoughts Recordings' When Shapes Join Together compilation. Though tempted by offers from Mute and XL after the official issue of "The Scuba EP" and the "Terrapin" single, Green stuck with Tru Thoughts for the acclaimed debut LP Animal Magic. Highlighted by downtempo dub, funk, and an equally likable use of sitars, Animal Magic was an obvious success and plans were quickly made for careful European support appearances, as well as a follow-up album, Dial "M" for Monkey, for Coldcut's Ninja Tune label. A tour to support the record followed and was documented on the 2005 EP Live Sessions. BBC Radio 1 DJ Gilles Peterson’s audience voted Bonobo’s 2006 effort Days to Come Album of the Year, and two years later the man’s live show would be documented on the Live at Koko DVD. After some time off he returned in 2010 with the Black Sands album, featuring the single “The Keeper.”" - Dean Carlson, AllMusicGuide
Bro Safari
Bro Safari is the alter-ego of DJ and producer, Knick. He's already well-known and deeply established in the music scene as a result of his work with leading American Drum & Bass group Evol Intent. Not to mention, his wildly popular output as 1/2 of the genre-bending mash-up duo, Ludachrist.
While his production work spans the entire spectrum of bass music, Bro Safari has been relentless at pushing his unique take on the burgeoning Moombahton movement. As a result, Bro Safari is currently ushering in a new wave of listeners to the genre and he is set to be an early champion of this new scene.
With support from artists like Diplo, DJ Craze, Knife Party and more, it's becoming increasingly apparent that Bro Safari is someone to keep an eye on in 2012 and beyond.
BoomBox
BoomBox consists of two versatile producers, DJs, songwriters, multi-instrumentalists and longtime friends Russ Randolph and Zion Rock Godchaux. Together they develop an electronic blend of vintage Rock and Blues made to move dance floors while incorporating their signature Backbeat, Psychedelia and Funky House sounds. Applying a multi-track platform, they are free to create their hybrid style on the fly with a rhythm that moves fans and opens them up to Godchaux and Randolph's overall vision. Derived from the rich musical history of Muscle Shoals, AL, to the psychedelic rock and underground electronic scenes of the west coast, their unique approach can only be achieved by the blending of sound and culture.
BoomBox's first release, Visions of Backbeat, contained the breakout song "Stereo" that built the foundation for their rapidly growing fan base. After years of steady touring and honing their sound, they released their sophomore effort, downriverelectric, and was hailed by critics as a progressive follow up effort. BoomBox are continuously working on new releases, using a blend of programming and live instrumentation with both members on drums, Randolph on keys, and Godchaux on guitar, bass and vocals.
Each live show is unique to the venue and the crowd, who are the driving force of the rhythmic BoomBox experience. "It's all natural, it's all in real time, and that's why it's Rock 'n' Roll", says Godchaux. Traditional set lists are never created prior to shows, instead, BoomBox chooses the music based on the atmosphere, to create a one-of-a-kind experience for fans. Randolph adds, "We just want to go out with no game plan. That way it's fresh for us, and we can follow the energy of the crowd. We're down to get down, and we hope that people are down with us."
DVS
There is something about the way DVS raps, and even the way that he got into rapping, that is quintessentially "New York." Growing up, he listened to records by New York rappers like Big Pun and Busta, guys who "were so nice they'd just get it into your head like, fuck," and broke their rhymes down, analyzing what made them so good at what they did, and at some point emerged an unholy hybrid of everything good in technique-heavy rap. DVS raps faster than fuck, enunciating every syllable within an inch of its life, spitting beautiful, brilliant bullshit that could only be born in a town like New York. DVS is a born hustler, he's done Boiler Room-esque psdeudocorporate scumbaggery, PR (something he claims that, along with the stairs in Morningside Park, is basically the opposite of drugs), passed out fliers, and now the main product he's pushing is himself.
DVS traffics in the circles of New York's new, weirder rap landscape, a loose affiliation of guys like El-P, Mr. Muthafuckin' eXquire, Das Racist and Action Bronson, who rose from the ashes of El-P's Def Jux label to something that picks and chooses from the good rap that's come before it, smushing influences together until you've got something better, something altogether stranger than anything you could imagine. We're talking "progressive" rap in the sense of "people are making music that sounds completely brand new while still remaining true to hip-hop," not "progressive" as many rappers perceive it, which involves rapping over half-assed dubstep songs and calling it a day. "He's got this incredible voice, and he's a very masterful technical rapper," says Dapwell, hype man for Das Racist and friend from DVS's youth. "He comes from this really strict school of rapping." "Look at DV's shit," says Majesty, DVS's parter in rhyme and fellow boss of his label Overthrow Entertainment. "Skill-wise, what he's doing with rhyme patterns and flows and hooks, nobody's not really fucking with him. There's absolutely nothing he can't do."
