Post by detroitdubstep on Jan 17, 2013 8:54:25 GMT -5
RJD2 (RJ’s Electrical Connections) 4 Turntable set
rjd2.net/
On his breakout solo debut, Deadringer, Rjd2 sent listeners on a musical foray into instrumentalism, feasting on styles both old and new, and in the process creating a sound that's emerging as one of the most interesting and exciting new voices in instrumental music. In a genre filled with ambient spacemen and droning techno fromage, Rjd2 brought a sense of song structure and vitality that was sorely missing, harkening back to a time when instrumental groups like Booker T. and the MG’s got radio play (no joke). And the accolades rolled in. From industry luminaries like Chris Blackwell, to members of Radiohead and The Strokes, to ?uestlove of The Roots (who nominated Dead Ringer for the prestigious Short List awards in 2003), to DJ Shadow, Rj soon became a favorite of those in-the-know. Dead Ringer was an incredible success globally, appearing on many a year-end list, including Spin's Top 40 Albums of 2002. In '03, he followed up the success of his debut with The Horror, an EP of B-sides that played closer to an entirely new album than a collection of leftovers, and cemented Rjd2 as one of music's most talked about new artists. Touring from Japan to Amsterdam, Rj caught wreck with a dizzying 4-turntable reconstruction/reconfiguring/reinterpretation of the album for fans worldwide, sharing the stage with the likes of DJ Shadow, El-P & the Def Jux crew, David Lynch, The Roots and Prefuse 73, amongst others.
While Rj soon became the name to drop in hipster circles, he made his bones in the underground, playing a major role in that mid-west power surge better know as Columbus hip hop. After setting it off in 1998 with the mighty Mhz crew on Bobbito Garcia's legendary Fondle Em Records, he caught the attention of El-P and in 2000, he locked in with the Definitive Jux camp, and soon after made his DJX debut on Def Jux Presents I, co-starring with Company Flow, Cannibal Ox and Aesop Rock. Then came the now classic "Good Times" white label 12-inch, and the rest has been indie hip hop history. Over the past few years, Rj's profile as a producer has grown immensely as he's clocked time on the boards producing or remixing Mos Def, Massive Attack, El-P, Aceyalone, Polyphonic Spree, Elbow, Cannibal Ox, and others, wielding a versatility rarely seen in music today. His prolific nature has brought him the unique accolade of 'freelance producer/remixer extraordinaire' in Urb Magazine's Best of 2003 issue, amongst others. As one half of the duo Soul Position, he's the ultimate team player, taking a back seat to his MC, Blueprint, and letting him do the talking, while RJ's music keeps the heads nodding. Their 8 Million Stories LP was received in 2003 to rave reviews and continues to nod, and turn, heads.
SUPERVISION (Pretty Lights Music)
www.prettylightsmusic.com/therecordlabel/supervision.html
When drawing from the right pool of inspiration, sometimes the right mixture of sounds can come together and make something new. Possibly something hard to put one name on. Today people like to jump on the next genre bandwagon, and intentionally make music that fits one genre. SuperVision is not about one sound. Instead it is about many sounds brought together with an approach that delivers a stylistic sound design that isn't classified with one or two words. It is a sound that you can count on evolving without departing from what makes it unique.
The sounds created and played by SuperVision are the works of Richard Blake Hansen. With a DJ career spanning over 12 years and 1000+ gigs, his place in the music industry has been found. Within a couple of years of DJing he was cutting his teeth in music production. He moved to Fort Collins Colorado in 2002 and met Derek Vincent Smith and Michal Menert. After studying production and learning from the best, he went on to audio engineering school. He has enjoyed sharing the stage with such well known acts as Pretty Lights, Michal Menert, DJ AM, Jazzy Jeff, Public Enemy, DJ Craze, Klever, DJ Skribble, Steve Aoki, Tommie Sunshine, Quest Love, Classixx, La Riots, Villains, RJD2, and Ghostland Observatory to name a few
JOHN ARNOLD (Ubiquity)
www.ubiquityrecords.com/artists/JOHN-ARNOLD.html
"When I make music, I feel like it's coming from my soul. It's a gift. I'm pretty much the doorway for a greater purpose, so the more music I write, it's just something else speaking through me, and the more knowledge I learned, the more eloquent my voice was, the more I could express that gift," John Arnold, Detroit 2002.
