laurent garnier + model deaf tickets on sale now

Entec

get them at http://www.tickets.ie

sur_1_nuage

38€!!!! FFS!

Entec

sur_1_nuage wrote: »

38€!!!! FFS!

thats pretty good in fairness , carl cox in tripod is 30euro

your gettin garnier,model 500 and Moritz Von Oswald Trio for 38euro

Griff77

€38 I think not... :mad:

Scubadevils

38 euro to see the godfather of techno play live as Model 500? Yes.

Juan Atkins (by John Bush)

At the dawn of the 1980s, Juan Atkins began recording what stands as perhaps the most influential body of work in the field of techno. Exploring his vision of a futuristic music which welded the more cosmic side of Parliament funk with rigid computer synth-pop embodied by Kraftwerk and the techno-futurist possibilities described by sociologist Alvin Toffler (author of The Third Wave and Future Shock), Atkins blurred his name behind aliases such as Cybotron, Model 500 and Infiniti — all, except for Cybotron, comprised solely of himself — to release many classics of sublime Detroit techno.

And though it's often difficult (and misleading) to pick the precise genesis for any style of music, the easiest choice for techno is an Atkins release, the 1982 electro track "Clear," recorded by Atkins and Rick Davis as Cybotron. He soon left the progressively album-oriented Cybotron to begin working alone, and released his most seminal material from 1985 to 1989 as Model 500 And while fellow Detroit legends Kevin Saunderson and Derrick May were known for their erratic output during the following decade, Atkins recorded much more during the 1990s than he had during the '80s, soaking up new rhythmic elements from contemporary dance music but keeping his unerring, instantly recognizable sense of melody intact throughout.

As the electronic scene began looking back to the past to find musical innovators, Atkins was a name much-discussed and -anthologized, hailed as the godfather of techno. Born in Detroit in 1962 (the son of a concert promoter), Juan Atkins began playing bass as a teenager and then moved on to keyboards and synthesizers, after being turned on to their use in Parliament records. Two local DJs, Ken Collier and the Electrifyin' Mojo, first introduced Atkins to a wide range of other synthesizer-driven bands — Kraftwerk, Telex, Gary Numan, Prince, the B-52's — in the late '70s.

Atkins then turned on two friends he had met (initially through his younger brother) while attending Belleville Junior High School, Derrick May and Kevin Saunderson. He also bought his first synthesizer, a Korg MS10, and began recording with cassette decks and a mixer for overdubs. Hoping to learn more about the burgeoning field of musical electronics after high-school graduation, Atkins studied at Washtenaw County Community College in nearby Ypsilanti; there he met Rick Davis, a Vietnam War veteran, synthesizer expert and fellow Electrifyin' Mojo devotee — Davis had even released an experimental record used by Mojo to open his radio show.

The two began recording as Cybotron and released their first single, "Alleys of Your Mind," in 1981 on their own Deep Space Records. The clever balance of urban groove and synthesizer futurism signaled the new electro wave in black music; though crossover success for electro was quite limited, it went on to become one of the most influential styles for the new electronic music of the next decade. "Alleys of Your Mind" got immediate play from Electrifyin' Mojo and became a big local hit, even though most listeners had no idea it was recorded in Detroit, or America for that matter. The 1982 single "Cosmic Cars" also did well, and Cybotron recorded their debut album, Enter.

Then the group signed a deal with Fantasy Records to reissue the album. One track, "Clear," was a quasi-instrumental which set the blueprint for what would later be called techno. Instead of merely reworking elements of Kraftwerk into a hip-hop context (which proved the basis for many electro tracks), "Clear" was a balanced fusion of techno-pop and club music. Unfortunately, competing visions for the future of the group forced him to leave the group by 1983. Davis and new member Jon 5 argued to pursue a musical direction closer to rock & roll, while Atkins wanted to continue in the vein of "Clear." (Cybotron carried on in the direction proposed by Davis, and was promptly forgotten.)

Juan Atkins had no trouble staying busy during the mid-'80s. He continued working with the music collective Deep Space Soundworks which he, May and Saunderson had founded in 1981 to provide a club-based forum for their music. Later, the Deep Space family founded their own club, the Music Institute, in the heart of downtown Detroit. It soon became the hub of the Motor City's growing underground family, a place where May, Atkins and Saunderson DJed along with fellow pioneers like Eddie "Flashin" Fowlkes and Blake Baxter. The club invigorated the fractured sense of community in Detroit, and inspired second-wave technocrats like Carl Craig, Stacey Pullen, Kenny Larkin and Richie Hawtin (Plastikman).