Eminence Ensemble
Eminence Ensemble is a five piece Progressive Electronic Rock group based out of Boulder, Colorado. Since forming in 2008, Eminence Ensemble has been mesmerizing the Colorado music scene through their eloquent, inventive composition style and captivating, explosive performances. Elegantly fusing elements of Jazz, Rock, Funk, Classical, Hip-Hop, Reggae and Electronica, Eminence Ensemble's technical prowess is surpassed only by its robust blend of composition and improvisation. Eminence Ensemble's groundbreaking sound evolves with every show, sure to keep the audience moving and leave it craving more.
Jessie Andrews
Jessie Andrews (born March 22, 1992) is the stage name of an American pornographic actress, jewelry designer and DJ. Andrews has been active in pornography since 2010. In 2012, she was honored with the AVN Award for Best Actress, the XBIZ Award for the Acting Performance of the Year for her performance in Portrait of a Call Girl and Best New Starlet, and the XRCO Award for Best Actress and New Starlet.
Koan Sound
KOAN Sound is an electronic music act consisting of Will Weeks and Jim Bastow, both hailing from Bristol, UK.
The group's early origins and influences lie mainly in acoustic based music, from bands such as Incubus to RATM, but it wasn't until 2005 that the duo became immersed in electronic music through acts such as Noisia and The Prodigy. Soon after, the growing Dubstep scene in Bristol began to inform their productions, eventually leading to a string of releases on various labels.
In early 2011 KOAN Sound released their first extended single, the 'Max Out EP'. The release signalled a turning point in their production, gradually moving away from the 140bpm template and showcasing a wider range of styles than before. It also helped bring more attention to the act, and led to working with a number of artists, including singer/songwriter Ed Sheeran.
Later in the year the group would unveil their biggest release to date, the 'Funk Blaster EP' on Skrillex's OWSLA imprint. The EP achieved the No. 1 spot in the Beatport releases category, and received exclusive featuring from US-based magazine Rolling Stone.
The duo rounded off the year with DJ sets across Europe and North America, and picked up 'Best Breakthrough Artist' at the Dubstep Music Awards in November.
Late Night Radio
Late Night Radio, is more than just a name its an idea. Bringing together energy & emotion Alex Medellin not only moves dance floors but imaginations. His deep admiration for early soul, funk & jazz results in an eclectic fusion which brings together everything from hard bass, to hip hop drums and organic instrumentation. After the release of his debut ep Concrete Collage in December of 2012 LNR has been steadily working his way up the scene with no intentions of looking back. LNR has showcased his sets comprised of originally produced tracks at well know Colorado venues Ogden Theater, Cervantes Masterpiece Ballroom, Hodis Halfnote, and others sharing the stage with artists from Michal Menert and Griz, to Two Fresh and Mux Mool. With the concept of no restrictions Alex has a constantly evolving sound and hunger for something new, so keep your mind and ears open for Late Night Radio.
Luke the Knife
"Luke the Knife" is the DJ moniker of Luke Miller from Lotus.
The project focuses on disco, funk, house, and indie dance. Live it is augmented by guitar, keyboards, and drums.
The Floozies
The Floozies are producer/guitarist Matt Hill and drummer Mark Hill. These two brothers are bringing their fresh approach to electronic music and live performance to venues and festivals all over the country. The duo's combination of cutting edge electronic production and party rocking funk energizes crowds and turns venues into epic dance parties. All of The Floozies music can be downloaded for free from www.flooziesduo.com.
Keys N Krates
Keys N Krates formed as the brainchild of drummer Adam Tune, synth/keyboard aficionado David Matisse and internationally award-winning turntablist Jr. Flo. The Toronto trio came together in 2008 with the desire to bring their blend of live electronic instrumentation to the stage.
They've often been referred to as the worlds only "trap band," a title they reluctantly accept. Tune says it best: "At the end of the day, people are going to call us whatever they want. We are referencing everything from classic house music to Timbaland in our beats, but I think the trap references tap into what the current sound is, and we are okay with that."