Detroit resident John Arnold is currently working on a full-length album for Ubiquity, channeling his eclectic musical influences in a forward thinking electronic style and collaborating with peers from the motor city. Multi-talented Mr. Arnold is equally happy playing guitar with his acoustic jazz combo Blackman & Arnold or, as a club DJ, spinning jazz, broken, techno and house, or in the studio making beats. His interest in music started early on. He took piano classes before his tenth birthday but eventually grew bored as he discovered rock 'n' roll and, like most young kids, fantasized about being in a band.
After a brief stint with a drum kit Arnold took up the guitar in his teens and this became his primary instrument. "I loved everything, but I think at first, like a lot of young kids, I was really into rock 'n' roll music," he recalls. When his parents gave him his first album, a copy of Stevie Wonder's 1970s opus "Songs In The Key Of Life," Arnold was introduced to world of soul music. "As I got older, I had started discovering different music - I really started to like jazz, funk music and world music." Arnold may have majored in jazz studies at Michigan's Wayne State University but, as a hip-hop head (and aspiring breakdancer), he'd long been curious about electronic production - ever since hearing Herbie Hancock's "Rockit" as a pre-teen. "I think that's when I first started to get a real interest in the electronic sound, and I've always tried to make a connection with what I do now and my childhood. I remember even when I was doing heavy metal and rock I was using drum machines to make tracks. It wasn't necessarily for the dance club, but it was experimental music that involved drum machines."
The precocious instrumentalist was laying down his own compositions as early as 13. "I think I peaked at 16 or 17," he jokes. "Sometimes I break out the old tapes that I used to do when I was a kid and it's tremendous!" In 1996 Arnold formed the band Jazzhead and began to acquaint himself with Detroit's electronic fraternity. "My whole vision with the group was to really try and emulate what DJs were doing, but do it live. We'd bring in a lot of the great DJs in town who'd play with us before - Alton Miller came, DJ Bone... All the Detroit guys would come through and play and it'd be a great experience, 'cause we'd have this jazz band and then we'd have the DJs as well, so it was a really well-rounded educational thing about music, but people dug it 'cause it was dance music as well."
In this way Arnold met future supporters - Carl Craig, who invited him to perform his first-ever live electronic gig at the inaugural Detroit Electronic Music Festival (DEMF), and Derrick May, who picked up his Sparkle EP for Transmat Records' sister label, Fragile. In 2002 Arnold released a second Transmat EP titled "Four Minutes?" and a new 12" single on Ubiquity records called "We're Not." Meanwhile, Arnold has lent his talents to others - jamming on John Beltran's "Aztec Girl," which was licensed by British drum 'n' bass innovator LTJ Bukem for Good Looking's Earth 4 compilation, and on records by the Detroit Escalator Co and Recloose. Arnold is also a member of the "world music" five-piece Blackman & Arnold. "It's a lot of different world music sounds. It's all acoustic. We do Brazilian music, Afro-Cuban music and Latin music, and all in a jazz setting, and so it's highly improvisational, but it's really cool."
Within electronic music circles formally trained artists often struggle to reconcile their academic backgrounds and the unconventional DIY ethos of club culture, yet Arnold's education has expanded, not limited, his imagination. "When I make music, I feel like it's coming from my soul. It's a gift. I'm pretty much the doorway for a greater purpose, so the more music I write, it's just something else speaking through me, and the more knowledge I learned, the more eloquent my voice was, the more I could express that gift."
This outlook forms the basis of Arnold's progressive manifesto. "I'm very interested in making tracks that can easily be played in the dance club and that people can dance to, but I want to use that as a tool to express different ideas that people might not necessarily be trying in terms of different harmonic ideas and time signatures and rhythmic ideas - like maybe using 7/4 as opposed to four-on-the-floor all the time or doing 15/4 or just doing different ideas, so almost educating people to another level of music, but doing that in a way so it's still a party and everybody is dancing."