Of course, Atkins continued recording during this time, and the period from 1985 to 1987 proved to be his most influential period. He founded his own label, Metroplex Records, in 1985 and recorded his first single as Model 500, "No UFO's." Derrick May, who was living in Chicago at the time, invited Atkins over and told him to bring his records. The duo sold thousands of copies, and "No UFO's" soon became a hit with Chicago mix shows like the Hot Mix Five. Later Metroplex singles like "Night Drive," "Interference" and "The Chase" also sold well and set the template for Detroit techno; moody and sublime machine music, inspired by the drone of automated factories and trips down the I-96 freeway late at night.

By 1988, Britain had caught up with the advanced music coming from Chicago and Detroit; soon Atkins, May and Saunderson made their first trip (of hundreds) across the Atlantic, in Atkins' case before thousands of people at one of the open-air raves typical of England's Summer of Love. Acts like 808 State, A Guy Called Gerald, LFO and Black Dog began due in large part to the influence of Atkins, and the man himself was invited to remix current pop acts like Fine Young Cannibals, Seal, Tom Tom Club, the Beloved and the Style Council.

Though dance music in Great Britain shifted its course radically from 1989 to 1991 (to the burgeoning, cartoonish sounds of rave and hardcore), others in Europe were quick to take up the cause of championing Detroit's techno elite.

First, the Belgian R&S Records began releasing stellar work by a cast of techno inheritors including New Yorker Joey Beltram and Europeans C.J. Bolland and Speedy J. By 1993, Berlin's Tresor Records had picked up the baton as well, issuing American projects by second-wave Detroit producers Underground Resistance (as X-101), Jeff Mills, Blake Baxter and Eddie Fowlkes.

Atkins visited the label's studio in 1993 and worked with 3MB, the in-house production team of Thomas Fehlmann and Moritz Von Oswald (both of whom were to go on to better things, in Sun Electric and Basic Channel/Maurizio, respectively). He returned to Berlin several years later to begin recording what was, surprisingly, his first album since the days of Cybotron. Finally, in mid-1995, R&S released the debut Model 500 album, Deep Space; more importantly, the label also released Classics, a crucial compilation of Model 500's best Metroplex singles output.

Another retrospective, Tresor's Infiniti Collection, traced Atkins' work as Infiniti, recorded from 1991 to 1994 for a variety of labels including Metroplex and Chicago's Radikal Fear. Several years passed before he released any additional material, but it came with a rush during 1998-99. First in September 1998, Tresor released an album of new Infiniti recordings named Skynet. One month later, the American label Wax Trax! released a Juan Atkins mix album. Finally, in early 1999, the second full Model 500 album Mind and Body was released on R&S Records.

— John Bush
http://www.globaldarkness.com/articles/juan_atkins_model_500_cybotron_bio.htm

jonny68

Nah don't think so at that price i seen the Godfathers of House music in Liverpool in June Fast Eddie, Joe Smooth, Steve Silk Hurley,Sterling Void and Jessie Saunders FIVE legendary DJ's for 15 pounds sterling which is just under a score, now THAT was serious value for money.

Shocking price this, how can DEAF justify charging €38 :mad:

This is value for money

jonny68

Some promoters would want to cop themselves on and stop charging crazy money to see DJ's, and take a leaf out of promoters like Nightflight, €15 into see Francois K represents serious value for money and that's where ill be on Friday nite, i actually won guestlist today so im pleased about that but would've went anyway and ill be bringing some mates with me.

Scubadevils

I reckon the DEAF line-up knocks the sh*te out of that line-up in Liverpool - they may be early house pioneers but there is no way they have stood the test of time in the way Model 500 have. Not only Model 500 either but to get Vladislav Delay, Moritz Von Oswald & Laurent Garnier, money well spent. Yiz tight-ass mofos. :pac:

jonny68

Felixdhc wrote: »

I reckon the DEAF line-up knocks the sh*te out of that line-up in Liverpool - they may be early house pioneers but there is no way they have stood the test of time in the way Model 500 have. Not only Model 500 either but to get Vladislav Delay, Moritz Von Oswald & Laurent Garnier, money well spent. Yiz tight-ass mofos. :pac:

Not a chance mate, these DJ's are absolute legends and have been around since the early 1980's and are still going strong,the true Godfathers of House Music, i seriously do not think ill ever get to see a better line up, it was an incredible nite for sure:cool:

FruitLover

Have a guess at how much it costs to book Laurent Garnier.