Having toured their unique blend of hip hop and bass music extensively across North America, Keys N Krates put out a slew of original music in 2013. Their most recent body of work, titled SOLOW EP, was released via Steve Aoki's Dim Mak Records in September 2013.
The EP features KNK's banger "Treat Me Right," which launched with the support of figureheads like Diplo, Major Lazer, Flosstradamus, and TNGHT. It went to number one on Hype Machine, continues to chart on the Beatport Hip Hop Chart, and remains a fixture in DJ sets and car stereos across the globe.
Premiered by Annie Mac on BBC Radio1, their second single off SOLOW EP, "Dum Dee Dum," experienced a similar kind of success on the charts and has solidified the trio as creators of anthemic party music with a quickly growing fan base.
KNK has since explored their love for rap music by creating a remix of "Dum Dee Dum." Featuring G.O.O.D. Music's Cyhi The Prynce, King Louie, and Tree, the track has received glowing reviews from the likes of Fader Magazine, Vice Mag, and NahRight. "We had so much fun doing that rap remix," says Flo. "We can't wait to work with more rappers and vocalists in general."
Perhaps what truly separates Keys N Krates from the mass of Electronic and Hip Hop producers out there is the unique show they create by performing their bassy beats as a band, completely live. When you go to a KNK show, you will see their music and the music of others morphed and turned on it's head using only drums, keys, turntables and live sampling. This unique style creates not only a crazy dance party, but an experience and vibe like no other.
As a result, KNK have found themselves playing some of the world's largest Festivals, including Lollapalooza, Electric Zoo, Ultra Music Festival, Osheaga, and Sonar Festival (to name a few.) As Matisse says, "Our favorite thing is playing live and bringing people into our world."
Simon Patterson
"Trailblazing producer" DJ Magazine
"The absolutely breathtaking Simon Patterson" Pete Tong Radio 1 Essential Mix 2009
Simon Patterson the DJ.... is one of the hottest properties in dance music right now. His creative offerings as a producer have captured audiences, bringing them willing with him along his musical adventure. From techy moods to edgey riffs, spin tingling melodies to driving bass lines, Simon's studio offspring's of the past 12 months have raised his profile to see him become a much in-demand DJ, producer and remixer.
Signed exclusively to the hugely respected Spinnin' Records, Simon's music has earned him massive support from industry leaders such as Paul van Dyk, Tiesto, Armin van Burren, Ferry Corsten, Judge Jules and Above & Beyond. With tracks such as F:16 (Nov 2006), Panic Attack / Strip Search (Apr 2007), Bulldozer / We'll See (Sept 2007), attaining almost cult statues, coupled with widespread acclaim from the dance media.
However, it's when he's behind the decks that the sound of Simon comes alive. With a style described as cutting edge, dark, driving, pulsating, Simon's technical ability is a finely tuned art that fuses trance with elements of techno and electronica. If you're stood on a dance floor when Patterson's behind the CDJ's you know who's in control, and the only thing you're likely to do is to dance and dance hard.
Moving from Belfast to London some 10 years ago his career has been punctuated with a wealth of experience in dance music. From working alongside Dave Lambert at top Universal dance label AM:PM, which led to him being approached by head A&R man Nick Halkes to work with him on his new Ministry Of Sound label – Incentive Records, he then went on to being the driving force in the engine rooms of two of the biggest shows on Radio 1, he utilised his finely tuned ear working as the tastemaker behind Seb Fontaine and Judge Jules' peak-time Saturday nighters.
Labelled by Mixmag in 2004 as 'One to Watch' for the future, Simon has since drawn on this knowledge, and with an unparallel passion for music, he has now thrust himself firmly at the forefront of the trance elite, and is firmly forging his own career as a prolific artist within his field.
In the past five years Simon has really clocked up the air miles, rocking some of the biggest parties on offer. His highlights are vast, and too lengthy to list, but here are a few. In Rotterdam, crowds of up to 500,000 witnessed the might of Simon Patterson, revellers that flock to the sun drenched dance Mecca that is Ibiza have experience his sound year in, year out, a huge tour of the far-east and an indoor festival in Russia where he gave 20,000 Muscovites a musical masterclass.