EASTSIDE JON (Funk Night)
K@DOG (Purple Music)
Ticketing:
www.brownpapertickets.com/event/317615
Tier 1 $10 Early bird - sold out
Tier 2 $15 Early bird - available
Tier 3 $20 Presale - coming soon
18+ event
The Majestic Theatre
4120 Woodward Avenue Detroit, MI 48201
(313) 833-9700
www.detroitdubstep.com
Additional sound: Source Audio
Lighting: Shane P designs
rjd2.net/
On his breakout solo debut, Deadringer, Rjd2 sent listeners on a musical foray into instrumentalism, feasting on styles both old and new, and in the process creating a sound that's emerging as one of the most interesting and exciting new voices in instrumental music. In a genre filled with ambient spacemen and droning techno fromage, Rjd2 brought a sense of song structure and vitality that was sorely missing, harkening back to a time when instrumental groups like Booker T. and the MG’s got radio play (no joke). And the accolades rolled in. From industry luminaries like Chris Blackwell, to members of Radiohead and The Strokes, to ?uestlove of The Roots (who nominated Dead Ringer for the prestigious Short List awards in 2003), to DJ Shadow, Rj soon became a favorite of those in-the-know. Dead Ringer was an incredible success globally, appearing on many a year-end list, including Spin's Top 40 Albums of 2002. In '03, he followed up the success of his debut with The Horror, an EP of B-sides that played closer to an entirely new album than a collection of leftovers, and cemented Rjd2 as one of music's most talked about new artists. Touring from Japan to Amsterdam, Rj caught wreck with a dizzying 4-turntable reconstruction/reconfiguring/reinterpretation of the album for fans worldwide, sharing the stage with the likes of DJ Shadow, El-P & the Def Jux crew, David Lynch, The Roots and Prefuse 73, amongst others.
While Rj soon became the name to drop in hipster circles, he made his bones in the underground, playing a major role in that mid-west power surge better know as Columbus hip hop. After setting it off in 1998 with the mighty Mhz crew on Bobbito Garcia's legendary Fondle Em Records, he caught the attention of El-P and in 2000, he locked in with the Definitive Jux camp, and soon after made his DJX debut on Def Jux Presents I, co-starring with Company Flow, Cannibal Ox and Aesop Rock. Then came the now classic "Good Times" white label 12-inch, and the rest has been indie hip hop history. Over the past few years, Rj's profile as a producer has grown immensely as he's clocked time on the boards producing or remixing Mos Def, Massive Attack, El-P, Aceyalone, Polyphonic Spree, Elbow, Cannibal Ox, and others, wielding a versatility rarely seen in music today. His prolific nature has brought him the unique accolade of 'freelance producer/remixer extraordinaire' in Urb Magazine's Best of 2003 issue, amongst others. As one half of the duo Soul Position, he's the ultimate team player, taking a back seat to his MC, Blueprint, and letting him do the talking, while RJ's music keeps the heads nodding. Their 8 Million Stories LP was received in 2003 to rave reviews and continues to nod, and turn, heads.
SUPERVISION (Pretty Lights Music)
www.prettylightsmusic.com/therecordlabel/supervision.html
When drawing from the right pool of inspiration, sometimes the right mixture of sounds can come together and make something new. Possibly something hard to put one name on. Today people like to jump on the next genre bandwagon, and intentionally make music that fits one genre. SuperVision is not about one sound. Instead it is about many sounds brought together with an approach that delivers a stylistic sound design that isn't classified with one or two words. It is a sound that you can count on evolving without departing from what makes it unique.
The sounds created and played by SuperVision are the works of Richard Blake Hansen. With a DJ career spanning over 12 years and 1000+ gigs, his place in the music industry has been found. Within a couple of years of DJing he was cutting his teeth in music production. He moved to Fort Collins Colorado in 2002 and met Derek Vincent Smith and Michal Menert. After studying production and learning from the best, he went on to audio engineering school. He has enjoyed sharing the stage with such well known acts as Pretty Lights, Michal Menert, DJ AM, Jazzy Jeff, Public Enemy, DJ Craze, Klever, DJ Skribble, Steve Aoki, Tommie Sunshine, Quest Love, Classixx, La Riots, Villains, RJD2, and Ghostland Observatory to name a few
JOHN ARNOLD (Ubiquity)
www.ubiquityrecords.com/artists/JOHN-ARNOLD.html
"When I make music, I feel like it's coming from my soul. It's a gift. I'm pretty much the doorway for a greater purpose, so the more music I write, it's just something else speaking through me, and the more knowledge I learned, the more eloquent my voice was, the more I could express that gift," John Arnold, Detroit 2002.