Scubadevils

jonny68 wrote: »

Not a chance mate, these DJ's are absolute legends and have been around since the early 1980's and are still going strong,the true Godfathers of House Music, i seriously do not think ill ever get to see a better line up, it was an incredible nite for sure:cool:

Yes but the vast majority have probably never since heard of them... and they themselves have probably been working away at some other jobs since and got back together for an oldskool knees up!

The line-up for DEAF are current and have been around for a long time influencing electronic music in many ways. To see all of these, along with capacity limitations, insurance etc by comparison to an event like you were at in Liverpool, are two very different things.

seannash

Felixdhc wrote: »

I reckon the DEAF line-up knocks the sh*te out of that line-up in Liverpool - they may be early house pioneers but there is no way they have stood the test of time in the way Model 500 have. Not only Model 500 either but to get Vladislav Delay, Moritz Von Oswald & Laurent Garnier, money well spent. Yiz tight-ass mofos. :pac:

agreed garnier is still relevant.he just released some track.that mark knight remix is doing the rounds.
those djs you saw wouldnt have commanded the same money garnier does.
so the price would have been cheaper all round.
house legends or not they still gpotta keep up with the new kids on the block in order to get the same money

jonny68

Felixdhc wrote: »

Yes but the vast majority have probably never since heard of them... and they themselves have probably been working away at some other jobs since and got back together for an oldskool knees up!

The line-up for DEAF are current and have been around for a long time influencing electronic music in many ways. To see all of these, along with capacity limitations, insurance etc by comparison to an event like you were at in Liverpool, are two very different things.

It was a celebration of 20 years of House Music, and the Liverpool Carling Acedemy wasn't even as big as i thought maybe the size of Tripod a little smaller maybe, these DJ's very rarely perform @ Old Skool nites unlike others who milk it for all it's worth, it actually took months and months of planning to get them all together according to the promoters (great job too)regardless if the kids have heard of them or not (anyone into dance music regardless of age should though) they are still playing out,allbeit not as much,and more so in the USA than Europe.

Don't get me wrong id especially love to see Model 500 play and id give Garnier another chance after his shocking performance at the Electric Picnic 2 years ago as ive seen Garnier a few times prior to that and he always rocked, but i still maintain €38 is scandalous,even €25 wouldn.t be too bad, bleedin recession on and all :D

Scubadevils

jonny68 wrote: »

It was a celebration of 20 years of House Music, and the Liverpool Carling Acedemy wasn't even as big as i thought maybe the size of Tripod a little smaller maybe, these DJ's very rarely perform @ Old Skool nites unlike others who milk it for all it's worth, it actually took months and months of planning to get them all together according to the promoters (great job too)regardless if the kids have heard of them or not (anyone into dance music regardless of age should though) they are still playing out,allbeit not as much,and more so in the USA than Europe.

Don't get me wrong id especially love to see Model 500 play and id give Garnier another chance after his shocking performance at the Electric Picnic 2 years ago as ive seen Garnier a few times prior to that and he always rocked, but i still maintain €38 is scandalous,even €25 wouldn.t be too bad, bleedin recession on and all :D

It was a great line-up in Liverpool and as I said in that thread, would have loved to have got to it... but I would be pretty certain the vast majority haven't heard of that line-up and it would struggle to fill a venue here.

I feel the 38 is fair for the selection, each are still producing or DJing to this day and still producing quality music, the latest album from Vladislav Delay is excellent and the reissues from Model 500 on R&S lately are essential... sure Neil Young tickets were 80 euro!!! I won't even volunteer what I paid to see Leonard Cohen

jonny68

Leonard Cohen...surely not :o:D

jonny68

Garnier was at his very peak when he mixed this classic set...vintage Techno.



http://www.dailymotion.com/video/xoqhq_laurent-garnier-xmix2-vhs_music

sur_1_nuage

Dont care how much it costs to book him really, that s not my problem but the promoter's! It becomes my problem when they book the lad in a small venue and are charging 40 quids for a 5 hours night.