Behind the CDJ's Simon has graced the world stage at many prolific festivals such as Dance Valley, Sunrise, Gatecrasher Summer Sound System, HI-FI, Planet Love, Monday Bar Cruise, Full on Ferry, Mexico Stadium, all the while delivering his sound to new audiences with frequent appearances throughout Asia, Australasia, Europe, North and South America. Whilst his club repertoire stands equally tall ranging from the likes of Godskitchen, Gatecrasher, Turnmills, Slinky, Judgement Sunday, Passion, Escape, Koolwaters and Wildchild, where he has left the foundations of each of these clubs shaken to their very core.
Aside from his solo projects Simon was also one half of the massive Dogzilla with Richard Kayvan, which with just one tune shook up the trance scene in the 00's. Picked by former world #1 DJ Paul van Dyk as his track of year, 'Without You' sent shockwaves throughout clubland finding phenomenal support along the way.
With their genre-defying productions, Dogzilla tracks became part of every top DJ's set list and still remains in doing so, from the early days of their eponymously titled debut, which featured in the cult Brit flick 'The Football Factory', right up to the massive 'Your Eyes' and 'Frozen', Dogzilla's music achieved an impressive foray on the modern day club scene.
However, 2008 saw Patterson depart from Dogzilla and go at it solo style. Although Dogzilla had been his passion for several years, he felt it was time to branch out and expand his own DJing and production work.
Regarded by M8 Magazine as 'one of the highlights of 2007', there is no doubt that Simon Patterson has 'big hitter' in his blood. With his foot firmly to the pedal as a producer, boasting a diary that reeks of big things, coupled with a desire that is second to none, world…..you better look out!
Singularity
At only 20 years old, Singularity is already becoming the next big thing in the Electronic Dance scene. The young producer out of Los Angeles has extensive experience in drumline from his high school years, which allows him to produce music that is not only catchy, but also rhythmically engaging. After entering his first remix competition for Martin Solveig, his remix of "Hello" was chosen out of over 800 applicants to be released on Big Beat Records. Solveig himself commented, "Great vibe, energy & ideas. Delicious harmonies on the breaks too." Although this was his first official release on Beatport, it wouldn't be the last. Soon after, he placed first in a remix contest for Lucky Date, allowing him the opportunity to release tracks with huge labels such as Big Fish and Big Alliance. Less than a month later, he was picked up by INTO THE AM and playing shows with names like Steve Aoki, 12th Planet, R3HAB, and more. With his recent success and growing fan base, the future looks very bright for Singularity.
tyDi
Since bursting onto the scene only a few short years ago, tyDi has already achieved more than some can say in a lifetime. During the start of his journey, this extremely young musician was busy balancing his musical career and his studies, graduating with a music degree from the prestigious Conservatorium of Music and releasing his critically acclaimed debut album 'Look Closer' when he was only 19. The classically trained musical mastermind is responsible for creating the chart topping album 'Shooting Stars', which reached #4 on iTunes in the USA, as well as #1 in Australia, Canada, UK and Finland.
Despite being voted 'Australia's #1 DJ' two years in a row, he has also been voted in the Top 100 DJ's of the World for the last three years. He currently resides as the #48 top DJ in the world. The humble Aussie has also been honored the International Dance Music Award's 'Best Break-Through DJ of the World' award presented by Tiësto.
The young DJ spends most of his time touring the world and has been playing over 150 shows each year throughout all of Europe, the USA, Canada, Asia, Australia, and also has a residency in Las Vegas. TyDi regularly performs to tens of thousands each week and has played some of the highest profile festivals around the planet to extraordinarily large crowds as big as 45,000 people.
In between tour dates, during flights, and in hotel rooms is where tyDi finds the time to write some of the most cutting edge music with unrivalled attention to detail and musical composition. He has written and collaborated with some of the most remarkable producers in the world, such as Grammy nominated producer BT.
tyDi's weekly, worldwide radio show, 'Global Soundsystem' reaches to over 30 countries on FM radio and can also be streamed as an iTunes podcast from anywhere in the world. Among all of his music videos released, combined viewers have reached well into the millions and growing. tyDi's rise to global stardom has attracted interest from media well outside the world of electronic music, with full features in Young Hollywood, Rolling Stone Magazine, and music video rotation throughout Nordstrom department stores in the USA. His single, 'Acting Crazy' from his album 'Shooting Stars' has also gained recognition from Top 40 terrestrial radio stations in the U.S. and is in daily rotation at multiple stations.