Detroit resident John Arnold is currently working on a full-length album for Ubiquity, channeling his eclectic musical influences in a forward thinking electronic style and collaborating with peers from the motor city. Multi-talented Mr. Arnold is equally happy playing guitar with his acoustic jazz combo Blackman & Arnold or, as a club DJ, spinning jazz, broken, techno and house, or in the studio making beats. His interest in music started early on. He took piano classes before his tenth birthday but eventually grew bored as he discovered rock 'n' roll and, like most young kids, fantasized about being in a band.
After a brief stint with a drum kit Arnold took up the guitar in his teens and this became his primary instrument. "I loved everything, but I think at first, like a lot of young kids, I was really into rock 'n' roll music," he recalls. When his parents gave him his first album, a copy of Stevie Wonder's 1970s opus "Songs In The Key Of Life," Arnold was introduced to world of soul music. "As I got older, I had started discovering different music - I really started to like jazz, funk music and world music." Arnold may have majored in jazz studies at Michigan's Wayne State University but, as a hip-hop head (and aspiring breakdancer), he'd long been curious about electronic production - ever since hearing Herbie Hancock's "Rockit" as a pre-teen. "I think that's when I first started to get a real interest in the electronic sound, and I've always tried to make a connection with what I do now and my childhood. I remember even when I was doing heavy metal and rock I was using drum machines to make tracks. It wasn't necessarily for the dance club, but it was experimental music that involved drum machines."
The precocious instrumentalist was laying down his own compositions as early as 13. "I think I peaked at 16 or 17," he jokes. "Sometimes I break out the old tapes that I used to do when I was a kid and it's tremendous!" In 1996 Arnold formed the band Jazzhead and began to acquaint himself with Detroit's electronic fraternity. "My whole vision with the group was to really try and emulate what DJs were doing, but do it live. We'd bring in a lot of the great DJs in town who'd play with us before - Alton Miller came, DJ Bone... All the Detroit guys would come through and play and it'd be a great experience, 'cause we'd have this jazz band and then we'd have the DJs as well, so it was a really well-rounded educational thing about music, but people dug it 'cause it was dance music as well."
In this way Arnold met future supporters - Carl Craig, who invited him to perform his first-ever live electronic gig at the inaugural Detroit Electronic Music Festival (DEMF), and Derrick May, who picked up his Sparkle EP for Transmat Records' sister label, Fragile. In 2002 Arnold released a second Transmat EP titled "Four Minutes?" and a new 12" single on Ubiquity records called "We're Not." Meanwhile, Arnold has lent his talents to others - jamming on John Beltran's "Aztec Girl," which was licensed by British drum 'n' bass innovator LTJ Bukem for Good Looking's Earth 4 compilation, and on records by the Detroit Escalator Co and Recloose. Arnold is also a member of the "world music" five-piece Blackman & Arnold. "It's a lot of different world music sounds. It's all acoustic. We do Brazilian music, Afro-Cuban music and Latin music, and all in a jazz setting, and so it's highly improvisational, but it's really cool."
Within electronic music circles formally trained artists often struggle to reconcile their academic backgrounds and the unconventional DIY ethos of club culture, yet Arnold's education has expanded, not limited, his imagination. "When I make music, I feel like it's coming from my soul. It's a gift. I'm pretty much the doorway for a greater purpose, so the more music I write, it's just something else speaking through me, and the more knowledge I learned, the more eloquent my voice was, the more I could express that gift."
This outlook forms the basis of Arnold's progressive manifesto. "I'm very interested in making tracks that can easily be played in the dance club and that people can dance to, but I want to use that as a tool to express different ideas that people might not necessarily be trying in terms of different harmonic ideas and time signatures and rhythmic ideas - like maybe using 7/4 as opposed to four-on-the-floor all the time or doing 15/4 or just doing different ideas, so almost educating people to another level of music, but doing that in a way so it's still a party and everybody is dancing."
EASTSIDE JON (Funk Night)
K@DOG (Purple Music)
Ticketing:
www.brownpapertickets.com/event/317615
Tier 1 $10 Early bird - sold out
Tier 2 $15 Early bird - available
Tier 3 $20 Presale - coming soon
18+ event
The Majestic Theatre
4120 Woodward Avenue Detroit, MI 48201
(313) 833-9700
www.detroitdubstep.com
Additional sound: Source Audio
Lighting: Shane P designs