Even with his busy tour schedule, writing sessions, and radio show, tyDi manages to maintain all of his social media outlets and personally engage with his fans from all over the world. Most of all, he is a musician at heart, forever aspiring to improve musically and produce only the highest quality of work.
MitiS
MitiS, brought up a Classical pianist in Pennsylvania, has been making his way into the Electronic music scene for the past two years and has been producing tracks from genres Dubstep to Electro. "I just wanna share good music, have it be through performance or a small, simple social setting. Music is what I do, I wouldn't change that for anything. Have it be a Chopin piece playing in a hall, or a dirty bass kickin' the club's ass, I'm down for either". After experiencing the classical world of piano, performing in world renowned Halls such as Carnegie Hall in Manhattan NY, and the Kimmel Center in Philadelphia, Joe Torre became MitiS to give the Dance music scene a run for it's money. "I find myself unable to stop making phat basses, heavy beats,and throwing melodies into the mix… I Can't think of anything else more appetizing; It's the new age Classical.
The Motet
After 12 years of touring The Motet have refined their vision into a dynamic and expressive force that has come together with an astonishingly talented cast of musicians. The group is now the strongest and most cohesive incarnation of the band yet showcasing a powerhouse line-up. With roots in funk, afrobeat, disco, jazz, and soul, The Motet keeps their audiences in a dancing frenzy by layering rhythms into a style that is uniquely their own. In an age where EDM towers over the dance music scene, The Motet has proven time and again that they can rock a dance party with a beautiful blend of live instrumentation and electronics.
With the release of their 7th album, The Motet once again showcase their commitment to pushing the sonic envelope while remaining dedicated to the musical traditions that have defined their sound. The new album, which is self-titled, boldly states that this is the band The Motet has strived to become. The whole has become greater than the sum of it's parts with each member of the band contributing to the writing and arranging of the songs, telling a unified story through syncopated rhythms and melodies. The band has also decided to take an analog approach in the making of the album by using tape, tubes and transistors. This gives the music a warm, rich, and organic tone with the crunch and bite of a classic 70's funk record.
The Motet might be most well known for their consistently sold-out Halloween shows in which the band dons "musical costumes", playing the catalogs of funk greats like Earth Wind and Fire, Parliament and Prince. In doing so, they have been able to internalize many effective musical concepts of these past masters. One lesson that The Motet have applied to their latest album is the power of great song-writing. As Watts told The Boulder Weekly, "We realized how effective a great song is with a crowd. Instead of just the energetics we're used to bringing, with improvising, soloing and extended arrangements, we really decided to focus on tunes, because we understand how powerful a great song is."
Through collaborative song writing, the band's focus is to deliver tight, technical and catchy tunes while still leaving space where anything can happen live. An influence of heavy-horned funk countered by a textural blanket of rhythm, their new arsenal of songs showcase the talents of one of the strongest cast of players the band has ever assembled. Keyboardist Joey Porter, bassist Garrett Sayers, and guitarist Ryan Jalbert lay down undeniable grooves under the coursing melodies of vocalist Jans Ingber and horn players Matt Pitts and Gabe Mervine. In pure Motet fashion, the ever-driving beats of drummer Dave Watts pushes the music through sonic peaks and valleys which tantalize and invigorates listeners. If you've loved The Motet for years or are just tuning in, listen up, you haven't heard The Motet like this and you won't be disappointed.
Members:
Dave Watts (drums)
Joey Porter (keys)
Garrett Sayers (bass)
Ryan Jalbert (guitar)
Gabe Mervine (trumpet)
Sunsquabi
SunSquabi began as a side project when in January of 2011, Andrew and Kevin produced their first track together in honor of a friend, "Been A While". From there, tremendous potential was apparent and the group began working on material for their first cd, with the help of producer/DJ Rex Buchanan. Within a few months, the group was offered a spot on the main stage at Global Dance Festival, opening for acts including Kid Cudi, Big Gigantic, Empire of the Sun, and Innerpartysystem. The trio added a live drummer in the fall of 2011, Chris Anderson. Influenced by heady progressive rock, EDM of all genres, and armed with an unlimited arsenal of new material, deep bass, ripping guitar lines and live drums, SunSquabi is sure to break the lid off of the rapidly growing electronic scene in the U.S.
Venue Information
Carson Creek Ranch
9507 Sherman Road
Austin, TX 78742